Final Assignment Part 4- Final Individual Reflection

For this project, my group developed Edupocalypse, a game focused on exploring AI ethics. The strength of our project started with the concept. We envisioned a game that would engage players with key ethical dilemmas around the rise of AI in education, and the idea resonated with all of us. From the beginning, there was clear enthusiasm within the group about exploring AI ethics in an interactive way. In addition to a strong concept, our group was able to make quick progress in the early stages. Everyone had ideas and the brainstorming sessions were productive. We started to develop scenarios and all stayed on top of our work and deadlines.

While the concept was strong and the project had a clear direction, not everything went as smoothly. One of the primary challenges I encountered during the game design process was the difficulty of working with a group member who was extremely inflexible in their approach. This person had strong opinions on how the game should be designed, and their reluctance to consider alternative ideas from the other team members caused tension. The inability to properly integrate everyone’s ideas and concerns created a bottleneck in our progress at times. Instead of embracing a collaborative process where each member’s input could be equally valued, some ideas got steam rolled. 

Although I was really happy and proud of how our game turned out, if we had more time I would have loved to do more playtesting. While one group member tested it with her students, more feedback would’ve helped us refine the experience and see how well the ethical dilemmas resonated with players. Additionally, with more time and knowledge around coding we could have built out all of the scenarios we had written instead of just one. This would have felt more like a complete game.

I came into this course with very little gaming experience, but I’m leaving it with a new appreciation for games as meaningful learning tools. Gee & Gee (2017) note that people often don’t distinguish where their learning comes from, whether through games, media, books, or real-life experiences, we draw on all of it. This resonated with me, especially as I began thinking more deeply about how gaming could be used in the classroom. Understanding that students may already be learning through games, whether or not it’s intentional, shifted my perspective on how powerful game-based learning can be. I hope Edupocalypse offers a similarly meaningful experience for its players.

Through this project, I also came to understand just how complex game design really is. I previously assumed it was mainly about coming up with a fun idea, but quickly learned it involves thoughtful planning, mechanics, and player engagement. The brainstorming phase reflected Fullerton’s (2014) view of game conceptualization as an iterative, collaborative, and exploratory process. We spent a lot of time discussing how to shape our ideas into something that functioned not just as a game, but also as a meaningful way to explore ethical questions. Gee’s (2008) concept of “play as discovery” really came through in this process for both us as designers and for the players we envisioned. Working on Edupocalypse involved a lot of experimentation and trial and error as we figured out what would be most engaging and thought-provoking. Overall, this project initially scared me however I ended up building friendships with some of my group members and learning a lot about game design in the process.

 

References:

Fullerton, T. (2024). Game design workshop: A playcentric approach to creating innovative games (5th ed.). A K Peters/CRC Press. https://doi.org/10.1201/9781003460268

Gee, E., & Gee, J. P. (2017). Games as distributed teaching and learning systems. Teachers College Record (1970), 119(12), 1–22. https://doi.org/10.1177/016146811711901202

Gee, J. P. (2008). Cats and portals: Video games, learning, and play. American Journal of Play, 1(2), 229–245. https://eric.ed.gov/?id=EJ1068967

IP #5 Hegemonic Play

The Gendered Game

Gaming culture mirrors much of society,

With women valued less than men, how is this still reality?

She plays the same game but pays a higher emotional fee,

Just to exist in a space that claims to be free.

 

Cameras confirm his skill, applause flood the stream,

For her, they rewind, dissect, and demean.

Gaming’s a space where masculinity is uplifted,

But women play Overwatch being doubted and restricted.

(Choi et al., 2020)

 

They question her skill and accuse her of cheating.

Geguri proved them wrong however still takes a beating. 

Use her real voice? Then no one would team up,

Skill only counts if you are a guy showing up.

(Choi et al., 2020)

 

She has to hide her voice and continue the gender mask,

Constantly doing safety work, a never ending task.

Buddy systems, silence, playing discreet,

While all female gamers want is to truly compete.

(Witkowski, 2018)

 

The emotional and social labour of “doing gender,” 

Is a weight she must bear to be seen as a contender.

Women’s participation in expert gaming,

Pushes back on the norms society is maintaining.

(Witkowski, 2018)

 

Sexist working environments are no safe space.

Female creators experiencing derogatory language is sadly commonplace. 

(Baldino 2021)

Reports and complaints stack high behind corporate walls,

But silence and shrugs answer each call.

(Ubisoft Employees Have “Grave Concerns” Over Toronto Studio’s Misconduct Allegations, 2020)

 

The number of women keeps rising still,

Even if systems try breaking their will. 

The burden shouldnt be hers to carry alone,

Institutions are responsible for changing the tone.

