EUROPA UNIVERSALIS 5 LORD OF THE RINGS SERIES

So this critique comes from a place of appreciation for the series. I want to note at the outset then that I have played every main Paradox title (except March of the Eagles) since Hearts of Iron II (which released in 2005). Now obviously that is going to mean that we are going to be critical about these games, pointing out flaws and weaknesses (along with strengths) of their historical assumptions. So we are going to approach this question from two related frames, first, what should the student of history be thinking about when playing Paradox’s games what unspoken assumptions should they be aware of, or even forewarned about? And what of those assumptions are grounded in real arguments among historians (or, put another way, where does Paradox have its feet firmly in the scholarship in crafting its games)? And second, what ought teachers of history know about these games and take into account if they find themselves teaching students for whom Paradox is the historical ‘mother tongue’ and actual history only a second language?

EUROPA UNIVERSALIS 5 LORD OF THE RINGS SERIES

The earlier Paradox games were often very much ‘on rails’ with certain historical events slated to happen more-or-less on time regardless of other factors or conditions, but more recent games have tended instead to remove the ‘rails’ and instead make those events subject to historical forces modeled dynamically in the games (and you can see titles like HoI3, EU3 and Victoria II as intermediate stages in this development I should note we will be discussing Vicky2 in this series because some of its historical assumptions are fascinating and not at all because I want to bully Paradox into green-lighting Victoria III, but Vicky2 more properly belongs to the previous generation of Paradox games rather than the current one). As we’ll see, some of that I’ll agree with and some of it I will disagree with, but the great value of Paradox’s games is that there is an ample theory of history to agree or disagree with.įinally, I think the latest generation of Paradox games ( Europa Universalis IV, Hearts of Iron IV, Crusader Kings III and Imperator) are particularly interesting compared to many of the older titles because of a change in design philosophy at Paradox over the years. Unlike other games which blunder through historical eras thoughtlessly, Paradox games, intentionally or not (in the event, I think it is clear from speaking with a couple of their developers, there is quite a lot that is intentional) have something to say about history. Moreover, and we’ll get deeper into this as we go along, the very presentation of Paradox’s games, which use their efforts at historical accuracy as a key selling point, encourages players to think about them as exercises in history rather than just games.īut more than that, more than most historically set games, Paradox games are interesting because they are built with what I think is a detectable theory of history. I have already heard from multiple college-level instructors that they have students coming into their classes specifically to learn the history behind these games, which in turn means that these games are serving to shape those student’s understanding of history before they even enter the classroom. I particularly wanted to discuss Paradox’s games, as compared to other historically rooted games, because I think Paradox’s oeuvre is a particularly rich vein to mine. Especially the big crescendo about 50 seconds in which invariably makes me reach for my speakers to turn the volume down at least a notch. I swear I hear the loading music just looking at this. In any event, it seems appropriate to start with Paradox’s oldest and still flagship title, Europa Universalis and in particular with the fourth game in the series (the latest one). And this series will in turn be part of a larger series looking at several of Paradox’s games and how they treat their historical subjects (I know, a series of series may be the most ACOUP thing ever). This is the first post in a series ( I, II, III, IV) that will be examining the historical assumptions of Paradox Interactive’s grand strategy computer game set in the early modern period, Europa Universalis IV.

Europa universalis 5 lord of the rings