Deep in the control room the nation's chiefs watch with alarm as their computers show imminent missile attack. Could this be it? Or is the truth funnier, though almost as alarming.Romanen er baseret på den succesrige film "WarGames" om, hvordan en und computer hacker sætter nationens forsvar i alarmberedskab.

The convergence of military strategy and mathematics in war games, from medieval to modern times. For centuries, both mathematical and military thinkers have used game-like scenarios to test their visions of mastering a complex world through symbolic operations. By the end of World War I, mathematical and military discourse in Germany simultaneously discovered the game as a productive concept. Mathematics and military strategy converged in World War II when mathematicians designed fields of operation. In this book, Philipp von Hilgers examines the theory and practice of war games through history, from the medieval game boards, captured on parchment, to the paper map exercises of the Third Reich. Von Hilgers considers how and why war games came to exist: why mathematical and military thinkers created simulations of one of the most unpredictable human activities on earth. Von Hilgers begins with the medieval rythmomachia, or Battle of Numbers, then reconstructs the ideas about war and games in the baroque period. He investigates the role of George Leopold von Reiswitz's tactical war game in nineteenth-century Prussia and describes the artifact itself: a game board–topped table with drawers for game implements. He explains Clausewitz's emphasis on the “fog of war” and the accompanying element of incalculability, examines the contributions of such thinkers as Clausewitz, Leibniz, Wittgenstein, and von Neumann, and investigates the war games of the German military between the two World Wars. Baudrillard declared this to be the age of simulacra; war games stand contrariwise as simulations that have not been subsumed in absolute virtuality.

D-Day with beach umbrellas in the distance? Troops ordering ice cream? American and German forces celebrating Christmas together in the barracks? This could only be the curious world of 20th-century war reenactors. A relatively recent and rapidly expanding phenomenon, reenactments in the United States of World War I, World War II, the Korean War, and the Vietnam War now draw more than 8,000 participants a year. Mostly men, these reenactors celebrate, remember, and re-create the tiniest details of the Battle of the Bulge in the Maryland Woods, D-Day on a beach in Virginia, and WWI trench warfare in Pennsylvania. Jenny Thompson draws on seven years of fieldwork, personal interviews, and surveys to look into this growing subculture. She looks at how the reenactors' near obsession with owning “authentic” military clothing, guns, paraphernalia, and vehicles often explodes into heated debates. War Games sheds light on the ways people actually make use of history in their daily lives and looks intensely into the meaning of war itself and how wars have become the heart of American history. The author's photographs provide incredible evidence of how “real” these battles can become.

Based on a true story of World War II. For 12-year-old Petros, World War II feels unreal and far away. What’s real is working in his papa’s garden. Playing marbles with his friends. Fighting with his older brother, Zola. Zola, who must always be first. Who must always be best. But when the Germans invade Greece, the war suddenly comes impossibly close. Overnight, neighbors become enemies. People begin to keep secrets (Petros’s family most of all). And for the first time, Petros has the chance to show Zola that he’s not just a little brother but that he can truly be counted on. Soon what were once just boys’ games become matters of life and death as Petros and Zola each wonder if, like their resistance fighter cousin, they too can make a difference.

Describes and evaluates in terms of presentation, rules, playability, realism, and complexity, wargames located in various ages and in real and imaginary lands

From Rwanda to Afghanistan, from Sudan to Iraq, this brilliantly written and at times blackly funny work of reportage shows how the humanitarian aid industry, the media and warmongers the world over are locked in a cycle of mutual support. Drawing on her decades of first-hand experience, Linda Polman�s gripping narrative introduces us to the key players in this twisted game, to the aid-workers and the warlords themselves. Among many others, there is the Bible-bashing one-man NGO who rescued two Sierra Leonean girls from life in an amputee camp � only to change his mind and try to send them back again; the director of the World Bank in Kabul who estimates that 35�40 per cent of all aid in Afghanistan is looted or lost; and the rebel soldier who explains that war does not mean fighting: 'W.A.R. means Waste All Resources. Destroy everything. Then you people will come and fix it.' War Games is a controversial expos� from the front lines of the humanitarian aid industry by one of the most intrepid and brilliantly incisive journalists of our times.