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Brett Boessen

Terra Nova: Movies Stink - 15 views

terranova.blogs.com/...movies-stink.html

rant castranova systems design games narrative stories storytelling

shared by Brett Boessen on 06 Jan 12 - No Cached
  • Brett Boessen on 06 Jan 12
     
    Castranova is not usually so passionate in his writing.  Very interesting perspective, though.
  • ...12 more comments...
  • Bryan Alexander on 06 Jan 12
     
    Interesting to see him split games from stories.
  • Bryan Alexander on 06 Jan 12
     
    I do chime in with his grumpiness about Hollywood, generally.
  • Brett Boessen on 07 Jan 12
     
    Honestly, I'm starting to feel similarly. Though I am finding many of the long-form serial narratives of TV pretty engaging. Still, I appreciate the value in *doing* over watching/consuming. And yet what he's saying is essentially a version of the old "film/tv makes you passive" argument, which I've always recoiled against. So I'm torn.
  • Bryan Alexander on 10 Jan 12
     
    I've been coming back to the tv=passive line, more and more each year. It's hard, because I know so many active fans engaged in all kinds of practices. But then I see the silent fans, the ones who just... soak. And I'm reminded of William Gibson's line about couch potatoes.
  • Brett Boessen on 11 Jan 12
     
    I don't know that one...do tell. :)
  • Bryan Alexander on 11 Jan 12
     
    I think this is textually correct, more or less: "a vicious, lazy, profoundly ignorant, perpetually hungry organism craving the warm god-flesh of the anointed. Personally I like to imagine something the size of a baby hippo, the color of a week-old boiled potato, that lives by itself, in the dark, in a double-wide on the outskirts of Topeka. It's covered with eyes and it sweats constantly. The sweat runs into those eyes and makes them sting. It has no mouth, Laney, no genitals, and can only express its mute extremes of murderous rage and infantile desire by changing the channels on a universal remote. Or by voting in presidential elections."
  • Bryan Alexander on 11 Jan 12
     
    Or, more succinctly: couch potatoes, like taters, are kept in the dark, buried under manure.
  • Brett Boessen on 12 Jan 12
     
    Wow. That's...very detailed. Doesn't leave a lot of room for empathy or understanding: pretty cut and dried. :)
  • Bryan Alexander on 12 Jan 12
     
    Jeremaiad. One I sympathize with. I need to spend time with you happy media studies folks and regain my old empathy.
  • Brett Boessen on 13 Jan 12
     
    THAT Camp - Games. Done and done. :)
  • Bryan Alexander on 13 Jan 12
     
    That's right - when do you arrive?
  • Brett Boessen on 13 Jan 12
     
    I'll actually be there Thursday evening, but I'm going to dinner with my parents and brother (who live in the area). I am staying through Monday morning, though. We should be able to find some time to catch it, I'd guess. What are your travel plans?
  • Bryan Alexander on 14 Jan 12
     
    Coming in Thursday, leaving Sunday @3.
  • Brett Boessen on 14 Jan 12
     
    Cool -- I'll see you Friday morning then. Let's try to grab a meal at some point. :)
Brett Boessen

The "Rattomorphism" of Gamification | Critical Gaming Project - 3 views

depts.washington.edu/...-rattomorphism-of-gamification

games design production consumption theory criticism

shared by Brett Boessen on 21 Nov 11 - No Cached
  • the revelation born out in long term studies is that ultimately it backfires. Over time, people engaged in activities that are structured by and sustained through operant conditioning grow to resent or hate those activities, and their creativity in approach as well as their productivity declines.
  • Ian Bogost has done an excellent job identifying gamification rhetoric as bullshit, and suggesting many of its products are exploitationware. In light of Kohn’s work we are compelled to add that the logic of gamification is the logic of corrosion
  • If the goal is to get users to simply DO something, then the logic of gamification may not read as corrosive – just effective
  • ...3 more annotations...
  • But if quality of action, emotional engagement, and development over time matter at all, we should be concerned about the corrosive conditioning the techniques of gamification entail
  • The problem is that there is no such thing as a “game layer,” if we understand “game” to mean something more than an assemblage of techniques we find in games
  • What we are really talking about here is more like a “reward layer,” or more abstractly, an activity “feedback layer” that draws its inspiration from techniques associated with games, and thus evokes expectations of gameplay
  • Erik Hanson on 23 Nov 11
     
