For thousands of years, humans have been entertained by board games. The earliest documented game boards date to at least 6000 BC in the Near East (Sebbane 2001), and we know the name, Senet, and rules of a board game from Egypt dating to 3500–3100 BC. Aspects of inequality are omnipresent in the dynamics of the competition and cooperation inherent in games. In this review, I assess the digital version of the board game Catan, which is also called Catan Universe, discussing how anthropological theories such as human behavioral ecology are recognizable in the digital game. Playing this game provides a unique way to test models of inequality.

Archaeology in the United States is caught in a “curation crisis” (Childs 1995; Childs and Warner 2019; Marquardt et al. 1982; SAA Advisory Committee on Curation 2003; Trimble and Marino 2003) and a “digital data crisis” (or “deluge”) more specifically (Bevan 2015; Clarke 2015; Kansa and Kansa 2021; Katsianis et al. 2022; Kersel 2015; McManamon et al. 2017:239–240; Rivers Cofield et al. 2024). Recent estimates suggest that, collectively, over 1.4 billion dollars are spent annually to support archaeological work that is mandated by federal law (SRI Foundation 2020). Although substantial efforts are underway to generate and provide mechanisms for managing, curating, and sharing the resultant digital data, we suggest that a critical step that has yet to be taken is to describe and visualize the components, connections, and causal dynamics of the US digital data system as it currently functions. Here, we specifically apply a “systems thinking” approach to produce such a high-level model of this system. We argue that understanding and visualizing this system will help us all “think bigger” (Heilen and Manney 2023); identify sources of knowledge, opportunities for critical analysis, collaboration, and capacity building; and increase much-needed archaeological digital literacy (Kansa and Kansa 2022). We conceptualize this as bringing “equilibrium” to the system, and in this article, we make several suggestions on how to bring this about. These insights can enable practitioners to better understand their roles in and contributions to the overall system and to evaluate efforts to improve data sharing, management, and curation practices not only within their organizations and departments but beyond.

The award-winning video game Heaven's Vault stands out among a plethora of over-sensationalized representations of archaeology in video games and other media. The main character of the game is a woman of color named Aliya Elasra, whose primary weapon is her mind, which she uses to uncover a centuries-old mystery while unearthing the secrets of an ancient language. Set in a fantastical science fiction–inspired universe, the player engages in activities that gradually explain the game's world. With multiple endings and re-playability, Heaven's Vault offers an experience that is hard to pass up for fans of rich narrative, archaeology, and interactive puzzles.

We have all read the headlines heralding, often hyperbolically, the latest advances in text- and image-based Artificial Intelligence (AI). What is perhaps most unique about these developments is that they now make relatively good AI accessible to the average Internet user. These new services respond to human prompts, written in natural language, with generated output that appears to satisfy the prompt. Consequently, they are categorized under the term “generative AI,” whether they are generating text, images, or other media. They work by modeling human language statistically, to “learn” patterns from extremely large datasets of human-created content, with those that specifically focus on text therefore called Large Language Models (LLMs). As we have all tried products such as ChatGPT or Midjourney over the past year, we have undoubtedly begun to wonder how and when they might impact our archaeological work. Here, I review the state of this type of AI and the current challenges with using it meaningfully, and I consider its potential for archaeologists.

As an escape from the day-to-day drudgery of our “real” world, video games allow us to leave reality and explore new fictional worlds. These worlds are more enjoyable when they are developed from various digital materials and presented as an official story, which is called “lore.” Lore invites the player to submerge into background stories of fictional worlds, including but not limited to those in video games. Video-game lore often provides historical narratives of these worlds, sometimes even drawing on archaeological themes in the creation of characters and places. The video game League of Legends (LoL), developed by Riot Games, has its own detailed lore, often revolving around individual characters. Riot has developed this lore not only through the video game itself but through accompanying media. Although the lore is separate from the game and not necessarily needed, the advantage is that it can orient individuals to the world and the background stories of the characters and players. Additionally, it allows people who are not interested in playing the game to interact with the fictional world, given that the stories are captivating on their own. Here, we briefly discuss Riot's interactive lore website and focus on the background of two places within the LoL fictional world: Ionia and Targon. We examine the presentation of these places through an archaeological framework. Then, we evaluate how archaeology is portrayed throughout the lore, focusing specifically on archaeological field notes and the methods that we are told are employed by one of the characters. In our analysis of the portrayal of Targon, the discussion centers on how archaeological perspectives are an integral framework for the LoL lore. Lore creates a sense of place (a connection between a person and a spatial setting) for the fan community, players, and even developers. Consequently, it is useful to focus on this idea of storytelling through lore, taking a critical view of its power and how it can impact various audiences.

