“The rules just kind of got there. They don’t make any kind of sense except in terms of themselves. But when you start to exercise those rules, all sorts of processes start to happen and you start to find out all sorts of stuff about people. In astrology the rules happen to be about stars and planets, but they could be about ducks and drakes for all the difference it would make. It’s just a way of thinking about a problem which lets the shape of that problem begin to emerge. The more rules, the tinier the rules, the more arbitrary they are, the better. It’s like throwing a handful of fine graphite dust on a piece of paper to see where the hidden indentations are. It lets you see the words that were written on the piece of paper above it that’s now been taken away and hidden. The graphite’s not important. It’s just the means of revealing their indentations. So you see, astrology’s nothing to do with astronomy. It’s just to do with people thinking about people.”
I think it’s time we had a frank talk about what gamification is, and why we should stop doing it — or at least, why we should agree that if we’re not going to stop doing it, we ought to stop calling everything that involves real-world game design by that name.
Gamification as formulated by its proponents — let’s thumbnail it as, “the application of points and badges and other representations onto real-world behaviors under the assumption that doing so will ‘incentivize’ or motivate certain actions” — is anti-human. It’s about closing down possibility rather than opening it up. When “successful” (which, to be sure, it often is not), it amounts to a sleazy kind of behavioral control system. Population control is anathema to what games are, or have been, or ever will be.
A true game is a set of rules and procedures that generates problems and situations that demand inventive solutions. A game is about play and disruption and creativity and ambiguity and surprise. A game is about the unexpected. Gamification, on the other hand, is about the expected, the known, the badgeable, and the quantifiable. It is about “checking in” and being tracked. It’s not about breaking free, but rather about becoming more regimented. It’s a surveillance and discipline system — a wolf in sheep’s clothing. Beware its lure.
Of course, if your goal is to create compliant employees, students, consumers, or citizens, then maybe gamification is for you. What better way to hammer home the idea that innovation, intellectual development, identity, and citizenship consist of doing what one is told and checking off boxes than by, well, “rewarding” people for doing what they’re told and checking off boxes? This is the essence of gamification: here are X number of things that you can be rewarded for doing. Now do them. Your activity will be monitored, and you will be credentialed accordingly.
In education, gamification is the hellspawn of No Child Left Behind and other kinds of quant-led learning policies. It posits that the main role of the educator is to identify a finite set of things that students ought to learn and do, and then to make them learn and do those things by whatever means necessary. If trickery is involved, then so be it. The principal “trick” gamification deploys is to make the tasks it seeks to support feel like game activities by using scorekeeping metaphors drawn from videogames and role-playing games to track completion. But aside from superficial similarity, is this approach really any different from handing out As and Bs, certificates and diplomas, GPAs and SAT scores?
Make no mistake: gamification — for we must differentiate it from game design proper, else the term is meaningless — is a credentialing system, and while it sometimes poses as a way of honoring and acknowledging informal learning, what it really amounts to is an extension of the formal into the realm of the informal. It is not concerned with teaching learners how to learn, but rather shockingly exclusively with offering them a set of discrete objects that they must accumulate (in part or in whole) in order to be credentialed. This is not a recipe for creating the kinds of creative problem-solvers our civilization needs. This is a recipe for creating rule-followers who are more concerned with optimizing their badge collections than with truly exploring and engaging with the world in which they live.
So just stop. End this dark chapter, this Frankenstein perversion of all the beautiful and liberating things that games can do. Refuse the marketing pitch. If you want to design games to make your school or city or country a better place, then do it — design games and change the world. But don’t do gamification. It’s bad for people. And if you’re an acolyte who just won’t let go, then at least do the rest of us a favor and keep your dirty word to yourself.
OCADU Digital Futures is running a special free advance screening of The Institute this Thursday, September 12th, 2013, at OCAD University. We will be hosting a Q&A following the screening with at least one special mystery guest. Details below…
OCAD University Auditorium (room 190)
Thursday, September 12, 2013 6:30 PM
** free **
To those dark horses with the spirit to look up and see… “The Institute” is a feature length documentary examining the San Francisco phenomenon of the Jejune Institute.
Is it a cult? Is it a game? Or is it a life changing adventure?
The film looks over the precipice at an emergent new art form where the real world and fictional narratives merge to create unforeseen and often unsettling consequences. Follow along as we disclose a world whose secret identity may mean the difference between enlightenment and total incomprehension…
I’m presenting a paper and a workshop at this year’s Digital Games Research Association (DiGRA) Conference in Atlanta. The paper, “A Reality Game to Cross Disciplines: Fostering Networks and Collaboration,” co-written with Benjamin Stokes, Tracy Fullerton, and Simon Wiscombe, “introduces a new possibility: that games can directly shape real-world networks, even as they educate.” We illustrate this possibility via a case study and network analysis of our pervasive game, Reality. You can download a copy of the paper from the proceedings here.
