Learning to communicate computationally with Flip: a bi-modal programming language for game creation

Teaching basic computational concepts and skills to school children is currently a curricular focus in many countries. Running parallel to this trend are advances in programming environments and teaching methods which aim to make computer science more accessible, and more motivating. In this paper, we describe the design and evaluation of Flip, a programming language that aims to help 11–15 year olds develop computational skills through creating their own 3D role-playing games. Flip has two main components: 1) a visual language (based on an interlocking blocks design common to many current visual languages), and 2) a dynamically updating natural language version of the script under creation. This programming-language/natural-language pairing is a unique feature of Flip, designed to allow learners to draw upon their familiarity with natural language to “decode the code”. Flip aims to support young people in developing an understanding of computational concepts as well as the skills to use and communicate these concepts effectively. This paper investigates the extent to which Flip can be used by young people to create working scripts, and examines improvements in their expression of computational rules and concepts after using the tool. We provide an overview of the design and implementation of Flip before describing an evaluation study carried out with 12–13 year olds in a naturalistic setting. Over the course of 8 weeks, the majority of students were able to use Flip to write small programs to bring about interactive behaviours in the games they created. Furthermore, there was a significant improvement in their computational communication after using Flip (as measured by a pre/post-test). An additional finding was that girls wrote more, and more complex, scripts than did boys, and there was a trend for girls to show greater learning gains relative to the boys

Project:Filter - using applied games to engage secondary schoolchildren with public policy

Applied games present a twenty-first-century method of consuming information for a specific purpose beyond pure entertainment. Objectives such as awareness and engagement are often used as intended outcomes of applied games in alignment with strategic, organizational, or commercial purposes. Applied games were highlighted as an engagement-based outcome to explore noPILLS, a pan-European policy research project which presented policy pointers and suggested methods of interventions for reducing micropollution within the wastewater treatment process. This paper provides an assessment of a video game which was developed for the purpose of public engagement with policy-based research. The video game, Project:Filter, was developed as a means of communicating noPILLS to secondary school children in Scotland as part of a classroom-based activity. Knowledge development and engagement were identified using Interpretative Phenomenological Analysis to evidence topical awareness, depth of understanding, and suggested methods of intervention. Analysis of observations also provided insights into challenges surrounding logistics, pedagogy, social interactions, learning, and gender as contributing factors to the schoolchildren’s experiences of Project:Filter. The intention of this paper is two-fold: firstly, to provide an example of developing video games from policy-based research; and secondly, to suggest methods of phenomenological assessment for identifying play-based engagement

Towards a Lightweight Approach for Modding Serious Educational Games: Assisting Novice Designers

Serious educational games (SEGs) are a growing segment of the education community’s pedagogical toolbox. Effectively creating such games remains challenging, as teachers and industry trainers are content experts; typically they are not game designers with the theoretical knowledge and practical experience needed to create a quality SEG. Here, a lightweight approach to interactively explore and modify existing SEGs is introduced, a toll that can be broadly adopted by educators for pedagogically sound SEGs. Novice game designers can rapidly explore the educational and traditional elements of a game, with a stress on tracking the SEG learning objectives, as well as allowing for reviewing and altering a variety of graphic and audio game elements

Studying Games in School: a Framework for Media Education

This paper explores how media education principles can be extended to digital games, and whether the notion of ‘game literacy’ is an appropriate metaphor for thinking about the study of digital games in schools. Rationales for studying the media are presented, focusing on the importance of setting up social situations that encourage more systematic and critical understanding of games. The value of practical production, or game making, is emphasized, as a way of developing both conceptual understanding and creative abilities. Definitions of games are reviewed to explore whether the study of games is best described as a form of literacy. I conclude that games raise difficulties for existing literacy frameworks, but that it remains important to study the multiple aspects of games in an integrated way. A model for conceptualizing the study of games is presented which focuses on the relationship between design, play and culture

A Typographic Dilemma: Reconciling the old with the new using a new cross-disciplinary typographic framework

Current theory and vocabulary used to describe typographic practice and scholarship are based on a historically print-derived framework. As yet, no new paradigm has emerged to address the divergent path that screen-based typography is taking from its traditional print medium. Screen-based typography is becoming as common and widely used as its print counterpart. It is now timely to re-evaluate current typographic references and practices under these environments, which introduces a new visual language and form. This paper will attempt to present an alternate typographic framework to address these growing changes by appropriating concepts and knowledge from different disciplines. This alternate typographic framework has been informed through a study conducted as part of a research Doctorate in the School of Design at Northumbria University, UK. This paper posits that the current typographic framework derived from the print medium is no longer sufficient to address the growing differences between the print and screen media. In its place, an alternate cross-disciplinary typographic framework should be adopted for the successful integration and application of typography in screen-based interactive media. The development of this framework will focus mainly on three key characteristics of screen-based interactive media ¬¬– hypertext, interactivity and time-based motion – and will draw influences from disciplines such as film, computer gaming, interactive digital arts and hypertext fictions

Playing with Play: Machinima in the Classroom

“So, machinima is really a genre, and not a medium?” The students in my Digital Media and Rhetoric course are grappling with both how to define machinima and how to evaluate whether one is “good” or not. I frustrate them by refusing to provide a definitive answer to this and other similar questions they have asked about the form. This intentional frustration continues as, after watching a few examples they ask me what grade I would give those machinima, if they were turned in for this assignment. Rather than providing a simple answer I redirect, asking them what criteria they would use to evaluate machinima and how the examples we’ve seen in class stand up to this scrutiny. At the beginning of this particular unit, when I announced that we wouldn’t be writing another research paper, they were exuberant. Now, however, the complexity of the task before them is slowly unveiling itself. While a majority of these students are gamers, few of them have experience in video production. None of them have previously looked at fan culture as a source of meaning and knowledge production. We are in unfamiliar territory, and they are getting restless

Player agency in interactive narrative: audience, actor & author

The question motivating this review paper is, how can computer-based interactive narrative be used as a constructivist learn- ing activity? The paper proposes that player agency can be used to link interactive narrative to learner agency in constructivist theory, and to classify approaches to interactive narrative. The traditional question driving research in interactive narrative is, ‘how can an in- teractive narrative deal with a high degree of player agency, while maintaining a coherent and well-formed narrative?’ This question derives from an Aristotelian approach to interactive narrative that, as the question shows, is inherently antagonistic to player agency. Within this approach, player agency must be restricted and manip- ulated to maintain the narrative. Two alternative approaches based on Brecht’s Epic Theatre and Boal’s Theatre of the Oppressed are reviewed. If a Boalian approach to interactive narrative is taken the conflict between narrative and player agency dissolves. The question that emerges from this approach is quite different from the traditional question above, and presents a more useful approach to applying in- teractive narrative as a constructivist learning activity