MASARYK UNIVERSITY

FACULTY OF EDUCATION
Department of English Language and Literature

Soulsborne Styled Gamification as a Motivating Tool in L2

Teaching
The Diploma Thesis

Brno 2023

Supervisor : Author:

PhDr. Alena Dobrovolná, Ph.D. Bc. Karel Kunčar

PROHLÁŠENÍ

Prohlašuji, že jsem závěrečnou (bakalářskou, diplomovou, rigorózní, disertační práci)

vypracoval/a samostatně, s využitím pouze citovaných literárních pramenů, dalších informací
a zdrojů v souladu s Disciplinárním řádem pro studenty Pedagogické fakulty Masarykovy
univerzity a se zákonem č. 121/2000 Sb., o právu autorském, o právech souvisejících s právem
autorským a o změně některých zákonů (autorský zákon), ve znění pozdějších předpisů."

Brno, dne 20. dubna 2023 Bc. Karel Kunčar

ACKNOWLEDGEMENT

I want to express my sincere gratitude and thanks to PhDr. Alena Dobrovolná, Ph.D. for
accepting to be my supervisor, encouragement and valuable advice throughout the process of
writing this thesis.
ABSTRACT
This thesis focuses on the idea of utilizing certain elements and themes of the video game
franchise called "Soulsborne" for gamification purposes and the subsequent increase of learners‘
motivation. As such, its primary purpose is to explore opportunities to connect the above-mentioned
franchise to established gamification mechanics while also using the discovered connections to
form specific activities.

The thesis consists of both the theoretical and empirical part. Due to the overall aim of the
work, the theoretical part provides a detailed description of crucial terms, such as "gamification",
"self-efficacy", and "Soulsborne", as well as an identification of the primary characteristics of the
games. Furthermore, it highlights those characteristics which can be considered suitable for
gamification and the basis for specific ESL activities. The empirical part focuses on the usefulness
of the created connections and activities in practical applications. To discover their value, both
qualitative and quantitative methods of data collection were applied. Lastly, as the research subject,
students from The Secondary School of Civil Engineering in Jihlava were chosen.

The thesis provides a unique insight into the possibilities of gamification and its effects on
learners, presents results, and serves as a possible inspiration to teachers of the English Language.

Keywords
Gamification, Dark Souls, Bloodborne, Elden Ring, Sekiro, Soulsborne, Second Language
Acquisition, English Language Teaching, Challenge, Difficulty

ANOTACE
Tato závěrečná práce se zaměřuje na myšlenku využití kontrétních prvků a témat videoher
obsažených pod názvem "Soulsborne" pro účely gamifikace a následného zvýšení motivace
studentů. Jejím primárním účelem je prozkoumat možnosti, jak projit výše zmíněnou sérii her se
zavedenými gamifikačními mechanismy, a zároveň využít objevené souvislosti k vytvoření
konkrétních aktivit.

Práce se skládá z teoretické a empirické části. Vzhledem k celkovému cíli práce poskytuje
teoretická část podrobný popis klíčových pojmů, jako je "gamifikace", "motivace", "Soulsborne",
jakož i identifikaci primárních charakteristik videoher. Dále zdůrazňuje ty vlastnosti, které lze
považovat za vhodné pro gamifikaci a základ pro specifické ESL aktivity. Empirická část se
zaměřuje na využitelnost vytvořených spojitostí a ativit v praktické aplikaci. Ke zjištění jejich
hodnoty byly použity kvalitativní i kvantitativní metody sběru dat. Jako předmět výzkumu byli
zvoleni studenti Střední Školy Stavební v Jihlavě.

Práce poskytuje jedinečný vhled do možností gamifikace a jejích účinků na žáky, prezentuje
výsledky a slouží jako možná inspirace pro učitele anglického jazyka.

Klíčová slova

Gamifikace, Dark Souls, Bloodborne, Elden Ring, Sekiro, Soulsborne, Akvizice cizího
jazyka, Výuka angličtiny, Výzva, Obtížnost
TABLE OF CONTENTS
1 Introduction ....................................................................................................................... 6

1.1 Overview and Background ....................................................................................... 6

1.2 Research Aim and Objectives ................................................................................... 6

1.3 Thesis Structure ......................................................................................................... 7

1.4 Conclusion .................................................................................................................. 7

2 GAMIFICATION.............................................................................................................. 9

2.1 Definition of Gamification......................................................................................... 9

2.1.1 Game-Focused .................................................................................................... 10

2.1.2 Player-Focused ................................................................................................... 11

2.2 Appeal Of Gamification .......................................................................................... 11

2.3 Game Design Elements ............................................................................................ 16

2.3.1 Points .................................................................................................................. 16

2.3.2 Badges ................................................................................................................ 18

2.3.3 Leaderboards ...................................................................................................... 18

2.3.4 Challenges or Quests .......................................................................................... 19

2.3.5 Meaningful Story ................................................................................................ 20

2.3.6 Teammates .......................................................................................................... 21

2.3.7 The implementation of the elements .................................................................. 21

2.4 Gamification in Education ...................................................................................... 22

3 SOULSBORNE VIDEO-GAMES ................................................................................. 26

3.1 Genre Definition ....................................................................................................... 26

3.2 Games‘ Overview ..................................................................................................... 27

3.2.1 The Demon‘s Souls ............................................................................................ 28

3.2.2 The Dark Souls I, II, III ...................................................................................... 29

3.2.3 Bloodborne ......................................................................................................... 30

3.2.4 Sekiro: Shadows Die Twice ............................................................................... 31

3.2.5 Elden Ring .......................................................................................................... 31

 3.2.6 Summary............................................................................................................. 32

3.3 Soulsborne "Magic" ................................................................................................ 33

3.3.1 Self-Efficacy ....................................................................................................... 33

3.3.2 Locus of Control ................................................................................................. 34

3.3.3 Summary............................................................................................................. 36

4 Research Materials .......................................................................................................... 39

4.1 Research Aims .......................................................................................................... 39

4.2 Gamified Experiences .............................................................................................. 40

4.2.1 Lesson Plan 1 ...................................................................................................... 41

4.2.2 Lesson Plan 2 ...................................................................................................... 43

4.2.3 Lesson Plan 3 ...................................................................................................... 45

4.2.4 Lesson Plan 4 ...................................................................................................... 47

5 Research Methodology .................................................................................................... 50

5.1 Research Method ..................................................................................................... 50

5.2 Research Subject ...................................................................................................... 51

5.3 Conduct Discussion .................................................................................................. 51

5.3.1 Lesson Plan 1 – Setting the Scene ...................................................................... 52

5.3.2 Lesson Plan 2 – A Whole New World ............................................................... 53

5.3.3 Lesson Plan 3 – Never Powerless, and Never Alone ......................................... 54

5.3.4 Lesson Plan 4 – The Bigger They Are, The Harder They Fall ........................... 55

6 Research Results .............................................................................................................. 56

6.1 Findings..................................................................................................................... 57

7 Conclusion and Discussion ............................................................................................. 59

1 Introduction
1.1 Overview and Background

In this day and age, it is an undeniable fact that video games have become an integral part of
the entertainment, as well as learning. As a result of incorporating immersive storytelling,
interactivity, and feedback systems, video games have managed to capture the attention of
millions of people worldwide. One such video game franchise that has gained massive
popularity over the years is the Soulsborne series, comprising games such as Demon's Souls,
Dark Souls, and Bloodborne. These games are known for their challenging gameplay, intricate
world-building, and deep lore. Consequently, they have become a cultural phenomenon in the
gaming community.

This thesis focuses on exploring the potential of utilizing certain elements and themes of the
Soulsborne franchise for gamification purposes in the environment of ELT. The primary aim is
to investigate the possibilities of connecting Soulsborne aspects to established gamification
mechanics so as to form specific lesson plans and activities. As the secondary aim, the thesis
wishes to explore how using such discovered connections may enhance learners' motivation.

Additionally, since the thesis provides a fresh perspective on language teaching and learning
by including engaging and immersive elements of the Soulsborne series, its results can be useful
for any educators wishing to design similar activities that are both fun and effective in helping
learners develop their language skills, as well as their own belief in their skills.

1.2 Research Aim and Objectives

It can be comfortably stated that gamification has been recognized as a powerful tool for
increasing motivation and engagement in various contexts, including education. However, there
is a lack of research on how to use the elements of specific video games, such as Soulsborne,
for gamification purposes. The main issue lies in defining the crucial characteristics of such
games that can be considered suitable for gamification and applying them effectively within an
educational environment.

Therefore, the study aims to address this gap in the literature by exploring the potential of
utilizing Soulsborne's elements and themes for gamification purposes in English as a Second
Language learning (EFL). Such an action can also serve as an inspiration and framework for
any teacher of the English language wishing to implement similar techniques.

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1.3 Thesis Structure

The thesis consists of seven main chapters. As part of the theoretical part, chapter 1 provides
an introduction to the research topic and outlines the research aim and objectives; chapter 2
presents a literature review of gamification and its impact on motivation and use within learning
contexts; and following chapter 3 provides an overview of the Soulsborne franchise and its
primary characteristics.

As part of the empirical part, Chapter 4 describes the research materials, namely the created
lesson plans; chapter 5 focuses on research methodology, including the research design, data
collection methods, and analysis techniques; chapter 6 presents the findings of the study - the
gamification activities created and their effectiveness in enhancing learners’ self-efficacy;
Chapter 7 provides an overall discussion of the rate to which the study was successful in
fulfilling its aims.

1.4 Conclusion

In conclusion, this thesis aims to explore the potential of gamifying the ELT environment by
using elements and themes from the Soulsborne franchise, a popular video game series. The
incorporation of video games into language learning is not a new concept, as studies have shown
that gamification can have a positive impact on motivation and engagement in learning
contexts. However, there is still much to be discovered regarding the effectiveness of
gamification in language learning, especially when considering the Soulsborne genre solely,
and this thesis seeks to contribute to this ongoing discussion.

Additionally, the aim of this thesis is not only to explore the potential of gamification but also
to provide a unique insight into its effects on learners. Through the use of both qualitative and
quantitative data collection methods, this study aims to identify the impact of gamified activities
on learners' ability to see their achievement through the internal locus of control, providing
mastery experience and, therefore, offering a boost in self-efficacy, positively affecting
motivation in the process.

Moreover, the results of this thesis can serve as a possible inspiration to teachers of the English
language by providing an example of how gamification inspired by a specific game, in this
case, the Soulsborne franchise, can be used to enhance the learning processes.

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THEORETICAL PART

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2 GAMIFICATION

The primary objective of this chapter is to provide a comprehensive understanding of the term
"Gamification" and explore its various aspects. It also delves into the key factors contributing
to the widespread appeal of gamification, as well as highlights some of the established and
widely accepted elements that make up the gamification experience.

By defining and discussing the concept of gamification, this chapter aims to offer a clear and
concise explanation of how it works and why it has become such a popular approach in various
fields, including education, marketing, and employee engagement. Furthermore, the chapter
aims to explore the different types of gamification elements that are commonly used to enhance
user engagement, motivation, and overall experience, including point systems, leaderboards,
progress bars, badges, and challenges.

2.1 Definition of Gamification

Over the last forty years, video games have slowly but surely been gaining popularity, fuelled
in part by advancements in technology that have made them more immersive, interactive and
accessible than ever before. From humble beginnings as simple arcade games, video games
have evolved into an incredibly diverse medium spreading across various genres, styles, and
platforms.

As video games have become more widespread, it is no surprise that people have become
increasingly curious about what makes them so engaging. Researchers have sought to
understand the factors underlying our attraction to video games, exploring everything from the
thrill of competition to the satisfaction of mastering complex challenges.

Nevertheless, it is not just the ever-defining academics who are interested in video games -
practitioners in a wide range of fields have also been exploring how video game principles can
be applied to their work, from education and training to marketing and healthcare. Businesses
and organizations of all kinds have begun to embrace the idea of using game mechanics and
rewards to incentivize behaviour and drive engagement. This interest has led to the birth of the
term "gamification," which refers to the intentional use of gaming mechanics and concepts in
non-game settings.

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2.1.1 Game-Focused

One of the most widely used and accepted definitions was introduced by Deterdinget et al.
(2011), who claims that "gamification is the use of game design elements in non-game context
(p.11). Despite the fact that the simple nature is the definition, it manages to put across the core
nature of gamification, which seems to be centred around taking a functional aspect of a game
and subsequently utilizing it in an environment outside the game itself.

