The tiny Mideast nation of Kuwait has banned the release of the video game “Call of Duty: Black Ops 6,” which features the late Iraqi dictator Saddam Hussein and is set against the backdrop of the 1990s Gulf War. This decision, though not formally announced by the Kuwaiti government, is seen as reflective of the country’s sensitivities surrounding its history of conflict with Iraq, particularly the devastating invasion led by Hussein.
Set to launch worldwide on October 25, the game is developed by Activision, which is owned by Microsoft. The title presents itself as part of the popular Call of Duty franchise, known for its first-person shooter gameplay and geopolitical narratives. Activision confirmed the ban, stating, “Call of Duty: Black Ops 6 has not been approved for release in Kuwait.” They also mentioned, “All pre-orders in Kuwait will be cancelled and refunded to the original point of purchase.” The game developer expressed hope for reconsideration by local authorities to allow the game’s release.
The gameplay features CIA operators engaging in battles across various landscapes, including both the United States and the Middle East. Trailers released for the game have illustrated scenes reminiscent of the environmental and economic damage caused during the Gulf conflict, such as burning oil fields—a haunting image for Kuwaitis who witnessed the destruction and environmental disaster inflicted by retreating Iraqi forces during the war.
Images from the game show Saddam Hussein alongside Iraq's former three-star flag. The multiplayer component of the game includes scenarios set against names like “Scud”—after the Soviet-made missiles used during the war—and “Babylon,” referring to the ancient Iraqi city, making its connection to historical events even more pronounced.
Kuwait has made strides to recover from the war's aftermath, yet the painful memories remain deeply ingrained. Video games are increasingly portrayed as forms of entertainment, but they also carry the weight of cultural legacy, especially when they depict sensitive historical contexts. Activision’s statement on the ban aligns with similar precedents, as previous incarnations of the Call of Duty franchise have encountered regional bans due to political sensitivities. Notably, prior titles faced restrictions from countries like China and Russia, where their portrayals of real-world conflict were deemed unacceptable.
While the latest Call of Duty installment has been met with resistance, other games have been recognized for their more sensitive approach to difficult historical contexts. For example, Ubisoft’s “Assassin’s Creed: Mirage,” released last year, was lauded for its depiction of Baghdad during the 9th century Islamic Golden Age, establishing a stark juxtaposition to Black Ops 6's contentious reception.
This incident points to the broader challenges video game developers face when balancing creativity with the narratives of historical trauma. The cultural and societal ramifications of depicting real-life figures and events evoke varying responses across different regions. Games can perpetuate, challenge, or even evoke nostalgia and memory. While Activision aims to deliver entertainment, the reception often hinges purely on public sentiment around the subjects being portrayed.
Kuwait's Ministry of Information has not responded to inquiries about their ruling on the game, but observers note it’s indicative of the broader recognition of video games as cultural artifacts reflecting historical realities. Such cultural sensitivities are not just limited to Kuwait; they resonate globally, as entertainment increasingly navigates the complex relationship between history and modern narrative.
The conversation around the video game's content also taps directly back to the legacy of the Gulf War—a conflict still present in the minds of many Kuwaitis who experienced its turmoil firsthand. Many citizens view gameplay depicting the events of the war with understandable trepidation. While video games have evolved to encapsulate complex narratives, Kuwait’s ban serves as a poignant reminder of the lasting scars history leaves behind, and the caution required when merging entertainment with real-world tragedies.
Even as audiences around the world prepare for the release of Black Ops 6, Kuwaitis are grappling with the juxtaposition of global media and local sentiment rooted deeply within their collective memory. The ban may hinder the gaming experience for many, but it simultaneously ignites dialogue around the morality of depicting past traumas through platforms initially created for entertainment.
