In Chapter 4, interviews with students involved in the game-based intervention are summarized. Each participating student was first asked if they felt that playing the selected video games over the course of the semester had helped develop any useful skills or provided useful experience. Following this open question, each of the graduate attributes under examination was considered in turn. The participants were able to articulate, to varying degrees, how playing the games had exercised all of the attributes, including communication skill, adaptability and resourcefulness, but also their ethical and social awareness, critical thinking and investigate skills. In the excerpt below, the degree to which playing the games improved the students’ confidence is considered.
Based on the university definition, several themes were coded as being related to the Confident attribute, including leadership and social skill. When these aspects of the definition are considered, participants had a substantial amount to say about games and confidence, most of it positive (“Yes, definitely in my case, I was beginning to gain more confidence over time” – Participant S). One participant, responding by email, was effusive about the confidence-enhancing properties of video games, especially where playing with other people was involved:
Definitely in the times in which there were others in the video game lab and we had to work together, confidence was really tested as these could be people I’d never met before. (Participant F)
The same participant went on to relate his previous game-playing experience to his real-world confidence, citing Multiplayer Online Battle Arena (MOBA), League of Legends (Riot Games 2009) as an example:
I know for a fact that a lot of the confidence I have today has been built by talking and working together in chat rooms when teaming in online games such as League of Legends et cetera. Mainly because you don’t just have to be a nice person, but you need to prove to the group that you are competent, sharp, and good at what you do. (Participant F)
For Participant H, confidence was gained from the sense of achievement that video games can produce in the player:
I feel like, after I play, I feel more confident.
Yes, I don’t know, maybe it’s because they give you achievements to complete. So definitely that.
Relating confidence to the aspect of the university’s Experienced Collaborators attribute which states that graduates should “contribute positively when working in a team”, Participant H explains:
Mainly, the confidence comes from being able to see that I was able to complete a task on my own but also to know that I wasn’t a burden to the people I was in co-op with. I actually had the drive to do my best, so I was really satisfied after I completed a game and I see that I haven’t done a bad job. It makes me feel a lot better. I’m a lot more convinced about what I can do.
Interpersonal and social skills improving over the course of the lab sessions was a feature of several other participants’ responses, including Participant L “…definitely as I went along, I got a lot more confident, a lot more comfortable just going in and playing a game with a few people”. Other participants elaborated:
Yeah… obviously it kind of ties in because [I’m] a first year student coming to uni, and with the video game study – I’ve become much more confident, just talking to people, and not being afraid to just start conversations and just ask people stuff. (Participant M)
I guess it was good practice for, like, being in a social area, talking to people, like ‘oh, can you help me with this?’ In the multiplayer games, if I needed help, I’d just be like ‘I don’t know what I’m doing’ and somebody would help me. (Participant O)
Another participant, who stated “when I play video games I tend to just play with my friends”, connected developing the confidence to speak to others with the ability to lead, noting that the labs required him to play with those outside his existing circle of friends:
So, when you open it up to people you don’t know very well at all, it sort of gives you that nudge […] to go for it, to be the first person to speak, to be the first person to take leadership of the team and devise a strategy, devise a plan. […] It gives that sort of… it gave me the confidence to be the first person to speak anyway. (Participant K)
Leadership was mentioned specifically by several participants. One participant recounted how she assumed the role of leader after the previous de facto leader left during a Borderlands 2 session:
…suddenly I was the only person playing who had actually been in that part before and suddenly I had to take up the mantle, as it were, and be like ‘well, I think it’s over there because we’ve done that and X, Y, Z, and that’s where the map is pointing. So, you kind of have to step up and say, ‘well, this is the knowledge I have and be willing to share so that we as a team can not die’. (Participant J)
This need for somebody to be confident enough to assume the role of leader was identified by other participants, too:
The confidence to be the first person to say something and be the person to say ‘oh, you do this’. Like, the leadership, throwing yourself into it, especially when everyone else was not speaking, to be the first person to go ‘OK, so, maybe we should have a plan, have a strategy?’ I sort of found that a lot easier as the weeks went on, to be the first person to say, ‘look guys, this is what we need to do, this is where we need to be headed’. (Participant R)
Another participant describes how the unexpected opportunity to lead was a boost to her confidence:
When you figure out the bits, like when you can actually do something, and you can, like, tell other people what to do, that’s quite good because you feel like you can lead a bit. (Participant D)
There were few instances of participants rejecting the idea of a link between confidence and game play altogether, but there was some scepticism about the usefulness of any such link. While Participant Q offered only a flat “No” when asked if such a link existed, Participant B was noncommittal (“Yeah, maybe”). Participant I, meanwhile, was unconvinced of the transferable benefits: “Well, I’m more confident talking about games! [laughs] I don’t really think that it impacted on my confidence as a person.” Participant E noted that they felt their confidence improved as they played the game, but suggested that this was true of any activity that may be practiced:
I don’t think it’s the game itself that helps you gain confidence but the more you play it, the more confident you feel […], it’s just like you improving when you play it more and more and more, so that’s just like it comes from you… so it’s just practice.
