A new screen is loading with the title of the game displayed on it and a long list of copyright info, which I am not really interested in. Yet now another screen appears which finally allows me to start the game: blue, with two circular maps of the earth and a compass superimposed. Would I like to proceed to: single player, multiplayer, game options, additional content, tutorial, benchmark or credits? Or would I rather exit the game? I have agreed with Stephanie that we will play a multiplayer game. When we are waiting, and discussing the opening scene, she tells me that, unlike me, she spent a great deal of time reading the copyright info. I can now tap a button that seems to bring me to the start of the game.

Alternative narratives can be written into being in the game world but only within the system that the game provides. The player, whether from the erstwhile colonized countries or elsewhere, nevertheless, both writes and writes back in games that engage with the questions relating to colonialism whether he or she chooses to or not. (Mukherjee, 2016: 15)

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Let us explain this further through looking at the screenshot that Lammes made when she started playing the game. As can be seen in Fig. 3, the surface on which she is invited to spread her sphere of power holds the middle between a map and a landscape. The unexplored or unknown layer is no longer totally black, as in the earliest versions of Civilization, and the game has thus moved away from a more straightforward ideological depiction in which uncolonised territory is depicted as what Fuller and Jenkins (1995) identified as the void, uninhabited and yet to be filled with light by the player as coloniser. Instead, a yellowed set of mapping quadrants is shown in this newer version; its association with old maps is heightened further by the depiction of magical beasts, dragons similar to the ones figuring on 16th-century maps now being the guards that block the unknown. In a take on Borges (1975) in the postcolonial and cartographical imagination of Civilization, the map becomes the landscape and the landscape become the map, folded into the spatial stories woven by the player.

This fluidity of time may be linked to a postcolonial and contemporary disorientation of belonging. At a time where great groups of people from mainly poor countries have migrated to the land of former colonisers, history cannot be easily retold in a singular way. Civilization III shows this postcolonial bewilderment by making time anachronistic. It nevertheless counters this unsettled feeling by emphasizing the uniformity within borders and making space and nations unproblematic categories. It thus still strives to overcome this heterogeneity of civilization. Seen from this perspective space is represented as in accordance with dominant ideologies, whilst time has a more unstable character in the game and is played out differently. It is at this temporal level that culture becomes messier and paradoxical qualities of postcolonial cultures seep through. (2003: 127)

Reflexivity is, in our view, even more of a challenge to draw out when we want to understand processual practices like play as we engage with an ongoing activity that leaves little room for taking a step back. As Bissell illustrates, dominant narratives (strategies) may be temporarily suspended through waiting, which allows for a different experience, in which a player can:

Through the first vignette we examined the ideological overtones of the opening cutscene and the colonial ideologies of settling, exploitation and conquering that are presented through the dominant feature of mapping. In the second vignette, we further problematized the notion of the game as representational by illustrating the active and hybridised process of touring and mapping the game space and showing that this is a processual practice in which dichotomies collapse and representational ideological reading loses its value. In the third vignette, we focused on the tactics we as players used during our gameplay session and how this extended the formal game space. In particular, we illustrated the importance of platforms such as Steam in nudging us to adopt specific translational practices of place-making. This vignette also drew attention to the importance of reflectivity in play. The social affordance of voice chat in congruence with the turn-based mechanic set by the players constructing the multiplayer game session accidentally afforded reflective waiting time, where we both were able to talk and think about their characters and actions, and what subjectivities this produced. 152ee80cbc

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