Game-Based Learning: Possibilities of an Instrumental Approach to the FEZ Game for the Teaching of the Orthographic Drawings System Concepts

Abstract

Challenges and rewards are integral to the logic of digital games, and through them, users can learn and develop various skills. When games are employed in educational contexts, they can enhance creativity and contribute to students' development. The Game-Based Learning (GBL) methodology is grounded in the use of games in the educational context, whether they are meant for educational or entertainment purposes. This article aims to investigate whether the digital puzzle game called FEZ - which takes place in a three-dimensional scenario where the player interacts through two-dimensional views - can be used for teaching geometry, specifically from the perspective of Descriptive Geometry for learning concepts about the System of Views. To achieve this goal, we analyzed FEZ from the perspective of the Instrumental Approach as an educational resource for teaching concepts of the Orthographic Drawings System. As a result, we identify similar characteristics between the Orthographic Drawings System and the design aspects of the FEZ game that suggest the possibility of using this game as a didactic resource.

Full text

Journal on Interactive Systems, 2023, 14:1, doi: 10.5753/jis.2023.3190
This work is licensed under a Creative Commons Attribution 4.0 International License.
Game-Based Learning: Possibilities of an
Instrumental Approach to the FEZ Game for the
Teaching of the Orthographic Drawings System
Concepts
Daniel Nipo [ Universidade Federal de Pernambuco | daniel.nipo@ufpe.br ]
David Gadelha [ Universidade Federal de Pernambuco | david.rai@ufpe.br ]
Mirian da Silva [ Universidade Federal de Pernambuco | mirian.fsilva@ufpe.br ]
Andiara Lopes [ Universidade Federal de Pernambuco | andiara.lopes@ufpe.br ]
Abstract
Challenges and rewards are integral to the logic of digital games, and through them, users can learn and
develop various skills. When games are employed in educational contexts, they can enhance creativity and
contribute to students' development. The Game-Based Learning (GBL) methodology is grounded in the use of
games in the educational context, whether they are meant for educational or entertainment purposes. This article
aims to investigate whether the digital puzzle game called FEZ - which takes place in a three-dimensional
scenario where the player interacts through two-dimensional views - can be used for teaching geometry,
specifically from the perspective of Descriptive Geometry for learning concepts about the System of Views. To
achieve this goal, we analyzed FEZ from the perspective of the Instrumental Approach as an educational
resource for teaching concepts of the Orthographic Drawings System. As a result, we identify similar
characteristics between the Orthographic Drawings System and the design aspects of the FEZ game that suggest
the possibility of using this game as a didactic resource.
Keywords: Game-Based Learning, Orthographic Drawings System, Instrumental Approach, FEZ
1 Introduction
The educational landscape nowadays faces a real challenge
when it comes to transforming learning into a more
attractive and engaging task, given that conventional
teaching approaches are becoming increasingly obsolete.
Undoubtedly, the digital era is transforming our way of life,
as most people today are in contact with some kind of
advanced technology, be it through social networks, online
shopping, transportation apps, or even digital games
(Gabriel, 2013).
Thus, society has undergone a significant transformation
due to the development of digital communication and
information technologies in every aspect, including
education (Gabriel, 2013). To support these technological
specificities of contemporary society through pedagogical
practices, it is necessary to modify the learning process.
From this perspective, we can highlight that digital games
are a valuable educational resource because they are
already a part of many people's daily routines.
Games are complex and engaging platforms that
transcend gender and age barriers. They are characterized
by challenges, objectives, goals, rules, and rewards, which
users can learn and develop skills to succeed in (Vaz de
Carvalho, 2015). Games offer interaction with a different
world through immersive experiences and stimulate
experimentation with a variety of sensations (Pimentel,
2021). Users can develop different abilities while
entertaining themselves at the same time (Nipo, 2022). This
is made possible by the existence of a set of rules inherent
to the games, which bring order and guide the flow of the
game, allowing users to learn through them (Vaz de
Carvalho, 2015).
When discussing games from an education-focused
perspective, we enter the field of Serious Games or
Educational Games, regardless of the context of their
application, be it education, training, or health (Pereira,
2019). Serious Games aim to combine educational
objectives with playability to promote learning through
immersive and enjoyable environments (Kishimoto, 2017).
When used in teaching and learning processes, both digital
and analog games can enhance creativity and motivate
students (Savi, 2008). Regarding technology, the National
Curriculum Parameters (PCN) recognize its potential to
significantly increase student interest in pedagogical
practices (Brasil, 1997). Therefore, games are considered a
promising resource to engage and motivate students in the
appropriation and comprehension of school content that
would otherwise be deemed uninteresting.
In this regard, the teacher's role in assessing the
relevance of a tool as a didactic resource is crucial. It is the
teacher's responsibility to analyze a game and determine its
potential for use as an educational tool. Thus, the teacher
should assess whether a game can help students acquire
new knowledge and develop skills that will prepare them
for the future (Pimentel, 2021). An ideal game for
educational use allows for the practice of personal
competencies and existing knowledge, promoting learning
and innovation.
The game chosen for the purpose of this research is the
FEZ game. Launched in April 2012 by Polytron
Corporation and distributed by Trapdoor, FEZ is a puzzle-
like digital game that blends two-dimensional elements

