To describe the virtual worlds of digital games as hyperreal and simulacra has become almost a cliché. The perfect copy without an original, complete and even flowing over with signs adding to its real appearance but simultaneously disguising a basic loss of referentialsmany of the games can be looked on as substitutes for the real world (if there is such a thing). In this article, I use World War II digital games as examples of hyperrealities, using some of Baudrillards thoughts on hyperreality and simulacra, on our relation to history and on what he considers to be a fundamental longing for reality that has been lost to us in (post)modern Western society.
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