However, Deterdinget’s definition is somewhat challenged by Werbach (2014), who describes

gamification as "the process of making activities more game-like" (p.266). The key term in
Werbach‘s definition is "process". He argues that the concepts of "game design elements" and
"non-game context" are contestable, for even Dererdinget himself conceded there is not a
concrete list of "game design elements." Moreover, Werbach, via an example of a scored test,
presents the argument that a single inclusion of a game element does not constitute
gamification.

Additionally, Werbach (2014) puts forth an idea that by defining gamification as a process, it
becomes possible to view activities as "game-like" without necessarily needing to identify a
specific point at which the process crosses into gamification (p.267).

The above-mentioned phrase, "game-like", can be viewed as too broad and difficult to
understand. Thus, when we look for an explanation, we find that it is probably best captured by
Mollick and Rothbard (2013), who, during distinguishing gamification at work from simple
sales contests, propose that "A game is designed when it is purposefully created with reinforcing
contexts, interactions, and mechanisms that create a more immersive feeling of play" (p.8).
Consequently, we can say that although the game elements are essential means of gamification,
what matters is precisely how these elements are selected and implemented (Werbach, 2014).

The idea of defining gamification as the process is not exclusive to Werbach alone, for a similar
wording is used by Huotari & Hamari. They propose that gamification should be viewed as "a
process of enhancing a service with affordances for gameful experiences in order to support
user’s overall value creation” (Huotari, & Hamari, 2012). In their approach, they connect
gamification with the theory of service marketing and, by doing so, avoid focusing on specific
elements. However, they resort to specialized language, which makes the definition rather
unusable in other fields.

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2.1.2 Player-Focused

So far, the definitions presented have mainly focussed on the game in gamification, on how
aspects are applied and how that application should be viewed. Nevertheless, one component
is always crucial for games and gamification elements to work: the player. Therefore, the
definition fitting for the purposes of this work should focus on the player as well.

As such, let us take a look at Zichermann & Cunningham (2011), who see the term as something
with varied meanings based on who engages in it; for some, it explicitly is a tool for advertising
products and services, others seek behavioural change by creating wide 3D worlds, and for
some, it provides a method of learning complex systems. Ultimately, they propose that
gamification could be seen as "the process of game-thinking and game mechanics to engage
users and solve problems” (p.14).

Similarly, Marczewski (2013) argues that the simplest form of gamification consists of
completing a task and receiving a reward, which can be either a trophy or a plain experience of
fun. Nevertheless, he believes there is way more to be explored when a player’s behaviour is
considered. He proposes an idea that "the application of gaming metaphors to real-life tasks to
influence behaviour, improve motivation and enhance engagement” (Marczewski, 2013, p.4).

In summary, from what has been stated so far, we can derive that gamification is a process of
purposeful application of game elements in an environment outside the games so as to promote
the feeling of gameplay while also considering that the said application has an effect on player‘s
behaviour, boosting engagement and improving motivation.

2.2 Appeal Of Gamification

The effectiveness of gamification is a relatively undisputed fact. According to the survey

conducted by TalentLMS, 89% of employees feel more produced and happier by the inclusion
of gamification, 83% of those who receive gamified training feel motivated, while 61% of those
who receive non-gamified training feel bored and unproductive, and 78% of the respondents
say that gamification would make the company more desirable (Apostolopoulos, 2019)
Additionally, in the field of education, Chapman & Rich (2018) propose that "67.7% of the
participants reported that the gamified course was more or much more motivating than a
traditional course."

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Naturally, the question of why the inclusion of gamification has such a powerful effect comes
to mind. While it is common for gamification to be connected mainly with technology and its
advances, it is crucial to realize that its effect and essence are embodied deep in psychology.
More precisely, gamification appeals to people because it plays into basic human needs and
instincts and quenches them. Zichermann (2011) understands this because his opinion is as
follows "Gamification is 75 per cent psychology and 25 per cent technology.”

In order to gain a deeper understanding of the issue, it is essential to describe which and how
exactly human needs are satisfied via the mechanics of gamification. However, taking a look at
past research, we find that there is a large variety in characterizations of human needs that result
in a positive effect on the human psyche. As a result, some of the possible answers are provided
within this subchapter.

Firstly, Zichermann & Cunningham (2011) put forth a concept that can be tied into our idea
described above. As part of their research, they created a list of twelve "the game mechanics/fun
interactions most frequently used in gamification" (p. 79) (see Tab.1).

Table 1 Engaging Game Mechanics

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Zichermann & Cunningham (2011) provide an especially useful list because they also mention
specific examples of mechanics which satisfy the needs, or rather "things people like".
Additionally, the category of "collecting" is, in my eyes, one of the most interesting, for it is
described as "one of the most powerful instincts among humans" and "despite this strong
proclivity, few rigorous studies have been done to identify the motivations behind collecting"
(p. 83). In reality, some insight into people’s obsession with collecting was provided by
businessman, author and auctioneer James L. Halperin (2016), who proposed that "the thrill of
the hunt and a passion for objects is what motivates and excites collectors" (p. 17). Moreover,
he listed ten main reasons why his clients collect items listed below.

 Knowledge and learning

 Relaxation and stress reduction
 Personal pleasure (including appreciation of beauty and pride of ownership)
 Social interaction with fellow collectors and others (i.e., sharing pleasure and knowledge)
 Competitive challenge
 Recognition by fellow collectors and perhaps even noncollectors
 Altruism (since many great collections are ultimately donated to museums and learning
institutions)
 Desire to control, possess, and bring order to a small (or even a massive) part of the world
 Nostalgia and/or a connection to history
 Accumulation and diversification of wealth (which can ultimately provide a measure of security
and freedom)

Even though the listed reasons refer mainly to real and valuable items sold at auctions, they can
be easily tied to in-game items. As such, we can regard Halperin’s reasons as highly relevant
because they provide a solid explanation of why collecting is heavily included within game
mechanics.

Secondly, a more specified list of basic human needs that are, to varying degrees of success,
satisfied by gamification was introduced by Tang and Zhang (2018). They produced a list of
eight needs based on intrinsic motives (see Tab. 2).

Additionally, they propose the idea that "certain needs can be paired up due to their high
conceptual relatedness; for example, the achievement is a condition for the competence need to
be satisfied" (p. 2).

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 Table 2 Basic Human Needs

Thirdly, a popular website Game-learn includes information regarding human needs to which
gamification seems to appeal. Namely, their needs are represented by; (a) "rewards", explained
in terms of always being happy to receive a price or gift; (b) "Progress", for we as humans enjoy
the feeling of improving as we get closer to achieving our goals; (c) "Competition" because we
like to win, even more so if we know our rivals; (d) "Recognition and status" since it is human
nature to boast about our achievements; (e) "Altruism" as we generally like to help others
because it makes us feel better about ourselves, there is a natural tendency towards solidarity;
and (f) "Fun," another innate need of human, all people like to relax, have fun and enjoy
themselves (https://www.game-learn.com/en/).

From the above-described categories of human needs, it is indeed possible to make out some
common themes, for example, the need for recognition appearing in all three instances.
However, before going further, let us tackle the fact that within the categorizations, the issue of
motivation and motives is mentioned. Such an occurrence does imply that within the process
of human needs satisfaction, there is a certain motivation power.

As a result, it is possible for us to connect the effectiveness of gamification to the Self-

Determination Theory proposed by Ryan & Deci (1995). Within the theory, three basic
psychological and intrinsic needs are presented: the need for competence, the need for
autonomy, and the need for social relatedness.
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 (1) The need for competence refers to positive feelings of effective interaction within a
certain environment while also experiencing success from proving one’s capacities
(Deci, 1975; White, 1959). The need for competence makes people seek challenges
optimal for their skills and capacities, as well as makes them persistently attempt to
improve those skills via activities. Importantly, competence is not an attained skill or
capability but a feeling of confidence and efficacy in doing a certain action (Ryan &
Deci, 2002).

(2) The need for autonomy refers to seeing the self as the origin or source of one’s own
behaviour. It concerns acting from interest and integrated values. When a person acts
with autonomy, they perceive their behaviour as an expression of themselves (Ryan &
Deci, 2002). In other words, it is connected to the psychological freedom to make
decisions based on one’s own beliefs.

(3) The need for social relatedness refers to one’s feeling of belonging, attachment to
others, of caring for and being cared for by those others. It reflects the aspect of the
integrative nature of life, the tendency to connect with and be accepted by others (Ryan
& Deci, 2002).

Besides the fact that it is clearly possible to collocate the needs contained within the theory of
Self-Determination (further SDT) to the previously described needs, SDT also embodies the
importance of the environment and its modification to foster motivation successfully. Namely,
Decy & Vansteenkiste (2004) declare that "the research guided by SDT has shown that
autonomy-supportive impersonal climates and environments focused on the attainment intrinsic
goal pursuits are likely to yield optimal development presumably because they promote basic
need satisfaction" (p. 34). Thus, the inclusion of gamification, which by definition, uses game
elements to enrich any environment, holds the potential power to affect the motivational
experiences of users.

Therefore, it is possible to comfortably argue that the primary appeal of gamification, as well
as the reason for its successful applications, stems from the strong modification of certain
environments that ultimately leads to the satisfaction of basic human needs, which through the
lenses of SDT concern competence, autonomy and social relatedness. Such deliberate
addressing of human needs then effectively promotes motivated behaviour in users.

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2.3 Game Design Elements

Having identified the reasons why gamification and its elements work, it is only natural to ask
what those elements actually are. Deterdinget et al. (2011) describe game design elements as "a
set of building blocks or features shared by games" (p. 12).

Moreover, as was with human needs, several authors have already presented lists of recurring
elements in the context of gamification. For example, Reeves & Read (2009) propose "Ten
Ingredients of Great Games”, which include representation of oneself through avatars, narrative
context, feedback, competition, and teams. Similarly, Zichermann & Cunningham (2011) list
seven primary game mechanics, including points, levels, leaderboards, badges,
challenges/quests, onboarding, and customization. As the last example, Werbach & Hunter
(2012) identify a total of 15 important components, in which they highlight the so-called "PBL
triad", which refers to points, badges, and leaderboards. Additionally, they propose that PBLs
are so common that they are often described as gamification itself (p. 71).

Looking at the compiled lists, it is definitely possible to draw out some parallels. Nevertheless,
the lists do remain largely different. Such a reality does not imply that one list is correct whilst
the other is not, but rather that the choice as to what describes a game design element is, to a
certain degree, subjective and based on the researchers‘ beliefs.

As a result, it is not the purpose of this thesis to put together yet another list of elements but
rather to describe a selection of specific game design elements picked across the spectrum of
all the lists. The items below represent those elements that seem to be most often discussed and
used, among which are; (1) points, (2) badges, (3) leader-boards, (4) challenges/quests, (5)
meaningful stories, and (6) teammates.

2.3.1 Points

Based on Zichermann & Cunningham (2011), we can view points as "an absolute requirement
for all gamified systems" (p. 36). The points are generally awarded to players for any successful
completion of in-game activities, such as overcoming a challenge, completing a quest,
exploring the world, or even simply defeating a foe. Thus, we can say that the importance of
points lies in their ability to track players’ activities in a rewarding way. Similarly, Werbach &
Hunter (2012) proclaim that points do serve to numerically represent a player’s progress.
Moreover, there are various types of points, all of which have different functions. As an
example, Zichermann & Cunningham (2011) propose a fitting categorization of point systems.
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a) Experience Points (XP) – A type of point that is awarded to the player for most
activities done in a game. They are usually non-tradeable as they, in most cases,
cannot be taken away from the player. Within games, experience points mostly serve
to either rank the player or, after a certain threshold of gained exp, award the player’s
character with a level that makes them stronger. Consequently, they mainly serve to
track the player’s progress.
b) Redeemable Points (RP) – Unlike XP, RP can fluctuate. The expectation for most
people is that these points are usable within the system in exchange for things
(Zichermann & Cunningham, 2011). These points are usually treated as currency
(gold coins, dollars) and, more often than not, serve as the basis for any in-game
economy system. Lastly, it is fitting to mention that in the Souldborne genre, XP
and RP are combined to create a feeling of a tradeoff when spending points.
c) Skill Points – According to Zichermann & Cunningham (2011), they can be seen as
points that are assigned to specific activities within the game. They are a bonus set
of points that allow a player to gain experience/reward for activities alongside the
core. Even though Zichermann is correct in his description, the use and look of skill
points can differ from game to game. In some games, skills points (also sometimes
called Talent Points) are rather scarce and only serve to unlock more abilities. As an
example, in World of Warcraft, they are given to players after a certain number of
levels is reached and provide them with an option to unlock new abilities.
Nevertheless, games like Dark Souls use a system of character attributes (strength,
intelligence, dexterity, wisdomousness) which are numerically increased via skill
points (see Fig. 1).