    The final bit is what I said to Bogost when he was in town earlier this year, shortly after his post in the link. If there's an upshot to "gamification" as a movement and idea, it's that our feedback systems are woefully underdesigned. Not everything needs to be made "fun," but clear goals and feedback could make a lot of things less un-fun.
Ed Webb

Ian Bogost - Against Aca-Fandom - 2 views

www.bogost.com/...against_aca-fandom.shtml

culture criticism fandom television games opinion blog bogost

shared by Ed Webb on 04 Aug 10 - No Cached
  • Scholars need to make more kinds of things
  • I also question whether traditional academic distance may not often be as lazy, as simple-minded, as the kind of "vulgar aca-fandom" you are critiquing. It seems to me that it often comes from a refusal to engage with texts and the people who consume them. It often starts from an easy dismissal of the value of the work, a disdain for its fans and creators, and a desire to signal one's distance from anything commercial or popular. It often does not ask the kinds of hard questions you are claiming for the virtue of skepticism. For me, then, there is no special virtue from either starting place -- only the need to be honest about where you are starting from and your own stakes in the analytic process and to be unsettled and multivalient in constantly questioning the texts in which you are engaged. To me, this represents the virtues of the best fan criticism and it represents the virtues of the best outsider criticism.
  • I'm not suggesting that fans of pop culture artifact X (for any X) are wasting their time and ought to read Chaucer instead. Rather, I'm just not sure I agree that intense fans are sharp critics. I think they are pedantically detailed and vehement investigators, but I don't know that such digging leads to criticism. Let's take this further: it's a criticism I would extend to most academics too... many "careful readers" of whatever (Chaucer, even!) aren't really any better. In that respect, I agree with you that traditional academic distance isn't a salve (as I begin to suggest above, most "traditional" academics suffer from the same negative fandom that concerns me).
  • Bryan Alexander on 04 Aug 10
     
    I like the distinction between criticism and investigation. Cf the devoted readers of Tolkien, Austen, etc. I wonder how often liberal arts folks interested in gaming get accused of being (just) fans?
Ed Webb

The Ballad of Reedybeanz - reedybeanz (grab_bag) - Echo Bazaar [Archive of Our Own] - 1 views

archiveofourown.org/73011

games gaming fantasy steampunk fallen_london echobazaar fanfiction

shared by Ed Webb on 23 Apr 10 - Cached
  • Ed Webb on 23 Apr 10
     
    Nicely done. I wonder about fan fiction as a writing form for liberal arts education. Potential to engage reluctant writers?
Ed Webb

Virtual Worlds, Simulations, and Games for Education: A Unifying View - 2009 - ASTD - 0 views

