Last Thursday I attended the Futurebook Innovation Workshop, programmed by The Literary Platform - a very interesting afternoon of presentations and workshops on what I will call “digital storytelling” (although one of the recurring themes was that nobody has yet got a clear idea of what to call this, er, stuff).
Setting the scene - a changing landscape
Nick Perrett set the scene. He was in the games industry and has only recently moved into publishing, becoming group strategy and digital director for HarperCollins. He thinks that publishing over the next 6 years will change in the same way the games industry has changed over the last 6 years - moving from packaged games towards live services, with big changes in how users are acquired and products monetised. The ebook is a “dead end”, a “closed island” as it doesn’t connect to anything else - so publishers should be looking to create more innovative digital products. There will be a new focus not on pricing but on daily active readers and ARPU (average revenue per user).
He also asked, with lowering barriers to entry for creating digital content, how do we shine a light on the good stuff? A question I’m all too familiar with - running textadventures.co.uk, which allows anybody to submit interactive stories, means I deal with submissions which vary hugely in quality. (My current approach to the problem is fairly simple - leave it to users to post reviews so that good games float to the top - but some games never get any reviews, so that’s something I’m planning to address soon)
Success and failure - creation vs consumption
Two of the afternoon’s presentations were revealing in their contrasts. Cate Cannon, head of marketing and digital content at Canongate, talked about the Wildwood Story Map, and it was interesting to compare this to the talk given by Sara O’Connor, editorial director of print and digital at Hot Key Books, about Fleur Hitchcock’s Story Adventure.
I really enjoyed both of these presentations and how open both were with their figures. We can learn a lot from success and failure, and there is much more value in these kinds of presentations than in the kind where people just talk about what they did and how marvellous it all was.
Wildwood Story Map is a free iPad app created to promote a trilogy of books - The Wildwood Chronicles by Colin Meloy, targeted at 8 to 12-year olds. The word “disaster” was used to describe how well the app promoted the first book in the trilogy - as it didn’t actually launch, due to wrangling with various rights holders who all demanded final approval before it could go live. For the second of the trilogy, the app was launched and marketed alongside the book - the idea being that the app would engage the audience more with the book, even though this effectively meant it had failed its original stated purpose as way of promoting the book itself.
Cate said that “hundreds” of people had downloaded the app. Taking a look at the stats on App Annie, it seems to have achieved similar App Store rankings to my own recent free iPad book app, Filbert and the Broccoli Escape - so a download figure in the low to mid hundreds sounds likely. My app was created for a far tinier budget, and suffers from my own limited marketing skills - so it was interesting to hear that others, even with teams of people working to making them look great, and with established publishers behind them, can suffer from the same problems with finding an audience. Being beautiful and free sadly isn’t enough.
Contrasting with Canongate’s experience, Sara O’Connor’s presentation on Fleur Hitchcock’s Story Adventure shows how much can be achieved with a very limited budget. For this project, Hot Key Books used the NING platform to set up community resources - blogs and forums. “It’s not beautiful, but it’s all about the content”. Author Fleur Hitchcock started the story, and children aged between 9 and 12 contributed the details to move it along. Behind the scenes, the project was simply driven by a large spreadsheet.
The total spend was £2200 - this project was low-tech, low-risk and low-cost, yet resulted in high engagement. It got children excited about literacy, and gave a confidence boost to those whose ideas were included. Children are amazingly creative, as I have found when running my own Quest workshops - as Sara said, unlike grown-up authors who can struggle for inspiration, “children are used to having their creativity scheduled”. This regular schedule of weekly updates and challenges meant that children kept coming back, as it became part of their routine.
This shows how much can be achieved with very little, and especially how engaged and excited kids are when you get them to create instead of simply consume. And it’s so much cheaper to do it this way, as you don’t have to create all the content yourself either. Win-win! Could Canongate have saved themselves a lot of money and got kids more excited about the story, simply by getting them to contribute to the content of the app?
Value for money
Jodie Mullish, senior marketing manager of Pan Macmillan talked about a project to promote Ken Follett’s book Winter of the World. A map-based app on Facebook allowed fans to post their stories about World War II. To promote the paperback, they released these stories as an ebook, donating revenues to The Soldier’s Charity in exchange for the charity promoting the ebook. This meant that Pan Macmillan paid for neither content nor coverage - so it was more about saving marketing budget than monetising the project itself. Over 3 months they got 50,000 words submitted, from 180 participants in 32 countries, and it resulted in a big increase in the rate of new Facebook fans.
