Transcript

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

19

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

20

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

22

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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