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Gamify: how gamification motivates people to do extraordinary things. (Print copy) by
Organizations are facing an engagement crisis. Regardless if they are customers, employees, patients, students, citizens, stakeholders, organizations struggle to meaningfully engage their key constituent groups who have a precious and limited resource: their time. Not surprisingly, these stakeholders have developed deflector shields to protect themselves. Only a privileged few organizations are allowed to penetrate the shield, and even less will meaningfully engage. To penetrate the shield, and engage the audience, organizations need an edge. Gamification has emerged as a way to gain that edge and organizations are beginning to see it as a key tool in their digital engagement strategy. While gamification has tremendous potential to break through, most companies will get it wrong. Gartner predicts that by 2014, 80% of current gamified applications will fail to meet business objectives primarily due to poor design. As a trend, gamification is at the peak of the hype cyc≤ it has been oversold and it is broadly misunderstood. We are heading for the inevitable fall. Too many organizations have been led to believe that gamification is a magic elixir for indoctrinating the masses and manipulating them to do their bidding. These organizations are mistaking people for puppets, and these transparently cynical efforts are doomed to fail. This book goes beyond the hype and focuses on the 20% that are getting it right. We have spoken to hundreds of leaders in organizations around the world about their gamification strategies and we have seen some spectacular successes. The book examines some of these successes and identifies the common characteristics of these initiatives to define the solution space for success. It is a guide written for leaders of gamification initiatives to help them avoid the pitfalls and employ the best practices, to ensure they join the 20% that gets it right. Gamify shows gamification in action: as a powerful approach to engaging and motivating people to achieving their goals, while at the same time achieving organizational objectives. It can be used to motivate people to change behaviors, develop skills, and drive innovation. The sweet spot for gamification objectives is the space where the business objectives and player objectives are aligned. Like two sides of the same coin, player and business goals may outwardly appear different, but they are often the same thing, expressed different ways. The key to gamification success is to engage people on an emotional level and motivating them to achieve their goals.
Gamify: How Gamification Motivates People to Do Extraordinary Things (E-book) by
Organizations are facing an engagement crisis. Regardless if they are customers, employees, patients, students, citizens, stakeholders, organizations struggle to meaningfully engage their key constituent groups who have a precious and limited resource: their time. Not surprisingly, these stakeholders have developed deflector shields to protect themselves. Only a privileged few organizations are allowed to penetrate the shield, and even less will meaningfully engage. To penetrate the shield, and engage the audience, organizations need an edge. Gamification has emerged as a way to gain that edge and organizations are beginning to see it as a key tool in their digital engagement strategy. While gamification has tremendous potential to break through, most companies will get it wrong. Gartner predicts that by 2014, 80% of current gamified applications will fail to meet business objectives primarily due to poor design. As a trend, gamification is at the peak of the hype cyc≤ it has been oversold and it is broadly misunderstood. We are heading for the inevitable fall. Too many organizations have been led to believe that gamification is a magic elixir for indoctrinating the masses and manipulating them to do their bidding. These organizations are mistaking people for puppets, and these transparently cynical efforts are doomed to fail. This book goes beyond the hype and focuses on the 20% that are getting it right. We have spoken to hundreds of leaders in organizations around the world about their gamification strategies and we have seen some spectacular successes. The book examines some of these successes and identifies the common characteristics of these initiatives to define the solution space for success. It is a guide written for leaders of gamification initiatives to help them avoid the pitfalls and employ the best practices, to ensure they join the 20% that gets it right. Gamify shows gamification in action: as a powerful approach to engaging and motivating people to achieving their goals, while at the same time achieving organizational objectives. It can be used to motivate people to change behaviors, develop skills, and drive innovation. The sweet spot for gamification objectives is the space where the business objectives and player objectives are aligned. Like two sides of the same coin, player and business goals may outwardly appear different, but they are often the same thing, expressed different ways. The key to gamification success is to engage people on an emotional level and motivating them to achieve their goals.
