Gaming, Antiquity, and Learning

Gaming, Antiquity, and Learning

@sianbeavers Email: sian.beavers@open.ac.uk

Intro:

MeBased in IET/ CREETClassicist (focus on receptions)Worked as a teacher/TA, did IT and Learning at GUinformal learning about history through popular mediaTalking about VG specifically today

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Key termsHistorical Games - Games portraying/set in historyHistorical Film/TV TV/Films portraying/set in history Historical Learning Learning of/about historyDigital Games (Console/Mobile/PC) + VG interchangeably

Before I continue in earnest, it is important that I outline what I mean when I use certain terms. Some of these may appear to be obvious but I think its important to all be on the right page.

Explanation of terms SLIDE

Historical games games portraying/set in history, not games from history (e.g Pacman)

Similarly so for Historical Film/TV TV/Films portraying/set in history

Historical Learning not how learning occurred in the past, e.g. Schools in Victorian times.

CLICK

Digital games: doesnt distinguish between what the game is played on console= videogame; PC= pcgame but I will use these terms interhangably.

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Open World Learning (OWL)Research into the changing nature of Open World Learning due to the impact of Digital Technologies.Championing of Openness through the thoughtful application, availability and access to formal and informal learning.

As you may already be aware, I am part of CREET the Centre for Research in Education and Educational Technology, but my scholarship is part of the OWL research project and funded by the Leverhulme trust.

CLICK In a nutshell, what this project is about is carrying out research into the changing nature of learning due to the impact of digital technologies18 PhD students over the next 3 years will be researching in this v. broad area in the hope that their research will

Champion Openness through the thoughtful application, availability and access to formal and informal learning.

CLICK

OWL Framework The OWL framework is made up of multiple components:

Enablers, Equilibrium, Disablers;People, Places, Practices, PropertiesMacro, Meso, Micro

It is the hope that through the research of these 18 PhD students that each of these 24 blocks will be covered.. Which brings us to the nature of my research and preliminary RQs as laid out in my proposal

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Q: How does the informal learning of historical content occur through popular media? How is classical history represented in popular media? (specifically gender, class, and war/conflict), How do different media forms (TV/VG) frame similar content?How do these forms (TV/VG) differently offer opportunities for engagement and informal learning about the ancient world?What aspects of the historical representation do audiences respond to and how are the perceptions of each of these media forms different or similar in terms of reliability or authenticity?

My main research question was How does the informal learning of historical content occur through popular media

sub-questions:

SLIDE Gender, Class conflict (one of probably conflict)

SLIDE I am also moving more towards studying game representations specifically

SLIDE Or in other words, how do games offer different means of engagement learning compared with other media?

SLIDE

The next question,not interested in whether a media product is accurate to the historical source.

but the player/viewer PERCEPTIONS of its authenticity. E.g. if they respond to problematic representations of gender in a media text, do they believe that is how it was in the past or is there an awareness that (as Hardwick noted) that we are viewing the past in light of the present? I am particularly interested in these aspects

Why am I interested in studying games specifically, in relation to other e.g. book, game and film media?

-Not just because games are a hugely selling and lucrative phenonmenon that now cost far more to produce than their blockbuster film counterparts and indeed far outsell them, though this is a factor.

But more so because of what they can, and indeed cannot, do, in terms of the ways that they represent the past and in relation to other media, but before I do this I will just give you a couple of key themes in the existing research in the area.

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Previous ResearchAssertions that people learn better with DG have deeper learning and connection with subject matter. (Karam & Kirby-Hurst 2011)Good games dont always mean good learning (Linderoth 2012)Often in Historical Games as well as those representing antiquity specifically, there is a focus on historical accuracy.

In terms of previous research specifically in Classics, Ed and VG (and this is by no means exhaustive, but general themes that I have noticed) CLICK

Assertions that people learn better with DG have deeper learning and connection with subject matter. (Karam & Kirby-Hurst 2011)

Sometimes sweeping statements: Where is your proof? There is no doubt that games can be immersive, but

CLICK good games dont always mean good learning players may learn to play the game but not necessarily about, for example, the historical representation. This is what I want to try and extract from this research to what extent to people learn to play the game and to what extent do they learn about the past?

