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DigitalLiteracyandDragonborn:ObservingaWorldWithinSkyrim
KeriFrazerLIT530‐ResearchSeminar
Dr.Parsons12/9/2012
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Mysister,Lindsey,hasbeeninterestedinvideogamesforthepasteightyears.I
haveobservedhercharacters,herquests,andherbattleskills,allthetimewonderingwhat
intriguedhersomuchabouttheserole‐playinggames.Herinteractionswiththegaming
worldstartedtobecomeaserioushobbyofherswhensheenteredhighschool.Lindsey
wouldsavemoneyforthenextElderScrollsvideogame,talktoboysaboutCallofDuty
(eventhoughshebarelyplayedit),andfrequentthelocalGameStopstoresjusttoseewhat
theyhad.Lindseyisincrediblycomfortablewiththeknowledgeoftechnologyandabilityto
problemsolve.Sheiswhatyoucouldcalladigitalnative,someonebredintheageof
technology(Norton‐Meier,2005,p.430).Norton‐Meier(2005)talksaboutthe
complicationsofbeingadigitalimmigrant,essentiallythecounterpartofthedigitalnative,
andhowmuchofastruggleitcanbetobecomeaccustomedtotheageoftechnology(p.
430).Theideaofdigitalimmigrantsmayexplainpartofthereasonthatsomanyteachers
seemresistanttousingthenewtechnologieswehave,it’snotthattheydon’twantto,but
rathertheymaynotknowhow.Ontheotherside,digitalnativesarelearningincompletely
differentwaysfromtheirteenagecounterpartstwentyyearsback.RichardVanEck(2006)
writes,“Onecouldargue,then,thatwehavelargelyovercomethestigmathatgamesare
‘play’andthustheoppositeof‘work’”(p.17).Therearegamesthatcanhelpstudentslearn
andgrowasreadersandwritersinthisnewage,thequestionishowcanweseparatethose
fromtheonesthatmaynotbenefitstudents?
Wedon’tneedresearchtotellusthattheadvancementintechnologyhasincreased
vastlyoverthelasttwodecades.WhathappenedtotheCDplayerIlovedwhenIwas
seven?Well,likemosttechnologyfromthe1990’s,theCDplayerhasbeenreplacedby
smallerandmoreconvenienttechnology.Steinberg,ParmarandRichard(2006)state,
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“DrivenbyMTV,clubbing,music,video,advertising,television,videogames,Mangaand
Anime,instantmessaging,cellularphones,theWorldWideWed,Disney,andtherelentless
kindercultureofadolescence,today’syouthareexpertsontheoperationandpurposesof
media”(p.xvii).Thequestionthatremainsinthemidstofallthechangeishowcanwe
makethistechnologyworkinourclassrooms?Norton‐Meier(2005)says,“Playersactively
createnewvirtualworlds;participateincomplexdecisionmaking;andthinkreflectively
aboutchoicesthatweremade,includingthedesignofthegame”(p.430).Norton‐Meier
makesthecasethatgamerslearntothinkcognitivelyandsociallybyplayingthesegames
(p.430).Studentsworkondecision‐makingskills,creativethinkingskills,andcognitive
skillseveryday.Understandinghowwecanrelatethoseskillstothetechnologywehave,
aseducators,canhelpusbuildbetterclassroomcommunities.Studentsarenotstudying
thecontentbecausethey’renotinterestedinthetextbookversionoftheAmerican
Revolution,butmaybethey’replayingAssassin’sCreedIII,ahistoricadventuregamesetin
before,during,andaftertheAmericanRevolution.Ifweunderstandwhystudentswill
spendhoursplayingagamethatisitsownformofliteracy,thenmaybewecandothesame
thinginourclassrooms.Forthosewhoarelessinclinedtounderstandtechnology,thetask
becomesthatmuchmoredifficult.Butevenforthoseofuswhodobelongtothedigital
nativeculture,thereisadiscrepancybetweenhowwewanttoutilizetechnologyand
whetherourstudentsdirectlybenefitifwedoso.
Ididnotsetouttouncoversomegreattruthsaboutvideogames.Ireallywantedto
analyzeYouTubevideousageintheclassroomafterIhadgoneintoaschooldistrictthat
hadbannedtheuseofYouTube(evenfromthefaculty).ThereasonIwassointerestedis
becauseIremembermyteachersinhighschoolusingYouTubeasaresource.Ithoughtit
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wasstrangethatsomethingsousefulwouldbebannedinschool,thoughschooldistricts
definitelyhavelegitimatereasonsforwantingtoblockaccesstothatparticularsite.I
startedtothinkaboutthekindsoftechnologyweuseandwhethertheuseoftechnology
helpsstudents.DianeOblingerandJamesOblinger(2005)write,“Theabilitytousenontext
expression—audio,video,graphics—appearsstrongerineachsuccessivecohort(p.2.2).
Teenagersareusingtechnologytocreatewebsites,postvideos,updatetheirstatuses,and
theseareallformsofliteracy.ShinandHuh(2011)write,“Whilepeopleofallagegroups
playvideogames,gameplayingisespeciallymoreprevalentamongtheyouth”(p.946).It
isclearthatteenagersaretheoneswhoaremostinterestedandengagedinthisformof
literacy.DianeandJamesOblinger(2005)refertothisgeneration,thosewhogravitate
towardsvisualliteracyexpressionandsocialinteractionviatechnology,asthe“NetGen”
(p.2.7).TheresearchIworkedonwithmysisterwouldshow,throughmyown
interpretationsthatsheisateasewithtechnologyandexpressesherselfthroughvisual
literacy(Fieldnotes,12/8/2012,p.1).