(Witkowski, 2018)

 

Although female gamers feel hopeless there will never be change,

With some key solutions, battle can be waged.

Stronger moderation, accountability, and visibility,

Can reshape the gaming world closer to equity.

(Crothers et al., 2024)

 

Reflection:

As someone coming from a high-level sports background, I was both surprised and intrigued by how much overlap I found between the experiences of female athletes and female gamers. Before reading the articles, I had little exposure to the intricacies of gaming culture but as I dug deeper into the readings, I was saddened to discover the harsh realities women face within gaming. Realities that although different, mirror some of my own encounters with sexism and marginalization in sports.

In particular, the articles by Choi, Slaker, and Ahmad (2020) and Witkowski (2018) shed light on the concept of gendered surveillance in esports, revealing how female gamers are subjected to ongoing scrutiny that goes beyond evaluating skill. These readings highlight how women in gaming are often expected to continuously perform femininity in ways that follow along with conventional gender norms, a process Witkowski (2018) refers to as “doing femininity.” This surveillance is not simply about monitoring performance but about regulating how women appear, speak, and engage within gaming. I have felt many of these same feelings in a male dominated arena and was unfortunately not surprised reading about the experience of Geguri. As the first female professional Overwatch player, her story illustrates how exceptional skill from a woman can be met with suspicion rather than praise. Geguri was accused of cheating not because of any real evidence, but because her performance defied gendered expectations of what women could achieve in competitive gaming (Choi et al., 2020). 

What emerges from this is a pattern where female gamers are not just evaluated for their gameplay, but also judged according to how well they conform to “femininity.” In both esports and traditional sports, women’s legitimacy is tied to their ability to both perform well in (e)sports as well as the gendered expectations. As the research shows, gendered surveillance reinforces hierarchies that marginalize women, especially those who challenge or resist normative femininity, and reveals the persistent barriers that limit full inclusion in gaming culture. 

Interestingly, this dynamic is not limited to the gaming world. In sports, particularly in leagues like the WNBA, the most popular and marketable female athletes tend to be white women who fit the mold of “beautiful”. These athletes are celebrated for their athletic ability, but possibly more for their appearance. This parallels the way women in gaming, especially those who are seen as “outliers” like Geguri, are scrutinized for not fitting the mold.

The readings also opened my eyes to the emotional and social labor that women in esports take on just to protect themselves. Many use voice-masking software or hide their gender entirely to avoid harassment (Witkowski, 2018). That really struck me because these environments do not rely on physical ability, so I would not have originally thought it would matter.  It’s not just about performing or competing; it’s about constantly managing your identity, safety, and mental well-being in spaces that aren’t always welcoming. Still, I felt hopeful reading about some of the solutions, like women-only leagues or efforts to make female gamers more visible (Crothers et al., 2024). However, true inclusion means women should feel safe and supported in all competitive spaces, not just the ones created specifically for them. Unfortunately the issues that women face in gaming, harassment, exclusion, and abuse, are part of a systemic problem in our society. The more we challenge the dominance of traditional masculine spaces, the closer we get to creating environments where women can not only feel safe, but truly equal. Unlike some of the gamers, I am hopeful that although seemingly slow, there is change occurring to make this a reality (Crothers et al., 2024). Including this IP in ETEC 544 is an amazing step to help change this problem, so thank you for including it!

 

Baldino, M. (2021, December). We just want to play; What it’s like for women in eSports [Video]. TEDxDayton. https://www.ted.com/talks/mary_baldino_we_just_want_to_play_what_it_s_like_for_women_in_esportsTED

Choi, Y., Slaker, J. S., & Ahmad, N. (2020). Deep strike: Playing gender in the world of overwatch and the case of geguri. Feminist Media Studies, 20(8), 1128-1143. doi:10.1080/14680777.2019.1643388

Crothers, H., Scott-Brown, K. C., & Cunningham, S. J. (2024). “It’s just not safe”: Gender-based harassment and toxicity experiences of women in esports. Games and Culture. Advance online publication. https://doi.org/10.1177/15554120241273358

Ubisoft employees have ‘grave concerns’ over Toronto studio’s misconduct allegations. Kotaku. (2020, July 6). Retrieved February 26, 2023, from https://kotaku.com/ubisoft-employees-…

Witkowski, E. (2018). Doing/Undoing gender with the girl gamer in high-performance play. (pp. 185-203). Cham: Springer International Publishing. doi:10.1007/978-3-319-90539-6_11

 

IP #2

Wang, A. I., & Tahir, R. (2020). The effect of using kahoot! for learning – A literature review. Computers and Education, 149, 103818. doi:10.1016/j.compedu.2020.103818

The study by Wang and Tahir (2020) presents a systematic literature review of 93 studies looking at the effects of Kahoot! in classrooms. The review finds that Kahoot! generally enhances learning, classroom dynamics, and student and teacher attitudes. Additionally, it helps with student motivation, engagement, and enjoyment. However, some studies report little or no effect, and there are some concerns about increased student anxiety due to Kahoot!’s competitive nature.

