Approaches to Multimodal Revision

Both with my own students and other instructors, and at our most recent CIC Workshop, I’ve had a lot of conversations about anxiety when approaching multimodal projects—specifically, anxiety over how to tackle revision. I’ve felt that anxiety myself; developing a philosophy on multimodal revision, a necessity within a portfolio-based writing program, can be tricky. What does substantive revision look like for a multimodal project? What do you emphasize as the end-goal of multimodal revision? And what do you do with multimodal assignments that are difficult to revise within the course’s timeframe?

While everyone’s approach varies with context (and often even by assignment!), here are a few tips for facilitating and framing multimodal revision:

Scaffolding the Revision Process

Assignment sequences that allow you to pace out feedback and the timeline for revision can make the whole process much less daunting, both for you and your students. To scaffold the revision process into your course design, you might…

  1. Consider dividing projects into preliminary draftsPreliminary drafts are often easier for students to revise; they’re much more malleable, and students are often more receptive to feedback during the drafting stage. This also helps focus your feedback, which can be geared toward students actualizing their project. You might have shorter assignments that ask students to first create scripts, storyboards, mock-ups, “minimum viable product” drafts, or pitches, depending on the nature of their multimodal project.
  2. Create opportunities for peer review during the drafting process

    Similarly, incorporating peer review into the earlier stages of drafting provides students with concrete insight into how their project is working and where they could make adjustments. These early interventions create a more collaborative class environment and make it easier to resist the urge to backload revision at the end of the course.
  3. Set clear expectations for revision and articulate them before feedbackPotentially as early as in your syllabus, in your first few class sessions, or within the assignment prompt itself, you might find it helpful to clearly state what goals and expectations the class will have with revision. What does substantial multimodal revision look like for your course? For an assignment? If this is a question that you want your class to negotiate from project to project, what general, core expectations might you let these individual negotiations stem from?
  4. Consider crowd-sourcing assessment criteria with your classNot only does this create space for students to more actively and equitably engage with their own assessment, but establishing a communal vocabulary for assessment can make understanding and incorporating feedback easier for students. It can also make peer review more effective, as well. You might begin with the course outcomes and ask students to brainstorm what these outcomes would look like specifically for the assignment, or you might have students assess a past sample together.

Process Over Product

In framing revision, it can be helpful to emphasize gaining and understanding new skills over producing perfect final products—this allows students to experiment with genres they may not feel like they have mastery over and places the focus on growth, student choice, and active use of course outcomes.

  1. Use reflection prompts or revision plans.These encourage students to demonstrate knowledge of course outcomes and concepts, as well as to explain their rhetorical choices as composers. Revision plans create space for students to explain what they would revise if they had time or were asked to do so; revision plans keep the focus on the process of learning multimodal composition and negotiating feedback with questions of rhetorical effectiveness, while acknowledging the time constraints of the course (“If I had more time to work with this project, I would…”). Additionally, these types of assignments tie in well with the goals of the final portfolio and incorporating metacognition.
  2. Provide multiple opportunities for students to reflect at different stages of the composing processReflecting across a project’s composition helps students break down the creative process and see how feedback, revision, and trial and error shaped their work. Ask students to focus on the effects of their compositional choices and incorporate evidence from their compositions.

Giving Feedback to Multimodal Assignments

Sometimes, anxieties about facilitating multimodal revision are tied to broader anxieties about giving feedback on multimodal projects. In addition to emphasizing process over product, here are a few things that might demystify the feedback process:

  1. Be aware of time managementMultimodal pieces often take more time to grade, but it’s important to experience the piece in full—the pace at which the audience engages with the material is a rhetorical aspect of the text. You might try to develop systems for responding quickly and effectively to multimodal texts, like taking screenshots or marking areas to return to after your first viewing.
  2. Consider Higher Order Concerns for multimodal feedbackWith multimodal projects, keeping tabs on how much revision you’re guiding students toward can make your feedback more straightforward and their revision process less overwhelming. Like in any other composition classes, use rhetorical principles to guide your comments. With HOC in mind, you might focus feedback on:
    • The composition’s effectiveness in addressing the rhetorical situation
    • Where the composition could better meet the requirements of the assignment or tie to the course’s overall goals and conversations
    • How effectively the composition uses multiple modes symbiotically, rather than considering the modes separately in your feedback. Does the composition combine appropriate modalities effectively to communicate the piece’s purpose? Or do the multiple modes overlap in ineffective, redundant ways or seem extraneous?

