By: Luke Tang

The Russian-Ukrainian War has lasted a year and a half, but we’re nowhere near the end of it. In fact, both sides have taken arms on a different battlefield, video games.

The use of video games for propaganda is not a new concept and can be traced back to World War II, where Disney played an active role. Through cartoons filled with powerful messages, citizens were encouraged to join the army and support the war effort. One notable example is the depiction of Donald Duck as a soldier, aimed at instilling patriotism and rallying public support.

Now, companies are again pushing a narrative. More games about war (or suspiciously parallel to Iranian) cast Iranians as the villains. Video games are a critically important popular culture medium, particularly with the younger generations, and America’s going to want (and need) recruits.

In the present day, Russia is using these tactics to target the Russian majority who’ve been shielded from the brutality of warfare. Many examples of Russia’s attempts are reenacting the battle of Soledar in Minecraft, commemorating the 78th anniversary of the defeat of Nazi Germany in World of Tanks, or creating an array of Interior Ministry forces in June to celebrate the national holiday, Russia Day. Chatting platforms mainly used for gaming like Discord have become outlets used by the Kremlin to justify the war in Ukraine.

So far, propaganda in video games has stayed at a minimum, however, its impact can only grow. The use of video games for propaganda raises ethical concerns, especially considering their popularity among the younger generations. As an influential and immersive medium, video games have the potential to shape children’s perceptions of global conflicts and political ideologies. This raises questions about the responsibility of game developers and the potential impact on impressionable minds. Military forces may see video games as a strategic opportunity to influence young players and mold their beliefs, creating a need for critical discussions about the boundaries between entertainment and propaganda.