SlideShare uma empresa Scribd logo
1 de 18
Baixar para ler offline
How to design a storyboard? You have to put a puzzle together: be  flexible  and  creative Center for Studies in Communication Sciences It’s exactly what I’ve hoped
[object Object],[object Object],[object Object],[object Object],[object Object],if “serious” part  >  “game” part,  the user can abandon the game  or can feel bored stiff.  if the game is too fun it doesn’t teach anything, so that it fails as an educative tool. RISKS Center for Studies in Communication Sciences
During the development of a Serious Game, there are a lot variables to consider, even if there are not strict rules to lead them: aim animations kind of game screenplay didactical model Technological decisions contents interactive aspects mathematical model audio Center for Studies in Communication Sciences
How can I create an  effective simulation  for the user,  as a  learning experience ? reconstructions of virtual environments and characters have to be able to activate the  presence feeling : playing the game, the player has to feel  emotionally involved and conscious to be in that particular situation .   the presented situations and the story have to be  realistic, challenging, congruent with real life and real experiences .  1 2  Center for Studies in Communication Sciences
The E-VITA project is looking for innovative ways to  promote knowledge sharing between different generations : true life episodes are transposed into Serious Games.  The stories are small episodes that can be used as window to learn more about the past as a way to better understand the present, since these narratives support players to understand, analyze and reflect situations and facts others have experienced.  A good example to design a storyboard: the E-VITA project www.evitaproject.eu E xperiences gained by senjor citizens can be transferred to younger generations Center for Studies in Communication Sciences
In the CoPs, senior citizens shared their experiences and used their expertise to contribute to the project. COMMUNITIES of PRACTICE (CoP) : setting-up groups of  persons that reflect upon a common argument.  They are necessary to collect suitable stories and shared information for the development of the games.  In each of the seven involved countries a CoP edited storyboards for each Serious Games that they envisage. The storyboards were then transformed into Serious Games that can be used either by individuals online or by formal educational organizations to teach history, geography, etc. 2 3 1 Center for Studies in Communication Sciences
Each partecipating country implemented a  community of storytellers. Contacting seniors department of a university nearby Contacting  day-centre Contacting  internet cafes “ call for stories” via the web E-VITA blog LinkedIn group Communities met at least 4 times, 2-3 hours per session Contacting University of third age How to set up a community? How do you want to set up YOUR community? Center for Studies in Communication Sciences
4 main topics for the collection of the stories Recreation  For young adults and teenagers a  world without mobile phones,  Internet, and PCs in unthinkable.  Before the communication  revolution other ways of  recreation, meeting people and  exchange with others were usual. Working The experience to work in another country can be a very exciting one. In fact, the person working somewhere else has a completely different perspective on the same situation compared to the people living there. Turism Travelling in Europe and hosting  tourist: both perspectives. This  could lead to a game on  interculturality in Europe where  roles can be swapped to  experiment the same situation  from the two opposite sides.  East and West block   The contacts between East and West (divided) Europe often were a complicated challenge, but often were surprisingly interesting and full of very positive occurrences. Preconceived views and stereotyps could be put aside.  Center for Studies in Communication Sciences
Based on the narratives of seniors, game environments can be created that allow to experience the story, as well as to transform the story into a personal experience, to take an active part in it and emotionally share events. Center for Studies in Communication Sciences
To define a “ model ” for a storyboard the first step was  to find how pieces of stories could be  connected to start creating something more articulated. a little story of a French family travelling to Germany with a “duck car” (typical in the 60’s in France) full of fresh vegetables. They are stopped at the frontier with Germany and the customs officer does not believe that there is nothing hidden under the vegetables. So he opens the back of the car and there are potatoes rolling all over the floor at the frontier and… nothing  else appears under the  vegetables! The first stories collected at the beginning of the project included: a little story of a lady bringing bananas from Swiss to Italy and  being stopped, as no fruit could be brought over the border. So  she offers bananas to the customs officers (as it is not nice to  throw them away) and… gets arrested for attempt of corruption! a lot of facts (also collected indipendently from the stories), e.g. that VW beetle was the typical car in Germany, as well as Fiat Cinquecento in Italy, same as the Duck in France. a couple of stories about taking money abroad Center for Studies in Communication Sciences
