LEADER 04581nam 2200673 a 450 001 9910461759303321 005 20200520144314.0 010 $a1-4529-4614-0 010 $a0-8166-7833-2 035 $a(CKB)2670000000151018 035 $a(EBL)863822 035 $a(OCoLC)777565743 035 $a(SSID)ssj0000614307 035 $a(PQKBManifestationID)11391464 035 $a(PQKBTitleCode)TC0000614307 035 $a(PQKBWorkID)10605723 035 $a(PQKB)10788843 035 $a(StDuBDS)EDZ0001177870 035 $a(MiAaPQ)EBC863822 035 $a(MdBmJHUP)muse29947 035 $a(Au-PeEL)EBL863822 035 $a(CaPaEBR)ebr10534335 035 $a(CaONFJC)MIL526041 035 $a(EXLCZ)992670000000151018 100 $a20110512d2011 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aGameplay mode$b[electronic resource] $ewar, simulation, and technoculture /$fPatrick Crogan 210 $aMinneapolis $cUniversity of Minnesota Press$d2011 215 $a1 online resource (254 p.) 225 1 $aElectronic mediations ;$v36 300 $aDescription based upon print version of record. 311 0 $a0-8166-5335-6 311 0 $a0-8166-5334-8 320 $aIncludes bibliographical references and index. 327 $aMachine 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. 330 $a"From flight simulators and first-person shooters to MMPOG and innovative strategy games like 2008's Spore, computer games owe their development to computer simulation and imaging produced by and for the military during the Cold War. To understand their place in contemporary culture, Patrick Crogan argues, we must first understand the military logics that created and continue to inform them. Gameplay Mode situates computer games and gaming within the contemporary technocultural moment, connecting them to developments in the conceptualization of pure war since the Second World War and the evolution of simulation as both a technological achievement and a sociopolitical tool.Crogan begins by locating the origins of computer games in the development of cybernetic weapons systems in the 1940s, the U.S. Air Force's attempt to use computer simulation to protect the country against nuclear attack, and the U.S. military's development of the SIMNET simulated battlefield network in the late 1980s. He then examines specific game modes and genres in detail, from the creation of virtual space in fight simulation games and the co-option of narrative forms in gameplay to the continuities between online gaming sociality and real-world communities and the potential of experimental or artgame projects like September 12th: A Toy World and Painstation, to critique conventional computer games.Drawing on critical theoretical perspectives on computer-based technoculture, Crogan reveals the profound extent to which today's computer games--and the wider culture they increasingly influence--are informed by the technoscientific program they inherited from the military-industrial complex. But, Crogan concludes, games can play with, as well as play out, their underlying logic, offering the potential for computer gaming to anticipate a different, more peaceful and hopeful future"--$cProvided by publisher. 410 0$aElectronic mediations ;$vv. 36. 606 $aComputer games$xSocial aspects 606 $aVideo games$xSocial aspects 606 $aComputer war games 606 $aComputer flight games 608 $aElectronic books. 615 0$aComputer games$xSocial aspects. 615 0$aVideo games$xSocial aspects. 615 0$aComputer war games. 615 0$aComputer flight games. 676 $a793.93/2 700 $aCrogan$b Patrick$0928562 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910461759303321 996 $aGameplay mode$92086930 997 $aUNINA