Copyright by Matthew Thomas Payne 2011 The Dissertation Committee for Matthew Thomas Payne Certifies that this is the approved version of the following dissertation: The Ludic Wars: The Interactive Pleasures of Post-9/11 Military Video Games Committee: Sharon Strover, Supervisor Joseph Straubhaar Kathleen Tyner Michael Kackman Dana Cloud The Ludic Wars: The Interactive Pleasures of Post-9/11 Military Video Games by Matthew Thomas Payne, B.A.; M.A.; M.F.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2011 Dedication for my family Acknowledgements This project was not a labor of love; this project was a consequence of it. I realize all too well that I wouldn’t be enjoying this, the near-final component of the dissertation process – the writing of the acknowledgements page – were I not surrounded by some truly remarkable and generous souls. Let me begin with those in my professional life. I want to begin by thanking my dissertation committee. My utmost gratitude goes to my dissertation supervisor, Sharon Strover, who convinced me that I could, in fact, investigate video games and that I needn’t worry about their status as historically “bad” cultural objects. Her intellectual curiosity and keen mind has been a constant source of inspiration during my time at the University of Texas. I cannot thank her enough for walking me through this equally exciting and wearisome process. Although I “discovered” Joe Straubhaar late in my graduate career, he graciously agreed to join the committee. I’ve encountered few accomplished academics who match Joe’s infectious joie de vivre. I am also in his debt for recommending the dissertation title (Thanks again, Joe!). My gratitude goes to Kathleen Tyner for taking me on as her teaching and research assistant semester, after semester, after semester. Kathleen consistently models what inspired pedagogy looks like in the classroom, and she has taught me that it’s okay to venture “off script.” Dana Cloud made time for this project despite the fact that she’s impossibly busy, and even though I’m not a rhetoric student. I especially value her dedication to insisting on the materiality of media, and envy her ability to demonstrate v effortlessly the social praxis of scholarship. Finally, I must thank Michael Kackman for his unwavering support during our years of collaboration on the Flow TV journal, anthology, and conference. Michael knows how to ask penetrating questions that get to the heart of the matter, be they about cultural theory or project logistics. He also understands the power of a kind word. In a profession where expectations are high, and where there are fantastically few crumbs of personal validation, Michael’s easy kindness is an essential reminder to never eviscerate humanity from the study of the humanities. My committee members are forces of nature. And while I still don’t know how I convinced this esteemed cast to weigh in on my work, I am profoundly grateful. The dissertation is an infinitely better project because of their feedback and support. The mistakes that remain, as always, are mine alone. My coffee klatch brain trust – Kevin Sanson, Courtney Brannon Donoghue, and a remote Kristen Warner (via text messaging) – were an absolute necessity during the waning months, weeks, and days of dissertation writing. I relied on them for perspective and the commiseration that one needs when stuck in the myopic weeds of one’s own research. They reminded me that I was not alone, and insisted that I keep “making the words,” even when those words left something to be desired. I also owe a great deal of gratitude to my extended cadre of friends and colleagues in the Department of Radio-TV-Film, cognate disciplines at The University of Texas, and points beyond. In no particular order, a heartfelt thanks goes to: David Gurney, Kevin Bozelka, Allison Perlman, Nick Muntean (thanks for the racquetball), Colin Tait (thanks for the pensive dog walks), Jean Lauer, Carly Kocurek, Anne H. Petersen, Nick Marx, vi Alexis Carreiro, Sharon Shahaf, Hollis Griffin, Chris Lucas, Peter Alilunas, Lee Sparks, Marnie Binfield, Lisa Schmidt, Andy Scahill, William Moner, Brett Caraway, Joanna Slimmer, Manu Aviles-Santiago, Rebecca Onion, Charles Ramirez-Berg, and of course, the WTPDG (Elliot Panek, Tamara Oxley, Kristen Grant, and Susan Perlman). Friends from programs past have reminded me from afar (often by way of passionate email exchanges) why media criticism and media making matters. These folks include: Derek Frank, Mike & Kara Fleisch, Keith Brown, Zak Lee, Jeff Stern, Lydia Kuhn, Nina Farouk, Mary Baker, Rob Peyrebrune, Pegeen Quinn, Jennie Albano, Mike P. Jones, Mike & Sarah RobbGrieco, and Chris & Kisa