![]() ![]() However, it is clear from this assessment of the sources, that difference between the Welsh approach to war and that of their Norman and English counterparts was not significantly different. Medieval writers established an image of Welsh soldiering that is quite often backward and barbaric, and although some refer to Welsh skill in combat, they also emphasise the weaknesses of their approach and their unwillingness to partake in open battle, preferring night attacks and ambushes. Finally this is brought together in the final section to discuss the reality of soldiering in medieval Wales. There is also a discussion on the form of the shield. ![]() The second is formed by a discussion of the different types of military equipment that would have been used, including the bow and arrow, the spear, the sword and other miscellaneous weapons. The first examines the variety of evidence available to study the art of war in medieval Wales, and assesses its value to the proposed research. The thesis is separated into three sections. This thesis has revisited the historical evidence, and together with the analysis of literature and virtually untouched archaeological material, in order to determine the accuracy of this image. The established image of the art of war in medieval Wales is based on the analysis of historical documents, the majority of which have been written by foreign hands, most notably those associated with the English court. The conclusion discusses the stakes of the stereotyping and othering of Muslims by digital war games, and highlights some challenges to Islamophobia in the digital games industry. These games immerse players in patriarchal fantasies of “militarized masculinity” and place a “mythical Muslim” before their weaponized gaze to be virtually killed in the name of US and global security. Navy SEALs (2002), Full Spectrum Warrior (2004), Close Combat: First to Fight (2005), Battlefield 3 (2011), Army of Two (2008), Call of Duty 4: Modern Warfare (2007), Medal of Honor (2010), and Medal of Honor: Warfighter (2012). The third section probes “mythical Muslim” stereotypes in ten popular digital war games released between 20: Conflict: Desert Storm (2002), Conflict: Desert Storm 2 (2003), SOCOM U.S. The second section contextualizes the contemporary production and consumption of digital war games with regard to the “military-digital-games complex” and real and simulated military violence against Muslims, focusing especially on the US military deployment of digital war games to train soldiers to kill in real wars across Muslim majority countries. The article’s first section establishes the relevance of the study of digital war games to feminist games studies, feminist international relations, and post-colonial feminism. This article argues that digital war games communicate misleading stereotypes about Muslims that prop up patriarchal militarism and Islamophobia in the context of the US-led Global War on Terror. ![]()
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