This week, I will analyse in a rhetorical manner the video game Crusader Kings II. CK2 is a dynastic simulator, where the player takes control of a medieval dynasty somewhere between the years 769 and 1337. What this translates to in-game is a lot of incest, infanticide, possible genocide, human sacrifice, cannibalism, and all sorts of wholesome family activities. The game is an absolute sandbox, so the player’s goal is whatever they make it. Thus a player might make a goal like conquer all of Britain, or convert India to Norse paganism, or seduce the pope and have his babies. Every character in game is represented by a group of traits that also determine their in-game personality (for example, with a character with the ambitious trait will be more aggressive and will be much more willing to act against their liege if it gets them something). The game excels at emergent story telling, where in-game events will form a narrative that creates a coherent story in the context of that specific game. I’ve had the game form interesting stories of assassination, familial intrigue, insane rulers, unstable political situations, and much more that is nearly akin to reading a novel like Game of Thrones with more interactivity.