Figure 1 –World Of Warcraft vs Dark Souls Skill Points System

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 d) Karma Points – The points that are mainly used to promote good behaviour between
the players and feed into the altruism need. Extremely rare in classic games.
e) Reputation Points – The most complex points system. The reputation points usually
determine the trustworthiness and credibility of the players.

2.3.2 Badges

According to Werbach & Hunter (2012), badges can be defined as visual representations of
players‘ achievements, the earning of which depends on either a specific amount of earned
points or the completion of particular activities within the game.

The inclusion of badges, sometimes explicitly called "achievements", is nowadays a standard

practice in basically every game. Unsurprisingly, there are quite a few functions badges possess.
Mainly, they signify players‘ completion of goals and, once again, track players‘ progress.
Moreover, if we consider the fact that the more difficult task completed equals a more valuable
badge, we can argue that badges also reflect and prove players’ virtual status within the
community.

Thus, the inclusion of badges also ties into Halperin‘s (2016) reasons as to why people collect,
namely "recognition" and "competitive challenge". Such needs are even strengthened by the
inclusion of a comparatives percentage of how many have and have not completed a certain
achievement, a practice used, for example, by the gaming platform Steam (see Fig. 2)

Figure 2 – Steam Badge System

2.3.3 Leaderboards

Leaderboards simply rank players in accordance with their relative success. They are but a list
of participants in a competition that are ordered according to a variable, such as the highest to
the lowest scores (Costa et al., 2013). In other words, leaderboards show who performed the
best at certain activities and thus also serve as an indicator of the player’s own performance in
relation to others, providing an answer to the question, "How good was I?".

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Nevertheless, their motivational power should be treated carefully. Werbach & Hunter (2012)
see them as powerful motivators when there are only a few more points to reach the next
position. However, they can easily turn into powerful demotivators if the players find
themselves at the very bottom. It is highly possible for a player to stop trying after seeing how
far behind they are. Additionally, leaderboards can reduce the richness of a game and turn it
into a mindless struggle for supremacy.

Still, Werbach & Hunter (2012) do not see leaderboards as something that should be avoided
and claim that it is possible for them to be successfully included in gamification. However, they
should not be static; they should track more features and, thus, provide more contextual and
less-troubling information about players‘ current situations.

As an example, the leaderboards within World of Warcraft track multiple features of a player’s
performance. Consequently, a player, who might have died the most during a match, can still
be at the top of a certain category for they healed the most of their teammates (see Fig. 3)

Figure 3 –World Of Warcraft PvP Leaderboard

2.3.4 Challenges or Quests

Challenges or quests give players a sense of direction; they provide a path that shows where to
go and what to do. Additionally, even if they are not the centre of the experience, using
challenges as an option within the system can add depth and meaning for a player who has
entered a game with no idea of its goals or fundamental drives. Moreover, it is possible to design

19
quests as single or cooperative, in which players must work together to complete a certain
objective. Additionally, there are also quests for a singular player in a group context appearing,
in which a player is acting alone, but the fruits of their work are shared with a group of other
players (Zichermann & Cunningham, 2011).

2.3.5 Meaningful Story

Using a story to enhance a game, gamification, or simulation is a very common practice, and
despite not being utterly connected to the players' activity or performance, it does provide quite
a few benefits. Creating a meaningful story within a game gives players a setting in which they
would use their gained skills and knowledge. Placing a story in a game or gamification
contextualizes all the characters and activities and gives them meaning beyond mere numbers
and achievements. Additionally, a well-written and gripping story can prove to be very
motivating for players to keep on engaging in the game because they wish to know what
happens next. (Kapp, 2012).

Kapp’s point of view is shared by Langer et al. (2013), who argue that "Functionally, the role
of story in a game is to engage the player through fantasy and suspense. Story overlays the bare
mechanics of a game with meaning and significance" (p. 1). Additionally, Langer et al. (2013)
also describe some of the narrative concepts which usually help engage the players in the game:

1) Timelines – In general, the progression of any story or narrative is a very

important aspect. The way story is told can be done both by (1) linear storytelling
when the events occur in the same order as in time, or (2) non-linear storytelling,
which includes flashbacks, multiple storylines, and various perspectives.
Moreover, the concept of narrative can help strengthen the feeling of players
increasing mastery via using the structure to introduce new, more complex
mechanics (e.g. learning powerful shouting abilities as part of the story
development in the Elder Scrolls V: Skyrim)
2) Suspense – One of the main advantages of using a story in a game is that desire
to uncover what has happened (e.g. mysterious lore in Dark Souls) or what will
happen (an adventure in Halo Infinite) is enough to keep the player engaged late
into the night. The two above-mentioned types can also be described in terms of
hermeneutic and proairetic codes. Consequently, the effect of suspense is a
motivation one, as it encourages people to either explore the game more in-depth
or to keep playing consistently over time.

20
 3) Subjective Treatment – In most games, the story is presented through the lenses
of one or more characters. Throughout the process of engaging with the game,
the players maybe start to identify with the character and thus be drawn into the
story. As a result, it may be that the sole motivation reason for a player to keep
on trying to overcome certain difficult challenges lies in their caring for the
character they control and their place in the story.

2.3.6 Teammates

In the simplest terms, the addition of real players or virtual non-player characters (NPCs) can,
within the environment of a game, produce competition, cooperation or conflict. Additionally,
the idea of real players engaging in the game together can also be developed by the inclusion
of teams, which are, according to Werbach & Hunter (2012), groups of players that work
together as one towards a shared goal.

The social aspect of games and the relationships that form in games, as well as players'
attraction to them, are one of the more studied aspects of games, especially within MMO
(Massively Multiplayer Online) games. Clearly, the interaction with others in games can be as
fruitful as the ones in real-life; fellow players can yell and scream, reveal personalities, and
disclose personal experiences while still working together towards a unified goal, and thus
begin to bond together (Reeves & Read, 2009).

While online games are truly meant to be played with others and do heavily promote
communication, the sense of community is not bound only to them. Games such as Dark Souls,
which still mainly focus on single-player experience and allow only a small number of players
to connect together, still possess an extremely strong sense of community among its players. In
those games, players usually connect in order to help one another with a difficult boss with
which the player is struggling and cannot get past. Thus, it is possible to say that one of the
valuable aspects of teams is in the difficulty of the tasks they tackle.

2.3.7 The implementation of the elements

While the above-described elements seem to be among the most used, they still represent only
a portion of what might be included in games, gamified content. Additionally, it is not the rule
that all the elements have to be used at once to create a successful gamified experience. The
strength of gamification lies in a suitable combination of elements or even in just a single
properly developed element being used. In his research, Mazaraki (2022) claims that
21
"individual game design elements can be enough to motivate individuals by finding support for
the corresponding need" and that a "combination of two game design elements can support the
motivation of subjects even further."

2.4 Gamification in Education

As is already mentioned above, ever since the buzzword "gamification" first appeared, there
has been a significant attempt to implement it in all types of different fields, for example, fitness,
business, medicine, and the financial sector. Understandably so, gamification has also been
connected to education, and there is now a continuous effort to integrate it into the learning
process.

According to Dichev & Dicheva (2017), the use of gamification in the field of education can
be described as a "developing approach for increasing learners’ motivation and engagement by
incorporating game design elements in educational environments" (p. 1). The amount of
motivation and engagement mainstream video games spark in players is undeniable, and thus,
it is only reasonable to be actively attempting to implement gamification into education in hopes
of fostering students' motivation (Dichev & Dicheva, 2017). After all, a student‘s motivation is
a key predictor of their academic achievement, as well as the driving influence in the amount
of time a student spends engaged in the learning process. (Linehan et al., 2011).

The fact that the use of gamification is truly effective for the learning process (and not just a
recent trend highlighted by the surrounding hype) is backed up by evidence-based research.
Firstly, as has already been described above, the behavioural changes caused by the inclusion
of game design elements can be strongly correlated to Self-Determination Theory proposed by
Ryan & Deci (1995), and so the motivating aspect of gamification is undeniable. Additionally,
Gee (2003) identified a total of 36 learning processes that are present in game design elements
and, thus, by proxy, in gamification, proving that the phenomenon has its place in the field of
education. Among Gee’s processes are, for example, critical learning, situated meaning,
semiotic domains, meta-level thinking, self-knowledge and achievement learning principles.
Moreover, Nah et al. (2014) conducted a review of contemporary literature on gamification in
education. Their work showed those design elements which are commonly utilized to gamify
learning processes are specifically: points, levels or stages, badges, leaderboards, prizes and
rewards, progress bars, storylines, and feedback. In conclusion to their review, they argue that
using these particular game elements enhances learning and helps students experience
motivation and engagement.
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If we wanted to categorically divide the game elements used in gamification, we could refer to
the work of Hsin et al. (2012), who describe two main types of classes; (1) Self-elements and
(2) Social-elements. Self-elements, as the name implies, focus mainly on the aspects that affect
players themselves. These include points, achievement badges, levels, or even challenges in
terms of time restrictions, which all make the learners focus on competing with themselves and
recognizing self-achievement. On the other hand, Social-Elements aim to put the participants
into an interactive competition or cooperation, for example, with the use of leaderboards. Here,
the primary focus is to put the students in a community of fellow players in which their progress
and achievement are shared. Nevertheless, it is important to note that, within the learning
environment, both elements must be used appropriately. Otherwise, the effect of the activity on
the students might be the utter opposite of what the teacher intended (Huang & Soman, 2012).

Another and a more detailed clarification of game elements in education and their subsequent
categorization was done by Toda et al. (2019). They presented a hierarchical classification, of
which the main purpose is to help designers and developers choose those elements that are
fitting for their gamified strategies (see Fig. 4). The classification was started by identifying
five dimensions, each one being connected to a specific aspect of the environment, which were
then filled with appropriate elements. In detail, they are:

1) Performance – In this dimension, we can find points, progression, levels, stats, and
acknowledgement, which are all used to provide feedback to learners. If the gamified
activity is missing this dimension, the students will most likely feel lost as their actions
do not cause any feedback.
2) Ecological – Dimension refers to the environment where gamification is being
implemented and where the elements can be represented as properties. Among those
included are: change, imposed choice, economy, rarity and time pressure. In case this
dimension is missing, the environment becomes boring as it does not produce
interaction with the user.
3) Social – In this dimension, the main theme is the interaction between the learners, which
is done through the implementation of competition, cooperation, reputation, and social
pressure. Omitting this dimension might cause isolation of the students.
4) Personal – Dimension refers to the learners using the environment. Here, we can include
sensation, objective, puzzle, novelty (update, change), and renovation. The lack of this
dimension will demotivate the learners because the system does not provide any
meaning for them.

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Figure 4 – Gamification Taxonomy by Toda et al. (2019)

5) Fiction – A mixed dimension that is related to both the user (through narrative) and the
environment (through storytelling) and that ties the learners‘ experiences to the context.
The lack of fictional elements can cause the loss of meaning or context in an immersive
environment.

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Moreover, Toda et al. (2019) do use the presented taxonomy to analyze one of the most
successful examples of gamification being used for education purposes, that being Duolingo.
They state that:

When analyzing the elements, we can observe that other elements from our taxonomy are presented, e.g.
Rewards are represented through Lingots, which is a currency obtained when you finish a task. These
Lingots can be used in the transaction in the system (Economy); the Leader-boards are used to create
Competition amongst the user and their friends. The Level-system contains four elements: experience
points (Point), the content the user chooses when they are learning the language (Imposed Choice), the
level they are in the language (Progression) and the user skills (Level). Finally, the Badges are a
representation of acknowledgement and can be used in the player profile to increase their reputation.
Besides these elements, we can observe all of the Personal dimensions since the site appeals visually to
the user (Sensation), providing them with a clear Objective (learning languages), achieved through
cognitive tasks (Puzzles), presenting new content (Novelty) and allowing them to redo any task as the
user wants (Renovation). (Toda et al., 2019, p. 9)

As such, it is clearly visible that Duolingo possesses aspects of Personal (All 5) and
Measurement (4 elements) dimensions, some Ecological and Social aspects (2 elements each)
and no Fiction element. There is a strong case to be made that the success of Duolingo is
connected to its inclusion of many gamified elements described in the taxonomy.

