Wargames – Kriegsspiele Navigationsmenü
Der Schüler David ist ein Computerfreak. Eines Tages loggt er sich zufällig in ein geheimes Computer-System ein. Er wird zum Spiel aufgefordert und ahnt nicht, was daraus folgen kann. Das Computer-System kontrolliert nämlich das. WarGames – Kriegsspiele ist ein US-amerikanischer Film von John Badham aus dem Jahr Die Hauptrollen spielten Matthew Broderick und Ally Sheedy. taprackbang.eu: Finden Sie WarGames - Kriegsspiele in unserem vielfältigen DVD- & Blu-ray-Angebot. Gratis Versand durch Amazon ab einem Bestellwert von 29€. taprackbang.eu - Kaufen Sie WarGames - Kriegsspiele günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Sie finden Rezensionen und Details zu. WarGames - Kriegsspiele ein Film von John Badham mit Matthew Broderick, Dabney Coleman. Inhaltsangabe: Für den jungen Computerfreak David (Matthew. WarGames – Kriegsspiele. Computerfreak Matthew Broderick führt die Welt an den Abgrund eines neuen Weltkrieges. Der Hightechthriller aus der Reagan-Ära. Wargames - Kriegsspiele. WarGames. USA, FilmThrillerScience Fiction. Ein junger Hacker findet ein Programm, das er für ein Kriegsspiel hält. Doch das.
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Troop formations were represented by little porcelain blocks. The blocks could be moved across the battlefield in a free-form manner; dividers and rulers were used to regulate movement.
The royal family was delighted by Reisswitz's game, and frequently played it. However, it was not adopted by army instructors nor sold commercially.
The apparatus that Reisswitz made for the king was too expensive for mass-production. For instance, the rules for resolving the effects of gunfire and hand-to-hand combat were not fully worked out.
By , Reisswitz seemed to have lost interest in wargaming altogether. He took over the development of his father's wargame after his father lost interest in it.
He developed the game with the help of a circle of junior officers in Berlin. The prince eventually heard of Reisswitz Jr. In the earlier wargames of Hellwig and Venturini, units were like chess pieces in that when attacked, they were simply killed and removed from play, even if the pieces represented groups of soldiers.
By contrast, units in Reisswitz's game could suffer partial losses yet still remain on the battlefield.
A unit might withstand several rounds' worth of enemy attacks before finally collapsing. Reisswitz's game was thus the first to incorporate unit hitpoints.
It also modeled variable damage: The casualties inflicted by an attacker on his enemy were determined using dice.
Reisswitz Jr. The Prussian army had recently begun using such maps, which were the product of new advances in cartography and printing.
These maps may have not been available to Reisswitz Sr. The players did not directly control the troop blocks on the game map. Rather, they wrote down their orders for their troops and gave them to the umpire.
The umpire would then move the blocks across the game map according to how he judged the imaginary troops would interpret and carry out the players' orders.
The game also could simulate the fog of war , where the umpire would place on the map blocks only for the troops which were in visual range of both sides.
The umpire kept a mental track of where the hidden troops were located, and only deployed blocks for them when they came into view of the enemy.
The umpire also arbitrated situations which the rules did not explicitly cover, which plugged any gaps in Reisswitz Jr.
Naturally, this required the umpire to be an impartial and experienced officer. In early , the prince invited Reisswitz Jr. They were impressed and officially endorsed his game as a training tool for the officer corps.
The Chief of the General Staff, General von Müffling declared: "this is no ordinary sort of game, this is schooling for war. I must and will recommend it most warmly to the army.
Reisswitz established a workshop by which he could mass-produce and distribute it. In , Reisswitz was transferred away from Berlin to the provincial city of Torgau.
This was interpreted as a banishment: allegedly, he had made offensive remarks about his superiors. This disgrace was detrimental to the progression of his wargame for obvious reasons.
It wasn't until that the game was widely played in the military. Until then, it survived thanks to the efforts of a small number of wargaming clubs. The earliest of these clubs was the Berlin Wargame Association.
These clubs continued to develop Reisswitz's game, but they avoided mentioning his name in their publications. In , the Berlin Wargame Association published a limited expansion to Reisswitz's system.
In , they released a fresh wargaming manual which received a second edition in These updates sought to make Kriegsspiel more realistic, but they also made the rules more complicated.
Wilhelm von Tschischwitz published a Kriegsspiel manual in [c] that incorporated new technological advances such as railroads, telegraph, and breech-loading cannons; and which used conventional gaming dice.
In , Colonel Thilo von Trotha published his own wargaming treatise which went through three editions and had more complicated rules.
The Austro-Prussian War of and the Franco-Prussian War of broke a long period of peace for the German states, which made many officers feel a pressing need to better familiarize themselves with the conduct of war.
