Water

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Dear Andrea:

My boyfriend has not been coming during vaginal sex. I finally asked him if we hadn’t given him enough recovery time between go-rounds and he said yes. Thing is, it happens when we haven’t had sex in a day or so. I want to let him be the expert on his own penis, but I also worry that he’s not telling me about a problem.

He initiates sex often, even when I think he’s probably still too soft from the last time and should wait. I’ll suggest fooling around more, etc., but it’s frustrating to be constantly saying "no" and "wait" and "how about a blow job first?" Up to this point it’s been fantastic, and though I gained a few pounds over the holidays, I am dieting and he claims to find me attractive.

Love,

Unwilling Expert

Dear Ex:

Of course he finds you attractive. However much of that horrible green bean and Campbell’s soup casserole you may have consumed back in December has nothing to do with it, or with anything, really.

I think letting him be "the expert on his own penis" is an excellent plan; why don’t you do that? If he tries to accomplish "intromission" (sex books don’t really use words like "intromission" anymore, do they?) and he’s not quite up to it, surely he has the good sense to wait a few moments without any advice from you? And if he does get it in there and can’t come, does he simply flail away until the morning alarm goes off, or does he give up after a while, allowing you to step in with a heroic blow job to save the day?

It’s not that I want you to be a passive recipient of whatever passes for sex chez you, far from it. It’s just that you’re overthinking this. If you really believe he might be concealing some secret shame or unnerving health problem then ask him about it, but not while he’s actually in the process of using the penis he’s supposed to be the expert on. Never works.

Love,

Andrea

Dear Andrea:

I can only orgasm from vaginal penetration and usually do so between one and five times. I rarely come during oral sex; I can probably count the times on both hands in the past 20 years. I feel like I’m disappointing my boyfriend — he says most women he’s been with come this way and thinks it’s a little odd that I can’t. Is this psychological in some way or is it just the way my body works? I don’t know if this matters or not, but I was sexually molested by an older female when I was eight. I’m way past it, but not sure if it may have something to do with it. I’d like to understand my own body and not feel like the odd woman out.

Love,

Backwards

Dear Back:

Nobody’s ever satisfied! It’s true, as far as it goes, that far more women can climax easily from oral sex than from intercourse. It is also essentially meaningless. Most of those women spend at least some small proportion of their free time bellyaching to girlfriends or sex advice columnists that they can’t come from intercourse, anyway.

If your long-ago abuser did do something oral sex–like to you then it is certainly possible that your body just doesn’t want any truck with it, and who could blame it? You could consult a therapist but do be careful — it sounds as though you have made your peace with the events of your childhood, and it may be best, in the long run, simply to leave that particular hornet’s nest alone.

There are reasons neither physiological nor directly related to the abuse that could explain why you don’t come from oral sex. The most common is probably the sort of stage fright to which many people, particularly women, are prone: Being the center of attention is so much more awkward than pleasing someone else, and, omigod, what if he wants to stop already and I still haven’t come, will he start to resent me? In a word, no, he won’t, but try to convince your shyest innermost teenager of that. Your particular partner isn’t helping matters much when he opines that it’s "odd" of you, either. Odd is as odd does, whatever that means. You have my permission to tell him that you understand that it’s unusual in his experience and so on but bringing it up again is not helping and he is welcome to shut up. Well, leave the last part off, if you like. That was just me.

Do keep in mind that not everybody likes everything and sometimes it’s just that simple. If that doesn’t satisfy and you want to know whether your body to can respond to oralish stimulation in the absence of stage fright, try a trickle of warm water in the bathtub or, if you’re up for more, a pulsing showerhead. Water is like a tongue, sort of, but it never says anything to make you feel bad.

Love,

Andrea

Sex on the brain? Interviews for San Francisco Sex Information’s spring training start this Saturday and they fill up fast. If you want your chance to be a know-it-all like me, sign up now at http://www.sfsi.org/training.

Andrea Nemerson has spent the last 14 years as a sex educator and an instructor of sex educators. In her previous life she was a prop designer. Visit www.altsexcolumn.com to view her previous columns.

 

 

 

Getting to know T.I.

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One thing to like about Clifford "T.I." Harris Jr.’s truthful intelligence is the fact that the straight-outta–West Atlanta MC chose XXL, not Entertainment Weekly, as the place to compare himself (in an interview) to Jennifer Lopez and Barbra Streisand. Anyone who’s heard T.I.’s music or seen his videos may wonder where the hell that comparison comes from. This weekend will provide the answer — by the end of it, he hopes to have the number one movie (with the Chris Robinson–directed drama ATL) and album (with King) in the country.

