15 August 2026

Building an A Level Platform Game Project — Part 7: Menus, Lives, Scoring, High Scores and Game Structure

 


Building an A Level Platform Game Project — Part 7: Menus, Lives, Scoring, High Scores and Game Structure

In Part 1, we planned the platform game and set realistic success criteria.

In Part 2, we created the game window and added player movement.

In Part 3, we added gravity and jumping.

In Part 4, we added platforms and collision detection.

In Part 5, we turned platforms into proper levels with routes, collectables, hazards and finish points.

In Part 6, we added enemies, moving hazards and more advanced interactions to make the level feel alive.

Now we need to step back and look at the wider game.

So far, we have been building the mechanics of a platform game. The player can move, jump, collect items, avoid hazards and complete a level. That is excellent progress.

But a complete game needs more than a playable level.

It needs structure.

It needs a start screen.
It needs instructions.
It needs a score.
It needs lives.
It needs win and lose screens.
It may need high scores.
It needs a way to restart.
It needs clear feedback for the player.

This is the stage where a prototype starts to feel like a finished project.

For A Level Computer Science, this is also a valuable stage because it introduces state management, file handling, user interface design, validation, testing and evaluation.

Why Game Structure Matters

A game is not just what happens during play.

The player needs to move through different stages:

  1. Start the game.

  2. Read or understand the instructions.

  3. Play the level.

  4. Collect points.

  5. Lose lives when making mistakes.

  6. Complete the level or lose the game.

  7. See the result.

  8. Restart or exit.

Without this structure, the game may technically work, but it can feel unfinished.

A student might have a good level, but if the program immediately launches into the game with no explanation and no proper ending, the user experience is weak.

Good structure helps the player understand what is happening.

It also gives the student more opportunities to demonstrate good programming.

The Aim for Part 7

The aim of this stage is:

Add menus, lives, scoring, high scores and game states so the platform game feels like a complete playable game rather than a single test level.

By the end of this stage, the game could include:

  • a start menu

  • an instruction screen

  • a playing state

  • a game over screen

  • a level complete screen

  • a lives system

  • a score system

  • a high score system

  • restart and quit options

  • testing evidence for each game state

Students do not need to add every possible feature at once. The key is to add structure carefully and test each part.

From One Loop to Game States

Most simple games run inside one main loop.

In the early stages, that loop handled everything:

  • checking input

  • moving the player

  • applying gravity

  • checking collisions

  • drawing the screen

As the game grows, this can become messy.

One way to organise the program is to use game states.

A game state records what part of the game is currently active.

For example:

game_state = "menu"

The possible states might be:

"menu"
"instructions"
"playing"
"level_complete"
"game_over"
"high_scores"

Then the main loop can decide what to do depending on the current state.

For example:

if game_state == "menu":
    draw_menu()

elif game_state == "instructions":
    draw_instructions()

elif game_state == "playing":
    update_game()
    draw_game()

elif game_state == "level_complete":
    draw_level_complete()

elif game_state == "game_over":
    draw_game_over()

This is a very important design improvement.

Instead of one large, confusing block of code, the program is divided into sections.

That makes it easier to understand, test and extend.

Why Game States Are Useful for A Level Projects

Game states give students something strong to explain in their documentation.

They can say:

I used a game state variable to control which part of the game was active. This made the program easier to organise because the menu, instructions, gameplay and game over screen could be handled separately.

This shows design thinking.

It also helps with testing.

The student can test:

  • whether the menu appears first

  • whether pressing a key starts the game

  • whether the instructions screen displays correctly

  • whether the game over screen appears when lives reach zero

  • whether the level complete screen appears when the finish point is reached

  • whether the player can restart the game

Each state has clear expected behaviour.

Creating a Start Menu

A simple start menu does not need to be complicated.

It might show:

  • game title

  • short instruction

  • start option

  • quit option

For example:

ESCAPE THE PLATFORMS

Press SPACE to start
Press I for instructions
Press Q to quit

In Pygame-style code, the menu could be drawn using text:

def draw_text(text, x, y, size=36):
    font = pygame.font.SysFont(None, size)
    image = font.render(text, True, (0, 0, 0))
    screen.blit(image, (x, y))

Then:

def draw_menu():
    screen.fill((255, 255, 255))
    draw_text("ESCAPE THE PLATFORMS", 230, 180, 48)
    draw_text("Press SPACE to start", 280, 260, 32)
    draw_text("Press I for instructions", 270, 310, 32)
    draw_text("Press Q to quit", 320, 360, 32)

The input handling might include:

if game_state == "menu":
    if event.type == pygame.KEYDOWN:
        if event.key == pygame.K_SPACE:
            game_state = "playing"
        elif event.key == pygame.K_i:
            game_state = "instructions"
        elif event.key == pygame.K_q:
            running = False

This gives the game a proper beginning.

It also improves usability because the player is not suddenly thrown into the level without explanation.

Adding an Instruction Screen

An instruction screen is especially useful if someone else will test the game.

Students often forget that they know their own game better than a new user does.

A new user needs to know:

  • which keys to press

  • what the objective is

  • what collectables do

  • what hazards do

  • how to win

  • how to restart

Example instruction screen:

HOW TO PLAY

Move left: Left arrow
Move right: Right arrow
Jump: Space

Collect stars to increase your score.
Avoid enemies and red hazards.
Reach the flag to complete the level.

Press B to return to the menu.

This is a small feature, but it can improve user testing significantly.

It also gives the student evidence of user interface design.

Adding Lives

Lives give the player a limited number of attempts.

