Thursday, February 01, 2007

What's next: a Ph.D. in video gaming?

From CNN Money .com
http://tinyurl.com/24ndw6


What's next: a Ph.D. in video gaming?
Electronic Arts endows chair at USC's School of Cinema-Television for interactive gaming studies.
February 8, 2005: 10:13 AM EST

NEW YORK (CNN/Money) - Video gaming reached official academic status Tuesday when Electronic Arts endowed a chair at the University of Southern California for the study of interactive entertainment.

Bing Gordon, Chief Creative Officer and co-founder of Electronic Arts (Research), was named the first holder of the Electronic Arts endowed faculty chair at the USC School of Cinema-Television, according to a statement from the company, the biggest video game publisher.

The USC School of Cinema-Television already offers programs in directing, producing, writing, animation and digital arts, interactive media and other areas.

The Electronic Arts endowed faculty chair will be a rotating position that will be held for one to two years by industry leaders in the field of interactive entertainment who will join the school's faculty as visiting professors.

"A leader in the game industry for more than 20 years, Bing once again is making history as the inaugural holder of the first-ever endowed chair at a university for the study of electronic gaming and interactive entertainment," USC Dean Elizabeth Daley said in the statement.
Since co-founding Redwood City, Calif.-based EA in 1981, Gordon has played a role in the development of nearly every game the company has published.

Gordon also has co-taught a "Video game Prototype Design" class at Stanford University and is a trustee at the Urban School of San Francisco.

Real cars drive into Second Life

From CNN Money .com


Real cars drive into Second Life
Car companies open dealerships in virtual world. Extended warranties not needed, optional dragon heads available.
By Peter Valdes-Dapena, CNNMoney.com staff writer
November 18 2006: 12:38 AM EST


NEW YORK (CNNMoney.com) -- General Motors' Pontiac division is spending thousands of dollars to create a make-believe dealership that will sell make-believe cars for as little as a few dollars a piece.

The dealership will exist, so to speak, in Second Life, an on-line virtual world.

Second Life allows users to animate a computer-generated representation of themselves - or someone they might like to be - and move about, talk, walk and "teleport" from place to place in a computer-generated world all while interacting with people who might be, in physical fact, thousands of miles away.

Since it started about three years ago, the population of Second Life has grown to 1.2 million users.

For now, at least, the Pontiac dealership will offer just one model: the Pontiac Solstice GXP. But you can have it in any color you want. And we do mean any color. Stripes, spots, plaid, purple daisies. No problem.

Surrounding the dealership will be Motorati Island, 96 virtual acres that GM (Charts) has bought and will give away, lot by lot, in "land grants" to Second Life members interested in building car-culture oriented business.

Gallery: Second Life Cars
Some ideas include drive-in theaters, car customizing shops and restaurants with in-car dining service.

There will be no repair shops.

"I would hope you wouldn't have a virtual breakdown of a virtual vehicle," said Pontiac Spokesman Jim Hopson.

On the heels of Toyota
Pontiac is entering a space already occupied by two of the brand's Japanese competitors.
Scion, which opened a dealership in Second Life on Nov. 6, sells its three models there. Toyota's (Charts) youth-oriented brand, has so far sold about 200 computer-generated cars in Second Life, said Scion spokeswoman Allison Takahashi.

Commerce in Second Life is transacted using Linden Dollars that can be purchased with real currency. The current exchange rate is about L$280 per US$1. A virtual Scion sells for about L$300, or a little over a buck, said Takahashi.

The key feature of Scion's Second Life cars is that they are fully customizable. Owners have added big off-road tires and wheels to the cars. To the Scion xB, a boxy van with a shape reminiscent of a toaster, one customizer added two giant slices of toast.

The Scion showroom exists in its own neighborhood, Scion City, inside Second Life.
"Scion City is this sort of futuristic, gritty, decaying city," said Reuben Steiger, chief executive of Millions Of Us, the company working with Scion and Pontiac to create their virtual corporate presences.

Prior to founding Millions of Us, Steiger was Evangelist for Linden Labs, the San Francisco-based company that created the Second Life universe
Nissan (Charts), which opened its Second Life dealership in October, is providing copies of its Sentra to residents free of charge. The cars are delivered from a vending machine the size of an office building. But first, you have to request a meeting with someone named Toast Alicious. He is, as you might have guessed, a piece of toast.

"You're teleported to the toast avatar and the toast avatar gives you a token," said Steve Kerho, Nissan's director of media and interactive marketing.

Put the token into the giant machine and out pops a Sentra. It's yours to keep and drive as long as you like. Nearby on Nissan Island is a test track with a vertical loop so you can test out your driving skills. So far, Nissan has handed out about 2,500 virtual Sentras.

