After pondering over the Mechanics-Dynamics-Aesthetics of MDA Model (Elverdam & Aarseth, 2007; Kim, 2015; Robson, Plangger, Kietzmann, McCarthy, & Pitt, 2015), my search next located several other models, including the Game Object Model II (Amory, 2007).....taking me deeper into the role of aesthetics in educational gaming.
GOM II (shown below) looks more complicated than it is, but when one ponders each item, the interplay begins to make sense. This model adds the concept of a narrative/story line to MDA's (Kim, 2015; Robson, Plangger, Kietzmann, McCarthy, & Pitt, 2015) aesthetics component. The issue, however, is still, how do I use this in designing my game experience for Community College Administration graduate students?
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| Amory, A. (2007). Game object model version II: A theoretical framework for educational game development. Educational Technology Research and Development, 55, 51-57. |
Van der Spek, Van Ostendorp, and Meyer (2013) suggest integrating surprising events can stimulate deeper learning and that a narrative background can decrease learning, so game designers need to seriously consider how they embed instruction in the game narrative. Amory (2007) proposes educational games should be designed as narrative spaces where story and plot allow characters to construct their own meaning through the use of plot hooks, characters, backstory and cutscenes.
Plot hooks are used at the beginning of a game to draw players into the game. a plot hook can take several forms: an urgent plea for help, a central character who awakes in a strange location, or a detective assigned to solve a crime. Their purpose is to arouse curiosity and create intrigue. good plot hooks put players into the middle of action without providing much explanation, serving as an impetus for the player to begin the game.
Compelling characters need to be integrated throughout the game. In adventure games the player is often cast as the protagonist. Providing information about the goals, personality and motivations of the protagonist and other characters can foster an emotional connection between the player and the main character. this connection is established through the use of multidimensional characters with both strengths and flaws (Freeman, 2003) and by having characters that change and grown throughout the game (Rollings & Adams, 2003).
Backstory and cutscenes deliver the narrative and help players to uncover the narrative storyline. Backstory refers to the background, the history of the storyline, and provides dramatic context for the action. This could be as brief as a simple sketch of the main character and key conflicts in the storyline or as complex as providing detailed histories of all of the characters and conflicts along with maps of the game world. Cutscenes are short pieces of narrative revealed during game play. They could take a variety of forms: a radio broadcast, a telephone message, an email, a journal entry, a newscast, or even a brief video. Cutscenes provide players with key information, often appearing at the end of puzzles or challenges (Hancock, 2002). Examples of cutscenes include flashbacks, parallel actions, foreshadowing, cliff hangers, and red herrings (Hancock, 2002; Onder, 2002).Narrative, then, needs to engage the player, and do more that deliver the story - narrative needs to combine with player choices to construct the story. According to Dickey (2015) aesthetics - and narrative - differs with the various game genre.
As I write this, my mind is spinning with narrative....I can begin to see this coming together.... backstory...cutscenes...plot hooks....compelling characters......taking notes on the side...
I am reminded, however, of my three questions posed previously:
- How do I motivate players and keep them motivated to play?
- How do I meet the goal of player enjoyment?
- In my dream game, the journey is the learning, not the final score or the badge. So how do I create a game experience that allows players to learn about the community college, to interact with community college "employees" and "students" and then complete the experience?
But how to actually create this experience still eludes me...
Next step: On to situated learning (Lave & Wenger, 1991).
References
Amory, A. (2007). Game object model version II: A theoretical framework for educational game development. Educational Technology Research and Development, 55, 51-57.Dickey, M. D. (2015). Aesthetics and design for game-based learning. NY: Routledge.
Elverdam, C., & Aarseth, E. (2007). Game classification and game design construction through critical analysis. Games and Culture, 2(1), 3-22.
Freeman, D. E. (2003). Creating emotion in games: The craft and art of emotioneering. Indianapolis, IN: New Riders.
Hancock, H. (2002). Better game design through cutscenes. Retrieved July 27, 2015 from http://www.gamasutra.com/view/feature/131410/better_game_design_through_.php
Jakobsson, M., & Taylor, T. L. (2003). The Sopranos meets Everquest: Social networking in massively multiplayer online games. Paper presented at the 5thInternational Digital Arts and Culture Conference, Melbourne, retrieved July 28, 2015, from, hypertext.rmit.edu.au/dac/papers/Jakobsson.pdf.
Kim, B. (2015, February/March). Game mechanics, dynamics, and aesthetics. Library Technology Reports, 51(2), 17-19.
Lave, J., & Wenger, E. (1991). Situated learning: Legitimate peripheral participation. Cambridge: Cambridge University Press.
Onder, B. (2002). Storytelling in level-based game design. In F. D. Laramee (Ed.) Game-design perspectives (pp. 291-298). Hingham, MA: Charles River Media.
Robson, K., Plangger, K., Kietzmann, J. H., McCarthy, I., & Pitt, L. (2015, July). Is it all a game? Understanding the principles of gamification. Business Horizons, 58(4), 411-420.
Rollings, A., & Adams, E. (2003). Game design. Indianapolis, IN: New Riders.
Van der Spek, E, D., Van Ostendorp, H., & Meyer,, J. J. (2013). Introducing surprising events can stimulate deep learning in a serious game. British Journal of Educational Technology, 44(1), 156-169.
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