Joystick Soldiers: The Politics of Play in Military Video Games
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Joystick Soldiers is the first anthology to examine the reciprocal relationship between militarism and video games. War has been an integral theme of the games industry since the invention of the first video game, Spacewar! in 1962.While war video games began as entertainment, military organizations soon saw their potential as combat simulation and recruitment tools. A profitable and popular relationship was established between the video game industry and the military, and continues today with video game franchises like America’s Army, which was developed by the U.S.Army as a public relations and recruitment tool.
This collection features all new essays that explore how modern warfare has been represented in and influenced by video games. The contributors explore the history and political economy of video games and the "military-entertainment complex;" present textual analyses of military-themed video games such as Metal Gear Solid; and offer reception studies of gamers, fandom, and political activism within online gaming.
therefore understand virtual warfare and the popularity of wargames by developing a spatial understanding or a critical pedagogy that illustrates the connections, dialectics of warfare, and violence within virtual and real-time spaces. Only as we enter into a Thirdspace that eschews the celebratory tone of much of the discourse, that breaks down the spatial boundaries erected between the Wargames as a New Frontier 103 virtual and real, even as the virtual enables the destruction and
U.S. ally, with an intermediate goal of installing a sympathetic government and an ultimate goal of annexation. Sabalan has moved combat forces close to Dalilar’s border to intimidate Dalilar and actively aided an insurgency with weapons, equipment, supplies and training.This insurgency is built around an unhappy ethnic minority. The Sabalan cadre were recently confirmed operating within Dalilar, and insurgent activities have dramatically increased. Infiltration into Dalilar by armed units and
greatly—and will continue to improve as research continues on digital audio—there is still a qualitative difference that is discernible between analog and digital recordings. Obviously, sound quality differs from technology to technology—with many claiming that mp4 audio such as that on Apple’s iTunes is wretched—but it remains true that sampled audio loses much of the tonal warmth of the original. For a non-technical explanation related to the digital image, see Herb Zettl’s widely used
games and simulations about the Iraq War such as ELECT BiLAT, Tactical Iraqi (2004), and Virtual Iraq (2005) can also serve to “make things public” in Bruno Latour’s (Latour and Weibel, 2005) terms in that they represent taxpayer-supported manifestations of the res publica (p. 14). Although they may merely seem to be signifiers of State power, such public objects also reveal conflicts and contradictions from which civilians are generally shielded. Although Latour is writing largely about public
look for tailored communication. Interview with Colonel Casey Wardynski 179 So how do you get in the pop culture? How do you get into the people’s decision space? These were the real challenges we thought the Army was facing by 1999. Traditional Army approaches were pretty much passed over by technology. So our recommendation was to look for technological solutions—if we can’t put the Army in pop culture vicariously, maybe we can put it there virtually. NH: Why did you see video games as a