American resistance toward colonizer depicted in Assassin's Creed III

Many video games now take historical themes as the background of the story, indirectly we also learn history while playing video games. One of the video games with a historical theme is Assassin's Creed III. Assassin's Creed III, developed by Ubisoft Montreal and released in 2012, is set against the backdrop of the American Revolution, spanning from 1775 to 1784. Many missions in Assassin's Creed III take inspiration from several famous events during the American Revolution. The researcher employed qualitative-descriptive research methods to analyze and describe the research objectives. This research use postcolonial theory by Edward Said and semiotic theory by Roland Barthes. The purpose of this research is to analyze the American resistance toward colonizer and oppression from colonial that depicted in the Assassin’s Creed III video game. In conclusion, Despite its portrayal of genuine historical events, the game takes liberties with its narrative to fit its fictional framework, albeit still featuring many authentic figures from the American Revolution. Consequently, while not entirely accurate, Assassin's Creed III provides a valuable overview of this pivotal moment in history, offering players a glimpse into the complexities of the American Revolution

The story of a video game: reading the Assassin\u27s Creed universe

In the digital age, fictional narratives worthy of serious analysis are no longer confined to print. In recent years, video games have come under the eye of scholars from many fields. What can video games offer? How do they change the hature of fictional narrative? And how can we study them with a critical eye? The Assassin’s Creed universe is an ideal case study for analyzing the fictional worlds video games create using narrative. The Assassin\u27s Creed narrative is composed of two parts: a present day narrative and a memory narrative set in a stylized historical past. The present day narrative accesses the memory narrative in a similar way that a player accesses the video game narrative. In addition to mirroring the gaming experience, the Assassin\u27s Creed narrative had become a fictional world that has extended to other media. These are not just recreations of the story presented in the games, but new narratives that live within the same fictional universe

Franchised Esotericism:Religion as a Marketing Strategy for the Assassin’s Creed Franchise

Despite being one of the most popular franchises in the history of video gaming, Assassin’s Creed [AC] builds on something increasingly unpopular: religion. This chapter aims to show that AC nonetheless uses religion, and then aestheticizes it in two ways – (1) perennially and (2) esoterically, – serving to attract the largest possible audience; an audience that is nonetheless demographically predominantly secular. Based on a content analysis of the franchise itself – additionally informed by player interviews (de Wildt/Aupers 2019), online discussions (de Wildt/Aupers 2020), developer interviews (de Wildt/Aupers 2021), and analyses done elsewhere (cf. de Wildt, 2020) – I ask:1. Who plays Assassin’s Creed, and what is likely to be their religious position? (The answer to which is ‘the exact demographic at the forefront of secularisation – Western, male, young, and educated.) 2. How does AC represent religion for this largely secular audience? (As perennial – i.e., that there is one underlying truth common to all religious and philosophical traditions – and esoteric – i.e., that religion can be made understandable through the combined, rare knowledge that only a select few have access to)I conclude that while AC’s audience is at the forefront of secularisation, the AC franchise presents this audience with a perennial, esoteric representation of religion, and does so in a commodified way, using the logic of esotericism to sell its ‘marketable’ religion across various transmedial media objects. What is the consequence of this? AC’s representation of religion follows the same market logic that spirituality and New Age religion have taken outside of the church, particularly since the 1960s: a picking and mixing of religious elements from any tradition at hand. Moreover, this handpicked assemblage presents a “marketable” religion that will offend nobody and that anyone can identify with (de Wildt/Aupers 2021). Rather than perform individual bricolage, however, consumers of AC are invited to reconstruct meanings that have already been laid out by the franchise: a commodified, enjoyable puzzle that promises the answer to understanding all of history’s mysteries. This logic of esotericism – of piecing together scientific, historical, mysterious and religious knowledge – is at the centre of AC as a franchise. Every media object – AC’s many games, books, and other transmedia products – offers a piece of this puzzle that only the ‘true’ fan has access to. It offers all the joy of understanding the ‘real’ truth behind everything, without having to believe in anything at all

[If the Statement Is:] Learning History by Playing? [This Refers to?]