Nissan's cars have only limited customization possibilities, Steiger complained.
"You can't turn the hood into a dragon head," said Steiger, "which would be really cool."
Nissan aimed, instead, for a lifelike representation of the product. The only available colors are those you could get on an actual Sentra. Even the interior is rendered in true-to-life detail, except for a few additional items like an anti-gravity button in the middle of the dashboard. It's needed to drive around the giant loop.

Making cars from pixels
Everything in Second Life is created by its users from "primitive objects," or "prims," a set of seven fundamental shapes. Like Lego blocks, they can be combined to make useful things such as nightclubs, fashion accessories, guns and cars.

Virtual vehicles are a particular challenge to build, said Steiger.

Much like extra weight in real cars, complexity slows down virtual cars and makes them drive badly. Complicated shapes tax the virtual car's engine - the computer's processor - so little power is left to make the car drive in a quick, fluid motion.

To minimize the number of "prims" involved, while making a car look like something other than a wagon load of cinderblocks, designers must be especially creative. Basic shapes can be carved in a process sometimes referred to as "torturing the primitives." Colors can also be used as shading to suggest contours.

Even the best result can end up seeming, inadvertently, like the products of an incredibly advanced technology. Or a Woody Woodpecker cartoon.

Cars will occasionally drive part way through solid objects like utility poles and walls. Someone posting on a blog for Electric Sheep, the company that created Nissan Island, mentioned his car was so fast it was able to drive over a bridge before the computer had time to finish making the bridge.

Automobiles are largely unnecessary as transportation in Second Life, a place where individuals can shift themselves almost instantly from place to place.

But they excel as a form of self-expression, even more-so than real cars, said Steiger. So user-created cars, as well as airplanes, snowmobiles and blimps, existed in Second Life even before real-world car companies started buying land and opening dealerships.

With Motorati Island, Pontiac hopes to develop the nascent "car culture" within the Second Life community, said Hopson.

Potential Second Life entrepreneurs can submit ideas at the Website Motoratilfe.com and there is no need for the ideas to have anything to do with Pontiac in particular, said Hopson. They just have to involve cars.

"The potential of this is rather staggering," he said.

Gallery: Second Life cars

How real money works in Second Life

From CNN Money .com
http://tinyurl.com/y54jyq

How real money works in Second Life
CFO of Linden Lab talks about what it's like to operate the LindeX Currency Exchange, a real market in the virtual world.
By Grace Wong, CNNMoney.com staff writer
December 8 2006: 12:15 PM EST


NEW YORK (CNNMoney.com) -- If you're angling to become the next business tycoon in the virtual world of Second Life, you're first going to need some Linden dollars.

Linden dollars - the currency of the virtual world which can be converted into real U.S. dollars - are being pumped through the economy of the booming three-dimensional world as more people explore what it's like to live a second life.

Residents can buy and sell Linden dollars on the LindeX, Second Life's official currency exchange.

No, Second Life is not overhyped
CNNMoney.com asked John Zdanowski, CFO of Linden Lab - the company that created Second Life - what it's like to operate a real market in a virtual world.

CNNMoney.com: Why did Linden Lab launch the LindeX Currency Exchange?

John Zdanowski: The Lindex basically facilitates placing value on the Linden in-world currency. There were a lot of other players doing it out there and we thought consolidating the volume in one place would reduce volatility and improve the tradability of the Linden.

Q: Is the LindeX an income generator for Second Life?
A: It is, but it's a small portion - probably less than 10 percent of revenue. [Linden charges fees for currency transactions.]

Q: Has the Linden dollar always been a floating currency? Why not make it a fixed rate currency?
A: I think the strategy of making it floating - in letting the market set the price - makes sense to us since we have a worldwide customer base. More than half of our new users are from outside the U.S. It creates more flexibility, it's more interesting - and more fun.

Q: The dollar has been sliding against a broad array of currencies the past month, how has it been holding up against the Linden dollar?
A: The in-world economy has been growing so rapidly, faster than the money supply, so there's been constant pressure for the Linden to appreciate against the dollar.
But we have ways to offset that. There are Linden stipends we offer to premium users. Another method we have for managing that is we can actually sell Linden directly on to the exchange. The third method we have for managing money supply is "sinks." When someone wants to do something in-world, they have to pay a Linden fee for it. For example, uploading an image or a file - residents have to pay Linden to do that. So those are the sources and "sinks" that help us manage the money supply.

Q: So Linden Lab does monitor economic activity in Second Life and adjust the money supply accordingly?
A: As much as we can. At this stage, we have limited tools for managing [the money supply]. We'll pull the levers we have when we can.

