Control is given to a NORAD supercomputer, WOPR ( War Operation Plan Response ), programmed to continuously run military simulations and learn over time.

WOPR ( pronounced " Whopper ") is a fictional military supercomputer featured in the movie WarGames and its sequel.

In the sketch, the nerd is searching for cheat codes online after being beaten in a game and comes across a military defense computer like WOPR ( jokingly named B. I. G. M. A. C .).

"), implying that the war-games simulator she is descended from is WOPR.

* In Buffy the Vampire Slayer, Season Nine issue 12 entitled " Guarded, part 2 ", the WOPR label is prominently displayed below the master power switch on the server that controls the TinCan social network.

* In the 1983 film WarGames, the master computer WOPR is programmed to interpret a sudden power loss as the result of a decapitation strike and automatically launch all weapons in retaliation.

Published in 1985, it is about a boy who receives a computer on his twelfth birthday, only to find it has a mind of its own, flashing lights to get attention, switching itself on and off at will, and communicating using text ( similar to the WOPR ).

In the 2008 direct-to-video sequel WarGames: The Dead Code WOPR was retired and replaced with R. I. P. L. E. Y., a new artificial intelligence supercomputer.

A famous example of this sort of backdoor was used as a plot device in the 1983 film WarGames, in which the architect of the " WOPR " computer system had inserted a hardcoded password ( his dead son's name ) which gave the user access to the system, and to undocumented parts of the system ( in particular, a video game – like simulation mode and direct interaction with the artificial intelligence ).

Testament ( 1983 ), another postwar vision of survival in a small California town after WWIII ; WarGames ( 1983 ), features a young computer hacker who nearly starts World War Three when he inadvertently breaks into a fictional NORAD supercomputer named WOPR ( War Operation Plan Response ) to play the latest video games ; The Terminator ( 4 films, 1984, 1991, 2003, 2009 ) features a post-apocalyptic future in which artificial intelligence has become self aware, identifies all humans as a threat and uses the worlds nuclear arsenal to destroy mankind.

The film follows David Lightman ( Broderick ), a young hacker who unwittingly accesses WOPR, a United States military supercomputer programmed to predict possible outcomes of nuclear war.

Unbeknownst to its military users, WOPR was programmed with a level of sentience by its inventor, and when prompted it responds to the name Joshua, the name of its creator's deceased son.

Lightman gets WOPR to run a nuclear war simulation, originally believing it to be a computer game.

In the film WarGames, the supercomputer WOPR simulates all possible scenarios of a nuclear war, each of them ending in a nuclear holocaust ( mutual assured destruction ).

* WOPR appears in the loose video game adaptation of the film, WarGames: Defcon 1, as one of the playable sides in the game.

Lightman does not know that the Sunnyvale phone number connects to WOPR, or " Joshua ", at Cheyenne Mountain.

One version of the script had an early version of WOPR.

The idea was discarded in preference of WOPR because it was too speculative.

A puzzle game, WarGames: WOPR, was released for iOS and Android devices in 2012.

" WOPR " according to the director plays off of the Whopper hamburger and a fuzzy image of something going whop.

WOPR was used to run a hydroelectric dam in Canada but R. I. P. L. E. Y.

sent an unmanned predator drone to destroy the old WOPR.

The WOPR computer as seen in the film was a prop created in Culver City, California, by members of the International Alliance of Theatrical and Stage Employees Local 44.

( Since the time-span of the nation-state coincides roughly with the separate existence of the United States as an independent entity, it is perhaps natural for Americans to think of the nation as representative of the highest form of order, something permanent and unchanging.

And it is expressed, at least to their taste, in a perfect form.

The unit of form is determined subjectively: `` the Heart, by the way of the Breath, to the Line ''.

The test of form is fidelity to the experience, a gauge also accepted by the abstract expressionist painters.

But in this approach it is the artist's ultimate insight, rather than his immediate impressions, that gives form to the work.

It is through the metamorphosed dancer that the germ of form is discovered.

It only means that there will be new form, and that this form will be of such a type that it admits the chaos and does not try to say that the chaos is really something else.

That is why the form itself becomes a preoccupation, because it exists as a problem separate from the material it accommodates.

To find a form that accommodates the mess, that is the task of the artist now ''.

Though sex in some form or other enters into all human activity and it was a good thing that Freud emphasized this aspect of human nature, it is fantastic to explain everything in terms of sex.

How is the beat poet to achieve unity of form when he is at the same time engaged in a systematic derangement of senses.

But the highroad, according to the description of its traffic, belongs to life as it is lived in unawareness of death, while the way to the churchyard belongs to some other sort of life: a suffering form, an existence wholly comprised in the awareness of death.

And if I have gone into so much detail about so small a work, that is because it is also so typical a work, representing the germinal form of a conflict which remains essential in Mann's writing: the crude sketch of Piepsam contains, in its critical, destructive and self-destructive tendencies, much that is enlarged and illuminated in the figures of, for instance, Naphta and Leverkuhn.

All such imitations of negative quality have given rise to a compensatory response in the form of a heroic and highly individualistic humanism: if man can neither know nor love reality as it is, he can at least invent an artistic `` reality '' which is its own world and which can speak to man of purely personal and subjective qualities capable of being known and worthy of being loved.

Whitehead contends that the human way of understanding existence as a unity of interlocking and interdependent processes which constitute each other and which cause each other to be and not to be is possible only because the basic form of such an understanding, for all its vagueness and tendency to mistake the detail, is initially given in the way man feels the world.

In a bold, sometimes careless, form there is nothing academic ; ;

This is brought out in the next to last chapter of the book, `` A Hero's Funeral '', written in the form of an impassioned prose poem.

But let us not complain of the evils of capitalism by referring to a form that is not truly capitalistic.