International Journal of Inventive Engineering and Sciences (IJIES)

INTERNATIONAL JOURNAL OF RESEARCH AND INNOVATION IN SOCIAL SCIENCE (IJRISS)
ISSN No. 2454-6186 | DOI: 10.47772/IJRISS | Volume IX Issue X October 2025

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Usability and Immersion in a Virtual Reality Hidden Object Game:
A Case Study in Cultural Tourism

Farah Nadia Azman, Muhammad Akmal Iman Rosli, Zuraini Othman, Sharifah Sakinah Syed Ahmad

Fakulti Teknologi Maklumat dan Komunikasi, Universiti Teknikal Malaysia Melaka, 76100 Durian
Tunggal, Melaka, Malaysia

DOI: https://dx.doi.org/10.47772/IJRISS.2025.910000273

Received: 14 October 2025; Accepted: 21 October 2025; Published: 10 November 2025

ABSTRACT

This study explores the development and evaluation of a Virtual Reality (VR) hidden object game designed to
promote awareness and understanding of traditional Malaysian handicrafts among young tourists. By leveraging
the immersive and interactive capabilities of VR, the game integrates educational content within a playful digital
environment, aiming to enhance cultural learning in tourism settings. The research examines key aspects
including users’ cultural knowledge acquisition, the effectiveness of game mechanics, and overall user
experience through a structured evaluation involving participant feedback and gameplay analysis. Findings
indicate that the prototype positively supports informal learning, with respondents reporting increased
knowledge of Malaysian crafts, ease of interaction, and motivation to continue exploring cultural heritage. The
study contributes to the field by presenting a novel application of the hidden object game subgenre in VR for
educational tourism, demonstrating its potential to engage younger audiences in meaningful cultural experiences.
While technical challenges such as collider design were encountered, they were resolved through mesh-based
solutions, ensuring realistic object interaction. Limitations include a narrow cultural scope and sample size,
suggesting future research should expand content diversity and assess long-term learning outcomes. Overall, the
project validates VR as a promising medium for enhancing cultural heritage education in tourism contexts.

Keywords: virtual reality, cultural tourism, heritage handicrafts, immersive technology, computer games

INTRODUCTION

Cultural tourism offers a unique opportunity to educate and engage young visitors with local heritage, traditions,
and crafts. By playing a vital role in fostering the exchange of historical and cultural traditions, this interaction
not only contributes to the preservation of local heritage but also helps rejuvenate national identities, artistic
expressions, and traditional craftsmanship [1]. Malaysia has consistently drawn international tourists by
showcasing its diverse and vibrant cultural heritage by capitalizing on its rich traditions and history to create
compelling travel experiences that appeal to visitors from around the globe [2]. Although cultural tourism holds
considerable value, it often faces challenges in engaging younger audiences who tend to show limited interest in
conventional presentations of culture, which can lead to a disconnect from traditional heritage experiences [3].
Conventional approaches to delivering information at heritage sites often fall short in engaging visitors
meaningfully due to lack interactivity or appeal [4]. This results in missed opportunities to effectively
communicate cultural knowledge and leaving a gap in meeting visitor expectations.

Simultaneously, the growing dependence on digital technologies has accelerated innovation within the cultural
tourism sector which enabled heritage sites to offer more engaging and efficient services, ultimately enhancing
the overall visitor experience through improved quality and accessibility [5]. Eventually, the intersection of
Virtual Reality (VR) and tourism has rapidly evolved, especially in the wake of the COVID-19 pandemic, which
accelerated the adoption of immersive technologies as alternatives to physical travel. VR offers a playful and
engaging way to spark young tourists’ interest in cultural heritage by blending education with entertainment in
an immersive 3D environment, encouraging motivation and curiosity, making cultural learning more interactive
and enjoyable [6]. This because VR constructs a computer-generated virtual environment that allows users to
interact with digital elements in a seemingly real space.

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Cultural heritage sites serve as valuable spaces for informal learning, where visitors can uncover historical
narratives embedded in architectural marvels, gaining knowledge outside the boundaries of formal education
[7]. Young tourists can learn about a wide range of tangible cultural heritage such as historical buildings and
monuments, traditional clothing, local cuisine, musical instruments and handicrafts. In Malaysia, there is a
general lack of interest among young people towards local traditional handicrafts [8] despite how these crafts
offer significant value to serving not only as expressions of cultural heritage but also as key elements of cultural
tourism. They reflect the customs and traditions of local communities and act as memorable experiences for
tourists, often leaving lasting impressions that connect visitors to the places they explore [9].

