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Relating Gaming, Story and Learning (Plot (Transfer of learning /…
Relating Gaming, Story and Learning
Concept / Theme
Perspectives
Situating characters in alternate cultural models (Gee, 2007)
Participating / constructing narrative provides new layer of symbolic meaning (Leaning, 2015)
Meaning
Intrinsic meaning created by epic contexts (big themes) (McGonigal, 2011)
Analogy
Narrative allows connections between past, present and future (Branigan, 2006 in Nicholson, 2015)
Narrative analogous to real world settings (Nicholson, 2015)
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Character
Character Design
Learners create own characters, attributes and goals (Nicholson, 2015)
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Attributes chosen / allocated determine how the story unfolds (Gee, 2016)
Stortworld and assigned perspectives helps reinforce or challenge learner perspective (Gee, 2013)
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Goals
Meaningful work / goals creates a sense of purpose (McGonigal, 2011)
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Goals provide externally imposed structure rather than internally motivated play (Nicholson, 2015)
Active Characters
Using critical thinking to make considered decisions - producers and not consumers of story as empowering (Gee, 2007; McGonigal, 2011)
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Structure
Story Structures
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Chaotic Story: Broken into many parts and distributed across many media platforms, locations and people to be pieced together
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Learning begins with disjuncture and returns to normality mirroring equilibrium, disruption and return to equilibrium (Jervis)
Plot
Feedback Systems
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Feedback a motivator. Failing in games can be fun if combined with low-stakes and positive, immediate feedback (McGonigal, 2011)
Interactivity creates an action / reaction model (gameplay changes in response) that creates a feedback system - get closer or further from goal (Gee, 2016)
Obstacles
The nature of the goal / obstacle determined the type of work required to overcome it - need lots of opportunities to practice skills (McGonigal, 2011)
Pleasure of hard work and overcoming voluntary obstacles and utilising personal strengths. Success intrinsically motivating (McGonigal, 2011)
Operate at the edge of their ZPD - as mastery becomes routine, learners forced to adapt to new or changed conditions (Gee, 2007). If not, boredom sets in (McGonigal, 2011)
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Stakes
Stakes should be lowered in order to allow risk taking in the form of trial and error (Gee, 2003, 2016)
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Classroom activities often allow for failure but students move on rather than having to go again until they’ve mastered activity
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Storyworld
General
Distributed Knowledge
Knowledge / Skills dispersed outside narrative domain, requiring problem solving and co-operation (Gee, 2003)
Material intelligence: Thinking, problem solving and knowledge are “stored” in tools, technologies, material objects and environment (Gee, 2003)
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Epic Environments
Intrinsic meaning created by epic contexts (McGonigal, 2011)
Location-Based Games
Interact with environment, finding ways of augmenting reality (McGonigal, 2011)
Learning Environments
Where risk taking, low stakes, high collaboration can occur (Gee, Kapp)
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Immersion
Multi-Verse
Multiple, intertwined stories occurring simultaneously in the same story-verse
Rules of the world
Rules distinguish games from play (Caillois, 1961 in Leaning, 2015)
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Situated Learning
Cultural Models
Putting learners in different cultural models can trigger reflection on our real-world value system - and create dilemma (Gee, 2003)
You cannot change a cultural model just by telling students it is wrong, you have to bring that model to consciousness and juxtapose it to other ways thinking appropriate for the new situation (Gee 2003)
Allows tasks and skills to be applied in realistic and relevant contexts (Kapp, Gee, 2007)
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Genre
Genre / Story Models
Genres progress in realism as students close gap between learning and real world (Nicholson, 2015)
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Intertextual Principle
What we learn in one genre / story can be applied to other genres / stores (Gee, 2007)
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Film / Game Genres
Forecasting Games: Help us imagine / invent the future together (McGonigal, 2011)
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