In Chapter 3, an experimental study is described, in which students were randomly assigned to either a game-playing intervention group or a control group. The intervention group were asked to play selected video games over the course of a semester, while the control group were not. The students’ communication skill, resourcefulness and adaptability were measured at the beginning and the end of the semester, and differences in attainment between the two groups compared. As described in the chapter, the gains in skills attainment for the game-playing intervention group were significantly greater than those for the control group. These data are analysed in detail in the chapter, but the excerpt below details the games selected for use in the study.
Games were selected with input from colleagues in the games industry and academia, who were presented with a list of graduate attributes and asked to suggest commercial titles that might exercise each. This list of games was then filtered through practical concerns including cost, compatibility with available hardware, and quality. A poor-quality game is of little utility here: well-received titles are more likely to be representative of those that players would choose to play on their own time, and a particularly poor game is likely to impact negatively on the participants’ willingness to engage in the study. While game quality is somewhat subjective, aggregated review scores published on sites such as Metacritic are used by industry and consumers alike to determine a game’s excellence (Graft 2011). Metacritic scores – which convert the scores awarded by critics to games, films and music into a convenient, if opaquely calculated, percentage value – are not without their critics (Dring 2010) but they undoubtedly provide an easily quantifiable means of determining the relative merits of a game. For the purposes of this study, no game with a Metacritic score of less than 80 was considered, with scores ranging from 82 to 95. A brief description of each of the selected games is provided below.
Borderlands 2 (Gearbox Software 2012) is a cooperative role-playing first-person shooter game, which allows up to four players to “team up with other players for online co-op goodness”. Importantly, the game also allows for LAN (Local Area Network) multiplayer, meaning the cooperative elements function without an internet connection where institutional firewalls prohibit access to games servers. The game also permits players to drop in and drop out as required. This allowed participants who arrived after others had already embarked on a mission to join the team without being forced to wait for the beginning of the next mission or requiring the others to start again from the beginning. One player, however, must host the game, to which the other players then connect.
Borderlands 2 players work together to obtain loot and weaponry while battling a range of foes against a colourful cartoonish backdrop and attendant story. A variety of play styles are supported through the choice of character classes presented to the player, ranging from a tank-like “Gunzerker” to a stealthier assassin. The emphasis is very much on cooperation and, as such, there are no overtly competitive elements, although players receive points for completing missions that they may use to ‘level up’ their character.
Minecraft (Mojang 2011) is a procedurally generated sandbox game with construction, exploration, and survival elements. In single player mode, players are free to explore the world and collect (‘mine’) resources such as stone, wood, and metal to create (‘craft’) a virtually limitless range of buildings, tools, and weapons. Multiplayer mode is similarly non-prescriptive in terms of what it permits (or requires) players to do: the main difference is that the world is shared, so players may choose to work together, often on very large collaborative projects (see ‘All of Denmark virtually recreated’ 2014).Here, a Minecraft server was created to facilitate player cooperation in a persistent world that permitted all participants to share the same space and did not require an individual player to host the game.
The game server was left running indefinitely, with participants logging in from their individual workstations as and when they arrived in the lab. The persistent game world meant that structures constructed by players, along the lines of that seen in Figure 3.2, could be used and extended (or, indeed, destroyed) by anyone, and returning players were not required to start from scratch each time. The persistent, shared nature of the world also provided greater scope for more ambitious collaborative efforts, given the larger pool of collaborators and increased cumulative duration of play.
Valve’s Portal 2 (Valve Corporation 2011) is described by the developer as “a hilariously mind-bending adventure that challenges you to use wits over weaponry in a funhouse of diabolical science”. The game features a particularly robust and inventive cooperative mode, which requires two players to work together to traverse a series of challenging virtual spaces. Both players may create a pair of joined portals, through which either player may pass, thus opening up possibilities for reaching new areas and creating opportunities for physics-based interactions with the environment. For example, in order to advance through one cooperative level, the first player must create a pair of portals for the second player to continually fall through in order to gain momentum until they exit the portal with sufficient velocity to reach a raised platform. Cooperating players are afforded their individual views of the action via a split screen, such that a player may observe what their partner is doing while controlling their own on-screen avatar. In order to aid collaboration, players are also granted the ability to ‘point’ to important aspects of the game world, for example, to indicate where they believe their partner should go next.