This led to a surge in interest in Kriegsspiel among Prussian officers. Lieutenant Wilhelm Jacob Meckel published a treatise in [d] and another in [e] in which he expressed four complaints about the overcomplicated rules of Kriegsspiel : 1 the rules constrain the umpire, preventing him from applying his expertise; 2 the rules are too rigid to realistically model all possible outcomes in a battle, because the real world is complex and ever-changing; 3 the computations for casualties slow down the game and have a minor impact on a player's decisions anyway; 4 few officers are willing to make the effort to learn the rules.
The only things he kept were the dice and the losses tables for assessing casualties. In , General Julius von Verdy du Vernois proposed dispensing with all the rules and tools completely and allowing the umpire to arbitrate the game entirely as he saw fit.
Kriegsspiel attracted little attention outside of Prussia before In , the French general Auguste de Marmont witnessed a Kriegsspiel match in Berlin and commissioned a translation of Reisswitz's manual which was submitted to the French army in March Many credited the Prussian army's superior performance to its wargaming tradition.
The Prussian army did not have any significant advantage in weaponry, numbers, or troop quality, but it was the only army in the world that practiced wargaming.
Baring, based on the system of Wilhelm von Tschischwitz, was published in for the British army and received a royal endorsement. Livermore published The American Kriegsspiel in In , a group of students and teachers at Oxford University founded the University Kriegspiel [ sic ] Club, which was the world's first recreational wargaming club.
Kriegsspiel has undergone a minor revival in the English-speaking world thanks to translations of the original rulebooks by a British wargaming enthusiast named Bill Leeson.
This summary is based on an English translation [20] of a wargaming manual written by Georg Heinrich Rudolf Johann von Reisswitz in Reisswitz's wargame was an instructional tool designed to teach battlefield tactics to Prussian officers.
It therefore aimed for maximum realism. The participants were expected to be well-versed in how battles were waged in the early 19th century.
This was particularly true for the umpire, who had to arbitrate situations which the rules did not cover using his own expertise.
Kriegsspiel is an open-ended game with no fixed victory conditions. The objectives of the respective teams are determined by the umpire and typically resemble the goals that an army might pursue in a real battlefield situation, such as expelling the enemy from a certain defensive position or inflicting a certain number of casualties.
The game is played between two teams and one umpire. Either team can have any number of players, but Reisswitz recommended 4 to 6 players each and that they be equal in size.
Only the umpire needs to be fully familiar with the rules, as he manipulates the pieces on the map and computes the outcomes of combat, whereas the players describe what they want their troops to do as if they were issuing orders to real troops in the field.
The map represents the battlefield. Troops on the battlefield are represented on the map by little rectangular pieces. In Reisswitz's time, these piece were made of lead, but modern reconstructions typically use plastic.
Each piece is painted with markings that denoted what kind of unit it represented cavalry, infantry, etc. The dimensions of each piece matched the dimensions of the actual troop formation it represented, to the same scale as the map.
Thus, each piece occupied an area on the map proportional to the space the actual troop formation would occupy in the field. The umpire establishes the scenario of the game.
He decides what the tactical objectives of the respective teams are, what troops they are provided with and how those troops are initially deployed on the battlefield.
The umpire will then assign each team the appropriate troop pieces for their units. If there are multiple players in a team, the teammates will divide control of their troops and establish a hierarchy of command in a way that should resemble Prussian military doctrine, subject to the umpire's approval.
Players do not speak to each other. Instead, they communicate with their teammates and the umpire through written messages.
This is so that the enemy team cannot hear their plans. This is also so that the umpire can delay or block messages if he feels the circumstances on the battlefield warrant it.
In the early 19th century, officers in the field communicated over long distances through messengers there was no radio in those days.
Messengers needed time to reach the recipient, and could be delayed or intercepted by the enemy. The umpire can simulate this problem by holding on to a player's message for a round or two before giving it to the recipient, never giving it, or even give it to the enemy.
Likewise, the players command their imaginary troops through written orders, which they submit to the umpire. The players are not allowed to manipulate the pieces on the map themselves — that is for the umpire to do.
The umpire will move the pieces across the map according to how he judges the imaginary troops would interpret and execute the players' orders.
The umpire places pieces on the map only for troops which he judges are visible to both sides. If a unit disappears from the enemy army's line of sight, the umpire will remove the piece from the map and keep it aside.
Naturally, this means the participants must keep a mental track of the positions of troops whose pieces are not on the map.
The players themselves may be represented on the battlefield with pieces that represent officers and their bodyguards. The positions of the officers on the battlefield affects how the players can communicate with each other and the troops.
Officers can be slain in battle like any other soldier, and if that happens the player ceases to participate in the game. The course of the game is divided into rounds.
A round represents two minutes of time. So there was this idea that he'd need a successor. And who would that be? Maybe this kid, a juvenile delinquent whose problem was that nobody realized he was too smart for his environment.
