For many, video games offer a distraction from the harsh cry of reality. They grant us a chance to delve into a world unlike our own. I loved being able to shut off the demands of homework when I got back from school. One of my favorite games was Final Fantasy VII, the steampunk world that Square Soft invented was so far from my own mundane existence it was very easy to switch off and immerse myself into its story. But, my favorite games were the ones which took place in a medieval fantasy world, they had just the right blend of anotherness and familiarity to make me feel content. I loved running around derelict towns, and fantastical ruins that it awoke a part of me that I never thought about before – a love of history and archaeology.
I can name a few video games which use archaeology as it main premise, there is of course Tomb Raider, and her male equivalent Nathan Drake’s Uncharted. These games mashed with the supernatural make archaeology a world not left to the dead. Although the realities of archaeology are hardly ever shown, it allows for the mystery to draw you in. For archaeology to truly be effective in video games, it’s not the truth or accurate depictions of history that need to be implemented. It’s the aesthetic quality of the archaeology, seeing ruins and the degradation of civilization is just as awe-inspiring as it is terrifying.
One of my favorite visuals in video games comes from the fantasy series Dragon Age, in the DLC Trespasser, your character travels to a number of abandoned and ruined temples to uncover a plot to take over southern Thedas during a period of political uncertainty. The temples and structures are ancient elven, although they could be picked right from the North York Moors or the Scottish Highlands.
The aesthetics for ancient elven ruins weren’t plucked from the artist’s imagination although there is definitely a degree of creative licensing. These ruins are based mostly off medieval monasteries, most of which were destroyed during Henry VIII’s reformation. Ruins tend to inspire a distant world long gone, one that sparks our imagination. In 2013’s Tomb Raider Lara voyages to the land of Yamatai, a forgotten feudal kingdom off the south coast of Japan, the island is full of ruins, most which are remarkably still intact. Although running around the island killing cultists had some fun, I was taken back by the beauty of the Kofun-period ruins. Just like the elven ruins of Dragon Age, they aren’t picked from an artist’s imagination.
When I lived in Japan, I visited a place called Nokogiriyama home to a sprawling Nihon-ji temple complex. There are a number of reliefs carved into the side of the mountain which definitely are reminisce of Yamatai’s Queen Himiko’s statues. Game environments like these allow us to explore the past from more than just a player’s perspective. Interaction is a key to gaming, a medium that has allowed us to explore ancient environs. When it’s done successfully, a la Tomb Raider and Dragon Age, it can inspire gamers to seek the real truths, or spark their own creative imaginations.
There are the plenty of other examples of the use of archaeological ruins and artefacts, but these two are my favorites. There is something very much ingrained into our psyche about archaeology and the mystery of what our ancestors left behind. When we interact with these environments in game it allows us to think of its functionality, its beauty and its past. In Trespasser when we go further and further into the evanuris to discover the truth of the plot, we discover a past that in fact is very much like our present. A world full of conspiracy, intrigue, betrayal but yet one full of beauty and humanity.