CLICK

There is also this focus on historical accuracy but From a historiographical viewpoint (i.e. an awareness of its own limitations and acknowledges the fallibility of history itself as a discipline (Elliott & Kapell 2013, 6))

And our beliefs that something in text is a better or more trustworthy source than say a film, or a DG. What is more interesting to me is when a source does diverge from the historical record, why it does so, and what effect this has. But some media forms are better than others for representing aspects of history, which brings me to what games CAN do, in relation to other media.

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What games can do: Procedural RhetoricProcedural Rhetoric (Bogost 2007) video games can make claims about the world. But when they do so[they] make argument[s] with processes. 125

Screenshot from My Cotton Picking Day

Procedural Rhetoric

A game is INTERACTIVE and has mechanics.

Where the mechanics or processes of the game (the procedures) are used persuasively (rhetoric) to construct arguments, and can be used to interrogate ideology; make/deconstruct and argument; and to offer learning opportunities.

Many Serious Games are examples of when games have a high amount of procedural rhetoric for learning: CLICK

My cotton picking life is a good example. The player has two options, pick cotton or Right, Ive had enough.

the game replicates the monotony of that task. In real time, it would take you 8 hours of clicking that button to pick the 50kg quota, exactly the same as a cotton picker in Uzbekistan.

When you are eventually tired, bored and frustrated, you can select right Ive had enough, where the rhetoric of the game comes to the forefront: that we can stop, but the real people cant.

All this information is revealed once you select to stop playing, and is intended to inspire awareness and to help bring about social change.

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Procedural Rhetoric and Historical Processes

Civilization Vs Tech-treeTotal War: Rome 2 In-game Screenshot

When Procedural rhetoric is applied to the represention of (a) history and in terms of historical learning, the mechanics can make arguments about the past

Procedural Representations of history Strategy games/conceptual sims ROME TOTAL WAR e.g. help user to learn about historical dicourses, and rather than WHAT happened in the past, WHY things happened.

represent the material, cultural and social conditions that underlie historical events and where cultural values can be critiqued (Bogost 2008 119)

ROME: TOTAL WAR 2 is a game (conceptual simulation style) that has high PR cf. History teacher who asked students to play Total War and conquer the world without taking or using any slaves.

. Procedural Rhetoric of the game is that it is hard to build and empire without slavery.

Also SLIDE

Arguments from some games come from our ability to perform historical processes and the broader theoretical perspectives of history i.e. the mechanics of these types of games make arguments about the procedures of history, for example in Civilization 4s meachanics or tech tree,

What resources were needed to advance technology? What kinds of resources and technologies allowed the building of a colosseum? What political or societal benefits did this offer? What kinds of (economic, socio-cultural, environmental and technological) structures have been involved in the establishment of empires and other forms of hegemony?

ALSO: Counter factual Histories and what ifs? Sometimes to fully understand what DID happen, we need to understand what, and WHY it didnt happen.

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What games CAN do: NarrativesTraditional Narrative (cf. Kapell & Elliott 2013)e.g. cut scenes that progress the game; already familiar to us from other media (film/TV etc.)

Opening cutscenes from Total War: Rome 2

SLIDE : NARRATIVE AND LEARNING It is well documented that narratives in any form help us to learn, is one of the strateegies that the brain employs to learn anyway e.g. by perceiving the smaller details and the big picture/structure at the same time.

This, although being true for ALL narratives, is especially true for historians, as what is history but a narrative and narration of the past?

-SLIDE Traditional Narrative: In games these commonly take the form of cutscenes, so there is much overlap with other visual media, e.g. TV and film. It is often through cut scenes that the game is progressed

and often how historical empathy is created - emotional identification with the characters like in film is often done by witnessing, not interacting (Rejack)

In line with focus of popular depictions in other media i.e. these sweeping birds-eye views that we see in many sword and sandal epic films

But.. These traditional, framing narratives arent the only types of narrative that games can do:

SLIDE

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Ludonarrative (cf. Bissell 2010)i.e. because of the playable position: the narrative that emerges through play; can be constructed very differently depending on the player or even the playthrough.

Screenshot of treatise menu in Total War: Rome 2.

SLIDE: LUDONARRATIVE

the narrative that emerges through play.

Very rarely one path in the game For example, in a WW2 game you goal is to get past a tank.

different narrative outcomes, or branches.

