The Spy in the Computer
A study of how computer games, as a modern narrative form, draw on and develop the tradition of espionage fiction.
The spy entered the computer a long time ago. During the Second World War, both the Axis and the Allies used the computer extensively in code-breaking and allied operations. And following from these rather rudimentary forays, espionage through the computer has reached alarming proportions even as other technologies have continued to advance. The focus of the present paper will, however, be on something different. It will not be on real espionage so much as on espionage in computer games. The computer game has continually been enriched by better narrative possibilities, graphic interfaces and
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Conflict exists in both types of narrative: it essentially consists of overcoming obstacles and moving forward to achieve a particular goal. Safety, of course, would mean the distance of the player or the reader from the fictional reality.
The apparent similarity in even these factors, however, can be properly judged only after we have analysed representation and interactivity. To use Crawford's definition,
A game creates a subjective and simplified representation of emotional reality. A game is not an objective accurate representation of reality; objective accuracy is necessary only to the extent required to support the player's fantasy. The player's fantasy is the key agent in making the game psychologically real.
Even here, the game-narrative does the same thing as the narrative of a spy-thriller. But here I must mention that Crawford's definition is slightly dated and does not take into account certain new developments in artificial intelligence (AI) or in computer graphics and interactivity. The computer game, now, is better able to respond to situations and has more emotional and non-technical content than it did before. Sound, and state-of-the-art graphics (called in gaming parlance 'eye candy'), can far exceed the effects created by the player's imagination.
Games, like stories, attempt to represent reality. But the essential difference between the two is that most stories present events in
Tom Bissell, in his essay, “Extra Lives: Why Video Games Matter” has described video games and how they are unique and different from movies, books, or even interactive films. Bissell says “I came to accept that games were incompetent with almost every aspect of what I would call traditional narrative.” This is showing the readers that even though there is a plot and story line, as characters can control and alter the story line or outcome by what you do or see throughout the game.
There is much knowledge within video games today. Being able to do things in a video game that some people can’t do in real life is important and I like that about video games. Some people may want to be a doctor, a NBA player, and a race car driver all at the same time and can do that with video games. Gaming can be based on real life situations and some can be based on fantasy situations which can let yourself have an
Using persuasive writing, Wright begins to influence his audience that game play is a beneficial source of entertainment not a wasteful one. Playing video games increases creatively, self esteem and improve problem solving skills of the players. Video games are becoming test runs that appear or feel close to the real thing. Where you can control everything with added effects like magic or future technology. Games have the potential to exceed almost all other forms of entertainment media. They tell stories, play music, challenge us, allow us to instantly communicate and interact with others. Encourage us to create things, connect us to new communities, and let us play with people across the world. Unlike most other forms of media, games are inherently tangible. According to Wright young children spend their days in imaginary worlds, substituting toys and make believe into the real world that they are just beginning to explore and understand. Wright states that games are the result of imagination and that they consist of rules and goals. Generation of teenagers has grown up with different set of games. Teenagers use the scientific method rather than reading the manual first. Games today maybe a person’s only place to express a high-level of creativity and growth. Older generations have a lot of criticisms for games, the games can help a person learn to think on his or her own.
The first argument that arose out of the video game world was the debate of video game violence. Still unresolved, this debate has actually allowed for the video game industry to come fully into the main stream. As the din over violence quieted the fans of the game society began to focus on issues more akin to their own style. So then began the debate of game play vs. the video game narrative. The question arose; can a game also be a story? While the semantics would suggest that, no, a game cannot be a story, we do realize that a game can contain a story. However,
When asked about spies, most people instinctively think of James Bond, a member of the British Secret Service. Most people don’t know however that this classical character was inspired by the true events, of places like Camp X, where 007’s creator, Ian Fleming, was trained as an intelligence officer. Most stories of the Second World War revolve around the great battles, such as the Battle of Normandy. While these battles were remarkable, the critical victories of the Second World War may not have been possible without the vigorous and fearless effort of spies and operatives, who can influence the result of crucial operations for the betterment of their own objectives. Training camps were vital for producing
" If you know the enemy and know yourself, you need not fear the results of a hundred battles. If you know yourself but not your enemy, for every victory gained you will also suffer a defeat. If you know neither the enemy nor yourself, you will succumb in every battle" (Sun Tzu). Espionage is the secret gathering of information on rival countries for military purposes. However, espionage in other countries is considered illegal: Even though it gains valuable information that could protect our country. Although many spies got caught and was sentence to life in jail or death, the espionage in World War II was effective because it gave information about the enemies and what there next move was going to be. Espionage in World War II had three major components which were code breaking, traditional spying, and deception operations.
