Source – mintpressnews.com
- “….A closer inspection of Activision Blizzard’s key staff and their connections to state power, as well as details gleaned from documents obtained under the Freedom of Information Act, reveal that Call of Duty is not a neutral first-person shooter but a carefully constructed piece of military propaganda, designed to advance the interests of the U.S. national security state”
By Alan MacLeod
Call of Duty: Modern Warfare II has been available for less than three weeks, but it is already making waves. Breaking records, within ten days, the first-person military shooter video game earned more than $1 billion in revenue. Yet it has also been shrouded in controversy, not least because missions include assassinating an Iranian general clearly based on Qassem Soleimani, a statesman and military leader slain by the Trump administration in 2020, and a level where players must shoot “drug traffickers” attempting to cross the U.S./Mexico border.
The Call of Duty franchise is an entertainment juggernaut, having sold close to half a billion games since it was launched in 2003. Its publisher, Activision Blizzard, is a giant in the industry, behind titles games as the Guitar Hero, Warcraft, Starcraft, Tony Hawk’s Pro Skater, Crash Bandicoot and Candy Crush Saga series.
Yet a closer inspection of Activision Blizzard’s key staff and their connections to state power, as well as details gleaned from documents obtained under the Freedom of Information Act, reveal that Call of Duty is not a neutral first-person shooter, but a carefully constructed piece of military propaganda, designed to advance the interests of the U.S. national security state…
It has long been a matter of public record that American spies have targeted and penetrated Activision Blizzard games. Documents released by Edward Snowden revealed that the NSA, CIA, FBI and Department of Defense infiltrated the vast online realms such as World of Warcraft, creating make-believe characters to monitor potential illegal activity and recruit informers. Indeed, at one point, there were so many U.S. spies in one video game that they had to create a “deconfliction” group as they were wasting time unwittingly surveilling each other. Virtual games, the NSA wrote, were an “opportunity” and a “target-rich communication network”.
However, documents obtained legally under the Freedom of Information Act by journalist and researcher Tom Secker and shared with MintPress News show that the connections between the national security state and the video game industry go far beyond this, and into active collaboration.
In September 2018, for example, the United States Air Force flew a group of entertainment executives – including Call of Duty/Activision Blizzard producer Coco Francini – to their headquarters at Hurlburt Field, Florida. The explicit reason for doing so, they wrote, was to “showcase” their hardware and to make the entertainment industry more “credible advocates” for the U.S. war machine.
“We’ve got a bunch of people working on future blockbusters (think Marvel, Call of Duty, etc.) stoked about this trip!” wrote one Air Force officer. Another email notes that the point of the visit was to provide “heavy-hitter” producers with “AFSOC [Air Force Special Operations Command] immersion focused on Special Tactics Airmen and air-to-ground capabilities.”
“This is a great opportunity to educate this community and make them more credible advocates for us in the production of any future movies/television productions on the Air Force and our Special Tactics community,” wrote the AFSOC community relations chief.
Francini and others were shown CV-22 helicopters and AC-130 planes in action, both of which feature heavily in Call of Duty games.
Yet Call of Duty collaboration with the military goes back much further. The documents show that the United States Marine Corps (USMC) was involved in the production of Call of Duty: Modern Warfare 3 and Call of Duty 5. The games’ producers approached the USMC at the 2010 E3 entertainment convention in Los Angeles, requesting access to hovercrafts (vehicles which later appeared in the game). Call of Duty 5 executives also asked for use of a hovercraft, a tank and a C-130 aircraft.
This collaboration continued in 2012 with the release of Modern Warfare 4, where producers requested access to all manner of air and ground vehicles.
Secker told MintPress that, by collaborating with the gaming industry, the military ensures a positive portrayal that can help it reach recruitment targets, stating that,
For certain demographics of gamers it’s a recruitment portal, some first-person shooters have embedded adverts within the games themselves…Even without this sort of explicit recruitment effort, games like Call of Duty make warfare seem fun, exciting, an escape from the drudgery of their normal lives.”
