WEBVTT

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while doing so.

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OK, so I'm eager to hear what you have to tell us.

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The presentation?

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Yeah.

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Because I sent it.

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Absolutely not late, by the way.

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But I sent it.

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Should be a PDF.

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This one, yeah.

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That's a safe password.

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I completely looked away. I was like,

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nice wall, because I didn't want to...

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Does that work?

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Thank you.

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I mean, it's fine as long as I can.

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Okay.

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Good.

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Yeah, good.

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Okay.

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All right.

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Can everybody hear me?

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Is that fine?

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Is that perfect?

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Thank you so much.

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Hi, yeah, I'm Ingve.

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I'm going to talk to you about how to build serious games and preferably not lose your mind while doing so.

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A little bit about me. I did my bachelor's in media design with the main focus on game design

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in Hanover at the University of Applied Science and Arts.

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And I'm a project lead for serious games at Gentle Troll since 2022.

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I'm also, I have been a lecturer at the University of Applied Arts in Hanover for a short amount

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of time.

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And generally I am a producer and a programmer.

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I basically started out as a programmer, touch producing, and it kind of venomed onto me

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and didn't let go, so now I'm a project lead.

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A little bit about our company, or my company.

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We're called Gentle Troll, we're based in Würzburg,

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and we've been around since 2014,

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and we mainly build serious games,

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and we also make entertainment games.

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We are currently working on our first entertainment title,

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Tavern Talk, some might have heard of it,

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but yeah, I'm here to talk to you about

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the serious game area of what we're doing,

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which we've been doing since 2014.

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Yeah.

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If you want stickers from Tavern Talk though,

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I might have some, so catch me after the presentation

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and I can give you some.

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Yeah, a little bit about our projects.

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We have done a lot of projects over the years.

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I've brought four specifically for today.

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We mainly do projects that have

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a big focus on either environmental issues or societal issues.

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Most of the time.

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I'm saying most of the time.

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We also are working on learning tools for German

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and German as a second language.

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So specifically for people who come here

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and have to learn German quickly.

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So that's basically what we do.

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I have brought Glimpse, which is a project about environmental changes and what we can do to prevent them, which we've done in 2021.

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Then I've brought Nippo Missions, where I don't remember where we did that. I think it's been like three years ago,

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where you play a little robot and you learn how to program.

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And then we also made the game Exploria,

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which is a German learning tool, which we produced last year.

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And a project that pops up every time surrounding us,

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because we did it very early in our endeavors,

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is The Unstoppables, which is a game about four friends

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friends who have different types of disabilities and they have to protect

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and get back the guiding dog of our blind character Melissa and it's

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basically there to teach people about how our environment is more so built for

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people abled bodied people and not so much for people with disabilities to

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share awareness and basically show people what you can do to help people.

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Yeah. I'm gonna, just so you know, I'm gonna tell you about our approach to

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serious games. Obviously game development is very faceted and a lot of different

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projects can work in a wholly different way. This is our approach, this is what we

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do to make serious games, but if you have something that works that's totally fine too.

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I first want to talk about the learning environment. That's like the main

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meta thing that you have to think about or that we think about when we're building serious games.

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The learning environment should provide a set fix like a fixed set of rules.

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you have boundaries in which the exploration is safe. You can explore the content, you can

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interact with it, you can try things out and it's within these set type of boundaries, right? And

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because it's a virtual world, it's a virtual environment, it doesn't have that much negative

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consequences to your real life. So that it allows you to explore more and try out more. And by doing

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that, what happens is that you engage with the content you're trying to learn

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more and by doing that you will have a deeper connection and understanding of

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the topic at hand. And afterwards what you do is that you transfer the learned

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knowledge into your own everyday life. So the learning environment is the main

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focus of what we should think about. Okay. Whenever we start a new project

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there is a few main questions we have to answer and we will revisit these main

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questions over and over and over again in development. The main main main focus

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should be what will work for your content. You have to know your content,

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you have to know what you're trying to teach to be able to do a good project

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for that. The second most important answer, a question and these often fight

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with each other is what is doable with the budget and time because we're

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talking about serious games here so budget is not endless I mean it rarely

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is but especially in serious games you're probably working with with with

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people with universities museums clients who don't have that big of a budget and

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development is really expensive so second important question what is doable

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with your budget and your time frame and then of course what are your clients

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needs, if you have a client obviously, and what are the players needs.

