Dadaab Wiki - User contributions [en]

Miranda Ly

2019-04-04T23:47:54Z

Miranda:

Miranda Ly | miranda_ly@edu.yorku.ca | mly10@my.yorku.ca

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Game Idea
https://youtu.be/ltdy6fqYzlg
An Idea for a Relationship Simulator

== Introduction ==
[[File:Mur.jpg|200px|thumb|left|A bird/mushroom creature]]

I am currently a MEd student in York University's graduate studies. Gaming has played a large part in my development as a person over the years, through the terrible but somewhat memorable math and reading games I was forced to play as a child, the many mmorpgs and rpgs I sunk hours of my childhood into, to the game design challenges I participated in as an adult. As such, I see potential in the immersive worlds that gaming can invoke to educate and provide perspective to students. My experience with games is varied. I have participated mostly on the art and asset creation, level design, end of game design through a few game jams and game design courses using programs like Blender, Unity and Adobe Creative Suite. I also have some, (albeit minimal) experience with coding in Gamemaker Studio and Python from a few years ago. I hope to gain some more insight into what is possible through this medium and what potential game design possibilities I can present to my students in the future.

== Production 2 ==
An addition to Bogost's book

'''Playground'''

Within the micro ecosystem of video games, there is a category of games that act as the toy box, sandbox or playground. (Bogost, 2011) This subset, emphasizes paedic play though oftentimes there are ludic options as well. While there may be an initial set of tutorials or rule-based gameplay, the highlights and most memorable, nostalgic and powerful parts of these games lie in their boundless potential for modification, experimentation and play. The Sims, Minecraft, Roller Tycoon, and Landfall Game’s Totally Accurate Battle Simulator are just some of the titles that emerge.

Games like the Sims series in which you can create your own characters, town, house, pets and have them live out their lives in any which way is an example of this. Players are not constrained by time or competition to perform in a particular way. Instead a player could spend hours designing or recreating characters and families in the creation module. The game uses simulation as a basis, allowing the player free reign on the Sims world. Dissimilarly from empathy games, there is little emphasis on being in the shoes of another but rather, playing in various roles as a child would in a playground. The player can assume the role of creator, architect, interior designer or God to realize their present curiosities. In Roller Coaster Tycoon, the player is cast initially in the roll of the park manager, but it soon becomes clear with such possibilities as drowning and creating deathcoasters that the player can assume a more god-like presence. The charm of Sims and playground games lies in the wealth of possibilities that allow the player to engage as much or as little with the different elements of the game during any one play session. Like a child in a playground, the structures in place allow for the player to use the game as intended or place their own desires, imaginary stories or curiosities on the setting provided by the core game.
[[File:Simsmpreg.jpg|200px|thumb|left|Experimentation is at Sims core]]

Further, these games do not force players into any one moral pathway. Roller Coaster Tycoon players can assume the role of dutiful manager, destructive god or anything in-between. The setting is merely a shell or structure by which players can play in any role desired. There are bountiful assets and neutral building blocks that can be modified and placed in any which way, similar to how a Lego set may be used.
[[File:RTdes.jpg|200px|thumb|left|A very sad day for some amusement park goers]]

Due to this exploratory, curiosity-based play, there is educational play potential in the parallel play that can emerge, as well as the rich communities of practice that Bogost (2011) describes. Parallel play can exist through the adjacent play of other players viewed on streams or in the same physical space. Players often build-off of what they see others do in the games and try to replicate or build off of it, such as the ways in which Minecraft streamers create functioning calculators or gameplay modes that others might try to replicate. Similarly, communities of practice that emerge can focus around things like asset creation and coding hacks to make male characters reproduce in Sims. These aspects hit on the qualities of gaming of space and affinity that Nolan and McBride (2013) describe as difficult to reconcile in traditional learning environments. Affinity to the game is built through genuine interest and unrestricted play, while virtual and in-person game spaces that lack rigidity allow for players to be comfortable to freely roam without necessary purpose or goals. (2013, Nolan and McBride, p. 604) Educational commodities such as technical skills of coding, computational mastery or mathematic understanding are definitely retrievable from such games but to see this as the end or purpose would be misguided as Thumlert, de Castell & Jenson (2018) warn. (p.706) What these games provide is a “low floor, high ceiling” approach to learning in which students and players have a low barrier to entry but they can take on problems created by others, or problems they create themselves that better develop their understanding of not only the mechanics of the game and systems of play, but also of creative problem solving.

