What is a formative assessment online game that not only engages students but tests their knowledge? A choose your own adventure Shakespeare interactive, of course!
For most students, Shakespeare is difficult to digest and translate into a language they can understand. It feels out of place and out of time, so why would students want to study Shakespeare? Interactive games allow students to move through the plot, perhaps change the story, take on the role and perspective of a character and interact with other characters: Enter the Story.
The following “choose-your-adventure” allows the player to choose genres of plays from Shakespeare’s perspective. As students choose one genre and aspect of Shakespearean plays from the next, they will explore the political and cultural conflicts realities of the 16th century: In Search of Shakespeare
Choose your adventure games are a unique way to engage students in Shakespeare’s plays. They can reinforce what they know or clarify any misunderstandings. Being able to “act” out the play online appeals to students who learn better through visual and auditory interaction.
Anime is a style of animation attributed to post-world war II Japan. Characters are often stylized caricatures, with large eyes, unrealistic hair, and a story line that is unique and interesting.
While anime is sometimes erroneously referred to as a genre, it is in reality an art form that includes all the genres found in cinema or literature, from heroic epics and romance to science fiction and comedy
(Poitras, 2001, p.1 as quoted in Mahar, 2003, p. 110)
Like most alternative texts, anime is rich with complex communication codes and conventions that do not always follow the typical expectations of print text, rather, they can surpass it when used properly.
While it is not an accurate representation of Japanese culture, it still raises important questions for analyzing popular culture:
Who created this message and why?
What techniques are being used to attract my attention?
What lifestyles, values, and points of views are represented?
How might different people understand this message differently?
What is omitted from this message?
(Elizabeth Thoman, 1999, medialit.org, as quoted in Mahar, 2003, p.115)
Below is a screencapture video exploring some of the metaphors in Hayao Miyazaki’s Studio Ghibili Films, Howl’s Moving Castle, and Kiki’s Delivery Service.
Music not your forte? (pun intended). Here’s a simple, but effective way of incorporating music meaningfully in the classroom.
As the creative component to a novel study, try introducing a ‘soundtrack’ project for students to complete alongside their reading. This entails (surprise!) students collecting a soundtrack or playlist of songs that they feel lends itself well to the novel’s major themes, or speak directly to a particular character. In doing so, students are able to engage critically with the novel, examining mood, theme and tone in perhaps a more meaningful and relevant way than simply through discussion. By creatively interpreting the way certain characters and events make them ‘feel’, students may adopt a more holistic approach to examining, interpreting, and synthesizing textual evidence. Educators may also choose to have students present a written justification for their song choices.
An example soundtrack for the novel 1984 could be:
The anime show, Pokémon, was a marketing tool to promote children to play a trading card game. Each card would represent the biological characteristics of a mythical creature that could “battle” against another creature. For students to understand which cards carry more value than others, and what techniques or strategies better determine a win, children must engage in multiple sign systems, such as film, magazines, video, books, and discussion with peers (Vasquez, 2003). Sefton-Green argues that engagement across modalities is “the reason why attention to one literacy domain can ‘miss the point,'” and that “if a broad range of readings of a particular text is available through a variety of platforms but our focus is on one particular platform, such as print literacy, then our reading is not as informed and resourced as it could be, which limits participation” (Vasquez, 2003, 120).
The case study by Vasquez involved observation and discussion of her nephew as he redesigned his own Pokémon cards. The process of designing his own cards involves discussion, reading and interpreting information on the internet and books, is very similar to the process of gathering research “in crafting or designing a text” (Vasquez, 2003, 120).
One process Pokémon traders engage in is “mapping space.” According to Sefton-Green, it is the learned ability to “read the maps wihtin the strategy guide and orient himself within the virtual environment of the game” (Vasquez, 2003, 120). While the skill is often used for games, it is also applicable for printed text where readers need to mentally map what is occuring in a text. Doing so will allow them to follow the text with a deeper understanding for the plot.
The linguistic concept of morphology is used to analyse the names and meaning of Pokémon characters. Most of the creatures’ names are descriptive of their appearance or special features. Creatures such as ekans and arbok are snake-like monsters with their names reading snake and “kobra” in reverse:
Likewise, creatures such as wartortle are a portmanteau of words war and tortoise. Manky is a portmanteau of prime ape and monkey. The creators of the game/show used words that were not only manageable for children, but allowed them to employ systematic analysis to determine characteristics of the creature based on its’ name.
