Archive
Defensible models and Historical Problem Spaces as an approach to assessing the validity of of historical games.
Disclaimer: I have advocated and used the criterion of what I call “defensible models” of the past for evaluating historical games for 16 years in print. Based on some recent interest in my network, I decided to write this VERY QUICKLY AND WITHOUT PROOFING and post this immediately on finishing it. It is a discussion piece, not even remotely a polished essay. I will revise and add in response to community feedback and get it into a more polished piece. Would love your feedback.
Improvement notes from first round of colleagues on BSky 3/25/26
- The jargon-free approach is helpful and educators and folks outside of game studies and HGS struggle all the time with this.
- But who am I arguing against – To Vinicius Marino Carvalho I suggested Deconstructionist history is one of the bigger lurking problems to practical educational approache
- Give some examples of games where there are “inaccuracies but defensibility to illustrate
- .The concision of “Some agents like this” is helpful. Maybe spell out the logic. What does a history game model? Historical problem spaces. So does it do that defensibly?
- Don’t negate or oppose discrete fact not-picking, “consume” say Nikhil ? And it’s a very good point. How could one critique model with no discrete facts?
- Address that the level of abstraction is a factor in all of this. At a high enough level of abstraction HPS becomes more defensible often.
We Should Move Beyond Evaluating a Historical Game Primarily on Whether it Portrays a List of “Facts” Historically Accurately
When I first started shifting from my independent work on video games and history education into the fledgling community of Historical Game Studies fostered by playthepast.org which was launched under founding editor Ethan Watrall’s guidance in 2010 I began as an educator and historian approaching games. I suggested in The Happiness Metric in CivCity:Rome and the Critique of Simulation Games (September 2010)
Read more…Asking whether a historical simulation game is accurate as if that were an all-or-nothing quality seems to me to be missing the point—the accuracy of any historical interpretation is not something that can be determined with any certainty. One historian’s common sense convention is another’s faulty construct to be dismantled. One generation’s conventions are the next’s biased assumptions. What really matters in historical interpretations is the extent to which any particular one is constructed based on the strongest, most defensible readings of evidence and the best supported and culturally sensitive understandings of human behavior. So, a far better criterion than accuracy when critiquing a historical simulation game is whether its core gameplay offers defensible explanations of historical causes and systems. So for example, it is not a question of whether a civilization building game allows a player to develop nuclear fission in the 17th century, but whether the game reasonably models the factors, including constraints, that lead to the development of such technologies. This focus on defensible models of causation is absolutely critical when one’s interests, like mine, center on using simulations as models to aid student (most often high school, but middle school and college as well) in understanding historical systems and learning to critique interpretations of the past. Let me be clear on the term interpretation here. We do not access the past directly nor do we present the past directly; we can only access and construct interpretations. This is true whether the interpretation comes from the Roman historian Livy, the modern historian McCall, or the game designers at Firefly. In this light, so long as a game’s core gameplay is historically defensible, any, even many inaccuracies serve as highly useful targets for getting students to launch evidence-based critiques. Evidence-based critiques is the operative term; simulation games should be critiqued using abundant references to the contents of valid sources of historical evidence.
Two new exemplar student choice-based histories are up
To see all the exemplars from Cincinnati Country Day School students over the past 9 years, https://gamingthepast.net/simulation-design/twine-interactive-fiction-tool/choice-based-interactive-histories-online/ccds-student-designed-histories/
GTP Dialogue with Vinicius Marino Carvalho Part II Historical Problem Spaces and Beyond
This is the second part in a planned series of dialogues with historian, educator, and historical game designer, Vinicius Marino Carvalho, about the Historical Problem Space Framework as set of concepts and tools for analyzing and designing historical games in any medium. (Read Part I)
Vinicius: So, Jeremiah. I think I owe your readers an apology. I ended the first part of our collaborative blog post on a *massive* cliffhanger, promising to introduce a perspective that could in theory render the entire HPS framework moot.
(On hindsight, I really should make a note to tone down on the hubris…) But, more to the point, I think it’s fitting that I explain what I was talking about.
