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BIBLIOGRAPHY Andersen, Carrie. “Game of Drones: The Uneasy Future of the Soldier-Hero in Call of Duty: Black Ops II. Surveillance and Society, Vol. 12, No. 3, 360–376. Print. Anderson, Benedict. Imagined Communities. 1983. London: Verso, 2006. Print. Bennett, Philip. “American by Birth, Daughters Embrace Sandinista Way of Life.” Boston Globe. December 22, 1986. http://search.proquest.com. ezproxy.library.unlv.edu/docview/294401497?pq-origsite summon. = Accessed January 10, 2017. 1. Web. Baudrillard, Jean. “The Spirit of Terrorism.” The Spirit of Terrorism and Requiem for the Twin Towers. London: Verso, 2013. 3-34. Print. Blake, Boston. “Metal Gear Solid 5 Made $179 Million in 24 Hours.” Game Rant. January 2016. https://gamerant.com/metal-gear-solid-5-sales-day- one/. Accessed January 2, 2017. Web. Call of Duty 4: Modern Warfare. Infnity Ward. 2007. PS3. Campbell, Marjorie, et al. “Postdeployment PTSD and Addictive Combat Attachment Behaviors in U.S. Military Service Members.” The American Journal of Psychiatry, Vol. 173, No. 12 (Dec. 2016), 1171-1176. Print. Chang, Tao Hung. “The Battle of Fallujah: Lessons Learned on Military Operations on Urbanized Terrain (MOUT) in the 21st Century.” JUR. Vol. 6, No. 1 (Fall 2007). 31-38. Print. Chapman, Adam. Digital Games as History: How Videogames Represent the Past and Offer Access to Historical Practice. Routledge Advances in Game Studies Series. New York: Routledge, 2016. Print. Cinque, Toija. “David Bowie: Dancing with Madness and Proselytizing the Socio- political in Art and Life.” Celebrity Studies, Vol. 4, No. 3 (2013), 401-404. Print. © The Editor(s) (if applicable) and The Author(s) 2017 111 A.M. Green, Posttraumatic Stress Disorder, Trauma, and History in Metal Gear Solid V, DOI 10.1007/978-3-319-62749-6 112 BIBLIOGRAPHY Crecente, Brian. “Hideo Kojima on His Future and Breaking up with Konami, Metal Gear and Silent Hill.” Polygon. February 18, 2016. Accessed March 23, 2017. Web. Dawkins, Dan. “Metal Gear Solid 5 Is Unfnished? That’s Entirely the Point.” GamesRadar. Sept. 21, 2015. http://www.gamesradar.com/mgs5-unfn- ished-s-entirely-point/. Accessed December 31, 2016. Web. DeRosa, Aaron. “Analyzing Literature after 9/11.” Modern Fiction Studies, Vol. 51, No. 3 (Fall 2011), 607-618. Print. Domsch, Sebastian. Storyplaying: Agency and Narrative in Video Games. Berlin: De Gruyter, 2013. Print. Egenfeldt-Nielsen, Simon, Jonas Heide Smith, and Susana Pajares Tosca. Understanding Video Games: The Essential Introduction. New York: Routledge, 2016. Print. Ferreira, Manuel Ennes. “Angola: Confict and Development, 1961-2002.” The Economics of Peace and Security Journal, Vol 1, No. 1 (2006), 24-28. Print. Gracie, Alison et al. “The Association between Traumatic Experience, Paranoia, and Hallucinations: A Test of the Predictions of Psychological Models.” Acta Psychiatrica Scandinavia, Vol. 116, No. 4 (Oct. 2007), 280-289. Print. Gregory, Derek. “The Black Flag: Guantanamo Bay and the Space of Exception.” Geografska Annaler, Vol. 88, No. 4 (2006), 405-427. Print. Hautzinger, Sarah and Jean Scandlyn. Beyond Post-Traumatic Stress: Homefront Struggles with the Wars on Terror. Walnut Creek: Left Coast Press, 2014. Print. Henrie, Mark. “War without End.” First Things: A Monthly Journal of Religion and Political Life, February 2013, 47-48. Print. “Interview with Hideo Kojima by IGN - Metal Gear Solid V: The Phantom Pain.” YouTube, uploaded by Konami Videos, March 15, 2015, https:// www.youtube.com/watch?v pPMxmxst1JU&t 91s. = = Jackson, Linda A. and Alexander I. Games. “Video Games and Creativity.” Video Games and Creativity. Ed. Garo Green and James C. Kaufman. London: Elsevier, 2015. 