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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.

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

interacting with a work does not shape the work, it ‘only’ reveals it.

Because a game is a complete formal system

The rebuttal to this argument lies in a comparison to film or to music or to any other collaborative artistic creation.

That's what this is about: making things count, commodifying life and passion in the context of a marketplace of education and expertise. However, it is painfully obvious how quickly that gets reversed, how quickly we shift from pursuing something because we are interested in it (and then retrospectively looking for a reward) to pursuing something strictly for the reward.

When we look at all the free, DIY learning that is out there now, it's free precisely because it hasn't been commodified. You can download stuff from MIT's Open Courseware because that kind of learning has no commerical value. If you want to get a badge though, that's going to cost. All the big textbook publishers and educational technology companies will just jump right on badges. All those Sylvan learning type companies will be selling badges. Edutainment video games and such will come with badges and thus be more expensive.  Badges won't make learning cheaper. We'll be spending more money on education than ever, and we won't get any better results because the motives for learning will still be all wrong.

I'm trying to imagine my kids' lives (ages 10 and 12) in badge-world. We already live in what I consider a college-crazy community where parents of 12-year olds wonder whether keeping their kid in travel soccer is the best way to get a college scholarship or if they should switch to golf or oboe or fill-in-the-blank. Imagine a world where every potential after-school activity is commodified as a badge. The first thing parents ask is "which badge is most valuable for getting my kid into college or a good job?" Then it's all about the badges. My kids can just give up on ever having a single moment of joy in their lives. Even if they were going to enjoy something, how can they when they've already committed to this transactional experience instead?

Instead of always teaching students how to succeed—as is the norm in higher education—it might also be useful to teach them about failure. Understanding failure (that is, why actors fail to reach common objectives in inter-group settings) gives students deeper insight into how to resolve global problems, and the conditions under which success can be achieved. This enhances student awareness of complexity in world affairs, including the nature of inter-group relations. Simulations are a good way to teach students about the possibility of failure, and how to learn from it, because they allow students to go through the learning process on their own. In this article I discuss how a simulation I ran on Middle Eastern politics can be used as an example of how to instruct students about failure as much as about success.

being a gamer is less an inherent attribute—either you are or you aren’t—than it is a malleable description of practices that change throughout one’s lifetime, whether from “hardcore” to “casual,” single-player to “social,” or genre to genre

one could argue that part of the origin story of game studies was the struggle to establish the idea that games are not narratives--that they were a radically "new" textuality, but this just delayed the needful discussions of how games related to the inherited media ecology, how they used narrative, music, video, etc. to new effects

students tend not to be "well-played," on an analogy to "well-read," but knowledgeable in one or a few genres

Admongo.gov, the new Web site from the Federal Trade Commission, seeks to educate kids ages 8 to 12 about the nuances of marketing. In the Admongo video game, players confronts advertisements at every turn—at bus stops, in magazines, on TV, even as part of other video games within the video game. Whenever an ad appears (they're all for fictional products, including a soda, a cereal, a movie, and an acne wash), the player is encouraged to ask three questions: Who is responsible for the ad? What is the ad actually saying? What does the ad want me to do

there's no evidence I know of showing that media literacy has an impact on consumer behavior. Ads target emotions, not logic. You can know you're being manipulated but still be manipulated. People talk about how media-savvy kids are these days, but that just means they recognize a lot of brands

the most interesting thing about Admongo is its emphasis on the ubiquity of ads. A previous FTC-designed game, called You Are Here, also urged kids to consider where ads come from and to examine the truth of marketing claims. But in Admongo, a major part of playing the game is understanding that ads can be anywhere and can take many different forms. The player encounters text-message ads, ads inside videogames, cross-promotions, and product placements. This element of Admongo is testament to the explosion of new advertising platforms and the fierce intensity of modern marketing. According to Linn, in 2008 American Idol—consistently a top-rated show for 2-11 year-olds—featured 4,151 product placements in its first 38 episodes, averaging 14 minutes of product placement on each show. Kids are now constantly in front of screens of all kinds, and those screens are brimming with ads that pretend they aren't ads. These days, just being able to recognize when you're being marketed to is a useful skill.

Children (on the Autism spectrum) take games that call you a loser or say other things like that very personally

Garth Chouteau, spokesman for PopCap Games, says the company has received an immense amount of calls and letters from parents of children with an ASD diagnosis, such as Schramek, stating the positive effects their games have had on children. "These games are created with no purpose in mind other than fun, but people say these games help them relax and provide cognitive activity for their children. These are side effects of a really good game," says Chouteau.

"Kids on the autism spectrum have a hard time with emotional control. From a social standpoint, one of the things the games are helpful with is teaching the children to take turns."

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."

"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.

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).

The site reflected my commitment to designing the class assignments around collaborative mission-based tasks that would increase in difficulty level each week and reward multiple paths of completion. Each week I tried to think beyond discussion topics and create playful mechanics–the real challenge of harnessing gameplay, which no site can provide on its own–and some weeks it was hard to escape giving assignments that would never feel playful.

many of the students appreciated the greater sense of collaboration

Ian Bogost escalated his anti-gamification campaign with a Gamasutra article that explicitly mentioned how the rhetoric of gamification is drawing attention from educators to a trend that threatens “to replace real incentives with fictional ones,” among many other sins. The piece even inspired Darius Kazemi to build a Chrome extension that replaces “gamification” with “exploitationware.”

they have learned to see more in the games they play – and appreciate them far more – from studying how games are designed and developed, as well as marketed and sold.

Fun Inc.: Why Games are the 21st Century's Most Serious Business by Tom Chatfield 288pp, Virgin Books, £11.99

games might involve a lot of effort, but the payoff is that "effort is always rewarded".

elf-and-safety roleplayer World of Warcraft