April 2012 Volume 15 Number 2 - Educational Technology & Society

2. Storyline – describes the dialogue between characters in the story (e.g., virtual host). It includes references to
complementary media used in the conversation such as photos and audio (special effects or music).
3. Activity – specifies the host’s activity in this scene, e.g., making coffee.
4. Actions – describes actions that sustain the host’s activity, the objects used in the activity and a brief explanation
of the activity.
5. End of the activity – delivers the results of the host’s actions and the player’s actions in a visual format. If
possible, it is complemented by a sound effect.
6. Interaction – indicates the type of interaction that the player has in the game system, for example finding the
toaster or the grinder.
7. Feedback after activity – clarifies the type of feedback received in point 5 (end of the activity).
8. Learning goal – states explicitly what the learning goals of the scene are. For example, understanding the
working of a floor loom and a “rissa” (Finnish word denoting part of the loom).
9. Follow up – indicates the following scene(s).
Procedure
We used more than one mode of data collection (Table 5). All data was captured digitally and we followed a
qualitative interpretational approach (Neuendorf, 2002). To establish trustworthiness, two techniques were utilized,
prolonged engagement and the triangulation of methods (Lincoln & Guba, 1985).
Design: From brainstorming to LieksaMyst
HCG stories in LieksaMyst
The HCG stories in LieksaMyst are based on historical fictional narratives or fictitious stories that are set in the past.
These narratives are supported by historical circumstances and detailed established facts. Thus, we can use the
existing physical historical atmosphere of each story to stimulate the imagination of the visitor (now player) and so
we bring life to the exposition. Different virtual characters from the past act as the player’s host. In this sense, it is a
type of role-playing game because the players take the role of the guests who listen to and help their hosts.
The virtual characters and players communicate by means of a mobile phone (Figure 4). The game’s enchantment
starts when the players, in the present, have a conversation and help their virtual hosts to perform their daily
activities in the past. The players support their hosts by locating different objects needed to complete their tasks. For
example, Jussi (a forestry worker at Pusurinjoki camp), asks the player to find his work tools. Hence the virtual hosts
in the HCG stories converse with the player and, in so doing, they explain their life style in the past. The border
between past and present is blurred when the players seek and identify objects to help their hosts.
It is relevant to mention that “players” do not refer to a specific group of children or adults. Instead, we promote
inclusion by welcoming anyone who wants to play and who has the skills required to operate a mobile phone.
Phases of the design process
Figure 5 sketches the five development phases of the HCG stories. Its foundation is the analysis of the information
gathered in the first two phases, which focused mainly on the understanding of the different context aspects (e.g.,
environment, user preference of media, types of information). Our design decisions were sustained by voluntary
visitor contributions and influenced by those activities that the visitors could do on-site (in accordance with museum
regulations) supported with the available media (local resources).
Once the first prototype was ready, we tested it in Phase 3 with three different groups (Table 4). The prototype was
unanimously well accepted by the testers, and it was workable within the Pielinen Museum. Phase 4 focused mainly
on building the technical infrastructure, completing the second story and refining both stories so they could be used
in LieksaMyst. Finally Phase 5 focused on installing the latest version of the LieksaMyst and offering it as an official
museum service. The process included incorporating the museum infrastructure and training museum personnel to
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