GBL Possibilities of an Instrumental Approach to the FEZ Game for the Teaching of the Orthographic Drawings System Concepts Nipo et al. 2023
with the use of three-dimensional (3D) features, having a
theme consisting of exploration and problem solving. The
story of the game takes place in a restricted and colorful
world in two dimensions, having as a protagonist a small
character named Gomez. In the game, it is possible to
identify some geometric characteristics present in their
aesthetics, playability, and narrative. The main one among
them is the system called Orthographic Drawings, which is
mostly present in its playability.
The Orthographic Drawings system is the basis of
Descriptive Geometry, and its main objective is the
capability to represent three-dimensional elements on a
two-dimensional surface (Cruz, 2012; Neves Junior, 2018).
A graphic representation guarantees the possibility of a
detailed perception of an object that is represented through
its orthogonal projected views on a projection plane.
Properly, the mechanics of the FEZ game orbit around the
use of four different views in each scenario (plane) where
the main character needs to move.
The analysis of a game as an educational resource can be
carried out through the observation of its characteristics and
the development of strategies for its use in teaching
practices. The processes involved in Instrumental Genesis
can provide the theoretical basis for the appropriation of the
game FEZ as an educational resource. Instrumental
Genesis, which belongs to the theory of Instrumental
Approach structured by Rabardel (1995), refers to the
processes that involve the relationship between a subject,
an artifact, and its transformation into an instrument. The
first of these, Instrumentalization, describes the process of
designing an instrument, in which the subject appropriates
the artifact, getting to know it and transforming it into an
instrument; Instrumentation, on the other hand, is the
process in which the subject develops new patterns of use
for the now-instrument, giving it new potentialities and
possibilities.
Given the presented context, this article aimed to
investigate whether the digital puzzle game called FEZ -
which takes place in a three-dimensional scenario where
the player interacts through two-dimensional views - can be
used for teaching geometry, from the perspective of
Descriptive Geometry, for the learning of concepts about
the System of Views. The investigation is based on the
processes that constitute the Instrumental Genesis as a
theoretical contribution to highlight the possibilities of
Instrumentalization and Instrumentation of the FEZ game.
We aimed to analyze the constituent elements of the
narrative, aesthetics, and mechanics of the game,
highlighting similarities between the characteristics of FEZ
and the essential elements for representing a three-
dimensional object in a two-dimensional plane, as
recommended by the concepts of the System of Views. As
a result, we presented some cases present in the game that
can be used in teaching System of Views concepts,
indicating that FEZ can be used as a didactic resource. We
hope that this work will lead educators and researchers to
reflect on the importance of integrating digital
technological resources into their pedagogical practices,
motivating them to specifically consider not only
educational digital games but also entertainment games as
potential educational resources for contemporary education.
Therefore, we hope that this research might lead
educators and researchers to reflect on the importance of
rethinking digital technological resources in their
pedagogical practices, as well as motivating them to
specifically visualize not only digital educational games but
also entertainment games as potential educational resources
for contemporary education.
2 Theoretical Framework
2.1 Active Methodologies and Game-Based
Learning (GBL)
The undertaking to make learning more attractive and
captivating is a perpetual challenge for educators around the
world. So, it is important that teachers can make use of a
plurality of materials and methods since traditional teaching
methodologies embrace the figure of the teacher as an
authority over the student. In this perspective, the teacher
should conduct the lessons employing the use of expositive
classes only (Lovato, 2018).
Nowadays, we live in the age of technology in which
knowledge is available to everyone at an increasingly rapid
speed. Recently, the profile of students has undergone
several changes in the light of a socioeconomic context that
demands increasingly high-performance expectations
(Barbosa, 2013) for it requires autonomy and positioning
never required in the past (Lovato, 2018). Thus, social
changes have led to new perceptions about teaching and
learning processes, pointing to the emergence of the Active
Learning Methodologies that are more appropriate to the
time in which we live.
Some teachers falsely believe that the active factor is
inherent to the entire learning process considering that once
the student participates by observing a class, he/she is
actively involved. However, cognitive science indicates the
need for students to do more than merely observe and listen
so that active learning is achieved (Meyers, 1993).
The expression “Active Learning Methodologies” may
seem something new but in its essence, it had been inserted
in the practice of some teachers for some time. Teaching
through projects, solving a problem, or using games and
competitions are some examples of teaching strategies
analogous to Active Learning Methodologies, even if they
are not known as that (Barbosa, 2013).
Teaching through “projects” and “problem solving” are
examples of Active Methodologies since they foster
situations in which the students are motivated to perform
complex mental tasks of analysis, synthesis, and evaluation
(Lovato, 2018). Thus, we can understand the learning
strategies of Active Methodologies – such as those in which
the students develop tasks – while reflecting on what is
being done (Lovato, 2018).
In explaining the Active Learning Methodologies,
Barbosa quotes a Chinese proverb passed by Confucius that
says: "What I hear, I forget; what I see, I remember; what I