To conduct this literature review, Wang & Tahir (2020) followed a very structured review protocol, including database searches, inclusion criteria, critical appraisal, data extraction, and synthesis, to ensure reliability. Articles were only included if they specifically referenced Kahoot! in the title or abstract, were published in an international peer-reviewed journal or conference, and were written in English. The final selection consisted of both quantitative and qualitative studies, with 86% including quantitative analyses and 52% containing qualitative analyses. Their findings support the idea that student response systems (SRS) like Kahoot! improve engagement by integrating game design principles. This review is valuable for educators considering Kahoot! as a teaching tool, as it provides perspective on its strengths and limitations. It also highlights gaps in research, particularly regarding long-term learning effects and teacher perceptions.

Wang & Tahir’s findings are well-supported with 88% of studies reporting a positive impact of Kahoot! on both students and teachers. Their review protocol was carefully structured, with clear justifications for excluding certain articles and a strong effort to identify potential validity threats. Overall, Wang & Tahir provide a thorough review, effectively assessing Kahoot!’s role as a game based student response system.

Powers, F. E., & Moore, R. L. (2021). When Failure Is an Option: a Scoping Review of Failure States in Game-Based Learning.

In this scoping review, Powers and Moore (2021) investigate the role of failure within game-based learning (GBL), emphasizing the concept of “failure states” in which learners encounter setbacks or challenges in games. The authors look at the existing research on failure in GBL and analyze how different types of failure impact learning outcomes.

The review covers a variety of studies, identifying common themes related to failure in games. Powers and Moore (2021) categorize failure states into two primary types: permanent failure, where the game ends or the learner cannot progress, and temporary failure, where the learner can retry or learn from mistakes. The review also explores how game design, including feedback systems and the framing of failure, influences students’ emotional responses and their learning behaviors.

The authors conducted a review of peer-reviewed articles, bringing together findings from various fields including education, psychology, and game design. This approach allowed for a comprehensive understanding of how failure is integrated into GBL and its effects on learners. The review also acknowledges gaps in the literature around the use of failure or loss within game-based learning experiences. They suggest further research is needed in this area to understand how it can be utilized to enhance educational outcomes.

Ultimately, the paper argues that failure, when framed in the right way, can serve as an effective tool for learning. It emphasizes the importance of using failure as an opportunity for growth, providing valuable insights for educators and game developers looking to design more effective learning experiences.

 

Field Note Assignment

Pre Gameplay Questions:

 What will I like / dislike about it? 

  • I don’t usually play games so I don’t think I will enjoy it
  • I like Lord of the Rings and Game of thrones so maybe I will like the concept?
  • I do not think I will be very good at it 
  • I will enjoy that the concept is simple

What will I find interesting about it/boring or tedious about it? 

  • I will not want to spend time learning the rules
  • I don’t think I will find the deeper storyline interesting. I usually do not care much for fantasy type things
  • I will find the explanation and back story, introduction learning section tedious but necessary
  • I will find the unique world and how it operates interesting 
  • I will find it interesting and fun if there is a competitive aspect

What will I need to do in it? 

  • I think I will need to build a civilization from the ground up
  • I will need to organize a town and help it grow
  • I will need to fight the humans or elves depending on which side I am on

What will I need to learn within it? 

  • I will need to learn the rules, what type of society it is, how do I build etc
  • I will need to learn the controls and how to actually play the game
  • I will need to learn the strategy
  • I will need to learn how to navigate the platform
  • I will need to learn who I work with or want to stay away from to survive

What will it be like / similar to (other games I have played)?

  • Probably not like many games I know because I don’t play much
  • Maybe similar to Catan
  • Could be similar to SIMS 
  • Not going to be similar to mario cart or racing games I have played
  • Could be similar to building blocks or other games that involve constructing/building/designing

Before playing Elvenar, I expected to find the concept interesting but the initial gameplay tedious, as I typically do not enjoy learning complex game mechanics. My expectations were based on my limited gaming experience and my past experiences of not understanding or succeeding in complicated video games.

Solo Playthrough:

Descriptive Notes Just write as you play — write anything descriptive, records of objectives, hints, fragments of ideas, anything. You may elect to write as you play (i.e. pausing the game) or right after you have completed a play session.

