"Flipped, Agile, Gamiformed Pedagogy for Game Design" By Bill Guschwan - Serious Play Conference 2012


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Bill Guschwan speaks about "Flipped, Agile, Gamiformed Pedagogy for Game Design" at the 2012 Serious Play Conference

I define a serious game methodology that I use at Columbia College to teach introduction to programming and the senior capstone game design class. I define "gamiform" as a method that constrains, facilitates, and motivates user behavior around a goal. Gamiforming as applied to education is a set of serious game techniques using the guiding philosophy that education is a form of life with a goal. One gamiforming technique guides student behaviour by constraining the space around a pedagogical goal. Another gamiform technique facilitates face-to-face contact through in-class quizzes and peer-to-peer discussions. For software teams, Scrum meetings are situated around a fictional campfire in order to increase energy of the team. Another gamiforming technique facilitates creativity by using the McCarthy technology protocols, which emphasize emotional alignment and self-awareness. Gamiform is an appropriation of Ludwig Wittgenstein's "lebensform" and science fiction’s "terraform".

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  • http://mitpress.mit.edu/sicp/full-text/sicp/book/node77.html
  • http://www.lifeovercancer.com/
  • http://en.wikipedia.org/wiki/Action_research
  • http://www9.georgetown.edu/faculty/irvinem/theory/bakhtin-maintheory.html
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  • http://en.wikipedia.org/wiki/Drama_theory
  • "Flipped, Agile, Gamiformed Pedagogy for Game Design" By Bill Guschwan - Serious Play Conference 2012

