This thesis explores four games and their relation with dominant perspectives on their histories: The Elder Scrolls V: Skyrim, Nioh, Assassin’s Creed: Valhalla, and Kingdom Come: Deliverance....Show moreThis thesis explores four games and their relation with dominant perspectives on their histories: The Elder Scrolls V: Skyrim, Nioh, Assassin’s Creed: Valhalla, and Kingdom Come: Deliverance. Through historical simulation theory and theories on hegemonies, it argues that historical games are inherently political. This thesis further argues that historical games can portray conservative frames of thought, through unchanging systems and a focus on individualism. The artistic liberties these games take can lead to both playful and harmless counter-hegemonic play, as well as harmful play that reinforces frames of thought such as conspiracy theories. Furthermore, this thesis argues that claims of realism and accuracy within the genre of historical games are folly, as historical truths are almost impossible to verify. These truths are then left to the interpretation of game developers, which can lead to problematic presentations of history that can even be accused of whitewashing. The comparison between the games will suggest that one constant factor between them is that of an ahistorical protagonist, which gives the player freedom to explore the presented history without being tied to perceived accuracy. Finally, definitions of simulation theory are not yet sufficient enough to explain how Assassin’s Creed: Valhalla simulates its history. This thesis adds to the field of game studies in a few ways. Not many comparative studies have been done in this field, as most papers and online videos focus on a single game. The comparisons lead to broader theories on historical games as a whole, noting similarities and unique errors when it comes to different approaches of historical simulation. Finally, an added definition of historical simulation is proposed, including linearity in an already existing definition of (non-)specific simulation.Show less
Video games form one of the latest media in which stories are told. However, video games are not just stories - they are interactive experiences in which players have an active role. Therefore...Show moreVideo games form one of the latest media in which stories are told. However, video games are not just stories - they are interactive experiences in which players have an active role. Therefore there has been much debate on how video games should be academically approached: can video games be analysed with methods used in literary studies or should new methods be developed. Yet, little to no research has been done on the relationship between storytelling and interactivity in a video game genre that blends these two features together unlike any other: choice-driven video games. While the genre is not unique in its approach to blend storytelling and interactivity, as role-playing games (RPGs) have done so for several years, it has become increasingly popular with video game developers specialising in these sort of video games, such as Quantic Dream and Telltale Games. This genre of video games is often marketed to highlight the players' freedom and control over the video games in which their decisions dictate the outcome of the story. Nevertheless, these qualities are often overplayed as scripted events serve as boundaries limiting the extent players are actually able to affect the outcome of these video games. Thus I propose that choice-driven video games (and RPGs) offer the illusion that players' choics, decisions, and actions are significant to the outcome of the video game they are playing through clever use of mechanics that provides players to chance to immerse themselves in these video games. Until Dawn (2015), Life Is Strange (2015), and Undertale (2015) are used as case studies for this thesis.Show less
