04581nam 2200673 a 450 991046175930332120200520144314.01-4529-4614-00-8166-7833-2(CKB)2670000000151018(EBL)863822(OCoLC)777565743(SSID)ssj0000614307(PQKBManifestationID)11391464(PQKBTitleCode)TC0000614307(PQKBWorkID)10605723(PQKB)10788843(StDuBDS)EDZ0001177870(MiAaPQ)EBC863822(MdBmJHUP)muse29947(Au-PeEL)EBL863822(CaPaEBR)ebr10534335(CaONFJC)MIL526041(EXLCZ)99267000000015101820110512d2011 uy 0engurcn|||||||||txtccrGameplay mode[electronic resource] war, simulation, and technoculture /Patrick CroganMinneapolis University of Minnesota Press20111 online resource (254 p.)Electronic mediations ;36Description based upon print version of record.0-8166-5335-6 0-8166-5334-8 Includes bibliographical references and index.Machine generated contents note: ContentsAcknowledgmentsIntroduction: Technology, War, and Simulation -- 1. From the Military-Industrial to the Military-Entertainment Complex -- 2. Select Gameplay Mode: Simulation, Criticality, and the Chance of Videogames -- 3. Logistical Space: Flight Simulators and the Animation of Virtual Reality -- 4. Military Gametime: History, Narrative, and Temporality in Cinema and Games -- 5. The Game of Life: Experiences of the First-Person Shooter -- 6. Other Players in Other Spaces: War and Online Games -- 7. Playing Through: The Future of Alternative and Critical Game Projects -- Conclusion: The Challenge of SimulationNotes -- Index."From flight simulators and first-person shooters to MMPOG and innovative strategy games like 2008's Spore, computer games owe their development to computer simulation and imaging produced by and for the military during the Cold War. To understand their place in contemporary culture, Patrick Crogan argues, we must first understand the military logics that created and continue to inform them. Gameplay Mode situates computer games and gaming within the contemporary technocultural moment, connecting them to developments in the conceptualization of pure war since the Second World War and the evolution of simulation as both a technological achievement and a sociopolitical tool.Crogan begins by locating the origins of computer games in the development of cybernetic weapons systems in the 1940s, the U.S. Air Force's attempt to use computer simulation to protect the country against nuclear attack, and the U.S. military's development of the SIMNET simulated battlefield network in the late 1980s. He then examines specific game modes and genres in detail, from the creation of virtual space in fight simulation games and the co-option of narrative forms in gameplay to the continuities between online gaming sociality and real-world communities and the potential of experimental or artgame projects like September 12th: A Toy World and Painstation, to critique conventional computer games.Drawing on critical theoretical perspectives on computer-based technoculture, Crogan reveals the profound extent to which today's computer games--and the wider culture they increasingly influence--are informed by the technoscientific program they inherited from the military-industrial complex. But, Crogan concludes, games can play with, as well as play out, their underlying logic, offering the potential for computer gaming to anticipate a different, more peaceful and hopeful future"--Provided by publisher.Electronic mediations ;v. 36.Computer gamesSocial aspectsVideo gamesSocial aspectsComputer war gamesComputer flight gamesElectronic books.Computer gamesSocial aspects.Video gamesSocial aspects.Computer war games.Computer flight games.793.93/2Crogan Patrick928562MiAaPQMiAaPQMiAaPQBOOK9910461759303321Gameplay mode2086930UNINA