Ensconced in a Palace Hotel boardroom, the man whose first, prefame album was titled I’m Serious is just that, whether discussing the ways self-made Southern trailblazers such as the Geto Boys set a business example for him; exactly how UGK, NWA, and Luther Campbell made it easier to speak freely in his radio hits; or describing his and David Banner’s Katrina-relief drives. "Everyone was talking about whether the Red Cross and FEMA were doing what they were supposed to do," he says, regarding Heal the Hood and his radio telethon efforts. "We filled up 18-wheelers and dropped off clothes, nonperishable food, diapers, and water."

Juggling cell phones — "I’m actually talking about developing a script this second," he says — T.I. does crack a smile when I tell him Hollywood has been slow to recognize his star charisma. Until recently, his biggest hit, "U Don’t Know Me" (from 2004’s Urban Legend), might as well have been directed at the studios. But the breakthrough success of Hustle and Flow has changed that quickly. T.I.’s label, Grand Hustle, released the soundtrack featuring Three 6 Mafia’s Oscar-winning song, so it’s far from a stretch to imagine T.I. and Terrence Howard exchanging music and acting tips.

Now both ATL and King’s swaggering leadoff single, "What You Know," are primed to increase T.I.’s fan base. "Those are huge shoes to fill, definitely, but I ain’t scared," he admits — with apologies to Bonecrusher? — when asked what he thinks about a Pharrell quote essentially labeling him the Jay-Z of the South. "I appreciate the compliment. I think people should be more concerned about how he [Jay-Z] feels about it. If he don’t have a problem with it, I definitely don’t." That said, the serious man with the number one plan allows himself a rare laugh. (Johnny Ray Huston)

ATL

Opens Fri/31 in Bay Area theaters.

For showtimes go to www.sfbg.com.

www2.warnerbros.com/atl

Without Reservations

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We haven’t quite reached the point at which you can cuss somebody out with the phrase “farmed salmon,” but for responsible fish buyers it’s a fairly hair-raising expression nonetheless. Farmed salmon, while predictable, convenient, and relatively inexpensive, implies a great many bad things, among them water pollution, the spreading of pathogens, and the overuse of antibiotics whose long-term effects in people are poorly understood. Salmon farming is also part of the unfortunate American habit of industrially producing everything, from furniture to writers. And, for connoisseurs, farmed salmon is just not as tasty as its wild cousins.

My dark confession for today is that, all other things being equal, I would prefer to buy farmed seafood

Making a splash

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"One, two, three, four – squeeze your butt, Paul! – seven, eight," coach Suzanne Baker says into the microphone, pacing the poolside deck and counting the beats to a techno remix of "Another One Bites the Dust."

The members of Tsunami Tsynchro are in the water doing leg splits in the air. The first time they try it, legs bash into heads. "OK, OK, I can fix this," says Baker. She has them add more space by pushing off each other’s shoulders with their feet. They practice the new move repeatedly. "Again. Under. Again. Under," Baker commands.

Tsunami Tsynchro is the country’s first – and right now, only – male synchronized swimming team. It grew out of the Tsunami Swim Team, a gay and lesbian masters team, started two years ago as a synchro team for gay men (though it now includes several women).

They practice twice a week, today holding their underwater positions with the help of empty milk containers. "The bottles force you to find your body mass," Baker explains as they work to mobilize their bodies. The team is preparing its technical routine, a 90-second display of its most difficult moves that will be performed at this summer’s Gay Games in Chicago, where Tsunami Tsynchro will compete for the first time, alongside all-women’s teams.

It will be a big summer for the team, but it could’ve been bigger. In August the XI Fédération Internationale de Natation World Masters Championships are coming to the United States for the second time ever, but the Tsunami team isn’t allowed to compete. When the Bay Area hosts the FINA Championships at the Stanford Aquatic Center, the nation’s first male synchro team will be just a Caltrain ride away from the bleachers, but a lot farther from being permitted into the pool.
Image problems

Synchronized swimming combines rigorous physical exertion with the demands of polished performance. During routines, swimmers can’t touch the pool’s walls or bottom at any time. They spend a good portion of each routine with their heads underwater and bodies vertical, being judged on how high their legs reach. Coach Baker compares performing a synchro routine to "having to race a 400 individual medley in swimming, holding your breath every third lap, and smiling the entire time."

