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The conflict, which expanded geographically, sociopolitically, and culturally in all directions and on all levels, not only dominated international relations but could also be felt in everyday life. As a “war of cultures,” it permeated the narratives and aesthetics of movies, comics, popular music,...
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| Published in: | Tiempo Devorado Vol. 7; no. 1 |
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| Main Author: | |
| Format: | Journal Article |
| Language: | Catalan |
| Published: |
Universitat Autònoma de Barcelona
01-05-2022
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| Subjects: | |
| Online Access: | Get full text |
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| Summary: | The conflict, which expanded geographically, sociopolitically, and culturally in all directions and on all levels, not only dominated international relations but could also be felt in everyday life. As a “war of cultures,” it permeated the narratives and aesthetics of movies, comics, popular music, literature, and also digital games. It is however not possible to speak of a homogeneous field of Cold War Games. The Cold War is in these games sometimes only a superficial flourish. Sometimes it serves as the motivation for conflict, sometimes it is used as a historical or fictional setting. What unites most games is the following: They serve first and foremost a dichotomous world view: a world with only two opponents. The emphasis is necessary because it reduces a highly complex global conflict into what actually becomes a binary system through the game: West or East. Neutral states are not mentioned here, nor are other alliances. Such a simple worldview can, of course, be perceived as a relief in an increasingly complex globalized world. In a way, the Cold War becomes here a myth, as described by Roland Barthes, insofar as we do not question it, it seems natural. |
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| ISSN: | 2565-2915 2385-5452 |