* Mdnotes File Name: [[Sheldon2012]] * [[_Anotacions]] # Anotacions [[Sheldon2012]] ** "Good morning. Welcome to the first class of the semester. Everyone in this class is going to receive an F."" ([Sheldon 2012:24](zotero://open-pdf/library/items/MA75QEFZ?page=24)) _Així comença el Multiplayer Classroom i així comencen les classes tant de FEP com de DAM. Tots tenen un zero. Idea molt potent amb un reforç positiu. ([note on p.24](zotero://open-pdf/library/items/MA75QEFZ?page=24))_ "E d u t a i n m e n t Edutainment is a marriage of education and gameplay that can be experienced without supervision" ([Sheldon 2012:36](zotero://open-pdf/library/items/MA75QEFZ?page=36)) "A v a t a r An avatar is the online representation of a participant in a game or social network." ([Sheldon 2012:51](zotero://open-pdf/library/items/MA75QEFZ?page=51)) "The Grading Procedure" section went through a radical overhaul. I knew that Experience Points (XP) were how players advanced in MMOs. Could I adapt the usual letter grades? In the table in the syllabus (refer to Figure 3.2), you'll see my first attempt." ([Sheldon 2012:52](zotero://open-pdf/library/items/MA75QEFZ?page=52)) "Table 3.1 Terminology Map Student Player Teacher Game Master Student Name Avatar Name Team Guild Write Craft Take Quizzes/Exam Defeat/Fight Monsters (Mobs) Presentations Quests Individual Presentations Solo Quests Two or More Students Not in the Same Guild Presentations Pick-up Group Quests Lengthy Reading Assignment Presentations Guild Quests Real-World Abilities l33t skillz" ([Sheldon 2012:53](zotero://open-pdf/library/items/MA75QEFZ?page=53)) "P v E : P l a y e r v s . E n v i r o n m e n t PvE is gameplay where players fight against mobs controlled by programming we call artificial intelligence or AI." ([Sheldon 2012:56](zotero://open-pdf/library/items/MA75QEFZ?page=56)) "P v P : P l a y e r v s . P l a y e r PvP is gameplay where players are pitted against one another" ([Sheldon 2012:56](zotero://open-pdf/library/items/MA75QEFZ?page=56)) "G a m e M a s t e r ( G M ) A Game Master is in charge of the gameplay in a multiplayer game, organizing game sessions, enforcing rules, and arbitrating disputes. Sounds a lot like a teacher, doesn't it?" ([Sheldon 2012:57](zotero://open-pdf/library/items/MA75QEFZ?page=57)) "i r t u a l W o r l d A virtual world is a digital world that may or may not be a game. Second Life, for example, is not a game, even though many can experience it simultaneously, and it contains games. It is more of a social networking space. Virtual worlds are often persistent worlds, meaning that time passes within the world even when a person's avatar may not be present. MMOs are persistent worlds" ([Sheldon 2012:78](zotero://open-pdf/library/items/MA75QEFZ?page=78)) "E x t r i n s i c M o t i v a t i o n " Extrinsic motivation is when I am motivated by external factors, as opposed to the internal drivers of intrinsic motivation. Extrinsic motivation drives me to do things for tangible rewards or pressures, rather than for the fun of it. When I do something, I have to explain why I do it. If I am being rewarded extrinsically for doing it, then I can explain to myself that I am doing it for the reward. In this way, rewards can decrease internal motivation as people work to gain the reward rather than because they like doing the work or believe it is a good thing to do. In effect, extrinsic motivations can change a pleasurable into work."" ([Sheldon 2012:96](zotero://open-pdf/library/items/MA75QEFZ?page=96)) "G a m i f i c a t i o n Simply put, gamification is the application of game mechanics to non-game activities. Its underlying idea is to increase engagement. It is invading all types of marketing. The first Gamification Summit was held in January 2011. It can, and probably should to be successful, include both extrinsic and intrinsic motivation" ([Sheldon 2012:96](zotero://open-pdf/library/items/MA75QEFZ?page=96)) "I n t r i n s i c M o t i v a t i o n Intrinsic motivation is when I am motivated by internal factors, as opposed to the external drivers of extrinsic motivation. Intrinsic motivation drives me to do things just for the fun of it, or because I believe it is a good or right thing to do."" ([Sheldon 2012:99](zotero://open-pdf/library/items/MA75QEFZ?page=99)) "O v e r - J u s t i f i c a t i o n E f f e c t "This occurs where I attribute my behavior more to a conspicuous extrinsic