The highest grossing video game franchise of all time will soon launch its latest installment, but we should be paying more attention to a 2012 predecessor.
This emotive and thought-provoking videogame successfully recognises the complexities and significance of lesser-known efforts to resist the Nazi regime within Germany.
Departing from cliché this game takes its subject and audience seriously, delivering an engaging and entertaining story about a key event that has shaped the Middle East.
By putting the civilians’ experience at the forefront, TWoM addresses the side of war that is often overlooked in many forms of popular culture as well as IR discourse.
A player-based approach unveils actual experiences of videogames offering a creative and grounded approach to a fuller understanding of pop culture in world politics.
Methodologically, a constructive encounter with videogames relies on reflection on narrative, visual and aural elements, and gameplay.
Entertainment is not, and should not need to be, education. It is the responsibility of any society to ensure that its members are capable of separating the two.
When considering the depiction of conflict and warfare in videogames, it is important to acknowledge not only what they are depicting but what they are ignoring.
In the third generation of military shooters, IR concerns manifest as future war and the insecurity charted by IR collapses into open confrontation.
The U.S. Army is using virtual violent video games to recruit and train soldiers for real war. This should trouble scholars across disciplines.
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