This shows how digital projects can be done successfully without spending lots of money. Similar to Fleur Hitchcock’s Story Adventure, this shows how engaging and successful a low-cost project can be by getting people to submit content.
Publishers getting into Interactive Fiction
There are various kinds of interactive fiction (IF) which people may be familiar with. There’s straightforward branching narrative - “Choose Your Own Adventure” (CYOA) or gamebook-style games. Then there’s parser-based text adventures, where you type in commands like “go north” and “open box”. Black Crown, like other StoryNexus games, works a bit differently to these. It’s kind of hard to explain, so I hope I’m getting this right, but it involves story sections (called “storylets”) which are accessed by choosing from a set of cards. The cards that are available to you throughout the game will change based on what you’ve done before. So, it’s sort of like a multiple-choice CYOA, but you can also come back and explore other strands.
Unlike many more game-like works of IF, there is no concept of failure in Black Crown, and there aren’t multiple endings to choose from. I think “no failure” is important for any type of IF that hopes to be mainstream - even if you don’t quite understand the plot, you can always get to the end of a film or book, so why should it be different for interactive content?
Another way Black Crown differs from other kinds of interactive fiction is that it is monetised. Income comes from “premium” story strands, which are locked away until you pay up. There are also so-called “living stories” - story strands where normally you might have to wait a week before seeing where they lead. If you’re impatient, you can pay to expedite these, to see what happens sooner.
Random House see three markets for Black Crown. Sci-fi fans, gamers and so-called “progressives” (which we take to mean “Guardian-reading Twittery types”). This seems a sensible audience for a publisher’s first forays into this area, but it makes me wonder how we can reach beyond these people, to create digital interactive stories which appeal to other audiences?
Publishers reinventing the wheel but the nature of the people driving the change shapes content that appeals only to their group #FIW13— Maggie Alderson (@MaggieA) May 30, 2013
The other interesting thing about Black Crown is how it stands alone. Whereas many people are embarking on digital story projects which either piggy-back off existing IP, or exist solely to promote something else, Black Crown is simply a product in itself. It has to be promoted entirely on its own merits, and it will only make money if people pay for it. This seems a bold and risky experiment. It will be actively developed over at least the next four months - can it find enough of an audience to pay its own way?
Simon Meek, founder of The Story Mechanics, talked about a digital adaptation of The Thirty-Nine Steps. Using the Unity engine allowed them to bring the game to pretty much every platform you can think of - although this presented its own challenges as they had to handle multiple screen sizes and input types, it also brings the game to the widest possible audience. They have even made the game available as a packaged item via retail channels such as Amazon, Morrisons and WHSmith.
The player can explore the environment, and interact with the world around them - for example by reading newspapers. The world is “infused” with the story - you can experience it but not change it.
Some interesting figures were shared (via pie charts, so these percentages are approximate). Combined iOS and Mac App Store accounted for 50% of sales, of which two thirds was iOS. Steam accounted for 20% and physical retail was 30%. For revenue, Steam and the App Store provide about 40% each, and physical provides hardly anything due to overheads. They have had somewhere between 10,000 and 20,000 sales over the last month or so.
These figures show the importance of multi-platform - if they’d gone for making an iPad-only app, they would only have made half as many sales. But if you want to target multiple platforms, you need to design for that from the outset.
Alyson Fielding demonstrated a project to modify physical books with electronics such as Arduinos. By embedding motion sensors into an old hardback, it can wirelessly transmit data to an iPhone which can then play speech, post to Twitter and so on. Alyson plans for this kind of thing not to be just a one-off, but to be able to provide the means to mass produce these “enchanted” books. I like the project as a piece of art, but I struggle to make sense of it as a product in itself - who is this for?
Lucy Heywood, co-artistic director of Stand and Stare showed Turning the Page, which is an installation that brings a used tourist guidebook to life. Sitting at a desk, participants don headphones and as they browse the book, image recognition software hidden in a lamp triggers sound and projections.
