Game-Based Learning Hub

Developed for CI 510: Foundations of GBL

Credits

Works Cited In Screencast

Narrative

Fullerton, Tracy. Game Design Workshop: A Playcentric Approach to Creating Innovative Games, (3rd Edition). Taylor & Francis Group, 2014.

 

  • In traditional drama, premise is established in the exposition of a story. Exposition sets up the time and place, characters and relationships, the prevailing status quo, etc. Other important elements of story that can be addressed in the exposition are the problem, which is the event that upsets the status quo and creates the conflict, and the point of attack, which is the point at which the problem is introduced and the plot begins. While there is not a direct one-to-one relationship, these last two elements of exposition are mirrored in our definition of formal game elements by the concepts of objective and starting action discussed in the previous chapter.
  • There are some game designers who are interested in allowing the game action to change the structure of the story so that choices the player makes affect the eventual outcome. There are several ways of accomplishing this. The first, and simplest, is to create a branching story line. Player choices feed into several possibilities at each juncture of a structure like this, causing predetermined changes to the story.

 

 

Domsch, Sebastian. Storyplaying. De Gruyter, 2013.

  • Player choices, if they are perceived as having a moral value, cannot but be understood as choices within a fictional world, which is why they can be used as a contrast agent to test video game’s abilities to give their players agency over the narratives they experience.

Schubert, Damian. Many Forms of Game Narrative. Business Insider, 2011.

  • Narrative as primary means of player’s agency – the player makes choices within the game that dramatically affect the outcome of the game’s narrative

Feedback

Rogers, Ryan. (2017) “The Motivational Pull of Video Game Feedback, Rules, and Social Interaction: Another Self-Determination Approach Theory.” Computers and Human Behavior (73), 446-450.

  • First, feedback should positively impact feelings of competence.
  • The purpose of the feedback is to funnel the player toward or away from specific actions.
  • Feedback gives people the information and tools needed to succeed.
  • As such, when a game emphasizes quality feedback the player should feel that he or she can reach the game’s goals

 

Velez, John, and Hanus, Michael. (2016) “Self-Affirmation Theory and Performance Feedback: When Scoring High Makes You Feel Low.” Cyberpsychology, Behaviour, and Social Networking (19)12, 721-726

  • This suggests that while players who value video game success as part of their identity may reap benefits from video game play after a self-threat, those who do not value such success may experience more harmful effects.
Further Readings

Chess, Shira. (2016) “The Queer Case of Video Games: Orgasms, Heteronormativity, and Video Game Narrative.” Critical Studies in Media Communication, (33)1, 84-94,

Dickey, Michele. (2011) “Murder on Grimm Isle: The Impact of Game Narrative Design in an Educational Game-Based Learning Environment.” British Journal of Educational Technology (42)3, 456-469.

Serge, Stephen, Priest, Heather, Durlach, Paula, & Johnson, Cheryl. (2013) “The Effects of Static and Adaptive Performance Feedback in Game-Based Training.” Computers and Human Behavior (29), 1150-1158.

Quin, Hua, Rau, Pei-Luen, Salvendy, Gavriel. (2009) “Measuring Player Immersion in the Computer Game Narrative.” International Journal of Human-Computer Interaction 25(2), 107-133

 

Additional Credits

All pictures on this site and in the game were found through Creative Commons and hold remix permission.

Game Title Music: Trance for Cello (12″ Radio Mix) by Roland Macintosh

© 2024 Game-Based Learning Hub

Theme by Anders Norén