Dadaab Wiki - User contributions [en]

Carey Lam

2019-04-06T22:13:59Z

Carey: /* Production 7 */

== Biography ==
[[File:DCM_0001.jpeg|200px|thumb|left|]] Hello my name is Carey Lam, I have been at York University for several years at this point. I have done my undergrad in kinesiology and health science, then a bachelors of education and now finally my masters of education. I have always been a gamer at heart, ever since I was little and received my first ever Gameboy with the Pokemon game. My passions and hobbies include hockey, fitness and health, and gaming.

== Production 2 - Competition ==
Option 2: Create another chapter for Bogost’s book
Competition
In the analysis of the term “game” through Jaakko Stenros’ The Game Definition Game: A Review, he explores ten topics of interest that help conceptualize what a “game” might be (Stenros, 2017). One of these topics revolved around the idea of competition and conflict. Within the discussion of this topic as well as one written around “coherence”, he emphasizes how competition is a characteristic that makes up a game (Stenros, 2017).

Taking this into consideration, it is only natural that games have taken the aspect of competitiveness and created games with the purpose of fostering these competitive environments. Take for example the rise of e-sports, which has given way to a whole culture around gaming competition with various styles of games. Such titles within this realm are League of Legends, Counter-Strike Global Offensive, Fortnite, Hearthstone, and many more. [[File:IEM_COLOGNE.jpg]]

What is notably different in these games compared to a less competitive game, is the emphasis of a visual display of some sort that showcases how someone is performing. This can be done on a leaderboard or placement within some ranking system that is visible to all. This further emphasizes the competitive nature within these games, as the rankings are signifiers of one’s ability and knowledge surrounding the specific game. Bogost speaks to this idea of Nolan’s Law which is to create games which are “easy to learn, but hard to master”(Bogost, 2011). This is often true of these particular style of games, the access and ease to playing are very low which allows for a mass audience to pick it up, however to become adept is something that requires not only experience but time. Not only is one having to learn the ins and out of a game, but also account for the actions of others that may be present (opponents and teammates). [[File:League Ranks.PNG|200px|thumb|right]]

Something that can be easily overlooked is how this may give opportunity to ways of creating digital literacy. In the strive towards betterment within the game, some may look to other outlets or forms of media in order to help in this pursuit. By searching the internet, reading guides, watching videos, these players develop a literacy in how they: 1. Find and access resources and 2. How they interpret and use those resources for their improvement needs.

If we revisit things that games can do, Bogost notes in the section pertaining to exercise, how the genre develops rituals which are borrowed from other domains(Bogost, 2011). In the same way that exergames borrow rituals of sport, it can similarly be shown how competitive games may parallel this. From the spectacle of e-sport to the social practices that sports develop (such as creating social micro-environments), they are all encompassed by the games that are present in this realm of games.
When we consider the implications of this for social contexts, again, rituals of sport that are borrowed may exemplify how similar intra- and interpersonal skills are developed. Through the nature of competitiveness, intrapersonal skills such as resilience, perseverance, dedication, attitude, etc are qualities that are developed through the playing of such games. Additionally, these games foster environments where interpersonal skills such as communication, sportsmanship are valuable to ensure success of players.

Sources:
Bogost, I. (2011). How to Do Things with Videogames (1st edition). Minneapolis: Univ Of Minnesota Press.
Stenros, J. (2017). The Game Definition Game: A Review. Vol 12 (6). Sagepub.

== Production 3: Serious Play and Learning: Connections between the Readings and the Hack-A-Game-Game ==
One overarching critique that is presented within the articles is one that echoes the notion of how education is shaped in this notion of a “banking model of education” type of environment (Freire, 1970). Although it was not labeled as such, many of the issues that they refer to deal with some of the dominant discourses that are present within this style of education. “The gamified vision of DGBL that fits best with standardized curriculum is one of competition, achievement and reward structures that reflects what Jackson (1968/1990), and many 596 J. Nolan and M. McBride since, have referred to as a ‘hidden curriculum’ of values and norms in keeping with existing power relations and institutional structures” (Nolan & Mcbride, 2014, p.596). Using this example it highlights many issues that games have run into in that, although being a different medium of generating knowledge it has sometimes further problematized oppressing structures in school which disenfranchises students.

This problematized view of education structure led to reforms in how digital game-based learning approaches may be incorporated. Thumlert at al, spoke to the constructionist views of Papert, which looks at games as an “object to think with” (2018). There are also shortcomings in this thinking which Nolan & McBride allude to; institutions limit what students are able to do on their own, due to the nature of institutions appropriating play as instruments for the achievement of institutional goals or aims while nullifying autonomous play (Nolan & Mcbride, 2014).

In concept, Papert rejected this traditional teaching approach in favour of “enabling children to explore, tinker, and even code in interactive environments: in these contexts, it was argued that children can generate their own “knowledge structures” on the way to, or as bridge to, “formal knowledge” (Thumlert et al, 2018, p705). At the same time, Kafai was also calling out for the need of more social, community-based learning that echoes Papert’s discussion of informal learning communities (Thumlert et al, 2018). Thumlert et al, then propose the use of “production pedagogy” as a pedagogical approach that fills in the gaps that are left with these constructionist views. What is shown through this approach is “production pedagogy as a transformative intervention where games are not simply “objects to think with”, but genuinely public sociotechnical objects to do with, and where that doing is, above all, driven by learners’ present purposes (Thumlert et al, 2018, p.704). Contrasting this back to the notion of “banking model of education” we see how it has transcended this approach as teacher as the all knowing and students as passive entities. Rather students are empowered to have agency, and above all else they are supported in pursuing topics or issues that they find meaningful and relevant to them. In this way, it has moved towards the thinking of “problem posing education” that Freire speaks to as what is needed in education (Freire, 1970).

Nolan & McBride acknowledge the importance of this freedom that is allowed through this type of pedagogy in that “the use of children’s self-selected affinity spaces, such as games they are familiar with and enjoy, offer a context for the kind of open-ended, autonomous and situated meaningful learning that should be a key requirement for the use of DGBL (digital game-based learning) (2014, p.603).

Linking these ideas to our own endeavors with game based-learning, it has been shown the various ways in which different knowledge structures have surfaced, and ways of thinking are explored. Through the autonomy of students engaging in the work, there are numerous approaches to how “hacks” can be implemented based on who is within a group. This allows for free forming thought and collaborative learning around the principle of “making the game more fun”. It also creates construction of knowledge through the experimentation and critical thinking that goes into implementing these ideas in a more meaningful context to those learners engaged in the work. This follows the train of thought that production pedagogy strives to do in making work meaningful and having freedom around things such as autonomy, play, affinity, and space, can create environments that do not reproduce the ingrained institutionalized views of learning.

“Echoing Freire, Malaguzzi and others, de Castell and Jenson (2003b) conclude that ‘without play, education becomes a force of compliance, not intelligence, and in this sense what we most urgently require of schooling today is that it can once again teach us to play, not to obey” (Nolan & McBride, 2014, p.605)

Sources:
Freire, Paulo. (1970). Pedagogy of the oppressed. New York, Herder and Herder.
Nolan, J., & McBride, M. (2014). Beyond gamification: Reconceptualizing game-based learning in early childhood environments. Information, Communication & Society.
Thumlert, K., de Castell, S., & Jenson, J. (2018). Learning through game design: A production pedagogy, The 2018 European Conference on Games Based Learning Book: ACPI Press.

