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 Intertextuality
 “a model where literary structure does not simply exist but
is generated in relation to another structure.What allows a
dynamic dimension to structuralism is his conception of
the ‘literary word’ as an intersection of textual surfaces
rather than a point (a fixed meaning), as a dialogue among
several writings: that of the writer, the addressee (or the
character) and the contemporary or earlier cultural
context” (Kristeva 35-36, alluding to Bakhtin)
• WhatVideo Games HaveToTeach
Us About Learning and Literacy
(2003) and follow-ups
• Combines situated learning
principles with… <GASP>… video
games?
 Learning is not an individual act but a social
one as well (7).
 Situated cognition – Learning “embedded in
(situated within) a material, social, and
cultural world” (9)
 New Literacy Studies
 Connectionism – recognizing patterns
 Some learning has little contextualized
meaning (ex. upper level math courses)
 Embodied experience (activity vs. passivity)
 Active learning (back to intertextuality)
 Identity*
 Semiotic domain
 Design space
 Projective identity
 Subdomain
 Question of approaching this kind of
material- HOW?
 Producing meaning and actions (33)
 The player is an “active problem solver”
 Games as “designed
experiences”
 Gamespace as a world
 Situations, actions, con
sequences
 Games- cognition as
interaction
 Games as well-defined
problems
 The multiple functions
of games
 Based on Steven Heath’s theory of narrative
space in film (1981)
 Player as director (game = movie): “The
presentation of cinematic space is a process of
selective framings and editing that produce ‘gaps’
or jumps in the continuity of the flow of images”
 Games emphasize the act of
doing, what Espen Aarseth calls
“ergodic” action
 Games adhere to a binary structure, a
rhythm of activity and inactivity
 Media literacy remote
 Five Critical Questions
 Close Readings
 Strategy –sociology, economics
 Fighting – backstories, characterization
 FPS (First-person shooters) - adaptation, tie-
ins
 TPS (Third-person shooters) - full cinematic
experiences
 Platformers - from side-scrollers to fully
realized 3D bringing symbolism, some
archetypes
 Action / adventure
 Point-and-click adventure
 Narrative adventure
 Adventure RPG
 Dance
 Karaoke / Performance
 Photography
 Exercise
 Sports
 Interactive Sports
 Language learning
 Memory
 Scientific models
 Historical models
 Mathematical
 Writing
 Other simulated learning
Games and Film:
GamesAS Film
Video games have
become nearly (if
not entirely)
synonymous with
film and television
in their
production, mech
anics, and
consumption in
our culture.
 Batman:Arkham Knight (Trailer)
 Dead Space 2 Opening (Cutscene)
 Games developed, marketed, released as “TV
shows”
 Episodic structure
 Multiple seasons
 “Previously on…” AlanWake
 A serial experience of identification renewed
over time
 Elias,Amy. “CriticalTheory and Cultural Studies.” English Studies: An Introduction
to the Discipline(s). Ed. Bruce McComiskey. Urbana, IL: NCTE, 2006. 223-275. Print.
 Gee, James Paul. WhatVideo Games Have toTeach Us About Learning and
Literacy. NewYork: Palgrave Macmillan, 2007. Print.
 Hobbs, Renee. Digital and Media Literacy: Connecting Culture and Classroom.
California:Corwin, 2011. Print.
 Kristeva, Julie. “Word, Dialogue, and Novel.”Trans. Seán Hand and León S.
Roudiez. The Kristeva Reader. Ed.Toril Moi. Oxford: Basil Blackwell, 1986. 34-61.
Print.
 Krzywinska,Tanya. “Hands-On Horror.” ScreenPlay:
Cinema/Videogames/Interfaces. Eds. Geoff King andTanya Krzywinska. NewYork:
Wallflower Press, 2002. 206-224. Print.
 Squire, Kurt. “From Content to Context:Videogames as Designed
Experience.” Educational Researcher 35.8 (Nov 2006): 19-29. Print.
 Steinkuehler, Constance A. “Why Game (Culture) Studies Now?” Games and
Culture 1.1 (Jan 2006): 97-102. Obtained at http://games.sagepub.com
 Tong, Wee Liang and Marcus Cheng ChyeTan. “Vision andVirtuality:The
Construction of Narrative Space in Film and Computer Games.” ScreenPlay:
Cinema/Videogames/Interfaces. Eds. Geoff King andTanya Krzywinska. New
York: Wallflower Press, 2002. 98-109.

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Video games, literacy, and identity

