At its core, Kriegsspiel is not a conventional tabletop game but a structured simulation of command conducted through procedure, time, and uncertainty. Two opposing players (often supported by subordinate officers) issue written orders to their forces, but they never directly manipulate the battlefield in full view. Instead, all information, movement, and outcomes are controlled by a neutral umpire who acts as the sole interpreter of reality. The game begins not with deployment, but with a briefing and written dispositions. Each side is given only the information it could reasonably know, reflecting the principle that: “Each party is informed only of that which it could know under the assumed conditions.” From there, players issue orders based on incomplete intelligence, trusting that their plans will unfold as intended—though often they do not.

​​

Time is handled with military precision. The entire game is divided into fixed two minute increments. Each two minute turn represents real-world time, and movement is strictly governed by what troops could physically accomplish within that span. This creates a system where time itself becomes a resource. Deploying from column into line, sending a courier, or repositioning artillery all consume measurable intervals, during which the enemy is also acting. All actions in the game are handled simultaneously by the umpire.

​

What truly distinguishes Kriegsspiel is its treatment of command and communication. Players on the same side cannot freely coordinate:  “All orders, reports, and communications pass through the umpire, who must determine the time required for their delivery.” Reports from the battlefield are likewise delayed, and commanders must take time to interpret them, decide, and respond. 

This introduces friction well beyond what is seen in most modern games. A player may believe a flank is secure, unaware that a hidden enemy column has already appeared. Subordinates may act independently before new orders arrive. Commanders can even choose to ride across the battlefield in person—but doing so costs precious time. 

 

Visibility is equally constrained. Only those units that could realistically be seen are placed on the map. Reisswitz dictates: “Those movements which are not visible remain concealed.” This produces a true fog of war. The battlefield is not a shared, open space but a fragmented picture assembled from partial reports and delayed information. To accomplish this, the game is typically played on three identical maps: one for each team and one for the umpire to track all movements. Reisswitz provides sketches of the intended playing pieces, representing infantry, skirmishers, cavalry, artillery, wagons and more.

 

When forces finally make contact on the map, the turn sequence becomes more structured. Both sides move simultaneously, after which combat is resolved. Rather than relying on fixed calculations, Kriegsspiel deliberately embraces uncertainty: “If one attempted to determine the effect in every case with certainty, the result would be unnatural.” Instead, combat outcomes are determined using tables and dice, chosen based on tactical conditions such as whether troops are exposed or under cover. This ensures that players never have perfect knowledge of outcomes—mirroring the unpredictability of real battle. The umpire is given great discretion in determining tactical advantages or disadvantages, which makes the game balance heavily dependent on a skilled, impartial umpire.

​

The overall experience is deliberate, procedural, and deeply immersive—closer to staff work than to a conventional tabletop game.

​​