DESIGNING GAMIFIED SYSTEMS
Designing Gamified Systems is a fundamental guide for building essential skills in game and interaction design to revitalize and reimagine real world systems – from cities and corporations to schools and the military. Author Sari Gilbert develops a set of core principles and tools for using game thinking and interactive design to build motivation, explain hard concepts, broaden audiences, deepen commitments and enhance human relationships. Designing Gamified Systems includes: • • •
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Topics such as gamified system design, behavioral psychology, marketing, business strategy, learning theory and instructional design Interviews with leaders and practitioners in this emerging field who explain how the job of the game designer is being redefined Exercises designed to both encourage big-picture thinking about gamified systems and help you experience and understand the challenges and nuances involved in designing them A companion website (www.gamifiedsystems.com) with additional materials to supplement learning and practice
Sari Gilbert is a professor in the Interactive and Game Design department at the Savannah College of Art and Design, where she teaches courses and workshops introducing students and professionals to the practice of gamified system design. Gilbert’s twenty years of experience in interactive entertainment include designing and producing the top-selling JumpStart titles and serving as a Senior Producer at Disney Online. She has founded three companies devoted to innovation in the field of interactive entertainment. Gilbert also holds an MFA in Digital Media Design and an MA in Educational Technology.
Copyright Taylor & Francis, not for distribution Sari Gilbert, Savannah College of Art and Design
Copyright Taylor & Francis, not for distribution Sari Gilbert, Savannah College of Art and Design
DESIGNING GAMIFIED SYSTEMS Meaningful Play in Interactive Entertainment, Marketing and Education
SARI GILBERT
Copyright Taylor & Francis, not for distribution Sari Gilbert, Savannah College of Art and Design
First published 2016 by Focal Press 70 Blanchard Road, Suite 402, Burlington, MA 01803 and by Focal Press 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Focal Press is an imprint of the Taylor & Francis Group, an informa business © 2016 Taylor & Francis The right of Sari Gilbert to be identified as the author of this work has been asserted by her in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Notices Knowledge and best practice in this field are constantly changing. As new research and experience broaden our understanding, changes in research methods, professional practices or medical treatment may become necessary. Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds or experiments described herein. In using such information or methods they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility. Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging in Publication Data Gilbert, Sari. Designing gamified systems: meanigful play in interactive entertainment, marketing and education/Sari Gilbert. pages cm Includes index. 1. Computer games–Design. 2. Computer games–Design–Psychological aspects. 3. Computer games--Design--Social aspects. 4. Play. I. Title. QA76.76.C672G54 2015 794.8′1536–dc23 2014047834 ISBN: 978-0-415-72570-5 (pbk) ISBN: 978-0-415-72571-2 (hbk) ISBN: 978-1-315-85667-4 (ebk) Typeset in Joanna and Dax by Florence Production Ltd, Stoodleigh, Devon, UK
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Contents
Acknowledgments Introduction
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PART I
THE FOUNDATION
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INTRODUCING GAMIFIED SYSTEMS Is this a game? 3 Towards a gamified world 7 Why make it voluntary? 8 Gamified systems: What are they? GS design in history 13
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Exercises, recommended readings and resources 19 Insider insight: Nicole Lazzaro leads the way 20 Insider Insight: Patrick Jagoda on the value of gamified systems 23
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BUILDING THE SPECTRUM Games vs. gamified systems 27 The old rules of play 28 Defining a gamified system spectrum Characterizing gamified systems 35
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Exercises and recommended readings 52 Insider insight: Ken Eklund is redefining how games change our world 53
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POSITIVE PERFORMANCE A flourishing life 59 Positive emotions 60 The building blocks of engagement Is this meaningful? 81
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CONTENTS Greater complexity leads to a greater sense of achievement 83 What about motivation? 84 Exercises and recommended readings 91 Insider insight: Scott Eberle studies play 92
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FUN IS LEARNING
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Hard fun 98 Brain gain 101 Categories of knowledge and domains of learning How we think 107 How games teach 112 Getting to the zone 113
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Exercises and recommended readings 121 Insider insight: Katie Salen created a game-like school
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PART II
THE TOOLBOX 5
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WHAT IS GAMIFIED SYSTEM DESIGN?
