It’s no secret that water plays a giant part in all of our lives. How could it not? Humans are 60% water after all. In gaming, movies and pop culture water has been depicted as one of the most nurturing, gentle and soft parts of human existence. That being said, it’s also been depicted as power. But when it comes to designing water, how can one create something that’s so delicate and so powerful all at once?In the World of Us game, we’ve decided to use water as one of our key components – amplifying the way it connects our communities across the globe, and how it empowers and enriches the lands around us.&nbsp;For us, water won’t just appear in its traditional forms of rivers, seas and lakes. Water will be a guide to take us on a journey and help us to grow this digital landscape. But like all of the other components, we’ve had to do our research. In the series of ‘Water, Water Everywhere’, we’re going to show you why this fantastic resource holds such value for us and how it will show up in our game and our World, ahem, WoU.Because, when it comes to water, there’s always more beneath the surface.

Dive into one of our most crucial game components 

Water, Water Everywhere

Throughout life we lean on others to guide us. Whether this is with advice on which path to take or to teach us along the way, passing on information they can share about what might lay ahead. The best guides hold knowledge about the past and teach from experience.&nbsp;Much like the allies we look for in the real world, games have long provided guides. These guides can help you explore the game worlds, give you hints to complete levels, or steer you to hidden gems. In <a href="https://en.wikipedia.org/wiki/Never_Alone_(video_game)">Never Alone</a>, the puzzle-platform adventure video game developed by Upper One Games and published by E-Line Media, spirits guide the game play. In games like <a href="https://en.wikipedia.org/wiki/The_Elder_Scrolls_V:_Skyrim">Skyrim</a> you can interact and change guides throughout the gameplay, each one providing you with special insights and skills to advance you.&nbsp;Our game is no exception.&nbsp;WoU needed a guide to take players by the hand and introduce them to the new world we’ve created. Our guide in WoU is there to educate and inform as well as provide a companion for players as they build confidence in connecting with others within the game. They are a host if you will, welcoming each guest into the game and helping them to find their way and to better understand how the World of Us came to be.&nbsp;&nbsp;The name of our wonderful new character? NOLA.&nbsp;Keep an eye out for more on NOLA as we continue to develop this fantastical being and bring WoU to life.

As the World of Us grows, so does its population

 A New Player Has Entered the Game

”How does participation in the digital world influence children’s cognitive and social development?”“What skills, knowledge and capabilities do children need to manage, engage and benefit from participating in the digital world?”“How can family, educators and society effectively support children’s involvement in the digital world?”These are the three initial questions posed by the Woolf Fisher Research Centre at the University of Auckland. This study,&nbsp;<a href="https://developingindigitalworlds.blogs.auckland.ac.nz/">Developing in Digital Worlds</a>, began in July 2015 in order that parents, teachers and children would be offered the opportunity to understand developing engagement in the digital world. The concept was bolstered by the fact that “despite the promise of digital technologies, little research and development has occurred to determine the cognitive skills and the social skills children need.” This work looked into subject areas across English, maths, science and Māori contexts, informed by ‘new knowledge’ obtained from children aged 4-18. This study was the first of its kind. Focusing entirely on developing the link between teaching, engagement and game-based learning to promote educational outcomes, the research team began with three main objectives, detailed below:&nbsp;One, to understand the development and learning of ‘21st Century’ skills in children and adolescents;Two, to understand how we can prevent new digital environments opening up a second ‘digital divide’ between low socio-economic status or diverse cultural and linguistic communities, from more affluent ‘mainstream’ communities;And three, to understand how development of these skills differs between educational environments. The study surveys ‘early adopting’ clusters of schools, in which students are exposed to high-usage digital environments in and out-of-school, as well as ‘later adopting’ clusters whose students are at the initial stages of digital interaction. The Developing in Digital Worlds study also includes Māori medium Kura, in line with the Ministry of Business, Employment and Innovation’s Vision Mātauranga policy.Looking at accessibility“Educational professionals, networks, and parents/whānau'' will be offered long-term access to all of the digital resources and knowledge found throughout the study. This aims to create a digital knowledge exchange unbounded by socioeconomic borders and status. The study is focused on low socioeconomic communities, and intends to prevent a “digital divide”. Education trusts at partnering schools have contributed to the study through feedback sessions, partnerships and additional projects. This means that the scope of the study includes a true reflection of the diversity present in New Zealand with both Māori and Pasifika communities represented.&nbsp;But, what is the Digital Divide?The digital divide refers to the gap between demographics and regions that have access to modern information and communications technology and those that don’t.*Creating the gameFollowing their research, the team responsible used their findings to design and develop the educational game&nbsp;Astria: Countdown to Impact.&nbsp;The game “provides a collaborative game experience” to encourage players to expand their critical thinking and critical literacy, discovering important links to inclusive texts from the New Zealand Curriculum Te Marautanga O Aotearoa. The main focus of the game is to demonstrate the importance of ‘source, fact, bias’ framing, and offers teachers agency to create their own analysis of students’ critical reasoning and knowledge expansion. It also features automated assessment tools as well as real-time feedback reporting and critical literacy discourse options. Schools around the world are offered the option to login online and play the game, with widespread access creating borderless communication and a wider reach for digital knowledge exchange.What we can learn from this workWe can explore this study as a blueprint for understanding the important educational links between community and digital engagement. The focus on 21st-century skills with an added layer of respect to traditional texts and social involvement is particularly pertinent to our work at World of Us. We have also learned from how social and digital development can grow parallel, and that parents, teachers and families must be involved in every stage of the process to ensure a complete picture of the needs of children in this evolving landscape.&nbsp;*To learn more about the digital divide this resource from Investopedia breaks it down nicely <a href="https://www.investopedia.com/the-digital-divide-5116352 ">here</a>.&nbsp;

