<figure><img src="image_414.png" /><figcaption>Fig. 3. Market repartition of "Serious Games" released after 2002
[1265 games]</figcaption></figure>

<figure><img src="image_415.png" /></figure>

Out of the 953 ancestors of Serious Games, 65.8% were designed for the educational market, as seen in figure 2. We also note that 10.7% of them were created for advertising and 8.1% for ecology. The ancestors of Serious Games show a clear dominance of educational games. The situation is very different when we look at the current wave of Serious Games in figure 3. Though
Education is still a major market, it represents only 25.7%. As the size of Education decreased, all the others market have grown. Advertising reaches the top with 30.6% of the games, and all others markets that were often below 2% are now between 4% and 10%.

Overall, we can observe that most of the ancestors of "Serious Games" are in fact "educational games" - edutainment, edugames, etc. According to these figures, we can argue that the current wave of Serious Games allows video games to embrace a wider variety of themes. Their ancestors were mostly meant for education while current Serious Games can be found in different markets with a more homogenous breakdown. This may be due to the fact that Serious Games are far more numerous than their ancestors. Indeed, 1265 Serious Games were released between 2002 and 2010 (8 years), while only 926 of their ancestors were published between 1980 and 2001 (21 years). Although Serious Games and their ancestors match the same definitions, here we can see a difference between them. Serious Games are different from their ancestors not as individual games, but as a group of games which targets a wider range of topics thanks to a larger population.

The full list of the 2218 Serious Games that we used as a reference corpus for these data is available in an online collaborative database: http://serious gameclassification.com/

## 4. DISCUSSION

Taking into account the existence of games designed for serious purposes before 2002, we can question why the oxymoron "Serious Games" has only been widely used since the beginning of 2002. Indeed, if such games are available since the beginning of video games, why wait 40 years to name them with a specific term?

Several elements can explain this fact. The main one seems to be the dominance of "entertainment" games in the market, and the bad reputation from which they sometimes suffer. As we
noted earlier, the current wave of Serious Games mainly originates from the USA. Games like America's Army and the work of Sawyer through the Serious Game Initiative were the driving forces of this current wave. Our conviction is that U.S. designers of "Serious Games" had to invent a new label to convince people that their games were "not just for entertainment." But why did video games have such a 'negative' image that these designers wanted to emphasize how different they are from "entertainment video games"?

The history of video games can shed some light on this topic. More specifically, we think that two factors explain the quite 'negative' image of video games in the USA at the beginning of the 2000's:

- The marketing strategies of video game manufacturers that targeted children's entertainment.

- Several controversies about the content of video games, especially their violence and the possible impact they may have on children.

## 4.1 LEISURE FOR CHILDREN?

Historically, two economical models co-existed for video games. In the first one, players pay for each play session, for instance with arcade games. In the second, players buy a retail copy of the video game and play it on a home console or computer. With such economic models, it seems logical that the most profitable games are the ones that players enjoy the most. The more fun a game is, the more likely players are willing to pay for it. Moreover, with arcade games the place in which you play matters. Therefore, the first arcade cabinets were set up in bars, restaurants, shopping malls and amusement parks. Games located in such places are designed to entertain people, and not to make them learn something. This fact is far from being anecdotal. The first home video game console, the Odyssey (Magnavox, 1972), is sold as a system with both leisure and educational games. However, manufacturers realised that the home video games that sold the most were the ones based on successful arcade titles. For example, many home versions of *Pong* were released between
1975 and 1977.<fnref n="1" /> Later on the best-selling titles on the VCS 2600 (Atari, 1977) were adaptations of popular arcade titles like *Space Invaders* (1978) and *Pac Man* (1980). So, while educational titles were available on home consoles, they quickly faded away because entertainment titles sold more copies. However until this time, games were not targeted at a specific age range. Adults were often seen playing video games in TV advertising.