B) invent a game where the player has to transport  goods between different countries in Europe and to  cross many borders. According to the itinerary he  or she chooses, different things may happen.  For example, should he or she try to cross the Swiss-Italian border with bananas….  What could be done with these stories: A) start with pictures of old cars; the player has to chose one; according to the car he or she chooses he or she “lands” in a different story Aim of the game could be if one is very clever, or if he is the perfect smuggler!!! Obviously all these pieces are not by far enough to develop a complete game, but this may show how different information can be linked to for pieces of possible pathways for a more complex game. Center for Studies in Communication Sciences
[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],and now  put your puzzle together Center for Studies in Communication Sciences
[object Object],[object Object],[object Object],[object Object],[object Object],and also you may choose some of these approaches for your game! Center for Studies in Communication Sciences
Storyboard development The chosen pedagogic approach of using the game type of an  experiential game for a first prototype implied a narrative  background consisting of a  branching dialogue .  In this game model different linear storylines can be composed by branching them at certain points in the overall narrative. Usually, the player follows the plot until he or she reaches situations which require a decision or where events occur which the player must react to in order to advance.  This method allows for a smooth combination of different stories or parts of stories and therefore is suited  well for composing a  game plot out of a pool  of narrative material. Center for Studies in Communication Sciences
Outlining the plot In order to construct such a branching structure the  different scenes  have to be determined and aligned so that an  overarching context  is maintained and a  credible and immersive game plot  can be achieved. The method chosen for this procedure is to outline the different scenes of the plot with the help of a mindmapping tool. When the individual scenes are laid out they can be assembled  to the game plot according to the delineated storyline. By means of this flow chart visualization it is  much easier to determine the  crucial and  relevant elements of the stories  to be  intertwined to an  overarching context  and  a  plausible game plot .  Center for Studies in Communication Sciences Center for Studies in Communication Sciences
For the overarching context, in order to have a “wrapping” story in  which several cities are inserted one of the ideas coming from a  focus group with a sample of the target group was chosen: The player is a journalist in the present - her (the journalist is a young lady) boss wants to publish a special issue in the magazine for the 20 years from the fall of the Berlin wall, and she has to collect information, sort of “travelling in the past”. As mentioned above, the game will use the metaphor of travelling in time, i.e. the protagonist is able to visit places in a time where the Iron Curtain divided Europe.  This mechanism will come in effect without having to be intentionally triggered by the player and the different time layers are visualized by changing graphical styles. While the player can experience situations from a past time, the results from these experiences are fed back into the present time as the learning aims achieved. Into the past layer of the game additional cities, i.e. destinations for the “time travel”, can be inserted in a modular way. Center for Studies in Communication Sciences
Creating the storyline Compiling the storyboards.  After the initial pre-considerations about the game plot  storyboards for the individual scenes (the different cities) could be created. Writing the dialogues.  It is extremely important to keep the dialogues as interesting as the stories themselves are, in order to make the learner engaged and able to focus and get the picture on the situation experienced in the story.  As soon as the branching  of the narrative was  identified and potential  scenes were arranged the  dialogues for the respective  game situations were written  starting from the collected  stories. To write the  dialogues, one has to try  to find out the emotional  state of the person, and to  try to convey this again  with the choice of words.  For some stories this is  easier, for others it is a bit  more difficult and some  creative imagination has  to be brought in.  Center for Studies in Communication Sciences
Preparing the feedbacks.  As soon as the storyboard is set up with all the details, the feedback is prepared. Final feedbacks  take into account the whole path the player followed, not only the last decision node. Therefore in each decision node some parameters have to be evaluated. The evaluation will be done  empirically with a table underlying the game.  The e-VITA games will generally  give feedback about the historical,  political, social knowledge of the  player, evaluating also users’ ability  to cope with the given situations  as well as interpersonal  communication.  Which kind of feedbacks would you like to include in your game? Carefully think about it! Center for Studies in Communication Sciences