Spatial data, under the broader umbrella of digital data, is becoming increasingly integral to all stages of archaeological research design and dissemination. As archaeologists lean toward reuse and interoperability, with ethics on their minds, how to treat spatial data is of particular importance. This is because of the complexities involved at every life-cycle stage, from collection to publication, including black box issues that may be taken for granted, and because the size of spatial data can lead to archiving difficulties. Here, the “DIY” momentum of increasingly accessible spatial methods such as photogrammetry and handheld lidar is examined alongside forthcoming changes in publication policies that will impact the United States in particular, framed around a conversation about best practices and a call for more comprehensive training for the archaeological community. At its heart, this special issue seeks to realize the potential of increasingly digitized—and increasingly large amounts of—archaeological data. Within cultural resource management, this means anticipating utilization of data through widespread standardization, among many interrelated activities. A desire to enhance the utility of archaeological data has distinct resonances with the use of spatial data in archaeology, as do some wider challenges that the archaeological community faces moving forward.

Since its launch, TikTok has become one of the world's most popular social media apps. Once primarily used by teenagers, this app is now used by people of all ages; this shift is largely attributable to the COVID-19 pandemic, when many people transitioned to engaging with others via social media instead of having in-person interactions. Now, anyone who has either the app or access to a web browser can view a plethora of videos, all 10 minutes and under, on any topic. Informational videos about archaeology may not be promoted on everyone's personalized home page—called the For You page (FYP)—but they are easily accessible through the search function. This review will discuss the impact TikTok has on the world of archaeology, with a focus on public engagement, museums, and especially teaching and learning. The social power of this app needs to be acknowledged. Archaeology can introduce the public to snapshots of daily life from the past, a task that fits well with the design of TikTok. This social platform can become a resource to create spaces to learn more, especially through interactive conversations such as in the comments section or response videos.

The Portable Antiquities of the Netherlands (PAN) is an online system aimed at recording and documenting archaeological finds by the public. Since PAN launched in 2016, it has become an important data contributor to Dutch archaeology, amassing over 100,000 recorded finds. These data, mostly the result of metal detection, enable scholars to gain new insights and policy makers to make more informed decisions. This review describes the context in which PAN was established, along with its current structure and scope, before looking at its different components, including the underlying database and linked data reference collection. In a final section, the article briefly addresses some common issues inherent to public reporting programs and how PAN approaches these issues.

YouTube is now a common public face for archaeology and history. Professionals and amateurs alike make videos, whether it be for monetary gain, outreach, or a combination of the two. The YouTube channel Ghost Town Living is no exception. It features the town's current owner, Brent Underwood, modifying the “abandoned” mining town of Cerro Gordo into a tourist destination. During this process, as is documented in his videos, it becomes clear that Underwood is not only conserving the town but also transforming it into an amalgam of California's mining history. In doing so and by presenting it on YouTube, Underwood is sharing the heritage of Cerro Gordo with the public. Although Underwood is not an archaeologist and is not pretending to be one, some of the methods employed are far from “best practice.” Despite this, I argue that perhaps the overall goals and processes of Underwood should be encouraged to some degree, and in this case, that they do more good than harm for the “preservation” of Cerro Gordo.

Video games are unparalleled as an interactive medium and can serve as potential educational tools through intelligent game design and the players’ immersion in the game world (e.g., Mayo 2009; Rassalle 2021; Rubio-Campillo 2020; Winter 2021). At the same time, video games, like any media, might also misinform (e.g., Aron 2020; Dennis 2019; Emery and Reinhard 2016). In this review, I present my impressions of the game Ancestors: A Humankind Odyssey (Panache Digital Games 2019), specifically regarding its portrayal of paleoanthropological themes. In preparing this review, I played the game in its entirety and subsequently interviewed the developers in order to clarify their intentions when designing the game (Patrice Désilets and Marc-André De Blois, personal communication 2021). Using the medium of video games, is it possible to make a “perfectly” accurate simulation of human evolution? Perhaps, but that may not matter anyway. In my view, video games, as exemplified by Ancestors, have great potential for exploring the basic components of human evolution and to reach and inspire a wider public that might otherwise learn very little about the subject matter.