Lara Croft and the Guardian of Light
The cooperative, isometrically presented Lara Croft and the Guardian of Light (Crystal Dynamics 2010) also places emphasis on cooperation to solve puzzles and progress. The game is something of a departure from previous titles featuring the eponymous heroine, which are traditionally branded as Tomb Raider games and typically feature a third-person perspective and single-player gameplay. For the Lara Croft titles, a fixed isometric view of the world is presented, and the game is intended to be played with a friend. One player assumes the role of the gun-toting Lara while the other plays as Totec, a Mayan warrior who comes equipped with a spear that is useful for creating impromptu ladders and bridges.
Cooperative players share the same screen (although online co-op is an option in most versions of the game) and for this study both players were provided with a game console-style controller. This arrangement was intended to provide a more convenient means of cooperative play than crowding two players around a shared keyboard. The game’s design clearly encourages verbal communication between players, often taking the form of one player solving the puzzle at hand and explaining to the other player what is required of them. Of course, if the solution to the puzzle is plain to both players it is still beneficial, and usually essential, for the players to communicate their intentions. Figure 3.3 provides a simple example of the cooperative nature of the gameplay, where Lara has used her rope to create a precarious-looking bridge for Totec to cross the spike-filled pit below. Once Totec has crossed, he will be required to create a bridge for Lara to follow him by throwing his spear into the wooden planks that adorn the wall behind the pit. Only Lara possesses a rope and only Totec can throw spears – spears too weak to support the weight of the hulking warrior himself – meaning that this and numerous other obstacles may only be traversed by means of carefully planned teamwork. While the demise of a player’s on-screen avatar results in little more than a brief inconvenience, there is an element of competition introduced by a points system that rewards players for their individual success in collecting artefacts and dispatching enemies. This dynamic does not lessen the fundamentally cooperative nature of the game, but it does add some small significance to the quick-fire negotiations that mediate the allocation of spoils such as health.
Released in 2002, Warcraft III: Reign of Chaos (Blizzard Entertainment 2002) was the oldest game used in the study. The rationale for its inclusion was based on its strategic multiplayer mode, which may be played over a local network without an internet connection. While Warcraft III was not mentioned specifically by the panel of experts involved in selecting the games, a number of its derivatives were, namely: the ubiquitous World of Warcraft (Blizzard Entertainment 2004) and Dota 2 (Valve Corporation 2013).These are quite different games, belonging to different genres: Warcraft III is a Real-Time Strategy (RTS) game whereas WoW is a Massively Multiplayer Online Role-Playing Game (MMORPG) based on the lore of the RTS series which preceded it; Dota 2 is a Multiplayer Online Battle Arena (MOBA) game and sequel to a mod (‘modification’) of Warcraft III. However, certain shared elements – the online cooperation of WoW and the strategic combat of Dota 2 – made Warcraft III an interesting candidate for inclusion in the study.
Warcraft III is played on a pseudo three-dimensional map with up to four races (Orcs, Humans, Night Elves, and Undead) vying for domination. Each player controls one of these races and must collect resources – gold and lumber – to develop and construct buildings, units, and weaponry with the ultimate aim of obliterating their opponents from the map. The game’s multiplayer mode supports team play, meaning that participants in the study could work together (even as different races) to defeat a computer-controlled adversary. Unlike Lara Croft, many different multiplayer configurations are supported, from the previously described two-versus-one scenario through to any combination of human and computer teams.
Participants were instructed to play cooperatively (i.e. on the same team) in pairs or groups. If sufficient participants were available, competitive play was permitted (for example a team of two participants against another two) but cooperation was encouraged.
Team Fortress 2
Valve’s Team Fortress 2 (Valve Corporation 2007) is the multiplayer-only sequel to a popular mod of the 1996 first-person shooter, Quake (id Software 1996). While it does feature in-game purchases – players may opt to buy particular upgrades and other content – the core game is free-to-play, making it an attractive option where budgets are limited. The free-to-play tag is often synonymous with lower quality titles; however, the game was also critically well received, with a Metacritic score of 92. Crucially, multiplayer games may be hosted on a local server, again avoiding the need for an internet connection to facilitate matchmaking.
Gameplay in Team Fortress 2 is, as one might expect, team based. Players may join the game at any time by dropping into the current match and choosing to side with either the RED (‘Reliable Excavation & Demolition’) team or the BLU (‘Builders League United’) team. Similar to Borderlands 2, players may select from a range of character classes that allow for experimentation with different play styles, ranging from the slow but formidable Heavy to the elusive Spy.
