Design principles for the development of a digital

educational escape game based on literary texts

Aristides VAGELATOS
Computer Technology Institute “Diophantus” (CTI), Greece
vagelat@cti.gr

Spyros PAPADOPOULOS
Laboratory of Environmental Communication and Audiovisual Documentation (LECAD),
University of Thessaly, Greece
spap@uth.gr

Panagiotis FARANDOURIS
“Appoploo” tech company, Greece
farandourisp@appoploo.gr

Abstract
Nowadays, «escape rooms» are a popular type of recreation that appeals to a wide age range
of people who like to have fun playing games. At the same time, the rapid growth of the digital
games industry has led to the creation of a new hybrid type of escape rooms, the digital escape
rooms. In addition to their entertaining character, digital escape rooms quite often exploit an
educational dimension and are aimed at a more specific audience, who want to learn while having
fun. Project «Escape through Culture», concerns the design and development of a digital
educational escape game aimed at creating both a cultural as well as an educational experience
for the user/player. Based on three different pillars : digital escape game, literary texts, cultural
landscape, the project integrates in its context cultural spots of interest in Greece, as well as
relevant literary texts and targets a bilingual audience in order to recreate and at the same time
educate.
Keywords : educational games, digital escape games, escape rooms, augmented reality, virtual
reality.

Résumé
De nos jours, les «escape rooms» sont un type de loisir populaire qui attire une large tranche
d'âge de personnes qui aiment s'amuser en jouant. Parallèlement, la croissance rapide de
l'industrie des jeux numériques a conduit à la création d'un nouveau type hybride d'escape rooms,
les escape rooms numériques. Outre leur caractère divertissant, les escape rooms numériques
exploitent assez souvent une dimension éducative et s'adressent à un public plus spécifique, qui
souhaite apprendre tout en s'amusant. Le projet «Escape through Culture» concerne la
conception et le développement d'un jeu d'évasion numérique éducatif visant à créer une
expérience à la fois culturelle et éducative pour l'utilisateur/le joueur. Basé sur trois piliers
différents : jeu d'évasion numérique, texte littéraire, paysage culturel, le projet intègre dans son
contexte des lieux culturels d'intérêt en Grèce, ainsi que des textes littéraires pertinents et vise
un public bilingue afin de recréer et en même temps d'éduquer.
Mots-clés : jeux éducatifs, jeux d'évasion numériques, salles d'évasion, réalité augmentée, réalité
virtuelle.
Introduction
Nowadays, «escape rooms» are a popular type of recreation that appeals to
a wide age range of people who like to have fun playing games. At the same time,
the rapid growth of the digital games industry has led to the creation of a new
hybrid type of escape rooms, the digital escape rooms. In addition to their
entertaining character, digital escape rooms quite often exploit an educational
dimension and are aimed at a more specific audience, who want to learn while
having fun.
The aim of the project «Escape through Culture1» is the development of an
innovative infrastructure for the creation of digital escape games to enhance the
promotion of the Greek cultural heritage in Greece and abroad, with the
simultaneous use of Greek literature texts.
The project attempts to highlight new playful cultural ways of acquainting
Greek and foreign visitors to the regions of our country on the basis of their
familiarity with remarkable literary texts by Greek authors and poets.
At the same time, it aims to combine the new trends in the development of
digital games (augmented reality technologies for mobile devices and PCs) with
the inexhaustible cultural wealth of our country. Furthermore, gamification is an
emerging trend in education, culture and tourism. In this context, this project
attempts, among other things, to investigate whether the implementation of
specially designed gamification activities that utilize literary texts can enhance
and make the cultural experience of the visitor of a certain place easy and
effective by utilizing modern technological achievements (Mantzari et al., 2022).
Approaching space and time through literature in a playful way is in itself a
multi-level challenge. What constitutes an escape game and how can the medium
through which the digital game is conducted affect key concepts that are
individual components of the games of «Escape through Culture» ? How are
literary texts selected and to what extent do they determine the playful actions ?
What is the boundary between inspiration and limitation that can result from a
literary selection ? These are just a few of the many questions - challenges that
have emerged in the course of the project so far and which are answered through
constant cycles of testing, feedback and development.