Indeed, a well-constructed gamification system that is implemented into the learning process is
full of benefits. If we mix "fun" with learning, we are most likely ensuring a better learning
experience for the learners, which then leads to an overall increase in their engagement.
Additionally, via gamification, the learning experience can be done in a personalized way; the
learner progress in their own rhythm, thus making it a safe process (Furdu et al., 2017).

However, it is also essential to consider some drawbacks to using gamification in an excessive

or wrong way. By making playing mandatory, teachers might be creating a rule-based
experience which feels just like school. Additionally, if the focus is simply on winning, the
learners might become unmotivated or fearful. It is effort, not mastery, that should be at the
forefront of the activity and be rewarded (Furdu et al., 2017).

Consequently, the implementation of game-design elements, in terms of the five discussed

dimensions, in the classroom brings with itself many advantages, the most profound being an
increase in engagement and motivation. However, each use must be carefully planned so as to
achieve the desired effect.

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3 SOULSBORNE VIDEO-GAMES

3.1 Genre Definition

When we think of video games, we usually cannot help but collocate the term with specific
games; some think of Super Mario (a platformer game), others of Age of Empires series (a
strategy game), Call of Duty (a first-person shooter game), or The Elder Scrolls (an open-world
RPG game). Even though all of the above-listed belong under the same label of a video game,
they are vastly different, for they belong to different genres. Rollings & Adams (2013) describe
a video game genre as "categories of games characterized by particular kinds of challenge,
regardless of setting or game-world content" (p. 78).

Nevertheless, the genres in video game genres are vastly different from, for example, the movie
genre. This is because the former is highly varied, a fact proven by Wolf (2001), who, in his
work "Genre and the Video Game", was able to identify 42 different categories in his taxonomy
of genre. Considering the period of Wolf’s research, we can assume that the number of genres,
as of this writing, is much higher.

Consequently, it is increasingly difficult to describe some games via a single genre, especially
with the explosion of creativity caused by the rise of the popularity of mobile games. Thus, it
is worth mentioning that video game genres are supported by sub-genres, which subdivide the
genre into smaller groups so as to get a better idea of what the gameplay of a game will be like.
As an example, a first-person shooter game can be further classified into quite a few varieties:
an arena shooter, focusing on quick-paced gameplay (Overwatch 1 and 2); a tactical shooter, in
which the focus is on stealth and ammunition management, or an open world shooter such as
Halo Infinite (Rollings & Adams, 2013).

At the forefront of this thesis lies a genre named "Soulborne," which is related to a specific
series of video games developed by FromSoftware, and strongly influenced by its creative
director Hidetaka Miyazaki. Namely, the origins of the genre are in Demon Souls (2009), in
which the core mechanics were first introduced. These mechanics would later be built upon in
now legendary Dark Souls I (2011) as well as its sequels Dark Souls II (2014) and Dark Souls
III (2016), all defined by its fluent combat, death mechanics, storytelling, and dark fantasy
setting. Moreover, the genre also includes spiritual sequels Bloodborne (2015), and the newest
addition Elden Ring (2022).

26
Nevertheless, each of the described games does also belong to the RPG (Role-Playing-Game)
genre, particularly o a third-person and open-world action role-playing game genre (Nuene,
2015). As such, and while referring to the paragraphs above, the term "Soulsborne" should, in
reality, be seen as a subgenre, which then only further defines the RPG setting of the games,
however, in a significant and influential way. A journalist Jon Bitner (2022), fittingly claims
that "In short, a Soulsborne game is a difficult-but-fair game developed by FromSoftware that
offers challenging combat, a loose narrative, and a bleak world to explore".

3.2 Games‘ Overview

While it is true that all the described games belong to the Soulsborne subgenre, none of them is
completely the same. Each of these games has its own unique features and brings something
new to the table. It could be a fresh gameplay mechanic, an innovative design choice, or an
exciting twist on the established style of play. Therefore, this subchapter intends to provide a
quick overview of each game, from the earliest title in the series, Demon Souls, to the latest
release, Elden Ring.

Before diving into the critical characteristics that define the Soulsborne subgenre as a whole, it
is important to recognize the distinct attributes that set each game apart. Demon Souls, the
pioneer of the genre, introduced gamers to a brutal and unforgiving world where death was a
constant companion. Dark Souls took the same formula and refined it, creating a world that was
both bleak and astonishing, while Bloodborne added an element of cosmic horror to the mix,
throwing players into a twisted world inspired by the works of H.P. Lovecraft.

Sekiro: Shadows Die Twice, on the other hand, brought an entirely new level of complexity to
the series, introducing a stealth mechanic and a grappling hook that allowed players to traverse
the world with newfound agility. Finally, Elden Ring promises to be the most ambitious game
yet, introducing a vast open world that players can explore, with horseback riding and numerous
other new gameplay mechanics that will no doubt keep players on their toes.

In conclusion, this subchapter aims to offer a brief overview of each game in the Soulsborne
series, highlighting some of their features and innovations that have contributed to the genre's
evolution. I do believe that by understanding the individual qualities of each game, we can
appreciate the distinct characteristics that define the Soulsborne subgenre as a whole and
understand why it has become so beloved by gamers around the world.

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3.2.1 The Demon‘s Souls

As has already been stated, The Demon‘s Souls is a third-person role-playing game developed
by FromSoftware studio and released in 2009, as well as the origin of the Soulsborne genre. It
was published in Japan by Sony Computer Entertainment in February, in North America
by Atlus USA in October, and in other territories by Namco Bandai Partners in June 2010, who
later be responsible for the release of the sequel (Hinkle, 2012).

There being multiple publishers of the game was simply due to the fact that Sony did not have
faith in the game and considered it a failure. (Hinkle, 2012). Nevertheless, it was thanks to the
then newly appointed creative director Hidetaka Miyazaki, who took the opportunity to do
anything he wanted with what was considered a failure anyway. Thus, the game was raised
from the so-called development hell (Purchese, 2015).

The game quickly rose to popularity among players, and although it is true that, nowadays, it
has been rather overshadowed by its successors, it should still be considered one of the most
important games of the last decade, for it has inspired dozens of games as well as the design of
the console PlayStation 4 (McWhertor, 2019).

The game itself is set in the mystical kingdom of Bolateria, where the player’s character’s
(referred to as the Slayer of Demons in-game) purpose is to save the world by putting to sleep
the Old One, a powerful being awoken by King Allant. In order to do so, the player travels from
their home world called the Nexus into five other worlds where they face powerful demons.
(TKanerva, 2021).

Each of the worlds consists of three or four parts, where each part begins with a checkpoint
(point A) and an extremely dangerous boss at the end (point B) that the player has to defeat to
progress into the next part; this cycle continues until the last part is reached, in which resides
an Archdemon boss. The areas between points A and B are very often maze-like, containing
traps and full of powerful enemies (TKanerva, 2021).

All in all, Demon's Souls is a game that has left an indelible mark on the video game industry.
Its challenging gameplay, intricate level design, and dark storytelling inspired a whole new
genre of challenging games that continues to captivate players to this day. The influence of
Demon's Souls can be seen in the many games that followed in its footsteps, including the
hugely successful Dark Souls series, Bloodborne, and Sekiro: Shadows Die Twice, and Elden
Ring, the games all of which will be discussed in the following chapters. Nevertheless, it also
28
inspired my other games and stories outside the Soulsborne genre. Consequently, its legacy
continues to shape the industry and inspire creativity, proving that sometimes the most
innovative games come from unexpected places.

3.2.2 The Dark Souls I, II, III

Following the surprising success of the first game, it was only a matter of time before the next
title would come out. However, due to Sony's ownership of the intellectual property, and thus,
the inability to sell a possible sequel to Demon’s Souls on other platforms, FromSoftware
decided to create a new title called Dark Souls, which was released in 2011 for PlayStation 3
and Xbox 360. Additionally, in 2012, Dark Souls: Prepare to Die Edition was released for
Windows, PlayStation 3, and Xbox 360. (Onyett, 2012). The game was so successful that it was
followed by two sequels, forming a core trilogy of the whole genre.

Much like its predecessor, Dark Souls are third-person role-playing games where the player
explores the world of Lordran, fighting a wide variety of demons and other monsters standing
in their way. Additionally, and in contrast to Demon’s Souls, now the player is able to travel to
and from connected areas and explore different paths. Nevertheless, in some cases, certain
prerequisites have to be met in order to unlock some areas (Nuenen, 2015).

However, the world is not the same one in each game, for, throughout the trilogy, the player
explores the world at different stages, with the last game being more-or-less the end times. At
the same time, the games are indeed connected via the setting; even more, they are connected
through the central idea of fire, which represents the "life-force" of the world. At the end of
each game, the player has the option to rekindle the flame or let it fade, either way pushing the
world into the next stage.

In regards to more technical elements, much of what made Demon’s Souls appealing to players
still remains. Despite the idea of separate worlds being reshaped into an interconnected world
with different zones, the players still explore maze-like environments, battle dangerous
enemies, watch out for traps, and overcome powerful bosses so as to progress through the game.

However, one aspect that is noticeably different is the system of checkpoints. While in Demon’s
Souls, the only checkpoint was the beginning of the world’s part, and if the player was to die,
they would be forced to go through the whole level again, Dark Souls‘ environment has a lot
more checkpoints (in the form of bonfires) spread out through the zone. When players’ health
reaches zero, they are teleported back to the bonfire they last rested. As such, the bonfire system
29
teaches the players how to react in a certain chunk of a hostile environment; learn from past
mistakes; see death not as failure; and focus on prior experience to overcome the extreme
difficulty (Stanton, 2016).

3.2.3 Bloodborne

Having been released between Dark Souls 1 and Dark Souls 2, Bloodborne bears many
similarities to its predecessors. Despite still being a third-person role-playing game, it is not a
simple transportation of the "Souls" formula, for it differs both in aspects of gameplay which
force the player to be aggressive and on the offence rather than on defence, and in the story
which is heavily inspired by the works of H. P. Lovecraft (Ramsay, 2014)

In regards to its particular approach to combat, it is fast-paced, and in order to survive the hordes
of enemies, it requires the player to constantly attack without making room for defence. The
player’s agility helps in this; the quick-step ability (specific to Bloodborne) enables the players
to raffle around the enemy, avoiding their attacks. Also, the "Rally" system introduced in
Bloodborne allows for a risk-and-rewards type of play via which the player is able to recover a
portion of health by hitting an enemy in a small window of time after receiving damage
(Bloodborne Guide: Combat Basics and Advanced Tricks, 2015).

Story-wise, as put by (Hoedt, 2019), in Bloodborne, players find themselves in a role of a lonely
hunter walking in the shadowy streets of a ruined city Yharnam in search of a healing substance
called paleblood. As part of undertaking such a task, they do not only face but hunt former
citizens of the city, now transformed into beasts and other nightmares. Additionally, the dark
themes of the game and even more strengthened by the masterful use of Gothic themed
atmosphere.

It can be said that despite the significant differences regarding the gameplay and story, which
clearly make Bloodborne differentiate itself from the other Soulsborne titles, the essence of the
Soulsborne genre is still staying the same, and as such, the game needs not to be discussed
further.

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3.2.4 Sekiro: Shadows Die Twice

Despite also being in the Soulsborne genre, Sekiro: Shadows Die Twice proved to be, as of this
writing, the most significant departure from the expected formula. While it is still an action-
adventure game played from the third-person view, there are fewer role-playing elements; it
lacks levels, stats of different armours and weapons, and character creation. Additionally,
multiplayer elements were also entirely omitted (Messner, 2018).

The game is set in a fictionalized version of Japan's Sengoku period, where the players take on
a role of a shinobi named Wolf, who is on a quest to rescue his master from a once-mighty
samurai clan. Even though the direct storytelling in the game is much more prevalent when
compared to previous titles, the usual "Soulsborne" ways of putting across a story are still
present. The world is richly detailed with hidden secrets, and NPCs provide foreshadowing
clues about the overall plot, which all make the story tied to its world and make the player want
to explore all the corners of the world (Tyrrel, 2019).

One of the main points of discussion around Sekiro: Shadows Die Twice has been its combat
system. It is definitely one of the most striking features of the game, as it is based on fast-paced
swordplay that requires players to carefully time their attacks and precisely parry enemies‘
attacks. Also, while the game's difficulty has been a point of criticism among some players,
many see it as a defining feature of FromSoftware's games (Hussain, 2019).

