Guest Posts

World of Work vs World of Warcraft

Most people don’t make a connection between the world of work and World of Warcraft, but they intersect in many ways. On 5th August, in a webinar for IATEFL BESIG, Graham Stanley looked at this and some ways a Business English teacher could make use of computer games and gamification in their practice.

The recording for the workshop is here, and the slides are below.

The 5 Levels of Digital Storytelling

It’s our pleasure to introduce a guest blog post by James Taylor, who has been adapting gaming elements (such as leveling up) and applying them to digital storytelling. Thanks, James for a very interesting blog post and loads of great web links and resources which you’ll find near the end – Some of them we’re familiar with here at Digital play but we can’t wait to dip into all the others.  Over to you James . . .

When we think of introducing web-based tools into our classrooms, as teachers we often obsess over the technical side of things. We worry about setting everything up, about dealing with passwords, about computers crashing and our students not doing what they are supposed to do.

We are not wrong to consider these things, whether we teach kids or adults. However, we shouldn’t lose sight of the reason for doing the activity in the first place, which is for language practice not IT skills. By using the right tools in the correct order, it’s possible to build learners linguistic confidence and increase their technical capabilities, just as you would structure the activities in a traditional, ‘off-line’ lesson.

In this article, I will demonstrate how you can increase the levels of complexity both technically and linguistically in web-based storytelling by using tools that ask more of your students at each stage. This is always prefaced by an offline warm up, which will enable you to connect the digital version to the analogue. If necessary because you don’t have access to a computer room or enough computers for it to be feasible, you could spend most or all of the lesson time with the offline activities and set the online activities as homework.

I should point out that I haven’t included any language activities in this article, instead concentrating on the type of storytelling practiced at each level. In my view, these activities create numerous opportunities for language work and should be used as a resource for generating interesting student created content which can then be mined for learning.


Level One – Mad Libs

Mad Libs is a very basic parlour game popular in North America. It’s based around the simple premise of ‘fill in the gaps’. Players have to choose random words with only a lexical category to help them, and these words are then placed into a short story. The results are often silly and nonsensical, but are very effective in raising grammar awareness, and for our purposes, can serve as a basic introduction to narrative structures. (Read here for a more detailed explanation of the rules.)

You can start off line by using the books or, if they are not available to you, with some Mad Libs you have found online and printed. Give them out to students and let them play around with them, becoming accustomed to the format. You can then take them online where there are numerous websites where they can complete more Mad Libs. If you think they are able, you can even give them the chance to make their own and share them with each other on wordlibs.com.

Below is a list of links that you may find useful at level one of storytelling:

Level One web-links

http://www.eduplace.com/tales/
http://www.links2love.com/poem_generator.htm
http://www.funbrain.com/cgi-bin/wt.cgi?A1=s
http://www.rinkworks.com/crazylibs/
http://www.madlits.com/
http://www.wordlibs.com/index.php?
http://www.write-better-english.com/Create-a-silly-story.aspx
http://www.elibs.com/
http://www.madglibs.com/createyourown.php

Level Two – Photo Stories

With photo stories, students will have to start using their imagination. There is no vocabulary for them to rely on and it has a much freer structure. The lack of right or wrong answers means that they can come up with their own versions, although they don’t have to be long, one sentence per picture or less is fine if that is all they can come up with at this stage.

You can begin offline by giving the students five pictures which seem to have no connection at all. In groups they can put the pictures in any order they like and come up with a short story to match.

When you go online, you can start by using the site 5 Card Flickr, in which the students choose five random images and have a space to write an accompanying story, which then can be easily shared. This can then be developed through a host of photograph and storytelling websites, ideally encouraging the students to use their own photos whenever possible.

