You want learners to fail in an environment where they can receive corrective feedback and learn from their failures rather than make the failure on-the-job in the actual situation such as in front of a customer or violating a safety protocol on a piece of equipment.

You didn’t necessarily identify with the unnamed “you” who starred in each book. It was more that each protagonist offered you an alternative to yourself, or forty alternatives to yourself. The second person was less like a mirror and more like a costume.

The fact of multiple endings offers a sense of freedom and safety at once, reconciling two conflicting desires of childhood: autonomy and protection.

Randomness was never part of his compositional strategy. “My philosophy was that it should be like life,” he tells you. Smart decisions were more likely to result in a better outcome but wouldn’t always guarantee it. Virtuous choices didn’t always pay off.

Anson always writes one “Golden Ticket” ending where you get exactly what you want, and a few “Golden Ticket minus one” paths where you get almost everything, but not quite.

This study turns for guidance to the expertise of narrative designers for games, where storytelling for interactive narrative has a long history of testing, iterating and perfecting. A collection of proven techniques described by game narrative practitioners will inform creative writing efforts to craft prototypes to test the transferability of those techniques to interactive narratives in a healthcare education context.

Perhaps the perfect way to learn is by doing something worthwhile that lines up with the real world, and very judiciously receiving some friendly guidance when we get stuck.

If you’re running a flight simulator and want your pilots to learn how to land an airplane in a snowstorm, Short Sims can only have introductory benefits. They can teach you some of the strategies.

With practice, you should be able to create an entire role-play in about 40 hours over two weeks. If you are going over that, you’re probably overthinking or over-executing it. Remember that you need to keep it simple.

<p>When designing eLearning games using interactive stories, ask yourself the following six questions:</p><ol><li><strong>What’s the point?</strong> Be clear about the learning goal.</li><li><strong>Does it matter?</strong> Make sure the story is realistic, relevant, and tied to the learning goal.</li><li><strong>Is it fun?</strong> Slapping a leaderboard onto a course doesn’t make it a game. Games need to be fun. Test the fun factor by getting input from learners.</li><li><strong>Does it make sense?</strong> Take time to get the script right in the beginning, and check it with every change to make sure all the branching paths still make sense.</li><li><strong>Is it immersive?</strong> Don’t pull your learner out of the story. Show, don’t tell. Use high-quality visual design and audio (if narrated). And don’t preach.</li><li><strong>Does it exclude anyone?</strong> Include diverse characters and avoid stereotypes. Use inclusive language, and design with accessibility in mind.</li></ol>

<li class="_3gqTEjt4x9UIIpWiro7YXz"><p class="_1qeIAgB0cPwnLhDF9XSiJM">No, and...</p></li><li class="_3gqTEjt4x9UIIpWiro7YXz"><p class="_1qeIAgB0cPwnLhDF9XSiJM">No.</p></li><li class="_3gqTEjt4x9UIIpWiro7YXz"><p class="_1qeIAgB0cPwnLhDF9XSiJM">No, but...</p></li><li class="_3gqTEjt4x9UIIpWiro7YXz"><p class="_1qeIAgB0cPwnLhDF9XSiJM">Yes but...</p></li><li class="_3gqTEjt4x9UIIpWiro7YXz"><p class="_1qeIAgB0cPwnLhDF9XSiJM">Yes.</p></li><li class="_3gqTEjt4x9UIIpWiro7YXz"><p class="_1qeIAgB0cPwnLhDF9XSiJM">Yes and...</p></li>

When it comes to scenario-based VR learning, the branched narrative is veiled behind the presence, immersion, and interaction within the VR environment. The learner may very well be subject to a predefined set of pathways, but because of the experiential nature of VR, these branches may not be as obvious because they’re seamlessly woven into the VR experience.