Theorising Thedas: The Bog Unicorn

“Another series, Alex? Don’t you have enough to write about?” Yeah, well, I’ve also been playing a lot of Dragon Age: Inquisition so excuse me if I have a lot to say about archaeology in the video game series. “Theorising Thedas” will be a look at how archaeology plays a major role in the conflicts of Thedas, the world in which the Dragon Age series takes place. We’ll also be looking at examples of real world archaeology within the series – like today’s topic, the Bog Unicorn! Content Warning: Some images of preserved human remains are below.

Dragon Age™: Inquisition_20180122194159
The Inquisitor atop the Bog Unicorn, a DLC mount available in Dragon Age: Inquisition.

In the 2014 video game Dragon Age: Inquisition, you play as the Inquisitor who heads the latest Inquisition against an army of demons and heretics. As the leader of such a massive organisation, your character is able to get supplies and aid from all corners of the world of Thedas, including some incredibly fantastic and exotic mounts. One of these mounts is known as the “Bog Unicorn” – a horse that had been preserved in a bog environment that has been brought back to life by the sheer power of the spirit. Although the game does not go into much more detail regarding the backstory of the Bog Unicorn, the design of the mount somehow manages to hit a lot of really interesting points about the phenomenon of “bog bodies” in real world archaeology. So let’s break it down…

To start, what is a “bog body”? In short, it is a body that has been preserved within a bog due to the acidic and anaerobic conditions of the surrounding environment. Bog bodies have been recovered since the 17th century. Prior to focusing on the conservation of archaeological finds, most bog bodies were either discarded or, in some cases, ground up into a medicinal powder called “mumia” (Aldhouse-Green 2015).

There has been an observed phenomenon of recovered bog bodies across parts of continental Europe, with additional cases found in Ireland and Britain. Most of these bodies have been dated to around the Iron Age, and many have been observed to have characteristics that may reflect a violent death (sometimes referred to as “overkill”). This has led to one interpretation of bog bodies representing those who were killed as part of a ritualistic sacrifice or as a punishment (Giles 2009).

178965-004-052559FD
The Grauballe Man, an Iron Age body recovered from a bog in Denmark (Photo Credit: Sven Rosborn)

The design of the Bog Unicorn manages to convey a lot of detail about bog bodies without actual textual explanation. For example, let’s take a look at the physical appearance of the mount. The Bog Unicorn is not skeletal, but has what appears to be a dark, leathery hide covering its body. Its hair is also a strange, rust red colour.

As you can see from the photo above of an actual bog body, this is the typical appearance of organic material that has been preserved within a bog. Sphagnum, released once bog moss dies, is the agent that causes the “tanning” effect on any soft tissue – this is what causes the colouration in both skin and hair found on bog bodies (Aldhouse-Green 2015).

Found-A-14th-Century-Sword-Dropped-in-a-Peat-Bog-758x505
A 14th century sword found in a peat bog in Poland (Photo Credit: Muzeum im. ks. Stanisława Staszica w Hrubieszowie)

Another noteworthy detail in the Bog Unicorn’s design is the sword thrust through the horse’s head, creating the “unicorn” effect – this is perhaps a nod to another phenomenon in the archaeology of bogs and other watery environments. Water has often been considered a liminal space (in other words, a sort of boundary or in-between place), as well as a source of life. It is possible that the deposition of remains in watery environments reflects a belief in water as a pathway to the spirit world, or perhaps more indicative of cyclic beliefs in regeneration and fertility (Bradley 2017). Weapons and other artefacts have also been noted to be recovered as deposits from water – possibly used as proxies for the human body in a ritual? It should also be noted that many weapons that are deposited in this way are often fragmented or ritualistically broken, perhaps to mark a sort of “death” of the object (Bruck 2006).

To wrap this discussion up, let’s move on from the physical appearance to talk more about intent. The Bog Unicorn, in the lore of the game, is explained to be a restless force that has moved beyond death to serve again. In other words, the Bog Unicorn is between life and death, floating somewhere in the middle as a sort of undead creature. To represent such a force as a preserved corpse from a bog is actually quite fitting, especially when one considers how a bog body is basically suspended between life and death (or at least, decay). As mentioned above, watery environments appear to have been identified as a liminal space – bogs even more so, as they were sort of in between land and water. If we take into consideration that bog bodies were part of a “punishment” involving their ritualistic killing, it might be that this liminal space proved to be the final, posthumous punishment – unable to decay and “pass on”, these bodies were left preserved, floating in some natural purgatory. But even if that’s all conjecture, there is still something so perfect about having a Bog Unicorn, who is between life and death, this world and the next, be your spectral-yet-physical steed for a battle that takes place between our world and the spirit world.