Below is a list of links that you may find useful at level two of storytelling:

Level Two web-links

http://web.nmc.org/5cardstory/index.php
http://www.fotobabble.com/
http://www.pimpampum.net/bubblr/?custom=
http://www.pimpampum.net/phrasr/index.php
http://www.pimpampum.net/bookr/
http://everyphototellsastory.blogspot.com/
http://photopeach.com/
http://www.piclits.com/
https://www.tabblo.com/studio
https://voicethread.com/#home

Level Three – Comic Strips

This the first activity where the students are really restrained by the conventions of a particular narrative format. In the comic strip, there is obviously limited space for dialogue and a finite number of panels. For this reason, I think it’s a good idea to begin by making them aware of some of the conventions of the format. You can do this by handing out comic strips divided up into individual panels and then the students have to rebuild the comic in the right order. Obviously they all need to have the same strand of comic, whether it’s Garfield, Dilbert or Andy Capp.

There are numerous ways of doing this, one of which is to give each learner a panel each and get them to find each other by doing a mingle. Once they have successfully found the people who have panels from the same strip as them, you can collect class feedback on how they knew they belonged together. This should bring up some areas including subject, style, background art, panel size, other characters present and so on. This should then lead to them having a basic understanding of how a comic strip is put together.

Online, there are many comic strip building websites, where students can create their own mini-narratives, share them with each other and print them for posterity. One example is makebeliefscomix.com, where students can create simple, good-looking comic strips. Aware of its educational potential, they are many resources for teachers on the website, including 21 Ways To Use MakeBeliefsComix in the Classroom, writer prompts and printable handouts.

Below is a list of links that you may find useful at level three of storytelling:

Level Three web-links

http://www.makebeliefscomix.com/
http://www.mainada.net/comicssketch
http://marvel.com/create_your_own_superhero
http://chogger.com/
http://www.comicmaster.org.uk/
http://www.creaza.com/
http://www.wittycomics.com/make-comic.php
http://www.stripcreator.com/make.php
http://pixton.com/uk/

http://superherosquad.marvel.com/create_your_own_comic

Level Four – Storybooks

We have been building the level of narrative complexity as the levels have progressed, and now we take a bigger leap by creating story books. The leap is bigger as this time the students are required to make longer narratives, but they still has the support of images to rely on.

As with comic strips, you could begin by introducing the students to the format of the books. Obviously most learners are familiar with story books, but rarely will they have considered how they are put together. This knowledge becomes important when you have to create one of your own.

To introduce my students to this format, I divide a storybook into two parts, then take the individual pages, shuffle them and give them to two groups. The students then have to follow the narrative and put their half of the story in the right order. Once this is complete, they can look at the completed other half in order to get the finished narrative.

This kind of activity helps warm the students up before they go online and create their own storybook. They become more aware of what is required of them and how they can create their own. Of course, it’s too much to ask them to draw as well as write, at least in the limited time frame in which most of us operate, so a website like storybird.com is priceless. It has a beautiful collection of illustrations available for your to choose from as well as an intelligent, well put together, and most importantly, easy to use interface.

Below is a list of links that you may find useful at level four of storytelling:

Level Four Web-links

http://storybird.com
https://www.tikatok.com
http://www.artofstorytelling.org/picture-a-story
http://www.kerpoof.com/#/activity/storybook
http://alpha.zooburst.com/
http://myths.e2bn.org/story_creator/
http://www.storyjumper.com/

Level Five – Animated films

The final level gives students the opportunities to make their own animated movies. By now, having been through the previous four levels, they are familiar with many of the narrative conventions that are used in films as well as comic strips, story books etc, and they’ve had plenty of opportunities to practice their storytelling skills too. Hopefully they picked up some language along the way as well. Now they can put all of these newly acquired skills together in a short film.

Again, you probably don’t have time for the students to create their own artwork, so zimmertwins.com is perfect for allowing your learners to make their own stylish short films while concentrating on the key objective of language. Furthermore, the website contains activities and a version for schools where you can sign up for a teachers account.

By now your students should be comfortable with storytelling, both online and off. Of course, if you wish, you could extend this further by getting them to write their own stories or make their own movies or radio plays. That is when you know that they have reached the highest level of digital storytelling.

