Serious games: a definition

In this moment I'm reading the excellent book "Design and use of serious games". In this text I found a very objective and didactic definition of this kind of game. In the words of Kankaanranta and Neittaanmäki (2009, p.21) we can define serious games as

games that engage the user, and contribute to the achievement of a defined purpose other than pure entertainment (whether or not the user is consciously aware of it). A game’s purpose may be formulated by the game’s designer or by the user her/himself, which means that also a commercial off-the-shelf (COTS) game, used for non-entertainment purposes, may be considered a serious game. The desired purpose, i.e. a serious game, can be achieved through a spectrum ranging from the mere utilization of game technology for non-entertainment purposes to development of specifically designed games for some non-entertainment purpose or the use and/or adaptation of commercial games for non-entertainment purposes. We also propose that any combination of the above would constitute a feasible way to achieve the desired effect

This idea helps us think games beyond entertainment. It is certainly an inspiration to understand games as tools in the areas of education, health and business training. Let's think about it and discuss.

#GoGamers

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Reference:

KANKAANRANTA, Marja; NEITTAANMÄKI, Pekka (Eds.). Design and use of serious games. Jyväskylä: Springer, 2009.

Social engagement loops

The use of games in non-gaming activities is rising each and every year. The idea of “gamification” (or game thinking, or ludic interface) became popular in our business culture and one feature to highlight in this context is engagement.



A game, in a business context, for example, needs a perfect balance between serious content and entertainment. From there, it’s possible to create strategies to engage audiences more accurately.

One fundamental idea in this discussion is the idea of “social engagement loops”.

As Cunningham and Zichermann say (2011, p.67) “social engagement loops, while not exclusive to games, borrow heavily from a viral loop design. A designer must not only see the way a player engages with the system, but also how he leaves it and – perhaps even more importantly – what brings him back again. In a social engagement loop, a motivating emotion leads to player re-engagement, which leads to a social call to action, which flows to visible progress and/or rewards, which loops back around to a motivating emotion”.

The figure below illustrates this idea:



A social engagement loop, designed to maximize player engagement and reengagement using core product design (CUNNINGHAM; ZICHERMANN, 2011, p.68)

Certain ludic contexts need deeper strategic building. Especially when we talk about serious games, business games, and gamification. The book in the end of this post is a great source of reference for this subject.

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Reference:

CUNNINGHAM, Christopher; ZICHERMANN, Gabe. Gamification by design: Implementing game mechanics in web and mobile apps. Canada: O’Reilly, 2011.

Video Game Cultures & The Future of Entertainment Conference (Oxford – July 2014)

Last week I was in Oxford (UK) at the Mansfield College for the “Video Game Cultures & The Future of Entertainment Conference”. The event is part of the Oxford’s University inter-disciplinary program, a global network for dynamic research and publishing. There were 3 days of full immersion inside the gaming research universe with excellent content presented by people from 15 different countries.

On the first day, we had a very interesting discussion with René Schalleger about how game designers create interactive experiences that let players explore complex issues of identity, free will and agency. Another highlight from day 1 was Teros Pasanen’s presentation about the Hobbesian state of nature in the game DayZ.



The second day was intense and focused on mobile gaming, gender in video games, serious games, educational games and game design.

On the third day, I presented my paper “Health, consumption and entertainment: the Nike brand embodied as a playful experience” that I wrote with my friend Marcelo Vasconcellos (click here to download).

This kind of event is perfect for networking and to improve our researches. For more information and the complete conference’s content access the official site of inter-disciplinary.net by clicking here.

Another good badge for my character’s sheet. =)

Go gamers!

Serious games: origins

Recently, we have heard a lot about serious games. The media is talking about the use of gaming activities for a great number of purposes including: e-learning, training, advertising, healthcare, social causes, education, etc.



However, the term "serious game" is not new and has been used for a long time, being redefined over the years. Author Clark Abt in his 1970 book "Serious Games" sets the following definition:

“Reduced to its formal essence, a game is an activity among two or more independent decision-makers seeking to achieve their objectives in some limiting context. A more conventional definition would say that a game is a context with rules among adversaries trying to win objectives. We are concerned with serious games in the sense that these games have an explicit and carefully thought-out educational purpose and are not intended to be played primarily for amusement”.

By that time we didn’t have any digital games, but it’s possible to imagine these concepts applied to analogical games.

A little bit of history always helps to improve our gaming researches.

About Jane McGonigal presentation at Cannes Lions 2013

Few days ago I was in France at the Cannes Festival of Creativity (A.K.A Cannes Lions Festival) and watched an awesome presentation by Jane McGonigal, an American game designer and author who advocates for the use of mobile and digital technology to channel positive attitudes and collaboration, in a real world context.

Jane talked about how games could change the quotidian and bring positive effects to the contemporary world. The author also spoke about how games make us resilient and could be used in non-gaming context.