Stephen Houghton comes to the team with a history of Iron Man competitions and a seven-day stage race across the Sahara desert. He says synchro is tougher, and credits his one advantage not to his years of endurance sports but rather to his ballet training as a kid. "It gave me flexibility, and the ability to count to eight. You’d be surprised how many men can’t count to eight."

Underwater, the swimmers have to do more than count and hold their breath; they also have to control their heart rate. "If you’re pumped up and excited, you burn up all your oxygen," says Stuart Hills, a brown belt in tae kwon do and a former competitive swimmer. "You have to get into a relaxation state."

Pool time can be perilous too. Complicated lifts can lead to injury – bloody and broken noses, for example, and one bad incident involving a knee splintering a set of goggles. But during the routines, the difficulty of the sport has to melt away from the performance. "It’s tough," Hills says, "but you’re supposed to make it look easy."

Image is key to synchro – in a couple of ways. On the one hand, swimmers are judged by the attitude they project during routines; on the other, they must fight the image problem that has hindered their sport’s mainstream acceptance.

Synchronized swimming is a sport almost defined by the mockeries made of it, including the classic Saturday Night Live skits involving a pair of male synchronized swimmers, one wearing floaties. You’re more likely to find synchro on Comedy Central – in movies ranging from Austin Powers to Mel Brooks’s History of the World: Part I – than on ESPN. That’s made Tsunami Tsynchro’s quest for acceptance all the more difficult.

"This is really the last area men haven’t been able to compete [in]," says Bob Wheeler, one of the team’s founding members. Unlike female-dominated sports such as figure skating and gymnastics, synchronized swimming has no male or mixed category. "You don’t have many young boys doing synchro," Baker notes, "so they don’t see a need to make a category yet."

Beyond gender bias, there are other barriers to creating male synchro teams. In general, new synchro teams are not started very often because it’s an expensive sport. The underwater speaker system cost the Tsunami team $3,000. Synchro teams also have fewer swimmers than most swim teams, yet they need more attention and more pool time to hone their routines, so each member must pay more in coaching and pool fees. And in order to develop and practice routines, all the team members must be present.

"This is in no way an individual sport," says Baker.

If new synchro teams are rare, new male synchro teams are even more elusive, the white tiger of aquatic sports. It’s not a sport in which men find it easy to participate. When Wheeler created his Match.com profile, he debated whether or not to put down synchronized swimming as one of his hobbies. As it turned out, Wheeler began dating Kurt Kleespies, a longtime swimmer, who’s now the newest member of the team.

Officially, men aren’t welcome under the sport’s highest guidelines. Though they are allowed to compete domestically under US Synchro rules, FINA, the worldwide governing body of aquatic sports, doesn’t allow men to compete at an international level.

"In theory," Baker admits, "women shouldn’t compete directly with men." At the Olympic level, she says, the rule makes sense since men have the capacity for greater strength. But at the masters level, she argues, the genders are much more evenly matched. Most women competing at the masters level have been longtime synchro swimmers. The men are almost all beginners. And when they’re starting out, she says, men face several significant barriers: "Women tend to be more flexible. Men are denser and therefore less buoyant. These guys are all trained swimmers…. They were sinkers from the get-go."
No men allowed

More than 8,000 international masters athletes will hit the Bay Area in August for the FINA championships in swimming, diving, water polo, and – for women only – synchronized swimming.

Because of the FINA rule, the World Masters Championships can’t allow men to compete. "We are all for people competing in whatever sport they want to compete," says Anne Cribbs, chair of the Bay Area Sports Organizing Committee and executive director of the FINA championships. She supports male participation in the sport if approved by FINA, but can’t permit it in international competition until it’s officially accepted.

Not so long ago, the rule seemed poised for change. "In 2000 I thought it might happen," says Don Kane, competition director for synchronized swimming at the World Masters. Five years ago a proposal was brought before the FINA General Conference to allow men to compete. It was passed by the FINA Congress, but then overruled by FINA president Mustapha Larfaoui, from Algeria, and FINA executive director Cornell Marculescu, from Romania, who cited a lack of male teams. Or, as Kane suggests, concerns by "male-dominated cultures."

The prospects for men competing internationally are not bright in the immediate future, Kane surmises. At the Athens Olympics, Larfaoui had the FINA rules changed so he could run for office again, and Kane doesn’t foresee the synchro rules changing under his command.