    1. 1. Flipped, Agile, GamiformedPedagogy for Game Design Bill Guschwan Columbia College
    2. 2. 2012 Columbia Capstone Videogameshttp://brokenthegame.com/http://www.fearlesspdp.com/
    3. 3. OverviewGamify vs. GamiformFlipped Constructivist vs. Traditional ClassroomAgile vs. Traditional Game DevelopmentFlipped, Agile, Gamiformed Model of Game Development 3
    4. 4. Gamiform vs. GamifyGamiform is gamification using a metacircular evaluator (ME) as an epistemic game to elicit optimal intrinsic user behavior for an activity Gee and ShafferStar Trek Terraform, or forms of life (Wittgenstein lebensform)Aristotle’s and Nagarjuna’s Formal Cause
    5. 5. Beyond GamificationGamiform is a specific type of gamification.Gamiform affords binding of multiple roles in a unified game space.Forms and Captures emergent roles and capacities.Gameful (Jane McGonigal) or Meaningful Games (Amy Jo Kim) or Player Experience Design (Nicole Lazzaro) http://blog.superbetter.com/gameful-design/ 5
    6. 6. Metacircular Evaluator2 part process: evaluation and applyInput to Apply is output of Eval and vice versa.Iterative and recursiveBuild Eval first part first
    7. 7. Evaluator as EmbeddedAssessment Game“Assessment as / for Learning” Formative R E BennettGame design as Application
    8. 8. Metagame (Eval)Metagame uses drama theory.Game with a focal point, goal has no solution but an agreed endpoint. It is an on-going re-design of the game.It focuses on evaluation of apply part. It works on the “how” of the apply part.Metagame decides how the game is designed, how the roles of players interact, and how they decide on a focal point. 8
    9. 9. Game (Apply)Game is the Apply part of ME.Game (Apply) and Metagame (Eval) is Gamiform.They must communicate and interact iteratively.Metagame persists with the Game when in production. 9
    10. 10. Gamiform TetralemmaNagarjuna and Aristotle.1 It is a drama theory metagame. (Formal)2 It is a game we design. (Material)3 It is both a drama theory metagame and a game we design (Efficient: Formal plus Material)4 It is neither a drama theory metagame nor a game we design (Final: Efficient produces Final)1b It is the GAME we play. Order is important 10
    11. 11. GameDesign TetralemmaWhiteboard Exercise Yin Yang 4 PartBeachBall example 2 flies, a bee, and a beachball 11
    12. 12. Types of AssessmentDungeon and Dragon Characters, Quests, XPAward Experience Points Class Dojo iPad app http://www.classdojo.com/Reward Experience Points for Quests Use Scrum storiesPeer to Peer points 12
    13. 13. Gamiform ExamplesParkinson’s Cognitive Assessment Game: Tapping mouse game to assess cogfunction Meta-game: Bind roles for clinician, researcher, patientPilates and Life over Cancer Game: Physical corrective exercise Meta-game: Bind role to optimize for BreathIntro to Programming Game: Learn programming Meta-game: Bind roles such as reading code, sharing code, helping 13
    14. 14. Roots of GamiformSelf is extended in space. William James,Mikhail Bakhtin, Erving Goffman, Marshall McLuhan, Martin HeideggerTo manage people you BIND roles to environment in time. “Person and the Situation”, Ross and Nisbett Kurt Lewin: Action research  Spiral of steps, ... composed of planning action fact-finding about the result of the action (see citation below) Paulo Freire Lave and Wenger, “Community of Practice” 14
    15. 15. Dialogic SelfThe individual consciousness, lies on the borderline between oneself and the other... The word in language is half someone elses.It becomes one’s "own" only when the speaker populates it with his own intentions, his own accent, when he appropriates the word, adapting it to his own semantic and expressive intention. On Dialogism and Heteroglossia (the other(s) word) From Mikhail Bakhtin
    16. 16. Affordance SpaceNeed to provide an affinity space James GeeAlternatively, affinity space is an affordance space.You can think of an app as a space Verb as the canvas, nouns as the forms, and adjectives as the color (Foucault, Order of Things)Game is an app that is designed to create space Space is integral to games 16
    17. 17. Epistemic Game Goal: DevelopteamCommunication patterns: Most important predictor of a team’s success  Team has Energy, Engagement, and Exploration  http://hbr.org/2012/04/the-new-science-of-building-great- teams/ar/1McCarthy protocol:  Team = Software  Requests, Hi bandwidth communication, and shared visionEvaluate is Pre-production  Cerny method  Get 2 finished levelsApply is Production  Scale product
    18. 18. Game Design Goal:Hunting vs. HerdingVerb as the canvas, nouns as the forms, and adjectives as the colorPre-production verb is Hunting for Fun  content/uploads/2012/01/Cautionary-Tales-from-the- Kalahari-1991.pdf Strategy: Opportunistic and “Emergent” Develop from a series of rapid response to activities which show promiseProduction verb is Herding 18
    19. 19. Goal of Pre-Production (Hunting)MetagameA drama unfolds through episodes in which characters interact.The episode is a period of preplay communication (hunting) between characters who, after communicating, act as players in a game thats constructed through the dialogue between them.The action that follows the episode is the playing out of this game; it sets up the next episode. http://en.wikipedia.org/wiki/Drama_theory
    20. 20. Team Tools or MechanicsEvaluation Apply McCarthy Protocols:  Help protocol Professional communication  Meet protocol LARG rules
    21. 21. Team Tools or MechanicsEvaluation Apply Emotional Kanban: Emotional  Checkin
    22. 22. Team Tools or MechanicsEvaluation Apply Scrum: Engagement  Scrum checkin: what have you done, what are you working on, and what is blocking you
    23. 23. Goal of Game DesignGreat Games.
    24. 24. PedagogyEvaluation Apply Constructivist  Exercise: Campfire and Create an affinity space talking stick (James Gee) Allow multiple Subject Matter Experts to join “space” Rhizomatic vs. Hierarchy Games are affinity spaces Reggio Emilia, Paidea
    25. 25. Class PedagogyEvaluation Apply Live Hunting Roleplaying  Demonstrate Dungeon Master Game (LHRG)  Exercise: Instructor is dungeonmaster  Salsa circle to incant Hunt is for fun  Enter imagination zone: Students are characters Personal alignment and call / Grades response Level up with Experience Points (XP)
    26. 26. Metacircular Evaluator In other words, organizational life consists of learning (hunting) and performance (herding) following each other in an endless cycle of what ought to be a creative process of "continual improvement." Strategy is an intermediate product in this process; as an output of the learning organization, it articulates what the organization has learned and coordinates its experience. As an input to the performance organization it specifies goals and tasks, and informs its behavior. In short, strategy is at the nexus of the twin organizational structures of the woven matrix (tantra) and the twin cognitive structures of text and context, information and meaning, the "melody" and the "rhythm" that are required to resolve the existential tensions. (David K Hu, p 84) 26
    27. 27. Useful Links:www.seriousplayconference.comwww.seriousgamesdirectory.comwww.seriousgamesassociation.comContact:sbohle@seriousgamesassociation.com