Dive into the first study in the world to develop the link between teaching, family engagement and game-based learning

Digital Futures

Spotlight on Developing in Digital Worlds

When the World of Us game was being imagined we found ourselves coming back time and time again to the same question: Can you take the experience of learning in a museum and translate it into an online space for children? But that only left us faced with a larger discussion. If you can recreate museums online, is this the way forward?Home to history, museums have long been the guardians of knowledge. They allow the public to explore beyond borders and travel through time—sometimes over centuries. With all this culture housed in brick and mortar, the desire to expand its accessibility online is both tantalising and challenging.&nbsp;If you can’t see it, touch it, stare in awe at it, will the younger generations still engage with it?&nbsp;During our exploration we learned many things. Notably, we uncovered some underpinnings of traditional museums—particularly those in affluent cities—that might not always narrate an authentic truth. The journey of many artefacts to these establishments has been, at times, fraught with ethical dilemmas and a clouded history. Items that were once unknown are now being identified and better understood. And also, the introduction of modern moments in time that hold weight in the world as we know it now.&nbsp;In such instances, we pondered whether the digital realm offers a way to right these historical wrongs. Can new technology better narrate a more inclusive and truthful history, setting a new paradigm for future generations?In this series, we’re not just looking at the replacement of physical with virtual. We’re analysing the very essence of education, representation, and the experiences we want to impart to future generations.Before we can build something in the World of Us we have to best understand its strengths and weaknesses in the world we live in—IRL. Museum learning has only ever been imagined one way. We want to know what the future holds for these things of the past.&nbsp;

Museums have been around for centuries but what does the future hold for these homes of history

