Videogames offer us the possibility to create spaces to enjoy and engage with in ways that approach the past visually and interactively. We can play with history, and we can play to do history. But playing and history are also gendered. Playing with history and gender can open possibilities for events that happened in a moment in human history […]
There are staggering problems with historical games’ representation of women. Based on an analysis of games with identifiable protagonists from the HistoriaGames database, less than 7% of historical games have female protagonists, and more games feature plots in which women are abducted or killed to motivate the storyline than have female protagonists. Sexualisation and gratuitous nudity are rife, […]
This September, in collaboration with the Imperial War Museums Institute and the Royal Society of Edinburgh‘s Curious Festival 2025, the Historical Games Network will be hosting a discussion panel event exploring history, fantasy, digital games and media. Curious is a festival of ideas – open to all and driven by connection, conversation, and discovery. It’s a chance to […]
Developed by Omega Force and published by Koei Tecmo, Bladestorm: The Hundred Years’ War (2007) is a tactical action game that immerses players in the brutal conflicts between England and France during the 14th and 15th centuries. The game is set during the Hundred Years’ War (1337–1453), which was a protracted conflict between England and France marked by shifting […]
In video game design, the deliberate reuse and reinterpretation of architectural elements can function as a form of digital spoliation, evoking historical continuity, cultural layering, and the passage of time within virtual worlds. Spoliation refers to the deliberate reuse of architectural elements, sculptures, or other materials from pre-existing structures in new constructions or artistic contexts. […]
878AD is an immersive living history experience in the Brooks Shopping Centre in Winchester, England. Described as “a multi-sensory museum experience with theatre, tech and play,” it was created through a partnership between Hampshire Cultural Trust, Ubisoft, and Sarner to utilise graphics from Assassin’s Creed: Valhalla (2020) as a backdrop for telling the story of the year […]
The gaming medium can stimulate original perspectives on the past by incorporating underrepresented cultures or minorities into its game systems. However, when reflecting on the concept of accuracy,1 it has been emphasized that games “should also be inclusive without lying to the audience,” and Diana Cristina Răzman specified that the way the gaming industry addresses […]
As both a game developer and a medieval historian, each of my interests informs the other. In this post, I’m going to talk you through some ways I approach putting medieval elements in games and think about why they’re there. The process I use is based on thinking about medieval ideas as a sort of […]
Guest Chair/Convenor: Robert Houghton The Middle Ages are almost everywhere in games. From the painstaking reconstructions of medieval buildings and cityscapes in Assassin’s Creed (2007-) and Kingdom Come: Deliverance (2018) to the fantasy worlds emblematic of World of Warcraft (2004-), Gloomhaven (2019) or Baldur’s Gate (1998). From the detailed and measured explorations of medieval life in Pentiment (2022) or Pendragon (1985-) to the comedic Peasant’s Quest (2004) or Munchkin (2001). From post apocalyptic pseudo medieval societies in Fallout (1997-) […]
“The potential of videogames for museums is limitless.” Museum Lab, 2022. In 2014 I was playing Galactic Café’s The Stanley Parable (2013) – a story-based game with a branching narrative providing commentary on player choice, decision making and game design – when I encountered the game’s ‘Museum Ending’. In this ending, the player is invited to explore […]