This report from Russia Today further convinces me that there is an MA or undergrad sociology essay in the use of Digital Media and Digital Entertainment to foster politico-cultural beliefs (i.e. propaganda). The modern media machine, including the children of the digital age such as social media and Youtube, are potentially the most powerful tools of propaganda the world has ever seen. The Gaelic Revival in Ireland was primarily through literature and poetry, and helped foster the growth of Irish Nationalism. In the 21st century, I would be very surprised not to see the introduction of nationalist messages into the plots of video games. I would be particularly surprised in fact, because I have seem examples of such nationalism in games with my own two eyes. Video games are now a part of our culture. The Irish Independent carries reviews of the latest games in the same supplement in which it reviews books. So too, to my knowledge, does the Irish Times and indeed the Sunday Times. The plot of a modern video game is far more advanced then what the casual observer may detect. Many games of the first or third person variety now carry plot lines and cut sequences that are easily of Hollywood quality. They have outpaced Hollywood in terms of profitability and in terms of capital invested. The most expensive film of all time is James Cameron’s Avater, at $500 million. The marketing alone for Modern Warfare 2 came to just under half this amount. This is a huge amount of capital and with such capital comes ideological restrictions of the designer’s creativity, ideological restrictions on the theme of the game, which will eventually become part of the cultural landscape that players of the game will experience, and perhaps have their world-view shaped by. This may appear fanciful. But according to this 2006 AOL/AP poll 4 out of 10 Americans play video games. Even adjusting this figure to attempt to estimate how many gamers play games with a story line and potentially, an ideological message, still leaves a huge segment of the population who will be exposed to a game at one stage or another. Put it this way: 1 in 10 Americans is still at least and probably greater than 30 million people.
Whether we like it or not, video games are undeniably part of the cultural landscape. For academics to ignore them is unforgivable. A wave of hysteria will occasionally seep over the population of some aspect of this or that game, usually related to video game violence and exposed as hysteria by the quality of most programming on television, where the violence is every bit as widespread. But those issues of the game, whether the maker of the game is in American terms a liberal or a republican, are rarely discussed but usually to some extent detectable. Grand Theft Auto 4 was designed by a liberal team I am willing to wager. It attacks and ridicules, amongst other things, the War on Drugs, the War on Terror and the American double-standard toward illegal immigrants. Modern Warfare 2 features a rogue American general, who is eventually defeated by a British character who spouts an awful amount of doggerel. The aggressor is Russia, as always appears to be the case in these American designed games, although the ever trusty Arabs did make an appearence in the first Modern Warfare, albeit as stooges of Russian ultranationalists, and a surprise appearance from Brazilians. The point is that the game reinforces cultural stereotypes and in doing so shapes the culture of the one doing the stereotyping by portraying this as the ‘norm’ in the areas the game is meant to be located.
It is so much like Hollywood that it would make you want to weep. Check out the following link. Watch the movies and trailers. Then tell me that this isn’t the glorification of US Special Forces during the course of an ongoing war.