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In this week's webinar, we had our friends from The Game Agency stop by to discuss several game mechanics from their interactive gaming library and identify how to most effectively pair them with your learning objectives to improve learning outcomes. They announced the release of a new game that is being added to the Training Arcade and showed how easy it is to build games in The Training Arcade. You can learn more about implementing a Training Arcade game into your eLearning in another webinar we did not too long ago.

We also showcased Motivate Cloud, a gamified-socialized learning platform that is being used to boost engagement, foster team collaboration and turn a passive learning experience into an active learning journey.

For more information about The Training Arcade click here. You can also learn more about Motivate Cloud from The Game Agency.

Check out The Training Arcade today and start adding games to your online training:

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Webinar: Games or Gamification... What's Right For You? - eLearning Brothers

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In this week's webinar, we had our friends from The Game Agency stop by to discuss several game mechanics from their interactive gaming library and identify how to most effectively pair them with your learning objectives to improve learning outcomes.

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Trading Card: Turn your photos into trading cards!

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Immortalize someone you love by putting their face on their very own collectible trading card! Or make a whole deck and create a card game. The possibilities for embarrassment are virtually limitless! I know I’m embarrassed!

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El DELE ya está en Sarajevo.

Incluso a falta de 4 o 5 meses, los alumnos ya se están movilizando y preguntando cuando se celebrará.

Conseguir el certificado no es solo gratificante para ellos, sino para los profesores que los han formado.

Nuestro papel como docentes no es sólo preparar lo mejor posible a los estudiantes para este examen, sino también transmitirles seguridad y quitarles el miedo.

Por esa razón, este año decidí diseñar y crear un curso de preparación DELE.

Tanto seas profesor autónomo como trabajes en un centro de idiomas, este artículo te ayudará a que tú también diseñes uno para ellos.

¿Todavía no eres examinador/a DELE?

Antes de diseñar cualquier curso de DELE, tienes que formarte como examinador.

Si no eres examinador te será más difícil animar a tus estudiantes a presentarse, que contraten tus servicios como profesor o diseñar cualquier tipo de curso DELE.

Primero fórmate como examinador y participa en alguna convocatoria para conocer el terreno. Luego diseña y ofrece el curso.

¿Cómo empecé a formarme como examinador DELE?

Todo empezó cuando el centro en el que impartía español tuvo la necesidad de tener en plantilla a un examinador DELE más.
Para ello, tuve que realizar los cursos de formación adecuados para cada nivel.
Hoy en día puedes realizar los cursos en modalidad online en menos de 3 semanas.

Tan sólo necesitarás cumplir unos requisitos mínimos como docente de ELE (formación y experiencia básica), dedicarles cierto tiempo (16 horas repartidas en tres semanas) y dinero.

¿Qué puesto puedes ocupar en la convocatoria?

Una vez completas los cursos para cada nivel, te envían el código de examinador. A partir de ahí ya puedes participar en las convocatorias.

Se trata de una oportunidad fantástica para conocer de primera mano cómo se desarrolla una convocatoria DELE.

Puedes ocupar alguno de los siguientes puestos:

Personal de apoyo: te encargarás de dar la bienvenida a los candidatos, ofrecerles el tema de preparación de la prueba oral y supervisar el tiempo de preparación para ella.

Examinador: Te responsabilizarás del correcto desarrollo de las cuatro pruebas y participarás como examinador/calificador en las pruebas orales y escritas.

Examinador jefe: Tendrás las mismas tareas que el examinador y, además, te ocuparás de todo el trabajo burocrático, serás el máximo responsable de la convocatoria DELE, de transcribir las respuestas...

Ser examinador DELE para profesores autónomos

¿Qué sucede si trabajas como profesor autónomo y no perteneces a ningún centro adscrito?

Pues que puedes formar a posibles candidatos a través de tu conocimiento y experiencia.

Existe cada vez más interés por parte de los alumnos en presentarse a la convocatoria DELE.

Si bien se pueden preparar las pruebas de comprensión lectora y auditiva por ellos mismos, no lo pueden hacer así con las otras dos restantes.

En esos casos no les queda más remedio que contratar los servicios de un profesor de ELE. Y si está formado como examinador DELE mejor.

Por lo tanto, te aconsejo que tomes los cursos de formación necesarios, participes en algunas convocatorias y, finalmente, con el conocimiento y experiencia acumulada, te decidas a diseñar tu propio curso.

Mi experiencia diseñando un curso de preparación DELE

Tus estudiantes tienen interés, dedicación y formación adecuada para aprobarlo, pero al final muchos no se presentan.

¿Cuál es el problema?

El DELE les asusta y punto.

Muchos piensan que no tienen el nivel necesario o que el examen es demasiado difícil para ellos.

Deciden dejarlo para más adelante, cuando se sientan más seguros. En muchos casos ese momento nunca llega.

El objetivo es sencillo: si creemos que reúnen todas las características para aprobarlo, tenemos que quitarles el miedo.

Por esa razón decidí diseñar este año un curso de formación DELE B2 debido a que ese era el nivel con mayor participación.

Todo empieza por hacer un modelo de examen

Si tus estudiantes dudan de si están preparados o no para el DELE, sugiéreles que realicen un modelo de examen de convocatorias anteriores.

Si ven que se acercan al límite de la calificación APTO (60 puntos) o la sobrepasan, significa que pueden presentarse.

Y este es el gran secreto del DELE: todo empieza por realizar un modelo de examen.

El DELE es un examen con una estructura cerrada, con el mismo número de pruebas y tareas con las mismas instrucciones.

Si sabemos que los estudiantes tienen el conocimiento adecuado, deben empezar a conocer la estructura del examen.

Es decir, deben adaptar su conocimiento al formato del examen.

¿Cuál es el mejor libro para prepararse?

El que contenga modelos de años anteriores (con los audios incluidos) y cubra las cuatro pruebas.

Las recomendaciones para realizar las tareas o el material de refuerzo es algo secundario. Solo en contadas ocasiones he hecho uso de él.

Por lo tanto, la piedra central de tu curso de DELE no pueden ser:

Gramáticas.

Listas de vocabulario.

Libros especializados con ejercicios aislados de DELE.

Todo ello es complementario para los estudiantes.
Lo importante es practicar una y otra vez el formato completo del examen.
Puedes encontrar libros basados en modelos de examen, pero yo me quedaría sin lugar a dudas con El Crónometro B2 - Edición Nuevo DELE de la editorial EDINUMEN.

Si estás pensando en utilizar otro libro, ten en cuenta que incluya modelos DELE a partir de la convocatoria del 2013.

Estructura una clase para cada prueba y respeta los tiempos

Las cuatro pruebas requieren un gran esfuerzo mental y de concentración.

Planifica el curso de tal modo que en cada clase puedan centrarse al 100% en una de ellas.

Recuerda que cada prueba tiene un tiempo límite. Que no se excedan.

Y por cierto, que sigan el mismo orden que el examen oficial: primero las comprensiones (lectora y auditiva) y después las interacciones y expresiones (escrita y oral).

Posteriormente, después de realizar un modelo completo (o dos), ya podrás centrarte en tareas en concreto y mezclar tareas de diferentes pruebas.

Dedica tu primera clase a explicar el formato

Tu primera clase debería dedicarse a explicar, punto por punto, el formato del examen.

Cíñete en aspectos como:

Las cuatro pruebas y el orden del examen.

El límite de tiempo del que disponen para cada prueba.

El número de tareas para cada prueba.

Las características de cada tarea.

La libreta de respuestas y el uso del bolígrafo o el lápiz para cada prueba.

El proceso general y los pasos de la prueba oral.

El sistema de evaluación y puntuación.

El reto está en las pruebas de interacción y expresión

Recuerda que las pruebas de comprensión lectora y auditiva las pueden realizar y autocorregir ellos en casa (cada manual dispone de las respuestas).

Como mucho, puedes ofrecerles feedback y solventar las dudas que tengan en alguna de sus respuestas.

El reto viene en las dos últimas pruebas, las de interacción y expresión escrita y oral.

Siempre son las más desastrosas

Siempre es más fácil entender que producir. Salvo casos contados, alguien que tiene problemas en la comprensión tiene incluso más problemas en la producción.

Los estudiantes que no viven en un país hispanohablante tienen menos oportunidades de desarrollar sus competencias en la producción de textos escritos u orales.