For this category of video games, there is an organic interaction of the media micro ecosystem that can be seen in the ways that players adapt mechanics of other game types like FPS or MOBAs, and popular culture to the platform, at once understanding the systems of those games and another contributing to the creation of new genres. An example of this is the way in which Minecraft’s Hunger Games mode preceded the creation of the battle royale games of PlayerUnknown’s Battlegrounds (PUBG) and Fortnite.
[[File:Minecraft_hunger_games.jpg|200px|thumb|right|A very sad day for some amusement park goers]]

Playground games evade the “explicit aims and objectives” of other categories of games as they function as experimental worlds where the player is given freedom within the confines (or break free of them through hacking) without any given end state (2017, Strenros, p. 511) They have massive creator communities that prompt development of other forms of making that extend beyond games such as interactive fiction, music videos, movie-making and fan fiction. With the great potential, it is important for educators wishing to use these as tools for learning to see the possibility in productive learning pedagogy rather than instrumental. (2018, Thumlert, de Castell & Jenson)

Sources

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.

Stenros, J. (2017). The Game Definition Game, Games & Culture, Vol. 12(6) 499-520.

Bogost, I. (2011). How to Do Things with Videogames. Minneapolis: University of Minnesota Press.

== Production 3 ==
Game hacking and creation present an interesting realm of exploration for educators vying to expose students to the world of digital games and coding. But as Thumlert, de Castell and Jenson (2018) there are many potential pitfalls lying in wait if the educator sees the medium as a miracle-solution rather than a tool that can used wonderfully or terribly. Taking an approach of constructionism focuses more on the ends rather than the journey, leading to a boom in cookie-cutter game-making kits while instructionist approaches are rote and destroy creativity at the core of game-making (Thumlert, de Castel & Jenson, 2018). By approaching the tasks of game hacking and making through the productionist lens (that suggests people learn best, and deeply through designing and making things that pertain to the learner’s present concerns and purposes), there is great potential in the learning that can be produced as a result. (2018)

By using such games as the Hack-a-Game Game, students can approach a task that is “low floor, high ceiling”, not extremely open initially but infinite in possibility. The hacking of an existing game allows for the players to engage with their “lusory attitude” and pick apart the systems of rules (Nolan & McBride, 2014, p. 595). As referenced in Learning Through Game Design: A Production Pedagogy, Rushkoff sees potential in these endeavors as providing transparency to everyday algorithmic ideological systems’ inner workings, leading to a more informed and system-savvy group of learners. (2018) Games like the Sims, Minecraft and Gary’s Mod encourage a similar approach and they have wide applications in the sense of building understanding of systems while keeping with ideals of autonomy, play and affinity (2018). Because players have unbridled freedom to imagine, test, play and try again, there is a sense of autonomy built into the game. Further, play is engaged in many ways through the open-ended experimentation encouraged by these games, as well as the potential for serious engagement into systems, rules and collaboration.

The practice of game-hacking reflects a similar dynamic to collaborative art making. There may be a base idea, goal that all the artists have, but this can shift depending on the ongoing process. There is a built-in “affinity space” through the experimental, collaborative, community aspect of art-making (Nolan & McBride, 2014, p.602). But the aspect of serious play emerges when artists grab from existing techniques, skills and concepts to manipulate and play with their work and others’ to build new knowledge or understandings of the medium.

A well-enacted game-hacking game or activity can allow for students to explore while learning through play instead of falling back on instructionist or constructivist understandings of education that only serve to reinforce dominant oppressive structures (Thumlert, de Castell & Jenson, 2018). It has both informal and formal aspects that allow for those senses of “social engagement, feelings of comfort, trust, respect, happiness and being valued”, that Nolan and McBride (2014) describe (p. 605). These effects while not initially results yielding, help learners to develop the sense of self, community, resilience and criticality that is perhaps more important for future practitioners in any number of fields, than what Freire (1972) describes as the banking model of education.