References

Aldhouse-Green, M. (2015) Bog Bodies Uncovered: Solving Europe’s Ancient Mystery. Thames & Hudson.

Anonymous (2015) The “Bog Unicorn”. Dragon Age Wiki. http://dragonage.wikia.com/wiki/The_%22Bog_Unicorn%22

Bioware (2014) Dragon Age: Inquisition.

Bradley, R. (2017) An Geography of Offerings: Deposits of Valuables in the Landscapes of  Ancient Europe. Oxbow Books.

Bruck, J. (2006) Fragmentation, Personhood, and the Social Construction of Technology in Middle and Late Bronze Age Britain. Cambridge Archaeological Journal 16(3), 297-315.

Giles, M. (2009) Iron Age Bog Bodies of North-Western Europe. Representing the Dead. Archaeological Dialogues 16(1), 75-101.

 

Advertisements

Studies in Skyrim: Werewolf? Therewolf! Can We Find Lycanthropy in Archaeology?

Content Warning: Photo of human remains included in this post.

“Legends can take a life of their own, particularly when there are grains of truth, as here we have the very real threat of werewolves”

Lycanthropic Legends of Skyrim, Lentulus Invenitus

Werewolves

In the world of Skyrim (Bethesda Game Studios 2011), werewolves (and other lyncanthropes – for example, were-bears!) exist. Within the lore of the game, lycanthropy was created by the Daedric Prince (in the Elder Scrolls universe, the Daedric Princes are basically deities) of the Hunt, Hircine. The power to transform into a werewolf is seen as both a blessing and a curse to some characters – while the player can meet unfortunate souls who are tormented by their beastly curse, there are others, such as the Companions, who use and spread their power as a gift to members of their group. Regardless, nearly all non-playable characters within the game will be fearful and hostile of werewolves, illustrating a deep fear of such beasts embedded into Skyrim‘s culture.

In the real world, werewolves can’t be found in person as easily as they can be in Skyrim, but they are still prevalent in both myth and media. From the 1941 film The Wolf Man to the 2011 television hit series Teen Wolf, the werewolf has a long history of terrorising people, from our imaginations to the big screen. Werewolves can be found in the folklore of many cultures across the world, with a rich history that stretches as far as ancient Greece. In general, a werewolf is defined as a person who has transformed into a wolf – however, effects of the moon (i.e; full moon transformations) and particular powers vary across myths (Beresford 2013).

Most of this information has been derived from studying written texts and oral histories. But can we see this in the material culture of the past? Not necessarily in the guise of the “werewolf” that modern audiences are familiar with…but perhaps we can explore the individual elements that, together, create the werewolf of popular fiction.

The Ardross Wolf, a Pictish stone carved with the image of a wolf. (Photo Credit: The Highland Council, Museum and Art Gallery)

Wolves are not uncommon as artefactual iconography – across many cultures, one can find wolf motifs decorated various objects and ornamentation. For example, there are many instances of wolves depicted on artefacts of warfare in Iron Age Europe – from the rare carnyx (Celtic trumpet used in war) created to look like the head of a wolf, to armour decorated with ferocious animals of the wild, including wolves. There are also examples of wolf iconography on other artefacts, usually depicting the wolf in a natural scene, such as in the pursuit of prey, or as the victim of hunting by humans. Whether in war and peace, it can be argued that depictions of the wolf are centred on similar traits: wild and dangerous.

A burial from the Aztec’s Great Temple that included the remains of a wolf alongside gold artefacts (Photo Credit: Mirsa Islas, Templo Mayor Project)

Actual skeletal remains of wolves are, of course, found as part of the overall environmental narrative found within certain archaeological contexts. In many places, such as Great Britain, wolves are extinct, which makes the recovery of their remains an interesting development for interpretation. More interesting, perhaps, are examples in which there is evidence of the utilisation of wolf remains. During the Iron Age in Europe, there is some evidence that suggests that wolves were hunted and then eventually used as ornamentation, such as the perforated wolf teeth found at the site of Choisy-au-Bac in France. Recently, excavations at an Aztec temple in Mexico City has recovered the remains of a wolf surrounded by a large collection of golden artefacts – the current interpretation is that the wolf was part of an offering, and was adorned in gold prior to burial (Garcia 2017). Additionally, excavations in parts of Siberia have found wolves that had been buried in a manner similar to what would have been afforded to humans, suggesting that wolves and humans were considered similar in some aspect – perhaps similar to the kinship felt between dogs and humans (Hill 2013)?

