Historical Depictions, Archaeological Practices, and the Construct of Cultural Heritage in Commercial Video Games: The Role of These Games in Raising Awareness

1.1 Purpose

Despite these shortcomings, it is asserted in this work that in addition to interactive and playful experiences that immerse players in captivating storytelling designed for entertainment, commercial VGs serve a crucial role in CH. Thus, this work delves into how these games can contribute to greater cultural awareness and appreciation.

This inquiry is structured as follows: First, the importance of preserving CH for future generations is discussed alongside the role of VGs. In doing so, challenges often found with the representation of CH in commercial VGs are presented. Next, CH as a construct in VGs is explored, alongside the importance of collaboration between the game industry, those in the heritage field, and members of the communities represented in the creation of these games. Examples are then offered, describing how these games can serve as catalysts in learning about tangible and intangible aspects of CH. Lastly, the future of VGs in raising awareness about CH is considered.

While this work incorporates insights from scholarly works, including journal articles, book chapters, and conference papers, it does not claim to be an empirical study (quantitative, qualitative, or mixed methods) or an exhaustive examination. Instead, it serves to initiate further exploration and discussion. That is, by crafting a narrative that intertwines theoretical insights with real-world examples, this work aims to advocate for broader recognition of VGs as valuable tools in the awareness and appreciation of CH, fostering a deeper connection between players and the rich tapestry of diverse cultures. Finally, it is important to note that this work was disseminated among educational practitioners whose insightful feedback contributed to its enhancement and refinement, which included presentations and discussions at educational conferences and workshops, respectively (e.g., DaCosta 2022).

1.2 Terminology

Several terms are used herein, warranting further clarification. “Cultural heritage” (sometimes “heritage”) is a general term denoting a wide range of matters (Granström 2013) that surpass the inherited qualities of objects, including the values and identities linked with them (Wang 2021). As a result, the term is used in this work to refer to all “tangible and intangible aspects that contribute to the identity of a people that may have been inherited through generations” (DaCosta and Kinsell 2023, p. 3). At the same time, “CH awareness” is defined herein as “exposure to tangible and intangible attributes that results in consciousness, appreciation, and overall respect for the different values of people from diverse cultural backgrounds” (DaCosta and Kinsell 2023, p. 3). Additionally, while many attempts can be found at classifying “serious games” (sometimes “applied games”), the definition of Michael and Chen (2006) is adopted for this work because of its simplicity and clarity, which views these games as those “that do not have entertainment, enjoyment or fun as their primary purpose” (p. 21). Consequently, “commercial video games” are viewed herein as the converse, defined as retail games solely intended for entertainment, enjoyment, or fun.

Finally, unless otherwise noted, “games” are restricted in this work to those that exemplify CH in some way, including historical depictions and archaeological practices. Although there is a sundry of commercial VGs that touch upon history, archaeology or represent distinct cultures as the scaffolding for their narratives, this work primarily takes examples from the Tomb Raider Survivor Trilogy (Crystal Dynamics and Eidos-Montréal 2013–2018) and AC (Ubisoft, Games, and Blue 2007–2020) games because they are often cited in CH contexts (e.g., Balela and Mundy 2011; Cole 2022; Dennis 2019; Granström 2013; Livingstone, Louchart, and Jeffrey 2016; Reinhard 2018; Shaw 2015; Thoresen 2021). However, it is Shadow of the Tomb Raider (SotTR) (Eidos-Montréal 2018) that is predominately used to illustrate the many points found in this work (and thus could be argued to be used as a case study) for the reason that even though it does not always do it well, it is proposed that the game comes close to ethically portraying the impacts of archaeology on local populations and descendants of ancient people, as shown through Lara Croft’s confrontation of inherent colonialism in her approach to modern descendant populations and ancient cultures (Dennis 2019).