Schwartz made the connection between youth, computers, gaming, and the military. Parkes and Lasker came up with several different military-themed plotlines prior to the final story.
One version of the script had an early version of WOPR named "Uncle Ollie", or Omnipresent Laser Interceptor OLI , a space-based defensive laser run by an intelligent program, but this idea was discarded because it was too speculative.
They were adapted in drawings and concepts by art director Angelo P. WOPR was operated by a crewmember sitting inside the computer, entering commands into an Apple II at the director's instruction.
General Beringer was based on General James V. Martin Brest was originally hired as director, but was fired after 12 days of shooting because of a disagreement with the producers, [8] and replaced with John Badham.
Several of the scenes shot by Brest remain in the final film. Badham said that Brest had "taken a somewhat dark approach to the story and the way it was shot.
It was like [Broderick and Sheedy] were doing some Nazi undercover thing, so it was my job to make it seem like they were having fun, and that it was exciting.
Badham did 12 to 14 takes of the first shot to loosen the actors up. At one point, Badham decided to have a race with the two actors around the sound stage with the one who came last having to sing a song to the crew.
Badham lost and sang " The Happy Wanderer ", the silliest song he could think of. Tom Mankiewicz says he wrote some additional scenes during shooting that were used.
The site's critical consensus reads, "Part delightfully tense techno-thriller, part refreshingly unpatronizing teen drama, WarGames is one of the more inventive—and genuinely suspenseful—Cold War movies of the s.
Roger Ebert gave WarGames four out of four stars, calling it "an amazingly entertaining thriller" and "one of the best films so far this year", with a "wonderful" ending.
He concluded, "Incidentally, it's easy to see why this was so popular with kids: most of the adults in the film are boobs.
Computer Gaming World stated that " Wargames is plausible enough to intrigue and terrifying enough to excite It takes the micro and telecommunications as a given—part of the middle-class American landscape".
The magazine praised the film as "Very funny, excruciatingly suspenseful, and endlessly inventive, this movie is right on the mark; authentic even when highly improbable".
War Games is highly entertaining, fast-moving, colorful, and mentally stimulating". Fraker , Sound Michael J. Each frame took approximately one minute to produce, and 50, feet of negatives were produced over seven months.
The animations were projected "live" onto the screens from behind using mm film, so they were visible to the actors and no post-production work was needed.
WarGames was the first mass-consumed, visual representation of dial-up, remote computer access and it served as both a vehicle and framework for America's earliest discussion of the technology.
In the wake of the film, major news media focused on the potential for the " WarGames scenario" to exist in reality. This focus contributed to the creation of the first U.
Bulletin board system BBS operators reported an unusual rise in activity in , which at least one sysop attributed to WarGames introducing viewers to modems.
President Ronald Reagan , a family friend of Lasker's, watched the film and discussed the plot with members of Congress, [2] his advisers, and the Joint Chiefs of Staff.
Reagan's interest in the film is credited with leading to the enactment 18 months later of NSDD , the first Presidential directive on computer security.
A video game, WarGames , was released for the ColecoVision in and ported to the Atari 8-bit family and Commodore 64 in WarGames: Defcon 1 , a real-time strategy game that was only loosely related to the film, was released for the PlayStation and PC in The film's music was composed and conducted by Arthur B.
A soundtrack album including songs and dialogue excerpts was released by Polydor Records. Intrada Records issued an expanded release in with the complete score, with expanded horn sections and without the film dialogue.
In , Quartet Records issued a 35th anniversary expanded 2-CD edition containing the score as presented in the film, and the Polydor album on disc 2.
WarGames [30] Special Collection release limited to copies. Expanded brass including extra trumpets, trombones, and baritone horns.
To promote the sequel, the film returned to selected theaters as a one-night-only 25th-anniversary event on July 24, An interactive media reboot of WarGames was announced by MGM in , with Interlude serving as its co-production company.
The project was described as an "audience-driven story experience", with anticipated launch in From Wikipedia, the free encyclopedia. This article is about the film.
For the film, see War Game film. For other uses, see War Game disambiguation. Theatrical release poster. Lawrence Lasker Walter F.
United Artists Sherwood Productions. Release date. Running time. Stephen Falken a. Lightman Susan Davis as Mrs.
Jerry Lawson Michael Madsen as Lt. Steve Phelps Alan Blumenfeld as Mr. Main article: WarGames interactive media.
Archived from the original on July 12, Retrieved May 1, The New York Times. Retrieved February 28, Archived from the original on January 3, Retrieved March 27, Archived from the original on September 20, Retrieved September 20, Archived from the original on June 2, Retrieved March 15, The Hollywood Interview.
Archived from the original on July 8, University Press of Kentucky. Box Office Mojo.
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1 Kommentare
Fausho · 17.02.2020 um 00:50
Ganz richtig! Mir scheint es die gute Idee. Ich bin mit Ihnen einverstanden.