Substantive Post #2

Active learning positions students as creators of knowledge rather than passive users of information. In this course, I discovered that the balance of passive and active learning is intentional and effective. Passive elements like texts, short videos, and readings have served as scaffolding rather than endings. They teach me terminology and conceptual frameworks, which I subsequently use through contemplation, conversation, and design-oriented activities. Unlike many other classes I’ve taken, where lectures take precedence and application feels secondary, this one consistently emphasizes doing something valuable with information.

My experience with video games serves as a valuable analogy for understanding active learning methods. Most games are excellent at implementing Merrill’s First Principles of Instruction, particularly problem-centered learning and application. Players are immediately presented with authentic difficulties, such as beating an enemy, navigating a map, or managing limited resources. Tutorials activate prior information, while in-game prompts or non-playable characters demonstrate new knowledge, and repeated application reinforces learning. Integration occurs spontaneously as players apply their abilities to new levels or scenarios.

Mayer’s concepts are also often employed in games, but not always consistently. The Segmenting Principle is essentially universal: games gradually introduce mechanics, giving players flexibility over pace and difficulty. The Contiguity Principle is frequently used effectively, with visual signals put precisely next to relevant activities. Nonetheless, the Redundancy Principle is routinely broken. Many games bombard players with text, voice narration, icons, and animations at the same time, increasing superfluous cognitive strain, particularly during early gameplay. When games strike this balance correctly, learning feels natural and when they don’t, frustration replaces engagement.

In multimedia learning design, storytelling is a strong organizer of meaning. Narrative links information to emotion and experience, providing context, motivating attention, and promoting long-term retention. This is consistent with cognitive theories of learning, specifically the idea that motivation and affect serve as gates to deeper processing. Tone, mood, and voice are thus not ornamental aspects, but rather critical components of how students comprehend and engage with knowledge.

I was particularly struck by the emphasis on planning via storyboarding and path mapping. It reminds me of a music video I worked on where I had to create a storyboard and share it with the videographer and co-director, which made the shooting process more efficient. While it may be tempting to rush right into media creation, this lesson demonstrated how uncontrolled storytelling frequently results in wandering encounters that dilute learning benefits. Storyboarding requires designers to consciously consider what learners should think, feel, and learn at each level. It also promotes coherence and pace, two important elements for controlling cognitive load.

Moving forward, I plan to approach educational media as experience design rather than content delivery.These modules confirmed for me that active learning works best when design choices such as media, activities, and assessments are centred on meaningful cognitive work and when integrated with storytelling experience designs learning flourishes.