Firstly you'll need to try and get back into FlashMx after a few weeks of not using it.. the shear amount of stuff you've forgotten is needed as a catalyst for distraction.

Secondly you'll need access to the internet,

Third, have something in the back of you mind that needs sorting out, in the following case it's CAD software for the Mac, at the moment is seems non exsistant.

and lastly have something really cool to do instead.

 

OK. the method..

Get into Flash with the following photos.

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These are two photos of a milling machine as found in a general DT workshop.

the difference between the two photos is that one has the guard down the other up.

Fairly simple and you can see where i'm going with them.. the'll go into flash as another quick fire challeng, "whats wrong" "click it" "next level" type thing

Before they can go into flash, we need to get rid of the crap in the background and replace any white space with a transparent background, called the alpha channel... i think.

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This take about an hour to do the two photo.. quicker if you're organised, infinately long if you're not.

With these two images, open flash and get really confused... realise that you've never done this type of action before and start looking on the net for a solution, find a CAD program that is used for MAC, download it and get a pleasant surprise when you see its a Virtual Lego builder

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spend a few hours building stuff and wonder if there is anyway to up the image quality with lighting dynamics.

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Find that the program you need requires two other programs and a separate utility to expand them both.

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 Get back to Flash when you realise that you're not achieving anything... although now you're thinking of different applications for the newly found software and you want to incorporate it, or at least make a Lego movie

ok so the mill..

eventually found out how to do the action by looking back at my blog and comparing notes to the past scenes I had done.

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Now I'm getting distracted by this blog....

off to play cooking mama

 

 

 

 

Know Your Island

This is the name of the game we have chosen to put forwad as our Google Earth team project.
Its aim is to test the user's geographical knowledge of islands.
However instead of just looking them up on a world map in this exercise you will be given the opportunity to 'fly' along parts of or its entire coastline.
The learning objective is to concentrate on the coastal features as the user will be traveling a predetermined path for about a minute. Certain geographical features such as the extent of agricultural land, rocky coastline, sandy beaches and marshland will provide important clues, as will the degree of habitation (towns/cities) and the presence of ports, bridges or jetties.
The game can be played individually but also as a group, competitively, based on a point score:

Rules
The rules are as follows:
1. Click on the file link at the bottom and play back the flight tour; if you can't work out the island repeat the flight, a maximum of four times
2. If you have not identified the island after the fourth time select the 'Places of Interest', and 'Borders and Lables' option from the Layers feature in GoogleEarth and try to identify the island using the landmark names
3. If you have not been able to identity the island at this stage start 'zooming out', one incremental step at a time until you know its name.
Points awarded as follows:

1. If you recognize the island on the first tour you get 10 points, if you recognize it after the second run you get 8 points, at the third attempt 6 points and at the fourth time you get 4 points.
2. If you need to switch on the landmark layers in order to identify the island you get 2 points
3. If you have to make use of the 'zooming out' option you will get for each incremental 'zooming out' a penalty point, for example if you zoom out one increment and then recognize the island you get get -1 points, if you need to scroll out three increments you score -3
4. Note down the score for each island you identify and move to the next one
5. Total the number of all points during your island hopping to obtain a final score
6. The person with the highest score wins

P.S. Is is recognized that there is a strong local bias within this game hence the choice of islands should be adapted to the nationality/residency of the player. For example local versions of the game may be created for particular countries such as Greece, Spain or Denmark.

Target group: GCSE to A-level Geography students
Below is the example of the first island tour, called Island1. Click on the file to launch GoogleEarth:

island1.kmz  

I chose Agatha Christie's "Death on the Nile" - the computer game that is, not the book, film, play, an episode from the TV series or, more recently, a graphic novel that have lent itself to the Christie brand - for two simple reasons:

1. I like murder mysteries and this story is very familiar to me;
2. I wanted a "gentle" re-introduction into computer gaming having been out of it for nearly 20 years. 

So, in many ways, I took the approach that Gee (2007) originally adopted and went for something that would "interest" me. If you look at Berens & Howard's (2001, cited in Newman, 2005, p. 12) gaming genres, this game sat firmly in the platforms and puzzles domain - though I would say more puzzles and less platforms. The game is definately not roleplaying, even though you are playing Hercule Poirot and it's definately not a first-person game.

