What is truly impressive, however, is how we are now able to use design to tell a story. In other words, we no longer need to use long scrolls to set up plots or describe what a company does. This is especially great when designing for the mobile experience, which already sets pretty strict limits on how much we can “tell” versus “show.”
Three Video Game Storytelling Techniques We Need More Of In Web Design
1. Make Your Visitor the Hero
Create User Personas
Develop user personas before you do anything else when strategizing and planning for a website. Your personas should have a key “problem” they face.
Enable Avatar Setup
Use Relatable Content
In video game design, there is something known as “ludonarrative dissonance.”
the unpleasant situation where we’re asking players to do something they don’t want to do… or prevent them from doing what they want.
That’s not a lot of space to fill with content for the majority of site visitors, is it?
Functional minimalism is already something you’re doing in your own web design efforts, but have you thought about how it can tie into the storytelling aspect as well?
Here are some ways in which you might use symbols to declutter your site:
Hamburger icon (for the navigation)
Profile photo icon (for account details)
Pencil icon (for an editing interface)
Gear icon (for settings)
Shopping cart icon (to checkout)
Magnifying glass (to expand the search bar)
Connector icon (to open social sharing and RSS feed options)
Question mark (to expand live chat, search, or help options)
And so on.
3. Be Smart About How You Use Space
Use a Spotlight
In video games, you can use light and darkness to draw attention to important pathways. On websites, it’s not always easy to employ the use of lightness or darkness as too-dark of a design or too-light of text could lead to a bad user experience. What you want to do instead is create a “spotlight” of sorts. You can do this by infusing a key area of your design with a dramatic color or a boldly stylized font.
If you’ve ever played a horror video game before, you know how critical the element of sound can be for it.
That said, while you might not be able to direct visitors down the page with the sound of something playing down below, you can use other elements to lead them. For one, you can use interactive elements like animation to draw their attention to where it needs to go.
Employ a Mascot
For some brands, it might make sense to employ the use of an actual mascot to guide visitors through the story.
As attention spans shorten and visitors just want to get to the good stuff on a website, designers have to get more creative in how they communicate their website’s “story.” Ideally, your web design will do more showing of that story instead of telling, which is how video game design tends to succeed in this matter.
Remember: Storytelling isn’t just relegated to big brands that can weave bright and shiny tales about how consumers’ lives were changed with their products. Nor is it just for video game designers that have hours of gameplay to develop for their audiences. A story simply needs to convey to the end-user how their problem can be fixed by your site’s solution. Through subtle design strategies inspired by video game storytelling techniques, you can effectively share and shape your own story.
In my state of Virginia (like many other states), we focus on these four:
Community engagement and civic responsibility
STEP 2: Tag team with colleagues to plan instruction
In step one we created our graduate profile by brainstorming and identifying both the personal and professional knowledge and skills that our future graduates need. Now it’s time to formulate plans to bring the profile to fruition. To ensure student success, implementation should take place in the classroom and tap the expertise of our colleagues.
Student success is never due to one teacher, but a collaborative effort.
STEP 3: Identify and leverage the right industry partners
Technological literacy requires students to create authentic products using appropriate edtech, therefore developing technologically literate graduates should not be left entirely to teachers and schools.
Soliciting the help of our industry and business partners is so crucial to this process
Step 4: Create career pathways in schools
schools create systemic K-12 career pathways — or pipelines — for their students and give teachers ample time and space to plan and work together to maximize the learning aligned to well-developed graduate profiles.
Unimersiv is in the business of educational experiences — works on both Samsung Gear VR and the Oculus Rift, and takes viewers underwater to explore the Titanic and to one of our closest planets through the “Mars: Curiosity Rover,” app
Discovery VR app. The app works on nearly every single VR platform: Google Daydream, Samsung Gear VR, HTC Vive, Oculus Rift and Google Cardboard viewers using both iOS and Android devices.
According to San Jose State University researcher Ziming Lu, this is typical “screen-based reading behavior,” with more time spent browsing, scanning and skimming than in-depth reading. As reading experiences move online, experts have been exploring how reading from a screen may be changing our brains. Reading expert Maryanne Wolf, author of Proust and the Squid, has voiced concerns that digital reading will negatively affect the brain’s ability to read deeply for sophisticated understanding, something that Nicholas Carr also explored in his book, The Shallows. Teachers are trying to steer students toward digital reading strategies that practice deep reading, and nine out of ten parents say that having their children read paper books is important to them.
“Digital reading is good in some ways, and bad in others,” he said: in other words, it’s complicated.
According to Julie Coiro, a reading researcher at the University of Rhode Island, moving from digital to paper and back again is only a piece of the attention puzzle: the larger and more pressing issue is how reading online is taxing kids’ attention. Online reading, Coiro noticed, complicates the comprehension process “a million-fold.”
Each time a student reads online content, Coiro said, they are faced with almost limitless input and decisions, including images, video and multiple hyperlinks that lead to even more information. As kids navigate a website, they must constantly ask themselves: is this the information I’m looking for?
