Why Use Video Games

Research & Statistics
According to the Interactive Digital Software Association (IDSA), “In 2000 35% of Americans identified video games as the most fun entertainment” (IDSA 2000). The video gaming industry reported sales of over $6 billion to consumers world-wide. Accordeing to IDSA, 42% of those game players under the age of 18, 37% between the ages of 18-35, and 21% over 35 years old. Studies revealed that 90% of American households have video gaming systems, compared to the 60% who have computers with Internet access. The gender demographics of gamers are also stricking. Only 10% of the people who play video games are female, compared to the 90% of whom which are male. The racial demographics show that 80% of game players world-wide are of an ethnic minority. These numbers are expected to grow as Internet access facilitates more and more game play (IDSA 2000).

If we look at various forms of media (i.e. Internet, television, movie theaters, billboards, radio, etc.) we can see how video games have evolved from just being a form of entertainment to becoming a tool for learning. Most games let the player experience a compelling story or narrative by setting a scene and objects to be used by the characters, and by creating a theme and a plot. Clearly video games have emerged as one of the most poplar forms of entertainment, especially those that contain a story-line and have been transformed into movies (Sherry, Lucas, Rechtsteiner, Brooks, & Wilson 2000).

Theoretical Studies
In the gaming research study titled, “Beyond Myth and Metaphor: The Case of Narrative in Digital Media,” author Marie-Laure Ryan argues that narrative representation is constructed by the reader on the basis of the text. This representation consists of a world (setting situated in time), populated by individuals (characters), who participate in actions and happenings (events, plot) and undergo change. Similarly, composition theorists Schwartz and Bishop cite the need for play if students are to become authors of meaningful text. Bishop argues that, “we need to be crossing the line between composition and the use of multi-media far more often than we do. In fact we need to eliminate the line entirely” (117).

In a study reported by composition instructor and author Marcia Peoples Halio, in the article: “Multimedia Narration: Constructing Possible Worlds,” Peoples used multimedia with her 1st year composition students to help them write more powerful narratives. Her intent was to use multimedia to ground memory. She concluded that the best approach was a process that sparked students to think holistically with their senses and with their generalizing intelligence. If students start with words, they then look for sounds and graphics to complement them. Many students who wrote abstractly and generally became more specific. Also those students who were experiencing writer's block became unblocked by using the multimedia writing process to think of themselves as authors (346-347). Nicolini argues that most students who have trouble writing narratives at the computer viewed writing as less of a chore, as less intimidating, and as something in which they could be successful, perhaps for the first time, after experiencing success with multimedia narration (58).

The research conducted by the National Consensus Bureau, Gaming Theorists, and these Composition theorists imply that there is a growing interest among the American population that has spurred world-wide access to Video Gaming Technology. One of the stereotypes that we have placed on our students who play video games is that the majority of the gaming population is at-risk students. This negative label originated from the commonly held belief that most American college students who have access to video games but who do not have home access to computers are from economically disadvantaged families, and are therefore unable to use technology with ease and comfort; producing writing that is rushed and underdeveloped (Moran 218). If as educators and administrators, we believe these stereotypes, we have failed our students before they enter our classroom.

If these students are able to understand and develop the stories in video games, and are able to beat the game, they should not be labeled as at-risk students. At-risk students are defined as “Those students that have an increased chance of experiencing failure and of not completing their educational programs (McInelly & Fogt 10). Instead of grouping and labeling these students, I propose that teachers should be made aware of such students’ talents with gaming and therefore develop alternative ways for students to understand the connection between gaming and storytelling when writing narratives in first year composition courses.