Let me explain. my idea of a roleplaying game involves interacting with the other characters - you don't do this in the game. Firstly, there are short black-and-white silent movie moments where the characters "talk" via text at the bottom of the screen, in other words there are no spoken words. Secondly, the "interviewing" of the suspects also uses this silent movie approach whereby you click on the "next" button to read the "conversation" that is going on. So immediately the game isn't immersive as you are not acting and interacting, you're just reading text from the screen.

The first-person approach allows you to see through the eyes of the character and allows you to interact with objects and people. What the game does offer is 24 rooms with "hidden objects" that you have to find over 14 scenes. You are given 25 minutes per scene to find the objects that appears on the list of things to find. Some will be clues to the murder and others are just thow-away objects. After each scene, there's a more traditional slider-type puzzle to solve. So the game is promoting keen observation skills and logical thinking. I managed to complete the entire game in one sitting that took about 5 hours to complete.

Although I had successfully completed the game, I didn't feel any sense of satisfaction from completing it as I didn't feel that the game particularly challenged me; this well-known story was rather secondary and somewhat superfluous; the characters were non-existant as if they were devoid of any personality - it would have, I think, be different if the characters were allowed to "talk" so that their "personalities" were able to shine through the words that they "spoke" and the "accents" that they used to speak them. It would seem that I wanted some that went a little beyond the "gentle" re-introduction that I thought I needed. The game wasn't animated enough, it has already been documented that action-based games are more engaging that still-based games, however nice the graphics and music should be.

I should say that a couple of years ago I did buy one of those interactive DVD games that you play on the TV. I purchased Agatha Christie's "After the Funeral" which was intersperse with video clips from the TV show, games and puzzles and linked together by David Suchet playing "Hercule Poirot". Whilst this game is not action-based like the computer game, it had the added bonus of the video clips and David Suchet as Hercule Poirot talking directly at you, which gave the impression that you were in the game rather than outside of it. There is definately something to be said for computer games that have animated action sequences rather than still ones.

References

Gee, J.P. (2007). What Video Games Have To Teach Us About Learning And Literacy (Revised and Updated Edition). New York, Hampshire: Palgrave Macmillan.  

Newman, J. (2004). Videogames. London: Routledge.

Although I have been keeping up with my course readings, writing regular posts into my blog and doing a spot of game creation using Google Earth, this course has given me an opportunity, or is that licence?, to reacquaint myself with computing / video / arcade games that I haven't really touched since my very late teens.

My peers have come up with some rather wonderful web-based games that include the sublime Grow v.1 by Eyemaze and the wonderful Fantastic Contraption; both of which enchanted me and brought out a child-like wonder in me (not seen since 1999) much in the same way as the "Living Books" CD-ROM series did in the early 1990s with Mercer Mayer's "Just Grandma and Me" (1992). Then there is the ingenious Wiki Paths: The Great Link Race, described as a "Wikipedia-based scavenger hunt game" though I would say that it would have more in common with the "six degrees of separation" idea and would seem to lend itself nicely to Prensky's suggestion that the, now irrelevant, digital native have hypertext-like minds - all I can say is that I found it frantic especially as you are up against the clock.

For my part, I have also reacquainted myself to the classic text-based "The Hitchhikers Guide to the Galaxy" game which is now online over at BBC Radio 4 and graphical. I also did something that I haven't done since my late teens and that was to buy some computer games for the PC that were on sale. Like Gee, I went for something that interested me and were of very different gaming and literary genres - Agatha Christie's "Death on the Nile", "Lost" and Clive Barker's "Jericho".

Tune in tomorrow for a report on my experiences with the "Death on the Nile" game.

Week 4 of the course saw the teams being given an exercise that involved building a game around the Google Earth platform. Team 2 member, Nicholas Palmer, got the ball rolling by providing a useful mind map of the task at hand - this instantly gave us a quick, ready visual aid.

There was some suggestion that we should have some learning outcomes, which I, personally, was not keen because a) we didn't have an idea for a game; and b) is there such a thing as attributing learning outcomes to a game? attributing rules to a game, yes! but learning outcomes??

