Call of Duty

This paper explores the relationship between video games and neocolonialism narratives, focusing on Call of Duty 4: Modern Warfare (2007) as a case study. The Iraq War, initiated by the 2003 U.S.-led invasion, serves as a backdrop for examining how media, particularly video games, contribute to the legitimization of neocolonial interventions in the Middle East. While traditional media often rationalizes such interventions, we argue that video games like Call of Duty 4: Modern Warfare play a significant role in perpetuating militarism and violence, framing the U.S. as a global peacekeeper while depicting the Middle East as chaotic and threatening. Using Oliver Perez Latorre's (2015) methodology based on rhetorical analysis of game, we analyze the ludic design of character/player, game world, and game play activities, tracing how these elements construct the "other" in Middle Eastern factions and reinforce the binary of "us" versus "them." The game's depiction of Western protagonists as heroic defenders of global stability reinforces colonial ideologies and justifies military interventions. The game's narrative simplifies complex geopolitical conflicts into a clear dichotomy, positioning the West as morally superior and justified in its interventions. This paper argues that video games, while providing immersive and engaging game play experiences, also can serve as vehicles for reproducing colonial power dynamics and contributing to the ongoing legitimization of military interventionism in neocolonial contexts. By analyzing these representations, we demonstrate the significant role that video games play in shaping contemporary geopolitical ideologies and how they continue to reflect and perpetuate colonial ideologies.

Este trabalho tem como objetivo principal analisar a influência dos jogos eletrônicos
na consciência histórica dos indivíduos, na ótica da Didática da História a partir da
análise da sub-franquia Call Of Duty: Modern Warfare® a partir da aplicação de um
questionário para estudantes do terceiro semestre do curso de Licenciatura em
História da Universidade Federal de Pelotas. Para tanto, utilizou-se a base teórica de
Rüsen (2016) e Freitas (2016), através da defesa do jogo eletrônico como fonte
histórica através da análise Ingame. Para tal, realizou-se a abordagem do jogo
eletrônico e suas características, verificação do panorama recente das produções
historiográficas sobre os jogos eletrônicos além da discussão sobre definições em
trabalhos como os de Arruda (2009) e a apresentação do conceito de artefatos
culturais proposto por Freitas (2016). Através da análise da sub-franquia Call of
Duty: Modern Warfare®, via análise Ingame, foi possível verificar as suas relações
com as dimensões da cultura histórica. Feito isto, defende-se a importância da
necessidade do prosseguimento de pesquisas sobre jogos eletrônicos, visto sua
influência na cultura histórica, uma vez que o jogo é um caminho que viabiliza
respostas para as carências de orientação dos indivíduos no tempo, o que o coloca
em um local de destaque para o entendimento de como as mídias influenciam os
sujeitos em diferentes âmbitos da sociedade.

Since 2008, an average of twenty million people per year have been displaced by weather events. Climate migration creates a special setting for a duty to rescue. A duty to rescue is a moral rather than legal duty and imposes on a bystander to take an active role in preventing serious harm to someone else. This paper analyzes the idea of expanding a duty to rescue to climate migration. We address who should have the duty and to whom the duty should extend. The paper discusses ways to define and apply the duty to rescue as well as its limitations, arguing that it may take the form of an ethical duty to prepare.

Information and communication technologies are playing an increasing role in our current social and cultural practices in a way that digital media are spread in all spheres and institutions of our society and it seems almost impossible to think and act in a world without media. Newly and emerging patterns, in the most diverse areas, are arisen as a result of these mediatisation processes that are reshaping the current communicational environment. The way we communicate and make meaning in a mediatised world demands a bundle of literacies, often referred to as media literacy, information literacy, visual literacy, multimodal literacy, computer literacy/ICT literacy, media and information literacy Due to this increasingly complex digital media environment, the promotion of media literacy is of growing importance, endowing our children and youth of tools and expertise that will enable them to consciously interact in an ever more mediatised society. The present paper reflects on media and information literacy and the potential of digital games as reflexive tools for education, more particularly, media education. This paper introduces a research project based on the value of game based learning, more particularly, for learning and promoting media literacy skills. The study is mainly focused on a literature and methodological review of recent empirical publications (2010-2016) in the area of digital games, learning and gamification, using content analysis to assess a sample of 60 papers. Peer-reviewed papers were analysed and coded for the use of theories and theoretical frameworks, main authors related key concepts, main methods used, common hypothesis and problems addressed, method strategies, data collection techniques, instruments, game models and design qualities. This study examines the state of the current research on the topics mentioned above and points out gaps in the existing literature, as well as the common ground ideas and concepts' definitions, providing an overview of the work done in this emerging field. Main results indicate the most referred theories and frameworks, as well as its definitions and the most common research questions and problems. Findings from this study provide an insight for future studies as well as for the best practices in designing meaningful learning experiences.