2.1 Cultural Heritage Depictions in Video Games

At the same time, it is said (Bissell et al. 2021) that because VGs are often narrative-driven, they are accused of mixing history with mythology to create historical fiction and, in doing so, ignore the sanctity placed on historical objects and spaces, limiting their educational potential (Chapman 2016; MacCallum-Stewart and Parsler 2007). Compounding matters, CH is often encountered in VGs – whether through storytelling and mythology, the depiction of art and architecture, or even religion and related symbolism – thus, it is argued that playing these games means regularly engaging with culture (Musichina 2021). In fact, it is claimed that most VG environments (including those designed for entertainment) draw upon real-world historical events and mythologies to enhance their depth and richness (MacCallum-Stewart and Parsler 2007). Boom et al. (2020) explain that these games touch upon the past using historical settings, characters, or ideas (Chapman 2016; Mol et al. 2017b) to frame a narrative, convey a historical representation, or emphasize a specific historical time (Metzger and Paxton 2016).

The Witcher (CD Projekt Red 2007–2016) series, for example, exemplifies Slavic myths. Hellblade: Senuas’s Sacrifice (Ninja Theory 2017) pulls from Celtic and Norse mythology (while also addressing the topic of mental illness), whereas Greek and Norse lore can be found at the core of the God of War (Santa Monica Studio, Ready at Dawn, and Javaground/SOE-LA 2005–2023) games (Musichina 2021). The Elder Scrolls V: Skyrim (Bethesda Game Studios 2011) can immerse players in a vast world populated by fictional societies and cultures, suggesting that players can become invested in the cultural content depicted, showing their value in informal learning (Majewski 2018). At the same time, Skyrim continues to be enthralled in debate (Majewski 2015, 2018), as the setting is praised for its ability to allow players to explore Scandinavian CH (Johnson 2013; Majewski 2018) while also perpetuating historical stereotypes (Sołtysiak 2015). In other words, although AAA games (i.e., high-budget games produced and distributed by major companies and publishers; Zeiler and Thomas 2021) attract considerable scholarly attention for their use of historical imagery (Copplestone 2017b), they fuel unending discussions and critiques of historical depictions as CH (Zeiler and Thomas 2021). Thus, if not carefully crafted and thoughtfully represented, VGs can inadvertently distort, oversimplify, or altogether misrepresent cultural narratives and historical accounts, leading to misunderstandings and a diminished appreciation of a culture’s rich complexities, not to mention the importance of specific fields, such as archaeology.

2.2 Cultural Heritage as a Construct in Video Games

It is asserted that games in this genre continue to show the worst of practices and attitudes towards the discipline of archaeology (e.g., Dennis 2019; Lacina 2018), relying on tropes that disregard cultural individuality, favoring artifacts as possessions or instruments, ignoring their importance to the descendants of the people whose heritage these objects represent. In fairness, though, these games are a form of interactive entertainment, so there must be a willingness to ignore aspects of the game to enjoy the overall experience. For example, the narrative of SotTR likely takes its inspiration from the legendary Inca lost city of Paititi, and the Mesoamerican serpent deity, Kukulkan, but is otherwise fictional, blending many elements from history and myth into an immersive and emotional experience. Cole (2022) refers to this as “technocultural mashups,” where historical VGs combine various elements of CH and history alongside media and technology to create a new, engaging experience. This involves taking parts of historical events, CH, myths, and existing media (like films or other games) and blending them (Cole 2022).

The AC series often comes up in this context because the games take place in real-world settings, depicting historical periods and events that are rich in cultural value that is both tangible and intangible (Balela and Mundy 2011) but are otherwise the focus of their unique storytelling. Cole (2022), for example, speaks to the immersive nature of AC: Odyssey (Ubisoft Quebec 2018), which is likely a result of the developers’ dedication to exploring the history and culture of ancient Greece (Reinhard 2019). However, he also emphasizes the plethora of overstated cultural amalgamations, ranging from a fictional rivalry between the Greek playwrights Euripides and Aristophanes at a gathering – an inventive blend of Aristophanes’ “Frogs” and Plato’s “Symposium” – to the scattered ruins of Archaic temples and Mycenaean palaces dotting the landscape (Rollinger 2020). What this means is that players can interact with characters from both history and mythos.

In an interview with Reinhard (2019), Stéphanie-Anne Ruatta, the full-time ancient historian and Classical language expert at Ubisoft Québec, clarifies that the game’s approach to historical accuracy is not inherently problematic. She suggests that by enabling players to view the era from the perspective of those who experienced it, the game authentically represents how people of the time might have interpreted events and attributed certain phenomena to causes beyond their comprehension. As a result, AC: Odyssey balances its engagement with the mystical aspects of Ancient Greece while maintaining a basis of historical reality. This approach offers players a deeply immersive experience in a rich and intricate world where they can explore, interrogate, and impact a version of history (Cole 2022).