Tim Wright talked about The Haunter, a box of “haunted” electronics that is carried around by audience members. It knows where it is, so media can be triggered at particular locations. It connects to the web and also unlocks in one specific place to reveal its contents. Why not just use a phone or tablet for this? Well, Tim says it changes the experience - it’s a theatrical prop that’s “not yours”, it makes conversation between users, and frees up their phones for other stuff. He also doesn’t like the idea of people walking around holding tablets up - I wonder if this is so much worse than people walking around with weird boxes though, and apparently this will all be turned into an app at some point anyway.
It also has the idea of co-creation - participants can leave a layer of audio or memories for subsequent participants. This is an idea I’ve been mulling over for text-based games too - it seems like the kind of thing that could be added to the server side of Quest relatively easily, and could be a very interesting experiment, so do get in touch if you have any ideas for this kind of thing and let’s see what we can build.
The Most Important Thing
Bobette Buster did great workshop on storytelling, and there was a copy of her new book “Do Story” in the goodie bag, which I look forward to reading this week (I’m currently hiding away in rural Buckinghamshire, working on my own first piece of interactive fiction). Right at the end of the workshop, a key message:
For all of us working to do interesting things with technology in games, this should be repeated over and over again. Maybe we should chant this three times before breakfast or something. It’s all about the story. It’s all about the story. It’s all about the story.
If the technology or digital project that we’re working on is just a gimmick, there is no long term future - audiences will get bored. Books and films have stuck around because they’re great mediums for telling stories. We need to keep experimenting, but we should never lose sight of the fact that it’s the story underneath that’s important, and if the technology doesn’t enhance that, we are probably just wasting our time.
Thoughts about where we’re headed
My head was absolutely buzzing after a very interesting afternoon of talks with much food for thought - followed by a few more ideas which occurred to me as I chatted with various people over some beers afterwards. I’ve just about calmed down enough now to note down a few key thoughts, questions and conclusions.
Terminology: We’re not sure what we call this “stuff” for now, maybe “digital storytelling” is sufficient, but ultimately it doesn’t seem like such an important question. Especially as we haven’t really worked out what we’re doing yet.
Audience: How are we going to make this stuff relevant to most people - not just the hipsters with their lattes?
Creation: It seems much more effective, and better value for money, to engage the audience by getting them to create content, not just consume it.
Money: For digital storytelling to work, there needs to be a way to produce it quickly and cheaply. We’re still developing the tools. Plug alert! I have my own - Quest (it’s free and open source).
New audiences: Do these projects actually add to the audience for stories, or are these projects just cannibalising existing book and game audiences? I think it depends - I know from teacher feedback that introducing interactive fiction to a class of children can unlock reading and writing to kids who are otherwise disengaged, so I believe the potential is there to broaden audiences rather than simply giving existing readers/players a new toy.
Experimentation: It’s a time of great experimentation - will we see more experimentation over the coming years, or will things settle down? Lots of people are trying lots of different things - some things work, some don’t, some reach and connect to audiences, some things wither and die. This can mean there is a high risk and low ROI for these kinds of projects. Is it worth it simply for the art?
Story story story: It’s all about the story. Don’t get sidetracked by whizzy technology. Looking at some of the artier stuff, I wonder if they really need all that technology in the first place. A lot of things can be done manually - Lucy Heywood talked about previous iterations of their projects which worked simply with people hidden behind a curtain pulling strings - so a seriously low-tech approach may be the easiest and cheapest way to experiment.
So many things to think about here - it would be great to hear your views in the comments below.
Finally, if you’re interested in an easy and low-cost way to build cross-platform interactive stories, or want to do something more strange and experimental, then check out my Quest platform - if you want to stretch it to do something which it doesn’t currently do, I’m available! Email me at [email protected] or find me on Twitter @alexwarren.
Our latest free app is for iPad is now available - an illustrated interactive children’s book called Filbert and the Broccoli Escape, by Erik Fetler.
Filbert, the world's laziest boy, always looks for ways to get out of doing what he is supposed to do, like cleaning his room, taking out the trash, or in this case, eating his broccoli! When Filbert comes to the dinner table and sees his least favorite vegetable sitting on his plate, he is desperate to get rid of it any way he can. Help Filbert find a way to take care of this vegetable dilemma in this interactive adventure!
Erik wrote and illustrated the original book, which you can read online at the author’s website (or order the printed version). He says:
I'd just recently finished putting together Filbert and the Broccoli Escape book and wanted to do some kind of audio slideshow, or a "Choose Your Own Adventure" version. Somehow that morphed into making it an interactive adventure. Originally I was going to just string the pages of the book together, but I liked the idea of letting the player use a little more of his or her imagination.