References
Vasquez, V. (2003). What Pokemon Can Teach Us about Learning and Literacy. Language Arts, 81(2), 118-25. Retrieved from http://www.ncte.org
Despite what some keen English majors may have you think, poetry is generally not considered a ‘good time’ by the majority of the (sane) population. Shakespeare seems overdone, Byron a bore, and Keats about as relevant as my 9th grade social studies textbook, which in a very relevant way began “hopefully one day, when the cold war is over…”
The foot-dragging that occurs when it comes to poetry presents a bit of a challenge to English teachers (new and seasoned alike), whose best-case scenario when introducing the dreaded unit is to be met with looks of apathy rather than out-right resentment, or (worst of all!) exclamations of “this is stupid,” complete with eye-rolling and general unhappiness. Wouldn’t you be interested to know, then, that some radicals, no doubt influenced by the idea of making school relevant to students (what?), have suggested that music can provide a unique and engaging avenue through which students may explore literary devices and important social issues. Indeed, what many consider the garbage of contemporary culture – RAP music – is actually grounded in a rich history of performance art concerned with social change and poignant cultural commentary. In fact, the term “RAP” (your students may be horrified to know) apparently stands for ‘Rhythm and Poetry.’
While teachers must of course be mindful of the fact that much of RAP today, like other expressions of popular cultural, is bad, in fact very bad, it is not justification for writing off the entire genre. Music, and RAP in general, has been successfully applied to the study of poetry in highschool thanks to artists like Tupac and Nas, whose music deals heavily with issues of race, poverty, social change and women’s rights, without relying exclusively on explicit language or ‘swag-bragging.’ A brave educator’s foray into the world of RAP is detailed in the article ‘Hip Hop High.’
While poets like Shakespeare are considered high in ‘cultural capital’, contemporary RAP artists have a certain cultural capital of their own in they way that they re-present universal issues in a relevant and modern way. Their potential as an educational entry-point to the world of poetry is therefore profound; as the world in which our students live changes, so to0o must our teaching methods.
Employing the example of Tupac, we can concretely see how RAP music provides an engaging supplement to the study of poetry. Not only are his RAPs, in essence, the oral presentation of complex and beautiful poetry, but many of his songs are directly concerned with social problems that todays students face; the overcoming of adverse situations, treating people (and especially women) with respect, and standing up to violence and aggression. In particular, his song ‘Keep ya Head Up’ may be fruitfully explored in the context of an English classroom, as it presents both an anthem for the oppressed and a point of hope for those facing adverse situations.
—————————————————————————————————————————
Aiyyo, I remember Marvin Gaye, used to sing ta me
He had me feelin like black was tha thing to be
And suddenly tha ghetto didn’t seem so tough
And though we had it rough, we always had enough
I huffed and puffed about my curfew and broke the rules
Ran with the local crew, and had a smoke or two
And I realize momma really paid the price
She nearly gave her life, to raise me right
And all I had ta give her was my pipe dream
Of how I’d rock the mic, and make it to tha bright screen
I’m tryin to make a dollar out of fifteen cents
It’s hard to be legit and still pay tha rent
And in the end it seems I’m headin for tha pen
I try and find my friends, but they’re blowin in the wind
Last night my buddy lost his whole family
It’s gonna take the man in me to conquer this insanity
It seems tha rain’ll never let up
I try to keep my head up, and still keep from gettin wet up
You know it’s funny when it rains it pours
They got money for wars, but can’t feed the poor
Say there ain’t no hope for the youth and the truth is
it ain’t no hope for tha future
And then they wonder why we crazy
Aiyyo, I remember Marvin Gaye, used to sing ta me
He had me feelin like black was tha thing to be
And suddenly tha ghetto didn’t seem so tough
And though we had it rough, we always had enough
I huffed and puffed about my curfew and broke the rules
Ran with the local crew, and had a smoke or two
And I realize momma really paid the price
She nearly gave her life, to raise me right
And all I had ta give her was my pipe dream
Of how I’d rock the mic, and make it to tha bright screen
I’m tryin to make a dollar out of fifteen cents
It’s hard to be legit and still pay tha rent
And in the end it seems I’m headin for tha pen
I try and find my friends, but they’re blowin in the wind
Last night my buddy lost his whole family
It’s gonna take the man in me to conquer this insanity
It seems tha rain’ll never let up
I try to keep my head up, and still keep from gettin wet up
You know it’s funny when it rains it pours
They got money for wars, but can’t feed the poor
Say there ain’t no hope for the youth and the truth is
it ain’t no hope for tha future
And then they wonder why we crazy.
