1 #MAMG20 Historical settings in games are being perceived as authentic if they correspond with the image of history players and creators have. In case of the Middle Ages, these images often date back to medievalism of the 19th century rather than actual historical research.
2 #MAMG20 Experiencing history as authentic is closely linked to von Rankes’ claim to tell history ‘as it really was’. If images of the MA are considered as ‘true’, they were reproduced and solidified in cultural memory, which then again condition personal and cultural identity. 
3 #MAMG20 J. Assmann calls cultural communication ‘identity concrete’. Therefore, identity is connected to spaces of memory (Erinnerungsräume/Zeitinseln). Certain fortified images of history can be such spaces. Questioning those spaces can be perceived as an attack on identity.
4 #MAMG20 the debate about Kingdome Come: Deliverance is a prime example: This game had (quite justified) to face critique. Among those the reproach to draw an image of the so called ‘white’ MA. On this topic check the special series on @PublicMedieval: t1p.de/8jax
5 #MAMG20 Creators, designers and developers consolidate (also through presenting the game as authentic and ‘real’) what authentical history is. Because of sharing similar images of the MA this mostly corresponds with what players are perceiving as authentic.
6 #MAMG20 This is what I would call - following Sabrow&Saupe - subject-authenticity. This differs from object-authenticity which also can be called ‘backdrop-authenticity’ (C. Heinze). The subject-authenticity begins were the latter ends and is more difficult to grasp.
7 #MAMG20 To clarify: When the game is being touted as ‘realistic’, this crosses the threshold between object- and subject-authenticity. Games like the Total War Series e.g. remain in object-authenticity and players can narrate their own subject-authenticity.
9 #MAMG20 They must accept that (neo)medievalims are internalized. Games like KC:D have some problematic views on the MA not because this is intended, but because all participants think it IS history. Sadly, fertile ground for alt-right ‘catch-webs’.
10 #MAMG20 This also makes things complicated for critics. To get access to such debates, I think, scholarly critique shouldn’t only taunt singular appearances; Historians must work on externalizing medievalisms on ‘low threshold’. But problematic content still must be uncovered.
11 #MAMG20 If the community doesn’t reflect this and use (neo)medievalism to legitimate racism, sexism or culturalism they exclude themselves from the dialogue, like they exclude others through their views on history. But often people are accessible; the question remains: how?
12 # MAMG20 Hardened frontlines often result of unconscious bias of past and identity. In the best case, players and creators learn to constantly reflect their own past and thus identity. So maybe in the future debates on authenticity in could be held in a more productive way.