Mais conteúdo relacionado

Semelhante a Designing a storyboard

Trip report: Games and Learning Conferences 2008
Trip report: Games and Learning Conferences 2008Trip report: Games and Learning Conferences 2008
Trip report: Games and Learning Conferences 2008Steve Vosloo
 
Pokémon GO and the Ludification of Culture
Pokémon GO and the Ludification of CulturePokémon GO and the Ludification of Culture
Pokémon GO and the Ludification of CultureFrans Mäyrä
 
Frans Mäyrä - Pokemon GO - Mindtrek 2016 Academic Keynote
Frans Mäyrä - Pokemon GO - Mindtrek 2016 Academic KeynoteFrans Mäyrä - Pokemon GO - Mindtrek 2016 Academic Keynote
Frans Mäyrä - Pokemon GO - Mindtrek 2016 Academic KeynoteMindtrek
 
Alternate Reality Gaming Pecha Kucha Lennart Pieters
Alternate Reality Gaming Pecha Kucha Lennart PietersAlternate Reality Gaming Pecha Kucha Lennart Pieters
Alternate Reality Gaming Pecha Kucha Lennart PietersLennart44
 
What Makes A Game A Serious Game
What Makes A Game A Serious GameWhat Makes A Game A Serious Game
What Makes A Game A Serious GameCentro Metid
 
Pheon: One Game, Two Platforms, Mixed Success (w/NOTES)
Pheon: One Game, Two Platforms, Mixed Success (w/NOTES)Pheon: One Game, Two Platforms, Mixed Success (w/NOTES)
Pheon: One Game, Two Platforms, Mixed Success (w/NOTES)Georgina Goodlander
 
Narrative skill of game content development
Narrative skill of game content developmentNarrative skill of game content development
Narrative skill of game content developmentDurgesh Pandey
 
Mobile, Playful and Collaborative Learning with TellYourTown: Empirical Resul...
Mobile, Playful and Collaborative Learning with TellYourTown: Empirical Resul...Mobile, Playful and Collaborative Learning with TellYourTown: Empirical Resul...
Mobile, Playful and Collaborative Learning with TellYourTown: Empirical Resul...Robert Reuter
 
Socio-emotional Agency in Applied Games
Socio-emotional Agency in Applied GamesSocio-emotional Agency in Applied Games
Socio-emotional Agency in Applied GamesRui Prada
 
The Characteristics Of Crossword Puzzles And Dementia
The Characteristics Of Crossword Puzzles And DementiaThe Characteristics Of Crossword Puzzles And Dementia
The Characteristics Of Crossword Puzzles And DementiaBeth Hall
 
An Analysis Of The Dominion Board Game Essay
An Analysis Of The Dominion Board Game EssayAn Analysis Of The Dominion Board Game Essay
An Analysis Of The Dominion Board Game EssayLaurie Gunlicks
 
DIMEA Conference 2008
DIMEA Conference 2008DIMEA Conference 2008
DIMEA Conference 2008Elios Lab
 
C:\Computer Simulation and Gaming in the Classroom
C:\Computer Simulation and Gaming in the ClassroomC:\Computer Simulation and Gaming in the Classroom
C:\Computer Simulation and Gaming in the ClassroomKatherine Mersai
 
Serious game serious goals
Serious game serious goalsSerious game serious goals
Serious game serious goalsCentro Metid
 
Visual Literacy Gaming 1
Visual Literacy Gaming 1Visual Literacy Gaming 1
Visual Literacy Gaming 1djw66047
 
Game Design for Storytellers
Game Design for StorytellersGame Design for Storytellers
Game Design for StorytellersPietro Polsinelli
 

Semelhante a Designing a storyboard (20)

DramatARGy
DramatARGyDramatARGy
DramatARGy
 
Trip report: Games and Learning Conferences 2008
Trip report: Games and Learning Conferences 2008Trip report: Games and Learning Conferences 2008
Trip report: Games and Learning Conferences 2008
 
Pokémon GO and the Ludification of Culture
Pokémon GO and the Ludification of CulturePokémon GO and the Ludification of Culture
Pokémon GO and the Ludification of Culture
 
Frans Mäyrä - Pokemon GO - Mindtrek 2016 Academic Keynote
Frans Mäyrä - Pokemon GO - Mindtrek 2016 Academic KeynoteFrans Mäyrä - Pokemon GO - Mindtrek 2016 Academic Keynote
Frans Mäyrä - Pokemon GO - Mindtrek 2016 Academic Keynote
 
Alternate Reality Gaming Pecha Kucha Lennart Pieters
Alternate Reality Gaming Pecha Kucha Lennart PietersAlternate Reality Gaming Pecha Kucha Lennart Pieters
Alternate Reality Gaming Pecha Kucha Lennart Pieters
 
What Makes A Game A Serious Game
What Makes A Game A Serious GameWhat Makes A Game A Serious Game
What Makes A Game A Serious Game
 