3.2.5 Elden Ring

Similar to all the previous titles, Elden Ring is a role-playing action game developed by
FromSoftware and published by Bandai Namco. While the game was yet again directed by
Hidetaka Miyazaki, the world-building and the story were created by George R.R. Martin, the
author of the "A Song of Ice and Fire" series (Sawyer & Franey, 2022). While, as a result of
the difference in writers, the story does feel different from the previous titles, the game still
provides extremely challenging difficulty and a very detailed environment, which, as has
already been mentioned, are the defining feature of Soulsborne games.

However, the game does come with its "spins" on the formula. One of the most exciting and
bold changes to the Soulsborne formula of Elden Ring is its open-world design. Unlike
FromSoftware's previous games, which are more linear in their world design, Elden Ring allows

31
players to explore a vast world called The Lands Between, filled with secrets and hidden areas
(Sawyer & Franey, 2022).

In this vast and open world, the player takes on the role of their character called the Tarnished,
whose primary purpose is to restore the Elden Ring, a powerful artefact that has been shattered.
The players mend the Elden Ring by defeating mighty demigods, also called shard bearers.
Additionally, thanks to the non-linear design of the game, the players are free to tackle bosses
and areas in any order they wish (Elden Ring Official Website, n.d.).

Although Elden Ring has been showered with praise, even going as far as winning the Game
of the Year Award, some aspects of the game are open to criticism. Many issues are surprisingly
connected to the essential core aspect of the Soulsborne games; the bosses. Players have noticed
that many attacks are nearly impossible to dodge or counter, for there is a tiny indication or
warning of when the attack will occur. Additionally, many of these attacks are heavily
dependent on RNG, or random number generation. This means that some abilities of bosses
trigger randomly and are not based on players‘ actions or patterns of behaviour. Thus, it is
nearly impossible for the player to answer these attacks correctly. As a result, this way of boss
design led to frustration and often unfair deaths, as players may feel like they had no chance to
avoid the attack or defend themselves (Anderson, 2022).

3.2.6 Summary

As should now be clear, apart from being developed exclusively by FromSoftware, the
Soulsborne games are all characterized by a very particular way of gameplay, which is fast-
paced and demanding, often requiring precise timing and strategic thinking, atmospheric world-
building, and detailed storytelling.

In these games, the players take on the role of their customized character, whom they guide
through a dark and mysterious world of interconnected levels filled with dangers lingering at
every corner and hidden secrets serving as rewards for exploration. Additionally, the lore of
these worlds is often conveyed through cryptic item descriptions and environments.

However, these aspects are not truly anything special, for many other games also possess the
same trades. As an example; (1) Elder Scrolls V: Skyrim also has a very detailed world; (2)
Doom Eternal requires players to perform nearly flawlessly to survive on the hardest
difficulties; (3) Witcher 3 has a very intricate story with both direct and environmental story-
telling. Still, although the above-mentioned games have certainly left their mark and remain to
32
be very impactful in their own way, they do not affect players in such a way as the Soulsborne
genre. As such, the following chapter aims to explain why it is specifically these particular
games that seem to be so impactful.

3.3 Soulsborne "Magic"

From the previous, it can be derived that the main point of interest for players across every
single game belonging to the Soulsborne genre is its immense difficulty. Nevertheless, as was
already mentioned, the same can be said about many other games. How is it then that it is only
Soulsborne games that prompt the players to share such insights as "How Dark Souls changed
my life" ([DarkSoulsandMe], 2013) or "How Dark Souls helped me move past depression"
([lucid-state], 2014).

A poet might say something along the lines of "It is only through pain that one truly grows ".
However, as with most behavioural patterns, there must be some psychological aspect at play.
Thus, the following paragraphs aim to tie the positive effects of Soulsborne games on players’
well-being to the theories of self-efficacy, as well as the concept of the internal and external
locus of control.

3.3.1 Self-Efficacy

The idea of one’s self-efficacy should not be confused with much more popular self-esteem.
While the latter was defined by Smith and Mackie (2007) as "The self-concept is what we think
about the self; self-esteem is the positive or negative evaluations of the self, as in how we feel
about it", the concept of self-efficacy refers to the belief in one’s own ability to plan and perform
actions to attain a specific outcome (Bandura, 2007). In simpler words, self-efficacy is the "I’ve
got this" mindset.

In the past few decades, the idea of self-efficacy and its importance has been researched in
many areas, for example in phobias (Bandura, 1983), addiction (Marlatt, Baer, & Quigley,
1995), depression (Davis & Yates, 1982), social skills (Moe & Zeiss, 1982) or even athletic
performance (Barling & Abel, 1983; Lee, 1982). However, for the purposes of this thesis, it is
important to note that self-efficacy has got a fair share of attention in the field of education,
mainly with regard to academic motivation and self-regulation (Pintrich & Schunk, 1995). In
general, researchers have discovered that self-efficacy beliefs are connected with other self-
beliefs, motivation, academic choices, changes, and achievement (Winter, 1996).

33
Additionally, Tahmassian & Moghadam (2011) claim that self-efficacy has a significant
relationship with depression, anxiety, worry and social avoidance. Consequently, a lower level
of self-efficacy can be correlated to a likelihood of experiencing emotional and social problems
which affect mental health. However, the opposite is logically also true; the higher level of self-
efficacy, the lower the possibility of encountering these negative thoughts and emotions.

As a result, a connection between the Self-efficacy theory and Soulsborne games is a possible
one. When players defeat a difficult enemy, finally survive a journey through a dangerous area
and reach another bonfire, they begin to feel as if they are, at last, getting the hang of things.
After interviews with several players who claimed to have been saved by playing Dark Souls,
Gault (2016) claims that death/failure begins to not matter to the players because they start to
see it as a lesson, and consequently, bosses that seemed undefeatable become trivial after the
players have failed enough times to learn all the strategies. Additionally, he presents the idea
that within the conducted interviews "idea of perseverance in the face of darkness was a
recurring theme." As a result, these extreme-difficulty games can make millions of players
enjoy the "suffering" journey by providing them with a sense of competence (Zhang, 2022).

Additionally, self-efficacy is mainly generated by vicarious experiences; verbal persuasion;

somatic and affective states; and, most importantly, mastery experiences, which are seen as "the
most effective source of efficacy information because they provide the most authentic evidence
of whether one can master whatever it takes to succeed" (Bandura, 1997, p. 80).

Therefore, I argue that when players of Dark Souls, Demon Souls, Sekiro, Bloodborne, or Elden
Ring defeat a tough foe or overcome any other obstacle the game pups in front of them, their
self-efficacy increases, for they have just experienced mastery over the fight they struggled
against. This increase in self-efficacy provides them with an overall boost in confidence that
helps combat negative thoughts.

3.3.2 Locus of Control

Despite what has been stated so far, there is, of course, a counter-argument to be made. Nearly
every game has a boss one must defeat, an obstacle or an unpleasant area that needs to be
overcome. As a result, our theory could hypothetically be applied to all the games, thus making
the connection solely to the Soulsborne genre irrelevant. And yet, despite possessing similar
elements, no other game is leaving such a positive impact on players. To further investigate the

34
reasons that make the Soulsborne games truly special, we must peek into another psychological
theory, more specifically, a theory of Locus of Control.

The construct was introduced by Rotter (1966), who describes it as a person's feeling of
attribution towards a factor in the outcome of an event. We distinguish between an internal and
external locus of control. While the person with an external locus of control believes that luck,
chance or fate plays an important role in their life and the outcomes of their actions, the person
with an internal locus of control believes they have control over their life and attribute the
"fruits" of their work to their own abilities.

Moreover, locus of control and self- efficacy are two closely related constructs (Lefcourt, 1981).
In support of Lefcourt, Ashagi & Beheshtifar (2015) reported on a meaningful relationship
between internal locus of control and self-efficacy beliefs and on the lack of meaningful
relationship between external locus of control and self-efficacy.

Consequently, we can argue that while it is true that many games do have similar elements to
the Soulsborner games, such as bosses, difficult enemies, etc., none puts the players in such a
position where their internal locus of control is at play. Within most games, it is possible to
simply grind experience and simply out-level the challenge at hand; other games automatically
change the difficulty of enemies based on how the player plays so as to provide them with a
consistent flow of success (Resident Evil 4), resulting in a victory. However, such a victory is
being attributed only to external factors; the players feel like the game set them out to win, and
as such, it is a hollow victory.

Where other games make out the player feel like an unstoppable force on an adventure,
Soulsborne games provide the player with a provocation that they cannot be bested; they dare
the player to try their best, despite being set to fail over and over again.

While there are levels and stats present in Soulsborne games, they mostly serve as a way to
customize your character’s build, not to force one’s way through a boss fight. There are no
dynamic difficulty changes, no so-called "pity-items", no option to switch to an easy-mode, and
consequently, there is no way for the player to feel like they’ve somehow cheated their way to
victory because the deciding factor is the player’s skill. As such, there is absolutely no way for
the player to feel like there was some external force that helped them overcome the challenge.
The player knows that every victory in a Soulsborne game is an earned one, a victory that
happened because of them.

35
Moreover, although not specifically connected to the locus of control, Fox & Bailenson (2009)
discovered that the subjects of their research would work out more in real life if they observed
their similarly designed digital avatars doing it first. Similarly, another experiment focused on
embodying a superhero in a virtual reality game, which caused altruism in the participants. This
was most likely due to how possessing superpowers in the game briefly shifted the self-view of
the player into someone who is likely to show such trait (Rosenberg et al., 2013).

3.3.3 Summary

We can argue that the main reason why the Soulsborne genre seems to have such an impact on
players is that they are forced to view their achievements with an internal locus of control and
to realise that there was no external influence causing the victory other than themselves. Thus,
the players begin to feel a pure example of mastery experience and, therefore, get a significant
boost to their self-efficacy.

Additionally, we can suggest a secondary reason as to why the Soulsborne games have such an
impact on the players. The setting of the games helps them be able to project themselves into a
character facing the undefeatable, which in some aspects can feel familiar to those with lower
self-efficacy or an overall lower view of self, and yet prevailing. Such experiences can then
have real-life effects on people’s behaviour and can prove to be quite motivating.

The term "difficulty" is quite broad and can refer to a variety of aspects or their combinations.
The main features of Soulsborne games have already been discussed in the previous chapter;
nevertheless, for the sake of clarity, let us take a look at those features which; provide the player
with challenging experiences, as well as those which help with gripping the player. Such
features are:

1) Combat – The gameplay has to be precise and carefully timed. The player is in need to
remember the attack patters of enemies, especially bosses, leaving no room for random
"button-mashing". Additionally, no damage to the player's character is neglectable
because there is only a limited number of healing items. Despise being objectively hard,
the game is (mostly) fair. Therefore, any mistake or death is caused by the player and
can be overcome by, as tends to be said in the Soulsborne community, getting good.
2) Death – In these games, death is a common occurrence and makes the players learn from
their mistakes and try again and again until the challenge is beaten. Still, dying does
carry come consequences. When a player dies, they lose all their collected souls (the

36
 game's currency) and must restart from the last checkpoint, with all enemies back at
their spots. As such, failure is punished, but not to such an extend that the player would
immediately quit.
3) World-Design – The environment is usually designed in a very smart way, giving
players opportunities to find shortcuts, which are rewarding in nature, giving the player
sense of progress even if they are not getting to the next checkpoint.
4) Multiplayer – The games, although mainly focused on single-player, do have
multiplayer feature, which allows the players to summon others so as to cooperate and
take down a tough foe together.
5) Dark Fantasy Setting, Storytelling – The games always have a dark setting dealing with
despair, loss and redemption. The stories themselves are usually left to the player’s
interpretation, for a significant chunk of the story and lore is hidden within item
descriptions, and it is the player’s task to put the piece together.

Consequently, the above-described elements could be considered the core Soulsborne

features and, as such, are in some way connected to the process of increasing players'
motivation via self-efficacy boosts. As was already mentioned, these boosts happen mainly
due to mastery experiences forced upon the players by activating their inner locus of control.
Therefore, the categories mentioned above will be used as themes and topics, which will
also be connected to the game elements from the point of view of gamification used in the
ELT activities presented within the empirical part.

37
EMPIRICAL PART

38
4 Research Materials

The primary purpose of this chapter is to introduce a series of original materials that have been
specifically created for use in the research study. In particular, five distinct themes have been
used to create comprehensive lesson plans, which will be discussed in detail. These materials
are designed to incorporate the "Soulsborne" gamification elements that have been previously
explored, such as combat mechanics, death mechanics, world design, multiplayer features, and
storytelling.