McGonigal brought an excellent case to the audience about how, in clinical trials, casual games outperform pharmaceuticals for anxiety, depression and other health disturbers. To illustrate that interface between games and healthcare, Jane used as an example the game Re-Mission (HopeLab, 2006). In that game the player is inside the bloodstream of a cancer patient as his/her mission is to destroy the cancer cells with a special weapon. The video below shows the gameplay of Re-Mission:



This game is used in the treatment of children with cancer. As Jane said, in the behavioral side the patients tend to have better chemotherapy adherence (20% higher blood chemo levels), and in the psychological side patients tend to have higher rates of self-efficacy.

There’s so much to research in this area but I think authors like Jane McGonigal are doing a great job.

And I recommend the book “The reality is broken” from this author to start a new discussion about the use of ludic interfaces in non-game contexts like health, politics, serious causes and education.

Ecological concepts in a game

By Vince (@vincevader)

Today I’ll talk a little bit about Climate Game a game that I developed for a brazilian company named Games For Business (check out the english site here >> http://www.games4b.com). Games For Business works in the area of serious games, that, following the thoughts of Nick Iuppa and Terry Borst, may be explained as a game with a professional, educational or pedagogical use. It's a kind of game that mixes storytelling with mechanics that mean to send a serious message to the players involved in the process.

Climate Game is a game that, when played with strategy, negotiation and diplomacy, challenges its players to save the world from imminent destruction. With everyone’s effort and awareness, the emission of carbonic gas can be reduced before it is too late.



This game is both of competition and cooperation. It promotes competition because the player who emits no carbonic gas at all is the winner. But the integrated work of all the other participants is essential in order not to exceed the gas limits of the greenhouse effect that the planet can put up with. If this limit is exceeded, the Earth’s temperature will have risen to a level where human life is not possible and everyone dies/loses.

Therefore, participants must have a good degree of knowledge regarding gas emission and the greenhouse effect and also be very good at negotiating and formulating strategies.

This kind of game won’t make you a specialist in ecology or in global warming, but can reinforce important concepts about the health of the planet. The game can teach basic ideas and stimulate the players to search for more information about the theme. I think this is the core of a good serious game.

And if you want to play good serious games with a lot of contemporary concepts, check this URL: http://www.molleindustria.org/ .

SZIA!

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Reference:

Iuppa, Nick & BORST, Terry. Story and simulations for serious games: tales from the trenches. Burlington: Focal Press, 2007

One year of Gaming Conceptz and a special interview with Gonzalo Frasca

By Vince (@vincevader)

One year ago I started posting here about gaming concepts, game design, gamification/ludification, games and many more aspects of the ludic universe.

And, 84 posts later, the blog is still alive and kicking.

I want to thank you all for the feedback, e-mailing and the great acquaintances I made through the blog during this year.

And to celebrate the year one of the Gaming Conceptz we have a great interview with Gonzalo Frasca. Enjoy! Go gamers!

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Gonzalo Frasca (Montevideo, 1972) is a game designer and academic researcher focusing on serious and political videogames. Frasca is originally from Uruguay, where he established Powerful Robot Games, a videogame studio in Montevideo. In video game theory, Frasca belongs to the group of so called "ludologists", who consider video games to be simulations based on rules. They see video games as the first simulational media for the masses - which means a paradigm shift in media consumption and production.



1) How You've become a serious games researcher?

I'm interested in games. Serious games try to take games even further. So, anybody who's interested in pushing the envelope in games should be interested in serious games. Even if most serious games do not succeed, just thinking about the questions they raise is enough to make us better designers.

2) What would be the best definition for ludology? And narratology?

Ludology is just a word for game and play research. It's as simple as that. There are several definitions of narratology, but basically it's the discipline that studies stories and storytelling.

3) We can see a "wave" of studies about the use of game mechanics in a lot of areas of knowledge. What's your point on the buzzword "gamification"?

I've seen a lot of buzzwords come and go. I think it's positive people are interested in applying games on other fields. If gamification is here to stay or will fade, time will tell. In general, I generally try not to trust recipes and most of what I've seen about gamification looks like a magic recipe to me. But I could be wrong.

4) The use of serious games for political campaigns and education has improved in the last years?

Not really. And that is an interesting question. The simple answer is that they are not relevant. I believe we're still waiting for critical mass. Sooner or later it'll happen. Specially in education. That's my current obsession. I would actually say that these days I'm more interested in education than in games. Well, actually, it's hard to see one without considering the other.

5) The world is going more and more ludic with new digital interfaces and social media. That's a fact. Are the companies and advertising agencies ready for these changes?

I'm not sure. Videogames are still considered cool per se, not because of what they can do. Again, we're still in the very early ages of this genre. I know it doesn't seem like it. It's not because of technology: it's about social conventions. The more we incorporate play into our culture, the easier it'll be. I know this sounds totally hippie and new agey. But play is basically about not being afraid of doing. Play literally will make us free.

6) Send a final message to the new researchers of the gaming concepts and game design field.

Play my new iOS game: Space Holiday (LINK HERE). It's not serious at all, not political: it's a plain, full puzzle game. It was a challenge I set to myself: I always liked puzzle games and I always thought it was the kind of game I couldn't make myself. I worked really hard to prove myself wrong.
In any case, stay away from labels: researcher, designer, creator, player - those categories overlap all the time. You can't be good at one without being good at the others.