  • Elves or humans? Not sure if the game would be different or if it matters but I chose elves. (Maybe because it seemed like a female)
  • Did not understand at first what the point was
  • Brief intro says to start building so I put buildings around randomly. Need to be connected to paths it says but I am not sure where the paths should go
  • Interface has lots of menus that I do not understand and it is somewhat hard to see
  • Not sure the steps to take 
  • Not super intrigued by the graphics. I didn’t find the imagery easy to follow or captivating
  • A lot of info bubbles. Thankfully they are telling me what to do but they are going on for a long time
  • Found it boring because I had to click where they told me in order to understand what to do but I still did not see how all of the tasks fit together
  • There were some objectives to start that told me what to do first (build two factories etc)
  • Told my building needed to connect to main hall
  • Couldn’t build out until expansion
  • I sometimes just clicked something to see what would happen 
  • I am not decisive so I made decisions slowly
  • I shared the game with my sister a bit and laughed at not having a clue
  • Objective to build homes and get more workers and to explore other provinces
  • I absolutely hate waiting for more coins and just having to sit around but I did want to gain more money so I could build
  • I built roads without really knowing where they should be placed
  • Clicked on resources to get but did not know why or how to choose the best ones
  • Not sure which resources to pick or what it means by how long they take to get (1 day? How can someone play the game for a day?)
  • Enjoyed clicking the money. Didn’t realize for a while I needed to in order to get the money, thought it was automatic
  • I did a few battles and bought a few things before I probably should have
  • I did not want to sit around and wait for money to build up
  • I was hesitant when posed with decisions
  • Decided to negotiate not fight
  • Negotiated many times and it felt too easy
  • Wasn’t sure it was correct so decided to fight
  • Just randomly chose battle fighters without reasoning
  • Tried the fight and failed a few times
  • After I battled a few times I began to understand how it worked and wanted to do a few more
  • Building more houses but there is no room
  • Need to move buildings
  • Can’t remember what I spent them on but I spent diamonds too early and then found out they are really hard to get
  • built up my workers and had negotiated and explored as much as I felt I could

Analytic Notes: After playing, consider your experience more holistically — What problems did it present me with? What options did it give me (to address those problems)? When and how does the game invoke gender, class, race, violence in ways that might be problematic? What about learning? Does anything stand out as a ‘defining’ or ‘unique’ feature of the game?

  • The question of negotiate or fight
  • Should I support my neighbour or take over their land/ fight them
  • Short term vs long term goals
  • How to manage resources
  • What is valued in society (culture, goods, land)
  • Made me consider taking care of my “people” and felt pressure to make good decisions
  • Gender- was shown in the starting options
  • Colonialism- taking over others land shows power
  • Stressing knowledge as a huge asset
  • Experiential learning
  • Scaffolded learning- there were supports in place at first to guide me but then after a while I was more on my own

Affective Notes: Playing and analyzing games are subjective activities — as you played, you were likely: engaged, irritated, startled, sympathetic, angry, bored, etc. Identify the affective responses you had while playing, and do your best to account for the in-game circumstances that gave rise to them (i.e. where, when, intensity, etc.) Don’t worry about being exhaustive, just mention what you think matters

  • I was frustrated at the start not knowing what I was doing. I had to read a lot and then try to figure it out
  • I started to get angry once the initial supports were gone and I had to figure it out on my own but couldn’t until finally I started to get it
  • I was bored waiting for resources to build up
  • I was engaged during the battles after I understood them
  • I was laughing and enjoying myself when my sister came in and I was showing her the game and how bad I was at it
  • Satisfying when I finish things like quests but I still felt frustrated not knowing for sure if I was making the right long term decisions
  • I felt motivated to keep playing as my money and resources started to build up

Learning Elvenar was initially frustrating due to the overwhelming interface and slow progression, but I gradually developed an understanding of the game’s mechanics through trial and error. Learning to manage and get resources was the most important for getting a ‘handle’ on the game.

Video Observation

https://www.twitch.tv/videos/2300012753

Descriptive Notes: Document what the player is doing, paying attention to, ignoring, prioritizing, but also what they are talking about (i.e. what they verbally frame as important during the playthrough). Make notes of what the player is paying attention to, prioritizing, and/or ignoring and if and how that is different from your play.

