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Explores the culture that made military shooter video games popular, and key in understanding the War on Terror No video game genre has been more popular or more lucrative in recent years than the “military shooter.” Franchises such as Call of Duty, Battlefield, and those bearing Tom Clancy’s name turn over billions of dollars annually by promising to immerse players in historic and near-future battles, converting the reality of contemporary conflicts into playable, experiences. In the aftermath of 9/11, these games transformed a national crisis into fantastic and profitable adventures, where seemingly powerless spectators became solutions to these virtual Wars on Terror. Playing War provides a cultural framework for understanding the popularity of military-themed video games and their significance in the ongoing War on Terror. Matthew Payne examines post-9/11 shooter-style game design as well as gaming strategies to expose how these practices perpetuate and challenge reigning political beliefs about America’s military prowess and combat policies. Far from offering simplistic escapist pleasures, these post-9/11 shooters draw on a range of nationalist mythologies, positioning the player as the virtual hero at every level. Through close readings of key games, analyses of marketing materials, and participant observations of the war gaming community, Playing War examines an industry mobilizing anxieties about terrorism and invasion to craft immersive titles that transform international strife into interactive fun.
Skipping Stones Honor Award One summer day, Luke and his friends decide to play their favorite game of war, using sticks for guns and pine cones for bombs. But Sameer, who is new to their neighborhood, doesn’t want to join in. When the kids learn that Sameer lost his family in a real war, they realize that war is not a game. The gracefulness of their response and the power of friendship are the real stories here.
Between the First and Second World Wars, the U.S. Navy used the experience it had gained in battle to prepare for future wars through simulated conflicts, or war games, at the Naval War College. In Playing War John M. Lillard analyzes individual war games in detail, showing how players tested new tactics and doctrines, experimented with advanced technology, and transformed their approaches through these war games, learning lessons that would prepare them to make critical decisions in the years to come. Recent histories of the interwar period explore how the U.S. Navy digested the impact of World War I and prepared itself for World War II. However, most of these works overlook or dismiss the transformational quality of the War College war games and the central role they played in preparing the navy for war. To address that gap, Playing War details how the interwar navy projected itself into the future through simulated conflicts. Playing War recasts the reputation of the interwar War College as an agent of preparation and innovation and the war games as the instruments of that agency.
In Playing War, Sabine Frühstück makes a bold proposition: that for over a century throughout Japan and beyond, children and concepts of childhood have been appropriated as tools for decidedly unchildlike purposes: to validate, moralize, humanize, and naturalize war, and to sentimentalize peace. She argues that modern conceptions of war insist on and exploit a specific and static notion of the child: that the child, though the embodiment of vulnerability and innocence, nonetheless possesses an inherent will to war, and that this seemingly contradictory creature demonstrates what it means to be human. In examining the intersection of children/childhood with war/military, Frühstück identifies the insidious factors perpetuating this alliance, thus rethinking the very foundations of modern militarism. She interrogates how essentialist notions of both childhood and war have been productively intertwined; how assumptions about childhood and war have converged; and how children and childhood have worked as symbolic constructions and powerful rhetorical tools, particularly in the decades between the nation- and empire-building efforts of the late-nineteenth and early twentieth centuries up to the uneven manifestations of globalization at the beginning of the twenty-first.
Playing War: Field games. Paper battles -- Picturing war: The moral authority of innocence. Queering war -- Epilogue: the rule of babies in pink
Explores the culture that made military shooter video games popular, and key in understanding the War on Terror No video game genre has been more popular or more lucrative in recent years than the “military shooter.” Franchises such as Call of Duty, Battlefield, and those bearing Tom Clancy’s name turn over billions of dollars annually by promising to immerse players in historic and near-future battles, converting the reality of contemporary conflicts into playable, experiences. In the aftermath of 9/11, these games transformed a national crisis into fantastic and profitable adventures, where seemingly powerless spectators became solutions to these virtual Wars on Terror. Playing War provides a cultural framework for understanding the popularity of military-themed video games and their significance in the ongoing War on Terror. Matthew Payne examines post-9/11 shooter-style game design as well as gaming strategies to expose how these practices perpetuate and challenge reigning political beliefs about America’s military prowess and combat policies. Far from offering simplistic escapist pleasures, these post-9/11 shooters draw on a range of nationalist mythologies, positioning the player as the virtual hero at every level. Through close readings of key games, analyses of marketing materials, and participant observations of the war gaming community, Playing War examines an industry mobilizing anxieties about terrorism and invasion to craft immersive titles that transform international strife into interactive fun.
