TERRITORY: Banksy is an infamous stencil graffiti artist, using the urban scenery for his canvas, painting on everything from walls, over the top of other art and even animals. Banksy’s work, from the walls of London Zoo to the Segregation Wall of Palestine, evokes strong reactions in the minds of those who look upon it. This is arguably one of his many aims, evoking reaction and controversy, awakening the often numb souls of the urban jungle. The city streets of the world can be transformed, his work acting as a catalyst within the minds of creativity; attempting to corrupt the already corrupted world of corporation, government, advertising and capitalism. Deleuze and Guattari, the War Machine. In this study, I will evoke what the a war machine essentially is, and what it actually encompasses with a close reading of A Thousand Plateaus, which I will use as my primary reading source. I will consider Banksy as a war machine, and throughout the study will relate the characteristics of the war machine to Banksy’s thought and art. In developing this I will explore what I believe the war machine has created, and whether these movements are useful, or perhaps more appropriately whether they are beneficial, to modern society. Furthermore, I will also argue as to whether one, or whether the war machine, can maintain a level of creativity within our society, which as it evolves appears to be suffocating the creative flows with the engulfing arms of capitalism, systems of government, and society itself. One question that I believe is crucial to ask is can a war machine truly exist? Are all attempts at creativity inevitably condemned to fail and become part of the system that they originally rejected? It is these, amongst other questions that will form the structure of Weapons of Mass Creation.