Abstract
ABSTRACT Medievalist video games are often embedded with complex modern militarism. Though the military-industrial-media-entertainment-network is a well-discussed issue in relation to video games, much of this work focuses on first-person shooters and representations of modern military combat. This same militarisation operates through more covert mechanics in medievalist video games – games set deliberately in a distanced, often fantastical, world – but the same logistical, schematic thinking and messaging is still hidden amongst the longbows and castles. This article analyses this phenomena using the 1991 Robin Hood: Prince of Thieves Nintendo video game as a case study text within which two distinct military temporalities operate simultaneously: the 1991 Gulf War and the medieval crusades. It examines the legacies of crusading medievalism but with particular concern for militarism and hypermediacy, exploring the way the American military context of the early 1990s resonates through this game text, particularly through its conceptions of violence and the body of the soldier. The rhetorical power of normalising militarised logistical thinking is significantly increased when it also coalesces with medievalism, and even seemingly simplistic games like Prince of Thieves form a crucial part of the legacy that today manifests in hyper-realistic shooter games that perpetuate racialized violence.
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