GBL Possibilities of an Instrumental Approach to the FEZ Game for the Teaching of the Orthographic Drawings System Concepts Nipo et al. 2023
do, I understand." The author highlights the direct
relationship of the sentence with what advocates active
methodologies (Barbosa, 2013). Departing from that,
Silberman modified Confucius' proverb to make more sense
of understanding Active Methodologies writing it as
follows: "What I hear, I forget; what I hear and see, I
remember; what I hear, see, and ask, or discuss, I begin to
understand; what I hear, see, discuss, and do, I learn by
developing knowledge and skill; what I teach someone, I
masterfully master" (Silberman, 1996).
That is the way Active Learning is achieved, that is,
when students interact with the subject under study through
listening, speaking, doing, questioning, discussing, and
teaching. They are encouraged to lead the construction of
their own knowledge rather than just receiving it passively
by the teacher. Hence, the latter acts as mediator and
facilitator of the learning process instead of placing
themselves as the only source of information and
knowledge (Barbosa, 2013).
We can highlight some of the methodologies that foster
Active Learning, including Problem-Based Learning (PBL),
Project-Based Learning, Team-Based Learning (TBL),
Peer-Instruction, and Flipped Classroom (Lovato, 2018).
In this context, it's worth highlighting teaching and
learning methodologies that are based on games, which can
also contribute to active learning. Games, whether in digital
or analog format, have always been a part of human history
(Huizinga, 2000). They have great potential to generate
engagement and motivation in task completion, as the user
is voluntarily immersed in the playful context of the game
and is committed to following the instructions provided
(Huizinga, 2000).
We can think of a game as a machine composed of a
system of gears, which represent the rules. From this
perspective, we can differentiate digital games from analog
ones by the dynamic nature of the rules in digital games, as
opposed to the static nature of the rules in analog games
(Munhoz, 2018). In the case of digital games, technology
eliminates the need for the player to invest time in
understanding the rules, allowing them to dive right into the
game and learn the rules as they play. In this way, the rules
represent the means by which the player understands the
game and its mechanics, thereby comprehending the
systems that must be manipulated to achieve the ultimate
goal of creating a meaningful interaction for the player
(Munhoz, 2018). This characteristic of digital games, to
encourage learning of rules as the player progresses
through the game, is particularly relevant for the present
work.
Accordingly, we can highlight Digital Games as
resources capable of contributing to Active Learning,
reassembling Game-Based Learning (GBL), which also
integrates Active Learning Methodologies. They are granted
the ability to promote motivation in teaching and learning
processes and increasing students' interest in learning
(Falcão, 2015).
Games are complex and attractive platforms where
players have fun while developing skills (Nipo, 2022). This
process is promoted by the existence of a set of rules in the
games, which is an essential characteristic that brings order
and directs the user towards learning (Vaz de Carvalho,
2015). Consequently, by understanding the potential of the
game as a learning tool we began to consider the
possibilities of its use in the context of formal education.
Various researches emphasize the contributions of games
to education. There is evidence that games when properly
used in teaching and learning processes provide motivation,
enhance creativity, and contribute to the intellectual
development of students (Savi, 2008). While immersed in
the rules of the game the student's concentration is directed
to the performance of the activity itself and the act of
playing without concern the results or effects of this activity
(Kishimoto, 2017). The set of rules of the games is an
important element to be understood by developers and
researchers because it is those rules that bring order and
conduct the players’ experience.
The use of games to promote learning is a trend that has
been increasingly incorporated into actual education (Sena,
2016). It is a theme of great relevance for educational
management and capable of potentializing the relationships
between students and teachers as well as the quality of
learning. Since ancient Greece there were reflections about
the role of games in people's lives. The philosopher Plato
disapproved of activities that stirred competition and the
result defending that games should aim at meaningful and
pleasurable learning. However, according to Brougère
(1998), Aristotle considered work the most important
activity of the time and, therefore, the game should be used
as a means of resuming energies, promoting relaxation, and
resting.
The Active Learning process abandons passive learning
practices with little interaction to place the student as the
protagonist of their education, stimulating autonomy and
independence. Active Methodologies should encourage
students to do more than simply listen. They should read,
write, and discuss with teachers and other students to be
committed to problem solving (Vaz de Carvalho, 2015).
Similarly, Game-Based Learning (GBL) is a
methodology focused on the development and application
of games in the context of education (Vaz de Carvalho,
2015). The use of games can be worked through Serious
Games that are designed exclusively for education with
rules created to address specific content or through
Entertainment Games, which also present potential to work
some content in the educational context (Pereira, 2019).
The GBL is also consistent with the learning style of
students of today's generations. It provides motivation
because it is fun, very versatile, and it can be adapted to
almost all disciplines and skills to be learned in a very
effective way if they are correctly used (Sena, 2016).
Mediated by properly prepared teachers, the GBL can
transform a classroom as it develops teaching and learning
strategies that enable students to improve skills that are
increasingly placed as fundamental to the 21st century.
Among these competencies we can highlight problem
solving, interaction and collaboration, communication,
digital literacy, and critical thinking (Vaz de Carvalho,
2015).

GBL Possibilities of an Instrumental Approach to the FEZ Game for the Teaching of the Orthographic Drawings System Concepts Nipo et al. 2023
In the case of Serious Digital Games, the interactive
resources are promoted by the technologies associated with
the playful strategies of the games. Among the advantages
inherent to the use of Digital Games in education we can
underline immediate feedback of the player's actions,
learning in practice, learning from mistakes, goal-guided
learning, discovery-guided learning, training, constructivist
learning, and accelerated learning (Sena, 2016).
Consequently, games are considered such important
artifacts when we think of the educational environment.
While teachers and institutions are increasingly
optimistic about the potential of Serious Games, finding
games that effectively address desired content and maintain
student engagement can be challenging. Developing a new
Serious Game can be a complex and expensive task,
requiring integration of different areas of knowledge, such
as design, programming, script, and sound, with the content
to be addressed in the game. This typically requires
qualified professionals and specialized tools and processes
(Rocha, 2015), which may not always be accessible to
educators with limited technical and financial resources. As
an alternative, entertainment games can be utilized as
didactic instruments, offering a more accessible and flexible
way to incorporate gaming in teaching practice. Given the
potential benefits of Active Learning and Game-Based
Learning methodologies for education, it is worth
considering both Serious Games specifically designed for
educational purposes and Entertainment Games with
potential use in didactic approaches.
2.2 The Orthographic Drawings System
By the end of the 18th century, the French mathematician
Gaspar Monge (1746-1818) designed the Orthographic
Drawings System, also known as the Orthographic
Projection System or the Mongean System. Monge's studies
resulted in the emergence of the first techniques of graphic
representation that developed the Representation Systems
(Cruz, 2012; Neves Junior, 2018). The Orthographic
Drawings system, which is one of the studies belonging to
the Representation Systems, has as its fundamental purpose
the ability to graphically represent objects that have a three-
dimensional shape on a plane.
The representations in the Orthographic Drawings
system aim to denote in the plane the figures of the space.
The system generates a theoretical framework for the
discipline Descriptive Geometry, which is considered the
branch of mathematics that studies the projection of three-
dimensional objects according to the rules of the
Orthographic Drawings system (Lopes; Gusmão, 2020).
The representation of an object takes place through its
views or its orthogonal projections (Neves Júnior, 2018).
To get the views of this object it is necessary to use at least
two planes that will maintain a perpendicular relationship
to each other: one vertical (π1) and the other horizontal (π2)
(Figure 1). These planes will divide the space into four
main areas named dihedrals, while the intersection of these
planes is called the ground line (Cruz, 2012). When the
object is positioned between the planes its information will
be projected on them through projecting lines that will
always maintain a relationship of orthogonality with each
other and in relation to the planes, generating therefore the
representation of the object.
Figure 1. Projection plans.
Afterwards, the planes are flipped to obtain what is
called épura (in Portuguese), épure (in French), or terms
such as "skeleton" or "wireframe" in English. In this article,
we will use the term skeleton (Figure 2). The vertical plane
will show the length and height of the object while the
horizontal designing plane will show its length and width
(Costa, 1996; Neves Júnior, 2018). These are the basic
views that enable the representation of a three-dimensional
object in a two-dimensional space (Cruz, 2012).
Figure 2. Flipping the projection planes generates the skeleton of the
object.
Furthermore, it is possible to use two tools to aid in the
understanding of an object: the Projection Box and the
Surrounding Orthohedron, both of which are imaginary
boxes (Figure 3). The Projection Box allows for the