As for the Tsunamis, "we thought about registering as a female team and trying to pass as women," coach Baker jokes. She turns serious, though, saying, "These guys are doing a lot of hard work. They should be allowed to compete."

The team is hoping to put on an exhibition routine, though they’ll need FINA permission even for that. But Tsunami board member Brad Hise is optimistic about their chances, saying, "This is the Bay Area; men do things here that people don’t typically associate with us."

Synchro is a sport of physical challenge, artistic movement, jazzy music, gender conflict, and international cultural clashes. And one more thing, says Stevens: It’s also a sport of total surprise. "People disappear underwater, and you think, what will they do when they come up?"

www.basoc.org/pr_032405.html  www.sftsunami.org

Monkey business

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 STEPHEN LISBERGER IS a scientific star. His decades-long research into how the brain registers and responds to visual stimuli is considered groundbreaking. His colleagues are effusive in their praise. William Newsome, a Stanford University neuroscientist who investigates similar terrain, told the Bay Guardian that "it could take decades, or even centuries" to assemble a complete, working map of the brain’s essential functions. "And Steve is one of the few people in the world who’s making progress on this."

The federal government thinks he’s worth a fair chunk of taxpayer change: The National Institutes for Health gave Lisberger $1.6 million in grants this year, and since 1992, an NIH database shows, he’s received 31 grants worth a total of more than $12 million.

But Lisberger’s work involves fairly invasive experiments on live subjects, and since you can’t exactly stick electronic probes into the brains of human beings, Lisberger uses rhesus monkeys, those red-faced staples of biomedical research. His experiments have made him the bane of many critics of animal experimentation – and over the past decade he’s become the poster boy for opponents of animal experimentation at UCSF.

Lisberger declined to be interviewed for this story, so we gleaned the outlines of his work from federal documents and UCSF records.

It’s not a pretty picture.

According to the scientific protocol for his experiments, filed with UCSF, Lisberger’s monkeys undergo several different surgeries, under anesthesia, to prepare them for the research. First, each monkey has a restraint device attached to its head with a combination of metal plates, bolts, and screws. That will later allow the monkey’s head to be locked in place for experiments. One or two holes are drilled in the skull, and then cylindrical recording chambers are secured over those holes so that microelectrodes that will allow precise neural activity to be measured can be inserted into the brain with ease. (The electrodes themselves don’t cause discomfort because the brain lacks pain receptors.)

Sometimes, small wire coils are sutured to the monkeys’ eyeballs. Other times the monkeys have spectacles attached to their faces that either magnify or miniaturize everything they see.

The monkeys in Lisberger’s lab are put on a fluid-restriction program, so that each day they are scheduled to "work" they will obey commands for "rewards" of water or Tang. Each monkey is taught to move from its cage to a "primate chair," and once in the chair, its head is locked into the restraining device. Then the animal is prompted to move its eyes in certain ways to receive a reward. Monkeys typically work for two to four hours a day on alternating weeks, often for three years or more.

Lisberger’s protocol states that his work could eventually lead to "the cure for many diseases of learning and memory such as Alzheimer’s Disease."

Suzanne Roy, from In Defense of Animals, says she started looking into Lisberger’s experiments in the late 1990s, after IDA got anonymous complaints from people who said they worked for UCSF. "What struck me was the highly invasive nature of them and the duration of them … " she said. "He’s making the monkeys so thirsty they’ll move their eyes in a certain way for a juice reward. How could anyone do this to an intelligent monkey?"

In 2002 Roy asked Lawrence A. Hansen, a neuropathologist at UC San Diego who is unusual in his willingness to question animal research, to evaluate Lisberger’s protocol. "I have never previously encountered experiments that would deliver quite so much suffering to higher primates for so comparatively little scientific gain…." Hansen wrote afterward. "While I do not doubt that these experimental manipulations will generate valid scientific data, such information is purchased at too high a moral and ethical cost. Even the primary investigator seems to feel it necessary to disguise his actual motivations, which are those of a fundamental research scientist, by invoking a link to a cure for Alzheimer’s disease. This is one of the more ludicrous stretches from basic science to human application that I have ever encountered in my 20 years of research into Alzheimer’s disease and other neurodegenerative diseases affecting human beings."

When we spoke to Hansen recently, he criticized Lisberger’s grant applications and said, "He’s picked a part of the brain that’s not even involved in Alzheimer’s."

