In this essay I’ve had the purpose of examining if digital games are cultural heritage, to my aid I’ve had questions redarding if it’s important that games are based on reality, what cultural heriage is and what the process for becoming a heritage looks like. I’ve used texts that describe cultural heritage and the process, theories about gamification where games illustrate stories that carry our identitites, image analysis focusing on games that are based on reality, and storytelling based on what values are created and the purpose of said storytelling. My material has been surveys, both in english and swedish, images and texts. In earlier research, the subject is somewhat limited and the focus has been on games as culture or based on the gaming industry. I have used the definition that culture is about expressing more or less aware performances through language, gestures, actions and clothing. Cultural heritage is about stories of meaning to our identity, and gamification has been intepreted as the illustration of stories that carry identities. I also discuss mods in the text, which is a tool with which the player can change the game experience through modifying or adding stories, music or graphical elements. The first chapter contains discussions about the history of cultural heritage and how it’s valued. In Sweden there’s been cultural politics since the 15th and 16th century, and today the cultural politics focuses on promoting a living cultural heritage that’s preserved, used and further developed. The focus point in the value of cultural heritage is the story and the knowledge that’s preserved for future generations. The value can be composed of actions and affection. The process for something becoming a cultural heritage is about someone seeing the value in preserving something and starting a collection, most often through museums or private actors. The next chapter discusses how existing cultural heritages are illustrated in games, and that it’s important to do it correctly so that a fair representations of the heritage is presented. Both in museums and in games, the thing that’s presented can be illustrated in a way that makes the image different from reality. That which represents the heritage is chosen, and when something is chosen the image of what it represents changes. In this chapter the role of the player is also discussed and how they can interact and be anchored in the game world. Following is a part about the value of games based on the value of cultural heritage, and the consensus is that the value comes from the illustration of stories, that the stories are made alive through, for example, modding. The value in digital games also lies in that they mean a lot for many people. Thereafter follows a discussion about the border between games and reality, and what can happen when reality is gamified. The following chapter contains discussions about how games work with portrayal through, among other things, designing and affecting emotions. In games the narrativity funcions as a structural base and leads the player further into the story. Then there’s a discussion about the different roles a player can hold in games, for example as a reinstator and establisher of order. Games are a unique form of culture where the player actively interacts with the story. Following that is a part about if it’s important that games are based on reality, where many players considers it not at all important, but when it’s based on reality it’s important that it’s done correctly. Games are about escaping reality, because of this it can be a disservice to try to recreate something far too real. Then follows a discussion about identity, where games have the opportunity to give people the ability to explore and try out identities, and challenge norms. Thereafter follows a part about the effects digital games have outside the game world through for example movies, books, fanart and music, and what can happen if the relation between fan and creator is inexplicit. The chapter concludes with a discussion if games are cultural heritage, and there are som ambiguities, but it its possible to conclude that at least some games are heritage. However, the act of playing a game is a definite cultural heritage.
| Identifer | oai:union.ndltd.org:UPSALLA1/oai:DiVA.org:umu-172076 |
| Date | January 2020 |
| Creators | Persson, Mulin |
| Publisher | Umeå universitet, Institutionen för kultur- och medievetenskaper |
| Source Sets | DiVA Archive at Upsalla University |
| Language | Swedish |
| Detected Language | English |
| Type | Student thesis, info:eu-repo/semantics/bachelorThesis, text |
| Format | application/pdf |
| Rights | info:eu-repo/semantics/openAccess |
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