So, there is lots of buzz about using video games instead of, or in conjunction with, more traditional texts. But what exactly would that look like? Well, I have a few ideas.
Narrative video games are the high-tech version of choose your own adventure stories. Which means, while your students are operating within the same context, they may be exploring different plotlines and making different decisions in their gaming world. This could result in some very different consequences or opportunities for their protagonists. Organizing students who have followed different narratives into discussion groups provides an opportunity for students to talk about their experiences and the decisions they made, why they made those decisions, and how they feel about the results. These discussions would not only summarize plot, but major decisions in narrative video games are often centered around important themes. Students will be making moral decisions and political decisions; they will be determining how much risk they are willing to take; they will decide whether they want to blaze a trail with a sword or ease their passage through words and diplomacy. Their decisions may be influenced by symbolic items in the game and how they have interpreted these items. They may be influenced by their assessment of another character. Everything that exists in a novel can exist in the right narrative video game, except in video games students are interacting with the text. Having them discuss their interactions has the potential to stir fruitful dialogue about the literary devices and themes of their game.
Beyond student analysis of games as texts, some educators are even using games to teach writing and creativity. Hayo Reinders from the Netherlands mentions two programs that allow students to create their own games: Scratch and Stagecast. These game creators are designed for kids and teenagers. Students could be asked to explore a theme or idea being discussed in class through their video game, or create a plot incorporating writing skills they have learned in class.
Here is an example of a little game a student made that calculates square root. It’s pretty simple, but what students can accomplish is up to their imagination!
Here is a narrative game that a student made using Stagecast. This type of plot-driven game could be useful for developing creative writing skills or for exploring a theme from a text.
Here is an example that a teacher made with students using Stagecast, complete with description about using Stagecast in the classroom!
Machinema is a game-based method of creation that combines “machine” and “cinema.” Machinema involves letting students modify games they like by taking characters, settings, etc and rearranging them to tell new stories. Students can combine multiple games to make hybrids. This can help students with the creative process by engaging them with characters and settings they are already familiar with and enjoy.
Here is an example of Machinema where someone took visuals from a video game but added their own text to create a story:
This technique could be used to recreate scenes from other texts or to visually represent themes, symbols, etc as well.
Forget the Tolkiens and Rowlings and Shakespeares and Atwoods – the best stories are not found in books but in history itself. Unfortunately, it is difficult for students in a Social Studies classroom to really imagine history as it actually happened. To them, history is found in dusty words and sepia-toned photographs.
But in the English classroom, history can come alive.
Maus is the tale of Jews during the Holocaust. It is at once an historical account, a personal story, and an emotional tale of one family’s tribulations as Jews under the Nazi regime. It teaches an important historical event with more impact, more relevance, than any lecture ever could. An historical novel may describe the emotional scenes, but 21st century students can only imagine so much without any connection to a time long ago. With a graphic novel, vivid imagery makes these scenes come alive, providing even more impact on readers.
Persepolis is an autobiography of the author’s childhood in Iran during the Islamic Revolution. It is a story of hardship, inequality, religion, and tragedy. It is a coming-of-age story set in a period of history often overlooked by high school curriculum. And, like Maus, it is told with imagery that makes the story come alive in front of a student’s eyes.
Canadian history is not neglected either: Louis Riel tells the story of the eponymous historical figure and his rise and fall. It also focuses on his possible schizophrenic personality, but does so in a detached, minimalist manner. Rather than telling the reader what is going on, the author shows it through illustration, establishing the mood without the use of words.
V for Vendetta depicts a dystopian future United Kingdom, where a fascist police state reigns supreme. It may not depict a particular historical epoch, but it certainly encompasses the greatest fears of the Second World War, much in the same way that George Orwell illustrated our fears of communism in 1984. Allusions to Guy Fawkes also feature prominently.
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