www.astd.org/...1009_aldrich.html

games gaming education simulation virtualworlds virtual_world opinion theory

shared by Ed Webb on 01 Nov 09 - Cached
  • It is more useful, and perhaps more complete, to see virtual worlds, games, and simulations as points along a continuum, all instances of highly interactive virtual environments (HIVEs).
  • The ease with which the children in the pool, the students in the virtual class, and the pilot in the flight simulator move from exploratory virtual-world behaviors to structured but simple games to taking on rigorous simulation challenges illustrates both the differences across these three instances and the connections that link them. It is only by building from open experimentation to increasingly rigorous rules, structures, and success criteria that children learn transferable water survival skills and pilots learn critical flying skills.
  • A virtual world will not suffice where a simulation is needed. The virtual world offers only context with no content; it contributes a set of tools that both enable and restrict the uses to which it may be put. An educational simulation may take place in a virtual world, but it still must be rigorously designed and implemented. Organizations routinely fail in their efforts to access the potential of virtual worlds when they believe that buying a virtual world means getting a simulation. Likewise, a game is not an educational simulation. Playing SimCity will not make someone a better mayor. Some players of, for instance, World of Warcraft may learn deep, transferable, even measurable leadership skills but not all players will. The game does not provide a structure for ensuring learning. Just because some players learn these skills playing the game, that does not mean either that most players are also learning these skills or that it should be adopted in a leadership development program. Conversely, a purely educational simulation may not be very much fun. The program may have the three-dimensional graphics and motion capture animations of a computer game, but the content may be frustrating. Specific competencies must be invoked, and students' assumptions about what the content should be, likely shaped by their experiences with games, will be challenged.
  • ...4 more annotations...
  • One example of the commonality across all HIVEs is the need for introductory structures. These asynchronous, self-paced levels or locations allow students to learn and demonstrate basic competencies in manipulation, navigation, and communication before moving on to the "real" exercise.
  • the need for communities around games and simulations
  • Virtual environments provide a natural way for people to learn by nurturing an instinctive progression from experiencing to playing to learning; instructors should encourage the shifting across experimentation, play, and practice in which students naturally engage. In fact, instructors can exploit that behavior by providing stages that accommodate each stage. Light games and self-paced introductory levels can be used to get students comfortable with basic concepts and the interface necessary to exist in the virtual world, and the complexity can be increased to encourage students to move on to play and practice stages.
  • While best practices in content structuring may be transferred from stand-alone educational simulations to virtual world-based simulations, metrics and learning objectives for the different contexts should be different. Learning objectives and assessments around games, for instance, should be focused on the engagement, exposure, and use of simple interfaces while those for educational simulations should measure the development of complex, transferrable skills.
  • Ed Webb on 01 Nov 09
     
    via @timbuckteeth
Ed Webb

BLOG « failbetter - 2 views

about.failbettergames.com/blog

games text storytelling platforms

shared by Ed Webb on 17 Oct 12 - No Cached
  • Ed Webb on 17 Oct 12
     
    I sense possibilities. Maybe it will be a little more user-friendy than Inform 7.
  • Brett Boessen on 17 Oct 12
     
    I've been playing around with it a little bit; had my students look at it briefly last week. It is *more* user friendly in that there are forms and boxes for you to input your story elements (ie, a little more visual than Inform). It is *less* useful in that the product is always in the Fallen London format, ie, cards/decks are "dealt" and story elements are uncovered in a point-based system. So if you're not looking for that particular format to deliver your story, I'm not sure it's as flexible as Inform is. But I think it's pretty neat that they've opened up their process to the public, and their wiki is CHOCK full of ideas, tips, hints, and other useful stuff for producing an engaging story of the Fallen London variety. And, they've got a new game to play in addition to FL called Cabinet Noir which is set in Richelieu/Musketeers France and is fun in a more historically accurate (maybe?) way than FL was/is. Kudos to Failbetter all around, if you're into IF. :)
  • Bryan Alexander on 17 Oct 12
     
    Pretty usable. I quickly generated a French Revolution game/story. Would be fun to do that right.
Brett Boessen

Why I Blog - Andrew Sullivan - The Atlantic - 4 views

www.theatlantic.com/...307060

Sullivan atlantic blogging opinion

shared by Brett Boessen on 29 Oct 12 - No Cached
  • For a long time, columns were essentially monologues published to applause, muffled murmurs, silence, or a distant heckle. I’d gotten blowback from pieces before—but in an amorphous, time-delayed, distant way. Now the feedback was instant, personal, and brutal.
    • Brett Boessen
      Brett Boessen on 29 Oct 12
       
