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325), generally ignoring the home front and other combat experiences.
1), warrants the examination of WWI videogames .
This article provides an overview of WWI games, determines their engagement with the imagery that typically sustains and constitutes WWI popular memory and reveals that -- unusually for popular history -- the majority (40/58) do not significantly engage this memory.
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.
It can be argued that the memory of the war, what Fussell refers to as its ‘myth’, has affected, and is therefore a part, of our everyday lives, whether in a political, rhetorical or artistic sense (Fussell, 2013 , p. Importantly, the most common and evocative image of WWI seems to be the Western Front trenches (Espley, 2008; Michail, 2008; Fussell, 2013 ).
“In novels and film, and in both the classroom and the museum, the trench is called upon to encapsulate the conflict” (Espley, 2008, p.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.The article provides an overview of WWI games, organising them by genre and determining their engagement with the imagery that typically sustains and constitutes WWI popular memory.This reveals that -- unusually for popular history -- the majority of these games (40/58) do not significantly engage this memory.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.Though the videogame has significant possibilities as a historical form (Chapman 2012, 2016; Kapell & Elliott, 2013; Pötzsch & Šisler, 2016), it is also important to understand the formal and cultural limits that exert pressure upon, determine and structure historical content.Unlike in, for instance, literature studies, where a sample of the focus of study must generally be selected, in the field of games it is still possible to consider an entire thematic area by looking at most examples of the issue.