Then came the 1983 crash of the video game industry in the USA. Due to this huge crisis, retailers believed that “video games were a fad”, and refused to sell new consoles or cartridges, fearing people would no longer buy them. This was a huge problem for Nintendo, who successfully launched the Famicom in Japan and was looking for a way to sell it in the U.S. In order to convince American retailers that its home console was different from previous ones, Nintendo disguised it as a toy. The name was changed from “Family Computer” to “Nintendo Entertainment System,” and the console was shipped with a robot toy. Moreover, Nintendo’s advertising campaign solely focused on children, hoping it would sell better. And this strategy was very successful. But to convince parents that the N.E.S. and its games were “safe for children,” Nintendo created a very restrictive system to control which games were published for its console. In order to release a game for the N.E.S., game developers had to adhere to some limitations, such as to pay Nintendo royalties

<figure><img src="image_416.png" /><figcaption>*Space Invaders* on VCS 2600</figcaption></figure>

<figure><img src="image_417.png" /><figcaption>Pong</figcaption></figure>

<footnote n="1">1. Herman, *Phoenix: The Fall & Rise of Videogames*, 2d ed., Rolenta Press, 1997.</footnote>
and to avoid publishing more than a few games per year. But they also had to follow the "Nintendo Content Policy," which explicitly states that video games must not deal with "topics inappropriate for children," such as violence, sex, religion or politics.<fnref n="1" /> Ultimatively, though the video game industry became a very profitable market again, it was now bearing the image of being "a leisure activity for children."

## 4.2 LEISURE FOR CHILDREN WITH INAPPROPRIATE CONTENT?

Such an image can explain why many people were shocked to discover the existence of rather violent video games. For example, *Mortal Kombat* (1992) raised so much concern among politicians that the video game industry had to create a way to rate games. Created in 1994, the Entertainment Software Rating Board (ESRB) rates video games by adding logos on video games boxes. These logos warn parents about the content of the video games, and display recommended age limitations. But this rating system was not enough to put an end to the debate over video game violence. In 1999, the Columbine tragedy initiated a new controversy, as the two killers were apparently avid players of *Doom* (1993). The full details of this very complex and sensitive debate is not within the scope of this chapter. But we can at least cite Dave Grossman, who clearly accuses *Doom* of being dangerous in his book titled *Stop Teaching Our Kids to Kill*<fnref n="2" />: "Doom is being marketed and has been licensed to the United State Marine Corps. The Marine Corps is using it as an excellent tactical training device. How can the same device be provided indiscriminately to children over the internet, and yet the Marine Corps continues to use this device?"

Whilst his opinion has been later criticized, this retired military officer clearly illustrates what many people in the U.S. were thinking at the time. On one hand, video games "are a leisure activity for children." On the other, many video games feature violent and war-themed content. The existence of *Marine Doom* (1996), a

<footnote n="1">1. Kent, *The Ultimate History of Video Games*.</footnote>

<footnote n="2">2. Grossman & Degaetano, *Stop Teaching Our Kids to Kill: A Call to Action Against TV, Movie and Video Game Violence*, 1st ed., Crown Archetype, 1999.</footnote>
modified version of *Doom II* (1994) created and used by the U.S. Army for training purposes, emphasized this apparent contradiction between the video games audience and their content.

Apart from the ethical and moral considerations on this topic, we can appreciate that in 1999, the image of video games in the U.S. was not very positive. So, when the colonel E. Casey Wardy proposed the *America's Army* project to his hierarchy, we can understand that it would have been a bad idea to call it a "video game" 1. Although it appears to be a coincidence, this game was publicly launched in 2002, when Sawyer and Rejeksi published their white paper on "Serious Games." So, this oxymoron was used as a label to emphasize the difference between *America's Army*, which is designed for serious purposes and not for children's leisure, and entertainment video games. This label must have seemed quite relevant, as many other video games designed for serious purposes used it too, thus launching the current wave of "Serious Games."

