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What do I need to know? When will Microsoft Stream support interactive quizzes and analytics? How do I turn on the Recording tab in PowerPoint? When will the Recording tab come to PowerPoint for Mac? How do I upload a video to Microsoft Stream? The Office Mix site and existing content stored on its servers will be retired according to the following schedule:.
October 20, If you have an existing Office Mix account, you'll still be able to view, edit, publish, download, and delete your existing content.
If you don't have access to a Microsoft work or school account, you can download your Mixes as PowerPoint files. See licensing details to learn if you already have access to Microsoft Stream and what features you can use, or to upgrade your plan.
January 1, You'll no longer be able to sign up as a new user or download the Office Mix add-in from the website. Existing users who already have the Mix add-in installed will still be able to use it to upload, edit, view, and download their existing content.
April 6, You'll no longer be able to upload new mixes or update existing mixes by using the Office Mix add-in. Please sign in to the Office Mix site to migrate or download all your content. May 1, The Office Mix site and all its content will be officially discontinued. The site will no longer be accessible after this date. Any links to your Office Mix content that you previously shared with others will stop working after this date.
Additionally, certain add-ins like Quizzes, Apps, and Polls will no longer be available. Microsoft Forms will come to PowerPoint over the next few months to replace quiz interactivity.
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Selling because we are moving. No delivery available. That's called heliotropism. Well, kids have a 'computertropism'". After a few months of development, the first fully-featured prototype for Living Books was complete; [4] it was an adaption of Mercer Mayer's Little Monsters at School. Mercer Meyer's popular children's book Just Grandma and Me was chosen as the premiere title of the new series, [4] as their initial attempt at "eras[ing] the line between learning and playing". Now [] a particular title currently takes 6 months to a year.
Typical crew has 6 or 7 full time character animators. Initial design work on a storybook page gag planning, etc. Two additional people "quasi-programmers" "assemble" the character animation into the proprietary format. Two more people do the sound effects and music. Though storyboards and layouts were often sketched out on paper, most of the animation was developed straight into the software instead of being scanned first. As Broderbund didn't have a recording studio, Sound designer Tom Rettig individually recorded and saved each audio file in a small office.
Schlichting campaigned for tools technologically ahead of their time to improve quality. Programmer Glenn Axworthy created the Living Books engine, which made it possible for products to be written in Macromedia Director, then to edit the files into a "cross-platform, optimized playback format" that slow speed CD-ROMs could then play into limited memory computers at the appropriate speed "regardless of the speed of the CPU of the computer running the product".
Matt Siegel created an animation driver that made "animations run consistently fast regardless of their size". There was no rush to market, because there was no market. Interactivity was vital in the design of the programs; when presenting demos to corporate executives, Schlichting would observe them fighting over the mouse and suggesting where to click. Activities were added to help develop matching, rhyming, memory and observation skills, among others.
Upon previewing a gag in Just Grandma and Me where a bird swoops across the screen with an aeroplane sound effect, developers noted this elicited laughs and chuckles in the audience.
The developers realised that with their visual awareness focused on the animation, the incongruent audio had a more subconscious cognitive impact, and the discrepancy between sound and audio created a "brain hiccup" where users would find the moment 'cute' but unsure exactly why. Ease of use was another important design philosophy; the interface was designed such that it could be used by even the youngest of children unaccompanied.
Schlichting observed that teachers wanted something to occupy children for 20 minutes at a time. When Schlichting was first designing Living Books, he visited computer stores to observe how software was displayed and marketed, and noted that they used their games' assets to show off the computer's capabilities. To play inside the story, press this button", pointing to the appropriate button onscreen.
Instead of repeating the talk loop, he opted for a dance loop with music that would encourage kids to dance in the store, bringing the products attention. I'm alive". Living Books included the printed versions of the paperback books with the software to ensure there would be continuity where kids could play between the two and to encourage non-digital reading.
A challenge of the series was to inviting children to engage with "black-and-white abstraction" of text, when the relatable imagery proved more inviting. Both the first two titles in the series had English and Spanish language settings while Just Grandma and Me could also be played in French, German, and Japanese, [73] [74] [75] all featured on the one disc; [6] this multilingual feature would be explored in future entries.
On the series' potential as a learning tool, Schlichting said, "software never replaces the place of a good teacher, but there are times when the teacher needs help" and that multimedia products "are great ways to do that". Originally designed for children in preschool and early elementary aged three to eight, [77] [8] the storybooks found audiences ranging as young as two and some programs reached kids nine and older, [13] [8] Schlichting noted that while younger players would click the words in sequence to "map the story", older players will click the words out-of-order to build their own silly sentences, [46] allowing for "greater language play".
Michael Krantz in Marketing Computers [93]. Broderbund released their reimagining of Just Grandma and Me in , [36] and while there was an initial concern whether there were enough customers with CD drives to run the game, in the first six months Broderbund sold over 10 times more copies than they had initially projected.