Koenig. I am also lucky to still be in touch with my philosophy cohort from Berry College – Aaron Pickering, Jason Sheppard, Mike Dechane, and Jon Trapp. I have also benefited from connecting with colleagues and intellectual heavyweights outside of UT-Austin. In particular, I want to thank Nina B. Huntemann for her words of encouragement and sage advice during my job search. Nina was a selfless collaborator on our Joystick Soldiers anthology, and I am honored to call her a friend. My thanks also goes out to Judd Ruggill, Ken McAllister, Jonathan Gray, Roy Grundmann, Bob Arnold, Jeff Reynolds, Greg Garrison, and Rod Metts for their collective wisdom during my adventures though higher education. But as fortunate as I’ve been to have these scholar-teachers and media artists in my life, I am luckier still to have my family. And it is to them that this project is dedicated. My immediate family has kept me grounded over the course of my stay in Austin. They have given selflessly and have asked for little in return. To my siblings: vii Andrew, Elizabeth, and Victoria – and their life partners: Catherine, Clay, and Kyle (thanks for your service) – you all are the best! Thanks also to my sister-in-law Sarah and her husband Tim for also making our trips to Cincinnati warm ones. And thank you to Bonnie and Terry Jefferson for being amazingly generous in-laws and grandparents, and for freeing me from “the Nut” during the final weeks of writing. I owe my tenacity to my mom and dad, who have given me the tools and support to pursue any number of endeavors – some sensible, others not – asking me only to “do my best” in return. My parents have been, and remain, my moral compass; teaching me in small daily lessons what it means to live the good life. I owe them everything. Finally, I want to thank my life partner Joanna Jefferson and our daughter Sophie for keeping me smiling though all the chapter revisions, conference presentations, job searchers, and everything in between. My love for you two is ineffable and overwhelming. I would say more but every attempt shakes me to the core. I will say only that I love you two desperately and completely. Thank you for leaving me speechless. viii The Ludic Wars: The Interactive Pleasures of Post-9/11 Military Video Games Publication No._____________ Matthew Thomas Payne, Ph.D. The University of Texas at Austin, 2011 Supervisor: Sharon Strover This dissertation examines how commercially successful military-themed video games produced after the September 11, 2001 terrorist attacks are crafted, marketed, and played with the goal of understanding the interlocking technological, cultural, and social practices that contribute to their interactive pleasures. The systematic inquiry into the production and experience of media pleasure carries with it vexing questions about how such affect is created and how it is situated within broader cultural fields. This interdisciplinary project accordingly utilizes multiple methods including close textual readings of seminal games, a critical discourse analysis of marketing materials, and an ethnography and focus group of a war gaming fan community to track how these sites of practice give post-9/11 military-themed gameplay its distinctive experiential character and cultural import. The case studies examined herein reveal that the affective dimensions of militarized gameplay are intimately linked to the political and cultural forces undergirding their production, marketing, and reception, and that the games industry mobilizes anxieties about terrorism to entice gamers into virtually striking back against foreign aggressors. ix Table of Contents List of Figures...................................................................................................... xiii! INTRODUCTION: WELCOME TO LUDIC WAR .........................................................1! Space Invaders and 9/11 (or, why gameplay matters) ....................................1! Taking Aim at the “Military Shooter” ............................................................5! Studying Militainment’s Ludic Imaginary......................................................9! Introducing Ludic War..................................................................................15! Studying Ludic War Pleasures......................................................................21! Convergences as Practices & Practices as Play ............................................27! The Trouble with Pleasure............................................................................31! Reclaiming Interactivity................................................................................34! Invaders!, Ludic Displeasure,