STORYGAME
The player-characters are 10-year-old Margrete Valdemarsdatter, who, arriving at Akersborg Castle, Norway in 1363 as the new bride of King Håkon Magnusson (23), becomes friends with Ingegerd Ulfsdotter, also aged 10. Together, the two girls explore the castle, encountering a range of inhabitants as they search for Margrete’s lost cat - the only thing she has with her to remind her of her old home.
BACKGROUND HISTORY
Margrete and Ingegerd actually existed and became lifelong friends. Young Margrete contrasts with the princesses of typical girl-game ‘dress-up’s or Disney’s fantasy princesses. Learning to be the effective Queen she later became, unlike female characters in conventional pseudo-medieval games, who turn into damsels in distress needing rescuing or wear boys’ clothes and fight and act like boys, Margrete in Queens Game acts like an intelligent, courageous and curious girl, and dresses like one.
Living in a world just recovering from the Black Death pandemic, Margrete does dream, like her contemporaries and like us today, of the enchanted realm of the Round Table where her alter-ego, player-character Lunete, rather than marry the husband chosen by her parents, finds her own way to court to become Queen Guinevere’s minstrel (a profession really open to girls in the middle ages).
CONTENT AND FORM
Queens Game experiments with new forms of storygame narrativity. It transposes the ‘story within a story’ form of medieval tales of King Arthur’s knights into the gameworld, offering two views: the actual world of medieval Norway; and the legendary, exotic world of Round Table adventure, translated into Old Norse in the Middle Ages for Margrete’s husband, Håkon’s great grandmother, who lived in this very castle, where Margrete and Ingegerd find themselves.
Oral-composition and storytelling modes common in the middle-ages, intrinsically spatially-organised and non-linear, provide an innovative format for computer-handled narrativity, which is not confined by the linear page-structure of books or the fixed framing of stage, film or television screen.
Margrete’s castle of Akersborg, with its timber outbuildings, set in its real-life Bjørvika landscape, was modelled, with the help of historians and archivists, from partially hidden medieval remains, early descriptions and drawings, and later carefully-researched and measured speculative architectural plans.
Lunete’s and Arthur’s castles have the same footprint as Akersborg, but with the graceful appearance depicted in French manuscripts. Costumes, interior décor, furniture, utensils and tools are based on 14th-century manuscript paintings and surviving medieval artefacts.
GIRLS, GAMING AND STORYTELLING
Gameplay analysis suggests that top activities for female players, who tend to “want to make creative choices”, in addition to puzzle solving, are gathering, build and design (Brune, 2021), atmospheric exploration and interactive drama (Campbell, 2017), all of which feature in Queens Game’s gameplay.
As Brie Code (previously an AI programmer at game-developers Ubisoft and Relic Entertainment, since 2016 director of her own company, TRULUV Studios, Canada) an avid gamer herself, points out, girls and women often “don’t like video games” because they “think video games lack depth”; and that from games they “don't learn anything or change as a person" - or else they are “just flat out repulsed by video games. Few women, for example, are going to play a video game with terrible portrayals of women”. Code found these unconvinced players irritated by “failing at things [they] didn't care about in the first place” and put off by the fact that “they don't find their own cultural references or interests in video games” (Code, 2016).
‘Queens Game’ is not adrenaline-driven; no-one gets shot or tortured or hacked to death; and it does not offer rewards or prizes for speed, competition, violence or successful combat, but instead you collect original songs and music, rather than weapons or material possessions. Skills points are for activities ranging from baking through spinning, weaving and tailoring to honey-making, book-making and caring for the pigs, goats, dogs, falcons and horses. The emphasis is on exploration and creativity - experience-points are won for kindness, collaboration, courage, confidence and initiative.
In ‘Queens Game’, whose creator/story-architect, character designer/modeller/ story-board artist, composer, and sound designer were women, the story of Margrete and her friend Ingegerd is central. The historical context and the people who shape the girls’ real world, and their dreams, reach storyplayers through overheard conversations as they explore the castle and encounter the people who live and work there, carrying out their daily tasks, preparing for Christmas and chatting casually about their lives and current news in 1363.