Literary text as a basis for digital escape games

Considering the project’s main target, that is the utilization of landscape as
well as literature texts as the main pillars of the escape game, the challenge that
the creators had to face was the connection between landscape and literature
and the combination of these two variables so that literature leads to landscape,
and landscape emerges through literature.
The term «cultural landscape» has taken on distinct meanings over time as it
developed in geography and spread to other scholarly disciplines. This significant
disparity of meanings has vastly enriched the contemplation of the relation of

1
http://escape.cti.gr/

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Design principles for the development of a digital educational escape game based on literary texts

humans to their environment. Many researchers focus on the study and

explanation of the landscape itself, while others focus on how we see it,
considering human ideas, attitudes, and aesthetics. The landscape is
interconnected with a place’s social, productive, environmental, ethnographic,
historical, and cultural elements. As such, it evokes and highlights links with it,
which are reflected in what is called «sense of place». Hence, it is considered a
«hyper-space» that extends beyond the three dimensions with the additional
ones constituting the interpretative parameters of the landscape and changing
according to the interpreter (Kizοs, n.d.). The Greek landscape, which has a
leading role in the current project, follows and reflects the country’s developments
with rich historical signs and profound transformations due to human
interventions, which have left strong traces, sometimes in the form of
degradation, sometimes with respect and sensitivity.
The cultural landscapes we deal with in this project are landscapes that have
been shaped by human engagement. They are geographic areas (including both
cultural and natural resources) that are associated with historical events,
activities, or individuals, or have any other cultural or aesthetic value. Given the
function of the narrative as an innate need for communication of human thoughts
and as a key element of literature, this digital escape game focuses on site-
related literary texts as a vehicle for the player's acquaintance with geographical
regions of Greece and treats the narrative not only as a starting point, but as a
living part of the game, which enhances the player's immersion. In this way, the
literary text narrative acts as a «canvas» on which the player's personal quests
and trips in the space and time of the game and the cultural landscape are
developed. Space, one of the critical features of escape games, in this digital
game, takes on a multifaceted role as it is treated as:
• the space-landscape of the present day referred to in the literary text
(now);
• the place-landscape to which the literary text refers at the time described
in the text (then);
• the physical space of the player's presence (in situ, indoors or outdoors);
• the virtual space as experienced by the player through the digital tour;
• the space - landscape as shaped by augmented and virtual reality
technologies.
The dialogue between space-landscape and literature in this game,
regardless of time, is particularly intense and sustained, since, with the help of
technology, all the game's challenges arise from the combination of the two. The
significance of games in landscape’s construction involving the feedback
relationships between social conventions and the individual and between the
individual and physical space, contrastingly, is attested by recent studies (Kühne
et al., 2020). Similarly, the added value of remote cultural experience served by
the games is claimed by Holden (2015), especially in the case of the COVID-19
pandemic (Galani et al., 2022).

