7.2.10

Skill Sets for Serious Games and Educational Simulations

What are the roles for creating a serious game or educational simulation? For projects in which I am involved, here is what ought be on the team (and keep in mind that, especially in smaller projects, the same person can meet several different roles):


Title: Client Manager/ Sales Person/ Client Requirements

Description of Responsibilities: The client manager is the de facto lead of a sim project. They provides a constant voice of the customer to the development process. They may or may not be involved directly in the content creation process. But they are constantly looking over everyone's shoulders, and often making final judgment calls on tough decisions based on what they believe the client wants. The client manager may also assist the project manager and the lead designer in setting up a critical approval meetings, project pilots, and meetings with subject matter experts.

Percentage of Entire Project: 20%


Title: Lead Designer (and other Designers)

Description of Responsibilities: (This is the role I take) The lead designer can be thought of as, in movie-making parlance, the director of the simulation. He or she controls the tone, content, and length of the experience. The lead designer is responsible for all of the necessary research for the simulation, the level structure, the interface, mock ups of screenshots using PowerPoint or crayons, identification of users, walkthroughs, meta-coding and framing of underlining systems and mechanics, goal states, all written material including dialogs, and more, and often presents all of this in the design document. The lead designer is also responsible for ongoing calibration. (See The Complete Guide to Simulations and Serious Games for full details.)

Percentage of Entire Project: 20-30%


Title: Lead Programmer (and other Programmers)

Description of Responsibilities: The lead programmer is responsible for creating all of the code for the sim. This includes prototyping, piloting, creating any authoring or editing environment, and creating a finished simulation. In many projects, this category also includes the different skills set for evaluating and adopting third party technology and tool sets. (Most of my projects require Flash or increasingly HTML 5).

Percentage of Entire Project: 20-30%


Title: Project Manager

Description of Responsibilities: The project manager has to be a master of precision and tact. They have to be there to support all of the other people and talents, and yet at the same time enforce deadlines and budgets through soft and hard power. Ultimately, the project manager has to be of high skill level and low ego. They report to the client manager. It is a sure path to failure when a project manager tries to overreach and seize control of everything, just because they have the role of managing the project's budget.

Percentage of Entire Project: 10%


Title: Lead Artist

Description of Responsibilities: The lead artist is responsible for all of the art of the project. This includes the aesthetics of the interface, any and all color schemes, drawings, and animations.

Percentage of Entire Project: 10%


Title: Database Systems Integrator

Description of Responsibilities: The database systems integrator is responsible for all integration of the program into the customer environment. This includes SCORM compliance, LMS integration, database integration, and a knowledge of the end user environments. This role often extends the furthest out, as client implementation environments change months or even years after the simulation has been successfully installed.

Percentage of Entire Project: 5-10%


Title: Voice Talent

Description of Responsibilities: Voice talent provides all of the voices for the sim, including narrator and characters. Typically, voice talent are professional actors. They always come from the outside, are quite expensive, are hired for one or two sessions, and are critical to the ultimate success of the simulation.

Percentage of Entire Project: 5%

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Title: Subject Matter Experts

Description of Responsibilities: Subject matter experts provide the knowledge that has to be captured and developed in others through the sim.

Percentage of Entire Project: 0%. Curiously, subject matter experts are often not factored in to the cost of creating a serious game or educational simulation. This is because they are often rounded up by the sponsors or even accessed asymmetrically through books or podcasts. Still, given how important subject matter experts are, and how much most people complain about the lack of cooperation from subject matter experts, one can't help but wonder if paying them out of the simulation budget might align motivations over time.

5.2.10

Has Dr. Seuss over-influenced Sim design?

Many of my fellow sim designers find themselves making up some new species and ecosystem. You know what I mean: "the glorms are just like humans, but all they need to live is a single food protein, sunlight, and water."

The argument for the Seussian approach (named after, of course, Dr. Seuss) is compelling. It mostly follows three correct trains of thought and one wrong one:

First, Seussian sim characters are obviously abstracted. They can focus the participant on a few key issues.

Second, Seussian characters don't have to be perfect (technically, to behave with 100% fidelity to the real world). One of the most common statements from a sim students is, "Oh, people don't act that way." By creating your own world, you make the rules, and you can short-circuit this common complaint.

Third, new types of critters avoids having to localize a sim on one nationality. Given that sims are perfect for diverse audiences, this has a lot of appeal.

Fourth, and this reason is less defendable, Seussian characters can be "fun." Now the problem with this, of course, as with all game elements, is that what is fun for one person is not fun for another.

While I think these reasons all need to be addressed, ultimately the Seussian approach causes more problems than it solves.

First, it puts off a lot of people. Ruling a planet of snicklewhacks (or whatever) puts a level of contrivance that simply doesn't resonate with enough people. Any game element, almost by definition, appeals to some while turning off others.

Second, it takes up too many resources that should be spent on making a better product. Creatures need body language, even entire cultures, and all of that distracts from the core goal. Let's say that I need body language to suggest my creature is sick. I would rather the designer research the real world body language than make up new ones (such as "the juntiopians turn blue and spotted when sick..."). The nice thing about using real is that other subsequent designers can build off of each other's work. (Having said that, I am all for creating a new invention, a new president, or even - in one current sim - a new sport. Creating a single new mythology is hard enough. But an entire ecosystem inevitably ends up thin.)

Third, it does take the designer too much off the hook. It does allow the modelers to ignore reality and the transfer of perspectives or skills to the productive world. If one argues (as I do) that content is there to drive intelligent actions, than Seussian settings interrupt the application of the content post-sim.

Ultimately, I think the Suessian approach is a great but distracting shorthand. I would hope that a sim program instead can make explicit the limitations and the abstractions of the simearly on (i.e. "This sim will look at the relationship between short term and long term use of land. It focuses on the cost of food as a factor of the health of the soil, but does not take into account cost as the result of the actions of other countries." Or, "these are obviously not real people. But they will respond in a way that will align with at least some of your own experiences. By learning to manage these simulated people, you will better manage real people.").

Having said that, (and yes kids, write this down because this will be on the test) the level of systems and interface abstraction (mathematical or otherwise) should align with the level of visual abstraction. In other words, graphics should not be photo-realistic if the AI (or other underlying mechanism) is much more simplistic.

A "New Yorker" level of Graphics. This drawing, from Xerox' Document at Works series, is representative without being fanciful, and represents a good target for sim designers.

I believe a good defauklt goal for most current sims is about the level of a New Yorker cartoon. Real, but abstracted, including exaggerations and holes. The nice thing about that is that it provides an accurate level of most systems as well. This seems to the level of The Sims, where "sims" speak in their own sim language and spend simoleans rather than dollars. but are still mostly human.

Sims designers have to walk a tight rope. If the goal is perfection, especially when dealing with models of human behavior, we all will be paralyzed by fear. But if the goal is Seussian, we may be letting ourselves a little too much off the hook. Worse, we may fall into the traps of traditional education with "it's not the specifics that matter, it is the very high level lessons."

4.2.10

Commentary: Why are so many research papers on serious games so boring?

I am expected to read new research on serious games. I speak before or after academics presenting on Serious Games and Educational Simulations. I am sent books to read and review.

And I have one question.

Why is so much research about serious games so boring?

And I am not even talking about the focus on stunningly obvious conclusions with which our industry is plagued. I am not sure who values statements like, "Children elect to engage in computer game style activities because they are fun (Quixby, 2003, 2004), and engaging (Wrigget, 1994, 1997)" but I have yet to meet them. Likewise, there are people who insist on first "identifying" then "naming" obvious phenomena with huge labels; you can call it cognitive disequilibrium all you want, but I am sticking with frustration.

But that is not even the real point. My biggest gripe is how can a person unabashedly present information that breaks every rule they praise? How can a 400 page book containing one case study after another conclude that interactivity and dynamic content is necessary for effective learning? How can a lecturer drone on and on about the wonderfulness of social networks because they reward the individuality of the user, and still wait until the end to solicit questions?

One author of a very dry book that advocated games and simulations excused the dryness by saying that he simply did not have enough time or resources to make it more engaging. Of course he was extolling anyone reading the book to take the time making their content highly engaging.

Two more examples:

  • Writers of academic papers citing the importance of engagement techniques don't dare to add humor or comic book style drawings for fear that their research will not be taken seriously. (For my recent book Learning Online..., when I was doing my final edit, I asked my Facebook community for a list of funny words. They came up with trombone, monkey, crop circles, and about thirty others. I then worked all but two into the text.)
  • Some speakers (and I wrestle with this) think they have too much important material to cover to waste time with interactivity and audience participation. So they fire-hose the audience like a tour guide sprinting through an ancient city so they can brag on how much they covered.

Many serious games advocates blame others for lack of advances ("schools don't get it" or "corporations are risk adverse"), which are all true. And yet, when we have near complete control, we use the same rationale. In other words, the single people who should be the greatest advocates are a microcosm of the problem. They are crippling the future, rather than enabling it.

If I were running a conference on games and simulations, I would rather hire Thiagi to role model interactivity and audience empowerment, than hire another talking head discussing how important it is. I would rather see a dissertation or article be an interesting minigame or comic book than 120 pages of text saying how powerful they could be. At the very least, we need to infuse our own work with humor, graphics, and non-linearity.

It is one thing to encourage courage in others. It is quite another to role-model it yourself.

(Note: This is an update to a previous article. I have kept the comments from the original article, as they are still relevant.)

31.1.10

Confessions of a Literate Person who is sick of Books

I saw another article today about the Kindle and iPads versus the traditional bookstores. This got me thinking.