A simple lives system might start with:

lives = 3

When the player touches a hazard or enemy:

lives -= 1
reset_player()

If lives reach zero:

if lives <= 0:
    game_state = "game_over"

This creates a clear lose condition.

The player should also be able to see how many lives remain:

draw_text("Lives: " + str(lives), 10, 40, 30)

This makes the game feel fairer because the player understands the consequence of mistakes.

Avoiding the Multiple-Life-Loss Bug

One common problem is that the player loses several lives from one collision.

This happens because the game loop runs many times per second. If the player remains touching an enemy for several frames, the collision may be detected repeatedly.

There are several possible solutions.

One simple solution is to reset the player position immediately.

Another solution is to add a short invulnerability timer:

invulnerable_timer = 0

Each frame:

if invulnerable_timer > 0:
    invulnerable_timer -= 1

When the player touches danger:

if invulnerable_timer == 0:
    lives -= 1
    reset_player()
    invulnerable_timer = 60

At 60 frames per second, this gives about one second before another life can be lost.

This is a useful advanced feature because it introduces timed state management.

It also gives students a good debugging example for their project write-up.

Adding a Score System

A score system gives the player feedback and reward.

The simplest score might increase when the player collects an item:

score += 10

It might also increase when:

  • collecting a coin

  • completing a level

  • defeating an enemy

  • finishing quickly

  • collecting all items

For a first version, collectables are enough.

Example:

for item in collectables[:]:
    if player_rect.colliderect(item):
        collectables.remove(item)
        score += 10

Then the score can be displayed:

draw_text("Score: " + str(score), 10, 10, 30)

This supports several success criteria:

  • The score is displayed during play.

  • The score increases when a collectable is collected.

  • A collectable disappears after being collected.

  • The same collectable cannot be scored more than once.

These are all testable.

Making Scoring More Interesting

Once the basic score works, students can think about better scoring rules.

For example:

  • coin collected: +10

  • enemy defeated: +25

  • level completed: +100

  • all collectables collected: bonus +50

  • losing a life: no score penalty

  • optional hard-to-reach item: +30

This creates design decisions.

Should the game reward risk?
Should difficult collectables be worth more?
Should speed matter?
Should players be encouraged to explore?

A thoughtful student can justify these choices in their project documentation.

For example:

I gave optional collectables a higher score because they were placed near hazards and required more skill to collect. This encouraged players to take risks without making the level impossible to complete.

That is a good design explanation.

Adding a Level Complete Screen

When the player reaches the finish point, the game should respond clearly.

Instead of just stopping or closing, it should show a level complete screen.

Example:

LEVEL COMPLETE!

Score: 120
Lives remaining: 2

Press SPACE for next level
Press M for menu

The state change might be:

if player_rect.colliderect(finish_rect):
    game_state = "level_complete"

This creates a more polished game experience.

It also prepares the project for multiple levels.

Adding a Game Over Screen

If the player loses all lives, the game should show a game over screen.

Example:

GAME OVER

Final Score: 80

Press R to restart
Press M for menu

Input handling might include:

if game_state == "game_over":
    if event.type == pygame.KEYDOWN:
        if event.key == pygame.K_r:
            restart_game()
            game_state = "playing"
        elif event.key == pygame.K_m:
            game_state = "menu"

This gives the player control.

It also makes the game feel complete rather than unfinished.

Restarting the Game Properly

Restarting is not just moving the player back to the start.

Several things may need to be reset:

  • player position

  • vertical velocity

  • lives

  • score

  • collected items

  • enemy positions

  • moving hazard positions

  • current level

  • game state

A restart function can help:

def restart_game():
    global score, lives, player_y_velocity, game_state

    score = 0
    lives = 3
    player_y_velocity = 0
    player_rect.x, player_rect.y = current_level["player_start"]
    reset_level_items()
    game_state = "playing"

This is another useful programming idea.

A function can collect repeated reset behaviour in one place.

Students should be careful here. If collectables have already been removed from a list, they need to be restored when the game restarts. That may mean keeping an original copy of the level data.

Adding High Scores

High scores are a good extension because they introduce file handling.

A simple high score system might store the best score in a text file.

When the game ends, the program compares the current score with the saved high score.

Example:

def load_high_score():
    try:
        with open("highscore.txt", "r") as file:
            return int(file.read())
    except:
        return 0

Saving a high score:

def save_high_score(score):
    with open("highscore.txt", "w") as file:
        file.write(str(score))

Then:

if score > high_score:
    high_score = score
    save_high_score(high_score)

This gives the project a valuable file handling feature.

However, it must be handled carefully.

The student should test:

  • what happens if the file exists

  • what happens if the file does not exist

  • whether the high score loads correctly

  • whether the high score updates when beaten

  • whether a lower score does not replace the high score

This is excellent A Level evidence.

Validating High Score Data

A more careful version checks whether the file contains valid data.

For example, if the file is empty or contains text instead of a number, the program should not crash.

The loading function could be improved:

def load_high_score():
    try:
        with open("highscore.txt", "r") as file:
            data = file.read()

            if data.isdigit():
                return int(data)
            else:
                return 0

    except FileNotFoundError:
        return 0

This is a strong extension because it shows defensive programming.

It also gives the student something useful to discuss in testing.

A Simple Game Structure

By this stage, the game structure might look like this:

Start program

Load high score

Set game state to menu

Main loop:
    Check events

    If state is menu:
        handle menu input
        draw menu

    If state is instructions:
        handle instruction input
        draw instructions

    If state is playing:
        update player
        update enemies
        check collisions
        update score and lives
        draw level

    If state is level_complete:
        handle next level or menu input
        draw level complete screen

    If state is game_over:
        check high score
        handle restart or menu input
        draw game over screen

Quit program

This kind of structure can be shown as a flowchart in the project documentation.