SLIDE Again in Rome Total War 2, the player at the beginning of a game chooses a faction, and a general, which are assigned with certain traits or characteristics that affect and impact subsequent gameplay.

player iis prompted to make decisions, each decision leading the player down a decision path as the game progresses, each decision relating to previous decisions. The player can also choose independently who to treatise with, how their units are equipped and how to use them

These decisions affect how the campaign narrative plays out, e.g. turning the Roman Republic into the Roman Empire through civil war.

Also allows players to an extent to rewrite (some) historical narratives and perform counter history sometimes when arguments are made about why the past DID happen, its important to find out why it DIDNT

is practically and infinite number of variables in the ludonarrative and how the game can be played.

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Empowerment Narratives

Players are given new mechanics and new ways of interacting with the game environments, making them more likely to succeed in the game world (Bjrk & Hollopainen 2004).

Screenshot from Ryse: Son of Romes Skill upgrade menu

SLIDE empowerment narrative crosses into the ludonarrative

Games do empowerment narratives very well. Also called character development, or skill upgrades,

Example taken from Ryse (Realist simulation), and can include e.g. vision mode; quick time events in Ryse new execution moves Through XP or progression

ALSO IN LATIN (though no pic) e.g. Oh, was that your arm?

the players avatar becomes stronger as a reward for playing the game both the avatar and the player is rewarded by feeling powerful

This is why these types of narratives are frequently overrepresented in games.

So these are some of the things that games can do, and the ways they do it, but what about what games CANT DO? SLIDE

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What games CANT do.Disempowerment Narratives

Screenshot from The Wrestler (2008)

GAMES CANt Do Magic! Some sensationalists will try and have you believe that games will save the world (Im looking at you Jane McGonnigall) but in all honesty there a good traits and bad traits in games, especially for learning, just like in any other media form. We have to undertstand these good and bad traits fully before we can use them for educational purposes.

So we have seen that games are good at empowerment narratives: Conversely - Games are not so good at disempowerment narratives

SLIDE (cf. The Wrestler). A game about someone getting older, weaker, or in decline is RARELY represented in games)

these types of narratives dont lend themselves particularly well to DG.

In historical Strategy games like Total War, these are always set at the beginning or height of the Roman Empire the Fall or Decline of the Roman Empire is seldom depicted in DG.

To an extent, one of the main reasons that games cannot do certain types of narrative like this because DG must : SLIDE

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Privilege the Form Not the content! (Chapman 2012)

Screenshot from the Rome: Total Realism mod for Rome: Total War 2.Available from: http://www.rometotalrealism.org/

Meaning the game form must impact the representation of the content, and must be evaluated in those terms.

ROME Total Realism game wasnt concidered by some to be historically accurate enough, so the mod has included, for example:

Hundreds of new historically accurate army units

Additional historical battles

Authentic Battle formations and army deployments

However, the makers say that Rome total war is lacking in historical merit. Realism of hours of in-game guard duty, the digging of latrines; all the periods of waiting indeed anything boring, time consuming or repetative that would make the game more authentic is not included because of the game form better reped. In other media.

Authenticity is sacrificed for playability.

but in DG the form must govern the representation of the content.

This is not to say that when the form governs the content in DG that it is always in reference to things that DG CANT do, indeed games do playable action very well, We must just be aware that limitations in historical games can sometimes be attributed to its form, just like in other media.

When we talk about limitations in DG, there is also another concept we must be aware of: SLIDE

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The Limits of Play (Chapman & Linderoth 2015)

Games are seen to have intrinsically trivializing properties (pg.149) meaning controversial content is rarely explicitly depicted.

Screenshot from Slave Tetris level in Playing History 2

Some things that are representable in film, TV or in other media are not represented in VG, where there is the playable position and what is considered suitable for play,

Controversial issues are seen as too important to represent explcitly in a videogame, seen to have intrinsically trivializing properties (pg.149

WW2 v. common in games, but not Swastikas or Holocaust!

because of the playable position enforces a playful attitude towards a perceived sensitive topic.

new Wolfenstein depicted both the Holocaust but only in cutscenes it was framed in terms of traditional narrative structures we know of in film or TV and not made playable, but also done so extremely sensitively.

As an example of the Limits of Play, I need to warn you that this is pretty offensive SLIDE here is a screenshot from a game that caused public outcry earlier this year, called Playing History 2 and was an excellent example of the Limits of Play as this game was removed from sale due to its trivializing recreation of such a sensitive subject.