3-38. Print. Junger, Sebastian. “How PTSD Became a Problem Far Beyond the Battlefeld.” Vanity Fair. June 2015. http://www.vanityfair.com/news/2015/05/ptsd- war-home-sebastian-junger. Accessed January 8, 2017. Web. Kampwirth, Karen. “Legislating Personal Politics in Sandinista Nicaragua, 1979- 1992.” Women’s Studies International Forum, Vol. 21, No. 1 (1998), 53-64. Print. Keiser, Joe. “Metal Gear Solid V: The Phantom Pain Is Intense, Audacious, and Very Sorry.” A.V. Club. Sept. 22, 2015. http://www.avclub.com/review/metal- gear-solid-v-phantom-pain-intense-audacious--225595. Accessed December 31, 2016. Web. Keogh, Brendan. Killing is Harmless: A Critical Reading of Spec Ops: The Line. Marden: Stolen Projects, 2012. Kindle E-Book. BIBLIOGRAPHY 113 Keynan, Irit. Psychological War Trauma and Society: Like a Hidden Wound. London: Routledge, 2015. Print. Klasen, Fionna et al. “Posttraumatic Resilience in Former Ugandan Child Soldiers.” Child Development, Vol. 81, No. 4 (July/Aug 2010), 1096-1113. Print. Kohler, Chris. “Hideo Kojima, the Legendary Creator of Metal Gear Solid on His Weird New Game.” Wired. June 22, 2016. Accessed March 23, 2017. Web. Kratsch, Benjamin. “Hideo Kojima on the Birth of Death Stranding. Red Bull. December 9, 2016. Accessed March 23, 2017. Web. Lamberg, Lynne. “Reclaiming Child Soldiers’ Lost Lives.” Medical News and Perspectives, Vol. 292, No. 5, 1-3. Print. Lamothe, Dan. “Remembering the Iraq War’s Bloodiest Battle, 10 Years Later.” The Washington Post. Nov. 14, 2014. https://www.washingtonpost.com/ news/checkpoint/wp/2014/11/04/remembering-the-iraq-wars-bloodiest- battle-10-years-later/?utm_term 78a48cabc7a8. Accessed December 28, = 2016. Web. Langewiesche, William. “Rules of Engagement.” Vanity Fair. November 2016. http://www.vanityfair.com/news/2006/11/haditha200611. Accessed January 3, 2017. Web. Lennon, Chad. “Detainees in the Global War on Terrorism aboard Guantanamo Bay.” Touro Law Review, Vol 31, No. 4 (Aug. 2015), 1013-1041. Print. Mande, Anupama. “Subaltern Studies and the Historiography of the Sandinista Miskitu Confict in Nicaragua, 1979–1990.” Paper presented at the Latin American Studies Association 2000 Annual Meeting. http://lasa.international. pitt.edu/lasa2000/mande.pdf. Accessed January 10, 2017. 1-20. Web. Mantello, Peter. “Military Shooter Video Games and the Ontopolitics of Derivative Wars and Arms Culture.” The American Journal of Economics and Sociology, Vol. 76, No. 2 (March 2017), 483-521. Print. Mass Effect Triology. BioWare. 2012. PS3. Mead, Corey. “Virtual-Reality Videogames May Be the Best Treatment for PTSD.” The Daily Beast. September 26, 2013. http://www.thedailybeast. com/the-hero-project/articles/2013/09/26/virtual-reality-video-games- may-be-the-best-treatment-for-ptsd.html. Accessed December 27, 2016. Web. Meagher, Ilona. Moving a Nation to Care: Post-Traumatic Stress Disorder and America’s Returning Troops. New York: IG Publishing, 2007. Print. Meer, Alec. “A Metal Gear Virgin’s Phantom Pain Diary, Day 1: What?” Rock Paper Shotgun. https://www.rockpapershotgun.com/2015/09/01/mgsv- pc-review-in-progress/. September 1, 2015. Accessed January 11, 2017. Web. Metal Gear Solid 5: Ground Zeroes. Kojima Productions. 2014. PS4. 114 BIBLIOGRAPHY Metal Gear Solid 5: The Phantom Pain. Kojima Productions. 2015. PS4. Mielke, James. “Metal Gear Visionary Hideo Kojima: ‘I Want to Create Games until I Die.’” Glixel. February 2, 2017. Accessed March 23, 2017. Web. Murray, Mark. J. “Extraordinary Rendition and U.S. Counterterrorism Policy.” Journal of Strategic Security, Vol. 4, No. 3 (Fall 2011), 15-28. Print. Murray, Soraya. “Race, Gender and Genre in Spec Ops: The Line.” Film Quarterly, Vol. 70, No. 2 (Winter 2016), 38-48. Print. Nortvedt, Finn and Gunn Engelsrud. “‘Imprisoned in Pain:’ Analyzing Personal Experiences of Phantom Pain.” Medicine, Health Care, and Philosophy, Vol. 17, No. 4 (Nov. 2014), 599-608. Print. O’Brien, Lucy. “Metal Gear Solid 5: Ground Zeroes Review.” IGN. March 18, 2014. http://www.ign.com/articles/2014/03/18/metal-gear-solid-5-ground- zeroes-review. Accessed January 10, 2017. Web. Olson, Charles. Call Me Ishmael: A Study of Melville and the Genesis of Moby Dick. New York: Reynal and Hitchcock, 1947. Print. Payne, Matthew Thomas. “Marketing Military Realism in Call of Duty 4: Modern Warfare. Games