GBL Possibilities of an Instrumental Approach to the FEZ Game for the Teaching of the Orthographic Drawings System Concepts Nipo et al. 2023
construction and representation of additional projections of
an object, in addition to the front and top views created by
Monge. With the Projection Box, it is also possible to
visualize the side views (left and right), the bottom view,
and the rear view, totaling six possible views of an object.
On the other hand, the Surrounding Orthohedron has the
main function of assisting in the interpretation of an object
and aiding in the understanding of the volume that an
object occupies in space. It serves as a bounding box for the
object, constructed based on the maximum x, y, and z
coordinates of all the points that compose the object.
Therefore, the Surrounding Orthohedron, as the name
suggests, surrounds all the faces of an object without
leaving any space between these faces and the Orthohedron
itself. The use of both the Surrounding Orthohedron and the
Projection Box becomes essential for understanding more
complex objects (Lopes; Gusmão, 2023).
Figure 3. Visualization of the six views of the object through the
Projection Box and Surrounding Orthohedron (blue line).
The planes of the projection box are unfolded to obtain
the skeleton that will depict all the views of the object in a
single plane. It makes an analogy to the movement
performed by Monge by matching the horizontal plane with
the vertical plane that generates the Mongean skeleton
(Lopes; Gusmão, 2023) (Figure 4).
Figure 4. Flipping the planes of the projection box.
The obtained views are called: front view (FV); top view
(TV); left-side view (LSV); right-side view (RSV); rear
view (RV); and bottom view (BV) (Figure 5). It is
noteworthy that the views must be organized following a
certain order established through the relationship between
the dihedrals. This organization makes it possible to
correctly understand the object through its dimensions
(height, width, and length) along with its characteristics
(Lopes; Gusmão, 2020).
The main view, the front, is the one that contains the
most important information about the object. It is
positioned in the center of the skeleton, disregarding the
posterior view, and it is the reference to locate the other
views. The top view is located below the front view while
the bottom view is above it. The right-side view is located
on the left of the front view and the left-side view on the
right of the front view. The rear view can occupy different
positions. It can be next to the side views, above the bottom
view, or even below the top view (Lopes; Gusmão, 2020).
Figure 5. Skeleton of the six views of the object.
The study of the Orthographic Drawings System can be
found in several areas of knowledge, such as Engineering,
Architecture, and Design. Moreover, the appropriation of
its concepts can be perceived elsewhere, for instance, in
digital games.
As shown ahead, the FEZ game is constructed
narratively, aesthetically, and mechanically following the
logic presented in the Orthographic Drawings System.
However, a decent performance requires that the player
should have the spatial interpretation capacity to
comprehend the modifications of the scenario starting from
the visualization of their different perspectives.
In the game the player has the possibility to switch
between the four views of the scenario that is related to our
object of study. Additionally, it is associated with the
frontal, posterior, right-side and left-side views of the
Orthographic Drawings System. These issues start most of
the time intuitively, bearing in mind that it is an
entertainment game with non-educational purposes. Yet,
what we intend to infer is the possibility of using it
precisely as a pedagogical mechanism for teaching/learning
the concepts that guide the study of orthogonal projections
present in the Orthographic Drawings System.