The structure of the game sees competing teams thrown into conflict on a time-limited or objective-based map. When a team meets the victory conditions – or time runs out – the next map is loaded, and a new objective pursued. Each map operates in a pre-determined game mode, such as Capture the Flag, Payload, or King of the Hill, with the objective of each mode explained by means of a short video shown at the beginning of play. In Capture the Flag mode, for example, both teams are tasked with stealing a briefcase of intelligence from the depths of the opposing team‘s base and transporting it back to their own, with the briefcase standing in for the titular flag. Players must therefore decide how much emphasis to place on defence of their own intelligence versus making an offensive move to capture the enemy’s briefcase.
Regardless of game mode, the team-based gameplay means that communication is critically important. At a basic level, communication may comprise little more than desperate pleas for assistance when an enemy agent gains the upper hand. However, a successful team will communicate in a more sophisticated manner to convey strategies and status updates, often under the direction of a de facto leader.
Papers, Please and Gone Home
Described by its developer as a “dystopian document thriller”, Papers, Please (3909 LLC 2013) is a BAFTA-winning game in which the player is cast as an immigration officer, deciding whom to let in and whom to turn away from the border of the fictional former communist state of Arstotzka. The player performs this role by critically (and increasingly quickly) assessing the documentation presented by each potential immigrant in light of the ever-changing rules and regulations imposed by the state. As well as exercising critical judgement and dealing with change, the player is presented with an opportunity to reflect on the ethical and social consequences of their in-game actions. A player may reflect on how their actions impact the lives of the fictional immigrants and citizens of Arstotzka (terrorist attacks are a distinct possibility, should the wrong person be permitted access to the country) and also on the personal price to be paid by the family of the player’s character. Failure to meet state-imposed quotas for processing immigrants results in reduced pay and, ultimately, a choice to be made between paying fuel bills or buying life-saving medicine for a family member.
Fullbright’s Gone Home(The Fullbright Company 2013) might be described as a first-person interactive story or adventure (the designers term it a “story exploration video game”) wherein the player, assuming the role of a young woman returning to her family home after a yearlong absence, explores an apparently abandoned house. In doing so, the player may uncover a number of storylines, the most significant of which relates to the protagonist’s younger sister. There are no explicit goals and interaction is relatively limited – such games are occasionally, and somewhat derogatorily, referred to as “walking simulators” – with plot developments uncovered by reading discarded letters and examining ephemera such as concert ticket stubs and television viewing guides.
These two single player games differed in nature from the majority of the titles used in the study, which emphasised cooperation and communication in a multiplayer environment. However, both games may be viewed as requiring the player to exercise critical thinking, and to demonstrate resourcefulness and adaptability. While these latter attributes were measured here by quantitative means, it was thought useful to discuss the possibility of these games being used to develop less tangible attributes – such as ethical and social awareness – with participants in the interviews that followed.
In this chapter, I explore the ideas that underpin so-called ‘graduate attributes’ – the skills and competencies that students are said to develop at university. In the short excerpt below, I begin to examine the links between video games and the development of such attributes.
Despite the challenges associated with embedding graduate attribute development, de Corte (1996) argues that the best learning environments exhibit many features that relate directly to the development of generic attributes – features that higher education institutions can, and in many cases do, encourage. According to de Corte, such environments should provide a “good balance between discovery learning and personal exploration, on the one hand, and systematic instruction and guidance, on the other” while “allowing for the flexible adaptation of the instructional support to accommodate individual differences and stages of learning” and for “social interaction and collaboration”.
A further issue to consider is the usefulness of the term “graduate attributes”, especially when applied across multiple subjects or disciplines. The definition of such an idiom can be somewhat ambiguous, and prone to change over time. Haigh and Clifford (2011), for example, state that graduate attributes might be at the heart of what they perceive as a necessary shift to “focus on an agenda of personal responsibility, on individual and social interior attributes and to move away from [education’s] present focus on exterior systems”. In other words, they see a move towards attributes that relate to graduates’ moral and social consciousness rather than skills that have traditionally appealed to employers.
So, what have video games got to do with graduate attributes and learning? Quite a lot, it may be argued. Take, for example, the characteristics of a life-long learner, as identified in the Candy report: are not explorers of game-based worlds driven by a “sense of curiosity”? Many players relish the opportunity to uncover secrets and solve puzzles in intricate open worlds such as those offered by games such as The Legend of Zelda: Breath of the Wild (Nintendo EPD 2017) and No Man’s Sky (Hello Games 2016) or series including The Elder Scrolls (Bethesda Softworks 1994-) or The Witcher (CD Projekt Red 2007-). Other parallels between these characteristics of life-long learning and the capabilities exercised by playing video games may be observed in titles that are built upon the need to decode and critically evaluate information. In games such as Tacoma (Fullbright 2017), Observation (No Code 2019), and Her Story (Sam Barlow 2015), for example, the player is fundamentally tasked with assembling a narrative from disparate and often inconsistent pieces of information.
