Death masks and professional masks: community, values and ethics in legal education

This article is a case-study of simulation as a way of learning values and ethics, an approach implemented curriculum-wide within a postgraduate, professional legal educational programme, the Diploma in Professional Legal Practice, in Scotland. It involves learning face-to-face using conventional print resources, and also involves online digital resources. While the use of the web to simulate a professional environment is nothing new in itself, the implementation of it (first in the Glasgow Graduate School of Law and then Strathclyde Law School) and on this scale is fairly unique. The article explores the genesis of this approach, its interdisciplinary bases, and its use in various law schools, its effects in building learning communities and facilitating ethical self-revelation

Serious Games in Formal Education: Discussing Some Critical Aspects

International audienceInnovation in technology together with evolution in pedagogical approaches is encouraging increased integration of technology-supported interventions in mainstream teaching practices. One area attracting particularly close attention in this respect is Serious Games (SGs), which offer considerable potential for facilitating both formal and informal learning experiences in supported and standalone contexts. Advances in technology and in technology enhanced learning are raising learners' expectations for immersive and engaging game-based experiences. This trend is underpinned by the emergence of young learners adept at using digital technologies and the internet; there is an attendant risk that, as students, they may be alienated by traditional education and its failure to engage them fully in a lifelong learning process and prepare them adequately for the challenges of the 21st Century. SGs would appear to offer an attractive solution in this regard. However, there are a number of inhibitors preventing their wider take-up in mainstream education, with the result that the considerable potential on offer has yet to be fully exploited. This situation is the background for the joint efforts of partners in the Games and Learning Alliance (GALA), an EC-funded Network of Excellence on SGs, especially the sub-group dedicated to the pedagogical dimension of SGs. In its discussions on the key challenges for more wide-scale and effective SG use, the group has focused in particular on aspects related to the central role played by the educator in formal education settings. Specifically, discussion has focused on the challenges posed when educators are called on to modify their practice, adopting the new roles and approaches demanded for effective SG deployment. This paper presents the outcome of the group's exploration. It frames the question of the educator's central role by drawing on research work that, in the view of the different authors, embodies the major references for shedding light on this multi-faceted aspect. As well as the new role that the educator assumes in games-based learning environments, particular attention is also dedicated to the innovative pedagogical approaches that can be applied to SG deployment, especially those inspired by peer collaboration

Stage-directing the Virtual Reality Experience: Developing a Theoretical Framework for Immersive Literacy

Despite the incremental improvement and inclusion of immersive technologies in entertainment, training simulation, fine art, inclusive design, academia, and education; Virtual Reality (VR) still faces issues regarding its ability to compete with films and animation in visual storytelling without merging into the realm of video games. In 2015, Pixar’s Ed Catmull warned moviemakers that Virtual Reality is “not storytelling” and argued that the linear aspect of narratives poses an obstacle that cannot be overcome with VR. In contrast, Catmull argued that VR has immense application in games. However, VR creators have been pushing the boundaries and possibilities of delivering narratives in virtual spaces. In 2019, the VR experience “Gloomy Eyes” was presented at the Sundance festivals featuring a 30-minute story split between 3 episodes. The simulation is structured to provide its audience with some degrees of freedom while guiding them intuitively through the virtual space. In 2021, Blue Zoo also released a VR project titled “The Beast” featuring a cyclist powering up a snow-covered mountain. The short film was entirely created in Quill VR with the intention of being treated like a theatrical play rather than a film. While the creators of “The Beast” have explicitly mentioned the influence of theatre, “Gloomy Eyes” draws its visual language from similar theatrical roots. This paper argues that VR has been mistakenly compared to film and animation when it should be associated with theatre. The audience of both are not passive as they are during the screening of a film or animation. The space and the medium demands participation through their presence in the same space with the actors/characters. Theatre presents a promising candidate for extracting criteria that could be used to develop a visual language for VR. This research aims to formulate a framework for developing a VR visual language through comparison between character-driven narratives in VR such as “Gloomy Eyes” and “The Beast”. The comparative study establishes overlapping criteria and characteristics found in the structure, literacy, sound, and delivery format of narratives in a theatrical performance. These criteria are then outlined and discussed, drawing from affordance theory and discussions on aural and visual attention in theatre, to form a holistic view in approaching VR literacy

What is the Avatar? Fiction and Embodiment in Avatar-Based Singleplayer Computer Games: Revised and Commented Edition

What are the characteristic features of avatar-based singleplayer videogames, from Super Mario Bros. to Grand Theft Auto? The author examines this question with a particular focus on issues of fictionality and realism, and their relation to cinema and Virtual Reality. Through close-up analysis and philosophical discussion, the author argues that avatar-based gaming is a distinctive and dominant form of virtual self-embodiment in digital culture. This book is a revised edition of Rune Klevjer's pioneering work from 2007, featuring a new introduction by the author and afterword by Stephan Günzel, Jörg Sternagel, and Dieter Mersch