After reading Gee (2003) and de Castell and Jenson (2003) this week, I see playing games in a different light. Now, I appreciate the problem solving skills, sense of community, and decision making opportunities that game worlds provide. Last year, I played online games with my students, thinking a \u201cgame\u201d would motivate them. These games were primarily for math and grammar practice. I think the games did engage them at the beginning because it was something different but they were surface games that didn’t connect the players to something bigger or allow them to create their own meaning. My students love Club Penguin, Poptropica, and Webkinz. All three games seem to have a culture surrounding them where the games are \u201ctalked about, read about, ‘cheated’, fantasized about\u201d as de Castell and Jenson (2003, p. 651) describe. That’s part of the reason why I wanted to see what the hype was all about.<\/p>\n
Each game allows you to create an avatar that puts you in a gaming environment where you can choose your own adventure, play mini-games, and talk to other players.<\/p>\n
What aspects of the design produce an engagement that feels like immersion?<\/p>\n
I felt immersed in Clube Penguin because I was able to participate fully and navigate my penguin through a world composed of various buildings and outdoor activities. There was more exploration opportunity in Poptropica than in the other games. I felt that Poptropica had an addictive quality that would cause me to think about the game when I wasn’t playing (if I was younger). I was a little disappointed that Webkinz didn’t offer the same freedom as the other two. I was able to decorate my own room for my pet but I didn’t feel as connected to other players or able to explore a world around me. However, in order to keep my pet alive, I am suppose to feed it and exercise it everyday which would keep me coming back to the game.<\/p>\n
How does design create links with specific narratives?<\/p>\n
Poptropica was more game like because I felt like I had a quest even though I wasn’t always sure of what that was. I created my own narrative for Club Penguin as I moved from building to building to play mini-games. Both Poptropica and Club Penguin had other players who would give me information about what to do. I know some people who work for Club Penguin so I know that these are actual employees who are paid to play the game and act as tour guides. The mission in Webkinz is just to keep my pet alive. I was disappointed with Webkinz because it focused a lot on purchasing credits to decorate my room and buy things for my pet which, I thought, encourages materialism.<\/p>\n
How does design create links with specific feelings?<\/p>\n
Poptropica was the most exciting game because I was on an adventure collecting items and performing activities that would lead me to beat the level or island that I was on. It had a sense of mystery and challenge. Webkinz capitalized on my mothering instincts to keep my pet safe. Any emotion felt on Club Penguin was in response to conversation I had with the other players<\/p>\n
How does design create links with specific knowledges, communities, and\/or skills<\/p>\n
Both Club Penguin and Poptropica provided online communities that enabled \u201csolidarity beyond\/outside the game (chat rooms, bulletin boards, etc.\u201d (De Castell & Jenson, p.655) I felt like I was producing my own meaning as I directed my avatar throughout these games. On Club Penguin, I felt like a bit of an outsider due to my correct spelling and punctuation use. Gee (2003) mentions this as he describes semiotic domains that have identifiable practices, patterns, and behaviours.<\/p>\n
Webkinz could teach young children about how to look after another life form but I think there’s other online environments\/activities that do a better job of this.<\/p>\n
The mini-games embedded in all three games required a range of simple to complex problem solving skills.<\/p>\n
How does design mediate interactivity in this game?<\/p>\n
Each game encouraged communication amongst the players usually though a chat function. Club Penguin and Poptropica used other players as guides to help me through the game. Club Penguin was the only game that allowed me to type what I wanted instead of choosing from some standardized message. All three games allowed me to invite other players to compete in a mini game with me.<\/p>\n
de Castell, Suzanne, & Jenson, Jennifer. (2003). Serious play. Journal of Curriculum Studies, 35(6), 649-665.<\/p>\n
Gee, J. (2003). Semiotic domains: Is playing video games a \u201cwaste of time? Chapter in: What video games have to teach us about learning and literacy. New York: Palgrave.<\/p>\n","protected":false},"excerpt":{"rendered":"
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