Iwaspickingupmysisterfromclassonedayandsheimmediatelyhookedupher
iPhonetomycarstereo.Shebegantoplayasongthatatthetimeseemedsooutlandishto
methatIcouldn’timagineanyoneevercreatingasongquitelikethis,“Whoserapping?
Dovahkiin!Dragons?I’mnotoverkeen…mydragonshoutflowissweeterthanasoda
stream”(Bull,2011).ThesongwascreatedbyaYouTubesensation,DanBull,whocreates
manydifferentgamingraps,thelyricsbasedontheactualgamesthemselves.Istartedto
thinkaboutwhatitwasthatmadesomeonewanttocreatearapbasedonagame.Ibegan
tobemoreinterestedinhowthisworldofgamingfunctionedbothinsidethegameand
outsidethegame.Inmymind,Iwasbeginningtostumbleoveraformofdigitalliteracy,
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onethatIneverwouldhaveconsideredasanythingliterate,atleastnotinmyreality.
Youngkidsandadolescentswereengagingintheirownformofliterateculturethat
perhapsoutsiderscouldn’tunderstand.Ifiguredthatmysisterwasapartofthis
phenomenon,somethingthatIdidn’tevennecessarilyunderstand,andsoIbeganmyquest
tolearnmoreabouttheworldofgamingasaformordigitalliteracy.
ResearcherslikeJamesPaulGee,LoriNorton‐Meier,andConstanceSteinkuehler
supporttheideathatvideogamescanactasaformofliteracy(Gee,2003,p.4)(Norton‐
Meier,2005,p.430)(Steinkuehler,2010,p.61).Theremaybeteachersandadults(or
thosewhoaredigitalimmigrants)whoarenotcomfortablewiththeideathatthistypeof
technologyhaschangedthewayliteracyfunctions.Darby(2011)examinesthewaysin
whichstudentshavehadtoadapttothechangingtechnologyandliteracy,“Theabilityto
interpret,analyse,selectanddecodemultiplemessagessimultaneouslytocreatemeaning,
iskeyfor21stcenturystudents”(p.23).Studentswhoarefamiliarwithtechnology,those
digitalnatives,arerequiredtofunctionwithvisualliteracyandhigherlevelthinkingin
ordertoparticipateintheworldtheyenjoy(Sheffield,2007,p.2).Thisworldincludes
YouTube,Facebook,Tumblr,E‐Books,videogames,andallformsofentertainment.Ican’t
turnonthetelevisionwithoutseeingaboxintheupperrighthandcornerofmyprogram
withahashtagandatwitteraddress(#thevoice).Smagorinsky(2000)writesaboutideaof
thepurposesofliteracyasableto“construct,preserveanddocumentframeworksfor
socialpractice‐‐‐andtoenablecommunicationwithinthoseframeworks”(ascitedin
Darby,2011,p.23).Darby(2011)suggeststhatthepurposesofliteracyhaven’tchanged,
buttheskillsrequiredtobeconsideredliteratehave,asfarasthe21stcenturyis
concerned(p.23).
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SanfordandMadill(2007)researchedagroupofadolescentboysandfoundthat
theyparticipateinliteracythattheyenjoy(p.434).Theboysinthatstudywereall
adolescentswhowerereadingandplayingYu‐Gi‐O,readingsciencefictionandfantasy,and
foundinterestingraphicnovels(p.434).Similarly,mysisterfindssolaceinplayingher
games,namelySkyrim(anElderScrollsgame),andconnectinghergameplaytothe
charactersshecreatesinthefictionbooksshewrites.Sheiscurrentlyworkingonwritinga
bookthatdoesn’tdirectlyrelatetoSkyrimorhergameplay,butoffersimilaritiesbetween
thetwo.Forexample,herstorysequenceisbasedonalongtimelorethatextendsfurther
thantheactualbookitself.Skyrimisalsobasedheavilyinloreandfictionthatisnotjust
presentinthegame.ThislorethatLindseyhascreatedhasnothingtodowiththegameshe
playsinSkyrim,butIinterpretthatthefactshewrotetheloremeansthatshewantssome
congruencyinhergameplayandhernovelwriting.
GamerswhoappreciateorfollowtheElderScrollsstoriesknowthattheyarebased
onaworldsetinTamriel,afictionalcountrythathasstruggledthroughwarandconflict.
ThevideogamescomewithmapsofTamrielthathelpplayerslocatethevillagesand
townshipsthattheywilleventuallyplaythrough.IhaveincludedamapofTamrielbelowto
offeravisualaidasIexplainthehistoryandloreofSkyrim.SquireandJenkins(2011)
writeabouthowgamersaren’tjustlearningthroughthegames(asintherulesofthe
game),thegamersarelearningawholesystem,loreandhistoryincluded(p.5).Squireand
Jenkinswrite,“Videogameplayersdevelopafeelorintuitionofhowsystemsworks”(p.5).
Thisintuitionmaybewhatleadsgamers,likemysister,todeveloptheirown
understandingofthegamethroughwriting,reading,andotherformsofvisualliteracy.I
can’texplaintheexcitementthatmysisterhaswhenshebeginstotalkaboutthelore
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behindSkyrimorhowthelastElderScrollsgame,Oblivion,relatetothenewergames.I
observedmysisterplayingandconnectingSkyrimtoherownreadingandwriting.
