From Boxes to Bonus CDs: The Material History of 'The Sims' – Toward a Media Archaeology of Video Games
Introduction: Materiality Matters
As one of the most successful simulation games, The Sims (Maxis 2000–) was characterized not only by its main releases but also by a wide array of material artifacts: printed manuals, packaging, expansion boxes, and in particular, bonus CDs in magazines that included exclusive content and mods, thus expanding the scope of the game. This paper investigates the physical manifestations of The Sims in the German-speaking regions,1 with a particular focus on boxes, the bonus CDs distributed by the magazine GameStar, and on Die Sims: Das offizielle Magazin.
Methodologically, the study adopts a media-archaeological approach that systematically analyzes and documents the game’s material relics. Media archaeology, as developed by theorists such as Erkki Huhtamo and Jussi Parikka,2 provides a framework for examining the forgotten or obsolete layers of media history, particularly with regard to their material and technological dimensions.3 This method is here applied specifically to video games—what Mathias Fuchs has termed ludoarchaeology: “Ludoarchaeology is a discipline that is methodologically rooted in archaeology with the aim of finding forgotten games—and texts on games. The discipline’s objective is to reinterpret the history of games and play via material objects from the past.”4
The physical objects will be investigated through the lens of experimental media archaeology, which includes not only the symbolic meaning of artifacts, but also their use and the historian’s own embodied experiences with them5—by actively experimenting with original artifacts rather than relying on visual or textual representations.6 As Andreas Fickers and Annie van den Oever emphasize: “Doing re-enactments with old media technologies in an experimental media-archaeology lab produces new historical, ethnographic, and empirical knowledge about past user practices and media experiences.”7 In this case, I will re-engage with games and magazines that I personally interacted with some 25 years ago.
The paper systematically catalogues and describes the artifacts, attending to their materiality and technology, as well as their design and advertising language. This is complemented by a discourse-analytical perspective, aimed at reconstructing the significance of these physical artifacts for the gaming culture of the time. Because material aspects are invariably shaped by shifting cultural, historical, social, political, and economic frameworks, and they can never be ideologically impartial.8 The article examines the rhetoric, tropes, as well as visual and narrative structures through which these paratexts frame gameplay, user creativity, and community engagement. To this end, forum posts by players on The Sims fan platforms as well as interviews and statements by the game’s developers are analyzed.
The study draws on theories and concepts of the materiality of (digital) media as well as research on paratextuality—a concept originally introduced by Gérard Genette in the context of literary works to describe those textual forms that surround and supplement a text and influence its reception,9 and which has since been applied to video games.10 Special attention is paid to the content of boxes and magazines and to the extent to which these publications contributed to The Sims’ modding culture and acted as mediators between game developers and players, shaping expectations and user behavior.
This paper argues that these physical additions served not merely as promotional tools, but played a central role in the distribution and popularization of content for The Sims. They created new access points to the game, altered user practices, and expanded the game’s ecosystem through (semi-)official content. This study thus seeks to contribute to the material media history of digital games and to highlight the enduring impact of physical paratexts on the reception and use of a game. Or, to put it in a nutshell: Materiality matters. The study begins with an examination of the CD and DVD boxes of The Sims series.
Boxes, Boxes, Boxes
Paolo Ruffino observes that video game historiography often amounts to a mere “history of boxes,”11 concerned primarily with identifying the chronological releases of the gaming industry.12 As he points out, the historical narrative of video games has thus far been largely detached from the environments and circumstances in which it originally unfolded, and from their present-day relevance.13 Drawing on Raiford Guins, Ruffino emphasizes the importance, “that in the analysis of video games, and artefacts in general, it should be asked not only what something is but also when and where it is, how it emerges and how it is used.”14 Instead of simply cataloguing boxes, manuals, and other supplementary materials, this section seeks to conduct a detailed analysis of selected artifacts and to uncover their cultural significance. Three analytic dimensions are foregrounded: (1) the materiality and technological features of the artifact, (2) its design and advertising language, and (3) its contextual relevance and meaning for players in the early 2000s and today.
As a complete cataloguing of all Sims releases would exceed the scope of this paper, the analysis focuses on Die Sims (Maxis 2000–2003; 2025; English: The Sims) and Die Sims 2 (Maxis 2004–2014; 2025; English: The Sims 2), as well as on the PC game format. The former to do justice to media archaeology and because the analysis of individual games sharpens the analysis, and the latter because the Sims series first appeared for PCs and laptops and only later became available for consoles and smartphones. Moreover, the PC versions are by far the most popular15 and are particularly significant in the context of modding and custom content (CC) practices that are far less accessible or prevalent in console gaming. Let us begin with Die Sims.
How It All Began: Die Sims
Romance. Jealousy. Destruction. Intrigue. All elements of an Elizabethan tragedy, you might think? But no – this is a completely different world, and a vibrant one at that! Welcome to the world of the Sims.16
Die Sims was released in Germany, as well as in North America, in the year 2000. The cardboard box packaging of the game comes in a large format of 18.5 cm x 23.5 cm x 4.5 cm (width x height x depth) and is designed in bright primary colors (see Fig. 1). The version in my possession is in a slightly used condition.
