The Use of Gameplay Design Patterns “It’s like a project in itself, really”

The Use of Gameplay Design Patterns “It’s like a project in itself, really”

Research Questions - March 2024

What pedagogical tools and processes are available to support novices to overcome barriers to participation in game coding processes?
How can game design patterns support the development of coding practices with novices?
How can learners build agency in an evolving community of game makers?

Word count

Actual (Target)
Intro - 800 - (500)
Vignette + Commentary - 600 (1000)
Cultural - 2500 (2500)
Guided Part - 5,800 (2500)
Personal - 500 (750)
DISCUSSION - 1700 (1500)
Conclusion- 400 (500)

500+1000+2500+2500+750+1500+500 = 9250

Introduction

In the previous chapter, I outlined the evolution of tool use, emphasising emerging tensions in activity. This chapter shifts focus to the perspectives of participants, using recorded data to interpret the varied applications of gameplay design patterns (GDPs). In doing so, it addresses the research question: How can game design patterns support the development of coding practices by novices? Chapter 2 summarised software design patterns as a grouping of a description of target project behaviour, with a suggested community solution of code structure often accompanied with worked examples. While existing research explores the use of game design patterns in educational settings, for instance to aid the transfer of science simulation concepts to other contexts [@repenning_scalable_2015; @basawapatna_using_2010] or as a foundation for co-design work [@eriksson_using_2019], there is limited work addressing their role in overcoming challenges faced by emerging communities of game creators using text coding. The last chapter investigated iterative activity involving alterations to games at the level of gameplay design patterns as part of the mutual evolution of learning design. This evolution encompassed various forms, including supporting resources such as code examples, instructional tutorials and quick-start activities proposing micro-level code modifications. This chapter builds on that analysis, focusing on the use of GDPs in diverse mediational strategies, not only within facilitator-provided resources and scaffolds but also as part of emerging community practices and interpersonal repertoires. During data analysis, GDPs appeared in such diverse and significant forms that they became candidates for a germ cell concept.

Regarding the structure of this chapter, it begins with a vignette of parent-child interaction during the game-making process to contextualise the findings that follow. The chapter then presents a systematic analysis of participants’ varied uses of game design patterns, drawing on detailed observations of recorded video data. For this analysis, I employ Rogoff’s three planes of analysis [@rogoff_observing_1995], as introduced in Chapter four. Recognising that these observations do not neatly align with the three planes, I discuss the use of GDPs across cultural activities, interpersonal activity and personal knowledge in three distinct sections. These sections focus on how gameplay design patterns are utilised by parents, children and facilitators, each through the lens of the respective analytical plane. An analogy can be drawn between these three planes of analysis and the examination of activity systems at varying scopes. Specifically, the cultural plane aligns with the community scope of activity described in Figure 5.x in the previous chapter, while the interpersonal and personal planes correspond to smaller scopes depicted in Figure 5.x. A discussion section explores the implications of these findings in relation to existing research and theoretical concepts. This discussion considers the examples of GDP use in practice to analyse GDPs as a mid-level construct, demonstrating their utility for both educational designers and researchers.

Initial broad commentary on Vignette 2

In this section, I provide an overview of the specifics of the learning design and participant interactions. Beyond providing the reader with an illustrative example of partner work in game coding, this commentary begins to surfacing uses of GDPs as a meditational strategy, which are then explored using wider data in the rest of the chapter. To achieve this, I use a vignette to capture a snapshot of the interactions within one family, as it includes several aspects of activity that incorporate the use of GDP concepts. A truncated table presents participant dialogue, screenshots and a description of their interactions, including gestures, followed by a summary interpretation of these interactions. A more extended extract of dialogue, activity description and commentary is available in Vignette 2 in the appendices.

Insert or shorter Vignette here https://docs.google.com/document/d/1zwV_CLBd2tG0taSclGntJGyC8m9ib39ztHlCg132PMs/edit

Outer pipes Cell padding

Suzanna: I’ll reload it. Here you go	Suzanna presses refresh key to reload the preview game view to reflect the changes that have just been made.
Olivia: Laughs	Olivia moves laptop to point towards her and takes over using the keyboard

On the Screen: Olivia is uses the keyboard’s arrow keys to control the game player. She checks the desired behaviour of the player progressing to level 2 after collecting a key and then traveling to a door - is working. It does and Olivia progresses to level 2 of their game where there is not a door or key.

Short Descriptive Commentary on Vignette 2

For the preceding ten minutes, the parent and child dyad had been struggling with a tutorial chapter in the textbook, included as Appendix.tech.samplechapter, which explains how to add the pattern of keys and doors. In this pattern, players must collect a key and then navigate to a door to progress to the next level. The parent, Suzanna, had been making multiple changes to the code while the child, Olivia, expressed boredom. Suzanna then suggested that Olivia ask the facilitator, Mick, for help in resolving the coding issue. Once the bug was resolved, Suzanna handed the keyboard to Olivia to test the now working game.

Skilful parental work to sustain engagement

The parent takes action to involve her child in the design process when technically possible and to incorporate her child’s interests. The full arc of the vignette, the parent overcomes her own hesitancy regarding asking for facilitator help by sending out her child to ask. When the code problem has been solve, she signals clearly to her child to return to the design process. This indicates that she is aware of the greater possibility for effective child input at these moments. After a blockage caused by debugging coding is removed, the parent immediately re-engages the child prompting the child to play-test the game.

The parent struggles to implement quite ambitious code challenges that she takes on but signals clearly when the process returns to a state suitable for ideation and design within the scope of the child. The completion of a coding task indicating that she is aware of the greater possibility for effective child input at this stage. The parent navigates the process skilfully and is able to elicit and then incorporate the child’s interests in a variety of ways.

Challenge and initiative

The child also show initiative, in particular in relation to level design. There is an awareness of and playfulness surrounding the conventions of a platformer game as a dynamic system in way which drives their work on the design and coding mechanics of the game. An understanding of the game as a dynamic system is seen clearly in the parent’s alarm when, shortly after this interaction, the child deletes all elements of hazard in one level.

Lingua franca

The implementation of a new game design pattern (GDP) involve adding new code to the game. The amount of code and/ changes needed varied depending on its complexity. Larger changes typically need more careful manipulation of code and subsequent debugging.

The child(c) Olivia uses the name of game design pattern they are working in Keys and Doors in the process of encouraging her parent(p) Suzanna to get started on it (Key 44 in Vignette 2).

The key and door pattern is one of the harder ones to implement. Olivia is one of the younger participants and the parent Suzanna has taken on the role of solving harder code problems and in doing so has built important proficiency in coding practice.

There is evidence that the Olivia(c) is building a connection to the game making pattern in (Key 12 in Vignette 2) abbreviations of the names of GDPs, Key and Door and Levels, are repeated in a sing song voice and the positioning of the Key and Door pattern as a challenging in the session start orientation outlined in Vignette 11 provokes a strong reaction.

Transition

The use of GDPs terms as a lingua franca, a concept underpinning the utility of design pattern more generally [@erickson_lingua_2000], to help design for others is explored in the next section. More broadly the use of GDP concepts as an evolving design language to give feedback, to share knowledge, request and for other uses during community activity, pair interactions and individual work are explored in following sections.