motivator than to intrinsic reasons."" ([Sheldon 2012:100](zotero://open-pdf/library/items/MA75QEFZ?page=100)) "H a r d - C o r e G a m e r A hard-core gamer is someone playing games with complex rule sets and mechanics at the expense of most other essential activities such as work, relating to other humans, eating, sleeping, and so on." ([Sheldon 2012:115](zotero://open-pdf/library/items/MA75QEFZ?page=115)) "C a s u a l G a m e r A casual gamer is someone who doesn't mind the lower quality graphics, or the simplicity, or the fact that you can often finish a session of a casual game in a few minutes. In fact, casual gamers embrace all of these" ([Sheldon 2012:115](zotero://open-pdf/library/items/MA75QEFZ?page=115)) "There is no need to go into great detail here. Bartle's book, Designing Virtual Worlds, examines the four major player types and their relationships to a virtual world and other players. Simply put, they are the following: Killers. These players would rather fight than talk. They prefer PvP to n PvE. This is not, as some suggest, a negative category. It is one of the primary homes of those who play for the competition. Achievers. Achievers play for extrinsic rewards, such as levels and loot. They can be equally strong competitors. Socializers. Their enjoyment springs from interacting with other players. n The game matters less than the social experience. Explorers. Explorers play to discover new things; to go where others n have not yet gone; and to lead the way for others through maps or hints." ([Sheldon 2012:122](zotero://open-pdf/library/items/MA75QEFZ?page=122)) "M o d Mod is short for modification. It means an experience that is not stand-alone software, but built from the assets and programming of another game. Today many commercial games include the ability to easily create mods." ([Sheldon 2012:137](zotero://open-pdf/library/items/MA75QEFZ?page=137)) "E a s t e r E g g An Easter egg is a hidden feature of a game. These may be as simple as a text message, or as elaborate as entire levels unlocked by a secret keystrokes." ([Sheldon 2012:163](zotero://open-pdf/library/items/MA75QEFZ?page=163)) "B a c k S t o r y The back story represents a character's life up until the moment the game begins." ([Sheldon 2012:175](zotero://open-pdf/library/items/MA75QEFZ?page=175)) "Not all students learn the same. Or do they? Up until the 1970s, all students were taught pretty much in a similar manner. In that decade and since, a number of researchers have attempted to identify how students learn, coming up with" ([Sheldon 2012:208](zotero://open-pdf/library/items/MA75QEFZ?page=208)) "various models such as Kolb's Experiential Learning Theory that identifies four learning styles: converger, diverger, assimilator, and accomodator. Peter Honey and Alan Mumford adapted Kolb's model to managers in business. Anthony F. Gregorc and Kathleen A. Butler based their model on how individuals perceived the world. The Sudbury model of democratic education stated that there were many ways to learn, and that each child should be given the personal freedom to learn in his own fashion. Neil D. Fleming's popular VARK model identified visual learners, auditory learners, and tactical learners. All of these models and others have been heavily criticized. In 2009, a panel commissioned by the Association for Psychological Sciences published a report that outlined a research design to properly study the effect of learning styles, and it asserted that this methodology was almost entirely absent from learning styles studies. Of the few studies utilizing this research design, all but one feature negative findings. They also doubted the value of the significant cost of attempting to identify the precise learning style of every student over other interventions such as individual tutors. They concluded that " at present, there is no adequate evidence base to justify incorporating learning styles assessments into general educational practice. Thus, limited education resources would better be devoted to adopting other educational practices that have strong evidence base, of which there are an increasing number." Then, of course, there has been an outcry from the defenders of learning styles and a subsequent pushback from defenders of the critique, and on and on and on." ([Sheldon 2012:209](zotero://open-pdf/library/items/MA75QEFZ?page=209)) "How Gamers Learn I am not a researcher or a