Developing serious games for cultural heritage: a state-of-the-art review

Although the widespread use of gaming for leisure purposes has been well documented, the use of games to support cultural heritage purposes, such as historical teaching and learning, or for enhancing museum visits, has been less well considered. The state-of-the-art in serious game technology is identical to that of the state-of-the-art in entertainment games technology. As a result, the field of serious heritage games concerns itself with recent advances in computer games, real-time computer graphics, virtual and augmented reality and artificial intelligence. On the other hand, the main strengths of serious gaming applications may be generalised as being in the areas of communication, visual expression of information, collaboration mechanisms, interactivity and entertainment. In this report, we will focus on the state-of-the-art with respect to the theories, methods and technologies used in serious heritage games. We provide an overview of existing literature of relevance to the domain, discuss the strengths and weaknesses of the described methods and point out unsolved problems and challenges. In addition, several case studies illustrating the application of methods and technologies used in cultural heritage are presented

Indiana Jones and the Joystick of Doom: understanding the past via computer games

In 1997 Jane Murray published "Hamlet on the holodeck: the future of narrative in cyberspace", which forecast the computer as a future platform for interactive drama. Yet a great deal of recent literature has focused on the failure rather than success of virtual environments (particularly three-dimensional ones) as an engaging medium of entertainment and education. In this article I will discuss three key problems in designing virtual environments that in some way depict the values of past cultures. The first problem is how to create a feeling of immersion or of presence in a virtual environment - how we make the past come alive for people so that they feel they are transported "there". This goal is often seen as limited by technical constraints such as the speed of the Internet or network connection, limited processing power, or the computer's capacity to render a large number of objects on the screen in real-time that are seen to impede the production of realistic virtual scenes. By contrast, this article emphasises the need to foster engagement not through realism but interaction. Secondly, our idea of what reality is may be at odds with understanding the past or a distant place from a local perspective. What does reality mean when we are trying to recreate and understand cultural perspectives? Is it useful, desirable or even possible to interact with digital reconstructions of different cultures in a meaningful way? Culture understood from the distance of a hotel or guidebook is obviously not the same as the culture that guides, constrains and nourishes a local inhabitant. I would like to bring the same distinction to culture experienced through virtual environments, and argue that a virtual traveler is not the same as a virtual tourist. Despite or perhaps because they have a goal to solve, and have more constraints and more direct immersion in the local way of doing things, people who travel rather than tour arguably have richer and more interesting experiences. Thirdly, if we do manage to create an engaging and believable virtual environment, will the novelty or entertainment value actually interfere with the cultural understanding gained by the users? In virtual heritage environments this is particularly evident in the conflict between individual freedom to explore and the more pragmatic need to convey historical information. We may for example create an entertaining game but will that allow us to convey varying levels of historical accuracy in reconstructing the past

Agent Street: An Environment for Exploring Agent-Based Models in Second Life

Urban models can be seen on a continuum between iconic and symbolic. Generally speaking, iconic models are physical versions of the real world at some scaled down representation, while symbolic models represent the system in terms of the way they function replacing the physical or material system by some logical and/or mathematical formulae. Traditionally iconic and symbolic models were distinct classes of model but due to the rise of digital computing the distinction between the two is becoming blurred, with symbolic models being embedded into iconic models. However, such models tend to be single user. This paper demonstrates how 3D symbolic models in the form of agent-based simulations can be embedded into iconic models using the multi-user virtual world of Second Life. Furthermore, the paper demonstrates Second Life\'s potential for social science simulation. To demonstrate this, we first introduce Second Life and provide two exemplar models; Conway\'s Game of Life, and Schelling\'s Segregation Model which highlight how symbolic models can be viewed in an iconic environment. We then present a simple pedestrian evacuation model which merges the iconic and symbolic together and extends the model to directly incorporate avatars and agents in the same environment illustrating how \'real\' participants can influence simulation outcomes. Such examples demonstrate the potential for creating highly visual, immersive, interactive agent-based models for social scientists in multi-user real time virtual worlds. The paper concludes with some final comments on problems with representing models in current virtual worlds and future avenues of research.Agent-Based Modelling, Pedestrian Evacuation, Segregation, Virtual Worlds, Second Life