I like the depth of books. I like the evolution of intensive thinking that a good book represents.

In contrast, I hate short, superficial articles written by reporters with the thinnest of knowledge bases. Evening news, and especially local news, drives me insane.

I want to spend a long time with characters. This includes, and in fact is most true, of the character that an author creates to reflect him or herself.

But, having spent a good deal of my 43 years consuming them, honestly, I am just sick of books for entertainment. I know too well the tricks, the techniques, the plot devices. And while I can be bemused by a turn of phrase or surprised by revelation, I just feel as if I want to move on.

Audiobooks allowed me to prolong my relationship with long form written works. I used to commute over two hours a day, and would empty out entire books-on-tape sections in dozens of libraries. But despite the value-add of fabulous voices, I found myself once again weary of the form.

I enjoy movies. I never understand it when people complain about insufficient depth of characters or relationships. If what you want is a good book, read a book! I want a director to fully use the visual and auditory nature of the medium. That meets my need for raw media, but still not the satisfaction of long form.

Television series on DVDs have recently been one of the most satisfying long form of traditional fiction. Watching one hour a night of The Wire for a couple of months is pretty perfect for the familiar passive consumption of great thinking. In this abbreviated form, one can follow the "behind the scenes" evolution that the writers and directors go through as much as the "in front of the screen" character and plot arcs.

And yet, I have to admit something terrible, especially for the countless teachers and professors with whom I eagerly engaged in discussions about the use of light or imagery in great Russian novels or curse words in contemporary theater. Here it is:

I am sick of the limitations of books. I am sick of the diminishing returns for me on witnessing new ranges of expressiveness and audience development. Instead, the most satisfying long form creative work genre I am currently enjoying and appreciating is that of a great computer game.

Funnily enough, this form takes about 40 hours to "consume," a length similar to a book. And from Fallout 3 to Arkham's Asylum, there are good enough characterizations. But what I most appreciate, even wearing my 12th grade prep school analyst hat, is the rigorous application by some great designers of their craft, including pushing boundaries.

I smile in a game as I am taught some basic skill, knowing I am going to have to use it in more and more complicated settings. I admire the appreciation of history and application of creativity that the control system represents. I enjoy the physics of the world that I find myself temporarily occupying, often on my own terms.

I am not saying that computer games are my "end-game." I hope that is not true. But I am saying that any news story on the pressure on the local bookstore versus the availability of electronic books and eReaders has already lost me. I suspect that our upcoming best creators may similarly want to "play through" not "end up in" literature.

27.1.10

Including Sim Designs in Bids and Proposals

If you are like me, you probably are on teams that respond to proposals and bids for simulations. This provides a myriad of challenges, as well as opportunities.

I often have to create entirely new interfaces and mechanics, which is a lot of work. Of course the good part about that activity is that it gives you a big jump on the development process when (if) accepted, both in terms of design work and client buy-in.

Still, one of the hardest parts is visualizing the proposed sim for the review committee. What you have to do is cheaply show something that will be animated and interactive in a form that tends to be neither.

This is fraught with risks, because if you the show something too simple (i.e. something early on in the sim), the audience might "get it" but note that it is too simple. Or, you can show something from the middle or end of the sim which shows complexity and nuance, but the audience will typically grumble that it seems too complicated and no one will ever get it.

What I have found most useful in these situations is to do as follows:

I prepare a fifteen PowerPoint slide storyboard.

The first 10 slides showing a very gradual build up to the first point of student/learner interaction. I storyboard the animation to show how a few things will move and interact. My success criteria for this part is to make it easy for any review committee to understand the simplest possible moment of interaction and to leave them actually wanting to engage the simple sim.

Then, in the last five slides, I like to jump ahead and show a couple of screenshots of moments from deep into the simulation, often with annotations. Here, I risk overwhelming the audience with complexity in order to impress them with the eventual options available to the student/learner. I have to trust that the reviewers will trust my design to get student there gradually.

(From a technical perspective, I draw all of the interfaces in PowerPoint. On most contracts, I then use a graphic artist to turn my images into something that actually looks good.)

(I knew to be complete I should be showing you pictures of this process. Unfortunately (although fortunately for me) all of the examples I have created so far have been bought and paid for; this makes it harder to make public the intellectual property created. Still, I will work on this and try to get some slides to illustrate what I'm talking about as soon as I can.)

26.1.10

Case Study plus Land Mines: How not to make a simulation

Sim designers have to wrestle with the right use of stories and case studies. Here is a common example of how NOT to use a story:

  1. Find a case study in your topic area, real, theoretical, or aggregated. It doesn't matter which, just make sure it is long and as specific as possible. It has to tell a story completely from beginning to end.
  2. Identify all of the "right" steps taken by the hero in the case study. Ideally, there are between ten and twenty moments of challenges, paired with the one best thing to do each time.
  3. Create a series of "simulation like interactions" around each of these steps. For example, create a branching/multiple choice interface, where students are given possible next steps to take at a critical juncture. The "simulation" will give immediate negative feedback if the students choose any but the single right action, preferably including a little lecture of why the student was wrong. Likewise, you can give students a little allocation/spreadsheet-based challenge as well, where they have to juggle numbers until they come up with your equation (i.e., the right answer).
  4. String these all together under the umbrella of the one story. Use video or other pre-rendered media as much as possible to support the one story and to convince people this is a rich experience.
  5. Done! You have a simulation-like experiences, where students are forced into interactivity, but that still drill the right answer into the student! When done, you can say, students have gone through a life-like, experiential situation.
The problem? Students who go through these "simulation-like" experiences are just as depressed and overwhelmed, and they forget content just as quickly, as if they had simply gone through the original, traditional linear written text.

Given that, what should the role be of the story in a good sim?

How do you use explicit stories to help students "learn by practicing in increasingly challenging environments," "experiment and take ownership of results" and "develop conviction through a deeper understanding of underlying systems" ? (As an aside, initially, of course, the case studies should be used as input into the design of the simulation interactivity, including interface.)

I use at least two explicit approaches to including stories.

The first is to frame the action (see diagram below). Here, a story sets up the interactive parts of the sim, but successfully accomplishing the action is the primary learning goal.

For example, if the sim were on negotiating, the story might be of an up-and-coming corporate person trying to get his or her company to be more environmentally focused. Now, there would be a series of negotiations from simple to complex that are put in the context of that story, from convincing a co-worker to reduce their use of plastic bottles at Level One to working out a strategy with the CEO to commit to a green policy in the last level.

A second use of story (compatible with the first. and shown in the second half of the diagram above), involves altering the story based on actions taken. When I initially design such a sim, I create two alternative stories: one if the player applied one extreme strategy (approach alpha), and a second story if the player instead applied the opposite extreme strategy (approach omega). Then I create the gray areas between the two.

In the best of all worlds, I combine the two. The actions shape the story. Success or even cheats applied create a different narrative. This is a bit trickier, but also pretty satisfying.

Stories and case studies remain highly tricky tools and models for a sim designer. Well used, the create passion and caring. Poorly used, they numb the student and allow for experiences that are the worst of traditional methods with the worst of immersive methods.

23.1.10

Clark Aldrich and Web Courseworks Alliance to Focus on 100K Sims for Critical and Transformative Enterprise Skills, Values, and Perspectives

There are a lot of enterprises that want to develop new skills, values, and perspectives in employees, customers, or broader constituents. They have lists of "low-hanging fruit," many of which are critical to their missions. They believe that sims - educational simulations or serious games - are the right approach.

But they have been held up by confusion of how to get what they want at the right price, in the right time frame. This challenge of negotiating a sea of vendors and cost structures has paralyzed organizations who are seeking clarity, competency, and predictability.

What they need is a single vendor with strong and relevant design, project management, and programming skills.

To help organizations move ahead, I have partnered with Web Courseworks. Working together, we have the talent and process to create sims that are:

  • Pedagogically sound and highly effective for learning objectives;
  • Entertaining for learners;
  • Unique and customized to the culture and content (and not pre-built toolkit dependent);
  • Of medium content complexity;
  • About 15 to 30 minutes of student engagement;
  • Able to be owned outright by the client.
We can do this for about 100K, and in about 5 months.

This is not an exclusive arrangement on either side. Web Courseworks will still be doing projects on their own. I will continue my relationships with other vendors and customers as well.

But I am excited to help enterprises simplify their process and increase their ability to shape critical skills, values, and perspectives. Please email me for more information at clark.aldrich@gmail.com for more information, and mention the WCW alliance.

See also:

19.1.10

The Aldrich Framework for Assessing Authoring Tools

Clients often hire me to evaluate e-learning and other content authoring tools. They rightfully see authoring tools as they key to the knowledge kingdom. Authoring tools transfer the critical ability to quickly create or modify content from an external party to internal. Further, the tools selected by an organization ultimately shape the types of content captured and distributed.

Throughout my work with enterprises, professional content creators, and tool vendors, I have developed a framework for assessing authoring environments. Here's what it looks like (and click to enlarge):

The label descriptions are as follows:

First, all authoring tools have affordances. These are things that it can do:

  • easily and to great effect (so-called sweet spots, in the upper right of the chart),
  • easily and better than other tools (efficient)
  • with difficulty (hard-to-do) but to powerful ends,
  • not as easily as other tools but sufficient in context (tangential areas), and
  • not at all.

Hard-to-do almost always has cost implications (simply being more expensive), but also in some cases has stability and stacking (one project might only allow three hard-to-do things, for example) implications. Having said that, hard-to-do also presents an opportunity for content vendors or individuals to differentiate from an otherwise vanilla acceptance or rejection of tool functionality. In other words, if it is built into the tool, anyone can do it.