scientist. I certainly am not going to step into the middle of this debate. One day it may be proven that the players of video games fall into a certain learning style, or none at all. Or there may still be some new secret to education out there we have not yet discovered. All very well and good, but it doesn't matter. Why? For the simple reason that designers of multiplayer classrooms are not exploiting learning styles or any other educational system. Video games succeed for millions upon millions of players because it doesn't matter how the players learn. They learn because they want to. The punishment inflicted on video gamers when they fail is minor when compared to failure in the real world. So players can feel they are heroically" ([Sheldon 2012:209](zotero://open-pdf/library/items/MA75QEFZ?page=209)) "picking themselves off the grimy floor of a dungeon to try and try again. Video games encourage players to learn and reward them, both extrinsically and intrinsically, when they succeed. That is why the range of students at Marked Tree High School in Case History 1 and at Robert Lewis Stevenson Middle School in the case history that follows this level can all be reached. Game designers routinely tweak their games for all sorts of players. In 2005, I began the first design of three video games based on Agatha Christie mystery novels: And Then There Were None (aka Ten Little Indians). At first glance, using books where the primary action involves detectives questioning witnesses and suspects over tea in the village vicarage might not strike one as appropriate material for video games, which even more than movies and television, are an action medium. In fact, video games are the only medium where the audience is an active participant. Yet would a first person shooter be the best type of game for an Agatha Christie novel" ([Sheldon 2012:210](zotero://open-pdf/library/items/MA75QEFZ?page=210)) "The important thing is to know your audience. Educators interested in trying to implement the multiplayer classroom must know their audience as well." ([Sheldon 2012:211](zotero://open-pdf/library/items/MA75QEFZ?page=211)) "Objectives on the other hand are specific, measurable outcomes. Here is where you identify your audience and what you expect from them. You've undoubtedly heard basic learning objectives called the ABCD's: Audience, Behavior, Condition, and Degree. Audience. Your audience is your students. In games, it is your players. n Behavior. The actions needed to demonstrate learning. In games, it is n the actions that result in a player overcoming an obstacle, solving a puzzle, completing a quest. Condition. The tools a student may or may not use and the circumstann ces under which the student may learn. Calculator? Open book? In" ([Sheldon 2012:212](zotero://open-pdf/library/items/MA75QEFZ?page=212)) "games, these are tools to create items or weapons to fight mobs—and the rule set that governs play. Degree. What criteria will measure the student's success? In games, it n can be the level achieved or the phat l00t needed for the player's continued success. If your audience involves participants, or interested parties, in the educational system of the United States, then your goals are these: Goal 1: Ready to Learn Goal 2: School Completion n Goal 3: Student Achievement and Citizenship n Goal 4: Teacher Education and Professional Development Goal 5: Mathematics and Science Goal 6: Adult Literacy and Lifelong Learning n Goal 7: Safe, Disciplined, and Alcoholand Drug-free Schools n Goal 8: Parental Participation" ([Sheldon 2012:213](zotero://open-pdf/library/items/MA75QEFZ?page=213)) "Once we've identified our audience, written our learning objectives, and identified the individual needs of our students, it's time to make some specific decisions about our games designs. We'll tackle those on Level 12. But first, here is our next case history: a multiplayer classroom with such a range of diversity that it requires two teachers." ([Sheldon 2012:214](zotero://open-pdf/library/items/MA75QEFZ?page=214)) "G a m e M a s t e r ( a k a G a m e m a s t e r o r G M ) A Game Master is a person who acts as an organizer, official source for questions regarding rules, arbitrator, and moderator for a multiplayer game. The role of a Game Master in a traditional roleplaying game is to weave the other participants' player-character stories together, control the nonplayer aspects