== Production 4 ==

Production 4
Upon reflection of our experience constructing a game in class, it accentuates further this notion of “paidia”, and how it plays a part in constructing knowledge. In this case paidia is parallel to this idea of “play” that Nolan and McBride characterize as one of their dimensions for digital game-based learning. They share similarities in that they both require active engagement from participants, a sense of freedom and spontaneity (Nolan & McBride, ). From the investment that was shown in each game design from the groups, it was evident to see that there was meaningful engagement with the material. As a pedagogical discourse, digital game-based learning, as Jenson notes is “at the forefront about addressing disengagement and developing 21st century learning and skills” (Jenson, 2017, p.213).

To illustrate how this meaningful engagement with the assignment was enacted, it can be demonstrated through Nolan & McBrides “dimensions framework” (2014). The dimensions of autonomy, play, affinity, and space are all components to this framework which encompass the nature of how game-based learning as a principle creates authentic and student-driven work. As noted previously, the dimension of “play” has shown that it was orchestrated in a fashion where students had freedom over what could be done. This directly correlates to the dimension of autonomy, which gives control over to the students to take the exercise or work into their own hands and do what they will with it. Something that Nolan & McBride allude to is through this “the teacher emerges almost spontaneously as whoever has the knowledge, ideas, or inspiration in the moment and the willingness to share” (2014, p.604). This was proven in the designing of our games, as people had many ideas to propose, they become facilitators of learning as they bring unique outlooks to what can be done, how it should be implemented, or modified, which is then shared with their peers.

In terms of the dimension of space, although it was done using a “classroom”, I would say that in the way that the exercise carried on, as well as the autonomy that was given, it transcended what we could describe as “traditional”. The importance in this, is that it was pointed out that the environment which this “situated learning” would take place influences and is influenced by the other dimensions (Nolan & McBride, 2014). As I reiterate, the space itself was one which provided no constraints nor did institutional or instructional constraints hinder the process. With each dimension conjunctively in an ideal state, it creates an environment and affinity to the work at hand, which allows for open-ended, autonomous and meaningful learning which is a key requirement of game-based learning (Nolan & McBride, 2014). This ultimately leads towards this notion of production pedagogy, which critique’s “alienated learning” and counteracts this through the process of giving agency to the learner to determine what is meaningful to them (Thumlert et al, 2018).

Something to highlight is the less prominent focus of game design and development as a way to support critical competencies and digital literacy through creative problem solving, collaboration, and programming skills (Jenson, 2017). As a group working through the design process, there are many voices and factors to account for, which require communication and collaboration which is an emphasis for any design team to strive for (Fullerton, 2014). Unknowingly, we went through this “iterative design process” without even realizing it ourselves at the time. We had gone through the mechanisms to reassure ourselves that the concept was 1. Enjoyable, 2. Playable, and lastly to look for improvements that could be made. In doing so, formal elements such as rules, objectives, resources, and outcomes were being constantly maneuvered or re-shaped in order to create new experiences that had to be tested and re-thought. In the process of doing this, it structures a certain way of thinking broadly referred to as “digital literacy” or more specifically as “computational thinking” (Jenson, 2017). Jenson states: “the true pedagogical and ludic spirit of learning with games ‘resides in the engagement itself and not in its extrinsically defined “learning outcomes”’ (Nolan & McBride, 2014, p.595). In this process, not only were we exposed to some of the intricacies of game-making, however, the experience itself of designing and collaboratively working together sets the stage for more authentic learning to take place, through the collection of knowledge of multiple perspectives and ideas.

Sources:
Fullerton, T. (2014). Game Design Workshop: A Playcentric Approach to Creating Innovation Games, NY: Taylor & Francis
Jenson, J. & Droumeva, M. (2017). Revisiting the media generation: Youth media use and computational literacy instruction, eLearning and Digital Media.
Nolan, J., & McBride, M. (2014). Beyond gamification: Reconceptualizing game-based learning in early childhood environments. Information, Communication & Society.
Thumlert, K., de Castell, S., & Jenson, J. (2018). Learning through game design: A production pedagogy, The 2018 European Conference on Games Based Learning Book: ACPI Press.

== Production 5 ==
The concept of ‘play’ is something that is abstract and has various dimensions to it, which makes confining it to a definition difficult. That being said, Callois and Huizinga provide important aspects to help develop a framework of how we may begin to look at it. Something that is shared between the two, is the nature of play itself must be “free” (Callois, 2005). In regards to the idea of “free” Callois states: “play must be defined as a free and voluntary activity, a source of joy and amusement. A game that someone is forced to play would at once cease being play” (2005, p 125). If we take this into consideration, free has the tenet of being enjoyable and absent of coercion in order to be considered as “free”. A second distinction that is made by both authors is the removed element/space that play and game takes place in. In Callois’ words: “the game's domain is a restricted, closed, protected universe: a pure space (2005, 105). Huizinga refers to it as “separate” however, “within limits of space and time, defined and fixed in advance” (1955, p 128). Thinking about it in this way also highlights another important attribute of play, that it is different than “ordinary” life and in engaging with it, it creates its own course and meaning (Callois, 2005). A last consideration that needs to be articulated from the framework that is presented is the consideration regarding establishment of rules or the state in which the participants partake in. These governing rules are in part what establishes the ludus components of the game which then establish the way in which play can unfold with unknown outcomes.

A game that I want to explore under this scope of ludus and the conditions of play is the game “Player Unknown Battlegrounds” (PUBG). The concept of the game is a battle royale, where there is a lobby of 90-100 players and the main objective is to be the last person or squad to survive. If we break the game down into Caillois’s classification system there are three in particular that stand out in this game – Agon, Mimicry, and Alea.

Agon preoccupies itself with the aspect of equal competition and equal chance in which competitors meet under ideal circumstances to render precise winners (Callois, 2005). The aspect of Alea concerns itself with chance and the creation of a passive player who does not deploy their skill or intellect to determine outcome (Callois, 2005). Therefore, this game neither lends itself to either extreme, rather like the example Callois (2005) illustrates with card games (having will over the hand that is dealt, but chance because of the luck that is required to get certain cards), it is a mixture of the two categories that create the governing rules and nature of play. As players must navigate through the map, there is a sense of chance and luck in what you can find in terms of weapons/armours/and vehicles, but they still retain that feeling of ability to demonstrate proficiency through skill and intelligence in how they manage to use these resources. In keeping with the idea of ludus, it encompasses this tension that is brought out through engagement with game and play. Huizinga illustrates this concept in saying “tension in play, tension means uncertainty, chanciness; a striving to decide the issue and so end it… (player)wants to “succeed” by their own exertion” (Huizinga, 1955, p 105). How play unfolds in this game enacts this very condition in which players must use their own means and prowess to relieve this tension either by winning or failing out and starting anew.

The other category that perhaps lends itself to creating the condition of play is mimicry. PUBG itself is a game that is enjoyed by many due to its realism to various aspects – guns, mechanics of shooting, etc. What this enables players to feel is a sense of immersion, also from various other ways in which the game is designed to simulate you being there – being first person, noises are multi-directional, sound is heard differently depending on distance, etc. The act of creating such an environment sets up the sense of mimicry in that you are enveloped in the world of the game itself and personify yourself with these avatars who are soldiers at war with each other. This guise that mimicry enables exhibits many of the characteristics of play: liberty, suspension of reality, and delimitation of space and time, which only further deepens the level of immersion that the players feel as they live out the experience of being something they are not(Callois, 2005).