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Depending on the content you can give, like your game can build a different frame for

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that content.

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Ideally, your project should be an environment, a frame where the content sits in nicely and

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invites the people to engage with it.

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You can build different types of frames.

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You can build a strong narrative frame or a mechanical frame.

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A mechanical frame is basically a very deep interwovenness with the content itself.

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So the gameplay mechanics base on the content itself.

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This allows for a much deeper interaction with it, but it's not always feasible and

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not always doable.

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It kind of depends on the content you're having.

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So if, for example, we're talking about which environmental measures can be taken to prevent

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a climate crisis, ideally, or at least help it, that makes sense to put into a mechanical

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frame because a lot of these things are set.

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Like there's certain measures you can take and you can put that into a mechanical frame

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because you can make gameplay out of this.

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Whereas if you're learning how to write German articles,

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or just German grammar in general,

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it's very hard to do over a mechanical frame,

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and you will have to build

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a stronger narrative frame for it.

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A narrative frame can, in turn,

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provide a very strong why am I here, why am I doing this?

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All of us have been to school,

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most of us know that if you just learn something

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and you never know where you're gonna use it,

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it's just, it sucks.

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It doesn't make sense for you to learn it.

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So what we're trying to do is give them a reason

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why they're here, why they're engaging with the content,

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why they have to learn it.

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Yeah, but both things,

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it's not either a narrative frame or a mechanical frame,

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it's spectrum, and your project should be somewhere

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within that spectrum.

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Both aspects need to be balanced,

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and they need to be balanced in a way that makes sense

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for the content you're trying to teach.

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The next thing is interaction.

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So how is the interaction of your player

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with your project or with your game?

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Is it more gamey?

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Like, does it very much feel like a video game

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or is it more tasky and feels a little bit more

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like a digitalized learning book?

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What we have found is that the gamey approach

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often works better for the target audiences

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that we're trying to reach,

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because most of the time,

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it's gonna be younger people, right?

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But considering the budget and the client needs,

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that's not always feasible.

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That's not always how it works.

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Especially if you have clients

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who are a bit more on the traditional side

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and don't have much connection points to the media itself,

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it can be kind of hard

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because you're already trying to show them

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what a video game can do.

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So that is already scary for them.

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So by moving it a little bit more to the tasky

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or the digital learning book side,

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you can elevate a lot of these fears.

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But it's always gonna be a balance.

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Again, it's a spectrum.

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It's always, it has to be a balance

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and you have to make sure that your approach

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fits your content and is doable.

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So if we look at this and put it on a graph, it would look something like this.

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So for example, you can have a game that is very gamey and kind of in the middle between

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narrative and mechanical, and you would have our game The Unstoppables, which is basically

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a puzzle game that has an equal amount of focus on mechanics and narrative.

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Or you could have a game like our German learning game where the content is really hard to put

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into mechanics.

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So we build a very strong narrative frame around that to enable the player to still

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have a good experience while playing the game.

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And then if you do a very mechanical game and a more gamey game, you will have our Klims,

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which is our climate change environmental game.

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Yeah.

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Yeah.

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And your project, ideally, if you want to use these,

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should fall somewhere in there.

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For your players, it's really important that you have connection points.

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Because it's not a given that the content itself

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will be a strong connection point.

