00. Front Mattter
::: {custom-style=“FrontMatterHeading” .frontmatter} PUMP UP THE JAM - FACILITATING PARTICIPANT COLLABORATION AND AGENCY IN CREATING CODE-BASED RETRO GAMES :::
Mick Chesterman
A thesis submitted in partial fulfilment of the requirements of Manchester Metropolitan University for the degree of Doctor of Philosophy
Department of Health and Education
Manchester Metropolitan University.
Year of submission: 2026.
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::: {custom-style=“FrontMatterHeading” .frontmatter} List of Figures :::
Figure 1.1 – Image drawn by a home educating child showing their interest in Minecraft and the surrounding culture
Figure 2.1 – Design thinking via design stages model from Stanford d.school and Creative Learning Cycle by Mitchell Resnick
Figure 2.2 – A prototypical semantic profile in wave form (Curzon et al.)
Figure 3.1 – Essential components of activity outlined by Vygotsky
Figure 3.2 – Hierarchical structure of activity
Figure 3.3 – Engeström’s representation of community concepts of an activity system
Figure 3.4 – An object shared between different activity systems in context
Figure 4.1 – Summary of delivery phases and development periods
Figure 4.2 – 360° footage from the central camera (before processing)
Figure 4.3 – 360° footage and screen capture side by side (after processing)
Figure 4.4 – Broad environmental activity systems
Figure 4.5 – Activity system of an emerging community of novice game makers creating games as a learning experience
Figure 5.1 – Game showcasing event
Figure 5.2 – Description of key areas of the code playground interface
Figure 5.3 – Simple game template with limitation of initial jump height shown
Figure 5.4 – Interface of the Piskelapp tool
Figure 5.5 – Grid-based editing of level design
Figure 5.8 – Harbour metaphor
Figure 5.9 – 3M game making model of pedagogical elements of the learning design
Figure 6.1 – Indicating change of perspective via gesture
Figure 7.1 – An adapted representation of semantic density of the key concepts of this research
Figure 7.2 – Semantic profile of the first 10 minutes of Vignette 1
Figure 7.3 – GDPs as a gateway construct opening up the exploration of wider, related concepts
Figure 7.4 – A graphical representation of the inter-related elements of RARB in the context of this study
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::: {custom-style=“FrontMatterHeading” .frontmatter} List of Tables :::
Table 2.1 – Breakdown of levels of abstraction
Table 4.1 – Summary of delivery phases
Table 4.2 – Summary of data collection
Table 4.3 – Summary of data analysis methods
Table 4.4 – Extract from Vignette 4 included for illustrative purposes
Table 5.1 – Reminder of delivery phases and development periods
Table 5.2 – Categorisation of gameplay design patterns used in P4
Table 5.3 – Extract of side missions given as part of the drama scenario
Table 5.4 – Representation of the staged processes
Table 5.5 – Summary of emerging tensions and design responses
Table 6.1 – Learning dimensions facilitated by this study’s game making process
Table 6.2 – Extract of Vignette 2 showing interpersonal interaction and documentation use
Table 6.3 – Extract of Vignette 6
Table 6.4 – Extract of Vignette 1 concerning designing for others
Table 6.5 – Summary of varied GDP use within the activity of this research
Table 7.1 – Description of levels of abstraction located in the findings adapted from Waite et al.
Table 7.2 – REEPPP as a technical structure that synthesises key elements of the learning design
Table 7.3 – Summative table illustrating stages of facilitating RARB in this study
Table 8.1 – Summary of contributions and research outputs
Table 8.2 – Summary of future research directions arising from this study
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::: {custom-style=“FrontMatterHeading” .frontmatter} Keywords :::
Cultural-historical activity theory (CHAT), Design-based research (DBR), Social design experiments, Gameplay design patterns (GDPs), Learner agency, Relational agency, Non-formal learning, Open educational resources (OER), Computer game design and programming (CGD&P), Home education
::: {custom-style=“FrontMatterHeading” .frontmatter} Abstract :::
This thesis investigates how cultural-historical activity theory (CHAT) can inform inclusive approaches to computer game design and programming (CGD&P) in non-formal education. While computing education often emphasises technical skill, this study situates learning in its social and cultural context, examining how contradictions, mediational tools, and learner agency can be supported through pedagogical design that values participation, identity, and collaboration.
The study took place across five iterations of small-group game making courses for home-educating families over a two-year period. Data collection combined 360° video, screen capture, interviews, journals, and participant artefacts. CHAT provided the primary analytical framework, while design-based research (DBR) offered complementary tools for iterative design and design narrative. Consistent with the ethos of social design experiments, the methodological orientation emphasised reciprocity.
