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Bridging the Gap: Video Games As a Gateway to Motivation for Learning

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Bridging the Gap: Video Games As a Gateway to Motivation for Learning Bridging the Gap: Video Games as a Gateway to Motivation for Learning Masteroppgave i skolerettet utdanningsvitenskap med fordypning i engelsk SKUT5910 Farah Bouyambib Kand nr. 106 Fakultet for lærerutdanning og internasjonale studier Høgskolen i Oslo og Akershus 15. November. 2016 Abstract Throughout the last couple of years, the gap between pupils’ everyday lives and their education has become increasingly widened. This study attempts to investigate contemporary pupils’ motivation in school and how their identity of affiliation has become their primary identity or role, and how this affects their institutional identity. This thesis will therefore look at whether or not contemporary youths’ interest and popular media, more specifically video games, may contribute to enhanced motivation for learning. This is done by analyzing the video game series Assassin’s Creed (2007-2015) using the Læreplan i kunnskapsløftet 2006 (LK06), primarily the English subject curriculum, as a tool. The method chosen has been a text analysis, with a qualitative approach. The purpose is to shed a more positive light on popular media, such as video games, as well as to encourage educators to approach their pupils with a broader mindset. ii Foreword I chose this topic primarily because of my own interest in video games. Having played video games and grown up in a society that is highly technologically advanced, and experiencing its benefits first-hand, contributed to my desire to explore this matter further. There was also the additional reason of looking at how both the increase and impact of new media, such as video games among youth, is affecting our society and teachers. The importance of connecting with one’s pupils and contributing to making their education an integrated part of their lives, has also been a reason for this choice. There is a stigma connected to gamers and the gaming industry, even within gaming culture itself. Non-stereotypical gamers have been stigmatized, correlating to the negative presumptions about the medium. There was therefore the added motive to shed a more positive light on video games, gamers, and gaming culture. Furthermore, I have a wish to encourage more teachers, school leaders, and people alike to not only use the medium in their work, but also to meet the gaming culture with a more open mind and a positive attitude. iii Acknowledgements It is with both huge relief and a bit of reluctance that I finally release this result of blood, sweat and tears into the world. All praise is due to the One that got me here, and I extend my greatest appreciation to the people that stood by my side during this exhausting but also enlightening process. I am ever grateful to my supervisor, Colin Haines, who has not only been a role model ever since I first started the teacher education, but also an incredible tutor and supervisor. Patiently providing me feedback, encouraging me whenever I needed, and also teaching me to that not being perfect, is perfectly OK! The greatest of appreciations goes to my mom, who when I myself gave up, still believed in me. Who comforted me in times of sadness, and rejoiced with me in times of happiness, without your help I would not have been able to become the person I am today. A huge thank you to my siblings; my eldest for proving that despite your preconditions, getting that MA is perfectly possible! To my brother for being an inspiration for this thesis, and especially my youngest sister, who would root for me, cheer me on, and be there for me when I needed it the most. And an ever so huge “thank you forever” to my best friend, companion, and soulmate Tia, who not only encouraged me to write this thesis, but also patiently endured my frustrations, outcries and excitement! Dude, I finally made it! Thanks to my dad, whom introduced me to the video game genre at an early age, who incited my love for literacy, and taught me that the pen was mightier than the sword. I would also like to thank educators such as Tobias Staaby and Magnus Sandberg, for proving it to not only be possible, but also needed to incorporate pupils’ interests and everyday lives in education, thus making school a lot more exciting for both pupils and teachers! And of course, a thank you to Ubisoft, for making Assassin’s Creed, which I have spent a great deal of hours happily frustrated trying to avoid “desynchronization” and excited to learn more history. iv Table of Contents 1. INTRODUCTION ................................................................................................................ 1 1.1 MOTIVATION IN SCHOOL .................................................................................................... 3 1.2 THE ENGLISH SUBJECT ....................................................................................................... 5 1.3 ASSASSIN’S CREED – “HISTORY IS OUR PLAYGROUND” ........................................................ 6 1.4 VIDEO GAMES, CENSORSHIP AND ETHICS .......................................................................... 8 1.5 THIS STUDY ...................................................................................................................... 11 2. MOTIVATION IN EDUCATION .................................................................................... 13 2.1 UNDERSTANDING MOTIVATION AND ITS IMPORTANCE ..................................................... 14 2.1.1 Intrinsic Goals vs. Extrinsic Rewards ....................................................................... 16 2.2 CONTEMPORARY PUPILS AND THEIR LACK OF MOTIVATION ............................................ 19 2.2.1 Teachers as Motivators ............................................................................................. 22 2.4 ACADEMIC PERFORMANCE IN TODAY’S SOCIETY ............................................................. 25 2.5 “WHERE WE NEED TO GO” .............................................................................................. 27 3. THE ENGLISH SUBJECT CURRICULUM ................................................................... 33 3.1 LANGUAGE LEARNING VS. ACQUISITION .......................................................................... 34 3.2 THE MAIN SUBJECT AREAS AND BASIC SKILLS OF THE ENGLISH SUBJECT ...................... 35 3.2.1 ‘Language Learning, and Oral and Written Communication’ .................................. 37 3.2.2 ‘Literature’ ................................................................................................................ 39 3.2.3 ‘Culture, Society (...)’ and History ........................................................................... 41 3.3 METHODS AND LEVEL OF FREEDOM ................................................................................. 42 4. THE ASSASSIN’S CREED FRANCHISE ....................................................................... 44 4.1 “HISTORY IS OUR PLAYGROUND.” .................................................................................... 45 4.2 ‘LANGUAGE LEARNING, AND ORAL AND WRITTEN COMMUNICATION’ ............................ 49 4.3 ‘LITERATURE’ .................................................................................................................. 53 4.4 ‘CULTURE, SOCIETY (…)’ AND HISTORY ......................................................................... 61 4.5 ADVANTAGES AND LIMITATIONS ..................................................................................... 67 5. VIDEO GAME CENSORSHIP AND ETHICS ............................................................... 70 5.1 CENSORSHIP – WHAT IS IT AND WHAT IS ITS PURPOSE? .................................................... 71 5.2 WHY CENSORSHIP IS ‘BROKEN’ ....................................................................................... 73 5.2.1 Fleeing to Virtual Reality ......................................................................................... 74 5.2.2 Actual “Death by Video Game” ............................................................................... 77 v 5.3 ETHICAL RESPONSIBILITIES .............................................................................................. 79 5.3.1 Assassin’s Creed and Censorship ............................................................................. 82 6. CONCLUSION ................................................................................................................... 85 REFERENCES ........................................................................................................................ 88 vi 1. Introduction “But nowhere is the current generational gap in technology greater than in game literacy, (…)” – Richard Halverson, 2005, p. 5 Class is in session, the pupils are doing their tasks, one of the pupils struggles with maintaining focus and catches my attention.1 He keeps talking to his classmate about this new video game he has been playing. Another pupil hears them talk and joins in on the conversation. I, their practice teacher, interrupt, reminding them that they must finish their tasks first and may continue their conversation during the break. The pupil who initiated the conversation ignores my instruction and decides instead to talk to me about his video game experiences. I ask him the name of this video game, having overheard pieces of their conversation. The pupil looks at me, probably expecting me to be oblivious, but tells me the name nevertheless. He emphasizes that it is a cool game that lets one roam around the city, drive cool cars and even skydive. The video game they were
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