LEVEL 6: PLAY

‘You get to know someone better by playing together for an hour than by talking for an hour.’

How can gamification be used now to kick-start the desired change? To initiate change effectively, the first step is ideally simple and preferably fun. This level discusses what an organization needs to have to be able to develop a well-functioning gamification concept based on the so-called gamification-canvas. This will help make it clear what needs to be mapped out to develop a serious game or gamification-system and which game-mechanics can effectively target the motivators of the target group. Four examples show how change was practically initiated through the use of gamification with various clients.

Level 6.1 Developing a gamification-system

?The challenge of developing a serious game or gamification-system compared to an entertainment game is that their multiple goals need to be achieved and ultimately a change in behavior must be realized. Or at least a change with regards to their motivation to change, their knowledge, abilities or bravory (daring to do) something new.

In an entertaining game, the creator's only goal is to provide the user with enjoyment, so that they want to spend money on the finished product. Many more interests and variables play a role in the development of an applied game or gamification-system than just entertaining. In the first place, the target group did not ask for the game. Then, the game is also expected to be played to achieve the goal set by another party, by measuring different behaviour.

Thanks to years of practical experience, I have succeeded in creating a model that has resulted in more than thirty effective applied games and gamification-systems. These were not researched by gamification critic Ian Bogost, but clients keep coming back and report their effectiveness, so they must work. ;-) The next model has also been taught in this form at the University of Amsterdam. It roughly consists of three parts (see Figure 6.1):

● ???? the client and its objectives (left);

● ???? the target group and its motives (right);

● ???? the concept, including the content, context and mechanisms that should set the target group in motion to achieve the client's goal (middle).

The left part is mainly about the behavior that the target group eventually has to display, outside the game. The right side of the model is mainly about what motivates the target group within the game environment. The middle part concerns the final concept, which comes to life thanks to the content it has and which is played within a certain context. The content may consist of text, sound, music, moving images or still images and game mechanics. The context is determined by where and when it is played. The factors of time and place influence the choice of the communication channel and the game platform. Games can be played on all kinds of devices, or even physically as a board game. The choice of channel is determined by the context in which the game will be played. For example, this can be at home on the couch, on the train or at work. It can be played individually, or together, with each other or against each other, simultaneously or sequentially (in turns). The choice of the device also affects the user interface. Playing a game on a PC with a keyboard offers completely different interaction possibilities than playing a game on a mobile phone or with AR / VR glasses.

All these elements influence the development concept and its effectiveness and complexity. The behaviour that has to bring about the change is taught off (destructive behaviour) or taught (constructive behaviour) utilizing constructive and consistent feedback in the game or the gamification system. We’ll now explore the different parts of the model.

Objectives

Every change project always starts with a GameStorm. Whether a game is finally created to initiate the desired change or not, the GameStorm is the start. Often there are multiple stakeholders in a project, usually united in a project team, steering committee or core team. Especially due to the multidisciplinary character of a client's project team, there are often at least six different objectives on the table during an exploratory meeting. Because catching six rabbits is difficult, we use the GameStorm methodology to try to formulate one objective as effectively as possible, with a maximum of three challenges. The objectives and challenges are, of course, formulated as SMART as possible, so that after the launch of the game it is also possible to measure whether the objective has been achieved and to what extent (performance). In this way, an initial picture of the possible scoring model for the game quickly emerges at the top of the purpose-pyramid of the team in question.

To overcome the challenges and eventually reach the set goal, the target group has to show specific constructive behavior and unlearn destructive behavior.

Target audience

To develop an effective game, the development team of game-changers must put themselves in the shoes of the target group. As a minimum, the needs, drives and motivations of the target group must be explored (wanting). Also, if possible, it should be mapped out what the target group knows (or doesn’t know), can (or can’t yet) and dares or dares not to. Every assumption about the target group is one too many. This is one of the reasons why different deliverables are tested with the target group during the development process of a game. In the case of applied games, this is often at the delivery of the prototype, the alpha version and the beta version. By prototype is meant: the first playable version, in which especially the game mechanics are tested. The alpha version is the playable version with some content in it, about halfway through the development process, and the beta version is the playable version that is about 80 percent finished.

Especially the 'wanting' is a decisive aspect for the possibility that the game will appeal to the target group. Based on these motivations, the right mechanisms are chosen. If, for example, players like 'collecting and organizing', it is obvious that this will be reflected in the game, for instance in the form of badges or a selection of cards. If players like to display strength, then elements of competition are the obvious choice. The more complete the picture of the target group, the more likely the right mechanisms are chosen.

In collaboration with the University of Amsterdam, we developed an online questionnaire that showed what the primary drives and motivations of the target group were. Based on the answers to these questions, conclusions were drawn about the game mechanics used, so that they would match the motivations of the players.

Concept

Then the concept, the beating heart of the game. Here are the components mentioned above and below for developing a concept:

● ???? The name of the game, including the design of a logo or app-icon;

● ???? The theme of the game: this is often related to the experience of employees of the organization;

● ???? the visual style, in other words: what does it look like? (sometimes the corporate identity of the organization is used);

● ???? the intended purpose for the player: what should the player do in the game?

● ???? the game elements and mechanisms: how can you achieve that goal in the game?;

● ???? the scoring model: what does the player get as feedback and reward?

● ???? The actions to be performed or to be learned: the possible actions within the game.

As soon as a few things are known about the target group, you can develop systems. First of all, you need to know what the drives are of the target group for which a game or gamification system is being developed. Also, you need to know which components motivate the target group, whether or not they are lacking and how the context influences this. Whether it concerns a serious game, gamification software or a more enjoyable way of having meetings and monitoring progress, these things need to be clear.

Some people play Monopoly to win, others to have a few pleasant hours together and others want to explore whether they can win the game by owning only the cheap streets. Here the goal for the player guides their behaviour while playing.

In a game, for example, 'possession' can be handled in different ways. You can give away your possessions to other players (altruistic), but you can also share your possessions to expect something in return. You can 'exchange it fairly' so that both players perceive to have the same amount. You can drain someone else's income and profit from it, or you can take away someone's property.

In this example, two actions have a constructive effect on one player and two actions have a destructive effect on the other player's possessions. When exchanging, you can assume that both parties agree to a good deal. Within Monopoly, compare trading the most expensive street? to complete someone's city, with getting two cheap streets to complete your own set of cards. The actions you choose will determine whether you are more inclined to cooperate, resist or rather play solo and choose your own strategy.

When playing games, a large number of unconscious intrinsic human drives and motivations emerge. You could call the effects of these mechanics on our experience head-candy. Depending on who your target group is, what motivates that group and what you want to achieve with it, you will have to develop a holistic construction of goals, obstacles, actions, feedback, score and other mechanisms for them.

Figure 6.3 shows the drives and motivations that need to be taken into account when developing games with possible mechanics. It’s not pure science, where everyone who is motivated by knowledge sharing also wants to show how smart they are, but it does give a direction to game design.

Next post I will share examples how to develop a good concept and more examples of projects I did since 2009.

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