This year all of the funds from the spooky tats are going to support cancer research and the family of Jordie Lunn, a Parksville mountain biker who died after a cycling crash in Mexico earlier this month. (CTV Vancouver Island)
VICTORIA -- It’s become a Halloween tradition for some, while others are there to get their first ink, as Victoria's Tattoo Zoo hosts its sixth annual Halloween flash fundraiser
This year all of the funds from the spooky tats are going to support cancer research and the family of Jordie Lunn, a Parksville mountain biker who died after a cycling crash in Mexico earlier this month.
Mystery Man Clueline
Tattoo Zoo co-owner Sarah Kramer says Jodie’s brother and fellow tattoo artist Craig Lunn is a close friend of the shop, and wanted to help out his family this year with their crowdfunding.
Dozens of Halloween-themed designs could be chosen, or customers could choose a “get what you get” option, pulling a mystery design from a bowl to ink onto their body.
People began lining up outside the shop at 8:30 a.m. Thursday. By the time the shop opened at 11 a.m., there were already about 50 people waiting.
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“We’ve created a whole little group of buddies in the lineup, " said one customer. "We’ve went on a coffee run together. It’s like we’ve known each other for ages."
Rhiannon was lined up for the second year in a row, waiting for her turn in line without even seeing the design choices. “It’s a riot every year... it’s a great time for a great cause, ” she told CTV News.
“When I came three years ago I was maybe sixth in line, " said another customer, Raven. "I got here two hours early this year and there were 16 people ahead of me. It’s bonkers, and amazing.”
May/june 2011 By The Toy Book
Kramer expects the ink will be flowing until about 7 p.m. or until people stop showing up. The shop is also selling raffle tickets for a tattoo gift card to be redeemed later.
Government Street Tattoo, where Craig Lunn now tattoos ,will also be hosting a “flash day” fundraiser benefitting the Lunn family on Nov. 8.The perception of palaeontology in commercial off-the-shelf video games and an assessment of their potential as educational tools The perception of palaeontology in commercial off-the-shelf video games and an assessment of... Thomas Clements et al.
Video games now comprise the largest sector of the media entertainment industry. Hundreds of video games, spanning a huge variety of genres and platforms, use extinct animals and/or palaeontological themes as a basis for their gameplay. Because of this, many players, especially children, spend long periods of time engaging with and being immersed in palaeontological concepts and themes. Video games may be the first medium of implicit or tangential science communication they engage with, especially with regards to palaeontology. However, commercial off-the-shelf video games are not primarily designed to be educational tools, and the proliferation of some common tropes can disseminate harmful and/or unethical (mis)information regarding palaeontology. This paper introduces the major types of palaeontological video games and discusses their educational potential. We highlight the most common palaeontological tropes, both positive and negative, observed in video games to better equip science communicators regarding the perception of palaeontology (and ancient animals) in this massively influential medium that they may encounter when undertaking scientific engagement. Furthermore, by highlighting common misconceptions and harmful tropes, we aim to bring awareness to game developers, who may be unaware that they could be propagating negative tropes about palaeontological science.
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Clements, T., Atterby, J., Cleary, T., Dearden, R. P., and Rossi, V.: The perception of palaeontology in commercial off-the-shelf video games and an assessment of their potential as educational tools, Geosci. Commun., 5, 289–306, https://doi.org/10.5194/-5-289-2022, 2022.
Video games are the largest and fastest growing sector of the media entertainment industry. In 2020, approximately 2.7 billion users generated an estimated USD 159.3 billion in revenue; more revenue than the movie and music industries combined (Newzoo Global Games Market Report, 2020). The rise of games playable on mobile devices has massively increased the accessibility of video games to a broad range of demographics, mainly because they do not require specialist hardware, are often free-to-play, and have huge diversity in regard to subject matter and necessary skill level. Furthermore, gaming-related entertainment, such as live-streaming services on websites like Mixer, Twitch, YouTube, etc., is hugely popular, with over 12.4 billion hours of gaming live-streams having been consumed in the first two quarters of 2020 (Stream Hatchet Video Game Streaming Trends Report, 2020). Combined, this indicates that not only are video games increasing in popularity but that, when not playing, many users will still engage with video games by watching others play online via streaming services. Palaeontological science communicators should recognise the size of the captive audience and how influential the medium of video games is as a resource for engagement practices.
