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
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
