History of Wargames
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4. Wargaming the Middle East: the Evolution of Simulated Battlefields from Chequerboards to Virtual Worlds and Instrumented Artificial Cities
4. Wargaming the Middle East: The Evolution of Simulated Battlefields from Chequerboards to Virtual Worlds and Instrumented Artificial Cities Janina Schupp Abstract Shortly after the end of a tank combat during the Gulf War, a team of US Army historians, scientists, and engineers flew to Iraq to gather detailed data of the battle. The collected information was used to create an exact virtual simulation of the combat for training. The mapping capability – offered by the resulting simulation game 73 Easting – to visualize the battlefield from any position and point in time revolutionized military exercises. With ongoing conflicts in the Middle East, these digital training cartographies are now linked to real bodies and vehicles through digital and mobile technologies during live training in artificially constructed villages. This chapter analyses this evolution and critically investigates the growing ‘gamification’ ensuing in these representations of Middle Eastern battlefields. Keywords: Wargames, Middle East, interactive battlespace, live simulations In war the experienced soldier reacts in the same way as the human eye does in the dark: the pupil expands to admit what little light there is, discerning objects by degrees, and finally seeing them indistinctly. By contrast, the novice is plunged into the deepest night. […] It is immensely important that no soldier, whatever his rank, should wait for war to expose him to those aspects of active service that amaze and confuse him when he first comes across them. (Clausewitz 1989, p. 122) Strohmaier, A. and A. Krewani (eds.), Media and Mapping Practices in the Middle East and North Africa: Producing Space. Amsterdam: Amsterdam University Press, 2021 doi 10.5117/9789462989092_ch04 96 JANINA SCHUPP The act of playing at war is deeply engrained in human history and has per- sisted to the present day in both professional and hobby culture. -
Downloads of Technical Information
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2018 Nuclear Spaces: Simulations of Nuclear Warfare in Film, by the Numbers, and on the Atomic Battlefield Donald J. Kinney Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES NUCLEAR SPACES: SIMULATIONS OF NUCLEAR WARFARE IN FILM, BY THE NUMBERS, AND ON THE ATOMIC BATTLEFIELD By DONALD J KINNEY A Dissertation submitted to the Department of History in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2018 Donald J. Kinney defended this dissertation on October 15, 2018. The members of the supervisory committee were: Ronald E. Doel Professor Directing Dissertation Joseph R. Hellweg University Representative Jonathan A. Grant Committee Member Kristine C. Harper Committee Member Guenter Kurt Piehler Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii For Morgan, Nala, Sebastian, Eliza, John, James, and Annette, who all took their turns on watch as I worked. iii ACKNOWLEDGMENTS I would like to thank the members of my committee, Kris Harper, Jonathan Grant, Kurt Piehler, and Joseph Hellweg. I would especially like to thank Ron Doel, without whom none of this would have been possible. It has been a very long road since that afternoon in Powell's City of Books, but Ron made certain that I did not despair. Thank you. iv TABLE OF CONTENTS Abstract..............................................................................................................................................................vii 1. -
Paper: Wardialing Brief
Wardialing Brief Kingpin @Stake, Inc. 196 Broadway, Cambridge, MA 02139, USA. http://www.atstake.com E-mail: [email protected] Abstract. Wardialing consists of using a computer to dial a given set of telephone numbers with a modem. Each phone number that answers with modem handshake tones and is successfully connected to is stored in a log. By searching a range of phone numbers for computers, one can find entry points into unprotected systems and backdoors into seemingly secure systems. This brief introduces the wardialing concept, examines concerns with today's network setups, and lists free and commercial software products, whitepapers, news reports, and Internet resources. Keywords: wardialing, telephony, security, modem 1 Introduction to Wardialing Wardialing, or scanning, has been a common activity in the computer underground and computer serucity industry for decades. Hollywood made wardialing popular with the 1983 movie, WarGames, in which a teenager searching for a videogame company ultimately uncovers a government nuclear war warning system [1]. Seventeen years after the mainstream was made aware of wardialing activity, the problem of unprotected dial-up systems still exists in the majority of corporations. The act of wardialing is extremely simple – a host computer dials a given range of telephone numbers using a modem. Every telephone number that answers with a modem and successfully connects to the host is stored in a log. At the conclusion of the scan, the log is reviewed and the phone numbers are individually dialed with a computer. The user then attempts to identify the systems, and, depending on the goals of the wardial, attempts system access. -
Naval Postgraduate School Thesis