Q: Are there any controls in place aimed at keeping the Linden dollar stable?
A: There are "circuit breakers" at the broad level. There are limits on how much currency an individual can trade on a monthly and daily basis, according to how long they've been in world.
There are also controls against fraud - that's something other currency exchanges don't really have to deal with.

Q: How liquid is the LindeX?
A: Liquidity has been quite good and it's been rapidly expanding when you net out the activity Linden does on the LindeX.
There's been rapid growth as users have become more confident in the exchange itself. We can see increased confidence in terms of the Linden balances people hold - they've increased dramatically since we implemented the LindeX.

Q: In the real world, demand for a currency is based on a number of factors - from interest rates to the level of economic growth. What is demand for the Linden dollar based on?
A: It's based on the fact that Linden dollars represent a limited license right to use certain features of Second Life. In as much as the features people want to use in Second Life are valuable, then the Linden is valuable as a virtual currency.
The other thing that makes it valuable is that people are willing to trade real currencies for it and have confidence they'll be able to do that in the future. A lot of the dynamics are like the real world.
At the end of the day, growth of the use of the world and growth of the services provided in the world determine the value.

Q: One of the reasons Second Life has made headlines is because residents have been prospering from virtual real estate. Do you think there may be a housing bubble in Second Life?
A: I'm not sure it works that way. The world has been growing, but real estate doesn't have the same dynamic as in the real world. In the U.S. there's a fixed amount of waterfront real estate whereas in Second Life there's as much waterfront real estate as people want.

There hasn't really been inflation in the value of Second Life real estate. Value is created more by what people build on it and what they do on it rather than the land itself. If someone creates something beautiful and desirable, then that can have more value for people than the base land.

No, Second Life is not overhyped

From CNN Money .com
http://tinyurl.com/yzguc3

No, Second Life is not overhyped
Is it a game? No. Is it a marketing opportunity? Yes, but who cares? What matters most is that it may point to the future of the Net, says Fortune's David Kirkpatrick.
By David Kirkpatrick, Fortune senior editor
November 10 2006: 4:02 PM EST


NEW YORK (Fortune) -- Second Life, the three-dimensional virtual world, has been getting tons of press lately. In the software, which anyone can download for free, you travel around as an "avatar" representing yourself (with a different name), through a huge range of spaces - beautiful natural environments, shopping malls, museums, clubs, homes, apartments and cities. So far, it's signed up 1.3 million members.

It's not a game, it's just a place you go to do whatever you want to do. It has been on the cover of Business Week, on the front page of the New York Times Escapes section and in the coverage of Reuters, which has now assigned a reporter to operate full-time inside Second Life. The Reuters reporter, Adam Pasnick, told CNET that his assignment has caused so many waves he's been getting interview requests from Poland, Colombia, Brazil and New Zealand.

W Hotels has built a prototype of its new Aloft hotel brand inside Second Life. It was featured in the Times, among many other articles. W President Ross Klein told me that while the company originally just wanted to test out concepts, the PR value from all the stories written about Aloft in Second Life has given the company a "hundred-fold" return on its investment, just in positive PR. Even IBM (Charts) CEO Sam Palmisano can now be seen lurking around Second Life.

Investing in the online property boom
Yet Second Life may be more important, longterm, than even this much publicity would suggest. That's because what it really may represent is an alternative vision for how to interact with information and communicate over the Internet.

Yes it's cartoony, but one of the great things about Second LIfe is that whenever you are doing anything, you can see the other people who are nearby as well. This brings a dimension of social life - so elemental to how we live our lives offline - to the Internet in a way that up to now the Web has not. In Second Life everything you do is done in a social space, though you can get privacy if you want.

So far Second Life is way too hard to use. The people who do best there are still techie types. It requires a fairly powerful computer. You have to download a special software application to use it. It can't be used in many corporate offices (like mine at Time Inc., for instance).

But Second Life is important as much for what it represents as for what it concretely offers today. Looking at Second Life makes me realize just how much the Web, wonderful and useful as it is, still mimics a print model.

We are all lathered up about the success of News Corp.'s (Charts) MySpace. But the social networks of the future will probably be much more than merely a bunch of Web-site-like collections of data, as MySpace is today. MySpace beat Friendster, the previous champion social networking site, by allowing its members much more freedom in how they created their pages.
Second Life goes much further. It took a radical approach to design from the beginning. It offered itself as a mere platform for the creations of its occupants. Essentially everything seen inside the software today was created by its users.

All that the company that operates Second Life, Linden Lab, sells is server time and network capacity. The more real estate you own, the more you pay. It costs nothing to enter, so you can go in and explore all you want. It's often worth it to own real estate, because you can make real money by renting it out or developing it to resell.

MySpace cowboys
Users pay in Linden dollars, which can be converted to real dollars. Though Second Life has established codes of behavior, and does enforce them, restrictions are minimal. Second Life really is the creation of its residents.

