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Simulational realism : playing as trying to remember


Simulational realism : playing as trying to remember

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dc.contributor.author Wojnowski, Konrad [SAP14014793] pl
dc.date.accessioned 2019-04-24T16:54:14Z
dc.date.available 2019-04-24T16:54:14Z
dc.date.issued 2018 pl
dc.identifier.issn 1822-4555 pl
dc.identifier.uri https://ruj.uj.edu.pl/xmlui/handle/item/73676
dc.language eng pl
dc.rights Udzielam licencji. Uznanie autorstwa - Użycie niekomercyjne - Bez utworów zależnych 3.0 *
dc.rights.uri http://creativecommons.org/licenses/by-nc-nd/3.0/legalcode *
dc.title Simulational realism : playing as trying to remember pl
dc.type JournalArticle pl
dc.description.physical 86-98 pl
dc.identifier.weblink https://content.sciendo.com/view/journals/mik/14/1/article-p86.xml pl
dc.abstract.en In this text, I describe a specific way of addressing the past in video games which are set in historical times but at the same time deliberately undermine the facticity of their virtual worlds. By grounding my argument in analyses of two blockbuster productions - Assassin’s Creed (Ubisoft, 2007) and Call of Duty: Black Ops (Activision, 2010) - I introduce and define the notion of "simulational realism". Both games belong to best-selling franchises and share an interesting set of features: they relate to historical places, events, and figures, establish counter-factual narratives based around conspiracy theories, and - most importantly - display many formal similarities. Like most AAA games, Assassin’s Creed and Black Ops intend to immerse the player in the virtual reality and, for this purpose, they naturalize their interfaces as integral elements of reality. However, in the process of naturalizing simulation, objectivity of the past becomes unthinkable. In my considerations, I situate this problem in two contexts: 1) of a cultural and epistemic shift in perceiving reality which was influenced by dissemination of digital technologies; 2) Vilém Flusser’s prognosis on the effects of computation on human knowledge. According to Flusser’s theory of communication, history - as a specific kind of human knowledge -emerged out of writing that was always linear and referential. Consequently, the crisis of literary culture resulted in the emergence of new aesthetics and forms of representations which - given their digital origin - dictate new ways of understanding reality. As history is now being substituted by timeless posthistory, aesthetic conventions of realism are also transformed and replaced by digital equivalents. Following Flusser’s theory, I assert that we should reflect on the epistemological consequences of presenting the past as simulation, especially if we consider the belief shared by many players that games like Assassin’s Creed can be great tools for learning history. I find such statements problematic, if we consider that the historical discourse, grounded on fact, is completely incompatible with the aesthetics of sim-realism which evokes no illusion of objective reality. pl
dc.subject.en realism pl
dc.subject.en simulation pl
dc.subject.en counterfactuals pl
dc.subject.en post-history pl
dc.subject.en digital aesthetics pl
dc.description.volume 14 pl
dc.description.number 1 pl
dc.description.publication 0,8 pl
dc.identifier.doi 10.2478/mik-2018-0008 pl
dc.identifier.eissn 1822-4547 pl
dc.title.journal Meno istorija ir kritika = Art History & Criticism pl
dc.title.volume Counter(f)actuals pl
dc.language.container eng pl
dc.date.accession 2019-04-18 pl
dc.affiliation Wydział Polonistyki : Katedra Performatyki pl
dc.subtype Article pl
dc.rights.original CC-BY-NC-ND; otwarte czasopismo; ostateczna wersja wydawcy; w momencie opublikowania; 0 pl
dc.identifier.project ROD UJ / OP pl

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Udzielam licencji. Uznanie autorstwa - Użycie niekomercyjne - Bez utworów zależnych 3.0 Except where otherwise noted, this item's license is described as Udzielam licencji. Uznanie autorstwa - Użycie niekomercyjne - Bez utworów zależnych 3.0