Caroline Wazer in Lapham’s Quarterly:
In March 2021 the American Historical Review included three video games in its review section, a first for the self-proclaimed “journal of record for the historical profession in the United States.” All three games selected for review are installments of the Assassin’s Creed franchise, which takes as its central conceit a centuries-long struggle between two shadowy organizations: the Templars, who seek to control and manipulate humanity for their own ends, and the Assassins, who champion human freedom and creativity and are usually (though not always) cast as morally superior. Throughout the franchise players are tapped by one or both factions to hunt for powerful artifacts called Pieces of Eden, each of which was hidden or lost long ago. Finding these artifacts requires accessing the past by means of a fictional technology called the Animus, which generates lifelike, interactive virtual-reality worlds from ancient DNA samples taken from the remains of long-dead witnesses to the Pieces of Eden’s fates.
Despite the fantastic silliness of the in-game time-travel logistics, the promise of historical accuracy has been a major selling point of Assassin’s Creed since the eponymous first installment in 2007; since then Ubisoft, its publisher, reports having sold more than 155 million units of the franchise, which has grown to include a total of twelve main games (the most recent being 2020’s Assassin’s Creed: Valhalla, which takes place mostly in Viking-age England). “Assassin’s Creed is steeped in historical fact,” a video-game reviewer for IGN writes of the first game in the series, which is set primarily in the twelfth-century Holy Land. “Were it not for the ‘anomalies’ that flitter around characters”—part of the sci-fi wrapping—“you would have little reason to ever question that this is indeed what these cities and people looked like centuries ago.”
In the first of the AHR reviews, historian of early America Michael D. Hattem gives a positive assessment of Assassin’s Creed III (2012), praising the verisimilitude of its Revolutionary War–era colonial American setting as well as the way the game emphasizes social history. “The attention paid by the game developers and their historical consultants to details of both the actual and social geography of these urban settings,” he writes, “produced one of the most authentic depictions of eighteenth-century life in popular culture”—far more historically accurate, he adds, than Lin-Manuel Miranda’s Broadway musical Hamilton. Video games like this, Hattem concludes, are “ideally situated as a cultural form to tell the kind of complex story of the Revolution reflected in recent academic scholarship.”
More here.
An international team led by researchers from the University of Konstanz and Max Planck Institute of Animal Behavior in Germany have employed virtual reality to decode the algorithm that animals use when deciding where to go among many options. The study reveals that animals cope with environmental complexity by reducing the world into a series of sequential two-choice (binary) decisions — a strategy that results in highly effective decision-making no matter how many options there are. The study offers the first evidence yet of a common algorithm that governs decision-making across species and suggests that fundamental geometric principles can explain how, and why, animals move the way they do.
More than 50 Nobel laureates have signed an open letter calling for all countries to cut their military spending by 2% a year for the next five years, and put half the saved money in a UN fund to combat pandemics, the climate crisis, and extreme poverty.
On 25 October 1510 Isabella d’Este, the Marchioness of Mantua, wrote a letter to her agent in Venice inquiring after a certain highly collectable item. ‘We believe that in the effects and the estate of Zorzo da Castelfranco, the painter, there exists a painting of a night scene, very beautiful and unusual.’
D
E.O. Wilson died on December 26, according to his 
Like its Enlightenment-era forebears, contemporary cryptozoology is rooted in that same hunger for strangeness, and for an enchanted world. It’s telling that the contemporary iteration of the phenomenon saw its first major resurgence during the wider postwar optimism of 1950s—when Belgian zoologist Bernard Heuvelmans, often lauded as one of the forefathers of the field, published On the Track of Unknown Animals in 1955. (Heuvelmans also coined the terms cryptozoology and cryptid.) Featuring entries dedicated to the abominable snowman and Nandi bears alongside examinations of platypuses and gorillas, Heuvelmans’s book celebrates the potential of a world teeming with creatures the scientific record has not yet ossified into fact.
