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Abstract
This report, prepared by Jennifer Massey and Gayle OBrien, is a proposal for our final project in MSc Creative Digital Media in DIT. This report will
document the formation of ideas and concepts for the design and implementation of Unravelling Sweeney, an interactive iPad story for adults.
Table of contents
1. Project Aims and Objectives..6
1.1 Introduction.. 7
1.2 Other key objectives...7
1.3 Considerations.... 7
1.4 Market potential...7
1.5 Skills and Competencies7
2. The Concept... 8
2.1 Concept overview... 9
2.2 Concept expansion.11
2.3 Idea iterations.. 13
2.4 Device affordances. 15
3. Competitive Analysis.. 16
3.1 Introduction.. 17
3.2 Year Walk..18
3.3 Limbo 20
3.4 Device 621
3.5 Operation Ajax.23
3.6 The Room 24
Table of contents
6. User Model and Needs.38
6.1 Introduction.. 39
6.2 iPad Usage Survey. 40
6.3 Personas.. 41
6.4 Scenario... 45
6.5 Use Case..... 46
6.6 Choosing Content.. 50
6.6.1 Content Survey......50
6.6.2 Discussion.. 57
7. The Story. 58
7.1 The Story of Buile Suibhne59
7.2 Elements of Story60
7.3 Heros Journey.61
7.4 Narrative as a Data Model.... 64
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Table of contents
10. Coding Plan.. 103
10.1 Introduction 104
10.2 Choosing games engine..105
10.3 Apple developer account.105
10.4 Functional requirements . 105
10.5 Data retention....... 106
10.6 Fungus... 106
10.7 Head up display 106
10.8 Swipe and touch functions.. 106
10.9 Specific interactions. 107
10.9.1 Parallex scrolling 107
10.9.2 Spinning doll figure. 107
10.9.3 Detect orientation of device.. 107
10.9.4 Rotation 107
10.10 Text rendering. 107
10.11 Adding artwork 108
10.12 Audio considerations. 108
10.13 Discussion.. 108
12. Appendix... 1
12.1 Art tests.. 1
12.2 Early idea sketches.. 1
12.3 Lean canvas early iterations.. 1
12.4 Early storyboards. 1
12.5 Prototype sketches.. 1
12.6 Flow chart.. 1
12.7 Code... 1
12.8 Lean canvas.. 1
12.9 MoSCoW... 1
2. The Concept
Objective
The objective of the app is for the user to read the full story through
the eyes of the main protagonist, Mad Sweeney, with the assistance
of interactions, illustrations and sound. The user must work as
Sweeney to complete interactions and puzzles at intervals
throughout the app, with the ultimate goal of gaining control.
Concept
Unravelling Sweeney is an interactive text based journey through
the psyche of Mad Sweeney.
Genre
Modern retelling of Irish legend, part interactive fiction, part puzzle
game
Storyline
Buile Suibhne, told through poetry and narrative, was the story of a
king, cursed to madness by a priest. He wallowed in self pity and
wandered naked through Ireland, believing he was a bird. Seamus
Heaney has published a translation of this medieval Irish literature,
on which we will put a new, modern day twist.
Features
Fully interactive
Landscape format
Multi-touch
Sound consideration
Sound effects will be central part of narrative, providing clues and
communicating tone. Creation and release of tension at intervals.
Several sound effects only play when the user interacts with them.
Completion time
20-25 minutes. 1-2 sittings.
Platform
The application will be designed for iPad.
Game engine
The application will be created using Unity engine.
Language
The language used in the app is English.
Release date
The game will be released in December 2016.
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In order to progress with the text, there will be a prompt to enter the second section. This game element of the story will be a dreamworld, Glen
Bolcain, which appears when Sweeney is experiencing a break in reality. This section will use a moody, grainy look and unsettling sound design.
The user will wander through a scrolling 2D world, in which they must interact with characters and restore calm. Here the user can experience and
discover Sweeneys unstable perspective for themselves.
The users main goal will be to regain a sense of control. They must face obstacles in the form of interaction puzzles which prevent them from
achieving that control. Completing these interactions will enable the user to progress to the next part of the narrative. The app will have an undertone
of the torments of mental health problems. By connecting with Sweeney, we want our users to relate to some of his traits, and become aware of the
narrow line between sanity and madness.
Style will be influenced by dadaism and futurism art movements as well as modern magazine layouts. Illustrations and animations will be positioned
in front of photos and videos. Sound design will be used to transform the experience and to tell parts of the story. Several clues for progression will
be delivered through audio.
Our main user will be ages 18-24, own and iPad and be comfortable with technology. We will also be targeting the 25-34 year old professional, also
comfortable with technology. A third user we have identified is the reluctant reader. This person would not usually read books on their iPad, but
would be encouraged to do so through an interactive means. Other users that may be interested in our piece include those interested in Irish
literature, new interactive experiences, psychology and explorative games.
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2.3.3 Psychosis
We knew from initial user tests that using a psychoanalytical approach could create a strong entertainment or explorative piece by highlighting the
fears, desires and urges of the user. Freud believed the imaginative act of dreaming to be essentially a psychotic process. A dream is a
psychosis, with all the absurdities, delusions and illusions of a psychosis. This led us to psychosis, not far removed from dreams, but strong enough
to structure a story. We decided to pitch various scenarios to users. These proved popular. We wanted a strong storyline, a character who already
existed, one who was not owned.
