2706 KB51 KB196520252014Komel, Mirtštevilka:1letnik:51str. 72-90, 188ISSN:0040-3598COBISSID:32561245URN:URN:NBN:SI:doc-M9GMUICPenFakulteta za sociologijo, politične vede in novinarstvo v LjubljaniTeorija in praksaCultural studiesKulturne študijeOrientalismOrientalizemsociologija kultureVideo gamesVideoigreOrientalism in Assassin's Creed| self-orientalizing the assassins from forerunners of modern terrorism into occidentalized heroes|The article delivers an analysis of the first of Ubisoft's long and popular franchise Assassin's Creed (2007-) in order to show how it conforms as well as how it distinguishes itself from similar cases of Orientalism in video games. If Orientalism traditionally depicted a negative picture of the Oriental Other in general and the so-called Assassins in particular (seldom associated with extremism and terrorism), then in Assassin's Creed we find at work a certain self-orientalistic subversion that mediates a positive identification, rather then disqualification of this privileged Arabo-Islamic Other. Thus, the article proposes a close examination of the orientalistic and self-orientalistic elements in the selected video game from a cultural studies approach in order to answer the question of how is it possible that the Assassins, traditionally understood as forerunners of modern terrorism, became the heroic protagonists of a western video gameČlanek podaja analizo prve videoigre iz niza dolge in popularne Ubisoftove franšize Assassin's Creed (2007-) z namenom prikaza skladnosti in razlik glede na podobne primere orientalizma v videoigrah. Če orientalizem tradicionalno slika negativno sliko orientalnega Drugega nasploh in t. i. ašašinov še posebej (ti se pogosto povezujejo z ekstremizmom in s terorizmom), je v videoigri Assassin's Creed na delu neka specifična samoorientalistična subverzija, ki namesto negativne diskvalifikacije mediira pozitivno identifikacijo z arabsko-islamskim Drugim. Članek zato predlaga natančen pregled orientalističnih in samoorientalističnih elementov v obravnavani videoigri z vidika kulturnih študij, da bi lahko odgovoril na vprašanje, kako je mogoče, da so ašašini, tradicionalno razumljeni kot predhodniki modernega terorizma, postali heroični protagonisti zahodne videoigreTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaUniverza v Ljubljani, Fakulteta za družbene vede