How Games Move Us (Print Copy) by
An engaging examination of how video game design can create strong, positive emotional experiences for players, with examples from popular, indie, and art games. This is a renaissance moment for video games--in the variety of genres they represent, and the range of emotional territory they cover. But how do games create emotion? In How Games Move Us, Katherine Isbister takes the reader on a timely and novel exploration of the design techniques that evoke strong emotions for players. She counters arguments that games are creating a generation of isolated, emotionally numb, antisocial loners. Games, Isbister shows us, can actually play a powerful role in creating empathy and other strong, positive emotional experiences; they reveal these qualities over time, through the act of playing. She offers a nuanced, systematic examination of exactly how games can influence emotion and social connection, with examples--drawn from popular, indie, and art games--that unpack the gamer's experience. Isbister describes choice and flow, two qualities that distinguish games from other media, and explains how game developers build upon these qualities using avatars, non-player characters, and character customization, in both solo and social play. She shows how designers use physical movement to enhance players' emotional experience, and examines long-distance networked play. She illustrates the use of these design methods with examples that range from Sony's Little Big Planet to the much-praised indie game Journey to art games like Brenda Romero's Train. Isbister's analysis shows us a new way to think about games, helping us appreciate them as an innovative and powerful medium for doing what film, literature, and other creative media do: helping us to understand ourselves and what it means to be human.
How Games Move Us (Ebook) by
An engaging examination of how video game design can create strong, positive emotional experiences for players, with examples from popular, indie, and art games. This is a renaissance moment for video games--in the variety of genres they represent, and the range of emotional territory they cover. But how do games create emotion? In How Games Move Us, Katherine Isbister takes the reader on a timely and novel exploration of the design techniques that evoke strong emotions for players. She counters arguments that games are creating a generation of isolated, emotionally numb, antisocial loners. Games, Isbister shows us, can actually play a powerful role in creating empathy and other strong, positive emotional experiences; they reveal these qualities over time, through the act of playing. She offers a nuanced, systematic examination of exactly how games can influence emotion and social connection, with examples--drawn from popular, indie, and art games--that unpack the gamer's experience. Isbister describes choice and flow, two qualities that distinguish games from other media, and explains how game developers build upon these qualities using avatars, non-player characters, and character customization, in both solo and social play. She shows how designers use physical movement to enhance players' emotional experience, and examines long-distance networked play. She illustrates the use of these design methods with examples that range from Sony's Little Big Planet to the much-praised indie game Journey to art games like Brenda Romero's Train. Isbister's analysis shows us a new way to think about games, helping us appreciate them as an innovative and powerful medium for doing what film, literature, and other creative media do: helping us to understand ourselves and what it means to be human.
The Gamification of Learning and Instruction by
Praise for The Gamification of Learning and Instruction "Kapp argues convincingly that gamification is not just about adding points, levels and badges to an eLearning program, but about fundamentally rethinking learning design. He has put together a brilliant primer for learning professionals on how to gamify learning, packed with useful advice and examples." --ANDERS GRONSTEDT, president, Gronstedt Group "After reading this book, you'll never be able to design boring learning again." --CONNIE MALAMED, author, Visual Language For Designers; author/creator of The eLearning Coach Blog "Engaging, informative and complete; if you need to understand anything about instructional game design, this is the book you need. It provides the right amount of academic evidence, practical advice and insightful design tips to have you creating impactful learning in no time." --SHERRY ENGEL, associate director learning technology, Penn Medicine Center for Innovation and Learning "What Karl Kapp has done with this book is looked at games and learning from every possible angle....he provocatively asks questions that the learning community needs to answer, like 'Do our design processes still work?' and 'Are we really meeting the needs of today's learners?' This book may make you anxious, make you laugh, or make you angry. But one thing it will definitely do is make you think." --RICH MESCH, experiential learning guru, Performance Development Group
The Gamification of Learning and Instruction Fieldbook (E-book) by
Following Karl Kapp's earlier book The Gamification of Learning and Instruction, this Fieldbook provides a step-by-step approach to implementing the concepts from the Gamification book with examples, tips, tricks, and worksheets to help a learning professional or faculty member put the ideas into practice. The Online Workbook, designed largely for students using the original book as a textbook, includes quizzes, worksheets and fill-in-the-blank areas that will help a student to better understand the ideas, concepts and elements of incorporating gamification into learning.