An effective, consistent feedback system and scaffolding revision into your course are just a few of the larger approaches that you can take to make multimodal revision a little less intimidating in the composition classroom. Let us know in the comments if you’ve got any tried and true approaches to framing multimodal revision to add to this conversation!

For further reading, check out these sources that helped inform this post:

–A. Gilbert

New CIC Introduction

Hey, y’all! I’m Alycia Gilbert. I’m the new CIC AD this quarter, and I wanted to introduce myself!

I’m a PhD student who works primarily with adaptations of nineteenth-century texts; any stage/film/television/graphic novel/web-series adaptation of nineteenth-century source material, and I’m all over it (and there’s a lot of it out there–there’s even a Jane Eyre manga). I’m mostly interested in how historical ideologies move and are mythologized across time, genres, and contexts. Basically, I ask “how do adaptations ‘perform’ the nineteenth century and its power structures for modern audiences?” while analyzing every version of Dracula I can get my hands on.

In my own teaching, I love bringing adaptation studies into the classroom and encouraging students to compose across genres themselves. And since adaptation studies is, by necessity, a multimodal and interdisciplinary field, I like my syllabi packed with comics, films, and social media feeds. My courses are deeply invested in exploring the choices made in retelling/recreating a text, as well as the cultural and political stakes of adaptations. I’m also passionate about making space for students to be creative and draw from their own interests, and I’m always excited to talk with other instructors about how to design flexible projects that facilitate student input!

Outside the university, I’m a scribbler of all sorts (mostly fiction writing, but I’m also an aggressive doodle-r), a horror fan, and a lover of children’s lit.

I’m always excited to brainstorm course design, from assignments to lesson plans. Especially with the current online teaching environment, I’d love to talk about how we can explore new ways to integrate technology and creativity into the composition classroom while prioritizing mental and physical health. If you ever want to chat about the CIC classroom or multimodal teaching in general, email me at!

I’m looking forward to talking with y’all more!

Tips for Creating Your Remote Learning Course 

Because of Covid-19, we must adapt in ways that we’ve never been asked to before. One of those ways in online or remote learning. To be frank, many of us know what we’re doing, but we’re in this together. And in the name of solidarity, here are some tips, collected from the internet and from fellow multi-modal instructors, to help you in designing your own remote learning course:

  1. Adapt and/or re-use the materials provided for you. There are a lot of resources in the EWP archives, website, and from different universities; resources like, syllabi, lesson plans, rubrics, etc. You don’t have to stress so much about creating something new when you can use artifacts that have already been tested and revised for multimodal and/or remote classrooms. Although adapting materials can feel like a chore in and of itself, it can still save you some time and may relieve some “is this going to work/ make sense” anxieties.   
  1. 2.  Re-think control. Remote learning gives students the opportunity to lead and drive themselves, as well as hold themselves accountable. Although you may hear some say that remote learning can lead to apathy, it can also lead to trust and confidence that students are able to learn and develop skills in a more flexible manner. So relax! Just because you don’t see your students every day, doesn’t mean they aren’t learning. When re-using and developing materials, think about redesigning to learner-navigated activities while continuing to keep in mind the learning goals of the materials.
  1. Keep in mind accessibility by using captions, sound quality, words that can be seen clearly on PowerPoint, and direct links. There is an accessibility check available at UW and on canvas. Zoom and Panopto have amazing tools like adding captions and providing a transcript, you just have to adjust in your settings page. Also canvas has a mini-course you can take called Teaching with UW technologies, consider signing up so that you can learn more fluidly how to use these resources for increased accessibility. It’s also a good idea to test your technology equipment before class session to make sure it’s accessible.
  1. Be adventurous with activities. Remote learning doesn’t have to be limiting at all! In fact, it can be the opposite. There are many platforms designed for remote collaborations, like google docs and social media platforms like Twitter, Instagram, even Spotify. Also consider how they can obtain the learning objective in their kitchen or backyard. Rather than conversations with their classroom peers, how might they engage and learn with socially distant community or familial dialogues?
  1. Pro and con synchronous, asynchronous, or hybrity course. Deciding on whether to be fully asynchronous or synchronous, or a mixture of both, might depend on the types of learners in your class and who you are as a teacher. Ask your students how they learn best before or on the first day of class. And also ask yourself what makes you comfortable and confident as an instructor.  You may find that a hybrid model might be best, or perhaps one where you have asynchronous activities and communal, synchronous, optional office hours. Beyond access needs, time difference may also determine whether to have an async or sync class. If time differences in your class are wide-ranging, this might be the biggest argument for pro-async class. However, if students need social learning, consider encouraging students to group themselves, or you organize groups, based on time zones; they can decide on optimal times to meet synchronously. Ultimately, these two models allow for different ways of engagement in remote learning. Synchronous learning gives ways to some form of traditional classroom engagement, discussions include immediate feedback and conversation, and technical difficulties might be felt harder. Asynchronous gives way to more flexibility regarding pacing, time scheduling; students often navigate and guide themselves; technical difficulties are less noticeable; and it could lead towards isolated feelings.