A quick Google search trawl came up with the following resources that might provide us with some inspiration for a game, included:

• Google Earth blog
• Google Earth Outreach
• Google for Educators
• Top 10 Games with Google Earth
• Google Earth Community

Marie Leadbetter suggested that we should meet up "virtually" using Skype to discuss the project and Bill Babouris gave the team the idea for a game based up the recently conceived New Seven Wonders of the World - the game idea was tentatively centred around the notion of a "knowledge quest".

On Wednesday evening of Week 4, the team met via Skype to thrash out the aims and objectives of the game and to decide who was going to contribute to what. It should be said that this was the most amazing brain-storming, project management session ever conducted virtually. We went from an idea to a fully-realised project plan in 1.5 hours.

One of the ideas we liked was a quiz that was created by My Wonder World on Asia. The quiz was created using Keyhole Markup Language (KML) which is an "is an XML-based language schema for expressing geographic annotation and visualization on existing or future Web-based, two-dimensional maps and three-dimensional Earth browsers" which I had been playing with a couple of weeks prior to the team project. Unfortunately, we were not able to see how the KML file was constructed as it had been compressed into a KMZ file. Bill Babouris came up trumps again for finding a KMZ-KML converter that us to uncompress the file to see how it was constructed.

It became very clear to me that the quiz would be very doable and that I probably should be the person to code it as I had already been using it as well as having a long and varied computer programming background. All that remained was to identify the tasks and action points to be done and to assign each one to a team member. By Sunday, all questions, introductory text, images, coding, testing was completed.

An interesting topic that came out of the discussions was the notion of feedback and how it should be presented to the user. We felt that terms like "right" and "wrong" seem too hard and final and that we should endeavour to use more softer, and less negative, language in the feedback boxes. This team exercise turned out to be a very fulfilling and fun ride from "Oh, what are we going to do?" to "Ta-da, it's finished".

Let's get one thing clear. I've never read anything by James Newman before other than "Chapter 2: What's a videogame? Rules, puzzles and simulation" - without reading Chapter 1 or a preamble, it's hard to say where James Newman sits on the pantheon of videogame scholars.

To say that this chapter iritated and angered me beyond belief would be the understatement of the millennium. The problem starts with defining what a videogame is. The working, though quite broad, definition offered by Frasca (2001, cited in Newman, 2004, p. 27) worked quite well for me. Frasca says that a videogame is:

"any forms of computer-based entertainment software, either textual or image-based, using any electronic platform such as personal computers or consoles and involving one or multiple players in a physical or networked environment"

So why-oh-why is Newman even mentioning the likes of Furby or Sony's AIBO as being possibly thought of as a "videogame" because they are computer-based. Well, if you followed that line of thinking, you may as well chuck in the microwave and the washing machine to boot; after all, they are computer based as well you know! He then tells us about the two schools of thought on videogames, the narratologists (story telling) and the ludologists (game playing) arguing what makes a videogame what it is today. It's at this point that I lose the will to live as for me, the very nature of videogames lies in the term itself "video" (as in screen) and "game" (as in to play). This argument to define "videogame" becomes rather belaboured and futile. Even the deployment of game genres (Berens & Howard, 2001, cited in Newman, 2005, p. 12), those of:

• Action and Adventure
• Driving and Racing
• First-Person Shooter
• Platforms and Puzzles
• Roleplaying
• Strategy and Simulation
• Sports and Beat 'em-ups 

becomes belittled and not worthy of scholastic scrutiny - and that is what is at the heart of all this, dare I say it, nonsense. Making videogames a "respectable" subject discipline that is recognised for it's academic rigour and scholastic standing. I know some of my more cynical colleagues with scoff at Newman for using his book to justify is monthly salary - well I don't know about that.

The videogame and the various genres does exactly what it says on the tin - that is the nature of the beast. Alongside the videogame, sits the arcade game, the slot-machine game, the mobile device game, the text-based game, etc. as these are part of the same computer-game based continuum. It's the chain of gaming evolution that can be traced and catalogued. Upon this evolutionary scale are those who have survived and those who have become extinct; there are those that have evolved and metamorphised into some new and those that have made minor enhancements and are instantly recognisable.

