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Journal articles on the topic 'War games'

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Published: 4 June 2021
Last updated: 31 July 2024

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1

Mazur, Diane H., and Janet E. Halley. "Word Games, War Games." Michigan Law Review 98, no. 6 (May 2000): 1590. http://dx.doi.org/10.2307/1290257.

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2

Thomson, Andrew, Sergey Prokofiev, Anthony Phillips, and Boris Berman. "War Games." Musical Times 149, no. 1904 (October 1, 2008): 105. http://dx.doi.org/10.2307/25434560.

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3

Higonnet, Margaret R. "War Games." Lion and the Unicorn 22, no. 1 (1998): 1–17. http://dx.doi.org/10.1353/uni.1998.0009.

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4

Chin, Staceyann. "War Games." Cultural StudiesCritical Methodologies 2, no. 2 (May 1, 2002): 220. http://dx.doi.org/10.1177/1532708602002002013.

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Chin, Staceyann. "War Games." Cultural Studies ↔ Critical Methodologies 2, no. 2 (May 2002): 220–21. http://dx.doi.org/10.1177/153270860200200213.

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6

Kennedy, Stephen. "War games." New Scientist 210, no. 2815 (June 2011): 34–35. http://dx.doi.org/10.1016/s0262-4079(11)61317-1.

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Chin, Staceyann. "War Games." Affilia 26, no. 1 (February 2011): 97–98. http://dx.doi.org/10.1177/0886109910392897.

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8

De Waal, Alex. "War Games." Index on Censorship 36, no. 4 (November 2007): 6–11. http://dx.doi.org/10.1080/03064220701741598.

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9

Donald, Iain. "Just War? War Games, War Crimes, and Game Design." Games and Culture 14, no. 4 (July 21, 2017): 367–86. http://dx.doi.org/10.1177/1555412017720359.

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Military shooters have explored both historical and modern settings and remain one of the most popular game genres. While the violence of these games has been explored in multiple studies, the study of how war and the rules of war are represented is underexplored. The Red Cross has argued that as virtual war games are becoming closer to reality, the rules of war should be included. This article explores the argument put forward by the Red Cross and its reception by games media organizations, in order to consider how the concept of “just war” is represented within games. This article will focus on concerns over games adherence to the criteria of jus in bello (the right conduct in war) and will also consider the challenges that developers face in the creation of entertainment products in the face of publisher and press concerns.
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10

Svalina, Mathias. "War Games: Instructions." Iowa Review 39, no. 3 (December 2009): 47–57. http://dx.doi.org/10.17077/0021-065x.6741.

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11

Del-Moral, M. Esther, and Christian RodrÍguez-GonzÁlez. "War Video Games." Journal on Computing and Cultural Heritage 13, no. 4 (December 8, 2020): 1–13. http://dx.doi.org/10.1145/3404196.

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12

Castillo, Debra A. "War Games / Puro Vacilón." Latin American Research Review 53, no. 4 (2018): 671–88. http://dx.doi.org/10.25222/larr.161.

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13

Nagraj, HuilgolG, and Sarin Rajiv. "War games and cancer." Journal of Cancer Research and Therapeutics 1, no. 3 (2005): 125. http://dx.doi.org/10.4103/0973-1482.19583.

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14

Terret, Thierry. "Introduction: Post-War Games." International Journal of the History of Sport 27, no. 6 (April 2010): 1001–5. http://dx.doi.org/10.1080/09523361003656134.

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15

McCutcheon, Elizabeth. "War Games in Utopia." Moreana 52 (Number 201-, no. 3-4 (December 2015): 65–90. http://dx.doi.org/10.3366/more.2015.52.3-4.8.

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16

Bucholtz, Chris. "US war games fought." Network Security 1995, no. 6 (June 1995): 11–12. http://dx.doi.org/10.1016/1353-4858(96)89724-8.

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17

Weiss, Alfred, and Sharon Tettegah. "World of Race War." International Journal of Gaming and Computer-Mediated Simulations 4, no. 4 (October 2012): 33–44. http://dx.doi.org/10.4018/jgcms.2012100103.

