The convergence of military strategy and mathematics in war games, from medieval to modern times. For centuries, both mathematical and military thinkers have used game-like scenarios to test their visions of mastering a complex world through symbolic operations. By the end of World War I, mathematical and military discourse in Germany simultaneously discovered the game as a productive concept. Mathematics and military strategy converged in World War II when mathematicians designed fields of operation. In this book, Philipp von Hilgers examines the theory and practice of war games through history, from the medieval game boards, captured on parchment, to the paper map exercises of the Third Reich. Von Hilgers considers how and why war games came to exist: why mathematical and military thinkers created simulations of one of the most unpredictable human activities on earth. Von Hilgers begins with the medieval rythmomachia, or Battle of Numbers, then reconstructs the ideas about war and games in the baroque period. He investigates the role of George Leopold von Reiswitz's tactical war game in nineteenth-century Prussia and describes the artifact itself: a game board–topped table with drawers for game implements. He explains Clausewitz's emphasis on the “fog of war” and the accompanying element of incalculability, examines the contributions of such thinkers as Clausewitz, Leibniz, Wittgenstein, and von Neumann, and investigates the war games of the German military between the two World Wars. Baudrillard declared this to be the age of simulacra; war games stand contrariwise as simulations that have not been subsumed in absolute virtuality.

Deep in the control room the nation's chiefs watch with alarm as their computers show imminent missile attack. Could this be it? Or is the truth funnier, though almost as alarming.Romanen er baseret på den succesrige film "WarGames" om, hvordan en und computer hacker sætter nationens forsvar i alarmberedskab.

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.

These comparative studies focus on the relationship between war and games in an effort to achieve an understanding of the phenomenon of war, in order ultimately to avoid it. Out of the ten studies on war and games in this volume, the first five are historical, the next two are by anthropologists, and the last three concern modern war games. The purpose of this comparative study is to focus on the relationship between war and games by highlighting their differences and similarities in an effort better to understand the phenomenon of war. Americans and Europeans contribute studies on war and games in ancient Greece, the lack ofmilitary games in Byzantium, jousts in the middle ages, 'flower wars' and the Aztec and Maya ball game, games in pre-industrial societies and their relation to war, and aspects of computer and video games. Contributors T.B.ALLEN, T.J. CORNELL, M. HERMAN, BRUCE M. KNAUFT, C.M.MAZZUCCHI, P.A.G. SABIN, A.A. SHELTON, DAVID TURTON, T. ZOTZ.

From Rwanda to Afghanistan, from Sudan to Iraq, this brilliantly written and at times blackly funny work of reportage shows how the humanitarian aid industry, the media and warmongers the world over are locked in a cycle of mutual support. Drawing on her decades of first-hand experience, Linda Polman�s gripping narrative introduces us to the key players in this twisted game, to the aid-workers and the warlords themselves. Among many others, there is the Bible-bashing one-man NGO who rescued two Sierra Leonean girls from life in an amputee camp � only to change his mind and try to send them back again; the director of the World Bank in Kabul who estimates that 35�40 per cent of all aid in Afghanistan is looted or lost; and the rebel soldier who explains that war does not mean fighting: 'W.A.R. means Waste All Resources. Destroy everything. Then you people will come and fix it.' War Games is a controversial expos� from the front lines of the humanitarian aid industry by one of the most intrepid and brilliantly incisive journalists of our times.

A special lavishly illustrated new edition of Michael Foreman's classic story. It's 1914 when everything changes for a group of bys growing up and playing football in the Suffolk countryside. Far away, in a place called Sarajevo, an Archduke has been killed and a web of global events results in a call for all British men to do their duty 'for King and Country' and join the army to fight the germans overseas. The boys sign up for what sounds like an adventure and a chance to see the world. After basic training the boys sail to France where they find themselves fighting on the front line. Living in the trenches in constant fear for their lives is nothing like they expected and only a bombed-out wasteland, no-man's-land, separates their trences from those of their German enemies. Then, on Christmas Day, something remarkable happens as the German and British armies stop fighting and meet in the middle of no-man's-land. The enemies talk, play football and become friends. But the war isn't over, the two sides resume fighting and the group of Suffolk lads are ordered to charge across no-man's-land...

The word “wargames” might seem like a contradiction in terms. After all, the declaration “This is war” is meant to signal that things have turned deadly serious, that there is no more playing around. Yet the practices of war are intimately entangled with practices of gaming, from military videogames to live battle reenactments. How do these forms of play impact how both soldiers and civilians perceive acts of war? This Quick Take considers how various war games and simulations shape the ways we imagine war. Paradoxically, these games grant us a sense of mastery and control as we strategize and scrutinize the enemy, yet also allow us the thrilling sense of being immersed in the carnage and chaos of battle. But as simulations of war become more integrated into both popular culture and military practice, how do they shape our apprehension of the traumatic realities of warfare? Covering everything from chess to football, from Saving Private Ryan to American Sniper, and from Call of Duty to drone interfaces, War Games is an essential guide for anyone seeking to understand the militarization of American culture, offering a compact yet comprehensive look at how we play with images of war.

Based on a true story of World War II. For 12-year-old Petros, World War II feels unreal and far away. What’s real is working in his papa’s garden. Playing marbles with his friends. Fighting with his older brother, Zola. Zola, who must always be first. Who must always be best. But when the Germans invade Greece, the war suddenly comes impossibly close. Overnight, neighbors become enemies. People begin to keep secrets (Petros’s family most of all). And for the first time, Petros has the chance to show Zola that he’s not just a little brother but that he can truly be counted on. Soon what were once just boys’ games become matters of life and death as Petros and Zola each wonder if, like their resistance fighter cousin, they too can make a difference.

The human brain is hard-wired with a primal aversion to killing. Amid the horror of war even the best-trained soldiers can forget their training. Vast effort and countless sums have been spent in the attempt to keep our men fighting. Military psychologist Leo Murray argues that the real question is: 'How do we make the enemy stop fighting?' Weaving together intense first-hand accounts of combat with the hard science of tactical psychology, Murray offers a compelling insight into how war affects the human mind. War Games is both a powerful glimpse through the eyes of our soldiers and an urgent reminder that the future of modern warfare lies in understanding how the enemy thinks. Fascinating and often chilling, this is the story of how psychology wins wars.