=Paper=
{{Paper
|id=Vol-1956/GHItaly17_paper_10
|storemode=property
|title=Establishing a Theoretical Background for a Museum-centric Entertainment System
|pdfUrl=https://ceur-ws.org/Vol-1956/GHItaly17_paper_10.pdf
|volume=Vol-1956
|authors=Antonio Origlia,Dario Di Mauro,Maria Laura Chiacchio,Francesco Cutugno
|dblpUrl=https://dblp.org/rec/conf/chitaly/OrigliaMCC17
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==Establishing a Theoretical Background for a Museum-centric Entertainment System==
https://ceur-ws.org/Vol-1956/GHItaly17_paper_10.pdf
Establishing a theoretical background for a museum-centric
entertainment system
Antonio Origlia Dario Di Mauro Maria Laura Chiacchio
Dept. of Information Dept. of Electrical URBAN/ECO Research
Engineering - University of Engineering and Information Center - University of Naples
Padua Technology - University of “Federico II”
antonio.origlia@dei.unipd.it Naples “Federico II” marialaurachiacchio@gmail.com
dario.dimauro@unina.it
Francesco Cutugno
Dept. of Electrical
Engineering and Information
Technology - University of
Naples “Federico II”
cutugno@unina.it
ABSTRACT areas typically associated with emotions, like the amygdala,
The use of gaming to provide additional value to cultural ex- whose role has been studied relatively to the emergence of
periences, like museums visits, is not novel. The increased fear [12]. This is of interest for our work as the positive ef-
possibilities to access the game market opened by online plat- fect emotions have on strengthening memories is established
forms make the communicative and emotional characteristics [15]. From a psychological point of view, intrinsic and extrin-
of digital games an opportunity for promotion. In this pa- sic motivations together with Self-Determination Theory are
per, we discuss the theoretical foundations of an approach a common choice for frameworks designed to support gami-
aimed at producing digital games meant to be part of a contin- fication, as reported in [26].
uing emotional experience. We draw from psychological and
Gamified museum visits and serious games have been investi-
museological research to motivate our view on the relation-
gated in the past to support learning tasks. Playful games, de-
ships between game designers and museum experts. By con-
signed only to amuse, cannot be used for learning but they do
centrating on archaeological and art museums, we advocate
have the potential to be powerful means of promotion, as they
for the need of a methodological approach to the design of
can help creating positive attitudes towards museum contents.
games for museums aimed at promoting the value of cultural
Such games are of interest for museums as storytelling has
experience as it is, thus countering the plethora of technolog-
an important communicative function in cultural heritage [9].
ical instalments that often risk averting the attention from the
The concept of museum includes too many different kinds of
collection.
places ranging from art museums to zoos [4]. It is, therefore,
Author Keywords necessary to establish the boundaries in which we are going
Digital games; cultural heritage; game design to move. The domain of interest, for our work, is constrained
to archaeological and art museums because this specific kind
INTRODUCTION of institution is particularly challenging for interface design
Interactive technology is generally considered to be a pow- as special respect is due to the collections. Summarising,
erful cultural amplifier [5] but, while it is indeed a power- our theoretical framework aims at highlighting the key points
ful support for learning, motivating people to access cultural through which the value of digital games can be exploited to
contents requires a higher attracting power than the novelty create interest around archaeological and art museums. By
offered by innovative technology alone. While being under- using game elements and narrative design to connect all the
estimated in the past, the use of games for cultural transfer phases of cultural heritage experience, we describe systems
has received an increasing amount of interest in recent times. composed by heterogeneous interfaces that lead users from
Playing has an intrinsic, biological value and an important engaging in playful activities to accessing deeper contents.
role in activating neural structures [20] that interact with brain The ultimate goal of the proposed approach is to provide de-
signers with the methodological knowledge needed for the
creation of gaming experiences in this field. The main goal
should be to increase the perception people have of museums
Permission to make digital or hard copies of all or part of this work for personal
GHITALY17: 1st Workshop onwithout
Games-Human Interaction, April
as places capable of satisfying personal interests and worth
or academic purposes is granted fee provided that copies are 18th, 2017,
not made or
Cagliari, Italy.
distributed for profit or commercial advantage and that copies bear this notice and the investing free time. We design this approach on the basis
Copyright © 2017 for the individual papers by the papers' authors. Copying
full citation on the first page. To copy otherwise, or republish, to post on servers or to of previous results coming from psychological, museological
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GHITALY17: 1 Workshop on Games-Human Interaction, September 18th, 2017,
Cagliari, Italy.