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Stereotypical portrayals of race are common in many modern video games. However, research on games and game environments has often overlooked race as an important consideration when evaluating games for their educational potential. This is particularly true of the educational literature on online games, which has tended to emphasize virtual game spaces as intrinsically exemplary learning environments while deemphasizing the narrative content of the games themselves. This article addresses this oversight. Through a close reading of game communications and fan-created content, the authors examined how developer-produced racial narratives influence players’ experience of the game world. The authors find that players and player communities reproduce and reinforce narrow developer-produced interpretations of race during in-game interactions as well as in player forums and virtual communities beyond the confines of the game world. Because the game environment is not conducive to players’ critical examination of race, the authors conclude that the game does not intrinsically provide a means for players to engage critically with game content. They further conclude that as educational environments these games must be situated and contextualized within the ideologies and discourses of the physical world.
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18

Giusti-Cordero, Juan A. "War Politics and War Games in Puerto Rico." New West Indian Guide 88, no. 1-2 (2014): 53–61. http://dx.doi.org/10.1163/22134360-08801005.

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19

Easterbrook, Michael, and Thomas J. Pashby. "OCULAR INJURIES AND WAR GAMES." International Ophthalmology Clinics 28, no. 3 (1988): 222–24. http://dx.doi.org/10.1097/00004397-198802830-00010.

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20

The Lancet. "In war games, who wins?" Lancet 362, no. 9397 (November 2003): 1685. http://dx.doi.org/10.1016/s0140-6736(03)14879-9.

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21

Pache, Corinne Ondine. "War Games: Odysseus at Troy." Harvard Studies in Classical Philology 100 (2000): 15. http://dx.doi.org/10.2307/3185206.

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22

Tanselli, Lou. "Operation Desert Shield “War Games”." Recreational Sports Journal 16, no. 3 (May 1992): 20–21. http://dx.doi.org/10.1123/nirsa.16.3.20.

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23

Tardif, Denis, John Little, Marcel Mercier, Michel Podtetenev, and Pierre Labelle. "Ocular Trauma in War Games." Physician and Sportsmedicine 14, no. 3 (March 1986): 90–94. http://dx.doi.org/10.1080/00913847.1986.11709012.

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24

Deborah Stevenson. "War Games (review)." Bulletin of the Center for Children's Books 63, no. 5 (2010): 191–92. http://dx.doi.org/10.1353/bcc.0.1419.

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25

Ryan, E. H., and G. Lissner. "Eye Injuries During 'War Games'." Archives of Ophthalmology 104, no. 10 (October 1, 1986): 1435–36. http://dx.doi.org/10.1001/archopht.1986.01050220029008.

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26

Sparrow, Robert, Rebecca Harrison, Justin Oakley, and Brendan Keogh. "Playing for Fun, Training for War." Games and Culture 13, no. 2 (November 25, 2015): 174–92. http://dx.doi.org/10.1177/1555412015615025.

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In the cultural controversy surrounding “violent video games,” the manufacturers and players of games often insist that computer games are a form of harmless entertainment that is unlikely to influence the real-world activities of players. Yet games and military simulations are used by military organizations across the world to teach the modern arts of war, from how to shoot a gun to teamwork, leadership skills, military values, and cultural sensitivity. We survey a number of ways of reconciling these apparently contradictory claims and argue that none of them are ultimately successful. Thus, either military organizations are wrong to think that games and simulations have a useful role to play in training anything other than the most narrowly circumscribed physical skills or some recreational digital games do, in fact, have the power to influence the real-world behavior and dispositions of players in morally significant ways.
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27

Vörös, Boldizsár. "Children’s War Games and Toys in Hungary, 1914–1918." Historical Studies on Central Europe 3, no. 1 (July 31, 2023): 144–62. http://dx.doi.org/10.47074/hsce.2023-1.07.

