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

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

Papers, Please and the systemic approach to engaging ethical expertise in videogames

Papers, Please, by Lucas Pope (2013), explores the story of a customs inspector in the fictional political regime of Arstotzka. In this paper we explore the stories, systems and moral themes of Papers, Please in order to illustrate the systemic approach to designing videogames for moral engagement. Next, drawing on the Four Component model of ethical expertise from moral psychology, we contrast this systemic approach with the more common scripted approach. We conclude by demonstrating the different strengths and weaknesses that these two approaches have when it comes to designing videogames that engage the different aspects of a player’s moral expertise

Interactive Narrative for Adaptive Educational Games: Architecture and an Application to Character Education

This thesis presents AEINS, Adaptive Educational Interactive Narrative System, that supports teaching ethics for 8-12 year old children. AEINS is designed based on Keller's and Gagné's learning theories. The idea is centered around involving students in moral dilemmas (called teaching moments) within which the Socratic Method is used as the teaching pedagogy. The important unique aspect of AEINS is that it exhibits the presence of four features shown to individually increase effectiveness of edugames environments, yet not integrated together in past research: a student model, a dynamic generated narrative, scripted branched narrative and evolving non-player characters. The student model aims to provide adaptation. The dynamic generated narrative forms a continuous story that glues the scripted teaching moments together. The evolving agents increase the realism and believability of the environment and perform a recognized pedagogical role by helping in supplying the educational process. AEINS has been evaluated intrinsically and empirically according to the following themes: architecture and implementation, social aspects, and educational achievements. The intrinsic evaluation checked the implicit goals embodied by the design aspects and made a value judgment about these goals. In the empirical evaluation, twenty participants were assigned to use AEINS over a number of games. The evaluation showed positive results as the participants appreciated the social characteristics of the system as they were able to recognize the genuine social aspects and the realism represented in the game. Finally, the evaluation showed indications for developing new lines of thinking for some participants to the extent that some of them were ready to carry the experience forward to the real world. However, the evaluation also suggested possible improvements, such as the use of 3D interface and free text natural language

Reality guides for life before death

The rise of the digital game industry has brought along a plethora of game design tools and frameworks. They are likely to be named specifically as design frameworks for games because their creators have been positioned themselves on the field of game research due to their personal interest in games or due to the fast rising game business. There appears often not to be a reason why these tools and frameworks could not be used in any other kind of interaction design too. Furthermore, even the definition of a game is elusive. In effort to be able to consider what is a game and what is not, the concept of Reality Guides was developed. A Reality Guide guides the user in their surrounding reality. By its definition it is not necessarily a game, and a game by its definition is not necessarily a Reality Guide, but it is possible for something to be both. Reality Guides can come in the form of paper booklets, human guides, digital applications, or something else. The focus in this thesis is in guides that are mixed reality digital applications. Looking at Reality Guides through several game design frameworks, a new theoretical model was constructed: The GEM Game Experience Model is a result of Grounded Theory based work to find a single underlaying model behind all the existing ones. Two non-game initiatives have been worked on with the guidance of Reality Guide thinking and GEM thinking: Life Before Death aims at producing services that will help people with premature end of life circumstances to make the best possible out of their remaining life. Reality Guides for the end-of-life. Also, in the initiative of creating a community around Digital Theology a project course was organized using gamer community originated Discord as a central Reality Guide for the course participated by students from four continents

Out of the Margins: Evolving Narrative Representation of Women in Video Games

This thesis examines narrative representation of female characters in video games and how game narratives and representations contribute to socio-cultural discourse. First, this thesis explores and defines the cultural background for female representation in video games. It then defines video games as a type of text and describes the features that are unique to games, such as the use of avatars, and what impacts these features have on game narratives. The thesis attempts to establish evidence of an evolutionary arc of comprehensive female representation in video games by first exploring historical female narrative tropes, and then comparing them to narrative case studies of female characters within five recent game titles (Tomb Raider, Bayonetta, Dragon Age, Hellblade: Senua’s Sacrifice, and Horizon: Zero Dawn). In these case studies, the implications for their representations of female characters are analyzed in the context of socio-cultural discourse. Furthermore, this thesis argues for the importance of diverse representation within video games as a form of media, and as cultural objects that contribute to social discourse