NAVAL POSTGRADUATE SCHOOL MONTEREY, CALIFORNIA THESIS INSURGENT UPRISING: AN UNCONVENTIONAL WARFARE WARGAME by Jeremy J. Arias Chad O. Klay December 2017 Thesis Advisor: Robert Burks Second Reader: Jeffrey Appleget Approved for public release. Distribution is unlimited. THIS PAGE INTENTIONALLY LEFT BLANK REPORT DOCUMENTATION PAGE Form Approved OMB No. 0704–0188 Public reporting burden for this collection of information is estimated to average 1 hour per response, including the time for reviewing instruction, searching existing data sources, gathering and maintaining the data needed, and completing and reviewing the collection of information. Send comments regarding this burden estimate or any other aspect of this collection of information, including suggestions for reducing this burden, to Washington headquarters Services, Directorate for Information Operations and Reports, 1215 Jefferson Davis Highway, Suite 1204, Arlington, VA 22202-4302, and to the Office of Management and Budget, Paperwork Reduction Project (0704-0188) Washington, DC 20503. 1. AGENCY USE ONLY 2. REPORT DATE 3. REPORT TYPE AND DATES COVERED (Leave blank) December 2017 Master’s thesis 4. TITLE AND SUBTITLE 5. FUNDING NUMBERS INSURGENT UPRISING: AN UNCONVENTIONAL WARFARE WARGAME 6. AUTHOR(S) Jeremy J. Arias and Chad O. Klay 7. PERFORMING ORGANIZATION NAME(S) AND ADDRESS(ES) 8. PERFORMING Naval Postgraduate School ORGANIZATION REPORT Monterey, CA 93943-5000 NUMBER 9. SPONSORING /MONITORING AGENCY NAME(S) AND 10. SPONSORING / ADDRESS(ES) MONITORING AGENCY N/A REPORT NUMBER 11. SUPPLEMENTARY NOTES The views expressed in this thesis are those of the author and do not reflect the official policy or position of the Department of Defense or the U.S. Government. -
Wargames Ovvero: Come Applicare La Logica Del Paradosso E Vincere Una Guerra Impossibile
CORE Metadata, citation and similar papers at core.ac.uk Provided by Institutional Research Information System University of Turin WarGames Ovvero: come applicare la logica del paradosso e vincere una guerra impossibile “WarGames” è un film del 1983, noto in italiano anche con il sottotitolo di “Giochi di guerra”. Al di là della scarsa fantasia mostrata nella traduzione, non si può certo negare che tanto i “giochi” quanto la “guerra” siano i due elementi centrali attorno ai quali ruota l‟intera vicenda narrata nella pellicola. Il film, nonostante la sua scorrevolezza, è generalmente corretto nel presentare elementi di carattere tecnico e militare – se si eccettua qualche piccolo errore1 – e fornisce validi spunti degni di approfondimento. L‟intento di questo breve saggio consiste nell‟evidenziare alcuni aspetti che si pongono in relazione diretta con la realtà strategica della Guerra fredda, vista soprattutto dal lato statunitense. A questo verranno aggiunte anche alcune osservazioni su caratteristiche emergenti, che solo oggi hanno acquisito il vigore e la visibilità che negli anni ‟80 erano ancora in massima parte ipotetici, ma relativamente alle quali la pellicola fornisce già qualche intuizione. Ma al di là e – oserei dire – al di sopra di tutto questo, l‟elemento probabilmente più interessante consiste nella logica del paradosso che permea il film, e che di per se stessa costituisce il tassello fondante del confronto nucleare dell‟epoca bipolare. Il paradosso è stato presentato, in via più generale, come una caratteristica chiave sottesa ad una corretta concezione strategica2, e tale enfasi diviene ancora più evidente in un contesto quale quello atomico. Un ottimo pregio di “WarGames” è il cogliere questo spirito, e proprio in omaggio a tale virtù, non sottrarremo l‟applicazione della medesima logica al film stesso, ottenendone così spesso un ribaltamento di prospettiva che forse può essere utile per fare un po‟ di luce nel contesto strategico-militare di quel periodo. -
All but War Is Simulation: the Military Entertainment Complex
1 THEATERS OF WAR: THE MILITARY-ENTERTAINMENT COMPLEX Tim Lenoir and Henry Lowood Stanford University To appear in Jan Lazardzig, Helmar Schramm, Ludger Schwarte, eds., Kunstkammer, Laboratorium, Bühne--Schauplätze des Wissens im 17. Jahrhundert/ Collection, Laboratory, Theater, Berlin; Walter de Gruyter Publishers, 2003 in both German and in English War games are simulations combining game, experiment and performance. The U.S. Department of Defense (DoD) has been the primary proponent of war game design since the 1950s. Yet, commercial game designers produced many of the ideas shaping the design of military simulations, both before and after the advent of computer-based games. By the 1980s, the seeds of a deeper collaboration among military, commercial designers, the entertainment industry, and academic researchers in the development of high-end computer simulations for military training had been planted. They built “distributed interactive simulations” (DIS) such as SIMNET that created virtual theaters of war by linking participants interacting with distributed software or hardware simulators in real time. The simulators themselves presented synthetic environments—virtual worlds—by utilizing advances in computer graphics and virtual reality research. With the rapid development of DIS technology during the 1990s, content and compelling story development became increasingly important. The necessity of realistic scenarios and backstory in military simulations led designers to build databases of historical, geographic and physical data, reconsider the role of synthetic agents in their simulations and consult with game design and entertainment talents for the latest word on narrative and performance. Even when this has not been the intention of their designers and sponsors, military simulations have been deeply embedded in commercial forms of entertainment, for example, by providing content and technology deployed in computer and video games. -