As well as having fun playing, it is hoped that girls today will find inspiration in the approach of a real princess of the Middle Ages. Queens Game reaches out to potential players who are not necessarily attracted by conventional hardcore, casual or serious games where they don’t find their own interests reflected, but who will enjoy taking an active part in character-based storymaking incorporating situations, challenges and activities that are genuinely relevant and appealing to them.
Players of Queens Game, while engaged primarily by the gameplay, discover the world of medieval storytelling, visual art, music and culture, enriched by glimpses of the real people, places and history it evokes.
References
- Brune, M. (2021). Zooming in on female gamers with consumer insights data. Newzoo March 31, 2021. https://newzoo.com/insights/articles/zooming-in-on-female-gamers-with-consumer-insights-data/.
- Campbell, C. (2017, Jan 20). Which games are women and girls playing? Polygon. https://www.polygon.com/2017/1/20/14337282/games-for-women-and-girls.
- Code, B. (2016). Video games are boring. GameIndustryBiz, 07 December. https://www.gamesindustry.biz/...
Thomas, M. & Stang, B. (2022). A serious game for cultural heritage?, pp. 334 - 374 in O. Bernardes & V. Amorim (Eds.). Handbook on promoting economic and social development through serious games. IGI Global. https://www.igi-global.com/book/handbook-research-promoting-economic-social/281145
Thomas, M. (2021). Cinematic forms and cultural heritage, pp. 122 -141 in Breeze, M. (ed). Forms of the cinematic. Bloomsbury Press.
Acknowledgements
Original concept, story-architecture and first full draft script devised and written with support from the Norwegian Film Institute’s interactive development fund (working Title: ‘Queens of the North’).
The research and production were carried out under the aegis of the Norwegian Film School, Faculty of Film, Television and Games, University of Inland Norway.
Queens Game research studio laboratory pilot productions was developed in collaboration with Snowcastle Games, Oslo with generous assistance from the Museum & Visitor Centre, Akershus Fortress & Castle, Oslo.
DISSEMINATION
Exhibition
The explorable model of the real medieval castle, most of which is no longer visible after the ravages of time and rebuilding, and a version of Queens Game adapted to fit the timescale of a museum visit was included as a standalone interactive exhibit in the international exhibition ‘Vår fru dronning Margrete - Our noble lady Queen Margrete’ (March 2022 – September 2023 at Akershus Fortres and Castle.
As an Owl or a Cat, you could travel through time to visit the castle, furnished and populated as it was in the 14th century, and overhear the conversation of the inhabitants of the castle commenting on the events of their time as they go about their business in the North Wing, where the kitchens and great hall are situated.
Supported by Oslo Kommune kulturetaten kultutarv, Extended Media, upgraded the interactive exhibit in July 2023 and after the temporary exhibition was over, it went on permanent display at the Visitor Centre in February 2024.
Presentations
- Inclusive Gaming Conference, University of Oxford, 01 May 2024. Professor (emeritus) Maureen Thomas (Norwegian Film School) presents Queens Game.
- 25th Anniversary Celebration, Norwegian Film School, Inland Norway University Lillehammer Campus, 30 November 2022. The Queens Game pilot demonstrator is tested by visitors to the public exhibition-space, where it is available all day. https://www.inn.no/om-hogskole...
- Artistic Research Café, Norwegian Film School, Oslo, 30 May 2022 Professor Maureen Thomas (Norwegian Film School) & Bendik Stang (Executive Creative Director, Snowcastle Games Oslo) present and demonstrate Queens Game live. Kariina Gretere sings her settings of original ‘Queens Game’ lyrics by Maureen Thomas against a projection of Medieval Akersborg Castle from the HiStoryGame played live by Wenche Hellekås. Sound mixed live by Idunn Snædis Agustsdottir. Immersive contextualising 3D animated visuals created and mixed live by Rafal Hanzl https://filmskolen.no/en/artic....