Es decir, es más posible que destinen tiempo a leer o escuchar una película que en encontrar a un nativo para realizar un intercambio o en escribir un texto formal en su lengua meta.

Sigue el baremo de corrección del DELE

El problema es que mientras las tareas de comprensión las corrige una máquina, en éstas interviene el factor humano y, con ello, la subjetividad.

Pero no te vuelvas loco, que la corrección de estas pruebas sigue una escala establecida con sus propios criterios y puntuaciones.

Descárgatela y conviértela en tu paradigma de corrección.

Ofréceselo a tus alumnos para que sepan qué criterios se siguen en sus correcciones.

Envía las tareas escritas para el fin de semana

No tiene sentido dedicar una clase a que escriban las tareas de la expresión e interacción escrita.

Dependiendo del ritmo de vida de tus estudiantes, manda esta prueba para casa.

Recuérdales que respeten el tiempo límite y que no miren el diccionario.

Que te la envíen por email y corrígela con tiempo en casa ( y siguiendo las escalas del punto anterior) para poder sacarle rendimiento en tu próxima clase.

Fomenta la coevaluación en la tarea escrita

Si bien tú haces el trabajo en casa, en clase deberían ser evaluadas por los compañeros.

Trae los textos que escribieron el fin de semana sin corregir o indicando (no especificando) aspectos incorrectos según los cuatro aspectos de la escala analítica (puedes utilizar diferentes colores).

Ofréceles el baremo imprimido si todavía no lo has hecho, y déjales tiempo para que lo corrijan en parejas y ofrezcan una puntuación según esos criterios (del 0 al 3).

Después dales tu propia corrección que has hecho en casa con el feedback correspondiente. Comparad resultados.

Convierte tu clase en la sala de la prueba oral

Destina un día para realizar esta prueba.

Si no es una clase online, mueve los muebles de la clase y reproduce la sala que se encontrarán el día del examen oficial.

Reparte a cada alumno una prueba de interacción y expresión oral diferente, ofreciéndoles dos temas diferentes. Permíteles que se preparen las dos primeras tareas 15 minutos.

Por turnos, irán pasando por delante de la mesa para realizar la prueba.

Tú serás el examinador y los alumnos que no se examinen, se convertirán en calificadores de la escala analítica.

Que sigan de nuevo los criterios establecidos en los baremos.

Al concluir la prueba, haz un feedback colectivo y negocia las puntuaciones con tus alumnos.

Conclusiones al final del curso

El curso se desarrolló durante 6 clases de hora y media. Nos dio tiempo a:

Realizar un modelo entero.

Realizar 2 pruebas completas de expresión e interacción oral y escritas + feedback correspondiente.

Tareas específicas de comprensión lectora y auditiva (problemáticas).

Aspectos positivos

El curso cumplió las expectativas que había negociado con mis estudiantes:

Conocer el formato del examen y el sistema de evaluación.

Ayudarles con las tareas más problemáticas (orales y escritas) y producir sus propios textos que les servirán como modelos para el examen oficial.

Quitarles el miedo que supone presentarse al examen DELE con el conocimiento y feedback necesario.

Aspectos a mejorar

También hubo aspectos que no funcionaron:

Fue un curso demasiado intenso para algunos alumnos, que faltaron a algunas clases y no pudieron seguir el ritmo adecuado, dificultando la tarea a sus demás compañeros.

Faltó tiempo para repetir las pruebas más problemáticas, como realizar una nueva prueba de expresión e interacción escrita.

¿Y tú? ¿También estás pensando en diseñar tu propio curso DELE? Cuéntame tu experiencia e indica que te gusta este artículo 🙂

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Diseña un curso DELE para tus estudiantes - ConMovimiento

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El DELE ya está en Sarajevo. Incluso a falta de 4 o 5 meses, los alumnos ya se están movilizando y preguntando cuando se celebrará. Conseguir el certificado no es solo gratificante para ellos, sino para los profesores que los han formado.

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face.co is a SVG Avatar Maker Generator - Online Vector Avatars Generator for Your Site

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11

The education industry is in transition - from the obvious changes being wrought at the university level to wrenching, systemic transformation at K-12 in the United States. At the same time, educators are no strangers to games and gamification - they've long been used in the classroom. But if it's such a powerful tool, why [...]

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Gamification of Education - Classroom Aid

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11 The education industry is in transition - from the obvious changes being wrought at the university level to wrenching, systemic transformation at K-12 in the United States. At the same time, educators are no strangers to games and gamification - they've long been used in the classroom.

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APRENDIZAJE SOCIAL Y EMOCIONAL EN LA ESCUELA

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"A gamificar se aprende gamificando".Debate 2.

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Colección de artículos

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Explanation:

Gamification is the name given to the process of developing motivation and engagement by rewarding people with things that they want, and it often takes the form of points, acknowledgement of achievement, badges, prizes, and so on. Frequent flyer programmes or customer loyalty schemes are some of the earliest examples of gamification outside actual games. You probably know how they work: You complete certain milestones and you are rewarded with something you want, something that is meaningful and engaging to you. The rise of computer gaming culture has meant that more and more research has gone into finding out what features make these things so addictive for some people. And crucially for us, how we can take some of those features to make other things, such as learning, or school, more engaging and, hopefully, addictive. The trend of gamification is really about how to reward, motivate, and engage people in learning.

Impact:

Elements of gamification have been with education ever since teachers started giving out grades or stickers. But these are a very crude form of gamification, and we're seeing a trend towards more widespread use; a growing awareness of how effective and sophisticated gamification can be. Access to mobile devices in the classroom also allows us to harness the power of computers to do two things:

support us in the tracking and recording of progress

support us in the ways we enable learners to control more of the process themselves.

We're getting more and more research on motivation in learning, and it's really important for us as educators to know what leads to motivation. We talk about intrinsic and extrinsic motivation - whether we're motivated to learn by something inside us, or external to us. An over-reliance on extrinsic motivation ultimately limits learning, so, while stickers or badges might work in the short term, intrinsic motivation, or the desire to do something for yourself is the best way to ensure long-term learning. The real power of gamification comes through using it to help learners move from extrinsic to intrinsic motivation. One of the things that drives intrinsic motivation is mastery, or the ability to do something well, and gamification can help learners build mastery through rewarding specific actions.

Game designers use things called reward schedules to keep people engaged, and these are linked to evolution. Through evolution we've developed a way to reward the solving of problems and it's the same chemical associated with eating chocolate, which might explain something about our motivation. As humans evolved over tens of thousands of years, the solving of problems, and the completion of challenges proved to be a really useful trait: climb the tree - eat the fruit. Research shows that the kinds of rewards that are commonly associated with ramification - unlocking the next level, gathering points, getting the answer correct - also release dopamine. This is one of the things that makes computer games so addictive.

One of the three guiding principles of universal design for learning (UDL) is providing multiple means of engagement. There is a strong body of research that shows that people are motivated to learn for a variety of reasons. For some it's the intrinsic motivation of the learning; for others it's the desire to get the certificate to hang on the wall; for others it'll be the social element of collaboration, or the ability to make a contribution to the greater good.

There are a number of features of gamification that we can use in learning:

Every action should be rewarded, particularly effort: If we're interested in encouraging the journey as well as the finished product we should find ways to reward effort.

Feedback is vital: There's research around the role that digital technology can play in increasing the rate of feedback for learners. Think of the old way of testing short answers or closed questions: Set a 10-question quiz, collect from the students, mark it and hand it back out the next day. There's a minimum of a 24-hour delay on that feedback. Connect kids up to an adaptive learning platform that allows them to complete the task and receive frequent, specific feedback. Let the machine do that low-level stuff so you can focus on higher-level, qualitative feedback. Sites like Quizlet, Khan academy, Mathletics or Sumdog fit neatly into this category.

In the design of learning there should be multiple long and short-term goals: While the big goal might be to pass a particular assessment, gamification suggests we should be providing a range of short term goals to scaffold our learners towards those goals. The wider the variety linked to that overall goal, the more interesting it will be: collaborate with 10 different people, complete online tasks for 4 days in a row, get 100% in a short answer quiz, help out 4 other people, and so on. Maintaining engagement over the course of any sustained lesson or project can be difficult for many learners. Research shows the importance of incorporating periodic or persistent "reminders" of both the goal and its value in order to support students in sustaining effort and concentration in the face of distractions.

