Digital games-based drama.
29
October
Well, I’ve been back in Perth for a few weeks now after delivering my keynote at the Drama Australia “Turning the Tides” conference.
I was presenting on Monday morning and was first up - there were quite a few latecomers as the conference dinner was held on the Sunday evening.
My topic was This drama is pwned: 1337 drama - a bit lame I know but the point was to show that most drama education folk don’t necessarily know the world of gaming and online interaction. I tried to push the point that we need to abandon simplicity for a while and take some control of the various types of technology that are available to us.
I demonstrated the pretext material I’m using for my online process drama as an example of the social issues that can come into play in the online world.
A couple of my points that seemed to strike a chord with the audience:
Just because we have the first generation of so-called “digital natives” doesn’t mean they are more in control of the technology.
They may be less concerned about using the technology but far from all of them are in control of the technology.
The “prosumer” (Carroll) or “produser” (Bruns) may be able to rip, mix and burn but we can’t assume they can grip, fix and turn.
This notion of GRIP, FIX and TURN – the capacity for control, the capacity to remedy, the capacity to reposition…..
and
What seems to be missing from most of the online learning environments, and technology integrated learning experiences is a lack of ambiguity. Especially moral ambiguity. We can take kids into virtual worlds and learn all sorts of facts and figures – this is incredibly and stiflingly safe. Students are already engaging in online communities and yet the one subject at school that could offer a real critical investigation of the stakes is often the one area that shies away from the technology. Look to MySpace, Flickr, YouTube, and a vast array of other Web 2.0 social networking tools. Blogging is passe, vlogging and podcasting are rapidly becoming the older forms, new ways of interacting are emerging daily. Second Life has just released their Teen world… a whole new horizon of human interactivity becomes the norm for the “digital natives” and they expect nothing less.
and
What we need to ensure in any engagement with new technologies is that we do not overly simplify the learning – we do not want to go down the path of simple declarative narratives that do little but embed snippets of information. Rather we want to ensure that there is complexity, space for repurposing, re-presenting, redaction – we want to maintain principles of critical pedagogy – to engage students not merely entertain them, or worse, subject them to playing roles in a deceptive marketing exercise for schools – often called the school production. The types of technologised performance we are chasing must offer an unpredictability of meaning – what Malaby calls “semiotic contingency”… an openness of reading and meaning making.
and
Not only blogs, but any socially constructed space – games are but one expression of these new performance spaces… what haven’t we even begun to consider?
and
“Indigenous people are subject to stereotyping by non-indigenous” Anne Marshall
How do we treat the techno-literate and gamers? Digital natives are often regarded the same way as indigenous people – they complicate our perceptions.
and
My perception is that when it comes to technology our “theatre/drama” mindset limits rather than liberates us.
I’ve had quite a bit of positive feedback and some requests to participate in other projects including a new book.
HELP!! I’m also looking for some assistance with the next phase of my research. Not only do I need 15-20 volunteers (preferably teachers, preservice teachers and performers) to participate, I also need to locate an available LAN. I’ve encountered problems with some of the networks I’ve had access to. The main issues are that firewalls and exclusions limit access to the sites I’m using for my online drama. I need a set up that will allow ports 2400 and 2600 as well as letting Javascripts run…. my drama also contains links to YouTube and Google Video. I’d really appreciate any assistance with locating a suitable venue - hey - even if someone can host a LAN party to do this!! Otherwise recommendations for good LAN/Net cafes that might allow me to rent their space for about 3×3 hour sessions. This all needs to happen in Perth and very soon. Any assistance or ideas will be greatly appreciated and may even result in an acknowledgement in my thesis!! I can be contacted via QUT - k.flintoffATqut.edu.au or my mobile 0403530726.





1. Bill Kerr | January 16th, 2007 at 10:34 am
hi kim,
I like your extension of the rip, mix and burn slogan to grip, fix and turn - that some doing is more significant than other doing
Prensky’s slogan, “digital immigrants / digital natives” has been extensively critiqued. I’ve added an extract and a link to your post from the nativesImmigrants page of the learning evolves wiki, where I have collected a variety of different critiques and comments about this slogan
I also noticed an interesting amazon review by you of “First Person”.
We are both interested in the role of games in learning but from different perspectives. You might be interested in checking out the material on learning evolves wiki
2. Kim Flintoff | January 16th, 2007 at 12:36 pm
Thanks for the comment.
The Grip, Fix and Turn thing was a bit of divine inspiration I think - I had to redevise my entire keynote when I discovered I couldn’t go online at the venue! I’m still in the process of writing it up for publication.