GBL Possibilities of an Instrumental Approach to the FEZ Game for the Teaching of the Orthographic Drawings System Concepts Nipo et al. 2023
2.3 The FEZ Game
Launched on April 13, 2012, the FEZ game was conceived
and designed by Philippe Poisson (Phil Fish) with the
collaboration of a small team that included Renaud Bédard
(programmer), Brandon McCartin (sound designer), and
Brandon McCartin (composer) (Figure 6). Developed by
Polytron Corporation, the FEZ game is distributed by
Trapdoor and is a puzzle-like video game, which involves a
two-dimensional (2D) layout with a three-dimensional (3D)
logic mechanics. Its theme consists of exploring and
seeking to meet objectives and challenges presented in the
game.
The story of the game takes place in a colorful and
restricted world in two dimensions, having as a protagonist
the small character named Gomez.
Figure 6. FEZ game presentation banner.
Gomez is a two-dimensional creature faced with the
mysterious existence of a third dimension and sent on a
journey full of challenges and obstacles. From that moment
on the character gains powers to transit between the
scenarios of the three-dimensional game. The player is then
able to rotate the game scenario to obtain four distinct
perspectives in two dimensions, enabling the movement of
the character through the game domain.
Figure 7. Initial scenario of the FEZ game.
The FEZ game is available on a variety of platforms such
as Xbox 360, Microsoft Windows, Linux, OS X,
PlayStation 3, and PlayStation Vita. The game is a free-
rated video game for all ages, and it was nominated as the
best independent game in 2012 and the best downloadable
game on VXG at the BAFTA Video Games Award
(innovation category) in 2013.
2.4 The Instrumental Approach
Ongoing the theoretical support, the Instrumental Approach
is a theory that seeks to study the relations between men
and machines as well as the necessary characteristics in the
appropriation of artifacts for the development of certain
activities. Created by Pierre Rabardel (1995) based on the
concepts of Psychology, it seeks to understand how a
subject interacts with objects around him/her and modifies
them from his/her personal schemes. The aim of this study
is to understand how the dialogue between artifact and
instrument occurs after the development of usability
schemes.
In this regard, we must understand the difference
between artifact and instrument. The artifact consists of
technical objects, systems, machines, symbolic objects (or
materials), or part of a more complex artifact (Rabardel,
1995). On the other hand, the instrument is defined as a
mixed entity, which includes the artifact or part of it, or
even a set of artifacts added to the usage schemes. It is not
restricted to the technical object or to the machine as it is an
entity that mixes subject and object (Rabardel and Béguin,
2005).
The relationship between the subject and the object
generates the instrument (mixed entity), an individual
construction from which it becomes a messenger of varied
senses for the subject. For the artifact to be transformed
into an instrument the subject must be able to appropriate
the artifact by incorporating it into its activities (Rabardel
and Béguin, 2005). This development of transformation is
called Instrumental Genesis, the central idea of the
Instrumental Approach (Rabardel, 1995). It concerns the
transformation of the artifact by the subject that acts on it
through two processes, namely, Instrumentalization and
Instrumentation.

GBL Possibilities of an Instrumental Approach to the FEZ Game for the Teaching of the Orthographic Drawings System Concepts Nipo et al. 2023
In Instrumentalization, the subject interacts with the
artifact identifying its characteristics and functionalities. It
refers to the recognition that the subject will make in
relation to the evolution and critical moment of the
different components of the artifact, in which the
potentialities and limitations are progressively recognized.
In other words, this process follows an external direction to
the subject right in the artifact (Rabardel, 1995).
In Instrumentation, however, the subject must develop
patterns of use for the instrument. After understanding and
appropriating the artifact and its functionalities it develops
usage schemes to achieve its objectives. Instrumentation is
related to the internal direction of the own subject
(Rabardel, 1995). The more you use the artifact to perform
tasks the more the schemes progress (Bittar, 2011). Thus,
the subject gives the instrument new standards and
functionalities that are generated from his previous
knowledge and experiences.
For instance, when a teacher is dedicated to performing
an activity, he/she has an action performed on a particular
object of work. This action is different for everyone even if
it involves the use of the same artifact, which can be a
material or technical instrument, applied in the elaboration
of the activity. Each unit creates a scheme of use for that
artifact in the way that suits it best, building its own
knowledge and thus generating new schemes to the
instrument (Rabardel and Béguin, 2005). Consequently, the
Instrumental Genesis depends on the process of
appropriation of the artifact, its use, and the functional
value that will be added to it so that the advance in the use
of schemes comes from the use of the artifact by the subject
in its activities (Bittar, 2011).
The processes of Instrumentalization and Instrumentation
compose inseparable parts of the Instrumental Genesis.
They go from the subject to the object and from the object
to the subject for they do not remain static, and the object
and instrument may change functions (Salazar, 2009).
In this research, we observed the possibility of applying
these processes to the educational context. Here the teacher
is the subject, who appropriates the artifact (in this case the
FEZ game) to transform it into an instrument,
distinguishing its properties, functionalities, and interface.
Through the instrument in hand and starting from its
previous experiences, schemes are thought and developed
for its use aiming the development of the object, which is
the study of the concepts of the Orthographic Drawings
System (Figure 8).
Figure 8. Analogy of the elements of the Instrumental Approach to the
educational context within the perspective of this research.
We can perceive that these processes allow teachers to
understand the relationships related to the possibilities of
using technological tools in the educational environment.
This theory equips us with appropriate elements to analyze
teaching and learning through the instrumental approach of
technological tools, in this case, a digital game.
3 Methodology
This research is the result of a descriptive and qualitative
data collection. To achieve our described research
objectives, we took as a methodological path the division
into two major stages: bibliographic research and analysis
of the FEZ game. The bibliographic research involved an
investigation on active methodologies, instrumental
approach, the Orthographic Drawings System, and games.
The analysis of the game was performed from the
perspective of the Instrumental Approach through the
systematization of the elements of the game followed by
the Instrumentation and Instrumentalization of the elements
identified as pertinent to teaching.
The systematization of parts of the game was done based
on the Elementary Tetrad of Schell (2008) with emphasis
on narrative, aesthetics, and mechanics. Subsequently, we
conducted an analysis of the relevant game elements built
on the theory of the Instrumental Approach (Rabardel,
1995) with the aim to analyze and indicate the
characteristics of Instrumentalization of the elements.
Finally, we suggest possible schemes of usability of such
characteristics in the context of the Orthographic Drawings
System through Instrumentation.
Thus, we went through the methodological path where
we converted the FEZ game from an artifact to an
instrument in the teaching concepts of the Orthographic
Drawings System in the light of its potentialities and
limitations.
4 Discussion
4.1 Analyzing the FEZ Game to Teach the
Orthographic Drawings System
The appropriation of the processes that structure the
Instrumental Genesis presents itself as a viable way to use a
technological resource, in this case, an entertainment game
for teaching a given theme in a didactic and attractive way.
In this section, we will analyze how the processes of
Instrumentalization and Instrumentation are applied in the
appropriation of the FEZ game as a didactic tool to be
integrated into the pedagogical practices of teachers,
particularly the Orthographic Drawings System.
Since the subject's experiences is a specific process it is
important to emphasize that the following analyses and
possibilities are grounded on the reflection of the
experiences and involvements of the authors, as well as on
the scientific foundations of Game-Based Learning,
Geometry, the Orthographic Drawings System, and the
Instrumental Genesis. The Instrumental Approach is based

