By Drew Davidson, et al.
This ebook specializes in options for employing video games, simulations and interactive studies in studying contexts. a side of this undertaking is the interactive and collaborative approach during which it used to be created. rather than separated person articles, the authors and editors have orchestrated the articles jointly, interpreting and writing as an entire in order that the options around the articles resonate with one another. it's our goal 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 targeted collaborative concerns and texts.
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Extra info for Beyond Fun: Serious Games and Media
If we only look at game play itself, we miss half the story. Sleeping, web searching, reflecting is also part of the game play, and this is why game players can put a game down one night, and pick it up the next morning and “get it” (also similar to athletes and musicians working on difficult performances). Educators can learn several important ideas from this. First, psychologists need to be careful to take a holistic view when conceptualizing game play. Merely attaching electrodes to a player’s head will no more get the full story of the cognitive activity happening during fifteen minutes game play than will randomly hooking an academic to an electrode during an average faculty meeting or class session.
If games are something else, then we need to recognize that we might not quite know what we are doing. Videogames as a medium “When people learn to play video games, they are learning a new literacy,” James Paul Gee explains. The basis of Gee’s book “What Video Games Have to Teach Us About Learning and Literacy” is that videogames are different from other kinds of media. While they may resemble television, film or even literature, they are fundamentally different. To play a game is to learn a new language, one native to the medium of videogames, rich in the culture of gaming and spoken fluently by its players Of course, the notion that different media are different in deep, meaningful ways is not new.
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. The easier sections are ones where the player consolidates skills and receives rewards for actions; the harder boss sections are where the player experiences failure, and is forced to confront novel situations, and develops new skills. Beating the Fighter 34 To illustrate the cognitive complexity behind a challenging fighting game and illustrate how gaming expertise gets developed, I will focus on Hulk Davidson, a boss monster that first appears at the end of the second level and reappears in level 6.
Beyond Fun: Serious Games and Media by Drew Davidson, et al.