Telling stories: Custom learning scenarios with immersive narratives and gamification
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How can large-scale learning solutions still provide the unique and personalised learning experiences today's learner expects? Access the full webinar recording here: http://www.brightwavegroup.com/past-events/telling-stories-custom-learning-scenarios-with-immersive-narratives-and-gamification/index.html As part of a series of webinars run by the Learning and Skills Group, Brightwave's Head of Learning Design Caroline Freeman looked at scenario-based narrative games and shared her brand new insights and experiences working with this rich and effective instructional technique. Attendees to this lively interactive session learned how to take scenario-based learning to the next level. Caroline explored: ● How to prepare simple and complex branching narratives that meet your learning need ● How to bring depth and realism to learning scenarios using multiple scoring streams to add new dimensions to learning scenarios ● How lessons from the gaming and entertainment industries give narrative-based learning real impact. Webinar attendees asked Caroline for tips and advice on how to use this technique in their own projects and shared their own knowledge and experiences of working in this mode. Access the full webinar recording here: http://www.brightwavegroup.com/past-events/telling-stories-custom-learning-scenarios-with-immersive-narratives-and-gamification/index.html
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Telling stories: Custom learning scenarios with immersive narratives and gamification
- 1. Telling stories: Custom learning scenarios with immersive narratives and gamification
- 2. Who I am… Caroline Freeman Head of Learning Design, Brightwave Group
- 3. What’s your experience of creating branching narratives? Let’s start with a question…
- 4. o The principles of immersive experiences o Text based games – the inspiration o Making it happen – design process o Lessons learned What we’re going to look at:
- 5. One must learn by doing the thing; for though you think you know it, you have no certainty, until you try. - Sophocles
- 6. How do we create cost effective simulations that are high in engagement?
- 7. It’s not about the tech, it’s about the design
- 8. What do you need to create an immersive virtual world? The three ‘A’s: o Authenticity (not necessarily ‘realism’) o Autonomy o Acknowledgement
- 9. The average eLearning course gives you feedback every 5-10 minutes, the average game is 7-10 seconds. The importance of feedback
- 10. In the zone - completely focused motivation
- 11. Perhaps the ultimate experience in harnessing the emotions in the service of performing and learning. - Mihaly Csikszentmihalyi Flow
- 12. Conditions required to create Flow: o Clear goals o Immediate feedback on your actions o Balance between challenges and skills o No distractions o No fear of failure o Sense of control
- 13. Getting the balance right
- 14. How can an interactive narrative game create immersion? o Combines strengths of storytelling and gameplay o Gives user sense of autonomy through content o Increases personalisation and relevance of content
- 15. The history of interactive narrative – choose your own adventure books 1970s/80s
- 16. The East Asian connection – visual novels and adventure games
- 18. Mobile and real time – Lifeline 2015
- 20. Over to you… You reach Alpha and the main SME tells you that Swindles Info Sec policy has been radically changed. This affects a large part of the course. WHAT DO YOU DO?
- 21. http://www.slideshare.net/benhoguet/tribeca-hacks-keynote Match the structure to your needs and your budget
- 22. Nodal narrative
- 23. Jeff Grubb, Venturebeat.com Controlling complexity – The Walking Dead, season 1
- 24. 3_110 Team Solve Update on workstreams. Ella has reached different conclusion from Daniel 3_120 Dissent What should Ella do? a) Make statement b) Explore data sets c) Finish survey first Dilemma 3_100 Time/ travel story Three weeks passing. Key developments. Montage of Daniel, Ella, Sharon. Photostory 3_131 State If a) Daniel sees Ella’s statement as a criticism. Hatti says to ask Clara. 3_132 Explore If b) Ella’s follows feedback model. Hatti suggests she meets Clara a 3_133 Postpone If c) Ella says nothing. No discussion, no meeting with Clara proposed. Example of story map
- 25. Keep control of your scope! Watch the ratio of one user journey vs total developed content Our experience suggests that anything from 1:1.3 will work if your story is engaging enough
- 26. Replay value – our experience When the challenges and the story feel authentic, learners will want to replay the game to see alternative paths.