(ElderScrollsWikia,2011)
ItwasevidentfromthemomentmyresearchbeganthatIwasgoingtobeobservinga
worldcompletelyunfamiliartome.Mysisterhandedmethebook,TheInfernalCitybyGreg
Keyes,anovelthatisbasedontheElderScrollsseries.
LindseyisnineteenyearsoldandisacoupleyearsolderthanthestudentsthatIwill
beteaching.Itmaynotseemlikeacoupleofyearswouldmakeadifference,butIwould
arguethatshehasauniqueinsightthatmanyfourteen‐fifteenyearoldswouldnothave.
Forexample,Lindseyoncespoketomeabouttheracismthatshehasseenwithinthegame.
ThereisalotofconflictinSkyrim,thebiggestofwhichresultingfromtworaceswhodonot
getalong.Lindseysuggeststhattherearetimeswherethegamementionsthetension
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betweentheracesandthisreallyservesasatypeofsocialcommentary(Fieldnotes,
09/16/2012,p.3).Therearemanywaysthatvideogamesrepresentandperpetuate
stereotypesandvariousstigmas,buttheycanalsodefythosestereotypes.
Skyrimisnotmyfirstinteractionwithdigitalliteracy.Iplayedvideogamesgrowing
up,moreofthelikesofSuperMarioBrosthananintenserole‐playinggame.Iremember
onegameinparticular,Assassin’sCreed,wherethemaincharacter(whomyouare
controlling)stopstheantagonistfromburningbooks.Whatmessageisthissendingtoour
students?Doesthesceneinthisgameactasapoliticalstatement,andifitdoes,arethe
gamersthinkingcriticallyaboutgamestheyareplaying?InmyownresearchIfoundthat
Lindseydidtendtothinkaboutthecriticalaspectsofthegame(Fieldnotes,09/16/2012,
p.3).IthinkthatthisspeakstoLindsey’sownpersonalabilitytoconnectcriticallytothe
gameinawaythatmanyadolescentsmaynot.However,itmayalsohavealottodowith
thematerialshereadsaboutSkyrimthatisnotnecessarilyapartofhergamingexperience.
WhenIbeganreadingTheInfernalCitybyGregKeyes,Iwasreallyconfused.Ibegan
lookingupmapsofTamriel,thecontinentthatSkyrimisseton,becausemostofthe
languageissimilartowhatIwasfindingthroughoutthevideogame.Istartedthinkingthat
forLindseytobeabletoreadandcomprehendthisbook,shewouldhavehadtoputalotof
timeintolearningandunderstandingthiswholeotherworld.Skyrimismorethanjusta
game;it’sawholeotherreality.
Inthegamingworldtherearealotofpreconceivednotionsaboutwhatvideogames
entail:sex,drugs,violence,andrevenge.Bijvank,Konijn,andBushman(2011)didastudy
onboysandvideogamesandthefindingsshowedthatboysinthelowesteducational
groupsfoundviolentvideogamesmoreappealingcomparedtoinhighereducational
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groups(p.158).Theseoutcomesareconcerningbecausewewantourchildrentosurround
themselveswithpositiverolemodelsandexamples,andtobehonest,theviolencethat
presentsinsomevideogamesisjustdownrightscary.Thestudyalsotriedtodetermine
whetherthelowereducationalgroupalsoshowedsignsofhigheraggressivebehavior
(Bijvank,Konijn,andBushman,2011,p.154).Bijvank,KonijnandBushmanbrokeupthe
videogamesintothreedifferentcategories,“Stand‐alonegames,LocalandWideArea
Networkgames(LA[W]N),andMassiveMultiplayerOnline(RolePlaying)Games
(MMO(RP)S)”(p.154).SkyrimwouldbeconsideredaStand‐alonebecauseitdoesnot
involvemorethanoneplayerorgivetheplayertheabilitytoconnecttotheInternet.
However,categorizinggamessosimplywouldn’tbecorrectinthiscase,becauseofthe
diverseandexpansivetechnologythatwehave,whichallowsplayerstoplayandenjoythe
gametogetherthroughsocialcommunities,YouTubeplay‐throughs,andforumswhere
gamerscaninteract.BelowI’veincludedarecentpostfromLindsey’sTumblrpagewhere
sheinteractswithotherpeople,mostofthemshedoesnotknow,totalkaboutSkyrimand
therestoftheElderScrollsgames.
AANNOOTTHHEERRSSkkyyrriimmCCoonnffeessssiioonn??
Yes.
Inevereverusethehousecarls.Iliketheideathattheyjustsitinmyhouses,eatingfood
thatwasmiraculouslyplacedinmyhomesjustbecauseIboughttables.PlusIfeelawkward
havingsomeonefollowmearound,fightingformeandcarryingmystuffbecausethey
wereassignedtome.
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ItalsohelpsthatIprettymuchdespiseLydia…seeninanearlierpostfrom,yesterday?I
think.
Andsidenote,yes,I’mtotallycomfortablehavingmycharacterpay500septimsfora
friend,solongasthatfriendisonebythenameofMarcurio(whoImayormaynotbein
lovewith…asinIdefinitelyam).
