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Adventure Author: An Authoring Tool for 3D Virtual Reality Story Construction

Adventure Author: An Authoring Tool for 3D Virtual Reality Story Construction

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Adventure Author: An Authoring Tool for 3D Virtual Reality Story Construction

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  1. Adventure Author: An Authoring Tool for 3D Virtual Reality Story Construction Robertson & Good - AIED 2005

  2. Story making • Stories are a natural part of children’s collaborative play; • Although children don’t lose their imaginations as they get older, opportunities for story making become fewer and more formal; • Story making becomes story writing, which excludes children who have difficulties with text; • How can we put enjoyment back into story making for older children? • One approach is to broaden the range of media in which children can create stories. Judith Good - AIED 2005

  3. Stories and Game Creation • Technology now allows children to create their own games: • build areas; • create characters; • develop plots (and explore branching plots); • write dialogue. • Thus, game creation has potential in an educational context for developing story making skills; • Adventure Author scaffolds the creation of stories in a 3D VR world. Judith Good - AIED 2005

  4. Adventure Author Development • Interviews with teachers, children and game designers to identify requirements of authoring tool (Good & Robertson, 2004) • Extensive field work to identify strengths and weaknesses of existing game authoring tools (Robertson & Good, 2004) • Low tech prototyping of interactive story representations (Goolnik, Robertson & Good, submitted; Good & Robertson, 2003); • High tech prototyping of interactive story representations • Expert evaluation of prototype (Robertson & Good, 2005) Judith Good - AIED 2005

  5. Adventure Author story structure Judith Good - AIED 2005

  6. Adventure Author Demo Judith Good - AIED 2005

  7. Learning Affordances of AA • Motivation-inducing learning curve: entire area can be created with minimal effort, complexity arises in later stages (e.g. highlighting something in an area); • Situated learning: children (readily) assume persona of game designer; • Action-based feedback: children can observe others interact with their game; verbal feedback can augment this, but not strictly necessary; • Organic reflection-revision cycle: children reflect on and revise games as a result of feedback (above); • Organic collaboration: results from natural interactions, does not need to be designed into the environment or associated tasks; Judith Good - AIED 2005

  8. Future Work • Representation of story at different levels of granularity; • Dialogue as narration in addition to text (representational issue); • Visual language for specifying story events; • Educational scaffolding for the processes of design and reflection. Judith Good - AIED 2005

  9. Thank you J.Good@sussex.ac.uk Judy.Robertson@gcal.ac.uk Judith Good - AIED 2005