Lacking a digital crystal ball, we cannot predict the future of education or the precise instructional role games will have going forward. Yet we can safely say that games will play some role in the future of K-12 and higher education, and members of the games community will have to choose between being passive observers or active, progressive contributors to the complex and often political process of weaving together pedagogy, technology, and culture. This will involve agreeing that games--or, more specifically, game mechanics and the engagement in joyful learning that they engender--are not only critical for shaping online and classroom instruction but also the evolution of schooling as a whole. Likewise, it will involve a hard push beyond questions like "Are video games 'good' or 'bad' for education?" and "Are games 'better' for all students than traditional face-to-face teaching" to unpack how game experiences vary with individual learner goals as an interaction with the parameters of an educational environment. Simply put, we need to form a cohesive, compelling argument in support of the notion that games are entire learning ecologies in and of themselves. This edited volume is designed to anchor collective thinking with respect to the value-added nature of games for learning and the complexities involved in player experience, narrative context, and environmental-player interactions. As could be expected, we are not interested in debates about "gamification," game violence, individual game quality, and other topics that have become standard fare in extant games literature. Instead, we seek to emphasize issues of scalability, the induction of player goal adoption, affordances of game-based instructional environments, relationships between play and transfer, and the value of games as part of an ecopsychological worldview. As long-time contributors in a field that has made a habit of playing it safe--pun intended--we seek to bring the dialogue in a more nuanced and meaningful direction that will reach teachers, researchers, designers, and players alike.

We live in a time of educational transformations towards more 21st century pedagogies and learning. In the digital age children and young people need to learn critical thinking, creativity and innovation and the ability to solve complex problems and challenges. Traditional pedagogies are in crisis and many pupils experience school as both boring and irrelevant. As a response educators and researchers need to engage in transforming education through the invention of new designs in and for learning. This book explores how games can provide new ideas and new designs for future education. Computer games have become hugely popular and engaging, but as is apparent in this book, games are not magical solutions to making education more engaging, fun and relevant. Games and Education explores new designs in and for learning and offer inspiration to teachers, technologists and researchers interested in changing educational practices. Based on contributions from Scandinavian researchers, the book highlights participatory approaches to research and practice by providing more realistic experiences and models of how games can facilitate learning in school.

The possibilities of gaming for transformative and equity-driven instructional teaching practice are more robust than ever before. And yet, support for designing playful learning opportunities are too often not addressed or taught in professional development or teacher education programs. Considering the complex demands in public schools today and the niche pockets of extracurricular engagement in which youth find themselves, Playing with Teaching serves as a hands-on resource for teachers and teacher educators. Particularly focused on how games - both digital and non-digital - can shape unique learning and literacy experiences for young people today, this book's chapters look at numerous examples that educators can bring into their classrooms today. By exploring how teachers can support literacy practices through gaming, this volume provides specific strategies for heightening literacy learning and playful experiences in classrooms. The classroom examples of gameful teaching described in each chapter, not only provide practical examples of games and learning, but offer critical perspectives on why games in literacy classrooms matter today. Through depictions of cutting-edge of powerful and playful pedagogy, this book is not a how-to manual. Rather, Playing with Teaching fills a much-needed space demonstrating how games are applied in classrooms today. It is an invitation to reimagine classrooms as spaces to newly investigate playful approaches to teaching and learning with adolescents. Roll the dice and give playful literacy instruction a try. Contributors are: Jill Bidenwald, Jennifer S. Dail, Elizabeth DeBoeser, Antero Garcia, Kip Glazer, Emily Howell, Lindy L. Johnson, Rachel Kaminski Sanders, Jon Ostenson, Chad Sansing, and Shelbie Witte.

Serious Play is a comprehensive account of the possibilities and challenges of teaching and learning with digital games in primary and secondary schools. Based on an original research project, the book explores digital games' capacity to engage and challenge, present complex representations and experiences, foster collaborative and deep learning and enable curricula that connect with young people today. These exciting approaches illuminate the role of context in gameplay as well as the links between digital culture, gameplay and identity in learners' lives, and are applicable to research and practice at the leading edge of curriculum and literacy development.