Second, we must look at the tools ability to deliver both learning objectives and program objectives. Learning objectives are new capabilities developed in the students (or otherwise end-users) through the media, and thus may include specific skills or broader situational awareness. Program objectives, in contrast, are requirements of the sponsor and the students of the media outside of learning goals, such as high engagement, low cost, or ease of deployment.

It is through both of these lenses that we have to consider authoring tools and engines.


14.1.10

Can Computer Games be Art?

One question that I hear often is, "Can Computer Games be Art?" I assume the question means, can computer games display an aesthetic that is sufficiently nuanced and inspiring as to provide insight into the human condition? Can a computer game represent a cultural achievement, rather than simply a business, group, or technological achievement?

This conversation has been partially resurrected recently by the release of Playstation 3's interactive experience Flower, including in this episode of Slate Magazine's wonderful Culture Gabfest. Unlike the traditional first person shooter experience (typified in this screen shot of the game Crysis), in Flower you float above meadows, enticed to exist and embrace the world, not to kill everything that moves. So is the computer game Flower an example of Art?

Let me back up. What are the argument against computer games as Art? Here are at least two:

Many years ago, I had a friend who was bothered by pictures that were represented on a computer generated canvas. Can anything, he asked, that can be captured via a sequence of 1's and 0's be art? Does the inherent finiteness of digital medium condemn it? More relevantly, computer games "date" quickly, in part due to the rapid march of technology. A program that seemed 3D and immersive this week seems clunky next week. For example, the computer game Mortal Kombat, with one player plunging their hand into the rib cage of an opponent and pulling out their still beating heart, shocked parents of the day, while today appears simply to be a harmless example of low-res graphics and bad taste.

A second question is, does the motivation of media creators (and specifically often a strictly monetary, "blockbuster" focus) undermine the artistic process? Can factories spit out Art on a regular basis?

The digital medium argument doesn't seem to bother people any more. The nearly infinite density of digital media allows for sufficient nuance and therefore expressiveness. And books themselves have always been able to be completely represented digitally.

The "datedness" argument is actually inevitable in Art, not something that dissuades from it, as long as one condition is met. Here, architecture, music, and television shows may be useful comparisons. New genres of all are imagined, then produced, then copied. People get sick of the knock-offs, and new genres replace them. The old examples fall into disregard. Then (and this is the one critical condition) eventually, the old, great vanguards of the original genre are rediscovered.

We are seeing that today, with the rediscovery of originally coin-operated "Classics" such as Asteroids and Pac-Man that are not just nostalgia driven. Rather, playing an old computer game today invokes respect for the simplicity of these (relatively) modern koans, not desire for more pixels (For comparison, the program of Seawolf is 4k, Asteroids is 7K, Galaxian and Frogger are 11K).

The second issue, can factories produce Art, is more interesting. Because the biggest question is this: Can something be "Art" if it does nothing but pander, both in terms of style (where people want to be surprised, engaged, titillated, amused, and impressed) and substance (where people want their existing opinions and skills validated)?

The challenge here is that not only do almost all computer games fail this criteria (they shamelessly pander), but so to does most things we consider art today. This begs the subsequent question: Should Art be considered Art? Does most art in galleries today, as with network sitcoms, more represents different forms of what me may call "pre-Art?"

Is Art Art?

What is the end goal of Art? Many would say it is to inspire, shock, provoke, or decorate. I say Art is to educate. And definitely not educate in the K-12 sense of the word.

Rather, Art should improve the human condition by helping people become better people -for example, to better learn leadership and stewardship; or to eschew revenge and domination. This view of Art has been the model of Chekhov and Aesop. Dante's Purgatory was not the government waiting room as shown in Tim Burton's Beetlejuice but rather more like a great museum to help good but flawed people become perfect.

As a necessary continuation, I would further argue that the goal of Art is not self-expression. Consequently, being a professional artist, especially as dedicated to early on in one's life, is as intellectually flawed as being a professional teacher or a professional politician. It necessarily focuses on style over substance, and technique over wisdom.

Educational Simulations and Serious Games - Taking on the Challenge of Improving the Human Condition

Given the belief that Art should be structured to deliberately improve the human condition, and ideally in a way that is engaged voluntarily by the student, I believe it is sims that is most directly taking on this inherent challenge of art. Today's cadre of sim designers, clumsy and immature as we all are, are working on creating the leading edge of "Art" in the classic sense, through creating new example and new techniques.

The Simulation Designers' Reference Shelf

Still, sim designers do need to draw heavily from the creative works of the past (both immediate and classical) - the so-dubbed pre-Art. These works showcase wonderful techniques from which we must draw. This whittles all of the above down to a thankfully useful, if anti-climatic conversation. What reference material should a sim designer have in his or her shelf? Here are some categories.

Other educational simulations and serious games. We need to be aware of what our contemporaries are doing.

Computer games, including iPhone. Both big budget Triple-A releases and small apps model new ways of interacting with content and deliberately developing new skills and perspectives in users.

Design books. There are some interesting design books out there, hopefully including my own.

Comic books and graphic novels. Every good sim designer should have a few dozen "graphic novels" on their shelf. Just the other day, I had to create some images depicting paranoia, and happily could draw from Maus (Art Spiegelman), Daredevil: Born Again (Miller and Mazzucchelli) and School is Hell (Matt Groening).

Dvd's/Blu-rays. For character animations and "feel," nothing beats a good DVD library. Again, for paranoia images, I recently grabbed from The Departed and The Lives of Others.

Magazines and Catalogs. These show the specifics of clothes and body types. If one is looking to design characters for a science sim, cut and paste pictures from profiles of real people in a current scientific magazine.

Favorite web sites. Great web sites are always a nice model of clean aesthetics and intuitive interactions.

Conclusion: Of Our Time and Timeless

So can computer games be Art? Of course, by the pre-Art standards that we define today. But we, collectively, need to shoot higher.

Simulations and Serious Games have taken on most directly the historical challenge of Art - to predictably help make people have more control of their lives and be better stewards of their family, community, and planet. Having said that, our own lack of examples, experience, funding, and channels frames us as hacks and amateurs, even crackpots. Fair enough. That might be the strongest proof of all that we are truly artists.

The final question is, where is the best talent going? In media creation, I would argue that it was to the movies and PC games in the '90's and television, console games, and apps in the 00's.

Might it be sims in the '10's? I hope so.

8.1.10

Book review of "Learning Online with Games, Simulations, and Virtual Worlds" in Learning Solutions Magazine

Learning Solutions Magazine has just published a review of Learning Online with Games, Simulations, and Virtual Worlds. It begins:

Sometimes, skinny little books manage to distill a great deal of information into highly usable form. When they can do this without over-simplifying the subject matter, you know that you are reading something that is destined to be a classic. Clark Aldrich has produced one of these books in Learning Online with Games, Simulations, and Virtual Worlds.

Read the whole review here. Next, William Brandon will be taking on the decidedly unskinny "The Complete Guide."

2.1.10

Weekly Poll: What will Significantly Change The Education System?

This week's poll question is: What will significantly change the education system?

  • Nothing. It needs to be tweaked, not changed.
  • Nothing. It is too entrenched to change significantly in our lifetime.
  • Mandates and direction from Washington DC.
  • Role models in new methodologies from corporations.
  • Virtual schools.
  • Role models from innovative schools (outside of virtual schools).
  • For profit schools and universities.
  • Spiraling cost of education.
  • Hiring practices of corporations.
  • Demands and context of students.
  • A consensus on a new clear vision for education.
  • The widespread authoring and use of sims.
  • The widespread use of social media.
  • Global business competition.
  • Dropout rates in high school and college.
  • Homeschooling.
  • Greater use of standardized testing.
  • ***More use of Pay-for-Performance for Instructors.
  • Increased K-12 budgets.
  • Other.
Vote and comment to this post!

28.12.09

Weekly Poll: What is the role of traditional instructional design methodology in a simulation or serious game?

This week's poll question is: What is the role of traditional instructional design (I.D.) methodology in a simulation or serious game?

The possible answers are:

  • Sims do not change the need for the application of rigorous established instructional design methodology.

  • Traditional ID is a useful framework for sims, but only gets you about a third of the way.

  • Sims require a completely new model of instructional design. Old I.D. kills the learning process.

  • I create serious games and/or educational simulations, and have no clue what I.D. is.

Once again, please vote (most people who visit do not)!

27.12.09

Using Serious Games and Simulations: A Quick and Dirty Guide

In This Post:

  • Learn what simulations are and aren’t.
  • Understanding where they fit in an organizations’ flow of skills.
  • Learn best practices in designing and creating sims.

Section One – Sims: What and Why

A good educational simulation may look a lot like a casual computer game. It may have stylized, fast moving graphics. There may be a timer during some part of a level, and exaggerated consequences of failure. The person engaging the sim may look very much like a gamer, hunched over with a hand tightly grasped on the mouse and eyes riveted on the screen. The student may even be in a flow state, and having a lot of fun.

This has led to a lot of people to erroneously conclude that the primary point of sims is to "make content enjoyable" often (a skeptic may further and logically intuit) at the expense of depth and flexibility while increasing of cost of production and time to “play.” And if a designer of a sim shares this assumption, the formal learning program is unlikely to be successful.

Rather, the necessary goal of a well-designed sim-based program is to develop in the student a deep, flexible, intuitive, kinesthetic understanding of the subject matter. Students learn what their real-world options are in situations, and a conviction in what are often complex and even indirect strategies that lead to positive results. They earn situational awareness.

