Man and Man and MachineMachine

& & Something in Something in

BetweenBetweenNanette BuleboshNanette BuleboshInformation Literacy and Video/Computer GamesInformation Literacy and Video/Computer Games

October 2007October 2007

I chose an adventure game …I chose an adventure game …

• Syberia is a third-person adventure game for a single player

• I played the PC version, but it is also available on PS2 and Xbox

• Published in 2002 by the French/Canadian firm Microids (distributed by The Adventure Company in the U.S.)

• ESRB: T (Teen) for mild language and alcohol use

• A sequel, Syberia II, came out two years later

Reviewers praised Syberia’s Reviewers praised Syberia’s sophisticated story and graphicssophisticated story and graphics

• … the locations have been lovingly designed with character and feel – Programmer in Black

• … tells an intriguing story with all the flourish that old-schoolers wax nostalgic about – Armchair Empire

• … a beautiful gaming experience interwoven with an interesting story – Moby Games

• … sure to take you away from your daily life and pull you in – Games4Girls

In other words, this game In other words, this game promised me an promised me an immersive immersive

experienceexperience, which is part of the , which is part of the point of good video games …point of good video games …

… … and, as we’re discussing in this class, and, as we’re discussing in this class, something good learning instructionsomething good learning instruction

often provides as well. often provides as well.

Benoit Sokal was the designerBenoit Sokal was the designer

• A Belgian comic artist and video game developer, born in 1954

• Probably best known for his Inspector Canardo series

• Also created the games Amerzone and Paradise

• Syberia includes some references to Amerzone, but Sokal has said in interviews that it is a totally independent story

• He and his team spent more than two years developing Syberia.

Sokal drew upon personal history Sokal drew upon personal history for much of the storylinefor much of the storyline

• He told Just Adventure that his family narrowly escaped the Nazis just before WWII by traveling from Western Europe to Eastern Europe by train and by foot

• He further explains his development process in a “Making of Syberia” video in the bonus CD included in the game.

On the bonus CD, Sokal shares On the bonus CD, Sokal shares samples of his original drawingssamples of his original drawings

The final results are visually The final results are visually stunningstunning

““He manages to create a believable He manages to create a believable world of automotons and clockwork world of automotons and clockwork mechanisms against a backdrop mechanisms against a backdrop

of the real world”of the real world”

- - Armchair EmpireArmchair Empire review, which review, which gave gave SyberiaSyberia 8.9 out of 10 points 8.9 out of 10 points

Which brings me to the game’s Which brings me to the game’s fascinating narrative, and the fascinating narrative, and the reason I call this presentationreason I call this presentation

Man and Machine Man and Machine & &

Something in BetweenSomething in Between

Something “in between”?Something “in between”?

• Kate Walker is a New York attorney sent to the quaint European village of Valedilene in the French Alps.

• She is to finalize the buyout of an old toy factory by a large toy monopoly

• But (naturally) complications arise, and all of a sudden her task is not so easy

• The toy factory is filled with mechanical automotons, some of which are nearly human

• Kate comes to rely on one of these nearly human automotons, Oscar, to achieve her goals

Let’s pause to address some of the Let’s pause to address some of the assignment’s major questionsassignment’s major questions

• Macro-task: It changes quickly, from arranging the buyout of a toy company to finding the long-lost brother of Anna Voralberg, the recently deceased factory owner.

• Kate must find Hans Voralberg or the deal will fall through.

• To find him, she travels through four main locales (Valadilene, Barrockstadt, Komkolzgrad, and Aralbad*) solving several puzzles, and meeting interesting people (and robots) along the way. These smaller tasks are among the many micro-tasks the gamer must complete.

Other assignment questionsOther assignment questions

• Key words: automoton, Voralberg (the family name and the toy factory, which dates back to the 13th Century, mechanical terms such as cog, wind-up spring, key, etc, and mammoth.

• Hans disappeared 60 years before in search of mammoths, a prehistoric creature that (he believes) can still be found in Syberia.

• Final Product: Finding Hans in order to complete the buyout of the toy factory, and solving the mystery of Syberia and the mammoths.

Key ResourcesKey Resources

• Characters like Momo, a retarded boy who holds secrets to the Voralberg family mystery, Oscar the automoton, an innkeeper, the notary, the thief Sorguei, a proud opera singer and, eventually, Hans.

• Kate’s cell phone, which can be used to contact her office, Dan, her fiance (a subplot involves Kate’s deteriorating relationship with Dan) and others

• Various documents that move the story along. Anna’s diary explains why Hans disappeared, and why their father faked his death. Faxes help Kate communicate with her office and various European businesses

• Various tools and other items, all of which are stored in an inventory box that Kate accesses when needed.