Digitale Spiele mit historischem Hintergrund sind eine populärkulturelle Remedialisierungsform der Bezugnahme auf ‹Geschichte›, die in der Geschichtswissenschaft immer noch umstritten ist. Für die Frage, ob historisches Lernen anhand von Videospielen sinnvoll möglich sein kann, bedürfen zwei Punkte besonderer Aufmerksamkeit. Erstens müssen die Geschichtswissenschaften sich in der Auseinandersetzung mit digitalen Spielen vor pauschalen Urteilen hinsichtlich der Repräsentationslogiken ‹des Historischen› in diesem Medienformat hüten. Weder sind digitale Spiele hier prinzipiell andersartig als akademische Historiographie, noch können sie umstandslos an deren Massstäben gemessen werden. Zweitens muss eine präzise Definition sowohl des anzustrebenden didaktischen Nutzens eines Einsatzes von digitalen Spielen, als auch der Spielformate, die Möglichkeiten hierzu bieten können, erfolgen. Hierzu muss die Fokussierung der Debatte auf eine Dichotomie Blockbuster/Serious Games überwunden werden. Für einen Erfolg versprechenden didaktischen Einsatz von digitalen Spielen zur Geschichtsvermittlung müssen die Bezüge, die digitale Spiele auf den Referenzbereich ‹des Historischen› setzen, so gestaltet werden, dass sie über das Spiel hinausweisende Angebote machen, ohne ihre spielinterne Funktion zu destabilisieren.Digital games with historical background constitute a form of remedializing references to ‹history› in popular culture that still is disputed by the historical sciences. The question ‹Is meaningful historical learning by playing digital games possible?› gives rise to two points of discussion to be addressed with care. First: in discussing digital games' representational logics of remedializing ‹the historical› the historical sciences need to distinguish carefully. Digital games are neither totally alien to the modes of historical academia in this respect, nor may they be judged according to academic standards wholesale. Second: there has to be a clear definition of the didactic goals to be achieved as well as of the types of games needed to achieve them. Focussing only on a dichotomy of blockbuster titles/serious games needs to be overcome. To make a didactically promising use of digital games in imparting historical knowledge possible, the relations established by those games in referencing ‹the historical› have to be framed in a way that allows offering additional information without destabilizing their in-game functionality

Franchised Esotericism:Religion as a Marketing Strategy for the Assassin’s Creed Franchise

Despite being one of the most popular franchises in the history of video gaming, Assassin’s Creed [AC] builds on something increasingly unpopular: religion. This chapter aims to show that AC nonetheless uses religion, and then aestheticizes it in two ways – (1) perennially and (2) esoterically, – serving to attract the largest possible audience; an audience that is nonetheless demographically predominantly secular. Based on a content analysis of the franchise itself – additionally informed by player interviews (de Wildt/Aupers 2019), online discussions (de Wildt/Aupers 2020), developer interviews (de Wildt/Aupers 2021), and analyses done elsewhere (cf. de Wildt, 2020) – I ask:1. Who plays Assassin’s Creed, and what is likely to be their religious position? (The answer to which is ‘the exact demographic at the forefront of secularisation – Western, male, young, and educated.) 2. How does AC represent religion for this largely secular audience? (As perennial – i.e., that there is one underlying truth common to all religious and philosophical traditions – and esoteric – i.e., that religion can be made understandable through the combined, rare knowledge that only a select few have access to)I conclude that while AC’s audience is at the forefront of secularisation, the AC franchise presents this audience with a perennial, esoteric representation of religion, and does so in a commodified way, using the logic of esotericism to sell its ‘marketable’ religion across various transmedial media objects. What is the consequence of this? AC’s representation of religion follows the same market logic that spirituality and New Age religion have taken outside of the church, particularly since the 1960s: a picking and mixing of religious elements from any tradition at hand. Moreover, this handpicked assemblage presents a “marketable” religion that will offend nobody and that anyone can identify with (de Wildt/Aupers 2021). Rather than perform individual bricolage, however, consumers of AC are invited to reconstruct meanings that have already been laid out by the franchise: a commodified, enjoyable puzzle that promises the answer to understanding all of history’s mysteries. This logic of esotericism – of piecing together scientific, historical, mysterious and religious knowledge – is at the centre of AC as a franchise. Every media object – AC’s many games, books, and other transmedia products – offers a piece of this puzzle that only the ‘true’ fan has access to. It offers all the joy of understanding the ‘real’ truth behind everything, without having to believe in anything at all

Women and Video Games: Pigeonholing the Past

Academic work dealing with the overlap between video games and female representation is limited in both volume and proper research. Most texts agree on three supposed flaws with video games: they alienate female participants, there are no games for female players, and female players cannot relate to female characters. This thesis sheds light on these points, not only citing specific counter-examples, but also showing how many of these issues reflect on a larger societal problems

Adaptation from Video Game Assassin’s Creed (2007) into Assassin’s Creed Film (2016)

This research discusses about the adaptation video game into film which aimed to find out the motives in adaptation based on adaptation Assassin’s Creed the video game into Assassin’s Creed film. This researcher focused on Linda Hutcheon’s theory about adaptation on four motives namely economic lures, legal constrains, cultural capital, personal and political motives. This research applied descriptive qualitative method in revealing the data. The researcher used note card as instrument to get the valid data. The researcher revealed that there were three motives that contains in this adaptation, they are 5 economic lures, 1 cultural capital, and 4 personal motives. The researcher concluded that adaptation show that there is no literary work in the world which is truly new and stand alone, because every work created from the previous work. In adaptation of original one into another works is not slavish copying, it must be always a reason of adapter for doing an adaptation. Furthermore, the motives that appear also depend on the roles of each adapter to do the adaptation