Reimagining Museums as Hubs of Digital Learning

Technology is changing everything. Over the past two decades, we have seen a monumental change in the ways in which we communicate, work, play and learn. As we progress into the digital age, an understanding of and connection to technology is becoming mandatory."Technology needs to be incorporated in the future of education to ensure students are equipped with the skills to cope in a world dependent on technology.”The factory-inspired, 19th century model of education was focused on packaging, or ‘bundling’ as many forms of learning into applicable skills as possible. This method functioned while the availability of teaching resources was and has remained extremely limited since its inception. We now move into a new era of ‘unbundling’, as expressed by CMO of 5ire, Utkarsh Amitabh in an article for World Economic Forum. This “great unbundling” will manifest with courses offering specific training in focused skills such as “soft skills, core skills, critical thinking or an opportunity to network” where we previously saw students offered access to all four.Initial developments already at play take the form of online courses, ‘open’ universities and fast-track bootcamps in areas such as digital design and coding. The COVID-19 pandemic also saw a globalisation of communication tools such as Zoom and Google Meets, previously confined to high-powered office environments. These platforms revolutionised the education sector, ensuring that students from primary age until post graduate would have access to the classes, courses, lectures and seminars wherever they were in relation to their school or university.&nbsp;As we witness new course structures and intensive learning processes develop into the mainstream, the motivation is to engage students as quickly as possible, and for the shortest amount of time. In 2019, the Guardian reported that “the information age has changed the general attention span”, with reports in 2021 indicating that the average adult attention span was just 47 seconds (and decreasing). This is largely due to the influx of apps such as Twitter, Instagram and TikTok taking over our previously highly-accessed online channels such as YouTube (longer form videos), online magazines and newspapers and communication channels. Educators and employers are taking this into consideration at the advent of the new technological education age, but we have to consider what could be done to increase progression into a digital future while replenishing consciousness and real-time focus.“Seeing a drawing of an atom printed on a page and being inside an atom are very different experiences.”The future of education lies in visualisation through the use of immersive technologies. These tools, such as augmented and virtual reality, enable students and teachers to go beyond the existing classroom structures currently accessible in the physical world and online spaces such as Zoom.&nbsp;Augmented reality has been expanding reach globally for over ten years, with an estimated 2.4 billion users worldwide by the end of 2023. This is a particularly exciting tool for the education sector, as AR combines 25% digital reality with 75% existing reality, meaning that educators have a greater possibility to control and manipulate the information presented to their students. In this way, “classroom education can be extraordinary and more interactive, as AR can enable teachers to show virtual examples of concepts and add gaming elements to provide textbook material support.” In a world where younger people are becoming more and more accustomed to life in the virtual world (oftentimes ahead of the real world), augmented reality presents an opportunity to learn in real-time while expanding on the potential of the digital space. The gamification of AR also lends itself well to the new models of ‘learning from home’ now offered by most schools, courses and universities. This learning tool serves to engage students for longer periods of time while saving money on expensive training programmes and equipment.Virtual reality experiences have been gaining popularity in the education sector as more accessible forms of the technology and less prohibitive costs become available. Students are offered opportunities to ‘travel’, connect and communicate either with VR headsets within existing classroom spaces or environments and are also able to have new learning experiences in immersive classrooms. These spaces are particularly important for younger students, as they create borderless locations within which students are able to learn and share without restrictions based on financial aspects, ability to travel, mobility or larger classroom sizes as is often the case in less wealthy schools. The immersive classroom model can be particularly effective in “transporting students beyond the classroom” without the need for expensive VR headsets, which some students also find difficult or uncomfortable to use.&nbsp;“Educational technology is evolving to include artificial intelligence.”AI also plays a big role, and we are only now beginning to understand its potential in education. We already use AI-dependent software in much of the technology accessed in our daily lives: from voice recognition and assistance, automatic mapping software and credit card fraud programmes, but how is this relevant to the developments in education?The impending use of AI agents in classrooms could help teachers save time, and gain access to a global database of information proven to have worked in classrooms around the world. Through using voice-activated technology to request visual cues or aids (for example, by requesting the display of an ancient map), teachers will be able to choose from a wide pool of existing knowledge in order to increase both comprehension and learning time within the classroom. AI also extends further into IA, or intelligence augmentation. This development could be particularly useful in classrooms as “IA centres ‘intelligence’ and ‘decision-making’ in humans but recognises that people sometimes are overburdened and benefit from assistive tools.” It is also important to note that both AI and IA will offer the possibility of greater regulation and consistency in teaching, learning and testing scenarios due to the omission of human error. Computers are able to create systematic patterns and models of reasoning that should ultimately level the playing field in education and standardise across the board.“A fast-changing world also means a fast-changing job market. So, to remain employable in the near future, people will need to continuously develop new skills and adapt.”As education models develop, so do the minds and skills of students. This ultimately leads to an ever-changing job market that is informed by each new development in the technological space. The traditional model of education, which is characterised by a box-ticking process of completing exams, gaining accolades and various certificates before entering the job market, has already been rendered obsolete. This is a new age of freelancers, which is focused on the gig economy amidst multiple startups and self-employed professionals. Young people entering the job market now will need to do so with a mindset of constant evolution and a desire for lifelong learning, contrary to previous, career-led trajectories.Education now takes on a new meaning, as employers begin to take on the role of educators as they offer courses and pathway developments to their employees and contractors. As we introduce the future of education to our children, we also have to consider their potential access points into the world of work and the continued journey of learning throughout life. As we strive to find a balance between fast-paced technological advancements and authentic, long-lasting human connection, we can look to educational models that combine elements of both digital and physical reality to enhance this.“Education is not just about job skills. It's also about critical thinking, creativity, and empathy, which are all needed for navigating an increasingly complex world.”