A MUSEUM-CENTRIC ENTERTAINMENT SYSTEM The relationship between surprise and curiosity is very strong
Given the strong research trend towards gamification and se- and, according to [13], curiosity reflects the desire to close
rious games, attempts to introduce gaming mechanics to sup- inherently unpleasant information gaps. This desire, how-
port cultural heritage have been focusing on learning. Visits ever, depends on the perceived likelihood that the gap will
to museums, however, are primarily motivated by personal be closed by accessing information [14]. Moreover, it has
interests and are the result of a choice concerning a very del- also been suggested that “[. . . ] the amount of pre-existing
icate matter for people: how to spend free time. The main knowledge in a particular domain may impact on the per-
difference in accessing cultural heritage sites as part of a ceived likelihood of closure” [16, p. 57]. This implies that
learning program or during a Sunday morning trip lies on curiosity may arise not only by increasing the amount of in-
the approach people adopt towards it. In the first case, mo- formation delivered, but also by reducing the perceived size
tivation is extrinsic and pain-avoiding strategies, like gami- of the domain. Museums can be intimidating for the general
fication and serious games, may apply. In the second case, public as information gaps may be perceived as less likely to
however, people adopt a pleasure-seeking approach to select be closed because of topics wideness. If a narrative is de-
an activity among a set of available ones. In the case of due signed to leave small information gaps, however, the interest
tasks it is possible to assume that people will be on-site to domain will be constrained to the story itself, which is more
start the design process. In the opposite case, failure to show manageable and therefore likely to stimulate curiosity. In the
that visits to cultural heritage sites possess endogenous value framework of MES, information gaps in game stories should
means people will not even reach them. One of the main be placed as part of the background and left to be filled after
roles of a human museum educator is to recreate the con- the story has been told, in order to motivate access to the other
text around artefacts through storytelling, as stories have the modules. Examples of how to accomplish this are recurring
power to reinstate the context lost by atomisation while creat- jokes, historical events in the background, casual conversa-
ing meaning, relevance and empathy [6]. The idea of putting tions among non-playing characters and external causes of
stories before collections for museums has been explored in narrative twists. It is important to note that curiosity towards
[1]. While appreciation was shown towards the proposed nar- a topic is not the same as knowledge: while the two indeed
rative context, it was reported that people showed resistance correlate, curiosity has a higher value for people who go visit
towards accessing deeper contents. One of the proposed inter- museums [3]. Museums represent, to visitors, only a step in a
pretations was that users perceived the proposals of accessing lifelong learning process that involves voluntary exposure to
deepening material as cognitive kickouts and rather chose not contents belonging to the area of interest. It gains value be-
abandon the story. From this reported experience, we con- cause of the pleasure it provides in giving information that is
clude that it is critical, for a successful presentation of art perceived as interesting. Games share with museum visits the
and archaeological museums as activities possessing endoge- same motivation people have to interact with them: for some
nous value, to avoid making them compete for the visitors’ kind of personal reason, they are both perceived as possessing
attention. Our approach to the use of digital games in the endogenous value, which is not quantifiable in material gain
considered case, therefore, advocates for their use only when but only in the satisfaction coming from fruitfully investing
off-site. In our view, the digital game should create the condi- free-time in them. A finished and successful gaming experi-
tions for other approaches designed to deliver information to ence gains credibility that can be spent in proposing experi-
be spontaneously accessed by users. Starting from the frame- ences that provide insight and different views on the topics
work of cultural heritage experience presented in [11], con- depicted by the game. Proposing these experience extensions
sidering the three steps of Planning, Visit and Summary, we beyond the boundaries of the game is a nowadays common
prepend a Motivation phase that can be supported by tech- strategy used by game producers to capitalise on merchandis-
nology through the use of playful games. The integration ing. Through this same strategy, deep contents may be pro-
among different technologies supporting the various phases vided with the additional value endowed by narratives while
of cultural heritage experience gives rise to a coherent sys- avoiding cognitive kick-outs. Contents used to create back-
tem where museum visits are part of the experience. Aim- ground to an entertaining narrative may later come to the front
ing at motivating spontaneous exposition to cultural contents and be more easily contextualised when encountered on-site.
