Production 7 TwineWorks
Two Options: Twine and Not Twine (or Remix)
For this production, create a Twine of your own design and genre. It can be an interactive mulitmodal adventure game, a simulation (from your teachable, e.g., social studies, history or science), an empathy game, an art game, a critical game, a critical meta-game about games/games culture, interactive multimodal poetry, experimental multimedia work, and so on).
See the Production Pedagogy article on game design for models and rationale.
Length: Your game should be long enough to “DO” something interesting: create an artwork or adventure; model an “idea” or “argument” (procedural games), develop some kind of empathy or critical game (putting the player in ‘someone else’s shoes’, as it were, through the game ‘situation’ and interactive choices) or provide an learning simulation (interactive simulation/narrative based on your teachable that puts the player in specific role in relation to teachable-based challenge).
Have fun. See the Article (production pedagogies and game design – last pages – for ideas).
You can also apply Flanagan’s critical game design model – VAP (Values at Play) – to your Twine game/narrative or simulation (Bonus Points).
With the support you have from the videos, please try to integrate as many Twine features as possible: CSS, audio, etc. Everything you need to make the Twine, including free Twine hosting options, hosting on my own website, etc, are available on my Twine page below:
Option Two: A Video Work of Art that Documents the Art and Craft of your Practice-Based Teachable.
Are you teaching courses where practical knowledge, hands-on craft/making skills, and embodied knowledge or situated performance are central to your curriculum and course design?
For option two, use your smartphone camera and/or your laptop to create a video document that documents a “how-to” modelling of practical knowledge (hands-on making with materials) and/or a (arts) studio-based or performance-based tutorial (modelling). If you are in health care, you can for example simulate a health care/medical practice (e.g, wound dressing, first aid, putting a splint on an injured limb, etc etc etc…).
As in a good video game, this video work should model the hands-on knowledge, vocabularies/discourses and practical competences associated with making or performing something related to your teachable. The same art and care you invest in your craft/making or performance work should also inform your video production craft. It is the same hands, and the same intelligence, that engages these different – but really not so different – multiliteracies fabrication challenges. Let’s not separate these things – for inclusion, equity and social justice purposes.
Your video should model a complex maker/making activity (from woodwork or industrial fabrication to robotics, from musical performance to studio-based art making). If your practice involves tools or chemicals/paints, ensure safety ‘best practices’ are interwoven. This means attention to editing, camera angle/composition, sound, voice-over, use of text titles or slide/image graphics, fade-in/outs, and other cool and fun features associated with the craft of video production.
It could be, someday soon, for accommodation and inclusion purposes, you will need to share studio-based or practical hands-on knowledge with students remotely (or visa versa, them sharing their work with you). In addition, your students may need video-based competences to share their work (portfolio).
PC: Free Tools (Use Windows Movie Maker or if you have Windows 10 Above, use Photos App that comes with Windows 10)
Mac: iMovie is great. Other tools can be found online.
Smartphone Video Editing: Filmmaker Pro (as well as many others).
Here is a good example of a teacher who combines video work, creativity, and making (from this course).
Due in Two Weeks