Este trabalho objetiva o estudo do jogo eletrônico histórico de Grande Estratégia Europa Universalis IV, a fim de entender os mecanismos através dos quais reproduz, adapta, abstrai, virtualiza, simplifica e distorce historicidades em busca do equilíbrio entre a representação fiel da era colonial e a necessidade do entretenimento lúdico. O jogo será contextualizado não apenas como obra digital de entretenimento, mas também como produto artístico e cultural de uma indústria majoritariamente europeia e anglo-saxônica, com persistentes inclinações teóricas eurocêntricas e coloniais.


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This work aims to study the historical Grand Strategy videogame Europa Universalis IV, in order to understand the mechanisms through which it reproduces, adapts, abstracts, virtualizes, simplifies and distorts history in search of a balance between the faithful representation of the colonial age and the need for recreational entertainment. The game will be contextualized not only as a digital work of entertainment, but also as an artistic and cultural product of a mostly European and Anglo-Saxon industry, with persistent Eurocentric and colonial theoretical inclinations.

This article argues that unplayability must be a considered component of game analysis and further discussed in new media studies. The concept that games cannot be or should not be played does not limit game analysis. On the contrary, the "unplayable aspect" of a particular game or genre of games is what must be investigated. This essay hopes to expand upon why new media such as video games are becoming inaccessible by using Nicholas Baer et al.'s Unwatchable to discuss a range of unplayable games for common reasons such as: (1) excessive violence, (2) sexual violence, and (3) preservation issues.

Educational simulations represent a substantial innovation in the formal learning process, mainly due to their dynamic structure, interactivity, and complexity. Nevertheless, these features could arguably simultaneously problematise the adaption of digital simulations to "traditional" forms of teaching. Educational simulations not only provide a concrete methodical approach but also create new educational environments ("problem spaces"), generating additional sets of goals in other areas of learning (for example, in personal and social education), thus moving beyond the limits of classical history teaching. In a case study of the Czechoslovakia 38-89 educational simulation, we demonstrate how an educational simulation can extend educational goals from the reproduction of facts towards a deeper understanding of the multifaceted historical context. Stemming from a field survey that took place at 38 schools with more than 3500 students, this paper analyses the benefits and challenges related to the use of the above-mentioned digital simulation in the Czech formal schooling system and the acceptance of the simulation by Czech teachers and students. The study also describes how an educational simulation benefits students in terms of reflecting on witness accounts, illustrates the benefits of using constructed memory for education, and reflects the problem of the authenticity of witness accounts in historical education.

This study was supported by the grant project DF11P01OVV030 "Příběhy z dějin československého státu: výzkum a experimentální vývoj softwarových simulací pro výuku historie českých zemí ve 20. století" financed by the Czech Ministry of Culture in 2011-2014.

This article explores authenticity, immersion, and heritage in two historical video games, Svoboda 1945: Liberation and Train to Sachsenhausen. The two games use different strategies when inviting understanding, emotional attachment, and immersive experiences of past events. We draw upon a critical, self-reflective analysis of the design process and a comparison of both games. Our aim is to expand further the toolset for historical game analysis and critique by developing the terms inter-medial authenticity and procedural heritage to enable investigations of games as both representations and simulations of historical events. We show that both these aspects can contribute to the roles games can play as conveyors of historical memory and heritage.

My recent text on maintenance of democracy vs idiocracy in Lierposten. It is in Norwegian and about the importance of political participation in society as a civil right and duty.
The film Idiocracy (2006), a black comedy, shows the world in 500 years which has evolved into a dystopia where anti-intellectualism is ruling, and dysgenic pressures have led to a homogenous low-intelligence human society where people do not need to use reason and be in good physical shape to survive. Although we may not want this to happen to us, but it is likely given the hectic pace of daily life, superficial interests and prevailing indifference around us. This can be avoided in various ways, and one of them is to get involved in political events through participation in elections as committed citizens, to exercise our rights and duties in a democratic country.
Some individuals come from war-torn, unstable or totalitarian countries, where democratic participation was not a common practice or possible exercise. It is a privilege that countries like Norway offer, along with security. Regardless of background, whether we are citizen, refugee or immigrant, we have chosen to live in this country, and here we have the right and duty to influence the political arena and thus the advantages and disadvantages that come with it.
Inclusive communication and constructive feedback are necessary when it comes to social change. Both citizens and politicians have a responsibility in this process. This is the essence of democracy, and disappointments are an inevitable part of the process. Yet we cannot give up as change is a continuous and ongoing process that cannot be ignored or abandoned as the consequences will eventually affect us in one way or another. Awareness of political discourse is equally important, and society's values must be maintained, otherwise we risk losing them, and "Idiocracy" may become a reality sooner than we think.
In elections, it is important to think about who will come to power and how it will affect our lives and the society around us. We must also reflect on what we have done to steer this process, and how the consequences of our response affect the opportunities that lie ahead of us in the future. The answers to these questions give us an opportunity to assess our own connection to the place where we live and how we see ourselves as individuals in society.