GBL Possibilities of an Instrumental Approach to the FEZ Game for the Teaching of the Orthographic Drawings System Concepts Nipo et al. 2023
on the premise that an artifact is not an effective resource
per se. So, it is necessary that the artifact is transformed
into an instrument through the processes that integrate the
Instrumental Genesis to become meaningful and effective
in teaching and learning methods (Neves, 2020).
4.2 Instrumentalization - Game Analysis
As seen before, the first process that integrates Instrumental
Genesis is called Instrumentalization. The subject
appropriates the artifact knowing it, perceiving its
functionalities and properties, and giving it a function,
previously unconceived. In this case, FEZ would be an
artifact for a teacher who does not know it and the
Instrumentalization process would occur at the time when
he/she plays the game, perceiving its mechanics,
playability, and characteristics. In this process FEZ would
no longer be an artifact but an instrument.
To understand the Instrumentalization of the FEZ game
it is necessary to give a brief contextualization of the
technical characteristics of the game as an artifact. The
development of a digital game comes from a
multidisciplinary process, which encompasses several areas
of knowledge. Hence, we can understand and organize the
parts of a game in different ways.
In this research we take as a source the Elemental Tetrad
by Jesse Schell that allows us to contemplate the parts of
the game artifact through its constituent elements (Schell,
2008). Schell presents a scheme that assists in the
description and understanding of the game dividing it into
four constituent parts: aesthetics, mechanics, narrative, and
technology.
Figure 9. Elementary Tetrad by Jesse Schell (2008).
Aesthetics refers to everything we see in the game: the
arts and artifacts used, the colors, and even the sounds are
considered as elements (Schell, 2008). The mechanics, on
the other hand, are the sets of rules that govern the game,
determine the challenges and rewards of the game as well
as how the player will be able to follow his/her journey
(Schell, 2008). We will explain the elements of the tetrad in
more depth below.
The narrative of a game is a sequence of events that
unfolds the story we want to tell and will be revealed as we
play it (Schell, 2008). In the FEZ game we take control of
Gomez, who needs to deal with the discovery that his two-
dimensional world is much more complex than he
imagined. The game introduces us to our protagonist living
quietly in a quiet, wooded, and pixelated vertical village
along with other residents and animals. Gomez can walk
sideways, jump, climb platforms, descend from one floor to
the other, and enter different houses.
However, the protagonist is subjected to an event that
leads him to an existential crisis: The appearance of a
mysterious cube from another dimension and makes a
revelation that completely alters his understanding of
reality (Figure 10). The two-dimensional world where
Gomez has always lived can now be seen from other
perspectives, which lead him to new ways of visualizing
space and objects. Then, Gomez's new three-dimensional
vision expands his possibilities for exploration and
displacement around the world.
Figure 10. Appearance of the mysterious cube in the game's story.
Soon after this revelation, Gomez returns to his starting
point yet this time he is accompanied by a mysterious being
named Dot. While winning a magical Hat in the Moroccan
style, named Fez, he comes across the explosion of a giant
cube that is fragmented into 32 parts scattered throughout
his world. Dot teaches Gomez the main skill to use
throughout his mission in the search for cube fragments: the
possibility of changing his point of view from 90° to 90°.
Following the contributions of Schell (2008) to
systematize the elements of the game, we identified the
aesthetics and mechanics of the FEZ game as fundamental
characteristics for this work. However, the narrative is also
relevant since it helps to contextualize the tasks that will be
developed by the player.
When we talk about the mechanics of a game, we are
referring to its procedures and functions, that is the rules of
the game. It clearly describes the objectives of the game
and what means are made available for the player to
conquer them (Schell, 2008). It is through the game
mechanics that the support for the display of aesthetics is
given in addition to the presentation of the narrative.
The mechanics of FEZ are centered on the playability of
a 2D platform, in which the character can move from left to
right. In this kind of game, the interactions happen only
with the elements present on the same plane. Still, this

