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Understanding Gamification of Consumer Experiences

Robson, K.E., Plangger, K.A., Kietzmann, J., McCarthy, I., and Pitt, L.F. (2014) Understanding Gamification of Consumer Experiences, Advances in Consumer Research, 42, 352-356 Recently, organizations have begun to tout ‘gamification’ as an effective method of increasing motivation and engagement of employees, customers, patients, and students, among other stakeholders (Wingfield 2012). Nonetheless, despite projections that such gamification will become a widely adopted phenomenon, estimates are gloomy with respect to the real impact these projects will have on the experiences of ‘players’ (i.e., participants who are supposed to have fun), and on the organizations that would like to use gamification to improve the players’ behavior in their favor (Burke 2011). Gamification is difficult, and fraught with problems that can lead to strategic and resource-based problems for the firm. In this article, we present an experience framework in order to show the effect of gamification on consumers’ experiences that is illustrated through four extended examples. We conclude this article with a few implications for future research into, as well as practical application for the successful gamification of consumer experiences. But first, we discuss what gamification is and what it is not.

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Advances in Consumer Research
Volume 42, ©2014
Understanding Gamification of Consumer Experiences
Karen Robson, Simon Fraser University, Canada
Kirk Plangger, King’s College London, United Kingdom
Jan Kietzmann, Simon Fraser University, Canada
Ian McCarthy, Simon Fraser University, Canada
Leyland Pitt, Simon Fraser University, Canada
ABSTRACT
Recently, organizations have begun to tout ‘gamification’ as an
effective method of increasing motivation and engagement of em-
ployees, customers, patients, and students, among other stakeholders
(Wingfield 2012). Nonetheless, despite projections that such gami-
fication will become a widely adopted phenomenon, estimates are
gloomy with respect to the real impact these projects will have on the
experiences of ‘players’ (i.e., participants who are supposed to have
fun), and on the organizations that would like to use gamification to
improve the players’ behavior in their favor (Burke 2011). Gamifica-
tion is difficult, and fraught with problems that can lead to strategic
and resource-based problems for the firm. In this article, we present
an experience framework in order to show the effect of gamification
on consumers’ experiences that is illustrated through four extended
examples. We conclude this article with a few implications for future
research into, as well as practical application for the successful gami-
fication of consumer experiences. But first, we discuss what gamifi-
cation is and what it is not.
GAMIFICATION
The term ‘gamification’is misleading and has introduced a num-
ber of myths. For one, it suggest that we ought to play games at work,
which would be a difficult proposition to make to managers who try
to keep their employees on task, for example. In fact, gamification
it not about games or the gaming industry at all. It is neither about
simply adding rewards and points (Robertson 2010) to incentivize
consumers, nor about merely adding leaderboards to work contexts
to compare employee performances. Likewise, gamification is also
not just about adding fun competitions and using ‘Game Theory’(Pe-
ters 2011) to introduce cooperation and conflict into decision-making
processes. The distinguishing characteristic in games is that game
design principles are brought to bear within a game, whereas with
gamification, game design principles are applied to existing organi-
zational, real world problems, situations or processes.
We define gamification as: the application of lessons from the
gaming domain in order to change stakeholder behaviors and out-
comes in non-game situations. Arguably, this is a fairly academic
definition, but at its heart lays the notion that through gamification,
we turn traditional organizational processes into fun, game-like ex-
periences. To better understand gamification, it is necessary to break
this definition down into its core components, beginning with les-
sons from the gaming domain. Specifically, we present the MDE
Framework, which posits that there are three game-design principles,
known as mechanics, dynamics, and emotions (adapted from Hu-
nicke, LeBlanc, and Zubek 2004). Mechanics are the instructions of
a game, specifying its goals, rules, and prescribed playing sequence,
and rarely change. Dynamics emerge when people start to play,
and are defined as the interpersonal results of following, bending,
or breaking the mechanics. Dynamics are harder to predict, as they
depend on the players and can change over time. Emotions are the
affective states that occur when people partake in the game that are
formed around how players feel about the mechanics and dynamics
of the game.
Together, these three game principles describe how good games
are designed. We argue that the same principles apply for designing
gamified consumer experiences. Somewhat surprisingly, given the
popularity of the gamification today, we only found one study that
explored gamification in the context of consumer behavior. Lounis,
Neratzouli, and Pramatari (2013) conducted in-depth interviews with
fifteen consumers, in which consumers expressed their opinions re-
garding environmentally friendly products and gamified shopping.
The results of this study reveal that gamification has potential to in-
crease consumer purchase intentions, as well as potential to increase
their willingness to pay (Lounis et al. 2013).
Thus, market research (Burke 2011; Meloni and Gruener 2012),
as well as initial academic research on gamification, and reports from
industry, suggest that gamification can lead to a number of important
outcomes, both desirable and undesirable, in the consumer behavior
realm. In order to shed light on how gamification can change behav-
ior in desired ways, we apply an experience-lens to the processes
that are to be gamified. For example, rather than arguing that saving
energy becomes fun when people turn off appliances that are not in
use (which is not fun), we think of it as an overall experience that
can be made more fun by adding appropriate mechanics, dynamics
and emotions to it. In what follows, first we introduce our experi-
ence framework, and then we present four cases that illustrate how
through MDE, gamification can make consumer experiences more
fun and more successful.