This may sound either arrogant or forgetful, but I could not possibly remember the number of times I was in the same room or at the same protest as Desmond Tutu. And the main reason I know he was there is because I was there listening to him speak, often from a distance of not more than two meters or so. I say this not to associate myself with the great man — though I’ll forgive you for thinking I’m a terrible, narcissistic name-dropper — but just to be sure we all know this all really happened, because I saw and heard it.
Silence fell. Pitilessly illuminated by the lamplight, young and plump-faced, wearing a side-buttoned Russian blouse under his black jacket, his eyes tensely downcast, Anton Golïy began gathering the manuscript pages that he had discarded helter-skelter during his reading. His mentor, the critic from Red Reality, stared at the floor as he patted his pockets in search of some matches. The writer Novodvortsev was silent too, but his was a different, venerable, silence. Wearing a substantial pince-nez, exceptionally large of forehead, two strands of his sparse dark hair pulled across his bald pate, gray streaks on his close-cropped temples, he sat with closed eyes as if he were still listening, his heavy legs crossed and one hand compressed between a kneecap and a hamstring. This was not the first time he had been subjected to such glum, earnest rustic fictionists. And not the first time he had detected, in their immature narratives, echoes—not yet noted by the critics—of his own twenty-five years of writing; for Golïy’s story was a clumsy rehash of one of his subjects, that of The Verge, a novella he had excitedly and hopefully composed, whose publication the previous year had done nothing to enhance his secure but pallid reputation.
Imagine being in a pandemic, isolated and inert. Your life feels out of control, and you are stressed, not sleeping well. Then a raft of bewildering new symptoms arrive – perhaps your heart races unexpectedly, or you feel lightheaded. Maybe your stomach churns and parts of your body seem to have an alarming life of their own, all insisting something is badly wrong. You are less afraid of the pandemic than of the person you have now become.
Want a good, solid, rollicking laugh? Contemplate the end of the world—the whole existential shebang: the annihilation of civilization, the extinction of all species, the death of the entire Earthly biomass. Funny, right? Actually, yes—and arch and ironic and dark and smart, at least in the hands of 
When Dr. Wilson began his career in evolutionary biology in the 1950s, the study of animals and plants seemed to many scientists like a quaint, obsolete hobby. Molecular biologists were getting their first glimpses of DNA, proteins and other invisible foundations of life. Dr. Wilson made it his life’s work to put evolution on an equal footing. “How could our seemingly old-fashioned subjects achieve new intellectual rigor and originality compared to molecular biology?” he recalled in 2009. He answered his own question by pioneering new fields of research. As an expert on insects, Dr. Wilson studied the evolution of behavior, exploring how natural selection and other forces could produce something as extraordinarily complex as an ant colony. He then championed this kind of research as a way of making sense of all behavior — including our own. As part of his campaign, Dr. Wilson wrote a string of books that influenced his fellow scientists while also gaining a broad public audience. “On Human Nature” won the Pulitzer Prize for general nonfiction in 1979; “The Ants,” which Dr. Wilson wrote with his longtime colleague Bert Hölldobler, won him his second Pulitzer, in 1991.
On the afternoon of Christmas Day 1956, in a snow-covered field on the outskirts of the small Swiss town of Herisau, some children and their dog discovered the body of a dead man, hand clutched tight to his stilled heart. It was the writer Robert Walser, who had died that day, aged seventy-eight, while out walking far from the mental institution where he had dwelled for the previous two decades. A photograph taken by the local medical examiner Kurt Giezendanner shows the body at rest, left arm thrown out as in the style of a sleeper midway through a restless night, while two shadowy figures at the margins look on. The sorrow of the scene is rather gently assuaged by the odd fact that Walser’s hat, perhaps moved by a breeze, lies at a modest distance from his body, as if it has leapt off his head to cartoonishly express surprise at its owner’s death. A few distant trees squeeze into the top of the frame like awkward mourners paying their respects. The snow, even on the ground but for a few shaggy lumps close to his boots, appears at first to be nothing more than a dazzling absence, as if the dead Walser were floating on a white winter sky.