Certain historical figures transcend their time, becoming icons tied to specific eras and places due to their deeds, characteristics, or the myths surrounding them. One such example within Western popular cultures is England’s Queen Elizabeth I. Daughter of Henry VIII, she took the throne in 1558 and became known as the “Virgin Queen,” her unwed status contributing to a mythological legacy that cemented her as a symbol of England and of the Renaissance in the popular imagination. Operating in the same sphere is William Shakespeare, whose literary prowess and reputation caused his name to far overshadow his peers and his works to be embedded in Western ideas of “high culture.” Video games often draw on their larger-than-life status, featuring them as central characters or cameos through settings inspired by “Elizabethan” or “Tudor” England. Yet regardless of the level of specificity granted to these historical figures in individual games, they both receive special musical treatment, as can be seen in Renaissance-inspired compositions such as the “Royal Pavan” in Carmen Sandiego’s Great Chase Through Time or harpsichord themes for both Queen Elizabeth and Shakespeare in Mario’s Time Machine. In this chapter, I develop recent work on Renaissance music in video games to further explore the ways in which these historical figures are musically distinguished, tying such treatment to deeply embedded notions of eliteness, nobility, and cultural status.