Helping parents and teachers connect with the digital world of today.

Digital Safety 

Educational Games

Demystifying the future of learning

One of the factors working against the 12 million people living in Brazil’s lower-income communities or&nbsp;favelas is digital isolation. According to the Locomotive Research Institute,&nbsp;<a href="https://teletime.com.br/04/05/2021/internet-3g-ou-4g-nao-chega-ou-e-ineficiente-no-lar-de-43-dos-moradores-de-favelas/">43% of the residents have little to no access to 3G or 4G internet networks</a>, and regular broadband internet services are often unavailable. At the same time, families can’t always afford computers at home, and public schools lack resources as they&nbsp;<a href="https://www.hrw.org/news/2021/06/11/brazil-failure-respond-education-emergency">are severely underfunded</a>.The pandemic brought the severity of this situation to light, as school closures meant that over&nbsp;<a href="https://www.unicef.org/brazil/media/12566/file/enfrentamento-da-cultura-do-fracasso-escolar.pdf">four million</a> students missed out on education because they didn’t have access to remote learning or in-person classes. Of these,&nbsp;<a href="https://www.hrw.org/news/2021/06/11/brazil-failure-respond-education-emergency">Black or Indigenous students and those from lower income households, were hit the hardest</a>.Cassiane Cardoso dos Santos, a 17-year-old student from&nbsp;Vigário Geral, a favela in the Brazilian city of Rio de Janeiro, is one such student. She explains:&nbsp;“At the beginning of the pandemic it was very difficult because in order to study, I had to have access to the internet and I didn't have it at that time. So it was very difficult not only for me but also for my brothers. This ended up affecting my grades a lot and also my siblings' learning.”For Thais Xavier, a 23-year-old Illustrator and Game Developer who lives in Tijuca, another Rio neighbourhood, this is also a problem. “Things got really bad in the community where I live. The reality was that a lot of people were losing their jobs and had nothing to eat. The course I was changing from being in-person to online classes, which prejudiced me since I didn't have the necessary equipment at home for what the class was about”, she said.But one initiative is&nbsp;opening the doors to an alternative kind of education, and even a potential source of income.&nbsp;Where? In the unlikely world of video games.&nbsp;<a href="https://afrogames.com.br/">AfroGames</a> is a Rio-based non-profit that defines itself as the world’s&nbsp;first eSports player training centre inside a slum. Kitted out with expensive, state-of-the-art gaming equipment, it provides 100 young people, aged 12 and over, with classes in Game Programming, League of Legends, Fortnite, and English. Its mission, Executive Director Ricardo Chantilly explains, is to “bring the billionaire gaming world into the favela.”And he’s not exaggerating. In 2020, the video game market was valued at $159.3 billion,&nbsp;<a href="https://www.statista.com/statistics/292056/video-game-market-value-worldwide/">according to Statista</a>. And with technology&nbsp;becoming ever more accessible, and the pandemic seeing even greater numbers of players turn online, this figure is expected to hit&nbsp;an incredible&nbsp;<a href="https://www.statista.com/statistics/292056/video-game-market-value-worldwide/">$268 billion by 2025</a>. So yes, if you want to try your hand at video game development, the time is now.&nbsp;A lack of diversityThe gaming industry has long been a very white field. However, it has been even more challenging for players in favelas due to location-specific obstacles. In addition to slower internet speeds and the barrier of costly gaming equipment, athletes in these communities have to contend with&nbsp;<a href="https://www.vice.com/en/article/4avdwb/police-raids-in-rios-favelas-were-banned-but-now-theyre-back-and-deadlier-than-ever">police raids</a>, flying bullets from&nbsp;<a href="https://www.trtworld.com/americas/brazil-militias-control-more-than-half-of-rio-study-40715">“milícia” paramilitary groups</a>, and drug factions recruiting new members off the streets.