Most of the reasoned arguments came from Newman's references and not Newman himself (but of course, I could have entirely missed that for being impossibly annoyed with his "scholarly" work). I put this question to my partner's two sons who are both ardent gamers. I asked them: "what is a videogame?" They said a videogame should be:

• entertaining
• challenging 
• have good characters
• have a good plot / story
• good graphics (which would suggest that it is screen based)
• good sound / music
• totally immersive (my word, not theirs, but that is what they meant)
• engaging

I've rattled off a list of characteristics that get mentioned in both Newman's and Gee's work as to what defines a videogame. To say that Newman's chapter iritated and angered me beyond belief would be the understatement of the millennium!

References

Gee, J.P. (2007). What Video Games Have To Teach Us About Learning And Literacy (Revised and Updated Edition). New York, Hampshire: Palgrave Macmillan. 

Newman, J. (2004). Videogames. London: Routledge.

Before I launch into my (recent and past) experiences with Pac-Man, the arcade game developed by Namco, I would like to say something about this week's reading, Chapter 7: "Video Games" from Greenfield (1984). Greenfield (ibid, p. 88) makes an important statement by saying that "children with a television background develoop a preference for dynamic visual imagery" before going to say that "visual action is an important factor in attracting the attention of young children to the television screen"; from this statement Greenfield goes on to suggest that "moving visual images" in arcade / video games is one such reason for the genres popularity - more so than those of text-based or "still visual image" games.

Greenfield (ibid, p. 89) goes on to suggest that children pick up and assimilate a lot of audio-visual information from the action sequences depicted on the TV screen. This is an important statement in that it suggests that children weaned on TV have the potential to be better at video games that those "generations socialised with the verbal media of print and radio". A couple of thoughts struck me here: Firstly, children are surrounded by movement and colour in real life, what is depicted on the screen could be construed as being an extension of that - am I stating the obvious here? Secondly, could we possibly hypothesize that children "socialised with the verbal media of print and radio" might have an overly developed imagination? People talk of imagining how characters and scenes from a book that they are reading are "played over in their head".

Greenfield goes on to suggest that other aspects that contribute towards the popularity of video / arcade games include:

• an active participatory role;
• a sense of active control;
• presence of a goal / task;
• automatic scorekeeping;
• audio effects;
• randomness;
• importance of speed.

Although Greenfield doesn't explicitly express this, but we can see affective elements come into play with games such as sound (ambience) and visuals (information). The other element that Greenfield alludes to, which has been expressed by the psychologist Eric Erickson (Gee, 2007, p. 59) is the notion of "psychosocial moratorium" or a safe environment in which the user can take risks where the real-world consequences are minimal.

I'd like to think that I am one of Greenfield's generation of TV kids as I was pretty much glued to that cathode ray tube during the 1970s and 1980s. However, I was also a very voracious reader during the 1980s, eschewing my paperback companion to that of the "idiot's lantern". It came as a surprise to me to read that Pac-Man was a lot more complex and nuanced than I first imagined. The game, superficially at least, requires the player to move around the maze, avoiding the ghosts and eating up everything in it's path. What is not so obvious to the player is that Pac-Man operates on a number of "hidden rules" that can only be deduced from observing what is going on in the game; such as: each "ghost" has a particular characteristic behaviour and certain sections of the maze has a particular behaviour that could enhance or impede Pac-Man's progress.

Despite playing this game on and off for a number of years, I didn't realise that there was more to the game than meets the eye. I have always said that I couldn't "read signs" - so this could be a cognitive dysfunction on my part? Or is it because, I prefer the medium of print to that of televisuals?

References

Gee, J.P. (2007). What Video Games Have To Teach Us About Learning And Literacy (Revised and Updated Edition). New York, Hampshire: Palgrave Macmillan. 

Greenfield, P.M. (1984). Mind and media : the effects of television, video games, and computers. Cambridge, Mass.: Harvard University Press.