By incorporating these elements into the activities, the materials have been designed to create
a stimulating and engaging experience that will encourage the participants to stay motivated
and involved in the research study.

4.1 Research Aims

Overall, the main idea behind this thesis is to explore the potential of gamification as a teaching
tool in English language teaching at a secondary school and extend the number of research
studies dealing with this topic. The focus is on developing gamified activities and lesson plans
that incorporate elements of the popular Soulsborne genre, which has garnered a strong
following among players worldwide.

As has already been stated, the first aim of this thesis is to identify the key features of
Soulsborne games that make them so successful and captivating to players. Through a thorough
analysis of the genre, those game design elements and mechanics that contribute to the
immersive and engaging experience of the players were identified. These elements include a
sense of challenge, exploration, discovery, and mastery, as well as the incorporation of rich
narratives and visual design elements.

Using this knowledge, I have created a series of gamified activities and lesson plans that aim to
capture the essence of Soulsborne games and translate them into a language-learning context.
These activities are designed to engage and motivate learners by offering them challenging and
rewarding gamified experiences that are aligned with the gamification taxonomy presented in
the theoretical part of the thesis. The materials used in these activities can be found in the
Appendices section (see Appendices 1-4).

39
The second aim of the thesis is to evaluate the effectiveness of these gamified activities in
promoting learner motivation and self-efficacy. Self-efficacy refers to learners' belief in their
ability to succeed in a given task or activity (see Chapter 3.3.1). The purpose of this is to
determine the extent to which it is possible for the translated Soulsborne elements to affect the
learners, despite the change of the environment, and enhance the learner’s self-efficacy.

In conclusion, this thesis can be looked at as an innovative and exciting approach to English
language teaching that aims to capitalize on the elements that make Soulsborne games so
popular and successful among players.

4.2 Gamified Experiences

The following activities have all been, to some extent, inspired by the Soulsborne genre, either
on a technical level or visual level. Additionally, the game-design elements used within the
activities correspond with the gamification taxonomy presented in the theoretical part of the
thesis (see Chapter 2.1). All of the materials used can be found in the Appendices section (see
Appendices 1-6)

Although it is possible to include all the aspects in a single lesson, it would be very taxing on
the learner, and thus it is better for the activities to focus on a single "Soulsborne"aspect in
combination with two or three items from the gamification taxonomy. Moreover, some
activities we designed so as to be in agreement with the topics currently being taught and thus
provide an opportunity for the learner to further practice the areas in a new and hopefully
interesting way. Still, other activities were created purely for an unordinary experience that
aims to catch the student's interest and to let them practice general skills connected to the
English language.

Last but not least, it is important to mention that while it is not possible to simply use visual
aspects of the Soulsborne games, add them to any given ELT activity and hope for any effect
on the learners' motivation, I saw it as suitable to use the gritty visual element of the games
within activities, which already include deeper-than-surface-level Soulsborne aspects. My
intentions for such a decision were simply to further support a particular emotional response of
the students. Nevertheless, the effectiveness of the above-mentioned gamified activities should
not be seen as limited by their visual side, as their core mechanics and gameplay are the true
drivers of engagement. Thus, the activities are designed so as to work seamlessly with any art
style.

40
4.2.1 Lesson Plan 1

This lesson plans focuses on the Soulsborne aspect of Dark-Fantasy, Storytelling while also, in
regards to the taxonomy, utilizing the Fictional aspects (narrative, storytelling), as well as
Ecological (imposed choice), Social (Cooperation), and Personal (Puzzle) aspects. The decision
to present the storytelling plan first stems from the fact that it was the first one to be piloted so
as the get the students hooked on the idea and get them engaged in the story aspect.

AIMS

The primary aim of the lesson is to engage the learners in practising their skills regarding
speaking and reading comprehension of an authentic literary text, as well as to promote
teamwork and critical thinking.

LANGUAGE LEVEL: Intermediate

AGE GROUP: 17-18 years old, teenagers

TIME: 45 minutes

CLASS SIZE: 12-16 students

PATTERNS OF INTERACTION: Groupwork + Teamwork

MATERIALS/EQUIPMENT: Resources provided below, bigger classroom, flashlights

PROCEDURE:

1) 0-6 Minute – Introduction

Before the students (further S) enter the classroom, the teacher (further T) puts little pieces of
paper with 2 colours on the front door. The S pick the papers that set their belonging to a
particular group. The goal is to have two groups before entering the classroom: a red team and
a blue team. The T also tells the students a bit about what awaits them. They will enter a dark
classroom and are in need of a source of light ( the T proceeds to hand out small flashlights to
the group; however, the group will be two flashlights short). Afterwards, they will need to look
for their team’s workplace in the classroom.

Note*

- Point of this activity is to give the students a sense of mystery as well as the upcoming need
to cooperate.

41
- In the dark classroom, there should be two isles made from desks so as to clearly indicate the
desired workplace you
want the students to sit at.
- If you, as the teacher, have two rooms available, it would be an interesting idea to use each
room for one team.
2) 7-16 Minute – Pre-reading 1

The T lets the S in the classroom (quite dark, but not pitch dark) and checks if they manage to
find their workplaces. The S should be able to deduce what their tasks is based on items at their
workplace (see Resource 1). They try to put together the puzzle and find out 4 main names,
which are essential for further reading.

3) 17 – 20 Minute – Pre-reading 2

After the T sees that the S have successfully put the puzzle together, the T hands out a set of 4
pictures (avatars) to each group. The task is quite simple – match the pictures to the names that
the S uncovered a moment ago. The images also contain some words that are included in the
upcoming text, which might be unknown.

4) 21 - 26 Minute – Reading Activity 1 + 2

The T hands out the primary texts to the S (see Resource 2). The S are asked to match the item
descriptions to the names from the pre-reading activity based on what/who is mentioned.
However, before doing so, they must first clip the text with the appropriate picture.

5) 27-37 Minute – Post Reading 1

After the item descriptions are clipped together and correctly matched, the T hands out parts of
a fantasy letter (see Resource 3) with pictures that summarise the main story hidden within the
short texts. The students need to put the story in the correct order and also fill in the missing
details.

6) 35-45 Minute – Post Reading 2 / End

The two groups join forces, share their created stories and check whether they have any
similarities or differences. Afterwards, the teacher joins, and together with the S they discuss
the correct order and choices.

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4.2.2 Lesson Plan 2

This lesson plan focuses mainly on the Soulsborne aspect of World-Design/Level-Design while
utilising the taxonomy-related elements of Personal nature (Novelty, Puzzle, Objective,
Sensation), Social (Cooperation), and Performance (Progression). The idea of presenting the
World-Building activity as the second goes in line with how the games managed to grip the
players with their worlds.

AIMS

The primary aim of the lesson is to provide the learners with a sensation of discovery while also
engaging them in practising, and thus developing their language skills, critical thinking and
problem-solving.

LANGUAGE LEVEL: Intermediate

AGE GROUP: 17-18 years old, teenagers

TIME: 45-60 minutes

CLASS SIZE: 12-16 students

PATTERNS OF INTERACTION: Groupwork + Teamwork

MATERIALS/EQUIPMENT: Worksheets, Bigger classroom,

PROCEDURE:

1) 0-6 Minute – Introduction

The students are reminded of the story from the previous lesson and are told by the teacher
(further T), that its consequences have led them to the distant shores of Majula and the kingdom
of Drangleic. The land is treacherous, covered in mist, and it is their task to venture into the
lands. Afterwards, the teacher lets all the students (further S) randomly pick a paper with
different sigils, creating 3-4 different groups in the process.

2) 7 – 12 Minute – Preparation

When the S are divided into specific groups, they change their seating order so as to be together
as a team; they will sit around a predetermined desk. The teacher then explains the overall
activity. The S will be given a map, which is mostly covered in mist. On the map, there are the
first three tasks which need to be completed in order to uncover the next part of the map. Each
43
time the S complete their specific tasks, they will move to another desk, where they will be
given another map with the previously invisible part now open and new tasks. Moreover, the
beginning three tasks need to be discovered because they have been hidden around the
classroom. (This is done so as to add a bit of a treasure-hunt element into the activity.)

3) 13 – 40 Minute – Map-Discovery

The S are presented with the tasks and complete them at their own pace. Some of the objectives
can be done behind the desk; some are meant to make the students move around the classroom.
The T has both an active and passive role during this part of the lesson; they monitor/look for
any signs of struggle with understanding among the students while also taking part in the
activities, for example, by checking the objectives and being the "objective" of the last task.

4) 13 – 40 Minute – Feedback

The students are encouraged to share their opinions on what they thought was the best part of
the activity, what they liked the most, what they liked the least, and which objective was the
most interesting. Through the way of listening to the ideas of the students, the T can gain
insights into what was working well and what needs to be improved. In addition to gathering
feedback, the students and teacher then collaborate to create a mini-mindmap on the
whiteboard. By working together to create the mindmap, the students and teacher can reinforce
their understanding.

44
4.2.3 Lesson Plan 3

This lesson plan focuses mainly on the Soulsborne aspect of Multiplayer while utilising the
taxonomy-related elements of Social Nature (Cooperating), Performance (Progression),
Ecological (Chance) and Personal (Objective). Throughout the game, players are usually
introduced to the idea of cooperation before undertaking any main tasks. Therefore, the idea to
pilot the multiplayer-inspired activity as the third was seen as suitable.

AIMS

The primary aim of the activity is to engage students in practising their language skills, as well
as their problem-solving and social abilities.

LANGUAGE LEVEL: Intermediate

AGE GROUP: 17-18 years old, teenagers

TIME: 45 minutes

CLASS SIZE: 12-16 students

PATTERNS OF INTERACTION: Pair Work

MATERIALS/EQUIPMENT: Worksheets, More Free Classrooms

PROCEDURE:

1) 0-6 Minute – Introduction

The students (further S) are reminded of what was done in the last lesson and how far on the
map they got. Afterwards, they are presented with yet another piece of the map, revealing their
next destination, "The Iron Keep". The teacher (further T) tells the S that in order to climb the
keep, they’ll have to work together. But to do so, they must "summon" their partner.

2) 7 – 10 Minute – 1st Part – The Summoners and The Summoned

The Class is divided into two main groups, those who summon / those who are being
summoned. The two groups are divided randomly, as the students pick papers with either name
of the covenants (implying their allegiance to them and thus the right to be summoned) or
summoning signs of the covenants (implying to be used for summoning). The T then separates
the class into two groups; the groups can either occupy their own half of the classroom or are
moved to a free classroom.
45
2) 11 – 21 Minute – 2nd Part – The Summoners and The Summoned

Once the groups are separated, the T gives each student in both groups a simple task and hands
out corresponding materials. The summoners are asked to write a description of the sigil of the
covenant they wish to summon while also trying to decode the name of the covenant from a
simple riddle on their worksheet. On the other hand, the summoned are unaware of their sigil’s
appearance and only know the name. Their task is to draw their sigil based on a short riddle
written on their worksheet. Throughout this part, the T has more of a monitoring role, where he
checks on how the learners are progressing.

3) 22 – 29 Minute – 3rd Part – The Summoners and The Summoned

When the S finish, the T will task them with finding their partner. The summoners need to place
down their written descriptions on the ground (mirroring the games in which the summon signs
appear on the group), and the summoned will have to discover their place by looking at what
they have drawn and trying to find the corresponding description. When both learners find
themselves, the teacher checks whether they are matched correctly or not.

If the learners have succeeded in finding themselves, they are both given dice and told by the
teacher that in order to "be summoned", both of them must throw the same number on the dice
three times (mimicking the need for the server connection in the games themselves).

3) 30 – 37 Minute – 4th Part – The Summoners and The Summoned

When the S are divided into the correct pairs of the summoners and the summoned, the T hands
out a simple pair work activity related to the "Iron Keep" shown on the map. The summoned
are handed flashcards with a fantasy theme vocabulary and corresponding clues. In order to
progress through the tower, the summoners are to guess all words with the help of only the
clues provided by the summoned.

4) 38 – 45 Minute – Feedback

The students use their phones or tablets to access a website (https://soapstone.retzudo.com/) so

as to write a message related to the feedback on the lesson. Afterwards, they PrintScreen the
message and send it to the T. Additionally, they will fill in a visually thematic exit card.

