Cory Davis and Francois Colon’s Spec Ops: The Line (2012): CIA, Renegades, & Missing Civilians

You Are Not Expected to Survive: Affective Friction in the Combat Shooter Game <em>Battlefield 1</em>

Slavonic and East European Review, 96, 2, 2018 MARGINALIA Kossuth and Solidarity PETER SHERWOOD Introduction Lajos Kossuth (1802–94), the leader and towering personality of the failed Hungarian War of Independence of 1848–49, first visited England en route to the United States in late 1851. In the three weeks between 23 October and 13 November 1851 he made speeches in English in Southampton, Winchester, London, Manchester and Birmingham, and was rapturously received not just as the embodiment of the Hungarians’ noble struggle for freedom, but as a hero of the free world and the enemy of tyrants.1 In spite of its relative brevity, this first visit already aroused enormous general interest in England: for example, it can hardly be an accident that Charles Dickens’s weekly Household Words ran a two-part history of Hungary in its issues dated 6 and 13 December 1851.2 Like every aspect of Kossuth’s career, this episode continues to attract the attention of historians and others, but what especially fascinated contemporaries about his public appearances — better termed performances — was the extraordinary nature of his English oratory. One reporter noted: ‘With a clear and mellow voice, and forceful energy, he began with an apology for his “bad English”, although his accent and Peter Sherwood is László Birinyi, Sr., Distinguished Professor Emeritus of Hungarian Language and Culture, University of North Carolina at Chapel Hill. 1 The political background relevant to Kossuth’s 1851 visit is outlined in, for example, Thomas Kabdebo, Diplomat in Exile: Francis Pulszky’s Political Activities in England, 1849–1860, Boulder CO, 1979, pp. 70–79. An older and sketchier account, but with extracts from his speeches, can be found in, for example, E. O. S. [Ernő Simonyi?], Hungary and its Revolutions from the Earliest Period to the Nineteenth Century. With a Memoir of Louis Kossuth, London, 1854 (reissued London, 1896), pp. 513–20. A recent article, with new material is Zsuzsanna Lada, ‘The Invention of a Hero: Lajos Kossuth in England (1851)’, European History Quarterly, 43, 1, 2013, pp. 5–26. 2 Issues 89 and 90, pp. 249–54 and pp. 281–85, respectively. KOSSUTH AND SOLIDARITY 311 command of the language were remarkably good.’3 The New York Times reported that even the correspondent of The Times (of London), a paper famously and fervently hostile to Kossuth, conceded: ‘His voice is clear and distinct, but rather deep and monotonous, like that of a man who has used it up in public speaking. His utterance is energetic, his accent wonderfully good, but he seems sometimes embarassed [sic] with too much words [sic], at a loss for any suitable to express his precise ideas.’4 A further report in the New York Times, headed ‘Kossuth in England — The London Times’, with the by-line ‘Correspondence of the New-York Daily Times’, adds: ‘His command of our language partakes, in a foreigner, of the wonderful.’5 The distinguished Hungarian historian Tibor Frank has written extensively about Kossuth’s language and uncovered previously little-known accounts of Kossuth’s performances in the USA.6 Yet, as the linguist Daniel Abondolo has pointed out, ‘[t]he myth that he achieved such wide recognition, i.e. extra Hungariam, through his use of language is […] somehow, and unfortunately, more engaging than the philologist’s still unanswered question: Just what was his English like?’7 László Országh’s note As sound recording was not available in Kossuth’s lifetime, to this question we are unlikely ever to have an entirely satisfactory answer.8 Nevertheless, such was the interest in Kossuth at this time — we can without exaggeration speak of a veritable Kossuth mania — that his speeches were widely published and indeed anthologized. However, there are problems with these publications, too: some speeches, perhaps inevitably, were condensed 3 P. C. Headley, The Life of Louis Kossuth, Governor of Hungary, including notices of the men and scenes of the Hungarian Revolution; to which is added an appendix containing his principal speeches, &c., Auburn NY, 1852, p. 234. 4 New York Times, 10 November 1851. 5 New York Times, 3 December 1851 6 Tibor Frank, ‘“Give Me Shakespeare”: Lajos Kossuth’s English as an Instrument of International...