Designed as serious game.

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Boudicca in Ryse

The Character of Boudicca in Ryse; compared with the representation of Guinevere in King Arthur.

the Limits of Play is evident in Historical games and in the game Ryse: Son of Rome

historical sources/ TV/film adaptations of the tale, Boudicca.

Violent nature of attack is always represented in film or TV but Sexual violence is seldom presented in VG anyway

In Ryse, this has by necessity been reworked

you play a Roman in this game who is invading Brittania (and incidentally fighting against Boudicca), the protagonist needs to be sympathetic you as the player are complicit in his actions. actions of the original historical agents, so we must not have guilt in doing this, or the play is no longer fun it is not good to have a moral grey area.

sexual violence against women being too controversial to represent in a playable position.

I also want to discuss her representation, bondage bandages. which also diverges from the historical record but TRANSMEDIAL in terms of CLICK

Keira Knightly in the King Arthur Movie,

Remediating a representation of the past in one media form (i.e. film), gives familiarity, recognition and thus authenticity to similar representations in different , i.e. game media forms.

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Realist Simulations (Chapman 2013) : Ryse

Video available on Youtube at https://www.youtube.com/watch?v=5LNlW600koI

CLICK Ryse however is a purely realist simulation not realistic there is a distinction, but it purports to show the past as it appeared to the original historical agent

i.e. high fidelity and large visual data loads., in real time (e.g. press x and swing your sword), story &progression mostly through cutscenes.

Roman Shieldwall explanaiton of function

Player has exploratory challenge (a button), timing of protecting against the arrows

, the performatory challenge (i.e. the holding of the shield, the weight of it, the maintaining of position under fire) that existed for the original historical agent is not there the player only has to press A.

But using this small part of the game as an example, I aim to find out how much the player actually learned from the experience. Have they merely learned to play the game, to press the A button at the right time? Or have they understood this mechanic (and its visual representation) to be demonstrative of a function of the roman legion?

Ryse, through a combination of ludic and narrative aspects (though narratively weighted), offers the potential for learning.

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Remediation in Ryse

Screenshot of burning Wickerman in Ryse: Son of Rome

And because of the realist nature of Ryse, Because of the narrative weight, visual fidelto remediations are easier than in, e.g. Rome Total War.

CLICK ARENA SCENE: Arenas and Colloseums are particularly over represented in games - but this is partly because historically they were GAMES ARENAS their original and digital functions align beautifully.

This being said, how is it that this can be considered a remediation?

Gladiator set the bar for how these remediations are represented in games. Marius helmet here reminiscent in shape of Maximus in Gladiator

named Commodus allusions and parallels to previous Media are direct.

CLICK

Wickerman scene this brings to mind the 1970s movie Wickerman, and much of the prominence of this trope in popular culture, as a structure and as a concept, is a attributed to the film, even though it is in the historical record.

However it is not only the Ancient Rome in media that is reworked in VG, but also the material culture from antiquity (SLIDE)

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Reworkings in Apotheon

Video available to view on Steam at http://store.steampowered.com/app/208750/

In Apotheon, we see reworkings of MATERIAL CULTURE of antiquity of ancient black figure vases, as well as traditional hero narratives.

a simple platformer, your heroic character Nikandreos must save humanity from the wrath of Zeus.

gifts from Greek gods and goddesses in the form of their attributes (e.g. Demeter with the wheat sheaf) each attribute empowers you further.

You follow the path of an epic hero,

by e.g. visiting the Underworld,

meeting many mythical divinities and creatures along

become deified at the end of the game

Learning Potential from:

remediating the traditional hero narratives known to us from the historical record, aesthetics of representation deities, representation in art, attributes, roles

. Greek culture polytheism, anthropomorphism, values and beliefs perhaps more so than e.g. Ryse or Total War, as the values of the present are less evident in the game.

This style of representation would not work much less well in TV or film, as the layer of abstraction we see here is something that lends itself much easier to VG.

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Remediating Games?

WARNING:This video depicts graphic violence.

Spartacus: Blood and Sand. Arena Scene Themistocles death.

Available from: https://www.youtube.com/watch?v=T4En4LkPH8E

WARNING:This video depicts graphic violence.