  • First thing is building houses and workshops
  • Pays attention to money and resources and cashes them
  • Even the guy explaining it found himself missing details because there was so much to know
  • Wanted lots of workers to be constantly working so they needed housing
  • He is building his houses in a straight line where as mine didn’t have much reasoning to it
  • Focused on economy first and army second
  • Doesn’t care what character he is
  • Needs to complete missions to get rewards
  • Placed buildings with strategic thought where as mine we just random
  • Organized all the workshops in one spot and all the housing in one spot 
  • He built things much much faster than me. I was already wanting to explore battles etc and he was only focused on building resources and his workers
  • He focuses on the missions given to him whereas I did not even see that tab. I just explored on my own
  • Wanted to unlock resources as soon as possible. I only got one unlocked. I didn’t really know what the benefit was but he seems to have clear understanding of which is best
  • I thought you might want some of all resources but he was more focused on the efficiency of how to make the most resources regardless of type
  • Left one knowledge incomplete on purpose. Not sure why
  • Wanted to get all of the knowledge possible
  • He didn’t even play out the fights. He did them all in about 2 seconds whereas I actually played them 
  • He seemed to already know he would win the fight
  • He did not pay attention to the instructions or pop ups because he just knew what they were
  • Focused on how long the building would be working (how long he would be away from the computer)
  • Would go in and out of totally different worlds…I didn’t even know there were other worlds to go to

 Analytic Notes: Review your descriptive notes and consider the problems the player encountered and the strategies/ solutions that they enacted. Furthermore, consider how the player navigated/commented on issues/ structures of race, gender, class, and violence. What did you notice about the game when you watched, as opposed to when you played? Hold off on making any big conclusions for now

  • Strategies for time management to get the most resources (set them for one day) even set an alarm to check back into the game
  • I noticed more of the reasoning behind different buttons for navigation on the screen
  • I understood more about how each section connected with the next
  • I understood more of the long term planning
  • I understood the battles more and how to choose your warriors

Affective Notes: What affective responses did you observe the player having while playing? What evidence did you have of their affective response/s? What did they choose to focus on? How were they different from responses and focus/foci you had? Pay specific attention to instances where you were surprised by something the player said or did. And if possible, reflect on how affective responses impact the ‘learning’ or ‘engagement’ you think can be recognized and documented from this observed play session.

  • I didn’t notice much of an affective response. Most of the time they just seemed confident and very matter of fact that they knew what they were doing
  • Starting the game they did not show or say anything about being frustrated
  • They did say that having to wait around was not the best but that it was necessary
  • Mostly seemed “excited” when they were talking about optimizing efficiency like laying out their city in an efficient organized way or if they were collecting lots of resources.
  • They seemed very confident
  • They did not seem excited by the stories narrative or talk about much to do with that

Watching a more skilled player, I noticed they were all about efficiency—optimizing resources, organizing buildings, and making quick decisions without hesitation. While I was busy exploring and figuring things out, they focused on long-term strategy, completing missions fast, and maximizing their progress with minimal downtime.

Bridge

A fundamental way games create engagement is through their overarching premise, which provides context for the formal elements (Fullerton, 2014, p. 45). Civilization-building strategy games like Elvenar exemplify this, offering players the choice between human and elvish civilizations within a single-player versus game structure (Fullerton, 2014, p. 59). The game revolves around resource management, constructing buildings, and expanding territory, with time mechanics playing a crucial role in player progression.

My experience with Elvenar, as a very inexperienced gamer, presented several challenges, especially in contrast to the experienced gamer I observed. The learning curve required me to “explore and probe the world” (Gee, 2008, p. 232), making strategic mistakes along the way. Initially, I struggled to grasp the game’s procedures and rules, spending considerable time simply navigating the interface. Meanwhile, the experienced player quickly maximized their efficiency, effectively navigating the game’s financial and resource systems. Elvenar aligns with Fullerton’s (2014) description of formal game elements, particularly in its use of objectives, resources, and conflict (pp. 68-72). The primary objective is to grow and manage a thriving city by balancing production efficiency, trade, and military expansion. Resources such as coins, beverages, tools, and groceries meet Fullerton’s definition of game resources as elements that must have both “utility and scarcity” (2014, p. 80). This scarcity became apparent when I misused diamonds early on, a mistake the experienced player avoided due to their understanding of the resource and its value. Time also functions as a resource, as many game actions require waiting for resources or building to occur. Conflict arises in Elvenar not through direct player competition but through economic and decision-making challenges, such as choosing between negotiation or combat for expansion.

Elvenar has a construction-based objective with resource management as a core gameplay element. Success is determined by strategic choice-making rather than chance or physical dexterity (Fullerton, 2014). I did enjoy this because, as Fullerton notes, these can be somewhat open to player interpretation as to what success is within the game; for example, what type of city I wanted to build was ultimately up to me. Where the gamer succeeded much more than me was the mini or partial objectives that help players to accomplish the main objective (Fullerton, 2014). I took way too long to realize how exactly smaller tasks like gathering knowledge, resources, and exploration all connected.