117195169
A panel from the Gundestrup Cauldron showing a Wheel God surrounded by various hybrid animals (Image Credit: Wikipedia)

If we consider the “werewolf” as a sort of hybrid creature, more archaeological material becomes available for consideration. Instances of hybrid creatures iconography are often associated with folklore and mythology – take, for instance, Medieval bestiaries or Egyptian statuary depicting sphinxes. The Gundestrup cauldron, a “cult cauldron” from Iron Age Denmark, is covered with an entire zoo of faunal iconography, both real and fantastical. These animals are portrayed with figures that have been interpreted as gods, thereby suggesting the religious significance of the artefact. Some of the more fantastical creatures are hybrids, including winged horse-like beasts and serpents with ram horns (Green 1998).

hith-Duropolis-1-skeleton-E
The remains of an adult female buried with horse and cow remains from “Duropolis” in Dorset, England (Photo Credit: Bournemouth University)

As for skeletal remains, one can argue that we do see “hybrids” in the form of mixed assemblages of human and faunal bones – but it must be stressed that it does not mean that all instances of mixed burials represent ideas of hybrid creatures (although there are examples of what may be intentional hybridisation!). Instead, it may be more beneficial to examine these burials as possibly representative of ancient cosmological ideas regarding animals, or alternatively, how humans at the time related to the animals deposited alongside human remains. There are many examples of these mixed burials in archaeology, sometimes referred to as “special deposits” or “associated bone groups” and often considered part of ritual. The Iron Age site of Danebury is especially noteworthy for mixed burials of human and faunal remains recovered from pits, possibly used for rituals of fertility and renewal (Cunliffe 1992, Hill 1995).

So, okay…maybe we can’t find werewolves in archaeology (although please let me know if there are actual instances of lycanthropic iconography that I’ve missed!). But it did provide an excellent exercise in thoroughly investigating a concept by isolated certain elements of it, which is often an important aspect of developing archaeological interpretations. Luckily (or maybe unluckily) for future archaeologists, modern day pop culture will certainly leave behind many instances of werewolf memorabilia to uncover.

References

Anonymous. (2016) Werewolf (Skyrim). Elder Scrolls Wikia. http://elderscrolls.wikia.com/wiki/Werewolf_(Skyrim)

Beresford, M. (2013) The White Devil: The Werewolf in European Culture. Reaktion Books.

Bethesda Game Studios. (2011) The Elder Scrolls V: Skyrim.

Cunliffe, B. (1992) Pits, Preconceptions, and Propitiation in  the British Iron Age. Oxford Journal of Archaeology 11 (1). pp. 69-83.

Garcia, D.A. (2017) Aztec Golden Wolf Sacrifice Yields Rich Trove in Mexico City. Reuters.

Green, M. (1998) Animals in Celtic Life and Myth. Routledge.

Hill, E. (2013) Archaeology and Animal Persons: Towards a Prehistory of Human-Animal Relations. Environment and Society: Advances in Research 4. pp. 117-136.

Hill, J.D. (1995) Ritual and Rubbish in the Iron Age of Wessex: a Study of the Formation of a Specific Archaeological Record. Archaeopress.

 

Studies in Skyrim: Standing Stones

 

The first three Standing Stones in Skyrim: The Mage Stone, the Warrior Stone, and the Thief Stone

In Skyrim, one of the first game mechanics you’re introduced to after the initial tutorial quest is the Standing Stone. By using a Standing Stone, the player character gains bonuses to certain traits and/or extra abilities. However, a player character can only receive one “blessing” at a time – if another Standing Stone is chosen, the first bonus will be replaced by the new one (although there is an object. the Aetherial Crown, introduced later in the Dawnguard DLC that allows for two “blessings” at once).

Similar to Skyrim’s Standing Stones are Oblivion’s Doomstones, shown here (Image Credit: The Gamers’ Temple)

In the lore of Skyrim (Bethesda Game Studios 2011), these Standing Stones are magical features in the landscape that have the ability to “rewrite the Fate” of heroes if used. There are thirteen in total, each correlating with one of the Tamrielic constellations: the Warrior, the Mage, the Thief, the Serpent, the Apprentice, the Lord, the Lady, the Atronach, the Lover, the Ritual, the Shadow, the Tower, and the Steed. These constellations are also known as the “Birth Signs”, similar to real life astrological signs. In the previous game, Elder Scrolls IV: Oblivion (Bethesda Game Studios 2006), there are similar archaeological features dotting the landscape of Cyrodil with similar powers, but are called “Doomstones” instead.

