The document describes the ELEKTRA project, an EU-funded serious game designed to teach physics and optics to students aged 12 and up. It discusses ELEKTRA's design methodology, which was based on neuroscience, pedagogy, psychology and cognitive science, and involved an 8-phase process including defining learning objectives, developing scenarios and technology, testing, and evaluation. The methodology aimed to ensure ELEKTRA achieved its goals of being an engaging, adaptive, and effective learning tool.

1. Cologne Game Lab
Master Degree Course „Serious Games“, Summer Semester, APR 25 2016
GAME DESIGN METHODOLOGY
CHAP.1 : Promise a Premise!
Daniel Schwarz

2. ELEKTRA (2006-2008): Learning physics / optics for 12+
•Budget: EUR 3.046.710
•awarded as an EUROPEAN STAR PROJECT in the category EDUCATION
•6th. Framework Programme (FP6-IST in the sub-programme
IST-2004-2.4.10 Technology-enhanced Learning, Project-no. 027986)
Learning Game Design based on Neuroscience, Pedagogy, (Media)Psychology, Cognitive Science

3. man apple tree
man
apple
tree
learning path
Learning objects (LO) are packets. Scorm is the UPS for learning objects.
Classic e-learning -
with static Learning objects The failures of e-learning: LO-UPS instead of REAL TEL

4. Learning situation
in game-based learning
...entering the
Learning game
environment
Tree becomes
obstacle
Apple
becomes
goal
Challenge
Man becomes
hero
DGBL: A new learning environment
man apple tree

5. 2008 ELEKTRA DESIGN METHODOLOGY

6. ELEKTRA
2008
DESIGN
METHODOLOGY
Phase&8&
Content&
produc,on&
3D-assets
2D-assets
Audio assets
Text
ELEKTRAs&
4Ms&
&
Macroadap,vity&
Microadap,vity&
Metacogni,on&
&
&
Mo,va,on&
&
ELEKTRA‘s&
&
Game&
Design&
Document&
&
Story&
Backgroundstory&
StS&
Didac,c&
Design&&
LeS,&InDGame&
Assessment&
Game&Design&
Game&world&
Game&mechanics&
GpS&
Characters&
Character&bible&
ParaDsocial&dimension&
Learning
Game
Design
Team&
Interdisciplinary composition
Research & Conception
Design
Production
Development
Validation & Analysis
Learning&
objec,ves&
Target group
Curricula, Topic
Goal of the Game
Context of use
Transversal competencies
Ethic & Moral
Pedagogical approaches
Learning&
methods&
8LEM /
Macroadaptivity
Triple consistency
ELEKTRA‘s&Vision&
Vision & Goal
ELEKTRA‘s approach
Conceptual architecture
Research&domains&
Pedagogy
Cognitive / media psychology
Computer science
Neuro science
SoA&
Entertaining computer games
Educational computer games
E-learning techniques
Learning&
content&
Learning content +
Knowledge to be learnt
INTRODUCTION&
Phase&1&
Phase&5&
Scenarios&
&
Pedagogical&
scenarios&
&
&
Phase&4&
User&
Requirements&&
User&preferences&
User&requirements&
User‘s&entry&skills&
&
Phase&3&
Knowledge&
structure&
Definition of skills
Creation of
Knowledge space
Learner model
Phase&2&
Phase&6&
Technology&
Development&
Game engine
Learning engine
Assessment instruments
Character engine
Simulation engine
Tes,ng&
&
Bug&fixing&
Pedagogical&tes,ng&
InDGame&Assessment&
Revise&instruc,on&&&
Analysis&of&user&valida,on&
Recommenda,ons&
Revise&and&update&all&phases&&(RAD)&
&
Evalua,on&of&
Learning&&
Execu,on&of&user&
valida,on&
Scien,fic&valida,on&design&
&
&
Phase&7&
ELEKTRA‘s
Game