&nbsp;However, as game development tools become more accessible and representation grows, we are seeing a new wave of games that recentre non-Eurocentric narratives; with the likes of&nbsp;<a href="https://store.steampowered.com/app/623640/Mulaka/">Mulaka</a>,&nbsp;<a href="https://thewagaduchronicles.com/">The Wagadu Chronicles</a>, and&nbsp;<a href="https://store.steampowered.com/app/1525580/Kabaret/">Kabaret</a>, to name a few.&nbsp;Where does TALES come in?<a href="https://www.talesofus.com/">Tales of Us (TALES)</a> has had its sights set on creating a video game for quite some time now. Not only because of the estimated&nbsp;<a href="https://www.statista.com/statistics/293304/number-video-gamers/#:~:text=In%202021%2C%20there%20were%20almost,billion%20gamers%20across%20the%20globe.">3.24 billion gamers in the world in 2021</a>—that’s 3.24 billion people who have the power to support social change—but also because the interactive element of gaming opens up entirely new realms for storytelling and understanding other people’s experiences.Inspired by the success of Upper One Games’&nbsp;<a href="https://store.steampowered.com/app/295790/Never_Alone_Kisima_Ingitchuna/">Never Alone</a>, which worked closely with the Iñupiat, an Alaskan Native people, to tell their stories, TALES started to think about how other communities may want to share tales from their cultures through games too.&nbsp;TALES already had a personal connection to Brazil among team members, so the initiative's game engine project—World of Us (WoU)—proposed to join forces with AfroGames.&nbsp;How? By inviting students to create virtual minigames in a game jam. And what better fusion of ideas and interests than to&nbsp;create these based on indigenous myths, told from the perspective of Brazilians themselves.&nbsp;The big ideaParticipants aged 12-29 were invited to sign up for the game development marathon, titled Game Jam World of Us, which took place between 12-14 November. They were then split into groups where they could decide who would take on the roles of the story researcher, scriptwriter, developer, and pitch coordinator.&nbsp;They then had just 48 hours to think up a concept and develop it into 2D minigames, using the free platform ‘Construct’, and the help of former AfroGames graduates, before presenting it to a panel of judges. These included Obirin Odara, a former AfroReggae social worker; Ricardo Souza, an expert in animation and 3D design; Bernardo Assad, an industry expert who had also grown up in the favela;&nbsp;and&nbsp;Tainá Moreno, a Brazilian-Dutch producer at Tales of Us.&nbsp;The cash prize:&nbsp;R$5 thousand (five thousand reais—or €1,569) for each of the two winning teams.According to Marcela Zanon, who coordinated TALES' organisation of the AfroGames, the event taught more than basic coding and 3D development: “The only thing the students really know how to use is Discord, actually. I think they are born knowing how to use it. They have never had experience with how you organise things, how you share content, how you create an idea and express it, and how you keep your whole team updated. And so, at the end of the day, it's not only learning about technology, it's much bigger than that.”The event was hosted in&nbsp;the headquarters of&nbsp;AfroReggae, the umbrella organisation that started back in 1993 as a social impact project aimed at reducing the rates of crime and drug trafficking on the streets by empowering communities through art, dance, education, and Afro-Brazilian culture.Back then, Vigário Geral had made global headlines when a&nbsp;<a href="https://en.wikipedia.org/wiki/Vig%C3%A1rio_Geral_massacre">massacre</a> took place; a showdown between police and warring militias resulted in the deaths of 21 innocent people. While AfroGames has supported individuals in the area, gang warfare continues to mark the backdrop of the community. When asked about it, Zanon described walking through the main square to visit the AfroGames project and seeing kids “playing football, and there was a guy with a gun. And for them, it's nothing, they are totally unphased.”On the dayDepending on the age groups, the contestants responded differently to the mythology briefings, with the younger kids asking how they would make the game more fun, and the older students reflecting on how the myth and format could speak to their own stories.