Before my current job at Computerworld, I taught 11th grade tech writing at a math and science charter school. My fellow teachers had an open door policy that allowed me to observe their classes, and I developed a rapport with the computer science teacher. When an emergency called her away from class one day, she asked me to fill in but left me no lesson plan. Fortunately, I’d already installed both Adventure and VisiCalc for just such an emergency. The resulting lesson in computer history was reported in Juiced.GS, though I never did get the opportunity to explore Adventure with my students.
But other educators have had the opportunity to use electronic entertainment as a learning tool. Besides the use of interactive fiction in a classroom setting, as detailed in Get Lamp, Michael Abbott has taken a more ambitious approach to virtual adventuring by introducing his students to Richard Garriott‘s seminal role-playing game, Ultima IV: Quest of the Avatar.
In his blog, the teacher doesn’t outline his learning objectives, other than puzzle-solving and note-taking. I hope his goals were not much loftier than that, because it seems these students disappointed him:
It mostly came down to issues of user-interface, navigation, combat, and a general lack of clarity about what to do and how to do it. … it [wa]sn’t much fun for them. They want a radar in the corner of the screen. They want mission logs. They want fun combat. They want an in-game tutorial. They want a game that doesn’t feel like so much work.
That looks like a lot of reading!
Photo courtesy Blake Patterson.
I’m unsure how many of these obstacles were inherent to the game, and how many were symbolic of a generational gap. Today, I often want a game that immerses me within the first five minutes, and which I can put down after ten. That means either simple gameplay (in the case of classics like Pac-Man or Qix) or familiar gameplay (like Dragon Quest VIII, an RPG I played hours on end for a total of 80, but whose mechanics had remained largely unchanged since the franchise’s origin in 1986).
I was not always predisposed against learning curves. I grew up playing and enjoying Ultima, but not on the Apple II. I was and am primarily a console gamer, and I played these games’ Nintendo adaptations, which vexed me with none of the issues that these students encountered. I wondered how dramatically different the NES version had been that maybe it had eased my entry into Britannia. Sure enough, one blog commenter wrote:
… have you considered giving people the NES port of Ultima IV? It faithfully retains the ethical systems design of Garriott’s original while reimagining the visual aesthetics and interface design according to the conventions of JRPGs. It was how I played Ultima IV back in the day, and it’s still probably a lot more in line with modern RPG convention than the original PC Ultima IV.
But I’d wager that most alumni of Ultima IV experienced it on the computer, which apparently did not preclude its success, so surely its original interface was not insurmountable. More likely is the change in gaming mores over the decades. In the book Dungeons & Dreamers, authors Brad King and John Borland relate the detail and intricacy with which the developers of Ultima Online imbued their world. Ecology, economy, and more were devised to create a world that lived and breathed along with the players. When it finally launched — the world was shot to hell. Gamers traveled into the countryside, burning trees and killing animals. No plane could long host such chaos, so the developers had to go back to the drawing board. I suspect Mr. Abbott’s students would likely have contributed to that headache.
Nonetheless, I hope the blog’s conclusion does not spell the end of this exercise: “I love great old games like Ultima IV, but I can no longer assume the game will make its case for greatness all by itself.” Just as we have courses in art and music appreciation, it’s important to understand and appreciate the origin of Ultima and other video game hallmarks. Today’s gaming industry was not born in a vacuum, and just as the bold experiments of yesteryear determined the future of the genre, they still have much to teach today’s gamers and programmers about what works, what doesn’t, and why things are the way they are. Finding a context in which to teach that lesson is, much like the games themselves, worth the effort.
(Hat tip to Richard Garriott)
