1 Synthetic Worlds We Live by Abstract Computer Simulation

Synthetic Worlds We Live By Abstract Computer Simulation Gaming has been found to enhance learning in many disciplines for various academic settings, including high school and higher education. It is hypothesized that integration of The SIMs 2 simulation game into the aspects of lesson planning will foster learning among adolescents who are moving through a process of psychosocial moratorium, as compared to equivalent students in comparable conditions who are not exposed to gaming. Introduction The purpose of this paper is to find and discuss supportive studies about using games in teaching and learning. Although the author previously intended to explore educational technology in the area of narrative, he found himself fascinated by the controversial possibilities of using computer games in narrating not only educational concepts, but also personal development concepts. To be more specific, his appeal to narrative began while he was writing his autobiography and teleography for the class assignments. By then, he was captivated by the power of narratives to help writers in retrospection and in projecting their life. Even though the author was not originally intending to aim his study at video game research in general, he is certain that reviewing such studies was worthwhile. For game developers and scholars, videogame study is known as ludolugy. Gonzalo Frasca (2003a) defines ludology as a discipline that studies games in general and video games in 1 particular. The term is not new and has been previously used in relation with non- electronic games, particularly among the board gaming community. Consequently, the term lodologist is used to describe any type of game scholar. Narrative and Game study: An Ongoing Debate Game scholars are divided into two camps. In the first camp, Mateas (2002) coined the term narrativist to distinguish its meaning from narratologist, which is a term widely used in humanities and one that independent from our medium of representation. Mateas proposed the term narrativist to refer to “a scholar who uses narrative and literary theory as the foundation upon which to build a theory of interactive media.” For the second camp of game scholars, Game-research.com’s dictionary states that ludology is “the study of games, particularly computer games. Ludology is most often defined as the study of game structure (or gameplay) as opposed [italics added] to the study of games as narratives or games as a visual medium.” However, Frasca (2003b) argues that the term ludologist simply refers to a game scholar, regardless of his or her position on narrative and games. He also argues that narrativists do not really exist and that Mateas (2002) fails to name any such scholars. Pearce (2005) claims that having two camps of game scholars is somewhat beneficial. She further explains that one should not argue whether or not games are narratives by various theoretical definitions, but rather in which ways they are narrative. In other words, narrative should be framed as an adjective rather than a noun. In her opinion, games such as the Indiana Jones series by LucasArts and Blade Runner by Westwood studios fall into the category of a spatial narrative; the game stories are 2 embedded in a deconstructed form, and the player is to reconstruct the story. In contrast, games like The Sims or Everquest, give players a “story kit” that allows them to craft their own stories through gameplay. This is what Pearce refers to as “emergent authorship.” Defining Narrative Gordon and Alexander (2005) argue that the term narrative has been evolving over time and that it needs to be clarified for two reasons. First, they claim that the meaning of narrative in the classic sense--well structured, coherent stories that had beginnings, middles, and ends--is dead. Postmodern narratives are not united and ordered with fragmented time lines. Secondly, the interpretation of the significance of narrative differs among theorists. Some believe that humans are storytelling animals and that narrative automatically surrounds us. Others suggest that narrative sensibility is not automatic and that good storytellers are crucial. For the sake of this exploration, the author decided to use Branigan’s seven-stage model of cinematic narrative structure (1992) as a framework reference; this model consists of the following: 1. Introduction of setting and characters 2. Explanation of a state of affairs 3. Initiating event 4. Emotional response or statement of a goal by the protagonist 5. Complicating emotions 6. Outcome 3 7. Reactions to outcome Branigan’s model builds on a well-defined system of constraints, and a story that satisfies his model must contain all seven stages (Ventura and Brogan, 2002). The author will discuss the use of this model later in this paper. Discussion of the Game Genre Before going further, the author feels that it is worth framing some definitions of the game genres. How should we categorize computer