We looked to our storytelling heritage and Irish folklore and came across the story of Buile Suibhne, arguably a character suffering from mental
health problems. We were excited about using this character. After conducting user research to make sure we were on the right path, we decided to
use this tale, and adapt it to the modern day.
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3. Competitive Analysis
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3 Competitive Analysis
3.1 Introduction
We carried out extensive research in the realm of interactive storybooks for adults. It became clear that the market is, at present, almost solely
directed towards children.
We have identified a number of apps that could be regarded as direct competitors. Four of these apps - Year Walk, Device 6, The Room and
Operation Ajax - were all created for iPad using the Unity engine. These have given us an exciting insight of what the Unity engine is capable of. Our
research has definitely influenced us to include a game puzzle element as a key feature of our app. Unravelling Sweeney doesnt fit into a specific
genre. We initially thought we would get a lot of inspiration from text based comics and adventures, but they rarely provided what we were looking
for. Following this research, we were keen to conduct some user research to find out if our new ideas would sit well with potential users.
The Room
Operation Ajax
Year Walk
Device 6
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The mood set by Year Walks aesthetics is beautiful. Its simple nordic design, music and sound effects give an incredibly creepy, melancholic feel.
We will be studying these sound effects more in-depth in order to give our piece a similar atmospheric effect. As with Year Walks Swedish design,
Unravelling Sweeney will encompass Celtic undertones. We wish to use a mixed media, collage type aesthetic with a more text based narrative in
order to convey Sweeneys confusion. This will also give our app a more modern look, which will suit the digital medium.
The mechanics of Year Walk are incredibly interesting and varied. Gestures include multi-touch, dragging all 8 fingers at once, tilting and rotating.
Sound is integral to the game. One puzzle involves matching humming noises to the sound playing in the background. These interactions are
something we are very excited about. We hope to use similar elements, and expand to light detection and microphone input, in order to make
Unravelling Sweeney unrivalled in its genre. Year Walk has a downloadable companion, which functions as a mini-encyclopaedia for any myths or
creatures encountered in the game. This could fit in beautifully with our app as an insight into the characters and locations in our story, however it is
definitely in the maybe pile for now. We may come back to it as the project progresses, depending on time available.
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3.3 Limbo
Playdead, 2012
Limbo is a great example of an atmospheric game, succeeding in making the player feel isolated and anxious. This
2D puzzle platformer symbolizes the gruesome journey of a boy towards his sister. The game offers an audio and
visual atmosphere that can cause the user to feel on edge. Dark grayscale graphics create a haunting effect. Limbo
leaves everything open to interpretation, while at the same time creating a captivating and immersive game. It allows
the user to project their own emotions and fear into the experience. Limbos audio director has stated that he avoided
using sound that would manipulate the player or give too strong of associations - the more identity the sounds had,
the more he would distort them.
Influence
The atmosphere of Unraveling Sweeney is key. Iit must give context to all interactions. We are focusing on
Sweeneys isolation and his loss of sanity in an attempt to amplify the users emotional experience. Atmosphere
consists of two components:
Theme: the rich unifying idea of the work, what the story is really about.
Tone: How we express the theme. Every detail must focus back to the mood and each piece must fit
together.
Like Limbo, the tone must be conveyed in every aspect from the very first scene. The audio design, alongside
graphics and interactions, will be especially important to show the tone. The use of audio to convey large amount of
detail to the user and smooth between transitions is of great importance. We want a smooth transition of sounds
throughout each scene, as cutting and changing sounds between scenes can take away from the atmosphere. We
will take inspiration from Limbos less is more minimalist ambient sounds, which create an unnerving experience.
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3.4 Device 6
Simogo, 2013
Device 6 is a text-based puzzle game, entwining games and literature. Text, images and sound
are used to guide the player through a set of puzzles. The player becomes Anna, who must
solve puzzles to escape a castle on an island where she has inexplicably woken up.
Influence
Device 6 is written as Annas thoughts, which creates a strong relatability to the character. This is
similar to what we wish to achieve in Unravelling Sweeney, by using poems that Sweeney has
written himself. A single touch input is used throughout: one finger to scroll through the text, and
one finger to interact with puzzles We considered this style for ease of use and focus on
narrative. But we were keen to explore how multi-gesture could further immerse the user and
make them feel integrated with Sweeney. We decided on using one finger to scroll through the
text, and a range of interactions for the puzzles.
The game is divided into 6 chapters, each leading to Annas resolution of a puzzle and escaping
a room. This structure has proved successful in structuring the narrative. We would like to map
Sweeneys story into the Heros Journey structure. A major interaction/obstacle will greet him at
each stage of the Heros Journey. The user must overcome this obstacle to progress. Resolution
of each obstacle will create an understanding for that element of Sweeneys madness/situation.
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Gestures used in The Room map directly to the physical movements you would expect in the real world.
Puzzles are resolved in a guided order. The first puzzle box has little challenge so the player can get used to
the affordances and know what to look out for. These are methods we will be incorporating into Unravelling
Sweeney. We will be using a guided swipe motion to follow the text, as well as tap, drag, pinch and zoom to
interact with various objects and images throughout. This simple, natural way of navigating means the user
can concentrate on resolving the puzzles rather than getting frustrated with mechanics.
We would love to experiment with tilt manoeuvres and different input methods to overcome puzzles
throughout the narrative. We found in Year Walk that discovering these mechanics was at times so difficult
that we would get frustrated and give up. The Room seems to have resolved this issue. In a number of
especially challenging puzzles, the player is allowed to request hints. The users sense of control and
accomplishment will be integral to Unravelling Sweeney. If the user is experience a frustrating level of
difficulty, we will consider including subtle hints, so as not to distract from the narrative experience.