Curiously, I was introduced to Learning Evolves the other day in the SLED listserv - fairly unceremoniously by someone who seemed to assume that because I mentioned Prensky that I hadn’t considered any of the questions posed in the page he referred me to… a quick search of some of my writing would reveal I question almost everything at some point! I do like reading Prensky’s stuff though, and it does provide a pivot point to help get other people thinking a little more expansively about the cultural aspects of web life.
I’m pretty sure I’ve stumbled across the wiki previously as well but my favourites folders are bulging these days and I do sometimes lose track.
3. Tony Forster | January 17th, 2007 at 1:54 pm
There are at least 4 aspects of games and drama
1)Playing existing games.
For example World of Warcraft. Note that the experience would be different in a role playing server. There’s Second Life too, see what Intellagirl is doing at Ball State University http://home.intellagirl.com/
Then there’s the Sims and much more
2)Machinima http://del.icio.us/tonyforster/machinima creating movies with games
3)Modding, modifying games, many games come with level editors, you can re-skin games too, Gee says a little at http://tonyforster.blogspot.com/2006/12/james-gee-productive-approach-to-video.html
4)Creating yourown games, my favourite, because you have complete control over the process, you could study games under the headings:
Games and Media Studies
We can think about games in relation to the 5 key concepts often used by media teachers:
Languages: what are the unique features of games and the ways in which they communicate with and engage players. How do we need to reconceptualise some of our previous assumptions about media communication to include concepts such as immersion, feedback, rewarding the player and so on?
Representations: how are people, places, ideas and emotions portrayed in games and what sorts of social and cultural assumptions underlie those portrayals? Eg. gender representations - why are males and females portrayed in certain ways? What are the consequences of this? What should be our response? (note that this is very much up for debate and discussion - assumptions should not be made).
Technologies: what should students understand about the technology related to games production, distribution, access and play? How are social and economic factors related to the development of games technologies? How can we think critically about these technologies?
Audiences: How should we think about games players? What is the relationship between games and players - where does the power lie? To what extent should games be censored? Theories of audiences suggest that players are not vulnerable dupes, but active and intelligent users - how can we test the validity of this?
Institutions: how can we get students thinking critically about the institutions that enable and constrain the production and distribution and regulation of video games - production companies (roles in games production, profit motive, the role of corporations etc), regulation organisations (OFLC, etc), and distribution points (the aims and objectives of retailers, arcades etc - and the tactics they use for marketing and branding).
(that bit thanks to Mr Michael Dezuanni, Film and Media Studies, Queensland University of Technology)
4. Kim Flintoff | January 17th, 2007 at 6:56 pm
Thanks for the comments Tony. I am a drama educator - my research is entitled “Drama Teacher as Games Master: developing digital games-based Process Drama as performance.”
I’ve adopted a practice-led approach and will present the bulk of my thesis as a creative work that will be the culmination of 4 creatuve development cycles.
While many of the areas you mention are incredibly interesting and do engage me - they are largely outside the scope of my study.
I’m a student at QUT so the mention of Mike from Creative Industries is interesting - it seems many of us are in closely aligned areas of research. The Creative Economy stuff of Michael’s is great in terms of thinking about the business of games and gaming - however my research falls more into the realm of Contemporary Arts/Performance practice. We’ve all been exposed heavily to the ideas of Richard Florida - and the extensive body of work emerging under the umbrellas if “Creative Economy”, “Creative Class”, “Creative Communities”, “Creative Cities”, etc.
My own work overlaps the areas of Drama Eductaion (Drama as Pedagogy), Drama as Performance, Online Gaming, Virtual Worlds, and of course Education more broadly.
My interest is partly in thinking about framing online interaction, online engagement, online gaming as performative acts in their own right and that the sites where these activities happen can be seen as sites of performance. I can conceive of blogging as performance and the blog itself as a site for performance. Likewise with games worlds and virtual communities - I’ve been working in MOO for Phase 2 as well as getting ready to work in Second Life for Phase 3 and my final phase is yet to emerge. I hope it will be a convergence of technologies and real space as well as emergent in form and practice.
My intended research outcomes are to:
1. Identify the poetics of a technology-mediated (“new media”) context for Process Drama;
2. Articulate a new pedagogical vision that addresses the needs and demands of a rapidly expanding “creative economy” and yet maintains the critical underpinnings of traditional Process Drama;
3. Create and demonstrate, in practice, a prototype model of “new media” Process Drama that accommodates the dual modes of participation and performance;
4. Generate a procedural model for Drama educators that will allow redaction and repurposing to their own context and content requirements;
5. Model the requisite leadership qualities for facilitating “new media” Process Drama.
5. Lori Shyba | January 30th, 2007 at 5:49 am
I was swept into this blog when I googled a string “creative process drama” and here you all are. As coincidence would have it, I had just checked a brand new book out of the U Calgary library called “Real Players” too and darned if I don’t see some of the same ideas floating around. I also see Tony Forster’s name on the seriousgames discussion list.