Ready Player One by Ernest Cline
Ready Player One by Ernest Cline Chapter 1 Everyone my age remembers where they were and what they were doing when they first heard about the contest. I was sitting in my hideout watching cartoons when the news bulletin broke in on my video feed, announcing that James Halliday had died during the night. I’d heard of Halliday, of course. Everyone had. He was the videogame designer responsible for creating the OASIS, a massively multiplayer online game that had gradually evolved into the globally networked virtual reality most of humanity now used on a daily basis. The unprecedented success of the OASIS had made Halliday one of the wealthiest people in the world. At first, I couldn’t understand why the media was making such a big deal of the billionaire’s death. After all, the people of Planet Earth had other concerns. The ongoing energy crisis. Catastrophic climate change. Widespread famine, poverty, and disease. Half a dozen wars. You know: “dogs and cats living together … mass hysteria!” Normally, the newsfeeds didn’t interrupt everyone’s interactive sitcoms and soap operas unless something really major had happened. Like the outbreak of some new killer virus, or another major city vanishing in a mushroom cloud. Big stuff like that. As famous as he was, Halliday’s death should have warranted only a brief segment on the evening news, so the unwashed masses could shake their heads in envy when the newscasters announced the obscenely large amount of money that would be doled out to the rich man’s heirs. 2 But that was the rub. -
Transforming Naval Wargaming: a Framework for Operational- Level Wargaming
CRM D0010807.A2/Final September 2004 Transforming Naval Wargaming: A Framework for Operational- Level Wargaming CNA: Peter P. Perla, Michael C. Markowitz, Christopher A. Weuve Naval War College: Stephen Downes-Martin, Michael Martin, CDR, USN Paul V. Vebber, CDR, USNR 4825 Mark Center Drive • Alexandria, Virginia 22311-1850 Approved for distribution: September 2004 Dr. Peter P. Perla Director, Interactive Research Production Office of the President This document represents the best opinion of CNA at the time of issue. It does not necessarily represent the opinion of the Department of the Navy. Approved for Public Release; Distribution Unlimited. Specific authority: N00014-00-D-0700. For copies of this document call: CNA Document Control and Distribution Section at 703-824-2123. Copyright 2004 The CNA Corporation Contents Summary: Transforming Naval Wargaming . 1 Wargaming and transformation . 2 A scientific foundation for wargame design? . 4 The way ahead . 5 Transforming naval wargaming: the task before us . 7 Concepts and postulates for operational-level design . 15 Clausewitz: friction and chance . 17 Herman: Entropy-Based Warfare . 19 Van Creveld: command and uncertainty . 23 Vebber: wargaming network effects . 30 The framework connecting war and wargame . 35 From war to wargame . 35 Theoretical view of gaming the operational level of war . 38 Command topology. 39 Information topology. 46 Operational topology . 50 Timing is everything . 53 A different view of time: the Road to Baghdad game . 58 The end of the beginning . 61 A science of wargame design? . 61 Moving onward . 62 Prospective projects . 65 Apply social network analysis to wargaming information operations . 66 Wargame antisubmarine warfare (ASW) for 7th Fleet 67 Develop work-flow models of innovative concepts . -
The Art of Computer Game Design the Art of Computer Game Design by Chris Crawford
The Art of Computer Game Design The Art of Computer Game Design by Chris Crawford Preface to the Electronic Version: This text was originally composed by computer game designer Chris Crawford in 1982. When searching for literature on the nature of gaming and its relationship to narrative in 1997, Prof. Sue Peabody learned of The Art of Computer Game Design, which was then long out of print. Prof. Peabody requested Mr. Crawford's permission to publish an electronic version of the text on the World Wide Web so that it would be available to her students and to others interested in game design. Washington State University Vancouver generously made resources available to hire graphic artist Donna Loper to produce this electronic version. WSUV currently houses and maintains the site. Correspondance regarding this site should be addressed to Prof. Sue Peabody, Department of History, Washington State University Vancouver, [email protected]. If you are interested in more recent writings by Chris Crawford, see the "Reflections" interview at the end of The Art of Computer Game Design. Also, visit Chris Crawford's webpage, Erasmatazz. An acrobat version of this text is mirrored at this site: Acrobat Table of Contents ■ Acknowledgement ■ Preface ■ Chapter 1 - What is a Game? ■ Chapter 2 - Why Do People Play Games? ■ Chapter 3 - A Taxonomy of Computer Games ■ Chapter 4 - The Computer as a Game Technology ■ Chapter 5 - The Game Design Sequence ■ Chapter 6 - Design Techniques and Ideals ■ Chapter 7 - The Future of Computer Games ■ Chapter 8 - Development of Excalibur ■ Reflections - Interview with Chris WSUV Home Page | Prof. -
