3 (2017), 396–414 and Eugen Pfister, “Of Monsters and Men – Shoah in Digital Games,” Public History Weekly 6, no. How do we define a line between public history in video games and pure manipulation and propaganda? [8] Historians look for distortions not on the factual level but in the general message of the past events. Spiders wurde 2018 vom Spielemagazin IGN anhand von The Technomancer als erfolgreicher Vertreter eines allmählich entstehenden Marktes für B-Spiele (in Anlehnung an B-Movies) bezeichnet. [3] Scott A. Metzger, and Richard J. Paxton “Gaming history: A framework for what video games teach about the past,” Theory & Research in Social Education 44, no. Sie führen Statistiken über den (wachsenden) Spielemarkt, die (wachsende) Zahl von Spieler*innen oder über den (hohen und … [3] Wineburg et al. In deren Beforschung liegt die Chance echter interdisziplinärer Zusammenarbeit – damit wir künftig nicht mehr über “professionelle Identitäten” diskutieren müssen, sondern uns auf das Wesentliche konzentrieren können. Muss man über eine Berufsidentität verfügen, um sich Public Historian nennen zu können? Just copy and paste. Most critics, however, are less concerned with the effects this may have on the retelling and interpretation of history by video players. “Playing at Slavery. 2013 folgte das nunmehr allein entwickelte Action-Rollenspiel Mars: War Logs. Take Sim City (Maxis 1989) for example. After all, this is the main purpose of games. [17], Ähnlich wie diejenigen, welche sich zu historischen Filmen äussern, so gehen Historiker*innen, die sich mit Videospielen befassen, darüber hinaus, nur Sachen aufzuzählen und das Vorgelegte in Bezug auf das, was die richtige oder falsche Darlegung sei, zu kritisieren. 4 (2016), 532. WhatsApp @ School – Where Does the Fun Stop? Perspectives on History,”, Perspectives on History January 2016, https://www.historians.org/publications-and-directories/perspectives-on-history/january-2016/backward-compatible-gamers-as-a-public-history-audience (last accessed 19 March 2020). be considered (depending on the use/interaction?) Players e.g. There was a controversy regarding the 2018 Kingdom Come: Deliverance by Warhorse Studios that claimed “historical accuracy.”. [19] Using analytical frameworks developed for the analysis of history-related films is not uncommon. Einige von ihnen kümmern sich kaum um präzise historische Narrative. “Wir versuchen die Leute zu unterhalten, und nicht, diese mit unserer Wissenschaftlichkeit zu beeindrucken. Calling public historians, I mean historians who reflectively examine how societies construct the meaning of the past based on the media, collectives memories, traditions and so on. [18] Gemäss Metzger & Paxton wird die Auswahl meistens auf der Basis von zwei Hauptparadigmen gemacht: Gamifizierung der Vergangenheit erfordert, dass “Geschichte, wie immer geeignet sie als Szenerie sein mag, nicht der “Spielbarkeit” und den historischen Grenzen, welche einige der Themen bespielbar machen und andere eben nicht (wie zum Beispiel die Sklaverei, geschlechtsspezifische oder rassistische Gewalt), in die Quere kommen darf. [23] McCall, Video Games, 405-416. Das Spiel ist gespickt mit ihnen.”[33]. Rather, as Johanna Wojdon has carefully observed, there is a field of professional vanity in which everyone claims their right to professional sovereignty and accuracy (professional historians are particularly good at this). the events or processes that actually did happen in the past) but by revealing the history of the world of the game (like e.g. Here, games offer the chance for players to really “live” through these difficult times and situations depicted in them. Wie Jerome de Groot (2016, S. 159) beim Interviewen von Spieleentwicklern herausgefunden hat, betrachten diese das Niveau aus der Kinderliteratur-Abteilung als etwas, das die Bedürfnisse und Ansprüche ihrer gewünschten Zielgruppe befriedigt. [14] Leitlinien zur Entwicklung von geschichtsbezogenen wissenschaftlichen Spielen und theoretische Forschungsmodelle über spezifisch geschichtsbezogene Videospiele waren ebenfalls Gegenstand von Überlegungen. [6], A critical attitude towards history-related games is often backed up by the assessment of historical accuracy of game scenarios and sceneries. Für seine Eigenproduktion verwendet das Studio die selbstentwickelte Silk-Engine, eine Modifikation von Sonys PhyreEngine.[4]. Here, as a game designer, one should ask oneself: Is this statement necessarily true? Der globale Spieleentwickler und der Champion-Sprinter haben sich zusammengetan, um das allererste offizielle Usain Bolt. 3( 2013), 312-332. Game developers, thus, do not have a professional identity as historians, even though as a matter of fact they play the role of public historians – the ones who shape the general public’s knowledge about the past. “Die Geschichte, aus welcher die Jugendlichen ihr Wissen ziehen, […] der kulturelle Lehrplan dürfte viel bedeutender sein für das Prägen ihrer Vorstellungen zur Vergangenheit als Berge von Schulbüchern, auf denen weiterhin das Augenmerk der Historiker*innen und Geschichtslehrpersonen liegt.”