7. ELEKTRA
2008
DESIGN
METHODOLOGY
Phase&8&
Content&
produc,on&
3D-assets
2D-assets
Audio assets
Text
ELEKTRAs&
4Ms&
&
Macroadap,vity&
Microadap,vity&
Metacogni,on&
&
&
Mo,va,on&
&
ELEKTRA‘s&
&
Game&
Design&
Document&
&
Story&
Backgroundstory&
StS&
Didac,c&
Design&&
LeS,&InDGame&
Assessment&
Game&Design&
Game&world&
Game&mechanics&
GpS&
Characters&
Character&bible&
ParaDsocial&dimension&
Learning
Game
Design
Team&
Interdisciplinary composition
Research & Conception
Design
Production
Development
Validation & Analysis
Learning&
objec,ves&
Target group
Curricula, Topic
Goal of the Game
Context of use
Transversal competencies
Ethic & Moral
Pedagogical approaches
Learning&
methods&
8LEM /
Macroadaptivity
Triple consistency
ELEKTRA‘s&Vision&
Vision & Goal
ELEKTRA‘s approach
Conceptual architecture
Research&domains&
Pedagogy
Cognitive / media psychology
Computer science
Neuro science
SoA&
Entertaining computer games
Educational computer games
E-learning techniques
Learning&
content&
Learning content +
Knowledge to be learnt
INTRODUCTION&
Phase&1&
Phase&5&
Scenarios&
&
Pedagogical&
scenarios&
&
&
Phase&4&
User&
Requirements&&
User&preferences&
User&requirements&
User‘s&entry&skills&
&
Phase&3&
Knowledge&
structure&
Definition of skills
Creation of
Knowledge space
Learner model
Phase&2&
Phase&6&
Technology&
Development&
Game engine
Learning engine
Assessment instruments
Character engine
Simulation engine
Tes,ng&
&
Bug&fixing&
Pedagogical&tes,ng&
InDGame&Assessment&
Revise&instruc,on&&&
Analysis&of&user&valida,on&
Recommenda,ons&
Revise&and&update&all&phases&&(RAD)&
&
Evalua,on&of&
Learning&&
Execu,on&of&user&
valida,on&
Scien,fic&valida,on&design&
&
&
Phase&7&
ELEKTRA‘s
Game

8. ELEKTRA (2006-2008): Learning physics / optics for 12+
•Budget: EUR 3.046.710
•awarded as an EUROPEAN STAR PROJECT in the category EDUCATION
•6th. Framework Programme (FP6-IST in the sub-programme
IST-2004-2.4.10 Technology-enhanced Learning, Project-no. 027986)
Learning Game Design based on Neuroscience, Pedagogy, (Media)Psychology, Cognitive Science

9. ELEKTRA
2008
DESIGN
METHODOLOGY
GameDesignDocuments
(c) TAKOMAT GmbH

10. 2008 ELEKTRA DESIGN METHODOLOGY
Game Design Documents
ELEKTRA‘s Phase 3: Overview on Advanced Framework
LMR / ULg
Intro
Cinematic
Cutscene
[LMR]
StS 0.1
[LMR]
Tutorial
StS 0.2
[LMR/UG]
StS 0.3
[LMR]
StS 1.1
[LMR]
LeS 1.1
[UL]
LeS 1.2
[partners]
LeS 1.3
[partners]
StS 1.2
[UG/LMR]
LU 1
Learning:
Beam of light,
Ray of light
2D-Represent.Storytelling
Storytelling/
Game literacy
O
b
je
ctives
o
f
G
a
m
e
C
h
a
p
te
rs
G
a
m
e
C
h
a
p
te
rs
G
a
m
e
S
itu
a
tio
n
s
GpS 0.1
[LMR]
GpS 0.2
[LMR/UG]
GpS 0.4
[LMR]
LeS 1.2.1
[UL]
LeS 1.2.3
[LMR/UG]
LeS 1.3.1
[LMR]
LeS 1.3.3
[UB/KLETT]
GpS 0.5
[UB]
Game structure Sequencing of situations
Storyboarding

11. 2008 ELEKTRA DESIGN METHODOLOGY
Game Design Documents
Concept art , overall Visual Design,
Character Design

12. 2008 ELEKTRA DESIGN METHODOLOGY
Game Design Documents

13. 2008 ELEKTRA DESIGN METHODOLOGY
Game Design Documents

14. APPLE & PICKER: Learning game situation
SOIL: Zeitgeist
ROOTS: Premise
Premise for
learning
Premise for
story
Premise for
gameplay
LOG: Game metaphor
CROWN: Game concept
APPLE STEM: Gameplay FRUIT FLESH: Story APPLE SEED: Learning
nourishes & determines
consists of
determine
determines
is realized in
consists of
80DAYS
2010
DESIGN
PHILOSOPHY

15. APPLE & PICKER: Learning game situation
SOIL: Zeitgeist
ROOTS: Premise
Premise for
learning
Premise for
story
Premise for
gameplay
LOG: Game metaphor
CROWN: Game concept
APPLE STEM: Gameplay FRUIT FLESH: Story APPLE SEED: Learning
nourishes & determines
consists of
determine
determines
is realized in
consists of
80DAYS
2010
DESIGN
PHILOSOPHY