By August , the title was the interactive storybook's "first big hit", and one of the few available for purchase, along with the even earlier Canadian pioneer Discis Knowledge Research 's Discis Books , whose 16 Mac titles and 11 CDTV titles had gained widespread classroom acceptance. Due to the success of the first few titles, the Living Books division had the ability to add additional artists and musicians, and the team relocated to a new Broderbund office in Novato, California.
Seuss book rights holder, saw a demo of J ust Grandma and Me and approached the team. Unique for a kid's software company, this meant Living Books was created with a "strong, in-house foundation of experience" in all stages of the business, including product development, production, marketing and publicity.
By there was a "scramble among multimedia developers to gobble up rights to intellectual property" for "translation to the new medium", and Dr. Seuss became "among the most hotly contested". Seuss rights were available they "went after them aggressively. Seuss' widow Audrey Geisel, chief executive of Dr. Seuss Enterprises and rights holder, who was known as a "fierce guardian of its artistic integrity".
Seuss as a child, leading to Geisel telling her intellectual property lawyers "I've changed my mind, I'm going to work with him". While Geisel was not impressed with this first presentation [] and felt the demo was poor, [] she chose Living Books due to her "desire to honor her husband's year association with Random House", [] giving them a second chance. Seuss books since Seuss for a deal said by a close source to be "well into the seven figures", [] and subsequently provided Living Books the "coveted" [] electronic rights to Dr.
Seuss books along with other best-selling Random House children's authors. Seuss to a digital format. Seuss Enterprises despite "competing companies offer[ing] richer financial packages". Seuss Living Books products' development. The games were highly financially successful. Seuss's ABC lists over names, including additional departments like musicians and choreographers. At the time, there was a "trend toward familiar characters". Seuss's Green Eggs and Ham.
While most titles were based on popular franchises, two were brand new. Meanwhile, the third original story Harry and the Haunted House , was written by Schlichting himself.
Pindal began to work with Derek Lamb to create a prototype in the summer of , though the project would eventually be cancelled.
The development team were committed to, as often as possible, working closely with each author to ensure a faithful rendering of the original story and its intent. Schlichting said "our relationship with the authors of the original books was that we would be taking their babies, their stories, their characters, and bring them over into animated media for the first time". Just Grandma and Me was the first digital outing for Mercer Mayer.
Schlicting observed that Living Books often had a "profound effect" on their original authors; upon seeing Arthur's Teacher Trouble, Marc Brown said it "change[d] the way he thinks about books", and from then on he wrote books with animation and interaction in mind.
I realize that developing children's software is very different from telling a story in a traditional book format, and I appreciate Living Books' commitment to quality and deep concern for its audience". Seuss adaptions to be "absolutely line-proof to the books", though he relented that her husband would be "enchanted" by the "interactive personal creative possibilities" that the new form of communication offered, and was supportive of the "hidden learning process".
In response to a call by Alliance for Technology Access ATA for software companies to design products that were accessible to users with disabilities, Living Books stated their commitment to addressing accessibility issues by designing interactive, animated storybooks for all children, regardless of their ability levels [] in order to "broaden its scope of access".
Ray worked with companies that adapted the products for use on special keyboards designed for children who had problems using a standard mouse to interact with the stories cerebral palsy, muscular dystrophy, autism, learning delays. Living Books began to face growing competition from Disney Interactive Disney's Animated Storybook and Microsoft in the animated storybook genre. Living Books' sales dropped while costs increased. The state of the CD-ROM industry was often put down to "inflated prices, mediocre titles, incompatibilities and bugs".
The Learning Company formerly SoftKey had a significant impact on the market. Throughout the s they had a strategy of releasing shovelware discs of freeware or shareware at very low prices, purchasing edutainment companies through hostile takeovers and reducing them to skeleton staff, while retaining only a small development team to keep cranking out new products; by Broderbund was one of the few independent companies still standing. This had a big effect on the company's stock price.
Broderbund began to have a defensive strategy of preventing the remaining edutainment companies from being acquired by The Learning Company formerly SoftKey , a factor that would lead them into re-acquiring Living Books. This climate affected the profit projections of Living Books.
In —7, Broderbund enlisted Jeff Charvat to work on the troubled series and making it work; Charvat "charg[ed] in with answers, rather than questions", a strategy Charvat later admitted "[wa]sn't the way to go". At the time, Joe Durrett, Chief Executive Officer of Broderbund noted, "although Living Books remains a small portion of Broderbund's revenue, it shares our focus on children's education and will continue to play a central role in educational software development. This was not uncommon at the time for book publishers to revise their multimedia strategies.
The Living Books excess purchase price was allocated to in-process technology and charged to Broderbund's operations account at the time of acquisition. By April , Living Books had reduced the number of titles it released per year, adopted a culture of parsimoniousness, and relied on its "high-quality back-list of classics" to "generate steady income".