The Standing Stones of Stenness is a Neolithic stone circle found on mainland Orkney, Scotland.

It’s likely that the in-game Standing Stones are based off of the real world archaeological features that can be found at many sites around the world. Some of the best known ones can be found in the Orkney Islands, Scotland: the Standing Stones of Stenness (see above photo), the Ring of Brodgar, and the Odin Stone (unfortunately no longer standing).

Although the exact reasons for the construction of these Standing Stone monuments are unclear, they are usually associated with concepts of ritual, ceremony, and cosmology. Orkney’s Standing Stones, for example, have been observed to be relatively close to one another and also in close proximity to another Neolithic site, the Maeshowe tomb. This has been used as evidence that this area that encompasses all three archaeological sites was most likely important to the Neolithic inhabitants of Orkney. Some archaeologists have suggested that the Standing Stones are all that remains of a more intricate ritual area – Colin Richards (1996) has posited that these sites could have also had trenches of water to serve as places of liminality or transitioning, as well as connecting the cosmological beliefs of the Neolithic inhabitants with their own island environment.

Even after the Neolithic, later Scottish folklore and tradition still focused on these archaeological monuments. For example, the Odin Stone was used in ceremonies of marriage prior to its destruction. Other folklore suggests that Standing Stones were meeting places for supernatural creatures, such as fairies – this led to a tradition of leaving milk and other treats at these sites to appease these creatures (Gazin-Scwartz 2001). And even today, the Standing Stones are still seen as points of magic and wonder, especially within neo-pagan covens – perhaps these stones simply reflect a deep, human reaction of awe and mystery that still survives to this very day. So much so that they’ve ultimately inspired the magic and fantasy of Skyrim

References

Anonymous. (2016) Standing Stones. Elder Scrolls Wikia. http://elderscrolls.wikia.com/wiki/Standing_Stones?useskin=oasis

Bethesda Game Studios. (2006) The Elder Scrolls IV: Oblivion.

Bethesda Game Studios. (2011) The Elder Scrolls V: Skyrim.

Gazin-Schwartz, A. (2001) Archaeology and Folklore in Material Culture, Ritual, and Everyday Life. International Journal of Historical Archaeology (Vol. 5, No. 4).

Richards, C. (1996) Monuments as Landscape: Creating the Centre of the World in Late Neolithic. World Archaeology (Vol. 28, No. 2).

Fallout Finds: Reinventing the “King” in New Vegas

Recreating the past is a common thread in Fallout: New Vegas (Obsidian Entertainment 2008) – previously in Fallout Finds we took a look at how the Legion, the main antagonistic force of the game, based their entire structure and aesthetics on the Roman Empire. This is the case of many of the Factions (or “tribes”, as they are referred to in-game) in the Mojave Desert; it makes sense, after all, that survivors emerging from the rubble of a nuclear war would identify closely with what little they could scavenge from the Pre-War world.

The outside of the King’s School of Impersonation.

Just outside of the New Vegas Strip, in the community known as “Freeside”, is a Faction that the player character may align themselves with: the Kings. Located in the remains of a building called ”the King’s School of Impersonation”, this group dresses themselves in black leather jackets, their hair perfectly styled into a pompadour, and they speak in an very specific Southern drawl…

Sound familiar?

Yes, in the canonical lore of Fallout: New Vegas, there is literally an entire Faction of Elvis Presley impersonators. The leader of the Kings, known simply as “the King”, stumbled upon the remains of an Elvis Presley impersonation school as a young, lone scavenger. Inside, he appears to have found a plethora of paraphernalia dedicated to the singer, including posters, videos, and records. Inspired by Elvis’ music and all-around attitude of rebelliousness and freedom, the King styles himself in Elvis’ image – this also includes his manner of speaking and, although this isn’t conveyed through the animation in-game, his particular manner of movement and dance.

The King, leader of the Kings, wearing his best Elvis look, complete with Elvis smirk.

