Tyler Dodge

Making Learning Fun: Quest Atlantis, A Game Without Guns

This article describes the Quest Atlantis (QA) project, a learning and teaching project that employs a multiuser, virtual environment to immerse children, ages 9–12, in educational tasks. QA combines strategies used in commercial gaming environments with lessons from educational research on learning and motivation. It allows users at participating elementary schools and after-school centers to travel through virtual spaces to perform educational activities, talk with other users and mentors, and build virtual personae. Our work has involved an agenda and process that may be called socially-responsive design, which involves building sociotechnical structures that engage with and potentially transform individuals and their contexts of participation. This work sits at the intersection of education, entertainment, and social commitment and suggests an expansive focus for instructional designers. The focus is on engaging classroom culture and relevant aspects of student life to inspire participation consistent with social commitments and educational goals interpreted locally.

Our Designs and the Social Agendas They Carry

Although the work of learning scientists and instructional designers has brought about countless curricula, designs, and theoretical claims, the community has been less active in communicating the explicit and implicit critical social agendas that result (or could result) from their work. It is our belief that the community of learning scientists is well positioned to build transformative models of what could be, to develop learning and teaching interventions that have impact, and to advance theory that will prove valuable to others. This potential, we argue, would be significantly heightened if we as a community embrace the critical agendas that are central to so many discussions in anthropology, philosophy, or even curriculum development more generally. Instead of simply building an artifact to help individuals accomplish a particular task, or to meet a specific standard, the focus of critical design work is to develop sociotechnical structures that facilitate individuals in critiquing and improving themselves and the societies in which they function, and then we use our understanding of participation with these structures to advance theory. As an example of critical design work, we describe the Quest Atlantis project and the methodology used in its creation. The philosophers have only interpreted the world, in various ways; the point is to change it. (Karl Marx, 1845/1998)

Narratizing Disciplines and Disciplinizing Narratives: Games as 21st Century Curriculum

Education is about revealing possibility and exciting passions, empowering learners with the disciplinary expertise to meaningfully act on problematic contexts in which applying disciplinary knowledge is important. Toward this end, we have been using gaming methodologies and technologies to design curricular dramas that position students as active change agents who use knowledge to inquire into particular circumstances and, through their actions, transform the problematic situation into a known. Unlike more traditional textbooks designed to transmit facts or micro-stories, our focus is on building interactive experiences in which understanding core concepts, such as erosion or the idea of metaphor, and seeing oneself as a person who uses these to address personally meaningful and socially significant problems is valued. It is the explicit goal of this manuscript to communicate this power of educational videogames, as well as the design steps that we have been using to make this happen. DOI: 10.4018/jgcms.2010010102 18 International Journal of Gaming and Computer-Mediated Simulations, 2(1), 17-30, January-March 2010 Copyright

Pedagogical Dramas and Transformational Play: Narratively Rich Games for Learning

Although every era is met with the introduction of powerful technologies for entertainment and learning, videogames represent a new contribution binding the two and bearing the potential to create sustained engagement in a curricular drama where the players knowledgeable actions shape an unfolding fiction within a designed world. Although traditionally, stories involve an author, a performer, and an audience, much of the power of videogames as media for advancing narrative springs from their affordance for the player to occupy more than one role—and sometimes all three—simultaneously. In the narratively rich videogames that we design, players have the opportunity to perform actions, experience consequences, and reflect on the underlying social values that these situations were designed to engage, affording a type of narrative transactivity. Elsewhere we have discussed designing these media as contexts for engaging academic content; here we illuminate the power of videogames to engage children in ideological struggles as they are experienced in game-based adaptations of classic literature. Toward this end, we present our theoretical argument for the power of games as a contemporary story medium, grounding this discussion in the context of two game design projects and their implementations. Implications are discussed in terms of the potential of immersive, interactive media—videogame technology, in short—for achieving wide-ranging educational ends.

Pedagogical Dramas and Transformational Play: Realizing Narrative through Videogames Design

Whereas traditionally stories involve an author, a performer, and an audience, much of the power of videogames as media for advancing narrative springs from their affordance for the player to occupy more than one role--and sometimes all three--simultaneously. In the narratively-rich videogames that we design, players have the opportunity to perform actions, experience consequences, and reflect on the underlying social values that these situations were designed to engage. Here, our focus is on the use of these games to engage children in experiencing ideological struggles associated with realizing social commitments. Toward this end, we will present our theoretical argument for the power of games as a contemporary story medium, grounding this discussion in the demonstration of three game design projects and their implementations.