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 As mentioned above, the literary text is a functional and structural element in
the game. It is the starting point from which the player starts to wander around
the space and get to know it. It is the link between the player and the space
simultaneously but it is also the starting point of the narrative and the action. This
is mainly due to the function of the literary text. On the one hand, it functions as
an act of communication where a series of events, real or fictional, are presented,
and on the other hand as the product of the narrative process itself. In both cases,
it is an element of cultural expression, whether placed in the literary-world sphere
or in the real world.
An interesting observation regarding the conflation of geographical
places/cultural landscapes and literature is their common characteristic: diversity.
In particular, the diversity of literary genres results in significant differences
between poems and prose in terms of their approach to landscape. Poems, being
much more abstract than prose texts, expand or even freeze time and therefore
capture the place in its diachronicity. In contrast, prose texts, by following, as a
rule, the realistic condition of narrative, depict a much more recognizable place
within fairly limited coordinates (Modinos, 2015).   
In order to achieve the promotion of Greek literature and its connection with
the cultural landscape in this project, we use Greek original and translated literary
texts (prose and poems), which are harnessed for the virtual gamified
acquaintance of the player-visitor with the cultural landscape of various
geographical regions of Greece. The selection of literary texts is based on the
consideration of the landscape either as a setting in which a story unfolds or as
a stimulus for recalling memories and other thoughts. The selected texts of Greek
writers were drawn from «Photodendro»2, the national aggregator of educational
content. At the same time, where necessary, other literary texts, or other types of
texts that have a complementary role in the digital game, have been selected as
well.
A general methodology for the compilation, processing, analysis and semantic
annotation of the literary texts deployed in the design and the development of the
core elements of the digital escape games, i.e. scripts, digital «escape rooms»,
challenges-puzzles was developed (Papadopoulos et al. 2022; Mantzari et al.
2022). The steps taken subsumes the following :
• The compilation of the Escape through Culture general corpus, which led
to the creation of ‘’The Geography of the Greek site-related texts in the
textbooks’’ (http://escape.cti.gr/en/map), an interactive map which depicts
the geographical locations where the stories of the selected texts take
place (Figure1).
• The processing and analysis of the texts relevant to each geographical
location, which involved both distant-reading and close-reading analysis
performed through the use of web-based tools, such as the Voyant tools
(Platte, 2017) and Sketch Engine (Kilgariff et al., 2014). Using these tools,
we have generated lists of collocations (words that repeatedly occur near
each other) whose study was helpful for the thematic study of the literary
2
http://photodentro.edu.gr/aggregator/?lang=el

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Design principles for the development of a digital educational escape game based on literary texts

texts, i.e. identification of words or phrases related to the cultural

landscape.

Figure 1, The Geography of the Greek site-related texts in the textbooks

• The development of a taxonomy of key concepts/topics related to the

cultural landscape that has been used for the semantic annotation of the
literary texts. The taxonomy for the cultural landscape is based on the
general approach claimed by Andrzejewski & Salwa (2020), an alternative
theory of landscape grounded on the experience, and subsumes a body
of concepts that are vital to the history as well as to the current state of the
landscape (e.g. points of interest related to the natural and man-made
environment, modern buildings, archaeological sites, historical
monuments, etc.) (Alves & Queiroz, 2015).
• The semantic annotation of the literary texts was performed using the
ΑΝΝΟΤΑΤΕ function of CATMA, a web-based application for computer-
assisted text mark-up and analysis (Horstmann, 2022). Chunks of the
literary texts were identified and assigned with the taxonomy tags that
illustrate the different types of the landscape as mentioned above. The
annotated chunks were harnessed in the design of the diverse digital
escape rooms, aka in the 360o panoramas, and in the development of the
puzzles that the users are asked to solve based on the information hidden
in the relevant excerpt of the literary text.
An example of how the cultural landscape emerges from the literary text and
how the virtual gamified acquaintance of the player-visitor with this landscape is
accomplished in the desktop version of the game for Eleusis, is illustrated in

5
Figure 2 and Figure 3. In the following excerpt, taken from Yannis Ritsos’ poem
«Persephone», which is inspired by the myth of Persephone, the predominant
image emerging is that of the refugees, who were forced to flee their homes in
Asia Minor and arrived in Eleusis in 1922 and 1923. The picture of the refugees
on the pier of Eleusis with all their property in one luggage reminds the
Persephone, who, according to the myth, after her abduction by her uncle Hades,
was obliged to travel from the underworld to up world every six months:
The traveler speaks :
«It is true, I tell you ─ I was fine over there. I have grown used to it. It is here I
cannot bear it ;
There is so much light-it makes me sick-naked, harsh light; it reveals everything,
conceals everything; it changes so often you cannot keep up ; you change ;
you sense time slipping away ─ an endless, wearisome movement ;
glasses shatter in the move, are left behind in the street, sparkle ;
some people jump ashore, others board the boats ; ─ just as when
our visitors came, went, and others came; their big suitcases sat for a little while
on the sidewalk
a strange smell, strange places, strange names ─ the house was not our own ;
─ it too was a suitcase containing new underclothing, unfamiliar to us
someone could pick it up by the leather handle and slip away. We were glad then,
indeed. A move then seemed somehow to be a move upward ; (Ritsos,
Persephone)».