[4], Wie Metzger und Paxton klar darlegten, sind geschichtsbezogene Elemente nicht nur in pädagogischen Spielen zur Geschichte vorhanden, sondern auch in anderen Spielgenres, von First Person Shootern eingebettet in gewissen historischen Kontexten (z.B. Matthew W. Kapell and Andrew B.R. Diese haben ein deutlich geringeres Budget als sogenannte AAA-Topproduktionen. Elliot (New York: Bloomsbury, 2013), 91–106. [7] Cory Wright‐Maley, John K. Lee, and Adam Friedman, “Digital simulations and games in history education,” in The Wiley international handbook of history teaching and learning, eds. 3 (2003). [3] As Wineburg et al. Es ist nicht ungewöhnlich, dass wissenschaftliche Texte über Videospiele im Bildungsbereich zu Anfang die wachsende Bedeutung von Spielen im modernen Wirtschaftsleben, Lifestyle und Kultur erwähnen. DeviantArt is the world's largest online social community for artists and art enthusiasts, allowing people to connect through the creation and sharing of art. Spieleentwickler*innen verfügen somit nicht über die berufliche Identität von Historiker*innen, selbst wenn sie in Tat und Wahrheit die Rolle von Public Historians einnehmen – diejenigen, welche das Wissen der breiten Öffentlichkeit über die Vergangenheit prägen. The underlying worldview of a game designer directly influences the world they create. Of course, the designers need to be extra careful to tackle these (rightfully) sensitive topics. Teaching history with museums: Strategies for K-12 social studies (New York: Routledge, 2017), 9. is a leading provider of web based solutions with an established brand across Asia and Australia and a development center situated in the heart of India’s emerging IT hub, Ahmedabad. Sie führen Statistiken über den (wachsenden) Spielemarkt, die (wachsende) Zahl von Spieler*innen oder über den (hohen und zunehmenden) Zeitaufwand für das Spielen, besonders von jungen Menschen, auf. For permission please contact the editor-in-chief (see here). Is the PrageU “”If You Live in Freedom, Thank the British Empire” video a public history? http://www.nordicrpg.fi/halathisar/. befassten sich in ihrer Forschung mit Quellen der kollektiven Erinnerung an den Vietnamkrieg und konnten dem Film Forrest Gump eine bestimmende Rolle für die Herausbildung dieser kollektiven Erinnerung nachweisen. Is there such a line? History Brought alive by the university of Sheffield, 2015, http://www.historymatters.group.shef.ac.uk/meet-historical-experts-laurent-turcot-assassins-creed-unity/ (last accessed 20 March 2020). [7], Das Dekonstruieren und Analysieren von Videospielen als historiographische Narrative, d.h. als bewusste Interpretationen der Vergangenheit, ist ein weniger verbreiteter, aber anspruchsvollerer Ansatz. While this might be a popular viewpoint, I wholeheartedly disagree with the underlying assumption. Metzger & Paxton wrote, for example: “Video games have evolved over the past three decades into a massive global industry and a major part of contemporary youth culture. [24] Van Sledright entdeckte die Motive von Disneys Pocahontas in den Erzählungen der Schüler*innen über die amerikanischen Pioniere und nannte dies den Disney-Effekt. [28] It corresponds with the expectations of the players. [9] Adam Chapman, “Is Sid Meier’s Civilization history?” Rethinking history 17, no. [27] McCall, Video Games, 406. [33] Laurent Turcot and Anna Jenkin, “Meet The Historical Experts: Laurent Turcot On ‘Assassins Creed: Unity’,” History Matters. I find the concepts of public history hard to grasp. Historical video games probably can (sometimes?) _____________________ [1] Robert Whitaker, “Backward compatible: Gamers as a public history audience. [30] Jerome De Groot, Consuming history: Historians and heritage in contemporary popular culture (New York: Routledge 2016), 159. I think we all agree that research on various aspects of history-related video games is a fascinating emerging field of historiographical studies, but also of history didactics (for their educational potential), and of public history. Vergessen wir nicht, dass sich Geschichte aus lauter Lücken zusammensetzt. [28] Ibid, 406-407. Kurt Brügger swissamericanlanguageexpert https://www.swissamericanlanguageexpert.ch/. [6] Metzger and Paxton, Gaming history, 532-564. It seems to me that a definition of public historians as “the ones who shape the general public’s knowledge about the past” is not sufficient. [19] Der Gebrauch von analytischen Rahmenleitlinien entwickelt für die Analyse von geschichtsbezogenen Filmen ist nicht unüblich. [20] Both genres concentrate on providing entertainment to the general public, both attract big audiences and bring big money, and both use the past for these purposes. Modding Colonization for authenticity, http://www.playthepast.org/?p=2856 (letzter Zugriff 19. Historical realism should therefore not only be seen as an obstacle but also as an opportunity to embrace. 