      Instant Feedback -- blogging is the gamification of authorship?
  • The form was more accountable, not less, because there is nothing more conducive to professionalism than being publicly humiliated for sloppiness.
  • The blog remained a superficial medium, of course. By superficial, I mean simply that blogging rewards brevity and immediacy
  • ...26 more annotations...
  • the key to understanding a blog is to realize that it’s a broadcast, not a publication. If it stops moving, it dies. If it stops paddling, it sinks.
  • But the superficiality masked considerable depth—greater depth, from one perspective, than the traditional media could offer. The reason was a single technological innovation: the hyperlink.
  • in reading it on paper, you have to take the columnist’s presentation of the material on faith, or be convinced by a brief quotation (which can always be misleading out of context).
  • a hyperlink to the original source transforms the experience.
  • A blog, therefore, bobs on the surface of the ocean but has its anchorage in waters deeper than those print media is technologically able to exploit.
  • The blogger
  • a node among other nodes, connected but unfinished without the links and the comments and the track-backs that make the blogosphere, at its best, a conversation, rather than a production.
  • If you compare the meandering, questioning, unresolved dialogues of Plato with the definitive, logical treatises of Aristotle, you see the difference between a skeptic’s spirit translated into writing and a spirit that seeks to bring some finality to the argument.
  • Perhaps the greatest single piece of Christian apologetics, Pascal’s Pensées, is a series of meandering, short, and incomplete stabs at arguments, observations, insights. Their lack of finish is what makes them so compelling—arguably more compelling than a polished treatise by Aquinas.
  • Montaigne was living his skepticism, daring to show how a writer evolves, changes his mind, learns new things, shifts perspectives, grows older—and that this, far from being something that needs to be hidden behind a veneer of unchanging authority, can become a virtue, a new way of looking at the pretensions of authorship and text and truth.
  • To blog is therefore to let go of your writing in a way, to hold it at arm’s length, open it to scrutiny, allow it to float in the ether for a while, and to let others, as Montaigne did, pivot you toward relative truth
  • Some e-mailers, unsurprisingly, know more about a subject than the blogger does
  • The role of a blogger is not to defend against this but to embrace it.
  • He is similar in this way to the host of a dinner party. He can provoke discussion or take a position, even passionately, but he also must create an atmosphere in which others want to participate.
  • You can’t have blogger’s block. You have to express yourself now, while your emotions roil, while your temper flares, while your humor lasts. You can try to hide yourself from real scrutiny, and the exposure it demands, but it’s hard.
  • Alone in front of a computer, at any moment, are two people: a blogger and a reader.
  • The proximity is palpable, the moment human
  • friendship
  • Bloggers can be spun and misled as easily as traditional writers—and the rigorous source assessment that good reporters do can’t be done by e-mail. But you’d be surprised by what comes unsolicited into the in-box, and how helpful it often is.
  • A good blog is your own private Wikipedia.
  • There is a distinction here, of course, between the edited use of e-mailed sources by a careful blogger and the often mercurial cacophony on an unmediated comments section. But the truth is out there—and the miracle of e-mail allows it to come to you.
  • The reason this open-source market of thinking and writing has such potential is that the always adjusting and evolving collective mind can rapidly filter out bad arguments and bad ideas. The flip side, of course, is that bloggers are also human beings.
  • You can disappear into the partisan blogosphere and never stumble onto a site you disagree with. But linkage mitigates this. A Democratic blog will, for example, be forced to link to Republican ones, if only to attack and mock.
  • If all this sounds postmodern, that’s because it is. And blogging suffers from the same flaws as postmodernism: a failure to provide stable truth or a permanent perspective.
  • To use an obvious analogy, jazz entered our civilization much later than composed, formal music. But it hasn’t replaced it; and no jazz musician would ever claim that it could. Jazz merely demands a different way of playing and listening, just as blogging requires a different mode of writing and reading.
  • The reason they talk while listening, and comment or link while reading, is that they understand that this is a kind of music that needs to be engaged rather than merely absorbed.
  • Bryan Alexander on 30 Oct 12
     
    Good one, Brett. Some people were talking about social media as gamification, in terms of checking points (hits, links) and getting rewards. Can't remember where.
  • Brett Boessen on 31 Oct 12
     