Sources
Huizinga, J. Nature and Significance of Play as a Cultural Phenomenon.In K. Salen and E. Zimmerman (Eds.) The Game Design Reader: A Rules of Play Anthology (pp. 96-120). Cambridge, Mass.: MIT Press.

Caillois, R. The Definition of Play and the Classification of Games. In K. Salen and E. Zimmerman (Eds.) The Game Design Reader: A Rules of Play Anthology (pp. 122-155). Cambridge, Mass.: MIT Press.

== Production 6 ==

== Production 7 ==

Production 7
The analysis that I want to undertake is in reference to the game “Grand Theft Auto 5”, however, this particular game that I want to draw attention to is a reconstruction and modification of this game. As Grand Theft Auto is a traditional role-playing game where you play as a specific character(s) and go through the experiences in which the developers want you to go through. This iteration of Grand Theft Auto that was adapted is a more literal take on the idea of “role playing” and puts the player in the game as their own custom created avatar living in this “microworld” as Marone would define it (2016). The adaptation itself has the same foundational framework as Grand Theft Auto does; mimicking the spaces, NPC’s (non-playable characters), and gameplay, however, what is presented is this world which can be molded and made into whatever the users wish to do with it. Although not a true “sandbox” game, it very much replicates some of the same intricacies that those games would.
In order to play this game it is currently only on an invite-only basis which the developers choose who get to join the server. As of right now it is currently only available to select content creators/streamers/ and youtubers with the hopes to open more servers. Within the server there are an allocated number of players who can inhabit it, they are to create their own avatars and live out their lives within this world. Through the play that happens it establishes itself in a serious manner in which Huizinga presents in his talks of the nature of play. “Inside the playground an absolute and peculiar order reigns. Play creates order, is order. Play demands order, absolute and supreme. Deviation “spoils the game” robs it of its character and makes it worthless” (1955, p 105). The game adopts this value very literally in how it was conceptualized and maintained. Through the construction of these avatars, the player and user must literally “become” these characters and stay in role of how they have personified their avatar. It very much takes the role-playing genre and runs with this idea to the extreme. Examples of avatars that people have created and taken on are old senile senior citizens, foreigners, parents, etc. With the incorporation of voice chat and other inputs, users have free reign of what they want to do and how they wish to portray themselves, with the one condition that they must remain in this literal role that they have self-constructed at all times.

To understand the ways in which learning can be viewed in this game, the use of Marone’s playful constructivism is used to ground a theoretical understanding of what takes place. Highlighted in the work are three key ideas which contextualize this idea; they are: situated cognition, constructionism and social constructivism (2016). Significant in these ideas of constructing knowledge and learning is that it is a process in which the environment itself – the people, social interaction, physical environment, etc, all play a part in how we conceptualize knowledge and form it (Marone, 2016). It is through this on-going negotiated meaning making that occurs in which learning can come about.

In the same vein as sandbox games which allows for vast variability, this game lends itself in the same way. With the potential to encounter other players, and their various “roles” they can make meaning out of their experiences and actions to generate new knowledge systems and understandings of the world. One particular thing that I think it particularly does well is taking normalized things within society and making parody of them. Sutton-Smith describes that play has potential in defining social norms and identity, and that the use of play is essential to cultural formation (Flanagan, 2009). There is one particular example that illustrates this point well, as gameplay unfolded there was creation of gangs that people belonged to – one group in particular muddles our normalized conception of what a “gang” is. They call themselves the “prune gang”, which is made up of senile elderly characters who create mischief and havoc around the city. This parody on our assumed perceptions of both gang and the elderly parodies these normalized notions that we hold true and calls on us to think in a different manner. Stenros describes games as a “closed formal system that subjectively represents a subset of reality”, taking this in regard, perhaps this orchestration of play is a subset of a subjective reality that their users engage with and construct their view of the elderly and bring that into the game (2017, 504). Again, the affordance of such a dynamic and fluid nature of gameplay allows for and calls upon its players to continually nourish the game through their own various engagements which welcomes their input that allows for these moments. It also lends itself well in considering what Nolan & McBride allude to in that true ludic spirit of learning with games resides in the engagement itself and not in defined “learning outcomes (Nolan & McBride, 595).

Another way in which we can analyze this game is through its very clever design of mimicry that is enacted. From the need of “money” to buy things or do things, to character customization, or to its’ resemblance of our naturalized westerner perspective of life it presents a simulation of what it is like in the “real world”. Something that Gee mentions is how in games we can embody certain perspectives and create actions that are subject to that world to solve problems (2007). In this thinking, the mimicry of a society similar to us, allows the player to enter this space with perhaps a digital embodiment that is completely different than the one they occupy in the physical. Because of this, they walk around a simulated world similar to our contemporary one with different affordances and privileges that they may/may not have. This is where the idea that puts forth comes into fruition, knowing these affordances, they must now inhabit these bodies and create a way of living for themselves and create solutions or strategies that are different to their own outside of the game. What this also touches upon is how the procedural rhetoric of the game allows for acquisition of learning (Bogost). In the way that the game imposes rules and mechanics that the player must follow, creates the way in which the player engages with the game in this way. By situating themselves in these “roles”, confines the way they establish themselves within the game and must carry on playing. Due to the limits of this authentic “role-play” it calls on users to work collaboratively and draw on each other’s strengths. Gee discusses that in games, because of limitations like this or the making of jobs/classes in games, it calls for players to have “cross-functional teamwork” (2007). This requires users to pull together their specializations to work together to integrate and share in order to reach their common goal (2007). He also mentions that this kind of thinking could transfer over into other ventures outside of the game which this game does, as a lot of the players are content creators or streamers they work together to creating videos, content, etc for their respective brands. Through this it also creates these hubs of community through these spaces of affinity where active participation has low barriers and allow for genuine collaboration (Marone, 2016).

A final point of consideration that is valuable is looking at the game as itself as a modification or hack of an already popularized game. At the core it exemplifies the tenet of production pedagogy which is that rather than looking at games as “objects to think with”, they extend to “objects to think and do with” (Thumlert et al, 2018). The previous considerations show the influence of games and how the construction of knowledge and learning through games are orchestrated in games through various means. They take shape in the way the games mechanics are enacted and the learning as a product of the environment both literally and socially by how players negotiate these meanings. Even within this analysis of a game within a game, it highlights this concept that game is both object to think and do with, which can create opportunities for exploration of different ways of knowledge acquisition and construction.

Sources:
Marone, V. (2016). Playful Constructivism: Making Sense of Digital Games for Learning and Creativity Through Play, Design, and Participation. Journal of Virtual Worlds Research, 9(3).
Gee, J.P. (2007). Are Video Games Good for Learning? In Worlds in Play: International Perspectives on Digital Game Research. New York.
Thumlert, K., de Castell, S., & Jenson, J. (2018). Learning through game design: A production pedagogy, The 2018 European Conference on Games Based Learning Book: ACPI Press. (Short)
Stenros, J. (2017). The Game Definition Game, Games & Culture, Vol. 12(6) 499-520. Skim through and note interesting concepts. See also this fun Game Definition generator created by Molleindustria.
Bogost, I. (2011). How to Do Things with Videogames. Minneapolis: University of Minnesota Press.
Nolan, J., & McBride, M. (2014). Beyond gamification: Reconceptualizing game-based learning in early childhood environments. Information, Communication & Society.
Huizinga, J. Nature and Significance of Play as a Cultural Phenomenon.In K. Salen and E. Zimmerman (Eds.) The Game Design Reader: A Rules of Play Anthology (pp. 96-120). Cambridge, Mass.: MIT Press.
Caillois, R. The Definition of Play and the Classification of Games. In K. Salen and E. Zimmerman (Eds.) The Game Design Reader: A Rules of Play Anthology (pp. 122-155). Cambridge, Mass.: MIT Press.

