Recent research has started focusing on the representation of history in videogames. Such representation is almost always of mainstream history and usually presented from a Western perspective. Set in a fictitious Himalayan kingdom in South Asia, Ubisoft’s Far Cry 4 is arguably a crucial example of how history is represented using Western and even colonial frameworks and where the narratives that do not emerge from conventional written history are almost always rendered invisible. Using the frameworks of Subaltern Studies and “border-thinking,” this essay attempts to unpack issues of Orientalism and “colonial difference”; it then engages with postcolonial digital humanities and postcolonial game studies to comment on how history is represented in videogames and how the neglected gaps and silences in the game are important in constructing the historiography in videogames. In the process, the essay engages in a debate with current notions of videogame-historiography.

最近的研究已开始着眼于视频游戏中历史的表现。这种代表几乎总是主流历史，通常是从西方的角度来看。Ubisoft的《孤岛惊魂4》（Far Cry 4）坐落在虚拟的南亚喜马拉雅王国中可以说，这是一个关键的例子，说明了如何使用西方乃至殖民主义的框架来代表历史，以及传统的书面历史中没有出现的叙事几乎总是不可见的。本文运用次要研究和“边界思考”的框架，试图揭示东方主义和“殖民差异”的问题。然后，它与后殖民时期的数字人文学科和后殖民时期的游戏研究进行了交流，以评论电子游戏中历史的表现方式以及游戏中被忽视的空白和沉默对于构建电子游戏中的史学的重要性。在此过程中，本文与电子游戏历史学的当前观念进行了辩论。