One of the more intriguing aspects of Second Life is that it includes links to content outside. If you go, for instance, to Sony's (Charts) island, you can enter a Christina Aguilera room, and watch her latest video (while your avatar sits in an easy chair, of course). There's no reason why some version of a 3D world couldn't eventually offer as much functionality as we get today on the Web, and more. An interesting corollary - searching with Google (Charts) might be harder. It's completely text-based.

Every day more big companies turn their attention to this new medium, realizing that it really represents something new. I'm now convinced that one day Second Life or something related to it will become a Google/Yahoo/MySpace-scale company.

Maybe Second Life will grow organically to become that company. Or an existing giant striving to stay relevant might buy it. Or maybe somebody will build a different, even better virtual world.

But we're seeing something new and important. If you want to stay abreast of what's happening in tech, you need to get inside Second Life. If you run into David Liveoak, don't hesitate to say hello.

Second Life to go open source

From CNN Money .com
http://tinyurl.com/u33tj

Second Life to go open source
By David Kirkpatrick, Fortune senior editor
January 8 2007: 7:00 AM EST


The creator of the burgeoning 3D virtual world expects it to grow even faster with outside programming help, David Kirkpatrick reports in a Fortune exclusive.

NEW YORK (Fortune) -- Aiming to take advantage of its already-impressive momentum, San Francisco's Linden Lab, developer of the Second Life virtual online world, will announce Monday that it is taking the first major step toward opening up its software for the contributions of any interested programmer.

The company will immediately release open source versions of its client software for Windows, Mac OS, and Linux. In order to enter and move around the Second Life service, users must download and run this software on their computer desktop. But now, says Linden CEO Philip Rosedale, independent programmers will be able to "modify it, fire it up and sign on with it." The company gave Fortune exclusive access to executives in advance of the change.

While this initial step will open up what is essentially the user's window into Second Life for modification, it will leave Linden Lab in control of the proprietary software code for all Second Life's backend services - the server software that makes the world exist. However, executives say that the company's eventual intention is to release an open source version of that software as well, once it has improved security and other core functions. They say they have been preparing for the open source move for about three years.

The client, or viewer, software now being open sourced is what enables users to control their avatars, or digital in-world personas, as well as communicate with other users, and buy and sell virtual goods and services.

"We think that if we open source Second Life its product quality will move forward at a pace nobody's ever seen," says Rosedale. Almost all of Second Life's in-world content is already created by the company's customers, the world's residents, using software created by Linden Lab. With it, residents build a vast variety of in-world experiences, ranging from sex clubs to skydiving stations and golf games, from a fantastic anime-themed city to virtual recreations of Dublin and Amsterdam. All are populated by the avatars, or virtual representations, of other users. Many users own land where they build homes and businesses.

Linden executives calculate that over 15 percent of Second Life's residents are currently writing code in the so-called "scripting language" which enables users to build sophisticated in-world creations. Today Rosedale says they are writing 7 million lines of new code every week, in order to do things like modifying a doorbell so that it sends an e-mail message when a visitor rings it.
"We feel we may already have a bigger group of people writing code than any shared project in history, including Linux," says Rosedale. While this is often elementary code, it means, he says, that "we have an army of people waiting to work on this." Adds CTO Cory Ondrejka: "Why wouldn't we leverage our community and give them the opportunity to make Second Life what they want it to be?"

Many soldiers in that army are professional programmers at companies like IBM (Charts), Sun (Charts) and Autodesk (Charts) which have employees working on projects in Second Life. In addition, Linden Lab calculates that 65 small new companies have arisen that help build products and services inside Second Life.

Improving the client code is urgent for the company. Says Sibley Verbeck, CEO of Electric Sheep, one of the largest in-world construction companies, with 30 employees: "Linden Lab has done extraordinarily well creating a platform for very motivated early adopters. But they have not made the front-end experience ready for the mass market. It's hard to learn, hard to use, and hard to find content even once you learn how to use it." He's confident, though, that "those barriers will be addressed very rapidly upon the adoption of this open source initiative." He says his own company, among many, has a big incentive to improve Second Life's client code.

Interest in Second Life - which is free for basic use - has grown dramatically with a quickening pace of press coverage in places like Reuters, Business Week, Time, Wired and The New York Times, as well as consumer publications and Web sites worldwide. New registrants were arriving at a rate of 20,000 per month last January but by October the number had soared to 254,000. But many were apparently thwarted by how difficult the service is to use. Only 40,000 of those October registrants were still using Second Life 30 days after they first joined, according to figures recently provided by Rosedale.