As a result, students who learn via simulation can improvise better in the real world. They can handle unpredicted situations. The knowledge is not structured around a list of extrinsic “rules” or processes that can be broken if no one is looking (such as posted speed limits), but developed from intrinsic personal experience (such as if a driver had a few near misses and even accidents with significant consequences). This is knowledge they retain for years or decades.

Forcing Repetition

To deliver this condensed experience, sims have to necessarily present richly interactive content models, interfaces and visualizations, and then entice or force students to repeat patterns of actions in increasingly complex and novel situations, and with rigorous short term and increasingly long term feedback. It is here that computer games, much more than classrooms or books, become the better framework to organize content and motivate students. Games have plenty of useful attributes, such as being self-paced, easy to access, good at developing learning through self-motivated repetition without the need for a coach.

Having said that, the content of the sims itself has to reflect the learning goals, not a reskinned game. As we will explain in Part II, an experienced sim designer will first identify key learning goals, then analyze the content through a simulation lens, and only then find a good interactive content model, sometimes inspired by the game world.

Sims in the Context of the Flow of Enterprise Skills

Before going into design and end-to-end creation, however, let’s look at the broader contexts of organizational learning into which sims must be designed to fit.

Figure: The Flow of Skills

Anyone who is in charge of a training organization has to sweat out the flow of skills in a dynamic entity, looking at the four quadrants of expert, instructor, student, and practitioner, and the movement of idea and people between them.

Here are some of the flows:

  • Instructors might learn from experts, and format the information for students.
  • Experts might mentor practitioners.
  • Practitioners might get promoted to expert.
  • Practitioners may work on special projects, that if successful, then elevates them to expert.
  • Students might work to get into a class, and get credit for successfully completing it.
  • Peer to peer communities might chew on problems and come to a solution.

The Eight C’s

It is in the flow of enterprise skills that an organization has to ensure the value proposition of formal learning. The full equation looks something like: (Content * Curricula * Coaching * Certification * Community * Calling *day Care) / Cost, where each are defined as follows:

  • Content: The material supporting any learning objective.
  • Curricula: How the content is chosen, validated, organized, and presented.
  • Coaching: The individual attention helping each student overcome their individual weaknesses, answers specific questions, and leverage their individual strengths, as well as provide motivation.
  • Certification: Proof and documentation that a level of competency has been reached (which also provides motivation).
  • Community: A group of peers that both make learning more effective and engaging.
  • Calling: The vision and mission of the learning organization.
  • day Care: The ability to house students for a specific time, including classrooms and even virtual environment tools.
  • Cost: The amount of resources, including student time, a program requires.

The Role of Simulations

There is the recently ramped up focus on dramatically reducing the entire right side of the Flow of Skills chart - the formal role of instructor and the role of student - while dramatically increasing the areas of overlap between expert and novice (middle left), such as peer-to-peer work and social networking, often labeled as informal learning. But all Eight C’s, including very specific content and the corresponding certification/tracking, are even more necessary for both legal and strategic reasons.

Given this, the new models of sims uniquely fill that razor edge of opportunity and necessity for people responsible for organizational or community learning. Specifically, sims should be used when two or more of the following criteria are met:

  • The application of the content in the real world is critical to an organization or community.
  • Developing a conviction in the content is critical to an organization or community.
  • Certification or other measuring and record keeping is critical.
  • The content is both important for the student to understand, and other formal learning techniques have failed or are too expensive.
  • The content has a broad, geographically distributed audience.

Structured in chunks no longer than an hour, these new sims develop business-critical concepts and drive long lasting behavioral changes in a way that is engaging for the user, reinforced by a deeper understanding of the material, and can meet certification requirements and other external measurements for the sponsor. Multiple sims can be chained together for greater depth and breadth. And their visual and kinesthetic nature makes them the perfect choice for global audiences.

Section Two: Creating Simulations and Serious Games

What follows is that methodology and identified best practices to produce a sim. Let us first look at a framework to get you through the Design Process in four predictable steps.

Design Step One: Collecting the Top-Down Rules

The first step in designing a sim is to collect all of the top-down patterns that have already been created, including established analysis, best practices, and rules. In this step (and maybe only in this step), traditional educational content and linear material, if they exist, such as courses and curricula, books, reports, famous or inspirational quotes, and rules and policies are very helpful. They also serve to set a scale for what the sim will and won't cover.

If you were building a simulation about composting, you would collect all of common established advice as established by experts. Here are some:

  • Don't throw in dairy or meat, turn your pile every few weeks, mix in grass clippings to keep the nitrogen at the right level so it doesn't smell, and that people compost to reduce their impact on landfills and improve their land.

Design Step Two: Identifying the Bottom-Up Tiny Relationships

The second step, after all of the traditional rules and analysis are collected, is to uncover the hundreds of tiny relationships. These tiny relationships should roughly follow into the simulation framework of actions systems results. (The form of these tiny relationships are described in detail in the award winning The Complete Guide to Simulations and Serious Games)

Tiny Relationships: Actions

One set of tiny relationships is around actions. Yell. Beg. Put tongue A in groove B. Invest money. Run. These are all examples of actions.

For actions, here are the biggest questions: what are the seriously considered options available to an expert? Then, what do naïve people do? Can they be defined very specifically, down to exact quotes or levels of magnitude?

For example, imagine we were creating a sim around end user computer security. some of the actions available are: a user (when getting an email) can follow an embedded link to a web site (and then perhaps enter personal data), open the attachment, forward an email to a friend, log in or not, even install the suggested program. Or they can try to figure out if the email is legitimate or not. Or they can delete the email, or perhaps report it to their manager or IT department. These are the specific target actions.

Further, a sim designer may also have to surface the activities that are done around the target actions in order to provide an accurate context. For our end user computer security example, people have to make the above decisions around potentially fraudulent emails while they are focusing on doing their job, or managing their personal life, or entertaining and relaxing themselves. These “life” actions might have to be worked into any final set of actions available in the sim.

Tiny Relationships: Results

The second category of tiny relations on which we need to focus is results. For results: we ask, what does success and failure look like? Is it all or nothing, such as the accomplishment of a mission? Or are there three or four things that a person is trying to balance and grow? Or is success in the sim (as well as from the sim) the ability to consistently apply an increasingly complex set of competencies?

Again, we look at target results, but also contextual results if appropriate. The target results for computer security may be smooth IT environment vs. massive virus infection. But the contextual results are just as important: people need to do a job and will entertain themselves. For other examples, being an ethical person or a great leader is also only done in context.

Identifying the results of failure is more interesting, more important, and more counter-intuitive for most instructional designers than identifying success. We have to figure out, what are the various types of failure one can experience, and what are the situations that lead to them? What are the immediate wrong things to do, and what are long-term failures?

By the way, it is tough for any media person to realize that any given user should not see most failure states that have been created. But the one they do see will be targeted to their individual weakness and align with real life.

Tiny Relationships: Systems

The final set of relationships to identify is that around systems. Systems, practically defined, are what get in the way between actions and desired results. If the collection of all sets of tiny relationships are an iceberg, the systems are the part of the iceberg that is underwater - often a huge hidden mass.

Here are two quick examples: When playing Chess, a person may want to capture the other player’s king, but the systems of rules and positions and the activities of an opponent on the board need to be navigated and overcome (which is of course what makes it fun and interesting). Meanwhile, in leadership, we may want to build a great team, but the rules of accomplishment, personal egos and motivation, and reward need to be navigated (which can be fun, but more likely frustrating).

For systems: some questions might be: are there processes or mazes that have to be followed? Are there opponents that are striving to keep the person from being successful? Are there hidden processes that others are following (in our computer security example, bad guys may be taking scraps of personal data and crafting highly targeted profiles for scams)? Are there cycles or balancing loops or feedback loops? Are there delays? Are there some mathematical relationships?

To return to our composting model, here are some examples of all three sets of tiny relationships:

  • Actions: put different kinds of food in compost (egg shells, coffee grounds, hamburger, plastic, yogurt), turn compost, shovel out and spread compost, put in other organic matter (leaves, branches, weeds), cover pile, start new pile, buy barrels, mixing tools, water pile, sift compost, throw out food as garbage, design compost area
  • Systems: rain washes through compost, food breaks down with aeration in about a month, food breaks down without aeration in about a year, nitrogen level imbalances can result in smell and inefficiencies, table of what matter contributes what nitrogen amounts; compost creates better soil which creates better growing conditions for flowers and vegetables, growing one's own vegetables results in cheaper and healthier food, garbage costs money per pound to put in a landfill, exposed vegetables will attract mildy attract critters, exposed meat will strongly attract critters, different microbes do different things at different temperatures, earthworms can aerate dirt.
  • Results: great soil, smell, less garbage sent to landfills, yellow jackets, great vegetables, critters

Finding Them

Many of these relationships are so simple that it feels absurd to even capture them in a document. But there power comes in their rigor, volume, and integration. You have to be a detective here, grilling subject matter experts (and my favorite tool, listening to podcasts), pouncing on every scrap.

Design Step Three: Find the Closest Existing Toolset, Game or Sim Genre, or Microcosm

We have already identified the high level rules and the mounds of tiny relationships. Now, find an existing simulation or game that comes close to the framework or spirit of some or all of what you want to accomplish (if you possibly can).

Is it a first person shooter? Tower defense? Branching story? Then, borrow the established format as much as possible. If an engine exists, such as Second Life or Adventuremaker, figure out how to use it (this can save more than 80% of the development time). Regardless, use the gameplay and level design conventions. In many cases, you will also draw models from other genres as well, glomming them together. Even the most narrow toolset allows for importing of great ideas.

There are times when there are no appropriate games or sims, let alone toolsets. In these cases, find a perfect example or microcosm that can serve as the model for the interaction.