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Children’s games are accurate reflections of a community’s culture with its values, norms and expectations. The Hungarian games of the World War I period were also such expressions both in regard to children’s play activities (which they were able to pursue without toys, with toys they made themselves, or with those produced by official manufacturers) and the products of toy manufacturing companies. In this study, numerous games (for example, group battles, board games produced by manufacturers and put into commercial circulation, etc.) are discussed and analysed. At the same time, the various views on games by pedagogical experts and contributors to children’s magazines published at the time are also discussed. My research has revealed that not only do these games demonstrate some peculiarities of the World War I (for example, the war’s impact upon the most diverse areas of life) but that the War itself brought into prominence certain features of such games and carried into effect their latent possibilities (for example, war games becoming especially brutal). Beyond the scope of research on games and toys, on a more general note this study shows that cultural phenomena can react to radical historical changes.
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28

Filippaki, Iro. "Great War Games: Notes on Collective Memory, the Adynaton, and Posthumanism." Revista Alicantina de Estudios Ingleses, no. 31 (December 15, 2018): 177. http://dx.doi.org/10.14198/raei.2018.31.11.

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This essay performs a narratological reading of 2014 video games Valiant Hearts and Super Trench Attack and the ways through which they memorialize the Great War. By close-reading the narrative techniques of these games, I argue that through their storytelling elements they memorialize the Great War by countering the narrative trope of the adynaton, often employed to manage the traumatic articulation of war narratives. Bathetic, pathetic, and chronotopic representations contribute to the affective economy on which these video games rely to memorialize the war, and hint at what posthumanist memorialization could mean for the remembrance of Great War.
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29

Basile, A. "War Games, 1953: Father's Day, 2013." Literary Imagination 17, no. 1 (November 18, 2014): 35. http://dx.doi.org/10.1093/litimag/imu041.

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30

Brown, Sandra M. "Ocular injury caused by war games." Journal of American Association for Pediatric Ophthalmology and Strabismus 1, no. 3 (September 1997): 185–86. http://dx.doi.org/10.1016/s1091-8531(97)90065-3.

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31

Kiesler, Sara, Lee Sproull, and Jacquelynne S. Eccles. "Pool halls, chips, and war games." ACM SIGCSE Bulletin 34, no. 2 (June 2002): 159–64. http://dx.doi.org/10.1145/543812.543850.

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32

Rossi, Julio D. "Tug-of-war games and PDEs." Proceedings of the Royal Society of Edinburgh: Section A Mathematics 141, no. 2 (April 2011): 319–69. http://dx.doi.org/10.1017/s0308210510000041.

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We review some recent results concerning tug-of-war games and their relation to some well-known partial differential equations (PDEs). In particular, we will show that solutions to certain PDEs can be obtained as limits of values of tug-of-war games when the parameter that controls the length of the possible movements goes to zero. Since the equations being studied are nonlinear and are not in divergence form, we will make extensive use of the concept of viscosity solutions.
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33

Henderson, Lyn, Yoram Eshet-Alkalai, and Joel Klemes. "Digital Gaming: A Comparative International Study of Youth Culture in a Peaceful and War Zone Country." Eludamos: Journal for Computer Game Culture 2, no. 1 (February 29, 2008): 73–103. http://dx.doi.org/10.7557/23.5973.

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This paper reports an exploratory survey in Australia and Israel of the leisure habits, attitudes and preferences of 716 teenagers aged 13-14 years who are part of the international digital games culture. The rationale was threefold: (a) this age group is not singled out in other surveys; (b) examination of gaming across five platforms would contribute new insights; and (c) the premise that a comparison between eGamers in a war zone and a peaceful country would produce striking contrasts. Virtually all participants played digital games for an average of 10-12 hours per week, the majority using all gaming platforms daily. Notable country differences were identified, particularly game genre preferences but there was also commonality as digital gamers. Digital games remain “boys’ games”, with males devoting more time to playing across five game platforms than did the females who, however, demonstrated a narrowing gap. Isolation and unfitness due to digital gaming proved contrary to popular media reports even though playing digital games was one of two top-rated leisure activities across country and gender.
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34

Springwood, Charles Fruehling. "The Age of Dwindling American Empire: Soldiers, Gaming, and Affective Labor in Warzones." Cultural Studies ↔ Critical Methodologies 19, no. 4 (October 20, 2018): 294–303. http://dx.doi.org/10.1177/1532708618807248.