### 4.3 U.S. VIDEO GAME MARKET AS THE BIRTHPLACE FOR SERIOUS GAMES?

It is also interesting to note that the two other historical video games markets, Europe and Japan, did not rely on such a label to

<figure><img src="image_418.png" /><figcaption>Doom II</figcaption></figure>

<figure><img src="image_419.png" /><figcaption>Marine Doom</figcaption></figure>

<footnote n="1">1. America's Army, "The Making Of America's Army", *America's Army Official Website*, July 4, 2010, <http://www.americasarmy.com/aa/about/makingof.php#3>.</footnote>
release video games for serious purposes. Video game historians always observed that the Japanese video games market was not focused on a child audience.<fnref n="1" /> Though many games are available for children, games for adults and/or serious purposes also get published in Japan without raising public controversy. Therefore, to release *Dr Kawashima's Brain Training* (2005), Nintendo did not need to use the "Serious Game" label.

Regarding the European video game market, it is very similar to the U.S. game market with one historical exception: a better balance between the home console and home computer markets, especially during the 80's and 90's.<fnref n="2" /> At the time, the European market was always the last market segment to receive home console games. This delay between the international releases of games produced by big studios allowed several smaller companies to thrive on the home computer market. These smaller companies often designed games that addressed different themes than those created by big studios. For example, the wave of "cultural entertainment" video games is a European phenomenon.

To summarize, we can identify that the U.S. video games market was the one that most needed to use a different label in order to be able to produce video games dealing with serious purposes and/or targeting an adult audience.

## 4.4 SERIOUS GAMES AS A LABEL FOR A NEW ECONOMIC MODEL?

These few aspects from the history of video games can help us to understand why we had to wait until the beginning of the 2000's to see a specific term to label video games designed for serious purposes. But the current wave of "Serious Games" is more than just a new label. Current "Serious Games" are also based on a new economic model. While the ancestors of "Serious Games" were based on the same economic model as

<footnote n="1">1. Ashcraft, *Arcade Mania: The Turbo-charged World of Japan's Game Centers*, Pix'n Love, 2009; Kohler, *Power-Up: How Japanese Video Games Gave the World an Extra Life*, BRADY GAMES, 2004.</footnote>

<footnote n="2">2. Donovan, *Replay*, Railton, *The A to Z of Cool Computer Games*, illustrated edition, Allison & Busby, 2005.</footnote>
entertainment video games (people buying retail copies), it is no longer the case for most current Serious Games. Instead, they are now funded by 'clients', who hire a development studio to create a video game tailored to their needs. The studio is paid once to create the game, so 'clients' can use it as they wish. If the game is intended to broadcast a message, it is likely that it will be available free of charge on the Internet. If the game is designed for training purpose, 'clients' will probably use it for the internal training sessions of their employees. As the game's success is no longer tied to its retail performance, we can identify that this different economic model is better suited to games dealing with serious purposes. As we have noted earlier, ancestors of Serious Games were greatly focused on Education while the newer games embrace a wide variety of themes. This may be due to the fact that educational games were easier to sell with the previous economic model than games dealing with other topics. Hence, this new economic model is likely to enable the current wave of Serious Games to last longer and embrace more public recognition than their ancestors.

## 5. CONCLUSION

At first sight, "Serious Games" may seem to be a new phenomenon that appeared from nowhere. Whilst there is unquestionably some novelty in the current wave of Serious Games, we can identify several sources of their historical origins.

First, we observe that the very first video games were not designed purely for entertainment. We can also note that these early video gaming experiments coincide with the first use of the "Serious Game" oxymoron to name games designed to serve purposes other than purely entertainment. But the first Serious Games were not necessarily based on a digital support. For example, Clark Abt and his colleagues designed several "Serious Games" using a wide range of supports, from board games to sports to early computer simulations.