Like Kim, I’m also immersed in case study performance and games creation that connects interactive drama (performance creation) with the creative digital realm. My work flips things around, though into an exploration of ways that improvisational and activist theatre can inform serious computer game design, especially as it pertains to social and cultural issues.
I’m based in Calgary, Canada but sometimes present at conferences in Australia and am impressed with the level of innovative research into interactive entertainment media and games in Australia.
I would be interested in knowing from Kim what strategy she has for her prototype model of “new media” Process Drama that accommodates the dual modes of participation and performance. I have been experimenting with these modes of digital live performance for a while and having great fun. The biggest landmine for me, on the drama side, is drilling up the courage to explode a dramatic narrative into possibilities instead of a telling a story. That’s easy with computer games.
6. Kim Flintoff | January 30th, 2007 at 1:02 pm
Hi Lori,
Let’s clarify to begin with - Kim is HE not SHE - another Canadian was similarly disappointed - you might know Prof Julianna Saxton??
“Real Players” was compiled by my colleagues John Carroll and Michael Anderson and some of the work in the book emerges from the IDEA SIG on Drama and New Media that I co-chaired in 2001 (Bergen) and 2004 (Ottawa)… and hopefully this year in Hong Kong.
I’ve been pushing the Drama and IT connection for a decade now.
I am using Process Drama as the basis for my work… basically it entails role playing around given pretexts - situations, issues, problems or other stimulus - but drawing upon a variety of expressive modes - including the artistic, non-verbal, and dramatic… the purpose is generally to facilitate shifts in empathetic understanding - the emphasis is therefore on the AFFECTIVE domain of learning but also embraces the Cognitive and Psycho-motor domains.
Process Drama is essentially improvised - and can be used very successfully in playbuilding… I am hoping to frame the entire process as performance - by repositioning the learners and audience as players in the drama… it is unpredictable in many ways… the nature of the expression and narrative structure can be ad hoc and certainly non-representational and non-linear… the real learning comes from the reflective component of processual work. Learners constantly shift in and out of role… reflecting upon the choices they’ve made, the insights they’re developing, the feelings they experience, the questions that arise… and negotiate the various episodes of the drama they would like to explore.
To shift it into virtual environments I am also looking at structures in existing games, especially RPGs… I am putting forward a concept I am calling “generative play” - playful engagement in a fictional environment where there is an expectation of contextually relevant meaning-making that is both personal and shared but is not predicated by predetermined nor prescribed content.
I have attempted a MOO version of the model and am planning that within the next couple of months that I’ll start working on the Second Life version.
I’ve started to get a clear sense of what needs to be embedded in these worlds so that we can facilitate the process drama – the idea of “traces” – clues, if you like, that help to set the context and the general goals of the drama – in the current MOO scenario players are encouraged through in-world features to address the issue (transgressive online behaviours) through the narrative construct of a looming referendum… there are also graffiti boards, cinema (showing interesting YouTube and Google Video examples of matters that concern citizens – the video I showed in Sydney is one such stimulus/pretext), plus library, news service and other aspects that direct from within… the strength of the MOO is that these can be readily modified and updated “on the fly”… so the roleplaying world becomes (hopefully) more dynamic and responsive to the players activities – although there is the challenge of tracking all the fragmented action and trying to facilitate when some dramatic aspects are unseen by all. One example was in the first foray into the MOO was the gamer character who turned to Drug dealing in a back alley to pay for his addiction to internet gaming… it nicely introduced a very relevant theme – I can see now ways I could have allowed it to develop more as a feature of the drama - picking up on these quickly in such a distributed environment is a real challenge – I could have co-opted this into the overall drama quite meaningfully had I become aware of it more quickly. I suspect there might be ways to apply some principles of Workflow management – but the hard edge under the hood stuff is a little beyond my repertoire as yet.
The other idea I’ve started thinking about is the pairing of ARG (Alternate Reality Games) with Drama – something I’m dubbing “DramatARGy” – where the engagement in alternate reality is through roleplay and other dramatic conventions. I came up with concept after talking with Christy Dena about her work in ARG and looking at what I’ve done with the MOO – I have linked out to real world news and video to enhance the context of the online environment – and that the online fiction is informed quite directly by connection to real events. Probably always done this sort of thing with Process Drama but never really thought about it as a feature.
The work is all facilitated - I am not trying to create a stand alone game that students will operate independently - but rather a framework in which I can draw together the priciples of computer gaming, process drama and performance in which teachers and students still interact with a strong critical pedagogy - but where it can be positioned as a performance in its own right.
The work is still social, live, constructivist and educational.
Cheers
Kim