The color scheme alone shows that the game was not designed for a specific target group (e.g. women or men, who are addressed by gender colors, as is common with toys) or a specific age group. Tanja Sihvonen thus attests to the game’s advertising campaign as a diversification of the gaming culture of the time:
The Sims, on the other hand, was one of the first major releases, backed up by a considerable publicity campaign that was not targeted primarily at male players. It was not explicitly directed towards the female or any specific age group, either. It can be assumed that the game developers hoped it would attract all kinds of players and thus broaden the gaming crowd – which it indeed did.17
The front of the game box promotes Die Sims with the slogan “The people simulator from the creator of SimCity.”18 Maxis/Electronic Arts19 want to build on the success of the game’s creator, Will Wright, and retain players of the previous Sims games in the new game. This is reinforced on the back of the box, which states: “Will Wright, the creator of SimCity, has designed a new strategy game for the whole family!”20 It is noticeable that the game is advertised here as a strategy game and not as a simulation game, as it is often described today. The Sims avatars are depicted on the box using simple 2D graphics. Mark J. P. Wolf and Michael A. Conrad have pointed out that in earlier decades, game box imagery often misrepresented actual in-game graphics, requiring players to fill the gap with their imagination.21 With Die Sims, however, the reduced 2D graphics on the box corresponded to reality so that the player of the game can get a realistic idea of how the graphics of the game look when playing it.
Fig. 1: Box of 'Die Sims' (photo by Elsa-Margareta Venzmer)
The back of the box introduces the game’s core mechanics using the terms “Build,” “Buy,” and “Live.”22 Under “Live,” it hints for the first time at the creative possibilities for players: “Control your Sims’ lives, direct their relationships and careers for better or worse. You can even tell their story by creating a website and presenting your Sims to the world.”23 The fact that players are encouraged to create a website for their creations hints at the original idea that Wright wanted to realize with Die Sims and predicts the extensive online modding culture that still characterizes the game today. As Wright explained in a 2001 interview:
I think when I started doing games I really wanted to carry that to the next step, to the player, so that you give the player a tool so that they can create things. […] To really put the player in the design role. […] If they know that what they’ve done is unique to them, they tend to care for it a lot more.24
In this context, Tero Laukkanen identifies the ability to import user-created content as the most compelling feature of Die Sims, calling this practice “the very heart of the whole Sims gaming experience”25 and adding: “The Sims does not only enable player creativity, it demands it.”26 According to Laukkanen, this dimension—and the thriving modding community it fosters—is central to the game’s continued popularity and commercial success.27 Personal websites as well as team websites have emerged on which modders offer their creations such as clothing and furniture for download and which have a large fan base.28 Some modders even sold their creations on physical CDs.29 Sihvonen argues that Die Sims, operating less as a conventional game and more as a platform enabling creative and productive engagement by its players, could be seen as “an apotheosis of modding.”30
At the end of the game manual (appendix 1) players are informed that they can download tools from http://www.TheSims.com to design custom Sims, walls, and floors.31 The programs automatically save HTML pages about Sim families and a photo album. Tutorials can also be found on the website “so that you can put all these evil ideas into practice,”32 as the manual puts it. It is not further elaborated what is meant by this suggestive sentence, but it could refer to the killing of Sims, which has been practiced by players since the release of the game—keyword swimming pool. In this appendix, players are referred to as “sim manipulators”33 and it is pointed out that content can be edited using an image editing program. Fans are thus encouraged to mod the game and are addressed not just as consumers, but as producers of the game and of meaning. As you can see here and as Ed Vollans states, user participation can serve both as advertising and as an indication of gameplay.34
The cardboard box includes a minimalist CD case with the game disc (which advertises SimCity 3000 on its reverse), a 96-page black-and-white manual (with a color cover), a second monochrome booklet detailing system requirements and installation instructions, and a promotional flyer from the German tabloid BILD. The flyer advertises a ‘Sims Day’ every Thursday starting March 16, 2000, featuring contests and downloads. Within the German-language game itself, Sims receive this tabloid daily from a newspaper delivery boy. The game’s description in the manual begins with a humorous line: “To cut a long story short, your Sims might resemble you. Or your parents. Or the parents of the chancellor.”35 This framing immediately invites identification with the avatars. Marshall McLuhan’s theory that media are an extension of all our bodies36 thus takes on new meaning here.
One particularly noteworthy aspect of the manual is its “Recommended Reading”37 section near the end (appendix 2). Preceded by an ironic disclaimer:
Here are some literature titles that may enhance your understanding of some of the background and social issues involved in The Sims. Warning: all are filled with provocative ideas; Maxis disavows any responsibility for encouraging deep thought.38
The bibliography includes books that inspired Wright to create Die Sims, as he explains in his seminar on game design and theory on the streaming platform Masterclass.39 These works include Maps of the Mind (1982) by Charles Hampden-Turner, A Pattern Language: Towns, Buildings, Construction (1977) by Christopher Alexander, Sara Ishikawa, and Murray Silverstein; Time for Life: The Surprising Ways Americans Use Their Time (1997) by John P. Robinson, Geoffrey Godbey, and Robert Putnam; and Finding Your Perfect Love (1998) by Arthur Clark and Cassandra Skouras (see Fig. 2). These works address themes from psychology, architecture, and sociology. In his Masterclass, Wright offers further reading and toolkits for ideation, user psychology, prototyping, playtesting, and community-building to teach participants how to design games themselves.40 “As results of hybrid practices oscillating between the material and immaterial, reception and (re-)production, game-related paper artifacts will continue to represent externalized manifestations of their creators’ desires and projections,”41 Conrad observes.
Fig. 2: Recommended Reading for 'Die Sims' (own scan from the manual, p. 91)
This dry humor is also evident in the inclusion of Making the Most of Your Llama (1998) by Linda C. Beattle (ed.) which gives tips for new and experienced llama owners, even though there are no llamas in the game itself. In general, both the manual and the game are infused with a tone of ironic wit.