A MATTER OF EXPERIENCE
We reason that gamified experiences can be described using two
fundamental dimensions (adapted from Pine II and Gilmore 1998,
2011): variations in player participation and in player connection
with the gamified environment. Player participation describes the
extent to which the individual is either passively involved in the ex-
perience or actively contributes to it. Player connection describes the
type of environmental relationship that unites the individual with the
experience. In absorption, the experience unfolds before the person
and occupies the person’s mind, whereas in immersion a person be-
comes part of the experience itself.
These dimensions permit the delineation of four types of experi-
ences, and we argue that most traditional experiences fit neatly into
one of the four descriptive quadrants of Figure 1. Imagine the experi-
ence of a traditional boxing match. If it’s a good one, it will have lots
of observers. Glued to their TVs, they are clearly passively involved
and absorbed in the fight – this is one type of experience. There are
also those who attend the fight ringside. Spectators, as members of
the audience, get a lot closer to the action. The tension in the air, the
heat of the arena, and the cheers of the other spectators immerse them
deeply into the fight. Of course, in hopes of one day entering the ring,
there are also apprentices who take lessons to master the sport. Box-
ing is a very active and absorbing experience for them, but as long
as they are only shadow-boxing, they are not fully immersed and
remain outside of the action. Lastly, there are of course the boxers
themselves. They are the real performers, who actively participate
in the experience, are highly immersed and leave everything else be-
hind when they exchange bouts with other performers.
Advances in Consumer Research (Volume 42) / 353
TRANSFORMING EXPERIENCES
To aid understanding of how gamification can transform tra-
ditional business processes, we present cases to show the results of
applying the MDE Framework to change the role of the player. Spe-
cifically, in the following four subsections, we describe the gamifi-
cation of a prostate cancer awareness campaign named Movember;
the gamification of the launch of singer Jay-Z’s book Decoded; the
gamification of art-curation at the Brooklyn Museum; and finally
the gamification of personnel management using software called
Freshdesk. In each of these examples, the traditional consumer ex-
perience has been gamified to include other elements of experience,
and the role of the individual involved with the activity expands. We
present these to show how through the appropriate use of gamifica-
tion principles, traditional consumer experiences can become more
fun and engaging by combining appropriate elements from the four
quadrants to deepen the connection and involvement with players.
Gamifying Awareness Campaigns: Movember
When individuals actively participate in an experience and are
absorbed by it (e.g., attending a university lecture), players assume
the role of an apprentice. Traditional social awareness campaigns are
good examples of such experiences, often with interested members
of the public engaging in conversations with outreach volunteers to
learn about social issues. But garnering public interest can be quite
difficult. However, Movember, an organization dedicated to raising
awareness of prostate cancer, has successfully gamified its annual
public awareness campaign by expanding this experience to include
elements of all experience quadrants. Every November since 2003,
male players grow moustaches to “change the face of men’s health”,
and both male and female players work to raise money and public
awareness of prostate cancer.
The mechanics of the experience are limited to the month of
November; each male player must start November with a clean shav-
en face, and then throughout the month must grow and groom a mus-
tache (Movember 2012). Male and female players both work, online
and offline, to generate donations and to increase awareness of pros-
tate cancer. These efforts are rewarded through various achievement
rewards including dollar figure milestones for fundraising, and lead-
erboards that track player, team, and even country performance. Dy-
namics are largely collaborative, with a friendly sense of competition
where teams want to raise more money than others, but have as an
overall goal the maximization of their collective donations. Movem-
ber generates a variety of positive emotions as players often enjoy
the sense of pride and amusement of watching others’ mustaches or
showing off their own regular ‘regents’(like Super Mario’s or Albert
Einstein’s) or particularly eye-catching styles (a ‘Fu Manchu’ or a
‘Salvador Dali’). Interestingly, the milestone progression rewards
(e.g., coupons for razors and shaving cream) players can win are not
overly attractive, rather it is the fun, gamified experience that attracts
1 million players annually to Movember.
Indeed, Movember only succeeds by changing the very nature
of public awareness campaigns. Traditionally, people attracted by
awareness campaigns (think about street level campaigns of Green-
peace and SCPA) are largely apprentices who are at best actively in-
volved and absorbed in the experience. In Movember, these individ-
uals are also entertained by being observers as they passively absorb
the progress of others (e.g., watching mustaches grow). In addition,
players become performers when they grow mustaches and actively
immerse themselves by educating others about men’s health. Female
players, unable grow their own moustaches, can still be immersed in
the campaign and indirectly affect it by supporting their male by gen-
erating discussion about men’s health and prostate cancer. Finally,
people involved in Movember can also be spectators, as they pas-
sively watch those around them and cheer them on. Movember com-
bines all four experience types to provoke an emotionally engaging
experience for players, and motivates not only friendly competition,
but also collegial and supportive dynamics aimed at collectively rais-
ing funds for and awareness of prostate cancer.
Awareness and fundraising campaigns are only one example of
gamifying a traditional experience in which people are predominate-
ly apprentices. There are many others – Khan Academy, for instance,
attracts millions of students who support each others’ learning pro-
cess through novel gamification mechanics, dynamics and emotions.
More generally, employee training sessions and professional devel-
opment workshops can be gamified to further motivate attendants by
making them assume the role of performers, spectators, or observers.
Gamifying a Book Launch: Decoded
When an individual passively absorbs an experience (e.g. when
watching a movie), players are observers. Book launches are good
examples of experiences that involve passive and absorptive partici-
pation of their attendees.
