‘Nothing is true, everything is permitted.’: The portrayal of the Nizari Isma’ilis in the Assassin’s Creed game series

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Abstract

Ubisoft’s Assassin’s Creed does a remarkable – though not flawless – job in presenting a well-balanced game narrative, which incorporates not only a historically justified representation of the Nizari Isma’ilis, but also implicitly corrects one of the most famous Western legends about the so-called ‘Assassins’. In doing so, Ubisoft succeeds (at least partially) in discarding the stereotypical representation of Muslims/Arabs associated with Western orientalism, at the cost, however, of a multi-leveled but functionalistic view on the phenomenon of religion in the video game series with regards to the Assassin and Templar fractions.
Original languageEnglish
Pages (from-to)6-26
JournalHeidelberg Journal of Religions on the Internet
Volume10
DOIs
Publication statusPublished - Apr 2016

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Orientalism
Creed
Legend
Costs
Portrayal
Video Games
Religion
Muslims

Keywords

  • Assassin's creed, islam, assassins, knight templars, nizari isma'ilites

Cite this

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title = "‘Nothing is true, everything is permitted.’: The portrayal of the Nizari Isma’ilis in the Assassin’s Creed game series",
abstract = "Ubisoft’s Assassin’s Creed does a remarkable – though not flawless – job in presenting a well-balanced game narrative, which incorporates not only a historically justified representation of the Nizari Isma’ilis, but also implicitly corrects one of the most famous Western legends about the so-called ‘Assassins’. In doing so, Ubisoft succeeds (at least partially) in discarding the stereotypical representation of Muslims/Arabs associated with Western orientalism, at the cost, however, of a multi-leveled but functionalistic view on the phenomenon of religion in the video game series with regards to the Assassin and Templar fractions.",
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