  • 1.
  • 2.  Intertextuality  “a model where literary structure does not simply exist but is generated in relation to another structure.What allows a dynamic dimension to structuralism is his conception of the ‘literary word’ as an intersection of textual surfaces rather than a point (a fixed meaning), as a dialogue among several writings: that of the writer, the addressee (or the character) and the contemporary or earlier cultural context” (Kristeva 35-36, alluding to Bakhtin)
  • 3. • WhatVideo Games HaveToTeach Us About Learning and Literacy (2003) and follow-ups • Combines situated learning principles with… <GASP>… video games?
  • 4.  Learning is not an individual act but a social one as well (7).  Situated cognition – Learning “embedded in (situated within) a material, social, and cultural world” (9)  New Literacy Studies  Connectionism – recognizing patterns
  • 5.  Some learning has little contextualized meaning (ex. upper level math courses)  Embodied experience (activity vs. passivity)  Active learning (back to intertextuality)  Identity*
  • 6.  Semiotic domain  Design space  Projective identity  Subdomain
  • 7.  Question of approaching this kind of material- HOW?  Producing meaning and actions (33)  The player is an “active problem solver”
  • 8.  Games as “designed experiences”  Gamespace as a world  Situations, actions, con sequences
  • 9.  Games- cognition as interaction  Games as well-defined problems  The multiple functions of games
  • 10.  Based on Steven Heath’s theory of narrative space in film (1981)  Player as director (game = movie): “The presentation of cinematic space is a process of selective framings and editing that produce ‘gaps’ or jumps in the continuity of the flow of images”
  • 11.  Games emphasize the act of doing, what Espen Aarseth calls “ergodic” action  Games adhere to a binary structure, a rhythm of activity and inactivity
  • 12.  Media literacy remote  Five Critical Questions  Close Readings
  • 13.  Strategy –sociology, economics  Fighting – backstories, characterization  FPS (First-person shooters) - adaptation, tie- ins  TPS (Third-person shooters) - full cinematic experiences  Platformers - from side-scrollers to fully realized 3D bringing symbolism, some archetypes
  • 14.  Action / adventure  Point-and-click adventure  Narrative adventure  Adventure RPG  Dance  Karaoke / Performance  Photography  Exercise  Sports  Interactive Sports  Language learning  Memory  Scientific models  Historical models  Mathematical  Writing  Other simulated learning
  • 15. Games and Film: GamesAS Film Video games have become nearly (if not entirely) synonymous with film and television in their production, mech anics, and consumption in our culture.
  • 16.  Batman:Arkham Knight (Trailer)  Dead Space 2 Opening (Cutscene)
  • 17.  Games developed, marketed, released as “TV shows”  Episodic structure  Multiple seasons  “Previously on…” AlanWake  A serial experience of identification renewed over time
  • 18.  Elias,Amy. “CriticalTheory and Cultural Studies.” English Studies: An Introduction to the Discipline(s). Ed. Bruce McComiskey. Urbana, IL: NCTE, 2006. 223-275. Print.  Gee, James Paul. WhatVideo Games Have toTeach Us About Learning and Literacy. NewYork: Palgrave Macmillan, 2007. Print.  Hobbs, Renee. Digital and Media Literacy: Connecting Culture and Classroom. California:Corwin, 2011. Print.  Kristeva, Julie. “Word, Dialogue, and Novel.”Trans. Seán Hand and León S. Roudiez. The Kristeva Reader. Ed.Toril Moi. Oxford: Basil Blackwell, 1986. 34-61. Print.  Krzywinska,Tanya. “Hands-On Horror.” ScreenPlay: Cinema/Videogames/Interfaces. Eds. Geoff King andTanya Krzywinska. NewYork: Wallflower Press, 2002. 206-224. Print.
  • 19.  Squire, Kurt. “From Content to Context:Videogames as Designed Experience.” Educational Researcher 35.8 (Nov 2006): 19-29. Print.  Steinkuehler, Constance A. “Why Game (Culture) Studies Now?” Games and Culture 1.1 (Jan 2006): 97-102. Obtained at http://games.sagepub.com  Tong, Wee Liang and Marcus Cheng ChyeTan. “Vision andVirtuality:The Construction of Narrative Space in Film and Computer Games.” ScreenPlay: Cinema/Videogames/Interfaces. Eds. Geoff King andTanya Krzywinska. New York: Wallflower Press, 2002. 98-109.

Editor's Notes

  1. In other words, “text” is any site within our culture where we exercise relational processes and practices of interpretation (Elias)
  2. Professor of literacy studies at Arizona State UniversityAffiliated with Games, Learning, and Society Group at UW-Madison
  3. Gee is not out to turn students or educators away from math or science (necessary skills). His aim is to find practices that make learning more meaningful for students.
  4. Semiotic domain – We want to talk about things that take on meaningSystem of interrelated elements making up the possible content of the domain (32); There are internal and external traits to be addressed (internal = the game, external = the player)an intersection of the virtual and real-world identities of a player; “seeing the virtual character as one’s own project in the making, a creature [imbued] with a certain trajectory through time defined by… aspirations for what [the player wants] that character to be and become (within the limitations of [his/her] capacities…and within the resources the game designer has given me” (50)a simplified version of a domain that allows for fundamental learning necessary to navigate the domain as a whole; a proving ground that allows for instruction and practice (123)
  5. 3. encouraged to recognize his/her mistakes not as drawbacks but as “opportunities for reflection and learning” (36)
  6. “Delivering content” turns into “designing experiences” – why study Rome when I can build it? --- (Squire looks closely at Grand Theft Auto: San Andreas)
  7. 1. DEEP PLAY: “includes several overlapping well-defined problems as its core mechanics (that typically increase in difficulty over time), with a host of ill-defined problems enveloping them that render the continuous solutions of those well-defined problems meaningful in terms of one’s membership and identity within the game’s community of practice” (Steinkuehler 99) 2. “Games…simultaneously function as both culture and cultural object – as microcosms for studying emergence, maintenance, transformation, and even collapse of online affinity groups and as talk-about-able objects that function as tokens in public conversations of broader societal issues within contemporary offline society” (Steinkuehler 97)
  8. 1. Ergodic action: a type of “nontrivial effort [that] is required to allow the reader to traverse the text” (Krzywinska 207).2. “ties into and consolidates formally a theme often found in horror in which supernatural forces act on, and regularly threaten, the sphere of human agency” (207)
  9. The Sims, SimCityMortalKombat, TekkenHalf-Life, GoldenEye 007, Halo, Call of Duty – if adaptations, then why turn property into “shooters?”Gears of War, Dead Space, Resident Evil 4 and beyond, Alan WakeMario, Banjo-Kazooie, newer Mario games
  10. “Episodes” vary in length but are usually 1-3 hours of gameplay.Seasons amount to normal or longer running times than full-length games.