Book contents
- Frontmatter
- Table of Contents
- Prologue Conflict, Negotiation, Appropriation, and Diversity: The Challenge of European Game Studies
- Introduction Euro Ludens: On the Origins, Playing Region, and Imaginaries of the European Videogame
- Part I National Stories
- Part II Transnational Approaches
- Conclusions (for now) European Videogames, Europeanness in Videogames
- Index
2 - From Le Vampire Fou to Billy la Banlieue : Genre, Influences and Social Commentary in 1980s French Videogames
Published online by Cambridge University Press: 16 December 2021
- Frontmatter
- Table of Contents
- Prologue Conflict, Negotiation, Appropriation, and Diversity: The Challenge of European Game Studies
- Introduction Euro Ludens: On the Origins, Playing Region, and Imaginaries of the European Videogame
- Part I National Stories
- Part II Transnational Approaches
- Conclusions (for now) European Videogames, Europeanness in Videogames
- Index
Summary
Abstract
This chapter aims at exploring the cultural specificities of French videogame production in the 1980s by identifying its sources and references and the way French creators adopt original formulas, such as fantasy or horror adventure games, to their own national context. It specifically analyses how did adventure game genre developed its own cultural identity, blending together a touch of social commentary— inherited from the caricatural humour typical of the Parisian ‘chansonnier’ tradition—and a dash of 1980s class struggle. Finally, this chapter will show how French videogame production draws on various sources, ranging from American and British influences as videogames or popular movie genres to French popular culture, mixing references and appropriating styles to create original content responding to national audiences.
Keywords: France, Social Criticism, Humour, Adventure Game, Politics
In the year 1983, the French videogame sector began its early structuration: the first videogame titles for microcomputers were being coded, published, and sold on the French market, with publishers such as Infogrames or Loriciel, studios such as Ère Informatique or Cobra Soft, wholesalers such as Innelec, specialised press titles such as Tilt, and videogame stores such as Electron in Paris or Micromania, which, at the time, were only sold via mail order. For a few years, from 1983 to 1988, the French videogame sector exclusively published titles targeting a French audience and the French market. Since early French videogame players were not very proficient in English—The Pink Panther's Inspector Clouseau actually being a somewhat accurate example of how French people used to speak and understand English at the time—many of the first French publishers chose to exploit text-free action-arcade formulas such as Pac-Man’s, which was copied in Crocky (Loriciels, 1983), or Frogger’s, which was copied in Autoroute (Infogrames, 1983). Other publishers chose to translate American or British adventure games into French. Thus, for instance, Wizardry (Sir-Tech, 1981) became Sorcellerie (Ediciel, 1983) in September 1983. After that, French videogames gradually found their own cultural identity as they began to create original game content for French audiences—although this soon came to an end with the rise of the global game market in the late 1980s.
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- Perspectives on the European Videogame , pp. 59 - 74Publisher: Amsterdam University PressPrint publication year: 2021