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The convergence of game and interaction design Requisite skills of a GS designer 137 Laying the groundwork 141 Iterative design 148 Agile development 152
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Exercises and recommended readings 159 Insider insight: A business perspective from Bunchball founder Rajat Paharia 162
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APPLYING GAME CONCEPTS The MDA framework 165 Creating a journey 170 Rewards and motivations 173 Applying lessons from game genres Putting it all together 194
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Exercises and recommended readings 197 Insider insight: Design lessons from 2K’s Josh Atkins
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VISUALIZING INTERACTION AND INFORMATION Goal-driven design 204 Context is everything 205 Designing GS interfaces and interactivity
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CONTENTS Interfaces that work behind the scenes Rich usability 223
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Exercises and recommended readings 225 Insider insight: Sebastian Deterding on meaningful play and the convergence of user experience and game design 228
PART III
IN THE FIELD 8
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DESIGNING GAMIFIED SYSTEMS FOR EDUCATION In the classroom
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Insider insight: Meet Shawn Young, the teacher who created Classcraft 243
GS design for professional learning
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Insider insight: Meet Code School’s designer Justin Mezzell
Gamified systems and the military The consumer marketplace 251
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Insider insight: Meet School of Dragons’ quest designer Brian Yoon 254
Cultural and civic engagement
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Insider insight: Meet the subject matter expert, historian Dr Robert Batchelor 262 Exercises and recommended readings 264 Insider insight: Lucien Vatell is building an education ecosystem 266
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GAMIFIED SYSTEM DESIGN FOR MARKETING AND ENTERTAINMENT
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The marketing mix 271 Brand building 273 Driven by strategy 277 Insider insight: CP+B’s Harold Jones on gamifying Domino’s Pizza 279
Building revenue and driving product sales 282 The role of big data 285 GS design for customer relationship management Gamifying entertainment 287
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Insider insight: Robert Nashak talks about Hollywood’s game-changing landscape 289 Exercises and recommended readings 294 Insider insight: Eric Asche keeps the truth in front of teens 295
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CONCLUSION
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Appendix: Principles of GS design Index
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Copyright Taylor & Francis, not for distribution Sari Gilbert, Savannah College of Art and Design
Acknowledgments
This book was an ambitious project, which could have not have been possible without the help, support and influence of so many people. This was definitely an effort that took a village, albeit a primarily virtual one. I’d like to begin by thanking the many folks at Focal Press who helped make this book a reality. In particular, I’d like to recognize Sean Connelly and Caitlin Murphy for guiding me on my way and keeping me focused, and Karen Ehrmann for so adeptly helping me with image permissions as I tried to reach the finish line. I’d also like to thank Tony Nixon for his commitment to detail as a copy editor. The individuals who contributed essential lessons and insights through interviews and writings to this book deserve substantial credit for adding value far beyond what I had initially imagined. I’d like to humbly thank Katie Salen, Nicole Lazzaro, Patrick Jagoda, Ken Eklund, Rajat Paharia, Sebastian Deterding, Josh Atkins, Eric Asche, Justin Mezzel, Harold Jones, Shawn Young, Lucien Vatell, Scott Eberle, Scott Nicholson, Brian Yoon and Kaitlin Feely for everything you brought to this book. I am so honored and grateful to have the participation of such brilliant and busy people. Robert Nashak and Robert Batchelor both proved to be not only the best friends that I could have ever asked for, but also the best editors and reviewers that I could imagine. Robert and Robert, your relentless support and enthusiasm kept me motivated through the most challenging intersections of this work. I am so very lucky to have you each in my life. I want to thank the Savannah College of Art and Design (SCAD) for supporting me with a fellowship during the writing of the book, allowing me to travel and collect valuable research material, without which the book and the website would not have been possible. I’d also like to acknowledge my colleagues at SCAD past and present, including: Ari Cookson, SuAnne Fu, Luis Cataldi, Tina O’Haily, Gregory Johnson, Anne Swartz, Jack Mamais, Charles Shami, Peter Weishar, Josephine Leong, Gustavo Delao and Brenda Romero. You are always inspiring me to find new things to love about teaching and exploring the worlds of interactive and game design. I must recognize the merits and contributions of the designers and theorists whose work and vision laid the foundation for this field and my interests in it.
