Total War: Rome II

Alternative title(s)
Antiquity gameEAG
ReleaseSep 3, 2013
PublisherSega
DeveloperThe Creative Assembly
Platform(s)Windows; OS X (2014); Linux (TBR)
ModeSingle-player, multiplayer
GenreStrategy game; empire-building
SettingA vast area stretching from Spain and Britain in the West to the Seleucid Empire and Bactria in the East (272 BCE for a period of 300 years); playable factions include Rome, Macedon, SpartaDLC, AthensDLC, PergamonDLC, EpirusDLC along Gallic tribes and others
Notable charactersBCaesar, Marc AntonyDLC, LepidusDLC, AugustusDLC, PompeyDLC, HannibalDLC
DLCGreek States (2013), Pontus (2013), Seleucid Empire (2013), Nomadic Tribe (2013), Blood & Gore (2013), Baktria (2013), Caesar in Gaul (2013), Beasts of War (2014), Wonders & Seasons (2014), Hannibal at the Gates (2014), Getae (2014), Pirates and Raiders (2014), Daughters of Mars (2014), Armenia (2014), Imperator Augustus (2014), Empire Edition (2014) Black Sea Colonies (2014), Massilia (2014), Wrath of Sparta (2014), Empire Divided (2017), Desert Kingdoms (2018), Rise of the Republic (2018)

Bibliography

André, L-N.; Lécole-Solnychkine, S. (2013). ‘L’antiquité vidéoludique, une resurrection virtuelle?’ in Nouvelle revue d’esthétique 2013/1: 11, 87-98.

André, L-N. (2016). Game of Rome. Paris: Passage(s).

Anglade, L. (2018). ‘La représentation de l’Antiquité dans les jeux vidéo dits historiques’ in F. Bièvre-Perrin & É. Pampanay (eds.), Antiquipop. La reference à l’Antiquité dans la culture populaire contemporaine. Lyon [online]: MOM Editions, 160-74.

Beavers, S. (2020). ‘The Representation of Women in Ryse: Son of Rome‘ in C. Rollinger (ed.), Classical Antiquity in Video Games. New York: Bloomsbury, 77-89.

Chapman, A. (2016). Digital Games as History. How Videogames Represent the Past and Offer Access to Historical Practice. New York, London: Routledge. (Ch. 2. ‘Interacting with Digital Games as History’; Ch. 3. ‘Simulation Styles and Epistemologies’; Ch. 9. ‘Digital Games as (Counterfactual) Narrative Historying’)

Chapman, A. (2020). ‘Epilogue: Quo Vadis Historical Game Studies and Classical Receptions? Moving Two Fields Forward Together’ in C. Rollinger (ed.), Classical Antiquity in Video Games. New York: Bloomsbury, 233-252.

Coert, J. (2018). ‘Der digitale furor Teutonicus. Zur Rezeption von Germanenbildern im Videospiel am Beispiel von Total War: Rome II‘ in thersites 7, 58-106.

Khan, A.-Y. (2019). ‘The Roman Past through Video Games and Memes’. Academia.edu.

Machado, D. (2020). ‘Battle Narratives from Ancient Historiography to Total War: Rome II‘ in C. Rollinger (ed.), Classical Antiquity in Video Games. New York: Bloomsbury, 93-105.

McCall, J. (2020). ‘Digital Legionaries: Video Game Simulations of the Face of Battle in the Roman Republic’ in C. Rollinger (ed.), Classical Antiquity in Video Games. New York: Bloomsbury, 107-123.

Nolden, N. (2020). ‘Playing with an Ancient Veil: Commemorative Culture and the Staging of Ancient History within the Playful Experience of the MMORPG, The Secret World‘ in C. Rollinger (ed.), Classical Antiquity in Video Games. New York: Bloomsbury, 157-175.

Rollinger, C. (2016). ‘Phantasmagorien des Krieges: Authentizitätsstrategien, affektive Historizität und der Antike Krieg im modernen Computerspiel‘ in A. Ambühl (ed.), Krieg der Sinne — Die Sinne im Krieg. Kriegdarstellungen im Spannungsfeld zwischen antiker und moderner Kultur / War of the Sense — The Senses in War. Interactions and tensions between representations of war in classical and modern culture = thersites 4, 313-341.

Rollinger, C. (2020). ‘An Archaeology of Ancient Historical Video Games’ in C. Rollinger (ed.), Classical Antiquity in Video Games. New York: Bloomsbury, 19-43.

Sukhov, A. (2020). ‘Religious Discourse of Video Game-Based Learning: Virtual Paganism and the Problem of Breaking the First Commandment‘ in Proceedings of the 14th International Conference on Game Based Learning ECGBL 2020, 586-593.

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