Droga5, a young advertising agency, provides an example of
how this can be changed through gamification. When launching
singer Jay-Z’s book, Decoded, Droga5 utilized a real world scaven-
ger hunt, named Decode, in which participants had to find the pages
of Jay-Z’s book. The result was a highly successful book launch:
Jay-Z saw his Facebook friends increase by more than one million,
Decoded was covered by most major international news outlets and
many cultural influencers (e.g., bloggers), and the book spent 18
weeks on the New York Times’ best sellers list. To understand how
the Decode campaign achieved all this, we again turn to evaluating
the experience.
The mechanics of Decode were similar to those of a typical
scavenger hunt: Decode consisted of sharing the 300 pages of De-
coded across 200 physical locations (some locations had two pages)
in thirteen major US cities in the month before the book’s release in
354 / Understanding Gamification of Consumer Experiences
stores. The spatial dimensions of the scavenger hunt reflected the
content of the prose on the any given page, and players could garner
ideas of where the pages were located based on hints they found
offline “on-the-street”, and online. A fun and competitive dynamic
emerged as individual players raced to be the first to find the page
both online and offline. Progression mechanics and achievement re-
wards were given to the first player to find each page. This player
was rewarded with a copy of Decoded, with the discovered page
signed in ink by Jay-Z. In addition, the player received an invitation
to a book reading by Jay-Z at the New York City Library. Players
experienced a full range of emotions, including excitement when
competing to decode a page, elation when successfully decoding a
page, or frustration and disappointment when unable to find a page.
Droga5 took the traditional book launch experience, in which
consumers were predominantly observers that could not affect the
experience, and gamified it. Droga5 extended the experience into the
other quadrants such that players assumed roles other than that of the
observer. Players acted as apprentices when they received clues about
pages and learned about Jay-Z’s life. Similarly, when players sought
out a page either physically or online, they became performers who
actively produced their own book launch experience. Furthermore,
players were able to review pages already found by others as well as
the clues that led to their discovery, turning players into spectators
who could appreciate the creative placement of pages. This combina-
tion of the four types of experiences lead to a book launch that was
successful for the publisher and the participants alike.
Some other forms of advertising have already been gamified. In
2010, a corrective tape brand called Tipp-Ex launched an advergame
(Mallinckrodt and Mizerski 2007) on YouTube.com, called “Hunter
shoots a bear”. Ultimately, this advertisement became a “choose
your own adventure” in which viewers decided the outcome of the
encounter by typing what they wanted the hunter to do to the bear.
Beyond advertisements, many experiences in which players are ob-
servers could be gamified, such as attendance at movie theatres or
plays.
Gamifying Art Curation: Brooklyn Museum’s GO
Project
Individuals can be passive yet immerse themselves in the ex-
perience (e.g., going on a scenic drive), creating the experience of
players being spectators. Individuals become part of the experience,
but do not directly impact it. For instance, art galleries invite visitors
to view pieces of artwork that a gallery curator previously chose.
Brooklyn Museum’s GO Project tried to change this by providing
an opportunity to co-create (or co-curate) an art exhibit. The GO
project encouraged the public to visit working studios, and invited
participants to nominate artists whose work they would like to see at
the museum. Over the two-day event, an estimated 18,000 members
of the public visited 1,708 artist studios across 44 Brooklyn neigh-
borhoods.
The GO project rule mechanics involved numbering each art-
ist’s studio and then encouraging players to visit a variety of studios
to observe art, or artists at work. After visiting five studios, players
would receive an email ballot and could vote on their favorite artist.
Voting took place over two days, and the whole event was bounded
by the Brooklyn city limits and by registered artists’studio locations.
Players engaged in the GO Project to be part of a community. This
resulting overarching, collective dynamics determined which artists
would be successful for the GO exhibit. However, even those artists
that were not chosen for the exhibit still increased the exposure of
their artistic practice to a whole new pool of potential art enthusiasts.
The results of the voting and other associated statistics were dis-
played on the museum’s GO website for public access and view. GO
players could experience many emotions, not only by voting for their
favorite artist, but also by observing artwork and meeting artists.
Players expressed feelings of wonder or surprise at discovering how
many artists lived around them, by observing their artwork, meeting
the artists, and by voting for them. Moreover, players were exposed
to other art enthusiasts and feelings of fellowship and belonging to
the art community resulted.
Through gamification, the Brooklyn museum GO exhibit of-
fered players multiple elements of experiences. Like most museums,
visitors acted as spectators of artwork and other exhibits that cre-
ate an individual esthetic experience. In contrast to most museums,
however, the Brooklyn Museum’s GO exhibit also had elements of
apprenticeship, observation, and performance. Because the Brook-
lyn museum GO exhibit generated awareness of the fact that art was
being created in people’s neighborhoods, players had the experience
was of being apprentices. That is, the museum’s patrons acted as ap-
prentice curators when they discovered new artists and their stories.
Furthermore, because the experience involved going to art studios
to become immersed and active in the nomination process, players
also had the experience of being performers. Finally, the experience
included assuming the role of the observer, as players watched artists
at work and observed the process of artwork creation.
