Subsequent chapters explore the histories of board games, and dig up some unique ancient examples (such as Senet and Ur). Flanagan then proceeds to explore the spiritual side of such titles, and goes on to the cultural effects of board games as a kind of 'keyframe' for certain historical events. Monopoly is presented as an example, who's predecessor - The Landlord's Game, was originally a promotional tool for the Single Tax Movement.
These rather dry historical introductions set the stage for more modern territory, with a presentation on Surrealists, and Fluxus play. Of particular interest was the discussion of Alberto Giacometti (most famous for his 'stretched statue' pieces). Flanagan reveals a compelling array of board-game-esque artworks that would otherwise remain dwarfed in obscurity by Giacometti's more famous, sculptural work.
Word play is explored through poetry, pun and performance, and again Dada, Surrealism, and Fluxus. The scope is huge and the research vast - we see play as a truly vital element in the actions of these movements.
Only toward the end of the book do we begin to get back to a discussion of digital games. 'Critical Play' certainly succeeds in the task of rewriting pre-20th and 20th century art history in light of play, but given the immense activity of video games in the last 30 years, one would think this would be a fertile ground, and indeed an important component of a historical re-frame.
Granted, Flanagan includes a beautiful and much needed discussion of Situationists theory in light of gameplay, in particular with regard to mobile, street, and locative games - a worthy extension to the similar chapters explored in Space, Time, Play (2004).