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ACKNOWLEDGMENTS Ian Bogost, Jane McGonigal, Amy Jo Kim, Tracy Fullerton, Greg Costikyan, Raph Koster, Robin Hunicke, Jesse Schell, Eric Zimmerman, Henry Jenkins, Janet Murray and Donald Norman have each in their own way provided me with rich visions of what is and might one day be possible. Thanks to Edward and Barbara Gilbert for a lifetime of support. Most importantly, I want to thank Nate and Sage Batchelor, who remind me each and every day about the critical importance and the absolute joy of play.
Copyright Taylor & Francis, not for distribution Sari Gilbert, Savannah College of Art and Design
Introduction
Imagine a world in which every organization—corporations, schools, museums, government agencies—hired a game designer. In 2013, London’s Victoria and Albert Museum (V&A), a century-and-a-half-old institution with a vast and diverse collection of 4.5 million treasures, did just that. Why? Because a museum that has everything from the original Winnie the Pooh drawings to the mechanical tiger of an Indian Sultan needs to figure out ways for visitors to navigate through vast amounts of information. The V&A didn’t just need a game designer, it also needed someone who understood public space, education, marketing and business, and most importantly building relationships with and among people. So why did it choose a game designer? For the past twenty years, engineers and designers like myself working in the computer industry have been creating games to solve real-world problems. In the past decade, a massive proliferation of mobile devices, social networking platforms and scalable and dynamic database technologies have made this challenge not only possible but also necessary. Now that most of us are networked, at all times and all places, companies from Coca-Cola to Oracle, and school systems from New York City to Los Angeles, are shifting towards play to accomplish critical objectives like increasing profits, building markets and teaching curriculum. Marketing departments, entertainment companies, schools, government agencies and museums will increasingly rely on designers with specialized skills to envision, innovate and construct these valuable play-based frameworks. The emerging field of gamified system design (GS design) leverages game thinking and user-experience design to build motivation, explain difficult concepts, broaden audiences, deepen commitments and enhance human relationships. For game designers, exploring opportunities outside of the traditional game industry means developing a keen understanding of how games are merging with the real world and what skills need to be added to round out their practice. For those trained in interaction design, incorporating principles and practices from game design will significantly expand their domain of expertise to include the contributions games bring to the user experience, such as motivational and progressive feedback, dramatic elements and varied and unique social encounters. GS design combines game design and interaction design, while adding behavioral
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INTRODUCTION psychology, educational theory, instructional design, marketing and business strategy. It is growing rapidly and is here to stay. The most exciting thing about GS design is that it offers ways of gaining leverage on complex and real systemic problems. Games allow us to play with structures that may have become too rigid or formal. They bring in new audiences. They make the repetitive or uninteresting enjoyable. Perhaps most importantly, they get people to interact with each other in new ways. With gamebased approaches, play becomes a way of making change happen in the real world. Because GS design offers such a powerful toolbox, an interaction or game designer trained in the field can invent whole new approaches in a diverse array of fields to the way we play and interact in the world around us. BEYOND GAMIFICATION Early proponents within the field like Rajat Paharia, a contributor to this book, used the term “gamification” for this complex, emerging and varied field. Paharia founded Bunchball, a leader in the industry, whose clients include major corporations like USA Network, Coca-Cola, Wendy’s and Urban Outfitters. Although his popular term “gamification” may continue to be used—especially for corporate marketing projects—it has become too limited a concept to encompass the whole of what is happening right now. For those in the game industry, it too often suggests easy solutions—let’s create a points system with badges and rewards! For those outside the game industry, it suggests games-lite— ooh it could be like a game. . . . But suppose the game was not something merely tacked on to a company’s marketing system to build audience but was integral to the success of a task and could change the way people and objects interact. Programmers using Agile development (which will be covered in Chapter 5) play a version of poker (Planning Poker) to collectively estimate how large a feature (or user story) is and how long a programming task will take. The card game is a unique and effective approach for initiating conversations, revealing insights, exposing potential issues and solutions, redefining problems and eventually achieving consensus. Isn’t this what an advertiser, educator or manager really wants to do? They want their system to work better. This book uses the term “gamified systems” for the purpose of building critical analysis around frameworks employing game elements to accomplish goals outside of the context of games. Such structures as Planning Poker are “real world,” so that the virtual play of the game when connected with non-play elements or components creates new ways of achieving tasks and solving problems. This is what GS design does. WHY USE THE TERM SYSTEM? A system is a framework of organized and related parts that in combination create a complex whole for the purposes of accomplishing a task or goal. These parts
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INTRODUCTION each have individual attributes and share relationships with the other parts, which then combine to create unique behaviors. Moreover, systems usually inhabit a specific environment that is defined within specific boundaries. The highway system (which will be revisited a bit later in this Introduction) is an excellent example. Cars are objects that share a relationship with each other, with other objects on or near the road (like painted lanes, signs and traffic lights), and with the many rules that dictate how these all need to behave in relationship to each other. The American highway system connects all sorts of road systems, and, in doing so, connects all sorts of people. But this necessary complexity also means that most of the important systems we rely on every day are also very hard to change. This is where games come in. Games themselves can be described as systems. Rules, materials and procedures make up the interrelated objects and attributes that combine together in different variations to satisfy the goal of entertaining people. Although games succeed by entertaining, this book describes hybrid architectures which achieve goals that are external to any game context. In GS design, we link a game system to a non-game system. We thus use a newly designed, dynamic and engaging system to change a pre-existing, complex, real and necessary system. We can also use a gamified system as a kind of creative laboratory to design and test new real-world systems. Gamified systems rely on the objects, attributes and relationships found in game systems, combining these together with other non-game components to achieve goals beyond just pure entertainment. Valve’s Portal 2 is one of a handful of popular game titles designed for entertainment that are being utilized to teach important and challenging concepts in the classroom. Teach with Portals modifies the popular game, providing educators with tools and lesson plans to develop game-based curriculums for teaching math, physics, visual thinking and game design. It includes the Portal 2 Puzzle Maker, a 3D design tool to create playable puzzles and levels that meets classroom curriculum goals by encouraging hands-on learning. Puzzle Maker is a good example of how to take a traditional game title and map it to goals outside of play, expanding the audience and the significance of the game in the process. A more explicit example of a gamified system is the speed camera lottery conceived by designer Kevin Richardson for Volkswagen’s 2010 Fun Theory Award, which was established to change the way people used the Swedish road system. It is well known that drivers resent speed cameras that send automated tickets, violating the terms of what rightly or not is seen as a kind of cat and mouse game. Used to committing minor infractions or errors when there is no visible police presence, people feel that an automated system is somehow inherently unfair. Richardson approached the challenge of changing people’s behavior through fun, suggesting a lottery that would reward drivers for staying within the speed limit. In Stockholm, a radar and camera system tracked drivers staying within the speed limit and those exceeding the limit. Drivers going too fast were ticketed as usual according to the laws of Stockholm’s road and highway system. Drivers following the rules had their information entered into a lottery, to be potentially rewarded with the money collected from the drivers who were