This might sound trivial, but there’s an explicit assumption in the “A.R.T.M.O.”. typology (Agents, Resources, Tools, Metrics and Obstacles) (Jeremiah’s note: it changed from A.R.T.O. to A.R.T.M.O.s for the upcoming book) that these four elements are different things. Meaning: there are entities that act, and entities that are acted upon. Moreover, in history, specifically, we generally assume that agents are human, groups of humans, or at least human-like in some capacity.
Herein lies the rub: there are some theorists who have been trying to problematize the distinction between ‘agents’ and ‘things’. You can find them in perspectives like posthuman theory, actor-network theory, animal history, interspecies history, archaeology (which deals with the agency of things), new materialism (which deals – among other things – with the agency of inanimate matter), etc.
Read more…GTP Dialogue with Vinicius Marino Carvalho: HPS and Beyond (Part I)
JM’s Starting Note: This discussion began when I asked on the Historical Game Studies Facebook page for feedback on my most recent article expanding on and articulating the historical problem space framework https://thersites-journal.de/index.php/thr/article/view/238. My colleague and friend Vinicius Marino Carvalho asked some of his, as usual, insightful questions that got us discussing all sorts of topics in historical video games and the medium of game history. From this point we will follow our discussions where they lead. (Read Part II)
Vinicius: So, I just had the pleasure of reading your latest article “Agents, Goals, and Action-Choices”. You seem to be developing the Historical Problem Space framework toward an interesting new direction. I wonder if you’d be willing to discuss a couple of ideas in more detail?
1- It may be just my impression, but you seem to have taken the HPS to a more overtly structuralist direction than your previous papers (e.g. “historical games are games, and that means they take the form of historical problem spaces”; “At their core, each game, like all historical games, presents a historical problem space with a player agent”). Has your current work on your upcoming game design book prompted this shift? Or have you always thought about the HPS this way?
Read more…Historical Problem Spaces on the Studying Pixels Podcast
In late September, I had the pleasure of talking with Stefan Simond over at the Studying Pixels podcast about games as historical problem spaces

https://studyingpixels.com/games-as-historical-problem-spaces-with-jeremiah-mccall/
Historical Game Design Theory and Practice: Dialogue with Luke Holmes, Part 2
Part 1 of our dialogue blog is here. Last time, Luke left us with Chris King’s argument that game developers should choose their historical interpretation based on whichever suits the gameplay best. I always felt a bit uncomfortable with that, but maybe I have too much of an agenda as a historian! . We’ll start this second instalment from there.
JEREMIAH: That does seem to be a rather bold statement. Here my response as an educator with historical games and as an academic studying historical games might differ. King’s suggestion works perfectly for a history class so long as the teacher presents the game as an interpretation, a model, that needs to be critiqued for defensibility by students (McCall 2011 and now McCall 2022, forthcoming). I suppose though that even from a more formal academic analysis, the idea of picking a historical interpretation based on mechanics is probably not noticeably different than the practice we mostly all seem to recognize: that in a conflict between fun/playability and historical accuracy (leaving aside how problematic that term can be), devs on record tend to say that they will usually go with fun/playability–I’d have to go back to look for references; pretty confident Sid Meier has said that. Also pretty confident that Soren Johnson agreed and elaborated on this principle back on my first GTP:Designer Talks podcast. In a sense “picking the historical interpretation to suit the game mechanics” is just a variation on this right? Even so, it’s a generalization of course, so whether devs pursue something more on the consistent with historical evidence (“defensible”) or less will depend on their originality pillar, right, to the extent that advancing a certain historical proposition could be part of a game’s originality? (or the expectations pillar if players expect a defensible historical model?)
LUKE: I wonder too if video games’ position in media-culture-hierarchy also gives game devs a lot of flexibility precisely because they don’t have to be defensible. Academics (and a lot of devs, too) would I think argue that video games very much are vehicles of history, but I’m not sure all audiences would agree. When video games aren’t presented as an authority (in the way that a book, museum, or academic might be, however flawed that is) the worry about whether a historical model fairly represents the period or discourse becomes unimportant – it is, after all “just a game”. For me though, games that take this line run a risk of trivializing the past, or even exploiting it for inspiration and genre appeal. It creates a nonsense proposition: that fun is directly incompatible with good history.