But why Elvis Presley? Surely information could be found on other Pre-War figures and groups to emulate? Well, given the icon status of Elvis, even after death, it makes sense that he would have much more paraphernalia left for scavengers to uncover (especially in Las Vegas!). Elvis was also, like many celebrities, a sort of figure that was relatable to the average person – in the lore of New Vegas, the King self-identifies with the sort of carefree and rebelliousness attitude that Elvis exudes in the videos that were left behind. This relatability is also attached to a bit of self-projection and desire, as well – Elvis represented high charisma, fame, and sexuality that created an immortal icon that has clearly bested even death. There’s a reason that Elvis Presley impersonators still exist in large numbers to this day! You could even argue that elements of the Elvis aesthetic and persona have leaked into other avenues as well – what we, the general populace, tend to think of when we think “the 50’s”, or “rock ‘n’ roll”, or the ever-popular subculture of “rockabilly”, regardless of how correct it is, has been forever influenced and overwritten by the Cult of Elvis (Fraser and Brown 2002).

The King auditions a new member of the Kings as he does his own Elvis routine.

So what can we extrapolate from this archaeologically? There’s certainly something to be said about iconography and interpretation – whereas Caesar of the Legion was able to find history books on Imperial Rome, the King had to interpret who Elvis Presley was and what he stood for, based solely on the little information he could gather. Which is why we end up with almost a religious cult surrounding Elvis within the Kings Faction – the King believed Elvis to be, if not a deity, than at least someone who was profoundly worshipped and imitated through the Pre-War world. And although we, in real life, could consider that interpretation a stretch…is he really that wrong? From clothing to statuary to tattoos to museums to yes, impersonators, Elvis is, for lack of a better word, worshipped to this day by others. Perhaps what we should take from this, as archaeologists, is that iconography can have a sort of nuance behind it. Is there really a difference between religious worship and more of an idealised, celebrity worship? How can we differentiate between the two in the future archaeological record? And, better yet, will future archaeologists be able to?

Or maybe future archaeologists will just assume we all worshipped Mickey Mouse. I mean…it could be worse, I guess.

References

Anonymous. (2011) Kings. Nukapedia: Fallout Wikia http://fallout.wikia.com/wiki/Kings

Fraser, B.P. and Brown, W.J. (2002) Media, Celebrities, and Social Influence: Identification with Elvis Presley. Mass Communication and Society. (p. 183 – 206)

Obsidian Entertainment. (2010) Fallout: New Vegas

Studies in Skyrim: On the Chopping Block

Content Warning: Photo of human remains included in this post.

To start off our Studies in Skyrim series, I figured it would be best to begin with the beginning of the game itself! After all, what’s more fun than learning a bit about decapitations?

In Skyrim (Bioware 2011), capital punishment usually consists of a swift beheading – this is seen in the game’s opening, where you watch as a Stormcloak, deemed to be traitorous to the Empire, is beheaded by the Imperial army’s executioner. You luckily manage to escape the blade thanks to a dragon, but a similar execution is stumbled upon again in the town of Solitude.

In real life, decapitation has been a form of capital punishment for ages, with archaeological evidence of intentional beheading dating back to the later prehistoric – although it can be argued that some instances could have been part of ritual sacrifice as well (Armit 2012). Decapitations in antiquity (read: ancient Greece and the Roman Empire) were often used for citizens, especially of higher status, as it was seen as a more humane and less dishonourable punishment. This would possibly be accurate if the executioner was skilled and could deliver a quick and clean decapitation in a single blow of the sword or axe. This would change, of course, with the popularisation of the guillotine for beheading (Clark 1995).

The British history of decapitation as capital punishment goes back centuries and is too long to properly discuss in a blog post. Anglo-Saxons originally used decapitation to punish more serious offences of theft, but eventually this practice was reserved for those of noble and high status who have committed acts of treason (Dyson 2014). Arguably the most famous cases of beheading in Britain belongs to Catherine Howard and Anne Boleyn, two of King Henry VIII’s many wives. These executions were part of the seven that were done privately in the Tower of London (Clark 1995).

Decapitation is still used as capital punishment in some places to this day, but has mostly been abandoned as a practice in most parts of the world, although only relatively recently – for example, it was still used for capital punishment up until 1938 in Germany (Clark 1995).

Medieval Illumination depicting the execution of the leaders of the Jacquerie by the King of Navarre (Image Credit: the British Library)

So, how do we discover decapitations archaeologically? Isn’t it common to find skeletons disarticulated (or not together) once excavated? How do you differentiate between skulls from the beheaded and skulls from the dead?

Evidence of decapitation can sometimes be seen spatially, through the methods and locations of burial. In some places, such as Roman burial sites, there were no observed difference between decapitation burials and more normative burials. In the later Anglo-Saxon period, however, decapitation burials were moved to “execution cemeteries” to reflect a cultural understanding of decapitation as a “deviant burial” that should be kept separate from other burials (Dyson 2014).