== Production 8 ==

== Game Proposal ==

Hello everyone I am attaching my video with my thoughts of a potential game, hope you enjoy and have some comments or ideas. https://youtu.be/wzUDhbvpHe4

Edmund: Nice. I was wondering to what extent learning could be incorporated into this game, and I think you have some good ideas.
For the first scenario: Are you thinking along the lines of initial access & limitations (e.g. hat x makes you more elfish so you start with less of currency y, less frequent turns etc.), or is it affecting game play/experiences more consistently?
The unfair start, and a hack (either within the rules or outside them) to make it interesting, address structures, restore balance, etc. is a cool mechanic.

PS I hope you and Miranda are still looking to collaborate down the line. I think I want to do something different for the class project, but it's not entirely different and some stuff may well translate with your work.

Carey Lam

2019-02-28T05:16:48Z

Carey: /* Production 5 */

Carey Lam

2019-02-28T05:16:12Z

Carey:

Immerge

2019-02-14T17:43:48Z

Carey:

'''Immerge 7/2/2019'''

'''"Simulation Group" - From the big paper:'''

== Premise ==

Global Warming scenario (specifically flooding)

Perspective still unknown (3rd/1st Person probably)

Mechanic, and eventual win condition based on survival and building

Symbols, informative objects, and environmental storytelling are also possible narrative devices.

== Mechanics/Winning ==
The survival and building mechanics occur along a 'realistic' time line. There are definite goals/constraints based on time (finding food/water sources, getting a first shelter/HQ built). Furthermore, many changes that make the environment that much more complex, dangerous, accessible etc. are based on normal rhythms of day/night, tides, (perhaps even seasonal?), and 'random' events of weather, or future/chained catastrophes.

Survival and building are broad mechanics, and additional mentions include collaborative puzzle/problem solving, operating with stealth, racing, etc. Building involves objects materials and resources, tools, and 'outcome' objects (a boat, filtration system, etc.).

Collaboration is a major theme - as there will be a cast of controllable characters, and non-player characters. Characters have generic and unique skills (strength, crafting ability, dexterity, etc.) which may overlap either of survival or building goals. Skill 'trees' were mentioned to also provide some sense of character development/progression.

Exploration is another major factor. A 'do-nothing' policy is rarely good for driving narrative, and/or character motivations. This is especially relevant in the resource-scarce environment of the flood.

== Interwoven Character Team ==

This will be a narrative, and control/simulation mechanic. We are envisioning a 'party' system (say 3-5 characters) that may be controlled on an individual basis by the player, and also through their character interactions (requesting assistance from, directing, ignoring other characters, etc).
Another interesting possibility was raised regarding motivations of party members.

The narrative aspect of this, is that the characters each have different perspectives and information. This is historical and ongoing. During play they are not in constant contact and one or more may leave the immediate party to explore, leave because they are upset with another party member, are on a mission, etc. If the character(s) return, they will usually also bring information which continues to drive the story. This could be relatively 'important' information that drives the story, or goals; or more peripheral information that may aid with narrative character development, or historical understanding of events.

== Procedural Rhetoric ==

Global warming has become an abstract discussion about future consequences of our present actions, which largely takes place in the theatre of the mind and therefore remote from our experience. Even erratic weather patterns and extreme temperatures are attributed to incremental rise in the earths average temperature, our relative distance from the more extreme experiences allows us space from the immediacy of the experience. To this end, there is deliberately nothing fantastical about the setting nor the tasks in the game. It situates the player in what most experts agree will the consequences of global warming (massive flooding) and having to solve the problems of basic survival that are predictable in a post-ecological apocalypse scenario, including scarcity of resources, and the interpersonal dynamics that come when survival is not a given. While skills trees are one possibility for character development, gameplay may be more intriguing (or more realistic) if the player does not actually gain artificially-increased abilities, and must instead face each task with what can be scrounged, negotiated (through collaboration, or through coercion - each having its own consequences).

While the player is in direct control of one character, this can alternate. The game's AI would influence what a character does when not under direct control by the player, which would be based on what the player was asked to do - and how successful they were at doing it, while under the player's control. The goal here would be to use the players to emulate plausible reactions to the situation, so that even if the player themselves sees it as "just a game", the other characters may sensitize the player to "their" experience - perhaps even to the point where the player could not control them to do certain things, if it was not "in character".

----
On your first point - I can point you to some good climate change/mitigation research that has coined the phrase 'Defensible Drama'. https://www.researchgate.net/publication/255570495_Can_Visualisation_Save_the_World_-_Lessons_for_Landscape_Architects_from_Visualizing_Local_Climate_Change
There's a whole host of learning around aesthetics, and imaginaries that may also be useful. I think we will look at one example later in the course readings (the arma3 renewable energy backdrop future)

== Things that are learnt in this game ==

Given the nature of the game's setting - a post-apocalyptic scenario from the detriments of global warming; it provides a parallel to contemporary challenges that humanity is constantly faced with. In Flanagan's idea of "critical play", she writes: "critical play means to create or occupy play environments and activities that represent one or more questions about aspects of human life" (Flanagan, 2009). In sitting with this concept of critical play, this game has the potential to create a deeper thinking around the issues of global warming. As you play through what it would be like to perhaps be immersed within this type of environment and struggle to maintain living, the player would develop empathy and a greater appreciation of the circumstance that they are afforded to live in.

Carey Lam

2019-02-07T17:58:09Z

Carey:

Carey Lam

2019-02-01T00:29:48Z

Carey: /* Production 4 */

Carey Lam

2019-02-01T00:28:08Z

Carey: /* Production 4 */

Carey Lam

2019-01-24T17:31:58Z

Carey: /* Production 3: Serious Play and Learning: Connections between the Readings and the Hack-A-Game-Game */

Carey Lam

2019-01-24T17:25:01Z

Carey:

Carey Lam

2019-01-17T20:00:53Z

Carey: /* Production 2 - Competition */

Carey Lam

2019-01-17T19:51:07Z

Carey: /* Biography */

Carey Lam

2019-01-17T19:50:00Z

Carey: /* Biography */

== Biography ==
[[File:DCM_0001.jpg|200px|thumb|left|]] Hello my name is Carey Lam, I have been at York University for several years at this point. I have done my undergrad in kinesiology and health science, then a bachelors of education and now finally my masters of education. I have always been a gamer at heart, ever since I was little and received my first ever Gameboy with the Pokemon game. My passions and hobbies include hockey, fitness and health, and gaming.

== Production 2 - Competition ==
Option 2: Create another chapter for Bogost’s book
Competition
In the analysis of the term “game” through Jaakko Stenros’ The Game Definition Game: A Review, he explores ten topics of interest that help conceptualize what a “game” might be (Stenros, 2017). One of these topics revolved around the idea of competition and conflict. Within the discussion of this topic as well as one written around “coherence”, he emphasizes how competition is a characteristic that makes up a game (Stenros, 2017).

