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題名:創造力融入遊戲設計課程: 後設認知雙重式學習
作者:黃勻萱
作者(外文):Yun-Hsuan Huang
校院名稱:國立臺南大學
系所名稱:數位學習科技學系碩博士班
指導教授:莊宗嚴
學位類別:博士
出版日期:2015
主題關鍵詞:遊戲故事設計創造力創造力評量後設認知game story designcreativitycreativity assessmentmetacognition
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創造力教學在台灣高等教育上一直未獲得足夠的關注,特別是在設計教育上。 本研究透過後設認知雙重學習方式,將創造力學習融入遊戲設計課程: 一是明確式學習的遊戲故事評量,二則是隱含式學習的玩遊戲與遊戲故事設計。
本研究特別發展一套分析式之遊戲故事創意評量表(Creativity Assessment Scale for Digital Game Story Design; CAS-DGSD),此外,亦從文獻中發現遊戲、後設認知、及創造力三者間之關係,提出(GMC) 模型,亦發現現有創造力遊戲並無針對不同類型創造力,個別設計遊戲關卡,故本研究根據GMC模型設計以特定類型創造力為個別關卡的遊戲,挑選三種創造力類型設計三個關卡,其所激發之創造力分別為想像力、變化力、應用力。
本研究包含工具發展、實驗與資料蒐集、及實驗分析三個階段。本研究蒐集量化及質性資料,主要發現摘要如下:(1) CAS-DGSD信效度皆達可接受的程度。 (2)不同類型創造力,在適於其特性的遊戲故事建構類別中,較易發揮;反之亦然。因此,創造力培養應針對特定類別的創造力,做個別特性之訓練,方能達到較佳之標靶成效。 (3)本研究所提出的GMC模型清楚呈現,玩家透過遊戲過程,其後設認知及創意過程彼此間交互作用之關聯。此模型可提供未來創造力遊戲設計者設計關卡之參考依據。 (4)本研究結果顯示,用明確及隱含式將創造力學習融入課程活動,能激發學習動機,並提供較廣泛綜合且有樂趣的創造力學習經驗。本研究未來可發展為實務上之應用指南,作為創造力課程設計之參考方向。
Creativity teaching in Taiwan’s higher education has not been concerned enough, especially in design education. This research infused creativity learning in game design courses through metacognitive dual approaches: game story rating as explicit learning; game play and game story design as implicit learning. For game story rating, this study developed a creativity assessment scale for digital game story design (CAS-DGSD); for game play, this study devised a type-specific creativity game. Tentatively, imagination, variation, and applications were three types selected in the design of three game sessions.
This research includes three stages: stage of development, stage of experiment & data collection, and stage of experimental analysis. In the stage of development, 32 college students and four expert raters were included. In the stage of experiment & data collection, participants were 49 college students and one course instructor in two game design courses. Both quantitative and qualitative data were collected. Major findings are summarized as follows: (1) the validity and reliability of the CAS-DGSD was tested acceptable, demonstrating its usability. (2) Different types of creativity develop better in the compatible game story constructs which suit for their individual traits; vice versa. This implies that, instead of holistic training, creativity teaching and learning should be type-specific training and nurture so as to achieve optimal target effectiveness. (3) The type-specific creativity game devised in this study fostered the participants to exercise imagination, variation, and application in three gaming episodes respectively. This finding suggests that based on the traits of specific types of creativity, game designers should develop type-specific creativity game to achieve specific learning effectiveness of creativity. The GMC model clearly maps out how the metacognitive and creative processes of the player mutually interplay throughout the game play activity. (4) The findings from creativity tests, game play, game design scores, interview, and the class-end reflection survey revealed that infusing creativity learning in both explicit and implicit ways can inspire motivation as well as providing a more comprehensive and enjoyable experience of creativity learning. Given positive findings, implications are drawn for future work. Future research direction can extend this study to application by tailoring an instructional guideline for curriculum design and practice.
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