- PKU Artistic Research Forum (online) 14 March 2022 Professor Maureen Thomas (Norwegian Film School) Interactive Storytelling: HiStoryGame - Queens Game https://diku.no/en/events/arti....
- Artistic Research Café (Norwegian Film School and Norwegian Film Institute Lab), Norwegian Film School Oslo (Online), March 2021 Professor Maureen Thomas (Norwegian Film School) & Game Developer and Director Bendik Stang (Snowcastle Games Oslo) in conversation: How can artistic research at a film school and professional practice at a games development/production studio benefit each other? Queens Game https://filmskolen.no/en/resea....
- Norwegian Artistic Research Forum, Norwegian Film School, Lillehammer September 2019 Maureen Thomas (Norwegian Film School) presents and Bendik Stang (Snow Castle) demonstrates Queens Game second pre-production prototype: June - September 2019 https://diku.no/arrangementer/....
- Artistic Research Café March 2019 Maureen Thomas presents Queens Game initial pre-production experimental prototype: January – May 2019 work achieved and in progress https://www.nfi.no/kalender/ar...
- Artistic Research Café (Norwegian Film School and Norwegian Film Institute Lab), Norwegian Film School Oslo, October 2018 Maureen Thomas presents Queens Game: proposed project https://www.filmskolen.no/arti....
About story-architect, writer, director and senior artistic researcher Maureen Thomas
Maureen Thomas has integrated her love of medieval literature, drama and oral tradition into much of her creative work since graduating from the University of Cambridge, where she read English Literature and Drama with Anglo-Saxon, Norse & Celtic. Following postgraduate research on myth as drama and the chivalric and Arthurian legends in Old Norse/Icelandic at the Institute of Icelandic Studies, Reykjavik, she became a research fellow and tutor at University College London’s Dept. of Scandinavian Studies. In parallel, Maureen was writing and directing for radio and stage. At the National Film and Television School UK (NFTS), as a visiting tutor, she guided development of fiction film, TV, animation and documentary projects, and started to explore the emerging form of computer-enabled interactive narrativity. She became Head of Screen Arts at NFTS in 1994. Maureen ran workshops and seminars for Norsk Film and Statens Studiesenter for Film, Oslo and from 1997 was a visiting tutor at the Norwegian Film School, Lillehammer. In 1998 she co-founded the Cambridge University Moving Image Studio, where she taught and supervised both linear and non-linear practice-oriented work at MPhil and PhD level. Maureen was appointed Senior Creative Research Fellow at the Swedish Interactive Institute’s Narrativity Studio, and Visiting Artist at Crucible Studio for the art of narration in non-linear and interactive media, Media Lab, Aalto University, Finland. In 2000, Maureen was appointed Professor 2 (Narrativity and
Interactivity) at the Norwegian Film School, Faculty of Film, Television and Games, University of Inland Norway, where in 2022 she was awarded the status of Professor Emerita.
Selected Production Credits
- Homo Novus. 2018. [Screenwriter] (feature film adaptation of Anšlavs Eglītis Latvian novel) Director Anna Viduleja. Production: Film Angels. National Film Centre of Latvia Centenary Prize for Screen Adaptation (script); most-viewed centenary film - Rigas Nami Award; Latvian Film Prize. (Teaser: https://vimeo.com/251614479; Trailer: https://vimeo.com/280358531).
- WE. 2016. [Writer/Director] (integrated media ‘total theatre’ performance) with Studio for Electronic Theatre (www.setlab.eu), Roundhouse & Camden People’s Theatre, London.
- Marvellous Transformations. 2015. [Dramatist, Lyricist and Reconfigurable-voicescript Writer/Director] (installation – digital 3D art by Marianne Selsjord, supported by the Norwegian Arts Council; music by Kariina Gretere) (Jock Colville Hall, Cambridge).
- GhostCinema. 2013. [Story-architect, Director, co-Writer] (interactive locative Apple App) Production: Universities of Cambridge, Liverpool and Edinburgh in partnership with the Survey of London at English Heritage (AHRC-funded).