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4.3 99 Rooms
Kster, Schumann, Schulz, Buenemann, 2004.
99 Rooms is a Flash point-and-click to escape adventure. Each room has a task that you must
complete in order to move into the next room. The goal is to make it through all 99 rooms to the end.
Visuals used are dark photographs of East Berlins abandoned industrial sector. These rooms are
overlaid with artwork and animations, giving them a street art vibe. Sounds used are mostly background
noises such as creaky pipes, echoey footsteps and hollow whispers. Tasks are not difficult and can be
skipped at will. Hints include the mouse pointer changing to a fist when the user hovers over an action,
or a fast forward symbol when they can progress to the next room.
Influence
99 Rooms is primarily concerned with interaction and achievement, and the experience of beautiful
artwork, creepy sound design, and animation. On a very basic level, this is what we would like our story
to achieve. The mixed media aesthetic and overlay of 99 rooms works really well. It is a style we believe
we could apply to modernize Sweeneys story. The games sound design works well to create tension
but it would be much better if it gave progress feedback. This is an element we will be researching
heavily to subtly point the user in the right direction without removing all challenge.
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99 Rooms
Interactions work well to compliment visuals throughout the game. One of the rooms, for
example, includes a hanging mans feet in a doorway. When the user clicks and drags with
their mouse, the character swings. Simple, well thought out interactions such as this will be
hugely important for us. 99 Rooms gives enough simple challenge to move through the game.
Similarly, we do not want our user to run into too much difficulty or lose focus on the narrative.
This brings us to the possibility of adding a hidden time limit to some of the puzzle tasks so
that the user can move on if they get stuck for too long.
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5. Wider Influences
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5 Wider Influences
5.1 Freudian dream theory
Our portrayal of Glen Bolcain, Sweeneys dreamworld, will have strong Freudian influence.
Sigmund Freud believed dreams to be the royal road to a knowledge of the unconscious
activities of the mind. Freud saw dreams as the disguised fulfilment of repressed wishes.
Their fulfilment gives the dreamer no pleasure, and his experience takes the form of anxiety.
We have been researching Freudian dream theory in order to portray Sweeneys state of
mind. Sweeneys psychosis causes him to become trapped in a dream from which he cannot
escape.This dream also infiltrates his reality, and will seep into the textual parts of the app.
Freudian dream scenes regularly crop up in horror films in order to project a characters
subjective view of reality. The most crucial scene of Alfred Hitchcocks Spellbound (above
right) uses a Freudian dream sequence in an attempt to explain the characters hidden fears,
desires and impulses. This is exactly what we want Glen Bolcain to demonstrate. In Roman
Polinskis horror Rosemarys Baby, Rosemary falls asleep and is impregnated by the devil
(below right). Recalling the incident in the form of a dream allows Polanski to manipulate his
audiences sense of belief, maintaining realism by suggesting it all has been a dream. This
method of blending dream and reality will enable us to immerse the user.
S. Freud, The Interpretation of Dreams, (1900), Vol V, Ed. J. Strachey, Vintage, London, 2001, P. 270.
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5.2 Psychosis
Psychosis is a break from reality, a complete loss of control. It is the consequence of a defence against a conflicting or intolerable idea. A
psychotics reaction is to try to manage the incompatible idea, resulting in the dismissal of reality altogether. Weve been looking to the work
of psychoanalyst Darien Leader for guidance in how to portray Sweeneys madness. Leader argues that delusion and sanity cannot be neatly
separated. For Leader, delusions are a form of creativity or restitution, a sign that the psychotic is trying to give shape to the the invasive
chaos inside their head. They have simply entered a different world.
Sweeneys psychosis will be a defense against what he perceives to be happening to him in the story. Our character has located stability in
his delusional structure, Glen Bolcain. We wish to show Sweeneys psychosis as responding to events in the characters life, by using visuals,
sounds and interactions at important points of the story. Our character will be in constant danger of sliding back into chaos, into psychosis.
We would also like to include the perspectives of others besides our main character. In places, the user can interact to access a diary, doctor
notes, or newspaper clippings, containing hints of Sweeneys mental state.
We would like to construct Lynchseachan as Sweeneys psychiatrist in Unravelling Sweeney, who Sweeney sees as a threat. Lyncheachan attempts
to trick Sweeney on two occasions in Buile Suibhne to bring him back. We are considering portraying this as attempting to medicate Sweeney. He
doesnt succeed the first time. The second time, he succeeds and brings Sweeney home. Doctors often prescribe drugs and electric shock therapy
to psychotic patients that numb defenses and dulls the brain. This dulling of defenses can threaten the ability of the psychotic subject to build
self-generated defenses against the madness. We would like to show this idea when Sweeney is medicated, of the initial dulling followed by a more
extreme loss of reality, through visuals and audio.
D. Leader, What is Madness?, Penguin, London, 2012.
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5.3 Dadaism
Dadaism was a cultural movement defying the laws of reason and convention. Its founders
broke away from normality to spread their ideas. The movement was designed to be
misunderstood, rejecting rationality and logic, as they believed it to be intellect and rationale that
that led to WWI which was ongoing at the time. To Dadaists, insanity seemed to be the worlds
true state. Dadaists were interested in freeing language from conventional syntax and
semantics, offering sound poems as a metaphor for the destruction caused by war and a
commentary on the deceitfulness of language. This ongoing conflict correlates with Sweeneys
madness, his confusion. The Dadaists revolt against WWI is similar to our main characters
revolt against Catholicism, and his questioning of the society around him.
