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Evaluation of Learning Rate in a Serious Game
Based on Anatolian cultural heritage
Sepehr Vaez Afshar1, Sarvin Eshaghi2, Guzden Varinlioglu3,
Özgün Balaban4
1,2M.Sc. Landscape Architecture, Faculty of Architecture, Department of Land-
scape Architecture, Istanbul Technical University 3Associate Professor Dr., Izmir
University of Economics, Department of Architecture 4Delft University of Technol-
ogy, The Netherlands
1,2{Afshar19|Eshaghi18}@itu.edu.tr 3,4 {Guzdenv|ozgunbalaban}@gmail.com
Cultural heritage conservation has two aspects, tangible and intangible, both of
which contribute greatly to the understanding of ancient inheritances. Due to the
role of education in the preservation process, and the strength of the new media in
the current era, serious games can play a key role in conservancy by transmitting
the target culture. There is a gap in the serious game field in relation to Turkey's
cultural heritage on the Silk Roads, underlining the motivation of this research.
Hence, this study proposes the Anatolian Journey serious game, which is
developed in the Twine platform, designed to transmit Turkey's tangible and
intangible cultural heritage, providing comprehensive information on the Seljuk
caravanserais, located on the Silk Roads. Moreover, the research compares
undergraduate and graduate students' gains in knowledge of heritage data while
playing a serious game and encountering the same content in text form with an
online survey.
Keywords: Digital Heritage, Serious Game, The Silk Roads, Anatolian
Caravanserais, Learning Rate
INTRODUCTION
Cultural heritage demands a high level of preserva-
tion, due to its ability to allow assessment of an-
cient times through its relevant artifacts and records
of adventures (Tanselle 1998). The understanding of
this great value has been expanded in the last three
decades, from the appreciation of monuments and
sites to architectural constructions as the tangible
heritage to a society’s rituals, notions, mysteries, and
ethics as intangible heritage (Bouchenaki 2003). Ac-
cording to Goodarzparvari and Bueno Camejo (2018),
education plays a dominant role in cultural heritage
preservation. Furthermore, they propose that chil-
dren and youth are the most critical age group, due
to their influence on upcoming trends. In the current
era, digital preservation also seems to be a proper
way to gather these data, and conserve them for the
next generations (Ikeuchi et al. 2007). In this re-
Digital heritage - Volume 2 - eCAADe 39 |273
spect, as a type of new media, serious games, also
referred to as educational games, have more than
pure entertainment value, and have been of interest
since 2002 (Alvarez and Djaouti 2011; Mouaheb et al.
2012). These games deliver educational content, as
well as entertainment, in a less restrictive way com-
pared to purely educational ones (Stege et al. 2011).
Hence, we can use serious games, with their educa-
tional and digital aspects, as an educational tool to
increase awareness of the heritage issue for the next
generation. Moreover, according to Cui (2016), gen-
erally, digital games are influential on players‘ beliefs
and transmit culture as an art form for the internet
generation. One of the most well-known instances
in this field, World of Warcraft, delivers an encyclope-
dic range of culture (Cui 2016). Furthermore, accord-
ing to Hamdaoui et al. (2014), designing a serious
game is challenging, due to the balance that should
be maintained between the ludic aspects and the in-
formation intended to be transmitted. Hence, a seri-
ous game’s educational effectiveness is the dominant
factor in understanding the serious games’ advan-
tages over traditional textbooks in supporting the
learning process. (Stege et al. 2011). However, ac-
cording to Boom et al. (2020), being aware of the
types of historical games people play is the other
important step in developing serious games in this
domain. Additionally, taking into account the vio-
lence in the existing games is dominant in the cases
that the game is going to be used as an educational
tool. Considering the development part of the issue,
the game industry follows the strategy of the cinema
by involving large groups of multidisciplinary profes-
sions (Moulthrop 2020), using the leading game en-
gines in the market like Unity [1] and Unreal Engine [2]
(Barbara 2020). In contrast, with the existence of the
hypertext games generating interactive fictions, the
need for the varied range of professionals is usually
reduced to few authors letting express their individ-
ual perception with less restriction imposed from the
presumptions of the economy. This phenomenon
also overpasses the gap between programmers and
non-programmers (Moulthrop 2020). A wide range
of studies exists regarding the available text-based
platforms and their pros and cons. Twine [3] platform