'''Sources'''

Freire, Paulo. (1970). Chapter 1. Pedagogy of the oppressed (pp. 43-70). 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).

== Production 4 ==

The experience of designing a game from the ideation game was an imaginative, play-based method that incited both glee and creativity in all the participants. This process drew out and developed computational, gaming and digital media literacy at varying times throughout the process, further suggesting that game-development can serve as an important catalyst for learning (both incidental and explicit) (Jenson & Droumeva, 2017). While initially engaging in the game, there was confusion and hesitance as none of us were sure how to approach the game. In effect, there was a sense of “mystery” that Huizinga refers to, as well as a sense of “tenseness”. (Huizinga as referenced in Salen and Zimmerman, 2005) This sense of mystery drew us in, creating an affinity space within a game about making games, in which we were not sure about the exact parameters, outcome or boundaries (Nolan & McBride, 2014). We adopted the “lusory attitude” to take on the role as analyzers but also developers of the rulesets for our game (Nolan & McBride, 2014).

More interestingly, this activity engaged us not only as the game designers but also the playtesters. By organically, entering and exiting the roles of player and designer, it naturally oriented us towards a playcentric design (Fullerton, 2014) This approach not only allowed for a development of design thinking and procedural logic, but also literacy of systems and computation (Jenson & Droumeva, 2017). There was a keen sense of teamwork throughout as this was not a competitive game, but a productive one that had a goal of creating something new (Fullerton, 2014). It begs the question, if as Caillois suggests, that play is unproductive and an occasion of “pure waste”, does this instance of play not constitute a contradiction to that (Caillois as referenced in Salen & Zimmerman, 2005)?

Further, while we did not start with the player goals due to the nature of the game, we did engage in the iterative process, eventually circling back and reiterating through goals, ideation, playtesting and review. (Fullerton, 2014) The use of various materials, albeit the arbitrary nature, allowed for creative solutions that we may not have otherwise thought of. These engaged our creative sense in developing a bounded world inspired by Runescape in which the players took on “mimicry” and “agon” as guiding principles for play. (Caillois as referenced in Salen & Zimmerman, 2005) A certain gleeful attachment was formed between the mimicked characters (Sheep herders, sheep and dragon) and the players, again demonstrating the power of affinity for continued engagement (Nolan & McBride, 2014). Designing, while initially daunting, became much easier to approach with affinity and freedom within the created boundaries of the game and our designed game.

There is great educational potential within using this game design game. The process embodies “production pedagogy”, which allows the players to be cooperatively engaged with designing and developing games (Thumlert, De Castell & Jensen, 2018). It places the student at the forefront of learning, re-centering the classroom on the learner instead of the authoritative, all-knowing educator. It allows for a risk-free engagement that can very quickly build up a student’s confidence in computational literacy learning (Jensen & Droumeva, 2017). Taken even further, by building up those understandings and experiences with addressing conflict, boundaries, challenge, play, character, emotion, and story, there is potential to build up the student’s outer understanding of systems that function in their lives (Fullerton, 2014) With multiple solutions to every problem, analysis of systems, community-based practice, voluntary exploration and play, I can see a potential for this type of activity to engage with critical, revolutionary praxis (Darder, 2017).

'''Sources'''

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.

Darder, A. (2017). Restoring our humanity: The dialectics of revolutionary praxis. Reinventing Paulo Freire: A pedagogy of love (pp. 53-79). New York: Routledge.

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.

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==

According to Huizinga, play is phenomenon that extends beyond human life (Huizinga, 1955, p. 99). It is different from ordinary life, voluntary, free (outside of determinism), has an element of mystery inherent within (stepping into a magic circle of sorts) and tenseness. Play is not certain, but it has inherent relationships to rules, boundaries (in time and space) and a positionality of “pretending” (Huizinga, 1955, p.102). It presents a break from life, a temporary distraction which Caillois describes as an act that has no particular meaning or productivity built into it (Caillois, 2001, p. 128). While I would argue that some play can be productive for example building structures for fun, and if “civilization is, in its earliest phases, played”, does that not mean it can be productive (Huizinga, 1955, p. 100) as well?