— B. Frantece

5.21 Teacher Talk Review (for those who might have missed it):

Strategies for Reading and Engaging Across Modes

CIC workshop

Following the discussion of our previous teacher talk (please see below), we thought about how we can implement some of those creative practices into our actual teaching. In this workshop, we talked strategies!

We started with a strategy on how to teach visual analyses. We looked at the Queen of Wands tarot card and broke our engagement down into steps. First, we picked the card apart by naming all of what we see. We took our time describing what we saw or sensed in the card. Secondly, we read the artist’s intention with the piece by looking up their description within the tarot book (that comes with the card). Third, we listened to what others are saying about the piece, or how other tarot readers or tarot enthusiasts describe and give meaning to the card. Then the grand finale: Taking all of this into consideration, we discussed our own analyses. We took turns offering what we thought the card meant to us. We found that these steps can be applied to engagements in many genres. These steps aren’t necessary the writing about the art object, but rather note-taking to help in the writing process.

We also had some discussion about how to engage with poetry. Poetry allows us to open up to our sensations that we experience while reading the poem. We have to pay keen attention to the rhythm, the line breaks, tone, and structure of the empty spaces. And mostly, we have to ask ourselves, how do we feel with the poem. What bodily sensations does it invoke? This is powerful because poetry, and this strategy to reading poetry, teaches us how to make sense of feelings and sensations as viable, critical, necessary reading and engagement practices.

The conversation was dynamic and invigorating. Both strategies complement each other. Both allow students to bring in their own interpretation of art and poetry while also critically engaging in a community to help foster understanding.



5.1 Teacher Talk Review (for those who might have missed it):

The Creative Teacher

Round table discussion

What a fun conversation this was! There were 13 participants–– a mixture of faculty, creative writing instructors and students, and EWP/ IWP instructors. Such as collective was bound to reap abundant discussions! The guiding questions for this talk centered around how we bring in our creative side to our composition classrooms. Many of us in the English department, and as writers in general, have a creative mindset and way of looking and understanding the world. It’s difficult to be in a field that can sometimes be rigid and regiment in its studies (ew, grammar). We want to feel free in our teaching and learning to branch out into different genres, modalities, structures, and so on. We aren’t just writing expository essays. With that, we ask participants to share how they navigate this terrain.

Many of us indicated the need to break out of regiments composition because of the need to diversify learning. A divide between critical studies and creative studies is a false one because sometimes thinking outside of order is necessary to arrive at and engage with radically new work. Introducing creativity allows students to experiment with their ideas and allows them to bring their whole selves to the table. There’s no need to cut off pieces of themselves to fit the mold if the mold container is flexible and malleable. So, we shift our pedagogical practices towards teaching students how to ask appropriate questions and conduct the proper research to create out of the box projects. We find that with these projects students are more in touch with their interests and with other worlds that may have been unfamiliar to them.

We also discussed some assignments to help students build a bridge between creativity and critical projects. We discuss assignments where students are asked to provide a biography for an object or for a space that they’re in. Assignments where they can use alternative mediums, modes, or genres to make their arguments–– like photo-essay, collage, podcasts, or paintings, to name but a few. We also discussed the possibilities of creative writing assignments in an expository classroom, like short stories, comedy essays, and poetry.

In short, we had an engaging conversation about why it’s important for students to feel encouraged to experiment and to be more creative and open in composition classrooms. And we crowdsourced information, activities, and assignments to can help us achieve more creativity in our own teaching practices.