That would be excellent evidence of design.

Testing the Wider Game Structure

Testing now needs to cover more than movement and collisions.

Students should test the whole user journey.

Example test table:

Test NumberTestExpected ResultActual ResultPass/Fail
1Start programMenu screen appearsMenu appearsPass
2Press I on menuInstructions appearInstructions appearPass
3Press B on instructionsReturns to menuReturns to menuPass
4Press SPACE on menuGame startsGame startsPass
5Collect itemScore increases by 10Score increasesPass
6Touch hazardLives decrease by 1Lives decreasePass
7Lose all livesGame over screen appearsGame over appearsPass
8Press R on game overGame restartsGame restartsPass
9Reach finish pointLevel complete screen appearsLevel complete appearsPass
10Beat high scoreHigh score updatesHigh score updatesPass
11Score below high scoreHigh score unchangedHigh score unchangedPass
12Delete high score file and run gameProgram creates or assumes score of 0No crashPass

This is much more complete than simply testing the player movement.

It shows that the program works as a whole game.

User Testing: Does the Game Make Sense?

At this stage, user testing should focus on clarity.

Ask a user to play without explaining everything verbally.

Watch what they do.

Useful questions include:

  • Did the menu make sense?

  • Were the instructions clear?

  • Did you understand how to start?

  • Did you understand the score?

  • Did you notice how many lives you had?

  • Did the game over screen tell you what to do next?

  • Did you want to try again?

  • Was the high score motivating?

This is where students may discover that something obvious to them is not obvious to a new player.

For example:

A user did not realise that pressing R restarted the game, so I added the instruction “Press R to restart” to the game over screen.

That is useful evidence of user-centred improvement.

Personal Reflection: This Is Where the Project Becomes a Product

I often find this stage changes the way students view their projects.

Before this point, they are mainly thinking as programmers.

Can I make the player move?
Can I make the jump work?
Can I detect the collision?
Can I add an enemy?

Those are important questions.

But menus, scoring, lives and high scores push the student to think more like a designer.

What does the user see first?
How do they know what to do?
What happens when they lose?
Why would they play again?
How does the game communicate success and failure?

This is where the project starts to become a product.

It is no longer just a collection of mechanics. It becomes a complete experience.

That is valuable for A Level Computer Science because it links technical implementation with user needs.

Common Bugs at This Stage

This stage can introduce new bugs.

Bug 1: The Game Restarts but the Score Does Not Reset

This happens when the restart function resets the player but not the score.

The solution is to make sure all necessary variables are reset.

Bug 2: Collected Items Do Not Return After Restart

If collectables are removed from the list during play, they need to be recreated when the level restarts.

Students may need to store original level data and create a fresh copy.

Bug 3: The Game Continues Behind the Menu

Sometimes the player, enemies or hazards continue updating even when the menu or game over screen is displayed.

The solution is to update gameplay only when:

game_state == "playing"

Bug 4: High Score File Causes a Crash

If the file is missing or contains invalid data, the program may crash.

The solution is to use error handling and validation.

Bug 5: Pressing One Key Triggers Too Many Actions

If key input is checked continuously instead of through key-down events, a single key press may skip screens or restart too quickly.

Students should think carefully about event handling.

Each of these bugs can become useful evidence if recorded properly.

Linking Back to Success Criteria

This stage supports success criteria such as:

  • The game displays a start menu.

  • The game provides instructions.

  • The score is visible during play.

  • The lives remaining are visible during play.

  • The game displays a game over screen when lives reach zero.

  • The game displays a level complete screen when the finish point is reached.

  • The player can restart the game.

  • The program stores and displays a high score.

  • The program handles missing high score files without crashing.

  • User testing is used to improve the interface.

These criteria are specific, measurable and useful for evaluation.

Practical Task for Students

Part 7 Student Task

Add wider game structure to your platform game.

Your program should include:

  1. A start menu.

  2. An instruction screen.

  3. A playing state.

  4. A level complete screen.

  5. A game over screen.

  6. A visible score.

  7. A visible lives display.

  8. A restart option.

  9. A test table covering menu, score, lives and game states.

  10. User feedback on whether the game is easy to understand.

Extension Task

Add one or more of the following:

  • high score saved to a file

  • high score validation

  • multiple player names

  • level selection menu

  • pause screen

  • settings menu

  • sound on/off option

  • different difficulty modes

  • animated menu screen

  • improved visual design

Students should only attempt these extensions once the basic game structure works reliably.

Development Log Example

A good development log entry might look like this:

Development Stage

Adding menus, lives, scoring and game states.

Aim

To make the game feel more complete by adding a start menu, instructions, game over screen, scoring system, lives system and restart option.

What Was Added

  • game state variable

  • start menu

  • instruction screen

  • score display

  • lives display

  • game over screen

  • level complete screen

  • restart function

  • high score file handling as an extension

Problems Found

  • The game continued updating while the menu was displayed.

  • The score did not reset properly after restarting.

  • Collectables did not reappear after restarting the level.

  • The high score file caused an error when it was missing.

  • A user did not know which key restarted the game.

Changes Made

  • Updated gameplay only when the game state was set to “playing”.

  • Added score and lives reset to the restart function.

  • Recreated collectables when restarting the level.

  • Added error handling for the high score file.

  • Added restart instructions to the game over screen.

