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103) uses to describe second generations’ relation to particularly powerful traumatic historical events that occurred before their birth.Unsurprisingly then, WWI is still represented in a variety of media.1), warrants the examination of WWI videogames .
Mobile games were excluded from this selection in order to keep the sample manageable and in order not to skew the results (given that the nature of mobile technology restricts which of the conventional genres of games are commonly developed for these platforms).
This said, even given a cursory perusal, it does seem that the WWI games for Apple’s App Store are also overwhelmingly flying or strategy games, in line with the findings below.
Accordingly, using online community-generated lists alongside personal online research (e.g.
using search engines, forums, message boards and industry/commercial resources), the most comprehensive list possible of all videogames that include depictions of WWI was produced (58 games).
Furthermore, it provides a framework, categories and a common theoretical language to identify and consider components of this discourse and the strategies deployed by agents within it.
It therefore seems that, as Wilson argues, frame analysis is suitable to “assist in the development of interpretations as to how views on the past are mobilised and activated in and for the present” (2013, p. There is also a strong tradition of utilizing Goffman’s work in game studies (Fine, 1983; Hendricks, 2006; Waskul, 2006; Copier, 2007; Calleja, 2007; Consalvo, 2009; Deterding, 2013), as well as a precedent for using frame analysis specifically to examine historical videogames (Chapman & Linderoth, 2015).In doing so, the article also examines the nature of the videogame as a form for historical representation.history, games, historical games, World War I, collective memory, popular memory, frame analysis Recent centenary events mark both the beginning of World War I (WWI) and the end of living recollection of it.Adam Chapman is a research fellow at the University of Gothenburg. those games that in some way represent, or relate to discourses about the past.He is author of Digital Games as History: How Videogames Represent the Past and Offer Access to Historical Practice (Routledge, 2016), alongside a number of other publications on the topic of historical games.Goffman’s “frame analysis” (1986 ) has also been used as a theoretical lens.This approach has been chosen because, as Wilson notes, “frame analysis constitutes a valuable tool for studies of heritage as it enables scholars to assess both the ‘construction of perception’ as well as the ‘object of perception’” (2013, p. Accordingly, frame analysis comfortably conceptualises across many forms of social interaction, including memory, games and the discourses that surround them.I suggest that this can be explained by the relatively sensitive and contested nature of WWI memory, which makes the perceived morality of playing WWI historical characters unclear.By using WWI games as a case study, the article details and reinforces previous arguments (Chapman & Linderoth, 2015) about the perceived limitations of historical games.Collective memory can be understood as a shared understanding and collection of information between members of a group; a collective framework that organises and constructs memory (Halbwachs, 1992).This is at least partially supported by shared cultural tools and thus constituted from, and sustained in relation to, textual resources such as images and narratives (Wertsch, 2002).