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Number 10. Use strongly negative emotions for feedback very sparingly (10 More Simple But Effective Branching Story Techniques)

For some reason, in branching stories, most designers create onscreen avatars that are as delicate and prone to negative emotional outburst as the typical Internet chat room.  Click on the wrong option, and onscreen characters fume with spittle flying, look at you with hate in their eyes, grind their teeth, and otherwise seem about ten seconds away from having an aneurysm.

The meta-genre of branching story makes this so easy to do, and some of the time it is appropriate.  But it can make an unrealistic and unpleasant experience for the player.  I would rather deliver negative feedback with a resigned smile, especially when key pedagogical information has to be delivered.  A lost client may say, "I like this bank, and it is convenient.  But the other bank has this great program that I just can't resist."

Here are other places to use angry emotions.
  • Use the negative emotion as a starting point for the avatar's arc, not an ending point.  Have the character start mad at the world (not the player, i.e. "the elevator is broken again on the hottest day of the year"), and then go from there.  This can make for an interesting context.  
Negative emotions can be great input into a decision.
  • Use negative emotions as a result of the player going down a rat hole, making deliberately fun and terrible choices, and  in other situations where the player feels as if they are in control.  Tap everyone's inner six year and delight at driving the teacher crazy.    
  • In some cases, have the anger of the avatar be something to which the player has to resist.  There may be an easy option to make the avatar less mad, but the right one is to the right thing regardless.

Number 9. Break the fourth wall (10 More Simple But Effective Branching Story Techniques)

As said in Tip 2.1, it is often best to have the onscreen avatar be a coach or friend, rather than the adversary directly.  (The coach can still role play the adversary, if necessary.)

One light, fun technique is to then have the coach provide a bit of meta-commentary on the sim itself.

For example, I had one coach say, near the end of the branching story, "Right now, I am supposed to ask you three questions.  I don't know who wrote these - they seem pretty irrelevant.  But they make us all do it.  Ready, Here's the first one. "

Or have a coach provide some context, such as starting the session with, "It's great to talk to you, and thank you for your interest.  I have to warn you, I am flying out to Saudi Arabia in about two hours, and I still have to pack, so let's make this quick."  This framing came from a real life context in which I did the interview.  The purpose of the trip, and even the packing that had to be done, worked its way into the sim.

A final example:  In response to a student rat hole, where the student asks the coach, "How old am I in this scenario," the coach replied, "I don't know.  It doesn't say in the notes they gave me."

This can allow some greater interest and fun, even charm.  Obviously the technique should be used very sparingly.

Number 8. Ask quick questions to challenge assumptions, but in a no-consequence way (10 More Simple But Effective Branching Story Techniques)

One of the greatest challenges in creating a branching story is breaking up long passages of exposition.  The player has to be engaged at all times; the metronome of response has to be high.  One technique is to ask short questions of the player that provide some insight into the subject matter, and where there is no judging of the answer as right or wrong.

Example 1: Avatar: Here's a statement I heard.   The theft and sale on the black market of credit card numbers will catch up with illegal drug sales as the number one source of revenue for organized crime in the next decade.  Do you think that is true or false?

  • False.  Drugs are everywhere.
  • True.  Computers are everywhere.
  • Credit card fraud is already higher than the sale of illegal drugs.

Example 2: Avatar: I am in charge of Information Technology.  Guess what my major was in college?
  • History.
  • Medicine.
  • Drama.
In this second example, I shortcutted the process of having the avatar give the three options, and just present them.  Further, in this essentially random presentation where the student can't know the right answer, each option should have some pedagogical significance.  In this example, assuming Medicine is not the right answer, the on-screen character may say, "No, it was history.  But I am now looking at hiring a candidate who does have a medical background because I want that immunology thinking in my team" rather than, "Wrong.  History."

Number 7. When ordering the presented options in a branching story, develop a consistent navigation strategy (10 More Simple But Effective Branching Story Techniques)

If designing a branching story - such as a persuasion scenario, a lab, an information interview, or other - I try to use the ordering of the presented options predictably and constantly throughout an experience, if possible.

For example, if a player is navigating a structure, I may have in the back of my mind:
  • Option A: Interact 
  • Option B: Move to the Left
  • Option C: Move to Straight Ahead
  • Option D: Move to the Right
In a persuasion scenario, I might try to think of the different strategies, and put them in a consistent order, such as:
  • Option A: Listen
  • Option B: Be accommodating
  • Option C: Give a hard choice
  • Option D: Deliver an ultimatum
Obviously the language changes each "turn", but the options are roughly the same.