Below is a list of links that you may find useful at level five of storytelling:

Level Five Web-links

http://www.zimmertwins.com/
http://sketchfu.com/home
http://www.doink.com/
http://dvolver.com/live/mm.html
http://www.masher.com/index.jsp
http://www.xtranormal.com/
http://www.creaza.com/
http://www.kerpoof.com/ – choose the ‘Make a Movie’ option.
http://www.digitalfilms.com/index.php
http://www.fluxtime.com/animate.php

Note: This article is based on a course I taught and created with Dan Conyers, a British Council teacher based in Saudi Arabia and South Korea. Thanks to him for his contribution.

James Taylor is a freelance EFL teacher based in Brussels, Belgium. When not teaching business and general EFL, he can be found at his blog, on Twitter and hosting the #ELTchat podcast.

Gaming the EFL classroom

It’s my pleasure to introduce a guest blog post by James York, who, as I mentioned last week, has been doing some very interesting things in his classroom, using gamification to motivate his students. Thanks, James for an inspiring piece on how you get started – I’m sure it will lead to more language teachers following your lead.

Gamification—the application of game-mechanics to real life situations—is currently reaching (or reached?) the peak of its hype cycle invading all areas of our life from website loyalty systems, the rewards and achievements in video games, social apps (Foursquare, SCVNGR), health apps (Runkeeper, Fleetly), and recently even our classrooms (Class Dojo).

I personally heard about the phenomenon through the book by Lee Sheldon: The Multiplayer Classroom which really struck a chord with me for a number of reasons:

  1. I am an avid gamer,

  2. I have a deep interest in CALL (based on personal experience as a language learner),

  3. I was frustrated with my universities grading system.

Upon finishing the book (actually, while reading also) I immediately started planning out how I could adapt the concept to my own situation. As a language teacher my goals for students were initially grouped into the four key skills: Listening, reading, speaking, and writing. I then thought up a number of tasks (or in this case “quests” that would help students develop each skill. In Sheldon’s book (and MMORPGs) there is usually a distinction between solo and group quests, so I also thought up a number of each which can be mostly thought of as: group = in-class quest, solo = out of class quest. The list of available quests was put up on a project wiki as reference for my students. Their XP scores were also made public on the same site.

I then had to pitch the whole idea to my students. I did this with the following slide show which I showed the class at the start of the semester. The idea to start the first class of the semester with “You all have an F!” is again from the Sheldon book.

Solo Quests

Solo quests epitomize the self-study or autonomy that we as educators want from students. With reference to Self-Determination Theory (SDT) and in principal the notion of giving students choice in what they learn, I believed that providing a decent range of tasks would appeal to both performance- and mastery-orientated students. There was no pressure to do any single quest, and they could do as little or as much as they liked. Obviously, the students that did more would guarantee themselves a higher grade based on the cumulative nature of attainable XP-per-quest, but there was still no direct i.e. “You HAVE to read 3 graded readers a semseter” pressure from me, their teacher.

Sample quests included:

Quick writing

Instructions

  1. Set yourself five minutes to write. Not four. Not six.
  2. Write as much as you can about the English lesson you had that week with Mr York. Here are some things you can write about:
    1. Did you learn any new words or grammar points?
    2. What did you do in the lesson?
    3. Was the lesson good or bad? What was good or bad?
  3. VERY IMPORTANT: Write how many words you wrote, your student number and your name on the paper.

 

Scoring

  • You will get 10XP each time you complete a quick writing activity. (You can only do it once a week).
  • The person who writes the most words will also receive a bonus 50XP at the end of the semester.

 

Skype

Instructions

  1. Add Mr York on Skype. His username is yorksensei
  2. Leave a voicemail of you speaking about anything! Some examples include:

 

Leveling guide:

There are a number of levels to this quest series.

You must do the quests in order.

It is OK to repeat quests 2 – 9.