Dadaist typography is characterised by an unconventional typographic design, which frequently
mixes fonts. This newfound freedom was a very new concept at the time. It is characterised by
unorthodox punctuation, printing both horizontally and vertically on a single sheet, and sprinkling
text with randomly chosen printer symbols. We wish to explore this Movements style further in
our work. The dadaist unconventional interface and freedom of style will give us the opportunity
to break rules and surprise the user.
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J. Schell. The Art of Game Design, CRC Press, New York, 2014.
Story
User
experience
Aesthetics
Technology
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Good stories have unity. Stories with many branching aspects can become weak and disconnected
Once a player believes they are on the wrong track, they stop experiencing the story and think about what they could have done instead.
Repetitive plunge of having to play from the beginning to see another ending
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Users profile
Reading behaviour
iPad usage
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Most common age group for owning iPad was 18-25 (60%), followed by 26-32 (25%)
Women more likely to read an interactive storybook (90%) than men (55%)
85% of respondents tend to use their iPad for 15-30 minutes per sitting
73% of respondents use their iPad more often than their laptop
Men were much more likely to play action or strategy games, while women much preferred puzzle, trivia and word games
Respondents use their iPads most likely for web browsing (39%), followed by social media (33%), using other apps (18%), watching video
(22%) and playing games (22%)
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6.3 Personas
Our research findings allowed us to determine the users that we will cater for in our design process. These personas are empirically grounded,
detailed descriptions as a result of our survey and interview analysis. They will function as a guide by which to experience the piece from different
points of view. We found that the majority of our audience fell into the 18-25 age group and were very comfortable with iPad usage. We also
identified a second group of target users: people in their mid-twenties to early 30s. A third type of user was also identified from our research: the
reluctant reader. This person does not read regularly, but would be encouraged to do if combined with a non-textual element. The three main user
personas that we have chosen for our app are as follows:
Sarah, 19
The visual communications student
Patrice, 34
The young professional
Sean, 26
The reluctant reader
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Bio
Sarah is a 20 year old visual communications student from Dublin.
She has a strong appreciation for all things art and design. A fast
learner when it comes to new technologies, Sarah cant go
anywhere without her iPhone. A social media addict, she loves
to blog about new product and apps she has found. She loves to
try new things and stay that bit ahead.
Current behavior
Sarah uses her iPad regularly, 3-4 times per week. Sarah tends to
use it at home when she is relaxing in the evening. She uses it for
15-30 minute intervals. Sarah often downloads and plays iPad
games, preferring to download games a little different from the
norm. She reads a number of graphic design iMagazines on her
iPad. A lover of horror and suspense, she often watches movies on
on her device. Sarah has searched for interactive books for adults
in the past. She found they were mostly comic books which were
not of interest to her, however she would like to read one in a
different domain.
Pain Points
- Slow loading time
- Annoying music
- Uninteresting story
- Frustrating difficulty level
Sarah, 19
Goals
- Try out a new reading experience.
- Find an app which can be read in one sitting.
- Find interesting combinations of art and technology.
- Discover new interactive apps.
- Share recommendations with others online.
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Bio
Patrice is a young professional from Galway. She is mother to a 3
year old son and is often on the move between work and taking
care of a young child. An established reader, Patrice grew up
reading traditional books but has become a lot more tech saavy.
She enjoys reading thrillers and takes out her kindle on the
commute to work every morning.
Current behavior
Patrice reads interactive storybooks to her son occasionally, using
her iPad. She has downloaded a few for herself and although
content is not as high quality as she hoped, she enjoys reading
them. Patrice sits down with her iPad in the evening to unwind 2-3
times a week. Patrice also uses her iPad to visit social media and
browse photos. She also uses it to play games, enjoying word
games and puzzle games. Patrice has recently become interested
in adventure games for iPads, getting enjoyment out of their
mysteries and searching for clues.
Pain points
- High quality interactive books for adults are
difficult to find.
- New and complex interactions in iPad games
can be difficult to grasp.
- Adult interaction storybooks are often
gimmicky.
Patrice, 34
Goals
- Find new story to read on iPad.
- Learn more about the how peoples minds work.
- Find apps which use easy to grasp gestures & interactions.
- Find story with unsettling atmosphere.
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Bio
Sean is a sound technician from Derry. Sean is interested in Irish
legend and mythology, which he used to hear growing up. He would
like to find out more about the topic, but unfortunately the majority of
text available is inaccessible and challenging to read, and he finds
himself losing concentration.Sean enjoys reading illustrated books
and short stories.
Current behavior
Sean uses his iPad once or twice a week, mostly for playing games
and watching videos. Sean is interested in playing explorative
games and he gets excited about new interactions. When he does
sit down with his iPad, he likes to complete a game in one setting.
Sean loves games with strong visuals and animations. An avid
musician, he considers the sound design of his iPad games to be
highly important. Sean sometimes reads interactive comics on his
iPad. He enjoys the interactive element and is keen to find more
interactive books from different genres.
Pain points
- Difficult to read a text only book.
- Short attention span.
- Irish myths and legends are difficult to find.
