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 ziggurat is one of the most enduring symbols of the ancient Near East: From paintings to movies to books to video games, versions of the stepped constructions emerge in popular culture and... Show moreThe ziggurat is one of the most enduring symbols of the ancient Near East: From paintings to movies to books to video games, versions of the stepped constructions emerge in popular culture and imagination all the way from classical Greece until today. One could even argue that the ziggurat is a transhistorical symbol; it has existed as a symbol not only produced by and related to the ancient Near East, but has transcended its original historical context and has acquired new meanings and images over time. In this article, I explore this transhistoricity of the ziggurat by examining it within western, modern, popular imagination, and particularly within the context of video games. For this, I take an art-historical approach, examining ziggurats from various games to create a ziggurat typology as portrayed in video games. In doing that, I explore how modern conceptions of the ziggurat affect and shape our understanding of the Near East, and how this can be tied to Edward Said’s concept of orientalism (see also Mol and Politopoulos in this issue). I conclude with a brief discussion on how we can reframe the ziggurat within popular culture in order to increase knowledge and awareness about the history and cultures of the ancient Near East today. Show less
More and more, people do not experience the past through books, museums, or even television, but through video games. This chapter discusses how these popular entertainment products provide playful... Show moreMore and more, people do not experience the past through books, museums, or even television, but through video games. This chapter discusses how these popular entertainment products provide playful and fun experiences of the past. 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
Boom, K.H.J.; Ariese, C.E.; Hout, B. van den; Mol, A.A.A.; Politopoulos, A. 2020
The video game market is a big part of the current popular media landscape and is growing rapidly. Developers of video games are keen to make use of a variety of historical pasts as this provides... Show moreThe video game market is a big part of the current popular media landscape and is growing rapidly. Developers of video games are keen to make use of a variety of historical pasts as this provides them with recognisable themes,settings or narrative frameworks. Video games can be seen as the manifestation of experiential learning theory: they provide a unique informal learningenvironment in which their interactive nature allows for an immersive experience with which a deeper level of personal and historical learning can potentially be reached than in more formal settings. However, pasts incorporated in video games are mostly utilised to provide a fun experience in order to generate revenue. As more and more people depend on video games to teach them about the past, they often take the history presented in them for granted, relying on developers to tell an accurate story. Unmediated, players are prone to miss opportunities for critical engagement with the presented past, and can fall into the trap of presentism.It is important for those teaching about the past to understand how video games work, and what their potential and impact are. Data-driven approaches allow us to explore what types of games are considered to be ‘historical’. Our research shows that 206 million copies of games have been sold through Steam that were tagged as historical, and can be classified as strategy/top-down games, action-adventure narrative-driven games, or first-person action games. These types all have a reliance on some form of violence as central game mechanic, which needs to be taken into account when using video games as an education platform.Through four case studies, we show that video games can function as a platform to teach about the past in a critical, yet fun way. Firstly, Twine can be used to stimulate critical and multi-linear thinking as it allows the user to create a narrative based on a branching structure instead of a linear one. Secondly, video games can be incorporated into formal classroom settings in order to illustrate certain complex theoretical concepts. Streaming, or creating videos about games that incorporate the past, can be a major avenue for content-focused teaching, as well as a way to reflect on video game pasts – the third case study. Lastly, our RoMeincraft case study shows that participants are not only taught something about Roman heritage but also able to increase their skills in communication and digital media. The goal of this chapter is to provide researchers with practical examples set within a solid theoretical 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
Engagement with, or research and teaching driven by, play has long been only a minor aspect of archaeological scholarship. In recent years, however, spurred on by the continued success of... Show moreEngagement with, or research and teaching driven by, play has long been only a minor aspect of archaeological scholarship. In recent years, however, spurred on by the continued success of interactive entertainment, digital play has grown from a niche field to a promising avenue for all types of archaeological scholarship (Champion 2011; Champion 2015; Mol et al. 2017a; Morgan 2016; Reinhard 2018).Firstly, this article provides an introduction on the intersection between play and scholarship, followed by a discussion on how ‘archaeogaming’ scholarship has been shaping and been shaped by its subject matter over the last years. Secondly, the scholarship that arises from digital play is further illustrated with a case study based on the RoMeincraft project developed by the authors. The latter, made use of Minecraft, the popular digital building game, to (re-)construct and discuss Roman heritage through collaborative play between archaeologists and members of the public. Starting with in-game maps, sites such as forts, settlements, and infrastructural elements were rebuilt based on geological, archaeological, and historical information. These crowdsourced reconstructions, which not only relied on archaeological knowledge but also on a fair dose of creativity, took place in a series of educational public events in 2017–2019. The case study will detail the results of this project, as well as its methods, thus providing a practical example of digital scholarship which begins with discovery and ends in learning. The paper will conclude by reflecting on how the fun yet unpredictable dynamics of a digital playground not only shape public engagement with the past, but also open up unexpected avenues for more inclusive archaeological scholarship. Show less
Video games are one of today's quintessential media and cultural forms, but they also have a surprising and many-sided relation with the past (Morgan 2016). This certainly holds true for Sid Meier... Show moreVideo games are one of today's quintessential media and cultural forms, but they also have a surprising and many-sided relation with the past (Morgan 2016). This certainly holds true for Sid Meier's Civilization (MicroProse & Firaxis Games 1991–2016), which is a series of turn-based, strategy video games in which you lead a historic civilization "from the Stone Age to the Information Age" (Civilization ca. 2016). Sid Meier's Civilization VI, the newest iteration of the series developed by Firaxis and released on October 21, 2016, allows players to step into the shoes of idealized political figures such as Gilgamesh, Montezuma, Teddy Roosevelt, and Gandhi. Via these and other leaders, you aim to achieve supremacy over all other civilizations. This is done through founding cities, creating infrastructure, building armies, conducting diplomacy, spreading culture and religion, and choosing "technologies" and "civics"—philosophical or ideological breakthroughs—for your civilization to focus on. Show less
Ariese, C.E.; Boom, K.H.J.; Mol, A.A.A.; Politopoulos, A. 2015