Secker’s documentary, “Theaters of War: How the Pentagon and CIA Took Hollywood” was released earlier this year.
The military clearly held considerable influence over the direction of Call of Duty games. In 2010, its producers approached the Department of Defense (DoD) for help on a game set in 2075. However, the DoD liaison “expressed concern that [the] scenario being considered involves future war with China.” As a result, Activision Blizzard began “looking at other possible conflicts to design the game around.” In the end, due in part to military objections, the game was permanently abandoned.
FROM WAR ON TERROR TO FIRST-PERSON SHOOTERS
Not only does Activision Blizzard work with the U.S. military to shape its products, but its leadership board is also full of former high state officials. Chief amongst these is Frances Townsend, Activision Blizzard’s senior counsel, and, until September, its chief compliance officer and executive vice president for corporate affairs.
Prior to joining Activision Blizzard, Townsend spent her life working her way up the rungs of the national security state. Previously serving as head of intelligence for the Coast Guard and as Secretary of State Condoleezza Rice’s counterterrorism deputy, in 2004, President Bush appointed her to his Intelligence Advisory Board.
As the White House’s most senior advisor on terrorism and homeland security, Townsend worked closely with Bush and Rice, and became one of the faces of the administration’s War on Terror. One of her principal achievements was to whip the American public into a constant state of fear about the supposed threat of more Al-Qaeda attacks (which never came).
As part of her job, Townsend helped popularize the term “enhanced interrogation techniques” – a Bush-era euphemism for torturing detainees. Worse still, Lt. Col. Steven L. Jordan, the officer in charge of the notorious Abu Ghraib prison, alleged that Townsend put pressure on him to ramp up the torture program, reminding him “many, many times” that he needed to improve the intelligence output from the Iraqi jail.
Townsend has denied these allegations. She also later condemned the “handcuff[ing]” and “humiliation” surrounding Abu Ghraib. She was not referring to the prisoners, however. In an interview with CNN, she lamented that “these career professionals” – CIA torturers – had been subject to “humiliation and opprobrium” after details of their actions were made public, meaning that future administrations would be “handcuffed” by the fear of bad publicity, while the intelligence community would become more “risk-averse”.
During the Trump administration, Townsend was hotly tipped to become the Director of National Intelligence or the Secretary of Homeland Security. President Trump also approached her for the role of director of the FBI. Instead, however, Townsend took a seemingly incongruous career detour to become an executive at a video games company.
ENTER THE WAR PLANNERS
In addition to this role, Townsend is a director of the NATO offshoot, the Atlantic Council, a director at the Council on Foreign Relations, and a trustee of the hawkish think tank, the Center for Strategic and International Studies, a group MintPress News has previously covered in detail.
Funded by weapons companies, NATO and the U.S. government, the Atlantic Council serves as the military alliance’s brain trust, devising strategies on how best to manage the world. Also on its board of directors are high statespersons like Henry Kissinger and Conzoleezza Rice, virtually every retired U.S. general of note, and no fewer than seven former directors of the CIA. As such, the Atlantic Council represents the collective opinion of the national security state.
Two more key Call of Duty staff also work for the Atlantic Council. Chance Glasco, a co-founder of Infinity Ward developers who oversaw the game franchise’s rapid rise, is the council’s nonresident senior fellow, advising top generals and political leaders on the latest developments in tech.
Game designer and producer Dave Anthony, crucial to Call of Duty’s success, is also an Atlantic Council employee, joining the group in 2014. There, he advises them on what the future of warfare will look like, and devises strategies for NATO to fight in upcoming conflicts.
Anthony has made no secret that he collaborated with the U.S. national security state while making the Call of Duty franchise. “My greatest honor was to consult with Lieut. Col. Oliver North on the story of Black Ops 2,” he stated publicly, adding, There are so many small details we could never have known about if it wasn’t for his involvement.”
Oliver North is a high government official gained worldwide infamy after being convicted for his role in the Iran-Contra Affair, whereby his team secretly sold weapons to the government of Iran, using the money to arm and train fascist death squads in Central America – groups who attempted to overthrow the government of Nicaragua and carried out waves of massacres and ethnic cleansing in the process.
