This sumptuously illustrated volume, edited by eminent war historian Joanna Bourke, offers a comprehensive visual, cultural and historical account of the ways in which armed conflict has been represented in art. Covering the last two centuries, the book shows how the artistic portrayal of war has changed, from a celebration of heroic exploits to a more modern, truthful depiction of warfare and its consequences. Featuring illustrations by artists including Paul Nash, Judy Chicago, Pablo Picasso, Melanie Friend, Francis Bacon, Kathe Kollwitz, Yves Klein, Robert Rauschenberg, Dora Meeson, Otto Dix and many others, as well as those who are often overlooked, such as children, women, non-European artists and prisoners of war, this extensive survey is a fitting and timely contribution to the understanding, memory and commemoration of war, and will appeal to a wide audience interested in warfare, art, history or politics. Introduction by Joanna Bourke, with essays by Jon Bird, Monica Bohm-Duchen, Joanna Bourke, Grace Brockington, James Chapman, Michael Corris, Patrick Crogan, Jo Fox, Paul Gough, Gary Haines, Clare Makepeace, Sue Malvern, Sergiusz Michalski, Manon Pignot, Anna Pilkington, Nicholas J. Saunders, John Schofield, John D. Szostak, Sarah Wilson and Jay Winter.

From flight simulators and first-person shooters to MMPOG and innovative strategy games like 2008's "Spore," computer games owe their development to computer simulation and imaging produced by and for the military during the Cold War. To understand their place in contemporary culture, Patrick Crogan argues, we must first understand the military logics that created and continue to inform them. "Gameplay Mode" situates computer games and gaming within the contemporary technocultural moment, connecting them to developments in the conceptualization of pure war since the Second World War and the evolution of simulation as both a technological achievement and a sociopolitical tool.

Crogan begins by locating the origins of computer games in the development of cybernetic weapons systems in the 1940s, the U.S. Air Force's attempt to use computer simulation to protect the country against nuclear attack, and the U.S. military's development of the SIMNET simulated battlefield network in the late 1980s. He then examines specific game modes and genres in detail, from the creation of virtual space in fight simulation games and the co-option of narrative forms in gameplay to the continuities between online gaming sociality and real-world communities and the potential of experimental or artgame projects like "September 12th: A Toy World "and" Painstation, "to critique conventional computer games.

Drawing on critical theoretical perspectives on computer-based technoculture, Crogan reveals the profound extent to which today's computer games--and the wider culture they increasingly influence--are informed by the technoscientific program they inherited from the military-industrial complex. But, Crogan concludes, games can play with, as well as play out, their underlying logic, offering the potential for computer gaming to anticipate a different, more peaceful and hopeful future.