Pheon: One Game, Two Platforms, Mixed Success (w/NOTES)
Pheon: One Game, Two Platforms, Mixed Success (w/NOTES)Pheon: One Game, Two Platforms, Mixed Success (w/NOTES)
Pheon: One Game, Two Platforms, Mixed Success (w/NOTES)
 
E vita
E vitaE vita
E vita
 
Narrative skill of game content development
Narrative skill of game content developmentNarrative skill of game content development
Narrative skill of game content development
 
Mobile, Playful and Collaborative Learning with TellYourTown: Empirical Resul...
Mobile, Playful and Collaborative Learning with TellYourTown: Empirical Resul...Mobile, Playful and Collaborative Learning with TellYourTown: Empirical Resul...
Mobile, Playful and Collaborative Learning with TellYourTown: Empirical Resul...
 
Socio-emotional Agency in Applied Games
Socio-emotional Agency in Applied GamesSocio-emotional Agency in Applied Games
Socio-emotional Agency in Applied Games
 
Edutainment
EdutainmentEdutainment
Edutainment
 
The Characteristics Of Crossword Puzzles And Dementia
The Characteristics Of Crossword Puzzles And DementiaThe Characteristics Of Crossword Puzzles And Dementia
The Characteristics Of Crossword Puzzles And Dementia
 
An Analysis Of The Dominion Board Game Essay
An Analysis Of The Dominion Board Game EssayAn Analysis Of The Dominion Board Game Essay
An Analysis Of The Dominion Board Game Essay
 
Leipzig eHumanities 23 October 2013 talk
Leipzig eHumanities 23 October 2013 talkLeipzig eHumanities 23 October 2013 talk
Leipzig eHumanities 23 October 2013 talk
 
DIMEA Conference 2008
DIMEA Conference 2008DIMEA Conference 2008
DIMEA Conference 2008
 
C:\Computer Simulation and Gaming in the Classroom
C:\Computer Simulation and Gaming in the ClassroomC:\Computer Simulation and Gaming in the Classroom
C:\Computer Simulation and Gaming in the Classroom
 
Serious game serious goals
Serious game serious goalsSerious game serious goals
Serious game serious goals
 
Visual Literacy Gaming 1
Visual Literacy Gaming 1Visual Literacy Gaming 1
Visual Literacy Gaming 1
 
Game Design for Storytellers
Game Design for StorytellersGame Design for Storytellers
Game Design for Storytellers
 

Mais de Centro Metid

Epilettologia guida webconference
Epilettologia guida webconferenceEpilettologia guida webconference
Epilettologia guida webconferenceCentro Metid
 
Epilettologia tutorial
Epilettologia tutorialEpilettologia tutorial
Epilettologia tutorialCentro Metid
 
Epilettologia guida webconference
Epilettologia guida webconferenceEpilettologia guida webconference
Epilettologia guida webconferenceCentro Metid
 
Tutorial Area personale Profilo pubblico
Tutorial Area personale Profilo pubblicoTutorial Area personale Profilo pubblico
Tutorial Area personale Profilo pubblicoCentro Metid
 
Tutorial Documenti
Tutorial DocumentiTutorial Documenti
Tutorial DocumentiCentro Metid
 
Tutorial Area personale Profilo pubblico
Tutorial Area personale Profilo pubblicoTutorial Area personale Profilo pubblico
Tutorial Area personale Profilo pubblicoCentro Metid
 
Tutorial adobe connect
Tutorial adobe connectTutorial adobe connect
Tutorial adobe connectCentro Metid
 
La web conference (Adobe Connect)
La web conference (Adobe Connect)La web conference (Adobe Connect)
La web conference (Adobe Connect)Centro Metid
 
La redazione collaborativa
La redazione collaborativaLa redazione collaborativa
La redazione collaborativaCentro Metid
 
La gestione documentale
La gestione documentaleLa gestione documentale
La gestione documentaleCentro Metid
 

Mais de Centro Metid (14)

Epilettologia guida webconference
Epilettologia guida webconferenceEpilettologia guida webconference
Epilettologia guida webconference
 
Epilettologia tutorial
Epilettologia tutorialEpilettologia tutorial
Epilettologia tutorial
 
Epilettologia guida webconference
Epilettologia guida webconferenceEpilettologia guida webconference
Epilettologia guida webconference
 