&nbsp;After reading the briefing once, Xavier knew immediately what they should do.&nbsp;“It was incredible to see”, explained Manuela Rahal, another event coordinator. “Because it was so quick. She mixed her own story with the mythic story. We thought they were going to just read the myth and create a game. We didn’t expect them to bring their own perception, individuality, life, story. So I think that was a high point in the project for me.”&nbsp;Xavier’s game starts with the main character reading and discovering a myth online. Falling in love with the tale, she reads the story again and again until she eventually falls asleep. In her dreams she sees herself as Iansã, the warrior, setting out on a heroic quest to free a character named Xangô.&nbsp;Xavier explains: “This story is about a girl who wants to find out about her ancestry and why she is the way she is. This is an experience that every Black girl has gone through; wondering where her family name comes from and what her origin is.”&nbsp;At the end of the second day, it was time to hear the judges' decision. It was a full turnout. Zanon remembers: “Their parents were there. Their grannies were there. Just to watch them experience something they couldn't even believe was possible. It was incredible. The mother of one of the girls was so proud, saying, ‘She is my daughter, this girl will run the world.’”Xavier’s game “Ominira” won joint top place alongside “The legend of the Guaraná”, based on the Sateré-Mawé indigenous peoples’ myth about the origin of the Brazilian guaraná fruit. The two teams then moved through to the accelerator phase, where they were mentored by experts in the final development of their games.Was it a success?While it’ll take work on multiple fronts,&nbsp;<a href="https://www.hrw.org/news/2021/06/11/brazil-failure-respond-education-emergency">including federal support</a>, to tackle the complex issues of the education deficit and social inequality, projects like this can benefit individuals by creating new job opportunities and promoting wider recognition of the talent that exists there.&nbsp;As&nbsp;Xavier explained:&nbsp;“What I hope people will learn is that indie games make it possible to identify ourselves within this type of narrative. They can show the value and beauty of our ancestry, that for years was considered not worthy. This has a huge impact because it not only gives me the strength to continue, but is also an opportunity to show my friends and family that besides being fun it is a job.”For Chantilly too, the project marks a milestone.&nbsp;“A digital inclusion and social impact project such as AfroGames is a space of opportunities and shelter for children and young people who live in a situation of social vulnerability. Through courses, and events like a game jam, students are able to see the world with a more optimistic perspective. And it doesn’t only affect the child or young person participating in this project, it also affects family, friends, and the local community. Because it is through the project, and the activities it promotes, that the favela is seen, felt, and shared with the world”, he said.Community-led projects like this can be repeated elsewhere, and according to Xavier, should be:&nbsp;“Events like this bring a new vision, not only for those who live in favelas, but an important message to the rest of the world. Slums are not just violence and misery, they are also full of potential, work, dreams and intelligence.”