In comic poetics the concept of duty operates as a measure of the central character’s laughable failure: the protagonist does not succeed in performing the task assigned to him, his efforts lead to ridiculous or catastrophic results, and thus the sense of the comic is generated. This model predominates in the early phases of ancient comedy, e.g. in the mythological farces by Epicharmus (Odysseus the Deserter) and Cratinus (Dionysalexander). Aristophanes, on the other hand, endows most of his heroes with a forceful sense of moral duty towards the community, probably in his endeavour to afford greater spiritual and ideological seriousness to his own genre of comic drama. The Aristophanic protagonist is inspired by his sense of duty and strives to save society from evil by imposing his grand fantastic vision on an adverse reality. In Aristophanes’ earlier creations a rather pessimistic perspective prevails, as the fulfilment of duty is not completed or does not bring the desired salvation. Dicaeopolis does not manage to persuade his fellow-citizens into following his peaceful project, and must restrict himself to a private treaty. The Knights succeed in overturning the corrupt Paphlagon, but at the price of replacing him with an even more vulgar leader. The enlightened Bdelycleon cures his father (the incarnation of the undisciplined Athenian people) from his obsession with public trials; but the old man’s inveterate passion is then channeled towards irrepressible carousing. A transient phase of optimism is traced in the Peace: the altruist Trygaeus saves the Greek world from the danger of war — reflecting the short-lived enthusiasm that accompanied the Peace of Nicias. In Aristophanes’ later plays the optimistic perspective is transferred to an entirely utopian sphere. Lysistrata, Praxagora and Chremylus put an end, respectively, to war, political malpractice and financial misery. However, their comic programme is fulfilled in a world of fantasy, without an effective base in the audience’s reality.

The purpose of this study is to review the relevance of the Wage Keramat to Emile Durkheim's theory of community unity and Totemism. This specific research is important to do, because there are many different types of earth alms rituals in Indonesia with their respective characteristics. Therefore, the act of generalizing the whole tradition with Totemism theory is not appropriate. This research used qualitative methods and literature studies. Observations were made right at the celebration of the Wage Keramat in Sugihwaras Village, Ngancar District in order to obtain accurate data related to the description of the Wage Keramat. The literature study is sought in order to explore the theoretical framework used. The results of this study explain that, technically, the Wage Keramat is almost the same implementation as Earth Alms in general. The difference lies in the purpose of the Wage Keramat, which is as a communal anticipatory measure for the realization of a bad oath from the legendary figure of the local community. But it cannot be denied, a form of gratitude for all of the sustenance that the earth has provided is also a destination. The conclusion is Emile Durkheim's Sociology theory indeed found many matches in the phenomenon of the Wage Keramat, both in the sacred and profane categories, totemism, and taboo.

En este trabajo hemos realizado un análisis sobre el uso de la historia en el videojuego Call of Duty: Modern Warfare (2019) en base a la polémica que provocó por recrear y alterar el contexto del suceso conocido como “La carretera de la Muerte” en su historia principal. En base a esto, se ha realizado un capítulo dedicado al análisis de la guerra del Golfo para dar contexto al hecho real. Otro capítulo centrado en explicar que es un videojuego, como funcionan y se estructuran sus narrativas, y como se ha hecho uso de la historia en este tipo de obras. El capítulo final se centra en el uso de la historia en la saga Call of Duty, comenzando desde sus orígenes inspirados por obras cinematográficas como Saving private Ryan. En este capítulo nos centramos en la visión de la Segunda Guerra Mundial ofrecida en la saga con su primer título y con Call of Duty WWII, y en su representación de los conflictos modernos más reciente y la obra que dio lugar a esta investigación; Call of Duty: Modern Warfare (2019). Todo esto nos llevará a ver cómo la saga ha heredado la estructura propagandística del cine estadounidense, y cómo tras casi 20 años sigue perpetuando los mismos estereotipos

