Game Canon and Game History

Beschreibung

Games have developed into an important form of cultural expression that needs to be appropriately archived and examined in relation to established cultural forms. They are part of various cultural institutions that collect cultural artifacts. The selection of computer games varies not only according to the profile of the institution, but also in terms of format, accompanying material, and, in particular, the consoles used. For purely pragmatic reasons, cultural institutions that collect define specific criteria for the cultural assets to be collected. How can these criteria be defined for a game collection in order to achieve a documentation of game history that is as comprehensive, diverse, and varied as possible? Can the canon debates from literary or film studies and the associated practices, such as retrospectives in cultural centers and film museums, be transferred to game studies? What are the milestones of game culture? What approaches arise in comparison to other media and their archiving practices? What is archived in a game collection beyond the code or the game board? What is interesting in terms of game mechanics, technology, or narrative? What dependencies arise in the relationship between software and hardware? Can game history be written nationally? What does a pluralistic and grassroots history of games look like?

Dr. Dîlan Canan Çakir is a literary scholar in German studies and a Feodor Lynen Fellow of the Alexander von Humboldt Foundation, currently based at the University of Cambridge (UK). Her research focuses on German literature (18th - 21th centuries), activism and literature, digital exile literature, and game studies. She previously worked at the Cluster of Excellence "Temporal Communities - Doing Literature in a Global Perspective" at the Free University of Berlin.

Prof. Dr. Andreas Rauscher is Professor of Media Theory and Media History at the University of Applied Sciences Kaiserslautern (Virtual Design). His research focuses on film and media studies, game studies, and transmediality, with particular interest in the interplay between film and games. He previously held positions at the Universities of Freiburg, Siegen, Kiel, and Mainz.

Games have developed into an important form of cultural expression that needs to be appropriately archived and examined in relation to established cultural forms. They are part of various cultural institutions that collect cultural artifacts. The selection of computer games varies not only according to the profile of the institution, but also in terms of format, accompanying material, and, in particular, the consoles used. For purely pragmatic reasons, cultural institutions that collect define specific criteria for the cultural assets to be collected. How can these criteria be defined for a game collection in order to achieve a documentation of game history that is as comprehensive, diverse, and varied as possible? Can the canon debates from literary or film studies and the associated practices, such as retrospectives in cultural centers and film museums, be transferred to game studies? What are the milestones of game culture? What approaches arise in comparison to other media and their archiving practices? What is archived in a game collection beyond the code or the game board? What is interesting in terms of game mechanics, technology, or narrative? What dependencies arise in the relationship between software and hardware? Can game history be written nationally? What does a pluralistic and grassroots history of games look like?

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Dîlan Canan Çakir

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Games Canon Canon debate on games Games archive History of games Game Studies Milestones in gaming history Criticism of canon in games

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