From game design elements to gamefulness - defining - gamification -

<%"---"%> tags: 📥️/📜️/🟥️ publish: true aliases: - From game design elements to gamefulness: defining "gamification" - Deterding2011a <%"---"%> <%* let title = "From game design elements to gamefulness: defining "gamification""; let date = tp.date.now("YYYY-MM-DD"); await tp.file.rename(`& ${date} ${title}`); _%> > [!Enllaç]- > zotero_link:: [Deterding et al_2011_From game design elements to gamefulness.pdf](zotero://select/library/items/H9GKUE5Z) > [!Cita]- > Cita:: Deterding2011a > [!Resum]- > Abstract:: consum de masses que s'inspira en els videojocs. En general, resumida com a "gamificació", aquesta tendència es connecta a un conjunt important de conceptes i investigacions existents en interacció home-ordinador i estudis de jocs, com ara jocs seriosos, jocs generalitzats, jocs de realitat alternativa o disseny lúdic. Tanmateix, no està clar com es relaciona la "gamificació" amb aquests, si denota un fenomen nou i com definir-lo. Així, en aquest article investiguem la "gamificació" i els orígens històrics del terme en relació amb els precursors i conceptes similars. Es suggereix que les aplicacions "gamificades" proporcionen una visió de nous fenòmens de joc complementaris als fenòmens lúdics. A partir de la nostra investigació, proposem una definició de "gamificació" com l'ús d'elements de disseny de jocs en contextos que no són de joc. > [!Paraules_Clau]- > Keywords:: Gamificació > [!autors]- > Autors:: Sebastian Deterding, Dan Dixon, Rilla Khaled, Lennart Nacke > [!meta]- > url:: https://doi.org/10.1145/2181037.2181040 > doi:: > isbn:: > [!relacionat]- > [!hipòtesi]- > Hipòtesi:: > [!metodologia]- > Metodologia:: > [!resultats]- Resultats > Resultats:: > [!resum]- Resum dels punts importants > Resum:: ## Notes | Codi Color | Significat | | ----------------------------------------- | --------------------- | | Vermell | Desacord amb l'Autor | | Groc | Punt Interesant | | Verd | Important per la tesi | - "Element Whereas “serious game” describes the design of full-fledged games for non-entertainment purposes, “gamified” applications merely incorporate elements of games (or game “atoms” [10]). Of course, the boundary between “game” and “artifact with game elements” can often be blurry – is Foursquare a game or a “gamified” application? To complicate matters, this boundary is empirical, subjective and social: Whether you and your friends ‘play’ or ‘use’ Foursquare depends on your (negotiated) focus, perceptions and enactments. The addition of one informal rule or shared goal by a group of users may turn a ‘merely’ “gamified” application into a ‘full’ game. Within game studies, there is an increasing acknowledgement that any definition of “games” has to go beyond properties of the game artifact to include these situated, socially constructed meanings [19,67]. For the present purpose, this means that (a) artifactual as well as social elements of games need to be considered, and (b) artifactual elements should be conceived more in terms of affording gameful interpretations and enactments, rather than being gameful. Indeed, the characteristic of “gamified” applications might be that compared to games, they afford a more fragile, unstable ‘flicker’ of experiences and enactments between playful, gameful, and other, more instrumental-functionalist modes. This leads directly to another question: Which elements belong into the set of ‘game elements’? Take the “Ten Ingredients of Great Games” identified by Reeves and Read [58]: Selfrepresentation with avatars; three-dimensional environments; narrative context; feedback; reputations, ranks, and levels; marketplaces and economies; competition under rules that are explicit and enforced; teams; parallel communication systems that can be easily configured; time pressure. Each of these elements can be found outside of games, and taken in isolation, none of them would be readily identified as ‘gameful’, let alone gamespecific. Also, there is serious variation between the different game genres and digital versus non-digital games – avatars are common in action and roleplaying games, but not necessarily in strategy video games or card games. In addition, how game elements are perceived can also be a matter of role, whether this be designer or user. For example, the MDA model [36] suggests that designers work with mechanics to create aesthetics, whereas players experience aesthetics, and in so doing, infer knowledge about mechanics.” [Page 4](zotero://open-pdf/library/items/H9GKUE5Z?page=4&annotation=HAW7AWS9) ![[590Zotero/Media/Deterding2011a/Deterding2011a-5-x310-y526.png]] - "5. SITUATING “GAMIFICATION” To summarize: “Gamification” refers to • the use (rather than the extension) of • design (rather than game-based technology or other gamerelated practices) • elements (rather than full-fledged games) • characteristic for games (rather than play or playfulness) • in non-game contexts (regardless of specific usage intentions, contexts, or media of implementation).” [Page 6](zotero://open-pdf/library/items/H9GKUE5Z?page=6&annotation=PVQEJL6G) ![[590Zotero/Media/Deterding2011a/Deterding2011a-6-x25-y43.png]] - "This paper argued that current “gamified” applications present emerging phenomena that warrant new concepts and research. Specifically, it suggested that insight into “gamefulness” as a complement to “playfulness” – in terms of design goals as well as user behaviors and experiences – marks a valuable and lasting contribution of studying “gamified” systems. Partly in reaction to this, the term “gameful design” – design for gameful experiences – was also introduced as a potential alternative to “gamification”.” [Page 6](zotero://open-pdf/library/items/H9GKUE5Z?page=6&annotation=YA256J9Q) ![[590Zotero/Media/Deterding2011a/Deterding2011a-6-x310-y499.png]] > [!context]- > Context:: > [!importància]- > Importància::