Use of GDPs in the cultural plane / community level of activity

Following Rogoff’s [-@rogoff_observing_1995] three planes approach of analysis , the following section explores the use of GDPs at at community plane of activity. While Rogoff’s early analysis of activity on a cultural plane focused on the metaphor or apprenticeship, focusing on an already existing community, later work with Gutiérrez [-@gutierrez_cultural_2003] has a greater focus on cultural activity as dynamic, examining existing and emerging norms and repertoires adapted from participants presence in other communities.

The role of GDPs to facilitate learners to design for others

The use of GDPs (especially during playtesting) can aid the process of imagining end user experiences

This section examines how the concept and experience of implementing GDPs provoked participants to imagine the experience of end users of their game. Chapter 2 explored the proposal of professional and participatory design processes is that design should be informed by end user experience [@redstrom_towards_2006] , and the challenges involved in undertaking such a “operationalization of empathy” [@surma-aho_conceptualization_2022, p.1]. Taking a CHAT interpretation, this process involves shifts in perspectives from participants as they engage with objectives on different scopes of activity. For example, in the vignette above Olivia(c) persues a quirky design goal during her pair design work, which Suzanna(p) resists. Imagining a the shift in perspective to the imagined audience at a community level of interaction, the parent is keen to ensure a sense of challenge for the imagined player.

Suzanna shares “Must be quite hard to get through that door.” when Olivia places the exit door high above a platform. She then continues - “It’s no fun having a game without any hazards to avoid.” Olivia(c) seems determined to remove all hazards. “It is for me!” she counters. She may be aware of the implications for game balance but takes pleasure in this destruction of the key challenge of the game as an act of disruptive play.

A later interaction with a peer shows that she is indeed imagining the experience of the immediate audience of fellow game makers and supporting students. “I like making it frustrating. that other people find it frustrating!”. Olivia(c) notes the persistence of a student helper who pushes past her frustration to complete the game. Her remark “If people tried hard they would get to my level” shows her awareness of that not all players will persist in the same way to reacj her final level which has only rewards and no hazards. This being a “secret, special” experience which plays against the norms of platform game design, thus intended to provoking player surprise.

There are other examples of how concepts of game challenge and other aspects of gameplay experience evolved through informal feedback during playtesting and served to influence peers to modify their games to increase the enjoyment of peer players.

The discussion of game challenge, specifically comments about how ‘hard’ participant games were a particularly common interaction during playtesting. Vignette.challenge outlines an key interaction which demonstrates norming behaviour towards Molly(p) who has concentrated on the graphics of her game to the detriment of level of challenges, in particular the controls of the game are frustrating. The vignette shows varied attempts to influence Molly to change the game variables to make the gameplay less frustrating. They praise the look of the game but offer feedback on the experience of the game mechanic of jumping. While the players do not tell Molly directly to change the game, these comments appear to direct direction of the design to comply with an emerging community norm of how a player jumps should feel stemming from the participants feedbcak on the feeling of lack of control over the player’s character in the game.

These norming behaviours some of the informal norming behaviours that are less directive seen in the work of Rogoff and colleagues as explored in literature review [@rogoff_cultural_2003].

Ending / Transition - Other examples and interpretation on designing for others / shifts of perspective

Returning to the complexity of Suzanna and Olivia’s interaction which involves negotiation over the imagined experience of others involves the use of GDPs concepts.

GDPs aid the overall process of design for others by providing discreet and clear goals which are nested in the wider goal of making an engaging game.

In interpreting data there were other examples of pair partners and peers either commenting on or suggesting to others that they should imagining others user experience to suggest game design alterations.

Such use was present in 6 of the 12 video capture sessions analysed.

GDPs facilitate the use of wider funds of knowledge / interest

GDPs allow participants to share and explore their home and professional funds of knowledge and practices in the emerging learning community.

One premise driving my exploration in the use of gameplay features as a feature in pedagogy is that the tacit knowledge of gaming conventions of most family members is extensive even if they are not avid gamers due to the extensive influence of video game culture and experience into mainstream culture including contexts of family life [@ito_hanging_2010; @livingstone_digital_2018], in particular retro gaming [@heineman2014public]. As such, the process of facilitating ways of surfacing and working gwith such tacit knowledge aligns with Moll’s concept of funds on knowledge, and if aligned, funds of identity [@fasso_identity_2020; @esteban-guitart_funds_2014]. Within a CHAT framework these funds of identity and knowledge can be seen as tools which facilitate the transfer of potentially useful concepts across the boundaries between activity systems, in this case between home activity and that happening in this game making community, with the associated inclusive benefits of working with participants home interests explored by Barron [@barron_conceptualizing_2010; @barron_interest_2006-1] and similar work by Gutiérrez on third spaces [@gutierrez_developing_2008]. Existing research outlines motivations of social making incorporating gaming cultural elements [@ito_hanging_2010; @gee_what_2003] and the ability to make personalised game assets narratives, sustain engagement in digital making projects [@sefton-green_mapping_2013].

In the last chapter I outlined processes facilitating participants could to create and incorporate graphical, audio assets and narratives elements into their games and, referencing Appendix. briefly outlined how these elements were themed as Game Polish items within a typology of GDPs which aligned with the MDA (mechanics, dynamics and aesthetics) game element framework explored in Chapter 2. Addressing the aspect of patterns aesthetics, in Vignette 5 Molly and Nadine showing identification with graphical making process and the process of bringing it the game. Beyond their internal family interaction, they share this artistic flair and attention to detail into the emerging learning community. EXTEND OR SIGNPOST - ADD TO APPENDIX COMMENTARY - CHECK WITH NEXT CHAPTER.

In addition to issues of aesthetics explored in the section above, home knowledge game mechanics and dynamics, the M and D of the MDA framework also contributed to emerging cultural repertoires. Addressing experiences of game dynamics, as explored in the previous section, Vignette 4 gives several examples of how feedback of participants on the dynamics of Molly’s game during playtesting. Turning to game mechanics, in part two of Vignette 7, Bertie comments on Toby’s game which has a dominant game experience of timed jumping: “It’s like parkour in Minecraft but timed. It’s like playing the game Wipeout. Have you ever played Wipeout?”. Parkour in Minecraft and Wipe out are both game experiences whose main gameplay mechanic is about judging jumps to landing accurately. Bertie makes links to his existing experience of games making comparisons between Toby’s game, commercial games and his own. In doing so Bertie is able to shows his knowledge and analysis of gameplay patterns.

The different types of GDPs available to participants to choose from in the menu of GDP documentation and code snippets allowed a choice over participant making paths, allowing an alignment with home interests.

A wider exploration of use of FOK in the programme related to art and narrative is explored in chapter six. IS THIS NOW REALLY NEED - OR MOVE TO APPENDIX?

Summary LINK TO STATS from coding.

While this study is exploratory, and not designed to be representational, observations from video data in this study supports existing research on use of FoK FoI in digital projects as motivating and as a way to ovecome barriers to alien cultures [].

