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There is a familiar pattern to media coverage whenever Rockstar publishes a game. There is talk about how the developer has used its newest game to iterate upon and redefine the open world genre. There are almost always articles on how various Hollywood films influenced Rockstar's development process. And there are at least one or two polemics that attack the developer for transgressing established norms about what can and cannot be done in video games. This last type of essay inevitably concludes that video games are bad, and lead to an increase in interpersonal violence as well as the downfall of civilisation.

What's interesting about this pattern of coverage is how often it overlooks Rockstar's own development and publishing habits, most notably the company's steady development and publication of games set in the past. Indeed, if we were to remove the typical narrative surrounding Rockstar games related to game mechanics, cinema and satire, we might instead see Rockstar as a publisher of historical games on par with Firaxis (Civilization), Paradox (Crusader Kings and Europa Universalis), or Ubisoft (Assassin's Creed). It's now commonplace to see articles, podcasts and videos criticising those publishers' appropriation of the past, but Rockstar remains remarkably unscathed even though the company has developed and published a series of games that, taken together, chronicle modern American history. These games include Red Dead Redemption 2 (set in ), Red Dead Redemption (), L.A. Noire (), Grand Theft Auto: Vice City () and Grand Theft Auto: San Andreas ().

Whenever one attempts to analyse the history in historical fiction they'll always run into the hand-waving argument that "it's fiction, not history". This defense has been used by Red Dead Redemption 2 lead writer Dan Houser, who stated recently: "[the game] may be a work of historical fiction, but it's not a work of history.". Yet we know popular historical fiction often plays an outsized influence on the way the public remembers historical figures or important time periods. Consider, for instance, the impact of Shakespeare's plays on the reputations of Cleopatra and Richard III. Or the importance of Saving Private Ryan to public commemorations of D-Day. To take an example from my own life, I've probably had more conversations with students on the influence of Blackadder Goes Forth on our memory of the First World War than I've had on the actual history of the First World War (although that probably says something more about the quality of my teaching than anything else). The truth is better than fiction, but it's often the fiction we remember the best.

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