15,595 research outputs found
Gamedec. UKW in IGDA Curriculum Framework
Launched in October 2013, GAMEDEC: game studies Design is a specialisation track within the 2nd Gen Humanities (aka Humanities 2.0) 3-year BA programme at Kazimierz Wielki University (UKW) in Bydgoszcz, Poland. The curriculum was created by UKW academic staff with game design experience, guided by the IGDA 2008 Framework and consulted with game dev professionals. It underwent slight modifications in 2014 and a significant transformation in 2015. This paper aims at a thorough analysis of the structure of the curriculum as seen through the lens of the IGDA Framework (2008), including the coverage of both Core Topics and Institutional Considerations. The analysis is conducted in the context of foreign (mostly U.S.- based) game degrees and supported with comments on its design, implementation and modifications
Digital play and the actualisation of the consumer imagination
In this article, the authors consider emerging consumer practices in digital virtual spaces. Building on constructions of consumer behavior as both a sense-making activity and a resource for the construction of daydreams, as well as anthropological readings of performance, the authors speculate that many performances during digital play are products of consumer fantasy. The authors develop an interpretation of the relationship between the real and the virtual that is better equipped to understand the movement between consumer daydreams and those practices actualized in the material and now also in digital virtual reality. The authors argue that digital virtual performances present opportunities for liminoid transformations through inversions, speculations, and playfulness acted out in aesthetic dramas. To illustrate, the authors consider specific examples of the theatrical productions available to consumers in digital spaces, highlighting the consumer imagination that feeds them, the performances they produce, and the potential for transformation in consumer-players
Optimizing Player and Viewer Amusement in Suspense Video Games
Broadcast video games need to provide amusement to both players and audience. To achieve
this, one of the most consumed genres is suspense, due to the psychological effects it has on both roles.
Suspense is typically achieved in video games by controlling the amount of delivered information about
the location of the threat. However, previous research suggests that players need more frequent information
to reach similar amusement than viewers, even at the cost of jeopardizing viewers' engagement. In order
to obtain models that maximize amusement for both interactive and passive audiences, we conducted an
experiment in which a group of subjects played a suspenseful video game while another group watched it
remotely. The subjects were asked to report their perceived suspense and amusement, and the data were
used to obtain regression models for two common strategies to evoke suspense in video games: by alerting
when the threat is approaching and by random circumstantial indications about the location of the threat.
The results suggest that the optimal level is reached through randomly providing the minimal amount of
information that still allows players to counteract the threat.We reckon that these results can be applied to a
broad narrative media, beyond interactive games
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, āhow can an in-
teractive narrative deal with a high degree of player agency, while
maintaining a coherent and well-formed narrative?ā 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 Brechtās Epic Theatre and Boalās 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
Excellence in English: what we can learn from 12 outstanding schools
"One of the most pressing issues in English facing a large number of schools today is
how to improve from being good to outstanding. The aim of this report is to improve
practice in English across all schools and particularly to help them become
outstanding. The report provides 12 case studies of schools which are successful in
helping their pupils to make outstanding progress in English." - Cover
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Evaluation Report of Prosperoās Island: an Immersive Approach to Literacy at Key Stage 3.
Prospero's Island is an immersive theatre project created by Punchdrunk Enrichment and sponsored by Learning Partner, London Borough of Hackney (Hackney Learning Trust). The project sought to inspire and motivate studentsā engagement with the English curriculum, and to develop an immersive approach to teaching literacy that would improve studentsā learning.
Prosperoās Island took place in a secondary academy in Hackney, London over two school terms (autumn 2014-spring 2015). The project was embedded in existing schemes of work, and included the following elements:
ā¢ An immersive theatre installation for Year 7-8 students (aged 11-13 years); this took the form of an interactive game based on The Tempest; over a two-week period groups of students participated in this experience for a morning or afternoon (autumn term);
ā¢ A Teaching and Learning Day (TALD) and eight twilight CPD sessions on immersive learning techniques for school staff and teachers across London (autumn term);
ā¢ A return to the installation for one lesson, led by English teachers (autumn term);
ā¢ Follow-on work by teachers to develop immersive learning in English lessons (spring term);
ā¢ An independent evaluation of the project (autumn and spring terms)
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