Meanwhile, video games flourished as an industry focused on entertainment. However, some of the titles released in the video games market were designed to serve serious purposes, such as
education, healthcare, defense... Whilst they were not labelled as "Serious Games", these video games are the closest ancestors to the Serious Games we know today. Apart from public awareness, the main difference between these ancestors and current Serious Games is their economic model. However, to be able to use an economic model better suited to video games dealing with serious matters and/or targeting an adult audience, designers had to mark their difference from "entertainment" video games and their sometimes negative image. We think that this is the main reason that explains why the label "Serious Games" was used again, 40 years after its creation, to name a new generation of video games designed for serious purposes.

Nevertheless, history is a rich and complex resource, and these elements are just a little information relating to Serious Games. While we do not pretend to have reached completeness, we hope that the historical elements proposed in this chapter will help the reader to understand the origins of the current wave of Serious Games.
BIBLIOGRAPHIE / BIBLIOGRAPHY

SERIOUS GAMES

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JEU ET ÉDUCATION / GAME & EDUCATION

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## HISTOIRE DU JEU VIDÉO / HISTORY OF VIDEOGAMES

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## JEU ET JEU VIDÉO / GAME & VIDEOGAME

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TABLE DES MATIÈRES / SUMMARY

Préface d'Olivier Rampnoux 5

Introduction 8

Chapitre I. Définir l'objet « Serious Game » 11

1. Approche synthétique 11

2. Approche détaillée

Chapitre II. Secteurs d'application du Serious Game 26

1. Défense 26

2. Publicité 37

3. News Gaming et jeux politiques 53

4. Enseignement et formation 67

5. Santé 79

6. D'autres domaines encore... 91

Chapitre III. L'origine du Serious Game 93

1. Origine de l'oxymore « Serious Game » 93

2. Les premiers jeux vidéo sont « sérieux » 96

3. Les Retro Serious Games 109

4. La naissance officielle des Serious Games 138

5. Synthèse 144

Entretiens autour du Serious Game / Interviews around Serious Game : concepteurs / experts / chercheurs / autres 147
Serious Games: An Introduction 148

Foreword 149

Introduction 152

Chapter I. Definitions and concepts 155

1. Introduction 155

2. A proposal for a definition 156

3. Difference between Serious Game and video game: notion of Serious Gaming 157

4. Classify Serious Games 159

5. Synthesis 163

Chapter II. Sectors of application 165

1. Defense 165

2. Advertising 175

3. News Gaming and Political Games 189

4. Teaching and training 200

5. Health care 212

6. Even more fields... 223

Chapter III. Origins of Serious Games 224

1. Origins of the Serious Game oxymoron 225

2. Were video games solely meant for entertainment? 228

3. The ancestors of current Serious Games 236

4. Discussion 244

5. Conclusion 250

Bibliographie / Bibliography 252
<figure><img src="image_420.png" /></figure>
<figure><img src="image_421.png" /></figure>
<figure><img src="image_422.png" /></figure>

<figure><img src="image_423.png" /></figure>

Créée et initiée par la CCI Grand Hainaut, la conférence annuelle "e-virtuoses" se tient à Valenciennes. Cette manifestation internationale dédiée au Serious Game, à ses usages, évaluations et nouvelles tendances

s'affirme plus que jamais comme le lieu d'échange incontournable des acteurs du Serious Game : commanditaires publics et privés, studios de développement, chercheurs et universitaires internationaux. Au programme, deux jours de conférences, démonstrations, compétitions et d'échanges durant lesquels se tiennent en parallèle :

* **Le colloque Scientifique international** visant à évaluer et à mesure l'impact du Serious Game, de la gamification et du Serious gaming. "Dans le cadre de ce colloque, nous invitons tous les chercheurs souhaitant se pencher sur l'impact du Serious Game à nous faire partager les résultats de leurs travaux pour questionner la pertinence de l'objet", explique Julian Alvarez, responsable du laboratoire Play Research Lab et organisateur du colloque scientifique.