For example, a troubleshooting section in the manual that explains how to solve problems in the game titled “Ask Mrs. Erika”42 contains queries such as: “A thief stole everything from my Sims! Is there no justice?”43 The answer first jokes: “Ever considered locking the doors? I can’t believe it! Oh, right, sorry – you can’t. My mistake,”44 before finally suggesting the purchase of an alarm system.45 This playfulness encourages players to explore a world filled with imagined llamas and mischievous burglars.
This example of the manual as a paratext shows, as Regina Seiwald states, that “material surrounding the game can be playful” like the game itself and how “this influences the perception of the game, its ‘gameness,’ and the act of playing.”46 Rather than treating the material and digital realms as entirely distinct narratives, it is crucial to emphasize their intertwined history—one shaped through mutual collaboration and co-creation.47 Handbooks and similar accompanying materials should thus be seen not as peripheral elements, but as integral collaborators in a co-creative process embedded within a multimodal and multimedia network.48
The system requirements for the game include, in addition to obvious hardware such as keyboard and mouse, the Microsoft Windows 95 or 98 operating system, an Intel Pentium processor with 233 MHz, 32 MB RAM, and—crucially—a 4x CD-ROM drive. At that time, only updates and tools could be downloaded via the Internet, not the games themselves.
In addition to the original version of Die Sims, I also own Die Sims Super Deluxe (Maxis 2003; English: The Sims Double Deluxe) in mint condition. This compilation includes the base game from 2000, the expansion packs Das volle Leben (English: Livin’ Large) and Party ohne Ende (English: House Party), additional content, and the Creator Tool, which allows players to modify Sim appearances through ‘skinning.’ Bundles such as the North American The Sims Complete Collection (2005), which included all seven expansions (Livin’ Large, House Party, Hot Date, Vacation, Unleashed, Superstar, Makin’ Magic), were not available in German-speaking countries.
The artifact consists of a plastic case containing four CD-ROMs, a 64-page black-and-white manual (color cover), and a second monochrome booklet with installation instructions and user warnings. Its system requirements specify Windows 98, 2000, ME, or XP, an Intel Pentium II processor with 233 MHz, 128 MB RAM, and a 4x CD/DVD-ROM drive. Once the game (this version or the one from the year 2000) has been successfully installed on a PC or laptop, it can be seen that Die Sims was designed from the very beginning for the participation of the recipients and especially for modding.
First of all, there is a ‘Download’ folder, which for most players should be located at this point C:\Program Files (x86)\Maxis\The Sims\Downloads and in which you can unpack mod files. But Wright and his team’s commitment to fostering player creativity extended well beyond the in-game features. Die Sims was intentionally developed to facilitate the seamless integration of user-generated content. In fact, Maxis released official creation tools months ahead of the game’s debut, resulting in a wealth of custom skins, wallpapers, and floor tiles already being shared on community platforms by the time of its launch.49 Following the release, Maxis continued to support this approach by providing additional official tools. These utilities were deliberately designed to be simple and user-friendly, reflecting the company’s belief that modding Die Sims should be accessible to all players—not just those with advanced technical expertise.50
Additionally, data from the first Sims game were used to shape future titles and fulfill the wishes of the players, as Wright explains:
We have The Sims Exchange. People can tell stories, upload their families. Right now I’m doing some pretty serious data mining of all those families that have been uploaded to our Exchange—looking at the average family composition, what they tend to do in the game on a daily basis. I’m actually graphing kind of a gameplay landscape. […] Already it’s having a huge impact on what we do with our expansion packs and the next version of The Sims. We’re getting a sense of when people like to play the house building game vs. the relationship game, and what types of families they like to create, what objects they like the most.51
Whereas the original 2000 box design used bright, playful colors, the Super Deluxe edition features a golden-yellow background that evokes a sense of prestige and exclusivity. The front of the box also includes a label indicating that the game is rated suitable for all ages under §14 of the German Youth Protection Act (JuSchG).52 This universal rating is significant because it allows players to grow up with Die Sims from an early age, allowing developers and publishers to engage fans with the game early on.
As the first version of Die Sims was released in 2000 and Die Sims Super Deluxe in 2003, Maxis/EA took the opportunity to create unique advertising on the packaging of the latter. The back of the packaging reads “The best-selling PC game of all time!”53 in large red letters and the official description:
The best-selling PC game of all time gives you yet another reason to be part of the Sims phenomenon! The Sims Super Deluxe not only includes the highly sought-after original game, but also the largest selection of Sims content ever offered in a single package!54
These claims refer to the fact that in 2002, Die Sims became the best-selling PC game of all time, with 6.3 million copies sold.55 The main reason for the game’s success has been explained by journalists with the integration of player-created content and it is estimated that over 80 percent of the content used in the game is fan-made.56
Superlatives such as “best-selling,” “phenomenon,” “highly sought-after,” and “ever” are designed to attract new customers, particularly those browsing physical retail shelves or online stores. This promotional language was continued by Maxis/EA in the packaging of Die Sims 2 as well, as will be elaborated in the following section.