Evolution and propagation of GDPs concepts during playtesting

Within the emerging idioculture of the game making sessions, and during playtesting in particular, the implementation of particular GDPs by participant pairs or individuals often spread through peer activity. Both documented (those part of provided resources) and novel GDPs (those introduced by participants) were transmitted between participants enriching the games of participants. At times participant were influenced by playing the games of others and at times they would request the direct help of peers to implement GDPs in their own games. In part two of Vignette 1, Toby’s work adding 21 levels to his game is noticed by Bertie.

Bertie: Why’s that enemy in every level Toby: He’s not. Bertie: Can you show me how you add more levels on to yours? Toby: Yeah sure. Pause Toby: I’m just going to have one go of beating this (refering to his own game which he is playtesing). It’s 21 levels in it. So .. Yeeeeah. Pause Bertie: It’s like parkours in Minecraft but timed. It’s like playing the game Wipeout. Have you ever played Wipeout? Toby: Er not really. Bertie: Or seen it? Bertie: That’s like my second level. Toby: Ah so hard (Toby fails at a high level on his game and starts to move off) Toby: (To someone else calling for attention) No I’m helping Bertie. (Toby then follows Bertie to his workstation to help him implement more levels.)

In addition to peer feedback, in P2 myself and other facilitators would often provoke informal reflection on project progress through asking what patterns they were currently working or had recently completed. EVIDENCE? PRESENCE / FREQUENCY?

Other examples of propagating patterns include placing hazards in tricky places like a lava pit, the use of moving enemies and changes to jump dynamics.

Analysis: This exchange shows the propagation of GDPs emerging FROM community playtesting very direct with the one asking another to help them directly. It is possible that Bertie’s request to Toby is facilitated through noticed Toby helping Nadine and Harper add levels to their games. Toby’s emerging roles as a specialist that the community can draw on, on a practical level, and similar examples,(see also that of Nadine in Vignette 5) were welcome as a way to reduce dependence on myself as a facilitator, or to provide an alternative to the instruction-based support documents.

New GDPs emerged from existing patterns through peer activity during playtesting

In addition to the propagation of GDPs offered n the menu of supporting documentation, other gameplay patterns and related design concepts emerged organically from the community. For example, Olive’s concept of a level that eschews challenge and offers only rewards, a type of bonus stage pattern, emerged through playful experimentation (see Vignette 2). Similarly, the concept of safe zone in the game of Pearl and Clive arrived as a direct result of after adding a moving enemies GDP, the extensive use of that pattern dominates the game challenge to such an extent that it is essential for players to quickly identify and use ‘safe zones’. DEVELOP

These novelties may emerge spontaneously or have a source in part participants’ funds of gaming knowledge. In either case once the concept of safe zone or bonus level enters the linguistic and coding repertoire of this community of game makers, they may spread if other participants pick up on them. Even if other participants only noticed the use of GDPs and use approximate terminology to comment on them during playtesting, this form of activity can be seen as legitimate peripheral participation [@lave_situated_1991; @guzdial_imagineering_2006], and thus a helpful practice contributing to the emerging ecosystems of the learning community.

synthesis of this section

Summary of cultural section - and signposting to next chapter

This section has explored the use of GDPs as within strategies and processes that occur at a community level in way which demonstrate the transfer between different activity systems in a way which supports the perspective of Gutiérrez [@gutierrez_developing_2008] regarding the importance of transcending borders and linguistic practices between sites of learning. Playtesting a medium for an a shared idioculture to emerge and as such became a significant part of pedagogy of the learning design. While the design processes directly linked implementing GDPs were one of the most significant in video data others were present. The role of playtesting and other community interactions including warm up games, session reflections are explored in relation to the development of agency in the following chapter.

GDPs used in the process of guided participation (Target 2500)

This section explores data on the use of GDP from the perspective of interpersonal interaction the process of being guided into planned activity or peer work which is exploratory but helps developing of interpersonal processes which serve the completion of the activity. From observations of video data, I observe how GDPs are used in diverse meditational strategies by different participants.

The use of a catalogue of design patterns addresses a tension of participants choice and the need for documentation to support the technical implementation of code structures. However, not all participants used provided instructions and develop diverse ways to access support to implement patterns.

At the cultural level of analysis of activity, the previous section outlined that providing a menu of game design patterns enabled participants to select patterns aligned with their personal interests, potentially reducing feelings of alienation from coding or game-making culture. This section also examines how a curated collection of game patterns, along with supporting documentation, created opportunities and influenced participants’ experiences on an interpersonal plane of activity.

The previous chapter explored, from my perspective as a facilitator, the use of a menu of GDPs helped address a the tension between of participant choice the need for supporting materials on code implementation. Vignette 9, shows one of the few short episodes of my addressing the whole group class talk where I outline the webpage listing the menu of patterns “It’s almost like this is our control panel. (you decide) what do you want to do next and we jump off from there.”

Given this integration of this decision into the learning design from P2 onwards, it would appear natural that participant use the provided framework. However the evolving use of this documentation, the variations within that use and interpersonal interactions use merit attention.

Vignette 2 in this chapter shows the parent Suzanna’s use of a step by step tutorial to address the child’s objective of implementing chosen GDPs. Olivia is limited in her technical skills but leverages the concept of two GDPs in particular to persist in problem solving using the tutorial and trouble shooting using facilitator help. Given Olivia’s limited computer literacy (explored later) the idea of the GDP is likely to be from a cultural source, most likely playtesting.

By way of contrast, Vignette.toby showed the child shares an independent style with Suzanna but engages in lone working, copying a code from code snippet example of the game design pattern which he chose from a graphical menu of patterns. His independence in adding new features using supporting documentation without facilitator support helps him take on a mantle of a mentor inspiring and helping others add the same GDPs to their games.

OTHER DATA CALL HERE - Examples from the data of participants using GDPs as a framework for organisation and project navigations.

These varied forms of documentation, and their varied adoption and propagation represent different approaches to scaffolding the process of becoming familiar with and then modifying to the code in often increasingly ambitious ways inline with the stages and ethos of a use-modify-create (UMC) approach. [source]

Key characteristics of structuring support around quick start activities and a subsequent menu of GDPs which align with existing research include:

supporting the value of informal approaches to learning technology [ITO etc] whilst avoiding the lack of support in P1 where participants called out for more support with technical and organisational processes.
providing shorter, just-in-time tutorials to reduce barriers associated with more extensive instruction-based approaches including barriers of literacy [@dietz_design_2021; @resnick_coding_2020].
The use of a menu / collection of resources can be considered an inclusive educational practice and offer a rich description of a concrete example which aims to align to inclusive, practice-based frameworks like UDL and PBL. While this may involve more work in advance, the benefits to inclusive practice merit it.

GDPs used to scaffold ideation and organisation processes (800)

GDPs are used in a variety of ways to guide the ideation process via restriction of choice in pattern collection, starting template includes core dynamics, visual code structures of GDPs suit rapid prototyping.

The design chapter explored the tension between reduced choice of genre of game. In my journal notes and observations of the games created, I note that the provision of a graphical menu of GDPs significantly decreased in time spend in ideation phase by providing scaffolding and a restriction of choice. Analysis of participant use of the menu as detailed in the documentation section above Toby supports this analysis. Other techniques that leveraged the characteristics of game design patterns to support the ideation process emerged in community design activities.