Elvenar values expansion and territory growth. Although there was some emphasis on culture through the ability to place cultural elements in the cities, societal values seemed to be centered on power. Marshall McLuhan’s perspective on games as cultural reflections stuck out to me. The mechanics of expansion in Elvenar highlight historical patterns of colonialism, dominance, resource control, and territorial disputes, emphasizing how games can mirror the real world and its core values (Egenfeldt-Nielsen, Smith, & Tosca, 2020). Compared to action-oriented games, Elvenar is a slower-paced, decision-driven experience that aligns with Gee’s (2017) concept of games as “distributed teaching and learning systems.” The game teaches through trial and error rather than direct instruction, requiring players to discover efficient strategies over time. While I initially found myself reacting to immediate needs without long-term planning, the experienced player methodically optimized city layouts and resource production, demonstrating a deeper understanding of the game strategy.

Even though Elvenar doesn’t follow a traditional story like many narrative games, it still creates drama through its city-building mechanics and challenges. The absence of a strong character means that engagement is not character driven, but instead comes from players assuming the role of a city leader. Over time, I felt an increasing sense of responsibility for my city and its inhabitants, trying my best to make decisions with their well-being in mind. The engagement comes from the drama of your chosen strategy and seeing how it unfolds (Fullerton, 2014, p. 45). One of the most interesting takeaways from comparing my experience with that of the experienced player was how different players find enjoyment in Elvenar. The experienced player treated it as a game of efficiency and long-term planning, while I initially found it overwhelming. He even set alarms to return to the game at optimal times, ensuring maximum resource collection and production. This reinforced Castronova’s critique of the ‘magic circle’, the boundary between games and reality is not rigid, as the real world seeps into games, and in this case, the game influenced real world behavior as well (Egenfeldt-Nielsen, Smith, & Tosca, 2020). I was not engaged enough to take the same route however my enjoyment grew as I became more comfortable with the mechanics. This aligns with Gee’s (2008) assertion that the “fun” of a game comes from problem-solving and mastery of its mechanics. Similarly, Fullerton (2014) highlights that challenge is highly individualized; an appropriate level of challenge fosters engagement (p. 98). As a novice, certain challenges initially hindered my engagement, but as I learned, they became dynamic. For example, battles started as frustrating obstacles but eventually I learned what each fighter’s strengths were and how to maneuver them to win.

Ultimately, Elvenar is a strategy game that engages players through systems rather than traditional storytelling. Its reliance on resource management, time-based progression, and player decision making makes it an enjoyable experience. While it presents challenges to new players like myself, the game rewards those who develop long-term strategies, reinforcing the idea that games are both learning environments and engaging experiences. Reflecting on my experience, I identify more as a competitor or achiever in terms of player type. However, Elvenar seems better suited to a craftsman or collector playstyle (Fullerton, 2018, p. 104). While I enjoyed aspects of strategic planning, the game’s emphasis on slow, methodical progress and optimization may appeal more to those who enjoy meticulous world-building rather than direct competition. Gee and Gee (2017) suggest that through games, we engage in a conversation with a new world. I agree with this perspective; however, as an inexperienced player, Elvenar felt like speaking a new language, one I had to slowly decode through trial and error. I also recognize that my limited experience prevented me from fully accessing everything the game had to offer. Given more time, I may have developed a deeper appreciation for it. Watching an experienced player navigate the game with ease highlighted how expertise definitely transforms the experience. This assignment and course have exposed me to a world I rarely visit, but one I now appreciate and understand much more.

References:

Egenfeldt-Nielsen, S., Smith, J. H., & Tosca, S. P. (2020;2019;). Understanding video games: The essential introduction (4th ed.). Milton: Routledge. doi:10.4324/9780429431791 – Read chapter entitled: “What is a Game?” 

Fullerton, T. (2014). Game Design Workshop: A Playcentric Approach to Creating Innovative Games, NY: Taylor & Francis (CRS Press)/ Chapters 1, 2, 3. 

Gee, J. P. (2008). Cats and portals: Video games, learning, and play. American Journal of Play, 1(2), 229. 

Gee, E., & Gee, J. P. (2017). Games as distributed teaching and learning systems. Teachers College Record, 119(11). 

Intellectual Production #8 Game Design 101

Intellectual Production #8:

Working alone–and for some of you this is re-reading (no harm in that!), read chapters 1-3 and do at least 5 of the exercises Fullerton suggests.

Exercise 1 .3: Your Life as a Game

List five areas of your life that could be games. Then briefly describe a possible underlying game structure for each.