An awareness of the lifecycle a player goes through in a game: There's another big opportunity for us as educators here. There are generally three stages:

the newbie - players new to the game who need some hand holding

the regular - after players get to know the game, it needs to become a habit for them. The next few levels need to provide satisfaction as per the player type.

the enthusiast - these players have pretty much mastered the game and need new twists and challenges to continue playing.

Think about each of these roles within learning, and also, about how you can make use of and support each of these roles. How are you stretching the enthusiasts? How are you supporting the regulars? How can you make use of the challenges newbies face to tap into the expertise of the enthusiasts? Think peer tutoring, collaborative learning, or tuakana teina.

A good example of gamification for teachers is what we've begun to offer at CORE. He Tohu Oranga are a set of visual and digital representations of skill, knowledge, competencies, and achievement that evidence progression of learning. We know that, for some people, the learning, or the personal satisfaction of having participated in a professional learning programme, is enough, but there are those who are proud of what they have achieved and want to share the fact that they have been participants. So, when you complete a free online webinar, or attend a conference, or engage in a 20-week CORE Empower programme, you can choose to receive a badge that shows you've been part of that event. It's a marker that you have some experience, and if you like, an invitation to help and support others in these areas.

Implications:

As you are offering multiple means of motivation and engagement, think about aligning learning to the principles of gamification:

What's your reward schedule?

How long should a learner go without being rewarded?

How can you allow learners to be challenged at a level that is right for them or to find what they are looking for in the material you're exploring?

How do you reward every action, even if it is an unsuccessful attempt, because, after all, it's the fostering of a growth mindset - one that can cope with and learn from failure - that we're aiming for.

And, if it's good enough for our learners, think also about teacher learning:

How do we allow teachers to find their own rewards in professional learning?

How do we reward every action?

How do we convene teams of newbies, regulars, and enthusiasts to make powerful learning.

In gaming, there is often a thing called an epic win - an outcome that is so extraordinarily positive that you almost don't believe you can achieve it. If we can build on this trend of ramification, we might get to the educational version of an epic win: Learning that's so engaging and addictive that we can't stop learners from doing it.

Learn, participate, and share:

CORE staff are using Bundlr to collate links to articles and information relating to personalisation in a Bundlr collection. There is the option for you to choose to follow the growing collection over the next few months.

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Gamification is the name given to the process of developing motivation and engagement by rewarding people with things that they want, and it often takes the form of points, acknowledgement of achievement, badges, prizes, and so on. Frequent flyer programmes or customer loyalty schemes are some of the earliest examples of gamification outside actual games.

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The 'gamification' and badges movement in education has been growing for years.

In fact, here at Edublogs, adding tools to manage or award badges to students has been one of the most frequently requested features that we get.

We recently stumbled across Michelle Baldwin's post on Edublogs, We Don't Need Badges for Reading.

You should give the full post a read, but the quick version is that she noticed harmful effects from a reading app that her students use as a result of a feature that awards badges.

Michelle's post focuses on reading, but the same can be said across the board when it comes to motivation and learning.

A colleague published a much more pro-gamification post here on TheEdublogger last year, and in certain conditions, perhaps there are advantages to these techniques.

With Edublogs and our CampusPress platform, we don't plan on adding any specific badging features anytime soon - though we do have users that will embed or upload images of badges to sidebars. We feel strongly that the blogging, reflection, and writing process would be hampered by a systematic approach to badges that often fail to reward quality over quantity.

There are times, and for specific content areas, where some game mechanics like simulation, competition, or role playing might be beneficial to learning. We just need to be careful that current trends don't lead us to 'gamify' just to 'gamify'.

Your Thoughts

How do you feel about badges and gamification with your students?

Do they help engage students?

Does it create extrinsic motivation that could do more harm than good?

Please leave a comment below (or even better, a link to your post on the topic)!

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The Gamification of Education: No Badges Here

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The 'gamification' and badges movement in education has been growing for years. In fact, here at Edublogs, adding tools to manage or award badges to students has been one of the most frequently requested features that we get. We recently stumbled across Michelle Baldwin's post on Edublogs, We Don't Need Badges for Reading.

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APRENDIZAJE SOCIAL Y EMOCIONAL EN LA ESCUELA

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"A gamificar se aprende gamificando".Debate 1.

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Gabe Zichermann: "Gamification Revolution" | Talks at Google

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Gabe Zichermann stopped by the Googleplex for a discussion of his latest book, "Gamification Revolution." You can find the book on Google Play:http://goo.gl/PfTmn Gamification: It's the hottest new strategy in business, and for good reason--it's helping leading companies create unprecedented engagement with customers and employees.

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Gamification in Learning | elearningindustry

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Anything you need to know about Gamification. Explore its amazing capabilities from our top eLearning articles. Submit your own e-learning blog post!

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When words like "Play", "Games", "Missions" and "Fun" are used in front of students, they immediately show more energy in them.

And this is the reason developers and educators are looking into gamifying the process of learning through a variety of new techniques using technology. The 21st century education requires the students to engage, recognize their interests, know what to learn and create a self learner attitude.

Hence, various edtech companies are working for some effective ways to create process of learning "fun". Here are some of the good examples of gamification in education, we have curated for you.

KnowRe: Personalized Math Learning

Know More about KnowRe

Zondle: Create and Play Games Supporting Your Learning Needs

Know More about Zondle

DuoLingo: Learn a language while translating the Web

Know More about Duolingo

ClassDojo: Turns Class into a Game of Rewards and Instant Feedback

Know More about ClassDojo

Brainscape: Turns Confidence Based Repetition into a Game

Socrative: In-Class mobile interaction between Teacher and Student

Know More about Socrative , Socrative as a Formative Assessment Tool

PlayBrighter: Where Missions Replace Assignments

Know More about PlayBrighter

The Latest EdTech News To Your Inbox

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7 Good Examples of Gamification in Education

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When words like "Play", "Games", "Missions" and "Fun" are used in front of students, they immediately show more energy in them. And this is the reason developers and educators are looking into gamifying the process of learning through a variety of new techniques using technology.

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Theory in general

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From CallidusCloud to SAP Sales Cloud

CallidusCloud's leading incentive compensation management, sales performance, and connected lead-to-cash solutions are now part of SAP Sales Cloud.

Strengthening the intelligent customer experience

The acquisition of CallidusCloud completes SAP's vision of moving beyond legacy CRM to embrace intelligent customer experience solutions that inspire and empower sales professionals to follow leads to cash, increase compensation, and achieve career success.

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What is CallidusCloud | Sales Performance, Incentive, Compensation, and CPQ Management

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Skip to Content From CallidusCloud to SAP Sales Cloud CallidusCloud's leading incentive compensation management, sales performance, and connected lead-to-cash solutions are now part of SAP Sales Cloud. The acquisition of CallidusCloud completes SAP's vision of moving beyond legacy CRM to embrace intelligent customer experience solutions that inspire and empower sales professionals to follow leads to cash, increase compensation, and achieve career success.

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Le numérique à l'école, un véritable serpent de mer qui s'étire depuis trente-cinq ans en douze plans successifs, plus ou (surtout) moins convaincants. Depuis la rentrée 2014, François Hollande a martelé à plusieurs reprises son désir de faire entrer l'éduation nationale dans l'ère du numérique.

Le chef de l'Etat le rappelait encore en début d'année 2015 : " Le numérique, c'est une triple révolution, éducative, économique et sociétale. C'est pourquoi j'ai décidé de lancer un grand plan numérique pour l'éducation [1] ".

Les récents et douloureux évènements autour de Charlie Hebdo ont brutalement relancé cette volonté. Face à la profusion d'informations corrélatives aux attentats de Paris, et avec de sérieuses dérives en théories du complot fumeuses diffusées sur les réseaux sociaux, le besoin d'une éducation aux médias numériques s'est trouvé renforcé. François Hollande ne craint d'ailleurs plus de faire assaut d'optimisme : " Nous devons nous dire que la France peut être la première des nations en matière d'utilisation du numérique à l'école ".