The game was written using Quest’s text adventure mode, but I have stripped back the UI so the game is played entirely via hyperlinks, and it looks more like a gamebook. There are no puzzles as such - the interactivity is fairly light, so it’s hopefully a nice and easy bedtime read.
It would be really helpful to get your feedback of reading this interactive story - there are more books in the “Filbert” series, so any comments will really help with making the sequels as good as they can be.
Recently, more and more teachers are starting to use Quest and text adventure games with their classes. Some teachers have used text-based games to inspire children to read; others use it as an introduction to programming; others get their students to create games around a set historical theme.
The main textadventures.co.uk site isn’t particularly optimised for educational groups, however. Some teachers find it a pain to set up user accounts for a whole class full of students, and others would prefer to restrict their classes to playing a pre-set list of games instead of giving their pupils unrestricted access to everything available on the site.
For these reasons, I’m setting up a new site called ActiveLit, which is designed for schools, colleges and youth groups who want to play, create and share text adventure games.
ActiveLit is currently being built, and I’m aiming to focus the first stage of development on the features which will be most useful to the most people. So, if you are a teacher, or run a group getting children or students to play or create text adventures, please express your interest by filling in the form at activelit.com. You’re not committing to anything at all yet, and I’m not going to spam you - you’ll genuinely help me build the product that best suits you, and you’ll get to be one of the first users.
My current plans for ActiveLit are that it will enable you to…
If you’re using the Windows desktop version of Quest, there will also be a way to configure it to take its game feed from your private area instead of the main website.
If there’s anything else that would help you with running your text adventure group, please let me know via the comments section on the ActiveLit sign-up form.
Wondering how to use text adventures and Quest in the classroom? Take a look at the Education page - and if you’re using Quest with your group, please let me know and I’ll add it to the examples.
Any questions or anything else I can do to help, please email me [email protected].
In April 2012 I marked a year of working on Quest full-time by conducting my own “Annual Review” (Part 1, Part 2). Well, er, 13 months have elapsed since then, which makes it the perfect time to do it all again.
So, what have I been doing for the last 1.0833 years? What’s going well, what’s going badly, and where is all this going?
A quick recap of the last 13 months
Unlike last time, I’ve not actually been working on Quest 100% full-time. For the last 5 months I have, but between May and November 2012 it was relegated to spare time, and the occasional day off, as I took up some contract C# developer work to top up my bank balance.
Usage of the site has increased over the last 13 months:
So, a nice bit of growth there but nothing explosive. What has truly gone up hugely though is the number of games on the website. 13 months ago, we had 380 games on the website, of which 76 had been added in the previous year. Now we have 980 games on the website in total - so 600 games have been added in the last 13 months. Pro-rated to a 12 month figure of 553, that’s an increase of 628% in game submissions.
Note that in April 2012, I added the ability to publish games privately, which means not all of these 600 games are public. In fact, 297 of these are private (“unlisted”). But even if we only count public games, that’s still a big increase - 303 public games in 13 months, which if pro-rated to a 12 month figure of 280 is still a 268% increase.
The web version of Quest is being well used, with 7300 games started since it was launched in March 2012. 331 of these have been published. This is slightly over half the total number of games published on this site in the time it has been available, so it shows that it’s about equally as popular as the desktop version.
What went well
I’ve really enjoyed running Quest workshops for the first time during the last year. It was amazing to see just how creative children are, and how quickly they can pick things up. Most of the attendees had never heard of text adventure games before my sessions, but within an hour or two they were creating their own games, setting their own puzzles, and sharing their creations with their friends.
It has given me a lot of confidence that Quest is a great way of getting kids into programming, getting them reading and getting them writing. They can get a lot out of it even over one session.
It’s also been really positive to see the site stats going up, loads of new games being created, and the forums getting busier. The new-look website which I launched a couple of weeks ago is doing well - it looks cleaner and more engaging to me, but more importantly the feedback is good and early indications from Google Analytics suggest people are staying longer on the site too.
Finally, adding Gamebook mode to Quest turned out to be a good idea - it has enabled significantly more people to create an interactive story, and is I think largely behind the big rise in submissions over the last year. It feels like this may well be the primary game type in the future, which is why I made significant enhancements to it a couple of months ago for Quest 5.4.
