Abstract
Following an aesthetic turn, it has become increasingly permissible to utilise artefacts of popular culture in the study of political phenomena. This practice has been of an increased relevance in the period following the trauma of the September 11th terrorist attacks and the subsequent War on Terror, during which popular culture has played an important role in the provision and reproduction of accessible narratives of warfare and counterterrorism. This article argues that this is evident within military-themed video games, offering a mimetic analysis of the themes of violence, identity and space in Splinter Cell: Blacklist.
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