46
4.2.4 Lesson Plan 4

This lesson plan focuses mainly on the Soulsborne aspect of Combat and the Death Mechanic.
As such, this lesson plan merges the two remaining aspects together, for they, even within the
environment of the games, directly correlate with one another. In regards to the taxonomy of
gamification elements, the lesson utilises Personal elements (Objective, Sensation),
Performance (Progression, Stats, Acknowledgment), Fictional (Narrative), and Social
(Cooperation). Lastly, it is suitable to note that piloting the lesson inspired by combat and death
mechanics as the last is the most fitting choice because it serves as the climax of the previously
set-up context. Such an idea is once again related to the Soulsborne games, in which every area
ends with a specific boss fight.

AIMS

The primary aim of the lesson is to develop learners‘ critical thinking, problem-solving, and
English language skills related to their currently studied topics through an immersive boss fight
activity. Additionally, the secondary aim is for the activity to provide a small boost to the
students' self-efficacy.

LANGUAGE LEVEL: Intermediate

AGE GROUP: 17-18 years old, teenagers

TIME: 45 minutes

CLASS SIZE: 12-16 students

PATTERNS OF INTERACTION: Pair Work, Individual Work

MATERIALS/EQUIPMENT: Whiteboard, Markers, Worksheets/Flashcards, List of Dark

Souls Bosses, Assistants

PROCEDURE:

1) 0-6 Minute – Introduction

The teacher (further T) introduces the activity by providing the last part of the map, revealing
the castle of Drangleic, previously known as Cainhurst. The T explains that the activity will
require the students (further S) to use their English language skills, critical thinking, and
problem-solving abilities to storm the gates of the castle and ultimately defeat the Queen
herself.
47
2) 7-11 Minute – Setting the Positions

The students are then separated into their own little "battlefields " in the form of single tables.
While the students should work individually, it is possible for the summoners or the summoned
(pair created in the previous lesson) to call upon their partner – if both the learners agree, they
can work together. Additionally, the T may bring some of their colleagues or choose advanced
volunteers who will help the teacher monitor individual students.

3) 12-33 Minute – Storming the Gates

Each student is presented with a file containing a map of the castle showing the sequence of
boss fights, the rules of the encounters, and the bosses themselves, who are all previously
mentioned characters such as "Vileblood Knight," "Logarius," and "Annalise." The students are
told that they need to "defeat" the boss by completing a series of language tasks. Each task will
be represented by a flashcard or other learning material. They must then complete the task on
the card individually within a set time limit, mirroring the timing aspect of the game's combat
system.

Both the player and the boss possess a health bar. If the learner completes the task successfully,
they will "damage" the boss. If they fail, the boss "damages" them (for example, by subtracting
a point or deducting time). Additionally, after each turn, the boss's "health" is updated by the
teachers or others with monitoring roles (for example, by subtracting a certain number of
points). Consequently, if the player’s health bar is depleted before the boss’s, then the player
has to start again from a checkpoint. There is no limit to the number of allowed tries; the learners
are pushed to accept failure and learn from their mistakes.

As stated, the T and their "helpers" have more of an observatory role, as well as a game-leading
role. The idea is to not give the learners any possibility of seeing their achievements through
the external locus of control but rather "force" them to see them through the eyes of the internal
one.

4) 34-41 Minute – Dust Settling

After the students have defeated the main boss (or died trying), the T reviews the language tasks
and gives feedback on areas where learners struggled or excelled, providing formative
assessment. While the students who have been successful are given a surprise reward in the
form of a printed achievement A4 poster, the students who have failed are given a special
invitation to return to Cainhurst yet again to defeat the queen once and for all.

48
5) 42-45+ Minute – Feedback

At the end of the lesson, the students are asked to fill in a simple exit card, in which they reflect
on their experiences while also providing some information as to where their achievement
attribution lies. Since the exit cards are a form of formative assessment, they allow the teacher
to assess the effectiveness of the lesson, as well as the student's understanding of the material.
The students are encouraged to provide constructive feedback and reflect on the moments where
they felt successful and areas where they struggled. By reflecting on their experiences and
attributing their achievements to specific factors, the students are able to develop a better
understanding of their achievements and capabilities, which is bound to be of use to them in
their future academic and personal goals.

49
5 Research Methodology

The following part of the Empirical part is focused on the second aim of the thesis. Therefore,
the effect of the created lesson plans and activities on the learner is at the forefront.
Consequently, the following sub-chapters contain the primary sources of the research’s data
(feedback), a description of the research subjects, and discussions of the piloted lesson plans.

5.1 Research Method

Due to the nature of the thesis, and the time limitations, it is not possible to form long-term
research which would monitor any possible behavioural changes in the learners through
continuous exposure to self-efficacy-promoting activities. Therefore, the focus was slightly
shifted to the immediate reaction and stance of the learners towards the activities, and thus the
main source of data turned out to be in the form of students‘ feedback.

As for the way of data processing, not quantitative but qualitative method of data processing
does seem to be the most appropriate. As stated by Dornyei and Ushioda (2011), this type of
research is commonly considered as an efficient method for looking into novel and unfamiliar
phenomena. In circumstances where there is limited information available on a particular
phenomenon, an in-depth examination of a small number of cases can be particularly suitable
since it does not rely on pre-existing knowledge. Nevertheless, the qualitative approach,
although truly seeming like the best choice, is not without its drawbacks. Among some issues,
there is the limited number of participants involved resulting in the inability to generalize the
findings to a wider population, as well as the reliability of the data is often called into question,
as its accuracy hinges largely on the researcher's skills.

Consequently, the mixed method was chosen to be the way of processing the collected data.
While in terms of the qualitative approach, the data was collected from the feedback of a small
number of participants, in terms of the quantitative approach, the gathered data underwent
analysis via the process of coding. Such action transformed the data from its original form into
quantitative data, which resulted in more general findings that can be useful not only for a
specific group of subjects but also for a wider context.

50
5.2 Research Subject

Considering the nature of the research and its limitations, consisting of time restraints, a need
to heavily reimagine some of the plans to fit the curriculum of the participants. A rather small
group of research subjects was chosen. All the participants are students of The Secondary
School of Civil Engineering in Jihlava.

While the secondary school does offer two main types of study form, namely three-year Trainee
programmes and four-year study programmes finished by Maturita exam, only the students
from the latter were picked to participate in the research (further in the research, these students
will be referred to as maturita students). This was done so as to keep the language skill of the
participants consistent, around the intermediate level.

The total number of the research subject was eleven (one girl, ten boys), all of whom attend a
third-year class. As a result of the fact that all of the learners have been studying the English
language since the third grade of primary school, their level is more-or-less stable around the
intermediate level. At the end of each lesson, the pupils were asked to provide short feedback
on the lessons and their activities.

Lastly, while discussing the research subjects, it is important to note that, so as to make them
feel more at ease, some measures were adopted to retain their anonymous status. Firstly, the
students were informed that their answers were being recorded but also given a strong assurance
that their identities would remain hidden and in no way identifiable. Additionally, since the
value of feedback on the activities lies in its content and not form, the students were told that
the Czech language could be used in answering any open questions. None of them took the
opportunity, but it is my opinion that they at least felt reassured about being able to truly express
themselves.

5.3 Conduct Discussion

The following sub-chapter focuses on the piloted lesson. Understandably, their execution was
a crucial element in the process of evaluating their effectiveness. Throughout the process, the
author carefully observed the students' engagement and monitored their performance. After
each lesson, the author reflected on the overall process, considering what went well and what
could be improved. These reflections were based on both the author's subjective observations
and feedback from the students. Additionally, the author asked the students to provide their
own feedback, asking them about their experiences and how they felt about the activities, which
51
provided valuable insights into the efficacy of the lesson plans and how they impacted the
students' learning.

5.3.1 Lesson Plan 1 – Setting the Scene

As has already been stated, the idea to put the storytelling lesson as the first was intentional so
as to catch the learners' interest and thus make them more motivated for the following plans.
As such, this lesson served mainly to immerse the students in the new world.

The lesson was designed to leave a strong impression. This was achieved via using the
mysterious atmosphere as an equal to the environmental store-telling used by the games and
the scarcity of certain elements (in this case, the source of light), which also served as a way to
give them a natural need for cooperation, once again mirroring the multiplayer system of the
games. Additionally, considerable focus was also put towards the promotion of the learners‘
autonomy because many aspects of the lesson are meant to be deduced by them on their own.
Despite there being a lot of elements to do, the students were very enthusiastic throughout the
whole process. They especially enjoyed the theme of the text and its gothic content.

At the start, the learners were taken aback by the sudden change in format, but they divided
themselves into two teams, received their fleshlights, and entered the classroom without any
issues. The clear change in the placement of desks was enough for them to identify the supposed
workplaces. In my case, I was lucky enough to be in a classroom connected to another room,
so I was able to divide the teams completely. Moreover, my idea that only some of them would
have the flashlights truly pushed them towards cooperation; one had to shine the light on the
puzzle while the others matched it together. Therefore, I do believe that the pre-reading was a
success and really set the mood, provided context, and woke up their curiosity. In regards to
the reading activities, they were happening in the same spirit. All the students were soaked in,
genuinely reading the short texts.

Nevertheless, the post-reading was probably the most interesting; they had to return to the short
texts and look for specific information in them so as to complete the text. When one team
decided on the strategy "who finds something, writes," the other team chose a writer, and the
others provided a source of light and a pair of eyes. Also, I decided against turning on the lights
for the post-reading because the students handled the work with flashlights very well.

Overall, the lesson was very enjoyable for both the learners and me. There are no aspects I
would consider in need of a change as I do believe most of the things ended up in success.
52
However, it is crucial to note that the theme of the lesson plan might not fit everybody and
could even have a negative effect on some other students. Still, the lesson is designed in such a
way that the theme can be easily changed with the use of different visuals. As was already
stated, the visual side of the activities is not the primary focus.

The implementation of gamification elements in the learning environment was well-received

by the learners. The storytelling and narrative aspects were effective in immersing the learners
in the fictional world, while the choice of how and where to use light as part of the ecology
aspect encouraged cooperation and social interaction. Furthermore, the personal aspect of a
puzzle was a particularly popular feature among the learners. Overall, It can be comfortably
said that the incorporation of these gamification elements helped to enhance the learners'
engagement and enjoyment of the learning experience.

5.3.2 Lesson Plan 2 – A Whole New World

After laying out the foundations for the story, Lesson plan 2 was meant to translate the game’s
masterful world design/level design into an ELT environment. As there was no way to create
any virtual environment, astonishing scenery or genius shortcuts like in the Soulsborne games,
I took the liberty of using the theme to simply provide a sense of discovery and progression in
the students, as well as introduce them to the wider fantasy world, thus creating a connection
with the previous lesson.

At the start of the lesson, the students quite enjoyed the group making via the sigils. Some, who
were familiar with the games, were truly delighted. Surprisingly, they had no issue sliding back
into the story and were very quick to get immersed. Additionally, the group work and teamwork
were effective in getting the learners engaged in completing the tasks. Overall they seemed to
have fun with the activities as a whole. Some of the students were quite eager to see what new
part of the map would be revealed next.

The initial three activities in the lesson were intentionally designed to create a false impression
that the rest of the tasks would be similarly designed simple grammar exercises. This was done
in order to increase excitement, as the revelation of newer, more varied tasks was a pleasant
surprise for the students. Additionally, the need to go and find the initial three tasks effectively
captured the students' attention and made them look forwards to exploring further.

Through the lenses of Gamification, the activity included Personal elements, such as Novelty
(related to the updates, surprises, and changes in the environment), Puzzles (cognitive tasks),
53
Objectives (quests, milestones) and Sensation (Visual Stimulation). All of the mentioned were
greatly appreciated by the students, and visibility promoted intrinsic motivation among the
learners.

Next, the Social element of cooperation (the need to collaborate and achieve a common goal)
made sense of teamwork quite prevalent in the classroom because nearly every group split some
tasks among its members. Lastly, the element of Progression (revealing of the map and moving
from place to place) successfully ensured the presence of some extrinsic motive.

5.3.3 Lesson Plan 3 – Never Powerless, and Never Alone

Lesson plan 3 was piloted upon the foundations set by the previous lesson, for we returned back
to the map. A still-hidden place of the "Iron Keep" was revealed to the students, lighting up
their interest. The idea of presenting the need for pair-work through the narrative itself was a
good choice, as most students got into the story, and none wished to work alone.

Where Lesson plan 2 took only thematical inspiration, the idea of Multiplayer could be
translated more literally into an ELT lesson centred around a group formatting activity. The
students were very much intrigued by the "strange" format of creating pairs (and the T making
such a big hassle about it). Despite initial minor confusion, the S proceeded with tasks without
any significant issues. It certainly helped that the idea of sigils and Covenants had already been
shown to them before.