Die Sims 2: On the Way to More Content
When examining the packaging of Die Sims 2, one immediately notices the prominent claim on the front of the plastic box: “Successor to the most successful PC GAME of all time!”57 (see Fig. 3). This promotional statement is reiterated on the back of the box: “THEY ARE BORN. AND THEY DIE. What happens in between is up to you. In this sequel to the most successful PC game of all time, you experience the life and the highlights of your Sims’ dreams from cradle to grave.”58 The Sims avatars are now depicted in 3D graphics on the packaging, visually representing the game’s technical advancement. The box contains four CD-ROMs, a black-and-white 52-page manual (with a color cover) that includes game content and safety warnings. Unlike Die Sims, however, there is no second booklet—instead, there is a single-page color insert explaining the game’s controls. The box format itself is identical to that of Die Sims Super Deluxe (13.5 cm x 19 cm x 2.2 cm) and is also preserved in mint condition.
Fig. 3: Box of 'Die Sims 2' (photo by Elsa-Margareta Venzmer)
It is noteworthy that the manuals accompanying each Sims release have successively decreased in length compared to their predecessors. This may suggest that returning players were already familiar with the gameplay, or at least that new players were expected to be acquainted with its premise. Another explanation may lie in the assumption that many gamers tend not to read manuals. This is an observation supported by my own experience when I first played Die Sims 25 years ago: I narrowly saved my Sim from starvation by ordering a pizza, unaware of the refrigerator’s function—while another Sim caught fire in the background. Unlike Die Sims manual, which contained dry humor, Die Sims 2 manual adopts a neutral, informative tone. As Conrad notes: “Today, it is regarded as a standard that games have an onboarding strategy or offer in-game tutorials to make sure that players will understand all mechanics.”59
The system requirements listed include Microsoft Windows 98, 2000, ME, or XP (although I personally play it on Windows Vista), an Intel Pentium III processor with 800 MHz, 256 MB RAM, and an 8x CD-ROM/DVD drive. The game also introduced a new tool called The Sims 2 Body Shop, which allows players to create custom content.
The back of the box provides a concise overview of what players can expect in terms of gameplay. Short promotional phrases such as “Create your Sims,” “Push them to their limits,” “Recognize their fears,” “Fulfill their aspirations,” and “Live your Sims’ lives from cradle to grave”60 are paired with in-game screenshots to introduce the game’s dynamics. Unlike in Die Sims, Sims in Die Sims 2 now age through several life stages: baby, child, teenager, adult, and elder.
The final page of Die Sims 2 manual differs once again from that of Die Sims: it advertises The Official Strategy Guide—“Now in full color”61—to encourage players to purchase paratextual content—though one might ask, in the case of the Sims: a strategy guide for what, exactly? The game has no definitive end.
Die Sims 2 received a total of eight expansion packs, nine stuff packs, and one promotional DVD. The expansion packs were designed with brightly colored primary color backgrounds, while the stuff packs had yellow backgrounds to visually distinguish the two (see Fig. 4). All packs were packaged in standard plastic DVD cases.62
Fig. 4: All Expansion and Stuff Packs for 'Die Sims 2' (photo by Elsa-Margareta Venzmer; edited with white background)
These packs were also developed with fan input. As Die Sims Studio Head Rod Humble stated in 2008:
Remember, thesims2.com community is more than 4.3 million unique members strong! It’s safe to say there’s never a shortage of creative ideas to choose from! [… M]ost of the expansion packs we have brought to market have been created from fan reaction or feedback as we listen to our audience and respond with making exciting additive content available to them.63
As with Die Sims, there were also bundles for Die Sims 2. Die Sims 2: Ultimate Collection (Maxis 2014; English: The Sims 2 Ultimate Collection) was the first version to include all packs, available exclusively via download through the Origin platform. This marked a shift from distributing Sims games on CD and DVD to digital downloads via EA’s own platform.
The aforementioned promotional DVD refers to Die Sims 2 H&M Fashion-Accessoires (2007; English: The Sims 2 H&M Fashion Runway) which came in a simple cardboard sleeve (see Fig. 5) and served advertising purposes only, as indicated on its back cover.64 H&M was the first brand to collaborate with the Sims franchise. To promote the Die Sims 2 H&M Fashion-Accessoires, a special campaign was launched: Using Die Sims 2 PC videogame, players were able to design their own fashion creations, which could then be presented on a virtual runway broadcast via platforms such as www.TheSims2FashionRunway.com, www.hm.com, or www.yahoo.co.uk/games.65 A significant number of participants were given the opportunity to have their designs evaluated by an H&M designer and, in select cases, see a garment inspired by their creation featured in a future H&M collection and made available in stores; this campaign created a link between the virtual world of gaming and the real (fashion) world.66
The partnership not only provided players with modern fashion options for their Sims, but also enabled H&M to promote its current summer collection and reach new customers. Players were even given the opportunity to break into the real fashion world as designers. But the stuff pack did not just contain new clothes. On the back of the official H&M Fashion box you can see an H&M store that players can design in Die Sims 2.67 So you can have a virtual look around an H&M store. The aim of this campaign was “to bind potential players to the game world through an active experience of and engagement with it before actually playing the game itself.”68
Fig. 5: 'Die Sims 2 H&M Fashion Runway' (photo by Elsa-Margareta Venzmer)
Although Die Sims 2, unlike Die Sims, introduced stuff packs offering additional content, the game continued to be shaped by a vibrant modding community. A study by Hanna Wirman on Sims 2 players revealed that mods were downloaded or created not necessarily due to a lack of content, but rather due to dissatisfaction with its quality.69 One interviewee remarked: “[T]he readymade stuff of the game . . . is rather awful in all its tasteless American, lower-middle-class, suburban home style.”70 Other interviewees also criticized the game’s aesthetic, suggesting that its poor taste may have been an intentional encouragement of modding.71 Compared to Die Sims, Die Sims 2 made it technically easier to install mods. Players interviewed in Wirman’s study concluded that the game simplifies the modding process to such an extent that “it is almost like the whole idea that people can create the content they wish.”72 Wirman thus states: “The limitations of the game’s original content may be a well-calculated strategy of the developers.”73
To further facilitate custom content creation, unofficial PC CD-ROMs were released that expanded the game. In 2007, the German software development provider GedonSoft and the international developer and publisher Kalypso Media Group published tools such as Living Factory. Dein Möbelstudio für Die Sims 2 (GedonSoft 2007a) and Fashion Factory. Dein Modeatelier für Die Sims 2 (GedonSoft 2007b), (see Fig. 6). Living Factory was marketed on the back of the box with slogans like “The unofficial furniture studio for the most successful game of all time!!!”74 This creative tool enabled players to design and import decorations and furniture into Die Sims 2, even allowing them to embed personal images and photographs—for example, to create unique paintings. Fashion Factory followed the same concept but was focused on clothing, allowing users to design custom apparel, accessories, and tattoos for their Sims.