• The Locations themselves, all of which have tools, documents, and other information hidden in hard-to-find places.

The The SyberiaSyberia manual is manual is also of some helpalso of some help

• In 28 pages it explains the background of the story (how and why Kate arrives in Valadilene), the system requirements, what the various game icons are and how to use them*, the inventory menu, and how to use the dialogue box to query the characters for information

• There’s also an advertisement for the Syberia Strategy & Solutions Guide for 9.99. I am seriously considering investing in this.

More on “defining”More on “defining”

• But really the best way to identify (define) the major and minor tasks and discover information is to just go through the game. Each location (level) has different tasks, different clues and different solutions.

• You can’t get to the next level until you solve the problem(s) in the current one. If you don’t have the solution guide, you just have to keep playing until the lightbulb goes off, and you have that “ah ha!” moment. Then you find yourself saying, “why didn’t I see that before?”

How does this compare with How does this compare with traditional learning environments?traditional learning environments?

• In both situations the task is determined for you. A teacher gives the assignment (such as this reflective writing one) and details the requirements and, in Syberia, the game designer creates both macro- and micro-tasks, and “the world” in which you achieve them. Neither situation is student-centered in the sense that the student decides what, where, and how to learn.

More comparisonsMore comparisons

• Teachers and game designers also determine the key terms, locations, and resources to use for accomplishing the task. Games may be more immersive (and certainly more fun) than traditional instruction, but they are still limited. They do not necessarily promote open-ended, explore-to-your-heart’s-content creativity. Neither do most traditional classroom assignments.

Now how about some contrasts?Now how about some contrasts?

• Exploring something (in this case, history, characterization, mechanical technology, and some really cool artwork and narrative) in such an immersive way is certainly more enjoyable and – for most students – probably more motivating than, say, reading about Eastern European culture in a textbook.

Another contrast: You can’t failAnother contrast: You can’t fail

• “It is impossible to die or to get stuck at any moment in the game, which allows the user to fully immerse him/herself in Syberia’s universe, without the fear of making a mistake or the constant need of saving the game.”

- Wikipedia’s Syberia entry

Information literacy anyone?Information literacy anyone?

• Certainly encouraging a student to take risks as he or she searches for information is a positive that promotes information literacy. Searching, defining, focusing, evaluating, analyzing, and synthesizing … all of these steps would be stymied big-time if one had to worry about failure at every turn.

More on information literacyMore on information literacy

• Following along with Kate as she travels to her various stops, meets new people, explores new environments, reads a whole bunch of documents, solves puzzles and problems, and – at the very end of the game – makes a crucial decision is a lot like completing a research project …

Like a research project, contd.Like a research project, contd.

… the difference is that I lost all track of time while I was “researching.” I was motivated to keep going back and repeating my steps, as often as needed, to find the necessary item or clue, despite feeling like a doofus much of the time. I was immersed in the experience, and wanted to continue.

So the bottom line is …So the bottom line is …

While I remain unconvinced about the ability of video gaming to offer students the kinds of open-ended challenges and opportunities they ultimately need to become genuine critical thinkers and creative producers (to use a Gee term), I do think gaming can offer several advantages over traditional learning instruction. These need to be explored further and mined for their value to learning.

No more wildernessNo more wilderness

We don’t have to remain lost in the wilderness of complicated educational theories and terminology. We can learn from gamers such as B. Sokal to improve how we help students learn.

We can create learning We can create learning environments that are environments that are

challenging, enjoyable (and challenging, enjoyable (and therefore motivating) therefore motivating)

immersive and effective.immersive and effective.

How do we do this? How do we do this?

Provide opportunities for self discovery, Provide opportunities for self discovery, encourage risk-taking and even passion, encourage risk-taking and even passion, and invite learners to enter the “semiotic and invite learners to enter the “semiotic domain” of whatever we’re teaching. This domain” of whatever we’re teaching. This

will enable them to feel like active will enable them to feel like active participants, and not just passive observers.participants, and not just passive observers.

I’ll give the final word to Benoit.I’ll give the final word to Benoit.

“Obviously, Syberia is all about the interaction between Kate and other characters. Without

these interactions, Syberia’s story wouldn’t have a lot of depth. The characters are the vehicles

for the emotions we’re trying to communicate to the player.”

- From the Just Adventure interview

Maybe it all comes down to the human touch,

and all the emotion and passion that lie therein