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When we're choosing entertainment titles to play,

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what happens usually is, hey, I really love Stardew Valley,

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Valley. So if I like this, I'm going to play the next farming sim that's maybe also pixely and

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really cute and I love that. It's great. I have this connection point over the content, over the

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genre, over the community maybe even. But there's a high chance we won't have that here. But we have

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other connection points that we can use. For example, we can use characters as connection

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points. And so far this has proved to be the strongest connection point in our projects with

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our target audience. If you have attractive and I don't mean like beautiful, I mean like interesting

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characters, multifaceted characters, people will react to that. People will want to learn more

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about these characters. This works especially well in a narrative frame. And another connection point

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that's kind of combined with that is that you have similar lived experiences of your target audience

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for your themes or your sub-themes.

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Obviously, the main content you cannot change.

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But if you have some sub-themes in there

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that people in your target audience will adhere to,

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that can help you make a connection.

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Another thing is just having an interesting environment

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or an interesting setting,

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which can also be a strong pull factor.

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And yeah, just mechanics that are fun.

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Fun.

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But fun is very hard to facilitate.

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It's very hard to build.

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And especially if you're on a tight budget and a tight timeframe,

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that can be a harder connection point to achieve.

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And it's very, very depending on the context where your game is going to be played.

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If you're in a lesson and you're basically forced to do something,

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there's a high chance it's not going to be that fun in the beginning.

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So it always depends on the context and the content itself.

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Next up is motivation points, motivation types. You probably all know the game of

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motivation model by Quantic Foundry. If not, have a look at that, that's cool.

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What we've learned is that the social part of it, the social, the

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competition part is less helpful for long-term learning and retention,

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especially the retention part. It can be a very big motivator and it can work

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well in groups but your content has to allow for that because what happens is

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that you're often your players will play for quick wins because they want to win

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in the competition and quick wins don't always mean that you will think the

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whole topic through thoroughly so it doesn't allow for us for as a big or as

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a deep connection to the content itself what we found is works really well is

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is the creativity archetype and the achievement and the immersion people. So people who seek for

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immersion, people who seek for achievements as in strategists or completionists, they work very well

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with serious games. So for your project be aware of what types of motivation types you're trying

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to cater to or have to cater to. As I said, social competition, very strong motivator,

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doesn't work for every content. All right. And then, of course, you have to take into

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consideration what's the play context of your game going to be. So, mainly, where is your game going

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to be played at? Is it going to be in a museum? Is it going to be part of a lesson? Is it going to be

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at home in like solo play nobody's around and that determines how your game needs to be structured

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and how your game is going to be played will have to be reflected in the series game itself

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it's important whether your game is going to play be played in a group or whether if it's in a group

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there's going to be a reflection round afterwards or if that reflection only happens internally

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We have to know that so that we can ensure that the transfer of knowledge that we have taught

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the people playing our game does get transferred into their real life. So we may have to provide

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more feedback or more of a reaction in our learning environment than when it's just part

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in the lesson and we have a reflection around everything is super like build up.

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If people are gonna just play this at home you have to give them feedback so they can transfer

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the knowledge back. Yeah, so that's been like a very rough how do we approach projects like

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this. The next part is about how you work with people and clients and the main things

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that you have to consider when working with clients. Because it's all about communication,

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trust and expertise. Your main focus has to be that you have to build bridges if you're

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working with clients because it's very likely that you will work with clients who have no

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idea what a video game is or maybe have a very faint idea what a video game is. But

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what they have is expertise in the content you're trying to teach. So you have two completely

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different aisles of expertise and you have to build bridges in between them. The bridges

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you have to build is first of all between the client and the medium itself

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then between your different areas of expertise you have the development

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expertise they have the content expertise and it needs both to work in

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your game and of course there's a high chance that you and your team will work

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differently than let's say a university for example or a stiftung what's the name for that

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the english word stiftung foundation they will work very differently to you so you have to bridge

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that as well mainly you will always have to keep in mind that your expertise at the end is here to

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help the client make informed decision because if they're the ones giving you money to do that

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they're the ones who make the calls.

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And for them to be able to make these calls comfortably,

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you have to inform them, you have to give them your expertise

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in a good way so that they can make informed decisions.

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So become good communicators, it's really important.

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Yeah, and then what's also important is that you're building trust.

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One main thing about that is learn about the subject.