In this work we have made an analysis of the use of history in the video game Call of Duty: Modern Warfare (2019) based on the controversy it caused by recreating and altering the context of the event known as "The Highway of Death" in its main story. Based on this, a chapter dedicated to the analysis of the Gulf War has been made to give context to the real fact. The next chapter focuses on explaining what a video game is, how its narratives work and are structured, and how history has been used in this type of work. The last chapter focuses on the use of history in the Call of Duty saga, starting from its origins inspired by cinematic works such as Saving private Ryan. In this chapter we focus on the vision of the Second World War offered in the saga with its first title and with Call of Duty WWII, and on its representation of the most recent modern conflicts and the work that gave rise to this investigation; Call of Duty: Modern Warfare (2019). All this will lead us to see how the saga has inherited the propaganda structure of American cinema, and how after almost 20 years it continues to perpetuate the same stereotypes.

What follows is an ethnographic study of Canada's first varsity esports program. Esports -formalized competitive videogaming -is a cultural and industrial phenomenon taking root in North America. This research yields rich qualitative data, collected through participant observation and interviews with esports student-athletes, providing insider perspectives on the institutionalization of the organizational field. My interdisciplinary approach offers insight on institutional pressures and their relationship to stakeholders, player agency, and institutional work -broadly speaking the creation, maintenance, and disruption of organizational social institutions. In 2011, institutionalists Lawrence, Suddaby and Leca called for the refocused exploration of the relationship between individuals, their agency, and institutions. Additionally, they emphasized the importance of bridging the gap between critical and institutional views of organizational behaviour. Critical scholars, such as T.L. Taylor, declared the importance of researching esports, for its consequences on our understanding of socio-technical systems and evolving traditional institutions . This thesis' discussion of Foucauldian power dynamics, in relation to its findings, rears significant questions pertaining to the perpetuation of biased institutions via normative isomorphic pressures, as well as meaning making and identity work. Thus, bridging critical and institutional views to explore the trends of progressing professionalization and gamer-identity in the field. v DEDICATION To the memory of my Godfather, Tim Chevalier Your unceasing hard work, strength, and dedication to God and family will forever be an inspiration to me. I love and miss you. Ganzin. I've relied on each of you for your specialized knowledge and couldn't have pulled this off without your guidance. Your expertise and assistance made this process incredibly structured and enriching, I can't thank you enough. Lastly, I'd like to thank Drs. Asquith and Brown for inspiring me to pursue a minor in communication, media and film and master's in communications and social justice, respectively. Your dedication to lectures and enthusiasm for this discipline encouraged me to be here and I'll be forever thankful for that. Let's hope the following makes you all proud! vii TABLE OF CONTENTS DECLARATION OF ORIGINALITY .

The present article brings game studies into dialogue with cultural memory studies and argues for the significance of computer games for historical discourse and memory politics. Drawing upon the works of Robert Rosenstone and Astrid Erll, we develop concepts and theories from film studies and adapt them to respond to the media specificity of computer games. Through a critical reading of the first chapter of the history-based first-person shooter Call of Duty: Black Ops, the article demonstrates how the game’s formal properties frame in-game experiences and performances, and this way predisposes the emergence of certain memory-making potentials in and through constrained practices of play. Subsequently, an analysis of the serious game Czechoslovakia 38-89: Assassination shows the potentials of game design to facilitate meta-historical reflections and critical inquiries.

E-sports (electronic sports) refers to organized video gaming events or tournaments that culminate in championships at either the regional or international level. The e-sports market is experiencing rapid growth. By 2020, the market is expected to generate over US$1.48 billion in revenue. The number of viewers who regularly follow the industry and tune in to watch international competitions is projected to reach 589 million by 2020. There are many reasons why esports events are attractive and remarkable experiences: fans get the chance to (a) watch the best players in the world compete; (b) meet their favorite players; and (c) share their passion with hundreds of like-minded fans. This hip version of event tourism, e-sports tourism, has been flying under the radar for a long time but has finally, in recent years, entered the mainstream. This study discussed the relationship between e-sports and tourism by examining esports events within the tourism paradigm. Consequently, e-sports events, as a growing market, constitute an important attraction for the tourism sector.

Teoremas secretos do Super Bomberman Super Bomberman's secret theorems Resumo Não é raro que jogos digitais possuam finais secretos, passagens secretas, personagens secretos… mas quem poderia imaginar que também houvessem teoremas secretos? Reconhecendo a importância de se desenvolver nos cidadãos uma apreciação da Matemática tanto por seus aspectos estéticos como recreativos, identificamos propriedades do jogo digital Super Bomberman que podem ser definidas como teoremas Matemáticos e demonstradas analiticamente. Dessa forma, apresentamos 5 teoremas referentes ao jogo com suas respectivas demonstrações. Esperamos assim contribuir com uma estratégia para produção de materiais replicáveis a diversos jogos digitais, que permitam trazer aos jogadores, acostumados com os ambientes descontraído de um jogo digital recreativo, a mesma Matemática tida como séria e formal dentro da academia. Palavras-chave: Teoremas. Demonstrações. Jogo Digital.

