Medal of Honor
Game
Documents about Medal of Honor
Whitepaper19 pages
In the Army Now: Narrative Elements and Realism in Military First-Person Shooters
This study examines 189 military-themed first-person shooters released between 1992 and 2010, responding to a gap in empirical research on FPS content despite theoretical claims about the military-entertainment complex and possible persuasive effects on players.
- Analysis of 189 military first-person shooters released between 1992 and 2010 found that World War II settings account for 63.6 percent of depicted conflicts.
- Protagonists are overwhelmingly American (82.3 percent) and white (95.5 percent), and the most common enemies are Germans (28.8 percent) and Russians (15.9 percent).
- The range of adversaries diversified after 2001, with Middle Eastern and North American opponents appearing more often in war-on-terror and future-conflict titles.
DiGRAJan 2011
Whitepaper15 pages
Apocalypse the Spielberg Way: Representations of Death and Ethics in Saving Private Ryan, Band of Brothers and the Videogame Medal of Honor: Frontline
Kingsepp's paper compares how death and ethics are represented in Steven Spielberg's Saving Private Ryan and Band of Brothers and in the 2002 video game Medal of Honor: Frontline.
- The paper argues that Spielberg's Saving Private Ryan and Band of Brothers depict death in hyperrealistic, emotionally intimate ways that invite viewers to reflect on mortality and moral ambiguity, whereas Medal of Honor: Frontline (2002) adopts a postmodern model in which enemy corpses vanish.
- The game's vanishing corpses are read as a symbolic ritual of conquering death, casting enemies as an abundant, disease-like threat to be continually exterminated in pursuit of heroic reward.
- The author suggests the disappearing corpses may partly stem from technical constraints such as limited memory ('byte economy'), noting that the earlier game Return to Castle Wolfenstein shows corpses can be preserved.
DiGRAJan 2003
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