In storytelling, films, and novels, is traditionally an observer, and by necessity a passive observer. In these media artists can often be seen as telling rather than sharing stories. To be sure, author provides space for a readers imaginative input, but you cannot change words. Both theater and, more recently, video games have been experimenting with, twisting, and turning on its head this traditional view of Unless you're Roger Ebert and believe that video games cannot and will never be art, video game designers, writers, and directors are starting to blur lines between interactive theater and games. (1) In recently released video game Gone Home, for example, is a young college student who returns home from Europe to find her parents missing and a note from her younger sister taped to front door. Reviewing game in The New York Times, Chris Suellentrop comments on work's gripping fiction, its closeness to literary realism. One of designers, Steve Gaynor, influenced by current hit Sleep No More, an interactive theater production to be examined later in this essay, observes that in Gone Home audience ... occupies same three-dimensional space as fictional inhabitants and that inside that space, players, like theatergoers, can choose where to focus their attention. Lucy Pebbles writing in The Observer speaks of game as if it were a video equivalent to audience's experience with Sleep No More: You piece together a sense of who everyone is and what happened through seemingly disconnected items and evidence hidden around house. And those connections are intentionally weak. It allows plot and conclusions to take place in mind of and not in action of game. For her, Gone Home takes gaming element away from screen, and into your head, making room for player/audience directly ... because they are alive to flexibility of choice and narrative. (2) We use video games and interactive theater here as reverse mirrors to raise larger aesthetic questions. Is this increased role for audience, whether offstage or at controls, ultimate goal, reality of both media? What happens to concept of plot or narrative when becomes a collaborator with playwright or with game designer? Is notion of author challenged, reduced, potentially rendered irrelevant with time, as audience's or player's control grows exponentially in these more recent experiments in theater and in video games? And is video game now a legitimate rival of, some would even go so far as to say successor to, legitimate theater which has been described, even dismissed as the fabulous invalid? (3) When filtering play through his or her own life experiences, needs, agenda, interests, preoccupations, spectator in theater has always been a player in loose sense of that word. But idea of spectator's having a direct role in action onstage or even a hand in plot, becoming a player in literal sense as it applies to interactive video games, is of more recent origin. The 1960s saw numerous productions that drew onstage, willingly or not, thereby blurring line between stage and house. As a result, performances were half scripted, half improv, latter coming into play when members joined actors onstage, their role ranging from nonverbal members of a crowd to new characters in ongoing story. Behind such experiments was principle of, even political need for, inclusivity, making spectator more than a passive receptor and challenging what innovators saw as stilted, even undemocratic theater of past. (4) An actor friend tells of a workshop performance in 1980s that offered a variation on such inclusion of audience. Those present were confronted with an actor dressed as Frankenstein's creature, standing motionless before them. …

Over the last several decades, video games have become one of America’s most popular pastimes. Sadly, little academic work has studied media coverage of video games during this transformation. Williams’ analysis of news magazines’ coverage from 1970 to 2000 offers the only research into this topic. However, the video game industry has significantly changed since 2000. To remedy this gap, I examine video game coverage in The New York Times over the last three decades. During this period, evaluative articles primarily treat video games as a major threat. However, a small subset of articles rejects this portrayal. During the 1980s and 1990s, this alternative account identifies video games’ functional benefits. This narrative changes in the 2000s to celebrating video games’ artistic merits. My work contributes to the social construction of technology literature in general by documenting how civil society’s cultural understanding of children and entertainment influence the specific narratives The New York Times attaches to video games.

Radikal ve terörist gruplar, toplum içinden kendi ideolojilerine ve motiflerine yakın ya da şiddet eğilimi olan insanları belirleyebilmek ve her bireye nasıl yaklaşılacağına karar verebilmek için dijital alandan faydalanma arayışında olmuşlardır. Bu arayış çerçevesinde çalışmanın temel konusu da olan video oyunlar ve oyun platformları, dijitalleşmeye önemli bir zemin hazırlayan internet ile neredeyse denk düzeyde bir kullanım büyüklüğüne sahip olarak, radikal ve terörist grupların önem verdiği ve etki alanı olarak kullanabildiği yerler hâline gelmiştir. Bu kapsamda, doğrudan video oyunların kullanımı, video oyunlara dair özelliklerin başka alanlara ihracı ya da oyunlar aracılığıyla iletişim söz konusu gruplar tarafından birer yöntem olarak benimsenmiştir. Bu yöntemlerle, mesajların daha geniş kesimlere yayılması, destekçi kazanma, eleman temin etme, dikkat çekme, düşmanların tehdit edilmesi ve korkutulması, şiddetin normalleştirilmesi, bu yönde eğilimi olanların harekete geçmeleri için cesaretlendirilmesi gibi hedeflere ulaşılması amaçlanmıştır. Çalışmada da video oyunlarının ve oyun platformlarının radikal ve terörist gruplar tarafından söz konusu hedeflerine ulaşmada nasıl etkili bir şekilde kullanıldığının analiz edilmesi temel amaç olmakla birlikte, analizin yapılabilmesi için öncelikle radikalleşme ve terörizm ile video oyunlarına dair kavramsal çerçeve ve kavrama özgü bazı nicel veriler ortaya konacaktır. Ardından ise video oyunlar ve oyun platformları radikalleşme ile terörizm açısından analiz edilecektir.

