Playing with the past

Playing with the past
Julien Bazile, historian at the Musée d’histoire de Sherbrooke, discussed the role of historical sources in video game design during a recent talk at the Lennoxville Library (Photo : Sherbrooke University)

Local historian talks history in video games, heritage buildings at Lennoxville Library

By William Crooks

Local Journalism Initiative

Julien Bazile, a historian and researcher at Mhist – Musée d’histoire de Sherbrooke, recently presented a talk at the Lennoxville Library discussing his doctoral research on the historical representation within video games, focusing on the “Assassin’s Creed” series by Ubisoft. Drawing from his unique access to Ubisoft’s studios, Bazile explored how historical sources are integrated into game design, giving audiences insight into how these games attempt to balance historical accuracy with creative storytelling. His next presentation, scheduled for Nov. 21 at the Lennoxville Library, will shift focus to local heritage, examining the identification and preservation of heritage buildings.

During his October presentation, Bazile discussed his role as one of the first historians granted access to the Ubisoft design team’s archives, production documents, and creative processes. This unprecedented opportunity allowed Bazile to witness firsthand how developers at Ubisoft Montreal and Quebec incorporate historical material into game narratives, as seen in titles like “Assassin’s Creed IV: Black Flag” and “Assassin’s Creed: Freedom Cry”. Bazile’s thesis, titled “Opération historiographique et game design de jeux vidéo: les sources historiques dans la conception de Assassin’s Creed IV: Black Flag et Assassin’s Creed: Freedom Cry” (2021), explores how designers balance entertainment with educational potential, all while respecting the integrity of historical events and contexts.

According to Bazile in an email he sent to The Record, Ubisoft’s approach to historical representation in the “Assassin’s Creed” series goes beyond entertainment, aiming to “defatalize history.” By simulating historical uncertainty, the games allow players to empathize with past events, such as in “Assassin’s Creed: Freedom Cry”, where players experience the Haitian struggle against slavery in 1735. Bazile points out that the game’s central mechanic involves liberating enslaved individuals, which presents players with difficult moral choices that mirror the harsh realities of the era.

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