Certes, l'espoir fait vivre. Un effort au moins colossal sera tout de même nécessaire pour combler le retard de la France sur les pays d'Europe du Nord, ou entre autres sur le Canada. Et une baguette magique ne sera assurément pas du luxe pour rattraper les Etats-Unis et le Japon, des nations (de loin) à la pointe de l'enseignement numérique [2].

Parmi les multiples outils numériques de l'e-learning figurent la gamification l'intégration du jeu vidéo dans l'apprentissage. Cet article se propose de faire le point sur la connaissance scientifique en matière de gamification, et sur ses atouts à la fois dans le monde académique et dans le secteur professionnel. Dans l'éducation nationale française, le procédé reste encore à peu près extra-terrestre. Quoi ! Des jeux dans la pédagogie ! Allons, l'enseignement est chose sérieuse... La sacro-sainte pédagogie " frontale " prime, avec le professeur discourant posément face à ses élèves, yeux grand ouverts et oreilles supposées attentives. Et pourtant, les jeux aussi peuvent être sérieux. Ils peuvent même être sérieusement utiles, en offrant une stimulation ludique qui permet de capter le plein potentiel des apprenants (des plus petits aux beaucoup moins jeunes), et offre ainsi la possibilité d'inculquer aisément les notions désirées. Une réflexion qui semble a priori logique, pour ne pas dire désespérément évidente. Et cela tombe bien, la Science, avec un grand S a valeur de certification indiscutable, la Science donc, est d'accord.
L'intérêt de la gamification prouvé par la science
Selon une étude scientifique américaine rapportée par Christopher Pappas, le fondateur du puissant réseau eLearning Industry (250 000 professionnels [3]), l'e-learning gamifié influe positivement sur le corps et l'esprit.

La pratique des jeux induit une production d'hormones spécifiques, les endorphines (ou endomorphines), également connues pour être secrétées lors d'une séance sportive, ou au cours d'autres activités plus intimes. Les effets produits par ces hormones impliquent trois conséquences, toutes bénéfiques pour l'apprentissage. Les endorphines apaisent, détendent, et diminuent ainsi l'éventuelle anxiété ou stress initial ressenti par l'apprenant. Ces hormones sont par ailleurs des neurotransmetteurs, qui de fait sont capables de relayer des signaux entre neurones. L'apprenant éprouve ainsi un plaisir excitant de jouer et donc d'apprendre, qui permet à la fois de s'impliquer bien davantage dans la formation en multipliant l'attention, avec le désir corrélatif d'atteindre et de dépasser les niveaux proposés. Enfin, l'enthousiaste apporté à la réalisation de l'e-learning gamifié permet de conserver des souvenirs plaisant de l'expérience, ce qui accroît utilement la capacité de rétention d'informations.
Les applications sonnantes et trébuchantes de la gamification aux Etats-Unis
L'application concrète de l'e-learning gamifié se vérifie aussi bien dans l'éducation scolaire que dans la formation en entreprise. Dans un marché de l'e-learning estimé à plus de 100 milliards de dollars pour 2015, ce type de formation représente de loin la plus forte croissance des différents marchés de l'éducation. Face à ces alléchants constats, l'utilisation de la gamification explose. Aux Etats-Unis, 50% des sociétés impliquées dans les processus d'innovation utilisent d'ores et déjà ce procédé. Les services RH des plus importants groupes ont vite flairé l'intérêt de la gamification dans le recrutement, comme par exemple le tentaculaire groupe d'hôtellerie de luxe Marriot International, l'un des précurseurs du genre [4]. La gamification renforce l'aspect de compétition et pousse les postulants à donner le meilleur d'eux-mêmes, indiquant aux yeux des recruteurs les candidats les plus compétents et les plus habiles, et surtout les plus motivés.
Les peurs et hésitations de la France
Bien loin de l'audace, de l'enthousiasme numérique et des dollars américains, il y a la France. La situation de l'e-learning gamifié y est pour le moins différente. Si la gamification commence péniblement à émerger au sein des entreprises françaises, l'éducation nationale demeure à peu près imperméable. Figée dans des débats franco-français stériles et infondés sur l'éducation " traditionnelle " et la violence des jeux vidéo, la gamification patine, au mieux. De nombreuses initiatives courageuses existent, issues de jeunes chercheurs clairvoyants [5], de hautes écoles avant-gardistes comme l'IPF School [6], ou d'enseignants téméraires mais isolés. Mais pas de quoi parler d'une seule voix, ni faire connaître massivement ce procédé d'enseignement et de formation [7], et encore moins pour l'instant révolutionner l'éducation nationale. Yasmine Kasbi, spécialiste reconnue des serious games, se désole de l'absence de la gamification dans l'enseignement :

" Le jeu fait partie de la culture universelle. Tout le monde aime jouer. Le joueur semble plus heureux et arrive à se concentrer plus facilement, il est donc plus productif. Le jeu est malheureusement absent de l'éducation après l'école primaire, perçu à tort comme sans intérêt dans l'enseignement secondaire. Au contraire, le jeu devrait être remis au goût du jour pour permettre aux élèves et aux adultes de mieux s'épanouir".

Le gouvernement français a certes esquissé de timides et discrets signes d'ouvertures, en lançant en novembre 2014 un appel à projet en faveur de " l'e-education ". Dix sociétés ont été sélectionnées, parmi lesquelles Diginext et Manzalab, connues pour leurs créations d'e-learning gamifiés. Considérant les difficultés rencontrées depuis près de quarante ans pour intégrer le numérique à l'école, la gamification au sein des salles de classes semble devoir attendre au moins plusieurs années. Des délais dommageables, si ce n'est absurdes, fondés en majeure partie sur l'ignorance et le manque d'audace.

Dernière modification le mercredi, 18 février 2015

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Gamification dans l'apprentissage : la science est d'accord, la France beaucoup moins

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Le numérique à l'école, un véritable serpent de mer qui s'étire depuis trente-cinq ans en douze plans successifs, plus ou (surtout) moins convaincants. Depuis la rentrée 2014, François Hollande a martelé à plusieurs reprises son désir de faire entrer l'éduation nationale dans l'ère du numérique.

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The Course

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About this Course

Gamification is the application of game elements and digital game design techniques to non-game problems, such as business and social impact challenges. This course will teach you the mechanisms of gamification, why it has such tremendous potential, and how to use it effectively. For additional information on the concepts described in the course, you can purchase Professor Werbach's book For the Win: How Game Thinking Can Revolutionize Your Business in print or ebook format in several languages.

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Psychology Marketing Game Design Gamification

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Gamification is the application of game elements and digital game design techniques to non-game problems, such as business and social impact challenges. This course will teach you the mechanisms of gamification, why it has such tremendous potential, and how to use it effectively.

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Como el juego puede crear un mundo mejor

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Gaming can make a better world | Jane McGonigal

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El viaje del héroe

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The following blog post, unless otherwise noted, was written by a member of Gamasutra's community.
The thoughts and opinions expressed are those of the writer and not Gamasutra or its parent company.
This is a repost from my personal blog.
The Hero's Journey is a narrative structure first described by Joseph Campbell in The Hero With A Thousand Faces, and later refined for modern age by Christopher Vogler in The Writer's Journey. Campbell noticed and described patterns in our myths and stories, of the hero/heroine leaving their ordinary world to go onto adventure, and after going through trials and crises, coming back home a transformed person.

It's a very archetypal structure that one can notice in many stories: The Lord of the Rings, Harry Potter, Star Wars, and thousands upon thousands of other works, including games. And I think why we as people are intrinsically drawn to this sort of narrative structure, is essentially because it's about striding to a goal, facing challenges and getting to the lowest point upon the way, but eventually overcoming them and becoming a better person as a result. It's what we encounter and go through in our daily lives, even though we might not realize it at first.

In this 2-part series of posts, I'm going to examine two games - Journey and Brothers: A Tale of Two Sons, and examine how they use The Hero's Journey in Campbell's and Vogler's interpretations respectively. The reason why I chose these two particular titles, is because they use gameplay and controls themselves as a tool that helps tell the narrative, which is not something all games do. And I would argue it's not something ALL games should do (at least, not exactly like Journey and Brothers), it's just that due to this specificity, these particular games help us form a particular emotional connection to our avatars as we share the Hero's Journey with them.

A fair WARNING that there will be SPOILERS. I would very much advise to play them before continuing onward. Trust me, it's worth it.

