Julia Mutzenbach, Tagungsbericht: Digital in die jüdische Frühe Neuzeit, in: H-Soz-Kult, 24.07.2025, https://www.hsozkult.de/conferencereport/id/fdkn-156294.

Grundlegende Überlegungen zum Projekt stellten zunächst MARTHA FIEDELAK (Heidelberg) und LARA STUMPF (Heidelberg) an, indem sie die Verarbeitung frühneuzeitlicher Themen in Games vorstellten. Anhand von Games wie „Pentiment“ und „Martin Luther auf der Spur“ analysierten sie die Darstellung jüdischen Lebens in der Frühen Neuzeit. Dabei zeigten sie, dass jüdische Perspektiven oft nur am Rand erscheinen oder stereotypisiert eingebunden sind – selbst in sogenannten Serious Games mit Bildungsanspruch.

Digitale Spiele im Geschichtsunterricht als ein Medium zwischen Historizität, Histotainment, Authentizität und Immersion präsentierte online zugeschaltet MATHIAS HERRMANN (Dresden). Er skizzierte die Entwicklung digitaler Spiele seit den 1970er-Jahren hin zu einem millionenschweren Massenmedium – ein Indiz für das breite öffentliche Interesse an Geschichte. Der Unterhaltungswert steht dabei oft über historischer Genauigkeit, doch gerade darin liegt auch ein didaktisches Potenzial: Historisierende Spiele sind Teil der Geschichtskultur, spiegeln populäre Vergangenheitsvorstellungen und können – kritisch analysiert – sogar als Quellen genutzt werden, um aktuelle Narrative und ideologische Deutungen sichtbar zu machen. Angesichts ihrer gezielten Nutzung durch rechtsideologische Kreise forderte Herrmann eine reflektierte Auseinandersetzung mit dem Medium. Richtig eingesetzt, etwa im Unterricht und begleitet durch geeignetes Material, könnten Spiele sowohl Faktenwissen als auch Medienkompetenz fördern – vorausgesetzt, sie werden als ernstzunehmende Bildungsmedien anerkannt.

If you have studied the historical campaign, you may wonder if the same operational plan can be duplicated in the game—with the same results.  The answer is yes.  The unit capabilities and game mechanics allow for a repeat of history, but there is always the other player to consider.  As with history, the two sides have nearly the same number of infantry divisions, tanks, mobile units and artillery.  The German advantage is most evident in airpower—the Luftwaffe dramatically outclassed the Allied air forces in the campaign (and so it is with the game).  Only the German player who knows exactly how to employ their units with careful attention to the movement and combat sequences, event card use, the hidden unit dynamic, and especially the air rules—will be able to duplicate the historic success of the 1940 Wehrmacht.  And even then, the historic result was only possible because the Allied response played almost perfectly into Germany’s hand.  But there is more than one path to a decisive result, and the game allows for multiple campaign plans for both sides.  The rules are set up to mirror the operational, command, and doctrinal differences between the two opposing sides, but the contest is designed simply to re-create the same historic “canvas” upon which both players may then paint—the issue will be decided by a combination of player decisions and the fortunes and fog of war.

Tyrion Lannister : A wise man once said a true history of the world is a history of great conversations in elegant rooms.

Magie's game was becoming increasingly popular around the Northeastern United States. College students attending Harvard, Columbia, and University of Pennsylvania, left-leaning middle class families, and Quakers were all playing her board game. Three decades after The Landlord's Game was invented in 1904, Parker Brothers published a modified version, known as Monopoly. Charles Darrow claimed the idea as his own, stating that he invented the game in his basement. Magie spoke out against them and reported that she had made a mere $500 from her invention and received none of the credit for Monopoly.[7] In January 1936, an interview with Magie appeared in a Washington, D.C. newspaper, in which she was critical of Parker Brothers. Magie spoke to reporters about the similarities between Monopoly and The Landlord's Game. The article published spoke to the fact that Magie spent more money making her game than she received in earnings, especially with the lack of credit she received after Monopoly was created. After the interviews, Parker Brothers agreed to publish two more of her games but continued to give Darrow the credit for inventing the game itself.[11] Darrow was known as the inventor of Monopoly until Ralph Anspach discovered Magie's patents and her relation to the Monopoly game while fighting a legal battle with the Parker Brothers because of his Anti-Monopoly game. Subsequently, her invention of The Landlord's Game has been given more attention and research. Despite the fact that Darrow and the Parker Brothers capitalized on and were credited with her idea, she posthumously received credit for one of the most popular board games.[3]

Elizabeth clings precariously to her throne and her principles, protected by a small, dedicated group of resourceful spies and courageous secret agents.