-b. frantece

4.20– Teacher Talk Review (for those who might have missed it):

Making Effective Use of Canvas Tools and Engaging Students

hosted by Ben Wirth, PhD and C.R. Grimmer, PhD

As we navigate how to transition to a fully online learning experience for everyone, Dr. Ben Wirth and Dr. C.R. Grimmer gave us some helpful tips to guide us along. The guiding questions for this talk helped us think about how we can be most accommodating to everyone, both to students and ourselves as teachers, during such a precarious time while also still learning composition, writing, and teaching styles. We inquired about the pro’s and con’s of a fully asynchronous course or a course where everyone regularly meets via web conferences, or the right balance of both. We also discussed some activities that can boost engagement for both async and through a webcam meeting.

To start, Ben gave us an overview of his fully asynchronous class that is still filled with engaging reflective activities. He makes use of Canvas Groups tool; it’s an underused, yet so useful, student-led collaboration tool on Canvas. This is an easy way to do group work and group grading–– just select it as an option when posting the assignment. This tool helps students build camaraderie even though they may not be working all at the same time. For non-graded assignments that can still use group work (and use a tool that you and students may already be familiar with), Ben also suggests Google docs, as the software has tools that encourage sync or async conversations. Ben suggests “archive building” is a great collaborative or group assignment. Also, check out wiki-styles for other fun group work assignments.

C.R. gave us some advice from how she teaches her mix of async/ sync course. For an engaging discussion board post, she suggests avoiding prompts where canned, scripted responses are possible. You know, like right or wrong answers or just copy + paste from the book (or from the internet, let’s be honest). When addressing the prompt, C.R. has students apply their response to a third external text–– like a Youtube video, twitter post, a story, songs, etc.––  that relates to them in ways they can articulate. This way, rather than providing a textbook answer, they can demonstrate their understanding of the concept in authentic, organic ways, as well as bring in their own interests. C.R. builds collaborative engagement during the class synchronous meeting; she has them in groups, and they discuss, question, engage with each other’s responses. As a class, they discuss the post that piqued their interests, and together they unpack the students’ responses. It’s fun!

In all, we had a great discussion, we all were able to talk with each other about our own classes and the strategies we use to help boost engagement remotely. We bounced around ideas, alternative activities, and interactive assignments. I was happy to be there!


Teaching Intertextuality As Community Engagement

By B. Frantece

Many of us teach intertextuality in our courses. It’s a helpful composition strategy, right? As a way of incorporating someone’s idea (with proper citation of course!) into your own ideas and project– kind of as a way of acknowledging that we’re influenced by different people, texts, cultural arts, etc. I like to think of it as a way to put different ideas in conversation with each other and, in doing that, adding to the conversation.

Well, I was strolling down Instagram today, a recent hobby I’ve been practicing more and more lately, and I can across diana ballesteros’s illustrations inspired by the wisdom of adrienne maree brown. Both creators identify as revolutionaries and activists, and, in their own ways, their works are gifts with healing abilities. Their works often ask us how we can learn through moments of uncertainty and precarity.

brown’s lines are about lessons we can learn to survive the end of the world. For example, staying in the moment or finding creative ways to communicate. ballesteros’s illustrations take those words and show how they are embodied through insects. So ballesteros illustrates how crickets, for example, show us that music will get us through, which is a lesson brought forth by brown. Or how caterpillars show us that we need to rest sometimes.

What I love about this moment, and how I think it’s very pedagogical, is that it shows creation/ composition as is a communal effort. We are always speaking and listening to each other when we put forth works into the world. Many of us have heard that wise adage, “we don’t exist in a vacuum.” Some creators are actually embodying that. And not only does collaborative effort allow for interesting and clever projects, but it also serves as a way for us to learn from each other.

Also, art helps up through difficult times and so does community. How can we incorporate those ideas into our teaching practices?


Hi Everyone! I’m BrittNEY Frantece. I’m the new CIC AD, and I thought I’d introduce myself!

I’m a pro-Black, non-binary femme essayist, visual artist, and instructor. I write essays about speculation in Black arts and literature; I read speculative literature and write speculative critical essays. It’s fun. In my art, I’m a digital artist and printmaking. That’s also fun. I work mostly with Adobe illustrator with my digital art, finding simple way to snapshot the mundane in life. I do linocut prints although I’ve been wanting to get into lithography.

As far as teaching, I try to think outside of tradition. I remember being constantly regimented on strict grammar and effective writing rules in school, and I want students to feel safe to rid themselves of that philosophy when they see fit. Sometimes I find people are hesitant of breaking those rules. However, humans aren’t categories, and we don’t always communicate the same meanings, the same way.