A number of other experiences in which players are spectators
could be gamified. Indeed, trips to a variety of places of historic or
scientific interest could be improved by incorporating roles as ap-
prentices, performers, and observers. For example, to increase tour-
ist traffic, zoos, science centers, or planetariums could ask patrons
to help co-create their exhibits. Similarly, fans cheering or singing
along at festivals, concerts, or sporting events also be apprentices,
performers, or simply observers if the experience was gamified.
Gamifying Personnel Management: Freshdesk
Finally, when the individual is both actively immersed in an ex-
perience (e.g., playing a sport), the experience is one of being a per-
former with a measure of control as to how the experience unfolds.
Work can be such an experience, when employees actively perform
job related tasks while being deeply immersed in the workplace en-
vironment. In this context, one problem that many employers face is
to increase productivity and sustain employee engagement. Fresh-
desk is a helpdesk software program for customer support centers
that addresses this problem through gamification.
Freshdesk’s mechanics convert customer inquiries, including
telephone inquiries and comments posted on Twitter and Facebook,
into virtual tickets that are then assigned to customer service em-
ployees. Freshdesk rewards employees with points for successfully
completing a virtual ticket. Employees become players who accu-
mulate certain numbers of points reach designated levels and receive
badges for their work, which are visible to superiors and other em-
ployees. In addition, these points provide managers and employees
alike with a means of monitoring performance, and serve as incen-
tives for improvement. Players or teams win a Freshdesk period by
accumulating the most points. Moreover, individual players or teams
compete for the position of having the most points on a leaderboard.
The accumulated points signal a clear leader in the organization on
both the team level and the player level, inspiring a competitive dy-
namic. In addition, dynamics such as bragging, or cheering for other
players or teams, can emerge. Players experience a range of emotions
due to the social nature of the competition, including excitement,
amusement, surprise, wonder, and frustration.
Freshdesk deepens and extends employees’ experience: Fresh-
desk takes a typical work environment and turns it in a gamified ex-
Advances in Consumer Research (Volume 42) / 355
perience that incorporates multiple elements of experiences. That is,
the experience of going to work is one of performing: employees are
immersed in their workplace and are actively involved in creating
the workplace experience. Freshdesk adds apprenticeship and ob-
servation aspects to the working experience; employees learn more
about the service offerings through their interactions and observe
the friendly competition and other dynamics that may emerge. Thus,
Freshdesk creates an engaging and deeper experience by including
elements of education and entertainment in addition to more the tra-
ditional experience of being a performer in the workplace.
Performances other than HR could be gamified. For example,
take a personal experience many people can relate to: loosing weight.
Many of today’s weight loss tools extend this experience through
gamification. There are those that keep track of calories (e.g., Calo-
rie Counter), offer information on how much stored energy is in food
(e.g., Food Energy Calculator) and reward players with badges for
each five pounds lost (e.g., Fit Bit).
THE DEPTHS OF ENGAGEMENT
In each of the above examples of gamified experiences, a tra-
ditional experience has been revolutionized using the MDE Frame-
work’s gamification principles to deepen and extend players’ experi-
ences. In Figure 2, we provide a simple summary of the trends in
these examples; specifically, we show the traditional experience and
the general trends of expansion into the most appropriate experience
quadrants that occur as a result of gamification. Sometimes, players
are involved, to various degrees, in all four types of experiences,
in other cases players adopt fewer roles. These four examples have
offered a glimpse into how applying the gamification principles can
engage the public, employees, consumers, or patrons to achieve or-
ganizational goals.
Thus, using a typology and cases, we show that gamification
can transform individuals into different types of players - observers,
apprentices, spectators and performers – who vary in terms of the
extent to which they actively or passively participate in the gamified
experience and in the degree to which they are absorbed or immersed
in the gamified environment. In each experience, gamification added
elements of fun – thus turning experiences such as raising money
for prostate cancer or simply doing ones job as a customer service
employee into something more fun and engaging. Success in gamifi-
cation will depend on understanding the player experience, and thus
must begin with understanding who the players are themselves. In-
deed, at the root of engagement is a connection between the experi-
ence and the players (Chatfield 2010; Zichermann and Cunningham
2011); this requires not only an in-depth understanding of the current
experience the player has, but also of the emotions and dynamics
players for which they yearn.
356 / Understanding Gamification of Consumer Experiences
REFERENCES
Burke, Brian (2011), “Gartner Says by 2015, More Than 50
Percent of Organizations That Manage Innovation Processes
Will Gamify Those Processes,” http://www.gartner.com/
newsroom/id/1629214.
Chatfield, Tom (2010), “7 Ways Games Reward the Brain,” TED.
Hunicke, R., M. LeBlanc, and R. Zubek (2004), “Mda: A
Formal Approach to Game Design and Game Research,” in
Proceedings of the AAAI Workshop on Challenges in Game AI,
04-04.
Lounis, Stavros, Xanthippi Neratzouli, and Katerina Pramatari
(2013), “Can Gamification Increase Consumer Engagement?
A Qualitative Approach on a Green Case,” in Collaborative,
Trusted and Privacy-Aware E/M-Services: Springer, 200-12.
Mallinckrodt, Victoria and Dick Mizerski (2007), “The Effects
of Playing an Advergame on Young Children’s Perceptions,
Preferences, and Requests,” Journal of Advertising, 36 (2),
87-100.
Meloni, Wanda and Wolfgang Gruener (2012), “Gamification in
2012,” http://gamingbusinessreview.com/wp-content/
uploads/2012/05/Gamification-in-2012-M2R3.pdf.