Similarly, in information interview style interaction, I used the following consistent framework, 
  • Option A: As for clarification of a term.
  • Option B: Go into more detail in the current item.
  • Option C: Skip over the details and go to the next big idea.
  • Option D: Move on to the next entire section.

This last example makes it much easier to design.  Here is a snippet of an implementation from an information interview of web design:
  • Node 1 (Subject Matter Expert): I look for people who have some critical hard skills, also called the technical skills. For these products, I like to think of them in terms of  "frontend" and "backend". 
    • What's the difference between frontend and backend? [Go to Node 2]
    • Tell me about the frontend. [Go to Node 3]
    • Let's skip the front end and  go right to the backend. [Go to Node 4]
    • Interesting, but my eyes are glazing a bit.  Let's switch topics. [Next section]
  • Node 2: The frontend is all the things that the final users will touch and see. The backend is all the hard-core coding that goes on to make products reliable and function properly.
    • Got it.  Tell me about the frontend.[Go to Node 3]
    • Let's skip the front end and go right to the backend. [Go to Node 4]
    • Interesting, but my eyes are glazing a bit.  Let's switch topics. [Next section]
  • Node 3: For frontend programming, the most important language you can learn is JavaScript. You should be very fluent in JavaScript, and all the relevant JavaScript libraries.  Other languages you need to be familiar with are CSS and HTML.
    • Tell me about the backend. [Go to Node 4]
    • Interesting, but my eyes are glazing a bit.  Let's switch topics. [Next section]
  • Node 4: There are a lot of different platforms that run web services. The most popular one today, and probably the easiest to get started with, is Ruby on Rails. 
    • Go deeper.
    • Interesting, but my eyes are glazing a bit.  Let's switch topics. [Next section]

Finally, I never tell the player that I am doing this, nor do I rely on the player being aware of this, but it does makes the use of the scenario subtly more intuitive and even gamelike.

Number 6. Giver the player some optional alter egos (10 More Simple But Effective Branching Story Techniques)

In the first list of ten simple techniques, I suggested that designers give players some no-consequence decisions, especially around self-expression.

In one recent sim, I asked students what beverage they wanted when they first woke up.  It was not relevant, but led to an important moment.  The choices I gave the student were:
  • Coffee
  • Tea
  • Orange juice
  • Water
  • Milk
  • Protein smoothie
  • Mountain Dew
  • Bawls
  • Bacon Hot Sauce, straight up.
The generic responses got generic responses, but some of the more bizarre choices got more customized and targeted responses.

In other sims, I have taken this idea one step further, to add some charm to an experience, and encourage exploration.  I have given the player the possibility of taking on very character-driven alter egos, or just play it straight.  

Here is a snippet from an information interview style branching story, where I created a consistent, manic, far too talky alter ego option (think shades of Monty Python or Dr. Who).  This hardly impacted the flow, and not any conclusions, but it added some fun.  

Number 5. Make it easy to start over; make it easy to skip to the end (10 More Simple But Effective Branching Story Techniques)

Most of the individual branching stories I create for organizations are about four or five minutes long.  A typical half-hour program may have six of them, and some of my favorite programs draw six random scenarios from a pool of twelve created to mix things up.

One of the best signs that I have created the right branching story is when players replay a sim three or four times, exploring a variety of paths, even when they don't have to.  The sim has to be interesting enough, even charming enough to warrant that extra-attention.  (Charm is that secret ingredient that has to be considered essential,)

Similarly, especially if a branching story is a lab or a choose-you-own-adventure, if at all possible, put both frequent options to [Start over], and frequent options to [Skip to the end] and get the explicit  "lesson."  This puts players at ease, and lets them explore the sim in their own way.  It feels less like an assessment and more like an enjoyable, instructive experience.  (I try to avoid a directive leadership style whenever possible, and prefer a collaborative approach.  I assume the person wants to learn, and I create a rich experience that justifies and rewards their interest.)

Almost every time in one of my sims a player has skipped to the end to learn the formal lesson, he or she has returned to see what it is like to apply the material

Number 4: Present different spins of the same world depending on the player's paths (10 More Simple But Effective Branching Story Techniques)

In branching scenarios, different paths lead to different outcomes.  Typically and necessarily, the player influences some or all of the depicted events.  But along some parts of the journey, a good branching story may also present different interpretations of the same events and even different versions of the same options.

In this veterinarian scenario on mindfulness, the sim, depending on if the player (inadvisably) jumps to a conclusion on the diagnosis or keeps an open mind, presents the same two options but with different shades of spin.
In the sim from which this was taken, this second choice, (nodes #42 and #39 in the chart below) led to the beginning of two different paths down which the player could go.