I love collaboration! I love bringing together pedological resources so that we can learn from each other. I hope to use the space of the blog, teacher talks and multimodal workshop for just that. Maybe can add some other modes to the mix– podcast, pre-recorded videos. I’m very open to hearing suggestions! If you want to talk, email me at!

I hope to talk soon!

Comics in the Classroom: Teaching Students to Read and Produce Graphic Novels

Assortment of graphic novels

This blog post offers materials and approaches for teaching comics from English 182 instructor Sumayyah Daud and English 131 instructor and graphic novel author Dorian Alexander’s recent workshop on using graphic novels in the writing classroom.

Why teach with comics? This isn’t an art class!

Graphic novels are an accessible medium that help connect students to material in less dense ways. Even if students don’t illustrate their comics, they can write scripts, which are used in the graphic novel world to convey multimodal design information to the artist (here’s a script example you can use in your class). In addition to or instead of creating comics, students can also read and analyze the multiple modes through which these texts convey meaning.

Okay, you’ve convinced me. How do I choose a text and develop assignments?

  • Browse Comixology, an online comics library.
  • Search for texts related to your course content and theme.
  • Consider cost: is the text going to be financially prohibitive for your students?
  • Look for representation. The world of commercial comics is largely white, straight, and male, but there are great independent texts that represent a broader array of characters.
    • Dorian recommends the upcoming queer comics anthology Be Gay, Do Comics by The Nib. I just backed it on Kickstarter, and you can too.
  • If you are asking students to write comics, consider the types of narratives you want students to produce and how you can model those narratives through the texts they read.
  • Adapt the sample prompts and use the texts suggested below.

 How Sumayyah Teaches with Comics

Sumayyah Daud, comics workshop facilitator



My first and second sequences lead up to students producing a comic. The first sequence ends with a fully-developed pitch, and the second sequence ends with a script. 

Sumayyah’s Teaching Resources:

  • Visual analysis PowerPoint (Warning: includes spoilers for Monstress)
  • Assignment sequences 1&2
    • Note from Sumayyah: This was my first time teaching 182. When I teach it again, I think I am going to move MP1 and structure my sequence as SA1, SA3, SA2, SA4, MP1, MP2. The second MP has space for shorter assignments built in (the outline and peer review), and this arrangement makes more sense in terms of skill scaffolding. I felt there was a lot of yoyo-ing this quarter in part because I was trying to find my feet in a new reading curriculum, and I think this arrangement would rectify that. This arrangement would also allow me to organically scaffold critical considerations of their work, instead of going back and forth between the creative aspect and the critical aspect.

How Dorian Teaches with Comics

Dorian Alexander, comics workshop facilitator

I’ve taught with comics in all my English and History courses. I find that comics are becoming a global touchstone of sorts and are therefore excellent aids in diverse classrooms. My current pedagogical favorites include Queer: A Graphic History by Meg-John Barker and Julia Scheele and Nat Turner by Kyle Baker.

Join us for upcoming CIC workshops, “Teaching with Video Games,” facilitated by Sophia Chen on Friday, November 22nd from 11:30-12:30 in MGH 082 and “Teaching Critical Technologies” facilitated by Caitlin Postal on Thursday, December 5th from 3:30 to 4:30 in MGH 082.


Thank you to the workshop participants and facilitators, Sumayyah Daud, Dorian Alexander, Sara Lovett, Jake Huebsch, Dino Kladouris, and Rachel Dusin for collaboratively generating the ideas presented in this blog post.

Teaching with Board Games: Playtesting the Curriculum

Written by Sara Lovett

On May 3, the board game pedagogy group met to “playtest” two prompts for analyzing and remixing board games. We used the social deduction game The Resistance (available at the library) to demo the curriculum. Below, I have included the revised prompts along with notes on our discoveries. Please feel free to adapt these prompts for use in your own classroom.