Ryse: Son of Rome.Arena and Executions

Available from: https://www.youtube.com/watch?v=IHT2jTGEUyo

GRAPHIC NATURE of these films. CLICK SPARTACUS AT TOP TO PLAY!

games reworking other media and material culture from antiquity, we now have other visual media borrowing from games.

Simmons argues that Spartacus Blood and sand has borrowed from VG, so it's silliness can be explained in those terms,

e.g. revenge narrative; training/tutorial part; boss battle against Crixus(like the boss battle against Boudicca in Ryse) and spatial restrictions are like a beat em up;

Aesthetics of bullet time, cf Ryse quick time events and bullet time of gory scenes

Simmons argues Spartacus is intentionally trying to emulate VG and the realtionship between film/tv and VG is becoming increasingly symbiotic as DG become increasingly part of our collective consciousness.

Similarly true for documentaries archival footage is now relegated to a supplementary position, as documentaries favour CGI to recreate and simulate history visually.

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SummaryHistorical games make arguments about the past through their procedures and their narratives, though we must privilege the form and understand both the possibilities and limits of this form.Different game genres (and different games) offer different opportunities for learning about the past (e.g. Realist simulations; Conceptual Simulations)Games rework and remediate aspects of other media, as with all other media (Games rework historical film, TV reworks games etc.)

Historical games make arguments about the past through procedural rhetoric, Traditional (framing) narrative-ludonarrativeAestheticsCultural valuesBut we must privilege the form over the content and accept there are limits of play, but possibilities in it also. - Also things I havent talked about today games as historical reenactment

Different genres and games offer different opportunities for historical learning:-Conceptual sims:-Realist sims-platformers-Puzzle games

All these visual media reference and rework each other

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Going Forward: (Historical) Games and Learning

Going forward: Historical games and learning.

Much research into Games and Learning is from the perspective of Formal education But in these situations, the presence of a teacher is always integral to the learning process. It is also true that there is much more funding for studies in the use of games in the classroom,

But unfortunately this tends to be from the perspective of how can reduce or replace traditional pedagogy. GAMES NOT TO DELIVER CONTENT OUTRIGHT BUT REFLECTION ON HOW GAMES OFFER ARGUMENTS ABOUT THE PAST

what can people learn about Classical history on their own, without the presence of a teacher, and

how this can be used and thus scaffolded and supplemented in formal ed. If we know what people can/do learn on their own through these media, we can use it.

There is a need for more empirical research, in history generally but more so in the Classics of what and how people learn about the Classics informally through these products.

reaching new generations of people through VG, and iarguably a new historical form, just as film is. However, with this also comes a warning are the limits of play whitewashing history? Are problematic representations in VG (of women, class, conflict) done so under the guise that they are historical, Are player#s understanding that these reps of the Classics in games are reflections of the present?

These I think are important qs that need to be answered.

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Going Forward: The StudyFrom a Qualitative viewpoint (Interviews/Ethnography/Laboratory/Video Analysis)Not precluding quantitative, e.g. Discourse Analytics of Lets Play videos/ After Action ReportsWill focus on people and practices (possibly places)What type of learning: Informal; Incidental or Implicit? Therefore I am in the Process of conducting a Pilot Study.

opportunities that I see in these types of games for learning. may not actually be how they are received - what do players actually learn through playing them? CLICK

The nature of my study will be from a qualitative perspective ie. The qualities of their learning and their engagement with the past through these forms. And using some/most/all the following methods: Semi-structured interviews/ Questionnaires/ ethnographic lab work (maybe); Video Analysis/

CLICK Quantitative Analysis of lets play videos, AAR though I cant say at this point which will be most fruitful to answer these questions.

CLICK In terms of the OWL building blocks Who is playing these games? Can the product (i.e. what they have learned) be measured? Or is it the process? What do players actually learn? Are they enabled to learn? Are their disablers or barriers to learning?

CLICK: However, when we start talking about measuring learning, I first have to identify the type of learning:

Informal Learning Learning outside of formal institutions or set curricula, with intent. although this is often used as an umbrella term Examples?

Incidental Learning - Learning that is spontaneous and unplanneda by-product of another activity (Gaved et al. 2013). Also stealth learning When learning happens as a by-product to another activity. For example, it happens a lot in the workplace or on computers, where through problem solving or social interaction new things are learnt

Implicit Learning: Learning without awareness, .. In the absence of any knowledge of how the adaptation is achieved (Frensch & Runger 2003)

How can I measure informal learning if people dont play these gams with the intent to learn, for example?

