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.

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The art of making friendly enemies

I participate in a group called Board Game Tuesday (or BGT). We meet weekly to play and discuss board games. Our primary focus is the playing, but we always set aside a time to analyze the structure of the games (mechanics, dynamics, art, components etc.).

However, I quite like to analyze the behavior of players during matches. I like to observe the nervousness to roll the dice for something important, the glory in the eyes of a player with a well-structured combo of cards, the malignant partnerships between players and – of course – arguments and "fights" because of the final results of a gaming experience.


(Playing ISLA DORADA. Big, Vince & Snow. Pic: Estevão)

This last feature, particularly, impresses me. The “magic circle” of a game has the power to transform friends in enemies with established social rules (and gaming rules). As Juul says (2013, p.11) “when playing a game, a number of actions that would regularly be awkward and rude are recast as pleasant and sociable”. So, we can say that a game can generate a kind of friendly enemies during the time of a match.

About this context Juul (2013, p.14) also says that, to play a game is “to make an emotional gamble: we invest time and self-esteem in the hopes that it will pay off. Players are not willing to run the same amount of risk – some even prefer not to run a risk at all, not to play”.

The gaming ecosystem is a complex and privileged field of studies. But we must never forget that behind a game there are human players full of feelings and this is an important part of the experience to observe, analyze and discuss.

At this moment, I’m reading again Jesper Juul’s “The Art of Failure” and Bernad Suits “The Grasshopper”. I’m full of new ideas about the role of the player inside the gaming universe and I count on this inspiration for a “wave” of posts with this subject this semester.

Keep your radars alert for that.

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Reference:

JUUL, Jesper. The Art of Failure: an essay on the pain of playing video games. Cambridge/London: MIT Press, 2013.

SUITS, Bernard. The Grasshopper: Games, Life and Utopia. EUA: Broadview Press, 2005.

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