as a free and open-source tool supported by a non-
commercial community is one of the samples of in-
teractive fiction tools with a helpful community and
tutorials. The outcomes of this platform are in the
form of web pages ranging from quite simple texts
to complicated designs enriched with images, audio,
and videos. The game on this platform is concluded
from passages producing the scenes of the story. It
can also be integrated with Twinemacros, HTML, CSS,
and JavaScript to generate more complex game me-
chanics. It has a branching system that forces the
designer to think about the varied stories and end-
ings, in contrast to the traditional linear writings. It
can also be combined with professional tools such as
Unity and DooM [4] to build the storytelling part of
a videogame (Alstergren et al. 2020; Anderson and
Smith 2021; Barbara 2020; Boom et al. 2020; Cruzeiro
2020; Hargood 2018; Moulthrop 2020; Not and Pe-
trelli 2019; Vrettakis et al. 2019). Strik ingly, it is taught
in several mostly few-hour workshops and Game
Jams, inspiring different participants to dig into the
capabilities of this platform to convey their field of
study through it (Boom et al. 2020). Various fields
are taking advantage of the Twine platform as an ac-
cessible and cost-effective tool; such as in pharmacy
in teaching clinical decision making (Morningstar-
Kywi and Kim 2021), developing the branching sto-
ryline in a conversation chatbot for teaching the En-
glish language (Muhammad 2020), in disseminating
the cultural heritage (Kaleja 2020; Not and Petrelli
2019; Vrettakis et al. 2019), and in developing other
educational storytelling tools namely, BEACONING
(Cruzeiro 2020), StoryPlaces (Hargood 2018), Dream-
Scape (Alstergren et al. 2020), Narralive (Vrettakis
et al. 2019). Other available commercial text-based
tools can be named as Inform 7 [5] using English syn-
tax to generate virtual worlds (Moulthrop 2020) and
Padlet [6], which is somehow similar to Twine but
more education-oriented (Cruzeiro 2020).This paper
investigates the role of serious games in the conser-
vation of cultural heritage, and evaluates their edu-
274 |eCAADe 39 - Digital heritage - Volume 2
cational efficiency in comparison to the traditional
education systems, via developing and testing the
Anatolian Journey game, which transmits the tangi-
ble and intangible cultural heritage of the silk roads
of Anatolia during the Seljuk period. There follows a
comprehensive literature review of the previous seri-
ous games and earlier assessments comparing edu-
cation of the traditional and novel types.
LITERATURE REVIEW
Many studies are investigating the existing serious
games both commercially and academically (Eshaghi
and Örnek 2020; Forte et al. 2012; Johnson and Va-
lente 2009; Lercari et al. 2015; Örnek and Seçkin
2016; Poplin 2011; Varinlioglu 2017); The Oregon Trail
is considered to exemplify this genre. This game has
been played for approximately twenty years by ele-
mentary school students, targeting the 1990s’ pio-
neer life on the Oregon Trail (Becker 2007; Bigelow
1997; Caftori and Paprzycki 1997; Kane 2020; Regal-
ado 2017; Slater 2017). Addressing specifically the
rate of learning, Stege et al. (2011) compared the abil-
ity of a group playing a serious game named E and
Eve’s Electrical Endeavors and another group, reading
a textbook about the same issue of electrical engi-
neering in a high school. They concluded that seri-
ous games led to a remarkably better result, although
it is not possible to conclude with certainty that they
were more motivated than they would have been if
reading the same content as a text. Regalado (2017)
and Kane (2020), both in Trinity College, ran a study
assessing students’ learning ability using games. The
first is based on The Oregon Trail game, and the sec-
ond is designed for a course curriculum, using a game
developed in 2019 by Aldrich, Kane, and Ky, named
The Silk Road, following the rules of The Oregon Trail
game (Kane 2020). Hamdaoui et al. (2014) proposed
using the e-learning standard to generate more ef-
fective serious games and thus standardize the ed-
ucation process, by facilitating communication be-
tween the instructor and game designer. As a sam-
ple of commercial games about the Silk Roads, Silk
Roads: Caravan Kings is a newly released game in
2020, in which players follow the route of Marco Polo
in the 1270s, journeying from Venice to China, with
choices of routes leading to different endings, re-
sembling The Oregon Trail game [7]. Other examples
include Silk Road Match 3, Silkroad Online, Caravan,
and Caravanserail. Regarding the literature review,
despite some available serious games related to the
Silk Roads, we diagnosed a global gap about the Silk
Roads and, specifically, its Anatolian caravanserais in
the Seljuk period. Hence, the issue needs a more
comprehensive study to address the gap, with the es-
sential surveys to test its value in education.