Sean, 26
Goals
- Immersive interactive story that does not feel gimmicky
- Avoid complex navigation
- Find renditions of Irish legends
- Something more visual than a simple textbook
- Learn more about Irish culture
- Interesting sound design
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system
Goal
Tap icon
Load game
Display text
interaction
Use Case
input
Enter app/game
process
Enter game
Swipe left
output
input
process
Display next
scene
output
Swipe right
manouever
input
Return to
previous scene
Learn
interactions
output
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user
system
Read text
Tap polaroid
image
Goal
interaction
Understand
base part of
story
process
input
Retrieve array of
images and load
process
Display image in
foreground
output
Drag image
Use Case
Follow story
Through
interaction
input
Reveal more
images
underneath
output
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Use case
user
system
Tap another
image
interaction
Use Case
input
Move tapped
image to top
layer
Pinch on image
Goal
output
input
Display image in
zoom
output
Initiate sound
with growing
volume
output
input
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Use case
user
system
Goal
interaction
Play sound at
full volume
output
Display image at
full screen size
output
Animate
background
images
Interact with
image and gain
more
information
Use Case
output
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49
75%
50%
25%
Often (3%)
0%
Adventure (50%)
Action (19%)
Romance (29%)
Horror (22%)
Mystery (43%)
Never (64%)
Sometimes (33%)
50
75%
50%
25%
Often (24%)
0%
Word games/puzzles (62%)
Adventure (36%)
Mystery (27%)
Action (27%)
Horror (18%)
Never (39%)
Sometimes (37%)
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Yes (17%)
Yes (81%)
No (83%)
No (19%)
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75%
50%
25%
Familiar (51%)
0%
Interactive features (47%)
Unfamiliar (49%)
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10. Are you familiar with the Irish legend of Mad Sweeney
Irish (71%)
Yes (25%)
International (20%)
No (75%)
Neither (9%)
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6.6.2 Discussion
A key finding from our surveys was that the user would gain more from cognition and suspense, than from using branching aspects. Respondents
previous digital narrative experience was limited and they did not tend to expect a wide selection of choices. We decided to embed a number of
minor choices within the environment of the story, so as not to take away from the main piece. These choices are optional. When a user encounters
a minor choice, there are rewarded with a small bit of information, in the form of animation, text or sound effects. These will allow the user to gain
more depth from using an interaction.
64% of respondents had never read a book on their device. Yet 81% were open to reading an interactive storybook. It is clear from our research that
users need some encouragement to consider reading on their devices. This led us to identify a third user of our app - the reluctant reader. By
including interactions, sound, visuals and puzzles, this group of users are encouraged to read. The majority of respondents showed an interest in
reading interactive books, despite most never having read one. This shows a definite gap in the market for adult content.
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Choosing content
Users responded positively to the inclusion of a game-puzzle element. Word games and puzzles were considered appealing by twice as many users
than any other genre of game. We had originally considered an open world adventure game, however these findings led us to scale this idea down,
and let it take a back seat to text. Interactive puzzles and text elements will allow us to focus more on the narrative. A strong narrative will be integral
to the success of the app.
When asked if users were more likely to read a story they were familiar or unfamiliar with, the results were almost completely even. This shows us
that users will not shy away from the story of Mad Sweeney if it is strange to them. 71% of respondents were keen to find out more about Irish myth
and folklore. The themes of adventure, psychology and mystery ranked highly as favourite genres of books. These are elements we would like to
apply to our story. However more in-person testing was required to ensure we were going the right direction.
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7. The Story
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Sweeney
Psychotic break
In some place
Present
Glen Bolcain:
main perspective
Characters Sweeney interacts with
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Heros Journey
1. Ordinary world
2. Call to adventure
Ronan the fair marks a church in Sweeneys territory. Sweeney revolts, bolts stark naked and is
summoned to a battle at Moira.
Sweeney violates the truce and kills one of Ronans psalmists. Ronan puts a curse on Sweeney and
he becomes possessed, talking out of a tree.
Men call out to Sweeney and try to get him down from the tree. Sweeney flies around Ireland. He
reaches Glen Bolcain, valley of the lunatics. Sweeney continues to wander around Ireland for seven
years, returning to Glen Bolcain every so often. His brother, Lynchseachan is worried for Sweeney. He
disguises himself and tries to trick him. Sweeney meets his wife. She attempts to bring him back, but
he bolts.
6. Midpoint climax
Lynchseachan finds Sweeney and tells him all of his family are dead. When Sweeney realises this is
not true, he is relieved. His exile is over and he returns home to be king.
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7. Rising action
Sweeney meets a hag who tempts him and he relapses back into madness. He goes off with the hag.
She dies.
Sweeney sees a woman at the well. He believes she has robbed him. He then meets Alan, Man of the
Wood and they become allies for a year.
8. Moment of atonement
Sweeney returns to Glen Bolcain. He considers returning to Dl nAraide and trusting his people again,
rather than enduring these woes forever.
9. Final push
Ronan hears that Sweeney is coming home to Dl nAraide. He asks the Lord not to repent in his
vengeance. Goan answers Ronans prayer and Sweeney suffers a terrifying apparition of headless
torsos and disembodied heads.
After seven years of wandering, Sweeney comes to rest at a monastery in St. Moling, where he is
looked after. A cook in St. Moling is accused of liking Sweeney more than her husband. Her husband
slays Sweeney with a sword.
He dies at the door of the monastery having been anointed and reconciled with his faith.