The Order Matters (A Lot)

While each of the above three steps ultimately should inform the other steps (as we will soon discuss), the order is actually hugely important. Interestingly, depending on if you start with step two or with step three, you get dramatically opposite effects.

Starting with the identification of the little relationships (step two) often occurs when either a researcher or subject matter expert starts an effort. Identifying the little relationships without the framing of the best practices (step one) is a staggeringly complex activity, which while satiates the purists, can take huge amounts of time and overwhelms all but the most intrepid. Projects that start here seldom see the light of day. Even if they do survive, there is so much wasted effort.

In contrast, starting with the identification of the genre (step three) or enigne and filling in the blanks is a much more typical phenomenon. I often see this when either a vendor has a pre-built engine they are using for a new project, or when an organization has invested in a platform or authoring environment themselves and are trying to push more programs onto it. The results are quick (weeks instead of months), cost effective, and efficient. The course is spit out on time. The only problem is that the content is flat. Designers end up merely reskinning rather than teaching anything of note. Two or three different programs, ostensibly covering different topics, starting from the vantage of same engine all look the same, and more importantly, basically "teach" the same thing. We are seeing this in abundance with sims in Second Life, but also from small specialty vendors. From a business perspective, this makes sense for them – the vendor’s internal cost, time frame, unpredictability, and quality of talent needed are five to ten times greater if they are creating a new engine than using an old. But it can result in a substandard or forced student experience.

Design Step Four: Synchronize

Now, at stage four, we have to bring everything together. Use the rules in step one to organize the tiny relationships in step two, and then use the genre from step three to frame everything. You will work in from the three corners to the middle. Ultimately, all three should converge (even if there is fear at first that they won't).

Reconciling Broad Rules and Tiny Relationships

During this process, we start seeing plenty of places where the broad rules from Step One and the tiny relationships from Step Two do not necessary align.

One example is when you are given a list of different possible successful approaches, especially when given superficially illustrative examples. For example, (the old training might read):

To influence someone, a leader can tell someone what to do, but the leader can also bribe then, threaten them, appeal to their sense of purpose, ask them as a favor, or make a logical case for a request. To illustrate (the old training might further read): consider a documented case where a CFO was asked to postpone her retirement, and the new CEO was successful because he appealed to her loyalty to the company.

This may be a sufficient for a PowerPoint slide, but like philosophy, it begs more questions than it answers for a sim designer. Things that need to reconciled include:

  • Why did the expert (the CEO) use that approach? Was that his favorite influence strategy? Had that worked before with the CFO?
  • Did the CEO consider two or three different approaches, and what was the criteria that won out?
  • Did the CEO switch approaches midstream, and if so, why?

At a higher level, I ask, is there a common underlying model of tiny relationships that aligns most (I am not naïve enough to hope for all) of the identified approaches?

There are other situations as well, you will find when sifting through the body of linear content, when different experts have different and contradictory pieces of advice. A classic contradictory construct: Are you turning the other cheek (good) or are you appeasing (bad)? As with the above situation, a goal is to find common mechanics that allows for both.

Creating Strategic and First Person Perspective

The most effective sims use two or more parallel and mutually-reinforcing perspectives. This approach is consistent with generations of computer games and flight simulators. These have traditionally featured a first person perspective and a strategic (aka a radar or "mini map") perspective. The protypical example is of a driving game, where the screen is used to show the world from the driver perspective looking out at the highway and other nearby cars, while also showing a tops-down perspective on the entire track with all competitors. Players made decisions based on both perspectives simultaneously.

The first-person perspective presents the actual decisions that the student will see and make in the real world. This often involves interpersonal conversations. The strategic perspective presents the “big picture” and involves a visualization of a system and interactions often invisible in the real world.

Other Steps in the Synchronization Process

As one closes in on a final design, some tough questions have to be answered. Here are some.

How broadly can the identified actions be abstracted? For our computer security example, all of the actions, in both the target set and the contextual set, can be generally abstracted into the core three actions of accept the incoming request and act upon it, probe the request, or reject the request.

This is critical, as most sims work best in real time, where the computer does not wait for the student. Ideally a few actions are applied repeatedly, in different orders and sensitive to timing. Further, abstracting actions can increase the applicability of the sim to wider groups.

Another type of problem we have to answer: how does the sim handle little failures? Being inappropriately aggressive to a subordinate, for example, is a bad idea in a leadership sim. But does it stop the whole sim? In real life, plenty of successful people have little slips. Is it cumulative? (I am jumping ahead to Step Three, now but….) Arcade games often had a “three lives” model. Is that appropriate?

You may have a few outlier rules (from Step One) at the end of the process that fall outside of the system and level designs that you have created, but that still need to be included. Here you might use traditional pedagogical technique such as slides or pop-ups to convey this content. But hopefully this is minimal, and you know you have done a good job when all three perspectives support each other rather than grind. And often, amazingly, you will gain unique and industry valued perspectives through this process.

In our compost example, my goal is a thriving ecosystem, so I might choose a variation of SimCity or Roller Coaster Tycoon. I might use quality of life, cost, and environmental impact as some core metrics the player tries to optimize. I might create a house area, a compost area, a garden area, and a garbage area, and have people be able to move stuff between the four. Finally, moving away from these genres, I might zoom in and allow people to create and modify their own composting structure.

Of course, the design process has to fit into a larger serious game development process. Let me zoom out now a bit and look at the rest of the process.

The Three Trimesters of a Serious Game Development Process

The time for a serious game usually falls into three trimesters of create, code, and calibrate. In just a moment, let’s look at them in some detail, including key roles and responsibilities.

How Long Does it Take to Create a Serious Game?

Although before we dig in, let’s talk a bit about end-to-end time frames. Everyone asks about it.

Let me come at this from two sides. From one side, the most effective sims of the next five years, single-player and Adobe Flash based, will take about nine months to create starting from scratch, and take about one to two hours of student time (we will discuss why this student duration is critical in the final section). From the other side, most corporations want something delivered in about three months of signing a contract.

These two realities are not incompatible, thankfully. There are some significant modifiers that are cumulative (so you can get something out the door in weeks not months if you have to). Here are the key decisions to both decrease and increase the default nine-month development time:

Multiplayer Instead of Single Player:Multiplayer in Addition to Single Player:
  • -25%
  • +60%
Very Light Weight Mechanics:3D Client Installed “Game-Like”:
  • - 70%
  • + 100%
Reuse Established Approach:Total Creation of New Genre:

  • Complete adherence to an existing genre: -60%
  • Engine already exists: additional -50%
  • Completely new genre: +30%
  • Flexible and reusable architecture: additional + 20%


These time modifiers tend to impact all three trimesters evenly. Now, here are the trimesters in a bit more detail. (And even though I present them as discrete, they really do overlap.)

Sim Development Trimester One: Create

In the first trimester, the sim is designed; using some of the techniques we discussed above. The goal is to produce a great design document, between 30 and 50 pages long. The lead designer (such as myself) immerses him or herself in the content, often becoming an expert.

But yes, there’s more to this trimester. The learning objectives and requirements are formalized, often using people in the role of a client liaison and program sponsor. The look and feel are nailed down, hopefully with the work of a good graphic designer. Any technical decisions, including media, authoring environments, engines, and end-user requirements, are established. Steps also have to be taken to set up trimester two.

Sim Development Trimester Two: Code

In the second trimester, the two or three people in the role of programmers/coders (hopefully well briefed and otherwise involved during Trimester One) will program the material in the design document. They will produce much of the core sim engine itself, and provide the links to the fluid content, such as graphic files, videos, sound files, text, and entire level designs and sim flow, using industry standard media and xmls. The program sponsor, lead designer, graphic designer, and client liaison will be peripherally involved, making decisions, and helping flesh out the numerous parts of the sim engine that need refining. Near the end of this process, the lead designer will begin inputting as much of the final content as possible. About 70% of the project budget is spent in this stage.

Sim Development Trimester Three: Calibrate

In the final trimester, the lead designer finish inputting content into the engine, and the entire package is put in front of target audiences by the program sponsor (by the way, finding the right target audience, and introducing the experience to them, is a surprisingly hard task). The programmers/coders need to be available to make core engine changes, but even more so the lead designer and client liaison have to refine the fluid content. Finally, there can be integration work with the LMS or database.

Final Thoughts

Things have never seemed harder for those tasked with developing the skill sets of organizations. They have to deliver content, and sometimes entire curricula, sometimes with coaching, often with tracking and certification, with the minimal of costs (in terms of development and delivery dollars, student time, and student disruption).

The good new is that simulations and serious games can instruct more, in less time, and at less cost. The most successful organizations will either have an internal sim development capability, or partner with an external vendor that does. I hope following these steps and processes makes the implementation a bit easier and more predictable.

About the Author

Clark Aldrich designs and builds educational simulations for a wide range of corporate, academic, government, and military clients. He is also the author of four books, including his most recent award-winning The Complete Guide to Simulations and Serious Games. His blog is at http://clarkaldrich.blogspot.com/, and he can be reached at clark.aldrich@gmail.com. Previously, he was the lead designer at SimuLearn, founder of Gartner's eLearning coverage, and he worked with the executive team while at Xerox.

26.12.09

The Complete Guide to Simulations and Serious Games awarded one of Training Media Review's 9 Top Products of the Year

Training Media Review is our industry's most rigorous and increasingly most trusted source of information. Unlike most magazines (and more akin to Consumer Reports), the site is not paid for through industry advertisements, but subscribers. And the reviews are done by deep experts in the field.