;D
(L.Frazer,personalcommunication,November29,2012)
Lindsey’spostonTumblrhowshedoesn’tusehousecarls(thosecharactersthataregiven
toplayerstohelpthemthroughthegame).Gamershaveachoicetotakethehousecarl(for
free)ortopayforamercenarytofollowyouandhelpyouinbattle.Lindseyhadmentioned
theracismthatsheseeswithinSkyrim,butshenevermentionedtheuseofhousecarlsor
mercenaries(Fieldnotes,09/16/2012,p.3).Housecarlshavenochoicebuttofollowthe
characters,theyactassoldierstotheJarl(themayor/king),andhavegiventheirloyaltyto
protectwhomever.Couldthisbeconsideredaformofservantorslave?Throughmyown
gameplayexperienceIwouldnotconsiderthisoneoftheformsofracismshowninSkyrim.
Bijvank,Konijn,andBushman(2011)showedthatlowereducationalgroupswere
attractedtomoreviolentgames,whichhappenedtobetheStand‐alonegames(p.157).I
believethattherearepeoplewhoplaySkyrimsolelyforthepurposeofslayingdragonsand
killingthieves.Afterexaminingmysister’sgameplay,agamer’sconnectionwiththetext,in
thiscasethegame,isdeeperthanjustthesurfacelevelviolence,especiallyinagamelike
Skyrim.
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ObservingLindseyplaythisvideogamewasunnervingforme.Lindseyplaysthe
gameinalmostcompletedarkness,whichIwasnotfondofbecauseofmytendencytoget
frightenedbywhatishappeningonscreen.Atfirst,Iwasreallyinterestedinthechoices
thatLindseymakesthroughoutthegame;hercharacter’sname,what“race”shechoosesto
be,andwhatspecialpowerssheupgradesthroughoutthegame.Lindseytypicallyfocuses
onsneakabilitiesbecauseshelikestopickpocket,somethingthatIcategorizeasher
naturalinstincttojust“bebad.”WhenLindseyischoosinghercharacter,shethinks
carefullyaboutwhatshewantstobeandwhotheyareasacharacter.Iinterpretthisas
fromthepartofLindseythatismoreofawriterthanagamer,butIimaginethattheyare
interrelated.Frommyownfieldnotes,“Aftermuchdeliberation,Lindseychoosesthename
YsobelforherImperialcharacter”(fieldnotes,09/16/2012,p.2).Ithinkthatit’s
interestingthatshespendssomuchtimeonanamethatIdidn’tevenrememberafterthat
particularday.Thegamewon’tmentionthecharacter’snameanditisn’treallyimportant
foranyotherreason.Lindseyspentsomuchtimelookingupnamestodeterminehowthey
mightbespelleddependingonhercharacter’srace.Shespendssomuchtimeduringthis
processbecausesheisinvestedinthegameandhercharacter.Sheis,atthismoment,
relinquishinghercontrolinrealityandcreatingherownidentityinthegame.Gee(2003)
suggeststhatallpeoplewilltakeonnewidentitiesduringlearning,“Itrequirestakingona
newidentityandformingbridgesfromone’soldidentitiestothenewone”(p.51).Gee
explainsthisbysayingthatachildinscienceclass,whoisactivelyengaged,isnotpassively
learning,butrather,thatchildisbecomingascientificthinker(p.51).Mysister,while
creatinghercharacter,isnotpassivelyplayingthegame,sheiscreatinganewidentityout
ofwhatshealreadyknowsaboutSkyrimasaworld.
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Gee(2003)alsoidentifieshowdifferentidentitiesareevolvedthroughoutrole‐
playinggames(RPGS)likeSkyrim(p.54).ThefieldnotesthatIhavefromwhenIcreated
mycharacterweremuchdifferentbecauseIhadlessunderstandingofthegameitself.For
example,ItookmoretimetogetfamiliarwiththecontrolsonthegameandIwas
constantlyaskingLindseywhateachracemeant,whattheirstrengthswere,andatone
pointitwassobadthatIjusttoldhertopickacharacterforme(sherefused).Beloware
actualgameplaynotesthatIrecordedthroughoutmyfirstattemptatSkyrim.
ThefirstthingInoticeaboutmyowngameplayisthatIdon’tworkthecontrolsas
smoothly.That,Isuppose,isnottheworseissuetohave.
TooktimetoreadabookaboutthehistoryofSkyrim
Becamethedragonbornbyfightingadragonandgainingthe“shout”power.
I’malotmoreskepticalaboutwhatIdoandwhereIgowithinthegame
IdonotunderstandtheinnerworkingsofthegameaswellasLindsey
Ilearnedhowto“fasttravel”
(FieldNotes,09/16/2012,p.3)
LindseychoseanImperialcharacter,thosewholooklikehumansandareapartof
theEmpire.ThereisawebsitethathelpsagamerchoosetheirnameinSkyrim,which
showsthatthereisdefinitelyanimportanceformakingyourcharactermatchthegamein
almosteveryway.Bijvank,Konijn,andBushman(2011)namedanimportantfeatureof
theirstudyasthevideogamesabilitytopresentwishfulidentificationtotheuser(p.155).
Hoffman&Buchanan(2005)state,“Wishfulidentificationistheplayer’sdesiretoemulate
thecharacterinthegame…”(ascitedinBijvank,Konijn&Bushman,2011,p.155).Theidea
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ofwishfulidentificationconnectsbacktoaconversationthatIhadwithLindseyabouther
needtorelatetohercharacterandhercharacterbeingwhatshewantstobe.More
interestingisthatLindseyhadcreatedamalecharacterforthefirsttimeinherownSkyrim
gameplay.Iaskedwhatcharacteristicsshewantedhermalecharactertohaveandher
replywasthatshemadehimtheperfectguy.Shestated,“It’sweird…he’sactuallymy
versionofwhatIwantinaman”(Fieldnotes,2012,p.8).Ithinkit’sveryinterestingthat
Lindseythinksabouthowhercharacterrelatestoherselfasarealperson.Itmakesme
wonderifothergamersalsosubconsciouslychoosecharactersthatfittheirown
personalityorthepersonalitytheywantinapartner.