A mixed bag
For smartphone and tablet apps, there has been a mixture of good and bad results. It’s difficult to get publicity, so while there has been some good coverage - it was great to see First Times listed as one of the Guardian’s 30 best Android apps of that week …
If you, like me, pine (a bit) for the heyday of text adventures, you should definitely check out First Times. It's a horror text adventure that kicks off with you waking up in a morgue, and without giving the game away, it's genuinely creepy as you try to figure out what happened. If you're young enough to be baffled by the term "text adventures", ask your dad (but go north, open the door and hit the elf with the sword first).
… and it was also an IndieGames freeware pick, but after an initial flurry the “long tail” is indeed long, and shallow. On iOS, First Times went from 2,280 downloads in March down to 252 in April - which is actually slightly less than the older app, The Things That Go Bump In The Night, which had 313.
Even so this is much better than the sad tale of Aventura Pirata, a Spanish-language game which only had 27 downloads on iOS in April.
Interestingly, by far the most successful app I have released is the Windows Phone version of The Things That Go Bump In The Night - 1,168 downloads in the last month, and this is 9 months after its release. This is indicative of the decreased competition over on the Windows Phone Store, I think.
Room for improvement
It’s been great to add new translations for Quest into Italian, Portuguese and Romanian - bringing the total number of languages supported to 9. But very few games in these languages have been published yet - which is a huge shame as I know that text adventures would be a great resource for learning foreign languages. Clearly there is more work to be done here, both to make the Quest editor more usable by those who don’t speak English, and to set up the website to handle non-English games better - which may be as simple as adding language tags for easier searching and filtering.
I was excited to hear about the Nesta Digital Makers open call - here was a body offering funding for projects to get young people making things, “to become creators, not just consumers of digital technologies”. To my mind, Quest is absolutely perfect for that. So it was hugely disappointing not to be shortlisted - or even to receive any feedback. It’s understandable given the huge interest Nesta had in the scheme, but it makes me reluctant to pursue this approach for getting Quest to pay for itself, as it takes time to put together these kinds of funding applications.
Instead, selling products and services around Quest sounds far more sustainable and less risky to me. I know that there are schools out there using Quest, and offering services to them is one of my main focuses for the coming months. One of my current “areas for improvement” is simply identifying who these schools are. I can see from my web server log files that there are regularly groups of users from the same IP address using the web-based editor and playing games on the site - it would be great to know who you are, so please get in touch!
What people are saying
That’s what I think, then - what have other people been saying about Quest over the last year-and-a-bit?
Exploring Interactive Fiction (IF) design systems such as Inform7 and Adrift, I have found Quest to be probably the best for small projects ideally suited to K12 education.
IF gets students writing. A lot. I can see cogs turning and imaginations sparking. I get IF stories about zombies, Harry Potter, Area 51, London Zoo, zombies, Haunted Houses, and er..Manchester City… Students HAVE to write descriptively, as they create a world from nothing and fill it with people, places, creatures and things from their own imaginings. ... It’s programming by stealth... It certainly sparked an interest in programming in a number of students... Try it yourself. Even better, get your kids to try it.
(It’s well worth your time reading his full blog post on getting students into writing interactive fiction)
It’s pretty amazing what can be accomplished so easily now, with programs like Quest. Yes, I am in love with this program, and therefore, I could go on and on about it and how awesome all its features are and the like until I am blue in the face
Unlike Twine that can almost exclusively be used for choose-your-own-adventures and Inform 7 whose attempt at a natural language scripting environment can alienate, Quest uses a menu-driven system supported by a very simple scripting language. Truth be said, most basic stuff can be achieved via almost intuitive pointing-and-clicking, meaning you can have a simple first game ready in minutes.
Quest even helped out at a party:
Want to make your own text adventure game like Mr. Geek? You can use Quest, a free online program that makes it super easy!
Anybody got anything negative to say? To me, constructive criticism is more useful than a nice slap on the back. I’ve not actually seen much in the way of “bad press” this year, but one can always rely on forum member davidw for a choice quote. Over on the Adrift forum he writes:
Quest may attract the lion's share of the IF market right now, but it still doesn't produce much in the way of good games. "Quality over quantity" after all.