Evidence Collected

  • screenshots of the menu and instruction screen

  • screenshot of score and lives display

  • screenshot of game over screen

  • screenshot of level complete screen

  • test table

  • user feedback

  • code showing game states

  • code showing high score file handling

This is strong evidence because it shows planning, implementation, testing, debugging and improvement.

Final Thoughts: A Complete Game Needs More Than a Good Level

At the beginning of this series, the project was only an idea.

Then it became a moving player.
Then a jumping player.
Then a player who could land on platforms.
Then a level with collectables and hazards.
Then a more dynamic game with enemies and moving hazards.

Now it is becoming a complete game.

Menus, lives, scoring, high scores and game states may not sound as exciting as enemies or jumping, but they are essential.

They turn a playable level into a structured user experience.

They give the player instructions, feedback, consequences and reasons to try again.

For A Level Computer Science, this stage is particularly valuable because it shows that programming is not just about making features work in isolation. It is about organising a whole system.

A strong project is not judged only by the most impressive feature. It is judged by whether the program works reliably, whether the user understands it, whether the code is organised, whether testing is thorough and whether the student can explain the decisions they made.

A good platform game is not just a character jumping across platforms.

It is a complete system.

And by this stage, students are starting to build exactly that.

14 August 2026

Iron + Sulfur: When Two Elements Become Something Completely New

 


Iron + Sulfur: When Two Elements Become Something Completely New

One of Chemistry's Simplest Reactions — and One of Its Most Important

Some chemistry experiments impress because they produce flames, dramatic colour changes or clouds of gas.

Others are valuable because they reveal an idea so clearly that it becomes difficult to forget.

Heating iron filings with sulfur is one of those experiments.

At the beginning, we have two familiar elements:

  • iron, a grey metallic solid;

  • sulfur, a yellow non-metallic solid.

Mix them together and, at first, surprisingly little has actually happened.

The iron is still iron.

The sulfur is still sulfur.

Most importantly, I can demonstrate that very easily with a magnet.

Pass a magnet close to the mixture and the iron filings are attracted towards it. With sufficient care, we can even separate much of the iron from the sulfur again.

Then we heat the mixture.

What we obtain afterwards behaves very differently.

We have made a new substance: iron sulfide.

Fe + S -> FeS

And one of the most memorable pieces of evidence is that the magnetic behaviour of the original iron has effectively disappeared.

That simple observation opens the door to some fundamental chemistry.


Before Heating: It Is Only a Mixture

Suppose I put some iron filings and powdered sulfur together in a small container.

The iron is grey.

The sulfur is yellow.

Even after mixing them thoroughly, close inspection may still allow us to distinguish the two materials.

Chemically, nothing has yet changed.

We have made a mixture.

That distinction matters enormously.

In a mixture:

  • the substances are not chemically bonded together;

  • each substance retains its own chemical properties;

  • the proportions can vary;

  • the components can often be separated using physical methods.

The magnet provides a particularly elegant demonstration.

Iron is strongly attracted to a magnet.

Sulfur is not.

Bring a magnet close to the mixture and the iron responds while the sulfur does not.

This is physical separation in action.

No chemical reaction is required.


Then We Add Energy

The situation changes when the mixture is heated strongly.

In a properly equipped laboratory, a small quantity of iron and sulfur can be placed in a suitable ignition tube and heated carefully.

This should be carried out with appropriate eye protection and good ventilation, preferably in a fume cupboard where available.

The tube must never be sealed.

As the mixture becomes hot enough, the reaction begins.

Once initiated, something particularly interesting may be observed: the reaction can continue through the mixture even after the strongest external heating has been reduced.

That tells us something else important.

The reaction releases energy.

Iron atoms and sulfur atoms are rearranging and forming a new substance.

The overall reaction is:

Fe + S -> FeS

Iron + sulfur -> iron sulfide

The product is no longer simply iron mixed with sulfur.

It is a compound.


The Magnet Test: A Beautiful Piece of Chemical Evidence

This is the part of the experiment I particularly like.

Before heating, I can demonstrate the presence of iron immediately.

I bring a magnet towards the mixture.

The iron moves.

After the reaction has taken place and the product has cooled completely, repeat the test.

The dramatic magnetic response associated with the original iron filings is no longer there.

Why?

Because the iron atoms are no longer present as metallic iron.

They are now chemically combined with sulfur as iron sulfide.

This provides a wonderful opportunity to ask students:

Where has the iron gone?

It has not vanished.

The iron atoms are still present.

But they are now part of a different substance.

That distinction between an element being present as an element and its atoms being present inside a compound is one of the most important ideas in chemistry.


The Atoms Have Not Disappeared

Students occasionally interpret chemical reactions as substances somehow disappearing and being replaced.

That is not what happens.

Before the reaction we have iron atoms and sulfur atoms arranged within two separate elemental substances.

After the reaction, those same types of atoms are present, but they have been rearranged into iron sulfide.

No iron atoms have magically vanished.

No sulfur atoms have magically appeared.

The atoms have been reorganised.

This leads naturally into the law of conservation of mass.

In a closed chemical system:

mass of reactants = mass of products

The appearance and properties may change dramatically, but the atoms themselves are conserved.


Mixture Versus Compound

The experiment gives us an almost perfect comparison.

Iron and sulfur before heating

This is a mixture.

The iron:

  • remains magnetic;

  • retains its metallic properties;

  • can potentially be physically separated.

The sulfur:

  • remains yellow;

  • retains its characteristic properties;

  • is not chemically bonded to the iron.

The proportions could also be changed.

We could mix more iron with less sulfur, or more sulfur with less iron.

It would still simply be a mixture.

Iron sulfide after heating

Now we have a compound.