16. The Zeitgeist which nourishes and determines the premises for learning
Geography
• Detection: „The teaching approach to the Geography subject changed a lot from the
introduction of the topic in teaching plans until today.“
• Q: „What do we want to achieve with the teaching of Geography today?“
• A: „The ‚UN-Decade for Education and Sustainable Development (2005-2014) sets the
goals for teaching Geography.“
! „The Earth-human relationships are now the focus on the teaching approach.“
! „The topic of Geography therefore becomes more interdisciplinary.“
• A: The British curriculum states that scale matters in Geography:
! “Scale influences the way we think about what we see or experience. Any
geographical enquiry benefits from being viewed from a range of scales to develop an
understanding of how these scales are interconnected”
SOIL: Zeitgeist - The Zeitgeist of teaching Geography
„What do we want to achieve with
the teaching of Geography today?“

17. The Zeitgeist which nourishes and determines the premises for learning
Geography
• Detection: „The teaching approach to the Geography subject changed a lot from the
introduction of the topic in teaching plans until today.“
• Q: „What do we want to achieve with the teaching of Geography today?“
• A: „The ‚UN-Decade for Education and Sustainable Development (2005-2014) sets the
goals for teaching Geography.“
! „The Earth-human relationships are now the focus on the teaching approach.“
! „The topic of Geography therefore becomes more interdisciplinary.“
• A: The British curriculum states that scale matters in Geography:
! “Scale influences the way we think about what we see or experience. Any
geographical enquiry benefits from being viewed from a range of scales to develop an
understanding of how these scales are interconnected”
SOIL: Zeitgeist - The Zeitgeist of teaching Geography
„The topic of Geography therefore
becomes more interdisciplinary.“
„The Earth-human relationships are
now the focus on the teaching approach.“
The UN-Decade for Education and
Sustainable Development (2005-2014)
-sets the goals for teaching Geography

18. The Zeitgeist which nourishes and determines the premises for learning
Geography
• Detection: „The teaching approach to the Geography subject changed a lot from the
introduction of the topic in teaching plans until today.“
• Q: „What do we want to achieve with the teaching of Geography today?“
• A: „The ‚UN-Decade for Education and Sustainable Development (2005-2014) sets the
goals for teaching Geography.“
! „The Earth-human relationships are now the focus on the teaching approach.“
! „The topic of Geography therefore becomes more interdisciplinary.“
• A: The British curriculum states that scale matters in Geography:
! “Scale influences the way we think about what we see or experience. Any
geographical enquiry benefits from being viewed from a range of scales to develop an
understanding of how these scales are interconnected”
SOIL: Zeitgeist - The Zeitgeist of teaching Geography
The British Curriculum
„Scale influences the way we
think about what we see or experience.
Any geographical enquiry benefits from
being viewed from a range of scales to
develop an understanding of how there
scales are interconnected.“

19. ROOTS: Premise – The premise for learning Geography
SOIL: Zeitgeist - The Zeitgeist of teaching Geography

20. ROOTS: Premise – The premise for learning Geography
SOIL: Zeitgeist - The Zeitgeist of teaching Geography
WHAT IS A
POSSIBLE
PREMISE?

21. …it’s one sentence that fits
on a matchbox…
A premise is the micro synopsis of a complete novel,
theater play, movie or game
CONFLICT
RESO-
LUTION
CHARACTER
„Bravery leads
to fortune.“
…and contains
everything that is
needed for the story

22. „STORYTELLING is the creative
demonstration of truth.
A story is living the proof of an idea
A story’s event structure is the means
by which you first express, then prove
your idea.
A good premise needs the author’s conviction.
„…the author and his/her characters
must be convinced that their chosen
actions ( the ones that are determined
by the premise) are the only possible
ones.“
„BELIEF.“(Lajos Egri)
(Robert McKee)

23. ?

