 My name is Salerubio, I'm a lecturer at the University of Edinburgh, but I am also the Director of Math History Games, which is a game studio, a small game studio that creates educational games. I'll talk about what educational games means right now, but I'm presenting or researching what we are doing in terms of how to use video games and special game design to explain archaeology to the main audience. So if you take a look at archaeology in video games, usually what you have is a copy of the stereotype that you see in other media, such as the classic ones in the archives. But then you have your own archaeology into the video games, like Tomb Raider or the Uncharted franchise. They are really big franchises that they are super famous in video games, but all of them use the same tropes about archaeology and archaeology. So that's more or less the vision that you get from archaeology in mainstream video games. The problem is that, obviously you say, okay, this is, let's say, an entertainment game, so what about when you try to make a game to explain something? So when you create a school of entertainment or education in video games, the problem is that if your goal is education instead of having an interesting game, an engaging game, let's say the perspective of the public of this game is not great. People think that these games are boring because usually they are, especially compared to, let's say, what you can play. I mean, if you have this high number of hours and you want to spend a game, you want the game to be contained, if it's not, you will move to a different game. That's quite interesting because even in the case of big games such as Assassin's Creed, so you have $200 million of budget and they created an educational tool from this game. What they essentially did is they removed all the fun parts of the game and then they created a guided vision to eat it. So it's like, okay, $200 million, that's everything that you can come in terms of education. So certainly you don't have more ideas than that in terms of time to say something in an interesting way. So what we think is that if you take a look at what video games can offer, some of these things can be really useful for education. Maybe they are problem-solving. It's a problem-solving mechanism that can translate into some interesting story. So the idea is that you have to learn something in order to solve these puzzles. So that's generally the definition of a game itself. So the question is, if you can use this design element of learning and problem-solving to fix something about that technology. The case study we are working on right now is called Access Tops. This is a game that tries to explain the story of this one of the most important sites in panellistic Europe at Acuerta. And the idea is to play human evolution but also findings of these species and try to break some stereotypes about games, sorry about archaeology such as for example that these species were not really smart or that gender specialization was already something if you take a look at the kind of things that you can see in other video games. So what we did is a small project, as you can see here, but I will explain the decisions we took in four different areas reached into game design. The theme is a theme, so it's a refined concept of the game. Everything about this theme, and in no case we chose transcendence. So it's like, yes, you have a different species, you have a million years of chronology, but there is a theme that there's something more important and stable than the different individuals which is the concept of hominids or human, if you want, or human evolution. So everything, this is the main menu, so the main menu with this sky, with the stars, it's kind of relating to this sense of transcendence because all the hominids, despite of what the sky was, they were seeing, they were seeing stars. So it's something that links all the different species. Then you have lore, lore in games is the knowledge that you transmit to the players through different mechanisms called expositions. So what we did here is, yes, you can take a look at it. But the important thing is that the game mechanics have this lore included, so if you don't know what's a chopper, the best way of learning what it is is to make one and then use it to some specific actions. So in this way, you learn what is exactly the story line. The story line, that's quite a 3D one if you talk about a million years of story because that's not story, I can't beat a num. So what we did is we took a different approach. The idea here is that we take some, a kind of savior, this is, I'm from the Golden Age, and the idea here is that this group of savior is explaining stories about their past, about the legend of their ancestors, and that's a skill that we use to introduce stories of different hominids. So some of these species are only underclass, some of them are about antecesors, and the idea here is that you have a link between all the different species, that is this group of sapiens, and for this reason you are also relating the player to the species that is actually telling the stories. So this is the idea, you start with the introduction and then you go to the species and you start playing with the different species such as the emancipator and the sacros. Then you have the mechanics, and in here what we have is very specific goals such as unplug a mountain gamma patch that you can go there and do some stuff. And the different actions that solve this puzzle to achieve these goals are actions that are related to hunter-gatherer life, and this is what we know about what they did. So that's more or less the idea. Here you have for example things like in all games hunters are made. It's quite an event of a species, that's what everybody is doing. So we simply change that, and then what we do is the different actions for antecesors and the under-touch, if in one group, let's say that the hunter is made, and the other one lives in the other way around. In this way, even if we are not telling it, we are showing that the different actions were made by the two channels. Also with children, we are older people, these are things that you usually cannot see in mainstream media games. Here you have events. That's another thing that these environmental events have happened and you have seen which one of them too will happen. That's also a mechanism to add events and knowledge of these times such as for example climate change, environmental change, relations with other plants. So all of these things are condensed in this format so we don't have to think about it. The idea here is that we are playing with the imagination of the player to add, let's say, the gaps that we cannot really play with, graphics or with. And finally, in terms of law and exposition, another thing that is really important is what's called environmental narrative, meaning that there are lots of things that you don't need to explain if you show it. So here we have a lot of findings from what we know, for example, the animals that we have, all the animals of the game are based on what they have found, the different tools, the materials of the tools, or even the fact that they have to their bodies. So you don't need to explain that if you show that the animals have the bodies tattooed, the player will already see it. To conclude, the idea here is that we believe that these are gaps between this current and terminal and current engagement approaches to games that we can actually exploit. But most people don't see that again, which means they are not funny. Let's say the game will be a level change again. Thank you very much.