Movember (2012), “About Movember,” ca.movember.com/about/.
Peters, Adele (2011), “Using Game Theory to Make the World a
Better Place.”
Pine II, B.J. and J.H. Gilmore (1998), “Welcome to the Experience
Economy,” Harvard Business Review, 76, 97-105.
--- (2011), The Experience Economy: Harvard Business Press.
Robertson, M. (2010), “Can’t Play, Won’t Play. Hide & Seek:
Inventing New Kinds of Play,” http://www.hideandseek.
net/2010/10/06/cant-play-wont-play/.
Wingfield, Chris (2012), “All the World’s a Game, and Business
Is a Player,” http://www.nytimes.com/2012/12/24/
technology/all-the-worlds-a-game-and-business-is-a-
player.html?_r=0.
Zichermann, G. and C. Cunningham (2011), Gamification by
Design: Implementing Game Mechanics in Web and Mobile
Apps, San Francisco: O’Reilly Media.
Copyright of Advances in Consumer Research is the property of Association for Consumer
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Understanding Gamification of Consumer Experiences

  • 1. 352 Advances in Consumer Research Volume 42, ©2014 Understanding Gamification of Consumer Experiences Karen Robson, Simon Fraser University, Canada Kirk Plangger, King’s College London, United Kingdom Jan Kietzmann, Simon Fraser University, Canada Ian McCarthy, Simon Fraser University, Canada Leyland Pitt, Simon Fraser University, Canada ABSTRACT Recently, organizations have begun to tout ‘gamification’ as an effective method of increasing motivation and engagement of em- ployees, customers, patients, and students, among other stakeholders (Wingfield 2012). Nonetheless, despite projections that such gami- fication will become a widely adopted phenomenon, estimates are gloomy with respect to the real impact these projects will have on the experiences of ‘players’ (i.e., participants who are supposed to have fun), and on the organizations that would like to use gamification to improve the players’ behavior in their favor (Burke 2011). Gamifica- tion is difficult, and fraught with problems that can lead to strategic and resource-based problems for the firm. In this article, we present an experience framework in order to show the effect of gamification on consumers’ experiences that is illustrated through four extended examples. We conclude this article with a few implications for future research into, as well as practical application for the successful gami- fication of consumer experiences. But first, we discuss what gamifi- cation is and what it is not. GAMIFICATION The term ‘gamification’is misleading and has introduced a num- ber of myths. For one, it suggest that we ought to play games at work, which would be a difficult proposition to make to managers who try to keep their employees on task, for example. In fact, gamification it not about games or the gaming industry at all. It is neither about simply adding rewards and points (Robertson 2010) to incentivize consumers, nor about merely adding leaderboards to work contexts to compare employee performances. Likewise, gamification is also not just about adding fun competitions and using ‘Game Theory’(Pe- ters 2011) to introduce cooperation and conflict into decision-making processes. The distinguishing characteristic in games is that game design principles are brought to bear within a game, whereas with gamification, game design principles are applied to existing organi- zational, real world problems, situations or processes. We define gamification as: the application of lessons from the gaming domain in order to change stakeholder behaviors and out- comes in non-game situations. Arguably, this is a fairly academic definition, but at its heart lays the notion that through gamification, we turn traditional organizational processes into fun, game-like ex- periences. To better understand gamification, it is necessary to break this definition down into its core components, beginning with les- sons from the gaming domain. Specifically, we present the MDE Framework, which posits that there are three game-design principles, known as mechanics, dynamics, and emotions (adapted from Hu- nicke, LeBlanc, and Zubek 2004). Mechanics are the instructions of a game, specifying its goals, rules, and prescribed playing sequence, and rarely change. Dynamics emerge when people start to play, and are defined as the interpersonal results of following, bending, or breaking the mechanics. Dynamics are harder to predict, as they depend on the players and can change over time. Emotions are the affective states that occur when people partake in the game that are formed around how players feel about the mechanics and dynamics of the game. Together, these three game principles describe how good games are designed. We argue that the same principles apply for designing gamified consumer experiences. Somewhat surprisingly, given the popularity of the gamification today, we only found one study that explored gamification in the context of consumer behavior. Lounis, Neratzouli, and Pramatari (2013) conducted in-depth interviews with fifteen consumers, in which consumers expressed their opinions re- garding environmentally friendly products and gamified shopping. The results of this study reveal that gamification has potential to in- crease consumer purchase intentions, as well as potential to increase their willingness to pay (Lounis et al. 2013). Thus, market research (Burke 2011; Meloni and Gruener 2012), as well as initial academic research on gamification, and reports from industry, suggest that gamification can lead to a number of important outcomes, both desirable and undesirable, in the consumer behavior realm. In order to shed light on how gamification can change behav- ior in desired ways, we apply an experience-lens to the processes that are to be gamified. For example, rather than arguing that saving energy becomes fun when people turn off appliances that are not in use (which is not fun), we think of it as an overall experience that can be made more fun by adding appropriate mechanics, dynamics and emotions to it. In what follows, first we introduce our experi- ence framework, and then we present four cases that illustrate how through MDE, gamification can make consumer experiences more fun and more successful. A MATTER OF EXPERIENCE We reason that gamified experiences can be described using two fundamental dimensions (adapted from Pine II and Gilmore 1998, 2011): variations in player participation and in player connection with the gamified environment. Player participation describes the extent to which the individual is either passively involved in the ex- perience or actively contributes to it. Player connection describes the type of environmental relationship that unites the individual with the experience. In absorption, the experience unfolds before the person and occupies the person’s mind, whereas in immersion a person be- comes part of the experience itself. These dimensions permit the delineation of four types of experi- ences, and we argue that most traditional experiences fit neatly into one of the four descriptive quadrants of Figure 1. Imagine the experi- ence of a traditional boxing match. If it’s a good one, it will have lots of observers. Glued to their TVs, they are clearly passively involved and absorbed in the fight – this is one type of experience. There are also those who attend the fight ringside. Spectators, as members of the audience, get a lot closer to the action. The tension in the air, the heat of the arena, and the cheers of the other spectators immerse them deeply into the fight. Of course, in hopes of one day entering the ring, there are also apprentices who take lessons to master the sport. Box- ing is a very active and absorbing experience for them, but as long as they are only shadow-boxing, they are not fully immersed and remain outside of the action. Lastly, there are of course the boxers themselves. They are the real performers, who actively participate in the experience, are highly immersed and leave everything else be- hind when they exchange bouts with other performers.