Herding Cats

Objective- gather students in a classroom during flex learning time, no students roaming the hallways

Obstacles- cell phones, students dislike of flex, large school grounds, students hiding in bathrooms

Rules- students need to be in class during flex time, teachers can only use verbal cues to persuade students to move into learning areas

Reward- students are in classes during learning time

This game requires multiple players to work in a team to herd all students in an organized fashion back to class

Game of Finances

Objective- manage finances effectively and increase the pot of money

Obstacles- school, economy, social life, gas prices, unforeseen circumstances, travel

Rules- do not spend more than you make, you must pay the tax man every month,

Reward- a trip, buy something I want, sense of security

Game of Fitness

Objective: Improve physical fitness, gain strength, and maintain a healthy lifestyle.

Obstacles: Lack of time, sore muscles, unhealthy food temptations, weather

Rules: Complete a set number of workouts per week, follow a balanced diet, and track progress regularly.

Reward: Improved health, achieving fitness goals, personal satisfaction

This game has levels that correspond to fitness milestones, such as running a 5k, lifting heavier weights, or hitting target goal

Dating Game

Objective- find a life partner

Rules- dating preferences and requirements such as age range, gender, demeanor etc.

Obstacles- liars, infidelity, incompatibility

Levels- as you progress throughout the game your risk level and possible rewards increase due to the longer amount of time you invest into each game

Master’s Degree Marathon

Objective: Complete a master’s program in education to gain advanced teaching skills and qualify for a higher salary.

Obstacles: Balancing coursework with teaching, staying motivated during late nights, managing finances for tuition, and meeting deadlines.

Rules: Attend classes, complete assignments on time, and actively participate in discussions. Bonus points for implementing new teaching strategies learned in the program.

Reward: Higher salary, professional growth

This game has stages, such as completing individual courses, and submitting a final capstone project. Each stage brings you closer to winning.

Exercise 1 .5: Your Childhood- List ten games you played as a child, for example, hide and seek, four square, and tag. Briefly describe what was compelling about each of those games.

Hide and seek – easy to understand, thrilling to try to not get found

Tag – easy rules to understand, exciting, can play with any number of people and almost anywhere

Bump – I loved basketball and it got your adrenaline up

Cops and Robbers – simulated a real life situation of running from authority. Exciting and engaging

Slap – fast paced, easy rules, fast paced and exciting

Capture the flag- active, easy to follow, exciting trying to steal from someone else’s territory

Red light- green light

Simon Says

Octopus

What time is it Mr. Wolfe

I started writing the reasons beside each game however I found myself repeating the same thing. What was compelling about these games was they included some sort of thrilling component. They are simple to understand with little to no equipment and they engaged you because of the excitement and suspense of getting “caught” or “out.” Additionally they all have a social component that I found really enjoyable.

Exercise 2 .1: Think of a Game

1. Think of a game, any game. Now write down a description of the game. Be detailed. Describe it as if to someone who has never played a game like it before.

2. Now think of another game—a completely different type of game. The more different this game is from the first one, the better. Describe it.

1.Cribbage (Crib) is a card game typically played by two players, with a standard 52-card deck and a special scoring board where pegs are moved to count scores. The objective is to be the first player to move their peg across the board to the end line (usually 121 points). This is done by combining cards in different ways to score points.

Setup:

Players will remove a card from the deck without looking. The lowest card will deal and have the first “crib”

Each player is dealt six cards, and they choose two cards to place face-down into the “crib” (a separate pile that belongs to the dealer).

The dealer then shuffles the remaining cards and begins the game by cutting the deck and revealing the starting card

Scoring: Points are scored in several ways:

Combinations of 15: Any two or more cards that add up to 15 (e.g., a 10 and a 5).

  • Pairs, Runs, and Flushes:
  • Pair: (e.g., two 7s). 2 points
  • Run: Three or more consecutive cards (e.g., 4, 5, 6). 3 points
  • Flush: Four cards of the same suit in the hand (not counting the crib). 4 points

Play:

Pegging: Players take turns playing one card at a time, trying to make combinations that score points, such as creating a total of 15 or a pair. Same scoring as listed above. The number count of all of these cards cannot go above 31.

After all cards have been played, players reveal their hands and score them according to the combinations outlined above.

After both players play out their hands, the dealer scores their crib as well.

2. Diddy Kong Racing

Objective: Race other drivers to get to the end of the track first

  • You can choose your character, vehicle, and which race track you want
  • There are also items you can collect that help you drive faster or slower or which slow down your opponent

3. Compare your descriptions. Which elements were different and which were similar? Dig deep and really think about the underlying mechanics of each game.

