Last week, The Guardian engaged with the creators of Lili, Macbeth’s video game, which was showcased at the Cannes Film Festival. The prominent quote from this piece stated, “Shakespeare will write for today’s game.” Shakespeare was immersed in the Elizabethan era of theatre, a time when, much like contemporary video games, plays were regarded as mere popular entertainment and often overlooked for serious analysis or preservation! Authorities at the time similarly fretted over the violent and obscene nature of these plays and their potential influence on the masses.

If he were to embrace the notion of a 21st-century Shakespeare crafting games, what type would that entail? Our key argument is that Shakespeare was invested in populism and entertainment. Thus, if we focus on pure profit, he might develop casual smartphone games—akin to Tencent’s massively popular multiplayer arena game, King of Honor, which raked in $2.6 billion (£1.9 billion) last year. However, while the Bard had a fascination with royalty and honor (and certainly making money), it’s a stretch to envision Hamlet as a multiplayer arena-style battler. Surely, our noble characters would barely utter, “O, this would melt, thaw, and settle into dew. Before it evaporates with a barrage of sc-heat.” There’s also little room for the intricacies of storytelling or military rhetoric in battle royale games like Fortnite, despite Shakespeare’s acknowledged affinity for conflict and mortality.

No, if Shakespeare were to return in the early 21st century, it seems he would gravitate towards open-world role-playing adventures. In such a realm, he would have the freedom to craft nuanced stories with an array of characters in diverse settings. The marsh of King Lear could transform into a desolate wasteland, echoing the ravages of Fallout. Macbeth’s Castle might resemble Elden Ring’s ghostly dungeons or settings in The Witcher 3. Verona, home to Romeo and Juliet, could present a captivating yet troubled rendition reminiscent of GTA’s Los Santos. The persistent themes of Shakespeare—war’s nature, revenge, madness, and free will—are at the heart of fantasy RPGs. His talent for incorporating characters from all walks of life is mirrored in the intricate social hierarchies of expansive open-world games. Shakespeare’s historical narratives blend real and fictional figures, akin to the Assassin’s Creed series, which also grapples with themes of identity, disguise, and fantasy.

Moreover, open-world games possess a similarly free-form structure and psychological depth as Shakespeare’s theatrical works. They feature subplots, side quests, nonlinear timelines, and morally complex characters. Vast and sprawling, these games invite diverse interpretations; audiences often become both spectators and participants within the narrative. Likewise, Shakespeare aimed for his audiences to engage with the performance, utilizing asides, quips, and monologues to blur the lines between the stage and the audience. Today’s vocal and interactive gamers share more with Shakespeare’s Elizabethan viewers than with the polite crowds of modern theater.

This intriguing intersection of Shakespeare and open-world games is gradually gaining recognition. A few years back, the RSC commissioned three artists to explore live theater interactions with technology. One such artist, digital creator Adam Clarke, experimented with staging Shakespeare’s performances in Minecraft. Recently, I viewed Grand Theft Hamlet, an incredible documentary showcasing efforts to perform Hamlet within Grand Theft Auto during the COVID lockdowns. After all, if any genre can technically express Shakespeare’s fundamental philosophy, it’s that of open-world online video games, where everyone is merely a player on the great stage of life.

What to play

It’s always refreshing to witness a familiar video game genre reimagined thoughtfully. Lift Lift, created by Dutch designer Adriaan de Jongh and his small team, offers a fresh take on tower defense games—think Plants vs. Zombies. In this version, the landscape is significantly more expansive, incorporating tactical elements like the capacity to lay the groundwork for new towers before gathering the necessary resources. With engaging visual aesthetics and sound effects, this strategy sim proves appealing to both newcomers and veterans alike.

Available on: PC
Estimated playtime: Over 15 hours

What to read

• Writer, director, and gaming enthusiast Alex Garland has confirmed his involvement in the upcoming live-action adaptation of Elden Ring, produced by A24 and Bandai Namco. If realized, the initial moments of the film will depict the protagonist’s repeated defeats at the hands of the Tree Sentinel Knight.

• Pac-Man officially turns 45! The BFI features articles tracing the game’s development, from its origins as a pizza-inspired saga to the distinct personalities of the ghosts. However, Ms. Pac-Man remains the superior game.

• Game design icon Peter Molyneux recently participated in a Q&A at the Nordic Game 2025 Conference, where gi.biz shared his intriguing insights on the fate of Project Milo. If you have to ask what it is, you may never know.

• For those intrigued, check out Hurt Me Plenty, an exquisite coffee table book exploring the finest first-person shooters from the 2000s. It dissects titles like Call of Duty 4: Modern Warfare, Half-Life 2, and Unreal Tournament, along with an obscure gem known as Code Name: Nina—an insightful overview of this pivotal era in shooter game design.

What to click

Question block

This query comes from Andy, who asked:

What is the strangest game you’ve ever played? Last year, I explored Harold Halibut on Game Pass, which stands out as one of the most bizarre experiences I’ve encountered. I’m eager to hear about other unusual gaming journeys.

I’ve played many peculiar titles. Seaman (the fish who speaks with Leonard Nimoy’s voice), Mr. Mosquito (where you embody a mosquito), and Catamari Damacy (where you roll up a massive ball of trash for the King of the Universe) have all left an imprint. I’ve also ventured into more obscure games like the Spectrum classic Fat Worm Blows a Sparx (you are a microscope worm trapped in a computer), the strange Amiga adventure Tone’s Tass Town (where you’re caught in a punk-infused 1980s dimension), and the quirky PlayStation 2 voyeur simulator Polaroid Pete (you’re a photographer capturing odd happenings in a park).

My personal favorite is Sega’s Ambulance Emergency Call, a game reminiscent of Crazy Taxi. If you collide too much, you have to perform CPR while transporting a critically ill patient. It was a notable arcade hit, yet it surprisingly didn’t make it to home consoles—I can’t fathom why!

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