“But it’s not a game. It’s a form”. This analogy illustrates why the author chooses to tell audiences that there are truths and lies. The author implies that stories are like forms: there are certain ways that are more suitable than others. Sometimes lies can deliver clearer messages than the truths.
Many of us can remember playing childhood games when we were younger. One of my personal favorites was hide and seek. My favorite part of the game was when I was hiding and tried to watch where the seeker looked while he or she searched. Of course I could have been caught, but it wasn't a big deal at the time. What would happen though if the seeker didn't know who he was looking for, but knew someone was hiding? How would he go about finding the person? Further more how much more could the person accomplish if they were hiding right in front of them, but the seeker did not know? Well it may sound a little off, but that was basically the game of espionage. Spies would try to conceal themselves by gathering
When I first read this book, I had several reactions. “Gee, that was depressing,” was the first. The second was, “I’ll bet that son of a gun, Card, put some symbolism up in that book. I wonder where it is?” It’s taken me a while, but I think I’ve figured it out. First, I want you to ask yourself: what is a game? In some cases, a game is another place for people to go to escape the bores of everyday life. In other cases, a game is the problem. The latter is the case for poor Ender. Games play a major part in this story. So what is the author trying to portray here? There is a fine line between games and reality, and the moment the line disappears, things get super screwy. “This game knows too much about me. This game tells filthy lies” (page 119).
The players are forced to base their decisions on the set allowances and constraints. In addition, they were constructed to produce certain responses or experience for the players. They are supposed to stimulate the social dynamics of the real-life society. They open players mind and the ability for creative and critical thinking. These games simplify the real world in order to draw attention to relevant aspects of that world.
In this journal they justify the level of manner a child is with the game characters, and players’ interpretation, or whether or not the actions of the characters are visualized as virtuous.
We're using games to escape real-world suffering. We're using games to get away from everything that's broken in the real environment, everything that's not satisfying about real life, and we're getting what we need from
reality to a child while playing, when the game is over actual reality replaces this newly
Throughout history, human nature has facilitated a predisposition for holding and acquiring secrets. This acquisition of intangible information often played out as a chess game and piqued our inherent desire to manipulate minds. Over time, as warfare became more and more technologically proficient, humans adapted their self-driven procurement of social secrets into a sophisticated network of battlefield espionage. Beginning in World War II and continuing into the 1960’s, Virginia Hall exemplified both the thrill seeker’s inner satisfaction and the professional spy’s execution of tradecraft driven espionage.
Spy fiction is defined as a genre of literature that focuses on the activities of spies and the world of espionage. The genre dates back to the mid to late 19th century. An early example of a spy novel is by an American novelist James Fenimore Cooper; The spy (1821) and The Bravo (1831). Spy fiction would mostly be influenced by events that have occurred in the real world such as, the Cold War, which will be discussed in this essay and how it became to influence the writing of spy fiction and how it built its popularity in the literature world. The Cold War emerged in 1946 due to the tension between the western powers (USA, UK, Europe and Canada) and the Soviet Union, which included the Russian communist. Shortly after the Second World War ended, the Soviet Union refused to remove its forces in areas of Europe that they have taken over during the war. This caused the crisis of the Cuban Missile Crisis and Berlin wall, being just some of the issue raised at that time. The Soviet Union broke up in 1991. The most enduring motif about the Cold War is the storytelling about spies, agent and assassins living a double life that included secrecy so they could infiltrate their enemies. The US and USSR spent a large amount of time and money to train spies and agents during the Cold War to deploy them around the world. The main purpose of espionage is to gather information from their enemy and as their technology or gadgets were not advanced as it is now, they would send spies to