    If you think of it, drop me a line; I'd be interested to see what came of that discussion.
Ed Webb

Video games are the answer to the New Boring | Technology | guardian.co.uk - 0 views

www.guardian.co.uk/...video-games-versus-new-boring

gamification games gaming engagement television TV media opinion

shared by Ed Webb on 22 Nov 11 - No Cached
  • And then there's Saint's Row 3, an open-world crime shooter, that seems to have been concocted entirely by hyperactive 14-year-olds force fed on a diet of sherbet, Red Bull and Korean gangster movies. This is a game in which the player can, entirely at random, bludgeon passers-by with a giant dildo. To the best of my knowledge, Downton Abbey features nothing even remotely comparable – although, to be fair, I skipped most of season two, and may have missed a key scene in which Hugh Bonneville attacks his butler with some nightmarish Edwardian device intended for the cure of female hysteria.
  • Please, if you are a parent and you want something to do with your kids on a wet Sunday afternoon, don't rent the latest heavily marketed CGI bore-fest from a Hollywood studio more interested in selling you merchandise and the moral agenda of its self-serving financers, buy Zelda. Buy Zelda and share a genuinely thrilling, heart-warming escapist fantasy with your children. Certainly, it's not as 'good' as taking them to a museum or getting them to play footie in the park, but if the only alternative is Horrid Henry, it is spectacular – and they will never forget it.
  • Interactivity is a blunt but effective tool to ensure attention and alertness. And as such, video games have never sought to stultify or repress. Video games are not interested in teaching us to make the most out of our tired soft furnishings.
  • ...4 more annotations...
  • Forget mainstream TV, forget it. It's over – at least in terms of water cooler discussion. Apprentice and X-Factor may reliably trend on Twitter, but it's all ironic chatter mixed with barely-disguised collective embarrassment and culpability. There's nothing enriching there.
  • games demand immersion and investment. Traditionally, this has formed a stereotype of dead-eyed zombies slumped in front of monitors, but of course, through XBox Live and PSN, gamers now constantly communicate with each other, as well as share creative tasks in titles like Little Big Planet and Minecraft. New research from Michigan State University suggests that gamers are more imaginative story-tellers – the findings are far from conclusive, but they don't surprise me. The game worlds in Zelda, Uncharted and Dark Souls are rich and deep. They are cluttered with possibilities.
  • Games get to us on some primal level, they speak to the machine code of the human id – and that can be a good thing.
  • You have your doubts and so do I. But the very least mainstream games do is give us a platform to discuss amazing things. When you talk about Zelda or Uncharted 3, you can talk about beauty, art, mythology and adventure; when you talk about the forthcoming Bioshock: Infinite, you can cover architecture, paranoia and politics and it all makes perfect sense. These elements aren't hidden away, to be teased out by cultural studies students desperate to apply their knowledge of Derrida and Saussure. They're there in the very form, the very function of the games. Modern Warfare 3 and Battlefield 3 are idiotic and politically suspect, but give them five minutes and they'll show you more about the computerised lunacy of contemporary conflict than most of those MOD-arranged shaky cam war reports beamed into your living rooms by over-stretched 24-hour news channels
Bryan Alexander

'StarCraft' Gameplay Boosts Mental Flexibility, Says Study - 0 views

blogs.wsj.com/...-mental-flexibility-says-study

games education

shared by Bryan Alexander on 26 Aug 13 - No Cached
  • Bryan Alexander on 26 Aug 13
     
    By Riva Gold Playing StarCraft can boost problem solving and creative thinking, according to a new study by researchers at Queen Mary University of London and University College London. Researchers found that those who engaged in the real-time military strategy game improved their "cognitive flexibility," or the ability to adjust their thinking to meet different situations.
Bryan Alexander

Ivanhoe | A Praxis Program Project - 2 views

ivanhoe.scholarslab.org

game pedagogy

shared by Bryan Alexander on 03 Sep 14 - No Cached
  • Bryan Alexander on 03 Sep 14
     