  1. 20XP: Give a self introduction.
    1. Your hobbies
    2. Your family
    3. Where you live
    4. What you like / dislike etc.
  2. 20XP: What you did this week.
  3. 30XP: Read a book for 30 seconds.
  4. 40XP: Speak about the things you like / dislike about Mr Yorks new teaching project.
  5. 40XP: Read something you wrote for 30 seconds.
  6. 50XP: Give your opinion on a news article / news story.
  7. 50XP: Speak about your hobby / favorite sports team for over 30 seconds.
  8. 100XP: Speak with a friend for over 2 minute about the things you like / dislike about Mr Yorks new teaching project.
  9. 100XP: Speak with a friend for over 2 minutes about your week at TDU.

 

The skype quest features a quest line similar to what you find in RPGs, and is based on the notion of presenting more difficult challenges as players (or in our case: learners) get better at the specific task to keep them interested. Too easy and it becomes boring, too hard and it becomes frustrating.

Group quests

Group quests were mainly quests that were part of the coursework I set for students such as creating a presentation about a theme which all group members had a common interest and the RPG battle game I developed (part 1 / part 2). One particular group quest that worked well and I repeated on numerous occasions was the Textbook Review Battle. Here are the details:

Instructions:

  1. Guilds (predetermined groups of students) choose a page that we have already covered from the textbook.

  2. They ask questions to their opponent guild about vocabulary or grammar on that page.

  3. Preparatory five minutes:

    1. They test each within the group first. During this time, they must also browse through the book and review all that we have done because they are going to be tested on something by their opponents, too.

    2. 10 BONUS XP for the group who finishes first.

    3. 5 Bonus XP to the group who finishes second.

  4. Dual five minutes:

    1. Guilds take it in turn to ask a question to their opponent guild.

    2. Guilds must ask a total of 10 questions.

    3. Guilds have 10 seconds to scan through their textbooks for the possible answer to a question.

    4. Each guild-mate must answer a question at least once. There is no order in answering.

    5. Questions can be: 

      1. Regarding vocabulary

      2. Regarding a grammar structure

      3. An original question based on the grammar/vocabulary on that page.

    6. Questions cannot:

      1. Require a Japanese answer

      2. Be taken as-is from the book.

      3. Require opponents to use words/grammar that we have not covered previously in class.

      4. Be something that the opponent team will not know the answer to. E.g. “What is the largest lizard in America?”

Scoring:

  • If a guild answers a question correctly, they are rewarded 10 points. 

  • If they cannot answer the question or answer incorrectly, the asking team gets 10 points.

  • The team with the most points at the end of the 20 questions (10 each) is declared the winner and receives 50XP. The losing team gets 10XP. If it is a draw, they both get 25XP.

Extra information:

  • If the guilds cannot decide if a question was answered correctly or not, they can ask the teacher to be a 3rd party judge.

  • Relates to the “intergroup competition as a means of building within group friendships” p.25 of Group dynamics in the language classroom by Murphey and Dornyei

This task worked for a number of reasons:

  1. Students had a choice in making their own questions

  2. The element of competition increased engagement

  3. Not knowing what they would be tested on made the task exciting

  4. Knowing the answers to questions reinforced what they had learned during their time in my class.

  5. (From a teachers perspective) Students were eager to review the course content!

Experience points

As seen in the above examples, the incentive for completing any quest in the “multiplayer classroom” is the promise of a pre-determined amount of experience points (XP) which are used in place of the typical A to F grading system. The concept is that students start with zero points and by accumulating XP, they work their way up towards getting an A (awarded at 900 points in my particular context). Speaking from my personal experience, there are three important characteristics to this model that promote greater engagement from students.

Choose your own route to an A

In contrast to the traditional model of only rewarding students that achieve perfect test scores, with the XP system any student can reach the A-grade level. Why? Because grading is based not only on tests, but also on the effort students put into their language learning endeavors on a daily basis. Additionally, they are free to choose the tasks/activities that they WANT to do, not what the teacher sets them.

Visualisation of their grades

Although the model of experience points is one taken from role-playing video games, I feel that if we analyze the term literally, it has real relevance to educational contexts, especially language learning. We are rewarding students for their experience in speaking/listening to/reading/writing the target language. The more they do, the more experience they have with it, and in turn, the more they are rewarded for their efforts by their teacher.