METHODOLOGY
History
As a cultural heritage game, the first step before start-
ing the game process is to investigate the history of
the game’s target period. Hence, understanding the
history of the Silk Roads, caravanserais, and Anato-
lian Seljukid period is of great importance in this re-
search. Now known as the Silk Roads, this network of
trade routes was in addition to the route of merchan-
dise, also the route of culture, beliefs, and knowl-
edge transmission. The exchange of the caravans’ lo-
cal products for domestic goods from the cities they
passed through enhanced cultural conveyance, in
addition to the merchants’ material and wealth. The
caravans’ stopping points were the caravanserais,
constructed from the 10th until the 19th century, and
became vital in facilitating journeys [8]. For the cur-
rent study, we chose the Seljuk caravanserais, a rel-
atively under-researched period of Turkey’s history
compared to the Roman, Byzantine, and Ottoman
periods. However, there is doubt over the exact loca-
tion of the Seljuk caravanserais. After their establish-
ment in the 12th century, the Anatolian Seljuks be-
came important traders and built many caravanserais
leading to the development of the area (Önge 2007).
Data Management
In terms of the data gathered for this study, the as-
sembled Seljukid Anatolian Caravanserais’ data are
roughly the most comprehensive available dataset
Digital heritage - Volume 2 - eCAADe 39 |275
promoting the study’s background. This dataset was
generated during a data digitization process in a
Ph.D. course, using a high accuracy method. Initially,
the researchers in the course consulted the available
books (Acun 2007; Erdmann 1961; İlter 1969), an ex-
isting article (Özergin 1965), a map named Silk Road
- Culture Road [9], a website [10], and the OWTRAD
project [11], covering the whole caravanserais of
Anatolia. The essential data from these sources were
digitalized. To locate the gathered caravanserais on
a Google Earth Project, first, the known caravanserais
were found on Google Earth, and second, we tried to
locate the others using the naked eye on the satel-
lite images, through the information provided in the
researches. Third, where this was not possible, we
determined an estimated location. In the next stage,
we classified the gathered information via a four-level
classification. We defined the levels as follows: level
1, the registered historical buildings by the Ministry
of Culture and Tourism, state museums or their web-
sites, and the local authorities [12, 13]; level 2, re-
searched historical buildings determined by local au-
thorities and academic institutions; level 3, informa-
tion from travelers and locals; and level 4, Çekül’s
map (2012). We entered all the information into the
PostGIS online database to generate a caravanserai
map in the QGIS. However, to ensure the reliability
of the information, we used only the level 1 cara-
vanserais in the current research (Figure 1). Finally, to
identify the connections between the caravanserais,
based on the Silk Roads’ routes in the target period,
we superimposed the tourism route Anatolia by Car-
avanserai, proposed by Bektaş (1999, p.53). However,
we reduced the number of caravanserais to improve
the game map’s readability.
Game Design
According to the literature review, regarding archeol-
ogy and history, non-linear storytelling seems to be
significantly fitted due to its capability in engaging
the player with the past in a multi-perspective man-
ner. Additionally, the individuals or groups develop-
ing their story in such a branching system will be in-
volved in deep research of the intended topic and
gain the knowledge meanwhile (Boom et al. 2020).
Hence, we developed the game on the Twine plat-
form as an alpha version. This research is an exten-
sion of our recent study in the ASCAAD2021 confer-
ence based on Iran’s Safavid caravanserais named,
The Sericum Via: A Serious Game for Preserving Tan-
gible and Intangible Heritage of Iran (Eshaghi et al.
2021), following the similar methodology of The Ore-
gon Trail in the context of Anatolia. As mentioned in
the future work of the previous research, the Anato-
lian Journey game uses the gathered information of
the Anatolian caravanserais and the intangible her-
Figure 1
Data Management
Process
276 |eCAADe 39 - Digital heritage - Volume 2
Figure 2
Gameplay Screen
itage of the map’s each area in the game’s related
chapters. The player takes on a merchant’s role, trad-
ing among cities, based on the assigned duties. Un-
like the Sericum Via, this time, the player is not lim-
ited by time or health, and instead, the final score
is based on the duties completed and the number
of coins gained by answering questions. This game
mechanic allows the game to have more educational
impact in an entertaining way. As the learning ob-
jectives, the game engages the player in the realm
of living as a Seljuk era trader, who encounters pass-
ing caravanserais. Additionally, in contrast to the Ser-
icum Via, whose survey described the target player as
in the 11-20-year-old range, we designed the Anato-
lian Journey game specifically for our target, under-
graduate and graduate students. Moreover, as we
noticed that the players tended to ignore the pro-
vided data, we designed the game in a more engag-
ing style, with questions and fill-in-the-blanks during
the gameplay. To select the content that we want to
convey throughout the game, we looked for a strik-
ing point throughout the history of Anatolia in the
Seljuk Period to start the journey. During that time,
Konya was the capital of Anatolia and a critical ac-
commodation and trade center located on the Silk
Roads. It was also an important location in terms
of intangible heritage [14]. Considering the selected
caravanserais to be included in the game’s map, we
decided to start the journey from Antalya to reach
Konya city. Hence, as the representative section of
the whole game, the first chapter takes place in the
surroundings of Antalya, giving valuable information
about the city in the Seljuk period, obtained via a lit-
erature review, as the player talks with locals (Demir
2018; Dinç 2017)(Figure 2).