* **Les "e-virtuoses Awards"** : une compétition internationale offrant l'opportunité aux créateurs ou aux clients de Serious Games de remporter un prix. "Les milliers de Serious Games déjà sur le marché nous montrent combien les technologies des jeux vidéo apportent des solutions innovantes et ludiques pour apprendre, former, communiquer ou gérer. Avec les "e-virtuoses Awards", nous voulons rendre compte de ce qui se fait de mieux et de ce qui pourra se faire demain en la matière", explique Sandra Faggioni, responsable des "e-virtuoses" et responsable de la valorisation du Play Research Lab (en photo ci-dessus).

* **Les conférences thématiques/ workshops** : témoignages de professionnels, études de cas et outils portant sur les principales phases de la création d'un Serious Game.

* **Un espace démo** destiné à tester et à manipuler les derniers Serious Games, des dispositifs gamifiés, des simulateurs...

Évènement financé par la CCI Grand Hainaut, la région Nord-Pas de Calais et l'Europe.

Created and initiated by the Grand Hainaut Chamber of Commerce (CCI), the annual "e-virtuoses" conference takes place at Valenciennes, north of France. This event dedicated to Serious Games, their uses, evaluations and new trends, asserts itself more than ever as a world-class forum for the stakeholders of Serious Games: public and private clients, developer studios and international academia and researchers. The program includes 2 days of conferences, contests and discussions during which the following events take place:

* **The International Scientific Symposium**, intended to evaluate and measure the impact of Serious Games, Gamification and Serious Gaming. "As part of the scientific symposium of e-virtuoses, we invite researchers looking at the impact of Serious Games to share the results of their work with us with the aim to evaluate the added value of the object," said Julian Alvarez, Head of the Play Research Lab (PRL) and organiser of the scientific symposium.

* **The "e-virtuoses Awards":** the major international competition "e-virtuoses Awards" giving to Serious Game creators and clients the chance to take home one prize: "The thousands of Serious Games already on the market show how much gaming technology delivers innovative and playful solutions for learning, training, communication and management. With the 'e-virtuoses Awards' we want to acknowledge the best of today and pay equal attention to what will be best in class tomorrow", said Sandra Faggioni, "e-virtuoses" manager and Research valorization manager of the Play Research Lab (see picture).

* **Themed conferences/workshops:** professional testimonials, case studies and tools related to the key steps of Serious Game development (design, financing, distribution and evaluation).

* **A demo space:** Test and touch! Under the spotlight: Serious Games, gamified devices, simulators...

Event financed by the Grand Hainaut Chamber of Commerce and Industry, the Nord-Pas de Calais' regional government and the European Union.
Julian ALVAREZ & Damien DJAOUTI

PRÉFACE - FOREWORD: Olivier RAMPNOUX

INTRODUCTION AU

# SERIOUS GAME

AN INTRODUCTION

Le Serious Game, c'est l'idée d'associer au jeu vidéo la possibilité de diffuser des messages, de dispenser des entraîements ou encore de permettre la collecte de données. Les segments de marchés visés sont variés : formation, santé, défense, communication, politique...

Les auteurs exposent une définition du Serious Game, relatent son histoire, recensent les principaux segments de marché, présentent des titres phares et déterminent s'il s'agit d'une innovation technologique ou d'une évolution des usages. Enfin, la parole est laissée à plus de 60 acteurs du secteur : industriels, consultants, concepteurs, clients...

The Serious Game concept connects video games with the opportunity to broadcast messages, provide training, or enable data collection. Many different market segments make use of such games, including: training, health, defense, communications, politics, etc.

The authors present their definition of Serious Games, recount its history, identify the major market segments involved, present key games, and determine whether Serious Games represent a technological innovation or a change in video game usage. Finally, the book gives voice to more than 60 representatives involved in the Serious Games sector: developers, consultants, designers and customers.

En partenariat avec

evirtuoses®
un authority in serious game development

LUDDSCIENCE

Play Research Lab

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CCI
GRAND HAINAUT

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NORD DE FRANCE

2014 - ISBN: 978-2-917-131-22-0 QUESTIONS THÉORIQUES