4 (2011), 481–495 and Kurt Squire, (2011) “Video games and learning,” Teaching and participatory culture in the digital age (New York: Teachers College Print, 2011). Scott A. Metzger and Lauren M. Harris (Hoboken: Wiley-Blackwell, 2018), 579-601. Nevertheless, it is above all video games that are often the cause of – sometimes more, sometimes less justified – criticism. From some definitions, I have encountered the requirement of some historical training (public history or similar university program) or at least the respect for some standards of historical work (in the case of local historians, public activists). Some of them do not care about elaborated historical narratives. Nach dem ausschließlich digital veröffentlichten Faery: Legends of Avalon erschien 2012 in Z… Attraktivität, nicht Genauigkeit, verkauft das Produkt.[29]. Modding Colonization for authenticity”, Whitaker, Robert. [29], As Jerome de Groot (2016, p. 159) has found out while interviewing game developers, they regard data from the children’s literature section as fulfilling their needs and the demands of their desired audience: “We are trying to entertain people, not impress them with our scholarship. Players who create modifications base their additions on a quick reading of Wikipedia rather than use that decidedly un–gamer-friendly place, the library.”[31]. For an english version please scroll down. Die besten Referenzmaterialien finden sich oft in der Kinderabteilung [einer Bibliothek], weil diese das Niveau des historischen Interesses des Grossteils unseres Spielpublikums widerspiegelt.”[30]. Weitere Ideen zu Charakterdesign, Pixel-kunst, Pixel charakter. For instance, Adam Chapman interpreted them, among others, as historical re-enactments [16], Jonas Carlquist as examples of storytelling. _____________________ [1] Robert Whitaker, “Backward compatible: Gamers as a public history audience. 2 (2016). In this case, public historians should scrutinize networks of digital games and further the interplay between digital games and society. März 2020); Trevor Owens, “Modding the history of science: Values at play in modder discussions of Sid Meier’s Civilization,” Simulation & Gaming 42, no. Home › 8 (2020) 4 › Public Historians and their Professional Identity, By Wojdon, Joanna on April 02, 2020 • ( 5 ), Abstract: Joanna Wojdon’s article explores the question of whether developers of video games with a historical background act as public historians. [31] Whitaker, Backward compatible. [15] Adam Chapman zum Beispiel interpretierte diese als historische Reenactments[16], Jonas Carlquist als Beispiele von Geschichtenerzählen. Doing so, they have to rethink their methodology and analysis due to the fact that this medium has a performative notion. In Folge erreichen die Spiele oftmals weder spielerisch noch inhaltlich die Qualität eines Blockbusters, können durch kreative Ideen aber mitunter eine wohlwollende und loyale Fangemeinde aufbauen. I find that this article provides some interesting perspectives on the role of game development companies and perhaps what one would call their responsibilities. (https://www.youtube.com/watch?v=sSnJSUU_7q0) The authors and the narrator certainly make a claim to present history from the point of view of historical authority and clearly want to and to some extent, probably influence the public. [22] Ibid. [10] Metzger and Paxton, Gaming history, 532-564. I would rather consider the size of the public reached as a determinant of the “PUBLIC history” status of a particular title. [25], Scheinbar geniessen die Spiele eine ähnliche Autorität, wie sie den Geschichtsmuseen oder den Dokumentarfilmen zugesprochen wird. I wish to thank all the commentators for their inputs. Subjective ambitions and intentions, professional training and engagement, but also objective outreach and influence are, thus, potential factors to be considered while defining a public historian. 23 (2018). [12] Adam Chapman, Digital games as history: How videogames represent the past and offer access to historical practice (New York: Routledge, 2016) and Chris Kempshall, The First World war in computer games (New York: Palgrave Macmillan, 2015) [13] Metzger and Paxton, Gaming history, 532-564. [4] Richard J. Paxton and Alan S. Marcus, 2018. One of the tools at your hand is setting the tax rate. They bring statistics of the (growing) gaming market or the (growing) numbers of users/players, or (high and growing) amount of time spent, especially by the young people, on playing. This assumption is based on the film research of Paxton who observed that pupils’ narratives of Ancient Egypt had been shaped by the movie Cleopatra even though they were not fully aware of it. Attractiveness, not accuracy, sells the product. Nach Bound by Flame im Mai 2014 kam 2016 der Mars-Nachfolger The Technomancer auf den Markt. a game that can be regarded as an expression of historians’ findings presented not in the form of a