Taking this into consideration, it is only natural that games have taken the aspect of competitiveness and created games with the purpose of fostering these competitive environments. Take for example the rise of e-sports, which has given way to a whole culture around gaming competition with various styles of games. Such titles within this realm are League of Legends, Counter-Strike Global Offensive, Fortnite, Hearthstone, and many more. [[File:IEM_COLOGNE.jpg]]

What is notably different in these games compared to a less competitive game, is the emphasis of a visual display of some sort that showcases how someone is performing. This can be done on a leaderboard or placement within some ranking system that is visible to all. This further emphasizes the competitive nature within these games, as the rankings are signifiers of one’s ability and knowledge surrounding the specific game. Bogost speaks to this idea of Nolan’s Law which is to create games which are “easy to learn, but hard to master”(Bogost, 2011). This is often true of these particular style of games, the access and ease to playing are very low which allows for a mass audience to pick it up, however to become adept is something that requires not only experience but time. Not only is one having to learn the ins and out of a game, but also account for the actions of others that may be present (opponents and teammates). [[File:League Ranks.PNG|200px|thumb|right]]

Something that can be easily overlooked is how this may give opportunity to ways of creating digital literacy. In the strive towards betterment within the game, some may look to other outlets or forms of media in order to help in this pursuit. By searching the internet, reading guides, watching videos, these players develop a literacy in how they: 1. Find and access resources and 2. How they interpret and use those resources for their improvement needs.

If we revisit things that games can do, Bogost notes in the section pertaining to exercise, how the genre develops rituals which are borrowed from other domains(Bogost, 2011). In the same way that exergames borrow rituals of sport, it can similarly be shown how competitive games may parallel this. From the spectacle of e-sport to the social practices that sports develop (such as creating social micro-environments), they are all encompassed by the games that are present in this realm of games.
When we consider the implications of this for social contexts, again, rituals of sport that are borrowed may exemplify how similar intra- and interpersonal skills are developed. Through the nature of competitiveness, intrapersonal skills such as resilience, perseverance, dedication, attitude, etc are qualities that are developed through the playing of such games. Additionally, these games foster environments where interpersonal skills such as communication, sportsmanship are valuable to ensure success of players.

Sources:
Bogost, I. (2011). How to Do Things with Videogames (1st edition). Minneapolis: Univ Of Minnesota Press.
Stenros, J. (2017). The Game Definition Game: A Review. Vol 12 (6). Sagepub.

== Production 3 ==

== Production 4 ==

== Production 5 ==

== Production 6 ==

== Production 7 ==

== Production 8 ==

Carey Lam

2019-01-17T19:49:24Z

Carey: /* Biography */

== Biography ==
[[File:DCM_0001.jpg|200px|thumb|left| Hello my name is Carey Lam, I have been at York University for several years at this point. I have done my undergrad in kinesiology and health science, then a bachelors of education and now finally my masters of education. I have always been a gamer at heart, ever since I was little and received my first ever Gameboy with the Pokemon game. My passions and hobbies include hockey, fitness and health, and gaming.

== Production 2 - Competition ==
Option 2: Create another chapter for Bogost’s book
Competition
In the analysis of the term “game” through Jaakko Stenros’ The Game Definition Game: A Review, he explores ten topics of interest that help conceptualize what a “game” might be (Stenros, 2017). One of these topics revolved around the idea of competition and conflict. Within the discussion of this topic as well as one written around “coherence”, he emphasizes how competition is a characteristic that makes up a game (Stenros, 2017).

Taking this into consideration, it is only natural that games have taken the aspect of competitiveness and created games with the purpose of fostering these competitive environments. Take for example the rise of e-sports, which has given way to a whole culture around gaming competition with various styles of games. Such titles within this realm are League of Legends, Counter-Strike Global Offensive, Fortnite, Hearthstone, and many more. [[File:IEM_COLOGNE.jpg]]

What is notably different in these games compared to a less competitive game, is the emphasis of a visual display of some sort that showcases how someone is performing. This can be done on a leaderboard or placement within some ranking system that is visible to all. This further emphasizes the competitive nature within these games, as the rankings are signifiers of one’s ability and knowledge surrounding the specific game. Bogost speaks to this idea of Nolan’s Law which is to create games which are “easy to learn, but hard to master”(Bogost, 2011). This is often true of these particular style of games, the access and ease to playing are very low which allows for a mass audience to pick it up, however to become adept is something that requires not only experience but time. Not only is one having to learn the ins and out of a game, but also account for the actions of others that may be present (opponents and teammates). [[File:League Ranks.PNG|200px|thumb|right]]

Something that can be easily overlooked is how this may give opportunity to ways of creating digital literacy. In the strive towards betterment within the game, some may look to other outlets or forms of media in order to help in this pursuit. By searching the internet, reading guides, watching videos, these players develop a literacy in how they: 1. Find and access resources and 2. How they interpret and use those resources for their improvement needs.

If we revisit things that games can do, Bogost notes in the section pertaining to exercise, how the genre develops rituals which are borrowed from other domains(Bogost, 2011). In the same way that exergames borrow rituals of sport, it can similarly be shown how competitive games may parallel this. From the spectacle of e-sport to the social practices that sports develop (such as creating social micro-environments), they are all encompassed by the games that are present in this realm of games.
When we consider the implications of this for social contexts, again, rituals of sport that are borrowed may exemplify how similar intra- and interpersonal skills are developed. Through the nature of competitiveness, intrapersonal skills such as resilience, perseverance, dedication, attitude, etc are qualities that are developed through the playing of such games. Additionally, these games foster environments where interpersonal skills such as communication, sportsmanship are valuable to ensure success of players.

Sources:
Bogost, I. (2011). How to Do Things with Videogames (1st edition). Minneapolis: Univ Of Minnesota Press.
Stenros, J. (2017). The Game Definition Game: A Review. Vol 12 (6). Sagepub.

== Production 3 ==

== Production 4 ==

== Production 5 ==

== Production 6 ==

== Production 7 ==

== Production 8 ==

File:DCM 0001.jpeg

2019-01-17T19:48:39Z

Carey:

Carey Lam

2019-01-17T19:48:01Z

Carey: /* Biography */

== Biography ==
Hello my name is Carey Lam, I have been at York University for several years at this point. I have done my undergrad in kinesiology and health science, then a bachelors of education and now finally my masters of education. I have always been a gamer at heart, ever since I was little and received my first ever Gameboy with the Pokemon game. My passions and hobbies include hockey, fitness and health, and gaming. [[File:DCM 0001]]

== Production 2 - Competition ==
Option 2: Create another chapter for Bogost’s book
Competition
In the analysis of the term “game” through Jaakko Stenros’ The Game Definition Game: A Review, he explores ten topics of interest that help conceptualize what a “game” might be (Stenros, 2017). One of these topics revolved around the idea of competition and conflict. Within the discussion of this topic as well as one written around “coherence”, he emphasizes how competition is a characteristic that makes up a game (Stenros, 2017).