The workshop, “(Re)conquering Space: a Reality Game Workshop” (Aug 28 @10:15am), co-presented with Simon Wiscombe, is a remix of my “Stirring $#!!* Up With Games” talk. This is a hands-on workshop where we’ll be coming up with prototypes for games that address lived environments and spaces such as the DiGRA conference itself.
Readers who are interested in a more complete breakdown of the design approach discussed in the workshop may want to check out my dissertation, “Reality Ends Here: Environmental Game Design and Participatory Spectacle” (.pdf), or the project page for Reality.
Here’s an extended description of the workshop:
This workshop is intended for those who wish to explore how games can be designed to directly impact the social and cultural fabrics of lived environments such as public institutions, workplaces, and neighborhoods. In specific, this workshop is about how artists, entertainers, educators, policy-makers, and activists can design games to embolden and empower communities to actively engage in the creative construction of their own realities.
The kinds of games explored in this workshop vary wildly in terms of the ways in which they employ technology. Many draw more on the praxis of party games, Happenings, and Situationism than they do on traditional computational games. What all the games mentioned and imagined in this workshop have in common is that they are woven into or layered upon the lived environments of their players, and have an immediate impact on the ways that these environments are used. These kinds of games go beyond merely calling for change by actually bringing it about through playful interventions that both embody and enable transformation, discovery, and social engagement.
Attendees of this workshop will emerge with an understanding of the key principles of reality game design, including:
1. Design Around the Local
2. Action, Not Simulation
3. Optimize for Agency
4. The Social is the Medium
5. Iteration and Permeability
This is a hands-on workshop. It does not require any special technical abilities, but it does demand a willingness to play and experiment. Working in groups, attendees will use a flexible methodology to create prototypes for reality games. Using the play experiences that take place in the workshop as a touchstone, broader questions regarding the relationship between reality games and social/cultural impact will be addressed and discussed.
More info: DiGRA 2013
“Empathy is the key to science. You don’t know that when you begin.” Tumble into the rabbit hole that is the Pronunciation Book YouTube channel, which has been counting down to…something…for the past 47 days. You may have stumbled across the Pronunciation Book before the countdown began, when all it was doing was telling you how to pronounce things like Quinnipiac, Enjolras, and banana. But since July 9th, 2013, the channel has taken a decidedly mysterious turn. Sarah Brin (@dinosaurrparty) of The Creators Project writes:
It may be possible that Pronunciation Book is not so much a game as it is an alternative reality. More specifically, it may be possible that the words and phrases repeated in the series are telling a story. However fragmented and sometimes Pynchonian the narrative may appear, this mode of storytelling may be a new development in the field of serial narratives. (Charles Dickens, Vladimir Nabokov and many other writers were known to have published their work in regular installments, too.)
This is all pure conjecture, of course, and we’ll have to wait September 24th (77 days from July 9, 2013) to find out whether or not there is a message to be found within Pronunciation Book. (The Creators Project)
Want to learn more about Reality? Want another good reason to go to Austin for SXSW 2014? If so, please head on over to the SXSW PanelPicker and vote for our Interactive Panel, “Reality Games to Unleash DIY and Maker Cultures.” The panel features members from our expanding Reality team, including Donald Brinkman of Microsoft Research, Tracy Fullerton of USC, Jason Pace of University of Washington, and me (of OCAD University).
SXSW panels are selected based in part on how many votes they receive via the PanelPicker. So please do vote for our panel — we want an excuse to come down there and see you!
“The Nordic Larp Discourse” is a fascinating and inspiring collection of videos, essays, manifestos, and resources about Nordic live action role-playing. These games/experiences provoke a bevy of intriguing ideas about experience design, transmedia storytelling, immersive theatre, and environmental game design.
If you’re coming to this without any background at all, Nordic larp is the tradition of live-action roleplaying (it used to be an acronym, but it’s a noun in its own right now). It differs from traditional larp in other places by taking its stories much more seriously, and spending more time telling stories that emphasize naturalistic emotion. Nordic larp, as talked about here, refers to a specific community. While there’s no fully agreed upon definition, this community doesn’t include all larps in the Nordic countries — there are plenty of light-hearted fantasy games that have fairly little to do with what this community. (dymaxion.org)
See also: additional documentation on System Denmark (and many other larps mentioned in the Dymaxion article) at Nordic Larp Wiki.
“I’m convinced that fear is at the root of most bad writing. If one is writing for one’s own pleasure, that fear may be mild — timidity is the word I’ve used here. If, however, one is working under deadline — a school paper, a newspaper article, the SAT writing sample — that fear may be intense. Dumbo got airborne with the help of a magic feather; you may feel the urge to grasp a passive verb or one of those nasty adverbs for the same reason. Just remember before you do that Dumbo didn’t need the feather; the magic was in him…Good writing is often about letting go of fear and affectation. Affectation itself, beginning with the need to define some sorts of writing as ‘good’ and other sorts as ‘bad,’ is fearful behavior.”