The language used by de Corte to describe an optimal learning scenario, wherein opportunities for graduate attribute development are embedded, is directly relatable to the design of the best video games. Many commercial games rely on just this sort of balanced approach to learning by exploration and systematic guidance to lead players of differing experience and ability through the game. The aforementioned Breath of the Wild, for example, encourages the player to experiment with the complement of special powers bestowed upon the game’s hero, Link, in order to learn how they might be used to solve environmental puzzles. Countless multiplayer games from Team Fortress 2 (Valve Corporation 2007) through to the Save the World component of Fortnite (Epic Games 2017) are fuelled by the “social interaction and collaboration” espoused by de Corte. To a person familiar with games and their design, it seems clear that there is an argument to be made in favour of using video games as a means of helping to develop graduate attributes. Furthermore, if games are already capable of developing such attributes in players, they could be used to facilitate relatively low-cost, student-centred graduate attribute ‘courses’, sidestepping the operational difficulties identified by Drummond et al.
In Chapter 1 of my book, Graduate Skills and Game-Based Learning, I explore how a range of established theories of learning relate to video games, including experiential learning, social learning and mastery learning. In the following extract, I look at how constructivism manifests in games.
Constructivism refers to the active process through which learners may themselves construct new knowledge, by applying existing knowledge to new problems. Describing what he terms “radical constructivism”, Glasersfeld (1995 p. 18) states that “knowledge, no matter how it be defined, is in the heads of persons […] the thinking subject has no alternative but to construct what he or she knows on the basis of his or her own experience”. Bruner (1960 p. 17) states that prior learning “renders later performance more efficient” through “what is conveniently called nonspecific transfer or, more accurately, the transfer of principles and attitudes”. In this way, Bruner argues, such learning “consists of learning initially not a skill but a general idea, which can then be used as a basis for recognizing subsequent problems as special cases of the idea originally mastered”.
Savery and Duffy (1995) offer a number of instructional principles that support what they term the “philosophy” of constructivism:
1. Understanding is in our interactions with the environment
2. Cognitive conflict or puzzlement is the stimulus for learning and determines the organization and nature of what is learned
3. Knowledge evolves through social negotiation and through the evaluation of the viability of individual understandings
Savery and Duffy consider the first of these propositions to be the core concept of constructivism (their emphasis on the ‘in’). Indeed, this this seems a neat summation of the idea, but the second and third components are also useful, and serve to illustrate constructivism’s close coupling with the sort of learning games can stimulate. What is a game without some “cognitive conflict or puzzlement”, after all? Related to this point, Savery and Duffy also note that “it is the goal of the learner that is central in considering what is learned”, which aligns with another aspect of video games: that they – to varying degrees – often permit the player to set their own goals or, at least, attempt to tackle the game’s challenges at their own pace. In their third proposition, it is interesting to note the importance that the authors place on social aspects of learning – these are discussed in relation to games below.
As noted, ‘constructivism’ is not a clearly delineated concept, and nor can it be attributed to a single scholar. Alongside Dewey (1938) and Montessori (1949), Piaget (1956) and Papert (1980) are two of the names most closely associated with constructivism in the literature. However, their ideas about constructivism are not identical. Papert suggests the modified term ‘constructionism‘ which, like the constructivism described by Piaget, characterises the concept of learning as “building knowledge structures” while also adding “the idea that this happens especially felicitously in a context where the learner is consciously engaged in constructing a public entity, whether it’s a sandcastle on the beach or a theory of the universe” (Papert and Harel 1991). Piaget and Papert are both constructivists, then, but Papert is also something else and it might be problematic to assume that ‘constructivism’ carries the same meaning for all when applying it to video games, or any other pursuit. A further issue associated with some of the seminal work produced on constructivism – especially that described by Piaget and Papert – is its focus on children; it is mostly applied to adults only by extrapolation. This book is concerned primarily with video games’ effects on adult learners, and so it should also be noted that Piaget’s theories have been successfully adapted and applied to tertiary level education (for example, see Wankat and Oreovicz 1993).
In gaming terms, one could see constructivism taking on multiple meanings. First, it might refer to the learning that occurs as a player turns their attention to the process of developing their own game, or perhaps more commonly, creating their own modification or extension of a game, or using built-in tools to construct new levels or in-game items. While the player here is undoubtedly drawing on their existing experience of playing video games – they must possess some understanding of the form and conventions associated with games before they may construct their own – this is a highly literal application of the constructivist concept, more akin to Papert‘s notion of constructionism. A stronger interpretation might acknowledge the process of learning to play a game based on previous gaming experience, and on real world experience: games are conceived and designed in the real world, even if their settings or themes are otherworldly. Thus, our understanding of the world around us may also be used to inform our play. This idea may be taken further, and reversed: in learning about the world around us, may we not, in constructivist terms, draw upon experiences gained through video games? Interactions with other players, for example, may serve as an analogue for effective communication in the real world.