So I am humbled and thrilled that The Complete Guide was awarded both an "Outstanding" rating and listed as one of TMR's Top 9 Products of 2009.

Here's their full review: THE COMPLETE GUIDE TO SIMULATIONS & SERIOUS GAMES

So, thanks to The Academy! And thank you to everyone who has used the book to shape their own journey. There is no greater honor than participating in this incredibly important and transformational industry.

20.12.09

Speech from Jeff Sandefer and the Coming Crash of Higher Ed

We are currently looking back at the last five or ten years as the time when both the Health Care and Financial Services industries failed the communities in which they participated. To many, including myself, it seems inevitable that Higher Education (as well as the broader Industrial Educational Complex) will soon similarly be branded as a failed industry in need of reform or disintermediation.

This is a theme I will continuing to explore, under the label of Failure of the Industrial Educational Complex.

But if you are interested in this topic, I strongly suggest this presentation (over anything I have to say):

Even if you are left-wing, don't let the early right-wing red meat lines throw you. Keep listening. Jeff Sandefer's comments are both highly prescient and well earned.

You will also find relevant (and better researched than my own thoughts) Karl Kapp's post: The Higher Educational Bubble Continues to Grow.

12.12.09

Virtual Worlds, Simulations, and Games for Education: A Unifying View

I wrote this article for Innovate magazine a few months ago, to coincide with the release of Learning Online with Games, Simulations, and Virtual Worlds. While pieces have have been excerpted, many have asked for the complete article, which I am reprinting here.

Many practitioners have been struck by a paradox. They sense an overlap between virtual worlds, games, and simulations, and but they know that one is not synonymous with the other. The three often look similar; they all often take place in three-dimensional worlds that are populated by three-dimensional avatars (Figure 1).

Figure 1: ProtoSphere Virtual World

Yet as I have argued elsewhere (Aldrich 2009), the differences are profound. Games are fun, engaging activities usually used purely for entertainment, but they may also allow people to gain exposure to a particular set of tools, motions, or ideas. In contrast, simulations use rigorously structured scenarios carefully designed to develop specific competencies that can be directly transferred into the real world. Finally, virtual worlds are multiplayer (and often massively multiplayer), three-dimensional, persistent social environments with easy-to-access building capabilities. They share with games and simulations the three-dimensional environment, but they do not have the focus on a particular goal, such as advancing to the next level or successfully navigating the scenario.

It is not enough, however, to categorize virtual worlds, games, and simulations as either entirely synonymous or utterly different. It is more useful, and perhaps more complete, to see virtual worlds, games, and simulations as points along a continuum, all instances of highly interactive virtual environments (HIVEs) (Figure 2).

Figure 2: Virtual Worlds, Games, and Educational Simulations as a Continuum

This framework recognizes the relationships among virtual worlds, games, and simulations:

  • All games take place in some kind of virtual world—and not solely a Second Life-style, massively multiplayer online environment. Even physical games are played in a synthetic world structured by specific rules, feedback mechanisms, and requisite tools to support them. Children playing stickball on the curb create a play world structured by the broad requirements of the game and overlaid by its rules. Those rules become stricter in more intricate games and in simulations.
  • Simulations share key characteristics with games, including the use of a virtual world (that is, to some extent, also structured by the rules and constraints of the simulation) and the focus on a particular goal, but simulations use a more highly refined set of rules, challenges, and strategies to guide participants in developing particular behaviors and competencies that are highly transferable.
  • Participants often shift subtly between the various modes, moving from undirected exploration of a virtual world then to games and then to more structured simulation as they become comfortable in the environment.

The Swimming Pool

One of the most natural examples to show how participants move across the different uses of a HIVE while staying in the same virtual environment is the process by which children are introduced to the swimming pool. The pool is a synthetic, albeit not a virtual, environment. Some of the rules associated with dry land are the same in this new environment, and some rules are different. From the moment they first approach the pool, children naturally move from treating the pool as a virtual world, to seeing it as a place for more-structured games, and then to using it as a venue where they practice the skills they will need to swim well.

Their behavior and expectations as well as the expectations of those around them change at each stage. At first, new young swimmers perceive the pool as a scary, foreign environment. The challenge at this stage is simply to get them to enter and move around in this strange world. A parent or swim teacher may force them to get in or coax them in, or the novices may dip their toes in while watching other people or they may just jump straight in. Similarly, when introducing students to a virtual environment, an instructor’s first goal is to get students into the environment and practicing basic tasks of navigation, manipulation, and communication. In a third environment, a would-be pilot experiencing a flight simulator for the first time begins by looking around and perhaps trying to move the plane a bit. The goal is to get comfortable simply existing in this new environment.

Once children get comfortable in the pool itself, they start to play. They see how long they can hold their breath; they do flips in the water or sit on the bottom of the pool. They invent small games or their swim teachers give them broad rules for light games, such as tag or undersea kingdom. These games start off very casually and tend to become more structured and more complex. Likewise, as students get more comfortable in the virtual world to which their instructor has introduced them, they begin to mess around. They build crazy objects; they change their clothes and hair and body; they visit places they are not supposed to. In the same vein, the new pilot may try to see what the virtual airplane can do, perhaps by trying to fly it under a bridge or into similarly unlikely situations.

Finally, the children begin to test themselves (either on their own or because their swim teachers or parents push them) through increasingly rigorous rules and specific challenges. They go into the deep end, sometimes getting unwelcome mouthfuls of water. They practice new strokes. They try to swim the entire length of the pool underwater. They go from open-ended tag to racing each other. This is the educational simulation part of the experience; these exercises force them to learn skills that they can transfer to other bodies of water, such as lakes or oceans. Meanwhile, the students in the virtual world, having demonstrated their comfort in that world, receive an assignment requiring them to work together to achieve an instructor-defined goal. They fight a bit as a team and get frustrated; they resolve the frustration and complete the assignment. When the work is done, the class debriefs around a conference table or, perhaps, in the virtual world itself. The pilot-in-training is also working harder, having been tasked with increasingly challenging scenarios, such as landing with broken gear or under stormy conditions. The pilot crashes quite a bit at first but gradually gets more and more comfortable and confident.

The ease with which the children in the pool, the students in the virtual class, and the pilot in the flight simulator move from exploratory virtual-world behaviors to structured but simple games to taking on rigorous simulation challenges illustrates both the differences across these three instances and the connections that link them. It is only by building from open experimentation to increasingly rigorous rules, structures, and success criteria that children learn transferable water survival skills and pilots learn critical flying skills.

Distinctions and Connections

As the HIVE model sees virtual worlds, games, and simulations as both different and connected, there are two large sets of consequences: one emerging from appreciating the distinctions among the three and one related to the view of them as connected.

Distinctions

The HIVE model asserts that virtual worlds, games, and simulations are all different; each has its own affordances and purposes. A virtual world will not suffice where a simulation is needed. The virtual world offers only context with no content; it contributes a set of tools that both enable and restrict the uses to which it may be put. An educational simulation may take place in a virtual world, but it still must be rigorously designed and implemented. Organizations routinely fail in their efforts to access the potential of virtual worlds when they believe that buying a virtual world means getting a simulation.

Likewise, a game is not an educational simulation. Playing SimCity will not make someone a better mayor. Some players of, for instance, World of Warcraft may learn deep, transferable, even measurable leadership skills but not all players will. The game does not provide a structure for ensuring learning. Just because some players learn these skills playing the game, that does not mean either that most players are also learning these skills or that it should be adopted in a leadership development program. Conversely, a purely educational simulation may not be very much fun. The program may have the three-dimensional graphics and motion capture animations of a computer game, but the content may be frustrating. Specific competencies must be invoked, and students’ assumptions about what the content should be, likely shaped by their experiences with games, will be challenged.

Connections

However, the ease with which players in a new virtual environment move from exploratory behaviors to more structured simulation structures also illustrates the connection among virtual worlds, simulations, and games. There are overlaps of both processes and best practices between them. For instance, the same structures that help students get access to a virtual world (say in a university or corporation) also help them get access to a simulation and vice versa. These include help desks, technology test tools, accurate and understandable download information, and password and username management. The aspects of computer game design, such as scoring mechanisms, scripted storylines, and competition-based motivation, can drive increased engagement in an educational simulation. By the same token, a good teacher with a good curriculum can use a relevant game as part of a meaningful learning experience, but the experience must be carefully prepared, presented, and debriefed (Exhibit 1).

One example of the commonality across all HIVEs is the need for introductory structures. These asynchronous, self-paced levels or locations allow students to learn and demonstrate basic competencies in manipulation, navigation, and communication before moving on to the “real” exercise. These have been successfully adopted in Second Life where students often have to navigate through a custom challenge before joining a class for the first time. Computer games frequently have single-player levels with scripted stories and even their own training sequences that players must complete before joining multiplayer teams. Given the parallels between simulations, games, and virtual worlds, multiplayer simulations designed to teach specific skills may do well to include a significant single-player mode in which students can first learn the basic interface and gameplay.

A second area of commonality is the need for communities around games and simulations. Community-building tools and opportunities can be built in as a seamless, integrated piece of technology within the world or simulation or they can be provided separately via a chat room or other tool.

The biggest area of commonality, and this will be true for years and perhaps for decades, is that HIVEs get people to do things. In a formal learning program, this means that they can be integrated with the goal of getting students to learn how to do, not just what to know. To accomplish this, instructors in virtual worlds will find a range of techniques already refined in stand-alone simulations useful, including assessment methodologies such as benchmarking and coaching strategies to manage student frustration and to provide effective debriefing. More complex interactive structuring techniques, such as the use of branching structures or mathematical modeling to allow students’ decisions to guide the development of events in the world, can also help by increasing the interactivity of these environments.