  • 2. Advances in Consumer Research (Volume 42) / 353 TRANSFORMING EXPERIENCES To aid understanding of how gamification can transform tra- ditional business processes, we present cases to show the results of applying the MDE Framework to change the role of the player. Spe- cifically, in the following four subsections, we describe the gamifi- cation of a prostate cancer awareness campaign named Movember; the gamification of the launch of singer Jay-Z’s book Decoded; the gamification of art-curation at the Brooklyn Museum; and finally the gamification of personnel management using software called Freshdesk. In each of these examples, the traditional consumer ex- perience has been gamified to include other elements of experience, and the role of the individual involved with the activity expands. We present these to show how through the appropriate use of gamifica- tion principles, traditional consumer experiences can become more fun and engaging by combining appropriate elements from the four quadrants to deepen the connection and involvement with players. Gamifying Awareness Campaigns: Movember When individuals actively participate in an experience and are absorbed by it (e.g., attending a university lecture), players assume the role of an apprentice. Traditional social awareness campaigns are good examples of such experiences, often with interested members of the public engaging in conversations with outreach volunteers to learn about social issues. But garnering public interest can be quite difficult. However, Movember, an organization dedicated to raising awareness of prostate cancer, has successfully gamified its annual public awareness campaign by expanding this experience to include elements of all experience quadrants. Every November since 2003, male players grow moustaches to “change the face of men’s health”, and both male and female players work to raise money and public awareness of prostate cancer. The mechanics of the experience are limited to the month of November; each male player must start November with a clean shav- en face, and then throughout the month must grow and groom a mus- tache (Movember 2012). Male and female players both work, online and offline, to generate donations and to increase awareness of pros- tate cancer. These efforts are rewarded through various achievement rewards including dollar figure milestones for fundraising, and lead- erboards that track player, team, and even country performance. Dy- namics are largely collaborative, with a friendly sense of competition where teams want to raise more money than others, but have as an overall goal the maximization of their collective donations. Movem- ber generates a variety of positive emotions as players often enjoy the sense of pride and amusement of watching others’ mustaches or showing off their own regular ‘regents’(like Super Mario’s or Albert Einstein’s) or particularly eye-catching styles (a ‘Fu Manchu’ or a ‘Salvador Dali’). Interestingly, the milestone progression rewards (e.g., coupons for razors and shaving cream) players can win are not overly attractive, rather it is the fun, gamified experience that attracts 1 million players annually to Movember. Indeed, Movember only succeeds by changing the very nature of public awareness campaigns. Traditionally, people attracted by awareness campaigns (think about street level campaigns of Green- peace and SCPA) are largely apprentices who are at best actively in- volved and absorbed in the experience. In Movember, these individ- uals are also entertained by being observers as they passively absorb the progress of others (e.g., watching mustaches grow). In addition, players become performers when they grow mustaches and actively immerse themselves by educating others about men’s health. Female players, unable grow their own moustaches, can still be immersed in the campaign and indirectly affect it by supporting their male by gen- erating discussion about men’s health and prostate cancer. Finally, people involved in Movember can also be spectators, as they pas- sively watch those around them and cheer them on. Movember com- bines all four experience types to provoke an emotionally engaging experience for players, and motivates not only friendly competition, but also collegial and supportive dynamics aimed at collectively rais- ing funds for and awareness of prostate cancer. Awareness and fundraising campaigns are only one example of gamifying a traditional experience in which people are predominate- ly apprentices. There are many others – Khan Academy, for instance, attracts millions of students who support each others’ learning pro- cess through novel gamification mechanics, dynamics and emotions. More generally, employee training sessions and professional devel- opment workshops can be gamified to further motivate attendants by making them assume the role of performers, spectators, or observers. Gamifying a Book Launch: Decoded When an individual passively absorbs an experience (e.g. when watching a movie), players are observers. Book launches are good examples of experiences that involve passive and absorptive partici- pation of their attendees. Droga5, a young advertising agency, provides an example of how this can be changed through gamification. When launching singer Jay-Z’s book, Decoded, Droga5 utilized a real world scaven- ger hunt, named Decode, in which participants had to find the pages of Jay-Z’s book. The result was a highly successful book launch: Jay-Z saw his Facebook friends increase by more than one million, Decoded was covered by most major international news outlets and many cultural influencers (e.g., bloggers), and the book spent 18 weeks on the New York Times’ best sellers list. To understand how the Decode campaign achieved all this, we again turn to evaluating the experience. The mechanics of Decode were similar to those of a typical scavenger hunt: Decode consisted of sharing the 300 pages of De- coded across 200 physical locations (some locations had two pages) in thirteen major US cities in the month before the book’s release in
