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Many game designers exploit elements, events, characters and narrations retrieved from human history in order to build consistent and intriguing settings for their digital games. The use of historical elements often involves the creation of a complex playground created by a huge quantity of historical tropes. Historical digital games do not limit t...
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... Video games are already recognized as an unavoidable part of everyday life and can be analysed as a concept of "cultural heritage" (Copplestone 2017). Scholars often want to ignore and limit the impact of video games on "cultural heritage," but even more so they seek to criticize the impact and presentation of history in video games (Cassone 2016). Zeiler et al (2021) explore the connection between video games and cultural heritage to open up a whole new field of research in the social sciences. ...
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... Video games are already recognized as an unavoidable part of everyday life and can be analysed as a concept of "cultural heritage" (Copplestone 2017). Scholars often want to ignore and limit the impact of video games on "cultural heritage," but even more so they seek to criticize the impact and presentation of history in video games (Cassone 2016). Zeiler et al (2021) explore the connection between video games and cultural heritage to open up a whole new field of research in the social sciences. ...
Due to the situation caused by the coronavirus pandemic health matters have become a very sensitive subject to the society. The existing issues motivate researchers and specialists to look through the documents and archives describing the historical development of Bulgarian healthcare and medical and social activity, focusing on the activity of Bulgarian healthcare institutions and professional medical organizations, as well as mentioning them in specialized medical publications. Even more – these issues prioritized the matters related to the implementation of rules, norms and regulation in the field of healthcare.
... This study is informed by the critique of the so-called Authorized Heritage Discourse which by today is a cornerstone of the Critical Heritage Studies movement (Smith, 2006). We also acknowledge that "Video games are already recognized as a component of the increasingly diverse ways in which we frame and consider the concept of 'heritage'though so far, scholars have most often discussed and critiqued the depiction of history (as cultural heritage) in video games themselves (e.g., Cassone, 2016;Copplestone, 2017;Reinhard, 2018)" (Zeiler and Thomas, 2020). While most studies on games and heritage so far still concentrate on history as an aspect of cultural heritage (e.g., Hammar, 2017;Pötzsch andŠisler, 2016;Shaw, 2013), there are also some examples for studies which understand heritage in a broader sense and as including elements beyond history, such as specific art forms, Indigenous heritage, and religion (e.g., Campbell and Grieve, 2014;Longboat, 2017;Radde-Antweiler, Waltemathe and Zeiler, 2014). ...
Game development and production practices are complex and highly reflected processes—worldwide. This explorative article discusses video game development as a cultural and creative industry in India, including the industry’s history and introducing recent trends which indicate profound transformations—the use and implementation of Indian cultural heritage in game settings. In the rather short history of Indian game development as compared to other countries—a significant number of games made in India first were produced around 2010—the industry has already lived through big changes and challenges. This article aims at introducing Indian game development and argues that especially independent (so-called indie) game studios in their search for their own, region-specific game development and stand-alone characteristics for Indian games increasingly turn to what they perceive as their own cultural heritage, including, for example, elements from history, art (music, dance, dress styles, and others), and architecture.
Intricately concocted temples—seemingly historically accurate down to the pixel—flash across the gamer’s screen, as the player-conquistador re-creates the downfall of the so-called “Aztec Empire,” circa 1521, a keyboard at hand instead of a cutlass. Playing the Spanish Conquest has never been easier or more exciting for the victor. Today’s recreational sundering of Indigenous-American sacred spaces and cultural monuments repeats disturbing patterns in colonialism and cultural imperialism from the Early Modern past (Carpenter 2021; Ford 2016; Mukherjee 2017). What are the lessons gamers learn by reducing digitized Mesoamerican temples, such as the grand teocalli of Tenochtitlan, to rubble? This article explores sacred landscapes, archaeology, and art relating to acts of conquest and sixteenth-century Spanish invasion of Mesoamerica. This study of Mesoamerican sacred environments supports my interpretation that careless approaches to early-modern contexts and virtual geographies created by game designers reduce the presence of Mesoamerican place-identity. I highlight empire-building games based on historical events and situate gaming experiences, old and new, as interventions in sacred architecture. The study draws in ethnospatial considerations of settings and ornamentation to furthering the recent Game Studies critiques on cartographies, narratologies, and play mechanics, here focusing on the geo-spiritual components of playing out aspects of Mesoamerica’s encounters with Spanish military and cultural conflict (Lammes et al. 2018). I reveal the importance of place attachment, ethnohistory, and archaeology in making more meaningful experiences and argue that current art history-adjacent gaming agendas create fun and profit at the expense of iconic structures of Mexico’s heritage, such as the Postclassic single- and double-topped teocalli (temple-pyramids). The final thoughts call for increased interventions from scholars upon developer-player negative feedback loops that repurpose inaccurate mythos from historiography of the “Spiritual Conquest” paradigm.
Tutti sappiamo, o pensiamo di sapere, che cos’è il gioco, ma come funziona davvero questo dispositivo culturale irrinunciabile e variegato? Che cosa significa “giocare”? Quali operazioni interpretative e comunicative comporta? Oggi, mentre la nostra cultura appare essere oggetto di una progressiva ludicizzazione testimoniata dal fiorire dell’industria videoludica e dalla fortuna di nuovi paradigmi come quello della gamification o del game–based learning, queste domande appaiono più attuali che mai. Questo libro prova a rispondere da un punto di vista specifico, quello della semiotica. Indagando il gioco nelle sue diverse sfaccettature (regolato o libero, solitario o di gruppo) e nelle sue varie incarnazioni (giocattolo, videogioco, gioco da tavolo o di ruolo, ecc.), il volume mira a porre le basi per una ludosemiotica, una teoria del ludico basata sulla sua capacità di creare, modificare e trasmettere senso.
This is the introduction to the special issue on video games and cultural heritage.