Also, one other disclaimer - the Hero's Journey structure is NOT a template to create good stories. It's a tool, that one should use wisely. Even though many stories share similar narrative structure, the structure on its own is not what makes a story good.

That said, let's begin.

Journey - Campbell's Structure
Campbell's monomyth structure has 17 stages. All steps of the Hero's Journey can be categorized in three groups:
1. Separation - The Hero lives in his normal world, accepts the call to adventure and crosses the threshold into the special world.
2. Initiation - The Hero goes through trials, faces death, and achieves the ultimate boon.
3. Return - The Hero goes back to the ordinary world to share the boon with others.

Not every story or myth has all of the 17 stages, and they don't all have to be in the exact order as described. As said earlier, the structure, be it Campbell's original writings or Vogler's reinterpretation, is a tool, not a template.

1. Call to Adventure
The Hero starts in a status quo situation in the Ordinary World. Think Luke living on Tatooine in Star Wars, or Bilbo peacefully doing mundane Hobbit things in the Shire in The Hobbit. But then, something happens, or some information is received, that pushes the hero onto an adventure. In Star Wars, it's Princess Leia's message found in R2-D2, in The Hobbit - Gandalf coming to Bilbo's front door and literally calling him to an adventure.

In Journey, we start in a barren desert with nothing to do and no points of interest. The Call to Adventure is when we see the mountain in the distance. At that moment, players know where they need to go and what their quest is.

2. Refusal of the Call
Often, after receiving the call, the Hero refuses to heed it. It might be because of fear (Bilbo) or obligations (Luke), or some other reasons, but the Hero might be reluctant to take the call. After this usually some event happens that shows the Hero why he needs to accept it, or just something/someone forcefully makes him do it.

One might say that in games this step is usually not present, in Journey as well. But this is where the connection between the player and the avatar comes in - it's not just the avatar that can refuse the call. It's the player as well.

In Journey, sooner or later, but this usually happens pretty close to the beginning of the game, the player gets curious - 'What happens if I don't go to the mountain? What if I go somewhere else?' That's the refusal. The player tries to go away from the goal, only to eventually be pushed back into the playable area by a supernatural wind.

3. Supernatural Aid
Once the Hero has consciously or unconsciously committed to the quest, he meets his supernatural guide or helper, and acquires a talisman or an artifact (or several) that he will use to complete the quest. Like Bilbo getting Sting and the Ring. When it comes to the first Star Wars movie, a lot of people mention the lightsaber - but that wouldn't be the case, as Luke never uses the lightsaber in the movie to complete the quest. The items/artifacts in possession must actually be relevant. So, Luke's supernatural aid is Obi-Wan himself, who teaches how to use the Force.

In Journey, this is the moment when we get the scarf. It's the remnant of our long-lost civilization (so it's relevant world-wise) and without it we can't complete our goal (so it's relevant quest-wise). And our mentor is the figure in white who we talk to from time to time by using ancient monuments, that tells us the story of our people.

4. Crossing the Threshold
This is the point where the Hero actually crosses into the field of adventure, leaving the known limits of his world and venturing into an unknown and dangerous realm where the rules and limits are not known. Bilbo leaving the Shire, Luke leaving Tatooine, Neo getting into the real world. Usually the Threshold signifies a point of no-return, once crossed the Hero can't change his mind.

In Journey, it's the location with the broken bridge, where we learn how to properly use our talisman (the scarf). We 'rebuild' the bridge and a literal threshold made of sand opens up. We go through it fully knowing how to use our tools and what we intend to do. This is also where the tutorial area ends.

5. Belly of the Whale
At some point after crossing the threshold, the Hero goes into a zone of great danger, usually symbolized by a descent into a subterranean location. This is where the Hero shows their willingness to undergo the metamorphosis of their character. Think Bilbo getting separated deep in the Misty Mountains, having to find courage to go through the area alone, as well as learning the nature of compassion and pity when offered an opportunity to kill Gollum.

In Journey, this is the underground part where you first encounter the Sentinel war machines built long ago by your civilization (which are also a big reason of its demise). This is where you confront and begin to understand your origins.

6. The Road of Trials
The Road of Trials is a series of tests that the Hero must go through to begin his transformation. Like Luke has got his Road of Trials inside the Death Star as he tries to rescue Leia and escape. Or what happened with Bilbo in Mirkwood with the spiders and the elves and everything, where he was becoming the savior and rescuer of his group.

In Journey, the Road of Trials is the ascension to the top of the tower we get to after Belly of the Whale. It's a literal Road of Trials. But what I absolutely adore about this location, is that we see images of our previous steps of the Hero's Journey.

7. Meeting with the Goddess
This is a point where the Hero encounters or experiences unconditional love that has a lot of significance. What I've noticed in other analyses of Journey and how Campbell's structure is applied to it, is that most of them say this step is skipped in the game.

But, it's not. You'll experience it only if you're connected online, but this step is encountering other players on your travels. In Journey, you just happen to stumble upon other people along the way, without any means to communicate with them or even knowing who they are. And the mechanics are built in such a way that you can't hinder each other's progress, just help.

What happens is essentially unconditional love. And the curious thing is that some players even tend to wait if their companion happens to be away from console for some time. One time I had to pause the game for 10 minutes, and when I got back, the companion was sitting beside me, patiently waiting to come back.

So in Journey this step is represented by player co-operation.

8. Woman as Temptress
To be more concrete, it's just temptation of any form, not necessarily a woman. Basically, in this step the Hero faces temptations that may make him want to go away or abandon the quest altogether. Like Han proposing Luke to go with him instead of participating in the attack on the Death Star.

And this is once again a step that in Journey analyses is usually mentioned as being skipped. And I disagree as well. Yes, in the game proper, there's nothing that tempts the avatar to stop the quest. But in the whole experience of Journey, where avatar and the player are very closely connected, there is. And that temptation is real world itself.

By the time the player gets to or passes the Road of Trials section, about an hour passes. Which for most people is about an average console play session time. Usually after an hour you have to turn off the game and get to business or doing necessary errands, or whatever else there can be. So you face a question of when do you continue your journey - now, later, or potentially never.

9. Atonement with the Father
Usually considered the center point of the journey. The Hero must confront and be initiated by an entity that holds ultimate power in his life or over him. Symbolized by a 'father' figure a lot of the times, though really it's just something more powerful than the Hero, approval (literal or metaphorical) of which must be achieved some way. In the Hobbit, this is Bilbo's encounter with Smaug. By outwitting the dragon, Bilbo proves that he's a burglar, and receives an 'approval'.

In Journey, this is our last conversation with the white robed figure, at the end of the Road of Trials before entering the mountain. Remember how I've mentioned that in the Road of Trials there are images that show previous steps of our Journey? Well, in the conversation with the white robed figure, it also shows us the future step and the dangers of that final stretch to the mountain. Our avatar looks concerned, but our mentor believes in us and gives the approval (well, that's what I gathered at least from the silent way they looked at each other :D )

10. Apotheosis
The Hero's ascension to something greater than his previous self, allowing the Hero to finally achieve the goal. Usually is represented by death and rebirth. For example, in the Matrix, Neo dies, but comes back to life being able to control the Matrix. But a lot of times, the death and rebirth are metaphorical rather than literal.

In Journey, though, it is quite literal. After the hardships of climbing the mountain, our avatar dies before being able to reach the peak. Then the white-robed figures appear, giving us a second life, elevating to our full power (and a full scarf!). We fly straight into the sky.

11. The Ultimate Boon
This is the achievement of the goal of the whole quest - what the Hero has set out to do. Destroying the Death Star, for example. In Journey, this is obviously getting to the peak of the mountain. After achieving the Ultimate Boon, the Hero is ready to get back to the normal world.

12. Refusal of the Return
Or is he? After acquiring the Ultimate Boon, the Hero may want to stay in the place where they found bliss or enlightenment, not wanting to return. Like with the Refusal of the Call, this is player-centric in Journey. I myself have seen a player who had so much fun with the last location where you are pretty much free to just fly around without ever touching the ground that they didn't seem to want to get to the end of the game. That's the refusal of the return in Journey's case.

13. Magic Flight
Sometimes the Hero must escape with the boon, or make a mad dash home, represented by a flight sequence. In Journey this has a more peaceful connotation, a literal magic flight to the threshold that will bring us back to the normal world.