Digital heritage - Volume 2 - eCAADe 39 |277
The images we used in the game are under the Cre-
ative Commons license, including some from the
SALT Research online website, Ali Saim Archive [15],
which we made some modifications to them (Figure
3).
Figure 3
Gameplay Screen /
Image Source: SALT
Research, Ali Saim
Ülgen Archive [15]
Figure 4
Survey Results
PLAYTESTING AND EVALUATION SURVEY
Same as the previous study, we conducted an open
alpha playtest. While in the Sericum Via game, we
sought player feedback in terms of the game inter-
face, content, and target audience; in this research
we evaluated the students‘ learning rate while play-
ing the Anatolian Journey game compared to their
comprehension of observing the same content in a
traditional textbook. We designed our survey for
two groups; group A played the game, and group B
read the provided text file containing the same con-
tent as texts and images. We prepared two Google
Form questionnaires, one for each group, containing
the same ten questions, with links at the end of the
game and the text file. The questionnaires tested the
conductors’ comprehension rate. The survey pop-
ulation was Graduate and Undergraduate students
of the Izmir University of Economics (IEU). The ques-
tionnaire was delivered online due to the Covid-19
pandemic and consent was sought before participa-
tion in the survey; we also applied for a Scientific Re-
search and Publication Ethics Form of the IEU. 22 par-
ticipants were equally separated into groups A and
B. The results show that group A, which played the
game, scored on average 8 out of 10, and group B’s
average was 5 out of 10. Additionally, 5 of the game
players’ correct answers were among the identical
questions in the game (Figure 4). Hence, the results
indicate that providing cultural heritage educational
data, in the form of a serious game, raises the degree
of data retention. This implies that the players can
better memorize the data encountered in the form of
in-game questions rather than in readings.
CONCLUSION
The focus point of this paper is the preservation of
cultural heritage via serious games. Through these
games’ transitional and educational nature, the tar-
geted tangible and intangible heritage can be con-
served. Serious games such as the Anatolian Jour-
ney game, proposed here, can replace the traditional
educational tools, such as textbooks. This game en-
gages players with Turkey’s heritage in the Seljuk pe-
riod, and assists the retention of data via a recre-
ational activity. Also, the conducted surveys high-
light the game’s teaching potential. However, the full
version of the game may show even greater improve-
ments due to continuous gameplay. As a further
study, we can merge the Sericum Via game and the
Anatolian Journey game, enabling the players to un-
dertake a cross-cultural journey along the Silk Roads,
passing through various countries. An advantage of
the platform used for game development is the abil-
ity to extend the game as desired. We are aware of
the limitations of the game we developed due to the
278 |eCAADe 39 - Digital heritage - Volume 2
lack of time and labor as a small group; however, one
of the main goals of the study is to demonstrate the
capabilities of the Twine tool as a game development
platform in a cost and time-efficient manner with no
need for a considerable amount of effort to learn it
and any big multidisciplinary group. It means that
everyone can be a Twiner and generate his/her do-
main’s game to disseminate it joyfully and effortlessly
to the broadest possible community. Furthermore,
the final game exported as an HTML file is able to
be played in any browser and any device. It means,
it can be available for masses in any socioeconomic
range as educational content. Meanwhile, thanks to
its possibilities to be integrated into other engines,
enhanced by using more complicated codings, and
adding professionally designed graphics or videos,
any developed game, can be turned into a commer-
cially perfect video game.
ACKNOWLEDGMENT
We prepared this paper with the dataset assembled
in a doctorate course held by Assoc. Prof. Dr. Güzden
Varinlioğlu and Dr. Özgün Balaban, at Istanbul Tech-
nical University, the Architectural Design Computing
Graduate Program. Hence, we would like to espe-
cially thank all the student researchers on the course
for their valuable contribution to this study.
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[10] http://www.turkishhan.org/
[11] http://www.ciolek.com/owtrad.html
[12] https://muze.gov.tr/muzeler
[13] https://www.kulturportali.gov.tr/
[14] https://konyakultur.gov.tr/index.php?route=pages
/pages&page_id=1
[15] https://archives.saltresearch.org/handle/12345678
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