Daily data collection during archaeological fieldwork forms the basis for later interpretation and analysis. Across the world, we observe a wide variety of digital data collection methods and tools employed during fieldwork. Here, we detail the daily practices at four recent survey and excavation projects in the South Caucasian country of Armenia. As archaeology continues to become ever more digital, it is useful to consider these day-to-day recording processes at a typical field project. We provide details on both the types of data collected and the ways they are collected so as to foreground these topics. Finally, we reflect on how our work is currently impacted by digital changes and how it may continue to change in the future.

Spatial and shape data represented by 3D digital models have become a central component of our archaeological datasets. Immersive visual and audio interaction with these models offers an intuitive way to use these data. The mixing of the virtual with the real world suits archaeological work particularly well, and the technologies of augmented reality (AR) and mixed reality (MR) enable this type of interaction. Much past work on these technologies has involved public engagement, but they also hold the potential for valuable deployment directly in archaeological practice and research, especially the seamless integration offered by MR. This review examines the range of experiments archaeologists are currently undertaking with AR and MR, and it looks to the future applications of these technologies.

Machine learning (ML) is rapidly being adopted by archaeologists interested in analyzing a range of geospatial, material cultural, textual, natural, and artistic data. The algorithms are particularly suited toward rapid identification and classification of archaeological features and objects. The results of these new studies include identification of many new sites around the world and improved classification of large archaeological datasets. ML fits well with more traditional methods used in archaeological analysis, and it remains subject to both the benefits and difficulties of those approaches. Small datasets associated with archaeological work make ML vulnerable to hidden complexity, systemic bias, and high validation costs if not managed appropriately. ML's scalability, flexibility, and rapid development, however, make it an essential part of twenty-first-century archaeological practice. This review briefly describes what ML is, how it is being used in archaeology today, and where it might be used in the future for archaeological purposes.

Digital data play an increasingly important role in how we understand the present and the past. The challenges inherent in understanding and using digital data are as intellectually demanding as any other archaeological research endeavor. For these reasons, data management cannot be regarded as a simple compliance or technical issue. For data to be meaningfully preserved and used in intellectually rigorous ways, they need to be integrated fully into all aspects of archaeological practice, including ethics, teaching, and publishing. In this review, we highlight some of the significant and multifaceted challenges involved in managing data, including documentation, training, methodology, data modeling, trust, and ethical concerns. We then focus on the importance of building data literacy broadly among archaeologists so that we can manage and communicate the data our discipline creates. This involves more than learning to use a new tool or finding a data manager for one's excavation or survey. Long-term, responsible stewardship of data requires understanding the workflows and human roles in data management. Putting effort now into thoughtful data management and broad data-literacy training means we will be able to make the most of the “bigger” data that archaeologists now produce. An important aspect of this reorientation will be to look beyond the boundaries of our own research projects and information systems. Future research, teaching, and public engagement needs will also compel us to explore how our data articulates with wider contexts—within and beyond our discipline.

Combining the strengths of “traditional” documentary filmmaking (as “creative treatments of actualité”) with the immersive power of interactive digital technologies (from 360° video to VR to data mining to algorithms), i-Docs can transform audiences into participants, co-creators, and collaborators in nonfiction storytelling, allowing them to not only explore and experience a story on their own terms but to remix, share, and contribute their own content to a collective story. i-Docs are cross- and multiplatform, screening across cinema, computers, smartphones, and gallery installations. Showcased at leading film festivals, increasingly adopted by broadcasters—including PBS, Al Jazeera, and BBC—and critically acclaimed from the Webbys and the Pulitzers to Cannes, the i-Doc sector is set to boom. After a close reading of two i-Docs, Hunt for the Inca Ruins (2017) and Saydnaya (2016), I consider the potential of i-Docs to resolve archaeologists’ concerns about misrepresentation, accuracy, information quality, (co)authorship, and crediting original research in documentary storytelling. I also examine the sector's shortcomings of unstable production pathways, funding sources, technologies, and difficulties assessing impact. I propose that archaeologists should engage proactively with the i-Doc sector if we wish to avoid the pitfalls previously encountered in film and factual TV and make the most of this new format.

