ABSTRACT
This chapter examines the role of digital experiences of war-making in informing people's geopolitical imaginations in regards to the War on Terror. It focuses the affective dimensions and narrative similarities between helmet-cam combat videos shot by US troops in war zones and first-person shooter (FPS) video games. The chapter argues the visual experiences of war have transformed the third-person spec-tatorship homefront into a first-person observership to sustain a minimum level of social consent to make wars possible. Until the emergence of critical geopolitics in the 1980s, traditional geopolitical theories were mainly about statehood, strategic interests, military build-up and geographical resources and positions of nation-states and, hence, shared the realist views of IR. As OTuathail argues, geopolitics, a term first coined by R. Kjellen, was intimately connected with the belligerent dramas of that century to describe the geographical base of the state, its natural endowment and resources.
