Critical perspective
Computer games themselves only gained academic status recently and are beginning
to spill over into other research areas where learning seems to be one of the
promising areas. There is not yet an established methodology for such a combination
and we have felt that when writing this thesis. We have chosen a theoretical
approach to adventure games and learning as opposed to an empirical one. This
means that we have developed theoretical arguments and while not grounding them
in empirical data, then given these arguments ‘life’ through this data. Our
methodology can therefore be criticized for not being grounded thoroughly enough
empirically. We could have set up assumptions and hypothesis and focused more on
if and how these were experiencing in existing examples of learning games. Such an
empirical approach could have meant having our target group play, not our own
game, but existing games. The analysis could have focused on how learning is
integrated in adventure games and if it worked.
Being case-focused we aimed at making a finished design document from this thesis.
We feel that a theoretical approach would have been very useful to the filed of
learning through computer games but would at best have let us argue for how
learning can become an integrated element of adventure games. The conclusion
would be more grounded and it would help other scholars in the field, it would
however not have let us developed a concert concept.
Our theoretical approach has meant we had had to be more innovative in our
methodology as there is not a large body of work to be inspired from. We established
arguments based on our theoretical conclusion. We then reflected on these
conclusions through our empirical work in an effort to make them more concrete and
bring them to life. Lastly, these arguments became the basis for our design
document. This means that the document will be theoretically based on not
empirically grounded. The arguments come from a theoretical discussion and the
danger of reducing such an abstract discussion into a set of bulletins. While such a
move from general to specific can be efficient, it stands the danger of losing the
depth of the discussion and that our theoretical contemplations do not shine directly
through in our concept. A more well-established and structured approach to these
“bulletins” could maybe have helped reflect how they are applied in our concept. We
think the choice between a theoretical or empirical emphasis is one of choice and
objectives. We chose the theoretical emphasis because we feel it would be most
productive for designing a concept. The danger is that these theoretical
contemplations cannot explicitly be shown through our design document.
Conclusion
How can we develop a concept for an adventure game where learning is an
integrated game element?
In this thesis we have answered our problem formulation by applying it to a specific
case to see how the learning of DSRI’s material could become an integrated game
element of Space Adventures. We developed theoretical arguments for this should be
done and given these arguments shape by reflecting on them through our empirical
data. In this conclusion we will discuss how these arguments have been used for the
decisions of our design document and then sum up on these theoretical arguments.
Lastly we will conclude on what the advantages of an adventure game with learning
as an integrated game element.
Our approach to learning has revolved around feedback and we have focused on two
feedback relationships: a teacher/student relationship and a student/student
relationship. From the beginning of this thesis, learning has been viewed as an
individual process occurring in a closed system. However, we assume that learning
for such a closed happens most often when the system is disturbed or provoked from
outside. The teacher/student relationship, defined as teaching, is a way to structure
the individual’s learning process. Through group discussions students are forced to
shed light of their own mental processes as well as other in a reflective process.
While these elements have not been integrated into Space Adventures as direct
game play elements, they have been integrated by becoming the source of game
progression. Through the clue/puzzle mechanism, learning and reflecting on
feedback become the method to solve clear objectives that progress the game. It is
by learning the material that the player gets access to directly interact ion with the
environment and it is this interaction that lets the player solve mission-puzzles and
progress. The driving force becomes the curiosity of Delbert McKloo’s disappearance
the joy of playing the game is moving around and discovering the abandoned
Medulla.
Solving the games mystery and exploring the special dimensions should be the
motivating forces of Space Adventures. To the degree that this is accomplished, the
player will have invested personal feelings and ambitions in the game. To reach
these ambitions the player must learn and learning therefore becomes an integrated
part of the game. However, this learning process will be a personal experience, one
the student can relate to on a more individual level.
Space Adventures is built from the idea that motivating players will make them more
likely to reflect on feedback when this is an integrated element of the game. We
have justified this argument by supporting our theories of learning with the theory of
Flow. A state of flow is characterised by a loss of one self in an assignment and we
have shaped the experience of Space Adventures around this concept. It is by using
the elements of the adventure game genre that learning becomes part of a story,
both dramatic and spatial. The player acknowledges the teacher’s feedback as part of
the game and constructs a public entity in the form of a discussion. The learning
becomes part of the story and the player can live out the process as part of a drama
where he or she is the main character. The player feels a personal relation to
learning as he playes out the drama of searching for Delbert McKloo on the Medulla
and this is the largest achievement when an adventure game intergrates learning as
a game element.
Giving the learning process a character and the player a personal relationship to it
can inspire the player to himself become motivated to learn more about the topic.
Just like science fiction books have been a way for popular culture to deal with
complicated subjects for a large audience, so can Space Adventures make the
material not only accessible but interesting and personally relevant for the player.
This is the strength of the game and also why it has been important to us that the
learning which does take place has been grounded in established theories.
PLAY OUT DRAMA!!