He points out that ‘eighteenth-century sentimentalism played an enormously important role in encouraging the idea that we go to history in order to experience a sense of the evocative presence of other places and other times’ (Phillips 2000 Phillips, M. ) work on eighteenth-century historiography. Publications of the Modern Language Association of America, 118(3): 436– 449. ‘Relocating inwardness: historical distance and the transition from enlightenment to romantic historiography’. Society and Sentiment: Genres of Historical Writing in Britain, 1740 – 1820, Princeton, NJ: Princeton University Press. Throughout my discussion of history and the role that sympathy plays in relation to history, I am drawing on Mark Salber Phillips' ( 2000 Phillips, M. Video games capitalize on this collapse of differences. Of course, Black's larger argument is that, by claiming ‘reality’ from virtual images, film culture is leading to a point at which the two categories become indistinguishable. In these terms, the legitimacy offered by CGI technology arises out of the ability of recorded media to produce a reality effect-if we see it, it must be real. ), has been produced by film culture, which asserts that visual documentation is tantamount to reality. The Reality Effect: Film Culture and the Graphic Imperative, New York: Routledge.
The reality effect, for Black ( 2002 Black, J. 148), so says the appearance of grass bending with the wind, for example, in a video game. Just as the presence of a barometer in a description of a room by Flaubert and the detail of a ‘little door’ in Michelet's Histoire de France ‘finally say nothing but this: we are the real’ (p. Howard ), the ostensibly inconsequential details of realist narrative (he uses examples from Flaubert and Michelet) become ‘the very signifier of realism’, which is, of course, still verisimilitude, still ‘effect’. The Rustle of Language, New York: Hill and Wang. One might also understand these attributes as factors that help to produce a game's ‘reality effect’, to use the term in Roland Barthes's sense. Generally this term refers to recent trends in gaming graphics, which include, for example, increased detail in facial features, highly textured environments, and lighting and shading effects, all of which tend to be described (by developers and reviewers alike) as features that contribute to a game's graphic, mimetic realism. Throughout the article I use the term ‘realism’ or ‘realistic’ to describe modern video games.
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