Fig. 6: 'Living Factory' and 'Fashion Factory' (photo by Elsa-Margareta Venzmer)
The creation of custom content, including the alteration of existing in-game assets, is frequently promoted by game developers and publishers, as it plays a significant role in marketing strategies, prolongs a game’s commercial lifespan, and is often seen as a key contributor to projected revenue.75
Both of these unofficial paratexts prominently featured a disclaimer on the back cover: “Licensor, publisher, and distributor accept no liability that the product will function flawlessly under all conditions and accept no liability for any virus damage!”76 Anyone who has ever downloaded mods or unofficial content for a Sims game knows the risk of game instability—for example, the infamous glitch in which a Sim suddenly teleports across a room and ends up facing the wall. To avoid such issues, Sims 2 players could rely on bonus CDs provided with gaming magazines, such as the German computer game magazine GameStar, which released several special editions dedicated to Die Sims 2.
GameStar Magazine and its Bonus CDs/DVDs
The gaming magazine GameStar released a total of six special issues dedicated to Die Sims 2, each containing bonus CDs (later DVDs). Five of these six issues were thematically linked to specific expansion packs: Wilde Campus-Jahre (English: University), Nightlife (English: Nightlife), Open for Business (English: Open for Business), Haustiere (English: Pets), and Vier Jahreszeiten (English: Seasons). The sixth issue was a summer special. These special editions were published between March 2005 and June 2007 and were priced at €5.99, both at newsstands and in the GameStar online shop.
Each magazine cover featured images of Sims along with visuals related to the respective expansion pack (see Fig. 7). Additionally, explicit reference was made to the included bonus CDs/DVDs. Whereas issue 3/2005 featured over 400 downloadable Sim objects, issue 07/2005 already offered more than 800. The magazines themselves comprised approximately 120 pages. In what follows, the contents of the magazines and CDs will be examined exemplarily, with a particular focus on the meanings conveyed through physical paratexts—and how these shaped the cultural reception and use of the game.
Fig. 7: GameStar-Sonderheft 'Die Sims 2 inkl. »Wilde Campus-Jahre« Kompakt-Kompendium' (03/2005, own scan from the cover)
The first special issue, 03/2005, included, among other things, a history of Maxis,77 a retrospective of the Sims games,78 an interview with Will Wright,79 a comparison of how men and women play the Sims,80 as well as general tips for the expansion pack. A comprehensive catalogue spanning 53 pages presented the bonus content featured on the accompanying CD. The catalogue was divided into the following categories: Clothing – Formal; Clothing – Underwear; Clothing – Sleepwear; Clothing – Everyday; Clothing – Sportswear; Furniture; Floors and Walls; and Houses.81 The CD also contained tools and videos.
The catalogue shows Sims in dressing rooms or residential environments wearing the showcased clothing items, while furniture and housing objects were presented within the in-game environment of Die Sims 2. For each new object, the designer—typically a modder—was credited (see Fig. 8). Thus, the bonus content on the CDs was not official content created by Maxis/EA but unofficial, fan-made creations curated and compiled by GameStar. In doing so, the magazines familiarized readers with specific modders whose additional work could be found online. The magazine also recommended a wide variety of fan websites offering additional downloads, including German-language sites such as www.simzone.de and www.simsfiles.de, as well as international ones like www.simslice.com and www.simsextremos.com.82
Fig. 8: New Clothing by Modders in GameStar (own scan from 'Die Sims 2 inkl. »Wilde Campus-Jahre« Kompakt-Kompendium' [03/2005], p. 52)
The same issue featured a section in which players’ ideas and expectations for future Sims games were collected and responded to by Die Sims 2 Executive Producer Humble. Fans suggested features such as pets, farms, vacation destinations, and seasons, as well as the ability to accompany Sims to work—all elements later implemented in future expansions and games.83 This exchange demonstrates how media producers and players can mutually inspire and influence one another. In response to Albert Fiedler’s suggestion regarding weather and seasons, Humble remarked:
With The Sims 2 expansion packs, we are consistently expanding the game world. A weather system and seasonal changes would indeed contribute to making the environment feel significantly more authentic. I especially like Albert’s vision of falling leaves and blooming flowers in the garden.84
Here, “the paratext is gaining ground on the primary text of the gaming industry, and is moving in particular ways to shape its future directions. Seen in that light, the paratext becomes critical to consider as a way to understand gameplay as well as the business of digital games.”85
In the next issue, 03/2006, as well as all following issues, German-speaking modders such as ReflexSims and BlueSims were introduced in detailed interviews about their creations.86 Moreover, the magazine went beyond simply showcasing mods by also presenting notable game hacks—such as enabling households with more than eight Sims, creating a phone to call unknown Sims, or designing healthier food.87 The list of websites offering downloadable mods grew longer with each special issue (see Fig. 9). At the same time, official tools provided by Maxis, such as BodyShop and HomeCrafter Plus—either integrated into the game or available for download—were introduced. The magazine thus created an interplay between official and unofficial content.