The best place to look for evidence for decapitation is on the vertebrae – a beheading that has been done correctly will usually leave cut marks on the cervical vertebrae, which make up the neck. More unfortunate decapitations that required several more blows for a successful separation will also show related cut marks on facial features, such as on the mandible (Carty 2012).

Cut Marks on Vertebrae
Evidence of decapitation on vertebrae (Photo Credit: Museum of London Archaeology)

 

References

Armit, I. (2012) Headhunting and the Body in Iron Age Europe. Cambridge University Press.

Carty, N. (2012) ‘The Halved Heads’: Osteological Evidence for Decapitation in Medieval Ireland. Papers from the Institute of Archaeology.

Clark, R. (1995) The History of Beheading and Decapitation. Capital Punishment UK.

Dyson, G. (2014) Kings, Peasants, and the Restless Dead: Decapitation in Anglo-Saxon Saints’ Lives. Retrospectives. University of Warwick. (p. 32-43)

Fallout Finds: Recreating Romans in New Vegas

In Fallout: New Vegas (Obsidian Entertainment 2010), the post-apocalyptic world of Nevada has split up into various factions (sometimes referred to as “tribes” in-game) that are in a constant struggle to regain control of the land, specifically the New Vegas Strip.

Arguably the major antagonistic faction (although your player character can choose to join forces with them near the end of the game) is Caesar’s Legion. Within the game’s lore, Edward Sallow, originally part of a faction called the Followers of the Apocalypse, came across a cache of books during his travels and became obsessed with those detailing the Roman Empire. Soon after, Sallow began to conquer and absorb local tribes into his ever-growing army through enslavement. By the start of the video game, Sallow has now taken the mantle of “Caesar” and rules over a sizeable army of soldiers, spies, and slaves and represents a significant threat to the New Vegas area.

Vulpes Inculta
Vulpes Inculta, part of the Legion’s Frumentarii, in his military uniform.

So how does these post-apocalyptic Romans compare to their real life, historical counterparts? Aesthetically, the New Vegas legionnaires have done their best to recreate Roman Imperial armour, but while historical armour had the luxury of gilding and other fancy embellishments depending on the status (MacMullen 1960), armour in New Vegas was restrained to whatever material that could be scavenged. This touches upon one of the major recurring themes of the Fallout series, which is the reuse of the debris of the nuclear war to create new weapons, tools, and armour. All legionnaires in New Vegas are outfitted in what appears to be repurposed American football gear and jerseys. Higher status officials, such as Centurions, will have have certain ornamentation to differentiation themselves from the average foot soldier – this may include metal spikes and paint on shoulder pads, animal furs, or helmet decoration, such as feathers. The Legate, as the leader of the army, wears specifically created metal armour, displaying his commanding status over all soldiers .

As a means of staying true to the historical Romans, Caesar’s Legion is mostly outfitted with melee weapons such as machetes and spears. However, advanced technology has also made its way into the ranks – guns are usually scavenged by soldiers and used when found, and higher officials will often have weapons based on the (futuristic to us) technology of New Vegas, such as thermic lances and pneumatic power fists. Like the Romans, the Legion also made use of crucifying as a method of punishment.

The organisation of the New Vegas Legion is a fairly accurate recreation of the historical Roman military, albeit rather simplified and re-appropriate several titles in roles that are only somewhat equivalent to their real-life counterparts (Sumner 1970, MacMullen 1984, Roth 1994). In New Vegas, the Legion has a hierarchical structure made entirely of men, with Caesar atop as dictator. Below him is the Legate, who leads the army, and the Centurions, who were commanders underneath the Legate. A Praetorian guard personally guarded Caesar himself, while the Frumentarri, based on the name given to food supply officers turned spies in the Roman Legion, were Caesar’s spy network. Those captured from conquered tribes and towns were promptly enslaved and fitted with bomb collars to prevent escapes; most slaves were put to work doing menial tasks, with those deemed too weak to be useful crucified or otherwise killed.

Edward Sallow
Edward Sallow in command of the Legion as Caesar.

From an archaeological perspective, the Legion is a interesting example of selectively recreating and repurposing the past for the sake of organisation and domination. Prior to his reign as Caesar, Sallow was known to look down on other tribes as “lesser” and “inferior” creatures. To Sallow, Ancient Rome spoke to these imperialistic and fascist tendencies, and so he created a totalitarian dictatorship in its image to dominate the land with his ideology.