through the use of entertainment, we will refer to this frame- In MES, the difficult task of on-site content delivery can be ef-
work as the Museum-centric Entertainment System (MES). ficiently supported through the use of echoes: multimedia ref-
We define it as a set of interactive technologies combined into erences to the gaming experience that are designed to reduce
a transmedia storytelling system to increase the perceived the time needed for museum educators to reconstruct context
value of art and archaeological museums. As, reported by [4] around the objects of interest. Echoes are strictly linked to
for some categories of museum visitors, the role of curiosity the emotional memories created during the gaming experi-
in motivating a museum visit is fundamental. Interestingly, ence and are designed to let context be easily evoked, rather
psychological literature confirms that a number of behaviours than created, during the visit. This particular point differ-
shown by curious people are of interest for cultural heritage. entiates the use of games we propose from persuasive games,
When curious, people ask questions [19], manipulate inter- which are a subset of serious games and have the primary goal
esting objects [21], read deeply [25], persist on challenging of changing or reinforcing specific attitudes [18]. As for other
tasks [23], examine interesting images [28]. serious games, in persuasive games the underlying message is
always contained in the game itself. Digital games, in MES,
do not have a persuasive intent if taken independently: it is
It is necessary to collect the historical data available and, at
the same time, identifying blank spots that can be safely filled
with narrative contents. The result of this phase should be a
set of historically established facts combined with a set of
blank spots to exploit for the benefit of the narrative. Addi-
tionally, occasions to introduce fun facts in the game should
Interpretation be noted to support discussion elicitation in later phases of
the experience through exhibition. In MES, the set of facts
Gameplay and blank spots is used to plan which parts of the gaming ex-
Pleasure perience should be highlighted and later recalled during the
Figure 1. Game design elements, designed on the basis of exhibit inter-
other phases of cultural heritage experience.
pretation, support different aspects of museum experience promotion
and support. Gameplay design
Through gameplay, designers deliver the message they intend
to communicate. This is not to advertise the museum visit but
the larger system they are part of that is, instead, intended to
rather to communicate that objects exposed in the museum
raise interest towards the museum. While previous work has
were once part of everyday life and had specific goals and im-
investigated the importance of preconditions to the visit both
portance. However, differently than interactive technologies
from a museological [4] and from a technological [11] point
already applied to cultural heritage, in digital games, player
of view, we further detail this by distinguishing promotional
choices must have a clear impact on the story being told as
activities, centred on pure entertainment, from advertisement
“[. . . ] a failure to provide a convincing sense of agency is fre-
activities, designed to encourage commitment.
quently a reason that game scenes (or entire games) fall flat”
[8, p. 106] and it reduces their sense of Autonomy. Learn-
STORYTELLING OF CULTURAL EXPERIENCE
ing how to move through the game and making the avatar
In order to design user cultural experience as transmedia sto-
look more and more competent about the tasks he performs
rytelling, we have to delimit the roles and methods used in
appeals to the mental need of Competence. From a social per-
each phase of cultural experience, summarised in Table 1. In-
spective, it is mandatory for games to provide an invitation to
teraction design should adapt accordingly to support the goal
play. When accepted, this testifies the user’s will of enter-
of each phase. For the objectives of this paper, we will con-
ing lusory attitude: the “curious state of affairs wherein one
centrate on aspects related to game design and on their use
adopts rules which require one to employ worse rather than
throughout the overall experience.
better means for reaching an end” [29, p. 23]. This element is
critical for technological systems as it gives users a socially
Promoting
acceptable reason to accept the constraints established by the
Digital games used to create curiosity around the museum game. The role of gameplay design in MES is to highlight ob-
should be designed to present emotionally powerful experi- jects of interest by making people use them to perform actions
ences and should prepare the ground for later steps to cap- in the game. Objects made interactive or playing a significant
italise on this. We detail how this can be accomplished by role in the story become prominent in the eyes of the player as
describing the design process here. The design of the promo- they clearly stand out of the surrounding context. Choosing
tion involves gameplay, narratives and characters as shown which objects should become part of game mechanics is a de-
in Figure 1. The whole process starts from an Interpretation cision that should be taken in accordance with the importance
provided from analyses performed by domain experts, so that of objects in exhibits. This not only refers to the iconic value
the development of the presented game elements builds on the of the object for the exhibit: the role the object has as part of
collection of historical facts. The dashed lines indicate that the whole story the exhibit is designed to convey should be
gameplay, narrative and characters are strongly intertwined. taken into account.
