Editorial Vol. 15

Digitisation in the cultural heritage sector has caused a deep transformation in the way the public interacts with museums, archaeological sites and cultural institutions (Champion 2016; Luigini & Panciroli, 2018; Challenor & Ma, 2019, Lo Turco et al 2019). Whereas in the past, the enjoyment of cultural heritage was often reserved for specialists and scholars, today we are witnessing a radical change: narratives created around cultural heritage are increasingly accessible, engaging and able to attract a heterogeneous audience, consisting not only of experts, but also of visitors of different ages and backgrounds.

Digital technologies play a fundamental role in this process of cultural democratisation, enhancing the possibilities of valorisation and fruition as, in addition to traditional mediation tools such as exhibitions and guided tours, the integration of innovative technologies has allowed the introduction of new forms of narration and interaction, capable of enriching the visitor experience, making it more immersive and personalised.

In this regard, the applied games can be considered a particularly promising field (Mortara et.al., 2013; Ioannides et al., 2017; Luigini, 2019b; Luigini et.al., 2019),  differing from purely recreational games in their educational and training objective. These digital tools have the ability to deeply engage users, bringing them closer to sometimes complex cultural content through playful dynamics that stimulate curiosity, creativity and learning. Applied games do not merely convey information, but foster active interaction and critical reflection, creating new opportunities for communication between visitors and cultural heritage.

The function of applied games, increasingly used in formal and informal educational contexts, is evolving rapidly in the museum context. More and more cultural institutions are experimenting with the use of digital games as part of their engagement and audience development strategies. In many cases, museums do not simply enjoy games designed by third parties, but become themselves producers and promoters of video games and interactive applications that enrich their collections and exhibitions. The use of games, in fact, not only broadens the museum’s appeal to a younger and technologically competent public, but can also offer new perspectives on the interpretation of the works and artefacts on display (cf. the Italian examples of MANN, the National Archaeological Museum of Naples, with Father and Sons (2017), Palazzo Pitti with The Medici Game. Murder at Pitti Palace (2020)).

In parallel, phygital (physical + digital) gaming experiences are emerging, where physical and digital elements combine to create innovative play environments (Lo Turco, 2019). In museums and educational laboratories, these games allow users to interact with real objects through digital technologies, making the experience both tactile and digital. This type of interaction represents an avant-garde frontier in cultural fruition, suitable for an intergenerational audience, from children to adults, and capable of engaging even those people unfamiliar with traditional video games.

The contributions presented in this issue present some possible applications of emerging technologies and methodologies in the field of heritage valorisation and fruition through applied games.

Jacopo Bono’s contribution entitled A New Interface for the Museum Cultural Experience: Gamification and Websites focuses on the integration of gamification techniques within museum websites as a tool to enhance user experience and interaction. The article emphasises the shift from collection-centred to visitor-centred (user-centric) museums. Through a case study on the Pinacoteca Albertina, the design of an alternative web interface using WordPress plugins to implement game mechanics and interactive content is illustrated. The aim is to increase user engagement, foster loyalty and transform the website into an educational and community platform. The use of drag-and-drop interactive activities to explore novel architectural designs demonstrates how gamification can make complex cultural content accessible and understandable.

Matilde Cozzali’, Fabio Bianconi and Marco Filippucci’s contribution HBIM and Visual Programming: data management for historic heritage preservation explores the application of Historic Building Information Modeling (HBIM) enhanced by visual programming for the management of historic heritage preservation data. The article highlights how HBIM enables the integration of heterogeneous data into parametric digital models, transforming them into interactive knowledge platforms. Through a case study on the Library of the National Gallery of Umbria a three-step methodology is presented: interpretation, sharing and representation of data, using visual programming tools such as Dynamo for the automation of information extraction, organisation and visualisation. The objective is to enhance the information potential of the BIM model for maintenance, restoration and sustainable heritage management.

Digital Landscapes and multi-scalar representations to rediscover the fortified system of Verona by Francesca Galasso presents the use of multiscalar digital representation methods for the enhancement of Verona’s fortified system. The Verona Città Murata research project is based on the acquisition of high-resolution metric data and the subsequent processing of three-dimensional models at different levels of detail (LoD) to combine technical precision and cultural narrative. The low-poly mesh modelling technique leads to simplified models that prove to be an effective narrative and management tool for dissemination and to guide future documentation campaigns. The integration of data into a single three-dimensional platform offers a unified view of the fortified system, opening up new perspectives for widespread musealisation and the planning of sustainable conservation measures. The realisation of web-based interactive demos and virtual museums aims to make digital content accessible and to promote widespread heritage awareness.