The iron and sulfur are:

  • chemically combined;

  • present in a fixed chemical relationship;

  • no longer easily separated by physical methods;

  • part of a substance with properties different from either starting element.

That last point is crucial.

Compounds do not have to resemble the elements from which they are made.


A Compound Can Behave Completely Differently

This concept extends far beyond iron sulfide.

Sodium is a highly reactive metal.

Chlorine is a toxic gas.

React them appropriately and we obtain sodium chloride — ordinary table salt.

Hydrogen is a flammable gas.

Oxygen supports combustion.

Combine hydrogen and oxygen chemically and we can produce water.

Chemistry continually reminds us that knowing the properties of the elements does not automatically tell us the properties of the compound they will form.

Iron sulfide is another excellent example.

Iron is magnetic.

Sulfur is yellow.

Iron sulfide is neither simply "magnetic iron mixed with yellow sulfur".

It is a new substance.


Why Does Heating Matter?

Another useful question is:

If iron wants to react with sulfur, why doesn't the reaction happen immediately when we mix them?

The answer introduces activation energy.

Particles must have enough energy for successful reactions to occur.

Heating supplies the initial energy needed to get the reaction started.

At A Level, we can describe this using the idea of an activation energy barrier.

The reactants need sufficient energy to reach the transition towards products.

Once the reaction begins, energy is released as new chemical interactions form.

So this very simple GCSE experiment can become the starting point for much deeper A Level discussion.


What Does the Equation Really Mean?

The symbolic equation is:

Fe + S -> FeS

At GCSE, students need to understand that the symbols represent substances and atoms.

Fe represents iron.

S represents sulfur.

FeS represents iron sulfide.

At a simple particle level we can think of one iron atom combining with one sulfur atom in the formula unit.

Using approximate relative atomic masses:

Fe = 56

S = 32

So the mass ratio for the equation is:

56 : 32

which simplifies to:

7 : 4

That does not mean that large quantities should be used for the demonstration. Practical laboratory experiments should use suitably small quantities following the laboratory's risk assessment.

But mathematically it tells us something very important.

For every 7 parts by mass of iron required by this idealised equation, we require 4 parts by mass of sulfur.

That takes us directly into stoichiometry.


What Happens If We Use Too Much Iron?

Suppose there is more iron than required.

The sulfur may become the limiting reactant.

Once all the available sulfur has reacted, some iron could remain unreacted.

What might happen if we then bring a magnet towards our final material?

We might still detect some magnetic material.

That does not necessarily mean that iron sulfide itself has suddenly retained all the properties of metallic iron.

It may indicate that some unreacted iron remains.

This is a useful reminder that real laboratory results are sometimes messier than textbook diagrams.

At A Level, that becomes an interesting discussion about:

  • limiting reactants;

  • excess reactants;

  • completeness of reactions;

  • purity;

  • theoretical yield;

  • experimental evidence.

A GCSE practical has suddenly become an A Level chemistry lesson.


A Simple Investigation Rather Than Just a Demonstration

Instead of telling a student what will happen, I much prefer turning the experiment into a sequence of questions.

Give the student the iron and sulfur mixture before heating.

Ask:

What evidence shows that iron is still present?

Try the magnet.

Then ask:

Has a chemical reaction happened just because we mixed the powders?

No.

Next heat the mixture safely.

Allow it to cool completely.

Then repeat the observations.

Ask:

Can we still separate the iron with a magnet?

Does the product look like either original substance?

What evidence suggests that a new substance has formed?

Now the student is not simply watching chemistry.

They are reasoning from experimental evidence.

That is a much more powerful way to learn.


Physical Change or Chemical Change?

This experiment also provides an excellent way of distinguishing physical and chemical changes.

Mixing iron and sulfur is essentially a physical process.

No new substance has been produced.

Heating them sufficiently causes a chemical reaction.

Evidence includes:

  • energy being released during the reaction;

  • formation of a substance with different properties;

  • inability to recover the original iron simply using a magnet;

  • a substantial change in appearance and behaviour.

Students often learn lists such as:

"colour change = chemical reaction"

or

"temperature change = chemical reaction".

Those can be useful clues, but chemistry is more subtle.

The strongest evidence is that a new substance with new properties has formed.


Could We Simply Reverse the Reaction?

Before heating, separating the mixture is relatively straightforward because the substances retain their identities.

After the reaction, separating iron from sulfur is no longer a matter of simply using a magnet.

The atoms are chemically combined.

Breaking a compound apart usually requires another chemical process.

That is another fundamental distinction:

Mixtures are separated by physical processes.

Compounds require chemical processes to separate them into chemically different substances.

Filtration, evaporation, distillation, chromatography and magnets can separate suitable mixtures.

They do not simply dismantle chemical compounds into their constituent elements.


A Useful GCSE Exam Question

A typical question might say:

A student mixes iron filings with sulfur powder. Before heating, a magnet attracts the iron. The mixture is heated strongly and forms iron sulfide. Explain why the product is different from the original mixture.

A strong answer might include:

Before heating, iron and sulfur form a mixture in which both elements retain their individual properties. Heating causes a chemical reaction and produces the compound iron sulfide. The iron and sulfur atoms are chemically combined, so the product has different properties from the original elements and the iron can no longer simply be separated using a magnet.

Notice that the answer is not merely:

"because a reaction happened."

It uses the observations to explain the chemistry.


Taking It Further at A Level

For an A Level student I would push the discussion further.

Why is energy required initially?

What determines whether collisions lead to reaction?

What is happening energetically as bonds and interactions change?

Which reactant would be limiting if the quantities were altered?

Could the yield be less than expected?

How would we determine the purity of the product?

