Using gaming paratexts in the literacy classroom

This paper illustrates how digital game paratexts may effectively be used in the high school English to meet a variety of traditional and multimodal literacy outcomes. Paratexts are texts that refer to digital gaming and game cultures, and using them in the classroom enables practitioners to focus on and valorise the considerable literacies and skills that young people develop and deploy in their engagement with digital gaming and game cultures. The effectiveness of valorizing paratexts in this manner is demonstrated through two examples of assessment by students in classes where teachers had designed curriculum and assessment activities using paratexts

A Toolkit for Exploring Affective Interface Adaptation in Videogames

From its humble beginnings back in the early 1960’s the videogame has become one of the most successful form of HCI to date. However if we look more closely at the interactions between the game and gamer it becomes evident little has changed since the advent of SpaceWar back in 1961. These interactions are for the most part static and thus predictable, given a particular set of circumstances a game will always react in one particular manner despite anything the player may actually do. Because of this the expected lifespan of a videogame is inherently dependant on the choices the videogame provides; once all possible avenues have been explored the game loses its appeal. In this paper we focus on adapting techniques used in the field of Affective Computing to solve this stagnation in the videogames market. We describe the development of a software development kit (SDK) that allows the interactions between man and machine to become dynamic entities during play by means of monitoring the player’s physiological condition

Media panic : the duo media - youth as problem for didactic and teaching plan

Relacja: młodzież i nowe media jest przedmiotem sprzecznych interpretacji, pełnych utopii lub wypełnionych niepokojami i lękami. Debaty o nowych mediach powodują rozgrzanie reakcji emocjonalnych. W tym przypadku mamy do czynienia z tym, co może być określane jako panika medialna. Panika przechodzi i jest zapominana, z wyjątkiem pamięci zbiorowej, innym razem powoduje zmiany o charakterze prawnym i społecznym. Moda na nowe media odsyła starsze media na drugi plan. K. Drotner twierdzi, że nowe media służą jako mentalne metafory do dyskutowania i debatowania o szeroko pojętych zagadnieniach społecznych. Autor podziela poglądy, że poprzez tworzenie sloganów określających konkretne pokolenie zwalniamy od odpowiedzialności wychowawców, nauczycieli i rodziców za dzieci i uczniów, w kwestii ich korzystania z nowych mediów. Jednocześnie firmy informatyczne bronią swoich pozycji w debacie publicznej.The relation between the modern media technologies and youth is extremely problematic because their debates are polarized. There is a view which emphasises benefits provided by new technologies and the genius of young digital natives; on the other hand, there is a point on the downside which is destructive and crumbles potentials. Therefore, youth and new media are subjects of contradictory representations full of utopia or full of anxieties and fears. In some cases, a debate of a new medium brings about heated, emotional reactions. In that case we have what may be defined as a media panic. The panic passes over and is forgotten, except in collective memory; at other times it has repercussions and might produce such change as those in legal and social policy. Like this the intense preoccupation with the latest media fad immediately relegates older media to the shadows of acceptance. K. Drotner argues that new media serve as mental metaphors for discussing and debating wider social concerns. We argue, with an approach close to S. Hall et al., that through the creation of slogans to indicate a specific generation, we give alibis to educators, teachers and parents not to feel their responsibilities for their children and students when they approach new media. At the same time, publishing and information technology companies are able to feed public debate about concerns or idealization inherent to new media, in order to defend their advantageous position

Fact, Fiction and Virtual Worlds

This paper considers the medium of videogames from a goodmanian standpoint. After some preliminary clarifications and definitions, I examine the ontological status of videogames. Against several existing accounts, I hold that what grounds their identity qua work types is code. The rest of the paper is dedicated to the epistemology of videogaming. Drawing on Nelson Goodman and Catherine Elgin's works, I suggest that the best model to defend videogame cognitivism appeals to the notion of understanding

Demon girl power: Regimes of form and force in videogames primal and Buffy the Vampire Slayer

'There's nothing like a spot of demon slaughter to make a girl's night'. Since the phenomenal success of the Tomb Raider (1996) videogame series a range of other videogames have used carefully branded animated female avatars. As with most other media, the game industry tends to follow and expand on established lucrative formats to secure an established market share. Given the capacity of videogames to create imaginary worlds in 3D that can be interacted with, it is not perhaps surprising that pre-established worlds are common in videogames, as is the case with Buffy the Vampire Slayer (there are currently three videogames based on the cult TV show 2000-2003), but in other games worlds have to be built from scratch, as is the case with Primal (2003). With the mainstream media's current romance with kickass action heroines, the advantage of female animated game avatars is their potential to broaden the appeal of games across genders. This is however a double-edged affair: as well as appealing to what might be a termed a post-feminist market, animated forms enable hyper-feminine proportions and impossible vigour. I argue that becoming demon - afforded by the plasticity of animation – in these games troubles the representational qualities ordinarily afforded to female avatars in videogames. But I also argue that theories of representation are insufficient for a full understanding of the formal particularities of videogames and as such it is crucial to address the impact of media-specific attributes of videogames on the interpellation of players into the game space and the way that power regimes are organised. While theories of gender representation can go someway towards understanding the ideological construction of game characters, they are not developed sufficiently to accommodate the particular nature of player participation intrinsic to playing digital games. The fact that players are interpolated into the game worlds of the Buffyverse and Primal in ways quite different to other media forms is significant and I offer the concept of 'being-in-the-world-of-thegame' to illustrate how theories of representation alone are not sufficient to the task of analysing videogame forms. This paper focuses on the ways in which the interactive and spatial features of videogame formats affect narrative structure, characterisation and themes (particularly agency and power) and I argue that an address of the ways that videogames operate structurally is essential if we are to understand how they take animation into the realms of interactivity and how videogames generate meaning and pleasure