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This essay examines the global logics of neoliberalism, and the biopolitical and affective modes of experience that neoliberalism generates. American soldiers, playing games and fighting wars, are living embodiments of the Military Industrial Media Entertainment Network, where boundaries are blurred, information flow is rapid, and cyber imagery prevails. But this is not merely a postmodern space of hybridity; neoliberalism is a biased, so-called laissez-faire re-organization of material and capital flows, designed to glorify the capacities of the market to rule space, consumption, and government without any regard for democratic citizenship. Playing with virtual fields of violence literally as they execute the violent technologies of war, to advance the neoliberal projects of American neoconservative ideologues, soldiers claim that these combat games help them to escape the emotional trials of war. These gamers and their games teach us that neoliberalism is more than privatization of capital, but that it is a way of organizing experience through habits of bodily movement and affect.
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35

Hitch, Neal V. "War Games: Inside the World of 20th-Century War Reenactors." Journal of Popular Culture 38, no. 6 (November 2005): 1113–14. http://dx.doi.org/10.1111/j.1540-5931.2005.00185.x.

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36

Zulkarnain, Iskandar, and Otniel Joviand Christiandrew. "Valkyria Chronicles Game and the “Cute” Memory of War." Journal of Games, Game Art, and Gamification 8, no. 1 (June 26, 2023): 1–7. http://dx.doi.org/10.21512/jggag.v8i1.9744.

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In this article we analyzed digital games as a mode of memory production and preservation especially in the genre of World War II games. Using a Japanese-produced PS3 game, Valkyria Chronicles (2008), we demonstrated the ideological aspects of this type of games in (re)shaping the memory of the World War II through what we called “allegorithmic memory” process. Borrowing from Alexander R. Galloway’s conception of “allegorithm,” we argued that the combination of narrative allegory and gameplay algorithm in Valkyria Chronicles has produced a “cute” perspective on the memory of World War II that is closely tied to the historical role of Japan during the War. Set in an alternate 1930s Europe, the game combined the collective memory of Holocaust with an atypical representation of World War II in its allegorithmic structure. We argued that this combination has produced a double screen memory that attempted to invite a shared affection in dealing with Japanese traumatic memory of World War II. In conclusion, our article demonstrated the capacity of digital games as a culturally-specific site of memory production and preservation offering a complex combination of recycled and new perspective of World War II.
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37

Pigulak, Marcin. "Gry pamięci. Valiant Hearts: The Great War i My Memory of Us w perspektywie kultury historycznej." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 29, no. 38 (June 15, 2021): 144–60. http://dx.doi.org/10.14746/i.2021.38.09.

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The paper aims to outline how video games Valiant Hearts: The Great War (Ubisoft Montpellier, 2014) and My Memory of Us (Juggler Games, 2018) use narrative and ludic structures to create commemorative stories about the First World War and the Second World War. The author refer to the concept of historical culture (among others, in Jörn Rüsen’s interpretation) and examine the connections between the two video games focusing on the issue of designers’ intentions (digital games as examples of the commemoration of the past), the genre similarity (2D platform games), the intermedial convergence and the press reception. He discusses the strategy of the cultural agreement between designers and users, analyzes historical narratives as a part of the gameplay, examines relations between the individual and collective’s perspective and characterizes immersion’s mechanisms which reinforce players’ identification with the victims of both wars.
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38

Muliana, Lia, M. Nazaruddin, Alwi Alwi, Ibrahim Chalid, and Fajri M. Kasim. "SOCIAL CONTROL AGAINST ONLINE GAME-ADDICTED TEENSIN PADANG SEURAHET VILLAGE, JOHAN HEROES DISTRICT BARAT ACEH DISTRICT." Malikussaleh Social and Political Reviews 3, no. 2 (November 15, 2022): 40. http://dx.doi.org/10.29103/mspr.v3i2.8707.