Over the last decade, increased attention has been paid to terrorism, particularly to the new wave of terrorist groups, fundamentalist movements, and extremist organisations such as Al-Qaeda. September 11 marked the beginning of a turbulent phase in which states face a new kind of threat made up of a complex network of insidious revolutionary and nationalist forces. Such transformations have given rise to an unprecedented number of publications. However, both political violence and terrorism remain sources of endless disputes and controversies because of their political implications. At the same time, in the scientific community, terrorism studies lack conceptual and methodological uniformity. In his article, Domenico Tosini synthesises and discusses some major findings from this research. Courses using such a review will be confronted with the four major topics that any analysis of terrorism, to be comprehensive, should take into account: the definition of terrorism; its history and classification; its explanations; and an assessment of the consequences of counterterrorism policies.

Five studies demonstrated that people selectively use general moral principles to rationalize preferred moral conclusions.In Studies 1a and 1b, college students and community respondents were presented with variations on a traditional moral scenario that asked whether it was permissible to sacrifice one innocent man in order to save a greater number of people.Political liberals, but not relatively more conservative participants, were more likely to endorse consequentialism when the victim had a stereotypically White American name than when the victim had a stereotypically Black American name.Study 2 found evidence suggesting participants believe that the moral principles they are endorsing are general in nature: when presented sequentially with both versions of the scenario, liberals again showed a bias in their judgments to the initial scenario, but demonstrated consistency thereafter.Study 3 found conservatives were more likely to endorse the unintended killing of innocent civilians when Iraqis civilians were killed than when Americans civilians were killed, while liberals showed no significant effect.In Study 4, participants primed with patriotism were more likely to endorse consequentialism when Iraqi civilians were killed by American forces than were participants primed with multiculturalism.However, this was not the case when American civilians were killed by Iraqi forces.Implications for the role of reason in moral judgment are discussed.

Five studies demonstrated that people selectively use general moral principles to rationalize preferred moral conclusions. In Studies 1a and 1b, college students and community respondents were presented with variations on a traditional moral scenario that asked whether it was permissible to sacrifice one innocent man in order to save a greater number of people. Political liberals, but not relatively more conservative participants, were more likely to endorse consequentialism when the victim had a stereotypically White American name than when the victim had a stereotypically Black American name. Study 2 found evidence suggesting participants believe that the moral principles they are endorsing are general in nature: when presented sequentially with both versions of the scenario, liberals again showed a bias in their judgments to the initial scenario, but demonstrated consistency thereafter. Study 3 found conservatives were more likely to endorse the unintended killing of innocent civilians when Iraqis civilians were killed than when Americans civilians were killed, while liberals showed no significant effect. In Study 4, participants primed with patriotism were more likely to endorse consequentialism when Iraqi civilians were killed by American forces than were participants primed with multiculturalism. However, this was not the case when American civilians were killed by Iraqi forces. Implications for the role of reason in moral judgment are discussed.

Cyborg Agency and Individual Trauma: What Ender's Game Teaches Us about Killing in the Age of Drone Warfare

This paper examines two newspapers, The New York Times and The Times of London, to test the similarities and differences in the collection of events interaction data over a three‐year time interval (from 1969–71). Two divergent approaches are taken—one involving gross aggregation over the “ who did what to whom about what” format and the other investigating specific studies of conflicts. The conflict studies included in the paper are those of India‐Pakistan, Jordan‐Palestinian guerillas and the general Middle East and Vietnam arenas. It was found that both sources have different reporting styles during non‐conflict periods. However, the central and most important point in this study is that events data are of a consistent and comparable nature over different sources when they are of a conflict orientation. Thus, the events data gathered from The New York Times and The Times of London are essentially conflict indicator data which represent similar patterns of of interactions.

