Games and other forms of play are core human activities, as vitally constitutive of cultural and social practices in the past as they are today. Consequently, play, games and fun should be central... Show moreGames and other forms of play are core human activities, as vitally constitutive of cultural and social practices in the past as they are today. Consequently, play, games and fun should be central in archaeological theory, but our review shows they are anything but. Instead, very few studies deal with these concepts at all, and most of those that do focus on how the affordances play offers link it to ritual, power or other ‘more serious’ phenomena. Here, we offer an explanation as to why play has taken such a backseat in archaeological thought and practice, relating it to the ambivalent aesthetics of having fun with the past in our own discipline. Building on our own playful practices and those of other scholars in the ancient board gaming and archaeogaming communities, we propose a move towards a more playful archaeology, which can provide us with a new window into the past as well as into our own professional practices. Show less
The creation of new capital cities are watershed moments in the lives of ancient empires. Assyria, arguably the most successful imperial state of the ancient Near East, repeatedly engaged in... Show moreThe creation of new capital cities are watershed moments in the lives of ancient empires. Assyria, arguably the most successful imperial state of the ancient Near East, repeatedly engaged in capital creation. Capital creation denotes the development of a monumental capital, either in a new location or through the profound transformation of a pre-existing settlement. This dissertation focusses on the rationale, construction, and function of the imperial capitals of Assyria: Kār-Tukultī-Ninurta, Kalḫu, Dur-Šarrukēn, and Nineveh.By exploring three key questions – why was a capital created, how was a capital created, and what were the functions of the capital – this study presents a comparative analysis of these four urban centers and presents a new perspective on their creation, as well as an innovative framework for the study of capital creation from antiquity to today. Show less
Ubisoft's Assassin's Creed series is one the entertainment industry's most popular titles set in the past. With a new game released on an annual basis-each full of distinct historical places,... Show moreUbisoft's Assassin's Creed series is one the entertainment industry's most popular titles set in the past. With a new game released on an annual basis-each full of distinct historical places, events, and people-the series has unfolded across post-classical history, from the Levant during the Third Crusade to Victorian-era London. The 2017 release of Assassin's Creed: Origins, which entailed a massive reconstruction of Hellenistic Egypt, pushed the series even further back in time. With it, Ubisoft also launched its Discovery Tour, allowing players to explore the game's setting at their leisure and without combat. These trends continued in 2018's Assassin's Creed: Odyssey, set in Greece during the Peloponnesian War. This review discusses the narrative, world, and gameplay of the latest Assassin's Creed within the series more broadly. We provide a critical appraisal of the experience that Odyssey offers and link it to this question: in the Assassin's Creed series, do we engage in meaningful play with the past, or are we simply assassinating our way through history? Show less