GBL Possibilities of an Instrumental Approach to the FEZ Game for the Teaching of the Orthographic Drawings System Concepts Nipo et al. 2023
pattern of mechanics is partially broken in the FEZ game as
we are limited to interacting with elements present on the
same platforms, though we can rotate the game camera to
reveal new plans and platforms that previously could not be
seen. Consequently, the mechanics of the FEZ game allow
you to rotate the game camera by switching to four
different positions, rotating at 90° and always having the
controllable character Gomez as the center of the rotation.
This mechanic opens to new exploration and possibilities
that differ from other 2D platform games for the player
needs to explore the scenarios in different perspectives to
find items and paths that will help in their progress.
The mechanics of the FEZ game allow us to observe its
graphics from different perspectives, which directs us to
talk about the next element of Schell's tetrad: aesthetics.
The aesthetics of a game is related to everything our senses
capture when we play. It refers mainly to the artistic part of
the artifacts of the game. Schell (2008) states that aesthetics
also refers to what we hear, smell, flavor, and sense.
Besides being the most noticeable element, aesthetics is
closely related to the player's experience.
That said, the mechanics and aesthetics work together to
create an innovative experience in the FEZ game. As we
describe, the player can observe the graphics of the game in
different ways depending on their perspective of vision.
The screenshot below (Figure 11) illustrates an example of
the aesthetics and mechanics of the FEZ game in operation,
in which the character is inside a small room. On the screen
on the left side, we observe the room without exits.
However, when rotating the camera, we can observe in the
screen on the right side that a door is revealed on another
side of the room.
Figure 11. Example of the mechanics of the game FEZ; internal
environment.
In this other situation represented by the screenshots in
Figure 12, we can observe slightly more complex
situations of the arrangement in the graphics of the game
and the changes caused by the exchange of perspective,
some of which will influence the character's displacement
in the search for his goals.
In the left screenshot we can observe two floating
platforms with the protagonist Gomez on one of them.
There are also several elements of interaction and
composition, namely an unmanageable character, a door
further down, and a chicken at the top next to a stool.
However, when we look at the screen on the right, which
rotates the player's view 90° clockwise, we can observe
various changes in the scenario. Some elements change
position, new elements are revealed, and others can no
longer be seen. The chicken, which was once at the left end
of the top is now on the right end and the stool that was
next to it no longer appears in this view. In the lower area
of the scenery, we can no longer see the uncontrollable
character and the door are replaced by a large wall. Where
once there were two platforms next to Gomez, now there's
only one. New elements are also revealed with this change
of vision. A new platform containing a chest appeared in
the lower right corner of the screen and, at the top next to
the chicken, some small mushrooms appeared on the right
side.
If the player needs to move to the top of a platform to
collect one of the cube fragments, as shown in Figure 12
for example, he/she will need to rotate the scenery to
understand the elements that will allow them to scroll there.
Figure 12. Example of the mechanics of the game FEZ; external
environment.
The playability of FEZ is based on well-constructed and
interconnected phases that require the player to change their
perspective to reveal new information and overcome logic
puzzles on challenging platforms. In this way, the narrative,
mechanics, and aesthetics of the game work together
towards a common goal of creating a new three-
dimensional world that is both engaging and educational.
It is important to emphasize that the process of
knowledge and appropriation described here is fundamental
for the transformation of FEZ into an instrument to be used
in teaching practices within the perspective of the
Instrumental Genesis. Teachers must familiarize
themselves with the game's unique characteristics and
functionalities in order to fully appreciate its potential for
enhancing their pedagogical activities.
4.3 Instrumentation - Thinking about Use
Schemes for Teaching/Learning
After the conception of the instrument, the subject
elaborates his own schemes of use integrating and
modeling it according to his experiences and objectives
(Silva, 2018). This is the second process of Instrumental
Genesis: Instrumentation. From the moment a teacher
interacts with the FEZ game, knowing its characteristics,
playability, and mechanics, he/she can scheme its use for
teaching and learning. We unfolded below the initial
possibilities of FEZ Instrumentation, realizing how its
aspects can be used to teach the concepts of the
Orthographic Drawings System.

GBL Possibilities of an Instrumental Approach to the FEZ Game for the Teaching of the Orthographic Drawings System Concepts Nipo et al. 2023
The narrative of the game, which puts a background
story to contextualize the events for the player (Schell
2008), builds a first dialogue with elements and properties
of Geometry by presenting the distinctions present in the
two-dimensional and three-dimensional representation. The
character, who previously could only move through a single
view, gains powers to move around from different
perspectives, which are the representations of three-
dimensional elements by their different views.
Figure 13. Disposition of Frontal View and Right-Side View.
The narrative also constructs the logic of the game
generating its mechanics and aesthetics (fundamental
elements of FEZ) to contemplate our object of
investigation, because it is through them that geometric
properties present in the Orthographic Drawings System is
demonstrated.
In the first contact with the FEZ game, one has the
impression that it is a classic two-dimensional platformer.
However, the main mechanics playability is centered on the
ability to rotate the environment at 90°, in which we realize
that all scenarios in the game have four views, also found in
the Orthographic Drawings System (Cruz, 2012). Thus,
The player needs to understand how the elements are
observed according to the current view and how they
behave when views are exchanged for in several cases the
player will only be able to have access to different elements
that are necessary for their displacement and advancement
in the game – which will be present in their different
perspectives – by having an understanding of how these
elements are positioned in space. It is worth noting that in
FEZ we do not have elements of the scenario positioned
obliquely in relation to the projection planes of the views,
as can be observed in the example in Figure 13. In other
words, we do not have slanted planes or lines that stray
from both parallelism and perpendicularity (Cruz, 2012).
It means that, depending on the projection plane, the
game elements will be displayed in basic view – where
planes observed are reduced to straight lines and straight
lines reduced to points – or in true magnitude, where we
can observe the actual measures of planes and lines (Cruz,
2012). These are characteristics evidenced in the FEZ game
that are related to the concepts addressed in the study of the
Orthographic Drawings System, which give the possibility
for teachers to use FEZ as an instrument in the approach of
any content. This possibility will only be possible if
educators appropriate the instrument, elaborating use
schemes for the educational environment and properly
exploring the functionalities of the game (Silva, 2018).
One of the Instrumentation possibilities of FEZ is in the
development of the student's spatial vision. This ability is
critical for the player to progress and succeed in the game.
Therefore, understanding how the elements are arranged in
the game and understanding what their new positions will
be with the alternation of two-dimensional views requires
the player to understand their positions and dimensions in a
three-dimensional space. The game provides players the
opportunity to develop their perceptions, starting from
simple phases, but gradually becoming increasingly
complex. Spatial vision, exemplified in the skills described
above, are important to understand representations in the
Orthographic Drawings System, because it is a system with
the purpose of representing the views of three-dimensional
objects on two-dimensional surfaces while recognizing in
the same way the dimensions of objects, their
characteristics, and their location in space (Neves Júnior,
2018).
Another approach of Instrumentation of the game to the
Orthographic Drawings System can be elaborated based on
the representation of the elements in the different views of
the scenarios. These views, as stated earlier, can be
exchanged by the player at any time, revealing details and
passages that previously could not be seen due to the
characteristics of each view. When representing an object
in the Orthographic Drawings System, we need at least
three views called basic views (Neves Júnior, 2018),
because the purpose of the representations in the views is to
see all the important details of the object.
Figure 13 shows some of the geometric properties of the
Orthographic Drawings System in action in FEZ. Here we
have two images of the game, one in the front view and the