Figure 2, Example of a digital escape room stage with the literary text
For the sake of the game, the mythological landscape concerning the
Persephone’s movement acquires the significance of the symbol and it is
conflated with the historical and social landscape of Eleusis, which at the

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Design principles for the development of a digital educational escape game based on literary texts

beginning of the 20th century has received up to 3,000 refugees from Asia Minor.
The digital escape room that «hosts» the literary text is a 360o representation of
an old laid-up boat at the Eleusis shipyard (Figure 2).
The clues for the puzzle in Figure 3 encourage the dialogue between the place
and the visitors urging them to identify the refugees’ property hidden in the boat
and put them into the suitcase.

Figure 3, Example of a digital escape room with a puzzle clue

Design principles
In the next, the main design principles are presented, regarding technical as
well as functional specifications, having in mind that Escape project has the
broader concept of an escape room game, but with the ultimate goal not of «per
se», but in the sense of gathering knowledge and experience about the space
itself from which the player is invited to escape. Accordingly, the player must face
a series of questions, puzzles or other challenges in order to complete a scenario
that leads to the actual «escape». From the above, it is obvious that the «space»,
and how the player moves through it, plays a dominant role in the player's overall
experience within the game.
The space can be either «real», in the sense of the player's three-dimensional
movement within it, or a «projection» of reality in a way that allows the player to
perceive his environment. From the above we can distinguish two cases, which
depend on the platforms for which the game is developed:
● the player is in the center of an ideal space and can interact with everything
around him/her without changing position,

7
 ● the player can move around the space to interact with points in the space
from different positions.
The first case involves the game in a desktop environment as well as possibly
in some form in a mobile app. The second case involves the use of an Augmented
Reality approach, since the space in this case is the space surrounding the user.
As mentioned the player's experience is closely related to the space that
surrounds him/her. The whole experience therefore has to do with the sequencing
of a set of ideal or real spaces in which the player either moves or simply interacts
with parts of the space. The concept of interaction can take many forms:
● the player collects objects,
● the player activates functionalities such as puzzles and sub-activities in
order to achieve a desired goal,
● the player moves to another space in order to perform a new set of actions.
The whole sequence of these actions forms the 'scenario' of the game.
In this presentation, we will further elaborate on technical choices set during
the design phase of the project. For example, in the desktop implementation the
player is in the center of a 3D scene, it is common for the “skydome” to remain
stationary relative to the viewer. This technique creates the illusion that objects
in the skydome are infinitely far away, as they do not exhibit parallax motion. This
is often a good approximation of reality, where distant objects such as clouds,
stars, and buildings appear to be stationary when the view shifts from relatively
short distances.

Implementation issues
The progression of the game from the player's entry to the player's exit can
be depicted in the following flowchart (Figure 4).

Figure 4, Game flowchart

Based on the initial design, the game will evolve in two different means: the
desktop, and the AR.

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Design principles for the development of a digital educational escape game based on literary texts

Desktop version
For the implementation of the game for use on a desktop computer, the
solution of developing a web application through which the user will play the game
was preferred. The advantages of the web implementation are many:
● Common treatment / implementation on any desktop operating system.
● Easy user access via a simple browser.
● No installation required.
● Any changes to the application can be passed transparently on to the player.
The gaming experience through a desktop computing system is obviously not
allowing the user to easily interact in real time and space as is the case with an
AR system. Consequently, in this case the player is in the center of an ideal space
and can interact with everything around him without changing position. This is
achieved by using a skybox or a skydome.
A skybox/skydome is a method of creating a background to make the game
level appear larger than it actually is. When a skybox/skydome is used, the level
is enclosed in a cuboid or sphere. The sky, distant mountains, distant buildings
and other inaccessible objects are projected onto the sides of the cube or the
surface of the sphere, creating the illusion of a distant 3D environment.
Processing 3D graphics is computationally expensive, especially in real-time
games, and poses multiple problems. Layers must be processed at enormous
speeds, making it difficult to render huge landscapes in real time. In addition, real-
time graphics generally have depth buffers with limited bit depth, which puts a
limit on the amount of detail that can be rendered in the distance.