If learning through constructivist means relies upon prior experience, then the recollection, or retrieval, of memories associated with such experience is an important factor. Karpicke and Blunt (2011) state that “because each act of retrieval changes the memory, the act of reconstructing knowledge must be considered essential to the process of learning”, demonstrating that “retrieval practice is a powerful way to promote meaningful learning of complex concepts”. In showing that practicing retrieval is as effective, or more so, than elaborative learning techniques (such as the drawing of concept maps while studying source material) Karpicke and Blunt’s work suggests that the act of recalling what we have learned is as important as how we store this information in the first place. It is conceivable that, at a low level, video games may also excel at providing players with reason to practice such retrieval, leveraging the same effects that Karpicke and Blunt elucidate, in order to teach players how to play. When a new game concept is introduced – for example, a new skill or ability that one’s player character obtains – this new knowledge is not typically intended to be stored away for later use, to be examined by means of an in-game test at some point in the possibly distant future. Instead, the player is usually expected to start retrieving this knowledge almost immediately, and often repeatedly, until it becomes second nature. The player may have constructed their own knowledge by observing the mechanics of the new game concept – it is not necessarily spelled out for them – but it is in the repeated act of retrieval that they truly understand how to apply it.
While I’m more interested in incidental learning from video games, as opposed to teaching with them in more formal ways, I recently had the opportunity to go into a local school (through the STEM Ambassador programme) and try using Valve’s Portal 2 to teach Physics to a group of secondary school students.
The students were in year S2 (around 14 years old in Scottish schools) and were all girls: this was part of a ‘Girls into Physics’ event co-ordinated by the Institute of Physics. Such events are intended to help address the gender imbalance in Physics at all levels, from school through to university and into industry. The girls here were approaching the point where they must decide which subjects to pursue, and the event was designed to help ensure Physics is on that list of subjects.
My Portal 2 set-up. The projector would not have looked out of place in the game’s Aperture Laboratories.
The way the event ran was as follows. The students moved between demonstrators in groups of around 12 at 20 minute intervals. Aside from my own Portal set-up the event featured all sorts of interesting experiments and displays, each manned by suitably knowledgeable and enthusiastic demonstrators from the Institute of Physics and the STEM Ambassadors programme. I came prepared with an educational copy of Portal 2 already installed on my laptop and a lesson plan adapted from those offered by US-based Physics teacher Cameron Pittman on collisions, momentum, and oscillations (see http://physicswithportals.com). My laptop was plugged into an impressive-looking projector and I awaited my first group of students.
While I had prepared the exercise, built a custom ‘test chamber’ in which to conduct experiments, and become familiar with the editing tools that ship with the educational version of the game, I was nervous about my lack of a Physics background. When I say I lack a background in Physics, I mean to say I haven’t studied it for nearly 20 years and even then it was competing with Chemistry and Maths for the coveted title of My Most Hated Subject. These fears were not entirely unfounded.
A Portal 2 Companion Cube
Overall, the experience was fairly positive. Feedback from the students was good (they seemed to have fun, at least) but I have doubts about what the teachers thought of the endeavour. While I had crammed just enough Physics theory to get through the exercises, I feel I could have done more with a proper command of the subject. While 20 minutes seemed like a short amount of time to play with, both of my groups finished working through the lesson plan before time was up: a real Physics teacher could have used the few minutes that remained to ad lib a little, while I had essentially reached the limit of my knowledge of Science. As with most teaching, too, I think that I could have conveyed what little I did attempt to cover rather better if I had a deeper understanding of the material. You can almost always tell when a teacher is slightly winging it.
Another observation I would make is that my laptop and projector set-up was not ideal for a group activity of this sort. While the students for the most part were quite engaged with what was happening on screen, it was inevitable that those furthest from the keyboard and mouse would eventually feel somewhat disconnected. The more confident students were also able to dominate to some degree. We changed up who was ‘in the driving seat’ a number of times per session but in 20 minutes it is impossible to allow 12 people to get some hands-on time – especially when factoring in some time for each student to master the game’s controls. A better approach, hardware availability permitting, might be to have the students work on their own machines, probably in pairs. If I did something like this again, I’d probably also try and learn some more Physics in advance of the class or, better still, run it in collaboration with an actual physicist. Finally, while I did make the point that it took somebody with a grasp of STEM subjects like Physics and Maths to make a game like Portal 2 happen, I think I could make this point all the more convincingly if I allocated some time to talk about how these subjects relate to work in the video games industry. For example, a few words about the success of Kim Swift, lead designer on the original Portal, might be of particular interest to secondary school girls thinking about their subject choices.
The Smiths: not relevant to 14 year old girls in 2013?