and Culture, Vol. 7, No. 4 (2012), 305-327. Print. ———. Playing War: Military Video Games after 9/11. New York: New York UP, 2016. Print. ———. “War Bytes: The Critique of Militainment in Spec Ops: The Line. Critical Studies in Media Communication, Vol. 31, No. 4 (Oct. 2014), 265-282. Print. Pötzsch, Holger. “Selective Realism: Filtering Experiences of War and Violence in First- and Third-Person Shooters.” Games and Culture, Vol. 12, No. 2 (2017), 156-180. Print. Reiner, Andrew. “An Interview with Hideo Kojima.” Game Informer. June 15, 2016. Accessed March 23, 2017. Web. Sawicki, John. “Why Terrorists Use Female and Child Suicide Bombers.” Health Progress, Vol. 97, No. 4 (July 2016), 38-42. Print. Spec Ops: The Line. 2K Games. 2012. PS3. Video Game. Sprusansky, Dale. “Guantanamo Bay: Year 14.” The Washington Report on Middle East Affairs, Vol. 35, No. 2 (Mar/April 2016), 49-51. Print. Sutton, Julie and Jos De Backer. “Music, Trauma and Silence: The State of the Art.” The Arts in Psychotherapy, Vol. 36 (2009), 75-83. Print. Tatar, Bradley. “State Formation and Social Memory in Sandinista Politics.” Latin American Perspectives, Vol. 36, No 5 (Sept. 2009), 157-177. Print. Tavinor, Grant. “Tension and Opportunity: Creativity in the Video Gaming Medium.” Video Games and Creativity. Ed. Garo Green and James C. Kaufman. London: Elsevier, 2015. 263-284. Print. Tettegah, Sharon Y. and David Huang Wenhao. Emotions, Technology, and Digital Games. London: Elsevier, 2016. Print. BIBLIOGRAPHY 115 Vafa, Amirhossein. Recasting American and Persian Literatures: Local Histories and Formative Geographies from Moby-Dick to Missing Soluch. Palgrave McMillan, 2016. Print. Verhulsdonck, Gustav and Marohang Limbu. “A Match Made in “Outer Heaven:” The Digital Age Vis-à-Vis the Bomb in Guns of the Patriots.” Digital Rhetoric and Global Literacies: Communication Modes and Digital Practices in the Networked World. Ed. Gustav Verhulsdonck and Marohang Limbu. Hershey: IGI Global, 2013. 247-281. Print. 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    B R U M A L Revista de Investigación sobre lo Fantástico DOI: http://dx.doi.org/10.5565/rev/brumal.182 Research Journal on the Fantastic Vol. III, n.° 1 (primavera/spring 2015), pp. 161-182, ISSN: 2014–7910 RESTLESS DREAMS AND SHATTERED MEMORIES: PSYCHOANALYSIS AND SILENT HILL Ewan Kirkland University of Brighton [email protected] Recibido: 25-01-2015 Aceptado: 18-05-2015 Abstract This paper applies psychoanalytic frameworks to the survival horror franchise Silent Hill, a series which is itself informed by psychoanalytic themes. Concerns include the construction of game space as maternal womb, cinematic sequences as primal fanta- sies, and the representation of memory across the games within a psychoanalytic con- text. The horror genres’ preoccupation with monstrous mother figures is evident in boss battle adversaries, the depiction of gamespaces as bloody «maternal caves», and in narratives concerning characters’ searching for their parental origins Distinguishing between videogames’ playable sequences and cinematics as conscious and sub-con- scious aspects, cut-scenes are analysed as reproducing primal fantasies, serving to ex- plain protagonists’ backstory and situating play within narrative contexts. Such mo- ments intrude into the game, marking transformations between the ordinary world and the abject Otherworld, or heralding the emergence of psychoanalytically-resonant monstrous creatures which the protagonist must destroy. Finally, Silent Hill: Shattered Memories is examined as a game which, even more than others, foregrounds the series’ explicit reference to psychoanalytic preoccupations, engaging with contemporary un- derstandings concerning the relationship between memory, media and fantasy. Keywords: Silent Hill, survival horror, psychoanalysis, videogames, memory. Resumen En el presente artículo se aplica el marco de estudio psicoanalítico a la serie de survival horror Silent Hill, ella misma basada en temas psicoanalíticos.