The present article develops the concept of selective realism to understand how design features and narrative frames of first-and third-person shooters (F/TPS) exclude attention to salient, yet unpleasant, features of warfare such as problematic forms of violence, long-term psychological impacts, or socio-political blowbacks. Identifying four specific filters that frame player experiences, I argue that the resulting selectivity is significant because it is characteristic of the F/TPS genre as a whole that, through its wide dissemination, impacts upon the cultural framing of actual warfare. The article illustrates features of selective realism, before it conducts in-depth analysis of the titles Spec Ops: The Line and The Last of Us to show how critical game design can invite a conscious unraveling of the generic frames and the ideological positions these invite. The article concludes with a reassessment of arguments regarding alleged socio-political impacts of war-and violence-themed computer games.

No ano de 2007, período em que os jogos eletrônicos já se mostravam como uma indústria consolidada, com um mercado multimilionário, que já abarcava todos os gêneros e faixas etárias, a desenvolvedora Infinity Ward lançou um jogo que prometia inovar todo seu segmento. Call of Duty 4: Modern Warfare, além dos gráficos de qualidade e das novas mecânicas de jogo, possuía, em sua narrativa, algo que a diferenciava das suas principais concorrentes. O jogo em questão não se baseava na Segunda Guerra Mundial ou na Guerra do Vietnã, conflitos esses já muito explorados por outras franquias de jogos do gênero. A tal guerra moderna, narrada no jogo, se consistia em um conflito que uniu britânicos e estadunidenses, esses sendo os personagens que serão controlados pelo jogador, em uma cruzada contra uma aliança formada por russos e árabes, rivais históricos dos Estados Unidos, que agora eram reunidos em um mesmo contexto, como símbolo de uma ameaça à paz e a ordem no mundo. Tendo em vista essas questões supracitadas, o objetivo da pesquisa é, além de historicizar brevemente a indústria dos games, também analisar de que forma os russos e os árabes foram representados no competitivo que nos serve de fonte, bem como quais foram os fatores que levaram a tal tipo de representação, traçando um paralelo com eventos contemporâneos a criação do jogo, que possam ter servido de inspiração aos criadores. Para isso nos ampararemos em estudos que discutem identidades nacionais na contemporaneidade, relações internacionais e globalização, além de utilizarmos também de teóricos que se dedicam às áreas da Narratologia e da Ludologia.

A proposta deste trabalho é apresentar algumas questões levantadas em pesquisa que desenvolvi no mestrado em História do PPGH-UFF. Esta analisa a maneira como a Segunda Guerra Mundial é representada nos videogames da franquia Call of Duty; o presente texto se concentra no primeiro título da franquia, lançado pela Infinity Ward em 2003. Meus interesses centrais são: identificar referenciais de outras mídias usados pelos desenvolvedores dos jogos; compreender como o imaginário estadunidense acerca da guerra e seu papel na sociedade surgem neles; e considerar que permanências e mudanças podem ser identificadas, ao compará-los com outras obras sobre o tema. Busco uma análise que leve em consideração as características específicas do videogame, sem reduzi-la a metodologias criadas para o trabalho com outras mídias, mas sim trazendo referenciais dos game studies.
No relativo ao primeiro Call of Duty, busquei, neste texto, apontar a relevância de visões da participação dos EUA na Segunda Guerra construídas principalmente ao longo da década de 1990 pelo que Gary Gerstle chamou de "liberais nacionalistas". Nomes como Steven Spielberg e Stephen Ambrose, segundo o autor, trazem uma interpretação da guerra e do nacionalismo que tenta possibilitar aos liberais uma reaproximação com tais elementos, centrada nos horrores da guerra, nos ideais nobres que a redimem e no papel dos soldados cidadãos. Entendo que essa visão se torna referência importante para Call of Duty através de obras como O Resgate do Soldado Ryan e Band of Brothers, inclusive expandindo-se, no game, para além da participação dos EUA no conflito; no entanto, por razões de mercado e opções de design, algumas de suas características mais importantes -- principalmente aquelas ligadas ao lado negativo da guerra -- terminam sendo apagadas.