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detail
noun
verb
Ordinary world
Sweeney
Call to adventure
Ronan
block
Sweeney
control
Sweeney
relent
Sweeney
Lose mind
Ronan
curse
Psalmist
die
Men
goad
Lynchseachan
tricks
Wife (Eorann)
Reaches out
Sweeney
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stage
detail
noun
verb
Midpoint Climax
Sweeney
return home
Call to adventure
Ronan
block
Mentor
Lynchseachain
intervene
Rising Action
Sweeney
relapses
Hag
tempts
Ally
Alan
wander
Moment of atonement
Alan
dies
Sweeney
Final push
Ronan
prays
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Cooks husband
slays
11
Sweeney
repents
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Sample prototypes
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Key Findings
1. Rotations are intuitive
We asked testers to describe what they were seeing and what they
would do next. We noticed the testers would rotate the images as
needed.
2. Minimal design is better
Where we had a large amount of imagery, the user often didnt
know which items were interactable. We also found that it distracted
them from the story. This led us to devise a more minimal design,
using mostly black and white text. This aesthetic worked very well
for our modern depiction. We began to use more spaced out
images on a white page and to colour them slightly to entice the
user to touch them. We also began to use the turning text to
manipulate the user into rotating the pages to finish reading the
sentences. As well as our hand drawings, we tested an image made
on illustrator to make sure it would still be clear in the digital form.
The testers found this image easier to navigate.((insert pic higher
spec tree))
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5. Clarity of perspectives
Testing showed that it wasnt obvious when the story enters the perspectives of other characters. It was confusing our testers. They couldn't
identify from paper prototypes/POP that they needed to click on 3 different images to progress.This led to the idea of cogs. They will not
move forward/make a sound when you try to swipe. You must view all of these before moving forward. The next to be viewed will pulsate
until you click it. When all have been completed the cogs will work together and roll out the next part of the story.
To further combat this problem we have introduced colour coded filters which relate to the colour of the object you interact with initially and to
the colour of the text associated with this character. When you enter anything from that characters perspective the same coloured filters will
be used. They will also have a specific art style and a font which relates to them in all circumstances throughout the narrative. Our testers
found this more intuitive. The colour coding was a technique used in The Matrix to define the switches between worlds. Were planning to
test this further as its very important that the users position and understanding is clear.
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Testers responded positively to the weirdness and uneasy feeling of the videos. This is
an atmosphere we are keen to create in our final piece
It has shown us that music is an irritant at times and some of our testers reduced the
volume as soon as the music started. Most preferred the videos with minimal music.
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We also created a video trailer to better get across our idea. The trailer used a similar
geometric style to what we wish to use in the final application. We first wrote out exactly what
we wanted the trailer to say. We then storyboarded. Illustrations were created, and some
elements were sourced from stock footage. These were brought to Photoshop and edited.
They were then brought into After Effects, with motion graphics and scene transitions added.
The audio was edited to fit the length of the trailer. The file was then exported and uploaded to
our social networking sites. It received great feedback online, and user testing showed us that
a better understanding of controls. Feedback on poetry used was also largely positive.
Link to trailer: https://www.youtube.com/watch?v=4lOG9ySs48s&feature=youtu.be
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stage
detail
noun
verb
Midpoint Climax
Sweeney
Returns home
Mentor
Lynchseachan
intervene
Rising action
Sweeney
hag
tempts
Alan
Ally
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10
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9. Content Plan
Moment of Atonement
Final Push
Alan
die
Sweeney
Ronan
prays
Sweeney
hallucinates
Sweeney
rests
Cook
helps
Cooks husband
slays
Sweeney
Content Plan
Below is how we will depict each step of the Heros journey. in Unravelling Sweeneys modern
retelling. We plan to include a major interaction and/or animation at each step. These interactions
will provide the user with a break from reading the text and immerse them in the story
1. Ordinary World
Sweeney Astray
Modern
depiction
Interactive
element
User interaction
Result
User interaction
Result
User interaction
Result
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2. Call to adventure
Sweeney Astray
Modern depiction
Animation
Interactive element
User interaction
Tap
Interactive element
User interaction
Animation
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Modern
depiction
Straightforward text
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Modern depiction
Interactive
element
User interaction
Tap on window
Animation
User interaction 1
Result
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Modern depiction
Lynchseachan (brother)
Wife
Doctor/psychiatrist
Each attempts an intervention
Interactive
element
User interaction
Animation
User interaction
Interactive
element
Arrow symbols
User interaction
Animation
User interaction
User interaction
Animation
User interaction
Animation
Scene change
Animation
User interaction
Animation
Scene change
Lynchseachains perspective
Puzzle image of photos, pieces apart
User interaction
Animation
Scene change
Animation
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Animation
Scene change
Wifes perspective
Tape recorder
User interaction
Tap play
Animation
Scene change
Animation
User interaction
Animation
Scene change
Doctors perspective
Doctors diary notes
User interaction
Scene change
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Animation
User
interaction
Animation
Scene change
Doctors perspective
Doctors diary notes
User
interaction
Scene change
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6. Midpoint climax
Sweeney Astray
Modern
depiction
Interactive
element
User interaction
Change scene
User interaction
Change scene
Return to text
Sound: heavy breathing
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7. Rising Action
Sweeney Astray
Modern
depiction
Interactive
element
User interaction
Result
User interaction
Tap on circles
Animation
Animation
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8. Moment of Atonement
Sweeney Astray
Modern depiction
1
Interactive
element
User interaction
Result
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8. Moment of Atonement 2
Sweeney Astray
Modern depiction
Interactive element
User interaction
Animation
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Scene Change
User interaction
Interactive element
Arrow symbols
User interaction
Animation
User interaction
Scene change
9. Final push
Sweeney Astray
Modern depiction
Animation
Interactive
element
User interaction
Animation
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Modern depiction
Interactive element
User interaction
Tap in sequence
Result
Animation
Interactive element
User interaction
Result
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Content Production
9.2.2 Story
Heaneys version of Sweeney Astray is 75 pages of prose and poems. We plan to reduce this greatly and have begun to redesign our story around
the Heros Journey structure. Much text will be substituted for interactions in order to tell the story in a different way. We also plan to use sounds,
images and animations to depict parts of the journey. Gayles background in psychoanalysis and Jennys art background will help us visualise the
symbolic nature of our storytelling. Once the structure is perfected and we know exactly which parts will need to be in text, parts of Sweeney Astray
will be edited into position. Our user testing has shown us some complications with difficulty of user understanding. This has brought us to consult
with an expert in English Literature. We may continue on this path if we are having the same difficulties in June.