REPUBLICANS FOR HIRE
Another eyebrow-raising hire is Activision Blizzard’s chief administration officer, Brian Bulatao. A former Army captain and consultant for McKinsey & Company, until 2018, he was chief operating officer for the CIA, placing him third in command of the agency. When CIA Director Mike Pompeo moved over to the State Department, becoming Trump’s Secretary of State, Bulatao went with him, and was appointed Under Secretary of State for Management.
There, by some accounts, he served as Pompeo’s personal “attack dog,” with former colleagues describing him as a “bully” who brought a “cloud of intimidation” over the workplace, repeatedly pressing them to ignore potential illegalities happening at the department. Thus, it is unclear if Bulatao is the man to improve Activision Blizzard’s notoriously “toxic” workplace environment that caused dozens of employees to walk out en masse last summer.
After the Trump administration’s electoral defeat, Bulatao went straight from the State Department into the highest echelons of Activision Blizzard, despite no experience in the entertainment industry.
The third senior Republican official Activision Blizzard has recruited to its upper ranks is Grant Dixton. Between 2003 and 2006, Dixton served as associate counsel to President Bush, advising him on many of his administration’s most controversial legal activities (such as torture and the rapid expansion of the surveillance state). A lawyer by trade, he later went on to work for weapons manufacturer Boeing, rising to become its senior vice president, general counsel and corporate secretary. In June 2021, he left Boeing to join Activision Blizzard as its chief legal officer.
Other Activision Blizzard executives with backgrounds in national security include senior vice president and chief information security officer Brett Wahlin, who was a U.S. Army counterintelligence agent, and chief of staff, Angela Alvarez, who, until 2016, was an Army chemical operations specialist.
That the same government that was infiltrating games 10-15 years ago now has so many former officials controlling the very game companies raises serious questions around privacy and state control over media, and mirrors the national security state penetration of social media that has occurred over the same timeframe.
These deep connections to the U.S. national security state can perhaps help partly explain why, for years, many have complained about the blatant pro-U.S. propaganda apparent throughout the games.
The latest installment, Call of Duty: Modern Warfare II, is no exception. In the game’s first mission, players must carry out a drone strike against a character named
The latest installment, Call of Duty: Modern Warfare II, is no exception. In the game’s first mission, players must carry out a drone strike against a character named General Ghorbrani. The mission is obviously a recreation of the Trump administration’s illegal 2020 drone strike against Iranian General Qassem Soleimani – the in game general even bears a striking resemblance to Soleimani.
Call of Duty: Modern Warfare II ludicrously presents the general as under Russia’s thumb and claims that Ghorbrani is “supplying terrorists” with aid. In reality, Soleimani was the key force in defeating ISIS terror across the Middle East – actions for which even Western media declared him a “hero”. U.S.-run polls found that Soleimani was perhaps the most popular leader in the Middle East, with over 80% of Iranians holding a positive opinion of him.
Straight after the assassination, Pompeo’s State Department floated the falsehood that the reason they killed Soleimani was that he was on the verge of carrying out a terror attack against Americans. In reality, Soleimani was in Baghdad, Iraq, for peace talks with Saudi Arabia.
These negotiations could have led to peace between the two nations, something that the U.S. government is dead against. Then-Iraqi Prime Minister Adil Abdul-Mahdi revealed that he had personally asked President Trump for permission to invite Soleimani. Trump agreed, then used the opportunity to carry out the killing.
Therefore,, just as Activision Blizzard is recruiting top State Department officials to its upper ranks, its games are celebrating the same State Department’s most controversial assassinations.
This is far from the first time Call of Duty has instructed impressionable young gamers to kill foreign leaders, however. In Call of Duty Black Ops (2010), players must complete a mission to murder Cuban leader Fidel Castro. If they manage to shoot him in the head, they are rewarded with an extra gory slow motion scene and obtain a bronze “Death to Dictators” trophy. Thus, players are forced to carry out digitally what Washington failed to do on over 600 occasions.