Linden Lab claims 2.5 million "residents," meaning people who have registered for Second Life. But the service has only around 250,000 active members who still sign in more than 30 days after registering. Nonetheless, that group of active users is currently growing at about 15 percent per month.

Linden Lab claims its move represents the first time a market-leading company has taken a proprietary product and released it instead as open source. Netscape, by contrast, only released code for its Web browser once Microsoft had overcome its one-time lead in the market. That code, of course, eventually became the base for today's popular Firefox.

CEO Rosedale says that opening up the software is good for Linden Lab: "We believe that if we open-sourced every single line of code we have ever written it would only increase our rate of growth." That's because, he says, Second Life is a business that shows what are called "network effects." In such a market, every incremental user makes the service of greater value to existing users. The more people there are in Second Life the more interesting it becomes.

Under the GNU General Public License that Linden is using, if competitors were to use its open source code to build their own virtual worlds, any improvement they make to the software would have to be shared publicly. That means it would give the most benefit to Second Life, so long as it remained the largest such world.

Rosedale and other executives say they fully expect there eventually to be multiple virtual worlds that use Linden's code, or that at least are interoperable with Second Life, so avatars can pass from one world to another. Says Rosedale: "Say IBM builds its own intranet version with our code that's somewhat different from Second Life. But it's probably not that different. A user may say 'Wow, this virtual thing IBM's built is pretty cool. Now I want to go the mainland.' And we have another customer."

IBM Vice President for Technical Strategy Irving Wladawsky-Berger, a close student of Second Life, heard about the impending move toward open source from a Linden employee. "They have the right thought," he says, "which is that open source things work with the marketplace. But this is a field in its infancy that will be very competitive. Linden Lab might end up with a huge leadership position in a certain class of tools for virtual worlds, but those might not be the right tools for, let's say, a surgeon learning a new procedure in an immersive online environment. Second Life can be wildly successful, but so can others."

Says Linden Lab Board Chairman Mitch Kapor: "The whole philosophy of the company is about empowerment, with the overwhelming majority of everything being built by the residents. So going open source is part of the logical progression of our business. The most open system is also what will foster the most innovation, because people will be free to experiment."

In total, the software for Second Life comprises five gigabytes of source code, according to Joe Miller, Linden's vice president for platform and technology development. He says that with the members of its community helping it improve the client software, Linden can devote more of its own efforts to essential work at the server level to enable Second Life to grow faster. Near-term, the company expects users will create code to address bugs and other problems, as well as do things like enable Second Life to run on cell phones, or add support for different kinds of multi-media content inside the world.

Linden Lab will review open source contributions to decide which outside features it will incorporate into its own official versions of the client software. Unofficial software will not be given customer support by the company. But it will shortly open a test version of its server "grid," so developers can try out their software before unleashing it in the real Second Life.

Gaming advances as a learning tool

From eschool news-
http://tinyurl.com/2yuat8

Gaming advances as a learning tool
For some educators, computer games are serious business From eSchool News staff and wire service reports

Using computer games to teach is hardly new: The military has been doing it with pilots and soldiers for decades, and corporations have been gaming for years as well. But momentum also is growing for using computer games to help teach students basic curricular concepts in school--even such entertainment-focused games as "Restaurant Empire" and "Zoo Tycoon."

Using computer games to teach is hardly new: The military has been doing it with pilots and soldiers for decades, and corporations have been gaming for years as well. But momentum also is growing for using computer games to help teach students basic curricular concepts in school--even such entertainment-focused games as "Restaurant Empire" and "Zoo Tycoon." January 18, 2007—Educators increasingly are using sophisticated computer games to snag and hold the interest of the "digital natives" in their classrooms, but some teachers have trouble accepting the educational value of making learning fun. This obstacle cannot be found in the cutting-edge learning environments described in this report, starting with one game-augmented course that has kids learning before they even know it.

Profit and loss ... PowerPoint ... spreadsheets ... typing practice: This junior high school business class could have given a case of the yawns to a buttoned-down executive, not to mention the kids.

To University of Wyoming professor Liz Simpson, what the students needed was something many teachers wouldn't even whisper about: a computer game--and not one designed for education, but solely for self-indulgent, time-consuming entertainment at home.

Simpson and a growing number of educators say that such computer games--"Restaurant Empire," in this case--can make school more engaging for today's "digital natives" who have never known a world without the internet, cell phones, text messaging, and Sony PlayStations.
Far from rotting the brains of the Laramie, Wyo., Junior High School business students, she says, the game jolted them into enthusiasm about tracking profits on spreadsheets and typing up journals on running a business. They even peppered a pizzeria owner with questions more typical of restaurant industry insiders than early teenagers, like how he thought the furniture and art he chose for his restaurant could help the business.