24. „TRUE LOVE
IS STRONGER THAN
DEATH“.“

25. Life%
The%
condi,ons%of%
life%(the%
planet)%%
The%impact%of%
life%on%the%
condi,ons%
The core and essence of Geopgraphy
for the game: LIFE on Earth
„Geography
saves the
Earth!“
Resulting premise:
The Premise for teaching Geography with the 80Days game
• Based on the research and findings in the breeding ground of the ZEITGEIST,
inspiration can deduce the premise for teaching Geography with the 80Days game.
ROOTS: Premise – The premise for learning Geography

26. 80DAYS (2008-2010): Learning Geography for 12+
•Budget: EUR 4.207.281
•7th. Framework Programme (FP7-IST in the sub-programme IST-2007-4.1
Digital libraries and technology-enhanced Learning, Project-no. 215918
(c) TAKOMAT GmbH

27. The Premise for learning determines the ones for the story and the
game play
• The premise for the learning determines
• the premise of the story.
• Both determine the premise of the game play.
Learning
premise
Story
premise
Game play
premise
Therefore the learning
premise serves as an overall
premise for the learning
game. The premise of the
story has to honour the
educational premise, while the
premise of the game play at
the end of the chain is
determined by the educational
premise and the premise of
the story.
„Geography
saves the
Earth!“
„Think global,
act local!“
„True
friendship is
larger than life
(on Earth).“
...together these premises
determine the finding of the
game metaphor

28. LOG: Game metaphor for Geography - „The long ZOOM“
1977, Powers of Ten (Charles and Ray Eames)
„A Film Dealing with the Relative Size of Things in
the Universe and the Effect of Adding Another Zero“
2007, „The long zoom“ (Steven Johnson)
The idea of the “long zoom,” a perspective that
shifts back and forth from the macro- to the
microcosm.

29. Geography in essence is about providing different layers of
information for a specific point on the surface of the Earth.
(1)
The size of this specific point may vary. It can cover a geographic
region or define the borders of a country. But still the task of
Geography is to provide different kinds of information about this
specific point. The level of information is different from (1).
(2)
If we further expand our spot we finally have got the whole
Earth in view, which once more shifts our level of information
on a global scale dealing with global phenomena, questions and
global thinking.
(3)
GEOGRAPHYConcepts
SPECIFIC POINT / GEOGRAPHICAL SITE AREA / GEOGRAPHICAL SITUATION GLOBAL VIEW / GLOBE
GAMEPLAYConcepts
Specific geographical point: Specific volcano on site,
Ol Doinyo Lengai volcano in Tanzania
Learning: Chapter C1: Features, types and
hazards of Vulcanos
Gameplay: Dangerous Exploration
(1‘)
Specific
geographical area: East African Rift
Learning: assess (prior)
knowledge
(2‘)
Global view: Topic Vulcanism, tectonic plates, locations of
Vulcanoes
Learning: Chapter A1: Learning to use atlases, globes and maps;
B2: Location of Geographic features;
C1: Physical processes that shape Earth‘s
Gameplay: Navigation, search for locations, route planning
(3‘)
adventurous
Exploration
Game play mode
GLOBAL VIEW(plan reconnaissance mission)
Game play mode
AIR RACE
Game play mode

30. Geography in essence is about providing different layers of
information for a specific point on the surface of the Earth.
(1)
The size of this specific point may vary. It can cover a geographic
region or define the borders of a country. But still the task of
Geography is to provide different kinds of information about this
specific point. The level of information is different from (1).
(2)
If we further expand our spot we finally have got the whole
Earth in view, which once more shifts our level of information
on a global scale dealing with global phenomena, questions and
global thinking.
(3)
GEOGRAPHYConcepts
SPECIFIC POINT / GEOGRAPHICAL SITE AREA / GEOGRAPHICAL SITUATION GLOBAL VIEW / GLOBE
GAMEPLAYConcepts
Specific geographical point: Specific volcano on site,
Ol Doinyo Lengai volcano in Tanzania
Learning: Chapter C1: Features, types and
hazards of Vulcanos
Gameplay: Dangerous Exploration
(1‘)
Specific
geographical area: East African Rift
Learning: assess (prior)
knowledge
(2‘)
Global view: Topic Vulcanism, tectonic plates, locations of
Vulcanoes
Learning: Chapter A1: Learning to use atlases, globes and maps;
B2: Location of Geographic features;
C1: Physical processes that shape Earth‘s
Gameplay: Navigation, search for locations, route planning
(3‘)
adventurous
Exploration
Game play mode
GLOBAL VIEW(plan reconnaissance mission)
Game play mode
AIR RACE
Game play mode

31. HOMEWORK
Write down your own derivation chain of Zeitgeist -> Premises
for your favorite
-game
-movie
-novel.

32. Daniel Schwarz
takomat GmbH
dan@takomat.com
www.takomat.com
thank you for listening!