Taking this into consideration, it is only natural that games have taken the aspect of competitiveness and created games with the purpose of fostering these competitive environments. Take for example the rise of e-sports, which has given way to a whole culture around gaming competition with various styles of games. Such titles within this realm are League of Legends, Counter-Strike Global Offensive, Fortnite, Hearthstone, and many more. [[File:IEM_COLOGNE.jpg]]

What is notably different in these games compared to a less competitive game, is the emphasis of a visual display of some sort that showcases how someone is performing. This can be done on a leaderboard or placement within some ranking system that is visible to all. This further emphasizes the competitive nature within these games, as the rankings are signifiers of one’s ability and knowledge surrounding the specific game. Bogost speaks to this idea of Nolan’s Law which is to create games which are “easy to learn, but hard to master”(Bogost, 2011). This is often true of these particular style of games, the access and ease to playing are very low which allows for a mass audience to pick it up, however to become adept is something that requires not only experience but time. Not only is one having to learn the ins and out of a game, but also account for the actions of others that may be present (opponents and teammates). [[File:League Ranks.PNG|200px|thumb|right]]

Something that can be easily overlooked is how this may give opportunity to ways of creating digital literacy. In the strive towards betterment within the game, some may look to other outlets or forms of media in order to help in this pursuit. By searching the internet, reading guides, watching videos, these players develop a literacy in how they: 1. Find and access resources and 2. How they interpret and use those resources for their improvement needs.

If we revisit things that games can do, Bogost notes in the section pertaining to exercise, how the genre develops rituals which are borrowed from other domains(Bogost, 2011). In the same way that exergames borrow rituals of sport, it can similarly be shown how competitive games may parallel this. From the spectacle of e-sport to the social practices that sports develop (such as creating social micro-environments), they are all encompassed by the games that are present in this realm of games.
When we consider the implications of this for social contexts, again, rituals of sport that are borrowed may exemplify how similar intra- and interpersonal skills are developed. Through the nature of competitiveness, intrapersonal skills such as resilience, perseverance, dedication, attitude, etc are qualities that are developed through the playing of such games. Additionally, these games foster environments where interpersonal skills such as communication, sportsmanship are valuable to ensure success of players.

Sources:
Bogost, I. (2011). How to Do Things with Videogames (1st edition). Minneapolis: Univ Of Minnesota Press.
Stenros, J. (2017). The Game Definition Game: A Review. Vol 12 (6). Sagepub.

== Production 3 ==

== Production 4 ==

== Production 5 ==

== Production 6 ==

== Production 7 ==

== Production 8 ==

Carey Lam

2019-01-17T19:36:27Z

Carey: /* Production 2 - Competition */

== Biography ==
Hello my name is Carey Lam, I have been at York University for several years at this point. I have done my undergrad in kinesiology and health science, then a bachelors of education and now finally my masters of education. I have always been a gamer at heart, ever since I was little and received my first ever Gameboy with the Pokemon game. My passions and hobbies include hockey, fitness and health, and gaming.

== Production 2 - Competition ==
Option 2: Create another chapter for Bogost’s book
Competition
In the analysis of the term “game” through Jaakko Stenros’ The Game Definition Game: A Review, he explores ten topics of interest that help conceptualize what a “game” might be (Stenros, 2017). One of these topics revolved around the idea of competition and conflict. Within the discussion of this topic as well as one written around “coherence”, he emphasizes how competition is a characteristic that makes up a game (Stenros, 2017).

Taking this into consideration, it is only natural that games have taken the aspect of competitiveness and created games with the purpose of fostering these competitive environments. Take for example the rise of e-sports, which has given way to a whole culture around gaming competition with various styles of games. Such titles within this realm are League of Legends, Counter-Strike Global Offensive, Fortnite, Hearthstone, and many more. [[File:IEM_COLOGNE.jpg]]

What is notably different in these games compared to a less competitive game, is the emphasis of a visual display of some sort that showcases how someone is performing. This can be done on a leaderboard or placement within some ranking system that is visible to all. This further emphasizes the competitive nature within these games, as the rankings are signifiers of one’s ability and knowledge surrounding the specific game. Bogost speaks to this idea of Nolan’s Law which is to create games which are “easy to learn, but hard to master”(Bogost, 2011). This is often true of these particular style of games, the access and ease to playing are very low which allows for a mass audience to pick it up, however to become adept is something that requires not only experience but time. Not only is one having to learn the ins and out of a game, but also account for the actions of others that may be present (opponents and teammates). [[File:League Ranks.PNG|200px|thumb|right]]

Something that can be easily overlooked is how this may give opportunity to ways of creating digital literacy. In the strive towards betterment within the game, some may look to other outlets or forms of media in order to help in this pursuit. By searching the internet, reading guides, watching videos, these players develop a literacy in how they: 1. Find and access resources and 2. How they interpret and use those resources for their improvement needs.

If we revisit things that games can do, Bogost notes in the section pertaining to exercise, how the genre develops rituals which are borrowed from other domains(Bogost, 2011). In the same way that exergames borrow rituals of sport, it can similarly be shown how competitive games may parallel this. From the spectacle of e-sport to the social practices that sports develop (such as creating social micro-environments), they are all encompassed by the games that are present in this realm of games.
When we consider the implications of this for social contexts, again, rituals of sport that are borrowed may exemplify how similar intra- and interpersonal skills are developed. Through the nature of competitiveness, intrapersonal skills such as resilience, perseverance, dedication, attitude, etc are qualities that are developed through the playing of such games. Additionally, these games foster environments where interpersonal skills such as communication, sportsmanship are valuable to ensure success of players.

Sources:
Bogost, I. (2011). How to Do Things with Videogames (1st edition). Minneapolis: Univ Of Minnesota Press.
Stenros, J. (2017). The Game Definition Game: A Review. Vol 12 (6). Sagepub.

== Production 3 ==

== Production 4 ==

== Production 5 ==

== Production 6 ==

== Production 7 ==

== Production 8 ==

File:League Ranks.PNG

2019-01-17T19:32:26Z

Carey:

Carey Lam

2019-01-17T19:32:08Z

Carey: /* Production 2 - Competition */

== Biography ==
Hello my name is Carey Lam, I have been at York University for several years at this point. I have done my undergrad in kinesiology and health science, then a bachelors of education and now finally my masters of education. I have always been a gamer at heart, ever since I was little and received my first ever Gameboy with the Pokemon game. My passions and hobbies include hockey, fitness and health, and gaming.

== Production 2 - Competition ==
Option 2: Create another chapter for Bogost’s book
Competition
In the analysis of the term “game” through Jaakko Stenros’ The Game Definition Game: A Review, he explores ten topics of interest that help conceptualize what a “game” might be (Stenros, 2017). One of these topics revolved around the idea of competition and conflict. Within the discussion of this topic as well as one written around “coherence”, he emphasizes how competition is a characteristic that makes up a game (Stenros, 2017).

Taking this into consideration, it is only natural that games have taken the aspect of competitiveness and created games with the purpose of fostering these competitive environments. Take for example the rise of e-sports, which has given way to a whole culture around gaming competition with various styles of games. Such titles within this realm are League of Legends, Counter-Strike Global Offensive, Fortnite, Hearthstone, and many more. [[File:IEM_COLOGNE.jpg]]

What is notably different in these games compared to a less competitive game, is the emphasis of a visual display of some sort that showcases how someone is performing. This can be done on a leaderboard or placement within some ranking system that is visible to all. This further emphasizes the competitive nature within these games, as the rankings are signifiers of one’s ability and knowledge surrounding the specific game. Bogost speaks to this idea of Nolan’s Law which is to create games which are “easy to learn, but hard to master”(Bogost, 2011). This is often true of these particular style of games, the access and ease to playing are very low which allows for a mass audience to pick it up, however to become adept is something that requires not only experience but time. Not only is one having to learn the ins and out of a game, but also account for the actions of others that may be present (opponents and teammates). [[File:League Ranks.PNG]]

Something that can be easily overlooked is how this may give opportunity to ways of creating digital literacy. In the strive towards betterment within the game, some may look to other outlets or forms of media in order to help in this pursuit. By searching the internet, reading guides, watching videos, these players develop a literacy in how they: 1. Find and access resources and 2. How they interpret and use those resources for their improvement needs.