"We're on the leading edge of change, bringing a new tool into the classroom and responding to learner differences that have evolved with technology," Simpson said.

Her argument goes like this: Youngsters nowadays can find online anything they need to know, any time. That renders the old teacher's saw, "Someday you'll need to know this," less convincing than ever. But with a computer game, relevance to life becomes incidental; students need to learn in order to play the game in front of them.

"Kids want the information when they need the information," she said. "So they would say, 'Why is this not matching up?' And we would say, 'Well, is it your net profit or your gross profit?' And they're going, 'Well, what is that?' OK, boom! Now I can tell you."

Working in groups of three, the students used "Restaurant Empire" to create virtual restaurants, tending to details like training the wait staff and calculating whether sushi would turn a profit. They had to write reports and use Microsoft Excel to track the numbers. They also divvied up business responsibilities within their groups.

"It makes the class more interesting," said Hannah Smith, a tenth-grader who was in the class last year. "You don't have to listen to the teacher talk all the time. You don't have to look at a book all day."

Janet Johnson, who taught the business class after returning from a 19-year absence from teaching, said she found out quickly that keeping students' attention is much harder than it used to be. "When you can go home on a computer and build a zoo from 'Zoo Tycoon,' sitting and learning Excel is pretty mundane," she said.

But she said that with Simpson's help, "Restaurant Empire" turned her class around. "Before they know it, they're telling you what a business plan is," she said.

Using computer games to teach is hardly new. The military has been doing it with pilots and soldiers for decades, and corporations have been gaming for years as well. PricewaterhouseCoopers, for example, taught its employees about derivatives--a category of investments--using a game about a mining company in outer space.

"It's a very clever game," Marc Prensky said of the adult investment game. "Very nicely done, full of fabulous information."

Prensky is a game designer, gaming consultant, and author of two books on using computer games to teach, Digital Game-Based Learning and Don't Bother Me, Mom--I'm Learning! Neither he nor Simpson, however, has been much impressed with many of the games designed for teaching children. "Completely boring," said Simpson.

"What they've done is taken your pencil-paper word search and made into an electronic word search. It's still a word search," she said. "When school tries to do commercial electronics, what they really do is school electronically."
Prensky, who is familiar with Simpson's work, said educators have been trying out several ways to use entertainment games to teach.

Students can work on games in groups, he said, or a teacher can control the game with input from the entire class. Or a teacher might assign a game as homework. After a lesson on the Spanish conquest of South America, for instance, "Age of Empires" could be assigned for students to pretend to be Francisco Pizarro at home.

Prensky said he has been designing educational games to rival the complexity--and match the appeal--of entertainment games. "Games are really a language for this generation," he said.
Others have tapped into the same market. Muzzy Lane Software, of Newburyport, Mass., has created a computer roll-playing game designed specifically for classroom use, called "Making History" (see story: Computer simulation is 'making history'). In collaboration with the Game Institute, Muzzy Lane also offers an online professional development course to help educators incorporate gaming into their classrooms (see story: New course teaches instructional gaming).
Even the Federation of American Scientists--which typically weighs in on matters of nuclear weaponry and government secrecy--declared last fall that video games can redefine education.
Capping a year of study, the group called for federal research into how the addictive pizzazz of video games can be converted into serious learning tools for schools (see story: Scientists: Can video games save education?).

The scientists' theory: Games teach skills employers want--analytical thinking, team building, multitasking, and problem solving under duress. Unlike humans, the games never lose patience. And, they're second nature to many kids.

When students talk about gaming, Prensky said, teachers should listen--and learn. "The situation we have now is a situation of mutual disrespect. The teacher will say, 'I don't care about those games--those games are a waste of time, and you're killing your brain cells.' And the kids are very hurt by this," he said.

Computer games have become very sophisticated, he said, but teachers "think [students are] playing the equivalent of solitaire over and over again."

That's not Mark Greenberg, whose students at Phoenix Union Cyber High School in Phoenix, Ariz., design their own educational games. Greenberg said he sees teaching potential in the most complex games of all: massive, multiplayer online role-playing games, which bring thousands of people together online. The players form complex alliances, which Greenberg said could help social studies students understand real alliances between nations.

He doesn't think computer games are always appropriate for teaching. "But I think they're good practice to solidify an idea, once kids have learned about it," he said.

Simpson said classroom gaming should always be carefully planned and closely monitored, and "shooter" games like "Grand Theft Auto: San Andreas" are out of the question.

Some games, however, can be used in a variety of ways, she said. For example, Simpson has used "Restaurant Empire" not just in business classes, but also to help teach economics in a social studies class at Whiting Alternative School in Laramie.

"We went out and purposely got culturally different restaurant owners to come in and talk about the communities they were serving. So we looked at it from a socio-economic perspective, rather than business and entrepreneurship," Simpson said.