Fig. 9: Recommended Websites for 'Die Sims 2' Fans (own scan from 'Die Sims 2 Kompakt-Kompendium + Tipps zu Night Life' [07/2005], p. 103)
In addition to the bonus CDs/DVDs, each issue also included a cardboard reference card listing all essential cheats and tricks for the game, offering players a quick overview. This included well-known cheats such as moveObjects on/off, as well as expansion-specific codes hinting at what the game could offer. As Vollans notes, referencing Mia Consalvo: “[G]ames, gameplay, and gaming do not occur within a vacuum, and a wide range of contextual and paratextual materials shape and inform this experience.”90
GameStar’s special editions consistently supported creative fans and actively promoted modding culture. For my part, the bonus content on CD/DVD provided an opportunity to access a greater variety—and more modern (see Fig. 10)—of objects and clothing for Die Sims 2 without risking viruses or game glitches, which sometimes occurred when downloading from modding websites. While the GameStar content was also created by modders, it was virus-free. Other players reported similar experiences—for example, user VVendie on www.simsforum.de stated that the downloads from the GameStar CD worked, but when attempting to download additional content from a featured modder’s site, the game crashed.91
Fig. 10: New Modern Furniture in GameStar (own scan from 'Die Sims 2 Vier Jahreszeiten' [03/07], p. 87)
Even though some of the magazine’s content may appear outdated from today’s perspective—for example, one issue includes a tutorial on how to create a push-up effect or ‘Wonderbra’ for a female Sim’s cleavage92—players appreciated the carefully curated material.
Since only a limited number of GameStar special issues for Die Sims 2 were released—and the series was discontinued after issue 06/07—Maxis/EA attempted to fill this gap with a proprietary publication: Die Sims: Das offizielle Magazin.
Die Sims: Das offizielle Magazin
Die Sims: Das offizielle Magazin was published from 2009 to 2015, priced at €6.99, and was produced by the same publisher as GameStar—IDG Entertainment Media, based in Munich. Each issue contained around 100 pages and included bonus DVDs. In contrast to the GameStar special issues, which were produced in DIN A5 format, Die Sims: Das Offizielle Magazin was designed in a larger DIN A4 format. A note on the cover indicates that the magazine was available not only in Germany but also in Switzerland, the Benelux countries, Austria, Italy, Spain, France, and Portugal (albeit at a significantly higher price).
While the GameStar special issues did not explicitly target a specific demographic, it is clear that Die Sims: Das offizielle Magazin was primarily aimed at a female audience. This is evident from the back covers, which often feature advertisements targeting women—such as beauty products by Garnier or Dove.
As with GameStar, the covers feature Sims characters and expansion packs and highlight the DVD bonus content (see Fig. 11). However, unlike the GameStar CDs and DVDs, which offered several hundred new objects for Die Sims 2, each issue of this magazine provided only 20 exclusive objects for Die Sims 3 (Maxis 2009–2013). This reduction could be interpreted as an attempt by Maxis/EA to exert more control over the modding culture.
Fig. 11: 'Die Sims: Das offizielle Magazin' (photo by Elsa-Margareta Venzmer)
The editorial at the beginning of the August/September 2009 issue states: “The highlight is […] our cover story: Directly from the runway of this year’s Mercedes Benz Fashion Week come our exclusive The Sims 3 outfits, which we conveniently include for you on the magazine DVD.”93 Unlike GameStar, this official magazine does not rely on content created by modders but instead draws inspiration from official fashion brands and enters into collaborations with companies. Rather than showcasing modders, the magazine features fashion brands and designers such as Sabrina Dehoff and Lala Berlin.94
The magazine generally focuses on official Sims content and, for instance, provides tips on how to efficiently design specific rooms in the game. It also reports on current fashion trends and explains how to replicate these outfits in Die Sims 3. The magazine features interviews with people—not only from the gaming industry, such as Audio Director Robert Kauker, the inventor of the Sims language,95 but also with public figures such as contestants from Germany’s Next Topmodel, who offer styling advice.96 Toward the end of each issue, readers are invited to complete a survey to express their opinions and provide praise or criticism.
The October/November 2009 issue takes a more modder-friendly approach and, alongside an exclusive IKEA Billy bookcase (in honor of the shelf’s 30th anniversary), includes luxury properties from the Sims 3 community on the bonus DVD, especially from the website www.blackypanther.de. These villas are also featured across several pages in the magazine.97 Other Sims players also have a voice in the form of reader letters suggesting content for future issues. The magazine includes building tips (e.g., for Halloween),98 an in-depth article on IKEA as a fashion brand,99 advertisements and coverage for the first expansion pack for Die Sims 3, Die Sims 3 Reiseabenteuer (2009; English: World Adventures),100 and information about the official store at www.diesims3.de, where players can purchase objects.101
This issue also more explicitly targets a female readership, for example by offering tips on how to design a ‘girl’s room’ in purple and pink within Die Sims 3.102 Letters from readers are grouped under the heading “The Girls from the Post.”103 Interviews include the Swiss pop singer Stefanie Heinzmann, who recorded a song in Simlish,104 and the female collective that founded the website GamerGirls.105
The December 2009/January 2010 issue contains a longer article on the expansion pack Die Sims 3 Reiseabenteuer.106 Linked to this is a contest in which readers can win travel vouchers and accessories, including a €200 flight voucher from Germanwings and a Titan trolley with exclusive Sims diamond branding.107 In this way, the media producers once again attempt to connect the fictional world of the game with the real world of the player.
