Beyond Fun: Serious Games and Media by Drew Davidson, et al.

By Drew Davidson, et al.

This booklet specializes in options for using video games, simulations and interactive reviews in studying contexts. a side of this venture is the interactive and collaborative approach during which it was once created. rather than separated person articles, the authors and editors have orchestrated the articles jointly, interpreting and writing as a complete in order that the techniques around the articles resonate with one another. it really is our purpose that this article is going to function the foundation of many extra discussions throughout convention panels, on-line boards and interactive media that during flip will engender extra designated collaborative matters and texts.

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1999; Bransford, Brown and Cocking, 2001). In the traditional classroom, textbooks (and lectures) are the primary conduit of information (with discussion sections to discuss meaning). In the “game curriculum” games produce novel and new experiences, and texts are used to help show players what to attend to, and to help synthesize action. Which model is better aligned with contemporary learning theory is for the reader to decide. Examining the Viewtiful Joe gamefaqs, we get a good picture with how game-based literacies function.

As educators, there is a tendency to question the need for story, characters, graphics or sound. Afterall – as educational technologists, these “fuzzy” elements are outside of our domain. Yet, it is precisely these compelling graphics, writing, sounds and character that implore Joe to go on and are at least a part of the pleasurable experience for many players. This is not to suggest that every game must have bump map shading (indeed Viewtiful Joe does not). It does suggest that a Puritanical approach to learning that eschews anything pleasurable and fears that “entertaining” kids will spoil them may only further alienate our students and render schools even less relevant than they already are.

First the player masters basic controls through fighting ordinary monsters while also quickly accumulating points for power-ups. This sequencing encourages and requires the player to develop the controls to become automatic for the player. Second, the relatively easy monsters give the player a feeling of accomplishment and the game pace a “faster” feeling as the player moves through screens relatively quickly. Third, the alternation of fast and slow sections of challenge and rehearsal establish a rhythm, much like a film maker might alternate shots or a musician would alternate verses and choruses.

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