For the Good of the Game(?): The Legacy of the Football Trust, the Football Pools & the Dangerous Seduction of Political Promise

During the late twentieth century, the United Kingdom’s football infrastructure and spectatorship underwent transformation as successive stadia disasters heightened political and public scrutiny of the game and prompted industry change. Central to this process was the government’s formation of an independent charitable organization to oversee subsequent policy implementation and grant-aid provision to clubs for safety, crowd, and spectator requirements. This entity, which began in 1975 focusing on ground improvement, developed into the Football Trust. The Trust was funded directly by the football pools companies who ran popular low-stakes football betting enterprises. Working in association with the Pools Promoters Association (PPA), and demonstrating their social responsibility towards the game’s constituents, the pools resourced a wide array of Trust activities. Yet irrespective of government mandate, the PPA and Trust were continually confronted by political and economic obstacles that threatened the effectiveness of their arrangements. In this paper the history of the Football Trust is investigated, along with its partnership with the PPA, and its relationship with the government within the context of broader political shifts, stadia catastrophes, official inquiries, and commercial threats. It is contended that while the Trust/PPA partnership had a respectable legacy, their history afforded little protection against adverse contemporary conditions.

The Use of a Computer-Based Simulation Game (CSG) for Learning and Teaching

Introduction A computer-based simulation game (CSG) was used for the first time in a final-year undergraduate module. A change management simulation game was used in the seminar classes as a formative exercise that was linked to parts of the students’ summative assessment. The module evaluation suggests that most students learned from using the CSG.

Deconstruction-reconstruction of Computer Game and Immersive Environment Semiotics

Computer game technology produces compelling ‘immersive environments’ where our digitally-native youth play and explore. Players absorb visual, auditory and other signs and process these in real time, making rapid choices on how to move through the game-space to experience ‘meaningful play’. How can immersive environments be designed to elicit perception and understanding of signs? In this paper we explore game design and gameplay from a semiotic perspective, focusing on the creation of meaning for players as they play the game. We propose a theory of game design based on semiotics.

The Role of Art in Computer Game Design

Computer games are significant since they embody our youngsters’ engagement with contemporary culture, including both play and education. These games rely heavily on visuals, systems of sign and expression based on concepts and principles of Art and Architecture. We are researching a new genre of computer games, ‘Educational Immersive Environments’ (EIEs) to provide educational materials suitable for the school classroom. Close collaboration with subject teachers is necessary, but we feel a specific need to engage with the practicing artist, the art theoretician and historian. Our EIEs are loaded with multimedia (but especially visual) signs which act to direct the learner and provide the ‘game-play’ experience forming semiotic systems. We suggest the hypothesis that computer games are a space of deconstruction and reconstruction (DeRe): When players enter the game their physical world and their culture is torn apart; they move in a semiotic system which serves to reconstruct an alternate reality where disbelief is suspended. The semiotic system draws heavily on visuals which direct the players’ interactions and produce motivating gameplay. These can establish a reconstructed culture and emerging game narrative. We have recently tested our hypothesis and have used this in developing design principles for computer game designers. Yet there are outstanding issues concerning the nature of the visuals used in computer games, and so questions for contemporary artists. Currently, the computer game industry employs artists in a ‘classical’ role in production of concept sketches, storyboards and 3D content. But this is based on a specification from the client which restricts the artist in intellectual freedom. Our DeRe hypothesis places the artist at the generative centre, to inform the game designer how art may inform our DeRe semiotic spaces. This must of course begin with the artists’ understanding of DeRe in this time when our ‘identities are becoming increasingly fractured, networked, virtualized and distributed’ We hope to persuade artists to engage with the medium of computer game technology to explore these issues. In particular, we pose several questions to the artist: (i) How can particular ‘periods’ in art history be used to inform the design of computer games? (ii) How can specific artistic elements or devices be used to design ‘signs’ to guide the player through the game? (iii) How can visual material be integrated with other semiotic strata such as text and audio?

The Path between Pedagogy and Technology: Establishing a Theoretical Basis for the Development of Educational Game Environments

The power of computer game technology is currently being harnessed to produce “serious games”. These “games” are targeted at the education and training marketplace, and employ various key game-engine components such as the graphics and physics engines to produce realistic “digital-world” simulations of the real “physical world”. Many approaches are driven by the technology and often lack a consideration of a firm pedagogical underpinning. The authors believe that an analysis and deployment of both the technological and pedagogical dimensions should occur together, with the pedagogical dimension providing the lead. This chapter explores the relationship between these two dimensions, and explores how “pedagogy may inform the use of technology”, how various learning theories may be mapped onto the use of the affordances of computer game engines. Autonomous and collaborative learning approaches are discussed. The design of a serious game is broken down into spatial and temporal elements. The spatial dimension is related to the theories of knowledge structures, especially “concept maps”. The temporal dimension is related to “experiential learning”, especially the approach of Kolb. The multi-player aspect of serious games is related to theories of “collaborative learning” which is broken down into a discussion of “discourse” versus “dialogue”. Several general guiding principles are explored, such as the use of “metaphor” (including metaphors of space, embodiment, systems thinking, the internet and emergence). The topological design of a serious game is also highlighted. The discussion of pedagogy is related to various serious games we have recently produced and researched, and is presented in the hope of informing the “serious game community”.

The Development of Educational Materials for the Study of Architecture using Computer Game Technology

Computer game technology provides us with the tools to create web-based educational materials for autonomous and collaborative learning. At Worcester, we have researched the use of this technology in various educational contexts. This paper reports one such study; the use of the commercial game engine “Unreal Tournament 2004” (UT2004) to produce materials suitable for education of Architects. We map the concepts and principles of Architectural Design onto the affordances (development tools) provided by UT2004, leading to a systematic procedure for the realization of buildings and urban environments using this game engine. A theory for the production of web-based learning materials which supports both autonomous and collaborative learning is developed. A heuristic evaluation of our materials, used with second-year students is presented. Associated web-pages provide on-line materials for delegates.

The Usability of a Commercial Game Physics Engine to Develop Physics Educational Materials: an Investigation

Commercial computer games contain “physics engine” components, responsible for providing realistic interactions among game objects. The question naturally arises of whether these engines can be used to develop educational materials for high school and university physics education. To answer this question, the author's group recently conducted a detailed scientific investigation of the physics engine of Unreal Tournament 2004 (UT2004). This article presents their motivation, methodology, and results. The author presents the findings of experiments that probed the accessibility and fidelity of UT2004's physics engine, examples of educational materials developed, and an evaluation of their use in high school classes. The associated pedagogical implications of this approach are discussed, and the author suggests guidelines for educators on how to deploy the approach. Key resources are presented on an associated Web site.