Then, there is the assertion that while accuracy is vital in CH contexts, it is simply impossible to achieve in VGs (Balela and Mundy 2016; Granström 2013; Reinhard 2018). Balela and Mundy (2016) conducted interviews with eight VG designers from various global backgrounds who have experience creating cultural elements within games. Their findings suggest that designers perceive the game world as distinct from reality, which consequently restricts the representation of CH in VGs. Some of the designers interviewed, for instance, conveyed that VGs are unsuitable for fully integrating the complexities of the world’s reality. Balela and Mundy (2016) pointed to one of the designers who felt that the cultural elements in games do not offer players a comprehensive understanding of the true story; instead, they provide a minimal introduction or a significantly condensed background of the actual narrative. Thus, it is understandable why scholars, such as Reinhard (2018), assert that culture in these games should be viewed as a construct, with the items, actions, and events represented never truly mirroring those in real life.

Moreover, recreating an accurate experience is problematic because the time spent on true representations amounts to less time dedicated to other important aspects of gameplay, including interpretation, storytelling, the contextualization of objects, allowing for artistic expression (Roussou and Drettakis 2003), and creating an emotional response (Economou and Pujol-Tost 2007; Musichina 2021). Balela and Mundy (2016) reported that the designers they interviewed prioritized other aspects, such as aesthetics, over cultural considerations, which they deemed secondary. Thus, it should not come as a surprise that the aim is to offer enough details to make players feel that they are where they think they are (Reinhard 2018) without sacrificing the quality of the overall experience. As Shaw (2015) points out, the goal is “a good game first, and accuracy second” (p. 13).

To offer examples of games that illustrate this point, Reinhard (2018) calls out Ryse: Son of Rome (Crytek 2013), where players are immersed in a cinematic Roman setting through paintings of the Renaissance rather than actual factual Roman archaeological and architectural reconstructions, making the game impressionistic, invoking the time of Roman antiquity. Then there is the depiction of the Battle of Thermopylae in AC: Odyssey, where Cole (2022) asserts that the developers notably drew inspiration from the film 300 (Snyder et al. 2007) and the original comic book by the same name (Miller 1998), despite the wide range of options that the developers had for portraying the battle. This was likely done to give players a sense of familiarity (Cole 2022), helping them feel that they were in central Greece at the mountain pass in 480 BCE. It is perceived that this choice influenced the game’s design, from the fighting sequences to the visual aesthetics and landscape, to the extent of allowing players to execute the “Spartan Kick,” a move that is made famous by the film (Cole 2022).

The many games in the AC series are commonly cited in this context, specifically with how they strive for detailed representations of built CH (Balela and Mundy 2011; Granström 2013; Reinhard 2018) while simultaneously balancing such authenticity with manageability and fun (Reinhard 2018). For instance, the Notre Dame cathedral in AC Unity (Ubisoft Montréal 2014) is said to have taken two years to create (de Rochefort 2021; Reinhard 2018), with Hanussek (2024) citing almost three. However, an accurate representation was not possible, with modifications (e.g., cables added and windows designed to swing open) to account for player movements (de Rochefort 2021; HAI n.d.). In addition, each tympanum above the cathedral’s main doors is laid with elaborate sculptures depicting biblical scenes but created as flattened textures (that look like they are sculpted) due to optimization reasons and because of France’s copyright laws, which prevented the sculptures, paintings, and related artwork from being true to real life (de Rochefort 2021). Altogether, Shaw (2015) speaks about an interview with Nicholas Guerin, the level design director for the game, who explains that a game playground needed to be built first, then the visually striking and historic city placed on the top (Webster 2014). That is, the design decisions were based on many factors that, in the end, resulted in an immersive experience that conveys believability built upon an emotional connection with the cathedral (de Rochefort 2021; Webster 2014).