The game series Harvest Moon takes these aspects of play and combines them with some of the categories of games that Caillois (2001) describes. Harvest Moon’s gameplay revolves around the maintenance and development of a farm, and farm town life. The character you choose can be either male or female and there is a certain amount of customization and player choice through the ability to build and decorate certain parts of your farm house and farm land, by using in-game currency that is earned in various ways, and the ability to woo a townie of your choice (depending on your initial gender) and marrying them to eventually produce a child. This is a game that toes the boundary of relaxation and casual but addictive play.

Ludus manifests in the subtle training aspects that are enacted through the game (training for fishing tournaments, completing farming tasks most efficiently to make use of limited energy) and the simulation aspect that draws the player into the game, wanting to become the best farmer in the town and get a happy family and farm in the end (Caillois, 2001, p.141). Mimicry is the main category that this game relies on as it allows the player to assume the role of a simple farmer through becoming an “illusory character”, achieving liberty and being absorbed into the delineated temporal and spatial realm of the farming town (Caillois, 2001). Alongside mimicry, agon is enacted through a single player competitive aspect in which there are weekly contests through which the player can compete in terms of cooking, fishing, and other such tasks (Caillois, 2001). Furthermore, the romancing aspect of gameplay asks the player to decode the mannerisms, schedules, relationships, likes and dislikes of various characters in order to make the best impression and woo them. The player is rewarded through more affection points, more money and possible upgrades. Alea appears in the form of chance in certain games like fishing, or special events that can affect the farm on a daily basis (Caillois, 2001). Harvest Moon draws on all aspects of play as described by Caillois and Huizinga to draw the player into an imaginary world in which they live day by day as a farmer, with simple goals like watering crops, cooking, cleaning, and building relationships with the community. There is a tenseness and sense of mystery created by the circumstances of being given a derelict farm by a distant relative, as well as day to day events that may benefit or disadvantage the player, and boundaries through specific rules on time and travel through the space of the game (Huizinga, 1955; Caillois, 2001). It is a game that has no other purpose than to entertain and break the boredom.

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.

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.