Similar

  • Both are designed for the players to enjoy and be engaged in
  • Both require certain equipment or game tools in order to play
  • Both have a starting and end point. Whoever crosses the end point first determines who is the winner.
  • The points in crib are similar to the items you can drive over in Diddy Kong because they propel you to move ahead
  • Both require strategy but also have elements of luck (which cards you are dealt, which track you race etc)
  • Players would be better at both of these games with increased practice

Different

  • Crib has many more rules and would be much more difficult to teach a new player
  • Crib would not suit as many age groups as Diddy Kong would because of the math and many rules
  • Diddy Kong does not require other players as you can play the computer. Crib requires someone else to play (unless done online)
  • Strategy would be different in each game. Crib uses memory while Diddy Kong uses quick reactions

Exercise 2 .2: Players

Describe how players might join or start a game of Go Fish versus single-player Quake. What steps do they need to take in each case—social, procedural, or technical? There will clearly be differences in the beginning of a multiplayer card game versus a single-player digital game, but are there also similarities? If so, describe them.

Go Fish

Players need to consider their social surroundings. Asking others to participate with them and potentially teaching the rules and procedures of the game. They do not need technology but would need to shuffle the deck, hand out cards in the agreed upon manner, and decide who goes first

Quake

Players would need the correct technology to play the game. This could be the system or console. They do not need to consider social norms because they are playing alone but they would need to know the rules and the objective (to stay alive)

Similarities

They would need to have the proper equipment, they would both need to know the rules and objective, and they both need to engage the players to continue playing

Exercise 2 .4: Rules Can you think of a game that has no rules? If so, describe it. How about one rule? Why is this exercise difficult?

  • Even the games that I can come up with that seem like they do not have “rules” still have structures that are played within. For example, role playing as a child. Although there may not be defined rules, the children tend to follow what the societal norms or rules are.
  • Silent game- only rule is you cannot make any noise

This exercise is difficult because games need some sort of structure so that its participants can have an understanding of how to participate. If these rules are not upheld then they are no longer playing the game.

Exercise 2 .7: Premise

What are the premises for the games Risk, Clue, Guitar Hero and Catan? If you don’t know these games, pick games that you are more familiar with.

Clue –The premise is that there has been a murder in a mansion. Guests are trying to play detective and determine who was the murderer, in what room, and with which weapon.

Risk- The premise of risk is war. Players move their armies to strategically capture land

Catan- The premise is players are competing for material resources in order to build large settlements and develop their land and armies before their enemies can.

Guitar Hero- The premise is the player is a rock star or lead guitarist performing in front of fans.

 

Reference:

Fullerton, T. (2014). Game Design Workshop: A Playcentric Approach to Creating Innovative Games, NY: Taylor & Francis (CRS Press)/ Chapters 1, 2, 3.

Intellectual Production #1: Digital Games and Learning Perspectives

Gee, J. P. (2008). Cats and portals: Video games, learning, and play. American Journal of Play, 1(2), 229.

The articl“Cats and Portals: Video Games, Learning, and Play” by James Paul Gee, published in American Journal of Play (2008), explores the potential for “good” video games to impact learning. Using his analogy of Cats, he describes how play allows for discovery and therefore the development of new skills and learning. Gee illustrates this interaction with video games through various examples, such as SIMS, to show how play can foster skills like problem-solving, critical thinking, language acquisition, and knowledge building. Gee argues that video games integrate play and learning, offering space where mastery is achieved through trial and error, similar to the process of learning in real life. However, he does not address diverse learners and their unique abilities and challenges to benefit from this discovery. How can Gee’s concept of “play as discovery” be utilized in designing educational learning environments, and how might this approach be adapted for in-person activities to enhance and support learning?

Gee, E., & Gee, J. P. (2017). Games as distributed teaching and learning systems. Teachers College Record, 119(11).

The article “Games as Distributed Teaching and Learning Systems” by Gee and Gee (2017) explores distributed teaching and learning (DTAL) systems, discussing how learning can occur outside traditional schools through affinity networks and digital tools. Gee and Gee highlight that humans draw on experiences from texts, media, virtual worlds, peer interactions, and often do not distinguish between these but rather utilize them to navigate future problems. Video games are an example of a new conversation that we can utilize in learning, ultimately not far off from the games we are already playing in our own minds while trying to solve a problem or testing different scenarios. The authors suggest that learning through distributed systems like games could help create better, more engaging education, since these tools encourage problem-solving, collaboration, and social interaction. They also found that DTAL systems offer more freedom and agency for people to learn with flexibility of schedule, income level, social network, location, or other restricting factors. Did the authors consider whether knowing you are engaging in learning within a DTAL system enhances or detracts from the learning experience? Could this awareness influence motivation and engagement if learners recognize their activities as educational or valuable?

Both articles emphasize that learning in online spaces or through video games is closely tied to real life learning, where experiences in virtual environments can translate into skills and knowledge in the real world. While the first article by Gee (2008) focused on video games and skills or learning associated with them, the other (Gee & Gee, 2017) was focused more broadly on DTAL systems associated with those games and how they impact further learning and knowledge building.