Thus, based on these importance and gap, this study explores the potential of VR in fostering curiosity, cultural
appreciation, and engagement through playful exploration within a hidden object game, where players locate
traditional Malaysia handicrafts in a virtual environment. Unlike screen-based games, VR-based games offer a
uniquely immersive experience, transporting users into imaginative worlds that feel lifelike and engaging.
Hence, this research aims to harness the interactive and immersive capabilities of VR to nurture awareness and
understanding of traditional handicrafts, by integrating educational content within an engaging and playful
digital environment. Key aspects such as users’ knowledge of cultural heritage, the efficacy of game mechanics,
and the general user experience are examined to determine the game's potential as a tool for cultural education
in tourism settings.

LITERATURE REVIEW

Virtual Reality

VR refers to a computer-generated simulation that utilizes specialized tools to render highly realistic three-
dimensional environments, enabling users to experience a sense of presence and immersion within digitally
constructed spaces [10]. It encompasses a broad spectrum of technologies, integrating both software and
hardware components to create immersive and interactive digital environments (Jensen, 2018). VR systems can
be categorized into three types of experiences, depending on the type of device utilized during user interaction
[11-15]:

Non-Immersive: Users interact with a virtual environment via a standard computer monitor or television
(Desktop VR applications, 3D simulations on a PC, or console-based VR games), using traditional input devices
like a mouse, keyboard, or game controller. The VR is displayed in a window, and users remain highly aware of
their real-world surroundings. There is no sense of being physically present in the virtual space.

Semi-Immersive: Users experience a partial sense of immersion, often through large screens, projectors, or
multi-display setups. The environment such as CAVE systems (room-sized projection environments), large
projection screens, or high-end simulators may include 3D graphics and sometimes limited tracking. The virtual
environment occupies a larger portion of the user’s field of view, but users can still see or sense the real world.
Interaction may involve specialized controllers or motion capture, but not full head tracking.

Fully Immersive: Users are completely surrounded by the virtual environment, typically using head-mounted
displays (HMDs) like Oculus Rift, HTC Vive, or PlayStation VR with head, hand controllers and motion
tracking, and often with spatial audio and haptic feedback. The real world is visually and auditory blocked out,
creating a strong sense of presence and “being there” in the virtual world. Users can look and move around
naturally within the environment.

According to [16], VR systems can utilize several strategies for promoting immersion:

System Immersion: Refers to the extent to which a VR system replicates real-world sensory and interactive
experiences through high display and interaction fidelity, influencing the user's perceptual engagement.

Narrative Immersion: Arises from a user's emotional and cognitive engagement with a storyline, where
storytelling enhances curiosity, motivation, and conceptual understanding within a learning context.

Challenge-Based Immersion: Is driven by intellectual and sensorimotor engagement, where appropriately

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designed tasks within a learner’s developmental zone promote flow and deeper learning through active problem-
solving.

Hidden Object Games

As a widely recognized subgenre of casual puzzle games, a hidden object game; also known as hidden picture
games or Hidden Object Puzzle Adventures (HOPA) require players to locate specific items concealed within a
detailed scene [17-19]. They typically feature visually rich search scenes where players must identify concealed
items relevant to the setting (see Fig. 1). These games often include a main character or guiding figures, a
coherent narrative structure, and logic-driven item placement to ensure contextual relevance where the gameplay
is goal-oriented, with varying difficulty levels and optional features such as hints or events to maintain
engagement and support cognitive development [20]. To progress narrative flow, players pick up objects
throughout the game world that either disappear from the scene once found or use them in larger puzzles [21].

Fig. 1. Legacy Hidden Object Games for PC

Previous empirical study on hidden object game genres indicates a clear preference among participants for the
digital version of hidden object games, suggesting that digital formats offer a more immersive experience
compared to their paper-based counterparts [22]. Due to its’ easy to learn game mechanics, hidden object games
have been applied in several educational areas, primarily to enhance engagement and support specific learning
objectives. The most prominent use of this gameplay is in language learning, especially vocabulary acquisition
[23-26], but applications also extend to art history [27] and computer science [28]. The pedagogical impact is
achieved various ways from context-rich environments, repeated exposure to target words, guiding spatial
relationships, specific elements search within virtual galleries to finding and assembling hardware components.

Notably, hidden object and treasure hunt game mechanics are also used in tourism, especially cultural and
heritage tourism to promote informal learning. They are integrated into museum visits and archaeological site
tours to increase engagement, deepens understanding of cultural content, and makes learning about history and
art more memorable [29]. By encouraging tourists to explore on foot and discover hidden gems, the game
element support sustainable tourism practices, promote lesser-known sites, and create interactive itineraries [30].
Hidden object games are designed to be accessible and enjoyable for all ages, supporting critical thinking,
problem-solving, teamwork, and cultural appreciation in a relaxed, playful context [31].