Exhibit analysis
Before starting to design the digital game to promote visits to Narrative design
the museum, it is necessary to establish what the museum can The role of narrative design in MES is to show the dynam-
offer, how it presents itself to the public and how the public ics of the world objects of interest were part of by immers-
actually perceives it. In the case of art and archaeological mu- ing the user in them. The produced narrative intentionally
seums, where cultural heritage preservation and presentation leaves information gaps to be filled by accessing the museum.
are the objective, the museum often struggles to go beyond its These gaps should not be related to the main plot but only
image of a place of learning only. It is important, at this stage, be present in the contextual setup. This is to create a situa-
to identify the characteristics of the exhibits that are better tion in which users are led to believe that accessing a mini-
suited to be included in a coherent narrative that can be later mum amount of information will complete their knowledge
used to present the museum as a source of an interesting story of the game world, thus eliciting curiosity. Although many
and a provider of deeper contents about it. In restoration of of the traditional aspects of narrative design hold for sto-
damaged artefacts, the original status of a partially destroyed ries told through games, the strong presence of interactivity
piece can be just imagined; similar hypothesis are made on challenges traditional theoretical frameworks of narrative de-
elements around which the game experience should be built. scription [10]. They may take into account, for example, the
Phase Goals Methods
Create curiosity Game narrative
Promoting Create emotional memories Game characters
Provide pleasure Game mechanics
Advertise commitment to visits Website
Planning
Connect the game to the museum Game additional contents
Satisfy curiosity Deliver information
Visiting
Entertain Evoke emotional memories
Strengthen memories of the visit Discuss game and visit relationships
Summarising
Promote further cultural experience Provide personalised recommendations
Table 1. Goals and methods adopted in cultural heritage experience to exploit digital games designed to support museums.
manually annotated tension of narrative events or the user in- objects of interest and of the world they lived in. Showing the
clination towards specific playing styles to predict emotional growth and development of both PCs and NPCs as they move
feedback and adjust itself accordingly [7]. In order to satisfy around the world creates emotional memories linked to the
agency through interactivity, this [17, p. 60] “[. . . ] must have depicted events. Characters provide a representation of the
consequences that make sense, and what the user does must past not as lifeless historical records but as cause of change
have a true impact on the story. On the other hand, too much and personal discovery for real people.
freedom will give users the chance to disrupt the plot line by
adopting unforeseen behaviours. To balance the two aspects, Planning
designers should not aim at giving the player full freedom in As it is well known, a museum website is designed for a larger
the game but they should rather create the illusion of free- audience than the one represented by people who played the
dom. If this is successful, “[. . . ] the player has the wonderful digital game linked to the exhibit but, for our discussion about
feeling of freedom, and the designer has managed to econom- the design of the planning phase, we will concentrate on those
ically create an experience with an ideal interest curve and an aspects of museum visits advertisements that can be presented
ideal set of events” [24, p. 319]. as a consequence of having played the game. The link be-
tween the game environment and the website can be estab-
Character design lished using a now commonly adopted technique exploiting
There are two main groups of characters in digital games: the start screen. While formulating the invitation to play,
Playing Characters (PCs) and Non-Playing Characters this element now provides information about further contents
(NPCs). PCs are the player’s avatar into the game world available online before the game actually starts. While the
while NPCs are controlled by the game system to follow the user may not choose to follow the link the first times the
narrative, present challenges and make the story move for- game is launched, she will have to visualise it every time.
ward. In our discussion, we will consider design and roles of The start screen has evolved, in recent years, to become a
these two categories of characters separately. In both cases, channel to promote extended content, to spread news of up-
however, the goal of character design is to create actors that coming games and attract players on the producers’ websites.
will make players care about their fate. Role playing games Once on the website, advertising the visit can be done using
(RPGs) have been proposed for cultural heritage, but there is well-established techniques or by experimenting with narra-
still confusion about player and PCs. One common misunder- tive approaches in a similar way to what has been done in [1].