games like World of Warcraft, Simcity, or The Sims? Most gamers would likely say that World of Warcraft is a role- playing game (RPG), or to be more specific, a Massively Multiplayer Online Role- playing Game (MMORPG). Game enthusiasts may all agree that Simcity and The Sims are clearly part of the simulation genre. If you ever visit Amazon.com’s computer and video games catalog and look into the PC games section, you will find The Sims series in both the simulation and in the strategy sections, while World of Warcraft can be found in online, role-playing, and strategy sections. The classifications are fairly self-explanatory; a simulation game is a replication of a real world environment and is built upon such behavioral rules; an RPG is a game in which players take a certain role and participate in a gameplay. Even so, we can probably propose that some simulation games like The Sims should be labeled simulation-RPG genre because such games replicate sources and maintain interaction from the original sources. From the player’s point of view, it is possible to immerse oneself in a single role of the gameplay while the game itself is considered to be a part of the simulation genre. The Sims game even begins with an 4 opportunity for the player to create an avatar; thus, the player--consciously or unconsciously--commits to a certain role. However, Answers.com files Simcity and The Sims as god games; computer games that let players create and control the lives of virtual people, cities, or worlds. The Answers.com also subdivides god games into two levels, which are an individual level (The Sims) and a City, Nation, World level (Simcity). In the author’s opinion, the division (or diminution, to be more precise) of the god game as an individual significantly breaks the meaning of the god game itself, consequently overlapping with RPG genre. Unlike manifest god game such as Black & White or the SimCity series, a diminutive god game, such as The Sims, can definitely be played as a role-playing game. The Sims is a hybrid of god game, simulation, and RGP--depending on the gameplay-- that provides a deeper level of immersion; player plays with self, not as a god. Thus it offers an opportunity to extend the story by self. Simulation As a Narrative Story Kit To narrate is to recount a story, setting, and outcome. To simulate, however, is to model a (source) system through a different system which maintains to somebody some of the behaviors of the original system” (Frasca, 2003a). Fransca carries this further: Unlike traditional media, video games are not just based on representation but on an alternative semiotical structure known as simulation. Even if simulations and narrative do share some common elements--character, settings, events--their mechanics are essentially different. More importantly, they also offer distinct rhetorical possibilities [italic added]. (¶2) 5 Fransca (2003a) seems to take the first three stages of Braingan’s model (1992) and leave the rest to the player. In computer gameplay, characters and setting are introduced and a state of affairs and events are initiated; moreover, the protagonist usually has a goal to accomplish. We know that Lara Croft, the British archaeologist-mercenary, always searches for mysterious artifacts all around the world, namely Peru, South America, Greece, Egypt, and Atlantis in her first PC game episode (tombraider.com). We also know that by entering The Sims, you will direct your Sims citizen over a lifetime and will mix their genes from one generation to the next. You also set your Sims’ goals in life, which may include popularity, fortune, family, romance, or knowledge (TheSims2.com). The game outcome and the player reactions are generally unpredictable. Fransca (2003a) differentiates an alternative of game end using Caillois’ distinction between paidia and ludus, which describes the difference between “play” and “game.” Paidia refers to the form of play present in early childhood (construction kits, games of make- believe, kinetic play), while ludus represents games with social rules (chess, soccer, poker). He argues that “structurally, ludus follows the same three-act rule behind Aristotelian stories. Ludus sessions go through a first act where the rules are acknowledged, a second act where players perform, and finally, a third act that concludes the game and draws the line between victors and losers” (Aristotle on the Holodeck section, ¶4). Fransca (2003a) concludes that ludus is a centralized author, a closed product prepared by game designer that works well with a fantasy-like, binary ending; Lara Croft must go to Peru before Greece, then on to Egypt to find a certain artifact. On the other 6 hand, piadia is an open-ended gameplay that is appropriate with human relationships and unclear situations; The Sims 2 University Expansion Pack does not force players to be only Kurt Cobain, although this character is the most popular among The Sims 2 community.

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