The research explored how socio-cultural approaches can enrich CGD&P pedagogy by analysing contradictions in practice, the role of gameplay design patterns (GDPs) as mediational tools, and the development of agency within an emerging game making community. Contradiction mapping revealed tensions in tool use, project navigation, and cultural participation; GDPs emerged as scaffolds for coding and shared understanding; and agency was traced through instrumental, transformational, and relational forms, articulated through a novel model which I name relational agency by repertoire blending (RARB).
The thesis contributes conceptually by advancing GDPs as analytical and pedagogical tools within CHAT, and through the RARB model to explain how learners extend agency through blending social, cultural, and technical repertoires. Methodologically, it integrates contradiction analysis with design narrative and demonstrates novel use of 360° video for situated learning research. Practically, it offers a set of open resources including GDP collections, adaptable templates, and the novel REEPPP framework (remix-enabled, elective, progressive, pattern patching), all released under open licence to support inclusive computing education.
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::: {custom-style=“FrontMatterHeading”} Declaration :::
This thesis is my own work and has not been submitted for any degree or qualification at this or any other university.
All sources of information used in this thesis have been acknowledged.
The research reported in this thesis was conducted in accordance with the ethical procedures of Manchester Metropolitan University, and ethical approval was obtained where required.
::: {custom-style=“FrontMatterHeading”} Acknowledgements :::
Workshop resources and additional materials:
My thanks to Dave Potts, James Keating, Fortunate Muwonge, Sonya McMaster, and Adam Morrison for their contributions to the development of workshop resources and supporting materials.
EdLab students:
Thank you to the many EdLab students who contributed to the overall process and helped shape ideas through participation and feedback.
Community partners and networks:
Many thanks to the Todmorden Makery team for their ongoing support of this work, with particular thanks to Steve Summers and Alan O’Donohoe for their practical help and encouragement. Thanks also to the conveners of the Manchester Games Network for their early support and interest in the project.
With particular thanks to:
Eleanor Overland and Louise Hayes for providing opportunities to test materials with PGCE students, and for supporting recruitment into workshop delivery and further materials development. Thanks also to Mr Collinson and the students from Rolls Crescent for engaging with early versions of the course materials.
Support from the EdLab team and MMU colleagues:
I am grateful to Nicola Whitton, Mark Peace, Mark Sackville-Ford, James Duggan, Juliette Wilson-Thomas, Sarah McNicol, Ricardo Nemirovsky, Laura Trafi-Prats and Michaela Harrison for their encouragement, insight, and institutional support.
Drama education support:
Thanks to the Manchester Metropolitan University Faculty of Education Drama Department, in particular Rebecca Patterson and Alison Ramsey, for their support and collaboration during the development and testing of drama-based activities.
Final supervision team:
Particular thanks to Cathy Lewin and John Lean for their guidance, patience, and support throughout the final stages of this work.
Activist, campaigning, and musical communities:
My thanks also to the many individuals involved in activist, campaigning, and musical communities whose influence and support have shaped my thinking and practice over many years. In keeping with the underground spirit of that work, their names remain unlisted. You know who you are.
My family:
Thank you for your continued support and understanding. I owe all you one.
Home education families:
Finally, my sincere thanks to the home education families who took part in the study. Your persistence, generosity, and passion made this research possible.
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::: {custom-style=“FrontMatterHeading”} A summary of glossary terms :::
A full glossary is included as a final appendix. The terms below are provided as a brief orienting summary for readers unfamiliar with key concepts used throughout the thesis.
CGD&P (Computer Game Design and Programming)
Creative learning activities combining coding, design, and playtesting of digital games.
GDP (Gameplay Design Pattern)
A recurring game feature or mechanic used as a mediational tool for learning and design.
CHAT (cultural-historical activity theory)
A socio-cultural framework for analysing learning as collective, tool-mediated activity.
DBR (Design-based research)
An iterative methodology combining educational design and empirical analysis within authentic settings.
Contradiction
A structural tension within an activity system that drives change or learning when surfaced and resolved.
Agency
The capacity of learners to act purposefully and transform their learning environment, examined through multiple dimensions.
Computational fluency
The ability to think, create, and express oneself using code, combining technical skill and personal expression.
Non-formal learning
Organised educational activity occurring outside formal institutions but structured around shared aims.
Funds of knowledge
Learners’ existing cultural and experiential resources that can be mobilised in educational practice.
REEPP (Remix-enabled, elective, progressive, pattern patching)
A pedagogical model developed in this research describing inclusive pathways through CGD&P via remixing, elective choice, progressive challenge, and creative pattern patching.
RARB (Relational agency by repertoire blending)
An interpretive framework describing how participants expand their capacity to act by combining diverse cultural and technical repertoires through collaboration.
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::: {custom-style=“FrontMatterHeading”} Table of Contents :::