In 2019, Ubisoft lead developer Sébastien Le Prestre said in an interview with Gamespot: "We're creating a game here, we're not trying to make political statements in our games. We've rooted ourselves in reality, and you'll get what you get out of your playthrough -everybody will get something different out of their experience. The story might make you see different situations, but we're not trying to guide anybody or to make any sorts of statements." (Webster 2019) Contrary to such claims from the video game industry, digital games cannot be thought of as operating separately from society and its politics. Games emerge out of society and inevitably carry statements of social and political discourses within them: "The stories we tell reflect our understanding of the world and the society in which we live, even if such tales appear firmly rooted in the fantastic." (Barr 2020: 28) Games play with our hopes and fears. They reproduce -consciously and subconsciously -distinct ideas of the world and convey values whenever they construct ideas of good and evil, for example. In games, we encounter brave warriors and corrupt politicians; we fight for freedom and against oppression. In terms of historical discourse analysis, we can therefore speak of dominant ideological statements that are communicated and constructed.How, then, can we recognize and analyze these dominant statements? Of course, the most obvious way is to spot them in the narrative running through the games: Is there a central conflict? What are the causes of this conflict? Who are the heroes? Who are the enemies? To this end we can take inspiration from media studies, or more generally from the social sciences, where phenomena such 1 Quote from the character Ellie in The Last of Us.