Recognizing the vast numbers of old and young people alike that interact, socialize, and learn through gameplay, this book explores research approaches to games, their literacies, and the pedagogical possibilities of play. Consequentially, this volume is rooted in the idea that powerful forms of learning, communication, and multimodal production occur through and because of gaming. These profound literacy practices can mirror traditional literacies but the educational field's approach to engaging in a pedagogy of playful literacies has been largely scattershot. By bringing together diverse voices, contexts, and research designs, the chapters in this volume present a snapshot of 21st century literacy practices at work and at play. Organized into two parts, Studying Gaming Literacies explores the rich methodological approaches to gaming literacies scholarship as well as the possibilities of engaging in research in both classrooms and informal learning settings. With a robust set of context-specific approaches, this book acts less as a how-to manual for equity-driven scholarship than as a companion to support and undergird other research and pedagogical approaches to play and gaming in literacy-rich learning environments. Focused on presenting scholarly approaches to gaming research, this volume, too, presents pedagogical takeaways for educators, for students, and for game designers and curators. Across the seven case studies presented in this volume, we call for intentional playful practices in educational research. The literacies of play are myriad and complex and - particularly in the name of educational equity - they demand to be studied, uplifted, and leveraged for academic achievement. Contributors are: Jolynn Asato, Ali Carr-Chellman, Sebastián Castaño, Laura D'Aveta, Jennifer S. Dail, Jason Engerman, James Paul Gee, Robert Hein, Michael Hernandez, Ellen Middaugh, Raúl Alberto Mora, Shannon Mortimore-Smith, Tyrone Steven Orrego, Daniel Ramírez, Nate Turcotte, Shelbie Witte, and Jennifer Wyld.

An essential reference for all game designers, this 1938 classic is "a fascinating account of 'man the player' and the contribution of play to civilization" (Harper's).   In this classic evaluation of play that has become a "must-read" for those in game design, Dutch philosopher Johan Huizinga defines play as the central activity in flourishing societies. Like civilization, play requires structure and participants willing to create within limits. Starting with Plato, Huizinga traces the contribution of Homo Ludens, or "man the player" through Medieval Times, the Renaissance, and into our modern civilization. Huizinga defines play against a rich theoretical background, using cross-cultural examples from the humanities, business, and politics. Homo Ludens defines play for generations to come.

In recent years, computer games have moved from the margins of popular culture to its center. Reviews of new games and profiles of game designers now regularly appear in the New York Times and the New Yorker, and sales figures for games are reported alongside those of books, music, and movies. They are increasingly used for purposes other than entertainment, yet debates about videogames still fork along one of two paths: accusations of debasement through violence and isolation or defensive paeans to their potential as serious cultural works. In How to Do Things with Videogames, Ian Bogost contends that such generalizations obscure the limitless possibilities offered by the medium's ability to create complex simulated realities. Bogost, a leading scholar of videogames and an award-winning game designer, explores the many ways computer games are used today: documenting important historical and cultural events; educating both children and adults; promoting commercial products; and serving as platforms for art, pornography, exercise, relaxation, pranks, and politics. Examining these applications in a series of short, inviting, and provocative essays, he argues that together they make the medium broader, richer, and more relevant to a wider audience. Bogost concludes that as videogames become ever more enmeshed with contemporary life, the idea of gamers as social identities will become obsolete, giving rise to gaming by the masses. But until games are understood to have valid applications across the cultural spectrum, their true potential will remain unrealized. How to Do Things with Videogames offers a fresh starting point to more fully consider games' progress today and promise for the future.

Videogames! Aren't they the medium of the twenty-first century? The new cinema? The apotheosis of art and entertainment, the realization of Wagnerian gesamtkunstwerk? The final victory of interaction over passivity? No, probably not. Games are part art and part appliance, part tableau and part toaster. In How to Talk about Videogames, leading critic Ian Bogost explores this paradox more thoroughly than any other author to date. Delving into popular, familiar games like Flappy Bird, Mirror's Edge, Mario Kart, Scribblenauts, Ms. Pac-Man, FarmVille, Candy Crush Saga, Bully, Medal of Honor, Madden NFL, and more, Bogost posits that videogames are as much like appliances as they are like art and media. We don't watch or read games like we do films and novels and paintings, nor do we perform them like we might dance or play football or Frisbee. Rather, we do something in-between with games. Games are devices we operate, so game critique is both serious cultural currency and self-parody. It is about figuring out what it means that a game works the way it does and then treating the way it works as if it were reasonable, when we know it isn't. Noting that the term games criticism once struck him as preposterous, Bogost observes that the idea, taken too seriously, risks balkanizing games writing from the rest of culture, severing it from the "rivers and fields" that sustain it. As essential as it is, he calls for its pursuit to unfold in this spirit: "God save us from a future of games critics, gnawing on scraps like the zombies that fester in our objects of study."