Tutorial Area personale Profilo pubblico
Tutorial Area personale Profilo pubblicoTutorial Area personale Profilo pubblico
Tutorial Area personale Profilo pubblico
 
Tutorial Forum
Tutorial ForumTutorial Forum
Tutorial Forum
 
Tutorial Documenti
Tutorial DocumentiTutorial Documenti
Tutorial Documenti
 
Tutorial Area personale Profilo pubblico
Tutorial Area personale Profilo pubblicoTutorial Area personale Profilo pubblico
Tutorial Area personale Profilo pubblico
 
Tutorial gruppi
Tutorial gruppiTutorial gruppi
Tutorial gruppi
 
Tutorial adobe connect
Tutorial adobe connectTutorial adobe connect
Tutorial adobe connect
 
La home
La homeLa home
La home
 
La web conference (Adobe Connect)
La web conference (Adobe Connect)La web conference (Adobe Connect)
La web conference (Adobe Connect)
 
La redazione collaborativa
La redazione collaborativaLa redazione collaborativa
La redazione collaborativa
 
Il forum
Il forumIl forum
Il forum
 
La gestione documentale
La gestione documentaleLa gestione documentale
La gestione documentale
 

Designing a storyboard

  • 1. How to design a storyboard? You have to put a puzzle together: be flexible and creative Center for Studies in Communication Sciences It’s exactly what I’ve hoped
  • 2.
  • 3. During the development of a Serious Game, there are a lot variables to consider, even if there are not strict rules to lead them: aim animations kind of game screenplay didactical model Technological decisions contents interactive aspects mathematical model audio Center for Studies in Communication Sciences
  • 4. How can I create an effective simulation for the user, as a learning experience ? reconstructions of virtual environments and characters have to be able to activate the presence feeling : playing the game, the player has to feel emotionally involved and conscious to be in that particular situation . the presented situations and the story have to be realistic, challenging, congruent with real life and real experiences . 1 2 Center for Studies in Communication Sciences
  • 5. The E-VITA project is looking for innovative ways to promote knowledge sharing between different generations : true life episodes are transposed into Serious Games. The stories are small episodes that can be used as window to learn more about the past as a way to better understand the present, since these narratives support players to understand, analyze and reflect situations and facts others have experienced. A good example to design a storyboard: the E-VITA project www.evitaproject.eu E xperiences gained by senjor citizens can be transferred to younger generations Center for Studies in Communication Sciences
  • 6. In the CoPs, senior citizens shared their experiences and used their expertise to contribute to the project. COMMUNITIES of PRACTICE (CoP) : setting-up groups of persons that reflect upon a common argument. They are necessary to collect suitable stories and shared information for the development of the games. In each of the seven involved countries a CoP edited storyboards for each Serious Games that they envisage. The storyboards were then transformed into Serious Games that can be used either by individuals online or by formal educational organizations to teach history, geography, etc. 2 3 1 Center for Studies in Communication Sciences
  • 7. Each partecipating country implemented a community of storytellers. Contacting seniors department of a university nearby Contacting day-centre Contacting internet cafes “ call for stories” via the web E-VITA blog LinkedIn group Communities met at least 4 times, 2-3 hours per session Contacting University of third age How to set up a community? How do you want to set up YOUR community? Center for Studies in Communication Sciences
  • 8. 4 main topics for the collection of the stories Recreation For young adults and teenagers a world without mobile phones, Internet, and PCs in unthinkable. Before the communication revolution other ways of recreation, meeting people and exchange with others were usual. Working The experience to work in another country can be a very exciting one. In fact, the person working somewhere else has a completely different perspective on the same situation compared to the people living there. Turism Travelling in Europe and hosting tourist: both perspectives. This could lead to a game on interculturality in Europe where roles can be swapped to experiment the same situation from the two opposite sides. East and West block The contacts between East and West (divided) Europe often were a complicated challenge, but often were surprisingly interesting and full of very positive occurrences. Preconceived views and stereotyps could be put aside. Center for Studies in Communication Sciences
  • 9. Based on the narratives of seniors, game environments can be created that allow to experience the story, as well as to transform the story into a personal experience, to take an active part in it and emotionally share events. Center for Studies in Communication Sciences
  • 10. To define a “ model ” for a storyboard the first step was to find how pieces of stories could be connected to start creating something more articulated. a little story of a French family travelling to Germany with a “duck car” (typical in the 60’s in France) full of fresh vegetables. They are stopped at the frontier with Germany and the customs officer does not believe that there is nothing hidden under the vegetables. So he opens the back of the car and there are potatoes rolling all over the floor at the frontier and… nothing else appears under the vegetables! The first stories collected at the beginning of the project included: a little story of a lady bringing bananas from Swiss to Italy and being stopped, as no fruit could be brought over the border. So she offers bananas to the customs officers (as it is not nice to throw them away) and… gets arrested for attempt of corruption! a lot of facts (also collected indipendently from the stories), e.g. that VW beetle was the typical car in Germany, as well as Fiat Cinquecento in Italy, same as the Duck in France. a couple of stories about taking money abroad Center for Studies in Communication Sciences