Game board and pieces for the game The Resistance

Prompt 1: Rhetorical analysis of a game

Teacher Notes

  • We found it useful to do a visual analysis activity before playing the game or even learning the rules. In our analysis, we noticed the the game is inaccessible to players with significant visual impairments since gameplay relies on images and text but offers no alternative. This realization led me to discover the website Meeple Like Us, which takes a human-centered design approach to board games, reviewing, critiquing, and offering solutions to accessibility barriers in board games. In case you’re interested, here is their review of The Resistance.
  • Depending on the length of the game, it could be played over two 50-minute class sessions, one 2-hour session, or as homework. If the game is assigned as homework (students could play it with classmates or friends), it may be beneficial to use class time to demonstrate gameplay with a fishbowl-style exercise so all students can either play or watch the game one time in class.
  • We suggest that students can focus on a different element of the game during each playthrough, but students could also each analyze a different element (e.g., interactive, rules, narrative, tactile, visual) across the three playthroughs and then compare notes.
  • Alternate assignment: students can create a disruptive “Let’s Play”/”Tabletop”/”Geek & Sundry”-style video in which they critique the game as they explain how to play it. This assignment would teach analysis, critique, and genre awareness.


Before this assignment, students should learn about complex claims and stakes. It would be helpful to include a lesson on visual analysis too.


Before you play, analyze the visual and tactile design elements of the game. What claims do the game pieces (cards, boards, tokens, dice, etc.) make? Play the game at least three times. Discuss your observations with the other players at the end of each playthrough and/or while you are playing.

  1. The first time you play, observe the rules, game pieces, and story. Make sure you understand the game, the claims, messages, and stories that the game communicates  and how the rules and pieces help facilitate communication.
  2. During your second play-through, pay attention to the overall narratives of the game. What claims does the game make through the rules and the story? What are the stakes of listening to or believing those narratives outside of the game?
  3. During your third play-through, return to your analysis of the game pieces. How do they serve as evidence to support or contradict the game’s claims? Or, do these elements make their own sub-claims?
  4. Write a rhetorical analysis (2-3 pages) of this game’s claim and how effective it is or is not. Use specific examples.

Students will be able to…

  • Identify claims and evidence in a multimodal text.
  • Rhetorically analyze a multimodal text.
  • Explain the stakes of a claim and how it could have an impact beyond the text itself.
  • Critique narratives, claims, and ideologies that underlie texts.

Prompt 2: Disruptive Remix of a Game

Teacher notes:

  • We got caught up on the concept of “disruptive” remixes. We had lots of ideas for remixing the game, but many of them did not critique the game. This is something to be aware of if you’re using this assignment: students might not be clear on what qualifies as disruptive, which is where examples may be useful.
  • Here are some disruptive remixes we thought of in various stages of development:
    • Because we identified visual accessibility limitations with the game in our analysis, we wanted to remix the game so it could be played by sighted and non-sighted people. Some ideas we had were adding tactile markers to the cards to differentiate them and creating a digital version of the game that uses text rather than images so it would be compatible with screen readers. We did not have time to build out a full prototype, but we discussed that we would need to do a lot of research and, ideally, playtest the game with non-sighted people to know whether our remix was effective. Limitations involving audience, resources, and time should be accounted for when students are prototyping their projects.
    • Instead of using guns as an image in The Resistance, we pondered how we could use memes to represent the spread of ideologies online.
    • Using the game Pandemic, we wanted to remix the game to reflect actual responses to real-world epidemics. For example, we could research an epidemic and revise the game’s mechanics to imitate real-world responses to make a claim about uneven resource allocation between the global North and South in medicine.


Before this assignment, students should learn about remix, critique, design strategies, and group work strategies.

Return to the stakes you wrote about in the previous assignment. What negative or positive consequences might result from the claims that this game makes? In this assignment, you will revise the game’s elements (story, rules, and/or design) to make a new claim.


  • Option A: Identify a problematic claim that the game makes and remix the game to make a more productive/ethical/equitable claim.
  • Option B:Identify a claim that this game makes that does not reflect real-world conditions. Remix this game to make a claim about the way the world is. Your claim should use the game to critique those real-world conditions.
  • Option C: Identify an accessibility limitation in this game and remix the game to address that issue. To identify solutions, you will need to do research, and you may benefit from recruiting playtesters from outside of our class.

Students will be able to…

  • Make, critique, identify, and respond to claims.
  • Remix multimodal texts.
  • Apply basic design principles.
  • Work productively in groups.

What’s next for the teaching with board games group?

Some of our ideas include full, fleshed out sequences for teaching with board games including more prompts and lesson plans; a workshop series in the fall on teaching with other types of games such as video games, tabletop roleplaying games, or live-action roleplaying games; and a gaming pedagogy workshop in the fall geared specifically toward new instructors. 

Links to check out the games in the library are below: