Content Warning: Discussion of human remains in this blog post. No actual images of human remains are used, however there are images of digital human remains from the Shadow of the Tomb Raider video game, so please be advised.
Recently, the third instalment of the rebooted Tomb Raider video game franchise was released. This game, titled Shadow of the Tomb Raider, places playable heroine Lara Croft in Meso-America and South America attempting to stop a Mayan apocalypse that she had unknowingly set into motion after stealing an artefact.
The game has received a fair bit of criticism not only for its gameplay, but for the content of the story itself. Despite being a property who has been in the public eye for over two decades, Tomb Raider has never been able to truly shake off its title – Lara Croft has always been a looter of tombs and ruins, despite any good intentions. Although this recent instalment has arguably made the most effort in confronting the inherent colonialism of being a “tomb raider”, the game still reproduces much of it itself (see Lacina 2018). Dia Lacina’s article on Tomb Raider and colonialism is a thorough breakdown of the game’s attempt to critique its own problematic setting, but only briefly mentions the problems caused by the game’s photo mode. What I would like to add, as an archaeologist, is how the photo mode plays into a well-known trope of colonisation: the dehumanisation of specific people, particularly their remains.
Let me preface all of this by saying that I do not necessarily think the developers of the game intended for the photo mode to be used to take “silly” selfies with human remains! Photo modes in video games has been a relatively recent trend, with big name games like God of War and Spider-Man having their own versions of a photo mode as part of their gameplay. However, due to the context of Shadow of the Tomb Raider, the addition of a photo mode touches upon an issue regarding human remains that I slightly touched upon in last week’s blog post: what are the ethics of displaying and photographing remains?
This question is a relatively recent one, coming as part of a renewed interest in the ethics of remains amongst archaeological bloggers, writers, and curators. Harries et al. (2018) write that although there are plenty of ethical guidelines for the handling and display of human remains, less work has been done on creating uniform guidelines for displaying photographs of human remains. This is mainly due to a key debate that is still underway: are photographs and other depictions of remains equal to the actual remains? Or are they just a likeness, and therefore a separate thing? Is the very act of making the dead the subject of your photo (without their consent) an act of objectifying and dehumanising them?
To further tie these questions in with the themes of Tomb Raider, let’s consider dehumanisation. Dehumanisation of human remains, as well as living humans, was and still is a key component to colonisation efforts. The remains of Indigenous people across North America were often displayed as “educational tools” in museums or as “oddities and curiosities” in roadside exhibits. Regardless of the setting or the perceived intention, these places had commodified these human remains, removing any agency and “othering” them as objects on display, rather than people (Rewolinski 2014).
So, is the photographing human remains ethical? I do not claim to have any concrete answers, of course, but I think in the case of Tomb Raider, what changes the answer is the fact that the player, as Lara Croft, can take selfies with human remains. In this context, it could be argued that the human remains are used as props – the same way one would pose with a statue, a landmark, or any other object. Not to mention that many players use the dead in-game for the purposes of hilarity, juxtaposing a corpse with Lara Croft’s awkward smile (McGladdery 2018). I’d argue that the use of a dead body for one’s punchline would consist of dehumanisation, to be honest.
So perhaps the next time you, or Lara Croft, come across human remains…maybe put the camera away. And reflect on why you instantly “other” the remains before you, instead of treating them as what they represent: a person who once lived.
Harries, J. et al. (2018) Exposure: the Ethics of Making, Sharing, and Displaying Photographs of Human Remains. Human Remains and Violence. 4(1). pp. 3-24.
Lacina, D. (2018). ‘Shadow of the Tomb Raider’ Tries, but Fails, to Tackle its Own Colonialism. Waypoint. https://waypoint.vice.com/en_us/article/d3jgeq/shadow-of-the-tomb-raider-review-tries-but-fails-to-tackle-its-own-colonialismhttps://waypoint.vice.com/en_us/article/d3jgeq/shadow-of-the-tomb-raider-review-tries-but-fails-to-tackle-its-own-colonialism
McGladdery, M. (2018) Grin in the Face of Danger: Shadow of the Tomb Raider’s Hilarious Photo Mode. LAD Bible. http://www.ladbible.com/technology/gaming-shadow-of-the-tomb-raiders-hilarious-photo-mode-20180913
Rewolinski, D. (2014) Remains to be Seen: the Disparate Disposition of Culturally Unidentified Human Remains under NAGPRA’s Final Rule. Unpublished Thesis. New York University.
Square Enix. (2018). Shadow of the Tomb Raider.
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