Knowledge of game design patterns used to stimulate and communicate new ideas

In the following example from vignette 7, home-base knowledge is utilised to help shape new design ideas and problem solving practices. Dave and Toby are working closely as a pair. The following interaction shows a rich interchange where the parent is trying to draw on the game playing experiences to promote innovation in the design of the existing template.

Dave: Have you thought about pushing it a bit further and have a different style of game?
Toby: What do you mean?
Dave: Well the previous style of game was a platform (makes shape with hands) game wasn’t it? You went along and there was gravity pushing down (points down). There are other types of games aren’t there?
Toby: Pause. I don’t know what to do thought.
Dave: Well quite but what other games are there? again

Dave invites thinking outside of the constraints of the suggested design early in this first session. In this example the family bring their knowledge of game play patterns and genre conventions and more broadly experience and a perspective of coding as a creative challenge to the activity.

Additional interpretation in commentary in Vignette 7.

The use of GDPs to encourage intuitive and visual prototyping

Some GDPs allow the spacial exploration of design in a visual way that suits being mapped onto paper, or onto graphical software which allows for a similarly intuitive and rapid prototyping.

The use of paper prototypes was one technique used by several parents to support their children to form and develop their design ideas. In our starting vignette the matrix helped the child design with little coding or literacy ability.

Later in their interactions the parent notices the child’s difficulty in using cursor and delete/backspace keys to edit a matrix allowing level design. The parent provides a book with grid paper to allow the child to replicate the matrix. The parent is then able to transcribe the design to the code example while engaging the child by checking she has interpreted the design correctly.

Graphical representation of code

The way the code is structured has been chosen to allow a graphical analogue between the lines of code in the form of a comma separated array and the appearance of the resulting game output on the screen. The parent uses the graphical representation of design in the code template as a jumping off point to make a connection to home practice of sketching things out in paper. The process of turn the sketched into reality on the screen and sharing with others appears to be transformative in terms of the engagement level of the child.

One pair’s ideation helped by the use of a GDPs is the following example which shows Toby and Dave are creating a new tilemap for a maze game. Toby is able to map existing knowledge of tools and home knowledge of the kid of game he is imagining to rapidly make revisions.

Toby: Oo. Shall we try to make it (unintelligible). Cos in pac man you can go off the edge.
Dave: and you wrap round the other way?
Dave: Yeah, yeah. We can do that. Save that for version 1.1
Toby continues making changes to the code design.
Dave: What’s the theme? What are you drawing?
Toby: What? I’m trying to make like a pac-man type thing.
Dave: Alright. What if you sketched it on paper first? Or have you got it in your head?
Toby: I’m just kinda going for it it. (laughs)
Dave: Ok go for it, see what you get up to.
Toby: I’ll leave a hole there.

As aligned with the learning design principle of rapid feedback, changes in the code which Toby is altering to impact on the new design pattern of a top down game, are immediately apparent in the preview window. As such, Toby does not feel the need to prototype on paper.

NOTE - ADD IN A SUMMARY OF THE POST INTERVIEW DATA from Mark and Ed TO UNDERLINE THIS POINT.

Other examples of GPDs helping the ideation process

NOTE - TO DEVELOP AFTER MORE ANALYSIS OF VIDEO DATA.

The use of GDPs to scaffold the ideation process was a common pattern used by X of the Y sessions analysed.

GDPs aiding the process of organisation and division of labour (1400)

GDPs feature in processes of organisation, prioritisation and division of labour in a variety of ways: working knowledge of different types of GDPs can help participants to divide work by working on different patterns or taking on project elements within patterns, use of GDP concepts as a lingua franca

GDPs are used a lingua franca and as shortcuts by participants when organising and prioritising work

GDPs terms are frequently used to try to organise and prioritise game making activity.

In Vignette 5.d, where the parent Molly wants to export an image from the graphical editing tool and to import this into the game, shows an evolving use of some of the terminology that has been introduced partly by facilitator interventions and partly emerging organically through community interaction.

The terms here are used first to request help, and then to discuss emerging community norms.

OTHER DATA ON GDP AS LINGUA FRANCA AT VARIOUS STAGES.

The following exchange from Vignette 4 between participants Ed and Mark shows the use of GDP concepts to help resolve a tension between a more chaotic style of working jumping from one goal to another and a parental motivation to prioritise work.

Mark: I’ve brought the music, and also we could just concentrate on one thing and just change that. You know, keep working through.
Ed: Yeah. I think I want to get an enemy in - oh no - my person animated.
Mark: So you want to get your person animated that’s the main thing.
Mark: Shall we concentrate on that and changing the platforms into something different?

The pair’s initial listing of features is a brainstorming technique uses of the approximate names of of game design patterns (get the person animated, get an enemy in, changing the platforms, make a theme tune). The vignette analysis sees the parent overwhelmed with the child’s lack of focus on one pattern “that’s what I mean, you can’t just skip around like that”. He appears to be keen to quickly pick one pattern, then then work through the documentation on that pattern, a process he later refers to in interview data a plodding. At a different stage Mark is engaged puzzling over documentation on how to add animation to a character for some time. This results in Ed being blocked from progressing. In an exchange listed in Vignette 4, the child proposes dividing their labour informally, appearing to make a tactical decision allowing the father to specialise in GDPs that involve deciphering technical instructions, whilst he engages with a pattern that involves creating audio and graphical assets in a more experimental process. The use of GDPs concepts here is used in the young person’s circumvention of a tension via his informal division on labour.

it is of value to link this use of GDPs terminology as part of the development of shared language to support joint work and guided participation. INSERT RESEARCH on joint attention, and joint problem space and the importance language in this process from a sociocultural perspective.

Division of Labour

Addressing division of labour more generally, participants worked mostly as pairs or individuals, alternating between community playtesting and pair/individual design work.

Turning to the use of GDPs specificall<!– MOVE TO TECHNICAL IF NOT ALREADY HTERE Playtesting also helped propogate emerging practices. For example, after testing Mi’s game In the example above after comments on the jump speed Ed continues.

Ed: How much jump speed to you have? Ed: Your jump speed is massive. Ed gives advice about tidying up the sprite outlines. Ed: for people with background like yours You can use the “cramping tool”” Mark and Ed then explain – SEE THEIR RECORDING So that the background is clearer.

While Ed has only just been introduced to the ability to “cramp”. He is happy and able to share this useful tool with Mi. Theme –>y in DoL as an organisational strategy, structuring work processes through implementing modular sub-projects in the form of GDPs can aid division of labour

Analysis of video data uncovered flexible way in which the participant divided the process of game making, often showing traces of home collaboration practices. For example, In vignette 2, Suzanna(p) and Olivia(c) relied on the parent to do the majority of code implementation and shared one computer. The pair also alternated between use of keyboard and mouse to give the child hands on experience when possible. In interview data the parent note “I resist the urge to fix things immediately when she struggles.”

In an illuminating exchange, Olivia uses the name of a GDP within a request for her parent to take on a specific task within their making process.

 Olivia: Go on then. Key - Door - Person.
 Suzanna: Person?
 Olivia: Key Door Person.
 Olivia gestures with her hands to indicate that her mother is the person she is referring to.

The utterance by the child “Key Door Person” work on the game design pattern called Keys and Doors to the adult.

