Students dig archaeology professor

It began as a childhood experience cracking open shale on the side of a mountain in Monterey that started a lifelong love affair with history.

“I was mesmerized that evidence of the past could be found hidden in the ground around us,” Seth Mallios, longtime San Diego State anthropology and archaeology professor said. “That delight has never left me and led me to the fields of archaeology, anthropology and history.”

His students, who cite his immense passion for uncovering things and his interesting perspective on the past, see him as an inspirational figure. Amethyst Sanchez, an anthropology and sociology major, credits him and their many chats to changing her perspective and giving her the drive to achieve her goals.

“Without him, I probably would only have minored in anthropology, which is now the field I want to spend my life working in,” Sanchez said. “I would have missed out on so many incredible opportunities to do actual anthropological work before even earning my degree.”

Long before he called SDSU his home, Mallios’ career as an anthropologist started in Virginia, where he taught the introductory anthropology and the Jamestown Field School in Historical Archaeology courses at the University of Alabama. After his move to San Diego, he noticed the stark contrast between the ways regional history was looked at between the two cities.

“I also know that seeing different areas of the country where, in some places, the past is revered and you would never think of developing over a cemetery,” Mallios said. “You can’t go into a grocery store without someone telling you that they are a descendant of John Smith or Pocahontas and then coming out here and it being just the opposite.”

His first major project in San Diego was a gravestone project where he discovered many of the graveyards were intentionally paved over for freeways, buildings and roads.

“I wasn’t expecting too many surprises and the joke was on me because 75 percent of San Diego’s cemeteries have been developed over and I had just come from Jamestown,” Mallios said. “Everybody there is so into talking about the past, thinking about the past.”

In the classroom, Mallios’ passion for history is passed on to his students. One of his fundamental teaching philosophies is that students need hands on experience in the field to really understand what excavating is like in the real world, compared to the glamorized version of it that appears on TV.

“Dr. Mallios lets the students go through every process of a dig,” Shannon Farnsworth, an anthropology and history major, said. “We measured the units, we dug the dirt, we screened the dirt, we mapped the walls of our unit, we filled out the paperwork, we took soil samples and we were able to experience a real dig.”

Recently Mallios was named official university curator, a title he takes just as serious as his studies or excavations.

“It is rewarding to see the university formally acknowledge the importance of its own history and culture,” he said. “I believe that these distinctive aspects should be celebrated and preserved, and this position allows me to do that.”

Jamie Lennox, an associate professor of anthropology and one of Mallios’ former students, is the current interim director of SDSU’s collections management program and has assisted him with numerous projects over the years.

One of the major projects was co-authoring the five-volume book set titled “Let It Rock!” which was a retrospective of all the live events hosted at SDSU.

“It’s a very meticulous process – you cast a wide net and literally go through everything very slowly and carefully,” Lennox said. “You take copious amounts of notes, as you frequently will need to revisit something or retrace your steps.”

Together with Lennox, Mallios has preserved artifacts from SDSU’s colorful past including multiple WPA mementos such as benches, plaques and murals — some of which are preserved in the campus library.

“These clues to an earlier time when the campus was much smaller, when there was no city around it,” Mallios said. “That gets to a deeper understanding of not only San Diego State’s place in the community, but the hundreds of thousands of people that experienced it here on campus.”

Mallios sees SDSU’s history as more of a grey area than just black and white. He cites well known places on campus like Hepner Hall as examples of how buildings that have been seen as divisive have underlying meanings like the Muslim influence on the construction of SDSU’s iconic hall.

“I never knew about the history of SDSU,” Farnsworth said. “In class we read his book ‘Hail Montezuma’ and then went on a scavenger hunt to some of the historical places on campus. It makes me really proud to go here and I feel more connected to the school and my fellow classmates.”

Mallios’ current passion project is working on a book on the history of Nate Harrison, San Diego’s first permanent African American resident and frontiersman. He brought four of his students with him to excavate on Palomar Mountain during spring break to uncover new artifacts about Harrison and explore San Diego’s history back when it was known as the “Selma of the south.”

He hopes his book will be slated for release at the end of 2019.  

After all these years, Mallios says he still gets the same feeling when he discovers something new – the same one he feels when uncovering new things at the Nate Harrison site and the gravestones he explored when he first moved to San Diego.  

“There is the thrill of finding something that has been lost or forgotten,” Mallios said. “The contentment of seeing how this missing piece helps make sense of the chaos of today’s world.”

Originally published in the Daily Aztec in April 2018.

Why are new video games still being scrutinized for violence while other mediums aren’t?

Quantic Dream, a gaming developer responsible for hits such as “Heavy Rain” and “Beyond: Two Souls,” released a trailer for its game “Detroit: Become Human” in early December on Playstation’s YouTube channel during Paris Games Week.

It was met with immediate backlash from child advocacy groups stating that abusers will “get off on this stuff” and that it encourages violence within children. However, this is a poor judgment based on theories that don’t make sense.

The gameplay trailer revolves around Kara, an android helper for a man named Todd and his daughter Alice, whom Todd blames for his failed marriage. After an intense scene Alice runs up the stairs. Then the player has two options: intervene or don’t. If the player intervenes then Kara kills the abusive father and saves Alice. If Kara does not, Todd beats Alice to death off-screen and lays her limp body on the bed.

It sounds intense, because it’s supposed to be. The entire point of the trailer, aside from selling the game’s concept, is to show that actions or inactions have consequences. Sitting aside and doing nothing will have a consequence just as much as taking action does. It also shows that doing the right thing does, sometimes involves extreme actions.

According to the Daily Mail,  Andy Burrows of the UK’s National Society for the Prevention of Cruelty to Children said, “Any video game that trivialises or normalises child abuse, neglect or domestic violence for entertainment is unacceptable.”

However, when gaming or other forms of entertainment show violence or other controversial material, they are not trying to normalize it or advocate for it. It’s used as a means of storytelling and plot development.

Of course child abuse is never okay, but just because something is wrong does not mean creators can’t include it in works of art such as video games. If art is supposed to imitate life, then art should imitate all facets of life, not just the bright side of it.

This backlash begs the question — why attack a game when abuse has been seen in various forms of entertainment for years? Vivid depictions of child abuse has been prevalent in TV, movies, books or music videos, yet there is no outcry for change or censorship. In the movies “Jaws” and “It” children are murdered — in “Radio Flyer” kids are severely beaten by their father on multiple occasions.

What makes “Detroit: Become Human” so different? Because it’s interactive?

The notion that video games encourage violence is a fallacy that has been disproven time and time again. A person simply picking up a controller and playing a violent game does not make them violent. Just because a character in the game can go and beat up random pedestrians in “Grand Theft Auto” doesn’t mean the player is going to do the same in the future.  Or just like watching “Beauty and the Beast” will not make anyone want to have an intimate relationship with a humanoid beast.

Some claim abusers will be “getting off” on material like this, but abusers are abusers. No number of pixelated frames or game scenarios are going to change the fact that they are scum that prey on people. It’s not going to make them change in either direction. On the other hand, a switch is not going to automatically turn on in a normal person’s head to make them become a sociopathic violent monster.

While no one wants to see children get harmed or abused, child abuse appearing in a work of fiction is not going to make the problem worse nor is it going to turn a legion of gamers into awful human beings. On a grander scale, “Detroit: Become Human” illustrates what anyone with any common sense knows, actions have consequences and we need to be able to live with the decision we make — no matter how horrible it might be.

Originally published in the Daily Aztec in January 2018.

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