Eureka: machine learning tool, brainstorming engine. give it an initial idea and it returns similar ideas. Like Google: refine the idea, so the machine can understand it better. create a collection of ideas to translate into course design or others.
influencers and microinfluencers, pre- and doing the execution
a machine can construct a book with the help of a person. bionic book. machine and person working hand in hand. provide keywords and phrases from lecture notes, presentation materials. from there recommendations and suggestions based on own experience; then identify included and excluded content. then instructor can construct.
Design may be the least interesting part of the book for the faculty.
multiple choice quiz may be the least interesting part, and faculty might want to do much deeper assessment.
use these machine learning techniques to build assessment. how to more effectively. inquizitive is the machine learning
students engagements and similar prompts
presence in the classroom: pre-service teachers class. how to immerse them and practice classroom management skills
First class: marriage btw VR and use of AI – an environment headset: an algorithm reacts how teachers are interacting with the virtual kids. series of variables, oppty to interact with present behavior. classroom management skills. simulations and environments otherwise impossible to create. apps for these type of interactions
facilitation, reflection and research
AI for more human experience, allow more time for the faculty to be more human, more free time to contemplate.
Jason: Won’t the use of AI still reduce the amount of faculty needed?
Christina Dumeng: @Jason–I think it will most likely increase the amount of students per instructor.
Andrew Cole (UW-Whitewater): I wonder if instead of reducing faculty, these types of platforms (e.g., analytic capabilities) might require instructors to also become experts in the various technology platforms.
Dirk Morrison: Also wonder what the implications of AI for informal, self-directed learning?
Kate Borowske: The context that you’re presenting this in, as “your own jazz band,” is brilliant. These tools presented as a “partner” in the “band” seems as though it might be less threatening to faculty. Sort of gamifies parts of course design…?
Dirk Morrison: Move from teacher-centric to student-centric? Recommender systems, AI-based tutoring?
Andrew Cole (UW-Whitewater): The course with the bot TA must have been 100-level right? It would be interesting to see if those results replicate in 300, 400 level courses
It’s tempting right? I mean, you are paying something to do your work for you! Unfortunately, as it may be the easy way out, it could get you in trouble, and by trouble I mean, Instagram might end up deleting or banning your account – and that is probably the last thing you would want to happen.
It may take a big chunk of your time each day, but if you want your account to grow, focus on being genuine, providing value and engaging with your audience in an authentic manner!
Daniel J. Siegel is clinical professor of psychiatry at the UCLA School of Medicine, the founding co-director of the UCLA Mindful Awareness Research Center, and executive director of the Mindsight Institute. He is also the author of several books, including the New York Times bestsellers “Brainstorm” and, with Tina Payne Bryson, “The Whole-Brain Child” and “No-Drama Discipline.”
Tina Payne Bryson is a pediatric and adolescent psychotherapist and the Founder and Executive Director of The Center for Connection in Pasadena, California. She is also is the co-author, with Daniel J. Siegel, of the New York Times bestsellers “The Whole-Brain Child” and “No-Drama Discipline.”
why instructional design doesn’t typically work with students, or anyone’s learning for that matter, when you teach with PowerPoint—as well as how you can avoid it. It all begins with a little concept called “cognitive load.”
Cognitive load describes the capacity of our brain’s working memory (or WM) to hold and process new pieces of information. We’ve all got a limited amount of working memory, so when we have to handle information in more than one way, our load gets heavier, and progressively more challenging to manage.
In a classroom, a student’s cognitive load is greatly affected by the “extraneous” nature of information—in other words, the manner by which information is presented to them (Sweller, 2010). Every teacher instinctively knows there are better—and worse—ways to present information.
A study in Australia in the late 1990s (the 1999 Kalyuga study) compared the learning achievement of a group of college students who watched an educator’s presentation involving a visual text element and an audio text element (meaning there were words on a screen while the teacher also talked) with those who only listened to a lecture, minus the pesky PowerPoint slides.
Researchers including John Sweller and Kimberly Leslie contend that it would be easier for students to learn the differences between herbivores and carnivores by closing their eyes and only listening to the teacher. But students who close their eyes during a lecture are likely to to called out for “failing to paying attention.”
Richard Mayer, a brain scientist at UC Santa Barbara and author of the book Multimedia Learning, offers the following prescription: Eliminate textual elements from presentations and instead talk through points, sharing images or graphs with students
a separate Australian investigation by Leslie et al. (2012), suggest that mixing visual cues with auditory explanations (in math and science classrooms, in particular) are essential and effective. In the Leslie study, a group of 4th grade students who knew nothing about magnetism and light learned significantly more when presented with both images and a teacher’s explanation than a separate group which received only auditory explanation.
Limit yourself to one word per slide. If you’re defining words, try putting up the vocabulary word and an associated set of images—then challenge students to deduce the definition.
Honor the “personalization principle,” which essentially says that engaging learners by delivering content in a conversational tone will increase learning. For example, Richard Mayer suggests using lots of “I’s” and “you’s” in your text, as students typically relate better to more informal language.