(URL,SkyrimCharacterCreation,2012)
AsIcontinuedtoobserveLindseyeveryweek,Ibecameincreasinglyawareofmy
roleasanoutsider,notonlywithinthegame,butalsogamingasacultureoverall.Idecided
atthatpointthatIwoulddelvedeeperintomyowngameplayandrelatesomeofmyown
experiencestowhatIwasinterpretingaboutLindsey’sgameplay.ThefirstthingthatI
realizedwasthatmycharacterwasextremelydifferentthanLindsey’scharacter.My
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characterwasaBretonwhousedmagicbecausethatwassomethingIwasinterestedin.As
IplayedthegameIrealizedthatIdidn’tlikeplayinginthedark.Itscaredme,mademe
moresusceptibletohaveminormeltdownswhendragonsorothercreaturesattacked,and
justoverallmademeuncomfortable.IthinkthishadalottodowithhowmuchIwasstill
outsideofthegame,inthiscasenotasanoutsider,butactuallyoutsideofthegame,in
reality.FrommyownfieldnotesItalkedaboutmyexperience,“Igetreallynervouswhile
fighting,I’manxiousandIwantittobedoneandoverwith”(Fieldnotes,09/16/2012,p.
3).IdidnoteverletmyselfgettothepointthatLindseyisatinthegame.Whenshecreates
hernewidentity,shebecomesthatcharacterinawaythatIhaven’tbeenabletodoso.
IalsorecognizedthatIdidnotplaythegamelikeLindseyplayedthegame.When
Lindseyplaysthegame,sheishercharacter.WhenIplaythegameI’mstillmesittingon
thecouchfreakingoutoveradragon.Iwasnotparticipatingasmyowncharacterinthe
game.Iallowedmyselftogetbotheredbythingsthatweren’treallyhappening,orbecome
stressedandworriedoverthegame,whichisn’treal.Thedichotomyisthatthegameisnot
realformebecauseIcannotrelatetoitinthewaythatLindseydoes,however,whenIplay
ItreatthegameasifIweretheonebeingattackedinsteadofmynon‐livingcharacter.One
exampleofLindsey’sabilitytosuspenddisbeliefthroughoutthegamingexperienceisina
sectionofmyFieldnotes:
LindseyisatFortGraymoore;shehaskilledallthebanditsandisnowtakingtheir
goldandpotions.Lindseyfoundatortureroomwheretherewereburntpeople
(dead)insideofcages.Thisisshowinglotsofviolencethroughoutthegame.Also,
sheranacrossanoldwomanwhosaidthatsheworkedforthebandits,cleaning
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theirFortanddoingwhattheyasked,sheseemedlikeahousewife,butwithoutany
benefits.
(Fieldnotes,10/13/2012,p.1)
InthissectionofmyFieldnotes(10/13/2012),Lindseyshowsnosignsofquestioningthe
factthatsheisinaroomusedfortortureoranyemotiontowardstheelderlywoman(p.1).
WhileIprobablywouldn’thavesaidmuchtotheoldwoman,Iwouldhavebeenalittle
unnervedbythefactthatthispartofthegamewasincrediblyviolent,somethingthat
Lindseybypassedsoeasily.IalsoknowfrommyfieldnotesthatI’mnotalwaysthinking
likeagamerandIrelyonLindseytoletmeknowwhenIshouldpaymoreattentiontomy
owngame.
Lindseytalkstothetelevision,theothercharactersspecifically,asifshewereher
character.Inadiscussionthatwehadlateron,sheadmittedthatoneofthebestpartsis
creatingacharacterandactuallybeingthatcharacter.
K:Doyourealizeyousayhystericalthingswhileplayingthegame?
L:Yeah,Igetalittlecarriedaway.(Laughter)
(FieldNotes,10/13/2012,p.1)
Someofmysister’scommentaryiswarranted,asinhercommentsrelatetothegamesheis
playing,“DidIgeteverybody?”(FieldNotes,10/13/2012,p.1).Inthisscenariosheis
askingifshehassearchedallthebodiesshehadkilled.Thismakessenseinthegame
becausemanytimesbodieswillcarrygold,spells,andvaluablesthatcouldbeusefulto
yourcharacter.Iinterpretedthesecommentsasinquisitiveandrelativetothegameasa
playerandasacharacter.Hercommentmadesenseifshewasaskingmeandalsoifshe
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wasspeakingtoherself.Mostofthetime,LindseyspoketoherselfortalkedtootherNPC’s
(nonplayablecharacters),“Hey,you,don’tmesswithmyfollower”(Fieldnotes,
10/13/2012,p.2).Thiscommentwasmadewhenanothercharacterwasattackingthe
personwhowashelpinghercharacterfight.Shebecamedefensiveofhercharacterand
startedmakingcommentstotheothercharactersinthegame(Fieldnotes,10/13/2012,p.
2).
Mostofmyfieldnotesaremadeupofdialoguethatoccursthroughoutthegame
betweenthegamer’scharacterandtheNPC’s.WhatIstartedlearningwasthattherewas
morethanjustastoryaboutacharacterslayingdragonsinSkyrim.Lindseygivesalotof
thoughttowhatpathhercharactertakesduringthegame.Forexample,inthebeginning
shespendsalotoftimelevelingupandbecomingastrongercharacter.