Like many leaders in Ancient Rome, Sallow also claimed divine right as leader – as Caesar, he claimed that he was the Son of Mars, who had brought nuclear war upon the United States to cleanse it for Caesar’s eventual rule. This divine right to lead created the propaganda needed to not only present the Legion as a powerful force to enemies, but it also kept Sallow in power as the sole dictator.

This propaganda, like in real life, also takes form in the shape of art, specifically coinage. Currency in Caesar’s Legion are decorated with depictions of Caesar  and inscribed with Latin propagandistic phrases, such as “Pax Per Bellum” (Peace through War). The importance and value of the New Vegas denarius (silver coins) and aureus (gold coins) can be seen in their creation, as these were difficult-to-find materials and most likely also difficult to create in the current post-apocalyptic landscape.

The tag line of the Fallout video games is “war never changes”, a sentiment that could also be expressed as “history repeats itself”. The Legion of New Vegas is a prime example of how the ugly head of imperialistic forces will rear its head time and time again, sometimes in the same form it once held many, many years ago.

The Fort, the headquarters and main camp of Caesar’s Legion in Nevada

References

Anonymous. (2011) Caesar’s Legion. Nukapedia: Fallout Wikia

MacMullen, R. (1960) Inscriptions on Armor and the Supply of Arms in the Roman Empire. American Journal of Archaeology. (p. 23-40)

MacMullen, R. (1984) The Legion as a Society. Historia: Zeitschrift fur Alte Geschichte. (p. 440- 456)

Obsidian Entertainment. (2010) Fallout: New Vegas

Roth, J. (1994) The Size and Organization of the Roman Imperial Legion. Historia: Zeitschrift fur Alte Geschichte. (p. 346-362)

Sumner, G.V. (1970) The Legion and the Centuriate Organization. The Journal of Roman Studies. (p. 67-78)

Fallout Finds: A New Series

While I was explaining the idea of the Studies in Skyrim series to my partner, he suddenly cut in – “Why aren’t you doing a series on archaeology in Fallout 4? Isn’t that the most archaeological video game out there?”

And he was right – the Fallout series, which takes place after a nuclear war that devastates most of the United States in a post-apocalyptic landscape that is slowly repopulated by “Vault Dwellers” who escaped the destruction, is a great look at how future civilizations repurpose the past. A lot of the video games’ humour comes from hilariously misunderstood interpretations of “Pre-War” artefacts (for example, the belief that baseball bats were weapons used in the bloodthirsty fighting game of baseball).

So, starting in 2018 I’ll be writing a new series called “Fallout Finds” examining not only the archaeology of some of the Fallout games, but also what it may say about how future archaeologists will look at our material culture, and how future peoples may repurpose it for their own use. Stay tuned!

This Fallout 4 character is obviously the spitting image of me.

Studies in Skyrim: A New Series

Skyrim? The video game Skyrim? Who do you think you are, Alex, some sort of “archaeogamer”?

Well, not really…I’ll leave that to the professionals over at archaeogaming.com. But, as someone who has spent at least 400 hours on Skyrim across three different gaming platforms, I’ve come to realise that Skyrim, which boasts probably one of the most extensive material records I’ve ever seen in a video game, is a great jumping off point to talk about various examples of archaeological finds we have in the real world!

So, if you think tombs filled with the walking dead, rituals that utilise cannibalism, or even some of the magical alchemy ingredients are just inventions of a fantasy video game world, I’ll be delving into their actual, real world counterparts in this new series.

Plus, this gives me an excuse to play more Skyrim.

A Skyrim player character gets ready to be put through hell for the sake of screenshots.

Keeper of the Archives: Sith Archaeology and Propaganda

Keeper of the Archives is a new series I’ll be formally introducing to the blog next year, but because of the release of the latest Star Wars film, I felt like I had to provide a sneak peek! This series will be a fun look at archaeology in popular culture, specifically in the Star Wars (expanded) universe! Keep your eye out for more installations in the upcoming year.

Valley of the Dark Lords
Sith archaeological excavation sites outside the Sith Academy on Korriban

Unsurprisingly for a fictional universe that takes place “a long time ago, in a galaxy far, far away”, there is a fair amount of representation for archaeology in the lore of Star Wars. This is especially true for the Expanded Universe (recently made uncanonical with Disney’s acquisition of the franchise, but still canonical in the hearts of many fans – including my own!).