I conducted a textual analysis of romantically-themed fan fiction stories (i.e., original stories based on a commercial media product) inspired by the Call of Duty video games. My analysis of popular, romantic fanfiction based on the Call of Duty: Modern Warfare games demonstrates how some fans, particularly women, disrupt dominate meanings of hyper-masculinity by writing depictions of male characters in the games as emotional and loving - portrayals not found in the original source material. This analysis suggests that scholars may look to fan communities for player-contested meanings of gender in video games.

Az egyre gyorsuló ütemben fejlődő szórakoztatóipari tendenciák kihatnak az élet minden területére. Legfőképpen az oktatásra, hiszen ezen piaci produktumok fogyasztói legnagyobb részben a középiskolai-egyetemi korosztály. A sorozatok, filmek, könyvek, képregények és talán legnagyobb szeletben a videójátékok azok, ahonnan a diákok a legtöbbet tanulhatnak nem csak idegen nyelveket, de akár történelmet is. Persze, a videójátékok esetében érdemes erősen kritikai megvilágítás alá helyezni mind a felhasznált történelem hitelességét, mind pedig azt, hogy ezeket az alkotásokat mennyi és milyen szintig lehet forrásként tekinteni. Ezekkel az elméleti kérdésekkel már megannyi szakirodalom foglalkozik külföldön, amelyeknek széles tárházából próbálok szemezgetni egy keveset, átvenni a legfontosabb neveket és tanulmányokat, hogy alapvetően miként vélekedtek a témáról és hogyan gondolkodtak ők. Az elméleti kérdések mellett sikerül gyakorlati-kritikai megvilágításba is helyezni az olvasottakat, hiszen az Akron Egyetem egyik professzora, A. Martin Wainwright csaknem 30 oldalas tanulmányban számolt be szemináriumi tapasztalatairól, amelyet videójátékok egyetemi felhasználása során szerzett. A kritikai vizsgálatot erősítendő, Wainwright a tanulmány végén csatolja a szillabuszokat, amelyekkel további segítségeket ad ahhoz, hogy más tanárokat is segítsen a téma hasonló felhasználásában. A kritikai vizsgálatomban megpróbálom kivesézni és rendszerezni ezeket a pontokat, megpróbálni esetleges válaszokat keresni arra, hogy Magyarországon hogyan lehetne integrálni hasonló szemináriumot, valamint a tanulmány legfontosabb aspektusait is megvizsgálom.

The electronic sports, or eSports, industry has grown into a multi-million dollar industry. The significant growth of eSports can be seen far beyond the participation numbers and spans from eSports' events being hosted in major arenas and televised on ESPN. Most recently eSports were added to intercollegiate athletic departments. Though eSports has gained a lot of momentum economically and in popularity, academic research and study in the area of eSports is still in its infancy. This paper presents: (1) a brief history of eSports, (2) a further developed definition of eSports, (3) eSports size and market scope, (4) and provides an overview of eSports in intercollegiate athletics to date. The main goals of this paper are to create awareness around the economic growth of eSports and shed light on the potential positive implications of adding eSports to intercollegiate athletic departments. Boosting participation numbers, revenue generation, and creating diversity within an athletic department are all considered in this paper.

PT-BR:
Esta dissertação tem por objetivo analisar as representações da Segunda Guerra Mundial construídas por videogames da franquia Call of Duty, publicada pela editora Activision, com foco especial sobre os títulos Call of Duty (Infinity Ward, 2003) e Call of Duty: World at War (Treyarch, 2008). Adota uma perspectiva interdisciplinar, que faz uso tanto de referências do campo dos game studies quanto de propostas metodológicas utilizadas na análise histórica de outras mídias, como o cinema, mas úteis também para a análise dos games. Com isso, procura compreender que Segunda Guerra Mundial esses jogos apresentam aos jogadores e jogadoras, concentrando-se em elementos como os papéis de soldados de diversas nacionalidades no conflito, a maneira como o combate é representado, quais os principais referenciais utilizados pelos games e o que estes destacam ou omitem. Propõe explicações que tentam esclarecer as decisões tomadas pelas equipes de desenvolvimento de cada jogo, levando em conta os contextos históricos em que são produzidos, mas também as tradições do meio dos videogames com as quais interagem.
Considerando que a franquia é produzida por estúdios de desenvolvimento estadunidenses, entende-se que sua análise contribui principalmente para compreender interpretações correntes nos EUA sobre a guerra, na medida em que os jogos não só se tornam artefatos culturais que têm um impacto sobre tais interpretações, mas também são informados por elas. Dessa maneira, analisa a importância da obra de liberais nacionalistas como Steven Spielberg para a franquia, bem como a relevância das “guerras culturais” que surgem a partir da década de 1990. Por fim, uma preocupação central é apresentar o videogame como objeto de estudo viável e rico para o historiador, sem descuidar das especificidades deste enquanto mídia e buscando construir propostas metodológicas que deem conta destas.