  • Metal Gear Solid V: the Phantom Pain Muhammad Hafiz Kurniawan Universitas Ahmad Dahlan, Yogyakarta

    Metal Gear Solid V: the Phantom Pain Muhammad Hafiz Kurniawan Universitas Ahmad Dahlan, Yogyakarta

    Isolec International Seminar on Language, Education, and Culture Volume 2020 Conference Paper What Can Genre Tell Us? Metal Gear Solid V: The Phantom Pain Muhammad Hafiz Kurniawan Universitas Ahmad Dahlan, Yogyakarta Abstract Genre is known to be one of media to communicate between the game designer and game players. Genre could give powerful impact to the game players because it makes the game players familiar with the game with the similar genre to play. Through genre, the game designer and maker could use it to gain the players’ heart so that they can spread their ideas imbued in their games. Metal Gear Solid Game series which was firstly played in 1987 has been promoting the anti-nuclear possession since its release. This paper has a purpose to reveal what makes this last series of Metal Gear Solid game, MGSV: The Phantom Pain, can be accepted widely by game players by observing its genre and this paper also aims to discover how the game designers, through the game, promoted the anti-nuclear war, which becomes a hot issue again Corresponding Author: nowadays, by using multimodal genre analysis. Muhammad Hafiz Kurniawan muhammad.kurniawan@enlitera Keywords: discourse analysis, genre analysis, MGA, Metal Gear Solid V: The Phantom .uad.ac.id Pain, Anti-nuclear war ideology Received: 17 February 2020 Accepted: 20 February 2020 Published: 27 February 2020 Publishing services provided by Knowledge E 1. Introduction Muhammad Hafiz Kurniawan. This article is Genre is defined as the set of rules which enable the member of the discourse commu- distributed under the terms of the Creative Commons nity – the expert members of a certain genre which has common knowledge to share Attribution License, which ( Jones, 2012: 10) – to communicate each other through that works (Bhatia, 2007: 112) permits unrestricted use and redistribution provided that the and it is possible to these expert members to exploit and even to add their creativities original author and source are in that genre without violating the certain boundaries in particular genre (Bhatia, 2013: credited.
  • Fall Guys: Ultimate Knockout Und Super Bomberman R Online Treffen Sich Im Crossover

    Fall Guys: Ultimate Knockout Und Super Bomberman R Online Treffen Sich Im Crossover

    ** PRESSEMELDUNG ** 27. Mai 2021 FALL GUYS: ULTIMATE KNOCKOUT UND SUPER BOMBERMAN R ONLINE TREFFEN SICH IM CROSSOVER SUPER BOMBERMAN R ONLINE erscheint heute für PlayStation, Xbox, Switch und Steam als Free-to-Play-Titel und lädt den “Bean Bomber” aus Fall Guys ein Konami Digital Entertainment B.V. und Mediatonic verkünden heute ein besonderes Crossover zwischen dem neu veröffentlichten SUPER BOMBERMAN R ONLINE und dem „bohnigen Stolper Royale“ Fall Guys: Ultimate Knockout. Als Teil der Zusammenarbeit können alle Spieler von SUPER BOMBERMAN R ONLINE einen exklusiven „Bean Bomber“-Spielcharakter* erhalten. Somit ist dies das erste Mal, dass es ein Fall Guy in ein anderes Spiel geschafft hat. *Bis auf Weiteres im Spiel auf allen Plattformen verfügbar. Kein zusätzlicher Kauf notwendig. Der “Bean Bomber” kann über das Schlachtfeld hechten, um nicht von unzähligen Bomben getroffen zu werden, während Spieler im neuen „Kampf 64“-Onlinemodus gegeneinander antreten. Zusätzlich wird auch die Bomberman-Reihe in Fall Guys: Ultimate Knockout Einzug halten, nämlich mit dem neuen „Bomberman“-Kostüm! Der ikonische Charakter schlägt am 4. Juni 2021 im Blunderdome ein und wird im Ingame-Shop von Fall Guys für insgesamt zehn Kronen erhältlich sein. “Bean Bomber”-Charakter in SBRO “Bomberman”-Kostüm in Fall Guys Gameplay des “Bean Bombers” in SBRO “Bean Bomber”-Profil in SBRO SUPER BOMBERMAN R ONLINE ist ab heute für PlayStation®4, Xbox One, Nintendo Switch™ und PC via Steam als downloadexklusiver Free-to-Play-Titel verfügbar. Das Spiel ist ebenfalls auf PlayStation®5 und Xbox Series X|S spielbar. PlayStation Store – LINK Microsoft Store (Xbox) – LINK Nintendo eShop – LINK Steam – LINK Google Stadia – LINK KONAMIs Richtlinien für erstellte Nutzerinhalte (bspw.