Photo courtesy Sherbrooke University
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

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.

Bazile’s research emphasizes what he describes as a “right of veto” that historical sources exert over the game development process. In other words, while game designers aim to create an immersive and engaging experience, they must also navigate the limitations and ethical obligations imposed by historical accuracy. This concept, as Bazile explains, affects how designers approach delicate topics like colonialism and slavery. By consulting historians and applying rigorous documentation standards, Ubisoft seeks to avoid misrepresentations that could distort public understanding of history.

In discussing the balance between playability and historical accuracy, Bazile highlighted how these historical games interact with players’ perceptions of history. For instance, “Assassin’s Creed” games are known for their detailed recreations of historical locations, but this sometimes requires small liberties to enhance the player’s immersion. As Bazile noted, Ubisoft’s designers are well aware of when they are bending historical details for gameplay purposes and aim to make those decisions carefully and transparently. This process underscores the games’ potential as educational tools, offering players a unique medium to engage with history.

While video games might not fully substitute for academic historical analysis, Bazile believes that games like “Assassin’s Creed” contribute to what he describes as a broader “historical consciousness” by offering a more accessible entry point to complex historical topics. He elaborated on this view in his collaborative article for the University of Sherbrooke, stating that video games serve as “boundary works” that bridge popular culture and academic historiography. By blending fact and fiction, these games foster a dialogue between historical reality and creative expression, ultimately allowing a wider audience to reflect on humanity’s past.

Bazile’s upcoming talk on Nov. 21, titled “De quand elle date cette bâtisse?” will focus on heritage preservation in Quebec. Shifting from digital to tangible history, he will discuss the criteria used to evaluate historical buildings and the importance of preserving such sites within communities. This topic resonates locally as Quebec, particularly in towns like Lennoxville, considers how best to maintain its historical landmarks in the face of modern development pressures.

Julien Bazile’s work not only illuminates the intricate ways history and technology intersect but also invites the public to consider how they interpret and preserve the past, both virtually and physically. His ongoing efforts at the Musée d’histoire de Sherbrooke and his engagement with public audiences underscore the vital role historians play in shaping our collective understanding of history, whether it is through the pixels of a video game or the bricks of a heritage building.