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The phenomenon of online game addiction is rife in the current digitalization era, especially among teenagers in Padang Seurahet Village. Variants of online games that are often accessed by teenagers are free-to-fire games or war games. Addiction was observed from the outpouring of time playing online games and the non-conformist behavior of adolescents. In analyzing this social event using a qualitative method with a phenomenological approach. The results show that the aspects that encourage teenagers to become addicted to online games are because teenagers can expand their social networks with fellow gamers (gamers), there is an event menu in the game, often get appreciation or prestige in the form of champion certificates and money, get verbal recognition from gamers throughout Indonesia. , and can compete with teams of other players. The issue of online game addiction requires social control from actors such as parents, society, and the government. Parental social control includes advising, limiting smartphones and playing time, sending teenagers to day, and socializing teenagers who are addicted to online games. Padang Seurahet community control is categorized as still minimal in dealing with teenagers addicted to online games, and weak social control (low control) from the Indonesian Government, Regional Government, and Padang Seurahet Gampong Government. The conclusion of this study is a form of parental control in the form of persuasive control, and internal control is not able to minimize online game addiction due to weak control from external actor.
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39

Bartos, Rafał. "THE MOTIF OF WAR IN TABLETOP ROLE-PLAYING GAMES: AN EXPLORATORY STUDY." Art Research of Ukraine, no. 23 (November 28, 2023): 75–78. http://dx.doi.org/10.31500/2309-8155.23.2023.299211.

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This article explores the prominent motif of war in tabletop role-playing games (TTRPGs) through the analysis of popular games such as Dungeons & Dragons, Warhammer fantasy role playing game. The author argues that the motif of war is a prevalent theme in RPGs due to its ability to prompt players to engage in epic battles and quests and to develop complex storylines. The article draws upon theoretical frameworks such as narratology and ludology to analyze how the motif of war shapes player experiences in these games and how it contributes to the evolution of TTRPGs as a genre. Through the analysis of game mechanics and thematic elements, the author demonstrates that the motif of war serves both as a source of conflict and a means of creating immersive gameplay experiences. The article concludes with a reflection on the implications and potential future directions of studying war in RPGs.
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40

Banerjee, Payal, and L. H. M. Ling. "Hypermasculine War Games: Triangulating US-India-China." Sicherheit & Frieden 28, no. 1 (2010): 1–6. http://dx.doi.org/10.5771/0175-274x-2010-1-1.

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41

Gray, Stephen. "War Games, Sex and Uncle Sam's Umbrella." Alternative Law Journal 40, no. 2 (June 2015): 82–85. http://dx.doi.org/10.1177/1037969x1504000203.

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42

Longworth, John W. "FROM WAR-CHESS TO FARM MANAGEMENT GAMES*." Canadian Journal of Agricultural Economics/Revue canadienne d'agroeconomie 18, no. 2 (November 13, 2008): 1–11. http://dx.doi.org/10.1111/j.1744-7976.1970.tb00897.x.

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43

MASON, JOHN O., RICHARD M. FEIST, and MILTON F. WHITE. "Ocular Trauma From Paintball-Pellet War Games." Southern Medical Journal 95, no. 2 (February 2002): 218–22. http://dx.doi.org/10.1097/00007611-200202000-00012.

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44

MASON, JOHN O., RICHARD M. FEIST, and MILTON F. WHITE. "Ocular Trauma From Paintball-Pellet War Games." Southern Medical Journal 95, no. 2 (February 2002): 218–22. http://dx.doi.org/10.1097/00007611-200295020-00013.

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45

Felker, M. "Internet War Games: Power of the Masses." IEEE Security & Privacy Magazine 4, no. 2 (March 2006): 7. http://dx.doi.org/10.1109/msp.2006.44.

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46

Curry, John. "The First World War in computer games." First World War Studies 10, no. 1 (January 2, 2019): 167–68. http://dx.doi.org/10.1080/19475020.2019.1690102.

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47

Acheson, J. F., M. F. Griffiths, and R. J. Cooling. "Serious eye injuries due to war games." BMJ 298, no. 6665 (January 7, 1989): 26. http://dx.doi.org/10.1136/bmj.298.6665.26.

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48

Morgan, S. J. "Serious eye injuries due to war games." BMJ 298, no. 6670 (February 11, 1989): 383. http://dx.doi.org/10.1136/bmj.298.6670.383-a.

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49

Dawidek, G. M. B. "Serious eye injuries due to war games." BMJ 298, no. 6670 (February 11, 1989): 383. http://dx.doi.org/10.1136/bmj.298.6670.383-b.

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50

Maxwell, Simon. "War Games: The Story of Aid and War in Modern Times." Development Policy Review 28, no. 6 (October 5, 2010): 771–75. http://dx.doi.org/10.1111/j.1467-7679.2010.00509.x.

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