    Connect * Create * Inspire The Ivanhoe Game is about making connections, bridging disciplines, highlighting subjectivity, and engaging students with an alternative pedagogical approach. This WP Theme allows teachers to convert WordPress, already often used in the classroom, into an exciting environment where students can manipulate and play with a cultural object.
Todd Bryant

2015 Games for Change Awards nominees announced | Games for Change - 5 views

www.gamesforchange.org/...ange-awards-nominees-announced

shared by Todd Bryant on 06 Apr 15 - No Cached
Brett Boessen liked it
  • Todd Bryant on 06 Apr 15
     
    Drumroll, please! Here are your nominees for the Games for Change Awards, which celebrate the year's best social impact games. Come to the Festival to play and
  • ...2 more comments...
  • Bryan Alexander on 06 Apr 15
     
    Have you played any of these yet?
  • Brett Boessen on 07 Apr 15
     
    I did play Vi Hart's "playable blog post, "Parable of the Polygons," and found it a fascinating and innovative experiment in procedural learning. Reminded me of a series of mini-lectures on game design or game theory that were a combination of animated lecture and playable exercises...started with a version of Pong? I can't find it in my bookmarks at the moment, but they had a similar combination of commentary and interactivity as her Parable does.
  • Brett Boessen on 07 Apr 15
     
    OK - just tried "That's Your Right" too, and it's a fun little digital card game, like Blizzard's Hearthstone, that definitely had me more familiar with the five sub-clauses of the first amendment by the end of it than I was before my 15-minute play session. I'm curious what political science faculty in higher ed would think of it's cutesy interface and music, and of it's fairly straight-forward political content regarding the Bill of Rights, but I found it engaging enough during my first playthrough that I (re-)learned something.
  • Bryan Alexander on 07 Apr 15
     
    Thanks, Brett.
Bryan Alexander

Disaster Hero - 1 views

www.gamepolitics.com/...ma-dhs-back-disaster-hero-game

simulation games gaming

shared by Bryan Alexander on 22 Jun 10 - Cached
  • Bryan Alexander on 22 Jun 10
     
    Another example of a civic engagement game.
Ed Webb

Thoughts on gaming and learning | TechTicker - 1 views

techticker.net/...houghts-on-gaming-and-learning

gaming games simulation fun education virtual_world mmorpg

shared by Ed Webb on 01 Oct 09 - Cached
  • These sorts of enviroments are a fascinating phenomenon to me, not necessarily from the standpoint of the environments themselves, or the experiences they help facilitate, but with the degree of engagement, dedication and time investment that people willingly and independently put into them.
    • Ed Webb
      Ed Webb on 01 Oct 09
       
      I concur - this has always been my main driver of interest in gaming and education - the sheer energy, focus, and ingenuity people will invest in games.
  • why the obsession with delineating where learning stops and open-ended fun begins? Why must there be a distiction?
    • Ed Webb
      Ed Webb on 01 Oct 09
       
      My mantra: learning IS fun (i.e.there is no distinction)
    • Bryan Alexander
      Bryan Alexander on 02 Oct 09
       