This emotional connection is essential. Majewski (2018), citing Smith and Campbell (2015), explains that the topic of emotion in heritage is highly debated, as it may get in the way of educational outcomes (Stróżyk 2010), which VGs can further exacerbate because they tend to play on feelings (Musichina 2021). However, this is what makes VGs memorable: the emotional connection between the player and the game (Zhadan 2018), as explained by the Notre Dame Cathedral in AC Unity. Zhadan (2018) claims that emotion is so important in games that the role of the game designer involves crafting games that deliver distinct experiences to every player. Empathy toward a game’s character and storyline, for example, can facilitate an understanding of historical events, diverse ancient cultures, and the feelings, problems, and behaviors of past people (HAI n.d.; Mariotti 2021). Simultaneously, it highlights the beauty and value of the past, including architecture, art, and heritage (Mariotti 2021).

Narratives in VGs are also powerful because they help form emotional connections between the player and places, cultural objects, and landmarks (Piano and Cuccu 2020). However, as Balela and Mundy (2016) discovered during their interviews, the narrative also influences the selection of cultural objects portrayed in VGs in that certain stories require the presence of specific cultural items. They provide the example that games depicting Christianity require the inclusion of a crucifix to signify the religion. Balela and Mundy (2016) note that depending on the narrative and other elements in VGs, there can sometimes be a mismatch of cultural resources.

This mismatch is problematic because VGs can be used to ignite interest in cultural values and respective customs alongside geographic locations (Calabrese and Ragone 2016). Thus, the way CH is embodied in commercial VGs is crucial because it is this representation that players perceive (Copplestone 2017b). Mariotti (2021), citing Shapiro (2018), explains that this is especially true among young people, who predominantly encounter CH through digital media for the first time, which notably molds their perception and understanding. At the same time, it is asserted that much of what is known is anecdotal, and there is a significant gap in understanding the lessons players derive from these games (HAI n.d.).

Furthermore, how players perceive CH in commercial VGs applies to tangible heritage and, more importantly, nonmaterial culture. For example, Balela and Mundy (2011) direct attention to the ethnicity of the main protagonist in AC (Ubisoft, Games, and Blue 2007), Altaïr Ibn-La’Ahad, explaining that the character does not represent people of the Damascus or Jerusalem regions, with the behavior, body language, accent, and use of language heavily influenced by Hollywood. They also stress that the Arabic words chosen emit Western culture, with contents that can be deemed as rude and offensive, of a racist nature, and factually limited to the region’s culture. So, even though it is understood that built heritage cannot be true to life, the way nonmaterial culture is portrayed in these games may leave players with a distorted, if not harmful, misrepresentation of a culture.

Stirling and Wood (2021) claim that recent scholarship on the relationship between VGs and history has moved beyond assessing their accuracy, proposing instead that these games constitute a distinct category. Specifically, VGs are not merely inaccurate depictions of historical events but rather tools for uniquely conveying historical knowledge. Mir (2013), for instance, explains that historians should not be apprehensive about VGs presenting alternate histories or achieving “complete” accuracy. Coltrain (2019) posits that history is not an absolute truth but rather a discourse. That is when history is incorporated into a VG, it involves crafting an interpretation (Coltrain 2019).

What this all means is that the focus should be on ensuring the game authentically represents the period, captures the complexity of human interactions, and, most importantly, adheres to cultural respect and responsibility. Shaw (2015) puts the matter bluntly in that, irrespective of the fictional nature of games, it is imperative to show sensitivity to what history is depicted. Achieving this requires collaboration between cultural experts and game developers to merge history and heritage with creative, immersive gameplay that ensures respectful depictions and narratives.

3.1 Depictions as Pointers to Learning About Tangible Heritage

The most prominent claim is that players can be inspired to learn more about tangible heritage. In SotTR (and the other two games in the trilogy), players are presented with information about the artifact’s history found by Lara, who describes each in the context of its cultural and material features, who created it, and its supposed purposes. These in-game items can also be rotated to reveal additional details, sometimes revealing insights and hidden content, making these games (to some extent) unique in how they exhibit artifacts compared to other games of the same genre. For instance, although treasures throughout the Uncharted (Naughty Dog et al. 2007–2022) games can be examined for their aesthetics, they are not described in cultural contexts but announced with voice-over soundbites by Nathan (Dennis 2019).