Therefore a Pilot study!

asking questions such as:

Demographic questions Age, gender etc. nationality, profession

TYPES OF GAMES PLAYED

INTENTThe reason I play historical games is to learn about history. I have learnt about history through playing historical games. Playing historical games makes me want to learn more about that event/period of history.

RELATIONSHIP WITH OTHER MEDIA & CONSUMPTION

When I play historical games, I am more likely to consume other media (e.g. TV, film, books) with similar historical content, or vice versa - i.e. I am more likely to play HG if I have watched a TV show with similar content. Do you think historical games help you to understand history/historical events better than other media (books/TV/film etc)? Why? Why not?

I will be distributing this on various gaming networks that I am a part of, and also asking friends in the field to distribute it for me.

I hope to get this out after christmas so I can start planning the study proper having answered some of these questions.

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Thank you!Questions or Comments?

@sianbeavers Email: sian.beavers@open.ac.uk

Thank you for your time!

Id love your feedback, suggestions, comments and will try my best to answer any questions you might have.22

ReferencesApotheon. 2015. Developed by Alientrap. Toronto: Alientrap.

Bissell, Tom. 2010. Extra Lives: Why Video Games Matter. New York: Pantheon Books.

Bjrk, Staffan and J. Holopainen. 2004. Patterns in Game Design. Boston: Charles River Media

Bogost, Ian. 2007. Persuasive Games: The Expressive Power of Videogames. Massachusetts: MIT Press.

Chapman, Adam. 2012. Privileging Form Over Content: Analysing Historical Videogames, The Journal of Digital Humanities 1, 2: n.p. Available from: http://journalofdigitalhumanities.org/1-2/privileging-form-over-content-by-adam-chapman/

Chapman, Adam and Linderoth, Jonas. 2015. Exploring the limits of play: A case study of representations of Nazism in games. In Torrill Elvira Mortensen, Jonas Linderoth and Ashley M. L. Brown (Eds.),Dark play: Difficult Content in Playful Environments, 137-153. New York: Routledge.

Kapell, Matthew Wilhelm, and Andrew B R Elliott. 2013. Introduction: To Build a Past That Will Stand the Test of Time - Discovering Historical Facts, Assembling Historical Narratives. In Playing with the Past: Videogames and the Imulation of History, edited by Andrew B R Elliott and Matthew Wilhelm Kapell, 132. London: Bloomsbury.

Karam, B, and M Kirby-Hurst. 2011. Reality Worlds Collide: Film and Videogames as Pedagogical Tools for the Classics. Akroterion 56: 12948.

King Arthur. 2004. Directed by Antoine Fuqua. Burbank: Touchstone Pictures.

Toward a

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References cont. Linderoth, Jonas. 2012B. Why Gamers Dont Learn More: An Ecological Approach to Games as Learning Environments, Journal of Gaming and Virtual Worlds 4, 1: 45-62.

My Cotton Picking Day. 2012. Developed by Game The News. Online. Available from: http://gamethenews.net/index.php/my-cotton-picking-life/

Playing History. 2013. Developed by Serious Games Interactive. Malm: Serious Games Interactive. PC.

Rejack , Brian. 2007. Toward a virtual reenactment of history: Video games and the recreation of the past, Rethinking History 11, 3: 411-425.

Ryse: Son of Rome. 2013. Developed by Crytek Frankfurt. Redmond: Microsoft Studios. Xbox One.

Sid Meiers Civilization V. 2010. Developed by Firaxis Games. Novato: 2K Games. PC.

Simmons, David. 2011. By Jupiters Cock! Spartacus: Blood and Sand, Video Games, and Camp Excess. In Muscles and Men: Essays on the Sword and Sandal Film., edited by M. G. Cornelius, 14453. North Carolina: McFarland. http://nectar.northampton.ac.uk/4409/.Spartacus: Blood and Sand. 2010. Created by Steven S. DeKnight. Englewood: Starz. Television.

The Wrestler. 2009. Directed by Darren Aronofsky. Los Angeles: Fox Searchlight Pictures. DVD.

Total War: Rome II. 2013. Developed by Creative Assembly. Tokyo: Sega.

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