14. Rescue from Without
Sometimes the Hero needs a powerful guide or entity or something to help bring them back to everyday life. This is another player-centric step in Journey. I happened to be that guide for the player I've mentioned previously - by drawing enough attention to myself (and trying to bump into him a bunch of times) I reminded him of what our goal is and we went to our final destination.

15. Crossing the Return Threshold
A mirror of the Crossing the Threshold step, this is when the Hero leaves the special world to get back to the ordinary one. In Journey, this is when we reach the light at the peak of the mountain that transforms us into a star and sends us all the way back to the beginning location.

16. Master of Two Worlds
Despite leaving the special world, the Hero has retained all knowledge and wisdom gained there, thus becoming a Master of Two Worlds. In Journey, this is manifested by the change in our character each time we complete the game. The avatar's robes get more embroideries and the scarf gets longer, and if we find all the secrets over the course of those playthroughs we get a white robe - symbolizing our mastery of the game.

17. Freedom to Live
Having conquered the demons and conflicts without and within and mastered the normal and special worlds, the Hero is free to choose how to live their life. In Journey, this is represented by starting a new game and guiding other players on their travels. If you want to.

So, as you can see, Journey is a perfect representation of Campbell's monomyth structure following it to a tee, even though some of the stages can be called 'meta' as they might happen to the player rather than the avatar.

That said, even though Campbell's work is a fantastic research on fairy tales and myths, I personally prefer Christopher Vogler's reimagining of the structure Campbell has provided, and I'll explain why, on the example of Brothers, in the next blog post on the matter.

Thank you all for reading, hope you enjoyed it. Feel free to leave any comments below. If you'd like to keep an eye on my future blog posts, feel free to follow me on Twitter
@farlander1991 :)
And if you'd like, consider supporting my work on Patreon! Thank you very much!
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The following blog post, unless otherwise noted, was written by a member of Gamasutra's community. The thoughts and opinions expressed are those of the writer and not Gamasutra or its parent company. This is a repost from my personal blog.

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Test tipo de gamer

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Nuestra personalidad se ve reflejada en la forma en que interactuamos con lo que nos rodea y los videojuegos no son, desde luego, una excepción. En 1996 Richard Bartle dividió a los jugadores de videojuegos online en cuatro categorías, según sus gustos, preferencias y patrones de comportamiento. ¿A cuál de ellas perteneces?

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Teoría de los elementos de la gamificación

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Yu-kai Chou: Gamification & Behavioral Design

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This post is a high-level introduction to Octalysis, the Gamification Framework I created after more than 10 years of Gamification research and study. Within a year of publication, Octalysis was organically translated into 9 languages and became required literature in Gamification instruction worldwide.

What is Gamification?
Gamification is design that places the most emphasis on human motivation in the process. In essence, it is Human-Focused Design (as opposed to "function-focused design").
Gamification is the craft of deriving all the fun and engaging elements found in games and applying them to real-world or productive activities. Click To Tweet

Gamification is the craft of deriving all the fun and engaging elements found in games and applying them to real-world or productive activities. This process is what I call "Human-Focused Design," as opposed to "Function-Focused Design." It's a design process that optimizes for human motivation in a system, as opposed to pure efficiency.

The challenges with Function-Focused Design

Most systems are "function-focused," designed to get the job done quickly. This is like a factory that assumes its workers will do their jobs because they are required to. However, Human-Focused Design remembers that people in a system have feelings, insecurities, and reasons why they want or do not want to do certain things, and therefore optimizes for their feelings, motivations, and engagement.

Why games drive human behavior

The reason we call it Gamification is because the gaming industry was the first to master Human-Focused Design.

Games have no other purpose than to please the individual playing them. Yes, there are often "objectives" in games, such as killing a dragon or saving the princess, and sometimes saving a dragon, but those are all excuses to simply keep the player happily entertained.

Since games have spent decades (or even centuries depending on how you qualify a game) learning how to master motivation and engagement, we are now learning from games, and that is why we call it Gamification.

So in the past decade, I have been digging deep into forming a complete Gamification framework to analyze and build strategies around the various systems that make a game fun.

I saw that almost every game is fun because it appeals to certain Core Drives within us that motivate us towards certain activities. I also noticed that different types of game techniques push us forward differently: some in an inspiring and empowering way, while some in a manipulative and obsessive manner. I drilled down to find what differentiates one type of motivation to another.

The end result is the Gamification Framework called Octalysis, designed as an octagon shape with 8 Core Drives representing each side.

With many years of trials and adjustments, I believe that, besides a ninth hidden Core Drive called "Sensation," everything you do is based on one or more of the 8 Core Drives.

The 8 Core Drives of Gamification

Epic Meaning & Calling is the Core Drive where a player believes that he is doing something greater than himself or he was "chosen" to do something. A symptom of this is a player that devotes a lot of his time to maintaining a forum or helping to create things for the entire community (think Wikipedia or Open Source projects). This also comes into play when someone has "Beginner's Luck" - an effect where people believe they have some type of gift that others don't or believe they were "lucky" to get that amazing sword at the very beginning of the game.

Development & Accomplishment is the internal drive of making progress, developing skills, and eventually overcoming challenges. The word "challenge" here is very important, as a badge or trophy without a challenge is not meaningful at all. This is also the core drive that is the easiest to design for and coincidently is where most of the PBLs: points, badges, leaderboards mostly focus on.

Empowerment of Creativity & Feedback is when users are engaged in a creative process where they have to repeatedly figure things out and try different combinations. People not only need ways to express their creativity, but they need to be able to see the results of their creativity, receive feedback, and respond in turn. This is why playing with Legos and painting are fun in-and-of themselves and often become Evergreen Mechanics, where a game-designer no longer needs to continuously add more content to keep the activity fresh and engaging.

This is the drive where users are motivated because they feel like they own something. When a player feels ownership, she innately wants to make what she owns better and own even more. Besides being the major core drive for wanting to accumulate wealth, this deals with many virtual goods or virtual currencies within systems. Also, if a person spends a lot of time to customize her profile or her avatar, she automatically feels more ownership towards it too. Finally, this is also the core drive that makes collecting stamps or puzzle pieces fun.

This drive incorporates all the social elements that drive people, including: mentorship, acceptance, social responses, companionship, as well as competition and envy. When you see a friend that is amazing at some skill or owns something extraordinary, you become driven to reach the same level. Also, it includes the drive we have to draw closer to people, places, or events that we can relate to. If you see a product that reminds you of your childhood, the sense of nostalgia would likely increase the odds of you buying the product. This Core Drive is relatively well-studied too, as many companies these days are putting a lot of priority on optimizing their online social strategies.

This is the drive of wanting something because you can't have it. Many games have Appointment Dynamics (come back 2 hours later to get your reward) - the fact that people can't get something right now motivates them to think about it all day long. This is the Core Drive utilized by Facebook when it first started: at first it was just for Harvard. Then it opened up to a few other prestigious schools, and eventually all colleges. When it finally opened up to everyone, many people wanted to join because they previously couldn't get in it.

Generally, this is a harmless drive of wanting to find out what will happen next. If you don't know what's going to happen, your brain is engaged and you think about it often. Many people watch movies or read novels because of this drive. However, this drive is also the primary factor behind gambling addiction. Also, this core drive is utilized whenever a company runs a sweepstake or lottery program to engage users. The very controversial Skinner Box experiments, where an animal irrationally presses a lever frequently because of unpredictable results, are exclusively referring to the core drive of Unpredictability & Curiosity, although many have misunderstood it as the driver behind points, badges, and leaderboard mechanics in general.

This core drive is based upon the avoidance of something negative happening. On a small scale, it could be to avoid losing previous work. On a larger scale, it could be to avoid admitting that everything you did up to this point was useless because you are now quitting. Also, opportunities that are fading away have a strong utilization of this Core Drive, because people feel like if they didn't act immediately, they would lose the opportunity to act forever.

Within Octalysis, the Core Drives on the right are Right Brain Core Drives, being more related to creativity, self-expression, and social aspects.
Note: the Left Brain/Right Brain Core Drives are not considered true brain science; they are merely symbolic as it makes the framework easier and more effective when designing. It's useful dividing things up between the logical and the emotional, and I just named them Left Brain/Right Brain Core Drives so people can remember them easily.
The Core Drives on the left are Left Brain Core Drives, being more associated to logic, calculations, and ownership.