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INTRODUCTION breaking the law. Without the added possibility of reward for following rules, such a system would normally cause a generalized resentment. But, the game element made it successful. Average speeds went down by seven kilometers an hour. The Speed Camera Lottery worked because it took the objects, relationships, attributes and boundaries of the highway system and matched these to a motivational lottery-based game concept. UNDERSTANDING MEANINGFUL PLAY The topic of play and its role in the world is covered throughout this book, both in the chapter texts as well as in the interviews and content provided by many different practitioners building this field. In their book Rules of Play, Katie Salen and Eric Zimmerman describe meaningful play in games as serving two purposes. First, moment-by-moment system feedback related to player actions generates meaning for the player, in essence answering the question, “What does my particular behavior or activity mean in this environment?” Second, the summative evaluation of the total experience translates into a big-picture assessment of the system as a whole. It offers players perspective and the chance to reflect on whether the many components that make up the parts of a system work together to achieve its goals. Salen and Zimmerman’s definition applies to the field of entertainment-based games and it serves as a foundation for understanding meaningful play in gamified systems. However, gamified systems require a third component—the measurement of how a particular system is facilitating goals beyond the game environment. One of the most well-known examples of this idea is the celebrated game Foldit. Biologists and game designers at the University of Washington created a puzzle game where players fold protein structures in order to help scientists innovate biological solutions for eradicating diseases. By combining play with crowd sourcing, Foldit produced significant contributions to the field. Whereas scientists had spent fifteen years trying to configure the structure of the enzyme of the AIDS-related virus (M-PMV), players of the game were able to generate an accurate 3D model in just ten days. Foldit proves that the most interesting gamified systems make players agents of real change and demonstrates that meaningful choices can translate into substantial contributions. ABOUT THIS BOOK The goal of this book is to expand what has up to this point been called “gamification” in two ways. The first is by articulating, illustrating and in some cases proposing frameworks, methodologies and principles to encourage a common vocabulary and to grow the field for analysis and implementation. The second goal is to help designers gain knowledge and practice creating gamified systems for organizations and institutions outside of the traditional entertainmentbased game industry. Although the book emphasizes design in the expanding fields of interactive entertainment, marketing and education, the concepts and practices introduced can satisfy a much wider range of GS design projects.
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INTRODUCTION
Road signs Within the book’s text you will see the repeating symbols pictured right. These icons are meant as road signs providing digestible and memorable moments of reflection about (1) knowledge, (2) principles and (3) guidelines. You may note that principles appear only in Part I of the book. This is an intentional design choice as these four chapters deal primarily with the study and analysis of gamified systems, and principles are meant to enhance this particular part of the learning process.
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References to players, users and participants As you begin reading you will notice that the individual interacting with the system being described is sometimes referred to as a player, but in other cases is called a user or participant. These terms vary based upon the structure of the system being described. Although some of these present themselves as playable game structures, others do not, and are not played like a game is. In Chapter 2, the spectrum of gamified systems is described, which details these differences and should support the range of labels.
How this book is organized This book is divided into three parts. The first two chapters provide a foundation for understanding the field of gamified system design, including its surprisingly long history and a framework for conducting analysis. Chapters 3 and 4 explore the positive effects of gamified systems and meaningful play on human behavior and learning. Chapters 5, 6 and 7 provide a toolkit for the practice of GS design, covering the discipline as a whole and the application of principles from game design and interaction design. The last part of the book introduces readers to individuals and organizations in the fields of education, marketing and entertainment, all of whom are utilizing game principles and thinking for their initiatives. These concluding chapters emphasize the challenges and particularities that the gamified system designer needs to know in order to be an effective partner in developing applications, frameworks, events, businesses and organizations. I. The foundation Chapter 1: “Introducing gamified systems.” Introduces gamified systems and their history, with the goal of enriching the discussion about the expanding relationship between games and the real world.