- 27. Making it happen
- 28. Branching narrative – the process o Action mapping (Cathy Moore style*) - what do the learners need to do? o Create challenges that replicate the decisions they will need to make * http://blog.cathy-moore.com/
- 29. Creating the structure o Make a physical map – use card sorting to create groups of incidents o Link these into stories
- 30. Making sure it is a story
- 31. Whose point of view? • First person – told via one of your characters (eg Lifeline) • Second person – ‘You see the dragons approach’ (eg Sorcery) • Third person – Classic cinematic POV. Japanese visual novels
- 32. “No, no! The adventures first, explanations take such a dreadful time.” - Lewis Carroll, Alice's Adventures in Wonderland
- 33. Prototypes o On paper o Online scripting tool, such as Twine
- 34. Lessons learned
- 35. Lesson 1: Decide whether it’s a game - or a gamified learning experience o If it’s a game you need to tap into intrinsic motivation through the story and the level of the challenge
- 36. Lesson 2: Design for Flow o Balance challenge with skills o Make navigation simple and intuitive o Give lots of ‘acknowledgement’ / feedback – visual, auditory as well as text
- 37. Lesson 3: Don’t overload the learner o Keep choices limited to two or three o Keep text short and clear o It’s experiential learning NOT an information dump
- 38. Lesson 4: When it’s new - prototype o Develop like a video game o Prototype and user test o Is the user journey clear? o Is it fun? o Balance difficulty and scoring o Get buy-in from your stakeholders
- 39. Lesson 5: It’s not rapid! o Scripting and testing take much longer o You need to iterate to get the gameplay and balance right
- 40. Over to you… o Let’s look at the results
- 43. More information? @FreemanCaro caroline.freeman@brightwavegroup.com If you’d like to chat some more, get in touch! brightwavegroup.com
Notas do Editor
- My background in tv and games great moment to be in the learning business as we’re being carried along by a huge slew of creative possibilities offered through technology
- Very practical session today. I’m going to start by looking at the principles of what makes a learning experience immersive and why you might want to do that. Then I’m going to have a short detour into the history of text based games before introducing you to a simple example that we’ve built, then go into some detail on the deisgn process and the lessons we’ve learned along the way. About halfway through we’re going to play a short example of a text based game and I am going to ask you to contribute to the game’s story. WE’ll choose the suggestions we like the best, throw them into the game and show you the results at the end
- Always good to start a session with a quote from the man who really started the modern approach to education and learning. In terms f workplace learning, its only valuable if you can transfer those skills and knowledge into your real life and use them. One of the best ways of making this happen is giving people the opportunity to practice the behaviour in a relevant context. Simulations and role plays have been used for this purpose for years. In elearning, we’re all used to creating simple scenarios that put the knowledge or skills into context and ask the learner to make a decision based on what they have learnt, or to try to make the decision
- So how do we create those simlautions or role plays at scale? here at Brightwave we have been developing a specialism in interactive video. Some of you will have seen the last webinar I did on this very subject. But we’re very aware that video isn’t always desirable or affordable. What if you need translations? With video or stills photography you have the problem of representation – will you adequately represent your global audience without making it feel unrealistic? How do you create a global scalable solution?
- When you speak about immersive learning you might immediately think about Virtual reality or 3D realistic environments - and these might be the techniques you choose to use, if the budget allows, they are not the only routes you could choose Authenticity (not ‘realism’) consistent universe, fits with your experience. Relevant Autonomy and control Acknowledgement/feedback – you see the consequences
- Let’s go back to one of the three ‘A’s that I mentioned at the start – Acknowlegement. You feel acknowledged by the feedback you receive We all know that feedback is an important part of leanring, but perhaps Computer games give you more feedback than yourKnowing where you are and how your behaviour has impact on results is important to keep players in flow. Flow is one major reason why gamified learning is more motivating than non-gamified learning.