Interestingly, Left Brain Core Drives are Extrinsic Motivators - you are motivated because you want to obtain something, whether it be a goal, a good, or anything you cannot obtain; on the other hand, Right Brain Core Drives are Intrinsic Motivators: you don't need a goal or reward to use your creativity, hangout with friends, or feel the suspense of unpredictability - the activity itself is rewarding on its own.

This is important, because many companies aim to design for motivation based on Extrinsic Motivators, such as giving users a reward at the end. However, many studies have shown that once you stop offering the extrinsic motivator, user motivation will often decrease to much lower than before the extrinsic motivator was first introduced.

It's much better for companies to design experiences that motivate the Right Brain Core Drives, making something in of itself fun and rewarding, so users continuously engage in the activity.

Another element to note within Octalysis is that the top Core Drives in the octagon are considered very positive motivators, while the bottom Core Drives are considered negative motivators.

Techniques that utilize the top Core Drives are called "White Hat Gamification",while techniques that utilize the bottom Core Drives are called "Black Hat Gamification".

If something is engaging because it lets you express your creativity, makes you feel successful through skill mastery, and gives you a higher sense of meaning, it makes users feel very good and powerful.

On the other hand, if you are always doing something because you don't know what will happen next, you are constantly in fear of losing something, or because there are things you can't have, even though you would still be extremely motivated to take the actions, it can often leave a bad taste in your mouth.

The problem with Zynga games, according to the Octalysis framework, is that they have figured out how to do many Black Hat Game Techniques, which drive up revenue numbers from users, but it doesn't make users feel good. So when a user is finally able to leave the system, they will want to, because they don't feel like they are in control over themselves, just like gambling addiction.

Keep in mind that just because something is Black Hat doesn't mean it is necessarily bad - these are just motivators - and they can be used for productive and healthy results or malice and manipulative ones. Many people voluntarily submit themselves into Black Hat Gamification in order to go to the gym more often, eat healthy, or avoid hitting the snooze button every morning.

A good Gamification expert will consider all 8 Core Drives on a positive and productive activity so that everyone ends up happier and healthier.

Octalysis Score

Keep in mind that a good gamified system doesn't need to have all of the Core Drives, but it does need to do really well with the ones it does implement. Some extremely successful products do very, very well with Social Influence, while others just utilize Scarcity.

In order to come up with an Octalysis score, you take how good the subject of analysis is in each core drive, assign a number between 0-10 based on personal judgement, data, and experience flows, and then square that number to get the Core Drive Score. Once you add up all 8 Core Drive Scores, you will get your final Octalysis Score.

Of course, the Score itself is not very useful or actionable, so I always tell my clients to focus on what Core Drive is lacking, instead of being obsessed with their "score."

How to apply Octalysis to actual systems

Now that we have the Gamification Framework laid out, the next step is to figure out how to utilize this framework.

Generally, any good and engaging product or system will have at least one of the core drives listed above.

The way to use Octalysis is to identify all the game mechanics that are used to appeal to each Core Drive and list it next to the Core Drive of the Octagon.

Afterwards, based on how strong these game mechanics are, each side of the Octagon will expand or retract.

If a side crosses the inside Octagon, then that side is extremely weak and the Gamification expert needs to improve on that area.

Of course, this is all very abstract, so lets look at a few examples.

A few Gamification examples with Octalysis

Here's an Octalysis done for a few products online:

Farmville: 414 and generally Left Brain Black Hat.

Diablo 3: 284 and pretty balanced

Facebook: 448 with very strong Right Brain Drives (notice it focuses on opposite ends compared to Farmville)

Twitter: 267 while being pretty balanced but more Right Brain.

Candy Crush: Fairly Balanced

And this is just Level 1 Octalysis

10 years of Gamification study and implementation results in a very robust framework that can become actionable towards driving higher user metrics. As people get more and more advanced in Octalysis, they can learn higher levels (up to 5 Levels...there are only a handful of people in the world who know what is level 4 and above), which incorporates much more advanced design principles and in-depth analysis.

Level 2 Octalysis
Factoring in the 4 Phases of a Player's Journey Getting a feel about what players feel across the journey.

1. Discovery (why would people even want to start the journey)

2. Onboarding (how do you teach users the rules and tools to play the game)

3. Scaffolding (the regular journey of repeated actions towards a goal)

4. Endgame (how do you retain your veterans).

Pushing up a level further - Factoring Bartle's Player Type This way the Gamification Designer can feel out that there's something for everyone at every stage.
Level 3 Octalysis

Once you mastered Level 2 Octalysis, you can then push it one level higher to Level 3 and factor in different player types, so you can begin to see how different types of people are motivated at different stages of the experience.

The Octalysis Tool

A learner of Octalysis, Ron Bentata from Israel, kindly made a public Octalysis Tool for me and other Octalysis Enthusiasts. The tool is not 100% refined yet, but it has been a very useful tool for my own clients and many people practicing Octalysis non-commercially. Click here to check out the Octalysis Tool.

The Long Journey to GOOD Gamification

As you can see, creating a rich gamified experience is much more than simply slapping on various game-mechanics to existing products. It's a craft that requires a lot of analysis, thinking, testing, and adjusting.
Check out the video walk-through of the 8 core drives Check out the video walk-through of Octalysis
While there are 5 Levels in total, Level 1 is usually sufficient for the majority of companies trying to create a better-designed gamified product and experience. Higher Level Octalysis processes are really there for organizations that are truly committed to making sure that they push their metrics in the right direction, while improving longevity of a gamified system. Many games are only popular for 3-8 months, but ones that have good Endgame design can last over decades or even centuries.

If the world adopts good gamification principles and focus on what truly drives fun and motivation, then it is possible to see a day where there is no longer a divide between things people must do and the things they want to do. All people have to do is to play all day. This way, the quality of life for everyone will be significantly higher, companies will perform better because people actually want to do the work, and society overall will become more productive. This is the world that I have dedicated my life to enabling.

Watch all of the videos in the Gamification Video Guide here.

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Octalysis: Complete Gamification Framework - Yu-kai Chou

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This post is a high-level introduction to Octalysis, the Gamification Framework I created after more than 10 years of Gamification research and study. Within a year of publication, Octalysis was organically translated into 9 languages and became required literature in Gamification instruction worldwide. Gamification is design that places the most emphasis on human motivation in the process.

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Neuróloga defiende la gamificación

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Judy Willis on the Science of Learning: Big Thinkers

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Diferentes conceptos

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Estimated reading time: 3 minutes -

PHILADELPHIA, 29 August - I'm not really at the "Virtual Wharton School" but a Coursera's Online Virtual School, but since the instructor, Kevin Werbach, is from the Wharton School, the Philadelphia dateline seems fitting. Anyway, late August, it's probably pretty humid there, so "virtual" is "cool." Today I'm doing Class #2, "Games"
You can't understand gamification without understanding games. This unit explains why the concept of games is deeper than most people realize, and the game-based foundations for gamification.
Class Notes - Part 2 - Games

2.1 Gamification in context
What Gamification is not - turning everything into a game. Not turning everything into WoW or living in SL. It's game techniques and meaningful experiences IRL. (Augmented Reality? Mixed Reality?)

Most successful game of all time - Windows Solitaire! - often played at work! Gamification is finding things that are not boring to increase productivity.

Cracker Jacks Prize / McDonalds Monopoly Game - not Gamification - successful, but not using game techniques to improve / increase experience. Cousin of gamification, but it's using "actual" games. Same with "Serious 'Games" - actual games.

Gamification is also broader than people often think. Not just for marketing or customer engagement. More than "PBL's" - Points, Badges & Leaderboards.

Gamification is not "Game Theory" (study of strategic decision making)

Gamification IS:
* Listening to what games can teach us
* Learning from game design (psychology, management, marketing, econ)
* Appreciating fun (recognizing that fun is powerful!)