      That's a powerful mantra, Ed. Or even a koan.
Ed Webb

cyoa - 3 views

samizdat.cc/cyoa

games virtualworlds interactive cyoa books

shared by Ed Webb on 05 Oct 10 - Cached
  • I’d be very curious to know the reason for this progression toward linearity. Presumably the invisible hand was guiding this development, but whether the hunger was for less difficulty in the books or simply for something with more in the way of traditional storytelling is harder to unravel. I could also imagine that this balance between interaction and exposition was peculiar to the individual writers, so this could merely reflect a changing set of practitioners. In another way, this trend mirrors the adoption of more recent new media. In the early days of the web, people flocked to what was unique to HTML, namely links, animated gifs, and the <blink> tag. A similar cautionless exuberance marked the appearance of affordable typesetting systems – the first time people without phototypositors had access to typefaces beyond a choice of monospaced typewriter fonts.When a world of new possibilities has just opened, it’s hard to find the will for restraint. But, in time, people scale back the more gratuitous uses of this sort of glitz, moving from what’s possible to what best suits the material. It could be that the glut of choices in the early books reflected more a rush toward the new than a well-considered balancing of storytelling and reader-directedness. As the genre developed, the choice-based structure ceased being so novel that it was an experiential end in itself. Perhaps only then could it recede into its proper role as a gameplay mechanic – all the more potent when used judiciously.
  • a peek into the construction process the authors went through as they folded their nonlinear stories into a sequential medium
  • In a computer game, tracking this kind of inventory state is a simple matter. By flipping bits in memory, the program itself can keep a running tally of items you’ve encountered and possibly picked up. In a book this responsibility falls to the reader, and with it an expectation of honesty. To encourage a degree of fair play, the Cavern of Doom engages in a form of entrapment by asking the reader, in the midst of a dicy situation, whether they have a magic item that would clearly save the day. What the book knows and the reader may not is that this item does not even exist. Woe upon the adventurer who angers the gamebook in this way.
  • Bryan Alexander on 05 Oct 10
     
    Very nice to see this. CYOA is a vital antecedent for digital storytelling, from hypertext to gaming to branching YouTube videos.
  • ...1 more comment...
  • Brett Boessen on 06 Oct 10
     
    I feel sheepish for not tagging this to our group when I saw it months ago, but thanks to Ed for remedying that. :) I wish I had the skills in infographic production the author has, but it reminds me that enriching your argument with different media forms is becoming more and more essential.
  • Bryan Alexander on 06 Oct 10
     
    This might be a good time for humanists to identify a bunch of easy, low-cost tools for that. Like Wordle.
  • Ed Webb on 06 Oct 10
     
    Agreed, Bryan. There are quite a few low-cost (in terms of learning curve and the general attentive economy) visualization tools that we could all learn to use more frequently. I've been playing again, after a break of a couple of years, with Dipity, for instance, to generate timelines. Word clouds and mind maps might be forms with applications in discussing digital storytelling in games and other media.
Ed Webb

Top News - Can gaming change education? - 0 views

www.eschoolnews.com/...index.cfm

gaming games education research

shared by Ed Webb on 15 Dec 09 - Cached
  • "Moving Learning Games Forward: Obstacles, Opportunities, and Openness," by Eric Klopfer, Scot Osterweil, and Katie Salen of the Education Arcade, an MIT research division that explores games that promote learning through play, explains why educational games have seen an increase in popularity: mainly owing to the advances in consumer games.
  • A report from the Joan Ganz Cooney Center, "Game Changer: Investing in digital play to advance children's learning and health," claims that on an average day, children as young as eight spend as many hours engaged in media activity as they spend in school. Seventy-five percent of American children play computer and video games, it says.
Ed Webb

Ian Bogost - Gamification is Bullshit - 4 views

www.bogost.com/...gamification_is_bullshit.shtml

gamification bullshit games gaming bogost

shared by Ed Webb on 08 Aug 11 - No Cached
  • gamification is marketing bullshit, invented by consultants as a means to capture the wild, coveted beast that is videogames and to domesticate it for use in the grey, hopeless wasteland of big business, where bullshit already reigns anyway
  • The title of this symposium shorthands these points for me: the slogan "For the Win," accompanied by a turgid budgetary arrow and a tumescent rocket, suggesting the inevitable priapism this powerful pill will bring about—a Viagra for engagement dysfunction, engorgement guaranteed for up to one fiscal quarter.
  • I realize that using games earnestly would mean changing the very operation of most businesses. For those whose goal is to clock out at 5pm having matched the strategy and performance of your competitors, I understand that mediocrity's lips are seductive because they are willing.
  • Ed Webb on 08 Aug 11
     
    via Kirk Battle on Buzz
  • ...1 more comment...
  • Brett Boessen on 09 Aug 11
     
    Bogost seems to be getting more and more irritated by the gamification pseudo-movement. His response to McGonigal's book was contrary but professional. The exploitationware piece was critical and pointed, but I thought still civil. This is...angry. And that really comes through in his comment to the gamify.com guy's post. I'm mostly in agreement on the substance of his objections to much of gamification. But I wonder why this movement toward such vehemence? Do you suppose he's now fielding more annoying offers to help design game-like systems? Is Cow Clicker kindof backfiring, leading people to him as a designer instead of away from him? I don't know. But he sure is pissed, that's clear.
  • Ed Webb on 09 Aug 11
     