ENG:
This dissertation analyzes the representations of World War II present in videogames of the Call of Duty franchise, published by Activision, with a special focus on Call of Duty (Infinity Ward, 2003) and Call of Duty: World at War (Treyarch, 2008). It adopts a interdisciplinary perspective that makes use of both references from the game studies field and methodological approaches used in the historical analysis of other media, like cinema, but that are also useful for the analysis of games. That way, it tries to comprehend what World War II these games present to players, focusing on elements such as the roles of soldiers from various nations in the conflict, how combat is represented, what are the main references used by the games and what they emphasize or omit. It proposes explanations that try to shed light on the decisions made by each game’s development team, considering the historical contexts in which they were created, but also the traditions from the videogame medium with which they interact.
Considering the franchise is made by development studios in the United States, its analysis mainly contributes to a understanding of U.S. American interpretations about the war, since the games not only become cultural artifacts that have an impact on those interpretations, but are also informed by them. As such, it analyzes the importance of the work of nationalist liberals like Steven Spielberg for the franchise, as well as the relevance of the “cultural wars” that emerge in the 1990s. Finally, a central concern is presenting the videogame as a viable and rich object of study for the historian, without forgetting its specific characteristics as a medium and seeking to build methodological approaches that can deal with them.

GOBIRA, Pablo.; CARRIERI, Alexandre de Pádua . O chamado do dever: considerações sobre o amadurecimento da indústria dos games. In: CARRIERI, Alexandre de Pádua; GOBIRA, Pablo.. (Org.). Jogos e Sociedade: explorando as relações entre vida e jogo. 1ed.Belo Horizonte: Crisálida, 2012, v. 1, p. 43-69.

Almost sixty years ago Philippa Foot published an article that began: To many people it seems that the most notable advance in moral philosophy during the past fifty years or so has been the refutation of naturalism; and they are a little shocked that at this late date such an issue should be reopened. It is easy to understand their attitude: given certain apparently unquestionable assumptions, it would be about as sensible to try to reintroduce naturalism as to try to square the circle. Those who see it like this have satisfied themselves that they know in advance that any naturalistic theory must have a catch in it somewhere, and are put out at having to waste more time exposing an old fallacy. This paper is an attempt to persuade them to look critically at the premises on which their arguments are based. 1 The paper in question was one of a number written by Foot around the time that were highly successful in reopening the issue of naturalism in ethics. Nowadays no one can just take it for granted that naturalism has been refuted, that there is a sharp distinction (or indeed any clear distinction) between fact and value or that it is impossible to derive an 'ought' from an 'is'. This is not to say that the naturalists have been completely victorious, of course; only that naturalism is today a live option. I shall argue that Foot's paper contains an important insight and an equally important mistake; and that the insight and the mistake are linked. I believe that the thinking behind it has influenced the subsequent course of moral philosophy to a quite remarkable extent and that this has been in some ways beneficial and in some ways harmful – not surprisingly, if I am right in seeing it as containing both truth and error. I do not want to exaggerate the influence of this one paper 2 but I do not know of any other that so neatly encapsulates the coupled insight and mistake. The anti-naturalism that Foot is attacking she characterises as follows: It would not be an exaggeration to say that the whole of moral philosophy, as it is now widely taught, rests on a contrast between statements of fact and evaluations, which runs something like this: The truth or falsity of statements of fact is shewn by means of evidence; and what counts as evidence is laid down in the meaning of the expressions occurring in the statement of fact … It follows that no two people can make the same statement and count completely different things as evidence; in the end one at least of them could be convicted of linguistic ignorance. It also follows that if a man is given good evidence for a factual conclusion he cannot just refuse to accept the conclusion on the ground that in his scheme of things this evidence is not evidence at all. 3 But, on the view she is criticising, [w]ith evaluations, however, it is different. An evaluation is not connected logically with the factual statements on which it is based. One man may say that a thing is good because of some fact about it, and another may refuse to take that fact as any evidence, for nothing is laid down in the meaning of 'good' which connects it with one piece of 'evidence' rather than another. It follows that a moral eccentric could argue to moral conclusions from quite idiosyncratic premises; he could say, for instance, that a man was a good man because he clasped and unclasped his hands and never turned NNE after

The present article brings game studies into dialogue with cultural memory studies and argues for the significance of computer games for historical discourse and memory politics. Drawing upon the works of Robert Rosenstone and Astrid Erll, we develop concepts and theories from film studies and adapt them to respond to the media specificity of computer games. Through a critical reading of the first chapter of the history-based first-person shooter Call of Duty: Black Ops, the article demonstrates how the game’s formal properties frame in-game experiences and performances, and this way predispose the emergence of certain memory-making potentials in and through constrained practices of play. Subsequently, an analysis of the serious game Czechoslovakia 38-89: Assassination shows the potentials of game design to facilitate meta-historical reflections and critical inquiries.