TALKING INSTITUTIONS IN THE SHARING ECONOMY: A CONTENT ANALYSIS OF ACTOR QUOTES IN THE PRINT MEDIA AND A TAXONOMY OF DISCURSIVE STRATEGIES

We study how actors engage in institutional work to manage legitimacy by influencing media discourse in the face of discontinuous innovation. We content-analyze actor quotes reproduced in newspaper articles about the ‘sharing economy’ in the taxi and lodging industries to survey this aspect of media discourse and offer a taxonomy of the discursive strategies used in the public debate on institutional change. We find that actor quotes are dominantly from offensive actors striving for institutional change, mostly due to a relatively low share of voice of incumbent firms as defensive actors aiming at institutional maintenance. Whereas offensive actors aimed for legitimacy in their discursive strategies by balancing attacks on existing institutions with assertions of new institutions, defensive actors aimed for legitimacy more by attacking new institutions than by reinforcing existing ones. Our findings suggest that, contrary to prior beliefs, preventing the emergence of new institutions plays a crucial role for defensive institutional work

Reading Videogames as (authorless) Literature

This article presents the outcomes of research, funded by the Arts and Humanities Research Council in England and informed by work in the fields of new literacy research, gaming studies and the socio-cultural framing of education, for which the videogame L.A. Noire (Rockstar Games, 2011) was studied within the orthodox framing of the English Literature curriculum at A Level (pre-University) and Undergraduate (degree level). There is a plethora of published research into the kinds of literacy practices evident in videogame play, virtual world engagement and related forms of digital reading and writing (Gee, 2003; Juul, 2005; Merchant, Gillen, Marsh and Davies, 2012; Apperley and Walsh, 2012; Bazalgette and Buckingham, 2012) as well as the implications of such for home / school learning (Dowdall, 2006; Jenkins, 2006; Potter, 2012) and for teachers’ own digital lives (Graham, 2012). Such studies have tended to focus on younger children and this research is also distinct from such work in the field in its exploration of the potential for certain kinds of videogame to be understood as 'digital transformations' of conventional ‘schooled’ literature. The outcomes of this project raise implications of such a conception for a further implementation of a ‘reframed’ literacy (Marsh, 2007) within the contemporary curriculum of a traditional and conservative ‘subject’. A mixed methods approach was adopted. Firstly, students contributing to a gamplay blog requiring them to discuss their in-game experience through the ‘language game’ of English Literature, culminating in answering a question constructed with the idioms of the subject’s set text ‘final examination’. Secondly, students taught their teachers to play L.A. Noire, with free choice over the context for this collaboration. Thirdly, participants returned to traditional roles in order to work through a set of study materials provided, designed to reproduce the conventions of the ‘study guide’ for literature education. Interviews were conducted after each phase and the outcomes informed a redrafting of the study materials which are now available online for teachers – this being the ‘practical’ outcome of the research (Berger and McDougall, 2012). In the act of inserting the study of L.A. Noire into the English Literature curriculum as currently framed, this research moves, through a practical ‘implementation’ beyond longstanding debates around narratology and ludology (Frasca, 2003; Juul, 2005) in the field of game studies (Leaning, 2012) through a direct connection to new literacy studies and raises epistemological questions about ‘subject identity’, informed by Bernstein (1996) and Bourdieu (1986) and the implications for digital transformations of texts for both ideas about cultural value in schooled literacy (Kendall and McDougall, 2011) and the politics of ‘expertise’ in pedagogic relations (Ranciere, 2009, Bennett, Kendall and McDougall, 2012a)