- Flow is the experience of doing something just because you enjoy doing it. It's the feeling of being "in the zone" while enjoying overcoming challenges. In a flow state, time seems to fly by as attention focused on the activity.
- Mihaly Csikszentmihalyi is a psychologist who studied happiness and in studying when people were at their happiest, he developed the theory of ‘flow’ Flow is the experience of doing something just because you enjoy doing it. It's the feeling of being "in the zone" while enjoying overcoming challenges. In a flow state, time seems to fly by as attention focused on the activity.
- Its worth looking at the conditions required to create flow because they not only create a sense of immersion, but they are central to the success of games
- Flow has been used in fields like sports, human–computer interactions, and education. But it has been particularly important in the deisgn of games as it maps so well against the process of immersion experienced by players during game-play. In this diagram there are two axis – challenge and skill – too much challenge and your audience become anxious, too little and they become bored The aim of designing a learning game is to create an interesting and fun experience so that it holds player’s attention as long and as intensely as possible. One of the problems with the recent focus on gamification in online leanring is that we try to motivate users with rewards external to the activity, such as points or achievement badges,. But this can backfire because it can make users feel like they are being controlled. We should instead be seeking to enhance their intrinsic motivation thorugh achieving that balance of challenge and skill – the flow state.
- A little detour now into the history of interactive narrative
- There is a huge genre of interactive narrative games in East Asia, particularly Japan. Visual novels are very similar to the adventure gamebooks, as a player you progress by choosing one branch of the story over another. A lot of these are based on anime or manga characters. Typically in a visual novel, the narration from a character appears on screen An adventure game is similar in which the player assumes the role of protagonist in an interactive story driven by exploration and puzzle-solving.[1] The genre's focus on story allows it to draw heavily from other narrative-based media, literature and film, encompassing a wide variety of literary genres. Many adventure games (text and graphic) are designed for a single player, since this emphasis on story and character makes multi-player design difficult.[2] (Colossal Cave Adventure is identified as the first such adventure game, first released in 1976, while other notable adventure game series include Zork, )
- There’s been a recent resugence of interest in narrative games, so here’s just one of many. I guess its an adventure game, as you Based on Steve Jackson’s choose-your-own-adventure novels, it weaves game mechanics and fantasy prose into a wonderful, personalized tale. The story is told through snippets of second-person text. You can see here that there are gauges for the strength of your attack
- Named app of the week in January of this year, also playable on the Apple watch. This is interesting as it is pure text. Its told through the dialogue you have with Taylor the stranded astronaut
- So we looked at the recent examples of text based adventures and started thinking about how we could use them to create complex branching scenarios that would go much further than your standard eleanring scenario We have been experimenting with branching text games and we’ve developed a game framework within our development engine to make them easy to build and to design to meet varied objectives of our clients. As we can’t always show client work, for today, we’ve created a mini example to show you the principles
- Here’s a chance for you to help build a small interactive film exercise. We’re going to do this together during the webinar. The first step is this. I’m going to play you a short scene between a hotel recptionist and an agitated customer, At the end I’m going to ask you to come up with one ‘incorrect’ response for the receptionist
- Talking about more than games – all forms of interactive narrative like online documentaries Elastic – cutaways from main action Concentric – hub , maybe a map or a series of characters – idocs use this alot
- Nodal you are being forced to go through certain points Ive also seen it described as parallel gameplay
- It was the first time we’d done a comples branching scenario so I did a bit of research online and found this great diagram of the narrative structure for the video game The walking dead
- What is your story arc? Does it have a beginning, middle and end
- Authentic / conflict Make the characters full and believable even if those incidental life-details won’t appear in the finished piece It could be argues that third person allows you to idenitfy more with the character than when you see disembodied hands Second person is the most common approach in text based games
- Stay away from presenting information and focus on the experience. Also, doesn’t always have to be realistic heightened realism can add to the fun
- To make it feel immersive you need emotional engagement and the right level of intellectual challenge