9.2.3 Sound
Sound will be central to the telling of Unravelling Sweeney. Although we do not have backgrounds in sound it is an area of huge interest to us. We
have been working on sound design in Digital Storytelling and in Mobile Application Development with Unity and have come across a number of
techniques we plan to use in the piece. Most recording will be done with Foley and edited in ProTools and Audition. We have full access to recording
studios in both Dublin and Wicklow. Music in the piece will be limited. Our experience with creating musique concrete will be used to create these
small musical elements.
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Project Schedule
We have created a work schedule for the next stage in order to determine how much work would be required
for the implementation of the code and the production of the content. Please see trello for further information.
https://trello.com/b/sd4qe2l0/unravelling-sweeney
Week no.
Coding Schedule
Content Schedule
Week 1
Learn Fungus
Week 2
Week 3
Week 4
Week 1
Week 2
June
July
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Week no.
Coding Schedule
Content Schedule
Week 3
Asset animations
Week 4
Week 1
Week 2
Add animations
Week 3
Week 4
July cont.
August
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https://trello.com/b/sd4qe2l0/unravelling-sweeney
SPRINT 1
JUNE
SPRINT 2
JULY
AUGUST
SEPTEMBER
FINAL
Build in Unity
Produce assets
Iterate
Develop UI
Complete final Fungus
build
Test in Unity & Fungus
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12. Appendix
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Appendix 12.7.1
Sample code for data retention within scenes (
Ref: Unity Official Live Training: Data Retention
//Attach to camera. Create 4 vertical buttons to do what is in brackets. We don't need to use getcompontent since the class itself has a static
reference to itself. Put on both scenes so the data persists
void OnGUI()
{
if (GUI.Button(new Rect(10, 100, 100, 30), "Button 1 up"))
{
//script.static member.public variable/reference
gameControl.control.health += 10;
}
if (GUI.Button(new Rect(10, 140, 100, 30), "Button 1 down"))
{
gameControl.control.health -= 10;
}
if (GUI.Button(new Rect(10, 180, 100, 30), "Button 2 up"))
{
gameControl.control.experience += 10;
}
if (GUI.Button(new Rect(10, 220, 100, 30), "Button 2down"))
{
gameControl.control.experience -= 10; }}
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Appendix 12.7.2
Multi-touch input
Ref: Unity tutorial: Multi-Touch Input
Access touches from input class
using System.Collections;
public class TouchTest : MonoBehaviour
{
void Update ()
{
Touch myTouch = Input.GetTouch(0);
Touch[] myTouches = Input.touches;
for(int i = 0; i < Input.touchCount; i++)
{
//Do something with the touches
}
}
}
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Appendix 12.7.3
Glen Bolcain/Sweeneys Dreamworld
Ref: Holistic Mobile Development with Unity, De Byl
2D parallex scrolling script: Drag left/right & up down main layers:
Attach to main camera.
//Array to hold all layers
public GameObject[]layers;
float dragSpeed = 0.005f;
float mousePosXStart = 0f;
//don't let sceen drag off screen: clamp the layer movement:
float minDragX = -0.8f;
float maxDragX = 8.0f;
if (Input.touchCount == 1 && Input.GetTouch (0).phase == TouchPhase.Moved ||
//calculate change in touch position from second finger is put down
Input.GetMouseButton (0)) {
Vector3 newPosition;
float deltaX = 0f;
if (Input.touchCount == 1) {
//touchscreen (device)
deltaX = Input.GetTouch (0).deltaPosition.x;
} else {
deltaX = Input.mousePosition.x - mousePosXStart; }
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Appendix 12.7.4
Suspended Figure: Ronan
Ref: Holistic Mobile Development with Unity, De Byl
Create figure in different parts for body, head, limbs. Parent limbs to body
Use hinge joint to suspend.