This thesis aims to discover how liberal and conservative US newspapers report on video game during times of school shootings from partisan viewpoints in newspapers, specifically the liberal New York Times, Washington Post, and the conservative Chicago Tribune and New York Post, along with the Wall Street Journal to add a neutral viewpoint to offer balance. Understanding how newspapers report on video games through different moral weightings is essential for further understanding the place video games inhabit in both the media and society at large. It needs to be understand whether or not video games were reasons for school shootings and how this discourse has changed from the Columbine Shooting in 1999, to the Sandy Hook shooting in late 2012. Video games are no longer a fringe culture, they are mainstream and further research needs to be conducted to understand how the media disseminates their views on video games to readers who base their perception of video games on frames produced with partisan influence. Through the theoretical framework of Blame Theory's Path Model to Blame, a qualitative content analysis was performed to analyse newspaper articles through thematic coding using template analysis. This thesis contributes to existing literature because this field has not been researched thoroughly and there is a lack of consensus on how the media report on video games in current literature, particularly from a qualitative point of view.

T & T Clark Companion to the Dead Sea Scrolls

Fellow at the Council on Foreign Relations, the Internet is among the few things humans have built that they do not truly understand.The Internet is a network of networks, a huge and decentralized web of computer systems designed to transmit information using specific standard protocols.Nations and individuals rely on the Internet on a daily basis to conduct business, connect with friends, and even find love.To state the Internet is an integral part of our way of life is not an overstatement.The Internet allows for friendships, alliances and enmities between states to be extended into the virtual world, adding a new and intriguing dimension to traditional statecraft.As the Chairman of the Joint Chiefs of Staff Army General Martin E. Dempsey stated, "the spread of digital technology has not been without consequence.It has also introduced new dangers to our security and our safety." 1 Three books will be reviewed here which highlight the addition of the Internet to an already complex international system in which combat takes place not only in the physical domain but also now in the cyber domain.The Department of Defense designated cyberspace a new domain of warfare in 2011.This elevation in strategic importance makes cyberspace comparable to land, sea, air, or outer space as a new battle frontier.The US Government and its Armed Forces recognize the importance of cyberspace as a potential future battleground.Former Defense Secretary Leon Panetta stated "cyberspace is the new frontier, full of possibilities to advance security and prosperity in the 21st century.And yet, with these possibilities, also come new perils and new dangers." 2 The Chairman of the Joint Chiefs of Staff, General Dempsey, stated "the Department of Defense is adding a new mission: defending the nation, when asked, from attacks of significant consequence-those that threaten life, limb, and the country's core critical infrastructure." 3For international jihadists the Internet has become the most cost-effective means of delivering its messages worldwide, and coordinating attacks.The Internet allows jihadist organizations to recruit without leaving the confines of their safe havens.Jihadist groups and terrorist organizations are using the Internet as a tool to carry-out their "cyberplanning" without fear of retaliation and in secret.Lieutenant

Some international crises – such as the Cuban Missile Crisis – receive widespread media coverage, while others are barely reported at all. Does this matter for the behavior of the dispute participants? Can widespread media coverage change the course of history? The authors’ goal is to assess how varying levels of coverage in elite news sources – The New York Times and The Times of London – influence the outcomes of international crises. Their analysis of over 300 dispute dyads indicates that, even after controlling for potential endogeneity and standard explanations of dispute outcomes, higher levels of media exposure make it more likely that targets of threats will escalate crises.

Drawing on the Greek concept of mētis provides a way of highlighting the unique spatial epistemology of the video game and establishing connections between game theorists and scholars working on issues of space/place in other fields. Addressing ‘the antagonist[ic] relationship’ between the humanities and the social sciences with regard to video game studies (Wolf and Perron 2009: 14; citing a personal e-mail from critic Jesper Juul), this article emphasizes the priority of a mobile knowledge of space as enacted in video gameplay, and subsequently establishes important connections with key ideas on knowledge and space from Lefebvrian philosophy and from the interdisciplinary field of spatial theory.