GBL Possibilities of an Instrumental Approach to the FEZ Game for the Teaching of the Orthographic Drawings System Concepts Nipo et al. 2023
other in the right-side view. In the image on the right, the
front view, we have two planes, P1 and P2, which
correspond respectively to the wall of a house (A, B, C, D)
with a closed door on the first floor (E, F, G, H). In the
representation of the front view, we can see these planes in
true magnitude, because they are parallel to the projection
plane, which in this case is the player's screen. When we
look at these same planes from the right-side view, we see
only lines and have the impression that they no longer exist.
However, they continue to exist because what changes is
the observer's view of them.
Figure 14. Views: Right-side, Front, Left-side, and Back Side.
In the lateral view, points A and B occupy the same
position and this same relationship applies to points C and
D, E and F and G and H. When these related points are
together it does not mean that they are occupying the same
place in space, but rather that in this two-dimensional
perspective they are seen coinciding in the same position,
that is the left side view. By relating the two views of the
environment through the leader lines that relate the points,
you can understand the change of the two-dimensional
view of the planes when the environment is rotated.
Understanding this feature is important to consolidate that
in each view, we will have different information of the
scenario as recommended by the Orthographic Drawings
System (Neves Júnior, 2018).
In Figure 14, we have other situations that reinforce the
similarities with the concepts of the Orthographic Drawings
System. We have four views of a small room: right-side,
front, left-side and back side. Some elements are
highlighted: the red frame, the green frame, and the yellow
door. Like what was described in the previous situation, we
have some objects in true magnitude and others in basic
view, depending on the view in question. In the front view,
we have the red frame and the yellow door represented in
true magnitude and the green frame reduced to a line in
basic view on the left wall.
However, if we look at the representation of the yellow
door and the red frame in the rear view – which is opposite
the front view – the objects cannot be observed by the
player. The dashed line drawing in the back view shows
where they are positioned in the front view. This
characteristic of the game dialogues with the different
information, which can be obtained from an object in the
Orthographic Drawings System depending on its
representation in different views (Cruz, 2012). Hence, we
can see that the concepts of representation in different
perspectives can be noticed in the FEZ game not only in its
mechanics, but also in the graphic elements (in aesthetics)
present in the scenarios that make up the game.
We realized, therefore, that the game FEZ presents itself
as a rich tool for the study of the concepts present in the
Orthographic Drawings System through the different
visible possibilities of approach in its narrative, mechanics,
and aesthetics. We realized that the appropriation of the
constituent processes of Instrumental Genesis can enable
the transformation of FEZ into an instrument and the
possibility of developing use schemes that are effective in
the construction of geometry knowledge in an attractive
way. The possibilities of instrumental approach of the
game, depending on the experiences and previous
objectives of teachers, enable the organization of different
schemes and strategies for its use in pedagogical practices.
Conclusion
Most students nowadays are in constant contact with
technologies and are increasingly showing disinterest in the
outdated resources of traditional classrooms, generating
low school support and little enthusiasm (Pivato and
Oliveira, 2014). The classroom should have a dynamic that
is consistent with the actions we carry out in our daily lives,
which are increasingly mediated by digital information and
communication technologies (Valente, 2018).
As seen before, some entertainment games may also
present interesting features for the educational context.
However, these games that were not designed for
educational purposes, as is the case of the game FEZ,
require that schemes must be considered relating the area of
knowledge that one wishes to teach with the elements
present in the game. In this research, the processes studied
in the theory of instrumental approach are a viable
possibility of designing these schemes of use regarding the
Orthographic Drawings System.
To achieve success in the game FEZ, users must
develop their spatial vision as they play and learn from the
game in order to understand what the shape and
arrangement of the three-dimensional objects will be
represented in the plane, that is, in two dimensions,
characteristics belonging to descriptive geometry and the
Orthographic Drawings System. Consequently, the player
handles these concepts in an exciting way making learning

GBL Possibilities of an Instrumental Approach to the FEZ Game for the Teaching of the Orthographic Drawings System Concepts Nipo et al. 2023
dynamic and fun, which corresponds to the learning profile
of the current generation. The characteristics of the FEZ
game once appropriated by the teachers can be
instrumented and schematized to be used as an educational
resource.
Through the analysis carried out in this article based on
Game-Based Learning - GBL (Sena, 2016), as well as by
the Theory of Instrumental Approach (Rabardel 1995), we
can affirm that it is possible to learn concepts of the
Orthographic Drawings System through the
Instrumentation of the FEZ game. This statement is
supported in view of the analogous characteristics between
the concepts of the Orthographic Drawings System and the
elements of the narrative, design, and mechanics of the
game.
The game can be used by high school, technical, and
higher education teachers, as well as any other area of
education that works with the System of Views.
Overcoming barriers of age and gender, games can be used
with younger students, as well as adolescents and adults.
The proposal of instrumental approach of FEZ for
teaching/learning presented in this work is based on the
conceptions and experiences of researchers, as
recommended by the theory used, in which the processes
that constitute Instrumental Genesis are processes of the
experiences of each subject. In future works, we hope to
validate the effectiveness of the FEZ game Instrumentation
through tests and data collection. We also want to
investigate other Instrumentation perspectives for the game
by analyzing the experiences of other teachers. We hope
that these contributions can encourage teachers and
researchers to incorporate games into their teaching
practices, understanding that not only educational games
are provided with this potential.
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