Allow tap interaction: Attach to camera. The code lets us click or tap figue & add a forces to it in same direction as physics raycast from touchpoint
Void Update ()
{
if(Input.touchCount > 0 && Input.GetTouch(0).phase == TouchPhase.Began))
{
RaycastHit hit;
Ray ray = Camera.main.ScreenPointToRay (Input.mousePosition);
if(!Physics.Raycast (ray, out hit. 10000))
Return;
hit.rigidbody.AddForce(ray.direction * 1000);
}
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Appendix 12.7.5
Detect orientation of device
Ref: Holistic Mobile Development with Unity, De Byl
Using UnityEngine;
Using System.Collections;
Public class dropBall : MonoBehaviour {
public GameObject theSphere;
Bool ballReleased = false;
Void OnTriggerExit(Collider other) {
this.collider.isTrigger = false;
}
Void Update () {
If (Input.deviceOrientation == DeviceOrientation.LandscapeLeft && !ballReleased) {
theSphere.rigidbody.isKinematic = false;
theSphere.rigidBody.AddForce(Vector3.up * 1000);
ballReleased = true;
}
}}
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Appendix 12.7.6
Accelerometer input: Use devices orientation to control objects
Ref: Unity tutorial: Accelerometer Input
using UnityEngine;
using System.Collections;
public class AccelerometerInput : MonoBehaviour
{
void Update ()
{
transform.Translate(Input.acceleration.x, 0, -Input.acceleration.z);
}
}
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Appendix 12.7.7
Add music to game
Ref: Unity tutorial: Adding music to your game
using UnityEngine;
using System.Collections;
using UnityEngine.Audio;
public class CombatMusicControl : MonoBehaviour {
public AudioMixerSnapshot outOfCombat;
public AudioMixerSnapshot inCombat;
public AudioClip[] stings;
public AudioSource stingSource;
public float bpm = 128;
private float m_TransitionIn;
private float m_TransitionOut;
private float m_QuarterNote;
// Use this for initialization
void Start ()
{
m_QuarterNote = 60 / bpm;
m_TransitionIn = m_QuarterNote;
m_TransitionOut = m_QuarterNote * 32;
}
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Appendix 12.7.8
Add sound effects triggered by game events (object thrown)
Ref: Unity tutorial: Sound Effects & Scripting
using UnityEngine;
using System.Collections;
public class ThrowObject : MonoBehaviour {
public GameObject projectile;
public AudioClip shootSound;
private float throwSpeed = 2000f;
private AudioSource source;
private float volLowRange = .5f;
private float volHighRange = 1.0f;
void Awake () {
source = GetComponent<AudioSource>();
}
void Update () {
if (Input.GetButtonDown("Fire1")) {
float vol = Random.Range (volLowRange, volHighRange);
source.PlayOneShot(shootSound,vol);
GameObject throwThis = Instantiate (projectile, transform.position, transform.rotation) as GameObject;
throwThis.rigidbody.AddRelativeForce (new Vector3(0,0,throwSpeed));
} }}
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Movie playback
Ref: Unity tutorial: Movie Texture
((MovieTexture)GetComponent<Renderer>().material.mainTexture).Play();
Make movie play when spacebar is pressed:
public class PlayMovieOnSpace : MonoBehaviour {
void Update () {
if (Input.GetButtonDown ("Jump")) {
Renderer r = GetComponent<Renderer>();
MovieTexture movie = (MovieTexture)r.material.mainTexture;
if (movie.isPlaying) {
movie.Pause();
}
else {
movie.Play();
}
}
}
}
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Player experience
Challenge and achievement
Goal orientated
Immersion
Anxiety and relief
Unsettling
Loss and gain of control
Physical movements of iPad (rotate to follow text path)
Setting & theme
World 1: Main setting. Similar to book. Uses mostly text, alongside imagery &
sound. The structure of this text will shift dependent on what is happening in
the story. For example, if the user is walking down stairs, the text will take on a
staggered appearance. The words will twist and turn, forcing the user to do the
same with their iPad. They will be able to move backwards and forwards
through the story.
World 2:.Dreamworld, Glen Bolcain, user prompter to enter when Sweeney is
experiencing break from reality. Moody, grainy look and unsettling sound
design. User will navigate through scrolling 2D world, interact with characters
and restore calm. Experience and discover Sweeneys unstable perspective
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for themselves.
Visual style
Main world
Glen Bolcain
Festival, masquerade
Illustrations & photos
Blurry, distorted
Unreal
Animated dream-world
Audio Style
Minimalist ambient sounds.
Smooth transition between scenes.
Use of panning and volume to show position.
Build and release tension
Not too strong associations so user uses imagination.
Mechanics
Primary: tap, swipe
Secondary: rotate iPad, drag and drop, pinch & zoom, multi-finger touch,
parallex scrolling, upside down physics, sound panning
Characters
Sweeney: protagonist
Ronan: antagonist/enemy
Lynchseachain: ally
Alan: ally & temptor
Eorann: wife
Doctor/psychiatrist: information giver /docs notes
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Story/Reward
The app will have an undertone of the torments of mental health
problems. By connecting with Sweeney, we want our users to relate
to some of his traits, and become aware of the narrow line between
sanity and madness. Sweeneys psychotic episodes will be
portrayed through visuals, animations and sound as a break from
reality. Sweeneys main goal will be to regain a sense of control.
Sweeneys goal will become the goal of the user. The user will face
obstacles, in the form of interaction puzzles, which prevent them
from achieving that control. These interactions will draw the user
into the next step of the emerging narrative.
Problem
1. Gap in the market. Theres very little in the line of interactive storybooks for
adults. Ones available are comics/ kindle / ebooks.
2. Irish storytelling is a huge part of our heritage and its getting lost in the
modern age.
3. Potential for changing the way we experience stories with all the technology
available to the ipad. more than just turn page mechanics.
4. People arent reading anymore.
Solution
1. Adult content. Challenging. Visually appealing.
2. Recreate an Irish Legend. Using technology that people engage with now.
We want to comment on society today.
3. Make immersive, challenging. Use physical interactions. Move away from
traditional book layout. Look at more natural gestures. Include user as part of
the story, through digital means
4. Including text will encourage imagination. Adding challenges to progress in
the text. Using sound, interactions and imagery to make the entertainment
more in keeping with how people engage today.
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12.9 MoSCoW
Must
Should
Could
-
Would
Use branching aspects
Create companion app to give further details on characters and
legends in story
Revive interest in Irish literature/poetry/legend
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