Emily K. Johnson and Anastasia Salter

Playful Pedagogy in the Pandemic: Pivoting to Game-Based Learning

Educational technology adoption is more widespread than ever in the wake of COVID-19, as corporations have commodified student engagement in makeshift packages marketed as gamification. This book seeks to create a space for playful learning in higher education, asserting the need for a pedagogy of care and engagement as well as collaboration with students to help us reimagine education outside of prescriptive educational technology.

Virtual learning has turned the course management system into the classroom, and business platforms for streaming video have become awkward substitutions for lecture and discussion. Gaming, once heralded as a potential tool for rethinking our relationship with educational technology, is now inextricably linked in our collective understanding to challenges of misogyny, white supremacy, and the circulation of misinformation. The initial promise of games-based learning seems to linger only as gamification, a form of structuring that creates mechanisms and incentives but limits opportunity for play. As higher education teeters on the brink of unprecedented crisis, this book proclaims the urgent need to find a space for playful learning and to find new inspiration in the platforms and interventions of personal gaming, and in turn restructure the corporatized, surveilling classroom of a gamified world.

Through an in-depth analysis of the challenges and opportunities presented by pandemic pedagogy, this book reveals the conditions that led to the widespread failure of adoption of games-based learning and offers a model of hope for a future driven by new tools and platforms for personal, experimental game-making as intellectual inquiry.

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Anastasia Salter and Mel Stanfill

A Portrait of the Auteur as Fanboy

Increasingly over the past decade, fan credentials on the part of writers, directors, and producers have come to be seen as a guarantee of quality media making—the “fanboy auteur. ” Figures like Joss Whedon are both one of “us” and one of “them. ” This is a strategy of marketing and branding—it is a claim from the auteur himself or industry PR machines that the presence of an auteur who is also a fan means the product is worth consuming. Such claims that fan credentials guarantee quality are often contested, with fans and critics alike rejecting various auteur figures as the true leader of their respective franchises. That split, between assertions of fan and auteur status and acceptance (or not) of that status, is key to unravelling the fan auteur.

In A Portrait of the Auteur as Fanboy: The Construction of Authorship in Transmedia Franchises, authors Anastasia Salter and Mel Stanfill examine this phenomenon through a series of case studies featuring fanboys. The volume discusses both popular fanboys, such as J. J. Abrams, Kevin Smith, and Joss Whedon, as well as fangirls like J. K. Rowling, E L James, and Patty Jenkins, and dissects how the fanboy-fangirl auteur dichotomy is constructed and defended by popular media and fans in online spaces, and how this discourse has played in maintaining the exclusionary status quo of geek culture.

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