==Production 7==

Can games exist apart from the ideology of capitalism? To imagine differently is difficult. Neoliberal thinking has seeped into all facets of human life, from education to entertainment (Giroux, 2014). Video games are no different. From freemium games that interrupt the player at every turn to pay to do better than other players, to the battle royales that have taken the world by storm, valorizing individualism and free-market thinking, there seems to be no escape from the oppressive systems of capitalism (Freire, 1970). Using the lens of Freire’s (1970) critical pedagogy to analyse two games: Love Nikki, and Fortnite, I will dissect the explicit and implicit ways that games reify notions of capitalism as the only possible system, so “there is no alternative” as Fisher (2014) quotes from the words of Margaret Thatcher. Further, I will suggest an alternative in the vision of indie developers, working from lens of critical game design.
The game Love Nikki is a simple mobile game that is advertised as a dress-up game in which the player is a fashion designer and model in a world which the bottom of Maslow’s pyramid is clothes (Yeremenko, n.d.). Upon entering the game, the player enters a world where how “fashionable” one is, determines their worth. Currency comes in the form of coins that players can earn through completing challenges and decomposing existing clothes, the more lucrative and useful currency comes in the form of diamonds. The game mechanics are a blend of the typical story-driven RPG, alongside elements of collection and gacha-games where the player can spend coins or diamonds (for advantageously good gear) to have a chance at getting parts of rare costumes that have much more detailed and customized drawings as well as stats. In weekly events, there are sets that the player an outright buy with real cash to put them far ahead of other players. In a game in which the player vs. player system relies on the most suitable clothes for a given theme (such as fairytale princess) it is far more advantageous to have custom effects, backgrounds, and poses (acquired through completing certain paid sets certain parts of outfits), than using the outfits bought with the coins.
From the beginning, the capitalist ideology that underlies this type of game is clear. Players can pay to do better than others, and with the blend of alea and agon gameplay, the players become quickly enraptured in a battle which the ones with the most real currency have more (and thus better odds) of winning in arena battles, guild battles and story quests (Caillois, 2001). The story aspect of this game serves to keep players engaged in a gripping tale of life or death on the runway, alongside your mascot friend, a cat who oftentimes makes snide judgements about your fashion and equating it with how fun you are to be with as the player.
Using Bogost’s (2011) idea of the “medium is the message, but the message is the message too”, the neoliberal tones of the game become clear from not only the procedural point of view, but also the explicit messages from the story (p.5). The procedural method of having the players using earned currency (through grinding stages with time) and real-life cash currency to buy chances to succeed, suggests that the in order to achieve the neoliberal individual goal of becoming the best, one must have money or have worked hard (putting in the hours) and got lucky (Bogost, 2011; Giroux, 2014). The explicit message is expressed through the voice of the story, and specifically the cat Momo, who only shows approval if you look pretty (which is only possible through high scores and nice clothes) and suggests that out beautiful designers are worth his attention. The economic success of this model is clear with its $140 million USD earned to date (Yeremenko, n.d.). Supported by the capitalist system in the world outside the “magic circle”, Love Nikki plays with the mystery and tension of chance games to give players a chance to experience the fame and glory of an affluent designer who has achieved the neoliberal dream (Huizinga, 2001).
Fortnite, a massively popular game at the current year of 2019 draws on the neoliberal framework of free-market individualism to give players a feeling of freedom that is ultimately one that is “eviscerated” (Giroux, 2014). Fortnite is a battle royale game, a genre that has recently gained popularity with the advent of streaming and mass accessibility to gaming platforms through tablets, laptops and traditional gaming consoles. The game mechanic is a last player or team standing model that pits players against each other in a progressively closing radius on a map (usually a deserted island). Purchases can be made to acquire emotes, skins, sprays, and dances, mostly aesthetic additions to characters rather than game changing. And yet, despite the lack of the pay-to-win model that dominates most free-to-play games, the game still embodies and promotes neoliberal thinking that stems from capitalism. Take the mechanics, which like Love Nikki, promote a sense of individualism through the win condition of killing all to be considered the best. While this alone may seem unrelated to the topic of capitalism, it is important to return to the customizable aesthetic aspects that players do have. The limited freedom given by the game to win through paying, emphasizes the importance of expressing oneself through the emotes and dances, showing other players that one ultimately has more cultural and physical capital. The result is a system that continues to reinforce notions of capital as superiority and power, playing back into oppressive systems that dehumanize us (Freire, 1970).
Effectively, these games reiterate “profit as the essence of all human relation” and promote the “rabid individualism” that underlies so much of the inequity experienced by the marginalized and oppressed today (Giroux, 2014). The null curriculum plays out in what is not said: that cooperation is important, that play and games can exist outside of capitalism, that one can imagine a future beyond nostalgia (Nolan & McBride, 2014; Abraham, 2018). The hidden curriculum plays out in: the adherence to existing ideologies reaffirming the importance of capitalism as the only solution, the worth of people as determined by money, fame as more important than community, the individual as more important than the whole. Apple (2014) suggests, “ideology represents a vocabulary of standardization”. We must be vigilant to recognize the ways in which certain tropes in games (like the need for currency, diamonds, treasure chests) serve to standardize capitalism within game systems. Similarly, Flanagan (2009) reminds us that “Despite artists play continuing to create new meaning, challenging existing power relations, globalization may produce or reinscribe problematic ideologies into technological artifacts such as computer games” (p. 259). Both these games are widely popular with different audiences but serve only to reproduce existing power relations. Does this mean they should not exist? I do not think so, but there is a need for games that challenge the hegemonic narrative that cements individual battles for success as the popular option.
I see this possibility in the indie scene through artists and creators that employ Flanagan’s (2009) critical game design theory, and challenge hegemonic narratives through games. One such game is Journey, a game in which the player is relatively alone at the beginning, wandering on an ambiguous journey towards some ambiguous location. However, along the way they can be aided by the nonverbal musical chimes of other players who can follow along on their journey. There is a lack of currency and hierarchy (gender, race, class, language), yet it still holds the player’s attention through the mystery of the game and the mystery of the journey. By focusing on the rewarding aspects of companionship, community and cooperation, the game serves to teach through the procedural mechanics of simple movement (Bogost, 2011).
Designers do not need to rely on the existing meta or standards of triple A titles or popular games to succeed. But in order for that to become a foreseeable possibility, perhaps we must also concede that it is because of the nature of the gaming industry that companies continue to pump out what will make them money, because that is what the larger society runs on. We must be aware of ways that the “firstspace” physical, geographical realm conflict with our perceived conceptual, ideological, semiotic “secondspaces”, to form “thirdspaces” that continue to perpetuate oppressive systems (Flanagan, 2009, p. 253). Further, a resistance to domestication, and promotion of transgressive, critical game designs that push boundaries of play and games could aid in challenging dominant ideologies (Bogost, 2011). It is difficult to think beyond the cultural forms that we have now, but there is hope in the wild and untameable nature of the stallion that is game-making.