The last 20 years mark a period of transformation from a traditional model of displaying archaeology to a more immersive model supported by digital and virtual media. The traditional model has generally used glass cases accompanied by extensive texts to inform visitors, whereas the immersive model employs digital media, tablets, virtual reality, and augmented reality to attract and engage a wide audience. In light of the recent enthusiasm for the latter, however, one must ask whether such immersive exhibitions are merely superficial means to make public institutions more attractive without having a meaningful impact on audience engagement. Polish archaeological museums provide interesting sites through which to explore this predicament. Here, digital upgrades are generously financed by national funds, so the traditional model of the archaeological museum in Poland is currently almost absent. In this short review, I aim to discuss one of the most interesting examples of temporary digital archaeological exhibitions organized between 2014 and 2019 in the Polish capital of Warsaw. I investigate its potential to engage audiences, ultimately concluding that it managed to create an interesting counterweight to traditional displays and respond to the drawbacks of new digital exhibitions through novel aesthetics and alternative archaeological storytelling.

The introduction of the smartphone into the private and professional lives of humans has provided a channel to real-time and place-specific information that can enhance (and disturb) day-to-day living. Given such impact, many museums and archaeological exhibitions have chosen to develop digital applications to enhance the visitor experience via accompanying the visitor through the exhibitions. Yet after a decade, these applications still seem understudied and, in practice, very undeveloped. This review aims to shed some light on the possibilities and shortcomings of museum apps. I discuss and critically evaluate the technical efficiency, practical utility, and user experience of the British Museum Guide (Museums Guide Ltd.) and My Visit to the Louvre (Musée du Louvre) applications. These two mobile apps represent the contemporary standard for museum apps, thereby allowing me to generalize about this genre of digital media.

With an ever-growing range of computational tools and applications now available for archaeological practice, the potential of digital archaeology is greater than ever before. Yet, archaeological curricula have not always followed suit, and many archaeologists are not up-to-date with the necessary digital skills. To fill this gap, online tutorials and learning platforms are being developed to familiarize archaeologists and students with the potential of digital media for archaeological research practices. Given the essential pedagogical role of these platforms, their quality is deserving of deeper interrogation. Here, I review three major platforms offering tutorials on digital archaeology: the Programming Historian, Project MERCURY-SIMREC, and the Open Digital Archaeology Textbook. These are evaluated and compared based on their goals, design (intuitiveness, ease of use), accessibility (use of jargon, required prerequisite knowledge, software requirements), scope (target audience, range of skills addressed, targeted level of improvement), and efficiency (whether or not they achieve their intended goals). The review concludes with a road map contextualizing the current state of available resources in light of the wider state of digital archaeology, and it considers pathways toward future development.

3D printing is a rapidly developing technology that has been championed as a revolutionary tool for the museums and heritage sector. Prints can provide innovative and engaging haptic experiences with objects in collections that cannot be handled, akin to craft replicas that have traditionally been employed. Large museums now regularly commission prints, yet evidence for the success of their deployment is largely anecdotal. This review considers how 3D prints have been utilized in museum contexts, with a focus on their successes and weaknesses as tools for public engagement.

Ubisoft's Assassin's Creed series is one the entertainment industry's most popular titles set in the past. With a new game released on an annual basis—each full of distinct historical places, events, and people—the series has unfolded across post-classical history, from the Levant during the Third Crusade to Victorian-era London. The 2017 release of Assassin's Creed: Origins, which entailed a massive reconstruction of Hellenistic Egypt, pushed the series even further back in time. With it, Ubisoft also launched its Discovery Tour, allowing players to explore the game's setting at their leisure and without combat. These trends continued in 2018's Assassin's Creed: Odyssey, set in Greece during the Peloponnesian War. This review discusses the narrative, world, and gameplay of the latest Assassin's Creed within the series more broadly. We provide a critical appraisal of the experience that Odyssey offers and link it to this question: in the Assassin's Creed series, do we engage in meaningful play with the past, or are we simply assassinating our way through history?