The impact that First Person Shooter video games have had on the evolution of youth culture over a decade or more has been the focus of attention from political leaders; medical and legal specialists; and the mass media. Much of the discussion concerning these games has focused on the issues of the violence that is depicted in the games and on the perceived psychological and social costs for individuals and society. What is not widely canvassed in the public debate generated by violent video games is the role that military-themed games play in the wider process of militarization. The significance of this genre of gaming for the creation of a militarized variant of youth culture warrants closer interrogation. War/Play critically examines the role that militarized video games such as Call of Duty play in the lives of young people and the impact these games have had on the evolution of youth culture and the broader society. The book examines and critiques the manner in which the habits and social interactions of young people, particularly boys and young men, have been reconfigured through a form of pedagogy embedded within this genre.

The impact that First Person Shooter video games have had on the evolution of youth culture over a decade or more has been the focus of attention from political leaders; medical and legal specialists; and the mass media. Much of the discussion concerning these games has focused on the issues of the violence that is depicted in the games and on the perceived psychological and social costs for individuals and society. What is not widely canvassed in the public debate generated by violent video games is the role that military-themed games play in the wider process of militarization. The significance of this genre of gaming for the creation of a militarized variant of youth culture warrants closer interrogation. War/Play critically examines the role that militarized video games such as Call of Duty play in the lives of young people and the impact these games have had on the evolution of youth culture and the broader society. The book examines and critiques the manner in which the habits and social interactions of young people, particularly boys and young men, have been reconfigured through a form of pedagogy embedded within this genre.

As the twenty-first century unfolds society is confronted with the normalization of warfare and political violence and their growing allure for the young. Current global political events highlight the extent to which young people have become the target of both State and non-State actors in the prosecution of war and terror. The conduct of what we can refer to as "social war" has increasingly come to target the young through media (social media, the internet and video games) and more directly through acts of violence (the massacre of children, the reliance on child soldiers, and the use of children in martyrdom operations) as legitimate forms of conduct. The appropriation of the young as political and military materials through the processes of both radicalization and militarization warrants close examination. Drumbeat examines these issues within the context of the ongoing process of militarization and the establishment of a state of perpetual warfare. The book distinguishes between radicalization, which refers to the application of propaganda and ideological methods by non-State agents, and militarization, which refers to the application of propaganda and ideological methods by State agents in order to effectively prosecute war. The focus of this book will be an examination of the mechanisms through which forms of media and other digital and web-based artefacts - social media, video and video games - assist in the militarization and radicalization of the young. There is a growing body of evidence which points to the effectiveness of various forms of media in both the recruitment of young people and the promotion of ideological frames. For example, non-State actors (extremist religious groups and the Alt-Right) have been highly effective in appropriating new media to project their propaganda messages and their appeal to young people. The book also argues that militarization has become a powerful societal force, which is re-configuring the daily conduct of life in the West. Just as radicalization seeks to prepare the young for the conduct of war, militarization also functions to position the broader society for war. This is a new form of the "civilizing process" to which Norbert Elias referred. In this context new media provides the conduits through which this process is legitimized, celebrated and promulgated.

As the twenty-first century unfolds society is confronted with the normalization of warfare and political violence and their growing allure for the young. Current global political events highlight the extent to which young people have become the target of both State and non-State actors in the prosecution of war and terror. The conduct of what we can refer to as "social war" has increasingly come to target the young through media (social media, the internet and video games) and more directly through acts of violence (the massacre of children, the reliance on child soldiers, and the use of children in martyrdom operations) as legitimate forms of conduct. The appropriation of the young as political and military materials through the processes of both radicalization and militarization warrants close examination. Drumbeat examines these issues within the context of the ongoing process of militarization and the establishment of a state of perpetual warfare. The book distinguishes between radicalization, which refers to the application of propaganda and ideological methods by non-State agents, and militarization, which refers to the application of propaganda and ideological methods by State agents in order to effectively prosecute war. The focus of this book will be an examination of the mechanisms through which forms of media and other digital and web-based artefacts - social media, video and video games - assist in the militarization and radicalization of the young. There is a growing body of evidence which points to the effectiveness of various forms of media in both the recruitment of young people and the promotion of ideological frames. For example, non-State actors (extremist religious groups and the Alt-Right) have been highly effective in appropriating new media to project their propaganda messages and their appeal to young people. The book also argues that militarization has become a powerful societal force, which is re-configuring the daily conduct of life in the West. Just as radicalization seeks to prepare the young for the conduct of war, militarization also functions to position the broader society for war. This is a new form of the "civilizing process" to which Norbert Elias referred. In this context new media provides the conduits through which this process is legitimized, celebrated and promulgated.

"I Was Castro's Prisoner" is a historically significant book that in 1963 was a media sensation in conservative political circles. Author John Martino presented first-hand personal experience to virtually all the evils that had come with the Castro revolution. He offered descriptions of ongoing, brutal executions held "against the wall" and related stories of full-fledged warfare against both the capitalist and professional classes within Cuba. What Martino witnessed and was openly documenting were the very worst fears of the Cold War: the victory of communism in a capitalist country, and the subsequent destruction of a way of life for its people. Originally published in 1963, republished now to accompany new historical information on the possibility that Martino may have played a role in a conspiracy that resulted in the death of President John Kennedy. In later years, only months before his death, Martino confided that he served as a courier and had certain details regarding a conspiracy to kill JFK in Dallas. Martino was also prominent among those who provided purported evidence to prove Fidel Castro had been the moving force behind the accused assassin Lee Oswald. You will not find the details of what Martino did in 1963 in "I Was Castro's Prisoner" --- what you will find is the reason he acted as he did.