Introduction
Literature review
Definitions of heritage video games
Definitions of SGsH
Definitions of commercial historical video games
Frameworks for serious games
Initial frameworks based on pedagogical foundations
High-level conceptual frameworks
Implementation-focused frameworks
A framework for embedding informational content in core game mechanics
A model of heritage content in video games
Potential learning outcomes
Capability
Instructional content
Manifestation
Means of manifestation
Level of demonstration
Tone
Examples of the model in serious games for intangible heritage
Appropriate selection and design of heritage content in serious games
Analysing heritage content in commercial games
Informational content | Capability | Information type | Focus | Manifestation | Means of manifestation | Level of demonstration | Tone |
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Assorted artefacts | Cognitive | Tangible heritage | Usually the appearance, use, manufacture, or history of the artefact are described. The information is similar to what might be shown in a museum display | The “items” section of the “historical facts” menu. In each level, there are several artefacts hidden in the game world. When they are found, they are revealed in the items section | Simplified 2D cartoon artwork and text | Somewhat abstracted art style | Factual |
The events of the outbreak of WWI | Cognitive | Tangible historical | The key historical moments after the assassination of Franz Ferdinand to the outbreak of war are detailed | Shown in the opening cutscene that introduces the player to the game | Simplified 2D cartoon animations | Somewhat abstracted art style | Factual |
Shown as a “fact” in the historical facts menu, in a manner similar to what might be shown in a museum display | A photograph and text | Demonstrative | Factual | ||||
The splitting of families due to the outbreak of war | Cognitive and affective | Tangible historical and intangible historical | The fact that families were split due to being from mixed nations or forced to enlist due to conscription. The emotional turmoil and uncertainty for the affected families is focused on | Shown in the opening cutscene that introduces the game’s narrative | Simplified 2D cartoon animations | Somewhat abstracted art style | Highly affective and dramatic |
Shown through diary entries that present the thoughts and feelings of each character as the narrative unfolds | Text in diary entry format | Demonstrative through 1st person writing style | Affective | ||||
Troop barracks and training process | Cognitive | Tangible historical | Only the appearance and atmosphere of the barracks is focused on. The infantry training process is simplified and used as the game tutorial | Shown as a level in the gameplay, with corresponding backgrounds and props, and used as the tutorial level to teach the player the controls. Also shown in the historical facts menu | Simplified 2D cartoon graphics and gameplay mechanics and goals | Somewhat abstracted art style | Somewhat affective within game narrative |
The organisation and logistics of armies in WWI | Cognitive | Tangible historical | The organisation of soldiers into battalions, companies, and platoons is focused on, as well as the initial deployment of the British army | Shown as a “fact” in the historical facts menu, in a manner similar to what might be shown in a museum display | A photograph and text | Demonstrative | Factual |
Military uniforms and equipment | Cognitive | Tangible heritage | Only the appearance, and some inaccurate use of equipment, is shown (e.g. throwing grenades is used as a core mechanic for solving puzzles) | The appearance of characters is defined by their military uniform. Throwing grenades is used as a core game mechanic for solving puzzles and progressing | Simplified 2D cartoon graphics and game core mechanics | Somewhat abstracted art style | Factual |
The use of railways for armies during WWI | Cognitive | Tangible historical | Only the appearance and atmosphere of the railway station is focused on | Used as the setting for one of the levels, by being populated with puzzles the player must solve. Also shown in the historical facts menu | Simplified 2D cartoon graphics and puzzles | Somewhat abstracted art style | Somewhat affective within game narrative |
The use of railways for mobilising and supplying troops is focused on, as well as the British use of railways and their efforts to build new rail lines | Shown as a “fact” in the historical facts menu, in a manner similar to what might be shown in a museum display | A photograph and text | Demonstrative | Factual |
Designing serious games for heritage
Approach
Background on activity theory
Activity theory for modelling museum and SGH learning
Methodology for designing serious games for heritage
Activity Element | Activity relationship | Serious game implementation questions |
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Activity context | The historical activity in question, being carried out in a given time and place | Can the player perform this activity? Is this activity performed by non-player actors? How is progress in this activity manifested in the game? How is a successful/unsuccessful outcome manifested in the game? What happens? How does this activity relate to other historical activities? |
Subject | The actor who carries out the activity | Can the player assume the role of the subject? How can the player interact with the subject? How is the subject manifested in the game? |
Object | The focus of the activity | How can the player interact with the object? How is the object manifested in the game? |
Tools | The (tangible and intangible) tools used to carry out the activity | How can the player interact with the tools? How do the tools affect the performance of the activity? How are the tools manifested in the game? |
Motives | The motives and values that drive the actors to carry out the activity | How do the motives affect the performance of the activity? How are the motives manifested in the game? |
Actions and goals | The actions and their respective goals that make up the activity | How do the actions of the activity relate to the actions undertaken by the player? How does the completion of the actions affect the performance of the activity? How are the actions manifested in the game? How are the goals manifested in the game? |
Operations and conditions | The operations and their respective conditions that make up each action and goal | How do the operations of the activity relate to the operations undertaken by the player? How does the completion of the operations affect the performance of the related action? How are the operations manifested in the game? How are the conditions manifested in the game? |
Community | The greater community which the subject carries out the activity within | How is the community manifested in the game? |
Rules | Social rules that connect the subject to the community | How do the rules affect the performance of the activity? How are the rules manifested in the game? |
Labour division | Systems that distribute the activity amongst the community | How do the systems of labour division affect the performance of the activity? Is labour division controlled by the player? How is labour division manifested in the game? |
Methodology integration and validation
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Step 3—Identify learning activities for learning objectives Identifying and designing the learning activities can be assisted using the presented methodology to identify and explore the historical activities present within the heritage informational content for the learning objectives and how they can be represented within the serious game. The Activity Theory-Based Model of Serious Games (Carvalho et al. 2015) is identified as an additional approach for defining the gaming and learning activities.
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Step 6—Design game mechanics for learning activities The presented methodology can be used to assist in the design of the core game mechanics by considering the historical activities and how each element of those activities can be manifested in the game mechanics, such that activity context bridging is maximised. It is observed that the methodology presented by Hall et al. (2014) would also be effective at this stage to ensure the learning objectives are successfully embedded in the game mechanics.
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Step 7—Design game components and associated behaviours The presented methodology with the model of heritage content can be used to assist in the design of each game component and how the heritage informational content and each component of the historical activities are manifested in the serious game, and the systems and behaviours associated with them.
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Step 10—Evaluate prototype against learning objective As each level and segment of the game is prototyped, formative evaluation should take place, as detailed by Birchall et al. (2012), whereby the prototypes are tested with members of the target audience using methods such as observations and questionnaires. During this evaluation, according to the proposed methodology, attention should be paid to the extent to which the gameplay and narrative of the serious game create cognitive empathy (Kidd 2015) towards the historical actors and the activities they partake in.
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Step 13—Quality assurance (QA) test on educational game Once the serious game is fully developed it can be play-tested in its entirety. As in the evaluation of the prototypes for each level, methods such as observations, questionnaires and interviews can be used to ascertain the extent to which the holistic game experience can create a sense of cognitive empathy and successfully bridge the heritage manifestations with the historical activity context.