#tmpompey Naomi Ward

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  • Out of 26 students, 14 played between 0-5 hours, 8 from 5-15 hours and 5 from 15+ hours with one student playing 84 hours a week Culture: Knowledge of genre- narrative and character – how these might be adapted into interactivity – game literacy – natural next step from film literacy Creativity – freedom to design a game based on literary generic conventions Critical: to criticise existing video games and evaluate each other’s Bringing technologically rich lives and expertise into the classroom
  • We started by collating generic conventions . Quixotic structure – Lord of the Rings, Homer’s Odyssey – brilliantly poised for transposition into games. This kind of transformation will help students to pinpoint the pivotal narrative structures Psychological depth – this was more of a challenge, how to transpose psychological depth of war genre – indicative of trench poets and modern novel, into a video game?
  • Escape Cut scenes – filming and editing – enhances psychological depth and characterisation Game literacy – ludic elements Cultural awareness Could talk about critical reception of media text here – interesting? Tags SIMs, third person shooter, strategic overview Just as the poem takes its focus away from action to aftermath, from technology to nature, this game was the only one which touched on dealing with the implications on human beings in war (violence, bereavement, PSTD) and so was intrinsically linked to historical and literary context. To summarise, here is clear evidence of the boys taking generic features from different forms and applying them to create an enriched and original idea. In addition this approach to their game shows that the boys were criticising the war genre by adding a psychological dimension which dealt with the impact of violence on a human being.
  • Out of 26 students, 14 played between 0-5 hours, 8 from 5-15 hours and 5 from 15+ hours with one student playing 84 hours a week Culture: Knowledge of genre- narrative and character – how these might be adapted into interactivity – game literacy – natural next step from film literacy Creativity – freedom to design a game based on literary generic conventions Critical: to criticise existing video games and evaluate each other’s Bringing technologically rich lives and expertise into the classroom
  • #tmpompey Naomi Ward

    1. 1. Futility by Wilfred Owen Move him into the sun - Gently its touch awoke him once, At home, whispering of fields unsown. Always it woke him, even in France, Until this morning and this snow. If anything might rouse him now The kind old sun will know. @naomi7444 Poetry into Videogames?
    2. 2. Narrative and Theme Character • Missions to complete • Obstacles to overcome • Comradeship and brotherhood • Blurred boundaries between good and bad • Loyalty • Betrayal • Action • Climax • Authority and rebellion • Hero and villain • Audience positioned with the hero • Psychological journey for character informs narrative • Ambiguity / internal conflict • Character has sense of achievement at climax and has changed / learned something about self and character.
    3. 3. Specific to games •Graphics (combined with ‘cut scenes.’) •Player as writer •Multiple narratives and endings •Multiplayer •Game lasts longer •Characters are ‘flat’ so depend on economies rather than psychological depth •Levels of progression to a final goal
    4. 4. ‘TAGS’ ‘ESCAPE’
    5. 5. 1. Create and play the games – Mission Maker 2. Develop Gaming Literacy – could they complement the class reader (LA Noir)? 3. Transposing from one media to another leads to rich grasp of narrative and characterisation Any takers? Next Steps @naomi7444
    6. 6. 1. Create and play the games – Mission Maker 2. Develop Gaming Literacy – could they complement the class reader (LA Noir)? 3. Transposing from one media to another leads to rich grasp of narrative and characterisation Any takers? Next Steps @naomi7444

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