- Viking Seeress. 2010. [Story-architect, Writer, Director] (live integrated media performance using realtime navigable 3D ‘set’ on stage) with performers Kariina Gretere, Helen McGregor; designer Marianne Selsjord (MIST, Cambridge).
- RuneCast. 2007. [Interactive Story-architect, Writer, Director] (interactive cross-platform RT3DVE & video cultural heritage media art – installation and broadband for smartphone). Spatially-organised aleatoric dramatic & musical narrative based on Viking mythology and aesthetics (EU IP funded).
- Zuppa Inglese. 1993. [Librettist] (chamber opera - composer Daryl Runswick). Production Company: Pimlico Opera. Exhibition: Oxford Playhouse/Nottingham Playhouse/London RGS.
For young people:
- Alice. 2002. [Co-lyricist & Director] (stage musical from Lewis Carroll’s ‘Through the Looking Glass’ - composer Stephen Daltry – New End Theatre - voted #2 London Christmas Stage Show, by Sunday Times critics & children’s panels)
- About Face – Lombroso. 2001. [Lyricist] (opera - composer Rachel Leach - Linbury Theatre, Royal Opera House, Covent Garden, London)
- Bright Sparks. 1990. [Book and Lyrics] (Young People’s Pop/Rock Opera - composer Daryl Runswick - commissioned Arts Council West, UK)
- In Norway:
Aldri mer 13 (Goodbye 13). 1996. [Screenwriter with director Sirin Eide] (feature film). Production: Moviemakers. LUCAS Award for Best Film, Frankfurt International Festival 1996, and Best Film Award, Antwerp International Film Festival 1997.
Maureen’s creative practice research and teaching at Higher Education Institutions (incorporating doctoral supervision/examination) includes: University of Cambridge; University College, London; Narrativity Studio, Swedish Interactive Institute, Malmø; Media Lab, Aalto University, Helsinki; Digital Studios, Goldsmiths University of London; Dept of Art, Design & Architecture, University of Ulster; Welsh Film School, University of South Wales; National Film & Television School, UK (former Head of Screen Arts and Chair, Academic Standards Committee).
Selected Publications
- Thomas, M. & Stang, B. (2022). A serious game for cultural heritage?, pp. 334 - 374 in O. Bernardes & V. Amorim (Eds.). Handbook on promoting economic and social development through serious games. IGI Global.
- Thomas, M. 2021. Cinematic forms and cultural heritage, pp. 122 -141 in Breeze, M. (ed). Forms of the cinematic. Bloomsbury Press.
- Speed, C., Thomas, M. & Barker, C. 2017. Ghost Cinema app: temporal ubiquity and the condition of being in everytime, pp. 313-336 in Penz, F. & Koeck, R. (ed). Cinematic urban geographies. Palgrave Macmillan.
- Prager, P., Thomas, M. & Selsjord, M. 2015. Transposing, transforming and transcending tradition in creative digital media, pp. 141-199 in Harrison, D. (ed). Handbook of research on digital media and creative technologies. IGI Global.
- Thomas, M., Selsjord, M, & Zimmer, R. 2011. Museum or mausoleum? Electronic shock therapy, pp 10 – 35 in Lytras, Damiani, Diaz & Ordonez De Pablos (ed). Digital culture and e-tourism: technologies, applications and management. IGI Global.
- Thomas, M. 2009. Taking a chance on losing yourself in the game. Digital creativity, 20:4, 211–234 (Special Issue: Women in Games).
- Thomas, M. 2005
(i). Playing with chance and choice – orality, narrativity and cinematic media, pp. 371-442 in Bushoff, B. (ed.). Developing interactive narrative content: sagas/sagasnet. High Text.
(ii). The power of narrative: 2D, 3D, 4D', pp. 51-76 in Blackwell, A. & MacKay, D. (ed). Power. Cambridge University Press. - Thomas, M. 2003. Beyond digitality: cinema, console games and screen language – the spatial organisation of narrative, pp. 51 – 134 in Thomas, M. & Penz. F. (ed). Architectures of illusion. Intellect.
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Web layout and implementation: Rafal Hanzl. Last updated January 2026.