For Jedi, the role of the archaeologist was an alternative to following the path of becoming a Jedi Knight. Jedi archaeologists would train at the Academy of Jedi Archaeology before heading off with the Jedi Exploration Corps for excavation alongside other researchers, such as biologists and zoologists (Wallace 2010). On the other side of the Force, however, the Sith were also actively pursuing their own archaeological research.

In the video game series Knights of the Old Republic (Bioware 2003), for example, the Sith academy on the planet Korriban appears to be in the midst of a large scale excavation of the “Valley of the Dark Lords”, similar to Egypt’s own “Valley of the Kings”. The ruins of the tombs of several Sith lords have been uncovered here – Ajunta Pall, Ludo Kressh, Naga Sadow, and Marka Ragnos. As you enter the excavation site, you encounter numerous Sith students and droids at work – often in dangerous circumstances, as predatory creatures are also found throughout the ruins.

So why would the Sith care this much about archaeology? Most likely the same reason why archaeological research has been used by fascists and dictators in the real world’s past: propaganda. For example, excavations under Nazi Germany were led with the intent of producing results that would become part of the proud nationalism that so identified their political party (Galaty and Watkinson 2007). As a political tool, archaeology can be used as “proof” for a distorted past that gives credit to whatever propaganda a political party is rallying behind; that one race is better than another, that one’s beliefs are more true, etc. History can be a powerful tool for oppression, and the misuse of archaeology makes for an excellent tool in legitimising (Arnold 2008).

In the Star Wars universe, the same can be said of Sith archaeology. The Sith, unlike their Jedi counterparts, believe that one should be proud of the power they wield, and constantly seek more. The tombs of the ancient Sith, as well as most of the walls of the Sith Academy itself, are lined with massive iconography depicting towering statuary that lord over the valley itself, creating an oppressive aesthetic that fits the Sith ideology well.

Statues in the Valley of the Dark Lords
The giant statuary standing above the Valley of the Dark Lords

Of course, there’s another level of practicality in archaeology of the Star Wars universe – the past can actually talk back. Holocrons are common methods of recording information by both the Sith and the Jedi, allowing for users to be taught by the recorded holograms of those from the ancient past (Wallace 2010). Spectral beings, through the Force, can also be encountered and spoken with – this may come in the form of a benign spirit, such as Obi-Wan Kenobi in Empire Strikes Back and Return of the Jedi, or in a malicious spirit ready to fight and kill any mortal that dares to intrude, as seen in the many tombs of the Sith.

The Sith use this interactivity with the past as a tool not only for pushing their own propaganda, but also instilling the lessons they live by – that power is key, and only be defeating those around you can you succeed (Veitch and Anderson 1994). In Knights of the Old Republic, you infiltrate the Sith Academy as an apprentice  and are put to work diving into the ruins of the Sith tombs. The usefulness of this practice is twofold for the Sith masters – on one hand, the defence mechanisms placed into the tombs, which consist of dangerous creatures as well as dark Force spirits, can weed out the weak from the strong, an important aspect in Sith ideology. On the other hand, this also aids in the retrieval of many Sith artefacts – again, a showcase of power that works as propaganda, as well as a transfer of power itself. A Sith who wields the mighty sword of Ajunta Pall, for example, could lay some hefty claim on power within the Sith hierarchy.

In the Star Wars universe, the Sith are an example of the corruptibility of power – how greed for power, even if it begins with good intentions, can lead to the Dark Side. The same can be said for archaeology in a sense – although it may have started with the intention of discovering the past, in the wrong hands it can be used as a political weapon as powerful and as deadly as a red bladed lightsaber and corrupt any good that may have once come from it.

Valley of the Dark Lords II
The massive ruins of Sith tombs in the Valley of the Dark Lords

References

Arnold, B. (2008) The Past as Propaganda: Totalitarian Archaeology in Nazi Germany. Antiquity.

Bioware. (2003) Star Wars: Knights of the Old Republic

Galaty, M. L. and Watkinson, C. (2007) The Practice of Archaeology Under Dictatorship. Archaeology under Dictatorship. pp. 1-17.

Obsidian Entertainment. (2004) Star Wars: Knights of the Old Republic II The Sith Lords

Veitch, T. and Anderson, K. J. (1994) The Quest for the Sith. Tales of the Jedi: Dark Lords of the Sith 2. Vol. 2. Dark Horse Comics.

Wallace, D. (2010) The Jedi Path: A Manual for Students of the Force. Chronicle Books.