In language learning, it can be very difficult to measure progress, as there is no tangible object to reflect ones knowledge or experience. Thus, by giving students points (regardless of how generic the value is), they can also see how much they have achieved as their value goes up over time.

Competition

One issue I have been trying to overcome since working at my current establishment is the lack of response from students when asking questions to the whole class. Little did I know that what worked for me in an elementary school setting would also have relevance in a university-level classroom also! What I am talking about is the simple manner of rewarding students for answering questions, providing insights, listening carefully, etc.

As can be seen on the left hand side in the picture below, I drew a grid on the white board at the start of each class, which represents where each student group is sitting. Whenever any student did something that I thought deserved a point of recognition or praise, I would make a line in their section of the grid. At the end of the lesson, the group with the most points would be rewarded with a specific amount of XP. While this system works well, you have to be careful not to make the lesson more about accumulating the most amount of points rather than learning English!

http://yorksensei.posterous.com/creating-rage-comics-with-efl-students#

As mentioned above, another way competition was woven into the curriculum was with group quests that were designed to pit students against each other. Competition is an element that motivates students differently, so if putting students against each other individually, you may find the class at different levels of excitement or engagement. If however, we put students into groups, I find that the competitive students help get the non-competitive students engaged and a focus on teamwork is fostered.

Reflections

Looking at any one of the XP sheets reveals a few details regarding what did and didn’t work with this trail run of the project. I would like to tackle the positive and negative aspects separately.

Positive aspect 1: Class Participation

At the start of the previous semester, students were told that their class participation would count towards 30% of their overall grade. However, no daily feedback or record of their individual participation level was taken, meaning that “class participation” was a vague teacher-determined (biased?) value decided upon at the end of the semester.

With this method though, where students get instant feedback on their participation, and a clear reason to participate (to gain XP), class participation levels went up. A lot. Whereas before I would have to ask a question and force myself to count from 10 up to 30 seconds before finally providing the answer myself, I had multiple students offering answers almost instantaneously after asking a question.

Positive aspect 2: Fun

Quite a simple point, but with the addition of game-like activities and team-based “battles” the class dynamic was one of laughter, rivalry and camaraderie. One example includes teams trying to catch their opponents out with tricky questions based on a presentation they just gave. Another being students laughing out loud as I put on Final Fantasy battle music as BGM for a particularly demanding activity.

Negative aspect 1: Unbalanced XP achievements

At the same time as doing this project, I also started an Internet English and crowd-sourcing project called EFLcomics (which you can read about more here). This project basically had students making short comics for the website Reddit.com where native speakers would correct mistakes and leave comments. As a means to promote my students to submit comics to this project, I proposed that for each comic students submitted, they would be rewarded with 25XP. This figure further increased to 50XP towards the end of the semester as an additional incentive to submit material. In summary, then, due to my own personal interests, the XP weighting of quests was skewed.

Negative aspect 2: Still a lack of self-study

Although class participation went up, only a few students actually completed solo-quests as part of their self-study. As a result, towards the end of the semester it looked like a good proportion of the class would fail, so I had to dish out XP points for class participation. Not ideal. I think there are a number of reasons why students were not motivated to increase their English self-study and I have provided commentary on how these issues may be approached in further implementations of this project.

  1. They are not used to studying English at home!

  • Although the way the course was introduced was all very playful, it may be worth reinforcing the fact that they will fail the course (a new concept for them?!) if they do not study outside of class.

  1. There wasn’t enough support to show how tasks could be done at home.

  • Go through a number of the solo tasks at the end of class.

  1. There was too much choice regarding which solo quest to do.

  • Set a specific quest as homework each week. This will force students to attempt a number of different quests, which may result in them discovering which ones they enjoyed and would like to continue.

Finally

One thing I will definitely be improving next year is the structure of “quest lines.” Compare the Skype quest line to the quick writing quest. The structure and gradual increase in difficulty of the Skype quest line is structured more like a game where challenges and rewards increase exponentially to keep players engaged. The “quest line” concept will thus be applied to all areas of self-study solo quests in the coming semester.