Reality is Broken: why games make us better and how they can change the world (Print copy) by 
Works of Game Print copy (Print Copy) by
An exploration of the relationship between games and art that examines the ways that both gamemakers and artists create game-based artworks. Games and art have intersected at least since the early twentieth century, as can be seen in the Surrealists' use of Exquisite Corpse and other games, Duchamp's obsession with Chess, and Fluxus event scores and boxes--to name just a few examples. Over the past fifteen years, the synthesis of art and games has clouded for both artists and gamemakers. Contemporary art has drawn on the tool set of videogames, but has not considered them a cultural form with its own conceptual, formal, and experiential affordances. For their part, game developers and players focus on the innate properties of games and the experiences they provide, giving little attention to what it means to create and evaluate fine art. In Works of Game, John Sharp bridges this gap, offering a formal aesthetics of games that encompasses the commonalities and the differences between games and art. Sharp describes three communities of practice and offers case studies for each. "Game Art," which includes such artists as Julian Oliver, Cory Arcangel, and JODI (Joan Heemskerk and Dirk Paesmans) treats videogames as a form of popular culture from which can be borrowed subject matter, tools, and processes. "Artgames," created by gamemakers including Jason Rohrer, Brenda Romero, and Jonathan Blow, explore territory usually occupied by poetry, painting, literature, or film. Finally, "Artists' Games"--with artists including Blast Theory, Mary Flanagan, and the collaboration of Nathalie Pozzi and Eric Zimmerman--represents a more synthetic conception of games as an artistic medium. The work of these gamemakers, Sharp suggests, shows that it is possible to create game-based artworks that satisfy the aesthetic and critical values of both the contemporary art and game communities.
Works of Game (E-book) by
An exploration of the relationship between games and art that examines the ways that both gamemakers and artists create game-based artworks. Games and art have intersected at least since the early twentieth century, as can be seen in the Surrealists' use of Exquisite Corpse and other games, Duchamp's obsession with Chess, and Fluxus event scores and boxes--to name just a few examples. Over the past fifteen years, the synthesis of art and games has clouded for both artists and gamemakers. Contemporary art has drawn on the tool set of videogames, but has not considered them a cultural form with its own conceptual, formal, and experiential affordances. For their part, game developers and players focus on the innate properties of games and the experiences they provide, giving little attention to what it means to create and evaluate fine art. In Works of Game, John Sharp bridges this gap, offering a formal aesthetics of games that encompasses the commonalities and the differences between games and art. Sharp describes three communities of practice and offers case studies for each. "Game Art," which includes such artists as Julian Oliver, Cory Arcangel, and JODI (Joan Heemskerk and Dirk Paesmans) treats videogames as a form of popular culture from which can be borrowed subject matter, tools, and processes. "Artgames," created by gamemakers including Jason Rohrer, Brenda Romero, and Jonathan Blow, explore territory usually occupied by poetry, painting, literature, or film. Finally, "Artists' Games"--with artists including Blast Theory, Mary Flanagan, and the collaboration of Nathalie Pozzi and Eric Zimmerman--represents a more synthetic conception of games as an artistic medium. The work of these gamemakers, Sharp suggests, shows that it is possible to create game-based artworks that satisfy the aesthetic and critical values of both the contemporary art and game communities. es and art. Sharp describes three communities of practice and offers case studies for each. "Game Art," which includes such artists as Julian Oliver, Cory Arcangel, and JODI (Joan Heemskerk and Dirk Paesmans) treats videogames as a form of popular culture from which can be borrowed subject matter, tools, and processes. "Artgames," created by gamemakers including Jason Rohrer, Brenda Romero, and Jonathan Blow, explore territory usually occupied by poetry, painting, literature, or film. Finally, "Artists' Games"--with artists including Blast Theory, Mary Flanagan, and the collaboration of Nathalie Pozzi and Eric Zimmerman--represents a more synthetic conception of games as an artistic medium. The work of these gamemakers, Sharp suggests, shows that it is possible to create game-based artworks that satisfy the aesthetic and critical values of both the contemporary art and game communities.
Games, Learning, and Society (Print copy) by
This volume is the first reader on videogames and learning of its kind. Covering game design, game culture, and games as 21st century pedagogy, it demonstrates the depth and breadth of scholarship on games and learning to date. The chapters represent some of the most influential thinkers, designers, and writers in the emerging field of games and learning - including James Paul Gee, Soren Johnson, Eric Klopfer, Colleen Macklin, Thomas Malaby, Bonnie Nardi, David Sirlin, and others. Together, their work functions both as an excellent introduction to the field of games and learning and as a powerful argument for the use of games in formal and informal learning environments in a digital age.