The child appears to consider the level of complexity needed to add a new pattern into the code to be beyond her ability and thus directly delegate the task to her mother.

While, the parent took driving seat to overcome code blockages they were careful to then involve the child to input their design choices when solved.

After the child has delegated a coding task to her mother she undertakes other activities. At times her activities directly contribute to the main goal of game making. At times the parent asked the child to seek help from facilitator. On another occasion when the child appeared bored of waiting for parent to solve a code problem, she approached the facilitator to ask for help on behalf of the adult without prompting. At other times she engages more peripheral activities such as watching older children playtest each others games, or observing community activity from under the table.

While in P2 when supported by grandparents Toby had worked mostly alone, in P3, he works as a pair with his father (Dan) in a more guided practice. In several interchanges the father starts as a facilitator taking a lead from the direction of the child. As the child reaches the limits of their ability he begins to be more directive, by asking leading questions and testing existing knowledge. Finally, in order to complete the programming or research tasks beyond of the child’s knowledge, the father is more direct in instruction, directing the research and proposing a coding solution for their new game design pattern. Dan’s experience as a software engineer and volunteer at Coder Dojo (Glossary), in an interview extract he outlines being present to focus on facilitating learners to develop independently.

I try never to touch the keyboard of who's there. If they are stuck on something I always tell them what to do. Even if it's then taken me five minutes to explain what a semicolon is. And point. _It's that key_. Because it was just, I could do it so effortlessly. I think I'm sure I put people off very quickly by "Dan did something really quickly. I don't know what it was.".

Discussion on division of labour in the video data

Leveraging the possibilities of emerging divisions of labour: While the context of the participants as families involved in home education makes any general claims difficult, these observations support exist in other research in this domain. For example, research shows that children have the potential to help parents as technology brokers [@correa_brokering_2015]. In joint technology work parents can fulfil several,reciprocal roles including, collaborator, resource provider, learner, non-technical consultant and emotional support [@barron_parents_2009].

Thus, in response to the creative support that parents and siblings provide, facilitators should design learning environments to facilitate these possibilities. The work of Roque provides guidance for helpers in the process to support parents to value and feel confident these roles [@roque_im_2016] in a way which mirrors the use of helpers this phase of my study.

While these examples involve GDPs others are explore in relation to development of agency in the following chapter. The examples above illustrate, part some of the varied strategies to divisions of labour adopted by participants at times involving complex tensions in activity. For example Molly and Nadine reversed traditional helping relationship, and the child would reluctantly implement the parent’s requested technical elements of GDPS but would pointedly not explain the changes made, seemingly taking pride in knowing something that her mother didn’t. Similarly, while Olivia’s activity away from the screen while non-productive within the scope of technical progress, can be characterised as legitimate peripheral activity of observation of community activity [@lave_situating_1991 ; @rogoff_learning_2014]. Indeed the possibility for children to not engage in community activities is seen by Rogoff [-@rogoff_cultural_2003; -@rogoff_organization_2016] as an important characteristics in participation based models of learning.

The variety of repertoires of helping practice depends in part on the different funds of knowledge the parent has access to. Toby and Dan’s pair process is more guided and focused than many other participants and includes accessing professional documentation and exploration of computational thinking concepts.

In the second part of vignette 7, Dan(p) outlines a similar approach to Suzanna(p) in resisting jumping in. “I try never to touch the keyboard of who’s there. If they are stuck on something I always tell them what to do.” This approach is guided influenced by Dan’s experience as a software engineer and volunteer at Coder Dojo (gly).

This example sees Dan(p) shifting the kind of helping role as he progresses through different stages of applying a GDP.

Molly continues to do solo design using the Piskel graphical too. She encounters a design problem. When erasing a part of the design she gets rid of background colour. Molly asks for help from partner but receives misleading advice which does not help her progress. Molly: Oh no it’s not done that has it?

Molly calls the name of her child across room with theatrical gesture and loud whisper voice Molly: “Nadine !” Molly then makes face, wiggles head and shrugs at parent peer. The other parent laughs. Nadine arrives to help. –>

<!-- NOTE - this is a secondary examples - where GDPs as a concept are not vital. -->

While the helping pattern of accessing the repetoire of researching and accessing technical documentation is available to all pairs, due to the level of skill and experience involved, other technical processes are developed by most participants and are explored in the next section.

The role of GDP used in emerging technical processes (900)

Turning from the division of labour to how GDPs interact with the development of use of technical processes in game making. Example of technical processes can be found in exporting graphical files in Appendix.Molly, in code patching (see glossary for terms in italics) in Appendix 1. Technical processes were sometimes introduced in a basic form through scaffolded activities, supporting documentation or evolved from informal interaction between peers. Even introduced processes evolved, being modified by the community.

Thus while use and propagation of new technical processes were often motivated by a drive to implement or complete a GDPs, the following observations bear in mind that the relationship between GDPs and emergent technical processes is complex and interdependent rather than assuming that GDPs directly facilitate emerging tool use.

The following paragraphs address x, y and z

Increasing technical fluidity of general computer use and software tools

Whilst pursuing the motivation of seeing their GDP-related change in the game many participants become fluid in certain aspects of general computer use and more specific technical processes involved with software use of game making tools.

Examples of processes being adopted by participants through the implementation of GDPs including the fluidity of navigation between playing and coding window shown by all younger participants and many adults and the development of keyboard and mouse coordination to facilitate navigation within the code environment and external support resources to facilitate the code patching process.

GDPs encouraging sharing of technical practices

In Vignette 5.a, we can see that the process of changing pen colours on the graphical tool is one which the child has been able to translate into a effortless process whereas the parent is still consciously building her competency. Nadine has operationalised the process and it becomes part of the toolset of practices that she can draw on [CITE]. Molly also benefits, the expertise of her child to undertake that process is added to her distributed toolset. However, she is also keen to develop her own competency as indicated by her asking child to explain the process.

References to such emerging technical practices were present in many exchanges during informal playtesting and pair interactions. In the following example a reference to a GDP is used to explain the need for the technical process.

In Vignette 5.e, after giving feedback on the jump speed Molly’s game Ed sharing a process to redundant space at the edges of design sprite characters.

"Ed: for people with background like yours You can use the cramping tool."

Ed leads Molly to his workstation and involves his father Mark in the process. Mark uses an example of a GDP in his explanation of why to undertake that process, to not “set things off when you are close to them”.

Thus rather than GDPs helping the graphical cropping process, it provokes Ed to notice and suggest it to Molly, and Mark to evoke it as a reason to undertake cropping.

Code Patching as a guided technical process and the use of GDPs to nurture tactical responses to coding errors

Code patching, the process of copying and pasting fixes into on-going projects, is outlined in Appendix.codepatching. The process of code patching is similar in that the documentation is structured around GDPS, and thus similar aspects of an appropriate organising unit apply.

Code patching is a processes which suits being organised around GDPs aligns with the UMC process.

The patches, and patching process became an important process in documentation. While code was provided, in practice mistakes were still made and additional customisations were made.

Solving / Debuggging code problems that responses are helped by the high level of context present in the use of GDP as a structural design framework.