    I have no inside knowledge. But I suspect his irritation increases in proportion to the hype. The tone here is caustic, but the content is on the money. If you agree with him, and if you love games and their potential, you can understand the rage, I think.
  • Brett Boessen on 09 Aug 11
     
    I don't know -- rage, really? Isn't the "games vs. gamification" tack ultimately more of a both/and thing than a conflict? I'm not sure why having gamification exist necessarily entails an undermining of what games are. I suppose there's the question of educating non-gamers on the great potential of actual games, and perhaps policing a boundary between the two concepts. But just as I don't really want the local police to become enraged when I cross a line, I find this kind of response (and again, I've seen Bogost do it far better and with greater restraint elsewhere) off-putting to say the least. One comment on his post referred to Bogost's "war" against gamification; I'm just not sure that's the most productive approach to addressing its rise.
Brett Boessen

Reacting to the Past - 4 views

Agreed. That last, Bryan, can be an excellent way to draw non-"gamer" folks into game principles and design, too. This looks cool; passing it along to my historian colleague.

games simulation role play pedagogy

started by edremy on 27 Jul 11 2 follow-ups, last by Brett Boessen on 28 Jul 11
Erik Hanson liked it
Ed Webb

The Life-Changing $20 Rightward-Facing Cow - 4 views

kotaku.com/...anging-20-rightward+facing-cow

bogost casual games gaming social facebook

shared by Ed Webb on 04 Oct 11 - No Cached
  • The A Slow Year limited sets include the poetry book and the game on Atari cartridge, all set in black velvet and red leather, gold foil stamping, all hand-numbered, hand-made. While a manic counter was screaming the end of Bogost's journey to challenge social gaming norms, the creator was quietly, manually, assembling a physical art object. Only 25 will ever be made; they will sell for $500 apiece. Most have already been sold. To Bogost, like the poetry book that accompanies the Atari game, the handcraft and limited nature of A Slow Year's special edition help establish the project uncompromisingly as an art object, a creation bigger than "video game."
    • Ed Webb
      Ed Webb on 04 Oct 11
       
      Sounds like something in a Wm Gibson or Bruce Sterling story
  • "I never expected that would happen," reflects Bogost. "A lot of the serious players… just like clicking a cow sometimes. It's very innocent; they just like clicking a cow."
  • Cow Clicker was never supposed to be fun. It was supposed to be silly, insultingly simple, a vacuous waste of time, and a manipulative joke at the expense of its players-–in other words, everything Bogost thought that Facebook games like the Zynga-made hit FarmVille are. In Cow Clicker, players get a cow, they click it, and then they must either pay to click it again or wait six hours; an embarrassing, joyless labor that to him represented the quintessential aspects of the games that were flourishing all over the social network.
  • ...3 more annotations...
  • the story of a person whose joke project became more successful than the one on which he lavished love and intellect, the climate that caused that to happen and how ultimately he decided to learn from it instead of becoming upset
  • Then came the Gamification movement, the shiny new idea that if people were assigned goals and extrinsic "rewards," they'd be more motivated to engage with tasks-–and brands-–than they would have otherwise been
  • Cow Clicker developed an active player base–-people who missed the humor and attached to it as if it were a "real" game. These players unquestioningly spent real-money Facebook credits to enjoy their cows and sent Bogost innocent player feedback in the hopes of improving their experience. It subverted every expectation that he had, even as it reaffirmed his worst fears about the exploitive sadism of Facebook game design. Its success also became something to dread.
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