The contribution of Pasquale Micelli In the Apulian furrows. A picturesque adventure through the engravings of the Grand Tour, the reproduction of an eighteenth-century engraving as a videogame scenario describes the design and development of a serious game set in the context of the eighteenth-century Grand Tour in Puglia, using historical engravings as inspiration for the game scenarios. The methodology involves the drafting of a Game Design Document, the analysis of existing video games and the definition of game and edutainment objectives. The game is a side-scrolling adventure in three-dimensional environments with fixed shots that reproduce the point of view of the engravings. The scenario reconstruction process includes the decomposition and analysis of the carvings, 3D modelling of the elements and the creation of a post-processing shader to replicate the material appearance of the carvings. The objective is to define a method for designing serious games that enhance the territory through a coherent visual translation from the real to the virtual.

Giuseppe Nicastro in Digital Technologies for Cultural Heritage Education: An Applied Game for the Valorisation of the Baptistery of Bressanone presents the project and a prototype of the applied game Klara and the Secret of the Baptistery for cultural heritage education, focusing on the valorisation of the frescoes of the Baptistery of San Giovanni in Bressanone. The article argues how digital technologies can support the understanding of artistic heritage by providing contextual information. The game is a narrative adventure that integrates puzzle-game elements and is divided into narrative, exploration and puzzle-solving sequences. The creation of the game settings was enabled by digitising the Baptistery through laser scanning and 3D modelling, followed by importing it into Unity© for the definition of the control system and game mechanics. The puzzles, such as the reconstruction of fragmented images and the completion of cartouches, aim to familiarise players with the iconography and symbolism of the frescoes.

Silvia Ridolfi’s paper Reconstruction of the Necropolis area related to the Triclinium Tomb and design of a Virtual Tour describes the experience of virtual reconstruction of the Triclinium Tomb and the surrounding area of the Monterozzi Necropolis for the creation of a virtual tour. The didactic-emotional approach is based on a solid analysis to translate relevant elements into three-dimensional models and information interfaces. The choice of Virtual Reality (VR) as the most suitable ICT is motivated by the transformation undergone by the context over time and the removal of the original frescoes. The reconstruction process includes the reproduction of the frescoes, modelling of the tomb and environment, and assembly in Unreal Engine©. The final phase involves the definition of the user interaction dynamics and the creation of a VR app for visors, with the aim of offering an educational and emotional immersive experience.

Finally, Adrian Caldarone’s ARound Murgia: transmedia dissemination approaches for the Alta Murgia National Park presents a project exploring transmedia dissemination approaches for the Alta Murgia National Park through cultural games. The research emphasises the evaluation of the reliability of data and the accuracy of three-dimensional representations, conceived as narrative spaces. The ARound Murgia project integrates 3D modelling of interactive scenarios, the definition of a coherent visual identity and the creation of a mockup and a graphic interface for an app and a web platform. The app, structured in three sections dedicated to the territory, the vegetation and the history of pastoralism, uses mini-games, virtual reality experiences and multimedia content to promote the enjoyment and appreciation of the Murgia heritage. The accuracy of the visualisations and the recognisability of the places are primary elements of the project.

In conclusion, the works highlight the growing importance of digital technologies as ductile tools for the enhancement of cultural heritage. From gamification for audience engagement in virtual museums to HBIM for the integrated management of conservation data, from immersive reconstruction of lost sites through VR to the creation of serious and applied games for education, the potential is vast and constantly evolving. The  adopted methodologies, ranging from the rigorous analysis of historical and archaeological data to the advanced use of 3D modelling software and graphics engines such as Unreal Engine and Unity, demonstrate an interdisciplinary approach that is fundamental for dealing with the complexity of cultural heritage in the digital age. The future challenge lies in the ability to integrate these technologies and methodologies in an effective and sustainable way, while ensuring scientific accuracy and an engaging and meaningful user experience in a video game environment.