Shemakessurethatwhensheisonquests,sheispreparedforwhatmaycome.She
assumesthatyoumayneedtobeahigherlevelforcertainquests.Shedoesn’twant
tobeoverwhelmedbythequest.It’simportanttoyoutomakeyourownarmor.
Whenshemeetsnewpeopleinthegame,shetendstonottrustthembecausemost
likelytheyarethieves.ShemeetsArvelafterkillingthefrostbitespider.Lindseykills
Arvelbecauseshecan’ttrusthim,butthefirsttimesheplayedshechosenottokill
him.Lindseytriesnottokillthingsjusttokillthem,thoughmuchofthetimeit
appearsthatitiswarrantedinSkyrim.Lindseyisadamantaboutcheckingthedead
bodiesforgoldandotheritemsthatwillbeusefultoher.Lindseypreferstotake
people’sthingsandlikestosneakaround.Shetendstotalktoherselfaboutthe
gameandwhatisgoingoninthegame.Throughoutthegame,themusicwillchange
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basedonwhatisoccurring.Lindseytendstocommentonwhatishappeninginthe
game.
(Fieldnotes,11/1/2012,p.1)
Inthissectionofmyfieldnotes,Lindseyistakingextremecareinwhatisgoingonaround
hercharacter.Iwrotethatthemusicchangesthroughoutthegamedependingonwhatis
occurring,whichissomethingthatmakessensetome,becauseLindseypointeditout.Itis
clearthatsheiscognoscenteofhergameplayandwhatisgoingonaroundher.
AsIthinkaboutsomeoftheconversationsthatIhavehadwithLindsey,Irealizethe
importancethattheloreactuallyistothegameplay.Lindseywouldarguethatknowingthe
loreortheback‐storydoesn’tchangethegame,whichisinparttrue,butitdoeschange
howacharacterreactsincertainsituations.Toscano(2011)expressestheideaofgaming
asatypeofnarrative,“Becausevideogamesembedgamersintothevirtualdigitalworld
muchasfilmembedsviewersintothefilmicnarrative,theyshouldberecognizedashaving
anarrativefeel”(p.7).Theideathatgamersareliterallyembeddedintotheirgamemay
seemstrange,buteventherelationshipbetweenmysister(real)andhercharacter
(unreal)providesevidencethatgamershaveaseriousconnectionwiththegamestheyare
playing.
Therearemanyofwebsitesthathelpexplaintheloretonewplayers.TheoneIused
formyownpurposeswas“TheElderScrollsHistory”bySalBasile.Basile(2011)writes,
“TheHighKingofSkyrimhasbeenmurderedbytheleaderofrebelsoftheNordcivilwar,
UlfricStormcloak”(p.1).UltimatelythemostimportantthingtoknowisthatSkyrimisset
inatimethatisonthebrinkofwar,andit’snotjustanywar,thiswarisonebetweenraces
(elvesandnords).Thecharacterthegamerplaysmusteventuallychoosetheoutcomeof
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thegamebysidingwiththeEmpireorwiththeStormcloaks.Notonlyaretherewebsites
forthelorebehindSkyrim,buttheElderScrollswebsitealsofeaturesacommunitypage
thatallowsgamers/userstotalktooneanotheraboutthegames.YouTubeoffersmany
outletsforthesametypeofthing,whereplayersfromallovertheworldcaninteractand
playthroughthegamewhilebroadcastingtothousands/millionsofpeople.Theseformsof
gamingallowplayerstofeelasthoughtheyareengaginginsocialinteractionofsorts.
WhileSkyrimfallsmoreintothecategoryofrole‐playinggamethansocialgaming,there
arestillaspectsthatallowusersotheroutletstobetheircharacters.Toscano’s(2011)
studyshowsthatthesesocialoutletscanleavegamersfeelingsolitaryandsocial,a
deceivingfeelingforthegamerwhoisnot,atthatpoint,reallysocializingatall(p.19).
LindseyisnotsocializingwhileplayingSkyrimonanylevelandmostofthesocializingshe
doesoccursoutsideofthegamethroughwebsitesandplay‐throughsdonebyherfavorite
gamersonYouTube.Danforth(2009)says,“’MassivelyMultiplayer’gamerssharevirtual
spacewiththousandsofotherslikethemselves,andnumerousofthesegamershave
attestedthattheyoftenusesuchgamestostayindailycontactwithreal‐lifefriendsand
familywhomightliveelsewhere”(p.50).Thetruthisthattherearemanygamesthatallow
gamerstoconnectwiththeirreal‐lifefriendswhilegamingsotheyaren’tmissingthat
socialaspect.HaloandCallofDutyaresetupwhereuserscanplayusingheadsetsthat
allowthegamerstoactuallyconversewithoneanotherwhiletheyplayasateamoverthe
Internet.
ThereismoretotheworldofSkyrimthanjustviolenceordecision‐makingquests.
Bethesda,thegamemakers,havecreatedaworldthathasit’sownconflicts,situations,
wars,andstrife,whichmakesthisgameincrediblyrealistic.Toscano(2011)believesthat
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thegamingworldmayfeelandseemveryrealistic,butitisreallynotrealisticmostofthe
time.IthoughtthiswasimportanttomyresearchbecausethatisexactlywhatIthink
Lindseydoesassheplaysthegame.Sheiscreatingherownstory,herownworld,by
branchingoutintoaworldthatshehaslearnedsomuchabout.Toscano(2011)says,
“Gamersentervirtualworldswithrulesthatmimiccultureandprovideentertainmentfor
leisureactivities”(p.6).Skyrimmimicsourownculturebecausetherearesocial
hierarchiesandaconflictthatisdirectlytiedtogovernmentandworship.