If we revisit things that games can do, Bogost notes in the section pertaining to exercise, how the genre develops rituals which are borrowed from other domains(Bogost, 2011). In the same way that exergames borrow rituals of sport, it can similarly be shown how competitive games may parallel this. From the spectacle of e-sport to the social practices that sports develop (such as creating social micro-environments), they are all encompassed by the games that are present in this realm of games.
When we consider the implications of this for social contexts, again, rituals of sport that are borrowed may exemplify how similar intra- and interpersonal skills are developed. Through the nature of competitiveness, intrapersonal skills such as resilience, perseverance, dedication, attitude, etc are qualities that are developed through the playing of such games. Additionally, these games foster environments where interpersonal skills such as communication, sportsmanship are valuable to ensure success of players.

Sources:
Bogost, I. (2011). How to Do Things with Videogames (1st edition). Minneapolis: Univ Of Minnesota Press.
Stenros, J. (2017). The Game Definition Game: A Review. Vol 12 (6). Sagepub.

== Production 3 ==

== Production 4 ==

== Production 5 ==

== Production 6 ==

== Production 7 ==

== Production 8 ==

Carey Lam

2019-01-17T19:24:17Z

Carey: /* Production 2 - Competition */

== Biography ==
Hello my name is Carey Lam, I have been at York University for several years at this point. I have done my undergrad in kinesiology and health science, then a bachelors of education and now finally my masters of education. I have always been a gamer at heart, ever since I was little and received my first ever Gameboy with the Pokemon game. My passions and hobbies include hockey, fitness and health, and gaming.

== Production 2 - Competition ==
Option 2: Create another chapter for Bogost’s book
Competition
In the analysis of the term “game” through Jaakko Stenros’ The Game Definition Game: A Review, he explores ten topics of interest that help conceptualize what a “game” might be (Stenros, 2017). One of these topics revolved around the idea of competition and conflict. Within the discussion of this topic as well as one written around “coherence”, he emphasizes how competition is a characteristic that makes up a game (Stenros, 2017).

Taking this into consideration, it is only natural that games have taken the aspect of competitiveness and created games with the purpose of fostering these competitive environments. Take for example the rise of e-sports, which has given way to a whole culture around gaming competition with various styles of games. Such titles within this realm are League of Legends, Counter-Strike Global Offensive, Fortnite, Hearthstone, and many more. [[File:IEM_COLOGNE.jpg]]

What is notably different in these games compared to a less competitive game, is the emphasis of a visual display of some sort that showcases how someone is performing. This can be done on a leaderboard or placement within some ranking system that is visible to all. This further emphasizes the competitive nature within these games, as the rankings are signifiers of one’s ability and knowledge surrounding the specific game. Bogost speaks to this idea of Nolan’s Law which is to create games which are “easy to learn, but hard to master”(Bogost, 2011). This is often true of these particular style of games, the access and ease to playing are very low which allows for a mass audience to pick it up, however to become adept is something that requires not only experience but time. Not only is one having to learn the ins and out of a game, but also account for the actions of others that may be present (opponents and teammates).

Something that can be easily overlooked is how this may give opportunity to ways of creating digital literacy. In the strive towards betterment within the game, some may look to other outlets or forms of media in order to help in this pursuit. By searching the internet, reading guides, watching videos, these players develop a literacy in how they: 1. Find and access resources and 2. How they interpret and use those resources for their improvement needs.

If we revisit things that games can do, Bogost notes in the section pertaining to exercise, how the genre develops rituals which are borrowed from other domains(Bogost, 2011). In the same way that exergames borrow rituals of sport, it can similarly be shown how competitive games may parallel this. From the spectacle of e-sport to the social practices that sports develop (such as creating social micro-environments), they are all encompassed by the games that are present in this realm of games.
When we consider the implications of this for social contexts, again, rituals of sport that are borrowed may exemplify how similar intra- and interpersonal skills are developed. Through the nature of competitiveness, intrapersonal skills such as resilience, perseverance, dedication, attitude, etc are qualities that are developed through the playing of such games. Additionally, these games foster environments where interpersonal skills such as communication, sportsmanship are valuable to ensure success of players.

Sources:
Bogost, I. (2011). How to Do Things with Videogames (1st edition). Minneapolis: Univ Of Minnesota Press.
Stenros, J. (2017). The Game Definition Game: A Review. Vol 12 (6). Sagepub.

== Production 3 ==

== Production 4 ==

== Production 5 ==

== Production 6 ==

== Production 7 ==

== Production 8 ==

File:IEM COLOGNE.jpg

2019-01-17T19:23:41Z

Carey:

Carey Lam

2019-01-17T19:23:15Z

Carey: /* Production 2 - Competition */

== Biography ==
Hello my name is Carey Lam, I have been at York University for several years at this point. I have done my undergrad in kinesiology and health science, then a bachelors of education and now finally my masters of education. I have always been a gamer at heart, ever since I was little and received my first ever Gameboy with the Pokemon game. My passions and hobbies include hockey, fitness and health, and gaming.

== Production 2 - Competition ==
Option 2: Create another chapter for Bogost’s book
Competition
In the analysis of the term “game” through Jaakko Stenros’ The Game Definition Game: A Review, he explores ten topics of interest that help conceptualize what a “game” might be (Stenros, 2017). One of these topics revolved around the idea of competition and conflict. Within the discussion of this topic as well as one written around “coherence”, he emphasizes how competition is a characteristic that makes up a game (Stenros, 2017).

Taking this into consideration, it is only natural that games have taken the aspect of competitiveness and created games with the purpose of fostering these competitive environments. Take for example the rise of e-sports, which has given way to a whole culture around gaming competition with various styles of games. Such titles within this realm are League of Legends, Counter-Strike Global Offensive, Fortnite, Hearthstone, and many more. [[File:IEM COLOGNE.jpg]]

What is notably different in these games compared to a less competitive game, is the emphasis of a visual display of some sort that showcases how someone is performing. This can be done on a leaderboard or placement within some ranking system that is visible to all. This further emphasizes the competitive nature within these games, as the rankings are signifiers of one’s ability and knowledge surrounding the specific game. Bogost speaks to this idea of Nolan’s Law which is to create games which are “easy to learn, but hard to master”(Bogost, 2011). This is often true of these particular style of games, the access and ease to playing are very low which allows for a mass audience to pick it up, however to become adept is something that requires not only experience but time. Not only is one having to learn the ins and out of a game, but also account for the actions of others that may be present (opponents and teammates).

Something that can be easily overlooked is how this may give opportunity to ways of creating digital literacy. In the strive towards betterment within the game, some may look to other outlets or forms of media in order to help in this pursuit. By searching the internet, reading guides, watching videos, these players develop a literacy in how they: 1. Find and access resources and 2. How they interpret and use those resources for their improvement needs.

