September 12th, this is not a game.

The lack of tension, the tears realistic, and especially the complete absence of any winner, are all taboo for workers to entertainment playful, which instead have the need to keep senpre high and positive voltage of the game. September 12th includes these and other characteristics antagonistic to the spectacular and the playability of a commercial product. The game becomes a critical medium of simulation, very effective to use the same weapon of abstraction of a conflict, namely the interface and electronic images, to see the real drama. The player can only move his display and shoot missiles (or refrain from doing so), inevitably hitting civilians, children and destroying homes. The dead accasciano on the ground, but with no taste for the ravine, while someone else is in despair with the same movements of a character in a video game, staging the metaphor of scenes seen on TV hundreds of times. Freely available online, the game has another important feature, namely that of not having a pre-order, letting the user decide to stop, a little 'as is happening in reality. The territory is made with an isometric perspective, already consecrated as the archetype of the game by John Haddock in his series of 'Screenshot', famous photographs of crime visually translated into 'pages', and represents a window culturally 'uncomfortable' for the user , but finally can look 'through the eyes of the enemy.'