Thereareothervideogameswherestereotypesandhegemonicvaluesare
perpetuatedthroughoutthegameevenifthegamerdoesn’trealizeit.Toscano(2011)
showshowcapitalisticvaluesareportrayedingameslikeSonicandtheSecretRingsor
SuperMarioBrothers,wheregamersgoaroundcollectinggoldencoinsthatmakecha‐ching
sounds(p.5).HecontinuesbysayingthatevenonlinegamessuchasWorldofWarcraft
offerplayersvirtualcashforplayingthegamemoreoftenandlevelingup(Toscano,2011,
p.6).TheinterestingthingaboutplayersofWorldofWarcraftreceivingvirtualcashfor
playingisthatplayersofWorldofWarcraftareactuallypayingfortheservicesthatthey
use.NotonlyaretheypayingfortheInternetcost,whichtobefairmostpeoplewouldpay
anyway,buttheyalsopaytousetheWorldofWarcraftservers.Thegamecurrentlycosts
$19.99toinstallonyourcomputerandcontinuestocost$19.99amonthtocontinueto
playandusethosegameservers.Skyrimmayseemdifferent,thoughthegamealsofeatures
add‐ons(formoreadventurousquests)andinstallmentsthatallcostmoney.Thecostof
theseinstallmentsrangefrom$20‐$25dependingonwhattheinstallmentcomeswith,but
thisdoesn’tincludetheoriginalcostofthegame,whichafterayearonthemarketisstill
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pricedat$60atmostretailers.BythetimeaplayerhasinvestedinthewholeSkyrim
package,hemayhavespentwellover$100.
Lindseyhastranscendedthevideogameworldandhasalreadymadethemoveonto
digitalliteracyground.SheincorporatesYouTube,Tumblr,reading,writing,andany
otherformofInternetsharingtohercharacterandherworldinSkyrim.I’veaddedher
mostrecentTumblrpostbelow:
SSkkyyrriimm3300ddaayycchhaalllleennggee
Day3:Whatwasyourfavoritequestarc?
Thisishard.Reallyhard.BecauseIhavedoneallquestarcsanddidn’tdislikeany.Butmy
favorite?Okaymaybenotsohard…thievesguild.I’mastealthcharacteratheart,it’showI
wouldbeifIlivedinSkyrim.
Ialsofindthethievesguildreallyindepth.Mavenfascinatesme.AlthoughImaybebiased
asIwillgotothecisternjusttolistentoBrynjolf…
(L.Frazer,personalcommunication,December2,2012)
Lindseyhascreatedherownnarrativeidentitythroughtheidentitythatshehascreatedas
aplayerinSkyrim.SummerfieldandSummerfield(1986)saythatwerepresentwhatour
worldislikethroughourownstoriesandnarratives(p.103).Lindseyisportraying
throughthispostonTumblr,herownnarrativestory,andherowncharacteridentity.
WithouthavingthefieldnotesthatIhaverecorded,IwouldbeabletotellthatLindsey’s
characterlikestosneakandsteal,twotraitsthatareimportanttoher.I’vealreadystated
thatLindseypreferstojointhethieves’guildbecauseofherownfascinationwithdefying
21
whatisethical,becauseSkyrimisjustagame.However,Gee(2003)makespowerful
statementsaboutthedifferencesbetweentheidentitiesthatgamersandlearnerscreate(p.
54).Thefirstidentityisthevirtualidentity,theidentitythattheplayercreates(essentially
theplayer’scharacter).Lindsey’svirtualidentityisYsobel,theImperialcharacterderived
fromCyrodiil(Fieldnotes,09/16/2012,p.1).Thesecondidentity,accordingtoGee(2003)
isthereal‐worldidentity,whichisactuallywhotheplayerisintherealworld(p.55).The
finalidentityistheprojectiveidentity,whichisdifficulttodefine(p.55).Gee(2003)says,
Iwillrepresentthisidentityas“JamesPaulGeeasBeadBead,”wheretheword“as”
isitalicizedtoindicatethat,inthisidentity,thestressisontheinterfacebetween‐‐‐
theinteractionsbetween‐‐‐thereal‐worldpersonandthevirtualcharacter.
(Gee,2003,p.56)
Ithinkofthisasmerelythewayinwhichthereal‐worldpersoninteractswiththeir
character.Ibelievethatitisthisprojectiveidentitythatholdsmebackwhileplayinga
gamelikeSkyrim.Ifocusallmyenergyonmycharacterandwhensomethingdoesgo
wrong,Iturnmyenergybackontomyreal‐worldperson.Lindseyfluidlymovesbetween
concentratingonhervirtualidentityandherprojectiveidentity.Iconductedafinal
interviewwithLindseybecauseIwantedtotaketimetoaskhersomeofthequestionsthat
IhadreallybeenthinkingaboutasIobservedhergameplay.Belowisanexcerptofthe
interviewfrommyfieldnotes(The“K”standsforKeri,myname,whilethe“L”standsfor
Lindsey):
K:Howdoyoufeelwhenyouplaythegame?
L:Ifeelempowered
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K:Howso?
L:BecausewhenIchoosetohelppeople…Ifeelempowered…andI’malorewhore
K:Awhat?
L:Alorewhore…likeI’mkindofobsessedwithlore
K:Andbyloreyoumean?