Broadly speaking, video games can be separated into two categories: educational and commercial games. Educational games actively promote learning by introducing information and engaging the user with specific content, known as “digital game-based learning” (DGBL; see Habgood and Ainsworth, 2011). Video games that focus on specific STEM subjects have been shown to be beneficial to both non-students and students by positively aiding learning outcomes (e.g. Shute et al., 2013; Mani et al., 2016; Pringle et al., 2017), especially for students who struggle with traditional teaching practices (Mayo, 2009). However, studies also indicate that some users can find educational games patronising (Klopfer and Osterweil, 2013) or lose interest rapidly and disengage, decreasing the likelihood of positive learning outcomes (Kerawalla and Crook, 2005; Habgood and Ainsworth 2011). Furthermore, educational video games are typically niche in their subject matter, difficult to programme (e.g. Pringle et al., 2017), difficult to implement (e.g. Mani et al., 2016; Mozelius et al., 2017), and require extensive funding to develop (Annetta, 2008; Mayo, 2009). These games are often made in association with specific outreach projects with limited funding (e.g. Mani et al., 2016; Pringle et al., 2017), making protracted development an impossibility (Mayo, 2009). It should also be noted that it can be difficult to monitor the learning outcomes of these educational video games (e.g. Mani et al., 2016), especially if they are released to the public. Ultimately, educational video games are viable learning aids, but they do not appeal to the wider public.
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The second type of video games are commercial off-the-shelf (COTS) games. These games make up the overwhelming majority of the gaming ecosystem and are incredibly diverse in their genres and themes. Typically, COTS games are developed to a much higher standard of graphics and gameplay mechanics than educational video games (Mozelius et al., 2017) and are designed specifically to capture the attention of the user by motivating and challenging them in an interactive environment, often reinforcing this through repetition and reward (Brown et al., 2014). Despite the dated perception that video games are nothing more than a trivial time sink, evidence suggests that video games can have positive benefits for the cognition, motivation, and social skills of players (e.g. Granic et al., 2014). Furthermore, COTS games can effortlessly provide early exposure to educational themes and concepts, even if the specific COTS game is not primarily designed for this purpose. Because of the huge variety in genres, the engaging gameplay, the ability to play online with friends, and the high production quality, it has been proposed that COTS games are a resource that could be incorporated into teaching environments (Van Eck, 2006), with multiple studies undertaking the utilisation of COTS in teaching environments (e.g. Charsky and Mims, 2008; Mohanty and Cantu, 2011; Sun et al., 2015; Caldwell et al., 2017). Recently, some COTS games have included specific sections of the game that are focused on education: for example, Assassin's Creed: Origins (2017, Ubisoft Montreal) and later instalments in the Assassin's Creed franchise contain a “Discovery Tour” mode that removes combat and quests in the game to allow players to explore the games' historical settings, accompanied by factual information and quizzes. Generally speaking, however, whilst educational video games often sacrifice entertainment for accuracy, many COTS video games do the opposite (Van Eck, 2006; Mozelius et al., 2017; McGowan and Scarlett, 2021), and must therefore be carefully vetted prior to integration into curricula, often leading to increased workload for educators (e.g. Sun et al. 2015; Caldwell et al., 2017).
One important and often overlooked aspect of computer gaming is the potential for implicit and tangential learning (Mozelius et al., 2017; Crowley et al., 2021; McGowan and Scarlett, 2021). Implicit (or unconscious) learning occurs when learning takes place in an incidental manner without the awareness of the person engaging in a given activity (e.g. Frensch and Rünger, 2003). Conversely, tangential learning is the semi-conscious process of self-education via exposure to a topic in an already enjoyable, non-educational format (Brown et al., 2014). Many COTS games impart complex scientific and historical content to their audiences by presenting the topic within fun and engaging game mechanics in a non-scholastic format (see Herrero et al., 2014; Crowley et al., 2021) and can be used as
Kramer expects the ink will be flowing until about 7 p.m. or until people stop showing up. The shop is also selling raffle tickets for a tattoo gift card to be redeemed later.
Government Street Tattoo, where Craig Lunn now tattoos ,will also be hosting a “flash day” fundraiser benefitting the Lunn family on Nov. 8.The perception of palaeontology in commercial off-the-shelf video games and an assessment of their potential as educational tools The perception of palaeontology in commercial off-the-shelf video games and an assessment of... Thomas Clements et al.
Video games now comprise the largest sector of the media entertainment industry. Hundreds of video games, spanning a huge variety of genres and platforms, use extinct animals and/or palaeontological themes as a basis for their gameplay. Because of this, many players, especially children, spend long periods of time engaging with and being immersed in palaeontological concepts and themes. Video games may be the first medium of implicit or tangential science communication they engage with, especially with regards to palaeontology. However, commercial off-the-shelf video games are not primarily designed to be educational tools, and the proliferation of some common tropes can disseminate harmful and/or unethical (mis)information regarding palaeontology. This paper introduces the major types of palaeontological video games and discusses their educational potential. We highlight the most common palaeontological tropes, both positive and negative, observed in video games to better equip science communicators regarding the perception of palaeontology (and ancient animals) in this massively influential medium that they may encounter when undertaking scientific engagement. Furthermore, by highlighting common misconceptions and harmful tropes, we aim to bring awareness to game developers, who may be unaware that they could be propagating negative tropes about palaeontological science.
The Last Of Us Part Ii
Clements, T., Atterby, J., Cleary, T., Dearden, R. P., and Rossi, V.: The perception of palaeontology in commercial off-the-shelf video games and an assessment of their potential as educational tools, Geosci. Commun., 5, 289–306, https://doi.org/10.5194/-5-289-2022, 2022.