Serious Games in Cultural Heritage

Although the widespread use of gaming for leisure purposes has been well documented, the use of games to support cultural heritage purposes, such as historical teaching and learning, or for enhancing museum visits, has been less well considered. The state-of-the-art in serious game technology is identical to that of the state-of-the-art in entertainment games technology. As a result the field of serious heritage games concerns itself with recent advances in computer games, real-time computer graphics, virtual and augmented reality and artificial intelligence. On the other hand, the main strengths of serious gaming applications may be generalised as being in the areas of communication, visual expression of information, collaboration mechanisms, interactivity and entertainment. In this report, we will focus on the state-of-the-art with respect to the theories, methods and technologies used in serious heritage games. We provide an overview of existing literature of relevance to the domain, discuss the strengths and weaknesses of the described methods and point out unsolved problems and challenges. In addition, several case studies illustrating the application of methods and technologies used in cultural heritage are presented

3D Weather – Towards a Real-time 3D Simulation of Localised Weather presented at EVA 2011

Weather forecasts are nearly always portrayed from either a satellite view perspective, a numerical or symbol based representation. None of these methods actually portray weather visually from the point of view of the observer, that is, they do not represent our experience of weather. This problem presents a challenge to displaying weather using real-time 3D computer graphics. 3D Weather is a proposed method to solve this problem, to create more believable representations of the weather using real weather data. By employing computer graphic techniques and computer game concepts the project intends to create a localized display of weather using mapping and weather data. Started in 2010, the project has been exploring existing techniques, scoping out the needs of stakeholders (such as the Met Office), and creating a prototype to explore the issues. The paper concludes that the quest for realism with computer graphics can be a double-edged sword. It can lead to expectations of accuracy in the data its meant to represent, which can be desired, but in the case of the weather forecast the representation is not necessary what the weather will be, its what the weather might be. The continuing project will explore the balance of issues when representing the weather for past events as well as for forecasts

Integration of virtual reality within the built environment curriculum

Virtual Reality (VR) technology is still perceived by many as being inaccessible and cost prohibitive with VR applications considered expensive to develop as well as challenging to operate. This paper reflects on current developments in VR technologies and describes an approach adopted for its phased integration into the academic curriculum of built environment students. The process and end results of implementing the integration are discussed and the paper illustrates the challenges of introducing VR, including the acceptance of the technology by academic staff and students, interest from industry, and issues pertaining to model development. It sets out to show that fairly sophisticated VR models can now be created by non-VR specialists using commercially available software and advocates that the implementation of VR will increase alongside industryis adoption of these tools and the emergence of a new generation of students with VR skills. The study shows that current VR technologies, if integrated appropriately within built environment academic programmes, demonstrate clear promise to provide a foundation for more widespread collaborative working environments

Implementation of computer visualisation in UK planning

PhD ThesisWithin the processes of public consultation and development management, planners are required to consider spatial information, appreciate spatial transformations and future scenarios. In the past, conventional media such as maps, plans, illustrations, sections, and physical models have been used. Those traditional visualisations are at a high degree of abstraction, sometimes difficult to understand for lay people and inflexible in terms of the range of scenarios which can be considered. Yet due to technical advances and falling costs, the potential for computer based visualisation has much improved and has been increasingly adopted within the planning process. Despite the growth in this field, insufficient consideration has been given to the possible weakness of computerised visualisations. Reflecting this lack of research, this study critically evaluates the use and potential of computerised visualisation within this process. The research is divided into two components: case study analysis and reflections of the author following his involvement within the design and use of visualisations in a series of planning applications; and in-depth interviews with experienced practitioners in the field. Based on a critical review of existing literature, this research explores in particular the issues of credibility, realism and costs of production. The research findings illustrate the importance of the credibility of visualisations, a topic given insufficient consideration within the academic literature. Whereas the realism of visualisations has been the focus of much previous research, the results of the case studies and interviews with practitioners undertaken in this research suggest a ‘photo’ realistic level of details may not be required as long as the observer considers the visualisations to be a credible reflection of the underlying reality. Although visualisations will always be a simplification of reality and their level of realism is subjective, there is still potential for developing guidelines or protocols for image production based on commonly agreed standards. In the absence of such guidelines there is a danger that scepticism in the credibility of computer visualisations will prevent the approach being used to its full potential. These findings suggest there needs to be a balance between scientific protocols and artistic licence in the production of computer visualisation. In order to be sufficiently credible for use in decision making within the planning processes, the production of computer visualisation needs to follow a clear methodology and scientific protocols set out in good practice guidance published by professional bodies and governmental organisations.Newcastle upon Tyne for awarding me an International Scholarship and Alumni Bursar