Personally, I am perfectly happy for most of the games on the website not to match up to davidw’s standards. Some poor quality games are, I think, the price to pay for giving people accessible tools with which to build things and express themselves. Many users are young and are trying out writing and programming for the first time - we’ve all got to start somewhere. This site relies on user-submitted reviews to highlight what’s good - and authors value feedback too. So whether you like a game or not, be sure to leave a review!
I found Quest – the text adventure creator that enabled me to just go ahead and create what was bubbling inside me. Six feverish days of writing later, my adventure game was born!
The game was been played by thousands of people over just a few days. As Global Voices covered it:
A timely online game and mobile app that packs humorous punches at Pakistan's young and rich voters, some of whom say they will bravely dodge bombs to cast their vote next week, has been played by thousands of people. Karachi-based journalist Jahanzaib Haque created the game “It's election time in Pakistan: Go rich boy go!” ten days ago on April 21, 2013. The months leading up to the 2013 elections have been rigged with violence, dozens of people have been killed in bombings targeting campaigns, rallies and crowded places. Last month the Pakistani Taliban warned voters and vowed to step up attacks against secular politicians.
Now this is the kind of thing that excites me - give people tools which are easy to use, and see what they come up with. People who would never have created any kind of computer game before now have the ability to do so. This could be the beginning of a very interesting journey.
Not just Quest that’s growing
Over the last year, it seems interactive fiction has started to take its first steps towards the mainstream. We have companies like Inkle releasing apps, and suddenly much talk about Twine. Playfic brought Inform into the browser and new platforms like Versu emerged. Crazy ideas are being tried out - like combining text games with something like Pinterest to create Dio. StoryNexus is powering a game from book publisher Random House which features in-app payments allowing you to do things like “expedite the narrative”. And check out the Choosatron. Stuff is happening here.
I think Quest occupies a unique position among all this. It encompasses both typing-based “old-school” text adventure games with a parser, and a newer style which is emerging based on hyperlinks that is closer to “Choose Your Own Adventure” than “Zork”. Will one style win over the other? Who knows - and I’m not going to be the one to prescribe exactly how people should interact with your game. We’re all still figuring this stuff out.
Perhaps more importantly, Quest is open source. Anybody can get involved in the project, contribute code or translations, or even fork the code if they don’t like where it’s heading - go ahead, build your own interactive fiction platform, even make it closed source and expensive if you want. You are allowed to do this by the licence, and you’ll save yourself a load of work.
The open source-ness also gives you security - Quest is not locked up inside one website, ready to disappear when a company runs out of money or their staff get acqui-hired. Even if textadventures.co.uk disappears or I spontaneously combust, the source code for Quest is available to be run somewhere else, and the games are all downloadable.
Finally, even though Quest is free, it is actively supported and maintained, and it is continuing to grow and explore new directions. Need help, or got a mad idea for a project where something like Quest might be useful? Get in touch - [email protected] or @alexwarren.
I’m still funding Quest almost entirely out of my own pocket, and I have spent most of the last couple of years working on it, in preference to working on things that would actually earn me some money. I’m far happier alternating between Quest and contract developer work - and until I can make Quest pay for itself it’s the way things have to be, of course. But I would like to bring the two together, and work on projects where Quest forms a part. So do get in touch if you think there’s something we can work on together.
Another way I plan to fund Quest is by selling additional services, and right now I’m working on some extra functionality to help schools and groups using Quest - take a look at ActiveLit for more details, and expect to hear more about that soon.
My other project for the next few months is to finally build my own game. Yes, it’s been 15 years since I started working on Quest, so it’s probably about time. Although I’ve been collecting various thoughts about storytelling on this blog over the last year (see here, here and here), I’ve come to the realisation that it’s probably better to stop talking hypothetically about the kind of stuff you could do in Quest - I should show some of my ideas in an actual game instead.
I am especially looking forward to davidw’s review of it.
This version is a bug-fix release - you can see all the closed tickets on CodePlex.
Thanks to Dick Aivia for updating the Dutch language template for this release.
One very minor enhancement in the desktop version - when running a game from the editor, you now have quicker access to the HTML Tools via the toolbar or by pressing F9.
Also one minor breaking change - if you have any exits that run scripts instead of automatically moving the player, you will need to tick a new checkbox on the exit editor “Run a script (instead of moving the player automatically)”.