Video games are the largest and fastest growing sector of the media entertainment industry. In 2020, approximately 2.7 billion users generated an estimated USD 159.3 billion in revenue; more revenue than the movie and music industries combined (Newzoo Global Games Market Report, 2020). The rise of games playable on mobile devices has massively increased the accessibility of video games to a broad range of demographics, mainly because they do not require specialist hardware, are often free-to-play, and have huge diversity in regard to subject matter and necessary skill level. Furthermore, gaming-related entertainment, such as live-streaming services on websites like Mixer, Twitch, YouTube, etc., is hugely popular, with over 12.4 billion hours of gaming live-streams having been consumed in the first two quarters of 2020 (Stream Hatchet Video Game Streaming Trends Report, 2020). Combined, this indicates that not only are video games increasing in popularity but that, when not playing, many users will still engage with video games by watching others play online via streaming services. Palaeontological science communicators should recognise the size of the captive audience and how influential the medium of video games is as a resource for engagement practices.
Broadly speaking, video games can be separated into two categories: educational and commercial games. Educational games actively promote learning by introducing information and engaging the user with specific content, known as “digital game-based learning” (DGBL; see Habgood and Ainsworth, 2011). Video games that focus on specific STEM subjects have been shown to be beneficial to both non-students and students by positively aiding learning outcomes (e.g. Shute et al., 2013; Mani et al., 2016; Pringle et al., 2017), especially for students who struggle with traditional teaching practices (Mayo, 2009). However, studies also indicate that some users can find educational games patronising (Klopfer and Osterweil, 2013) or lose interest rapidly and disengage, decreasing the likelihood of positive learning outcomes (Kerawalla and Crook, 2005; Habgood and Ainsworth 2011). Furthermore, educational video games are typically niche in their subject matter, difficult to programme (e.g. Pringle et al., 2017), difficult to implement (e.g. Mani et al., 2016; Mozelius et al., 2017), and require extensive funding to develop (Annetta, 2008; Mayo, 2009). These games are often made in association with specific outreach projects with limited funding (e.g. Mani et al., 2016; Pringle et al., 2017), making protracted development an impossibility (Mayo, 2009). It should also be noted that it can be difficult to monitor the learning outcomes of these educational video games (e.g. Mani et al., 2016), especially if they are released to the public. Ultimately, educational video games are viable learning aids, but they do not appeal to the wider public.
Teaser Trailer For Megamind Starring Will Ferrell And Brad Pitt
The second type of video games are commercial off-the-shelf (COTS) games. These games make up the overwhelming majority of the gaming ecosystem and are incredibly diverse in their genres and themes. Typically, COTS games are developed to a much higher standard of graphics and gameplay mechanics than educational video games (Mozelius et al., 2017) and are designed specifically to capture the attention of the user by motivating and challenging them in an interactive environment, often reinforcing this through repetition and reward (Brown et al., 2014). Despite the dated perception that video games are nothing more than a trivial time sink, evidence suggests that video games can have positive benefits for the cognition, motivation, and social skills of players (e.g. Granic et al., 2014). Furthermore, COTS games can effortlessly provide early exposure to educational themes and concepts, even if the specific COTS game is not primarily designed for this purpose. Because of the huge variety in genres, the engaging gameplay, the ability to play online with friends, and the high production quality, it has been proposed that COTS games are a resource that could be incorporated into teaching environments (Van Eck, 2006), with multiple studies undertaking the utilisation of COTS in teaching environments (e.g. Charsky and Mims, 2008; Mohanty and Cantu, 2011; Sun et al., 2015; Caldwell et al., 2017). Recently, some COTS games have included specific sections of the game that are focused on education: for example, Assassin's Creed: Origins (2017, Ubisoft Montreal) and later instalments in the Assassin's Creed franchise contain a “Discovery Tour” mode that removes combat and quests in the game to allow players to explore the games' historical settings, accompanied by factual information and quizzes. Generally speaking, however, whilst educational video games often sacrifice entertainment for accuracy, many COTS video games do the opposite (Van Eck, 2006; Mozelius et al., 2017; McGowan and Scarlett, 2021), and must therefore be carefully vetted prior to integration into curricula, often leading to increased workload for educators (e.g. Sun et al. 2015; Caldwell et al., 2017).
One important and often overlooked aspect of computer gaming is the potential for implicit and tangential learning (Mozelius et al., 2017; Crowley et al., 2021; McGowan and Scarlett, 2021). Implicit (or unconscious) learning occurs when learning takes place in an incidental manner without the awareness of the person engaging in a given activity (e.g. Frensch and Rünger, 2003). Conversely, tangential learning is the semi-conscious process of self-education via exposure to a topic in an already enjoyable, non-educational format (Brown et al., 2014). Many COTS games impart complex scientific and historical content to their audiences by presenting the topic within fun and engaging game mechanics in a non-scholastic format (see Herrero et al., 2014; Crowley et al., 2021) and can be used as