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INTRODUCTION Chapter 2: “Building the spectrum.” Covers frameworks and characteristics for analysis. The commonalities and distinctions between games and gamified systems are explored for the purpose of clarifying their key characteristics and defining a spectrum of gamified systems. Chapter 3: “Positive performance.” Looks at the field of psychology to understand the ways that play and game-based structures promote happiness and motivation. Chapter 4: “Fun is learning.” Explores the connection between fun and learning by providing an overview of the most established educational theories related to the field. II. The toolbox Chapter 5: “What is gamified system design?” Articulates the practice of GS design, demonstrating the skills and processes required to perform the task most effectively. Chapter 6: “Applying game concepts.” Provides frameworks for understanding game structures, using patterns from specific game genres to encourage more avenues of design exploration. Chapter 7: “Visualizing interaction and information.” Demonstrates how to employ principles of user experience design, information visualization and interface design for play experiences, management tools and data dashboards. III. In the field Chapter 8: “Designing gamified systems for education.” Introduces the reader to people working in and projects related to games and learning. This includes a study of the methodologies, processes and roles to effectively create systems for engagement, instruction and analysis to meet a variety of audiences in a range of settings including schools, corporations, the military and the consumer marketplace. Chapter 9: “Gamified system design for marketing and entertainment.” Shows how the fields of marketing and entertainment leverage GS design to satisfy a wide range of business initiatives, including brand building, corporate strategy, product sales and high- and low-level promotion and audience building. Exercises and companion website supplements Throughout this book you will find a variety of exercises designed both to encourage big-picture thinking about gamified systems and to help you experience and understand the challenges and nuances involved in designing them. The interviews and insights from practitioners in the field give a picture of the opportunities that lie ahead as well as some of the key conceptual landmarks of the field as it has emerged. The companion website (www.gamifiedsystems.com) includes additional materials to supplement your learning and practice as you work through the book. By the end, you should gain a solid theoretical framework that matches a valuable set of practical skills. So, if you are ready to enter this new and exciting field, it is time to get started.
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INTRODUCTION NOTES Bogost, Ian. “Gamification is Bullshit.” The Atlantic, August 9, 2011, http://www.theatlantic. com/technology/archive/2011/08/gamification-is-bullshit/243338/. Coren, Michael J. “Foldit Gamers Solve Riddle of HIV Enzyme Within 3 Weeks.” Scientific American, September 20, 2011, www.scientificamerican.com/article/foldit-gamerssolve-riddle/. Deterding, Sebastian. “Pawned. Gamification and Its Discontents.” Presentation at Playful 2010, London, September 24, 2010. Edery, David and Ethan Mollick. Changing the Game: How Video Games are Transforming the Future of Business. Upper Saddle River: FT Press, 2009. McGonigal, Jane. Reality is Broken: Why Games Make Us Better and How They Can Change the World. New York: Penguin Press, 2011. Paharia, Rajat. Loyalty 3.0: How Big Data and Gamification are Revolutionizing Customer and Employee Engagement. New York: McGraw Hill, 2013. Ray, Justin. “London’s Victoria and Albert Museum Hires Video Game Designer in Residence.” Complex, June 11, 2013, www.complex.com/style/2013/06/londonsvictoria-and-albert- museum-hires-video-game-designer-in-residence. Robertson, Margaret. “Can’t Play, Won’t Play.” Hide&Seek, October 10, 2010, http:// hideandseek.net/2010/10/06/cant-play-wont-play/. Salen, Katie and Eric Zimmerman. Rules of Play: Game Design Fundamentals. Cambridge: MIT Press, 2004. Schell, Jesse. “When Games Invade Real Life.” Presentation at DICE 2010. Las Vegas, February 19, 2010. Schultz, Jonathan. “Speed Camera Lottery Wins VW Fun Theory Contest.” New York Times, November 30, 2010, http://wheels.blogs.nytimes.com/2010/11/30/speed-cameralottery-wins-vw- fun-theory-contest/. Tassi, Paul. “Valve Wants GLaDOS to Teach Kids Physics, Math and Chemistry in School.” Forbes, June 21, 2012, www.forbes.com/sites/insertcoin/2012/06/21/valve-wantsglados-to- teach-kids-physics-math-and-chemistry-in-school/.
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