An aside: my Portal 2 test chamber was entitled ‘Oscillate Wildly’. Turns out 2013’s 14 year old girls don’t pick up on references to The Smiths.
Will Wright’s original SimCity (1989) and its isometric sequel, SimCity 2000 (1994), are perhaps the games that first made me consider the educational possibilities of my favourite pastime. The original SimCity I played somewhat vicariously over my Amiga-owning friend’s shoulder. SimCity 2000, however, I had all to myself and I played it for hours on end on our Mac at home. At school, my forward-thinking geography teacher also allowed me to install it on the department’s Mac. He could probably see the potential in it as a learning tool and certainly recognised that the game could engage the teenage me in a way that some of his colleagues could not. It was never going to find its way on to the curriculum, of course, but it was an exciting possibility for the future.
New Mattsville in 2013
The 2013 version of SimCity marks the return of a series which has lain dormant since the release of SimCity 4 in 2003 (excluding spin-offs such as the Nintendo DS version, the less successful SimCity Societies and the myriad versions of the wildly popular The Sims franchise). At its core, SimCity is exactly what the name implies: a city simulator, wherein you assume the role of major, albeit with some unconventional leanings towards omnipotence not usually associated with City Hall. It’s a kind of civic sandbox, featuring all the toys with which a budding mayor might expect to be able to play. While this new iteration introduces a steady stream of mayoral objectives, the game has traditionally set few fixed goals. Instead, the player is free to craft their city as they see fit: adjusting taxes, investing in public services, building essential infrastructure such as roads, and so on. Perhaps the most important tool in your repertoire is that which allows you to designate areas of your city as residential, commercial or industrial zones, determining what your citizens – known as Sims – can build there.
Tinkering with your city and watching it grow is strangely addictive stuff. Like its predecessors, SimCity offers feedback to the player in countless forms, from the often quite beautiful picture the game paints of your living, breathing city, to the multitude of tables, reports and graphs you can pull up on your city’s finances, crime levels, educational performance and other social statistics. All of these feedback mechanisms, coupled with the ability to play the game at your own pace – both in the literal sense (you can slow and speed up time) and in the sense that there’s no real need to gallop ahead and build a sprawling metropolis if you’d rather cultivate a bustling hamlet – encourage the player to set their own personal goals. Because there’s nobody telling you what to do or when to do it as in, say, a school classroom, the motivation to meet these goals is entirely intrinsic.
This new SimCity, however, makes one significant departure for the series: it is designed to be played online as a multiplayer experience. This is important for a number of reasons. First, of course, it introduces the prospect of a rather more extrinsic form of motivation: competition. Second, because the game insists on connecting to servers operated by the game’s publisher, EA, every time you play – even if you have no intention of interacting with other players – those servers have to be up-and-running. However, in the few days since the US launch of the game, and to a lesser extent in the hours since it was released in Europe, EA’s servers have not been up to the task. Thousands of disgruntled would-be mayors cannot play the game for which they just paid around £40, after a decade-long wait, simply because the servers are unable to cope with the volume of people attempting to log in. The publisher’s motivation for this arrangement (known as ‘digital rights management’, or DRM) is to protect against piracy. Their servers, as well as proving the ability to save your game to the ‘cloud’, and, apparently, crunching some of the complex numbers required by the city simulation, are also used to check your copy of the game is legitimate.
This debacle has overshadowed the launch of the game to such an extent that it is impossible to ignore in any review. The rights and wrongs of DRM are better covered elsewhere, but the situation raises some significant questions about the game’s suitability for use in a classroom. First, online connectivity requires EA’s Origin software to be installed and able to connect to the internet, introducing an additional hurdle for getting the game installed on a school, college or university network in the first place. Second, if the servers are down when you are scheduled to teach a SimCity-based class, that class isn’t going to happen. Of course, it’s likely that EA will have remedied the server situation by the time the game filters into classrooms but there is a larger question here: what happens when EA turns the servers off? As players of many of the same publisher’s sports titles will know, once those servers become unprofitable to run, or there’s a new version of the title they want to push, the server that facilitates online play is canned. So, whereas a school that invested in 30 copies of SimCity 4 a decade ago can still use that software, there’s every chance that the same will not apply to the new game in 2023.
This is something of a dilemma for educators considering SimCity as a potential learning tool. On the one hand, the game’s publishers are actively courting the educational market – apparently drawing inspiration from Valve’s seemingly more altruistic efforts with thephysics-based Portal 2 game – via the simcityedu.org website, which offers lesson plans and other resources to kick-start teaching around the game. On the other, how many schools or colleges can afford to invest in multiple copies of a game that may become unplayable at the publisher’s whim? One must also add to the equation the cost of purchasing suitable hardware – the new SimCity is beautifully realised, to be sure, but it requires modern technology to render all of that stunning detail in real time.