Gee is such an absorbing read and lots of wonderfully quotable nuggets like:

"But all learning is ... learning to play 'the game'. For example, literary criticism and field biology are different 'games' played by different rules. (They are different sorts of activities requiring different values, tools, and ways of acting and thinking; they are different domains with different goals and different 'win states')" p. 7

I have only just finished chapter 2, but I was interested in his notion of "semiotic domains" which he describes as "an area or set of activities where people think, act and value in certain ways" (p. 19). These "semiotic domains" employ a range of modalities (or multimodalities in this case) which would encompass the following:

• oral or written language
• images
• equations
• symbols
• sounds
• gestures
• graphs
• artifacts, etc

These modalities are embued with specific meanings which are communicated in very distinctive ways - in some respects I see these as being very similar to the idea of transliteracy which Sue Thomas (of PART) defines as:

" ... the ability to read, write and interact across a range of platforms, tools and media from signing and orality through handwriting, print, TV, radio and film, to digital social networks."

Transliteracy, then, becomes an umbrella term to include the likes of literacy, digital literacy, media literacy, information literacy, visual literacy and computer literacy (to name but a few). The idea of images and symbols that have become to represent real-world objects is as old as neolithic man and used by the ancient Egyptians in the form of hieroglyphics (we can include other cultures that made use of glyphics and pictograms here). It is interesting to see how symbols and imagery has come full circle with the power of the pixel and the ascension of nu-hieroglyphics like semacode and data matrix code which contain information tucked away within those barcode-like symbols and can now be captured and translated by mobile phone technology. What would the cognitive archaeologists make of these symbols in 2000 years time I wonder?

References

Gee, J.P. (2007). What Video Games Have To Teach Us About Learning And Literacy (Revised and Updated Edition). New York, Hampshire: Palgrave Macmillan.

I had deliberately left it quite late in the evening last night before venturing into Second Life (SL) as I wanted some time on my own to refamiliarise myself with the SL environment, the user interface and to ensure I had the latest update from from SL as I knew that there would be a Second Life Treasure Hunt game commencing next week. I also wanted to ensure that I had Team 2's SL contacts added to my SL contacts list.

I didn't get too far when I was approached by Dagma Kiranov (a.k.a. Iris Bosa) who had also popped up late into SL. After about 20 minutes typing messages between eachother - that strange typing motion that the avatar undertakes to inform the other user(s) that they are typing has been likened to "stroking the cat", Iris added her own metaphor by suggesting, given Wray's costume, that it looked like I was "playing the piano" - Iris asked "can I change my voice?". This struck me as an odd comment to make until I realised that she was talking about the speech feature within SL that was added several months ago. I plugged in my microphone headset and began to talk to Iris, like one does with Skype and presumably using the same kind of Voice over Internet Protocol (VoIP) technology that Skype uses. It became clear what her question meant.

In Second Life, and indeed in other virtual worlds, the user invests a lot of time and effort to create their avatar and their "virtual" identity in a way that they want to be seen and perceived by other users within that shared world. One was able to further enhance that identity with the kinds of words and phrases that they used to talk to one another. In my mind's ear, I can "hear" Wray talking with a deep, rich, urbane voice, not too dissimilar to that of Christopher Lee's voice. But of course, the experience that the other user gets is not that of Wray sounding like Christopher Lee, they get Wray sounding very Kentish and not terribly deep, rich or urbane - you could almost hear the record scratch at that moment as reality breaks into the virtual world and these whole persona and identity that you have carefully created begins to unravel before your eyes.

Whilst there has been a lot of work in identity in terms of roles, gender, sexuality, demographic variables; I am not so sure whether any has been done on voice as an identity construct in terms of accent, dialect, pitch, etc. The inclusion of the speech feature within SL is a very interesting addition to the software's capabilities, but I wonder if it will have a detrimental effect on one's virtual presence and identity?

As part of the "Introduction to Digital Game-based Learning", this semester's cohort have been made up of 4 teams of 6 people who will work together as a team to either construct game-based tasks (for others to participate in) or take part in game-based tasks that have been given to us, as well as giving presentations to the other teams.

I am part of "Team 2" who consist of:

• Bill Babouris
• Myself
• Chris Hambley
• Eleisha John
• Marie Leadbetter
• Nicholas Palmer

I am very excited about the potential of group-based activities where the participants are at a distance and working remotely using a range of technologies like discussion boards, Skype and Second Life. It would be good to try a develop some kind of "good practice" guide that can be passed on to others who are also planning on this "virtual" approach to group work.