The Middle Ages in Modern Games: Conference Proceedings, Vol. 2 (2021)

Page 56

29: Age of Empires II as Gamic History: A Historical Problem Space Analysis Jeremiah McCall, @gamingthepast, Cincinnati Country Day School Historical videogames ARE gamic histories. They transform historical content into historical problem spaces (HPS). The Historical Problem Space framework is a medium-sensitive, design-focused tool for studying problem spaces of gamic histories. http://gamestudies.org/2003/articles/mccall My main point is that videogame form shapes content. Realtime strategy game (RTS) Age of Empires II: Definitive Edition as a gamic history shapes its medieval world history content into a historical problem space and offers us excellent examples of what this can look like. The HPS comprises: a PLAYER AGENT with a specific GOAL, which operates in a GAMEWORLD, containing ELEMENTS that enable and/or constrain. The player is expected to make & adopt goal-oriented CHOICES, STRATEGIES, and BEHAVIORS. All shaped by GENRE conventions. Let’s apply this to Age of Empires II. The genre and gamic form of Age of Empires II shapes its content. Designer Bruce Shelley outlined the design approach as: “let’s take the ideas of Civilization, a historical game, and do a Warcraft 2, Command and Conquer RTS based on the Civilization … world.” Age of Empires II was from the very start an RTS gamic form imposed upon medieval history. Like Warcraft 1&2, Age of Empires II is a genre-conforming RTS with an unembodied PLAYER AGENT (no gameworld body), an “experimenting deity” who completely controls simple economic engine (RESOURCES: wood, food, stone, gold); & guides MINIONS (workers & military units). With the ultimate GOAL: to dominate rivals. The form of the game shapes its content. Age of Empires II presents 37 historical “Civilizations” each encoded to fit the problem space and given a few special features: an architecture set; some bonuses and penalties; a unique unit; a few unique techs. A Civilisation’s historical complexity is compressed into the stats of a RTS competitor. Likewise, the technological developments of the medieval world were selectively encoded and shaped into about 75 technologies, and militarized to fit the RTS gameworld. More than 50 of these technologies have only military effects and some technologies, like looms and forges, were militarized to provide combat bonuses. For the balance required by RTS games, every Civilization has access to monks and the associated technologies. The religious, cultural, and social, roles of medieval European monks are encoded in Age of Empires II into an HPS element of military power and provided to all factions. The Monk's main power is military: they can “convert” enemy units & buildings. The Technologies for monks are inspired by historical religious concepts and then encoded into military functions for an RTS HPS. ‘Heresy’ allows monks to kill “converted” enemies. ‘Atonement’ grants the power to convert enemy monks. ‘Block printing’ increases conversion range and ‘Redemption’ lets monks convert enemy buildings. The RTS form also includes economic base-building when representing historical conflicts. The Joan of Arc campaign is a strong example here. Historically, Joan was an inspiring field commander, who lifted the siege of Orleans. In the Age of Empires II Orleans mission Joan must follow the gameplay of an RTS and build a base, gather resources and build units before relieving the seige. Likewise, the Battle of Hastings is turned into an exercise in RTS-style base building, resource extracting, and army building which is not very analogous to that particular historical battle. But it’s an RTS & RTSs have basebuilding. In conclusion, form shapes content & the gamic form renders historical content as an historical problem space AoE2 imposes its RTS historical problem space on medieval historical content as much if not more than medieval historical content shapes game.

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46: Hearing the Middle Ages: Playing with and Contextualising Acoustical Heritage and Historical Soundscapes Research

6min
pages 81-83

42: Trying not to Fumble in Medieval Times: Role Playing Games as a Medium of Historiography, Authenticity, and Experiencing the Past

2min
page 76

41: What It Means To Be Swadian: Encoding Ethnic Identity in Medieval Games

2min
page 74

38: The Sovereign Code: The Eurocentric Mechanics of Nationhood in Strategy Games

1min
page 70

37: Erasing the Native Middle Ages: Greedfall and the Settler Colonial Imagination

2min
page 68

35: The Middle Age as Meme: Medieval Spaces Remixed and Reimagined

3min
pages 65-66

34: Fuck the Paladin and the Horse He Rode In On

2min
page 64

40: Problematising Representation: Elsinore and its Reimagination of Hamlet

2min
pages 72-73

33: What Comes After the Apocalypse? Theories of History in Horizon Zero Dawn

2min
page 62

31: The Middle Ages in Modern Board Games: Some Thoughts on an Underestimated Medium

5min
pages 59-61

28: Analysing and Developing Videogames for Experimental History: Kingdom Simulators and the Historians

2min
page 55

29: Age of Empires II as Gamic History: A Historical Problem Space Analysis

3min
page 56

26: Strange Sickness: Running a Crowdfunding Campaign for a Historical Research-Based Game

2min
page 53

25: Iconic Bastards and Bastardised Icons: Plebby Quest’s Neomedievalist Crusades

2min
pages 50-51

24: How to Survive a Plague of Flesh-Eating Rats: An Introductory Guide to Studying Remediated Gameplay Imaginations of Medieval Folklore and Beliefs in A Plague Tale: Innocence

2min
page 49

22: It's Medievalism Jim, but not as we know it: Super-Tropes and Bastard-Tropes in Medievalist Games

6min
pages 45-48

21: Watch your paths well! – On Medievalism, Digital Games and Chivalric Virtues

2min
page 43

20: “They're Rebelling Again?” Feudal Relations and Lawmaking as an Evolving Game Mechanic

2min
page 42

19: Feudal Law and MMOs: “I'm afraid he's AFK my liege”

2min
page 41

12: Dragons and their slayers: Skyrim in Comparison to Middle High German romances and Heroic Epics

3min
pages 30-31

14: What you Leave Behind – Tracing Actions in Digital Games about the Middle Ages

4min
pages 34-35

17: Visiting the Unvisitable: Using Architectural Models in Video Games to Enhance Sense-Oriented Learning

2min
page 38

16: Medieval Japanese Warfare and Building Construction in Total War: Shogun 2

2min
page 37

9: Unicorn Symbolism in The Witcher Storyworld

2min
pages 24-25

3: Where the Goddess Dwells: Faith and Interpretation in Fire Emblem

5min
pages 17-18

10: Dante in Limbo: Playing Hope and Fear

3min
pages 27-28

2: What to Expect from the Inquisition: Historical Myth-Unmaking in Dragon Age: Inquisition

3min
pages 15-16

1: Immersion as an Intermedial Phenomenon in Medieval Literature and Modern Games

7min
pages 10-13

6: “Everyone Knows Witches are Barren”: Images of Fertility, Witchcraft and Womanhood in Medievalist Video Games

2min
page 21

7: Cross Cultural Representation in Raji through Medieval Mythology and Architecture

2min
page 22

5: The Portrayal of the Third Crusade and Crusading Ideology in Dante’s Inferno

2min
page 19
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