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Indeed, the way the ideological enemy of the Cold War was replaced by a (dis)similar ideological enemy in the wake of the 9/11 events reflects, at least in part, “the ease with which Americans feel comfortable having a foreign enemy, somewhere out there, ready to threaten the American way of life” (Wiegand 52).
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1 I wish to thank Elena Furlanetto and Mahmoud Arghavan at whose panel on Islamophobia at the DGfA an (.).Adopting Achille Mbembe’s notion of necroplitics in the ludic, mechropolitical sense proposed by Amanda Phillips, I focus on these games’ opposing, yet usefully comparable, approaches to enmification through racialization through entertainment-a two-step project of death that, nodding to Sharon Patricia Holland, I understand as affective, yet heedless feasts of indifference. As I suggest in this essay, 1X games promote unappealing and non-immersive, yet overtly political projects of death.
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I refer to these games as 1X because, in encountering America’s enemies, they promote only the last of the 4X game-verbs, that is, “eXterminate.” In other words, instead of planning how to best train for, track down, encounter, and ultimately fight against this enemy, the choice that these controversial, post-9/11games offer is to simply eliminate the already out-at-large, under-armed, erratic Muslim enemy in a drone-like, distanced, and lackluster manner. Graphically and narratively simple war games such as the critically acclaimed, counter-narrative September 12 th (2003) and the heavily criticized and deleted Muslim Massacre (2008)- titles that I refer to as 1X war games-trade in the overall logic of necropolitics.