Lisberger’s studies are "basic science," meaning that they aim to answer larger scientific questions about how something works – in this case, the brain – rather than to invent or test a treatment. Although it might be somewhat easier to stomach an experiment that might cure Alzheimer’s than one that seeks to understand how the brain functions, it is hard to dispute that this is valid science: How can medical researchers cure problems they fundamentally don’t understand?

But even if you agree that the goals of Lisberger’s research justify his use of animals, you might be troubled by Lisberger’s record. Documents show that some animals enrolled in his research have a difficult time coping with the physical stress involved – and that Lisberger has resisted efforts to make his experiments more animal-friendly.

Clinical notes gathered by IDA and other groups show that Lisberger’s monkeys routinely undergo six or eight surgeries just to deal with their various implants and the infections they sometimes cause, or to remove scar tissue that has built up on the monkeys’ dura, the protective layer between skull and brain, because of repeated electrode insertions. Several monkeys in Lisberger’s lab have shown a significant decrease in body weight, and others have displayed a habit of self-mutilation, biting at their limbs and tearing out their hair.

Several years ago, when the internal committee that oversees animal research at UCSF raised concerns about whether monkeys in Lisberger’s experiments would receive sufficient water, particularly if they were "worked" on consecutive weeks, Lisberger responded in writing. "I am not willing to tie my laboratory’s flexibility down by setting guidelines or limits, or by agreeing to a negotiation with the veterinary staff when we do this," he wrote in a June 1998 letter. "I believe that the experimental schedule in my laboratory is an issue of academic freedom and that the Committee on Animal research lacks that [sic] standing to regulate this schedule."

In fact, the Animal Welfare Act was amended in 1985 to give the committee the primary responsibility for watchdogging researchers and ensuring that measures are taken to minimize the suffering of lab animals.

Less than two years after that bitter exchange, UCSF was cited by federal inspectors for AWA violations linked to Lisberger’s experiments. In one report the inspector wrote, "In my professional opinion, the nutritional requirements for these animals were not met for either food or water." He also noted that a monkey identified as #17652 – who, according to other documents, was enrolled in a Lisberger experiment – had remained assigned to the protocol and was even placed on "long-term water restriction," despite the fact that he had chronic diarrhea.

UCSF temporarily suspended Lisberger’s study and paid a $2,000 fine to settle the matter. And, despite his gaffes, UCSF defends Lisberger.

Vice Chancellor Ara Tahmassian described Lisberger’s lab as a "model program" and said Lisberger is one of the only UCSF researchers who has hired veterinary technicians to work exclusively in his lab and "make sure that everything that happens is done in accordance with proper standards of care." He added, "It’s critical for him, because of the nature of his research, that his animals are properly taken care of." Tahmassian also said that, in an academic setting, "there are times that individuals do believe that an oversight committee such as IACUC is getting into areas of science which the faculty members don’t believe is in their jurisdiction…. It doesn’t mean that the IACUC is going to just back off."

IACUC members also told us that, these days, Lisberger is cooperative. "I think the committee has a very good working relationship with Dr. Lisberger," IACUC chair Linda Noble said.

Even if Lisberger has cleaned up his act, it’s hard to see why UCSF would put him in charge of training the scientists of tomorrow how to work with animals. Yet, according to online course information, Lisberger sometimes lectures UCSF students on "Philosophical/ethical issues in animal experimentation," relevant regulations, and "pain minimization."

Army of glum

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ANY GIVEN FIVE minutes of Battlefield 2 (Electronic Arts) play can resemble the opening scene of Saving Private Ryan. You’re riding in an amphibious tank with your squad across enemy waters. Rumbles from explosions start getting louder and closer. Stray bullets hit the tank’s armor and the water outside. Suddenly you’re on land, the tank stops, and your squad leader yells, "Move!" over your headset. You jump out into utter chaos, bullets flying everywhere, your teammates falling around you. You run for cover as a stray grenade explosion blurs your vision and rings in your ears. With a giant whoosh, a support bomber passes overhead and takes out some enemy tanks. You blitz the checkpoint, trying to pick off remaining defenders and hoping you didn’t miss anyone in the huts that you’re sprinting past.

One of the most realistic war-themed action games ever made, rivaled only by its predecessors, Battlefield 1942 (EA) and Battlefield Vietnam (EA), BF2 is rightfully one of the most popular action games in the country today. It seamlessly integrates land, sea, and air vehicles into lush, photo-realistic maps where trees shake from the force of chopper propellers and snipers hide in swaying blades of grass. And the game play is just as slick as the graphics, allowing you to coordinate complicated team strategies through a simple command system and speak with your squad mates if you have a mic with your computer. The most dynamic part of the game stresses teamwork. Because of its massive strategic depth, if you want to accomplish anything other than annoying people online, you’ll have to work with your team to capture checkpoints and win matches – a feat never quite achieved on this level by other games.