standing lies in assuming that the player is the character. In Web-based narratives, if present, should refer to emotional
RPGs the player creates a character she would like to guide moments in the game to advertise the experience of coming
through the narrative by exploiting his capabilities and, as im- into contact with the objects that inspired the game narrative.
portantly, dealing with his deficiencies. This, combined with Assuming this was able to capture the player’s favour, the
social data coming from sources normally used for recom- museum now has additional value as it hosts the same ob-
mendation (see [22]) may yield critical insight to efficiently jects the player has come to know in the fictional world. The
advertise and support museum visits. NPCs, either allied with website should also be used to adequately prepare visitors to
or opposing the player, provide the motor force that drives the a museum experience motivated by the emotional content of
story. Conflict is the most important aspect NPCs introduce the game, as “[. . . ] one of the best ways to ensure that visi-
in the game system: having a significantly strong and mo- tors have a satisfying experience is to try as much as possible
tivated opponent is one of the key aspects in building drama to prepare and orient them prior to their visit” [4, p. 259].
and, therefore, keep the player interested in playing the game. The website should communicate explicitly that the player-
Other characters that are not under the direct control of the visitor will have the chance to enter in direct contact with the
player but are clearly influenced by her choices can provide remains of the world depicted by the game, attempting to ex-
further motivation to keep playing. The main characters in ploit the common knowledge ground established by the game
the game should evolve as the story progresses by growing experience as part of a persuasive strategy based on echoes.
and developing. Growth “[. . . ] describes the changes that
occur to the character as she progresses through the story” Visiting
[27, p. 45] while, following William Archer, development A visit to the museum, viewed as an entertaining experience
is “[. . . ] not change, but rather unveiling, disclosure” [27, shaped with the collaboration of the visitor himself, should
p. 45]. The role of characters in MES is to show the rela- appeal to the same mental needs considered for the develop-
tionships people had among themselves, their perception of ment of a game. For example, interacting with a museum
educator on a verbal and non-verbal level, establishes a social tain film was created. The same kind of content is becoming
situation in which the appropriate amount of detail is pro- more and more available about games, especially now that the
vided depending on the social signals shown by the visitor. tools to produce such artefacts have become publicly afford-
When people feel involved in shaping the visit, there is sat- able. Describing the process through which the creative team
isfaction of the Autonomy mental need. Technology can be has interpreted the exhibit provides a good way to connect the
a powerful means to showcase cultural heritage and museum fresh experience of the visit with the emotional memories of
experts pay a lot of attention in communication campaigns the game and opens a new point of view over the entire expe-
that involve modern communication channels to deliver in- rience for the visitors to discuss. This is the chance to expose
formation. In our work, we focus on the case of art and ar- fun facts and to use the collected data to provide a profile of
chaeological museums, where a successfully enjoyed expe- the visitors to recommend further cultural experience.
rience lies in establishing a direct relationship between the
preserved heritage and the visitors. It is important to deliver RESEARCH ISSUES
the interpretative keys people need in order to relate with the While the theoretical background we presented is motivated
object and make sense of it by themselves. Being able to spot by previous findings in the literature, the core of MES, the
details previously undetected and understanding their mean- information flow from playful games to the various phases
ing, either in the context of artistic expression or of everyday of cultural heritage experience, needs to be investigated in
use, is the main kind of pleasure sites of interest for our work practice. Since MES spans multiple views of cultural her-
can provide and is directly related to satisfying the Compe- itage experience and involves different aspects of game de-
tence mental need. Discussing new, interesting topics with sign, we will describe here the research issues we prioritise
visit companions and interacting with the museum educator and provide a brief description of how these will be inves-
are elements that satisfy Relatedness. In this setting the most tigated in the next future through the use of simple games
competent element of the social group, the educator, is not focusing on different aspects of MES. Concerning narrative-
an authoritative figure: it rather is an important part of the related issues, it is necessary to establish how information
experience itself. By interacting with the museum educator gaps should be planned and presented in order to stimulate
people can feel part of a social network in which informa- curiosity towards museum visits. A story-focused game will
tion relevant for the task at hand, making sense of the exhibit, be designed to test this issue. The game should inform the
flows as a discussion rather than as a frontal lesson. In this so- user that a piece of background information is not present
cial network, the museum educator has a relevant role as she through narrative expedients, as described before. In order
represents the centre of a system in which questions are con- to measure the impact these strategies have in directing users
tinuously asked and, more than answered, discussed. Visits to towards deeper content, links to an informative interface will
art and archaeological museums require that technology stays be provided when the user is not playing the game (i.e. in the
in the background as much as possible. The visual channel, main menu screen). The number of users that were success-
in particular, should not be contended to objects of interest fully redirected towards this second interface and the subse-
by technological artefacts. Also, the mediating presence of quent interaction analysis will represent the evaluation mea-
a human being cannot be entirely substituted by automated sures for this task. Concerning characters, the first aspect to
approaches: the efficacy of human-human communication to explore, in MES, is the possibility to substitute user profiles
transmit the value of preserved objects and works of art as with customised characters to inform assistant AI systems.