How might the behaviour of the material differ from the simplified model used at GCSE?

A good experiment should create more questions than it answers.

That is one reason I continue to value practical chemistry so highly.


Important Safety Considerations

This is a genuine heating experiment and should be treated accordingly.

It should be performed in a properly equipped laboratory, rather than casually attempted at home.

Suitable precautions include:

  • wearing eye protection;

  • using only small quantities;

  • using heat-resistant apparatus intended for strong heating;

  • keeping the ignition tube pointed away from people;

  • never sealing the tube;

  • using appropriate ventilation, ideally a fume cupboard where available;

  • avoiding inhalation of any fumes;

  • allowing the apparatus and product to cool fully before handling.

Sulfur and sulfur-containing materials should not be heated carelessly. Burning sulfur can produce irritating sulfur dioxide.

It is also unwise to improvise further reactions with the iron sulfide product. In particular, adding acids to metal sulfides can release hazardous hydrogen sulfide gas.

The educational value comes from the carefully controlled iron-sulfur reaction itself.


Why I Like This Experiment So Much

There are more spectacular experiments in chemistry.

There are reactions with brighter flames, louder noises and more dramatic colour changes.

But iron and sulfur does something particularly valuable.

It allows a student to test an idea before and after a reaction.

Before heating:

"There is iron here. I can prove it with a magnet."

After heating:

"Something fundamental has changed."

That is chemistry made tangible.

Students are not simply being told that compounds have different properties from their constituent elements.

They can see it.

They can test it.

And they can explain it.

For me, those are the experiments that students tend to remember.


From Two Elements to One New Substance

Iron filings and sulfur begin as two separate elements.

Mixing them does not change their identities.

Heat them sufficiently, however, and their atoms become chemically combined.

Fe + S -> FeS

The grey magnetic iron and yellow sulfur are replaced by a material with its own properties.

That simple transformation demonstrates:

  • elements;

  • mixtures;

  • compounds;

  • chemical reactions;

  • conservation of atoms;

  • activation energy;

  • energy changes;

  • stoichiometry;

  • limiting reactants;

  • experimental evidence.

All from a small quantity of iron, a little sulfur, an ignition tube — and a magnet.

Sometimes the best chemistry experiments are not the biggest.

They are the ones that allow a student to say:

"I can prove that something new has been made."

13 August 2026

The Direction of Light: Exploring Polarisation and Hidden Stress

 


The Direction of Light: Exploring Polarisation and Hidden Stress

Most of us think of light in terms of brightness and colour.

A lamp can be bright or dim. Light can be red, green or blue. It can be reflected, refracted, absorbed or scattered.

But light has another property that we rarely notice in everyday life.

Light has direction.

Not simply the direction in which it is travelling, but the direction in which its electromagnetic field is oscillating.

This property is called polarisation, and it provides one of the most elegant demonstrations that light behaves as a transverse wave.

Even better, polarisation is something we can investigate with surprisingly simple equipment. Two polarising filters, a phone screen and a few pieces of transparent plastic can reveal an invisible world of patterns, stresses and colours.

It is one of those areas of science that deserves rather more attention than it normally receives at GCSE and A Level.

What Does It Mean for Light to Be Polarised?

Imagine shaking one end of a rope.

If you move your hand up and down, a wave travels along the rope while the rope itself vibrates vertically.

If instead you move your hand from side to side, the wave still travels along the rope, but the vibration is now horizontal.

The vibration takes place at right angles to the direction in which the wave travels.

That is the defining characteristic of a transverse wave.

Light behaves in a similar way.

The electromagnetic fields making up a light wave oscillate at right angles to the direction in which the light is travelling.

Ordinary light from the Sun, a lamp or many other sources contains waves vibrating in many different orientations.

We describe this light as unpolarised.

A polarising filter selects one preferred direction of vibration.

After passing through the filter, much of the remaining light is polarised.

That simple idea leads to some remarkable experiments.

Experiment 1: Two Polarising Filters

Perhaps the best introduction to polarisation requires nothing more than two polarising filters.

Hold one filter in front of a bright light source.

Some of the light is absorbed, so the view becomes slightly darker.

Now place a second polarising filter behind the first.

Initially, plenty of light may still pass through.

Slowly rotate one filter.

The transmitted light becomes progressively dimmer.

Continue rotating until the two filters are approximately 90 degrees apart.

The view can become almost completely dark.

This is known as using crossed polarisers.

Rotate the filter through another 90 degrees and the light returns.

It is an extraordinarily simple experiment.

Nothing has been switched off.

The lamp is still shining.

The filters are still transparent.

Yet their relative orientation determines whether the light gets through.

Malus's Law

The effect can be described quantitatively by Malus's Law:

I = I0 cos^2(theta)

where:

I = transmitted light intensity

I0 = maximum transmitted intensity

theta = angle between the polarisation directions of the two filters

When theta = 0 degrees:

cos^2(0) = 1

so the transmitted intensity is at its maximum.

When theta = 90 degrees:

cos^2(90) = 0

so ideally no light should pass through.

Real polarising filters are not perfect, so a small amount of light may remain visible.

This makes a good investigation for an A Level student.

A light sensor could be placed behind the filters and the intensity measured every 10 degrees as one filter is rotated.

The resulting graph should follow the cos^2(theta) relationship reasonably closely.

Suddenly an attractive visual demonstration has become a quantitative physics experiment.

Experiment 2: Your Phone Screen Is Already Helping

One of the most convenient sources of polarised light may already be sitting in your pocket.

Many LCD screens produce strongly polarised light.

Display a bright white image on a phone, tablet or computer monitor.