L:Likethestory,theworld,understandingit
K:Whyisthatimportanttoyou?
L:Ican’treallysay…Idon’tknowIjustenjoy…Ienjoyengulfingmyselfinanother
world…beingabletobesomeoneelseforachange.
K:Isthatadrawforyoutobesomeoneelse
L:ThatsoundslikeIreallyhatemyself…butyeah
K:Whyelsedoyouplay?
L:Idon’tknowthat’sareallybroadquestion.LikeIknowthatseemslikeaquestion
thatisaneasyanswerbutit’snot.
K:Sohowaboutadifferentquestion?Howareyouabletospendsolong
continuouslyplayingthegame?
L:IguessjustbecauseIenjoyit?
K:Isitpreferabletootherthings?
L:Yes.IthinkitallgoesbacktoenjoyingplayingbecauseIlikeengulfingmyselfin
thesethings.It’sthesamewayIfeelwhenI’mwriting.It’sthesamereasonyoucan
watchafantasymoviefortwohours.It’sbecauseyou’reexperiencingsomething
different.
23
K:Doyouthinkthatyoupayingattentiontotheloremakesyouasmaller
percentage
L:IthinkElderScrollsfanspayattentiontolore,butgamersingeneralmaybedo
not.Ithinkit’sahardquestiontoanswerbecauseSkyrimismorepopularjust
becauseofthegame.Ilikegaming,butIlovestory,whichiswhyIdon’tplayCallof
Duty,becauseIcan’tgetdrawnintothestory,likeTheSims.
(Fieldnotes,11/18/2012,p.1‐2)
Inthisinformalinterview,Lindseyisdescribingwhysheenjoysthegamesomuch.Iasked
herwhatitisaboutthegamethatmakesherplayitforhoursuponhours.Lindsey
describesherfascinationwithlore,theback‐story,andhowithelpsherthinkaboutthe
gameinarealisticway.IbelievethatthisiswhatinspiressomeofLindsey’sownwriting,
herfascinationwiththeback‐storyofhercharacters.InthisinterviewIwastryingto
understandwhetherLindseyfeltlikepartofasmallpercentageofpeoplewhoexplorethe
literateworldofSkyrimoutsideoftheactualgame.
Throughoutthegame,acharactercomesacrossmanybooks,somerelevanttogame
play,othersarenotasrelevant.Acharactercanreadanyofthebooksheorshewishes.
Someofthebookshelpacharacter(levelup)andotherbooksarepurelyforinformation.
WhenIbegantoplaythegame,Iwouldpassbythebookswithoutgivingthemasecond
thought.Iwasdefinitelyjusttryingtofigureoutwhatthegamewasaboutatthatpoint.
Lindsey,ontheotherhand,wouldstoptoreadthebooks,especiallyiftheywouldhelpher
characterleveluporearnmoneysomehow.Aspartofmyresearch,Ihaveincludedavideo
ofLindseyplayingthegametogivethereaderanideaofwhatSkyrimlookslikeandwhatI
havebeenobserving.Inthevideothereissomeprofanity,whichmaybeattributedtothe
24
violenceofthevideogamebecausemysisterdoesnottypicallyuseprofanityasmuchas
shedoeswhileplayingthegame.ThisissomethingInoticedoverthecourseofmy
observations(Fieldnotes,10/13/2012,p.1).Ivory,Williams,MartinsandConsalvo(2009)
write“…classicempiricalevidenceforimitationofverbalaggressionsuggestsatleastsome
potentialforprofanity‐lacedgamestoincreaseverbalaggressionalandgeneraluseof
profanityamongplayers”(p.459).Icouldnotfindmuchresearchonthetopicofprofanity
asusedbytheplayersthemselves,buttheuseofprofanityissomethingthatIhave
observedwhilewatchingLindsey.Inthevideosheevenmakesacomment(inpartthree)
abouttheuseofherprofanityandhowsheshouldwatchwhatshesays(Fieldnotes,
12/8/2012).Thesevideosarenotthebeginningofthegame,butratherjustclipsof
Lindseyplayinginthemiddleofaquest.ThelinktotheYouTubevideocanbefoundat
thesewebaddresses:
PartOne:http://www.youtube.com/watch?v=XIt4fPLePuo
PartTwo:http://www.youtube.com/watch?v=kb4kDcIYCe0
PartThree:http://www.youtube.com/watch?v=s‐k29mRnqGQ
ThroughmytimespentobservingandplayingIhavelearnedalotabouthowvideo
gamesfunction.Gee(2003)writes:
“Videogamesincorporateapowerfullearningprinciplethatfitswellwithinquiry‐
basedclassroomsandwithworkplacesthatencourageworkerstothinkproactively
andcriticallytobuildnewknowledgeinpracticeforbusiness,butpoorlywith
traditionalist,passive,skill‐and‐drillschool‐basedlearning”
(Gee,2003,p.194)
25
Videogamesmayrepresentonesetofdigitalliteracypractices,onethatdoesengagemany
ofourstudents.Therearesomesituationsinwhichtheutilizationofvideogamesorthe
conceptsbehindvideogamesmaybeusedinaclassroom,whileatothertimesitwouldbe
inappropriate.Eitherway,we,aseducators,mustcontinuetoanalyzethesegames(and
otherformsofdigitalliteracy)andbecomemorefamiliarsothatwecanrelateour
classroomdiscussionstotopicsstudentscanrelateto,andsothatstudentscancontinueto
getmeaningfromourcontent.
26
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