History and Human Agency in Videogames
This paper attempts to examine the way historicized videogames model human agency. It is argued that the perceived biases in historical representations attributed to an excess or lack of agency are not exclusively caused by limitations of the medium or pervading values in the game design, but also b...
| Subtitles: | Special Issue: "Gamevironments of the Past" |
|---|---|
| Main Author: | |
| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
|
| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
[2016]
|
| In: |
Gamevironments
Year: 2016, Volume: 5, Pages: 104-131 |
| Standardized Subjects / Keyword chains: | B
Video game
/ History
/ Human being
/ Plot
|
| RelBib Classification: | AA Study of religion AG Religious life; material religion ZB Sociology |
| Further subjects: | B
Videogame
B micro-macro problem B The Witcher 3: The Wild Hunt B Agency B Game Studies B covering law problem B History B historical theory |
| Online Access: |
Volltext (kostenfrei) Volltext (kostenfrei) |
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| 520 | |a This paper attempts to examine the way historicized videogames model human agency. It is argued that the perceived biases in historical representations attributed to an excess or lack of agency are not exclusively caused by limitations of the medium or pervading values in the game design, but also by the inherent complexity of the concept of human agency and its contended status in historical theory. The first part of the paper will offer an overview on the many ways agency has been discussed in both game scholarship and historical and political theory. The second part will mobilize this theoretical apparatus in a case study of history and human agency in The Witcher 3: The Wild Hunt (2015) I contend that the game's handling of the two topics supports an unconstrained vision of society focused on the microlevel of social interaction, setting it apart from most of the strategy and roleplaying games. I conclude by pointing to guidelines by means of which The Witcher 3 can serve as a counterpoint to the prevailing simulations of agency in games, and how its achievements can inspire future titles interested in modeling fundamentals of historical theory in novel ways. | ||
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| STB | 0 | 0 | |a Action,Action,Actes humains (théologie morale),Intrigue (littérature),Intrigue,Histoire,Histoire,Histoire,Jeu vidéo,Être humain,Être humain,Homme,Homme,Homo sapiens,Personnages littéraires |
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| STD | 0 | 0 | |a Essere umano,Essere umano,Storia,Storia,Trama,Azione,Videogioco |
| STE | 0 | 0 | |a 人,人,人类,人类,历史,史,情节,行为,行动,视频游戏 |
| STF | 0 | 0 | |a 人,人,人類,人類,情節,行為,行動,歷史,史,視頻遊戲 |
| STG | 0 | 0 | |a História,História,Ser humano,Ser humano,Trama,Ato,Videogame |
| STH | 0 | 0 | |a Видеоигра,Действие (литература),Действие,История (мотив),История,Человек (мотив),Человек |
| STI | 0 | 0 | |a Άνθρωπος (μοτίβο),Άνθρωπος,Βιντεοπαιχνίδι,Video game,Ιστορία (μοτίβο),Ιστορία,Πλοκή (λογοτεχνία),Δράση,Ενέργεια |
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