BERA 2014 Presentation

1. BERA 2014
Presentation
Creativity in Ludoliteracy, Games
Development and Games Studies in the UK
885
Nia Wearn

2. Introduction
Nia Wearn BSc (Hons), MA
Staffordshire University
Senior Lecturer in Computer Games Design
Award Leader for BSc Hons / BEng Hons Computer Gameplay Design & Production
n.h.wearn@staffs.ac.uk
@wormella
Currently working part time on a Phd currently
entitled "Identifying commonalities in the
working practices of students during a Global
Games Jam event in line with their education at
Staffordshire University.
I’m passionate about encouraging play, creativity
and fun in education, especially where games are
concerned.
Ludoliteracy defined
• Having the ability to play games.
• Having the ability to understand
meanings with respect to games.
• Having the ability to make games.
• (Zagal, 2010, p. 23)

3. The Landscapes of Games
• Modern computers
games are a blend of
many things.
• They form a major
part of the make up
of ‘The Creative
Industries
• In recent years they
have become a major
part of the
educational
landscape
Design
Code
Art

4. Current state of UK Games Education
- FE
• 140 Results for Level 2, 3 & 4 courses on the
National Career Services
• Wide Variety – covering Art, Programming &
Design – or a combination of all three
– Little or no consistency
• Often Courses combined with Multimedia or
IT

5. BTEC National Diploma
• Pearson / Edexcel BTEC National Diploma in
Media Production (Games Development) is
the most common structure of FE Games
Related Courses
• BTEC National Diploma in Media Production
(Games Development) has a wide collection of
units, some mandatory, others optional

6. BTEC National Diploma
Vocational slant to learning
Edexcel BTEC Level 3 Certificate
– 30 credits
Edexcel BTEC Level 3 Subsidiary
Diploma – 60 credits
Edexcel BTEC Level 3 90-credit
Diploma – 90 credits
Edexcel BTEC Level 3 Diploma –
120 credits
Edexcel BTEC Level 3 Extended
Diploma – 180 credits
Pearson / Edexcel . (2010). Edexcel BTEC Level 3 Nationals specification in Creative Media Production. Available:
http://www.edexcel.com/migrationdocuments/BTEC%20Nationals%20from%202010/Unit_69_Drawing_Concept_Art_for_Comp
uter_Games.pdf. Last accessed 9th Sept 2014.

7. Analysis of Module Contents
I looked at the
contents and
wording of 12 of
the Modules that
most pertained
to a balanced
cross section of
Games
Development
skills within the
BTEC National
Diploma
Framework for
any mentions of
creativity
Unit 78 Digital Graphics for
Computer Games
Unit 66 3D Modelling
Unit 74 Computer Game Story
Development
Unit 77 Designing Tests for
Computer Games
Unit 72 Computer Game
Design
Unit 71 Object-Oriented
Design for Computer Games
Unit 75 Human-computer
Interfaces for Computer
Games
Unit 20 Computer Game
Platforms and Technologies
Unit 70 Computer Game
Engines
Unit 13 Understanding the
Computer Games Industry
Unit 76 Flash for Computer
Games
Unit 69 Drawing Concept Art
for Computer Games

8. Occurrences of Creativity within the
units
Creativity shows up as a term in to achieve
distinction grades (but no further definition)
No References to creativity on the Unit
Description
Unit 76 Flash for Computer Games Unit 77 Designing Tests for Computer Games
Unit 78 Digital Graphics for Computer Games Unit 71 Object-Oriented Design for Computer
Games
Unit 74 Computer Game Story Development Unit 20 Computer Game Platforms and
Technologies
Unit 72 Computer Game Design Unit 13 Understanding the Computer Games
Industry
Unit 75 Human-computer Interfaces for
Computer Games
Unit 70 Computer Game Engines
Unit 69 Drawing Concept Art for Computer
Games
Unit 66 3D Modelling
An example: D2 “generate
thoroughly thought-through
ideas for a game
concept showing creativity
and flair”

9. Unit 13’s definition of the Games
Industry
“The business of computer games depends
ultimately on both creativity and finance and
some understanding of the economics of the
business is required. It is important that learners
gain an appreciation of the costs, turnover and
profits available to each company in the
development, publishing and distribution of a
title. They should also keep abreast of market
trends affecting the industry.”