Implications

This HIVE taxonomy has a range of implications for instructors structuring classes and for students exploring virtual worlds. Accepting the idea that HIVEs exist on a continuum, each providing its own benefits but each also being linked to the others, will affect how classes in virtual worlds, serious games, and educational simulations are conceptualized, developed, and deployed. Virtual environments provide a natural way for people to learn by nurturing an instinctive progression from experiencing to playing to learning; instructors should encourage the shifting across experimentation, play, and practice in which students naturally engage. In fact, instructors can exploit that behavior by providing stages that accommodate each stage. Light games and self-paced introductory levels can be used to get students comfortable with basic concepts and the interface necessary to exist in the virtual world, and the complexity can be increased to encourage students to move on to play and practice stages.

Content created for virtual worlds should reflect the nonlinear nature of HIVE learning and exploit the opportunity to learn by doing. The goal should not be to repurpose existing content but to rethink its goals and to imagine new types of content and new modes of presentation that fully access the power of HIVEs for learning. While best practices in content structuring may be transferred from stand-alone educational simulations to virtual world-based simulations, metrics and learning objectives for the different contexts should be different. Learning objectives and assessments around games, for instance, should be focused on the engagement, exposure, and use of simple interfaces while those for educational simulations should measure the development of complex, transferable skills.

Community is also an important element in virtual world-based learning, whether in games or simulations. Even stand-alone simulations need to provide participants some opportunity to access a community even through a separate tool if it is not possible to integrate the community into the simulation platform itself.

Conclusion

This emerging, unifying view of HIVE learning is the future of education (Exhibit 2). It represents, finally, the practical convergence of best practices and technologies, leveraging and building upon what we already know for better results for all involved. However, the critical trick for today is knowing when to look at virtual worlds, simulations, and games as part of a greater whole, sharing best practices when appropriate, and when not to let this holistic view obscure the critical differences among them, optimizing the sense of place and presence offered by virtual worlds, the fun engagement provided by games, and the rigor and transferability of skills promised by simulations.

References

Aldrich, C. 2009. The complete guide to serious games and simulations. Somerset, NJ: Wiley.

Exhibit 1: Examples of Commercial Games Used in Classrooms

  • Sid Meier’s Civilization Series by Firaxis for history and social sciences.
  • SimCity Series by Electronic Arts for urban planning and social psychology.
  • Age of Empires Series by Microsoft for history.
  • Zoo Tycoon by Microsoft for planning and economics.
  • Roller Coaster Tycoon by Chris Sawyer Games and Atari for planning and economcs

Exhibit 2: The future of HIVEs

Here are some brainstorming thoughts, some personal speculations, about how content may be created and experienced as universities, corporations, and other organizations increasingly explore the power of nonlinear and engagement-based media.

2010: Understanding and Procuring HIVEs

In the near term, educational and commercial organizations will explore their understanding of HIVEs and where HIVEs may fit in their missions. They will seek to how and when to use virtual worlds, serious game, and educational simulations.

And they will make mistakes. As more organizations acquire access to virtual worlds, corporations and academic organizations will use them primarily for building communities and bridging distances, although about 80% will be greatly underused. Large organizations will commission their own customized, self-contained simulations to teach foundational skill sets, mostly using external vendors. Others will buy and often modify off-the-shelf simulations, such as those now available from Harvard Business School Publishing and Capstone Business Simulation. We will see a proliferation of short, stand-alone simulations, typically using Adobe Flash and often connected to online communities, as the dominant model of customer-build stand-alone educational simulations.

Both socially focused virtual worlds, where users meet primarily for interpersonal interactions rather than to pursue goal-focused activities such as games, and self-contained simulations, when done well, will work better for learning than people now realize, developing in students a greater understanding of and interest in the content and a better ability to apply their learning, beginning a rethinking of the multitude of flawed current assessment methodologies currently in use, such as tests and papers. However, corporations especially will still pursue the Sisyphean task of “managing through metrics,” trying to assess the usefulness of an active virtual community or an effective simulation by seeking a quantifiable return on investment.

In universities using three-dimensional virtual worlds, these environments will increasingly be used to host student work, providing a venue for students to create interactive content, rather than as virtual classrooms. Schools that do not focus on the students’ role in building interactive content will wind down their use of virtual worlds in favor of easier tools, such as enhanced virtual classrooms. At the same time, the military will continue to lead the way in using simulations, using specifically developed simulations to develop soft power through the application of interpersonal skills, an effort begun in earnest a few years ago with projects such as the Institute for Creative Technologies (ICT), a University of Southern California (USC) project funded by the U.S. Army.

A widespread and growing preference for highly interactive content will have far-reaching implications. Business models structured around the production of linear content will continue to deteriorate. Newspaper and book publishers, as well as schools and traditional training providers, will find themselves in increasingly dire shape. But there are also huge problems in those consulting industries whose major outputs are traditional analysis and recommendations to large clients. Corporations will simply no longer buy traditional reports of events that are accurate, even profound, because they just sit on shelves unused. And the sale of interactive applications via providers such as iTunes and Android will continue to flourish. Simply, the market will shift to reward HIVE production as opposed to traditional media.

2013: Authoring in HIVE Environments

Widespread availability of robust and easy-to-use authoring tools and environments will develop quickly in the next three years. While small vendors will initially meet these authoring needs, these tools and capabilities will increasingly be aggregated by the biggest software vendors. The availability of these tools will enable large organizations to bring sophisticated authoring capabilities in house, as students who grew up authoring in Second Life enter the workforce. The time it takes to build a useful simulation will be reduced asymptotically to about four weeks, but larger budgets will be available for more complex simulations that take years to build. The range of development time for simulations will reflect both the maturity of the tools and the market value of these products.

Just as games have developed and refined such genres as first-person shooters and real-time strategy, the increased focus on HIVEs for learning will catalyze new ways of structuring content around the goal of “learning to do.” The power of simulations and virtual worlds to help teach the Big Skills (also known as 21st-century skills) will be recognized and embraced. Linear content will be viewed with increased suspicion as thin and ineffective compared to the robustness of well-created HIVE content. Institutions supporting schools will try, and fail, to build simulations around traditional content, such as biology and literature. HIVEs will increasingly be seen as a continuous whole; students and teachers will expect a smooth transition between the real world, the open virtual world, the fun game, and the relevant simulation.

Second Life will suffer as corporate customers follow younger users to better looking and more dynamic, but also more splintered, environments. Ironically, as the virtual world market fragments, the platform for simulations will converge. Adobe Flash will run everywhere (including hacked future versions of Xboxes and Playstations) and be the common authoring environment of choice, enabling schools to assign simulations without babysitting hardware.

2016: Rethinking Knowledge

By 2016, the culture will be rethinking the possibilities and necessities of captured wisdom. Research organizations and consulting groups will reluctantly reject the easy lens of linear content and, pushed by competition and client requests, follow a research and analysis process similar to the complex methodologies required to generate simulation-based content, even when not building a simulation (Supplement 2-1). Business reports will talk about actions, systems, and results, not just processes and tips. Search engines will be significantly challenged, with huge investments and infrastructure trapping them in old content, as people realize that you can’t learn leadership from Google. Instead of straight information, people will be seeking interactive, learn-to-do content; they’ll want to access virtual environments that allow them to practice particular skills, such as negotiating scenarios. Google has the same constraint as all linear content is shocking. You can’t learn stewardship, relationship management, innovation, or security any more from Google as you can from a traditional book, magazine, or traditional class. As a shared understanding of the limitations of “learning to know” vs. “learning to do” emerges, the realizations of the limitations “Learning to know” approaches becomes obvious.

Increasingly, everyone from the MacArthur Foundation to Accenture will default to producing interactive content over passive. Reports will be produced not as binders but as experiences, not as bullet points and inspirational quotes but as equations, interfaces, and dynamic relationships. For example, rather than having a report describing new market conditions and evolving customer preferences delivered to top executives of a large retailer, a consultant firm might produce a fifteen-minute mini-simulation that all employees of the company can access; in place of a mass of data that must then be disseminated through the corporation, the client will have a tool that can create across the corporate heirarchy a shared belief in the changes identified by the consultant and an understanding of the new behaviors necessary to adapt. This new research will cycle back into increasingly detailed simulations. As the perceived value of information and expectations for its presentation change, journalism will disappear as a distinct college major and career.

Open-source simulation design will flourish and be compatible with professionally created content. When the $49 laptop becomes a reality, sometime before 2015, China and India will both announce that a majority of their school curricula across all ages will be simulation based. Game makers will enter the educational simulation space for real here, as they see there is a market for finished goods, but they will be too late to create real brands. They will still manage to wipe out large tracts of smaller companies.

2019: A New View of Knowledge and Wisdom

Moving forward, school curriculum in the U.S. will be retooled around teaching innovation and stewardship and other Big Skills. The first Pulitzer Prize to a simulation will be announced in 2019, as well as the greatly diminished use of multiple-choice standardized tests (after years of decline). The last textbook publisher will fold. Pure linear content will be looked at the way we listen to scratchy phonographs. Finally, and truly, the most valuable content in the world will be educational simulations and serious games. IBM will launch a new initiative into this space.