Now look at the screen through a polarising filter.

Rotate the filter.

At some orientations the display will look bright.

At others it may become much darker.

Depending on the construction of the screen, it may become almost black at a particular angle.

This is a wonderful demonstration because there is no obvious reason why rotating a transparent filter should make a glowing electronic screen apparently disappear.

It gives us an opportunity to discuss the physics hidden inside modern technology.

Why LCD Screens Need Polarisers

Liquid crystal displays depend on controlling the polarisation of light.

A simplified LCD contains polarising layers with liquid crystal material between them.

Electrical signals change the orientation of the liquid crystal molecules.

That changes how the polarisation of the light is modified as it passes through the display.

The second polarising layer then determines how much of that light reaches your eye.

Millions of tiny pixels can therefore be controlled independently.

Something as familiar as a laptop screen ultimately depends upon a property of light that many people have never consciously observed.

Experiment 3: Put Plastic Between Crossed Polarisers

Now things become much more colourful.

Set up two crossed polarising filters so that very little light passes through.

Then place a transparent plastic object between them.

Try:

  • a transparent ruler;

  • plastic cutlery;

  • clear packaging;

  • a CD case;

  • safety glasses;

  • transparent plastic sheet;

  • a plastic protractor;

  • pieces of adhesive tape;

  • moulded plastic components.

Instead of remaining dark, the plastic may suddenly produce brilliant bands of colour.

Blues, reds, greens, yellows and purples can appear.

Some objects show beautiful rainbow fringes.

Others reveal bright regions around corners, holes and moulded features.

These colours are not pigments inside the plastic.

They are being produced by interactions between polarised light and the material itself.

Seeing Stress That Is Normally Invisible

This technique is called photoelasticity.

Some transparent materials become optically anisotropic when they are under mechanical stress.

Put more simply, light travelling through stressed plastic can behave differently depending upon its direction of polarisation.

Different parts of the light wave travel through the material at slightly different speeds.

When the components of the light recombine, they interfere.

Because different wavelengths of visible light are affected differently, coloured patterns appear.

What makes this particularly interesting is that the colour pattern can correspond to stresses inside the object.

Areas that look perfectly normal to the naked eye can contain significant internal stress.

Suddenly the invisible becomes visible.

A Simple Engineering Investigation

Take several transparent plastic rulers from different manufacturers.

Place each one between crossed polarisers.

Do they show the same pattern?

Probably not.

Now gently bend one ruler.

Watch how the colours change.

The stress distribution inside the plastic has changed, and the polarised light reveals it.

Release the ruler and much of the pattern may return towards its original state.

This immediately connects classroom physics with engineering.

Engineers need to know where stresses concentrate.

Corners, holes, notches and sudden changes in shape can produce regions where stresses become much larger than expected.

Historically, transparent models viewed through polarised light provided an important way of investigating these stress concentrations.

Modern engineers have sophisticated computer modelling techniques such as finite element analysis, but photoelasticity remains an elegant demonstration of the underlying principles.

Try Adhesive Tape

One of my favourite versions of the experiment requires something even simpler.

Take a clear piece of plastic or glass and place several layers of transparent adhesive tape across it.

Allow some pieces to overlap.

Rotate some strips relative to others.

Place the result between crossed polarisers.

The overlapping layers can produce remarkably strong colours.

Different thicknesses and orientations create different optical effects.

It begins to look almost like stained glass.

Yet the picture has been produced through physics rather than coloured pigments.

This would make an excellent practical activity because students can deliberately design their own polarisation artwork while simultaneously investigating interference and optical anisotropy.

Science and art suddenly become connected.

Polarisation by Reflection

Polarising filters can also reveal something interesting about reflected light.

Look at reflections from:

  • water;

  • glass;

  • polished surfaces;

  • wet roads;

  • car windscreens.

Now view the reflection through a polarising filter and rotate it.

At certain angles the reflection becomes dramatically weaker.

Reflected light can be partially polarised.

This is particularly noticeable when light reflects from non-metallic surfaces such as water or glass.

The effect explains one of the most familiar applications of polarisation.

Why Polarised Sunglasses Work

Ordinary sunglasses simply reduce the amount of light entering the eye.

Polarised sunglasses do something more useful.

Reflections from roads, water and other horizontal surfaces tend to contain a strong horizontally polarised component.

The polarising material in the sunglasses is arranged to block much of that component.

The result is reduced glare.

This is why polarised sunglasses can be particularly effective for:

  • driving;

  • sailing;

  • fishing;

  • skiing;

  • photography;

  • activities around water.

For someone involved in sailing, the effect is particularly obvious.

Bright sunlight reflected from the surface of the water can produce intense glare. A good pair of polarised glasses can reduce much of that reflection and make it easier to see detail on and sometimes just below the surface.

Here a piece of wave physics becomes immediately useful.

A Quick Test for Polarised Sunglasses

There is a simple experiment you can perform.

Look at an LCD screen while wearing polarised sunglasses.

Tilt your head slowly sideways.

The brightness of the screen may change dramatically.

At approximately 90 degrees it may become very dark.

You are effectively rotating one polarising filter relative to another.

It is the same experiment we started with, except one polariser is inside your sunglasses and the other is part of your screen.

Polarisation in Photography

Photographers make extensive use of polarising filters.

A circular polarising filter fitted to the front of a camera lens can reduce unwanted reflections from:

  • water;

  • leaves;

  • glass;

  • painted surfaces;

  • wet rocks.

It can also deepen the appearance of a blue sky under suitable conditions and improve colour saturation in landscape photographs.