The problem with this, of course, at least in the context of the Tomb Raider Survivor Trilogy, is that for players to be inspired to learn more about the artifacts they find, they must loot them and, in doing so, are active participants in the unethical archaeological activities said to be a staple in games of this genre. Further compounding matters, the artifacts in the trilogy are not limited to ancient objects but include contemporary items and modernized interpretations (Dennis 2019). For example, in the rebooted Tomb Raider (Crystal Dynamics 2013), Lara seeks Yamatai, a lost kingdom of ancient Japan; thus, not surprisingly, artifacts include ceremonial fans, animal statuary, and earthenware, among other items from different dynasties, but military items can also be found, related to the occupation of the island by American soldiers during the Second World War. The same can be said for Rise of the Tomb Raider (Crystal Dynamics 2015), with relics primarily from the Byzantine Empire. In addition, military items related to occupation by the Soviet Red Army exist. It can be reasoned that this blending is problematic because it diminishes the motivation to learn more about the many in-game items, but as Thoresen (2021) stresses, these everyday items hold archaeological importance because they, too, belonged to people who stayed in these areas, and how long ago, or for how long, does not matter.

That is, an effort was put into researching specific periods and depicting objects related to the games’ backstories (Livingstone, Louchart, and Jeffrey 2016), which can inspire players to learn more about them. However, the artifacts may not directly map to specific real-world objects (Dennis 2019). Dennis (2019) points out that the artifacts are generalized representations, deviating in color and other detail from the actual objects displayed in museums or described in publications and other sources. She presents the Mask of Tezcatlipoca as an example, a likely interpretation of the famous mosaic mask of the same name, which is currently in the collection of The British Museum (2017) (see Tomb Raider Wiki [n.d.b] and The British Museum [2017] for a comparison). Modeling true-to-life representations of actual artifacts may not have been possible due to the reasons outlined earlier, including intellectual property concerns, as explained in the context of the Notre Dame cathedral in AC Unity. However, it is offered that the less-than-accurate depictions do not dissuade from learning more about these artifacts, including those described throughout the trilogy as modernized interpretations.

In SotTR, for example, Lara finds a burial doll, which she describes culturally and materially, edifying that these dolls were traditionally woven from fabric and stuffed with reeds and grain. Upon closer examination, Lara discovers that the object is a reproduction crafted from modern materials. In attempting to contextualize the burial doll within the plot, she hypothesizes that it might be a promotional toy produced by Porvenir, a fictional oil company from Lima that arrived in the village to drill. Despite this, those who learn more about burial dolls will discover that the inspiration for this in-game item may be the Chancay dolls, named after a pre-Columbian culture (McGuire 2020) (see Tomb Raider Wiki [n.d.a] and The British Museum [n.d.] for a comparison). Although knowledge about the Chancay is limited, artifacts such as pottery and textiles, including burial dolls, indicate that they were proficient in mass production (McGuire 2020). These artifacts are intriguing, not only for their craftsmanship but also for their alleged purposes (McGuire 2020). The lack of detail is not necessarily needed in this context. Instead, the representation serves as a pointer to learning more about these real-life objects of heritage.

Representations in games also serve as pointers to real-world locations of heritage. That is, VGs can ignite interest in cultural sites, subsequently yielding a positive impact on tourism (Mariotti 2021). Mariotti (2021) points to a survey of 827 Italian gamers that showed the majority (79.9 %) would be willing to visit a cultural location they were introduced to in a VG, with 48.7 % acknowledging that they had already done so (IVIPRO 2020). Bowman et al. (2024) found that it is the player’s emotional and self-referential connection to the digital worlds in games, which they termed “sense of place,” that is positively linked to the player’s intentions to visit corresponding real-world locations. This correlation holds across the various AC games studied, indicating that players who form a robust sense of place during gameplay are more inclined to visit these actual places.

To offer an example, Mariotti (2021) points to tourism growth in Monteriggioni, a medieval village in Tuscany near Sienna, Italy. Mariotti (2021) explains that arrivals and overnight stays increased by 7.24 % and 16.28 %, respectively, following the release of AC II (Capone 2011). A survey of 500 tourists by the municipal administration of Monteriggioni a few years later offers potential evidence speaking to the game’s influence, finding that 11.4 % acknowledged they knew of the village from its depiction in the game (Mariotti 2021). It is asserted that such results add to the argument that VGs can be utilized to augment knowledge and appreciation of CH, facilitate public engagement and audience growth, and boost the promotion of archaeological sites, parks, and museums (Mariotti 2021).