10. Fuse & Brighton Fuse
• The Fuse Report – September 2010
– Report on Creative, Digital and Information
Technology Industries in the UK
– Overview of clusters, partnerships and makes the
case for CDIT Industries to be a priority
• Brighton Fuse Report – October 2013
– Localised version of the Fuse Report for the
Brighton area

11. Next Gen Skills
• January 2011 – Report on skills UK Computer
Games and Visual Effects industries
“The video games and visual effects industries play
to the UK’s twin strengths in creativity and
technology”
• Creativity is mentioned as a desirable by product
of a cross over from Art and Technology based
clubs – but no specific mention of it as a skill in
it’s own right

12. Next Gen Skills
• Next Gen Skills is campaigning for:
• The introduction of an industry relevant
Computer Science course within the framework
of the National Curriculum
• A review of ICT in its current form and to embed
essential ICT skills across the wider curriculum
• The promotion of the vital role that teaching
maths, physics, art and computer science will play
in ensuring the growth of UK’s digital, creative
and hi-tech industries

13. Current state of UK Games Education
- HE
• 180+ Games related courses listed on UCAS
• Wide Variety – covering Art, Programming &
Design – or a combination of all three
– Little or no consistency
• In what is taught
• In what area of the university they may sit
– Primarily vocationally based courses
• Focus on employability and skills

14. IGDA Framework
• 2008 - International
Games Developers
Association Game
Education Special Interest
Group published a
curriculum framework for
‘The Study of Games and
Game Development’
– References to creative
practices but not creativity
– Primarily Skills Based
Core suggested topics in the IGDA
Curriculum http://wiki.igda.org/images/e/ee/Igda2008cf.pdf
Critical Game Studies
Games and Society
Game Design
Game Programming
Visual Design
Audio Design
Interactive Storytelling
Game Production
Business of Gaming

15. Skill Set
• Focus on practice based ‘Games and Interactive’
undergraduate & postgraduate university courses
• Art path: Digital Art for Computer Games, with a
focus on either of the following: art, graphics,
animation
• Technical Path: Programming for Computer
Games, with a focus on either of the following:
algorithm development, technology, computer
games, tools programming

16. Skill Set
• Focus on practice based ‘Games and Interactive’
undergraduate & postgraduate university courses
• Art path: Digital Art for Computer Games, with a focus
on either of the following: art, graphics, animation
• Technical Path: Programming for Computer Games,
with a focus on either of the following: algorithm
development, technology, computer games, tools
programming
• No Mention of the need for ‘Creativity’ to be an
address subject – entirely skills based criteria

17. Why does Creativity matter?
• The UK games industry was worth close to £3.5bn in
consumer spend in 2013, up 17% from 2012 (UKIE)
• The UK games development sector contributes
approximately £1 billion to UK Gross Domestic
Product per annum. (TIGA)
• The UK games sector generates £2bn in global sales
each year (TIGA)
• Combined direct and indirect tax revenues generated
by the sector for the Treasury increased from £390m
to £419m, a 7% increase (Games Investor Consulting)

18. Economic Focus on Creativity
Made in Creative UK is a campaign whose aim
to increase awareness of video game and digital
media development in the United Kingdom.
http://madeincreativeuk.com/
Create UK is a series of events
and initiatives highlighting the role of the UK
creative industries as an economic force and
source of global influence.
http://www.thecreativeindustries.co.uk/
UK Creative Industries – International Strategy
Driving global growth for the UK creative industries is a plan
to double creative industries services exports by 2020 to £31
billion
https://www.gov.uk/government/publications/uk-creative-industries-international-strategy

19. Summery of Analysis
• All of the focus of the Education relating to
Computer Games in the UK is skills based
• At no point in any level of structured FE or HE
is Creativity specified as a distinct skill, or area
for development - Nor is it defined
• Yet there are countless papers, reports,
studies on creativity in education.

20. Summery of Analysis
• This is in sharp contrast to the focus on
Creativity that the UK Games Industry is
traded upon
• There is a disconnect in the education
approach – and the desired output – can only
widen as education reforms embed in.
• This has the potential to create technically
proficient workers, where a creative spark
isn’t nurtured.

21. Thank You - Any Questions?
Feel free to contact me to carry on the conversation
Nia Wearn - Staffordshire University
n.h.wearn@staffs.ac.uk
@wormella

22. Links to Reports mentioned
• Pearson / Edexcel BTEC Nationals in Creative Media Production -
http://www.edexcel.com/quals/nationals10/media/Pages/default.aspx
• Fuse Report - http://www.ncub.co.uk/reports/the-fuse-igniting-high-growth-for-
creative-digital-and-information-technology-industries-in-the-uk.html
• Brighton Fuse Report - http://www.brightonfuse.com/the-brighton-fuse-final-report
• Livingstone Hope – Next Gen (Nesta) -
http://www.nesta.org.uk/publications/next-gen
• IGDA Curriculum Framework -
http://wiki.igda.org/index.php/Game_Education_SIG/Curriculum
• Creative Skillset Accreditation Documents -
http://creativeskillset.org/who_we_help/training_educators/tick_course_accr
editation/animation_games_screenwriting_accreditation