Read more…Historical Game Design Theory and Practice with Luke Holmes, Part 1
After a too-long hiatus (4 years), a new series of dialogue-blogs start on Gaming the Past with this installment. This time my very-esteemed interlocutor is Luke Holmes, Game Designer at Creative Assembly (previously museum-worker, with a History MA). We’ll set out on what we both excitedly hope will be a series of substantial discussions by talking about developer goals and the design of historical games
LUKE: I’m going to jump right in! When studying historical video games, historians often think about what games are trying to say, and how they say it. We do our best to draw conclusions from the characters, levels, narratives and mechanics, and to some degree judge these products by their historical interpretations. How faithful was Assassin’s Creed: Odyssey to ancient Greece? How far can Civilisation be used for teaching and studying history?
We look at the goals given to the player, and we analyse whether they are historical. Is the decision of whether to hire knights or archers in Age of Empires IV reflective of the kind of decisions that historic nations had to make? I know you’ve done a lot of work in this area, Jeremiah, so I’m interested to explore this a little more.
JEREMIAH: One of the reasons I am so pleased to get to work with you on this, Luke, is because the developer perspective is so critical to historical game studies but not explored nearly enough. Historical game developers are historians. They meet the basic criterion: they create curated representations of the past (something any number of historical game studies folks including myself have emphasized, not least of all Chapman 2016). So, it follows that a key to better understanding the medium of historical games is to better understand developers’ approaches to designing GAMES that are historical. Your insights will be of great interest in this light. It’s always good to remember that history, categorically ≠≠ academic written history.
Read more…Dreams of Darkness as a Historical Problem Space: A Discussion
Friend and HGS colleague currently working with Dream of Darkness, Tamika Glouftsis, wrote an insightful blog in April Can the Historical Problem Space framework help us make better history games? I was excited to see her thoughts, not least of all because I’m considering a book project specifically on using the HPS framework to guide game design for students (in the form of interactive texts, and physical boardgame design) a guide that, hopefully, would have value for teacher-designers and historical game developers too. So with that in mind, and the pleasure of exploring this topic for any synergistic insights we or others might developed, I wrote some interlinear comments to Tamika’s post to continue the discussion, and Tamika wrote some additional comment to turn this into a dialogue. So what we have is, we think, an interesting discussion of ideas and a continued exploration of how developers (in addition to those studying historical games) might use the Historical Problem Space framework (McCall, 2020) as an analytical tool for historical game development. Both Tamika and I welcome further conversations on this, so please reach out to us with questions and comments
Read more…Through the Darkest of Times’ Historical Problem Space

This is a republication of my two-part essay on Playthepast.org, (original Part 1 and Part 2 here). It is the first long-form historical game analysis I have written using the Historical Problem Space framework. The first half of the essay is more descriptive, illustrating the details that go into a historical problem space analysis. The second part provides more analysis and conclusions about the game as a history.
Read more…Who Am I? What Am I Doing Here? Player Agents in Historical Games
Adam Chapman and I are back on track debating the distinctions between different kinds of historical games and what makes a game historical. I find myself, in these kinds of discussions, increasingly referring to important distinctions I have found between types of player agents in historical games. I developed a starting taxonomy to make these distinctions explicit and useful for analysis in a talk I gave on Twine and interactive historical texts for the Value Project last year (The whole talk is worth it, I hope, but minutes 15:20 – 17:40 present my initial version of the taxonomy). I will write this up more formally in some articles in 2019, but since I have found it to be useful and I refer back to it increasingly, I wanted to present this to interested folk.
[1/1/2019 Note: I’ve gotten some helpful initial feedback, and rather than draft a new post, I am adding new sections in blue italics. This is all still very much a work in progress, but I became struck all-of-a-sudden by the idea of updating more interactively with feedback from Twitter — keep the thoughts coming!]
In historical games (whether using MacCallum-Stewart & Parsler’s (2007, 204) definition or Chapman’s (2016, 16) much broader definition) with historical problem spaces (McCall 2012, 2012, 2016, 8), the types of player-agents game designers focus on in their designs have a significant impact on the connections between the game and the past. There is, of course, a great deal of overlap, but it is still meaningful to consider four main types of historical agents in these games.