Foot argues that there are certain things that all human beings - perhaps all rational agents - need.  This gives a sense in which certain values and disvalues can be called 'objective'.  I suggest that, with certain relatively minor adjustments, her argument can be made cogent but that it cannot be used to show that there are objective answers to questions about what one should do when values conflict.  If Foot's own virtue ethics, utilitarianism, Kantian ethics or any other first-order moral system were to be established as objectively valid, this would require some completely different form of argumentation. 


Almost sixty years ago Philippa Foot published an article that began: To many people it seems that the most notable advance in moral philosophy during the past fifty years or so has been the refutation of naturalism; and they are a little shocked that at this late date such an issue should be reopened. It is easy to understand their attitude: given certain apparently unquestionable assumptions, it would be about as sensible to try to reintroduce naturalism as to try to square the circle. Those who see it like this have satisfied themselves that they know in advance that any naturalistic theory must have a catch in it somewhere, and are put out at having to waste more time exposing an old fallacy. This paper is an attempt to persuade them to look critically at the premises on which their arguments are based. 1 The paper in question was one of a number written by Foot around the time that were highly successful in reopening the issue of naturalism in ethics. Nowadays no one can just take it for granted that naturalism has been refuted, that there is a sharp distinction (or indeed any clear distinction) between fact and value or that it is impossible to derive an 'ought' from an 'is'. This is not to say that the naturalists have been completely victorious, of course; only that naturalism is today a live option. I shall argue that Foot's paper contains an important insight and an equally important mistake; and that the insight and the mistake are linked. I believe that the thinking behind it has influenced the subsequent course of moral philosophy to a quite remarkable extent and that this has been in some ways beneficial and in some ways harmful – not surprisingly, if I am right in seeing it as containing both truth and error. I do not want to exaggerate the influence of this one paper 2 but I do not know of any other that so neatly encapsulates the coupled insight and mistake. The anti-naturalism that Foot is attacking she characterises as follows: It would not be an exaggeration to say that the whole of moral philosophy, as it is now widely taught, rests on a contrast between statements of fact and evaluations, which runs something like this: The truth or falsity of statements of fact is shewn by means of evidence; and what counts as evidence is laid down in the meaning of the expressions occurring in the statement of fact … It follows that no two people can make the same statement and count completely different things as evidence; in the end one at least of them could be convicted of linguistic ignorance. It also follows that if a man is given good evidence for a factual conclusion he cannot just refuse to accept the conclusion on the ground that in his scheme of things this evidence is not evidence at all. 3 But, on the view she is criticising, [w]ith evaluations, however, it is different. An evaluation is not connected logically with the factual statements on which it is based. One man may say that a thing is good because of some fact about it, and another may refuse to take that fact as any evidence, for nothing is laid down in the meaning of 'good' which connects it with one piece of 'evidence' rather than another. It follows that a moral eccentric could argue to moral conclusions from quite idiosyncratic premises; he could say, for instance, that a man was a good man because he clasped and unclasped his hands and never turned NNE after

Call of Duty es una saga de videojuegos que ha impuesto un cierto estándar en la industria con sus narrativas de guerra y de acción hollywoodense -rentable, re-iterable y atractiva-. Por su increíble popularidad y sus características principales, Call of Duty suele ser considerado hoy en día como el referente de videojuego de disparo en primera persona (o FPS por sus siglas en inglés) por excelencia, y en varios casos, el referente del videojuego moderno con sus estereotipos populares de "violencia híper-realista" y supuesta irreflexividad. De los numerosos títulos de esta franquicia que existen actualmente revisaremos el día de hoy la trilogía de Modern Warfare, que logró poner a los videojuegos en el centro de atención de los medios hace un par de años. Esto quizá en buena medida debido al escándalo que generó al presentar una misión en la que el jugador, de encubierto entre terroristas internacionales, es partícipe en la masacre de un aeropuerto. Por supuesto, la osadía de presentar estas escenas ha llevado a críticos como Tom Bissell a interpretarlas como un sinsentido plano de violencia -o, en sus palabras, "una historia pornográfica de guerra entre el bien y el mal" i -, y no son pocos los que sostienen lo corrosivo que resulta para la juventud que entre en contacto con ellas. Nuestra intención no es enfocarnos aquí en la controversia que generan los videojuegos violentos, sino en detenernos en las intenciones