of the game, create environments in which the players can interact, and solve any player disputes. The basic role of the Game Master is the same in almost all traditional role-playing games, although differing rule sets make the specific duties of the Game Master unique to that system." ([Sheldon 2012:241](zotero://open-pdf/library/items/MA75QEFZ?page=241)) "T e a c h e r ( a k a I n s t r u c t o r o r E d u c a t o r ) A teacher is a person who acts as an organizer, official source for questions regarding rules, arbitrator, and moderator for a class. The role of a teacher in a traditional classroom is to weave students' experience, control the non-student aspects of the class, create an environment in which students can interact and learn, and solve any student disputes. The basic role of the teacher is the same in almost all traditional classes, although differing rule sets make the specific duties of the multiplayer classroom teacher unique to that system" ([Sheldon 2012:242](zotero://open-pdf/library/items/MA75QEFZ?page=242)) "In the book, Vockell lists five different factors that encourage intrinsic motivation. These factors are challenge, curiosity, control, competition and cooperation, and recognition. Intrinsic is the key motivation factor that a teacher can help instill in a student." ([Sheldon 2012:257](zotero://open-pdf/library/items/MA75QEFZ?page=257)) "" Welcome to the class." Say it softly. Sneak it up on them. Now, loud and proud: You all have an F." Tops of heads are suddenly replaced by faces. Confused, even outraged, looks are exchanged. However, you will be able to level up by killing mobs, questing, and crafting." The confusion and outrage are gone in an instant. You see something new in their eyes: determination. And a challenge: Bring it on. You've hit the Power On button (see Figure 15.1). They are in your world now. The game is afoot." ([Sheldon 2012:272](zotero://open-pdf/library/items/MA75QEFZ?page=272)) "Rules for playing the game are as obvious a part of the design as the rules that govern our classrooms. Some come to us from government or the institution for which we work. Others we create. Students expect rules. They want rules, no matter how much they may complain or test them. Whether written down formerly in a rubric, or not, they want rules that are clearly stated." ([Sheldon 2012:274](zotero://open-pdf/library/items/MA75QEFZ?page=274)) "How to Succeed in Game Design Bartle, Richard. Designing Virtual Worlds Bates, Bob. Game Design Brathwaite, Brenda and Schreiber, Ian. Challenges for Game Designers" ([Sheldon 2012:294](zotero://open-pdf/library/items/MA75QEFZ?page=294)) "Fullerton, Tracy. Game Design Workshop: A Playcentric Approach to Creating Innovative Games Rouse, Richard. Game Design: Theory and Practice Salen, Katie and Zimmerman, Eric. Rules of Play: Game Design Fundamentals Schell, Jesse. The Art of Game Design: A Book of Lenses Schuytema, Paul. Game Design: A Practical Approach" ([Sheldon 2012:295](zotero://open-pdf/library/items/MA75QEFZ?page=295)) "Applied Games (aka Serious Games) Annetta, Leonard (Ed.). Serious Educational Games: From Theory to Practice Bergeron, Brian. Developing Serious Games Michael, David and Sande Chen. Serious Games: Games that Educate, Train, and Inform" ([Sheldon 2012:295](zotero://open-pdf/library/items/MA75QEFZ?page=295)) "Related to Game Design (Game Designers Read These Books) Campbell, Joseph. The Hero with a Thousand Faces Huizinga, Johan. Homo Ludens Koster, Raph. A Theory of Fun" ([Sheldon 2012:295](zotero://open-pdf/library/items/MA75QEFZ?page=295)) "Writing Games Aristotle. Poetics Egri, Lajos. The Art of Dramatic Writing Sheldon, Lee. Character Development and Storytelling for Games" ([Sheldon 2012:295](zotero://open-pdf/library/items/MA75QEFZ?page=295)) "About Games Bogost, Ian. Persuasive Games: The Expressive Power of Video Games Jones, Gerald. Killing Monsters: Why Children NEED Fantasy, Super Heroes, and Make-Believe Violence Juul, Jesper. A Casual Revolution." ([Sheldon 2012:295](zotero://open-pdf/library/items/MA75QEFZ?page=295)) "About the Future Castronova, Edward. Exodus to the Virtual World McGonigal, Jane. Reality Is Broken: Why Games Make Us Better and How They Can Change the World Schell, Jesse. Design Outside the Box (www.ted.com/talks/jesse_schell_when_ games_invade_real_life.html" ([Sheldon 2012:296](zotero://open-pdf/library/items/MA75QEFZ?page=296))