If we revisit things that games can do, Bogost notes in the section pertaining to exercise, how the genre develops rituals which are borrowed from other domains(Bogost, 2011). In the same way that exergames borrow rituals of sport, it can similarly be shown how competitive games may parallel this. From the spectacle of e-sport to the social practices that sports develop (such as creating social micro-environments), they are all encompassed by the games that are present in this realm of games.
When we consider the implications of this for social contexts, again, rituals of sport that are borrowed may exemplify how similar intra- and interpersonal skills are developed. Through the nature of competitiveness, intrapersonal skills such as resilience, perseverance, dedication, attitude, etc are qualities that are developed through the playing of such games. Additionally, these games foster environments where interpersonal skills such as communication, sportsmanship are valuable to ensure success of players.

Sources:
Bogost, I. (2011). How to Do Things with Videogames (1st edition). Minneapolis: Univ Of Minnesota Press.
Stenros, J. (2017). The Game Definition Game: A Review. Vol 12 (6). Sagepub.

== Production 3 ==

== Production 4 ==

== Production 5 ==

== Production 6 ==

== Production 7 ==

== Production 8 ==

Carey Lam

2019-01-17T19:16:58Z

Carey: /* Production 2 - Competition */

== Biography ==
Hello my name is Carey Lam, I have been at York University for several years at this point. I have done my undergrad in kinesiology and health science, then a bachelors of education and now finally my masters of education. I have always been a gamer at heart, ever since I was little and received my first ever Gameboy with the Pokemon game. My passions and hobbies include hockey, fitness and health, and gaming.

== Production 2 - Competition ==
Option 2: Create another chapter for Bogost’s book
Competition
In the analysis of the term “game” through Jaakko Stenros’ The Game Definition Game: A Review, he explores ten topics of interest that help conceptualize what a “game” might be (Stenros, 2017). One of these topics revolved around the idea of competition and conflict. Within the discussion of this topic as well as one written around “coherence”, he emphasizes how competition is a characteristic that makes up a game (Stenros, 2017).

Taking this into consideration, it is only natural that games have taken the aspect of competitiveness and created games with the purpose of fostering these competitive environments. Take for example the rise of e-sports, which has given way to a whole culture around gaming competition with various styles of games. Such titles within this realm are League of Legends, Counter-Strike Global Offensive, Fortnite, Hearthstone, and many more.

What is notably different in these games compared to a less competitive game, is the emphasis of a visual display of some sort that showcases how someone is performing. This can be done on a leaderboard or placement within some ranking system that is visible to all. This further emphasizes the competitive nature within these games, as the rankings are signifiers of one’s ability and knowledge surrounding the specific game. Bogost speaks to this idea of Nolan’s Law which is to create games which are “easy to learn, but hard to master”(Bogost, 2011). This is often true of these particular style of games, the access and ease to playing are very low which allows for a mass audience to pick it up, however to become adept is something that requires not only experience but time. Not only is one having to learn the ins and out of a game, but also account for the actions of others that may be present (opponents and teammates).

Something that can be easily overlooked is how this may give opportunity to ways of creating digital literacy. In the strive towards betterment within the game, some may look to other outlets or forms of media in order to help in this pursuit. By searching the internet, reading guides, watching videos, these players develop a literacy in how they: 1. Find and access resources and 2. How they interpret and use those resources for their improvement needs.

If we revisit things that games can do, Bogost notes in the section pertaining to exercise, how the genre develops rituals which are borrowed from other domains(Bogost, 2011). In the same way that exergames borrow rituals of sport, it can similarly be shown how competitive games may parallel this. From the spectacle of e-sport to the social practices that sports develop (such as creating social micro-environments), they are all encompassed by the games that are present in this realm of games.
When we consider the implications of this for social contexts, again, rituals of sport that are borrowed may exemplify how similar intra- and interpersonal skills are developed. Through the nature of competitiveness, intrapersonal skills such as resilience, perseverance, dedication, attitude, etc are qualities that are developed through the playing of such games. Additionally, these games foster environments where interpersonal skills such as communication, sportsmanship are valuable to ensure success of players.

Sources:
Bogost, I. (2011). How to Do Things with Videogames (1st edition). Minneapolis: Univ Of Minnesota Press.
Stenros, J. (2017). The Game Definition Game: A Review. Vol 12 (6). Sagepub.

== Production 3 ==

== Production 4 ==

== Production 5 ==

== Production 6 ==

== Production 7 ==

== Production 8 ==

Carey Lam

2019-01-17T13:23:59Z

Carey:

== Biography ==
Hello my name is Carey Lam, I have been at York University for several years at this point. I have done my undergrad in kinesiology and health science, then a bachelors of education and now finally my masters of education. I have always been a gamer at heart, ever since I was little and received my first ever Gameboy with the Pokemon game. My passions and hobbies include hockey, fitness and health, and gaming.

== Production 2 - Competition ==
Option 2: Create another chapter for Bogost’s book
Competition
In the analysis of the term “game” through Jaakko Stenros’ The Game Definition Game: A Review, he explores ten topics of interest that help conceptualize what a “game” might be (Stenros, 2017). One of these topics revolved around the idea of competition and conflict. Within the discussion of this topic as well as one written around “coherence”, he emphasizes how competition is a characteristic that makes up a game (Stenros, 2017).

Taking this into consideration, it is only natural that games have taken the aspect of competitiveness and created games with the purpose of fostering these competitive environments. Take for example the rise of e-sports, which has given way to a whole culture around gaming competition with various styles of games. Such titles within this realm are League of Legends, Counter-Strike Global Offensive, Super Smash Brothers, Hearthstone, and many more.

What is notably different in these games compared to a more casual game, is the emphasis on a leaderboard or placement within some ranking system. This further emphasizes the competitive nature within these games, as the rankings are signifiers of one’s ability and knowledge surrounding the specific game. Bogost speaks to this idea of Nolan’s Law which is to create games which are “easy to learn, but hard to master”(Bogost, 2011). This is often true of these particular style of games, the access and ease to playing are very low which allows for a mass audience to pick it up, however to become adept is something that requires not only experience but time. Not only is one having to learn the ins and out of a game, but also account for the actions of others that may be present (opponents and teammates).

Something that can be easily overlooked is how this may give opportunity to ways of creating digital literacy. In the strive towards betterment within the game, some may look to other outlets or forms of media in order to help in this pursuit. By searching the internet, reading guides, watching videos, these players develop a literacy in how they: 1. Find and access resources and 2. How they interpret and use those resources for their improvement needs.

If we revisit things that games can do, Bogost notes in the section pertaining to exercise, how the genre develops rituals which are borrowed from other domains(Bogost, 2011). In the same way that exergames borrow rituals of sport, it can similarly be shown how competitive games may parallel this. From the spectacle of e-sport to the social practices that sports develop (such as creating social micro-environments), they are all encompassed by the games that are present in this realm of games.
When we consider the implications of this for social contexts, again, rituals of sport that are borrowed may exemplify how similar intra- and interpersonal skills are developed. Through the nature of competitiveness, intrapersonal skills such as resilience, perseverance, dedication, attitude, etc are qualities that are developed through the playing of such games. Additionally, these games foster environments where interpersonal skills such as communication, sportsmanship are valuable to ensure success of players.

Sources:
Bogost, I. (2011). How to Do Things with Videogames (1st edition). Minneapolis: Univ Of Minnesota Press.
Stenros, J. (2017). The Game Definition Game: A Review. Vol 12 (6). Sagepub.

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Carey Lam

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Carey: Created page with " == Biography == Hello my name is Carey Lam, I have been at York University for several years at this point. I have done my undergrad in kinesiology and health science, then a..."