Play (unstructured) vs Games (goals, rules, win-lose)

2.2 What is a game?
Wittgenstein - it's impossible to define what a game is! (indeterminacy of language)
What is it that ties Hop Scotch & Call of Duty & Water Polo together?
Different aspects: points, teams, winning

Bernard Suits - actually we can define what a game is!
1. Pre-lusory Goal
2. Constitutive Rules (rules make it game-like instead of just work objective)
3. Lusory Attitude (player follows rules (voluntarily) "care" about the game - it means something to the players)
* voluntarily overcoming unnecessary obstacles (must be voluntary to be a game)

Huizinga - Homo Ludens (book) - games & play are essential to what makes us human
* Magic Circle - world of game divided from real world - physical or conceptual boundary - when you're in the Magic Circle the game rules matter, not the rules of the real world. Essentially in virtual environment, whether physical or online.

Challenge & Opportunity for Gamification ==> Put "player" in Magic Circle as much as possible.

The Magic Circle seems like a really powerful idea. It seems like it's what's fun, empowering, inspiring about having an Avatar, about Counterfactual Histories and Counterfactual Identities, it's part of the experience of fiction in great literature and great cinema.

So... how do we create, and maintain, the circle!? 😀

2.3 Games and Play
Roger Callois: Ludus (games) Paidia (play) - 2 different poles.
Obviously they're connected, yet different.

Play - unstructured, but within some limits / domain (Magic Circle)
Game - branching path with set of choices > results - moving thru our path in the game, is play, we have freedom in what we do. The game design is what gives us an opportunity to make "meaningful" choices.

Make a list of things in your life that involve PLAY... GAMES... things from work or school or social life or government...

* Voluntariness! (whoever must play, cannot play!)
* Games involve learning or problem solving
* Balance of structure and exploration (possibilities too limited VS not enough purpose, just wandering around)

2.4 Video games
Most gamification examples involve online video systems. Size, scale, and pervasiveness of video game industry.

40 years ago - Pong! - for the 1st time, gave people the power to interact with a game on a screen at home. Today pervasive in experience of young people particularly in the west.

ex: Cityville - casual social game on Facebook from Zynga (simple compared to rich 3D games)
launched in 2011 - 100 million registered users in 41 days!

Game industry today US$66 billion - double Hollywood box office revenues
Online sales to surpass retail in 2013
China now worlds largest online gaming market
Virtual goods: US$7.3 billion globally / 2 billion in USA
44% of US/UK adults have played a mobile game in the last month (eg Angry Birds on Smart Phone)
>> The Mass Medium of the 21st Century
WoW - 50 billion minutes / month
Angry Birds - more users, less time
Xbox live - 120 billion minutes / month

We're all gamers now!
Women - more social, casual games
Men - more 1st person shooter

Not just blowing stuff up!

2.5 It's Just a Game?
Assumption that games are somehow trivial
especially when we're talking about business or major objectives

Real World Building Blocks
digital
* E-business2.0 - analytics, cloud, mobile, etc
* Social networks and media

non-digital
* Loyalty programs (could leverage game dynamics more!)
* Management and marketing research

Games and the real world are coming closer together. Moving the real world into the game.
ex: America's Army (most successful recruiting tool in Amry's history)

And games are coming to the real world
ex: virtual goods
ex: grey market industry "Gold Farming" - 100,000 - 400,000 people in China earning a living Gold Farming
Julian Debel > Play Money (book)

Games were always real:

game techniques, Gamification, Goals, Kevin Werbach, Magic Circle, Play vs Games, Rules, Voluntary Participation

About Vanessa Blaylock

As a virtual public artist my work invites avatar communities to express their identity, explore their culture, and demand their civil rights. View all posts by Vanessa Blaylock

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Estimated reading time: 3 minutes - PHILADELPHIA, 29 August - I'm not really at the "Virtual Wharton School" but a Coursera's Online Virtual School, but since the instructor, Kevin Werbach, is from the Wharton School, the Philadelphia dateline seems fitting. Anyway, late August, it's probably pretty humid there, so "virtual" is "cool."

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100 Great Game Based Learning and Gamification Resources | Knowledge Guru

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Lots people want to get started with game based learning, gamification and serious games in their training. We've been curating game related content for several years while conducting our own research and case studies. Here are 100 articles related to games and learning. Some of them are research-based, while others just offer an interesting perspective to ...

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Ya habíamos hablado en un post anterior sobre el concepto de gamificación; pues bien vamos a ver algunas figuras con las que tiene la gamificación similitudes, en concreto: diseño gamificado, "serious games", simuladores y juegos. Antes de adentrarnos en terrenos doctrinales, aportemos una primera orientación, no sin antes aclarar que muchas veces las fronteras entre estos conceptos son difusas.

- Juegos: Los juegos son actividades lúdicas, cuyo principal objetivo es el entretenimiento. Ello no descarta que puedan tener efectos colaterales, por ejemplo la socialización, el desarrollo de capacidades motrices...; pero lo que predomina en ellos es el elemento de "diversión"

- Los advergames, son una variante de los juegos, proviene de los términos del inglés advertising y games.Se trata de juegos (mayoritariamente videojuegos) que son utilizados por las marcas para exponer sus productos o servicios.

- Los "serious games" se caracterizan porque además de un elemento de entretenimiento se junta otro propósito, muchas veces educacional o formativo. Por este motivo se les denomina a veces "juegos con un propósito". En otras palabras en este tipo de juegos ele elemento educacional es tan importante como el objetivo lúdico.

- Las simulaciones difieren poco de la categoría anterior, y hay autores que las tratan de manera conjunta. En las simulaciones se trata de recrear mediante un juego, una situación que se produce en la vida real. El objetivo es formar a los participantes mediante entornos de riesgo 0. Un ejemplo nos aclarará mejor este concepto, recuerdo que en mis tiempos universitarios, como parte de una asignatura de estrategia empresarial, teníamos que participar en un juego (no recuerdo el nombre del mismo) donde los equipos representaban empresas virtuales y competían entre ellos. El objetivo del juego era en definitiva formar a los participantes en el desarrollo de estrategias empresariales que les pudieran servir en futuro cuando de verdad se encontrasen en situaciones reales y no en un simple juego.

- Gamificación. Tal como decíamos al hablar del el concepto de gamificación en este caso se utilizan técnicas propias de los juegos (puntos, niveles, premios..) pero que son aplicadas a procesos distintos de los mismos.

- En el diseño gamificado, no se utilizan las mecánicas propias de los juegos de una manera estructurada para conseguir un objetivo concreto, simplemente se utilizan elementos gráficos propios de los juegos. En otras palabras y asumiendo el riesgo de la simplificación, se trata de una versión "light" de la gamificación, a diferencia de esta los propósitos del diseño gamificado no son explícitos y organizados.

Acudamos a mentes experta que explicarán más academicamente las diferencias entre estos conceptos. En el blog de Andrzej Marczewski encontramos este ilustrativo gráfico que resume de forma elegante las diferencias:

Para completar las explicaciones anteriores hagamos una pequeña recopilación de recursos interesantes:

Empecemos por este interesante vídeo. En él, Dave Gray nos habla de un nuevo concepto el "gamestorming" que complementa la lista de los expuestos anteriormente.

Ian Bogost, otro de los gurús de la gamificación nos ofrece esta interesante charla sobre los "serious games"

Si sois más amantes de la lectura, que del vídeo, estos artículos son interesantes:

- Advergaming vs gamification, or when marketing decide to play

- Gamification Frameworks and Concepts - Kevin Werbach - Visual Summary

- Gamification 2 - Games!

- 100 Great Game Based Learning and Gamification Resources

Volvamos a los medios gráficos, en esta interesante infografía Mia MacMeekin, presenta muchos de los elementos que son comunes a los conceptos que hemos analizado.

Serkan Erkovan nos muestra en esta concisa presentación varios términos que hemos analizado en este post, e incluso algunos de nuevos como el "Edutainment" o el "Game-Based Lerarning"

Y ya para finalizar, os dejo otra presentación , donde Carolyn Miller nos habla sobre juegos, gamificación y areas de intersección entre ambos conceptos.

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Gamificación vs serious games vs simuladores vs juegos vs... - HiSocial

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Ya habíamos hablado en un post anterior sobre el concepto de gamificación; pues bien vamos a ver algunas figuras con las que tiene la gamificación similitudes, en concreto: diseño gamificado, "serious games", simuladores y juegos. Antes de adentrarnos en terrenos doctrinales, aportemos una primera orientación, no sin antes aclarar que muchas veces las fronteras entre estos conceptos son difusas.

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¡Hola! soy MC y espero poder cumplir con mi misión