All About Alice – Chapter 1


We are pleased and honoured that a colleague of ours, Chris Roland, has written our second guest post, all about Inanimate Alice, an engaging digital fiction project for learners.

What is Inanimate Alice?

The best thing to do, in all honesty, is to go to the Inanimate Alice website yourself, load up one of the episodes and have a look. If you ask me for a description in words I’d say something like: the Inanimate Alice stories are digital readers, combining text, images, sound and interaction to take you with Alice on a number of her adventures as she moves round the world with her parents. But it’s more than that. The overall effect of IA certainly adds up to more than the sum of its parts. The screen’s all black, the text flickers with static audio or dark drum n’ bass style rhythms that exacerbate the tension, very real photo images and the hard edges of architecturally precise building plans contrast with childish doodles and musings. As you can see, talking about IA is quite fun, especially as it blurs the line between various medium types, between the reader/viewer paradigm and when used in a language classroom, between text as vehicle for language and text as vehicle for story for its own sake.

Who wrote it?

Inanimate Alice is the brainchild of Ian Harper. He enlisted crack digital artist Chris Joseph to give the story the powerful screen presence you see and novelist Kate Pullinger to put words into Alice’s mouth. Ian’s vision for Alice is really something and goes far beyond the four episodes you can currently find on the site. There are 10 planned instalments and a number of possible projects that may branch off those too. One nice touch is that in each of the episodes, Alice is a little older, so we’re actually watching her grow up as the episodes progress. She begins as an eight year old girl with an interest in gadgets, imaginary characters and stories. As far as I know she will become a successful fashion designer, but we’ll have to see what surprises Ian has in store for us there.

So who are you?

Good question. I’m an English teacher, teacher trainer and materials writer. I got involved in the project a couple of years ago and have written the blueprint for an adapted ELT version of the first episode ‘China’ consisting of 3 separate graded versions, for Pre-Intermediate (A2), Intermediate (B1) and Upper Intermediate (B2) which include graded language, specific exam practice, language games and extra features like scoring and dictionary functions – all designed to increase the effectiveness of IA in the CALL room. As I say, this is a blueprint and there are no fully working versions of ELT Inanimate Alice at the moment. I’m also one of the moderators on the Inanimate Alice Facebook page, set up by Laura Flemming.

Does IA have a place in the traditional English classroom?

I think so. Have a look at this:


You may look at this photo and wonder what it has to do with a state of the art digital literacy programme like Inanimate Alice. Well, featured in the picture is a group of 20 Spanish secondary state school teachers on an intensive teacher training course that I gave at the British Council in July of last year. The course was provided by the Council for the Ministry of Educational of Catalonia and I called it ‘Getting the most out of your materials.’ In the photo we are busy preparing paper based visuals for conversation activities, cutting and pasting from magazines in the old fashioned way.


The point I’d like to make with this is that blended learning packages and digital resources can co-exist quite comfortably with more traditional teaching methodologies, paradigms and mindsets. On this course we did this cutting and pasting images from weird pseudo-scientific magazines one day and the next my teachers were cutting and pasting from Google Images to simulate student made picture dictionaries on a screen. I would go further and say that given the limited access to computer rooms that many state school teachers experience, and the variety of contexts teachers find themselves in, then more than a question of being able to co-exist, it’s a question of needing to. The day before this picture was taken, the very same teachers you can see here were up in the computer room following Alice’s exploits across China, Italy, Russia and the UK

How can I make sure lessons with Inanimate Alice work?

Many teenage students will seize the opportunity to do something new like go to the computer room and work on Alice with appetite and enthusiasm but a few will seize the same opportunity to test the teacher’s classroom management skills by ‘playing up’. A third category, and perhaps the majority, will be neither overly enthusiastic nor disruptive and their participation will really depend on how tight the teacher’s lesson plan and task design has been. For this reason, when setting up an Inanimate Alice, or any other, activity – be it digital, paper based, spoken groupwork or out of class assignments – my motto is ‘Structure. Structure. Structure’.