Simpson and her research partner, Frances Clem, were tapped by the Albany County, Wyo., School District to design and deliver teacher workshops on classroom gaming last summer. Using a $114,000 Wyoming state grant, they worked with more than 40 teachers in the district to give them insight into the needs of today's digital learners, letting the teachers experiment with a range of school-appropriate games and write lesson plans that incorporated their use.
The workshop, which is available to other school districts through the Learning Research Institute, already has shown results: Teachers and administrators alike are increasingly comfortable with the use of video games in standards-based curricula, Simpson says, and a number of workshop graduates are experimenting with gaming in their classes.

To study the influence of computer games and other digital media on student learning, the John D. and Catherine T. MacArthur Foundation last fall announced plans to donate $50 million in new research grants (see story: MacArthur to invest $50M in digital learning). Beginning this year, MacArthur says, it will donate $2 million a year toward research projects intended to explore the impact of games and other media on today's youth.

Even Greenberg would like to find out precisely why a student's eyes glaze over during quadratic equations--and light up in front of an Xbox.

"If we could just harness whatever's making him focus so hard and transfer that somehow to school, then I think we've revolutionized education," he said. "And I think that's possible."

Links:
University of Wyoming
http://www.wyoming.edu

Learning Research Institute
http://www.learningresearchinstitute.com

Marc Prensky
http://www.marcprensky.com

Muzzy Lane Software
http://www.muzzylane.com

Game Institute
http://www.gameinstitute.com

Phoenix Union Cyber High School
http://www.phxhs.k12.az.us/education/school/school.php?sectionid=5539

MacArthur Foundation
http://www.macfound.org

Video Game Tests the Limits. The Limits Win.

From the New York Times-

Video Game Tests the Limits. The Limits Win.
http://tinyurl.com/2y8enw
By HEATHER CHAPLIN
Published: January 28, 2007

AS director of the 13-year-old Slamdance film festival, the indier-than-thou alternative to the Sundance Film Festival that concludes here Sunday, Peter Baxter has dedicated a good portion of his career to showcasing the work of artists toiling outside the mainstream. Three years ago, in that same anti-establishment spirit, he broadened the festival’s boundaries to include the Guerrilla Gamemaking Competition, a forum for independent video-game makers to do what their counterparts in film get to do every winter up the street: show their work, make deals and rub elbows.

Considering how few places independent game makers have for this sort of interaction, perhaps it’s not surprising that the mood the previous two years approached euphoria. “We felt proud just to be associated with Slamdance,” said Andrew Stern, who, along with his partner, Michael Mateas, took home the grand jury prize last year for their game Façade, an interactive drama about a marital crisis inspired by Ingmar’s Bergman’s “Scenes From a Marriage” and Edward Albee’s “Who’s Afraid of Virginia Woolf?’ ”

Tracy Fullerton, a professor of game design at the University of Southern California’s School of Cinematic Arts, was so impressed by what she encountered last year that she persuaded U.S.C.’s Interactive Media Division to sponsor the 2007 competition by offering two six-week student fellowships at the school’s Interactive Media Lab.

But this year that euphoria was nowhere in sight. An entrant called Super Columbine Massacre Role Playing Game! made it to the finals, and in the process attracted complaints about its provocative content. So Mr. Baxter reluctantly opted to withdraw it from the competition. But the anger over his decision has dwarfed the original objections, and many entrants have chosen to leave the festival altogether.

The game in question combines real video images of the 1999 Columbine High School killers and snippets of their conversation with intentionally low-resolution 2-D graphics meant to replicate the look of an early-1990s Nintendo-style role-playing game. To its champions the game is a landmark example of how video games can explore deeply disturbing material, and a powerful condemnation of the culture that produced the Columbine tragedy. To its detractors it’s a study in appallingly bad taste, a horrid trivialization of a tragic event.

The controversy highlights the questions that experimental game makers face as they seek to evolve from a loose conglomeration of people with similar interests into a full-fledged movement. What will it take for their medium to be considered a legitimate art form? And should games even try to address painful or distasteful subject matter?
The game room at the Treasure Mountain Inn here this month was filled with the same red beanbags chairs as last year, but the crowd of 20 or so game designers had withered to half that number, and what had been a ring of more than a dozen humming computer terminals was now a handful of monitors. The rows of folding chairs set up for presentations were half empty, and where last year there was excited chatter on all sides, this year an uncomfortable quiet permeated the room.