  • 11. B) invent a game where the player has to transport goods between different countries in Europe and to cross many borders. According to the itinerary he or she chooses, different things may happen. For example, should he or she try to cross the Swiss-Italian border with bananas…. What could be done with these stories: A) start with pictures of old cars; the player has to chose one; according to the car he or she chooses he or she “lands” in a different story Aim of the game could be if one is very clever, or if he is the perfect smuggler!!! Obviously all these pieces are not by far enough to develop a complete game, but this may show how different information can be linked to for pieces of possible pathways for a more complex game. Center for Studies in Communication Sciences
  • 12.
  • 13.
  • 14. Storyboard development The chosen pedagogic approach of using the game type of an experiential game for a first prototype implied a narrative background consisting of a branching dialogue . In this game model different linear storylines can be composed by branching them at certain points in the overall narrative. Usually, the player follows the plot until he or she reaches situations which require a decision or where events occur which the player must react to in order to advance. This method allows for a smooth combination of different stories or parts of stories and therefore is suited well for composing a game plot out of a pool of narrative material. Center for Studies in Communication Sciences
  • 15. Outlining the plot In order to construct such a branching structure the different scenes have to be determined and aligned so that an overarching context is maintained and a credible and immersive game plot can be achieved. The method chosen for this procedure is to outline the different scenes of the plot with the help of a mindmapping tool. When the individual scenes are laid out they can be assembled to the game plot according to the delineated storyline. By means of this flow chart visualization it is much easier to determine the crucial and relevant elements of the stories to be intertwined to an overarching context and a plausible game plot . Center for Studies in Communication Sciences Center for Studies in Communication Sciences
  • 16. For the overarching context, in order to have a “wrapping” story in which several cities are inserted one of the ideas coming from a focus group with a sample of the target group was chosen: The player is a journalist in the present - her (the journalist is a young lady) boss wants to publish a special issue in the magazine for the 20 years from the fall of the Berlin wall, and she has to collect information, sort of “travelling in the past”. As mentioned above, the game will use the metaphor of travelling in time, i.e. the protagonist is able to visit places in a time where the Iron Curtain divided Europe. This mechanism will come in effect without having to be intentionally triggered by the player and the different time layers are visualized by changing graphical styles. While the player can experience situations from a past time, the results from these experiences are fed back into the present time as the learning aims achieved. Into the past layer of the game additional cities, i.e. destinations for the “time travel”, can be inserted in a modular way. Center for Studies in Communication Sciences
  • 17. Creating the storyline Compiling the storyboards. After the initial pre-considerations about the game plot storyboards for the individual scenes (the different cities) could be created. Writing the dialogues. It is extremely important to keep the dialogues as interesting as the stories themselves are, in order to make the learner engaged and able to focus and get the picture on the situation experienced in the story. As soon as the branching of the narrative was identified and potential scenes were arranged the dialogues for the respective game situations were written starting from the collected stories. To write the dialogues, one has to try to find out the emotional state of the person, and to try to convey this again with the choice of words. For some stories this is easier, for others it is a bit more difficult and some creative imagination has to be brought in. Center for Studies in Communication Sciences
  • 18. Preparing the feedbacks. As soon as the storyboard is set up with all the details, the feedback is prepared. Final feedbacks take into account the whole path the player followed, not only the last decision node. Therefore in each decision node some parameters have to be evaluated. The evaluation will be done empirically with a table underlying the game. The e-VITA games will generally give feedback about the historical, political, social knowledge of the player, evaluating also users’ ability to cope with the given situations as well as interpersonal communication. Which kind of feedbacks would you like to include in your game? Carefully think about it! Center for Studies in Communication Sciences