In analysis of journal notes and recorded screens I began to identify different kinds of coding problems that blocked participants from progressing and build proficiency and flexibility in addressing them. Reflections on participant experiences of kinds of errors are explored in Appendix.tech.2. In the appendix I reflect on syntax errors which stopped the game from working entirely, bugs where code changes had no effect on the game and glitches which don’t crash the game instead creating an unintended effect.

Glitches merit a summary here as a particularly interesting site of guided participation.

In my reflective notes I propose that glitches are more motivating to correct than other errors.

Aspects of the design, use of a starting template and supporting resources based on code snippets and thus code patching process increased appear to encourage glitch bugs. See Vignette 1 for an example.

MOVE? A diversity of strategies in responding to errors evolved as I judged when participants to be receptive to different forms of input. Glitch errors were often embraced as curiosities and as a learning opportunity to understand the related code and associated abstract concepts using a concrete example afforded by the mechanics of the game design pattern.

Discussion

This area opens some interesting lines of questioning which are beyond the full remit of this research but are included as promising areas.

Question - do more useful / less de-motivating errors result from remixing and game patching?
Question - what impact does the process of being driven by GDPs have on how users deal with errors?
- For example does the closely paired code structure and game output help with motivation?
- How do you develop a more granular sense of the kinds of blocks, errors and how to overcome them.

Thus, mirroring the proposition of UMC and more specifically half baked games theory, in that a incomplete / templated game are motivates initial participation, glitch bugs which move game into a broken state in regards the targeted GDP may have a similar or even potential for motivation. EXPLAIN?

In critique of online tutorials researchers note few provide common errors[@kim_pedagogical_2017]. This lack of problem solving techniques communicated in online tutorials may addressed through use of GDPs.

The debugging process at times surfaced and allow the exploration of surfacing of computational thinking concepts, a topic explored as part of the next section.

The role of GDPs in the personal appropriation of concepts and processes (500 - Target 750)

Rogoff’s third plane of analysis, one which mostly closely aligns with much educational research is that of personal appropriation. Rogoff is careful to underline the bi-directional nature of the appropriation of personal knowledge, emphasising Vygotsky’s foundational view of knowledge as being mutually constituted as participants feed their interpretation of knowledge back into the communities of which they are a part.

As outlined in Chapter 2, the focus on skills and knowledge developed by participants is one of the strongest threads in related research on digital coding and game making, and particulary in that of constructionist school [@kafai_constructionist_2015-1; @papert_mindstorms:_1980]. Papert’s research on Microworlds saw one of the roles learning designers to shape the affordances of playful learning environments to steer learners to explore scientific concepts, mathematical concepts, for example geometry in Turtle computing. In this research, detailed study of young coders evolving code creations and accompanying interview data allowed a close study of the personal appropriation, including elements of understanding, application and sharing back this knowledge via created and shared digital projects. Much subsequent research on the use of coding to develop both concrete and more abstract computational thinking skills, has neglected this social and perspectives [find source], instead focusing on a personal dimension of learning as a curricular skill to be absorbed and tested. By way of contrast, this study is aligned with the development of the constructionist movement towards socio-cultural approaches to transcend individual personal conceptions of knowledge, exemplified by the issues associated with the UK computing curriculum. In this informal learning context, there was scant desire from participants to explore concepts aligned with computing curriculum, instead driven more by practical desire to make a game using the tools provided.

Despite this positioning, given the potential to adapt this learning design to a more formal environment to address needs outlined in the introductory chapter, from P2 onwards I began to augment the learning design to suit curriculum oriented teaching and assessment of computational thinking concepts and skills, a process which resulted in a learning map of curricular concepts included here as Table 6.x .

Coding Concepts	Systems Patterns	Design Practices
Sequences	Systems Elements	Goal Setting
Variables	Systems Dynamics	Being Incremental and Iterative
Logic	Reinforcing Feedback Loops	Developing Vocabulary
Loops	Balancing Feedback Loops	Web Navigation
Arrays		Problem Solving
Creating Functions		Version Control
Change Listener		Debugging
Input Event		Reusing and Remixing

Table 6.x. Learning Dimensions of the 3M Game Making Model

Appendix.learningmap explores in more detail the evolution of this map, which acknowledges significant tensions in integration of concepts into a informal context, and draws on the process and rationale of Bevan and Petrich’s [-@bevan_learning_2015; -@petrich_it_2013] work to bring a similar learning map to a seemingly chaotic tinkering and making process in museum contexts. A summary of my book chapter [@chesterman_game_2023] exploring these issues with recommendations for practitioners is included in Appendix.learningmap

This exploration focuses on the potential of the 3M learning design rather than making claims on the suitability to develop CT via game making which is explored extensively in other research. Conceptions of personal appropriation should not be limited to only the curricular concepts included in the learning map, the many of the behaviours explored above show both the appropriation and feeding back of varied understandings of game design patterns and related concepts and skills. While the design of this study does not suit full exploration of the personal plane of activity, the repeated, solo, incremental changes of the details of implementation of game design patterns indicate a personal appropriation of concepts like game feel and challenge and design processes.

Given that this dimension is not explored in the thesis which has a greater focus on community and social aspects of use of GDPs, examples of personal appropriation are included in Appendix.learning

The ongoing reflection provoked by the process of privileging social and cultural aspects of the game making activity has yielded more philosophical questions in relation to the learning process which are explored in the following discussion section.

Discussion

The majority of this chapter has focused on findings and immediate interpretation of participant and facilitator use of GDPS as a mediational strategy / repertoire. This section takes a step back to explore the wider perspectives of the findings beyond the immediate context to digital making and project based approaches and understandings of design patterns in educational contexts.

In this discussion section, I:

explore the uses of GDPs in relation to varied conceptions of abstraction, chiefly CHAT and CT
propose that GDPs provide a suitable way to engage with coding practices partly due to their position between abstract computational concepts and concrete implementations of code structures.
explore potential implications for facilitators and researchers on use of GDP collection as an intermediate pedagogical construct.

Discussion of findings in relation to CHAT conceptions of abstraction

The previous section began to explored, through the lens of personal appropriation, to variety of skills suitable for development via this learning design. The final section surfaced a distinction between curricular contents commonly associated with a more abstract understandings of personal knowledge, including more abstract elements of computation thinking. This section continues an interpretation of this chapters findings and an socio-cultural understanding of learning using activity theory as a framework. This investigation has required a careful investigation of abstract-concrete dimensions of emerging knowledge happening in the game making and digital making more generally. To start, let us consider the nature of the abstraction of gameplay design patterns via Sannino’ [-@sannino_activity_2011] distinction between empirical and theoretical abstraction.

"While observation and categorization are actions at the root of empirical abstraction, practical transformation, change, and experimentation are actions at the root of theoretical abstraction. Theoretical abstraction allows one to generate and project complex, theoretically mastered concrete manifestations and developmental forms of the reality under scrutiny. A theoretical abstraction is based on a functional relationship, also called a germ cell." [@sannino_activity_2011].

