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Engaging with digital heritage requires understanding not only to comprehend what is simulated but also the reasons leading to its creation and curation, and how to ensure both the digital media and the significance of the cultural heritage it portrays are passed on effectively, meaningfully, and appropriately. The United Nations Educational, Scientific, and Cultural Organization defines 'digital heritage' to comprise of computer-based materials of enduring value some of which require active preservation strategies to maintain them for years to come. With the proliferation of digital technologies and digital media, computer games have increasingly been seen as not only depicters of cultural heritage and platforms for virtual heritage scholarship and dissemination but also as digital cultural artefacts worthy of preservation. In this chapter, we examine how games (both digital and non-digital) can communicate cultural heritage in a galleries, libraries, archives, and museums [GLAM] setting. We also consider how they can and have been used to explore, communicate, and preserve heritage and, in particular, Indigenous heritage. Despite their apparently transient and ephemeral nature, especially compared to conventional media such as books, we argue computer games can be incorporated into active preservation approaches to digital heritage. Indeed, they may be of value to cultural heritage that needs to be not only viewed but also viscerally experienced or otherwise performed. [ABSTRACT FROM AUTHOR]

In recent years, the increased take up of game engines in the context of emerging and traditional screen media production has fostered innovation across formats. Game engines present an opportunity to author immersive projects that draw upon the expertise of experience designers, game developers, screenwriters and other creative practitioners; however, questions arise as to the ways that individuals from different backgrounds might work together effectively on these projects given the varying 'poetics' of their fields. This term, used by Ian MacDonald in the context of screenwriting practice, refers to 'the rationalisation of a mode, or a paradigm, of practice; a collection of perceived norms that make sense together, for those involved in developing a screen idea, in that time and place' (2013, 3). This article explores the development of two screen works created using Unreal Engine, so as to outline the challenges for multidisciplinary teamwork in this area. This article will argue that the successful realisation of these projects called for the development of common ground around this new mode of practice, one fostered through a sharing of boundary objects (Star and Griesemer 1989), expertise and through listening to participant concerns. [ABSTRACT FROM AUTHOR]