Posts by Ian

Playbor in the Loop: eSports and Athletic Scholarships in Chicago Education

Ian Bryce Jones

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Ian here—

What follows is my talk from SCMS 2017 in Chicago, IL. It was part of the panel I organized, “Gaming’s Midway Point: Games and Game Culture in Chicago“—and I’d like to thank Julianne Grasso, Daniel Johnson, and Chris Carloy for contributing papers and making that panel the success that it was.  You can follow along with my visual presentation here.

This is the website of Collegiate Starleague, a league for competitive, professional-level videogaming, or eSports, on college campuses. Collegiate Starleague holds tournaments for college players of games such as League of Legends (Riot Games, 2009) and Dota 2 (Valve, 2013), two enormously popular games in the Multiplayer Online Battle Arena genre, which has dominated eSports in recent years, as well as the first-person shooters Overwatch (Blizzard, 2016) and Couter-Strike: Global Offensive (Valve, 2012), and the digital collectable card game Hearthstone (Blizzard, 2014).

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Lesson Plans: The Definitions and Expectations We Have of Games

Ian Bryce Jones

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Ian here—

This post serves as a little mini-postmortem on two difficult class sessions in my “Frames, Claims, and Videogames” course. There are multiple overlapping reasons why these class sessions were difficult for me. One is that my lesson had to pivot strangely from seemingly-academic debates on the definition of games to a sudden dive into matters of harassment in game culture. Harassment itself is, needless to say, a difficult thing to discuss in class. It becomes exponentially more difficult when one is teaching  a class with a high percentage of international students, many of whom (thanks to the registration realities of late-scheduled courses) have no particular interest in games, and who simply cannot fathom the cultural forces that align to drive a certain subset of American men to use things like changing conceptions of videogames (videogames!) as an opportunity to harass women online. I mean, how do you explain this, really—to anyone at all, let alone someone completely on the outside of American “gamer” culture?

I won’t go so far as to claim that my approach to this material was entirely successful. (The class did not, for instance, become a platform for thoughtful discussion in the same way my unexpectedly post-Trump-election lesson on the politics of American comedy did.) It was, though, a learning experience for me, so it’s worth sharing some details.

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Lesson Plan: Janet Murray, Damn Fine Futurist

Ian Bryce Jones

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Ian here—

The first half of my “Frames, Claims, and Videogames” course is devoted to five major debates that have hovered around games over the past couple of decades. Some of these are legal, some have occurred in the art world, some have occurred in the sphere of popular discourse, and others are academic. For the first academic debate, I pitted Janet Murray‘s ideas about the storytelling potentials of new media agains the hard-core ludologists.

When prepping for this lesson, I found re-reading the ludologists in 2017 to be an unpleasant experience. Looking back at the early-2000s era writing of folks like Espen Aarseth and Markku Eskelinen, it’s pretty clear that they were the academic precursors of the game police. And not the snarky, tongue-in-cheek Game Police parody twitter account that arose in 2013. I mean the angry young men, who would later become Gamergate, but who already, in 2012–2013, were barking back at “corrupt” journalists praising games they didn’t see as games: games that told stories, rather than let you shoot things. These young men took it upon themselves to politicize the term game, to define its boundaries and beef up its border security. A “videogame” became a medium you couldn’t freely pass into until you showed your papers, and proved that everything was in order. The most vigilant among these enforcement agents, the Joe Arpaios of gamer culture, enjoyed a wide jurisdiction and acted at their own discretion, with great impunity. (Is it really any wonder that this burgeoning culture of alt-right gamer trolls would evolve into one of Donald Trump’s key blocks of support?)

As I said, it is tough re-reading, let alone teaching, the ludologists in 2017. As a consolation, though, it is a delight teaching Janet Murray. Time has proved her to be an exceptionally good predictor of the future, meaning that reading her twenty-year old Hamlet on the Holodeck is a surprisingly exciting experience.

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New Resource: Pedagogical Notes on Games

Ian Bryce Jones

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Ian here—

I am very pleased to announce a new page I’ve added to the “Teaching” section of this site: “Practical Pedagogical Notes on Games.”

Let’s assume, for a moment, that you are an educator. You’d like to introduce videogames into the class you’re teaching. Perhaps it’s a course on new media, or digital storytelling; perhaps you’d like to include a section on games in an Intro to Film course, or an Intro to Mass Communication course. Whatever the case, you find yourself faced with practical matters. What games should you assign, and how should you prepare students to play them as part of their coursework?

Perhaps the relevant scholarship on games you are familiar with all came out some time between 2004–2011. You’re not sure if the games discussed in those readings are still readily available, and if they’ll work on your students’ newly-purchased computers. Who has time to troubleshoot such things while lesson planning? Perhaps you’re looking for tips on games students can play for free, or games they can play without installing anything on their computers. Perhaps you’re looking for tips on how many games you can assign as a week’s worth of homework. Just how long do games take to play, anyway? Has anyone reliably timed such things? And what about content warnings? Everybody seems to want those, these days …

Well, fret no more! The “Practical Pedagogical Notes on Games” section of this site now provides my guide for answering such questions.

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Lesson Plan: Cinematic Editing—from Bricks to Collisions to Un-linkage

Ian Bryce Jones

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Ian here—

When teaching cinema studies at a whirlwind pace, my next stop after the lesson plan on basic terms I posted a few weeks ago is to devote a class to montage. The particular lesson plan here is one I used in my Avant-Garde Film and Video Art class, so it’s geared toward giving students a vocabulary for digesting for some of the more striking forms of associative cutting we’ll see over the course of the class.