In this research, the empirical level of abstraction is present in P1 and in P2 where features to be added to the game were classified gameplay features and categorised according to to the existing MDA framework. Moving beyond the empirical towards the theoretical aspect, is the early positioning of each feature as a gameplay design pattern which can be described and supplemented with a suggested code structures and examples. ANY OTHERS

The key, guiding conception here becomes the pedagogical utility of a strong coupled link between a feature of an observable game product (in this case gameplay design patterns) and scaffolding resources available within a community. This concept becomes the root of the varied approaches and forms of support outlined in this chapter. Some instances based on this kernel concept were created by myself in response to user requests in varied forms of support documentation outlined in Chapter 5 ( e.g. quick start cards, a home menu of GDPs, code snippets, stepped tutorials ). Many other examples, as outlined above were more spontaneous and informal, spreading from peer to peer in the community often during playtesting.

It is this movement from a kernel idea into varied concrete instances that is the root of the power of the approach according to CHAT scholars. While, the varied uses as meditational strategies and their integration into varied concrete forms of creative cultural and interpersonal repertoires many be particular to this setting, the germ cell concept described above is a theoretical and generalisable abstraction not particular to this context.

While the educational use of design patterns and has been explored in other settings via research, the focus has been on professional rather than novice learners.

While I address areas for future research in the conclusion, a proposed benefit of this research is While understanding the process is more obviously useful for faciliators - it may be helpful to participants as well as they build familiarity with frameworks of features of multimedia projects.to underscore the potential and to uncover a starting point for pedagogies that can be transferred to diverse design projects.

Discussion of findings in relation to Computational Thinking and abstraction

patterns as a more relatable abstract framework than more abstract interpretations of computational thinking following Wing.

Design patterns as a intermediate-level, pedagogical framework compared to computational thinking

Given that CT is a dominant abstract framework in this area, how can the use of GDPs be compared.

In chapter two I described the characteristic and limits of computational thinking as a pedagogical framework, specifically concepts include: varied interpretations; the role of levels of abstraction for teachers and learners; and the value of epistemological pluralism as a way to value concrete approaches.

RESTRUCTURE FOLLOWING TO SUPPORT THIS STATEMENT - as END POINT The evidence and examples surfaced in this paragraph support a claim that GDPs, as an intermediate-level organisation framework between abstract and concrete coding concepts.

DROP THIS PARAGRAPH? OR COMPRESS AND TACK ON TO LAST ONE? This conception of levels abstraction can be applied in this learning design to the different scopes game making activity systems. Through this lens the most abstract activity system is the larger one who’s objective, to make an engaging game that tells an environmental story, aligns with the problem level of LOA. The level between abstract and concrete is that of choosing, implementing and testing game design patterns, which aligns with design. The most concrete in this interpretation is then the implementation of different lines of code or creation and migration of digital assets.

RECAP OTHER WORK ON GDP AND THEIR USES - REINTERPRETE IT VIA AT CONCEPTS - MEDIATION

In professional coding environment and training programmes design patterns are seen as a middle ground between abstract CT concepts and more concrete techniques. In chapter two I outlined the work of Eriksson and colleagues using gameplay design patterns with young people [-@eriksson_using_2019] which drew inspiration from the value of design patterns as a form of “intermediate-level concept” as advocated by fellow researchers as a way of sharing results of research [@barendregt_intermediate-level_2018]. In addition, when choosing design patterns, choosing a suitable the level of abstraction is recommended.

In order to be useful, patterns must present an abstraction of good practice at a meaningful level of granularity. Formulations that are too abstract will be impractical in real design use; those that are too specific will be difficult to re-use in new scenarios.[@dearden_pattern_2006, p. 20]

Similarly, here the implementation of GDPs as a key unit of activity and analysis for this study, the justification being that it was at this level that richest use and development of tools and processes by the emerging community took place.

Concrete and relatable levels of abstraction - linking this communities experiences with existing literature

The process of identifying and working with GDPs in this research process can be mapped as a dialectical process of moving (rising) to the concrete [@sannino_activity_2011].

In this study, experience of the features and behaviour of game are concrete. The concept of design pattern that can be applied to more than one game is more abstract. And more abstract still are computing concepts like abstraction and pattern recognition which are present in the game code and problem solving processes.

MOVE LATER WORK ON MDA HERE IS THIS REALLY CULTURAL ? - IF SO HOW - OR CHANGE THE FRAMING Linking to wider cultural activity beyond this learning intervention, the analysis of this chapter highlights dimension of the use of GDPs on a cultural level that also exist in formal analysis of game design frameworks [Salen, and MDA]. I propose that the link between the MDA framework and main areas of GDPs can be used to deepen a possibily profitable connection to professional practices?

The varied use of the collection and individuals gameplay patterns and concepts, can be examined using the lenses of the MDA framework.

Home knowledge of mechanics drove many of the requests for GDPs from popular medium of retro games
The norming practices often focus on the game feel, which relates most directly to the dynamics lens.
Aesthetics and the end user experience motivated some users greatly, while it is not clear if this game code changes in this dimensions fully constitute a gameplay design pattern, they are an important inclusive element of the design.

TO ADD - The MDA framework , and related work on game design frameworks bring a focus to levels of abstraction. The utility LOA is promoted by Waite and Sentence in a focus of computing education [INSERT HOW AND WHY]. While, I chose not to explore this explicitly in my teaching, one potential avenue to explore is the question, is the design helping participants to make their concrete knowledge potentially transferable to other problems?

Around this abstract different behaviour patterns form And the concept can be embodied on design artefacts And can be observed an designed for.

Synthesis between intermediate and empirical/theoretical perspectives.

Previously abstract concepts or processes become concrete through familiarisation via direct use and indirect observations through community participation. In many of the outlined uses of GDPs in chapter we can see processes at play that help bridge shifts in design perspective (MDA here?).

Both the GDPs and the sub-actions of the wider activity design become short-cuts which stand in for previously tricky to complete set of actions. Rather than promising the transfer abstract concepts to other domains, we see learners build competency in participation in replicable processes. These processes which aid future iterations of the GDP implementation design cycle. The process of operationalisation of these sets of actions contributes to the creation of an informal, complex networked resource of operations which complement the more visible curated catalogue of GDPs.

Game design patterns or their fragments are used as a form of design short cuts. Examples from the above include, get an enemy in , animate player or get it in the game (when referring to transferring an graphical asset from authoring tool to the coding environment). The advantages of such shortcuts are, as discussed, to help with the prioritisation and ideation processes, to facilitate peer propagation of ideas, and potentially to inform debugging and improvements to increase game playability.

IS THIS THE RIGHT PLACE? There are challenges of the use of these short cuts and at a more general the design choice to lead with a menu of intermediate-level constructs in the form of a menu of GDPs. There may be confusion over use of terms to new comers and these GPD related terms may hide more complex patterns within the name. For example, the shortcuts in Mark and Ed’s interaction hides a large amount of problems solving which seems “overwhelming”. GDPs can limit the ideation process through an accelerated approach. Also as the menus themselves are not all used by students, and while GDPs do propagate from student to student, which risk further constraints on the process of asking questions about user experience and exploring ideas before committing to implementation.

A discussion of aspects of culture, home interests and evolving participation in an idioculture

HOWE TO MAKE A LINK?

Turning to another aspect of concrete / relatable experience.

The link to home interests and funds of knowledge is demonstrated in varied ways which enrich the development of a community idioculture which is inclusive and productive in terms of the practicalities of learning how to make games.