monograph or research article, but in the form of a videogame. If developers have at least some kind of a systematic method with dealing with historical sources (professional historians as consultants, even if they are listened to on an optional basis) I guess they are acting as public historians. [19] A. Martin Wainwright, “Teaching historical theory through video games,” The History Teacher 47, no. David M. Dean (Hoboken: Wiley-Blackwell, 2018), 405-416. World of Tanks), Action-Adventure Games (z.B. Gameplay influences player’s knowledge and understanding of the past whether they (or whoever else) want it or not, realize it or not. [16] I.e. Robert Whitaker notices that “games with historical settings make up some of the most popular video game titles, particularly in the action-adventure and strategy genres.”[1] As Jeremiah McCall aptly proves it, it is justified to regard videogames as a form of public history, for alongside other digital media, they are widely recognized as the major factor that shapes the historical consciousness of today’s society. [26] Unlike the museum staff, however, game developers are not specialists in history. Perspectives on History,” Perspectives on History January 2016, https://www.historians.org/publications-and-directories/perspectives-on-history/january-2016/backward-compatible-gamers-as-a-public-history-audience (letzter Zugriff 19. [15] Rebecca Mir, Playing at Slavery. wrote in the summary of their research on the sources of collective memory of the Vietnam War which revealed the dominant role of the movie Forrest Gump in shaping Americans’ collective memory of the Vietnam War “the history young people glean from […] cultural curriculum may be far more powerful in shaping their ideas about the past than the mountains of textbooks that continue to occupy historians’ and history educators’ attention.”[4], As Metzger and Paxton clearly stated, history-related elements are present not only in educational historical games but also in other game genres, from ‘first person shooters’ set in certain historical context (e.g. Der Vorwurf historischer Ungenauigkeit richtet sich im besten Falle gegen eine anachronistische Erzählweise, im schlechtesten gegen blosse Falschdarstellungen. The question on video game developers as (potential) public historians tackles this larger discussion on the definition of public history. [15] Rebecca Mir, Playing at Slavery. “Backward compatible: Gamers as a public history audience”. But – and here I am again calling games powerful transformative tools – they also offer unique chances when engaging appropriately with them. [9] Der Fokus der Untersuchungen liegt dabei meist auf kontroversen Themen und umstrittenen Ereignissen, wie zum Beispiel dem Ersten und Zweiten Weltkrieg oder dem Verlauf der Kolonisation. The game however only allows you to set the tax rate between 0% and 20%. While historical realism might negatively affect the envisioned narrative or the gameplay as such, historical accuracy is seen by some as the unique selling point of a game. 3( 2013), 312-332. Kann jemand als Public Historian bezeichnet werden, der sich dieser Rolle ganz offen verweigert? Uefa Champions League Frauen frauen fußball cl Über unterklassige Teams empfahl er sich 2015 für Montreal Impact, kurze Zeit nach seinem Wechsel … [21] Es lohnt sich empirisch zu belegen, ob und wie Nutzer*innen sich Wissen aus Videospielen als Grundlage für ihre Geschichtsbilder aneignen, wie dies beispielsweise auch beim Ansehen eines Filmes mit historischen Bezügen, dem Besuch eines Museums oder der Wissensvermittlung in der Schule geschieht. The article also notes that “playability is more important than historical accuracy”. All are activities that shape the general public’s knowledge about the past public history? another mechdoodle from my livestreaming : ) (Image). Metzger & Paxton entwickelten ein Kategorisierungsmodell für geschichtsbezogene Spiele. [32] María E. Navarro (interviewed by Manuel Saga ), “What It’s Like to Be an Architectural Consultant for Assassin’s Creed II,” Archdaily (2015), https://www.archdaily.com/774210/maria-elisa-navarro-the-architectural-consultant-for-assassins-creed-ii (last accessed 20 March 2020); Stéphanie-Anne Ruatta (interviewed by Andrew Reinhard), “Consulting for Ubisoft on Assassin’s Creed: Odyssey,” Archeogaming, https://archaeogaming.com/2019/04/19/consulting-for-ubisoft-on-assassins-creed-odyssey/ (last accessed 20 March 2020) and Chad Sapieha, “How Ubisoft Montreal used historians to make Ancient Egypt authentic in Assassin’s Creed Origins,” Financial Post, https://business.financialpost.com/technology/gaming/how-ubisoft-montreal-used-historians-to-make-ancient-egypt-authentic-in-assassins-creed-origins (last accessed 20 March 2020). Read More. In the research of this reception lies the opportunity for genuine interdisciplinary cooperation – so that in future we no longer have to discuss “professional identities” but can concentrate on the essentials.