The story of how this once-electric gathering lost its luster began with a phone call earlier this month by Mr. Baxter to Danny Ledonne, a 25-year-old Colorado filmmaker and the creator of Super Columbine. Overriding the panel of the judges who had included the game among the 14 finalists, Mr. Baxter told Mr. Ledonne that he had decided to withdraw his game because of outraged phone calls and e-mail messages he’d been receiving from Utah residents and family members associated with the Columbine shooting. He was also acting on the advice of lawyers who warned him of the threat of civil suits if he showed the game.

“I personally don’t find the game immoral, because an artist has a right to create whatever he wants, whether a filmmaker or a game maker,” Mr. Baxter said. “But when you’re responsible for presenting that work to the public, it becomes more complicated.”

Mr. Ledonne, who lives with his parents and had never made a video game before Super Columbine, said he could sympathize with Mr. Baxter’s predicament. “I knew right away what he was going to say,” Mr. Ledonne explained, “so I was just thinking, are they going to reimburse me for my air fare?“ He said he had received multiple death threats since he posted Super Columbine on his Web site in April 2005. “I’ve learned that games are expected to be for children, and when you create a game that’s not, people get very upset,” he said.

“I’m not really a provocateur in person,” he continued. “I inherited this society, which I truly feel is moribund and completely unsustainable. To me the Columbine shootings was like the canary in a coal mine.”

When word of Mr. Baxter’s decision found its way to the Internet, it set off a hailstorm of pent-up anger and indignation among independent game designers. The decision also prompted a flurry of open letters to Slamdance asking for Super Columbine Massacre to be reinstated. One by one over a period of about a week, 7 out of the remaining 13 finalists withdrew their games in protest, an act of solidarity almost unheard of among a group of people known more for working long hours in isolation than participating in group action. (One game, Toblo, made by a group of students at the DigiPen Institute of Technology in Redmond, Wash., was reinstated by the college, which owns the rights.)

A few days later Mr. Baxter heard from Ms. Fullerton at U.S.C. “We became sponsors because we wanted to be part of a contest that stood for certain values having to do with freedom of expression and creativity,” she said. “And when it didn’t anymore, we had to pull our support.”
Kellee Santiago, part of the U.S.C. team that made flOw, a sort of New Age Pac-Man that was among those pulled from the competition, said: “It’s hard not to come to the conclusion that games still are not considered a valid creative medium. It’s like saying that games aren’t allowed to cover serious subjects, and if you do, you must be doing something tasteless.”

To Mr. Baxter, though, it’s not that simple. “Games really are potentially a far more powerful medium that film, aren’t they?” he said while sitting at the Morning Ray Cafe just a few feet from the underpopulated gaming room. “In films you play a more passive role. You’re sitting back looking at something. Because of the role-playing aspect, games literally take the level of our participation to a whole other level. You are actively engaged in the outcome of your actions. Games are going to affect us in different ways, in ways we don’t fully understand yet.”
As he sipped his coffee, Mr. Baxter then said exactly what he had studiously avoided saying for two weeks: “Absolutely, games should be judged by a different criteria than film. I just don’t accept a direct comparison.”

To many of today’s independent game designers, the commercial video-game industry has become stagnant and intolerably risk-averse as game budgets reach tens of millions of dollars and design teams swell into the hundreds. But the advent of digital distribution and affordable game-building tools from companies like GarageGames has allowed them to create a broad spectrum of unconventional games.

Ian Bogost, an assistant professor at the Georgia Institute of Technology and co-founder of the game-development company Persuasive Games (whose slogan is: “Think games are just for fun? Think again”), was a finalist at the past two Slamdance competitions. One of his recent games is Bacteria Salad, in which the player’s goal is to harvest cheap produce and sell it for as much profit as possible. Another is Oil God, where the goal is to double consumer prices in five years: “Wreak havoc on the world’s oil supplies by unleashing war and disaster!”
In another recent game, Darkgame, designed by Eddo Stern, a Los Angeles artist, players wear a device on their heads that translates the game’s visuals into physical pulses. At different points in the game the senses of sight, sound and touch are stimulated, which Mr. Stern hopes will create feelings of claustrophobia and anxiety as well as the usual feelings of wonder and excitement players expect from games.

Sam Roberts, the game director of Slamdance, was visibly pained by the withdrawal of so many intriguing entries this year. “The game competition is here to pay attention to new young artists who have great ideas,” he said. “My biggest disappointment is that six fantastic games weren’t here to take advantage of that.”

Acknowledging that the event was seriously compromised, Mr. Roberts let the attendees vote on whether to award any prizes at all at this year’s competition. On Monday evening they decided not to.

Nonetheless Mr. Roberts said he was optimistic about the future of the event. “These are issues that we can’t avoid as we push the boundaries of what games can be,” he said. “In the end all this debate ended up sparking a lot of discussion and opening a lot of people’s eyes to that fact that there are artistically inclined games out there. And that’s a good thing.”