  • 3. 354 / Understanding Gamification of Consumer Experiences stores. The spatial dimensions of the scavenger hunt reflected the content of the prose on the any given page, and players could garner ideas of where the pages were located based on hints they found offline “on-the-street”, and online. A fun and competitive dynamic emerged as individual players raced to be the first to find the page both online and offline. Progression mechanics and achievement re- wards were given to the first player to find each page. This player was rewarded with a copy of Decoded, with the discovered page signed in ink by Jay-Z. In addition, the player received an invitation to a book reading by Jay-Z at the New York City Library. Players experienced a full range of emotions, including excitement when competing to decode a page, elation when successfully decoding a page, or frustration and disappointment when unable to find a page. Droga5 took the traditional book launch experience, in which consumers were predominantly observers that could not affect the experience, and gamified it. Droga5 extended the experience into the other quadrants such that players assumed roles other than that of the observer. Players acted as apprentices when they received clues about pages and learned about Jay-Z’s life. Similarly, when players sought out a page either physically or online, they became performers who actively produced their own book launch experience. Furthermore, players were able to review pages already found by others as well as the clues that led to their discovery, turning players into spectators who could appreciate the creative placement of pages. This combina- tion of the four types of experiences lead to a book launch that was successful for the publisher and the participants alike. Some other forms of advertising have already been gamified. In 2010, a corrective tape brand called Tipp-Ex launched an advergame (Mallinckrodt and Mizerski 2007) on YouTube.com, called “Hunter shoots a bear”. Ultimately, this advertisement became a “choose your own adventure” in which viewers decided the outcome of the encounter by typing what they wanted the hunter to do to the bear. Beyond advertisements, many experiences in which players are ob- servers could be gamified, such as attendance at movie theatres or plays. Gamifying Art Curation: Brooklyn Museum’s GO Project Individuals can be passive yet immerse themselves in the ex- perience (e.g., going on a scenic drive), creating the experience of players being spectators. Individuals become part of the experience, but do not directly impact it. For instance, art galleries invite visitors to view pieces of artwork that a gallery curator previously chose. Brooklyn Museum’s GO Project tried to change this by providing an opportunity to co-create (or co-curate) an art exhibit. The GO project encouraged the public to visit working studios, and invited participants to nominate artists whose work they would like to see at the museum. Over the two-day event, an estimated 18,000 members of the public visited 1,708 artist studios across 44 Brooklyn neigh- borhoods. The GO project rule mechanics involved numbering each art- ist’s studio and then encouraging players to visit a variety of studios to observe art, or artists at work. After visiting five studios, players would receive an email ballot and could vote on their favorite artist. Voting took place over two days, and the whole event was bounded by the Brooklyn city limits and by registered artists’studio locations. Players engaged in the GO Project to be part of a community. This resulting overarching, collective dynamics determined which artists would be successful for the GO exhibit. However, even those artists that were not chosen for the exhibit still increased the exposure of their artistic practice to a whole new pool of potential art enthusiasts. The results of the voting and other associated statistics were dis- played on the museum’s GO website for public access and view. GO players could experience many emotions, not only by voting for their favorite artist, but also by observing artwork and meeting artists. Players expressed feelings of wonder or surprise at discovering how many artists lived around them, by observing their artwork, meeting the artists, and by voting for them. Moreover, players were exposed to other art enthusiasts and feelings of fellowship and belonging to the art community resulted. Through gamification, the Brooklyn museum GO exhibit of- fered players multiple elements of experiences. Like most museums, visitors acted as spectators of artwork and other exhibits that cre- ate an individual esthetic experience. In contrast to most museums, however, the Brooklyn Museum’s GO exhibit also had elements of apprenticeship, observation, and performance. Because the Brook- lyn museum GO exhibit generated awareness of the fact that art was being created in people’s neighborhoods, players had the experience was of being apprentices. That is, the museum’s patrons acted as ap- prentice curators when they discovered new artists and their stories. Furthermore, because the experience involved going to art studios to become immersed and active in the nomination process, players also had the experience of being performers. Finally, the experience included assuming the role of the observer, as players watched artists at work and observed the process of artwork creation. A number of other experiences in which players are spectators could be gamified. Indeed, trips to a variety of places of historic or scientific interest could be improved by incorporating roles as ap- prentices, performers, and observers. For example, to increase tour- ist traffic, zoos, science centers, or planetariums could ask patrons to help co-create their exhibits. Similarly, fans cheering or singing along at festivals, concerts, or sporting events also be apprentices, performers, or simply observers if the experience was gamified. Gamifying Personnel Management: Freshdesk Finally, when the individual is both actively immersed in an ex- perience (e.g., playing a sport), the experience is one of being a per- former with a measure of control as to how the experience unfolds. Work can be such an experience, when employees actively perform job related tasks while being deeply immersed in the workplace en- vironment. In this context, one problem that many employers face is to increase productivity and sustain employee engagement. Fresh- desk is a