Now the first things your average teenager will ask themselves (often on a subconscious level), when given a language learning task in school, are: “What do I have to do? What’s the easiest way to get it done? What will happen if I don’t do the task? Will the teacher know and what will be the consequences? Is there a system of evaluation in place with actual marks (grades) awarded? Are all my friends getting down to work? Are we ‘having’ this as a group?” So what we need is a tangible task for the students with obvious checking points with regards their participation. This is what I call structure for the student.

We also need structure for the teacher. By this I mean that however ‘wow’ an activity, it has to provide the teacher with information such as grades or evidence of task completion or learner production, that they can add to their term grades, records of work or class portfolio.

Next week I’ll tell you about a specific activity you can do with IA.

Chris is based at the British Council Barcelona. He teaches young learners, adults and business classes and gives as many conference sessions as he can on top of his regular contract hours. When he isn’t doing something teaching-related he’s probably training for marathons, walking up hills or shooting billiards. His own site: www.regandlellow.com has powerPoint stories for very young learners, including Reg and Lellow themselves and also Humphrey Bogin. Please take a look!


All About Alice – Chapter 2

Last week I told you about Inanimate Alice.  This week I’d like to tell you about how I’ve used IA in my classes.

Can you give me an example of a specific activity you do with IA?

Sure. So a clearly defined task, teacher monitoring and evaluation are paramount. With this in mind I divide the class into pairs. I feel that three at a single computer is too many. Many schools do not have a terminal for each student however. When students are sharing, I insist that they swap the person controlling the mouse every 5 minutes. Less dominant students will say they don’t mind and cede the mouse to their fellows. They do mind. They want a go on Alice really – and it’s the teacher’s job to see that they get it. So, each pair watches an episode of Alice. The existing episodes of Alice are of unequal length, so I tend to work with either China and Italy together (which are shorter) or Russia and the UK.. The episode each pair watch is specified on their worksheet, which I’m not including in this article because it really is better if each teacher thinks through the exact micro-mechanics of the activity for themselves and produces their own handout accordingly, which will be best suited to their own specific context.

Full instructions are provided on the worksheets to supplement my initial explanation of the task. Students will often ask the teacher rather than refer to their worksheets but some students will read the instructions so I always say it’s worth putting them on. As they watch their episode, each pair write down 10 difficult vocabulary items appearing in the story and afterwards write the definitions of these words on the same worksheet (I allow them to use an online dictionary but the moment I see their own Facebook accounts opened, that’s it, the stack of paper based volumes I have as standby comes into play).

This is the first task. When each group have their vocabulary lists and definitions checked by the teacher they proceed to the second task which is to watch their respective episode again, this time writing down 10 comprehension questions about the episode. For example, those watching China might write: How old is Alice? What colour is the painting that her mum does? What’s the name of that machine she plays with? They also write the answers but this time on a separate sheet. The ‘worksheet’ for this one consists of a paragraph of instructions and the numbers 1-10 in the margin.

Again, each group have their questions checked and receive a group grade. This gives the teacher chance to clear up any ambiguities in their questions. Each member of the pair needs to have their name on each sheet – no name no mark – and the questions need to be written in two different styles of handwriting to show there has been equal participation.

After this each pair swap questions with another pair who have viewed a different episode. This involves having everyone finish as close together as possible and occasionally a quick photocopy of one set of questions may be necessary if there is an odd number of groups and thus more people doing one episode than another. Students then work through the new story, answering their colleagues’ questions using the vocabulary lists produced by the other pair to help them, so each pair is simultaneously teaching and testing, and being taught and tested by the other. Finally the answered questions are returned to their creators for correction and are handed in to the teacher for final marks collection. A lot of work for the teacher? In actual fact, the more individual marks a teacher takes in, the less work they have to do come the end of term evaluation.

Sounds good – how well does it work?