Works Cited

Abraham, B. (2018). Video Game Visions of Climate Futures: ARMA 3 and Implications for Games and Persuasion, Games and Culture, Vol. 13(1) 71-91.

Bogost, I. (2011). How to Do Things with Videogames. Minneapolis: University of Minnesota 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.

Flanagan, M. (2009). Critical Play – Radical Game Design. MIT Press.

Giroux, H. (2014). Neoliberalism, youth and social justice.

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.

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

2019-01-16T22:28:09Z

Miranda:

Miranda Ly | miranda_ly@edu.yorku.ca | mly10@my.yorku.ca

----

== Introduction ==

I am currently a MEd student in York University's graduate studies. Gaming has played a large part in my development as a person over the years, through the terrible but somewhat memorable math and reading games I was forced to play as a child, the many mmorpgs and rpgs I sunk hours of my childhood into, to the game design challenges I participated in as an adult. As such, I see potential in the immersive worlds that gaming can invoke to educate and provide perspective to students. My experience with games is varied. I have participated mostly on the art and asset creation, level design, end of game design through a few game jams and game design courses using programs like Blender, Unity and Adobe Creative Suite. I also have some, (albeit minimal) experience with coding in Gamemaker Studio and Python from a few years ago. I hope to gain some more insight into what is possible through this medium and what potential game design possibilities I can present to my students in the future.

[[File:Mur.jpg|200px|thumb|left|A bird/mushroom creature]]

== Production 2 ==
An addition to Bogost's book

'''Playground'''

2019-01-06T20:47:55Z

Miranda:

Miranda Ly

2019-01-06T20:47:29Z

Miranda:

Miranda Ly

2019-01-06T20:46:14Z

Miranda:

Miranda Ly

2019-01-06T20:45:56Z

Miranda: Created page with " Miranda Ly miranda_ly@edu.yorku.ca | mly10@my.yorku.ca ---- == Introduction == I am currently a MEd student in York University's graduate studies. Gaming has played a larg..."

Miranda Ly miranda_ly@edu.yorku.ca | mly10@my.yorku.ca

----

== Introduction ==

I am currently a MEd student in York University's graduate studies. Gaming has played a large part in my development as a person over the years, through the terrible but somewhat memorable math and reading games I was forced to play as a child, the many mmorpgs and rpgs I sunk hours of my childhood into, to the game design challenges I participated in as an adult. As such, I see potential in the immersive worlds that gaming can invoke to educate and provide perspective to students. My experience with games is varied. I have participated mostly on the art and asset creation end of game design through a few game jams and game design courses. I also have some (albeit minimal) experience with coding in Gamemaker Studio and Python. I hope to gain some more insight into what is possible through this medium and what potential game design possibilities I can present to my students in the future.
[[File:Mur.jpg]]

[[File:Mur.jpg|100px|thumb|left|A bird/mushroom creature]]

== Meta Texts ==

File:Mur.jpg

2019-01-06T20:45:36Z

Miranda: