Episode 33: Building An Unreality | 7 July 2026

Stephen and Trent contemplate the spread of “unrealities” fueled by algorithmically charged mis- and disinformation. The duo debates underlying political, economic, social, and cultural factors, including:

• “Alternative facts,” personal mythmaking, and consequent threats to social cohesion;

• Mis- and disinformation from sociological, philosophical, and communications perspectives;

• How flawed trust hierarchies and lazy heuristics accelerate the death of expertise;

• Murc’s Law, Wilhoit’s Law, and the distortion of political agency;

• Hypercapitalism as a primary driver of the modern information crisis;

• Offloading cognitive responsibility to make a “wicked” world more digestible;

• Self-contradictory beliefs and the contagion of conspiracy;

• “Flooding the zone” with a “firehose of falsehood”;

• Identity formation, being “bamboozled,” and the risk of fracturing one’s ego;

• “Black Hole” Communities of Practice and the challenge of rescuing someone who has slipped beyond the event horizon;

• Comparing knowledge-generating institutions with their bizarro disinformation simulacra;

• Seeking logical proof rather than succumbing to emotional satisfaction;

• Navigating the tension between subjective cultural beliefs and objective scientific inquiry;

• Asimov and Sagan’s prescient worries about the trajectory of socioculture and technology;

• How online influencers, political pundits, and corporate media organizations manufacture consent on behalf of right-wing reactionaries;

• Asymmetrical polarization and its ratcheting effect on the Overton Window;

• Differentiating “good faith” from “bad faith” argumentation; and

• The need for reliable external referees to help the public parse our chaotic global information landscape.

Episode References:

• Pascal, B. (2014). L'art de persuader [The art of persuasion]. FV Éditions. (Original work written ca. 1657–1658)

• Nichols, T. (2017). The death of expertise: The campaign against established knowledge and why it matters. Oxford University Press.

• Altemeyer, B. (2006). The Authoritarians. University of Manitoba. theauthoritarians.org

• Roberts, D. (Host). (2026, January 30). All about “reactionary centrism”: A conversation with Michael Hobbes [Audio podcast episode]. In Volts. https://www.volts.wtf/p/all-about-reactionary-centrism

• Koffron, N. (2024, December 20). The paradoxical limits of Murc’s law. Lawyers, Guns, & Money. lawyersgunsmoneyblog.com

• McLoughlin, K. L., Brady, W. J., Goolsbee, A., Kaiser, B., Klonick, K., & Crockett, M. J. (2024). Misinformation exploits outrage to spread online. Science, 386(6725), 1–6. https://doi.org/10.1126/science.adl2829

• Science scorned. (2010). Nature, 467(7312), 133. https://doi.org/10.1038/467133a

• Paul, C. & Matthews, M. (2016). The Russian "firehose of falsehood" propaganda model: Why it might work and options to counter it. RAND Corporation. https://doi.org/10.7249/PE198

• McLaughlin, T. (2018, July 6). How Facebook's rise fueled chaos and confusion in Myanmar. Wired. https://www.wired.com/story/how-facebooks-rise-fueled-chaos-and-confusion-in-myanmar/

• Hayes, C. (2025). The sirens’ call: How attention became the world’s most endangered resource. Penguin Press.

• Danskin, I. [Innuendo Studios]. (2019, October 21). How to radicalize a normie [Video]. YouTube. https://www.youtube.com/watch?v=P55t6eryY3g

• Asimov, I. (1980, January 21). A cult of ignorance [Opinion column]. Newsweek, 95(4), 19.

• Sagan, C. (1995). The demon-haunted world: Science as a candle in the dark. Ballantine Books.

• Locke, J. (1997). An essay concerning human understanding (P. H. Nidditch, Ed.). Penguin Books. (Original work published 1690)

• Herman, E. S. & Chomsky, N. (2002). Manufacturing consent: The political economy of the mass media. Pantheon Books.

• Bridle, J. (2017, November 6). Something is wrong on the internet. Medium. https://medium.com/@jamesbridle/something-is-wrong-on-the-internet-c39c471271d2

• Watt, C. S. (2020, September 23). The QAnon orphans: people who have lost loved ones to conspiracy theories. ⁠The Guardian. https://www.theguardian.com/us-news/2020/sep/23/qanon-conspiracy-theories-loved-ones

• Thompson, C. (2020, September 22). QAnon is like a game—a most dangerous game. ⁠Wired. https://www.wired.com/story/qanon-most-dangerous-multiplatform-game/

• The Atlantic. (2020–2021). Shadowland. https://www.theatlantic.com/shadowland/

• Eggerton, J. (2008, May 8). PEJ: ‘The Daily Show’ borders on news show. Broadcasting & Cable.

• “Summary of Findings: Public Knowledge of Current Affairs Little Changed by News and Information Revolutions”. Pew Research Center. April 2007. Archived from the original on March 10, 2011.

• Fox, Dominion reach $787M settlement over election claims. (2023, April 18). AP News. https://apnews.com/article/fox-news-dominion-lawsuit-trial-trump-2020-0ac71f75acfacc52ea80b3e747fb0afe

• McDougal v. Fox News Network, LLC, 489 F. Supp. 3d 174 (S.D.N.Y. 2020)

Episode 32: The United States of Worldbuilding | 30 June 2026

Stephen and Trent apply their worldbuilding framework to the United States of America in the lead-up to the country’s semiquincentennial celebration. Beyond mapping its trajectory through space and time, providing relevant context, and deconstructing how and why national identities form, they discuss:

• Lisa Simpson, America’s optimistic ideals, and combating the “fetid stench” of corruption;

• Tracing the collapse of feudalism into the Enlightenment and evolution of nation-states;

• Interrelationships between distinct regional cultures and unified national ones;

• Comparing European and Indigenous perspectives on community, property, and fixed borders;

• How wealth influences the structure and function of nation-states;

• Colin Woodard’s American Nations as a foundation for world modeling;

• Accepting that everything is political, but not everything is partisan;

• Contemporary institutional gridlock as the inevitable byproduct of a centuries-old system;

• The tug of war between essentialist conservatism and situated progressivism;

• Balancing America’s egalitarian aspirations against chattel slavery, Indigenous expulsion, and other historical wrongs;

• Mythmaking, propaganda, and the challenges of developing a shared national narrative;

• Weaving an honest historical tapestry from diverse perspectives;

• Asking tough questions, grappling with complexity, and probing opposing worldviews; and

• Much-needed institutional reforms to repair America’s Governmental, Economic, Social, and Cultural guardrails.

Episode References:

• Meyer, G. (Writer) & Archer, W. (Director). (1991, September 26). Mr. Lisa Goes to Washington (Season 3,Episode 2) [TV series episode]. In J. L. Brooks, M. Groening, A. Jean, M. Reiss, & S. Simon (Executive Producers), The Simpsons. Gracie Films; 20th Century Fox Television.

• Capra, F. (Director). (1939). Mr. Smith Goes to Washington [Film]. Columbia Pictures.

• Woodard, C. (2012). American nations: A history of the eleven rival regional cultures of North America. Penguin Books.

• Graeber, D. & Wengrow, D. (2021). The Dawn of everything: A new history of humanity. Farrar, Straus and Giroux.

• Allison, R. J. (Lecturer). (2009). Before 1776: Life in the American Colonies [Audio/Video course]. The Great Courses.

• Eakin, M. C. (Lecturer). (n.d.). The Americas in the revolutionary era [Audio/Video course]. The Great Courses.

• Galeano, E. (1997). Open veins of Latin America: Five centuries of the pillage of a continent (C. Belfrage, Trans.). Monthly Review Press. (Original work published 1973).

• Zinn, H. (2003). A People's History of the United States. Harper Perennial.

• McCullough, D. (2005). 1776. Simon & Schuster.

• Diamond, J. (1997). Guns, germs, and steel: The fates of human societies. W. W. Norton & Company.

• Deloria, V., Jr. (1969). Custer died for your sins: An Indian manifesto. Macmillan.

• Du Bois, W. E. B. (1935). Black reconstruction in America: An essay toward a history of the part which black folk played in the attempt to reconstruct democracy in America, 1860-1880. Harcourt, Brace.

• Du Bois, W. E. B. (1903). The souls of black folk. A. C. McClurg & Co.

• Hannah-Jones, N., Roper, C., Silverman, I., & Silverstein, J. (Eds.). (2021). The 1619 project: A new origin story. One World.

• Coates, T. (2017). We were eight years in power: An American tragedy. One World.

• Coates, T. (2024). The Message. One World.

• Harriot, M. (2023). Black AF history: The un-whitewashed story of America. Dey Street Books

• Altemeyer, B. (2006). The Authoritarians. University of Manitoba. theauthoritarians.org

• Douglass, F. (1852, July 5). What, to the slave, is the Fourth of July? [Speech transcript]. Digital Public Library of America. https://dp.la/item/558f22d7950b5048be26369331f5edb0

• Franklin, B. (2003). The autobiography of Benjamin Franklin (L. W. Labaree, Ed.). ⁠Yale University Press.

• Hobbes, T. (1998). On the citizen (R. Tuck & M. Silverthorne, Trans.). Cambridge University Press. (Original work published 1642).

• Hobbes, T. (2008). Leviathan (J. C. A. Gaskin, Ed.). Oxford University Press. (Original work published 1651).

• Mayer, J. (2016). Dark money: The hidden history of the billionaires behind the rise of the radical right. Doubleday.

• Snyder, T. (2017). On tyranny: Twenty lessons from the twentieth century. Tim Duggan Books.

Episode 31: The Inevitability of Epic Fail | 23 June 2026

Stephen and Trent review the (2017) Exploding the Castle book chapter “The Inevitability of Epic Fail” and discuss its implications for collaborative worldbuilding, including:

• Three major trajectories of Epic Fail: Fatal Mutation Due to Assimilation, Loss of Fidelity, and Failure to Thrive;

• How educator-generated changes to research-driven technologies/pedagogies put function and effectiveness at risk;

• Combatting the urge to rush through worldbuilding to meet results-oriented expectations;

• The importance of collaboratively defined language and goals;

• Seymour Papert’s Logo, Apple’s Hypercard, and other educational technology “fails”;

• Egalitarian, democratized design versus capitalist incentives;

• The relationship between the path of least resistance and systemic failure;

• Avoiding “manufactured diversity” through essentialist generalizations;

• Defining fidelity in terms of dosage, adherence, program differentiation, participant responsiveness, and quality;

• Paving a road for project implementation via contemporary learning theory;

• Embracing personal vulnerability to manage dynamic discovery learning environments;

• Prioritizing critical thinking and empathy over content regurgitation;

• Epic Fail, “enshittification,” and the challenge of technological obsolescence; and

• Learning as the education of intention and attention.

Episode References:

• Slota, S. T. & Young, M. F. (2017). The inevitability of epic fail: Exploding the castle with situated learning. In M. F. Young & S. T. Slota (Eds.), Exploding the castle: Rethinking how video games & game mechanics can shape the future of education (pp. 271–284). Information Age Publishing.

• Hergenrader, W. T. (2017). Structures of play: Literacy, games, and creative writing. In M. F. Young & S. T. Slota (Eds.), Exploding the castle: Rethinking how video games & game mechanics can shape the future of education (pp. 21–44). Information Age Publishing.

• Papert, S. (1980). Mindstorms: Children, computers, and powerful ideas. Basic Books.

• Papert, S. (1997). Why school reform is impossible. The Journal of the Learning Sciences, 6(4), 417–427.

• Roddenberry, G., Berman, R., & Piller, M. (Executive Producers). (1987–1994). Star Trek: The Next Generation [TV series]. Paramount Domestic Television; Paramount Television.

• Dusenbury, D., Brannigan, R., Falco, M., & Hansen, W. B. (2003). A review of research on fidelity of implementation: Implications for drug abuse prevention in school settings. Health Education Research, 18(2), 237-256.

• ClassDojo. (2026). About us. classdojo.com/about/

• Barron, B. (2003). When smart groups fail. The Journal of the Learning Sciences, 12(3), 307–359. https://doi.org/10.1207/S15327809JLS1203_1

• Cognition and Technology Group at Vanderbilt. (1992). The Jasper series as an example of anchored instruction: Theory, program description, and assessment data. Educational Psychologist, 27(3), 291–315.

• Travis, R. (2010, November 18). A note on the word “practomime” [Blog post]. Play The Past. https://www.playthepast.org/?p=198

• Nicholson, S. (2022). Developing EscapeIF: Creating a storytelling game system for low-resource classrooms. Serious Play 2022. Online symposium.

• Doctorow, C. (2025). Enshittification: Why everything suddenly got worse and what to do about it. MCD.

Episode 30: Co-Creation Through Tabletop Role-Play | 16 June 2026

Stephen and Trent discuss their experiences with tabletop role-playing games (TTRPGs) to catalog affordances for collaboration, reflection, and creative writing, including:

• Similarities and differences between digital and analog role-play;

• The inherent limitations of computer programming versus imagination;

• How “Satanic Panic” influenced sociocultural and political perceptions of role-play;

• Role-play as a vital tool for exerting autonomy;

• Vygotsky’s social constructivist framework for enculturation through play;

• TTRPGs as “safe to fail” environments for exploring complex, challenging, or antisocial ideas;

• Eschewing “crunchy” combat-heavy mechanics in favor of narrative-driven play;

• “Prosumerism” and the act of creation versus passive consumption;

• Incorporating “yes and” improv techniques throughout collaborative role-play;

• Using character backgrounds and narrative beats to teach perspective-taking and story structure;

• The “intentional spring” model for inducing goal adoption and negotiating meaning;

• Transferring practical life skills out of collaborative TTRPG environments;

• Becoming a “guide on the side” for more effective teaching and dungeon mastering;

• Implementing safety tools and encouraging socially diverse expressions of play; and

• Leveraging collaborative role-play to deconstruct lived reality.

Episode References:

• Weis, M. & Hickman, T. (2000). Dragonlance chronicles [Boxed set]. Wizards of the Coast.

• Jackson, P. (Director). (2001). The lord of the rings: The fellowship of the ring [Film]. WingNut Films; The Saul Zaentz Company.

• Gygax, G. (1979). Advanced dungeons & dragons dungeon masters guide (1st ed.). TSR.

• Blume, B. & Gygax, E. (1979). Boot hill: Wild west role-playing game (2nd ed.). TSR.

• TSR, Inc. (1982). Star frontiers: Alpha dawn (1st ed.). TSR.

• Carr, M. (1980). Top secret: An espionage role-playing game. ⁠TSR.

• Costikyan, G. (1987). Star Wars: The role-playing game (1st ed.) [Role-playing game]. West End Games.

• Alexander, C. (2021). Coyote & Crow: The role-playing game (1st ed.). Coyote & Crow LLC.

• Snowbright Studio. (2023). Teatime adventures: A Verdant Isles roleplaying game. Snowbright Studio.

• Perry, S. (1996). Star Wars: Shadows of the empire. ⁠Bantam Books.

• Morningstar, J. (2009). Fiasco. Bully Pulpit Games.

• Härenstam, T. (2020). Vaesen: Nordic horror roleplaying. Free League Publishing.

• Chick, J. T. (1984). Dark dungeons. Chick Publications.

• Harper, J. (2017). Blades in the dark. Evil Hat Productions.

• Toffler, A. (1980). The third wave. Bantam Books.

• Hammer, J. (2007). Agency and authority in role-playing texts. In C. Lankshear & M. Knobel (Eds.), A new literacies sampler (pp. 69–86). Peter Lang.

• Cover, J. G. (2010). The creation of narrative in tabletop role-playing games. McFarland & Company.

• Wizards of the Coast. (2016). Curse of Strahd (5th ed.). Wizards of the Coast.

• Bethesda Game Studios. (2008). Fallout 3 [Video game]. Bethesda Softworks.

• Blizzard Entertainment. (2004). World of Warcraft [Video game]. Blizzard Entertainment.

• Bowman, S. L. (2010). The functions of role-playing games: How participants create community, solve problems, and explore identity. ⁠McFarland & Company.

• Fine, G. A. (1983). Shared fantasy: Role-playing games as social worlds. University of Chicago Press.

• Alder, A. & Rosenbaum, B. (2018). Dream askew; Dream apart. Buried Without Ceremony.

• Shaw, R. E., Kadar, E., Sim, M., & Repperger, D. W. (1992). The intentional spring: A strategy for modeling systems that learn to perform intentional acts. Journal of Motor Behavior, 24(1), 3–28. https://doi.org/10.1080/00222895.1992.9941598

• Slota, S. T. (2014). Project TECHNOLOGIA: A game-based approach to understanding situated intentionality. Doctoral Dissertations. 638. https://digitalcommons.lib.uconn.edu/dissertations/638

• Sagan, C. (1995). The demon-haunted world: Science as a candle in the dark. Ballantine Books.

• Mackay, D. (2001). The fantasy role-playing game: A new performing art. McFarland.

• Cognition and Technology Group at Vanderbilt. (1992). The Jasper Series as an Example of Anchored Instruction: Theory, Program Description, and Assessment Data. Educational Psychologist, 27(3), 291–315. https://doi.org/10.1207/s15326985ep2703_3

• Slota, S. T. & Young, M. F. (2017). The inevitability of epic fail: Exploding the castle with situated learning. In Young, M. F. & Slota, S. T. (Eds.) Exploding the Castle: Rethinking How Video Games & Game Mechanics Can Shape the Future of Education. Charlotte, NC: Information Age Publishing.

• Parsons, K. (Director). (2026). Backrooms [Film]. A24; North Road Films.

• Parsons, K. [Kane Pixels]. (2022, January 7). The Backrooms (Found Footage) [Video]. YouTube. https://www.youtube.com/watch?v=H4dGpz6cnHo

• Pillow Castle Games. (2019). Superliminal [Video game]. Pillow Castle Games.

• Valve. (2007). Portal (Version 1.0.0) [Video game]. Valve.

• Galactic Cafe. (2013). The Stanley Parable (Version 1.0) [Video game]. Galactic Cafe.

Episode 29: Gen AI in Education with Michael Young | 9 June 2026

Stephen and Trent interview Stephen’s former doctoral advisor and University of Connecticut colleague, Dr. Michael F. Young, a scholar of learning science whose academic career investigating situated cognition, instructional design, and playful learning has shaped contemporary approaches to pedagogy development and classroom technology integration. In addition to evaluating the specific impact(s) of generative artificial intelligence (Gen AI) on education, the trio discusses:

• Challenging educators to rethink their approach to curriculum and assessment design;

• Describing educational theories in the abstract vs. applying them in complex instructional contexts;

• Shifting away from convergent thinking to prioritize divergent thinking;

• Teaching learners how to write Gen AI prompts and practice responsible application of Gen AI replies;

• Intentions, ethics, and the tokenization of ideas;

• Differentiating correlational algorithmic responses from biological human cognition;

• Gen AI tools as thought-partners and the resulting Section 230 implications;

• The “Clark-Kozma” debate over emerging technologies, pedagogical design, and “good” teaching;

• Sociocultural personification of avatars, robots, and other human-like tools;

• Personal goal orientation and the limits of non-human intentionality;

• Human cognition as an intentional perception-action loop that Gen AI cannot replicate;

• How value systems differentiate human problem solving from machine-generated problem solving;

• Overcoming administrative obsessions with “efficiency” to promote deeper learning;

• Assimilation, accommodation, and what it means to “reboot” education"; and

• Judging whether machine-generated solutions align with a designer’s original communicative intent.

Episode References:

• Blizzard Entertainment. (2004). World of Warcraft [Video game]. Blizzard Entertainment.

• Kozma, R. B. (1994). Will media influence learning? Reframing the debate. Educational Technology Research and Development, 42(2), 7-19. https://doi.org/10.1007/BF02299087 

• Clark, R. E. (1994). Media will never influence learning. Educational Technology Research and Development, 42(2), 21-29. https://doi.org/10.1007/BF02299088

• Slota, S. T. & Young, M. F. (2017). The inevitability of epic fail: Exploding the castle with situated learning. In Young, M. F. & Slota, S. T. (Eds.) Exploding the Castle: Rethinking How Video Games & Game Mechanics Can Shape the Future of Education. Charlotte, NC: Information Age Publishing.

• Miller, T. (Host) & Thompson, D. (Guest). (2026, June 2). Derek Thompson: The party of vicemaxxing [Audio podcast episode]. In The Bulwark Podcast. The Bulwark. https://www.thebulwark.com/p/derek-thompson-the-party-of-vicemaxxing

• Waldron, P. (2025, September 25). AI can write your college essay, but it won't sound like you. Cornell Chronicle. https://news.cornell.edu/stories/2025/09/ai-can-write-your-college-essay-it-wont-sound-you

• Lee, J., Borchers, C., Alvero, A. J., Joachims, T., & Kizilcec, R. F. (2026). The digital divide in generative AI: Evidence from large language model use in college admissions essays. arXiv. https://arxiv.org/abs/2602.17791

• Bolter, J. D. & Grusin, R. (1998). Remediation: Understanding new media. MIT Press.

• U.S. Senate Committee on Commerce, Science, and Transportation. (2026, January 15). Plugged out: Examining the impact of technology on America's youth [Video]. C-SPAN. https://www.c-span.org/program/senate-committee/lawmakers-hold-hearing-on-the-impact-of-screen-time-on-kids/671683

• Argyris, C. & Schön, D. A. (1978). Organizational learning: A theory of action perspective. Addison-Wesley.

• Bethesda Game Studios. (2008). Fallout 3 [Video game]. Bethesda Softworks.

• Larian Studios. (2023). Baldur’s Gate 3 [Video game]. Larian Studios.

• Slota, S. T. (2014). Project TECHNOLOGIA: A game-based approach to understanding situated intentionality. Doctoral Dissertations. 638.
  https://digitalcommons.lib.uconn.edu/dissertations/638

• Roddenberry, G. (Executive Producer). (1987–1994). Star Trek: The next generation [TV series]. Paramount Pictures.

Episode 28: Exploring Worlds Through Digital Role-Play | 2 June 2026

Stephen and Trent reflect on their personal favorite digital role-playing games (RPGs), deconstructing various frameworks, implementations, and affordances of linear and open-world experiences. In addition to introducing specific examples, they discuss broad concepts such as:

• The fundamentally situated relationship between players and digital RPGs;

• Digital RPGs as sophisticated representations of interactive narrative and creative writing;

• Fallout 3, education through The Wasteland, and what it means to fail forward;

• Designing worlds that pose “productive questions,” pique curiosity, and induce player goal adoption;

• Revisiting Plato’s Allegory of the Cave as relates to gaming and its overlap with (or contradiction of) formal education;

• Bidirectional communication between players and designers;

• Comparing Fallout’s Lucy with the “murder hobo” playstyle to understand player projection of ethics and morality onto RPG characters;

• Ludonarrative dissonance and its influence on designer/player behavior;

• Core similarities between game design and instructional design;

• RPGs as tools for teaching “big ideas” about Government, Economics, Social Relations, and Cultural Influences;

• The stories that “on-” and “off-rails” RPGs tell us about player agency and ourselves;

• Transactional cooperation vs. meaningful collaborative storytelling in massively multiplayer online role-playing games (MMORPGs);

• The perennial tension between designed intent and “Death of the Author”; and

• Finding personal, emotional resonance in a game’s characters and world.

Episode References:

• Bethesda Game Studios. (2008). Fallout 3 [Video game]. Bethesda Softworks.

• Nintendo. (2020). Animal Crossing: New Horizons [Video game]. Nintendo.

• Rockstar Games. (2008). Grand Theft Auto IV (Version 1.0) [Video game]. Take-Two Interactive.

• Larian Studios. (2023). Baldur’s Gate 3 [Video game]. Larian Studios.

• Plato. (1992). Republic (G. M. A. Grube, Trans.; C. D. C. Reeve, Rev.). Hackett Publishing. (Original work published ca. 380 B.C.E.)

• Homer. (1996). The odyssey (R. Fagles, Trans.). Penguin Books. (Original work published ca. 8th century B.C.E.).

• Joy, L. & Nolan, J. (Executive Producers). (2024–present). Fallout [TV series]. Kilter Films; Amazon MGM Studios.

• Square. (1995). Chrono Trigger [Video game]. Super Nintendo Entertainment System.

• Blizzard Entertainment. (2004). World of Warcraft [Video game]. Blizzard Entertainment.

• Big Blue Box. (2004). Fable [Video game]. Microsoft Game Studios.

• ZA/UM. (2019). Disco Elysium [Video game]. ZA/UM

• Bethesda Game Studios. (2011). The Elder Scrolls V: Skyrim [Video game]. Bethesda Softworks.

• Nintendo. (1997). Mario Kart 64 [Video game]. Nintendo.

• Bogost, I. (2007). Persuasive games: The expressive power of videogames. MIT Press.

• Nintendo. (1990). F-Zero [Video game]. Nintendo.

• Nintendo. (1992). Super Mario Kart (Version 1.0) [Video game]. Nintendo.

• Square. (1997). Final Fantasy VII [Video game]. Sony Computer Entertainment.

• Iron Gate AB. (2021). Valheim (Version 0.202.14) [Video game]. Coffee Stain Publishing.

• Mojang Studios. (2011). Minecraft (Version 1.20) [Video game]. Mojang Studios.

• Re-Logic. (2011). Terraria (Version 1.4.5) [Video game]. Re-Logic.

• Square. (1994). Final Fantasy VI [Video game]. Square.

• Tolkien, J. R. R. (1954-1955). The Lord of the Rings. Allen & Unwin.

• Fitzgerald, F. S. (1925). The Great Gatsby. Charles Scribner's Sons.

• Favreau, J. (Director). (2026). Star Wars: The Mandalorian and Grogu [Film]. Lucasfilm; Walt Disney Studios Motion Pictures.

• Bethesda Game Studios. (2015). Fallout 4 [Video game]. Bethesda Softworks.

• Obsidian Entertainment. (2010). Fallout: New Vegas [Video game]. Bethesda Softworks.

• CD Projekt Red. (2015). The Witcher 3: Wild Hunt [Video game]. CD Projekt.

• CD Projekt Red. (2020). Cyberpunk 2077 (Version 2.0) [Video game]. CD Projekt.

• Jaki, R. (Creator). (2022). Cyberpunk: Edgerunners [TV series]. Netflix.

• BioWare. (2011). Star Wars: The Old Republic [Video game]. Electronic Arts.

• Naughty Dog. (2013). The Last of Us (Version 1.0) [Video game]. Sony Computer Entertainment.

• Bethesda Game Studios. (2006). The Elder Scrolls IV: Oblivion [Video game]. Bethesda Softworks.

• Weir, P. (Director). (1998). The Truman Show [Film]. Paramount Pictures.

• BioWare. (2012). Mass Effect 3 [Video game]. Electronic Arts.

• Telltale Games. (2012–2018). The Walking Dead [Video game]. Telltale Games.

• FromSoftware. (2009). Demon’s Souls [Video game]. Sony Computer Entertainment; Atlus.

• FromSoftware. (2011). Dark Souls [Video game]. Bandai Namco Games.

• Sony Interactive Entertainment. (2015). Bloodborne [Video game]. FromSoftware.

• FromSoftware. (2022). Elden Ring [Video game]. Bandai Namco Entertainment.

• Keen Games. (2024). Enshrouded [Video game]. Keen Games.

• GT Interactive. (1997). Duke Nukem 64 [Video game]. Eurocom.

• Härenstam, T. (2020). Vaesen: Nordic horror roleplaying [Tabletop game]. Free League Publishing.

• Wardrip-Fruin, N. & Harrigan, P. (Eds.). (2004). First person: New media as story, performance, and game. MIT Press.

• Fullbright. (2013). Gone Home [Video game]. Fullbright.

• Giant Sparrow. (2017). What Remains of Edith Finch [Video game]. Annapurna Interactive.

Episode 27: Recombinatorial Storytelling with Roger Travis | 26 May 2026

Stephen and Trent interview their great friend and classics scholar, Dr. Roger Travis, whose forthcoming book from McFarland proposes a theory of recombinatorial storytelling in ancient epics and cooperative adventure card games. The trio discusses:

• Halo 2, The Aeneid, and reflections on Cultural Truth Value;

• Homeric bards as gamer-designers who leveraged an available technology (dactylic hexameter) to recompose myths;

• The repetitive “formulas” of ancient epics and their relation to modern cooperative adventure card games;

• Worldbuilding as a “social forces sandbox” that constrains and enables narrative possibilities;

• The shared structure of ancient Greek mythology and contemporary transmedia storytelling;

• Greek tragedy as a “snapshot” of living performance;

• The history of fiction writing and its parallels to curricular design;

• The Iliad, The Odyssey, and the Telemachy as instructional genre fiction for social education;

• Mirroring recomposition from the ancient world via modern transmedia stories like Star Wars;

• Treading the narrow line between fossilized and fluid storytelling;

• Plato’s Allegory of the Cave as the world’s first video game;

• Evolutionary tension between the desire for novel stimuli and the biochemical need for predictability; and

• Recomposition and worldbuilding as peas in a shared pod of iterative narrative creation.

Episode References:

• Travis, R. (2010, November 18). A note on the word “practomime” [Blog post]. Play The Past. https://www.playthepast.org/?p=198

• Bungie. (2004). Halo 2 (Version 1.0) [Xbox]. Microsoft Game Studios.

• Virgil. (1990). The Aeneid (R. Fitzgerald, Trans.). Vintage Books. (Original work published ca. 19 B.C.E.)

• Homer. (1990). The Iliad (R. Fagles, Trans.). Penguin Books. (Original work published ca. 8th century B.C.E.).

• Homer. (1996). The odyssey (R. Fagles, Trans.). Penguin Books. (Original work published ca. 8th century B.C.E.).

• Fantasy Flight Games. (2011). The Lord of the rings: The card game. [Board game]. Fantasy Flight Games.

• Plato. (1992). Republic (G. M. A. Grube, Trans.; C. D. C. Reeve, Rev.). Hackett Publishing. (Original work published ca. 380 B.C.E.)

• Aeschylus. (1922). Seven against Thebes (H. W. Smyth, Trans.). Perseus Digital Library. https://scaife.perseus.org/library/urn:cts:greekLit:tlg0085.tlg004/ (Original work published 467 B.C.E.)

• Plato. (1961). Letters. In E. Hamilton & H. Cairns (Eds.), The collected dialogues of Plato (L. A. Post, Trans.). Princeton University Press. (Original work written ca. 360 B.C.E.)

• Rocksteady Studios. (2009). Batman: Arkham asylum (v. 1.0) [Video game]. Eidos Interactive; Warner Bros. Interactive Entertainment.

• Burton, T. (Director). (1989). Batman [Film]. Warner Bros.

• Timm, B., & Radomski, E. (Executive Producers). (1992–1995). Batman: The Animated Series [TV series]. Warner Bros. Animation; DC Entertainment.

• Traveller’s Tales. (2026). LEGO Batman: Legacy of the Dark Knight (Version 1.0) [Video game]. Warner Bros. Games.

• Valve. (2007). Portal (Version 1.0.0) [Video game]. Valve.

• Squad. (2015). Kerbal Space Program (Version 1.0) [Video game]. Private Division.

• ZA/UM. (2019). Disco Elysium [Video game]. ZA/UM.

• Pope, L. (2013). Papers, Please (Version 1.4.15) [Video game]. 3909.

• Lem, S. (2002). Solaris (J. Kilmartin & S. Cox, Trans.). Harcourt Brace. (Original work published 1961).

• Tchaikovsky, A. (2015). Children of time (Children of Time series, Book 1). Orbit.

Episode 26: Accessibility | 19 May 2026

Stephen and Trent discuss the ins and outs of accessibility as relates to worldbuilding, design practices, and the broader educational ecosystem, including:

• Biomedical vs. social models of disability;

• Framing disability and accessibility in terms of environments rather than people;

• Yanni vs. Laurel, “The Dress,” and subjective perception;

• The inseparability of language and context;

• Situated cognition and how each of us “talks” to the world;

• The Spoon Theory of Disability;

• The “Roy Rogers” Model of toggleable accessibility options;

• Why and how to incorporate multiple modalities during the design process;

• Universal Design for Learning (UDL) and its wide-ranging applications;

• Understanding and combating systemic capitalist hurdles to inclusivity;

• Weighing the benefits and drawbacks of low-tech vs. high-tech accessibility solutions;

• Overcoming faulty cultural assumptions and outdated beliefs concerning learner (dis)abilities;

• Debunking and replacing the “learning styles” myth; and

• Practical accessibility design resources for educators and designers.

Episode References:

• Miserandino, C. (2003). The spoon theory. But You Don't Look Sick. https://butyoudontlooksick.com/articles/written-by-christine/the-spoon-theory/

• AbleGamers. (2026). AbleGamers: Combating social isolation through play. https://ablegamers.org/

• Brown, M. (n.d.). Video Game Accessibility [YouTube playlist]. Game Maker's Toolkit. YouTube. https://www.youtube.com/playlist?list=PLc38fcMFcV_vvWOhMDriBlVocTZ8mKQzR

• University of Michigan. (2024, January 10). Roundup on research: The myth of 'learning styles'. Center for Academic Innovation. https://onlineteaching.umich.edu/articles/the-myth-of-learning-styles/

• National Center for Learning Disabilities. (n.d.). NCLD: Unrestricted access and unlimited opportunity. https://ncld.org

• Galiatsos S., Kruse L., Whitaker M. (2019). Forward together: Helping educators unlock the power of students who learn differently. National Center for Learning Disabilities. https://www.understood.org/en/research-and-surveys/forward-together

• Understood for All, Inc. (2024). 2023 annual report. https://www.understood.org/en/annual-report

• Cognition and Technology Group at Vanderbilt. (1992). The Jasper Series as an Example of Anchored Instruction: Theory, Program Description, and Assessment Data. Educational Psychologist, 27(3), 291–315. https://doi.org/10.1207/s15326985ep2703_3

• Saylor, S. (n.d.). Video Game Accessibility [YouTube channel]. YouTube. https://www.youtube.com/@SteveSaylor

• Evmanova, A. (n.d.). Anya Evmanova. George Mason University College of Education and Human Development. https://cehd.gmu.edu/people/faculty/aevmenov/

• Evmenova, A. S., Hollingshead, A., Lowrey, K. A., Rao, K., & Williams, L. D. (2024). Designing for diversity and inclusion: UDL-based strategies for college courses (practice brief). Journal of Postsecondary Education and Disability, 37(1), 81-88. https://www.ahead.org/professional-resources/publications/jped

Episode 25: [World Anvil Interview] Hopeful Speculative Fiction | 12 May 2026

Speculative fiction often serves as a warning, but in darker times, it can help imagine the way to brighter days.

In this episode, World Anvil’s Janet Forbes interviews Trent and Stephen about writing hopeful (but evidence-based!) speculative fiction. The trio discusses The Worldbuilding Workshop and how worldbuilding methodology can help untangle and demystify large contemporary social problems.

Episode References:

• Hergenrader, T. & Slota, S. (2025). The worldbuilding workshop: Teaching critical thinking and empathy through world modeling, simulation, and play. The MIT Press.

• Hergenrader, T. (2019). Collaborative worldbuilding for writers and gamers. Bloomsbury Academic.

• Young, M. F., Slota, S. T., Cutter, A., Jalette, G., Mullin, G., Lai, B., Simeoni, Z., Tran, M., & Yukhymenko, M. (2012). Our princess is in another castle: A review of trends in serious gaming for education. Review of Educational Research, 82(1), 61-89. doi: 10.3102/0034654312436980

• Atwood, M. (1986). The handmaid’s tale. Random House.

• Le Guin, U. K. (1974). The dispossessed: An ambiguous utopia. Harper & Row.

• Robinson, K. S. (2020). Three Californias: The wild shore, The gold coast, and Pacific edge. Tor Books.

• Collins, S. (2014). The hunger games trilogy. Scholastic.

• Gilroy, T. (Executive Producer). (2022–2025). Andor [TV series]. Lucasfilm; Disney+.

• Lucas, G. (Director). (1977). Star Wars Episode IV: A New Hope [Film]. Lucasfilm; 20th Century Fox.

• Härenstam, T. (2020). Vaesen: Nordic horror roleplaying [Tabletop game]. Free League Publishing.

• Nintendo. (2020). Animal Crossing: New Horizons [Video game]. Nintendo.

• Barone, E. (2016). Stardew valley [Video game]. ConcernedApe.

• Naughty Dog. (2013). The Last of Us [Video game]. Sony Computer Entertainment.

• Wizards of the Coast. (2014). Dungeons & dragons player’s handbook (5th ed.) [Tabletop game]. Wizards of the Coast.

• Martin, G. R. R. (1996–2011). A Song of Ice and Fire (Vols. 1–5). HarperVoyager.

• Martin, G. R. R. (2018). Fire & blood (1st ed.). Bantam Books.

• Benioff, D., Weiss, D. B., Strauss, C., Doelger, F., Caulfield, B., Cogman, B., Sapochnik, M., & Nutter, D. (Executive Producers). (2011–2019). Game of thrones [TV series]. Home Box Office (HBO); Television 360; Grok! Television; Generator Entertainment; Startling Television; Bighead Littlehead.

• Gilligan, V. (Creator). (2008–2013). Breaking Bad [TV series]. Sony Pictures Television.

• Gilligan, V. & Gould, P. (Executive Producers). (2015–2022). Better Call Saul [TV series]. High Bridge Productions; Crystal Diner Productions; Gran Via Productions; Sony Pictures Television.

• Del Toro, G. (Executive Producer). (2022). Cabinet of Curiosities [TV series]. Double Dare You Productions; Netflix.

• Flanagan, M. (Executive Producer). (2018). The haunting of hill house [TV series]. Amblin Television; Paramount Television; Intrepid Pictures.

• Conrad, S. (Creator). (2026). DTF St. Louis [TV miniseries]. Aggregate Films; Bravo Axolotl; Escape Artists; MGM Television; HBO.

• Schoenbrun, J. (Director). (2024). I saw the TV glow [Film]. A24; Fruit Tree; Smudge Films; Hypnic Jerk.

• Sudeikis, J., Hunt, B., Kelly, J., Lawrence, B., & Wriston, J. (Executive Producers). (2020–2023). Ted Lasso [TV series]. Apple Inc.; Warner Bros. Television.

• Tolkien, J. R. R. (1954-1955). The Lord of the Rings. Allen & Unwin.

• Campbell, J. (1949). The hero with a thousand faces. Pantheon Books.

• Dick, P. K. (1969). Ubik. Doubleday & Co., Inc.

• Epic Games. (2006). Gears of war [Video game]. Microsoft Game Studios.

• Herbert, F. (1965). Dune. Chilton Books.

• Cameron, J. (Director). (2009). Avatar [Film]. 20th Century Fox.

• Costner, K. (Director). (1990). Dances with Wolves [Film]. Orion Pictures.

• Miéville, C. (2000). Perdido street station. Macmillan.

• Miéville, C. (2002). The scar. Del Rey/Ballantine Books.

• Gilligan, V. (Creator). (2025–present). Plur1bus [TV series]. High Bridge Productions; Sony Pictures Television.

• Siegel, D. (Director). (1956). Invasion of the Body Snatchers [Film]. Walter Wanger Productions.

• Edwards, G. (Director). (2016). Rogue One: A Star Wars Story [Film]. Lucasfilm; Walt Disney Studios Motion Pictures.

Episode 24: Star Wars Holiday Special | 5 May 2026

In honor of May the Fourth and Revenge of the Fifth, Trent and Stephen express their love of (and occasional frustration with) the biggest and best example of transmedia storytelling on earth: STAR WARS.

Join the duo as they discuss the fabled franchise’s five decades of social, cultural, and economic ascendance, including:

• A brief history of the Star Wars transmedia storyworld;

• The crisscrossing relationship(s) between diverse Star Wars stories;

• Star Wars as a model for future multi-modal artists;

• Recursive storytelling;

• How Star Wars fostered a complex, global Community of Practice;

• Balancing new ideas with internal consistency and canonicity;

• Diminishing returns from retreading the same content;

• Rebels as a skeleton key to the Disney Star Wars universe;

• The cross-generational benefits of transmedia storytelling;

• “No chocolate, all Easter eggs”;

• Deciding what makes Star Wars “Star Wars”;

• Exerting creative restraint to keep stories grounded and facilitate suspension of disbelief;

• Andor as the peak representation of purposeful Star Wars storytelling;

• Determining how much story can be told through a given medium;

• Stories as a product of and response to the times in which they are written;

• How the Star Wars tabletop role-playing game scaffolded Star Wars into its current popularity and scope;

• Cosplay, theme parks, and community-building through mutual love of Star Wars; and

• What Star Wars can do for real-world educational systems, approaches, and tools.

Episode References:

Episode References:

• Jenkins, H. (2006). Convergence culture: Where old and new media collide. New York University Press.

• Wachowski, L. & Wachowski, L. (Directors). (1999). The Matrix [Film]. Warner Bros.

• Lucas, G. (Director). (1977). Star Wars Episode IV: A New Hope [Film]. Lucasfilm; 20th Century Fox.

• Lucas, G. (Director). (2005). Star wars: Episode III – Revenge of the sith [Film]. Lucasfilm; 20th Century Fox.

• Lucas, G. (Executive Producer). (2008–2020). Star Wars: The Clone Wars [TV series]. Lucasfilm; Cartoon Network/Netflix.

• Foster, A. D. (1978). Splinter of the mind’s eye [From the adventures of Luke Skywalker]. Ballantine Books.

• Kaminski, M. (2008). The secret history of Star Wars: The art of storytelling and the making of a modern epic. Legacy Books Press.

• Nintendo of America. (1988–2012). Nintendo Power. Nintendo of America.

• Howard, R. (Director). (2018). Solo: A Star Wars Story [Film]. Walt Disney Pictures; Lucasfilm Ltd.

• Gray, C. (2017). Leia, Princess of Alderaan. Disney Lucasfilm Press.

• Johnston, E. K. (2016). Ahsoka. Disney Lucasfilm Press.

• Johnson, R. (Director). (2017). Star Wars: The Last Jedi [Film]. Lucasfilm; Walt Disney Studios Motion Pictures.

• Headland, L., Kennedy, K., Emanuel, S., King, J. F., & Micallef, J. (Executive Producers). (2024). Star Wars: The Acolyte [TV series]. Lucasfilm; Walt Disney Company.

• Kennedy, K., Rejwan, M., Chow, D., McGregor, E., & Harold, J. (Executive Producers). (2022). Obi-Wan Kenobi [TV series]. Lucasfilm; Disney+.

• Favreau, J. (Executive Producer). (2021–2022). The Book of Boba Fett [TV series]. Lucasfilm; Golem Creations

• Jenkins, Henry. “Transmedia Storytelling 101.” Confessions of an Aca-Fan. 22 Mar. 2007. Web.

• Abrams, J. J. (Director). (2015). Star Wars: The Force Awakens [Film]. Lucasfilm Ltd.; Bad Robot.

• Miller, J. J. (2014). A new dawn: Star Wars (1st ed.). Del Rey.

• Weisman, G. (2015). Star Wars: Kanan—The Last Padawan (P. Larraz & J. Camagni, Illus.). Marvel Worldwide, Inc.

• Filoni, D., Kinsey, H., & Ratliff, K. (Executive Producers). (2014–2018). Star Wars Rebels [TV series]. Lucasfilm; Lucasfilm Animation.

• Edwards, G. (Director). (2016). Rogue One: A Star Wars Story [Film]. Lucasfilm; Walt Disney Studios Motion Pictures.

• Lucas, G. (Director). (1999). Star Wars: Episode I – The Phantom Menace [Film]. Lucasfilm Ltd.; 20th Century Fox.

• Gilroy, T. (Executive Producer). (2022–2025). Andor [TV series]. Lucasfilm; Disney+.

• Lucas, G. (Director). (2002). Star Wars: Episode II - Attack of the Clones [Film]. Lucasfilm Ltd.; 20th Century Fox.

• Favreau, J., Filoni, D., Kennedy, K., & Wilson, C. (Executive Producers). (2019–present). The Mandalorian [TV series]. Lucasfilm; Golem Creations.

• Filoni, D., Favreau, J., & Kennedy, K. (Executive Producers). (2023–present). Ahsoka [TV series]. Lucasfilm; Walt Disney Studios Motion Pictures.

• Spielberg, S. (Director). (1975). Jaws [Film]. Universal Pictures.

• Hitchcock, A. (Director & Producer). (1960). Psycho [Film]. United States: Universal Studios.

• Scorsese, M. (Director). (1976). Taxi driver [Film]. Columbia Pictures.

• Zahn, T. (1991). Heir to the Empire (Star Wars: The Thrawn Trilogy, Vol. 1). Bantam Spectra.

• Costikyan, G. (1987). Star Wars: The role-playing game (1st ed.) [Role-playing game]. West End Games.

Episode 23: Worldbuilding Walkthrough - Part III | 28 April 2026

In this three-episode series, Stephen and Trent walk the walk by collaboratively constructing a storyworld using The Worldbuilding Workshop card deck and design process!

Parts I and II featured animated conversation about a burgeoning gothic horror boomtown and its underlying Governmental, Economic, Social, and Cultural systems; the range of potential interactions between its fourteen substructural categories; and the scope, sequence, breadth, depth, and genre elements that would provide a maximally delectable worldbuild-y flavor profile. Now, in Part III, the duo applies Trent’s character-building system to develop a diverse panoply of citizens that breathe life into a five-scene, three-act story concerning “big ideas” about the world’s social forces.

Episode References:

• Shelley, M. (1818). Frankenstein; or, the modern Prometheus. Lackington, Hughes, Harding, Mavor, & Jones.

• Härenstam, T. (2020). Vaesen: Nordic horror roleplaying [Tabletop game]. Free League Publishing.

• Naughty Dog. (2013). The Last of Us [Video game]. Sony Computer Entertainment.

• Drennan, J. (2009). Fiasco [Tabletop role-playing game]. Bully Pulpit Games.

• Wizards of the Coast. (2014). Dungeons & dragons player’s handbook (5th ed.) [Tabletop game]. Wizards of the Coast.

• Tolkien, J. R. R. (1954-1955). The Lord of the Rings. Allen & Unwin.

• Kershner, I. (Director). (1980). Star wars: Episode V - The empire strikes back [Film]. Lucasfilm; 20th Century Fox.

• Martin, G. R. R. (1996–2011). A Song of Ice and Fire (Vols. 1–5). HarperVoyager.

• Benioff, D., Weiss, D. B., Strauss, C., Doelger, F., Caulfield, B., Cogman, B., Sapochnik, M., & Nutter, D. (Executive Producers). (2011–2019). Game of thrones [TV series]. Home Box Office (HBO); Television 360; Grok! Television; Generator Entertainment; Startling Television; Bighead Littlehead.

• Gilligan, V. (Creator). (2008–2013). Breaking Bad [TV series]. Sony Pictures Television.

• Gilligan, V. & Gould, P. (Executive Producers). (2015–2022). Better Call Saul [TV series]. High Bridge Productions; Crystal Diner Productions; Gran Via Productions; Sony Pictures Television.

• Gilroy, T. (Executive Producer). (2022–2025). Andor [TV series]. Lucasfilm.

• Edwards, G. (Director). (2016). Rogue one: A Star Wars story [Film]. Lucasfilm Ltd.; Walt Disney Studios Motion Pictures.

• Magill, F. N. (Ed.). (1963). Masterplots: Best masterplots (1963 annual vol.). Salem Press.

• Cook, W. W. (1928). Plotto: The master book of all plots. Ellis Publishing Company.

• Meehan, T. (Book), Strouse, C. (Music), & Charnin, M. (Lyrics) (1977, April 21). Annie [Live performance at the Alvin Theatre]. New York, NY.

• Coen, J. (Director). (2000). O Brother, Where Art Thou? [Film]. Touchstone Pictures; Universal Pictures.

• Homer. (1996). The odyssey (R. Fagles, Trans.). Penguin Books. (Original work published ca. 8th century B.C.E.).

• Favreau, J., Filoni, D., Rodriguez, R., Kennedy, K., & Wilson, C. (Executive Producers). (2021–2022). The book of Boba Fett [TV series]. Lucasfilm; Golem Creations.

• Filoni, D., Kinsey, S., & Ratcliffe, S. (Executive Producers). (2014–2018). Star Wars Rebels [TV series]. Lucasfilm.

• Tolkien, J. R. R. (1977). The Silmarillion (C. Tolkien, Ed.). Houghton Mifflin.

• Tolkien, J. R. R. (1937). The hobbit, or, there and back again. George Allen & Unwin.

• Nintendo. (2015). Splatoon [Video game]. Nintendo.

Episode 22: Worldbuilding Walkthrough - Part II | 21 April 2026

In this three-episode series, Stephen and Trent walk the walk by collaboratively constructing a storyworld using The Worldbuilding Workshop card deck and design process!

In Part I, the duo assigned numerical values to each of their new world’s Governmental, Economic, Social, and Cultural substructures. Now, in Part II, they debate genre, theme, scope, and sequence, developing a “40,000-foot view” of the world’s Places, Things, and Events. This will prepare them to interrogate emergent social forces and generate a diverse population of characters in their concluding segment, Part III.

Episode References:

• Collins, S. (2014). The hunger games trilogy. Scholastic.

• Lucas, G. (Director). (1971). THX 1138 [Film]. American Zoetrope; Warner Bros.

• Lucas, G. (Director). (1977). Star Wars Episode IV: A New Hope [Film]. Lucasfilm; 20th Century Fox.

• Tolkien, J. R. R. (1954-1955). The Lord of the Rings. Allen & Unwin.

• Racioppa, S., Kirkman, R., Alpert, D., Winder, C., & Ryp, J. (Executive Producers). (2021–present). Invincible [TV series]. Skybound; Amazon Studios.

• Kripke, E., Goldberg, E., & Rogen, S. (Executive Producers). (2019–present). The Boys [TV series]. Amazon Studios; Sony Pictures Television; Kripke Enterprises; Point Grey Pictures; Original Film.

• Härenstam, T. (2020). Vaesen: Nordic horror roleplaying [Tabletop game]. Free League Publishing.

• Docter, P. (Director). (2001). Monsters, Inc. [Film]. Pixar Animation Studios; Walt Disney Pictures.

• Lasseter, J. (Director), & Stanton, A. (Co-director). (1998). A bug's life [Film]. Walt Disney Pictures; Pixar Animation Studios.

• Coen, J. (Director). (2000). O Brother, Where Art Thou? [Film]. Touchstone Pictures; Universal Pictures.

• Coen, J. & Coen, E. (Directors). (2007). No country for old men [Film]. Miramax Films; Scott Rudin Productions.

• Bennett, J. & Huddy, J. (Executive Producers). (2023-present). Scavengers Reign [TV series]. Max; Titmouse.

• Coen, J. & Coen, E. (Directors/Writers). (2018). The Ballad of Buster Scruggs [Film]. Annapurna Pictures; Netflix.

• Milch, D. (Executive Producer). (2004–2006). Deadwood [TV series]. Paramount Television; Home Box Office (HBO).

• Scott, R. (Director). (1979). Alien [Film]. Twentieth Century Fox; Brandywine Productions.

• Hawley, N. (Executive Producer). (2025–present). Alien: Earth [TV series]. 20th Television; Brandywine Productions.

• Scott, R. (Director). (2015). The Martian [Film]. Twentieth Century Fox.

• Roddenberry, G. (Executive Producer). (1966–1969). Star Trek [TV series]. Desilu Productions; Paramount Television.

• Golding, W. (1954). Lord of the flies. Faber & Faber.

• EA Redwood Shores. (2008). Dead Space [Video game]. Electronic Arts.

• Muschietti, A., Muschietti, B., & Fuchs, J. (Executive Producers). (2025–present). It: Welcome to Derry [TV series]. Double Dream; FiveTen Productions; Rideback; Vertigo Entertainment; Warner Bros. Television; HBO.

• Sapkowski, A. (2007). The last wish (D. French, Trans.). Orbit. (Original work published 1993).

• Spielberg, S. (Director). (1981). Raiders of the lost ark [Film]. Lucasfilm; Paramount Pictures.

• Bethesda Game Studios. (2008). Fallout 3 [Video game]. Bethesda Softworks.

• Scott, R. (Director). (2012). Prometheus [Film]. Scott Free Productions; Brandywine Productions; 20th Century Fox.

• Carter, C. (Executive Producer). (1993–2018). The X-Files [TV series]. Ten Thirteen Productions; 20th Century Fox Television.

• Lem, S. (2002). Solaris (J. Kilmartin & S. Cox, Trans.). Harcourt Brace. (Original work published 1961).

• Wizards of the Coast. (2014). Dungeons & dragons player’s handbook (5th ed.) [Tabletop game]. Wizards of the Coast.

Episode 21: Worldbuilding Walkthrough - Part I | 14 April 2026

In this three-episode series, Stephen and Trent walk the walk by collaboratively constructing a storyworld using The Worldbuilding Workshop card deck and design process!

Part I features a brief recap of the 14-substructure worldbuilding framework, examples of how different substructures are expressed in different popular media, and a step-by-step assignment of numerical values to a “from scratch” world. Then, the duo interprets, scaffolds, and contextualizes their world’s substructural values in advance of Part II (determining genre, theme, scope, and sequence) and Part III (generating a diverse population of characters).

Episode References:

• Atwood, M. (1986). The handmaid’s tale. Random House.

• Wizards of the Coast. (2014). Dungeons & dragons player’s handbook (5th ed.) [Tabletop game]. Wizards of the Coast.

• Härenstam, T. (2020). Vaesen: Nordic horror roleplaying [Tabletop game]. Free League Publishing.

• Lucas, G. (Director). (1977). Star Wars Episode IV: A New Hope [Film]. Lucasfilm; 20th Century Fox.

• Tolkien, J. R. R. (1954). The fellowship of the ring. George Allen & Unwin.

• Spielberg, S. (Director). (2002). Minority Report [Film]. Twentieth Century Fox.

• Orwell, G. (1949). 1984. Secker & Warburg.

• Huxley, A. (2010). Brave new world (11th ed.). Vintage.

• Culliford, P. [Peyo] (Creator). (1981–1989). The Smurfs [TV series]. Hanna-Barbera Productions; NBC.

• Naughty Dog. (2013). The Last of Us [Video game]. Sony Computer Entertainment.

• Irrational Games. (2007). BioShock [Video game]. 2K Games.

• Rockstar San Diego. (2010). Red Dead Redemption [Video game]. Rockstar Games.

• Le Guin, U. K. (1974). The dispossessed: An ambiguous utopia. Harper & Row.

• DiMartino, M. D. & Konietzko, B. (Creators). (2005–2008). Avatar: The Last Airbender [TV series]. Nickelodeon Animation Studio; Nickelodeon.

• Fergus, M. & Ostby, H. (Creators). (2015–2022). The expanse [TV series]. Alcon Entertainment; Alcon Television Group; Hivemind; Amazon Studios.

• Herbert, F. (1965). Dune. Chilton Books.

• Groening, M. (Creator). (1989–present). The Simpsons [TV series]. Gracie Films; 20th Television Animation; Fox Broadcasting Company.

• Blizzard Entertainment. (2004). World of Warcraft [Massively multiplayer online role-playing game]. Blizzard Entertainment.

• Meier, S. & Shelley, B. (Designers). (1991). Sid Meier's Civilization [Computer game]. MicroProse.

• Ross, H. (Director). (1984). Footloose [Film]. IndieProd Company; Phoenix Pictures; Paramount Pictures.

• Scott, R. (Director). (1984, January 22). 1984 [TV advertisement]. Chiat/Day; Apple Computer.

• Jackson, S. (1948, June 26). The lottery. The New Yorker. https://www.newyorker.com/magazine/1948/06/26/the-lottery

• Hawthorne, N. (2015). The scarlet letter. Penguin Classics. (Original work published 1850).

• Martin, G. R. R. (1996–2011). A Song of Ice and Fire (Vols. 1–5). HarperVoyager.

• Joy, L. & Nolan, J. (Executive Producers). (2024–present). Fallout [TV series]. Kilter Films; Amazon MGM Studios.

• Berman, R. & Piller, M. (Executive Producers). (1993–1999). Star Trek: Deep Space Nine [TV series]. Paramount Television.

Episode 20: Transmedia Storytelling | 7 April 2026

Stephen and Trent achieve escape velocity to soar beyond The Worldbuilding Workshop’s pages! In this episode, the dynamic duo digs into the distinct (but critical!) topic of transmedia storytelling, including:

• Similarities and differences between fictional and nonfictional storyworlds;

• Remediation as a means of reaching into the past and carrying familiarity into the future;

• Strategic application of diverse media to emphasize diverse themes across diverse slices of a world’s scope and sequence;

• Storytelling as a biological imperative for meaning-making and long-term survival;

• Capturing the human experience in language, visual arts, and sound;

• How religion, legends, and day-to-day stories cohere to form the continuum of our life-worlds;

• Using stories to communicate relativistic perceptions and combat solipsism;

• Applying Sam Ford’s definition of “storyworld” to contemporary transmedia storytelling;

• Development of transmedia stories for specific thematic purposes or no purpose at all;

• Why book-to-film and other adaptations are a kind of transmedia storytelling;

• “Same planet, different worlds” as a framework for interpreting perspective;

• How the Fallout transmedia storyworld teaches varied sociopolitical lessons through a complex metanarrative;

• The relationship between rules, laws, language, and storytelling;

• Algorithmic determinism, community atomization, and how the internet corroded the social contract;

• Camus' The Plague and how symbolism helps us grapple with complexity;

• Using transmedia stories to rescue black-pilled nihilists from antisocial “black hole” Communities of Practice;

• Worldbuilding as a mechanism for interrogating personal beliefs, enculturation, and capital-T “Truth”;

• Transmedia worldbuilding to navigate nihilism, solipsism, and epiphenomenalism (physicalism vs. qualia);

• Making decisions about how the world can and should work;

• Deferred meaning and the competing visions of Einstein and Derrida; and

• Empathizing with other humans across space and time.

Episode References:

• Lucas, G. (Director). (1977). Star Wars Episode IV: A New Hope [Film]. Lucasfilm; 20th Century Fox.

• Tolkien, J. R. R. (1991). The Silmarillion. HarperCollins.

• Joy, L. & Nolan, J. (Executive Producers). (2024–present). Fallout [TV series]. Kilter Films; Amazon MGM Studios.

• Novik, N. (2006). Temeraire (or His Majesty's Dragon). Del Rey.

• Games Workshop. (2020). Warhammer 40,000 (9th ed.) [Tabletop game].

• Ford, S. E. (2007). As the World Turns in a convergence culture [Master's thesis, Massachusetts Institute of Technology]. MIT Comparative Media Studies. https://files01.core.ac.uk/download/pdf/4403908.pdf

• Gilroy, T. (Executive Producer). (2022–2025). Andor [TV series]. Lucasfilm; Walt Disney Pictures.

• King, S. (2003). The gunslinger (Revised ed.). Viking.

• Martin, G. R. R. (1996). A game of thrones. Bantam Books.

• Roddenberry, G., Berman, R., & Piller, M. (Executive Producers). (1987–1994). Star Trek: The Next Generation [TV series]. Paramount Domestic Television; Paramount Television.

• Homer. (1990). The Iliad (R. Fagles, Trans.). Penguin Books. (Original work published ca. 8th century B.C.E.).

• Homer. (1996). The odyssey (R. Fagles, Trans.). Penguin Books. (Original work published ca. 8th century B.C.E.).

• George, A. R. (Trans.). (2003). The epic of Gilgamesh (New ed.). Penguin Books. (Original work published ca. 2000 B.C.E.).

• Cervantes, M. de. (1992). Don Quixote (P. A. Motteaux, Trans.). Wordsworth Editions. (Original work published 1605-1615).

• Gilliam, T. (Director). (1988). The adventures of Baron Munchausen [Film]. Allied Filmmakers; Laura Film; Prominent Features.

• Bethesda Game Studios. (2008). Fallout 3 [Video game]. Bethesda Softworks.

• Camus, A. (1991). The plague. Vintage Books. (Original work published 1947).

• Woodard, C. (2012). American nations: A history of the eleven rival regional cultures of North America. Penguin Books.

• Brown, M. W. (1947). Goodnight moon (C. Hurd, Illus.). Harper & Brothers.

• Davies, R. T. & Moffat, S. (Executive Producers). (2005–present). Doctor Who [TV series]. BBC Studios.

• Game Freak. (1998). Pokémon red and blue [Video game]. Nintendo.

• Reeve, E. (2024). Black pill: How I witnessed the darkest corners of the internet come to life, poison society, and capture American politics. Atria Books.

• Cochran, A. (2022). Contrasting cases for the design of an esports coaching curriculum: A communities of practice perspective [Doctoral dissertation, University of Connecticut].

• Calvino, I. (1974). Invisible cities (W. Weaver, Trans.). Harcourt, Inc.

• Jackson, F. (1982). Epiphenomenal qualia. The Philosophical Quarterly, 32(127), 127–136. https://doi.org/10.2307/2960077

Episode 19: Interview with Bryan Alexander | 31 March 2026

Stephen and Trent interview their colleague, friend, and author of The Worldbuilding Workshop’s foreword, Dr. Bryan Alexander. The trio discusses:

• The poly-crisis engulfing higher education, the United States, and the broader world;

• How financial stress, declining enrollment, and political pressures have put universities in a “defensive crouch”;

• Why universities should encourage graduate students/future faculty to study contemporary pedagogy within their respective domains;

• Institutional constraints and their effects on “bottom-up” innovation;

• Generative AI as both a threat and a tool;

• Preventing devolution into a transactional cycle where instructors use AI to write questions that learners use AI to answer;

• Persistent resistance to gaming and playful learning in higher education, especially compared to K-12 environments;

• Applying Kaufman and Beghetto’s “4C Model of Creativity” to evaluate individual acts versus societal contributions;

• Differences between worldbuilding content versus concepts, including the use of fictional storyworlds as vehicles for deconstructing reality;

• The relationship between transmedia storytelling, ethical decision-making, and professional collaboration;

• Navigating the tension between metrics and process;

• Identifying ways to quantify qualitative data and qualify quantitative data;

• Treating critical reflection as an essential component of fostering empathy; and

• Worldbuilding as an act of care.

Episode References:

• Alexander, B. (2026). Peak higher ed: How to survive the looming academic crisis. Johns Hopkins University Press.

• Shoulson, J. & Burkey, D. D. (Chairs). (2021, June). Future of Learning Committee final report. University of Connecticut, Office of the Provost. https://provost.uconn.edu/wp-content/uploads/sites/2165/2021/08/FoL-Final-Report-Final-June-2021-1.pdf

• Kaufman, J. C. & Beghetto, R. A. (2009). Beyond big and little: The four C model of creativity. Review of General Psychology, 13(1), 1-12.

• Slota, S. T. & Young, M. F. (2017). The inevitability of epic fail: Exploding the castle with situated learning. In Young, M. F. & Slota, S. T. (Eds.) Exploding the Castle: Rethinking How Video Games & Game Mechanics Can Shape the Future of Education. Charlotte, NC: Information Age Publishing.

• Bradley, E. (Reporter). (1985, September 15). Dungeons & Dragons [TV series episode]. In D. Hewitt (Executive Producer), 60 Minutes. CBS News.

• Stern, S. H. (Director). (1982). Mazes and monsters [Film]. McDermott Productions; Procter & Gamble Productions.

• Ringenbach, C. (2018). Climate Fresk (V8.1) [Card game]. La Fresque du Climat.

• Leacock, M. (2008). Pandemic [Board game]. Z-Man Games.

• Leacock, M. & Menapace, M. (2023). Daybreak [Board game]. CMYK.

• Bogost, I., Ferrari, S., & Schweizer, B. (2010). Newsgames: Journalism at play. MIT Press.

• Schwartz, D. L. & Bransford, J. D. (1998). A time for telling. Cognition and Instruction, 16(4), 475–522. https://doi.org/10.1207/s1532690xci1604_4

• Alighieri, D. (2004). Inferno (A. Mandelbaum, Trans.). Bantam Classics. (Original work published ca. 1307–1314).

• Asimov, I. (1966). Fantastic voyage. Houghton Mifflin.

• Gick, M. L. & Holyoak, K. J. (1980). Analogical problem solving. Cognitive Psychology, 12(3), 306–355. https://doi.org/10.1016/0010-0285(80)90013-4.

Episode 18: Epilogue - Notes From the End of the World | 24 March 2026

Stephen and Trent embrace their inner Waldorf and Statler to entertainingly grouse about higher education in The Worldbuilding Workshop’s epilogue, “Notes From the End of the World,” including:

• Six contentions about academia that explain why and how universities are failing;

• The toxic, cyclical relationship between universities and corporations;

• How to escape the profit-minded career preparation ouroboros;

• Orienting education toward creativity and open-ended problem solving rather than task performance;

• The problem(s) with treating educational and other social institutions like businesses;

• Common misconceptions about university funding, organization, and administration;

• Dueling visions of higher education and their consequences for socioculture, economics, and politics;

• Universities as community-building resources;

• Distributed, decentralized education and how decentralization affects the broader Community of Practice;

• Gatekeeping scholarship and why universities should value public communication;

• Providing professors and K12 educators with the resources needed to actually do their jobs;

• Striving to do public good versus wasting energy on intra/interuniversity competition;

• From The Landlord's Game to Squid Game, the misguided mission of educational capitalism;

• Adopting instructional strategies at the micro level to affect change at the macro level;

• Worldbuilding and playful learning as tools for reimagining K12 and higher education;

• Expanding prosocial, constructivist professional development instead of collapsing good ideas into sellable “turn-key” products;

• Cultivating a shared cultural focus on life-long learning; and

• Coming to see The Worldbuilding Workshop as an open-ended framework for experimentation with novel, interesting, and “out there” instructional strategies.

Episode References:

• Robinson, K. (2006, February). Do schools kill creativity? [Video]. TED Conferences. https://www.ted.com/talks/sir_ken_robinson_do_schools_kill_creativity

• Ainsworth-Land, G. T. & Jarman, B. (1992). Breakpoint and beyond: Mastering the future—today. Harper Business.

• Alexander, B. (2020). Academia Next: The Futures of Higher Education. Baltimore: John Hopkins University Press.

• Slota, S. T. & Young, M. F. (2014, June). Project TECHNOLOGIA: A game-based approach to understanding situated intentionality. Paper presented at 2014 Games, Learning, and Society Conference, Madison, WI. https://youtu.be/XJSwLhB8Kpg?si=aWYmlewegS-Eo-qr

• Joyce, J. (1992). Ulysses. Modern Library. (Original work published 1922)

• Magie, E. J. (1904). The Landlord's Game [Board game]. Original patent (U.S. Patent No. 748,626), Washington D.C.

• Hwang, D.-h. (Creator, Writer, Executive Producer). (2021). Squid game [TV series]. Siren Pictures.

• Cognition and Technology Group at Vanderbilt. (1992). The Jasper series as an example of anchored instruction: Theory, program description, and assessment data. Educational Psychologist, 27(3), 291–315.

Episode 17: Wrap-Up and Critical Reflection | 17 March 2026

Stephen and Trent debrief on the debriefing process in The Worldbuilding Workshop’s fifteenth chapter, “Wrap-Up and Critical Reflection,” including:

• A bookended critical reflection strategy (opening the worldbuilding activity with a discussion about target goals and closing with a debrief about whether and how those goals were fulfilled);

• Encouraging learners to critically reflect on both individual and group experiences;

• Why it’s worth writing down and discussing learner observations as a large group;

• Differences between instructor and learner interpretations of project success;

• Navigating the more traditional educator peak-and-valley workload vs. the steady-stream worldbuilding workload;

• ADDIE and the importance of flexible, iterative evaluation;

• Feedback delivery as piecing together a papier-mâché piñata;

• Blending standards-based assessment with other qualitative data;

• Avoiding the game of cheater whack-a-mole by developing cheat-proof qualitative assessments;

• How to implement peer evaluation methods throughout your worldbuilding project;

• Identifying and acknowledging your strongest project leaders (especially the quiet ones);

• Exchanging the “banking model” of teaching and learning for a more Socratic, conversational model;

• Overcoming imposter syndrome and defensiveness to be a better, more productive teacher;

• Connecting with and better understanding our learners’ individual life-worlds via critical reflection activities;

• Helping learners articulate their genuine thoughts rather than bullshit the instructor;

• Emphasizing integration and externalization over memorization and regurgitation (not WHAT but WHY and HOW);

• Benefits of maintaining personal thought journals while worldbuilding;

• The rarity of transfer in corporate training and professional development contexts;

• Empathizing with those who exist downstream of our decisions;

• The Stanford Marshmallow Experiment and how worldbuilding can help learners develop tolerance for delayed gratification; and

• Changing the educational system by dumping capitalist economic interests in favor of human-centric sociocultural and political goals.

Episode References:

• Csikszentmihalyi, M. (1990). Flow: The psychology of optimal experience. Harper & Row.

• Slota, S. T. (2014). Project TECHNOLOGIA: A game-based approach to understanding situated intentionality [Doctoral dissertation, University of Connecticut]. UConn OpenCommons. https://digitalcommons.lib.uconn.edu/dissertations/638/

• Mischel, W. & Ebbesen, E. B. (1970). Attention in delay of gratification. Journal of Personality and Social Psychology. 16 (2): 329–337. doi:10.1037/h0029815

• National Research Council. (2011). Learning science through computer games and simulations. Washington, DC: The National Academies Press.

[BONUS] Future Trends Forum: Worldbuilding Q&A | 5 March 2026

On Thursday, March 5, 2026, the Future Trends Forum returned to the topic of creative teaching.

Host Bryan Alexander spoke with two experts on the topic: Rochester Institute of Technology associate professor Trent Hergenrader and Dr. Stephen Slota, authors of the new book The Worldbuilding Workshop: Teaching Critical Thinking and Empathy Through World Modeling, Simulation, and Play (MIT Press).

In addition to addressing Bryan’s questions, Trent and Stephen responded to audience inquiries about pedagogical practices, artifacts, support structures, disciplines, and more.

https://forum.futureofeducation.us/

Episode 16: Role-Play | 10 March 2026

Stephen and Trent provide a professorial profile of performative play practice in their deconstruction of The Worldbuilding Workshop’s fourteenth chapter, “Role-Play,” including:

• Separating “role-play” from “simulation”;

• Inhabiting a character (first-person) vs. observing and analyzing a character (third-person);

• A brief history of role-play in education;

• Revisiting life-worlds and questioning what it means to “be in the same room”;

• Encouraging learners to role-play and reflect in a logically coherent way;

• Connecting in-character decision-making with real-world decision-making;

• “Bootstrapping” as an example of contextual complexity vs. overly simplistic reasoning;

• Thinking critically and empathetically about others’ perspectives;

• Attending to learners as complicated, changing people;

• The Ship of Theseus model for our moment-to-moment reconstitution of identity;

• Using role-play to interrogate stereotypes and essentialisms;

• Role-play for deconstructing complex systems in corporate environments;

• Voter ID legislation, drug testing for government benefits, and building a border wall as examples of reductive problem-solving;

• Good-faith vs. bad-faith argumentation;

• The “Do”s and “Do Not Do”s of educational role-play;

• Consent-driven role-play and why you probably shouldn’t position learners as oppressors/oppressed;

• The importance of debriefing role-play activities to break down power dynamics;

• Going meta on role-play, memory, and lived experience;

• How Nathan Fielder's The Rehearsal taught commercial airline pilots about critical thinking and empathy via richly authentic, socially collaborative role-play;

• The critical difference between regurgitating rote information on an exam and demonstrating knowledge through performance;

• Using role-play to understand everything from sweeping historical events to an individual’s day-to-day decision-making; and

• Whether the arc of history truly bends toward justice (spoiler: possibly, but only if we bend it).

Episode References:

• Deterding, S. & Zagal, J. P. (Eds.). (2018). Role-playing game studies: Transmedia foundations. Routledge. https://doi.org/10.4324/9781315637532

• Morningstar, J. (2009). Fiasco [Tabletop game]. Bully Pulpit Games.

• Wizards of the Coast. (2014). Dungeons & dragons player’s handbook (5th ed.) [Tabletop game]. Wizards of the Coast.

• Härenstam, T. (2020). Vaesen: Nordic horror roleplaying [Tabletop game]. Free League Publishing.

• Howitt, G. & Taylor, C. (2020). Heart: The city beneath [Tabletop game]. Rowan, Rook & Decard.

• Harmon, D. (Executive Producer). (2013–present). Rick and Morty [TV series]. Harmonius Claptrap; Williams Street.

• Gilligan, V. (Creator). (2008–2013). Breaking bad [TV series]. Sony Pictures Television.

• Romero, B. (2009). Train [Board game]. Romero Games.

• Ferguson, A. (2017, May 26). Texas teachers give 'most likely to become a terrorist' award to 13-year-old. The Washington Post. https://www.washingtonpost.com/news/morning-mix/wp/2017/05/26/texas-teachers-give-most-likely-to-become-a-terrorist-award-to-13-year-old/

• Schönberg, C.-M. (1998). Les misérables [Musical score/Script]. Alain Boublil Music; Hal Leonard.

• Orwell, G. (1949). 1984. Secker & Warburg.

• Fielder, N. (Writer/Director). (2026). The rehearsal [TV series]. Distraction Inc.; HBO.

• White Wolf Entertainment. (2018). Vampire: The masquerade (5th ed.) [Tabletop game]. White Wolf Entertainment.

• Choi, B., Slota, S. T., Lai, B., & Young, M. F. (2015). Influence [Board game]. UConn Two Summers Master’s Program for Educational Technology.

Episode 15: Simulations | 3 March 2026

Stephen and Trent (re)simulate the brainstorming and co-authorship process behind The Worldbuilding Workshop’s (spooOoOOoky) thirteenth chapter, “Simulations,” including:

• Differentiating between “simulations” and “games”;

• Kerbal Space Program as an exemplary simulation-game hybrid;

• How Democracy 3, SimCity, and Civilization encourage learners to tinker with real-world complex systems and visualize their effects;

• Simulations as a way to explore “what-if” scenarios via learner inquiry and critical thinking;

• Procedural rhetoric and evaluating the biases embedded in simulation design;

• First-person versus third-person perspectives and whether calling third-person distant “god-like” is a misnomer with respect to simulations;

• Understanding simulations as teaching how systems operate versus role-plays teaching how people operate;

• Knowledge-as-doing and the criticality of maintaining a one-to-one relationship between learning and simulation objectives;

• Separating evaluation of a system from individual people's performances *within* that system;

• Beyond Nuremberg: Courtroom 600 as an example inquiry-driven, museum-based virtual reality simulation;

• Balancing agency in simulations of well-defined historical events;

• Examining the rhetoric of decision-making trees to identify how individual actions can affect multiple parts of a complex system;

• “Bumper cars” (exerting agency within a constrained system) versus “rollercoasters” (being locked into a linear pathway from beginning to end);

• Simulations for teaching cause, effect, and nuanced reasoning;

• Benefits of the “choose-your-own-adventure” model;

• Going meta on the decision-making process to situate thinking in real-world problems;

• The Model United Nations program, GlobalEd research project, and Mars: An Ethical Expedition video game as tools for studying intersectional governmental, economic, social, and cultural structures;

• Avoiding the artificiality of traditional assessments via simulations of ill-defined problems;

• Transforming education from transactional career preparation into a vehicle for teaching critical thinking and empathy;

• Helping future teachers understand specific instructional technologies (giving them a fish) versus helping them understand foundational principles of technology integration (teaching them how to fish);

• Why reductive, essentialist thinking can’t and won’t solve “wicked problems”; and

• Demonstrating how “practomime” (Roger Travis’ term for “performative play practice”) shapes learner thinking and behavior.

Episode References:

• Maxis. (2000). The Sims [Video game]. Electronic Arts.

• MicroProse. (1991). Sid Meier’s Civilization [Video game]. MicroProse.

• Maxis. (1989). SimCity [Video game]. Brøderbund Software.

• Young, M. F. & Slota, S. T. (Eds.). (2017). Exploding the castle: Rethinking how video games & game mechanics can shape the future of education. Information Age Publishing.

• Squad. (2015). Kerbal Space Program [Video game]. Private Division.

• Positech Games. (2013). Democracy 3 [Video game]. PosiTech Games.

• Miyamoto, S. (1985). Super Mario Bros. [Video game]. Nintendo.

• Deterding, S. & Zagal, J. P. (Eds.). (2018). Role-playing game studies: Transmedia foundations. Routledge. https://doi.org/10.4324/9781315637532

• Bogost, I. (2007). Persuasive games: The expressive power of videogames. MIT Press.

• Greenhouse Studios. (2020). Courtroom 600: A virtual reality encounter with evidence of the Holocaust [Virtual reality game]. University of Connecticut.

• Capcom. (2019). Phoenix Wright: Ace Attorney Trilogy [Video game]. Capcom.

• Streiner, S., Burkey, D. D., Young, M. F., Cimino, R. T., Pascal, J., Dahm, K. D. & Wagner, T. (2022–2026). Mars: An Ethical Expedition [Video game]. University of Pittsburgh Swanson School of Engineering/University of Connecticut.

• Brown, S. W., Lawless, K. A., & Boyer, M. A. (2013). Promoting positive academic dispositions using a web-based PBL environment: The GlobalEd 2 project. Interdisciplinary Journal of Problem-Based Learning, 7(1), 67–90.

• Lichtman, G. (2014). #EdJourney: A roadmap to the future of education. Jossey-Bass.

• Levitt, S. D.& Dubner, S. J. (2005). Freakonomics: A rogue economist explores the hidden side of everything. William Morrow.

• Johnson, S. (1998). Who moved my cheese?: An amazing way to deal with change in your work and in your life. G. P. Putnam's Sons.

• Travis, R. (2010, November 18). A note on the word “practomime” [Blog post]. Play The Past. www.playthepast.org.