Le champ historien comme terrain de jeu.La conception de jeux vidéo d’histoire face au « droit de véto » des sources
When stating that “history is whatever historian do”, Antoine Prost looks at history as a “social practice (…) situated in time and space”, entertained by individuals “that present themselves as historians and are acknowledged as such”. Building from this assertion, in this article we will seek to b...
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| Format: | Article |
| Language: | fra |
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Laboratoire Interdisciplinaire Récits Cultures Et Sociétés
2022-12-01
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| Series: | Cahiers de Narratologie |
| Subjects: | |
| Online Access: | https://journals.openedition.org/narratologie/14053 |
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| Summary: | When stating that “history is whatever historian do”, Antoine Prost looks at history as a “social practice (…) situated in time and space”, entertained by individuals “that present themselves as historians and are acknowledged as such”. Building from this assertion, in this article we will seek to better understand “what game designers do” when it comes to historical videogames, more particularly regarding the position they assume on the frontiers of a “historian field” of activities. Due to the historical material they invoke, and to which a “veto right” seems to be granted, certain sectors of videogame design ground their creative practices to ethical principles, design teams clarify and delineate their perceived rights, duties and responsibilities as “cultural artisans” representing the past. Based on multiple testimonies and reflections from the designers of the games Assassin’s Creed IV : Black Flag (Ubisoft, 2013) and Assassin’s Creed : Freedom Cry (Ubisoft, 2013), this contribution presents the formulation of a narrative via the digital (the production of a historical videogame), and how it is supported by a narrative about the digital : one that seeks to appreciate and justify singular creative practices, to situate and clarify them. |
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| ISSN: | 0993-8516 1765-307X |