Likewise, Call of Duty: Ghosts is set in Venezuela, where players fight against General Almagro, a socialist military leader clearly modelled on former president Hugo Chavez. Like Chavez, Almagro wears a red beret and uses Venezuela’s oil wealth to forge an alliance of independent Latin American nations against the U.S. Washington attempted to overthrow Chavez and his successor, Nicolás Maduro, multiple times. During the sixth mission of the game, players must shoot and kill Almagro from close range.
The anti-Russian propaganda is also turned up to 11 in Call of Duty: Modern Warfare (2019). One mission recreates the infamous Highway of Death incident. During the First Iraq War, U.S.-led forces trapped fleeing Iraqi troops on Highway 80. What followed was what then-Joint Chiefs of Staff Chairman Colin Powell described as “wanton killing” and “slaughter for slaughter’s sake” as U.S. troops and their allies pummeled the Iraqi convoy for hours, killing hundreds and destroying thousands of vehicles. U.S. forces also reportedly shot hundreds of Iraqi civilians and surrendered soldiers in their care.
Call of Duty: Modern Warfare recreates this scene for dramatic effect. However, in their version, it is not the U.S.-led forces doing the killing, but Russia, thereby whitewashing a war crime by pinning the blame on official enemies.
“Call of Duty, in particular, has been flagged up for recreating real events as game missions and manipulating them for geopolitical purposes,” Secker told MintPress, referring to the Highway of Death, adding,
In a culture where most people’s exposure to games (and films, TV shows and so on) is far greater than their knowledge of historical and current events, these manipulations help frame the gamers’ emotional, intellectual and political reactions. This helps them turn into more general advocates for militarism, even if they don’t sign up in any formal way.”
Secker’s latest book, “Superheroes, Movies and the State: How the U.S. Government Shapes Cinematic Universes,” was published earlier this year.
In today’s digitized era, the worlds of war and video games increasingly resemble one another. Many have commented on the similarities between piloting drones in real life and in games such as Call of Duty 4: Modern Warfare. Prince Harry, who was a helicopter gunner in Afghanistan, described his “joy” at firing missiles at enemies. “I’m one of those people who loves playing PlayStation and Xbox, so with my thumbs I like to think I’m probably quite useful,” he said. “If there’s people trying to do bad stuff to our guys, then we’ll take them out of the game,” he added, explicitly comparing the two activities. U.S. forces even control drones with Xbox controllers, blurring the lines between war games and war games even further.
The military has also directly produced video games as promotional and recruitment tools. One is a U.S. Air Force game called Airman Challenge. Featuring 16 missions to complete, interspersed with facts and recruitment information about how to become a drone operator yourself. In its latest attempts to market active service to young people, players move through missions escorting U.S. vehicles through countries like Iraq and Afghanistan, serving up death from above to all those designated “insurgents” by the game.
Players earn medals and achievements for most effectively destroying moving targets. All the while, there is a prominent “apply now” button on screen if players feel like enlisting and conducting real drone strikes on the Middle East.
U.S. Armed Forces use the popularity of video games to recruit heavily among young people, sponsoring gaming tournaments, fielding their own U.S. Army Esports team, and directly trying to recruit teens on streaming sites such as Twitch. The Amazon-owned platform eventually had to clamp down on the practice after the military used fake prize giveaways that lured impressionable young viewers onto recruitment websites.
Video games are a massive business and a huge center of soft power and ideology. The medium makes for particularly persuasive propaganda because children and adolescents consume them, often for weeks or months on end, and because they are light entertainment. Because of this, users do not have their guards up like if they were listening to a politician speaking. Their power is often overlooked by scholars and journalists because of the supposed frivolity of the medium. But it is the very notion that these are unimportant sources of fun that makes their message all the more potent.
The Call of Duty franchise is particularly egregious, not only in its messaging, but because who the messengers are. Increasingly, the games appear to be little more than American propaganda masquerading as fun first-person shooters. For gamers, the point is to enjoy its fast-paced entertainment. But for those involved in their production, the goal is not just making money; it is about serving the imperial war machine