Cyber Wargaming: Finding, Designing, and Playing Wargames for Cyber Security Education
Cyber Wargaming: Finding, Designing, and Playing Wargames for Cyber Security Education Andreas Haggman Submitted to Royal Holloway, University of London for the award of Doctor of Philosophy in Information Security Supervised by Professor Keith Martin Professor Klaus Dodds February 2019 1 Declaration of authorship I, Andreas Haggman, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 2 Abstract This thesis investigates, and contributes to, the use of wargaming in cyber security education. Wargaming has a rich history of pedagogic use, but little work exists that addresses the critically important subject of cyber security. Cyber security is a global problem that frequently makes news headlines, yet the field is dogged with a reputation as a domain only for technologists, when in fact cyber security requires a whole gamut of approaches to be properly understood. The thesis is broadly divided into three parts. The first part is a comprehensive literature review of wargaming scholarship, analysing the benefits and drawbacks of wargaming, and some of the justifications for why a tabletop boardgame may be more effective than a game enhanced by technology. Following on from this, the thesis provides an outline of current work in cyber wargaming by analysing existing games, evaluating their contributions as educational tools, and identifying successful game mechanics and components. The second part of the thesis outlines the design process of an original wargame created for cyber security education and awareness training. The analysis outlines what the game design intends to achieve in terms of pedagogical outcomes and how the design evolved through the development process. -
The Military Entertainment Complex
1 THEATERS OF WAR: THE MILITARY-ENTERTAINMENT COMPLEX Tim Lenoir and Henry Lowood Stanford University War games are simulations combining game, experiment and performance. The U.S. Department of Defense (DoD) has been the primary proponent of war game design since the 1950s. Yet, commercial game designers produced many of the ideas shaping the design of military simulations, both before and after the advent of computer-based games. By the 1980s, the seeds of a deeper collaboration among military, commercial designers, the entertainment industry, and academic researchers in the development of high-end computer simulations for military training had been planted. They built “distributed interactive simulations” (DIS) such as SIMNET that created virtual theaters of war by linking participants interacting with distributed software or hardware simulators in real time. The simulators themselves presented synthetic environments—virtual worlds—by utilizing advances in computer graphics and virtual reality research. With the rapid development of DIS technology during the 1990s, content and compelling story development became increasingly important. The necessity of realistic scenarios and backstory in military simulations led designers to build databases of historical, geographic and physical data, reconsider the role of synthetic agents in their simulations and consult with game design and entertainment talents for the latest word on narrative and performance. Even when this has not been the intention of their designers and sponsors, military simulations have been deeply embedded in commercial forms of entertainment, for example, by providing content and technology deployed in computer and video games. Building on a brief overview of the history of war games, we will sketch the history of military simulations leading to SIMNET in the late 1980s and projects building on this work through the mid-1990s. -
Wargames (1983)
Wargames (1983) David Lightman (Matthew Broderick) is an intelligent, underachieving teen who spends most of his free time playing arcade video games or messing around on his computer. During an automated modem search, he finds a strange computer that appears to be affiliated with a game company. A list of games appears, but Lightman doesn't have the password. After doing extensive research, he correctly guesses it. As would-be girlfriend Jennifer (Ally Sheedy) watches, he begins playing "Global Thermonuclear War" and targets his hometown (Seattle) and Las Vegas for Soviet strikes. Unknown to the teens, the computer behind "Global Thermonuclear War" is not a game software company -- it is the War Operations Plan Response (W.O.P.R.) -- a top-secret military system that helps the Air Force decide what to do in the event of a Soviet attack. On their situation screens deep below Cheyenne Mountain, Colorado, the military actually thinks a first- strike is occurring. Top programmer Dr. McKittrick (Dabney Coleman) figures out what has happened, but it seemed all too real for a few minutes. The government soon finds out who broke into their system, and Lightman is arrested and taken to Cheyenne Mountain for debriefing. It is assumed that he is affiliated with the Soviet KGB! He realizes that the W.O.P.R. is still "playing" Global Thermonuclear War, and needs to be stopped. The computer is feeding false data to the Americans, trying to get them to "move." General Beringer (Barry Corbin), a hawkish sort, is putting US forces on increasingly higher levels of Alert (known as Defense Conditions, or DefCon).