Supplement: Research Questions to ask Subject Matter Experts When Designing an Educational Simulation

Most business research relies on the same intellectual constructs as other forms of linear content- including linear analysis, case studies, and inspirational examples. And like with movies and magazines, these reports end up impressing with their cleverness but don’t actually enable effective action (or any action, except more presentations), because they are not designed to.The process of creating a simulations or other “learning to do” content, requires a different process. Even if the goal is not a simulation, the new types of questions can result in richer, more action driven content. Here are some examples of different questions for Subject Matter Experts:

  1. What situation have you experienced that you feel epitomizes the subject matter? (This could be a real-time event or an event that took place over weeks, months, or years.) Were there multiple situations?
  2. What were your available options? At each moment, what could you have done in that situation, and what might a naive or inexperienced person done? What did you end up doing?
  3. Why would the naive approach fail? What would it not have taken into account?
  4. What were clues that informed your analysis of the situation? What did you see immediately, and what information did you have to look for? How did you look?
  5. What did you want success to be? What did the conclusion end up being?
  6. What were you looking for to suggest that things were going well? What were you looking for to suggest that things were not going well?
  7. What were the “maintenance” or routine activities that you had to do (even including body language) to keep the situation developing well? What would happen if you did not do them?
  8. What was the moment were you knew you were successful (or not)?
  9. What was each person’s best case and worse case outcome? What were their strategies and actions?
  10. What would have been three to five legitimate alternative approaches to the problem or situation?
  11. What were the three to five high-level metrics that you were monitoring? Time? Commitment? Alignment?
  12. What trade-offs were you willing to make? What trade-offs did you make?
  13. Can you graph the high level metrics over the course of the experience?
  14. What were the inflection points for each?
  15. How do the actions impact the high level metrics? What else impacts the high level metrics (be as specific as possible)?

COPYRIGHT AND CITATION INFORMATION FOR THIS ARTICLE

This article may be reproduced and distributed for educational purposes if the following attribution is included in the document:

Note: This article was originally published in Innovate (http://www.innovateonline.info/) as: Aldrich, C. 2009. Virtual worlds, simulations, and games for education: A unifying view.Innovate 5 (5). http://www.innovateonline.info/index.php?view=article&id=727 (accessed May 26, 2009).

The article is reprinted here with permission of the publisher, The Fischler School of Education and Human Services at Nova Southeastern University.

Author Bio

Clark Aldrich, an independent contractor and award-winning designer, works with clients to create simulations on areas ranging from influencing skills to cyber security, and with clients as diverse as the Department of Defense to private universities. When working with SimuLearn, he was awarded a patent for the Virtual Leader global product line (which is the most popular leadership simulation in the world and was the winner of the “best online training product of the year”). Virtual Leader (and the updated vLeader) is currently used in hundreds of corporations, universities, and military installations and has been translated into multiple foreign languages.

Aldrich also advises many of the world’s most influential organizations (private and government), and serves on over a dozen boards, including with magazines, and universities, on educational and business analysis projects.

He is the author of four books, Simulations and the Future of Learning (Wiley, 2004), Learning By Doing (Wiley, 2005), The Complete Guide to Simulations and Serious Games - How the Most Valuable Content Will Be Created In the Age Beyond Gutenberg to Google (Wiley, 2009) and Learning Online with Games, Simulations, and Virtual Worlds (Wiley, 2009).

His work has been featured in hundreds of sources, including CBS, The New York Times, Wall Street Journal, CNN, NPR, CNET, Business 2.0, BusinessWeek, U.S. News and World Reports, and, among other distinctions, he has been called an “industry guru” by Fortune Magazine.

He can be reached at clark.aldrich@gmail.com

9.12.09

American Society of Training and Development's December T+D issue has excerpt from "The Complete Guide...'

The American Society of Training and Development's December T+D issue has an excerpt from "The Complete Guide...' on the description of different educational simulation genres. Take a look here if you are interested.

The piece, however, erroneously lists my bio as being the Lead Developer for SimuLearn, rather than my updated bio of being an independent developer. I am no longer involved with SimuLearn.

4.12.09

Weekly Poll: In which market(s) - Corporate, Government, Education, or Military - do you expect the fastest growth in sim use?

I have joked that sim growth has taken place in EMBC (Every Market But Corporate) over the past few years. But let me throw the question back to you. In which market(s) do you expect the fastest growth in sim use in 2010? Corporate, Government, Education, or Military?

(And please vote. My goal is to get about fifty votes.)

1.12.09

Simulation Design in Three Easy Steps

So you want to build a simulation? Here is a framework to get you through the design process in three easy steps.

Step One: Top-Down Rules

The first step is to collect all of the top-down patterns, including established analysis, best practices, and rules. In this step, traditional educational content and linear material such as existing courses, books, reports, and even rule guides are very helpful. They also serve to set a scale for what the sim will and won't cover.

If you were building a simulation about composting, you would look at all of the best practices established by experts (such as don't throw in dairy or meat, turn your pile every few weeks, mix in grass clippings to keep the nitrogen at the right level so it doesn't smell, people compost to reduce their impact on landfills and improve their land).

Step Two: Bottom-Up Relationships

The second step is to collect the hundreds of tiny relationships. Many of these relationships are so simple that it feels absurd to even capture them in a document. But there power comes in their rigor and volume.

Here, the simulation framework of actions / systems / results can help frame this seemingly open-ended and endless task. You have to be a detective here, grilling subject matter experts and listening to podcasts, pouncing on every scrap.

To return to our composting example, here are some examples,

  • actions: put different kinds of food in compost (egg shells, coffee grounds, hamburger, yogurt), turn compost, shovel out and spread compost, put in other organic matter (leaves, branches, weeds), cover pile, start new pile, buy barrels, mixing tools, water pile, sift compost, throw out food as garbage, design compost area
  • systems: rain washes through compost, food breaks down with aeration in about a month, food breaks down without aeration in about a year, nitrogen level imbalances can result in smell and inefficiencies, table of what matter contributes what nitrogen amounts; compost creates better soil which creates better growing conditions for flowers and vegetables, growing one's own vegetables results in cheaper and healthier food, garbage costs money per pound to put in a landfill, exposed vegetables will attract mildy attract critters, exposed meat will stronlgy attract critters, different microbes do different things at different temperatures, earthworms can aerate dirt.
  • results: great soil, smell, less garbage sent to landfills, yellow jackets, great vegetables, critters

Step Three: Find the Closest Existing Game or Sim Genre, or Microcosm

Finally, find an existing simulation or game that comes close to some or all of what you want to accomplish. Borrow the established rules as much as possible. Use the gameplay conventions and level design to make your life easier. Or find a perfect example or microcosm that can serve as the model, if no game or sim comes close enough.

Note 1: some people start here, and assume a maze game or a branching story before digging into the first two content steps. This tends to result in an educationally flat experience, merely reskinning a genre rather than teaching anything of note.

Note 2: This step is more successful if the designer has played a lot of computer games. It does make sense to engage new titles, and see how the designers have accomplished things. Appreciating and noting new mechanisms and even genres can mean the difference between failure and success in a new program.

In our compost example, my goal is a thriving ecosystem, so I might choose a variation of SimCity or Roller Coaster Tycoon. I might use quality of life, cost, and environmental impact as some core metrics the player tries to optimize. I might create a house area, a compost area, a garden area, and a garbage area, and have people be able to move stuff between the four.

Finally, moving away from these genres, I might zoom in and allow people to create and modify their own composting structure.

Composter: Here is my "lazy" composting system. It uses rain and gravity to wash finished, filtered compost into the containers on the bottom. This creates an infinite ability to dump food into the top, maintain a permanent ecosystem of microbes and earthworms in the middle, and get great compost waiting for me in the bottom without having to shovel, aerate, or sift.

Synchronize and Repeat

These steps should greatly shape your simulation design document. Use the rules to organize the relationships. And the genre to frame everything.

And they are iterative - work done in each will help inform the other two. You will work in from the three corners to the middle. Ultimately, all three should converge (even if there is fear at first that they won't).

You may have a few outlier rules at the end of the process that fall outside of the system and level deisgn, but that still need to be included. Here you might use traditional pedagogical technique such as slides or pop-ups to convey this content.

When creating a sim, do you start with high-level best practices, little relationships, or the sim engine?

In The Complete Guide to Simulations and Serious Games, as well as with my clients, I suggest that the design of a sim involves going through three steps iteratively.

  1. The first step is to identify high-level best practices and analysis, which has typically already been captured in existing (albeit not effective) courses.
  2. The second step is to identify the hundreds of little relationships that make up the core knowledge, typically broken into the three categories of actions, systems, and results.
  3. The third step is to identify the close enough game or sim genre that helps frames and dictates the level design and overall look and feel.

While each step informs the other steps, the order is actually hugely important. Interestingly, depending on if you start with step two or with step three, you get dramatically opposite effects.

Starting with the identification of the little relationships (step two) often occurs when either a researcher or subject matter expert starts an effort. Identifying the little relationships without the framing of the best practices is a staggeringly complex activity, that while satiates the purists, can take huge amounts of time and overwhelms all but the most intrepid. Projects that start here seldom see the light of day. Even if they do survive, there is so much wasted effort.

In contrast, starting with the identification of the genre (step three) and filling in the blanks is a much more typical phenomenon. I often see this when either a vendor has a pre-built engine they are using for a new project, or when an organization has invested in a platform or authoring environment themselves and are trying to push more programs onto it. The results are quick (weeks instead of months), cost effective, and efficient. The course is spit out on time. The only problem is that the content is flat. Two or three different programs, ostensibly covering different topics, starting from the vantage of same engine all look the same, and more importantly, basically "teach" the same thing. We are seeing this in abundance with sims in Second Life, but also from small specialty vendors.

Every project needs to balance its own needs. And part of my role with clients is not only to design the best sim, but to map out the best process. But starting with formal content, then identifying tiny relationships, then finding the right genre, is an iterative process that I believe will result in the best programs for most people for the foreseeable future.