IMPLEMENTATION

The hidden object game subgenre is characterized by its reliance on precise visual perception to identify
concealed items within complex scenes and is typically designed for short-duration gameplay, often lasting less
than five minutes [32]. Therefore, this attribute is particularly well-suited for educational VR applications in
tourism contexts due to its ability to engage users through focused visual exploration and quick, rewarding
interactions. Its short playtime aligns with the attention span of younger audiences, while the visual search

INTERNATIONAL JOURNAL OF RESEARCH AND INNOVATION IN SOCIAL SCIENCE (IJRISS)
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mechanics naturally encourage observation and attention to cultural details. To investigate how hidden object
game mechanics are applied, several existing VR games that incorporate physical object collecting such as
selecting, pointing, touching, grabbing, catching, slashing or smashing are firstly analyzed. The intention is to
identify unique player actions that can be done in VR environment. These games are downloaded from Meta.com
‘Experiences’ VR game online store. Results from the analysis are depicted in Table –I.

Table- I: Comparative Analysis of VR Games

Game Genre Gameplay In game movement

Agent Hawk Puzzle, Exploration Locate hidden objects in the scene. Teleportation

Beat Saber Action, Puzzle Slash blocks in time to music with a
virtual lightsaber.

Hand movement

Half-Life: Alyx Action, Adventure Fighting enemies and solve puzzles in
dystopian city.

Teleportation

Moss Action, Adventure Solving puzzles and engaging in combat. Walking

Pistol Whip Rhythm, Action Shoot down enemies to the beat of music. Stand still while the
environment passing

EscapeVR-
The basement

Escape Room Solve puzzle and investigating clues. Teleportation

Hidden Fortune Adventure Solve puzzle and collect peculiar trinket. Teleportation

Most of the games listed in the table are action genre except Escape VR-The Basement and Hidden Fortune
which is of escape room and adventure respectively. The majority of the games involve puzzle solving except
for Pistol Whip which is shooting. In terms of game movement, most of the games use teleportation systems
excluding Beat Saber, Moss, and Pistol Whip which are hand movement, walking and stand still respectively.
Next, to investigate how hidden object game mechanics are applied, several existing games with the
aforementioned genre are examined. All the games are varied in platform deployed which are web browser-
based, PC, console, mobile and VR. Results from the analysis are depicted in Table –II.

Table- II: Comparative Analysis of Hidden Object

Game Platform Object finding method

Murder on a Full Moon Website Point and click

Big City Adventure Sydney PC Point and click

Family Vacation California Console Point and click

Hidden City: Hidden Object Mobile Touch on object

Sunken VR Aim

Based on the analysis, most of the selected hidden object games primarily encompass collecting or locating a
predefined list of items concealed within visually detailed scenes, sometimes supported by visual, auditory or
textual hints to guide the player. Some of the games incorporate time constraints and scoring systems to enhance
challenge and engagement. The point-and-click object-finding method involves player using controlling the
arrow cursor to point to and click on the discovered objects. In the mobile game, player will touch on the object

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on smartphone screen. Finally, the aim method requires the player to target a dot to pick an object. The games
also include subtypes such as Hidden Object Puzzle Adventures (HOPAs), which integrate puzzles into the
narrative, and Fragmented Hidden Object Games (FROGs), where items are discovered in parts and reassembled
upon completion.

Grounded on the results from the analysis, a prototype of VR hidden object game is developed using Unity game
engine. The game prototype applies point and grab using laser pointer or ray cast as the method of item collection.
Player navigate around with continuous movement in VR environment. For the prototype, “Belanga” game
object uses Rigidbody scripting API, allowing forces to be applied on the object and to control it in a physically
realistic way (see Fig. 2). Rigidbody gives gravity to the object, and it is controlled by the Unity Physics engine.
Two script files are included - the XR grab Interactable script that utilize the XR ray cast system, making the
"Belanga" grabbable, whereas the Hidden Ob Collide script is used to make the hint text from the hint list
disappear when the object collides with the basket. Game art such as assets is made by using Blender software.
Fig. 3 shows one of the hidden object assets that is made up from cylinder mesh object by modifying vertices
and edges while Fig. 4 shows color is applied to the object by changing the base color hex code. The prototype
employs First Person Perspective (FPP), which means that the player sees the virtual environment through the
character's eyes. In addition, the player can see the virtual hand that they control in real life with the VR
controller. A technical challenge encountered during development involved designing object-specific colliders,
which was addressed by applying mesh colliders to achieve a more accurate fit.

Fig. 2. Unity’s Inspector panel

Fig. 3. 3D model of Belanga, a Malaysian traditional craft

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Fig. 4. Wau Bulan 3D model in Blender’s shading mode

Fig. 5. Bird eye view of game environment

The VR headset and controller serve as the input device. When a player interacts with the VR controller, the VR
device records the interaction and sends feedback to the player's VR headset. Game engine such Unity must be
installed with Oculus Integration Kit to make the game playable in VR device. The basic gameplay is that the
player must search for hidden objects hidden in the scene using the hint list provided within the gameplay scene.
The game starts at the main menu and proceeds to the main gameplay scene once the play button is pressed. In
the game scene, there are ten hidden objects to be located by the player (refer to Fig. 6).