The bonus DVD—advertised on the cover with the words “Insert – Install à Expand the Game”108—includes, among other things, winter-themed houses created by modders and featured in the magazine.109 The issue’s winter and Christmas theme is further emphasized by the inclusion of small, cardboard Sims-themed Christmas gift tags intended for real-world gift wrapping. These so-called ‘feelies’—tangible objects, usually made of paper—are used by publishers to enhance the sensory dimension of the gameplay experience.110
In later issues, bonus DVDs were not only offered for Die Sims 3 but also eventually for Die Sims 4 (Maxis 2014–). However, the magazine was discontinued in October 2015. The official reason cited was that, in the digital age, players increasingly turned to the internet rather than print publications.111 Players themselves, however, suspected other reasons for the magazine’s discontinuation. When the German-language website SimTimes reported on the end of the magazine in 2015, a user named Froitsch commented: “The Sims magazine was disappointing from the beginning. The heavily advertised building instructions didn’t work, and the included downloads had long been available online. After the first few issues, I no longer saw any reason to spend money on it.”112 Other users in the comment section agreed, mentioning misinformation and content with little connection to gaming; one user stated a preference for GameStar magazines.113
In summary, while the GameStar special issues contained more technical tips and links from fans for fans, Die Sims: Das Offizielle Magazin was more akin to a lifestyle magazine with a focus on official Sims content. This reflects a distinction between fan-created paratexts and marketing paratexts, as defined by Seiwald.114
According to Sihvonen, social engagement within the framework of a game can be understood as a profound form of player involvement. In single-player titles like Die Sims, this engagement is largely driven by modding activities.115 The availability of modifications—alongside the sharing of cheat codes, add-ons, user-generated artwork, and community-based resources such as manuals and walkthroughs—serves as a central motivation for players to access online spaces connected to the game.116 For this reason, the magazine GameStar actively promoted greater exchange and interaction among fans.
Final Remarks: Toward a Media Archaeology of Video Games?
According to René Meyer, the relationship between archaeology and video games can be examined on three levels: the analysis of technology, actual discoveries, and the exploration of the fictional game world through archaeological criteria.117 Beyond the discoveries of the games themselves, however, a fourth category is missing: paratexts. Although paratexts have already been addressed in computer game archaeology or ludoarchaeology, there is still a lack of a precise methodology for how they can be systematically analyzed. A walkthrough method, as is common in app studies,118 could offer a solution here—though this always depends on the type of paratext being examined.
Apostolos Spanos has developed a useful nine-point framework for analyzing games as historical objects: “Identification of the game” […] “Provenance of the game” […] “Decoration of the game” […] “Visual communication” […] “Textual communication” […] “Function and use of the game” […] “Gameplay-related design of the game” […] “Known material history of the game” [… and] “The game as a commodity.”119 However, his approach focuses primarily on the games themselves. This paper has taken a further step by proposing how an analysis of paratexts—especially packaging, manuals, and bonus CDs/DVDs included in magazines—might be conducted.
Media archaeology of video games continues to face several challenges. Even though some players return to older titles, a major issue is that one must own a PC or laptop with an outdated operating system capable of running the software. Moreover, games need to be permanently digitized to ensure sustainable accessibility and to avoid wear and degradation of CDs or DVDs.
Only recently, in 2024, a fan undertook the task of digitizing the content of GameStar CDs and DVDs so that international fans could access objects and clothing items—and shared the download links on Reddit.120 This appears to be a response to the continuing interest from players in fan forums who still seek out this content. In this way, mods and custom content created by players themselves become part of cultural heritage, or, as Andrew Reinhard puts it, part of mythmaking and the archaeology of storytelling.121
This example illustrates—as Spanos observes—that the material history of video games is more democratic than text-based historiography:
What is more important is that object-based history is more “democratic” than its text-based counterpart. Object-based history is not solely “written by the winners”, as we tend to say for history in general, usually meaning exactly that texts are composed, edited, censored or even erased from records and memory according to the needs and plans of those in power.122
This article advocates for taking material objects seriously as independent carriers of meaning—not merely as packaging or paratexts, but as integral parts of the game itself.
What is still needed is the comprehensive digitization of games and magazines, along with public access to them. In this regard, Fickers and Van den Oever argue that archives and museums should be made more accessible. As they state, experimental media archaeology seeks to demystify technological artefacts by transforming museums and archives into experimental research environments.123 To achieve this, devices and objects must be removed from their curated, display-oriented settings and relocated into the investigative context of a media archaeology laboratory.124
In bridging the gaps between physical and digital, institutional and personal, scholarly and fan-based practices, we can begin to build a more inclusive and nuanced historiography of video games. Whether in university archives or forgotten basement boxes, the material culture of gaming invites us to dig deeper—both literally and figuratively—into the layered pasts of digital play. Or, as Fuchs puts it in a nutshell: “Dig it out!”125
Media Index
Games
GedonSoft: Living Factory. Dein Möbelstudio für Die Sims 2. Deutschland: Kalypso Media Group 2007a.
GedonSoft: Fashion Factory. Dein Modeatelier für Die Sims 2. Deutschland: Kalypso Media Group 2007b.