Figure 5, 360o picture that is used as skydome

9
 To avoid these problems, games often use skydomes. With careful alignment,
a viewer in the center of the skydome will perceive the illusion of a real 3D world
around them, consisting of this sphere.
In the desktop implementation the player is in the center of a 3D scene, it is
common for the skydome to remain stationary relative to the viewer. This
technique creates the illusion that the objects in the skydome are infinitely far
away, as they do not exhibit parallax motion. This is often a good approximation
of reality, where distant objects such as clouds, stars, and buildings appear to be
stationary when the view shifts from relatively short distances. However,
designers need to be careful about the objects they include in a stationary
skydome. If an object of known size (e.g., a car) is included in the texture and is
large enough for the viewer to perceive it as nearby, the lack of parallax motion
may be considered unrealistic or confusing.

Figure 6, the 360o picture used in a game’s stage

AR version
Augmented Reality (AR) is defined as the interactive experience of a physical
space, within which an augmentation of the properties, characteristics and
information of the contained objects or of the space itself takes place. This
augmentation is caused by the additional perceptual information created and
projected by a computer through a screen and the particular human-machine
interaction defined by the new conditions of the augmented environment.
AR applications include 3 main features:
1. The combination of physical and virtual spaces.
2. Real-time interaction.

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Design principles for the development of a digital educational escape game based on literary texts

3. Accurate three-dimensional capture and visualization of virtual and real

objects.
The sensory projection layer can be characterized as constructive, adding
information to the space and objects, or as destructive. In the latter case, the
projection layer works in a subtractive way, using various techniques to block
certain parts of the space and/or objects that do not serve the application
scenario. The ultimate goal of AR applications is to create a seamless overall
experience that immerses the user as much as possible in a mixed, hybrid version
of the physical space and the additional functionalities of the scenario. The
augmentation of lived reality is caused not only because of the display of
information data and its perceptual synthesis with the physical space, but also
through the integration of sensory experiences that are considered inherent parts
of an environment.
According to the above, the implementation of the AR version of the game can
be done in two ways. Either by projecting information and interaction objects in
the physical space of the scenario implementation (in-situ version), or by
transforming any private or public space into an 'other', new space, projecting
around the user an artificial/digital sphere of interaction and events (native
version). In both cases, the implementation methodology and workflows applied
in the desktop version can be followed, and where necessary, appropriate
modifications will be made in order to serve the scenario and atmosphere of the
game in an optimal way.
Indicatively for the case of the native version, the user will be asked to select
any horizontal surface of his real space (see figure 7) which will be used as a
reference for the ground plane of the augmented space, but also as a central
point around which the environmental and interaction elements foreseen by the
scenario will be placed.

Conclusions
The design and implementation of digital escape rooms in the framework of
the project "Escape through Culture" is about finding creative and playful ways to
highlight Greek literature and the Greek cultural landscape.
The strategic choice of adopting two different game versions, the Desktop
version, where the player plays the game in an enclosed space, independent of
the literary work's landscape, and the Augmented Reality version, where the
player plays the game on a portable device in an enclosed or open space, was a
major challenge in itself within the project. The design of different digital escape
room versions emerged from the study of the potential player's needs. Each
version keeps up with different needs and requirements without excluding the
possibility of player engagement in any order. It helps the player to cope with the
problem of distance, to meet the need to prepare a visit to the site and finally to
be able to engage in a playful process of getting to know the cultural landscape.

11
 Figure 7, Selection of real surface as virtual terrain

Practical, technical and conceptual difficulties associated with the use of

different technologies in the design of escape rooms relate to the duration of play,
the scope and complexity of the activities, the way of presenting the literary
snapshot, the different rendering of the concept of escape, the use of a single
literary text or multiple literary snapshots, the way of organising, modelling and
developing escape room scenarios, are a small sample of the ongoing
development within the project.
“Escape” project is implemented by a consortium of three partners: CTI,
EPEOT and APOPLOU and co‐financed by the European Regional Development
Fund of the European Union and Greek national funds through the Operational
Program Competitiveness, Entrepreneurship and Innovation, under the call
RESEARCH – CREATE - INNOVATE (project code: T2EDK-02992).

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Design principles for the development of a digital educational escape game based on literary texts

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