I was happy to see VALUE’s volume The Interactive Past: Archaeology, Heritage & Video Games released today. There are several fantastic, thought-provoking chapters in it, and I highly recommend you check it out, and it’s free to read online. I wrote a short afterword for it:
West of House
You are standing in an open eld west of a white house, with a boarded front door. There is a small mailbox here.
Opening the small mailbox reveals an invitation.
“WELCOME TO ARCHAEOGAMING!
ARCHAEOGAMING is a game of adventure, danger, and low cunning. In it you will explore some of the most amazing territory ever seen by mortals. No computer should be without one!”
The blinking cursor at the beginning of an interactive text adventure held all the expectation in the world. A universe of words waited for you, and simple commands propelled you headlong into a maze of spoonerisms, chasing ghosts, solving puzzles; the blinking cursor could lead you to meet Zaphod Beeblebrox or get eaten by a grue. Zork – the game referenced above – seemed endlessly complex, sending you to Hades and back for treasure. It is within this breathless anticipation of fun that we find archaeogaming, a term usefully coined by Andrew Reinhard. Archaeology’s constant collisions with digital media, storytelling, and co-creation made this eventuality inevitable, and archaeologists are rapidly forming the lexicon for understanding how to speak ludology. I find Janet Murray’s germinal Hamlet on the Holodeck (1997) essential to this discourse; archaeogaming and other expressive forms of digital archaeology are what Murray terms as incunabula, an infant medium, untested and unwise in methodology and scope. Perhaps this is why they are so compelling….