Unlike many digital photographic effects, this cannot always be reproduced convincingly afterwards in software.

If light reflected from the surface of a lake hides what is beneath the water, the camera sensor never receives the missing information.

Reducing the reflection before taking the photograph can therefore reveal detail that would otherwise be lost.

The effect changes as the filter rotates, so the photographer can adjust it while looking through the camera.

It is another good example of physics becoming a practical creative tool.

Polarisation and Microscopy

Polarised light is also important in microscopy.

Minerals, crystals and biological structures can interact with polarised light in distinctive ways.

A thin mineral section placed between crossed polarisers can produce spectacular colours.

Geologists can use those patterns to help identify minerals and investigate the internal structure of rocks.

Polarised light microscopy is also used to investigate:

  • crystals;

  • fibres;

  • polymers;

  • biological tissues;

  • industrial materials.

Once again, properties invisible under ordinary illumination become visible by controlling the direction of the light.

Polarisation in Astronomy

Even light that has travelled across enormous astronomical distances can carry polarisation information.

Astronomers can analyse the polarisation of light to investigate magnetic fields, scattering by dust and conditions around distant astronomical objects.

Polarisation measurements can contribute to studies of:

  • stars;

  • nebulae;

  • galaxies;

  • interstellar dust;

  • black hole environments;

  • the cosmic microwave background.

We started with two pieces of plastic held in front of a lamp.

The same underlying physics can help us investigate the Universe.

That is one of the things I find so appealing about experimental physics.

A relatively simple classroom observation can connect directly to some of the most sophisticated scientific measurements being made today.

Polarisation in Communications

Polarisation can also carry information.

Radio waves and microwaves are electromagnetic waves, just like visible light, although they have much longer wavelengths.

Their polarisation therefore matters too.

A transmitting aerial and receiving aerial generally work best when their orientations correspond appropriately.

Turn a receiving aerial through 90 degrees and the signal can decrease dramatically.

Satellite communications frequently make use of different polarisations to help separate signals.

The idea demonstrated with two optical polarising filters therefore extends far beyond visible light.

A Small Investigation for Students

A useful mini-project would be to collect a range of transparent household materials and investigate them systematically.

For each material, record:

  1. What does it look like normally?

  2. What does it look like between parallel polarisers?

  3. What does it look like between crossed polarisers?

  4. Does rotating the object change the pattern?

  5. Does gently bending or squeezing it change the pattern?

  6. Do different thicknesses produce different colours?

  7. Can the observed patterns be related to the way the object was manufactured?

Students could photograph their results and create a gallery.

Possible objects might include:

  • rulers;

  • food packaging;

  • spectacle lenses;

  • plastic containers;

  • protractors;

  • disposable cutlery;

  • adhesive tape;

  • transparent 3D prints;

  • plastic clips.

You soon discover that apparently ordinary plastic objects contain an extraordinary amount of hidden optical information.

Going Further: Measuring the Light

For a more advanced experiment, use a light sensor.

Place:

light source -> polariser 1 -> polariser 2 -> light sensor

Keep the first polariser fixed.

Rotate the second polariser through angles from 0 to 180 degrees.

Measure the intensity at perhaps 10-degree intervals.

Plot:

light intensity against angle

Then compare the experimental results with:

I = I0 cos^2(theta)

Students can investigate whether the measured relationship agrees with Malus's Law.

Possible sources of error include:

  • background light;

  • inaccurate angle measurement;

  • imperfect polarising filters;

  • sensor alignment;

  • variations in the light source.

This turns a visually impressive demonstration into a proper experimental investigation involving measurements, graphs, mathematical modelling and evaluation.

Why Polarisation Matters Educationally

Students are frequently told that light is a transverse wave.

That statement can easily become another fact to memorise for an examination.

Polarisation changes that.

It provides experimental evidence.

Longitudinal waves cannot be polarised in the same way because their oscillations occur along the direction of travel.

The fact that light can be polarised therefore provides powerful evidence for its transverse nature.

There is an important educational distinction here.

Knowing that light is transverse is useful.

Seeing evidence that light is transverse is science.

And being able to design an experiment to investigate that evidence is even better.

Science Beyond the Syllabus

This is precisely why I enjoy exploring scientific ideas beyond the minimum required by an examination specification.

Specifications inevitably have limits.

There is only so much that can be taught in the available time.

But science itself does not stop at the edge of the syllabus.

Polarisation connects wave theory with engineering, photography, computing, materials science, astronomy, communications and everyday technology.

It can begin with equipment costing only a few pounds.

Yet it leads to some remarkably deep ideas.

That is exactly the sort of science I want students to experience.

Not simply:

"What do I need to remember for the examination?"

but:

"Why does that happen?"

"How could we test it?"

"What else could we discover?"

Conclusion: Light Has More to Tell Us

Light is far more complicated than simply something that allows us to see.

It has wavelength.

It has frequency.

It carries energy and momentum.

It reflects, refracts, diffracts and interferes.

And it can be polarised.

Two simple filters reveal that light has an orientation.

Add a piece of transparent plastic and suddenly invisible mechanical stresses can appear as brilliant bands of colour.

Look at reflected sunlight and we discover why polarised sunglasses work.

Turn to photography and we can control reflections before they reach the camera.

Look inside an LCD screen and polarisation becomes part of the technology we use every day.

Turn towards astronomy and the polarisation of light arriving from space can reveal information about objects millions or billions of kilometres away.

That is quite a journey from two small pieces of polarising plastic.

And it is an excellent reminder that some of the most interesting science begins when we look at something familiar and ask a slightly different question:

Light travels in a direction — but in which direction does it vibrate?

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