Videogames are an expressive medium, and a persuasive medium; they represent how real and imagined systems work, and they invite players to interact with those systems and form judgments about them. In this innovative analysis, Ian Bogost examines the way videogames mount arguments and influence players. Drawing on the 2,500-year history of rhetoric, the study of persuasive expression, Bogost analyzes rhetoric's unique function in software in general and videogames in particular. The field of media studies already analyzes visual rhetoric, the art of using imagery and visual representation persuasively. Bogost argues that videogames, thanks to their basic representational mode of procedurality (rule-based representations and interactions), open a new domain for persuasion; they realize a new form of rhetoric.Bogost calls this new form "procedural rhetoric," a type of rhetoric tied to the core affordances of computers: running processes and executing rule-based symbolic manipulation. He argues further that videogames have a unique persuasive power that goes beyond other forms of computational persuasion. Not only can videogames support existing social and cultural positions, but they can also disrupt and change these positions themselves, leading to potentially significant long-term social change. Bogost looks at three areas in which videogame persuasion has already taken form and shows considerable potential: politics, advertising, and learning. Bogost is both an academic researcher and videogame designer, and Persuasive Games reflects both theoretical and a game design goals.

In The Queer Games Avant-Garde, Bonnie Ruberg presents twenty interviews with twenty-two queer video game developers whose radical, experimental, vibrant, and deeply queer work is driving a momentous shift in the medium of video games. Speaking with insight and candor about their creative practices as well as their politics and passions, these influential and innovative game makers tell stories about their lives and inspirations, the challenges they face, and the ways they understand their places within the wider terrain of video game culture. Their insights go beyond typical conversations about LGBTQ representation in video games or how to improve "diversity" in digital media. Instead, they explore queer game-making practices, the politics of queer independent video games, how queerness can be expressed as an aesthetic practice, the influence of feminist art on their work, and the future of queer video games and technology. These engaging conversations offer a portrait of an influential community that is subverting and redefining the medium of video games by placing queerness front and center. Interviewees: Ryan Rose Aceae, Avery Alder, Jimmy Andrews, Santo Aveiro-Ojeda, Aevee Bee, Tonia B******, Mattie Brice, Nicky Case, Naomi Clark, Mo Cohen, Heather Flowers, Nina Freeman, Jerome Hagen, Kat Jones, Jess Marcotte, Andi McClure, Llaura McGee, Seanna Musgrave, Liz Ryerson, Elizabeth Sampat, Loren Schmidt, Sarah Schoemann, Dietrich Squinkifer, Kara Stone, Emilia Yang, Robert Yang

Argues for the queer potential of video games While popular discussions about queerness in video games often focus on big-name, mainstream games that feature LGBTQ characters, like Mass Effect or Dragon Age, Bonnie Ruberg pushes the concept of queerness in games beyond a matter of representation, exploring how video games can be played, interpreted, and designed queerly, whether or not they include overtly LGBTQ content. Video Games Have Always Been Queer argues that the medium of video games itself can--and should--be read queerly. In the first book dedicated to bridging game studies and queer theory, Ruberg resists the common, reductive narrative that games are only now becoming more diverse. Revealing what reading D. A. Miller can bring to the popular 2007 video game Portal, or what Eve Sedgwick offers Pong, Ruberg models the ways game worlds offer players the opportunity to explore queer experience, affect, and desire. As players attempt to 'pass' in Octodad or explore the pleasure of failure in Burnout: Revenge, Ruberg asserts that, even within a dominant gaming culture that has proved to be openly hostile to those perceived as different, queer people have always belonged in video games--because video games have, in fact, always been queer.