August 27, saw the company release an interactive website at www. Narrative Communications, Enliven streaming technology was used to allow demos to be played over the internet. In February , Broderbund offered ICTV, provider of high-speed internet services and interactive multimedia content over cable television networks, selections from a suite of educational and entertainment interactive CD-ROM titles including Living Books.
While the Broderbund brand lived on, the company was disbanded and the talent found new opportunities. In , D. Mattel ended up selling The Learning Company formerly SoftKey to acquisition and management company The Gores Group [] for a fraction of the price they had originally paid for them.
By , Mantle had accumulated a series of ex-Broderbund staff at Mantle, and upon the announcement of the iPad, he felt it was the perfect platform to bring Living Books back. Mantle identified that there were currently no products on the market that were designed for children with autism, which had been a key demographic of Living Books.
Seuss , some titles from The Berenstain Bears , and Little Critter were obtained by Oceanhouse Media , who owned all of the interactive storybook game rights and had created their own iOS titles. By late , Mantle had successfully secured the exclusive rights to all the Living Books storybook assets from HMH and most of the author's publishing rights, and began active development. The team had a significant hurdle to overcome in the next stage of development.
While they had secured the Houghton Mifflin Harcourt rights to Living Books, the assets were not readily available. Broderbund's documentation, scripts, source code, and product assets graphics, animations, sound, and music files had been saved onto a set of CD-ROMs and placed in the company's product archives.
However, Broderbund's turbulent company history at the turn of the millennium led to much of this archive being lost. Once the assets were retrieved, the titles still required significant modifications in order to optimise their "interaction and responsiveness"; this involved reprogramming how user interactions would be interpreted as actions.
Meanwhile, no changes were made to the user interface or appearance. All this complexity and the many components that implement these capabilities are rolled up into the User Interactivity and Action Interpreter boxes. The titles were presented through a dynamic language function that allows readers to switch languages whenever they want. English and Brazilian Portuguese. Touching the upper right and left blue triangles reveals pop-up page navigation thumbnails, and pop-up language selection buttons respectively.
Deluxe versions of the titles were made available for teachers with bonus features including the 30 page curriculum plan Teacher's Guides originally made for classrooms.
Seven of the updated and enhanced storybooks were released on iOS throughout , [12] while Android and Mac OS versions were added from To be a sustainable company, you have a higher bar for sales and quality. Little Ark Interactive became a wholly owned subsidiary of Wanderful.
Seuss titles would be removed from the App Store to prevent confusion over the similarly titled Oceanhouse Media apps. In March , Schon donated to The Strong museum hundreds of materials that document the Living Books' history, including games and company records from between and In August , Kiplinger's Personal Finance wrote of the series, "there's not much demand for computer CD's yet, but I like that fact that Broderbund looks ahead". Seuss of the digital age", as he had an "ear — and respect — for the tastes of kids".
For Michael J. Himowitz at Tampa Bay Times , the series brought back the "old 'Gee whiz" reaction that he had lost over his decade spent playing and reviewing computer games. Emergency Librarian wrote the series upheld the high standards of Broderbund. The series won many awards and its creators received letters from children and parents. Hyper Nexus noted that Living Books' reputation of ease and functionality led to consumers testing other Broderbund programs and the company achieving a strong market domination, a phenomenon they had earlier observed with 's The Print Shop.
Dyson, director of The Strong's International Center for the History of Electronic Games , said "Living Books was an innovator in the creation of interactive books and became a leader in the development of educational and entertaining software for young children". Schlchting acknowledges that Living Books became a household name, but "only after a struggle". Mantle, president and CEO, Wanderful reflected ""Living Books has such an amazing legacy, remembered by children, trusted by parents and embraced by the educational community" through "elegant, interactive-rich Over the years, Schlichting has had many people tell him that they learned English from Living Books.
Broderbund 's Living Books series was perhaps the first example of popular children's stories in print being adapted into digital storybooks that encouraged interactive learning and play in the computer, or at least popularized the animated storybook format through hits such as 's Just Grandma and Me and Arthur's Teacher Trouble which were based on popular children's books from the s by Mercer Mayer and Marc Brown respectively.
Many reviewers praised the series as a learning tool. Multiple Perspectives on Difficulties in Learning Literacy and Numeracy felt the series offers children a narrative context to explore while giving them authority and control over the interface to motivate them to learn. The series had been highlighted for its incidental learning. Other critics questioned the series' efficacy as a learning tool.
The Age notes that the idea of presenting a book with interactivity, sound, and music was a "whole new idea" that "left many unsure as to its soundness"; reactions from teachers were mixed, with some believing it added "another dimension to literature", while others felt it would have been "cheaper and more worthwhile" to buying the class physical copies of each book. Garfinkel and Beth Rosenberg of Boston Globe Online found Living Books to be of high quality in a market flooded with "questionable" releases for children, they stated that not all of the titles lived up to the company's educational claims, noting Dr.
The series has been praised for its use of hotspots and interactivity.
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