Kids are creating their own digital futures! Two new video games created by children in the favela of Vigário Geral launched in December. 

What Happens When Brazil’s Favelas Take On The World Of Online Gaming?

Since joining the TALES, Veronica has led the team to all sorts of milestones. Our Game Producer, responsible for keeping this epic project on the move, sat with us to discuss the World of Us, what it means and how they contribute to the collaboration.&nbsp; “I used to work at Rockstar Games, in their Performance Production department. During my time there, I worked very closely with the directors, writers, actors, engineers, and animators to help create audio environments and performances that would completely immerse a player. I quickly learned how much detail and effort goes into every single moment of a game.” So, how does the World of Us project stand up against one of the world’s best-known gaming companies? “This is my first time working on such a collaborative project. When I joined, I expected more rigidness with what TALES was asking the Digital Creators to make. Instead of giving them a list of what they needed to make for the WoU, we provided a generic list of assets as a guide of what can be featured in-game, but they were welcome to go ‘off book’ if they wanted.”World of Us is, as its name implies, a global project. And with this, some areas need to be navigated more carefully. “There are a lot of different time zones to keep in consideration.” Keeping track of the people is as important as keeping track of the work. “It’s important to make sure tasks are finished and milestones are achieved, but also that everyone has the support they need to do their job.” Thinking with such a global mindset has been part of Veronica’s way of living since childhood. “My parents are flight attendants, which allowed me and my sister to travel and experience as many different cultures and customs as possible from a very young age.”She’s been fortunate enough to understand the impact of the representation of local cultures. “We have trees and bushes coming from the Danube Delta and Kouilou, and flowers and animals from Acre and Kerala. This matches with what the Digital Creators saw on their trips, and the game is more authentic because of it.” While the World of Us may be a digital escape, the inspiration that has been drawn to create it stays as true as it can to local lore and landscapes. Why improve on the things we love, eh?No stranger to collaboration in her role, Veronica couldn’t hold back on the value of a strong team. “We would be lost without our Game Designer, Anna’s, brain! We can see from the assets being created what comes from allowing the team to have more input on what they create and why.” This way of working together isn’t the industry standard and that’s why we think it pushes the work to include even more insights and create a more well-rounded environment. “The experience is part of the learning process.” We couldn’t agree more.&nbsp;Coming from a background in entertainment, including Television Production, an educational game isn’t necessarily the most obvious next step. But that doesn’t stop her from dropping some excellent truth bombs. “You can teach more than one lesson with game design. For example, a mission can be as simple as finding 5 animals. The main “lesson” is that the player learns about different animals, but to find the animals it involves logic, deductive reasoning, and maybe even collaboration from other players.” But when it comes to a game designed to teach and enrich young minds there are many things that need to be taken into consideration. “The themes aren’t necessarily topics you’d learn in a classroom setting, sometimes they’re more subtle.” Nowadays, academic education takes precedence over a lot of emotional education. In World of Us, we’re looking to find a balance. “This game also teaches players how to communicate without using words. They will need to reach out to other children for help and trust that working with someone new can help them complete a puzzle or plant a seed.”&nbsp;And our final question, what would make this project a success? “We’d love it if a child in a grocery store is able to spot a fruit their avatar ate in the WoU. Then we know we’ve done our job.”A massive thank you to Veronica for allowing us to pick her brain. Next up on our 'WoU, Who?' agenda:&nbsp;Marcela Zanon who steadfastly holds the reins of Community and Engagement.&nbsp; &nbsp;

Meet Veronica Stroever, and get access-all-areas insights from our Game Producer

WoU, Who? 

What used to be hosted around the dining room table, transformed into a joystick-driven activity. Now, online access means players don’t have to be in the same room—or even the same country. But even remotely, gaming holds unique benefits.It’s no secret that co-op gaming has changed. For Millennials, this wave of digital collaboration began young and heavily shaped how we approach life’s many twists and turns. And despite it being around for many years, it is widely known that co-operative gaming is still a fan favourite today. Why? Because it’s a chance to team up, rather than to compete.&nbsp;No longer stuck together in a twist of cables, young people today can log in to team up, building friendships across seas in their mission to reach new limits.This wider worldly collaboration might seem distant, but its benefits go far beyond what they once could. Not only do children learn more about people from all corners of the globe but it creates a unique space for fostering teamwork and cooperation. Outside of the world online, this strength in a shared goal can lead to a better understanding of what our world sorely needs—connection and solutions. Check out our latest video to see the evolution of co-operative gaming so far.&nbsp; &nbsp;

A New Player Has Entered the Game

WoU, Who?

Demystifying Co-Op Gaming

Reimagining Museums as Hubs of Digital Learning

Water, Water Everywhere