Both the Summoners and the Summoned worked on their tasks with enthusiasm, successfully
managed to find their counterpart and completed the task of storming the keep. Nevertheless,
the timing of the lesson was rather rough around the edges and could be improved upon.
Additionally, the final task should have been more grandiose because I feel that, even though
students were visibly enjoying themselves, they were a little bit disappointed by the simplicity
of the final task.

In regards to the gamification, the lesson used the Social aspect of Cooperation, which was very
successfully implemented because, by the end, the students felt as if they truly earned their
place in the pair (they were not just simply divided). Additionally, the aspect of Performance,
namely Progression, was quite significant in providing excentric motivation by helping the
students navigate within the environment of the activity. Moreover, the Ecological aspect of
chance, as well as the Personal aspect of the objective, was a very welcome addition and, from
the point of view of both the students and the teacher, enriched the lesson.
54
5.3.4 Lesson Plan 4 – The Bigger They Are, The Harder They Fall

Lesson plan 4 was the final "Soulsborne" lesson and was designed to serve as a climax to the
story and the world which had been created. The lesson incorporated elements from all previous
three lessons, be it a smaller, thematic one or a larger, mechanical one. In addition, while the
previous lessons were meant to "hook" the learners, the last lesson represents the main ideology
of the Soulsborne genre, which is the continuous struggle against a difficult challenge and
learning from mistakes through failure. Such occasions lead to a boost in self-efficacy via
internal locus of control (see Chapter 3.3.2.).

It is, of course, naive to think that it is possible to completely transform aspects of video-game
combat into an ELT activity. Therefore, although drawing upon some inspiration both
mechanic-wise (health bars) and visual-wise (pictures of Logarius, Annalise, etc..), the main
focus was put towards the specific mindset the students are put in. Although the lesson was
very demanding to pull off because it required the help of my two colleagues, it ended up being
quite an interesting and positive experience.

At the beginning of the lesson, the students appreciated the revealing of the final piece of the
map, as well as the connection to the story set in the very first lesson plan. Afterwards, the
separation to the individual battlefield happened rather smoothly, although some students were
a bit unsure about the following development. Therefore, one weaker student was glad to
"summon" his classmate, who had no issue with it whatsoever. Additionally, the two advanced
students volunteered to become the helping hands of the teachers.

The activities themselves were being visibly enjoyed by the students. Although there was some
initial confusion present at the beginning of the lesson, my colleagues and I did a good job at
explaining some basic rules. The students proceeded to the activities, and there were some
failures, some "deaths," but also times of happiness from defeating a boss. Nevertheless, the
process was quite demanding on the teachers because they quite literally had to replace the role
of a programme code of the games, which provides a constant flow of undeniable challenge.
Additionally, and most importantly, by the end of the lesson, many students expressed that their
victory was achieved thanks to their own ability, no mentioning any external elements in their
feedback (see chapter 5.5).

Despite the deaths, all the students managed to defeat the final boss. Afterwards, I, together
with my colleagues, gave the students we were observing feedback on how they were doing –

55
what went well and where to avoid taking damage. In other words, the students received a
formative assessment, showing them where and how to improve.

In terms of gamification taxonomy, the lesson successfully used Personal elements of objective
(the bosses serving as milestones) and sensation (the visual stimulation provided by the
activities handed out to the students); Performace elements of progression (steps in the form of
a boss-order), stats (in the form of numbered health-bars), and acknowledgement (the use of
the final reward - achievement); Fictional elements of Narrative (the lesson serves as a climax
to the story set in the first lesson); Social in terms of cooperation (presented via the possibility
to work with their summoned classmates).

Moreover, at the end of the lesson, the students provided their feedback on the lesson, in which
they answered questions about mastery experiences, which is related to an increase in self-
efficacy, and by proxy, in motivation. The students answered the following questions as part of
their exit card;

1) Were the tasks difficult for me?

2) Why was I successful in the task?
3) Was there anything that affected my achievement?
4) Do you think that you would be able to complete the same but more difficult tasks now?

The results of all the data derived from this feedback will further be discussed in more detail in
the following chapter.

6 Research Results

The following chapter aims to present concrete data connected to the possibility of increasing
learners' motivation by boosting their self-efficacy through the provision of opportunities for
mastery experiences.

To ensure a clear, understandable, and accurate representation of the research results, both
textual and visual methods were chosen. Specifically, the analyzed data will be presented
through tables and graphs, which should minimize the possibility of any misinterpretation.
Additionally, some answers of the student’s students were changed so as to be in line with
correct grammatical forms.

56
6.1 Findings

All the responses to the four questions were viewed as a cluster of data which underwent the
process of coding. Consequently, a total of five categories of codes emerged.

 Mastery Experiences (ME) - This code was given to those responses that showed a
sense of triumph after completing the assigned tasks, and enjoyed the game(ish) format
of the activity. As an example, the following extracts are presented in the extract (1, 2,
3).
(1) "It felt cool after I defeated all the bosses!"

(2) "I felt kinda proud of myself for finishing the tasks."

(3) "Because it was so hard, It felt good when I completed it."

 Internal Locus of Control (ILE) – This code was used for responses that conveyed a
belief in learners‘ own control over the outcome of the task. For instance, in the extracts
(4, 5).
(4) "I felt like it was only me who completed the tasks."

(5) "The defeating of the bosses was up to me."

 Self-Efficacy (SEC) - This code was assigned to responses that indicated confidence in
one's own ability to succeed in the tasks and for any future challenges. As an example,
such instances are shown in extracts (6, 7).
(6) "I was confident in my skills to complete the tasks."

(7) "I can complete similar but more difficult tasks. "

 External Locus of Control (ELC) - This label was given to responses that suggested
a belief that there was some external factor affecting their success or failure in the task.
The situation is presented in the extracts (8, 9)
(8) "Sometimes, I felt like I was just lucky."

(9) "My success was affected by my partner's assistance. "

 Lack of Mastery Experiences (LME) - This label was given to responses showing a
lack of satisfaction in completing the tasks, presented via the following extracts (10, 11)
(10) "I did not feel that I did very well on the tasks."

(11) "I think I could have done better."

57
Consequently, a total of 42 codes spread across the five categories were discovered within the
student's answers, the majority of which were connected to positive effects (see Figure 5).

The most prevalent feelings described by the students were those related to Mastery
experiences, sitting at 13 mentions (31% of the total). As the second and the third, there are
feeling directly describing positive Self-Efficacy (SEC) at 12 mentions (29% of the total) and
Internal Locus of Control (ILC) at 11 mentions (26% of the total).

Figure 5 – Visual Representation of the coding process

5%
9%
31%

29%

26%

While these aspects are all heavily correlated with one another, they are different and should be
seen as separate entities. Nevertheless, if we were to combine them into one single category of
positive attitudes, they would make up 80% of all the answers (36 out of 42 defined codes).

Additionally, it cannot be ignored that some "negative" aspects did emerge. Out of all the
participants, two students did express aspects implying External Locus of Control (5%). Also,
there were four mentions of a Lack of Mastery Experience (9%). In total, these make up only
20% of all the codes.

Therefore it is possible to argue that, in regard to the last lesson plan in which the Soulsborne
elements were implemented, the majority of students saw their achievement through their
internal locus of control, leading to pure mastery experiences. These, in turn, gave way to a
boost in self-efficacy, inadvertently leading to increased motivation.

With these results in mind, we can argue that the initial idea to translate not only the surface-
level themes of Soulsborne elements into a gamified learning environment but also the inner

58
psychological elements is a viable one. The students were presented with challenging tasks, but
thanks to their gamified nature, they remained persistent in completing them. Furthermore, the
immersive environment created a sense of ownership and personal responsibility for the
students, which had a positive effect on their efficacy. This directly mirrors situations within
the games where players know that they were the only ones who defeated a difficult boss, a
concept that lies at the core of the Soulsborne experience.

The results also highlighted the importance of creating a learning environment that is
challenging but not so difficult that it becomes demotivating. The gamified approach provided
a sense of engagement, which helped to maintain students' motivation and kept them focused
on their goals.

7 Conclusion and Discussion

As was stated at the very beginning, there were two primary aims of the thesis; (1) identify
motivational elements of the games belonging to the Soulsborne genre, connect them to the
theory of gamification, and produce lessons plans based on those connections; (2) Pilot the
lesson plans in the environment of The Czech Republic, particularly in The Secondary School
of Civil Engineering in Jihlava, and discover whether or not they can positively affect the
students‘ motivation via providing a boost in self-efficacy.

As far as the first aim of the thesis is concerned, the lesson plans drew upon the knowledge
described in the theoretical part and were successful in translating the most crucial aspects of
the Soulsborne genre into the environment of gamified ELT activities. While it is not possible
to literally translate Soulsborne mechanics, the activities and lessons were, in my opinion,
fruitful in adapting the thematic, visual, and psychological aspects of the games, which did
create a learning experience that, to an extent, bears a resemblance to the games and their
philosophy.

Additionally, the lesson plans were created as interconnected, slowly but surely leading the
learners to the final challenge of a boss fight. In more detail, the first lesson served as an
introduction and "setting of a scene", which got the learners interested in both the story and the
unusual learning process. The second lesson was aimed at introducing the wider world, giving
the students a sense of wonder and discovery, and laying the foundations for the remaining two
lessons. The third lesson focused on the multiplayer aspect of the games promoted cooperation,
and opened a way for some students not to be left alone during the final lesson. Last but not

59
least, the final lesson plan served as the truest Soulsborne gamification experience, for it
embodied the main aspect of the game; a boss fight/challenge.

Consequently, the implementation of the lesson plans, particularly the last one, may place a
significant workload on the teacher(s) during the piloting phase. However, the plans succeed in
creating a beneficial learning environment for students, which also bears similarities to that of
a Soulsborne video game environment. As a result, the plans, activities, and elements used in
them could be appropriately referred to as an example of "Soulsborne gamification."

In regards to the second aim of the thesis, the mixed-method research provides data that suggest
a positive effect on the learners. Through the process of coding and subsequent quantitative
conversion of the data, we can derive that the final lesson plan does indeed promote the internal
locus of control, through which mastery experience is acquired. According to Bandura, this is
a most intense boost of self-efficacy, a fact also viewable from the answers of the students to
the last question. Nevertheless, it is important to note that the research has been done on a small
number of participants, and further implementations may look different when a larger number
of participants is concerned.

After an in-depth examination of the research findings, I'm convinced that it provides a solid
foundation for English language teachers to explore gamification techniques in their teaching
practices. The study offers a unique viewpoint on gamification, specifically in the Soulsborne
genre, which has remained largely unexplored until now. This unique perspective can give
teachers new and engaging ways to teach English, leading to more effective learning for their
students. Therefore, I strongly believe that this research can make a significant contribution to
the field of English language teaching and inspire more exploration and development in
gamification methods.

60
 LIST OF TABLES

Table Page
1. Engaging Game Mechanics.................................................................................... 12.
2. Basic Human Needs………………………………………………………...................... 13.

LIST OF FIGURES

Figure Page
1. World Of Warcraft vs Dark Souls Skill Points System …................................... 17.
2. Steam Badge System …………………...……………… …..................................... 18.
3. World Of Warcraft PvP Leaderboard …………………………........................ 19.
4. Gamification Taxonomy ……………………….………………......................... 23.
5. Visual Representation of the Coding Process…………..………........................ 56.

LIST OF APPENDICES

Appendix Page
1. Materials for Lesson Plan 1…………………………….................................... 66.
2. Materials for Lesson Plan 2…………………………….................................... 73.
3. Materials for Lesson Plan 3…………………………….................................... 77.
4. Materials for Lesson Plan 4…………………………….................................... 78.

61
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Appendix 1

Materials for Lesson Plan 1

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Appendix 2
Materials for Lesson Plan 2

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 Appendix 3
Materials for Lesson Plan 3

On a green field, a I'm a symbol that's On a blue field, a

wolf's head lies, bright and bold, shining sight,
* * *
Red eyes aglow, its On red background, A white blade lays,
gaze defies, my tale is told, reflecting light,
* * *
Teeth bared, ready to Three candles flicker, Above it all, a half
surprise, in a hold of gold, moon's might,
* * *
From bottom left, to
top right.

A round emblem of
white and gold,
*
A sun with closed
eyes, serene and bold,
*
Eight rays of light, its
warmth untold,
*
Cooperation's sign, in
tales of old.
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Appendix 4
Materials for Lesson Plan 4

Begin
Let the Games

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