Controversies: Historicising the Computer Game
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Controversies: Historicising the Computer Game Dr Esther MacCallum-Stewart Justin Parsler SMARTlab, University of East London University of Brunel e-mail [email protected] e-mail [email protected] ABSTRACT change, blending with current ideologies to form reinvented Games which involve historical topics have always been a moments of the past. In popular culture, these mythologies staple of digital games, but at the same time they have often of history often coalesce into distinct tropes – for example caused controversy and debate. This paper traces some of the idea that war is futile and terrible. Additionally, the idea the pitfalls inherent to the creation of historical games, as of a homogeneous past has long been discredited [15]; well as trying to reach an understanding of how a history meaning that as well as history being continuously in flux game can be defined. Throughout the paper, we investigate in the present, it is a mistake to assume that it contained a how some aspects of history can be problematic, and how series of static truths in the past. However, this paradox has others have been made more difficult by a lack of definition relatively little currency in games, which often need to or an expectation that all historical games operate on the present a very linear account of either narrative or place, same intellectual level. We also examine how controversial and therefore it is this problematic interchange which we games have coped with difficult subjects, and relate this to wish to investigate further. This paper aims to discover if the development of complexity and scope within gaming. the representation of history is intrinsically problematic – and that digital games that associate themselves with Author Keywords history are almost always courting controversy – or if there Gaming, History, Historical Gaming, Games Studies, are some avenues in which the presentation of history can Digital Games, DiGRA, War Games. be a positive force that not only sustains the game, but adds an important contribution to the ways in which history itself INTRODUCTION can be conceptualised. History is often integral to a game’s worldscape, even if a The relationship between history and digital games has game has not specifically identified itself with a moment of always been complex. As the ability of games to realise actual chronology. History contextualises many games more complex permutations has grown, it should stand to since it informs their construction; a large-scale mythology reason that the complexity with which history has been is needed to underpin them, and this is often heavily presented in these games should also grow. This is both a derivative of historical eras. This can be the case even if a visual change and a change in the involvement of games game appears to be located entirely in fantasy or science with the world that surrounds them. This paper investigates fiction narratives; for example, there is a longstanding the development of these games and specifically, discusses association with the Star Wars ‘Jedi’ and the history and how games have sometimes caused controversy in their culture of medieval Japan, made even more implicit in the attempts to present historical events. Equally, many games Star Wars Galaxies (2003) series, and historicised tropes have caused controversy by their attempts to avoid difficult such as the medieval period or the Vikings dominate many historical moments or issues. We argue that although digital fantasy games. These historical signifiers need not be very games now take a larger role in popular culture, they do not specific, but they rely on a player’s base understanding of always fully grasp this transmedial potential. Additionally, how past mythologies or races might have lived. They are we discuss how historical games exist in different strata; not, it is important to stress, either particularly detailed or thus not only is it disproportionate to argue in blanket terms particularly accurate, but rely on popular representations of that they are not capable of providing detailed and often history to sustain them. For example, in World of Warcraft morally challenging representations of history, but equally (2004-present), the Tauren race bears many passing not all historical games provide the same levels of similarities to an idealised version of the Native American education, accuracy, or information. Indian. However in actuality this is more a series of cultural History is not an isolated article in cultural production. signifiers such as tepees, an affinity with the land, a Indeed, the past shifts as social, political and cultural values language that speaks in terms of ‘winds’ and ‘the eternal sun’, than an actual representation of the trials or behaviour Situated Play, Proceedings of DiGRA 2007 Conference © 2007 Authors & Digital Games Research Association (DiGRA). Personal and educational classroom use of this paper is allowed, commercial use requires specific permission from the author. 203 of indigenous Americans. Thus history exists in many The game has to begin at a clear point in real world places within digital games as a motif, but is not really very history and that history has to have a manifest effect on historical as a result. the nature of the game experience. Therefore, this paper wishes to concern itself with games that specifically identify themselves as dealing with history, ACCURACY: EARLY HISTORICAL GAMES and this raises the first difficult question, what is a historical computer game? Historical games are often blamed for their lack of accuracy and linear depictions of historical events. At the same time, HISTORY AND GENRE they often involve recreations of history which may alter Historical computer games are not considered a genre in events, or encourage players to pursue multiple paths their own right; and this is odd, given how often history is a through a game which potentially follows different routes part of games. Genre itself is a difficult issue in games, through history or offers alternative endings. Both of these since academic studies have hitherto tended to use type of issues are seen as problematic. One ignores history, the game as a genre definition rather than the narrative contents. other changes it. Thus ‘history’ in games is not a genre in its own right but To contextualise the reasons for this, it is perhaps instead, is covered within a wide breadth of game genres, necessary to return to very early historical digital games. with First Person Shooters, Real Time and Turn Based These games lay down the foundation not only for the ways Strategy Games being the most commonly associated with in which history is represented, but their basic composition historical themes. Thus history as a setting, or even as a also leads to a crucial flaw which was to come back to series of tropes within games, has taken a back seat to other haunt the games industry in later years. This is the issue of considerations. As Rune Klevjer argues: space versus representation. There is a curious lack of genre studies in Chris Crawford’s Eastern Front, 1941 (1981) was one of our field, which strikes me as a bit of a the first war games to directly link a digital game with a missed opportunity. It means that historical battle. The game visually recreated a tableau with variation, tension and significant detail nominal similarity to the Eastern Front in World War Two: too easily fall below the radar of involving the movement of troops on two opposing ‘Fronts’ academic game studies. It also means that on a map that vaguely mirrors Europe. The troops have we are less able to bridge the gap military names and various strengths, and the turn-based between the very specific and the very nature of the game means that each turn is named for a general, and less able to describe the subsequent day in 1941. However, other than these basic connections between aesthetic convention motifs, the game bears little similarity to the events of 1941 and social practice. [9] itself. Part of this is because the game simply lacks the Whilst history has hitherto not been a games genre of itself, complexity to do so – it connotes a world sphere through a since ‘history’ usually only refers to the narratological and historical event, but does not have the ability to go further. not ludological aspect of the game, the fact that it given Graphics also suggest a military map of squared units and genre status elsewhere (for example, in literary studies), arrowed movement, but cannot move into more means Klevjer’s argument that refusing to address genre in sophisticated depictions. The memory available for the this way is not only a missed opportunity, but causes a form Atari 8 Bit games platform also meant that additional of ‘blindness’, certainly holds true here. Substituting the background details could not be provided. The game must world ‘theme’ for ‘genre’ might in this case point to the therefore stand as a representation of the Eastern Front in ways that the underlying precepts of games – historical, 1941, but not recreation of it. For its time, 1941 Eastern fantasy, science fiction, recreational – might frequently lead Front was as accurate as it could be, given its limited back to more traditional understandings of genre in cultural, capacity for memory. media and literary studies. However, these early representations have sometimes led This idea of genre is also questioned by Tanya Kryzwinska, games either into complacency or inadvertent difficulties. whose research is moving towards a more defined The linearity with which early games used history as a tool understanding of genre as a series of events or mythologies, rather than an actual event, rapidly became unsuitable as rather than specific types of games (whose complexity now games became more complex.