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you will have a much easier time finding a fitting frame for the content to sit in,

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if you know what the content is and if you know what people who learn the content struggle with

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when they have to learn it. It also enables you to prioritize better because you understand what's

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important and what's not so important in the content. And then of course you can benefit

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from your clients because they know, ideally, they know what they're talking about and they know the

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the topic they're trying to put into this game.

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At the end of the day, it's teamwork,

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and you can learn from them as they can learn from you.

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So I think the biggest takeaway from this part

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is that transparent communication builds trust.

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And trust builds the needed bridge

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between both of your areas of expertise,

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and your serious game will need both.

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And then lastly, it is really important to prioritize well.

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And that's easier said than done.

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You will have to accept certain limitations.

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Your budget and your timeframe will very likely not be kind to you or your project.

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And there are some things that are worth, more worth keeping than others.

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That kind of correlates with the fact that you and your client will sometimes have different

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needs and these needs will be conflicting.

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Because your job is it that you have the game in mind.

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And their job is that they have the content in mind.

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So by default, it will sometimes happen that you say, okay, it has to be A and they will

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say it has to be B.

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And what needs to happen is that you will have to find good compromises

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and you have to be aware on which side might have more expertise on a specific point

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and you have to communicate to that point.

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So if it's something content related, for example,

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but you say, but a game doesn't work like that,

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but they say the content needs to be correct or otherwise we teach bullcrap,

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they might have more expertise in this moment.

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But if they say, but I really like it more if that button is super transparent and it's black font on a dark, dark, dark grey background.

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And you're like, you know, maybe, maybe I have a little bit more experience in this.

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So I'm going to explain to you why that's stupid.

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I'm trying not to swear right now.

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This is me not swearing, actually.

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Basically it boils down to don't let the hill you die on be a discussion about a

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button color. There's a lot more important things to fight about I'd say,

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not fight but to defend. Yeah that's basically the, yeah. So to just recap how

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do you not lose your mind while building serious games? Find a good frame that

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works for your content, be open and find a point of connection or interest in that subject

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for yourself, find a good way to communicate and pick your battles wisely.

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And most importantly, have fun.

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Okay, questions?

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Okay, thank you very much for your interesting talk.

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Yeah, other questions from the audience?

23:54.860 --> 23:56.860
Yeah, sure.

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Thank you for a very interesting presentation.

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You're addressing very important problems, games that have a purpose,

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and we need to make sure this purpose happens.

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Now, I teach people things, and that's hard.

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Yeah.

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And I wonder how the process starts with you.

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Like, I can't come to you and say, you know, he has 500 pages of PDF,

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how do you do computer graphics, teach that in a game.

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No.

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How does it start?

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No, I can assure you most of the time they don't.

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What happens usually is that people have a rough concept

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of what they're trying to do.

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And sometimes that is something we can do and use.

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And sometimes that's like,

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here have 30,000 and do a multiplayer game.

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So it's very different because your clients

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will have different points of knowledge,

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how your development works.

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So what usually happens, like our go-to workflow is that we will get their pitch, like what they're trying to do.

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We will give them a very rough concept and say, hey, that's what we can do.

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And afterwards, we're going to have a workshop where we usually drive out there or do it digitally and talk to them

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and basically try to find out what they really want and what's really important to them.

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Because we have, as I said, we have to bridge

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us not knowing much about the problem

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and them not knowing much about the development.

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So a workshop can really help to brainstorm ideas

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and find out what is it that this project really needs.

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And ideally, that's also the point where

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most of these questions will at least

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get a first answer for.

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Does that answer it?

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I guess so.

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Okay.

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Thank you.

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Yeah.

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but also you have to constantly talk to people.

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Some more questions?

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It doesn't seem so.

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So thank you very much.

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You presented a lot of conflicting situations

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you run into when you do serious games.

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And yeah, it's really a good idea to be aware of this

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and to make really decisions

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and not let it go and see at the end what it was.

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Take the decisions and plan correctly.

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And so again, thank you very much.

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Yeah, thank you for having me.