Maxis: Die Sims (PC CD-ROM). Deutschland: EA Games 2000.
Maxis: Die Sims. Super Deluxe (PC CD-ROM). Deutschland: EA Games 2003.
Maxis: Die Sims 2 (PC CD-ROM). Deutschland: EA Games 2004.
Maxis: Die Sims 2. Wilde Campus-Jahre (PC CD-ROM). Deutschland: EA Games 2005a.
Maxis: Die Sims 2. Nightlife (PC CD-ROM). Deutschland: EA Games 2005b.
Maxis: Die Sims 2. Haustiere (PC DVD-ROM). Deutschland: EA Games 2006a.
Maxis: Die Sims 2. Open for Business (PC CD-ROM). Deutschland: EA Games 2006b.
Maxis: Die Sims 2. Family Fun Accessoires (PC CD-ROM). Deutschland: EA Games 2006c.
Maxis: Die Sims 2. Weihnachtszeit Accessoires (PC CD-ROM). Deutschland: EA Games 2006d.
Maxis: Die Sims 2. Glamour Accessoires (PC CD-ROM). Deutschland: EA Games 2006e.
Maxis: Die Sims 2. Gute Reise (PC DVD-ROM). Deutschland: EA Games 2007a.
Maxis: Die Sims 2. Vier Jahreszeiten (PC DVD-ROM). Deutschland: EA Games 2007b.
Maxis: Die Sims 2. H&M Fashion Runway (PC DVD-ROM). Deutschland: EA Games, 2007c.
Maxis: Die Sims 2. Teen Style Accessoires (PC CD-ROM). Deutschland: EA Games 2007d.
Maxis: Die Sims 2. H&M Fashion Accessoires (PC CD-ROM). Deutschland: EA Games 2007e.
Maxis: Die Sims 2. Party! Accessoires (PC CD-ROM). Deutschland: EA Games 2007f.
Maxis: Die Sims 2. Freizeit-Spaß (PC DVD-ROM). Deutschland: EA Games 2008a.
Maxis: Die Sims 2. Apartment-Leben (PC DVD-ROM). Deutschland: EA Games 2008b.
Maxis: Die Sims 2. Villen- und Garten-Accessoires (PC DVD-ROM). Deutschland: EA Games 2008c.
Maxis: Die Sims 2. Küchen- und Bad-Einrichtungs-Accessoires (PC CD-ROM). Deutschland: EA Games 2008d.
Maxis: Die Sims 2. IKEA Home-Accessoires (PC CD-ROM). Deutschland: EA Games 2008f.
Maxis: Die Sims 4 Premium Edition (PC DVD-ROM; Origin). Deutschland: EA Games 2014.
Maxis: Die Sims 4 An die Arbeit! (PC DVD-ROM; Origin). Deutschland: EA Games 2015.
Maxis: Die Sims 4 Zeit für Freunde (PC DVD-ROM; Origin). Deutschland: EA Games 2015.
Maxis: Die Sims 4 Großstadtleben (PC DVD-ROM; Origin). Deutschland: EA Games 2016.
Maxis: The Sims PC game series. USA: EA Games 2000–.
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List of Figures
Header picture (Artikelbild): Photo by Elsa-Margareta Venzmer.
Fig. 1: Box of Die Sims (photo by Elsa-Margareta Venzmer).
Fig. 2: Recommended Reading for Die Sims (own scan from the manual, p. 91).
Fig. 3: Box of Die Sims 2 (photo by Elsa-Margareta Venzmer).
Fig. 4: All Expansion and Stuff Packs for Die Sims 2 (photo by Elsa-Margareta Venzmer; edited with white background).
Fig. 5: Die Sims 2 H&M Fashion Runway (photo by Elsa-Margareta Venzmer).
Fig. 6: Living Factory and Fashion Factory (photo by Elsa-Margareta Venzmer).
Fig. 7: GameStar-Sonderheft Die Sims 2 inkl. »Wilde Campus-Jahre« Kompakt-Kompendium (03/2005, own scan from the cover).
Fig. 8: New Clothing by Modders in GameStar (own scan from Die Sims 2 inkl. »Wilde Campus-Jahre« Kompakt-Kompendium [03/2005], p. 52).
Fig. 9: Recommended Websites for Die Sims 2 Fans (own scan from Die Sims 2 Kompakt-Kompendium +Tipps zu Night Life [07/2005], p. 103).
Fig. 10: New Modern Furniture in GameStar (own scan from Die Sims 2 Vier Jahreszeiten [03/07], p. 87).
Fig. 11: Die Sims: Das offizielle Magazin (photo by Elsa-Margareta Venzmer).
- With regard to the boxes and manuals, however, many aspects also overlap with the North American version of
The stuff packs, which introduced new items such as furniture and clothing, were: Family Fun-Accessoires (2006; English: Family Fun Stuff), Glamour-Accessoires (2006; English: Glamour Life Stuff), Weihnachtszeit-Accessoires (2006; English: Happy Holiday Stuff), Party!-Accessoires (2007; English: Celebration! Stuff), H&M Fashion-Accessoires (2007; English: H&M Fashion Stuff), Teen Style-Accessoires (2007; English: Teen Style Stuff), Küchen- und Bad-Einrichtungs-Accessoires (2008; English: Kitchen & Bath Interior Design Stuff), IKEA Home-Accessoires (2008; English: IKEA Home Stuff), and Villen- und Garten-Accessoires (2008; English: Mansion & Garden Stuff).[↩]