In the end, and bearing in mind it’s only been out a day or two, it’s fair to say that SimCity will almost certainly gobble up what little spare time I can muster, and I’ll quickly forget my objections to what I consider to be Draconian DRM measures. From a learning point-of-view, however, I’ve yet to see anything in the game that couldn’t be done to some degree in its considerably more affordable predecessor, if not the version I showed to my geography teacher nearly 20 years ago. Either of these is rather more likely to run on the average school’s computers, which in some cases might actually be 20 years old.
Update: The GamerDNA version of the Bartle test is now offline, so I’ve implemented my own version here.
As part of my literature review, I am, inevitably, reading up on some of Richard Bartle’s work. Also inevitably, I became distracted by the prospect of taking the Bartle Test to determine which of the MUD co-creator’s four player types I most closely resemble. Turns out I am explorer at heart, with leanings towards being an achiever and something of a killer. In the context of multi-player games (and perhaps more generally!), I am not much of a socializer.
It’s not so much the wandering around and poking about, but that euphoric eureka moment the Explorer strives for. The joys of discovery do not necessarily involve geography, real or virtual. They may derive from the mental road less traveled, the uncovering of esoteric or hidden knowledge and it’s creative application. Explorers make great theory crafters. The most infinitesimal bit of newness can deliver the most delicious zing to an Explorer.
Explorer Killers enjoy seeing the world, meeting interesting people…and killing them. EKs love all discovery, but finding an edge over the competition is best. Always seeking new opportunity, an EK likely knows the ten best places to find certain types of opponents, as well as ten different ways for taking them down.
Explorer Achievers have been there, done that and have the t-shirt…in fact they have a plethora of t-shirts, badges, trophies and other rewards. EAs are the completionists of the gamer world. They like to find new places, quests, easter eggs, unlocks, maps etc. and check them off as have, visited or beaten. Like real world travelers, EAs enjoy collecting memorabilia that helps them relive their experiences later.
Explorer Socializers are the glue of the online world. Not only do they like to delve in to find all the cool stuff, but they also enjoy sharing that knowledge with others. Explorer socializers power the wikis, maps, forums and theory craft sites of the gamer world.
This is the conclusion of respected games developer (and creator of indie favourite, Braid), Jonathan Blow, as revealed in this article in The Atlantic magazine. The article itself is interesting, featuring interviews with Blow himself – who has, in the past, been labelled somewhat pretentious (you can decide for yourself after reading the Atlantic piece) – and actually offers a more balanced take on the “video games as art” debate than the introductory blurb might suggest. The article also serves as a rather eloquent piece of promotional material for Blow’s upcoming exploration/puzzle game, The Witness…
In response to the arguments put forth in the article, however, The Brainy Gamer has undertaken to produce a catalogue of “smart games”, comprising those titles that meet Blow’s own criteria for being “artistic or intellectually sophisticated”. The catalogue is off to a great start (and looks as though it will provide some excellent ideas for my own work…), but is actively seeking user contributions. If you can think of a game that might meet the above requirements, head on over to the catalogue to submit it.
I’m not sure what to make of this, and I’m loath to give this man any sort of publicity, however minor. That said, there is no doubt that rather more well-read websites than this will jump on the opportunity to highlight the horrendous implication that someone like Breivik could ‘learn’ to kill using a video game.
A World of Warcraft wedding - while the MMORPG has been responsible for its fair share of marriages and divorces, it does not seem like a training ground for mass murderers.
I confess that Call of Duty, which Breivik claims to have used to “develop [his] target acquisition”, is not to my tastes but to suggest that it could be in some way responsible for what happened in Norway (as some quarters of the press seem to imply) is ridiculous. Breivik’s interest in the fantastical World of Warcraft is also dredged up, as if playing a game featuring orcs, gnomes and night elves could somehow prepare him for the very real and truly horrifying act of mass murder. That the 10 million other WoW subscribers aren’t using the game as some sort of murderous training simulator suggests that it has little to do with the actions of an evil, deluded man.
Some early ’90s video game humour, which serves mainly to highlight the apparent preposterousness of the idea of learning from video games, or ‘edutainment’ as this unholy alliance was referred to at the time.
You really shouldn't tell fibs about dead animals, Max
Of course, this is LucasArts‘ legendary 1993 point and click adventure, Sam & Max Hit The Road, based on the characters created by Steve Purcell. The ‘edutainment’ (I don’t seem able to type that without the scare quotes) dig is just one of many brilliant jokes to be found in this classic game’s script (delivered, for the first time, entirely by voice actors). Still, I didn’t know who John Muir was until I was inspired to look him up after enjoying this clip. What a nin-cow-poop!