This is the game I dreamed of when I was a kid playing Rogue Spear and Counter-Strike, diet versions of this action-packed feast. But that was before the current ridiculous war and all the oh-my-god footage coming back on television and in films like Fahrenheit 9/11 and Gunner Palace. As the previous games in the series did with WWII and Vietnam, BF2 trivializes the trauma of our current war in Iraq – and a possible future war with China – by making it into entertainment.

The game claims to sidestep politics by presenting a fictional conflict between a hypothetical Middle East Coalition (MEC), China, and the US Marines. The MEC and China switch off battling an invasive United States for strategic checkpoints that your team must camp at for a certain amount of time to gain control of. From the opening cutscene that plays like an action movie with all its destruction-glorifying grandeur, it’s clear that only a nation-player with the will to achieve total military dominance over other countries – and a complete ignorance of the ramifications for the people in those conquered countries – could take pleasure in acting out these scenarios. I’m glad most gamers playing BF2 probably don’t have firsthand experience with military oppression, but games such as this present a disconnect between reality and fantasy that contributes to the acceptance of US military actions.

After 9/11 and the subsequent wars in Afghanistan and Iraq, it’s safe to say that we’ve ceased to live in a bubble. Yet, although BF2 is just a game, its release at a time when 30 percent of soldiers returning from Iraq are reporting mental health issues stemming from the horrors they’ve witnessed, is a sign that our entertainment-industrial complex has shirked its responsibility by uncritically celebrating a very complicated issue, however inadvertently.

The problem is that the premise for war games acts as its own excuse. Nina Huntemann, director of the 2000 film Game Over: Gender, Race and Violence in Video Games, describes how some military games rely on the narrative of neutralizing a terrorist threat without questioning what makes someone a "terrorist" or why we should "neutralize" them. Though BF2 includes little narrative, the idea that there could possibly be a military conflict between the Middle East, China, and the United States is so obvious and predetermined that none of these types of questions even come to mind.

I don’t fault Digital Illusions, BF2’s developer: It’s difficult to sell sensitivity, but it’s easy to sell explosions. I blame a general immersion in entertainment that is predicated on the lie that fantasy is divorced from reality. The fantasy that we are removed from the war in Iraq is one of the things that allows the reality of it to continue.

Video games haven’t just become more like war – war has become like video games. I’ll never forget the moment in Fahrenheit 9/11 when a kid talks about how he listens to the Bloodhound Gang while he sits in his tank and shoots at people. That sounds a lot like what you do in BF2. The war in Iraq is at least partly being fought by kids whose first ideas of war were shaped by video game simulations before they experienced the reality. Like the tactics of dehumanizing the enemy to ease the ethical hang-ups involved in killing them, this extra layer of detachment enables kids to reconcile participating in potentially traumatic events.

Even the US Army actively tries to sell war as a video game. Recently I’ve caught Army recruitment commercials of guys working at computers and coordinating attacks from the comfort of a tent, perpetuating the idea that war can be fought on a flat screen without real-world messiness. Naturally, BF2’s commander screen, on which you can zoom in on different parts of the map and order squad movements or artillery strikes, looks a lot like the graphics flying around an Army commercial.

The Army also invested more than $6 million in a g ame called America’s Army, which it released for free over the Internet in August 2002, less than a year after 9/11 and seven months before war was declared on Iraq. Possibly one of the most sinister forms of propaganda to fly under the media’s radar, America’s Army essentially indoctrinates players into military life through a graphically advanced action game. Openly billed as a recrui tment tool, the game has players make their way through virtual boot camp and then move on to military operations.

Of course, games have always revolved around war and violence, from dodgeball to capture the flag. War is about strategy, problem-solving, and competition, just like most video games. Its popularity as a theme for video games is no surprise, just as it’s no surprise the Army wants to tap into that recruiting pool. These games aren’t desensitizing kids to real violence or instilling them with a lust for it. But the games’ latent values feed an unquestioning acceptance of the United States’ current militarism and normalize it for future generations. I don’t know if we – or the world – can afford another detached generation. Until we find a way to give kids, and, for that matter, adults, a real context for the fantasies provided by the entertainment industry, the enabling disconnect will continue.