3.2 Learning About Intangible Heritage Beyond the Depictions

Of greater importance is that these games can effectively communicate intangible heritage (Mortara et al. 2014) that goes beyond the in-game representations. For example, in SotTR, the setting of the Peruvian Amazonia immerses players in a tropical climate filled with lush foliage and unique wildlife, such as capybaras. The game skillfully integrates the designs of ancient cultures into its breathtaking scenery, enhancing the immersive experience. Indeed, similar to the augmented representation of the Notre Dame Cathedral in AC Unity, the caverns and cliffs in SotTR are modified for gameplay purposes. Ledges and landings are strategically added to facilitate player movement. Consequently, it can be argued that the scenery serves primarily as an aesthetically pleasing backdrop essential for gameplay functionality. Even so, the game presents a believable representation of the Amazon rainforest alongside its biodiversity.

The narrative touches upon activities threatening its health, such as Porvenir, which contaminated Kuwaq Yaku’s water supply and only shut down because of an oil crash. The spectacular background can inspire players to learn more about the jungle’s numerous plant and animal species. At the same time, it can stimulate interest in exploring threats to the region, such as deforestation primarily due to illegal logging, and the impact of these threats on the Indigenous communities. That is, VGs serve as a form of inspiration and, consequently, can be used as a powerful platform to inform about environmental issues (Musichina 2021), encouraging players to engage critically with ecological challenges, including cultural conservation efforts (Camuñas-García, Cáceres-Reche, and de la Encarnación Cambil-Hernández 2023).

Then, some depictions might help players develop a greater appreciation (Camuñas-García, Cáceres-Reche, and de la Encarnación Cambil-Hernández 2023) of other cultures’ customs, values, and beliefs. Día de los Muertos experienced early in SotTR is an example of this. Players are engrossed in the celebration at an outdoor café in Mexico and can speak with certain members of the local community and observe their joyful tradition. The considerate and immersive portrayal can spark an interest in learning more about the multi-day holiday, leading players to discover, for instance, that although the celebration is primarily recognized as originating in Mexico and is listed by UNESCO (n.d.) as part of the Intangible Cultural Heritage of Humanity, it is actually part of the heritage of many cultures and Indigenous communities. These moments go beyond learning about historical figures, places, and events; they are opportunities to delve deeper into nonmaterial culture passed down between generations and their importance to the cultural identity of a people. That is, these games allow players to vividly experience and learn about different cultures, connect with them, and improve their own cultural identity (Musichina 2021).

It is acknowledged that not all players will attain cultural awareness through gameplay or, to the extent possible, through other educational resources such as documentaries. Furthermore, not all players may feel compelled to seek additional information about the in-game representations or to visit the actual locations depicted. Consequently, it is recognized that these VGs cannot be a substitute for the cultural appreciation derived from direct engagement with descendant communities, as such games do not replace experiencing tangible and intangible heritage through alternative means.

However, there are opportunities to incorporate these games into educational settings, such as classrooms, as part of the learning process. For example, as discussed, the immersive jungle climate in SotTR creates learning opportunities to explore threats that impact the region and the communities that rely upon it. At the same time, the café scene celebrating el Día de los Muertos is a way to have a conversation about the celebration that delves deep into the traditions and beliefs of distinct cultures. At a minimum, these games can be used as catalysts by educators to discuss cursory or inaccurate portrayals of historical events, questionable archaeological practices, and the portrayal of CH to not only distinguish fantasy from reality but also bring awareness to such matters.

3.3 Cultural Awareness and the Future of Video Games

While this work focuses on SotTR to illustrate its many points, other commercial VGs also signal that the VG industry is moving in a positive direction with how CH matters are portrayed. Never Alone (also Kisima Inŋitchuŋa) (Upper One Games 2014), for example, is an “atmospheric puzzle platformer” that delves into the traditional lore of the Iñupiat people, offering players an immersive experience primarily focused on finding the source of the external blizzard that endangers the central character’s village (E-Line Media 2016). The indie game has garnered considerable interest for its storytelling, incorporating many cultural elements, including language, objects, landscapes, and spiritual value (Mol et al. 2017a). The game is said to be a collaborative effort between members of the Alaska Native community, the Cook Inlet Tribal Council (2017), and the developer, having taken over two and a half years to complete (Hanussek 2024). There are questions raised regarding its need to generate revenue as a commercial game and how this may have led to compromises in the representation of Indigenous heritage; that is, concerns are voiced that the well-meant depictions may fall short in favor of needing to appeal to global audiences (Laiti et al. 2020). However, the effort emphasizes an earlier point, demonstrating the potential of CH depictions in commercial VGs when meaningful collaboration occurs between those in the game industry and Indigenous communities whose cultural values these games attempt to represent.

