This article claims that progression in games does not necessarily imply learning and that the unique ways in which game design facilitate progression might are rather unsuitable principles for learning. Previous literature have suggested that principles for learning that can be found in games potentially could inform educational practices. Compared to many other practices, gaming can be less demanding and not as complex since progress can be built into the game system. This notion of how game play functions is then used in order to discuss different design features in games, and it is claimed that games can be designed so that players are able to discover and utilize affordances without always having to develop skills and knowledge. By applying the ecological approach to perception and learning on gameplay, the article describes gaming as a perception – action cycle, i.e., an interplay between seeing and using affordances. This article explores the argument that video games by their nature are good learning environments. Note: an updated version of this article can be found in my dissertation (Chapter V) Therefore, a comparatist should always be aware of the specificities of the particular medium. Furthermore, modern style games increasingly put the camera in the hands of the gamer. In newer games film style cinematography is possible but not all gamers are versed in film cues. In mise-en-scène the way a game visualizes setting and props depends on the technical capabilities of the system the game is played on. In addition, the changing game demographics have prompted a rethinking of the term for computer games. I will show that genre, in itself already a contested term, is used differently in literary-, film-, and gamestudies. In this article, focussing on the terms genre and mise-en-scène, I point out some of the problems such comparisons can elicit. As these games use (visual) narrative techniques, it is natural to use research methodologies from literary and film studies to analyse them, especially when the game is compared to its filmic or literary counterpart. Computer games are also used in transmedia storytelling.

So-called games of progression are often film adaptations or are adapted themselves into other media.

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