Facial reconstructions of historical figures, using the same methods as those applied to Conquest Man but for individuals with more complete documentation, had become an established format for communicating about the past.

Projects involving Roman emperors, medieval monarchs, and famous historical figures had shown both the power of reconstruction to create visceral connection with the past and the risks of allowing reconstruction to become entertainment rather than science.

The Conquest Man project was positioned between these two worlds.

It involved scientific rigor equal to the best ancient DNA studies.

It also produced a face, which is the element most likely to engage a broad public audience.

The challenge for the communicators of the project was to present the face honestly, as a reconstruction with specific degrees of confidence and uncertainty, while still allowing its human power to do its work.