part of ancient, living worlds remains unsurpassed. The mu- By developing a game focusing on character building and
seum educator, though, can be supported in her task of con- progression and by recording the way the user interacts with
text creation by using technologies occupying channels other NPCs, a user model will be obtained and subsequently used
than the visual one. In the framework of MES, audio aug- to recommend museum visits. The standard measures used to
mented reality can represent a particularly powerful option. evaluate recommendation systems will, then, be used to eval-
The effect of storytelling and acting has been demonstrated uate the appropriateness of the obtained model. Concerning
in the past to help entertain visitors while delivering serious gameplay, the research issue to be primarily investigated will
content [2]. This strategy would allow using powerful echoes be the efficacy of different components of gameplay (mechan-
of the gaming experience, like soundscapes, music and voice ics, sounds, visuals. . . ) in acting as echoes. A game based on
actors, to reduce the time the educator needs to create the emergent mechanics will be developed to maximise replaya-
context without contending visual attention to the objects of bility and expose users to repeated play sessions. Different
interest. Information gaps left open by the game narrative types of echoes will be associated to specific information to
should be closed during the visit to provide satisfaction in the be given during a guided museum visit. The amount of in-
visitors who played the game. formation users will be able to recall after being presented
the corresponding stimuli on-site will represent the evalua-
tion measure to be used in this task.
Summarising
The last phase of the cultural heritage experience should CONCLUSIONS
strengthen the memories of the visit by eliciting discussion We have presented the theoretical background for a approach
about it. In the framework of MES, discussion can be elicited to game design applied to cultural heritage linking all the
primarily by revealing the connections between the exhibit phases of cultural experience into a cohesive narrative. Dif-
and the game. It is common, in the movie industry, to pro- ferent interfaces work together in this museum-centric frame-
vide behind the scenes documentaries to describe how a cer- work on the basis of entertainment contents provided by a
leisure activity: playing the game. In our view, games are post visit phases. Information Technology & Tourism 15,
not designed to deliver serious contents or persuade players 1 (2015), 17–47.
to visit museums. They rather promote cultural contents and
12. LeDoux, J. The emotional brain: The mysterious
create the preconditions for other interfaces designed to ad-
underpinnings of emotional life. Simon and Schuster,
vertise and support museum visits to build upon. The playful
1998.
experience can be capitalised during visits and summarisa-
tion using echoes of the playful contents, provided as part of 13. Loewenstein, G. The psychology of curiosity: A review
a continuing experience. In this setting, games acquire a mo- and reinterpretation. Psychological bulletin 116, 1
tivational and preparatory value for museum visits to exploit (1994), 75.
without suffering invasive intervention. Future work will con-
14. Loewenstein, G., Adler, D., Behrens, D., and Gillis, J.
centrate on designing and deploying cultural experiences pro-
Why pandora opened the box: Curiosity as a desire for
duced using the methodology presented here to further report
missing information. Unpublished manuscript,
on the design process.
Department of Social and Decision Sciences, Carnegie
ACKNOWLEDGEMENTS Mellon University, Pittsburgh, PA (1992).
This work is developed in the framework of the Italian PRIN 15. McGaugh, J. L. Consolidating memories. Annual review
project Cultural Heritage Resources Orienting Multimodal of psychology 66 (2015), 1–24.
Experience (CHROME).
16. Miceli, M., and Castelfranchi, C. Expectancy and
Antonio Origlia’s work is supported by Veneto Region and emotion. OUP Oxford, 2014.
European Social Fund (grant C92C16000250006).
17. Miller, C. H. Digital storytelling: A creator’s guide to
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