A volatile nation at the heart of major cultural, political, and religious conflicts in the world today, Pakistan commands our attention. Yet more than six decades after the country’s founding as a Muslim democracy, it continues to struggle over its basic identity, alliances, and direction. In Playing with Fire, acclaimed journalist Pamela Constable peels back layers of contradiction and confusion to reveal the true face of modern Pakistan. In this richly reported and movingly written chronicle, Constable takes us on a panoramic tour of contemporary Pakistan, exploring the fears and frustrations, dreams and beliefs, that animate the lives of ordinary citizens in this nuclear-armed nation of 170 million. From the opulent, insular salons of the elite to the brick quarries where soot-covered workers sell their kidneys to get out of debt, this is a haunting portrait of a society riven by inequality and corruption, and increasingly divided by competing versions of Islam. Beneath the façade of democracy in Pakistan, Constable reveals the formidable hold of its business, bureaucratic, and military elites—including the country’s powerful spy agency, the ISI. This is a society where the majority of the population feels powerless, and radical Islamist groups stoke popular resentment to recruit shock troops for global jihad. Writing with an uncommon ear for the nuances of this conflicted culture, Constable explores the extent to which faith permeates every level of Pakistani society—and the ambivalence many Muslims feel about the role it should play in the life of the nation. Both an empathic and alarming look inside one of the world’s most violent and vexing countries, Playing with Fire is essential reading for anyone wishing to understand modern Pakistan and its momentous role on today’s global stage.
Playing at War offers an innovative focus on Civil War video games as significant sites of memory creation, distortion, and evolution in popular culture. With fifteen essays by historians, the collection analyzes the emergence and popularity of video games that topically engage the period surrounding the American Civil War, from the earliest console games developed in the 1980s through the web-based games of the twenty-first century, including popular titles such as Red Dead Redemption 2 and War of Rights. Alongside discussions of technological capabilities and advances, as well as their impact on gameplay and content, the essays consider how these games engage with historical scholarship on the Civil War era, the degree to which video games reflect and contribute to popular understandings of the period, and how those dynamics reveal shifting conceptions of martial identity and historical memory within U.S. popular culture. Video games offer productive sites for extending the analysis of Civil War memory into the post–Confederates in the Attic era, including the political and cultural moments of Obama and Trump, where overt expressions of Lost Cause memory were challenged and removed from schools and public spaces, then embraced by new manifestations of white supremacist organizations. Edited by Patrick A. Lewis and James Hill Welborn III, Playing at War traces the drift of Civil War memory into digital spaces and gaming cultures, encouraging historians to engage more extensively with video games as important cultural media for examining how contemporary Americans interact with the nation’s past.
A memoir of fathers and sons, baseball, a world at war, and second chances. “I loved [it]. You will, too” (Jim Morris, author of The Oldest Rookie). Gene Moore was a small-town Illinois farm boy whose passion for “America’s Pastime” made him a local legend. It wasn’t long before word spread, and the Brooklyn Dodgers came calling on the teenage phenom who could hit a ball a country mile. Headed for stardom, and his dream within reach, Gene’s future in the majors was cut short by World War II. In 1944, after joining the US Navy, Gene found himself on a top-secret mission: guarding German sailors captured from U-505, a submarine carrying one of the infamous Enigma decoders. Stuck with guard duty, he decided to bide the time by doing what he loved. Gene taught the POWs how to play baseball. It was a decision that would change Gene’s life forever. The story of a remarkable man told by his inspired son, “Gene’s journey from promise to despair and back again, set against a long war and an even longer post-war recovery . . . [is] a 20th-century epic that demonstrates how, sometimes, letting go of a dream is the only way to discover one’s great fortune” (Publishers Weekly, starred review).
As violence in the media and media-linked toys increases, parents and teachers are also seeing an increase in children's war play. The authors have revised this popular text to provide more practical guidance for working with children to promote creative play, and for positively influencing the lessons about violence children are learning. Using a developmental and sociopolitical viewpoint, the authors examine five possible strategies for resolving the war play dilemma and show which best satisfy both points of view: banning war play; taking a laissez-faire approach; allowing war play with specified limits; actively facilitating war play; and limiting war play while providing alternative ways to work on the issues. New for the Second Edition are: more anecdotal material about adults'' and children's experiences with war play, including examples from both home and school settings; greater emphasis on the impact of media and commercialization on children's war play, including recent trends in media, programming, marketing, and war toys; expanded discussion about the importance of the distinction between imitative and creative war play; and summary boxes of key points directed at teachers or parents. * New information about violent video games, media cross feeding, and gender development and sex-role stereotyping.