It can also be asserted that Never Alone and games like SotTR characterize vastly different genres, with Never Alone potentially helping define an entirely new type of game altogether (if not argued to be a serious game); thus, making any comparisons between such games incredibly difficult or altogether unfair. However, Hanussek (2024) compares AC Unity and Never Alone, despite their genres, alongside the understanding that Ubisoft’s unintentional preservation of tangible heritage through its Notre Dame depiction (in the context of the 2019 fire) drastically contrasts with the deliberate preservation of the Iñupiat culture in Never Alone. According to Hanussek (2024), the games promote and capture CH in a VG (albeit in different ways), and thus, a comparison is possible. They were also developed with the guidance of heritage experts, which, according to Hanussek (2024), strengthens the status of these games as legitimate conduits for heritage preservation.

Consequently, it is argued that games that fall within the same genre as SotTR can demonstrate a commitment to the portrayal of CH and offer educational opportunities. As described, the AC games have long been admired (and vilified) for their attempts at true (albeit believable) and detailed representations of built CH. In recent years, the Discover Tour series has been made available as part of the AC: Origins (Ubisoft Montréal 2017), AC: Odyssey, and AC: Valhalla (Ubisoft Montréal 2020) games (alongside standalone versions), which afford players the ability to explore Ancient Egypt, Ancient Greece, and the Viking age, respectively, as a way to learn more about their history and everyday life (Ubisoft 2022).

Unlike the respective games themselves, these tours are conflict-free (i.e., no combat mechanism), where players (and nonplayers), students and educators can embark on guided tours and stories (Camuñas-García, Cáceres-Reche, and de la Encarnación Cambil-Hernández 2023; Cole 2022; Ubisoft 2022) curated by historians and experts (Ubisoft 2022), creating an immersive and educational experience. As with other games in the franchise, the content was created with academics, including archaeologists, historians, and other experts in their respective fields. Furthermore, in the most recent release of the series, players assume the role of different Anglo-Saxon and Viking characters, putting them at the center of embarked-on quests as they explore maps of Norway and Anglo-Saxon England to learn more about both countries’ history (Ubisoft 2022). Curriculum guides are also available in conjunction with the McGill University Technology Learning & Cognition Lab, divided into disciplines that connect learning objectives, game features, content, and instructional recommendations so that teachers can create their lesson plans (Ubisoft 2020).

The Discover Tour series is described as “a form of virtual heritage tourism” (Politopoulos et al. 2019, p. 319) in the way it combines archaeological research, museum exhibitions, and academic scholarship with gameplay interaction and customization (Cole 2022). As with the arguments presented thus far focused on the portrayal of CH in VGs, Cole (2022), citing Rollinger (2020), explains that the series has the added effect of “blurring the differences between history, games, and heritage” (p. 39). That is, it shows how these games can adeptly blend entertainment and educational elements (Cole 2022; Mariotti 2021; Mortara et al. 2014; Wang 2021). Thus making the exploration of heritage more accessible, captivating, and impactful for worldwide audiences (Mariotti 2021).

The series helps demonstrate the strength of VGs as an educational tool and their potential to raise awareness of CH (Camuñas-García, Cáceres-Reche, and de la Encarnación Cambil-Hernández 2023). Rather than simply “telling” about historical events through VGs, historians and archaeologists have opportunities to “show” historical accounts (Mariotti 2021). More importantly, they can use these games to describe “why” something happened, using drama, story, and characters to create a compelling experience (Mariotti 2021). Altogether, educators can bring these games and extensions, such as the Discover Tour, into the classroom setting, creating engaging and immersive opportunities for their students to explore the past, dispelling myths about ancient people, and spark conversations about matters of importance in CH contexts.