Overview

The Problem

Much of the motivation for creating this project came from my own memories of my school days, and how I didn't see classes as and school activities as enjoyable, or as something I enjoyed doing.

The starting point

However I can also list many memories of fun times with some of the educational programs they had on television back then.

Programs like:

• Cyberchase
• Beakman's World
• The Country Mouse and the City Mouse Adventures

And how successful they were in keeping my interest in their respective subjects.

Goals

The project's objective is: to make use of electronic games with support, to give new life to the content available in didactic materials, aiming to generate a greater engagement of the students with the subjects studied.

In this way we intend to:

• Create a healthier relationship between children and school-related activities.
• Combine fun and learning.
• Show that subjects thought to be boring or difficult can be made more friendly.

Methodology

Development

After deciding on the theme and objectives, a key point for the project was an interview/ conversation with some elementary school teachers.

Thus arriving at some clearer definitions of scope and audience:

• The public identified in talking to the teachers was that of 6th grade students; according to the teachers, this new cycle of school experience brings a less playful perspective to teaching.
• The scope of content chosen was fractions seen in mathematics, this cut was made from the confirmation, by the teachers that mathematics is still seen as the subject least liked by the students.

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Iconographical research

Solarpunk
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↑ Conceptual art about a future seen through the lens of Solar Punk.

World Building

A strong inspiration for the setting of the world came from subgenres such as Amazofuturism.
The player will be a young explorer eager to discover new peoples, places, and thus obtain fantastic new knowledge. Living in a world full of technology and knowledge from the most varied and remote places on the planet.

Amazofuturismo
Amazofuturism is a subgenre of science fiction. It is based on Amazonian indigenous societies that are highly advanced from the point of view of their technology and social justice.

Structure

The project was planned so that its elements would be organized in structures common to textbooks, and so it was specified that each chapter of the textbook would be an adventure within the game and each sub-item of this chapter would be a scenario to be explored

↑ Scheme demonstrating the transposition of the textbook structure into an electronic game.

Naming

Another important point mentioned by the teachers was the importance of interdisciplinarity during the lessons.
Nesse sentido, a forma que pensei para abordar outros temas como história ou geografia foi inserir no jogo, as histórias, costumes e folclore do Brasil provenientes das nossas raízes nos povos indígenas

The name Tyyràti comes from the Karajá language, spoken by the indigenous people of the same name who inhabit the northern and central-western regions of Brazil.

Tyyràti means something like Book or Writing.

The story

Story created to give context to the adventure that will deal with the fractions theme, called: The Legend of the Fractionated Stone

The Legend of the Fractionated Stone
During yet another expedition to a village known for its mastery of the art of numbers and for creating artifacts of immense power, our hero is faced with an important mission, that of recovering all the fragments of the powerful Whole Stone, the item responsible for the village's energy and protection, which was destroyed by a powerful dark wizard.

Characters

With the world and story in hand, a lot of research was done, to create the characters for this adventure.

With the world and story in hand, a lot of research was done, to create the characters for this adventure.

In the same way the non-playable characters were created, to aid the story.

Creatures and other elements

The same process was used to create the other elements of the adventure, such as items and creatures. From a previous research were generated some inputs that, in turn, would be used as a basis for the creation of the illustrations.

In the same way the non-playable characters were created, to aid the story.

The cards for all creatures, items, and other game elements were created using the same process.

Interface design

After solving the game format and card art, I could then turn my attention to elaborating the existing structures and mechanisms in the interface.

Thinking about the flows

Initial planning of possible existing flows and interactions.

Sketches

With the help of the previous flow, drafts were developed, containing the initial ideas behind each screen, and several adjustments were made at this stage.

Typography

Typography was also a crucial element to tie all the elements into their proper contexts, thus creating a clearer identity in each segment of the game.

In the segments containing the history and exposing the didactic contents, the Adobe Caslon Pro font was chosen, a serifed, humanistic font, the main objective, besides prioritizing readability, was to maintain a solemn character.

In the segments of the card game itself, the idea is that at this moment the player feels immersed in the environment that the cards there intend to simulate. So I thought it was pertinent to use a script font, called Sketchnote Text and its variation Sketchnote Square, for its more rustic character, giving the feeling of freedom. Other variations of this family were used in some specific screens on the interface in a decorative way.

The game's brand was created from a display or decorative font, called Mamakilo, a font created with ethnic inspirations and seeking a very decorative approach, containing several ornaments and details in its construction, besides having characters with variable sizes, bringing a "handmade" aspect.

Results

The following pages present the results obtained in the project.