The Cultural Gutter

dangerous because it has a philosophy

"We are all in the gutter, but some of us are looking at the stars." -- Oscar Wilde

The Time Machines

Andrew Smale
Posted March 16, 2006

Appreciating history through games.I hated studying history in high school. It was as if the curriculum had been designed to leave out everything that impressionable minds could possibly associate with, while making no provisions to seem like it was anything but handed down from an institution. However, in recent years it’s a totally different story. I won’t read any book that isn’t related to history. I can watch History Television and the Discovery Channel and be immediately engrossed in a program related to some aspect of world history or anthropological pursuits. How did this happen? In a word: games.

Do games provide a valid platform for educating gamers about history? I think they do, and excuse me for using a tired axiom of the games industry, but it’s because of their interactivity and audiovisual presentation. Why would someone simply watch a documentary on the Roman Empire, when they could in fact be Caesar, and lay claim to the entire globe? Or pick up a rifle and storm the beaches of Normandy? By participating in this kind of activity, players gain at least a hint of what it may have been like, and are more likely to retain the information.

The most ubiquitous example of this would the World War II first person shooter. Indeed, war shooters are an easy target, because they capture a well-known aspect of our culture that has been rehashed countless times in other forms of media and is therefore immediately recognizable. At the very least I learned the nuances between a Thompson submachine gun and a Browning automatic rifle. But what about anthropology? Is the desire to learn about the foundations of our culture as alluring as unabashed bloodletting?

I was introduced to the Civilization series in my first year of university. Civilization II (Microprose, 1996) was only a year old. I got a copy from of a friend that insisted I was not a PC gamer until I had stayed up all night playing the game. I did not make him a liar. The greatest thing about Civilization was that it allowed you to essentially rewrite history, with the Civilopedia providing indispensable reference material for the components of the burgeoning civilization that you were building on screen.

Appreciating History Through GamesMicrosoft’s Age of Empires series takes a similar approach in that it allows the advancement of a civilization through a series of Ages, but real-time battles are the core of the game. The Age of Empires series also has its own in-game encyclopedia, providing context for the units within the game alongside their actual place in history. The recent Age of Empires III (Ensemble Studios, 2005), which focuses on the settlement of the New World, took some unfortunate liberties with the story-based single player campaign despite its best attempts to recreate the time period. I probably spent more time browsing its beautifully illustrated Encyclopedia than actually playing the game, making note of each civilization’s reasons for wanting a piece of the New World.

The inadvertent assimilation of information through gameplay caused me to pursue the “truth” as it were, by further educating myself on the historical background of what I was playing. This informal study of history has in turn allowed me to cultivate a more critical approach to games that adopt aspects of history, and permits a deeper investigation of their design. Compromises often must be made to make a game more fun than it is realistic; learning about where the ideas came from in the first place allowed me to see where they were taken too far.

This of course prompts the burning question regarding a game’s design: do you choose authenticity or accessibility? While maintaining historical accuracy is a noble goal, sometimes this ties the player’s hands. After all, it’s not like no mistakes were made in history — what if the player had a better strategy for Napoleon’s conquest of Europe? What if the Roman Empire never fell and ended up winning the space race? However unrealistic these questions may seem, these scenarios can be realized within games.

Personally, I’d prefer a bias towards authenticity in historical games. The technology has already been pushed to a point where visual fidelity is only seeing incremental improvements in quality. So now the game itself can be advanced instead of simply using history as another theme park. Tell a new story based on historical events. Have respect for the audience and don’t let them put cavalry in a canoe.

Games allow people to participate in history, however loose of an interpretation it may be. As games are continually compared with books and films — which do their own share of revising historical events — history is similarly being preserved through gaming. On a purely mechanical level, the interaction the player has with the game allows information to be absorbed more readily, imparting even the smallest nugget of knowledge. Whether a game has you trudging through the sands of Tunisia with a Thompson submachine gun or colonizing a continent, I’d easily recommend it as time well spent. You might even learn something.

Comments

One Response to “The Time Machines”

  1. Nick Witcher
    March 23rd, 2006 @ 7:21 am

    Thought you might be interested in this news story: –
    Britain to witness first crucifixion in almost 2,000 years!
    http://www.roma-victor.com/news/press/showpr.php?pr=060323a

Leave a Reply





  • Support The Gutter

  • The Book!

  • Of Note Elsewhere

    At Mostly Film, Blake Backlash writes about films “mixing of Hollywood’s Grande Dames with Grand Guignol.”  “Such cinematic mixing of Grande Dames and Grand Guignol had its heyday in the second-half of the sixties, and such films are sometimes (more-or-less) affectionately known as psycho-biddy pictures. They tended to feature an actress over 50 in some sort of peril, a melodramatic plot and a title that ends in a question mark.  But there is another, related tradition that goes back further that I think we could place these films in.” (via Dr. Giallo)

    ~

    “I want to tell you about when violent campaigns against harmless bloggers weren’t any halfway decent troll’s idea of a good time—even the then-malicious would’ve found it too easy to be fun. When the punches went up, not down. Before the best players quit or went criminal or were changed by too long a time being angry. When there was cruelty, yes, and palpable strains of sexism and racism and every kind of phobia, sure, but when these things had the character of adolescents pushing the boundaries of cheap shock, disagreeable like that but not criminal. Not because that time was defensible—it wasn’t, not really—but because it was calmer and the rage wasn’t there yet. Because trolling still meant getting a rise for a laugh, not making helpless people fear for their lives because they’re threatening some Redditor’s self-proclaimed monopoly on reason. I want to tell you about it because I want to make sense of how it is now and why it changed.” Emmett Rensin writes more at Vox.

    ~

    At Smart Bitches, Trashy Books, Elyse has some things to say about reading Romance. “In the end, it doesn’t matter what I read. It doesn’t even matter that I do read, quite frankly. What matters is that we live in a world where fiction aimed directly at women is perceived as garbage. That doesn’t say anything at all about me, it says a lot about what needs to change.”

    ~

    Brain Pickings looks at the life and work of Tove Jansson and the wisdom of her character, Too-ticky. “Too-ticky, the sage of Moominvalley who solves even the most existential of problems with equal parts practicality and wisdom, was inspired by the love of Jansson’s life — the great Finnish sculptor and graphic arts pioneer Tuulikki “Tooti” Pietilä, Jansson’s spouse. The two women met in art school during their twenties and remained together until Jansson’s death more than six decades later, collaborating on a lifetime of creative projects — all at a time when queer couples were straddling the impossible line between anguishing invisibility and dangerous visibility.” (via Kate Laity)

    ~

    Photographer Kevin Weir uses vintage photographs to create haunting animation in “The Flux Machine.” The Guardian has an interview with Weir and more on his work.

    ~

    At the New Yorker, Jill Lepore considers the intertwining histories of women’s suffrage, feminism, Amazons and Wonder Woman. “It isn’t only that Wonder Woman’s backstory is taken from feminist utopian fiction. It’s that, in creating Wonder Woman, William Moulton Marston was profoundly influenced by early-twentieth-century suffragists, feminists, and birth-control advocates and that, shockingly, Wonder Woman was inspired by Margaret Sanger, who, hidden from the world, was a member of Marston’s family.”

     

    ~

  • Spilling into Twitter

  • Obsessive?

    Then you might be interested in knowing you can subscribe to our RSS feed, find us on Facebook and follow us on Twitter or Tumblr.

    -------

  • Weekly Notifications

  • What We’re Talking About

  • Thanks To

    No Media Kings hosts this site, and Wordpress autoconstructs it.

  • %d bloggers like this: