On the importance of objectives for game, learning and activities design

“A key challenge when designing a game for e-learning is ensuring that the goals within the game support to the learning objectives and not detract from them.” (Whitton, 2010, P.90)

The importance of a well defined 'learning goal' in the design process became painfully apparent during the third and fourth week of the course. Somewhere during the activity of designing a Learning game using Google Earth group 2 focused more on the interactions (activities) then achieving the learning goal. The reason: a learning goal was not defined.

I think the main reason behind this was the reversal of the design process: instead of asking - “Can a game help me deliver content (or concept) X?“ the question leading the group was: “Design a game with a learning goal”. The time scale made the problem worse – instead of designing a coherent game with a story threading through it the group focused on specific gaming like activities.

Gee claims that “Good game designers are practical theoreticians of learning” (Gee, 2004) – especially if the reverse is true one would not go about designing a lesson without having defined the learning objectives first.

Scot Lake from the BrandonHall discusses the difficulty of introducing the 'game' idea into the workplace and instead suggests the gamification of specific experiences: as an example he provides loyalty cards – the idea of getting 'points' for specific Activities (in this case shopping with a specific store) is then used to encourage us to do more of that activity (and of course there are also 'prizes').

The idea of using commercial-off-the-shelf games has been discussed in different publications (Gee, Whitton, Malone etc) but, while existing off-the-shelf games can be included in day-to-day learning (in schools or universities) the same cannot be said of the workplace (with a few specific exceptions). Regardless of the scope of the planning (single activity or a complete game) it is hard to ignore the Importance of object definition.

References

• Lake, Scot “Gaming Mechanics” http://brandon-hall.com/blogs/learning/ Accessed: 25/1/2012

• Whitton, Nicola. 2010, “Learning with digital games”, Routledge, New York

• Gee James Paul, 2004, “Learning by Design: Good Video Games as Learning Machines”, available at: http://www.academiccolab.org/resources/documents/Game%20Paper.pdf

On the importance of visual quality

Both Greenfield and Gee talk about the importance of visual quality in video game. As part of the online discussions accompanying the course I put this point as to be one of the issues I have with second life as a gaming platform. While I have previously written about the demographics of second life based on age the issue of visual quality opened up a new interesting angle for me.

I have been a part-time gamer for a while now – I started with the traditional consoles such as Atari And today focus mostly on PC based games. For me a game with poor visual quality provides a limited amount of what Newman refers to as the player's sense of 'being there'.

An objective(?) analysis

Armed with this point of view I set out to Objectively compare second life with the games that I prefer to play, was I biased? Or was I missing something? I started with an objective test, a screen-shot taken in both environments:

In my personal opinion it is clear that second life graphics are not as good as is technologically possible. It is important to note that both shots were taken at a ' typical' location, without any preparation made ahead of time (other than adjusting the level of display graphics).

The source of the problem (?)

The “willing suspension of disbelief” is a critical element In the enjoyment of a video game (this can also be applied to books, films etc). Into larger amount of 'suspension' needed the less enjoyable the game. This becomes a specific issue when games have to compete with other visual media (such as other games, TV and film) – be for real-time 3-D visuals were possible game producers would overcome this by using 'connecting sequences' that were shot with well-known actors – to give the game a film like quality. In the past few years regular display cards have been able to crunch the numbers necessary to create 3-D images in real time this means that the messy change of media type (from computer graphics to cinematics) is no longer necessary.

Obviously, there would be a greater need for this type of 'self deception' in an audience that is more frequently exposed to the visual media used in TV and video games, in other words – old people (who have less exposure to video games) would feel more comfortable with lower quality graphics because of the smaller need for the suspension of disbelief. This tied in very nicely with usage statistics available from Linden labs. In 2008 about half of the population In second life was above the age of 30:

However the even more interesting piece of data was the average usage per month based on age:

Source: banana verse

While there is no doubt that other elements affect these numbers, how big an effect does visual quality have?

References

• http://holyroodpark.net/adegani/weblog/3541.html

• Wikipedia entry on “the suspension of disbelief” http://en.wikipedia.org/wiki/Suspension_of_disbelief

• “Know Your Customers: Second Life Demographics” http://xdfusion.wordpress.com/2009/04/30/know-your-customers-second-life-demographics/

• banana verse

On the definition and form of games

Defining games

As part of the introduction to digital game-based learning course I was keen to start by establishing some ground rules for the discussion. The cornerstone to these would be the definition of a 'game' (which would then give way to the definition of a digital game). The importance of definitions in any scientific endeavour cannot be underestimated. The quote I have used in the past makes the point eloquently:

“Controversial and unsystematic terms are the cause of serious problems in examinations of learning situations. Without a consistent vocabulary, it is difficult to relate investigated learning situations to each other and the results are confined to single cases. ” (Zürcher, 2010)

If this is the case, unless we define what a 'game' is we will be unable to have a coherent discussion. A good examples this is the fact that one of the threads discussed the 'game of life'.

Between gaming and playing

One of the first things that I ran into when thinking about the definition of games was the difference between the terms 'playing' and 'gaming'. For example, 'gamers' are individuals who spend considerable time playing video games and, in some cases, invest considerable amounts of money in the hardware used for this activity. On the other hand, children at schools have 'play time' (and we also have 'supervised play').

Looking at the dictionary definitions are helped a bit:

I find it interesting that the emphasis in 'play' is on enjoyment and recreation where as the emphasis in 'game' is on rules, skill, strength or luck. This to me defined a match more rigid and planned game and a much more flexible and open play. The competitive element mentioned in the definition of game indicates that they would typically be an objective, the attainment of which is defined by the rules. This raised a few questions for me – is there no objective in 'play', Can it not have a serious purpose? Can a 'game' not be enjoyed?

On the importance of games and play

Maria Montessori mentioned the importance of experiential play for preschool children – experiencing different materials, different objects and playing with every day objects such as opening and closing buttons and zippers. Greenfield mentions the importance placed by developmental psychologist Piaget on the development of motor skills.

The form of games

Surprisingly something that these definitions tied very nicely into was the manner in which Zürcher tackles the definition of formal and informal learning; This, from the very same article I used to explain why a definition is needed in the first place.

It then struck me that a clear distinct line can be drawn between the different forms of learning Zürcher deals with and the two definitions that I have been struggling with:

Play – informal learning

Game – formal learning

Children playing with zippers and buttons in a Montessori preschool do not have an objective they need to achieve and are not abiding by any rules – they are learning from experience. In a similar manners city design students using Sim City can understand how different variables interact in a city environment. Rules can be used to transform play into game (so a game can be built with Lego bricks etc). Zürcher defines the relationship between formal and informal as a scope rather than two opposites and so is the case between play and game.

My general feeling is that play can be used where there is less need for testing and monitoring and games when there is greater need to monitor skill and improvement (its easier to watch a learner vocabulary grow as their scrabble score improves but harder to understand how much better their imagination has improved form playing with lego).

The final question for me is – can we use the notion of formality to decide between gaming and playing? And can we go further and use it to design the actual activity...? That's a whole other post.

References

• Zürcher, Reinhard (2010). 'Teaching-learning processes between informality and formalization', the encyclopaedia of informal education. [www.infed.org/informal_education/informality_and_formalization.htm. Accessed: 20/1/2012

• Greenfield, Patricia M. (1984). 'Mind and media : the effects of television, video games, and computers'. Chapter 7 pp. 86-114, Fontana Paperback, London

• Google definitions, accessed 23/1/2012

Three years ago, I was involved with a project in East Lothian which looked at the potential of the Sony PSP as a tool for learning. Here are a few shots of the kind of activities we used the PSP for: 

• It doesn't appear to gauge the current ability of the player as well as a game like ‘My Word Coach'  for example.
• It keeps thinking that my written ‘8' is a ‘2', my ‘7' is a ‘1' (it won't give me time to put a score through the ‘7'- first game where my writing has proved to be problematic)- I consider myself to have pretty good hand writing, but possibly not when under pressure.
• It has a really annoying repetitive tune (and I have never said that about any game before- I am getting old!).

Here is quick insight into what I think of the Nintendo DS.

My Word Coach- This game is brilliant for learning spelling and developing vocabulary. It is very cleverly designed. It adapts to the individual learner therefore setting a learning pace. If you make lots of mistakes, it will challenge you with an easier level and vice-versa. Last night I showed this game to a very fluent colleague of mine. I imagine that tonight's challenge will be quite hard! The only thing I dislike about it is the fact that each round of words is timed. Timing is fine in exam conditions, but in an exam you are not actively learning. The time/pressure factor is something that I think can stall learning- but I guess that is one of the basics of game playing.

• Potential-First impression is that these machines will have more potential in the primary sector and probably more of an impact on boys than girls.
• Interactivity- You are actually writing. I found this similar to writing on an interactive white board. You are using hand/eye coordination, not just moving a joy-stick and clicking.
• Communication-They can connect to other DS machines allowing users to communicate and play each other's games.
• Size-They are compact- anytime anywhere learning.

Crazy talk is an application that allows the user to take an image (or portrait) and digitally bring it to life. Here is  my five minute attempt- [kml_flashembed movie="http://video.google.com/googleplayer.swf?docid=2103633650100969" width="400" height="326" wmode="transparent" /]

I hope I don't look and sound like that in real life!  :P You can edit lots of features though I only had time to play with a couple of facial expressions and the voice morphing (for the time being). This software will be fantastic for encouraging writing; what is a character without a script?!

iClone is another piece of software that allows you to edit and personalise your own avatar, create scenes, edit lighting effects and character emotions. It is similar to Media Stage. Here is my five minute attempt:  [kml_flashembed movie="http://www.youtube.com/v/tZ0AwljO6CU" width="425" height="350" wmode="transparent" /] If you look closely you should see that the avatar's face is familiar (I don't think I look too dissimilar!)   ;-)

I know my clips are pretty silly, but this stuff is really fun! I can see it really enthusing and engaging youngsters- They will be learning without knowing it. 

Immersive Education was one of the many companys that I had on my ‘To Visit' list at BETT. Media Stage is a 3D virtual perforamce stage. Users are involved in script-writing, casting, set building, propping, directing, lighting, audio-recording, editing and camera skills:

Immersive Education: Students build and populate their sets, select their characters and arrange lighting and cameras using objects from the software library. Character movements, lighting and cameras are in their full control. Students can:

• Record or type in character dialogue and see it performed with automatic lip-synchronisation
• Control character movements, gestures and emotions
• Set camera positions and live edit
• Save and share performances

John Griffiths from Immersive Education gave me a demonstration of the software. I have to say I was very impressed! It is amazing and almost freaky how realistic you can make your characters. Having an old woman character called Enid say ‘Hello' in my voice was just incredible!

This software will be/is fantastic for role play. In fact I am lead to believe that it is being used with young offenders, making them realise and understand the consequence of their actions on their victims.

Here is a clip that Ewan McIntosh shot during a Teachmeet in 2006 where media stage was being demonstrated. Click here

Here is another clip where the topic was MacBeth. Click Here

This blog post is a collection of thoughts and notes from two papers which discuss Secondlife.

 Notes from Paper 1: Pedagogy and Learning in the Virtual World of Second Life®

By Leslie Jarmon, Ph.D.

Second Life is an extremely dynamic online platform that offers its users endless opportunities. As Jarmon (et al) discuss:

"Teachers and students are creating ways to integrate other computer-supported communication and research tools into their SL activities. They are importing image collections from Facebook, MySpace, and flickr, forming study groups in Google groups, importing spreadsheet data for genetics class, importing PowerPoint materials, linking to standard web URLs in SL (called SLURLS), connecting with RSS feeds, creating video content, and streaming digital audio." 

The table below from Jarmon (et al) paper summarises the costs and benefits of SL.

Notes from paper 2: The Theatre of Performance: Potential for Role-Play Training in Second Life

Morse, Littleton, MacLeod and Ewins

Image: Holyrood Park in Second Life 

Study investigates the potential of role play within SL for use in employee appraisals.

• Standard avatar costumes provided
• Involved Students from MSc in eLearning
• Real life role play involves immediate interpretation of, and reation to signals from others
• Online text based role play allows for more time for reflection, and potentially the time to consult mentors or others during a scenario without others knowing,
• Virtual worlds may offer advantages in connection with motivation and play
• Online roleplay potentiall allows for greater suspension of disbelief during a scenario than in real life equivilents.
• Identity exploration takes us beyond the physical notions of passport, fingerprint or iris. Exploring one’s own identity and perhaps experimental identities, and thus being prompted to consider how others might react or think, is the essence of this enquiry. The ability to imagine the situation of another could be extended by rehearsing to be an ‘other’ personality. 
• Virtual worlds, including Second Life, offer opportunities to explore these different ‘ways of being’. One can create a new physical representation, character and, to an extent, skills and attributes. The environment can change over time. Both text and voice can be used to exchange and interact. For participants there is creativity and potential for experiment. What is the impact of creating such identities?
• A person’s ability to create, interpret, and evaluate the models underlying the simulations plays a large role in his or her ability to use them wisely (Prensky 2009, p4).
• Good initial learning should promote good practice, but poor skill and understanding may require both unlearning and re-learning (Lewin, 1951; Becker et al., 2006) – an expensive business for all concerned

• Potential participants were identified on the basis of having some employment experience and thus some possible direct experience of performance appraisal in the workplace, and were approached individually after class. Voluntary agreement to participate was secured from 10 people who indicated some such experience, either as appraiser or as appraisee

   

• The argument for taking role-play online is that the fantasy environment that can be created there can contribute to the realism of the role being played. The virtual environment can both augment the narrative of the exercise by the addition of an appropriate backcloth and props, and can remove the distraction of known faces and mundane surroundings.
• While our observations indicated a high level of engagement on the part of the participants in the task in hand, we also observed an important element of 11 disengagement which we would like to discuss, and which we intend to build upon in subsequent studies.
• person engaged in the role-play was able to react, out of character, to social interaction in the role-play without that reaction interrupting and contaminating the ongoing narrative
• Gee: Three Identities, real world identity, virtual identity and projective identity
• One future area for exploration and development will be to design approaches to online role-play that allow us to harness the potential of this projective identity.

Image: Role Play Appraisal 

 In my area of work in schools, SL is not a platform that we would consider utilising. The primary reason for this comes down to child protection. As you will see in the image below, *all* types of people can use Second Life. There is a lack of control, over who children potentially can interact with and means that it simply isn't possible to take such a risk. It could be argued that we are not teaching our children to be aware of online dangers and be responsible for their own online behaviour, but that is for another post and possibly my dissertation!

I

Image: Indecent man in Second Life  

I have begun the planning of the format for my review assignment. Here are a few images of this weekend's subjects hard at work! :-)