Can We Programme Utopia? The Influence of the Digital Neoliberal Discourse on Utopian Videogames

This article has a dual purpose. The first is to establish the relationship between videogames and utopia in the neoliberal era and clarify the origins of this compromise in the theoretical dimension of game studies. The second is to examine the ways in which there has been an application of the utopian genre throughout videogame history (the style of procedural rhetoric and the subgenre of walking simulator) and the way in which the material dimension of the medium ideologically updates the classical forms of that genre, be it through activation or deactivation. The article concludes with an evaluation of the degree in which the neoliberal discourse interferes with the understanding of utopia on behalf of the medium and with its imaginary capabilities to allow for an effective change in social reality

Gaming capital: Rethinking literacy

This paper is part of the symposium: Gameplay, gameplayers and gaming capital: Exploring intersections between games, education and adolescent subjectivities in virtual worlds PEER REFEREEING REQUIRED In rethinking literacy education in light of unprecedented technological change, this paper reports on adolescent gamers and their accumulation of gaming capital. This is in opposition to more pervasive assumptions about gaming as mindless entertainment, learning simulations, ideological tools and interactive mediums for the masses. We see the need to research the medium of games in their entirety, exploring their uniqueness as a medium--while at the same time--making connections to a wider media ecology (Fuller, 2005) that includes more than the games themselves. This media ecology of videogames is demonstrated in part by the 'paratextual' (Consalvo, 2007) industries that support game play, production and design. The 'paratext' is central to gaming capital in creating individual and group systems of distinction within gaming culture. Because we understand videogames as actions across social fields enacted through the actions of players or 'operators' on software, we also deem it necessary to understand both the operator and machines' diegetic and non-diegetic actions (Galloway, 2006). This distinction allows us to think about games as more than texts, literacy practices and narratives, which highlights games' significance in technoclture as systems (Salen, 2008), procedures (Bogost, 2007), algorithms (Galloway, 2006; Wark, 2007), configurations and code (Lessig, 1999; Manovich, 2001). In conclusion we provide a series of interview questions developed to uncover adolescents' gaming capital. We also propose a heuristic to map a players' total volume of gaming capital to better understand how gaming capital establishes trajectories of exchange between cultural and economic capitals and its implications for literacy education

“Game over, man. Game over”:looking at the Alien in film and videogames

In this article we discuss videogame adaptations of the Alien series of films, in particular Alien: Colonial Marines (2013) and Alien: Isolation (2014). In comparing critical responses and developer commentary across these texts, we read the very different affective, aesthetic and socio-political readings of the titular alien character in each case. The significant differences in what it means to ‘look’ at this figure can be analyzed in terms of wider storytelling techniques that stratify remediation between film and games. Differing accounts of how storytelling techniques create intensely ‘immersive’ experiences such as horror and identification—as well as how these experiences are valued—become legible across this set of critical contexts. The concept of the ‘look’ is developed as a comparative series that enables the analysis of the affective dynamics of film and game texts in terms of gender-normative ‘technicity’, moving from the ‘mother monster’ of the original film to the ‘short controlled burst’ of the colonial marines and finally to the ‘psychopathic serendipity’ of Alien: Isolation

Company-university collaboration in applying gamification to learning about insurance

Incorporating gamification into training–learning at universities is hampered by a shortage of quality, adapted educational video games. Large companies are leading in the creation of educational video games for their internal training or to enhance their public image and universities can benefit from collaborating. The aim of this research is to evaluate, both objectively and subjectively, the potential of the simulation game BugaMAP (developed by the MAPFRE Foundation) for university teaching about insurance. To this end, we have assessed both the game itself and the experience of using the game as perceived by 142 economics students from various degree plans and courses at the University of Seville during the 2017–2018 academic year. As a methodology, a checklist of gamification components is used for the objective evaluation, and an opinion questionnaire on the game experience is used for the subjective evaluation. Among the results several findings stand out. One is the high satisfaction of the students with the knowledge acquired using fun and social interaction. Another is that the role of the university professors and the company monitors turns out to be very active and necessary during the game-learning sessions. Finally, in addition to the benefits to the university of occasionally available quality games to accelerate student skills training, the company–university collaboration serves as a trial and refinement of innovative tools for game-based learning