It works beautifully and I like the fact that students play these 4 roles of lexical investigators, analytical question makers, task achievers and solution finders. You can see that there’s a lot of structure here, but this is the type of structure that is needed and appreciated by front line teachers if we are to envisage using materials like Alice alongside regular materials and methodologies. It’s very difficult for any online programme to provide all of this structure by itself, so this is where teachers come in and why their role in an Inanimate Alice class is essential. As you can see, I’m a big fan of what I call ‘micro-mechanics’ – the nitty gritty of task design – and I think it’s on this that a class lives or dies.

Is there anything else I can do to try to make sure things go well?

Whenever we’re dealing with the CALL room, I would advise going in there before the class, turning on all the computers and making sure you have done everything you are going to ask the students to do. That way you will find out if all the terminals are working okay and if everything is loading up fine. It will also prime you for any procedural ‘hitches’ students might encounter. The second thing to do, if you have time, is actually load up each episode on each terminal, so students are ready to go. If not, write up where they go and which episode to watch very clearly on the board – so that they have instructions there and on the handout.

So where’s the play?

Recently I’ve been deconstructing my classroom activities and asking this very question, prompted by the realization that my students often find or introduce a game element into activities that was not what I had imagined they would find fun about it when I planned the things. At recent teaching conferences I’ve been bringing up my little play symbols (made with the help of the aqua ball font at www.flamingtext.com) to help make the point more visual.

Another very useful thing to do during planning is to go through the episodes you are going to work with and script them, actually writing down all the language they contain yourself. This will give you a good idea of what level the language is and help you predict any difficulties your students will have lexically.

My point is that if there isn’t an element of play, students will invent one. They need it to survive. If their ‘play agendas’ can run in parallel to the teacher’s lesson aims then great, they’ll normally be happy with that. But if there’s no other way, their own need for play will come at the teacher’s expense.

In Inanimate Alice, the play starts with clicking. I maintain that IA isn’t something you should show your students – ever. It’s something they should do. Watching somebody else click their way through Alice’s screens in definitely not play. Alice doesn’t work as a class movie. That’s why, as I mentioned above, I make sure that everyone is regularly clicking. The most successful play element of the episodes themselves has to be the doll catching game in the Russia episode. Here, on regular screens, students have to find a hidden doll then catch it as it falls from the top pf the screen, using a little Brad character on a skateboard at the bottom. I always specify that they can play this episode with the game option on. There are also the flower photographing, clothes grabbing and derelict building maze activities in the other episodes but with the dolls, Chris J. has really captured a retro computer game feel which takes me back to the days of the Spectrum 48k or the Commodore 64.

These are elements of play intrinsic to the episodes themselves. Then there is play that the guiding activity gives the opportunity for. Students making up their own questions can allow them the chance to try to catch out and confuse their classmates. If you have few students, then dividing them up and sending them off to work at different computer terminals in different physical locations, different rooms, can provide that element of ‘adventure’. There are also elements of play that involve the students’ imaginations in a positive way. A number of teachers, reporting on the Facebook page, have recently had their students write their own episodes of Alice, or to fill in the blank time periods of Alice’s life in between episodes and this can take a number of formats such as written work, PowerPoint presentations and class video clips of roleplays with students acting out Alice, Brad, Ming (her mum) and John (her dad).

And then of course, there are the elements of play that you will never see coming but that you can observe if you watch carefully. What is it about an activity that seems to animate your students most? Some of these play elements may horrify you; others might provide the inspiration for future activities. Many, many thanks to Kyle and Graham for giving me space here and all the very best to all DP’s readers!

Chris is based at the British Council Barcelona. He teaches young learners, adults and business classes and gives as many conference sessions as he can on top of his regular contract hours. When he isn’t doing something teaching-related he’s probably training for marathons, walking up hills or shooting billiards. His own site: www.regandlellow.com has powerPoint stories for very young learners, including Reg and Lellow themselves and also Humphrey Bogin. Please take a look!


Guest Post #1 : Video Games and Wikis

It is my great pleasure to introduce our first special guest on Digital Play – Shelly Terrell is an English teacher, educator, blogger and all-round inspiration when it comes to educational technology.  In this post, she puts the case for using a wiki to support digital play with learners.

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