This particular permutation on my usual lecture occurred following a screening rich with films composed either in whole or in part from found footage: Take the 5:10 to Dreamland (Bruce Conner, 1976), The Exquisite Hour (Phil Solomon, 1994) and Is This What You Were Born For?, pt 7: Mercy (Abigail Child, 1989). The readings I had students do were “Montage as the Foundation of Cinematography,” a chapter from Lev Kuleshov’s The Art of Cinema, Sergei Eisenstein’s “The Cinematographic Principle and the Ideogram,” and Abigail Child’s “Locales” interview with Michael Amnasan, reproduced in her book This Is Called Moving: A Critical Poetics of Film.

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Let’s Study Virginia … some more!

Ian Bryce Jones

Ian here—

It’s done! The second part of my “Let’s Study Virginia” video is now live on YouTube.

If you just want to watch the second part, click the embedded video above. If you want to watch the whole thing from the beginning, click here. (I have also updated my original post so that the embedded video there autoplays the second part.)

Time will tell if I make more of these “Let’s Study” videos. Building up an archive of them could have real pedagogical benefits. The best option when teaching games is, of course, always to have students play things themselves. But one must consider the realities of constraints on access to specific platforms. If students playing a game is a logistical impossibility, it is undoubtedly a better to be able to say, “here, watch this video I uploaded onto YouTube that precisely demonstrates exactly the relevant points of this game,” than it is to say, “go find some footage of it on YouTube recorded by some random let’s play-er.” A strong case can be made that this sort of video essay work is the next best thing to having students play things on their own.

As before, full script below the fold, if for whatever reason that interests you.

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Joana Pimenta’s An Aviation Field

Ian Bryce Jones

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Ian here—

So I’ve done a couple dispatches now from the University of Chicago Film Studies Center’s “Troubling the Image” series. I’ve especially like the recent material that Julia Gibbs and Patrick Friel have pulled together from filmmakers and video artists around the world. As it turns out, 2016 was an especially good year for experimental cinema.

In fact, although there’s a truly embarrassing array of films I need to catch up on from 2016 (been playing too many games …), I think it’s likely the case that my favorite film from 2016 will be an experimental short: Portuguese-American filmmaker Joana Pimenta’s video An Aviation Field.

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Lesson Plans: SEE YOU IN COURT (or, SCOTUS ponders whether the medium is the message)

Ian Bryce Jones

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Ian here—

In this post I’m going to be mashing together several lesson plans from two very different courses: my Intro to Mass Communication course at DePaul University, and the course “Frames, Claims, and Videogames,” which I’m currently teaching at the School of the Art Institute right now. Despite their different origins, these lessons speak to common themes, and in fact they could be productively combined in the future. At issue in all of them: the US Supreme Court’s shifting views on various media, their potential for socially valuable expression, and their first amendment protections (or lack thereof). We could call it a vernacular legal theory of medium specificity, moments in which those whose job it is to interpret the law dip their toes into defining the specific affordances and dangers of a given medium.

What is our country coming to when a so-called judge can define a medium’s potential as a mode of expression?  THE DEFINITIONS OF OUR MEDIA ARE AT STAKE.

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Let’s Study Virginia

Ian Bryce Jones

Ian here—

So, awhile back I promised further thoughts on Virginia. After mulling it over, I decided to put them in video form. The end result is a sort of let’s play/video essay hybrid, which I’m calling a “let’s study.” (This sounded less presumptuous than “let’s analyze,” which I didn’t want to use because this video isn’t particularly academic. At the same time, though, it sounded more sturdy than “let’s think about,” or some other wishy-washy formation.)

This video is slightly under an hour, and it’s only the first half of what I’m planning on making into a two-video sequence. I’ll update the embedded video above so that it plays the whole playlist rather than just the first video once I’ve finished the second one. [UPDATE 2017-02-28: I’ve updated the embedded video! If it doesn’t auto-play the entire sequence, it should at the very least recommend the second after you finish the first.]

Full transcript of the script below the fold, for those of you who prefer reading things.

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Lesson Plan: Basic Terms of Cinema Studies + Their Relevance for Avant-Garde Cinema

Ian Bryce Jones

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Ian here—

I suspect that every cinema studies teacher has their own favorite examples to use when teaching key vocabulary terms, and I would not be so presumptuous as to prescribe my own favorites! Nevertheless, though, it’s an important part of the job, so I wanted to share my own approach here.

Over the past couple of years, I have gotten used to teaching these terms in a very specific context. At the School of the Art Institute, I teach first-year seminar courses. They are courses designed so that all students have some basis in college-level writing as they go through their time at SAIC. Instructors are given enormous freedom to teach whatever they like. This makes it a great venue for testing out new and interesting course ideas, but the flip side of that is that your courses never have prerequisites, and there’s no telling the level of expertise students who enroll will actually have.

What I do, then, is devote one day early on in the semester to a quick-and-dirty Intro to Film in a single lecture. I take a lot of the examples and explanations I first started using when I taught Intro to Film at U Chicago in 2015, but I condense them down into something that can fit into an hour or so. It’s potent stuff.

You can access my go-to presentation here. I’ve set the privacy and sharing settings to their most open, so if you’re a Prezi user you should feel free to copy it if you like it, subbing in your own preferred definitions and clips as you feel necessary! I’m here to share, and not here to impose.

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