helpdesk software program for customer support centers that addresses this problem through gamification. Freshdesk’s mechanics convert customer inquiries, including telephone inquiries and comments posted on Twitter and Facebook, into virtual tickets that are then assigned to customer service em- ployees. Freshdesk rewards employees with points for successfully completing a virtual ticket. Employees become players who accu- mulate certain numbers of points reach designated levels and receive badges for their work, which are visible to superiors and other em- ployees. In addition, these points provide managers and employees alike with a means of monitoring performance, and serve as incen- tives for improvement. Players or teams win a Freshdesk period by accumulating the most points. Moreover, individual players or teams compete for the position of having the most points on a leaderboard. The accumulated points signal a clear leader in the organization on both the team level and the player level, inspiring a competitive dy- namic. In addition, dynamics such as bragging, or cheering for other players or teams, can emerge. Players experience a range of emotions due to the social nature of the competition, including excitement, amusement, surprise, wonder, and frustration. Freshdesk deepens and extends employees’ experience: Fresh- desk takes a typical work environment and turns it in a gamified ex-
  • 4. Advances in Consumer Research (Volume 42) / 355 perience that incorporates multiple elements of experiences. That is, the experience of going to work is one of performing: employees are immersed in their workplace and are actively involved in creating the workplace experience. Freshdesk adds apprenticeship and ob- servation aspects to the working experience; employees learn more about the service offerings through their interactions and observe the friendly competition and other dynamics that may emerge. Thus, Freshdesk creates an engaging and deeper experience by including elements of education and entertainment in addition to more the tra- ditional experience of being a performer in the workplace. Performances other than HR could be gamified. For example, take a personal experience many people can relate to: loosing weight. Many of today’s weight loss tools extend this experience through gamification. There are those that keep track of calories (e.g., Calo- rie Counter), offer information on how much stored energy is in food (e.g., Food Energy Calculator) and reward players with badges for each five pounds lost (e.g., Fit Bit). THE DEPTHS OF ENGAGEMENT In each of the above examples of gamified experiences, a tra- ditional experience has been revolutionized using the MDE Frame- work’s gamification principles to deepen and extend players’ experi- ences. In Figure 2, we provide a simple summary of the trends in these examples; specifically, we show the traditional experience and the general trends of expansion into the most appropriate experience quadrants that occur as a result of gamification. Sometimes, players are involved, to various degrees, in all four types of experiences, in other cases players adopt fewer roles. These four examples have offered a glimpse into how applying the gamification principles can engage the public, employees, consumers, or patrons to achieve or- ganizational goals. Thus, using a typology and cases, we show that gamification can transform individuals into different types of players - observers, apprentices, spectators and performers – who vary in terms of the extent to which they actively or passively participate in the gamified experience and in the degree to which they are absorbed or immersed in the gamified environment. In each experience, gamification added elements of fun – thus turning experiences such as raising money for prostate cancer or simply doing ones job as a customer service employee into something more fun and engaging. Success in gamifi- cation will depend on understanding the player experience, and thus must begin with understanding who the players are themselves. In- deed, at the root of engagement is a connection between the experi- ence and the players (Chatfield 2010; Zichermann and Cunningham 2011); this requires not only an in-depth understanding of the current experience the player has, but also of the emotions and dynamics players for which they yearn.
  • 5. 356 / Understanding Gamification of Consumer Experiences REFERENCES Burke, Brian (2011), “Gartner Says by 2015, More Than 50 Percent of Organizations That Manage Innovation Processes Will Gamify Those Processes,” http://www.gartner.com/ newsroom/id/1629214. Chatfield, Tom (2010), “7 Ways Games Reward the Brain,” TED. Hunicke, R., M. LeBlanc, and R. Zubek (2004), “Mda: A Formal Approach to Game Design and Game Research,” in Proceedings of the AAAI Workshop on Challenges in Game AI, 04-04. Lounis, Stavros, Xanthippi Neratzouli, and Katerina Pramatari (2013), “Can Gamification Increase Consumer Engagement? A Qualitative Approach on a Green Case,” in Collaborative, Trusted and Privacy-Aware E/M-Services: Springer, 200-12. Mallinckrodt, Victoria and Dick Mizerski (2007), “The Effects of Playing an Advergame on Young Children’s Perceptions, Preferences, and Requests,” Journal of Advertising, 36 (2), 87-100. Meloni, Wanda and Wolfgang Gruener (2012), “Gamification in 2012,” http://gamingbusinessreview.com/wp-content/ uploads/2012/05/Gamification-in-2012-M2R3.pdf. Movember (2012), “About Movember,” ca.movember.com/about/. Peters, Adele (2011), “Using Game Theory to Make the World a Better Place.” Pine II, B.J. and J.H. Gilmore (1998), “Welcome to the Experience Economy,” Harvard Business Review, 76, 97-105. --- (2011), The Experience Economy: Harvard Business Press. Robertson, M. (2010), “Can’t Play, Won’t Play. Hide & Seek: Inventing New Kinds of Play,” http://www.hideandseek. net/2010/10/06/cant-play-wont-play/. Wingfield, Chris (2012), “All the World’s a Game, and Business Is a Player,” http://www.nytimes.com/2012/12/24/ technology/all-the-worlds-a-game-and-business-is-a- player.html?_r=0. Zichermann, G. and C. Cunningham (2011), Gamification by Design: Implementing Game Mechanics in Web and Mobile Apps, San Francisco: O’Reilly Media.
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