Fig. 6. Gameplay Flow

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The hint list is provided on the screen at the wall of the house (see Fig. 7). To collect the objects, the player will
point to them, grab them while carrying them, and throw them into the basket. Once the objects have been
collected, points are awarded. The scene will change to the last scene which is the exploration scene where player
can explore the scene while reading the information about the Malaysia traditional handicrafts which are the
hidden objects.

Fig. 7. In-Game Virtual Environment

RESULT AND DISCUSSION

Evaluation phase involves 30 participants - male (20) and (10) female. As VR technology is still in its early
stages, not everyone can afford to buy a VR headset. Hence, the target age groups have been expanded to include
adults up to the age of 44. Fig-8 exhibits that 43.3% of respondents are between the ages of 19 and 23, 33.3%
are between the ages of 24 and 29, 10% are between the ages of 24 and 29, 6.7% are between the ages of 35 and
39, and 3.3% are between the ages of 30 and 34 and another 3.3% are between the ages of 40 to 44.

Fig. 8. Participants Demographic

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The evaluation of the game prototype focuses on three key dimensions: users’ knowledge of Malaysian
handicrafts, the effectiveness of game mechanics, and the overall user experience. These components are
essential for assessing the educational and experiential value of the VR game. Evaluating users’ cultural
knowledge helps determine the game's impact on learning outcomes, while analyzing game mechanics ensures
that the interactive elements function as intended to support engagement. Assessing user experience provides
insight into usability, immersion, and satisfaction, which are critical for the success of educational tools in
tourism contexts.

Effects of Prototype towards Player’s Malaysian Handicrafts Knowledge

As illustrated in Fig. 9, over fifteen respondents rated all three evaluation items at a high level, indicating a
positive reception of the game prototype. Notably, participants reported increased knowledge of Malaysian
handicrafts after gameplay, and expressed that the prototype effectively supported their learning and motivated
continued exploration of the subject. No respondents rated any item as very poor, suggesting that the prototype
successfully met its educational objectives in enhancing cultural awareness. This result highlights the
effectiveness of the VR game in achieving its intended learning outcomes. The consistently high ratings across
knowledge acquisition, learning support, and motivation reflect the prototype’s potential as an engaging
educational tool for cultural tourism, particularly among younger audiences.

Game Mechanics

Fig.10 indicates that over fifteen respondents rated three usability-related questions as "very easy," with specific
aspects such as item manipulation (16 respondents), in-game movement (19 respondents), text readability (21
respondents), and object targeting using a laser pointer (22 respondents) receiving consistently high scores.
These findings suggest that users adapted well to the game mechanics, demonstrating intuitive interaction and
ease of use within the virtual environment.

User Experience

Additionally, Fig. 11 shows that 24 respondents rated the knowledge acquisition question highly, indicating that
the prototype successfully delivered an enjoyable and educational experience that enhanced users’ understanding
of Malaysian handicrafts.

Fig. 9. Knowedge on Malaysian Handicraft

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Fig. 10. Rating the Game Mechanics

Fig. 11. User Satisfaction

Participants also provided constructive feedback on the VR game prototype, suggesting the use of more low-
poly assets and the inclusion of background music to enhance engagement. Additional recommendations include
increasing interactivity, incorporating visual cues to highlight hidden objects, and implementing hand-tracking
controls to improve immersion. Overall, the prototype successfully evolved into a playable educational game
that meets its initial objectives of exploring user needs, developing a functional VR hidden object experience,
and evaluating its effectiveness.

CONCLUSION

This study aimed to explore the development and effectiveness of a VR hidden object game designed to promote
cultural heritage awareness among young tourists. The findings confirm that the prototype successfully supports
informal learning in tourism contexts by combining entertainment with educational content in a culturally
meaningful way. This paper contributes to the growing body of research on immersive educational technologies
by presenting a novel application of the hidden object game subgenre within a VR environment tailored for
cultural tourism. The results have practical implications for heritage site operators, educators, and tourism
developers seeking innovative ways to engage younger audiences. By integrating VR into cultural tourism
experiences, stakeholders can foster deeper appreciation of local traditions while enhancing visitor satisfaction.

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However, the study is limited by its small sample size and the scope of cultural content included in the prototype.
Future research should explore broader cultural themes, test with diverse age groups, and examine long-term
learning outcomes to further validate the educational impact of VR in tourism.

ACKNOWLEDGMENT

The authors would like to thank Universiti Teknikal Malaysia Melaka (UTeM) for their support.

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