The work of Rogoff and Wegner and Lave has guided the surfacing activity in the such as legitimate peripheral participation, community norming and taking on roles of specialism. More recent work by guitierez describes this as development of repetoires.

At times, activity crosses between cultural and pair guided processes - DEVELOP HOW

the role of playtesting as a medium for cultural exchange and a ground in which culture grows in of note
individual requests and implementations can spread via playtesting
the immediacy of designing for other is used by parents or children to norm behaviour in inter-personal interactions.

Recalling that cite one of the challenges of learning coding

The cultural aspects of the learning community are further explored in Chapter 7. Is there something that merits mentioning here as a link within Ch.7?

Implications and beginnings of suggestions for practitioners to support inclusive pedagogical approach -

While beyond the remit of this thesis, elements of FoK and FoI, x and y, align with inclusive processes and ethos behind PBL and UMC.

The observations of this chapter show the advantages of GDP as an intermediate, empirical design framework, occupying a the space between too concrete to be repeated and too theoretical to be grasped by novice game makers.

GDPs create a tangible link between concrete player experience and the affordances of a guided creative process. Learners use of GDP as relatable and flexible constructs that facilitate communication, sustaining engagement, planning and division of labour.

The creation of designed objects using GDPS aid the personal appropriation and the propagation of technical and social processes game making practices.

The concept of a restricted activity helps us understand the value a GDP collection for participants & Design Pattern collections can help structure a learning design into an inclusive pedagogy

The process of creating a learning design where students were able to choose from a curated set of game design patterns, evolved from open approach in P1 and can be seen as a form of restricting possible activity. The positive impact of restricted choice of activities are outlined in varied educational concepts including Bruner’s reducing degrees of freedom [@wood_role_1976]. In the 3M design the process of offering a choice of games patterns emerged to counter a previous open design process of which many learners found too challenging. The patterns emerged chiefly in response to requests from learners and partly from facilitator decision making which broadly matched the criteria of the other study. However, in Eriksson’s study the authors selected from an extensive, pre-existing pattern collections [@bjork_patterns_2005].

The processes described above align with PBL and UDL in a way that merits further investigation in different settings.

As explored in the literature review a key challenge to project based learning is finding appropriate conceptual and practical frameworks to scaffold domain specific working practices [@barron_doing_1998]. Different types of scaffolding are available to support PBL and the authors highlight a dialectical tension between engagement via tinkering and pushing “principled understanding” [@barron_doing_1998, p.63].

Design patterns have been explored as a form of scaffolding [@ertmer_scaffolding_2019] for project based learning experiences. Research on design online experiences shows value in interrelated scenarios, features and underlying patterns and principles [@mor_assessing_2014; @kali_collaborative_2006].

In computing eduction pattern based instruction has benefits of making complex problems more modular and concrete [@muller_almost_2004-1; @waite_teaching_2021].

In its engagement with participant choice over which patterns to implement, and varied approaches to making facilitated by varied uses of GDPs, this chapter has begun a process of exploration of the nature and evolution of agency in the practices of the participants, which is continued in the next chapter.

Returning to some of the tensions explore in the last chapter.

Tensions between facilitating agency and norming practices - REWRITE AS A WAY OF OPENING THIS TOPIC AND CLOSING OFF GDPS

This chapter has outlined the evolving use of GDPs as a meditational strategy to develop coding repertoires that are often shared. While the development of agency has not been the primary focus of this chapter, this processes can be directly linked to Sannino conception of transformative agency through double stimulation (TADS).

IS THIS A TENSION WORTH HIGHLIGHTING MORE CLEARLY? However, as a seeming counterpoint to this growing agency is the norming effects of concepts that gain community currency in playtesting. The repeated attempts by participants to make the jumping mechanic of Molly less frustrating can be seen as a potential drag on the agency or autonomy of Molly as a designer. However this may be a false dichotomy. Such norming practices can be seen from a different perspective. IS THIS EXPLORED IN THE NEXT CHAPTER? The following chapter begins with a deeper exploration of learner agency in relation to existing research in this domain.

SOME MORE DETAILED SYNTHESIS OF GDP AND AGENCY.

Simple table of uses

| Participants use of Game Design Patterns (GDPs) from thematic analysis of video data | | | —————————————————————————————————— | ———————————————————————————————— | | GDPs can assist project navigation, acting as a framework for code examples and step-by-step tutorials | GDPs can scaffold the ideation processes | | GDPs aid the process of division of labour | GDP concepts are used in emerging technical processes | | GDPs facilitate learners to design for others | GDP concepts and language used in informal feedback for peers to influence modification of games | | GDPs are propagated into the community through playtesting | GDPs facilitate the use of wider funds of knowledge from home and hobby settings | | GDPs in the personal appropriation of concepts and processes | | PERHAPS REPLACE THIS TABLE WITH THE MORE DESCRIPTIVE ONE LINKED BELOW.

Full table of GDP use with supporting evidence

The use of GDPs by participants on now presented in summary via in table form.

The following table outlines the principle different uses of GDP in the data analysed. The next to last column lists example behaviour and notes vignettes or appendieces where the behaviour can be found in situ with more detailed analysis. The final column indicates how many of the 12 in-depth session transcriptions the behaviour was found within.

It is important to recall the purpose and limitation of these figures outlined in Chapter 4, that this is not designed to claim efficacy of the learning design or to be representative of an average participant (which would require follow up studies of different design).

SUMMARY TABLE HERE - https://docs.google.com/document/d/1Ce2cYIYnFCd9GM8zRntBd7lrud-dMbbrtgEQMoGNRmE/edit

ADD IN WHERE IN THE EVIDENCE IS THIS BEHAVIOUR NOTED. Perhaps break down by case study / session analysed.

Chapter Conclusion

Summary of the uses of Game Design Patterns

GDPs served both researchers and participants by providing a common language to clarify first learner expression and researcher’s analysis of gameplay experience. Gdps functioned as an inspirational structured design tool Eriksson’s study outlines the utility notes teacher observations that GDPs served to stimulate learner imagination and ideation stages. The use of a patterns and their collection as a form intermediate-level knowledge by both researchers and participants is under-explored in this study but builds on related work by two of the authors and is explored in the next part of this chapter.

GDPs can be used as meditational strategies within the AT framework and thus conceptual understanding of participant agency

CHAT frames diverse use of shared resources and concepts, in this case GDPs, as meditational strategies which can involved into repertoires of practice [@lecusay_telementoring_2015] & guitierez?.

We can frame how these process contribute to the development of agency on the part of participants in the following way.

These concepts and this framing is explore in the next chapter with examples that extend beyond the use of GDPs to other cultural processes.

Transition to next chapter

This chapter focused on GDPs which while mostly interpersonal, guided participation also touched on emerging cultural elements of the learning community.

While limited in this respect, data indicated the positive impact on participants in implementation of GDPs?

This is shown particularly in a growing sense of mastery towards technical processes becoming second nature and the resulting ability to share them with family and other peer groups. This complements previous observations on the development and nature of agency in this learning design. The next chapter explores cultural aspects in greater detail continuing to explore emergent agency in this design by primarily focusing on a drama process as a lens for analysis.

6. The Use of Gameplay Design Patterns "It’s like a project in itself, really"