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Gamification Dynamics: Identity and Story
 
 
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  Gamification Dynamics: Identity and Story
by Tony Ventrice [Design, Social/Online]
7 comments Share on Twitter Share on Facebook RSS
 
 
February 20, 2012 Article Start Page 1 of 4 Next
 

[In the first installment of this series on gamification, Badgeville's Tony Ventrice looked to frame the discussion around what's possible with gamification by attempting to discover what makes games fun. He has already explored Growth and Emotion and Choice and Competition, and in this article, he tackles Identity and Story.]

Identity

Identity describes the attributes that make an individual unique. At its most literal level, it's how we identify ourselves; a comparison of attributes against known or expected quantities. As an example, I'll start by listing a few attributes that describe myself.


I hate cantaloupe. I grew up in Northern California. I'm 31 years old. I enjoy board games.

That's not much to go on, but it's probably still enough for you to come to some vague conclusions about what kind of person I am; the quality of my tastes, my upbringing, where I am in my life, other activities I might enjoy.

If you did come to any conclusions, you arrived at them by making mental comparisons; comparisons made either between yourself and the described individual (me) or comparisons between that individual and other individuals you're aware of.

The Academics of Identity

In academics, the modern psychology of identity is largely based on the work of Erik Erikson, the man who, amongst other things, coined the term identity crisis.

While Erikson is best known for his model of identity evolving through the stages of life, much of the Neo-Eriksonian academic conversation centers on the idea of multiple "selves": from the idea that the person you feel you are inside does not always match the personas you take on in social contexts, including the concepts of identity exploration (that people experiment with identities before committing to them), social identity (the idea that a portion of the self is defined by the ideal of a group), and the ideal self (the identity an individual aspires to).

Together, the academics paint a picture of identity as dynamic and highly influenced, not the inborn template we're often led to believe it is.

The Two Sides of Identity

Considering the dynamic -- even experimental -- nature of identity, the value of role-play in games should be fairly obvious, but I think there is also a second topic worth discussing under the umbrella of identity in games: social purpose.

Role-playing. In the opening article, I noted that I was effectively splitting the proposed topic of Role-play between Choice and Identity. To Choice, went the empowerment of making decisions, to Identity, and what we'll discuss here: the opportunity to experiment with changing your persona.

Social Purpose. Social purpose describes a need for acceptance; more than simply making connections or meeting expectations, it implies an innate desire to provide some value to others. In the simplest of terms, social purpose asks that the individual feel needed. If he stopped playing the game, would others notice?

Before continuing, it's worth noting that while writing this, I became very tempted to abandon the word Identity entirely. After all, can't any preferences for fun be categorized as elements of identity? For example, aren't all the choices I make and forms of growth I seek part of my identity?

The conclusion I came to is this: all the other preferences can be thought of as implicit influencers of identity -- they are presumably pursued on their own merits and their influence on identity is a secondary result -- while what we're discussing now are explicit or self-aware influencers of identity, pursued for the purpose of influencing identity.

The distinction is made more confusing by the fact that it lies entirely in intent. For example: if I play football because I enjoy the competition and strategy, I'm doing it for competition and growth (challenges overcome). If I play football to fit in with the "popular crowd", I'm doing it to find identity (social purpose).

Preconceptions

Although we might not always be consciously aware of it, identity plays a huge role in our daily lives. The identity we project forms preconceptions in the eyes of those we encounter. When meeting someone new you are likely to view known details as clues that can be used to make predictions.

Visible tattoos? Piercings? Leather? A flagrant disregard for authority? These are indicators used to represent identity. Sweater-vest? Slacks? Wire-rim glasses? A practical Swedish vehicle? These are also indicators of identity that tell a very different story.

While preconceptions may be viewed negatively in the context of attributes that aren't reflective of personal choice (such as race or gender), those that are reflective of personal choice provide invaluable cues to facilitate social interactions.

 
Article Start Page 1 of 4 Next
 
Comments

Shannon Perkins
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In all these conversations about narrative in games I see the same mistake made repeatedly (IMO), namely lifting the definition and structure of narrative developed for literature and film and dropping it largely unaltered into the frame of game design. This leads to a lot of awkward shoe horning in both discussion and game design-- think cut scens, think statements like "story is context for action".



Rules and interactivity form their own language, and as such require their own syntax and semantical understanding. In my opinion, the narrative of interactivity doesn't wind up looking like a Robert McKee screenplay (god bless the man), but something more like a John Cage composition-- structured but emergent, and more experiential than descriptive.



Games are by definition highly structured. Even a system with lots of input variables and probabilistic outcomes is a highly structured system-- lots of lines compilable code! But the moments of meaning created by a human interacting with any point in that system has more the abstract quality of poetry than the concise quality a good screenplay.



I think the narrative power of games will come to maturity through insightful use of the metaphoric power of the rules and interactivity that describe them. Again, they are their own language and their power is diminished when they are forced to serve the conventions and paradigms other media.

Tony Ventrice
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There are certainly good examples of traditional narrative in games and bad examples, but it doesn't make the concept either right or wrong. Personally, I think I'm like you in that I prefer games that offer more user freedom, but the market certainly isn't punishing developers from rolling out largely linear RPGs.



Earlier in the series I wrote about other aspects of gameplay that can be interpreted as less literal forms of story, things like 'choice' and 'influence' and I believe these topics are more along the lines of the 'experiential' stories you are describing.

My favorite part of the original Civilization was the world history that played out at the end; it was like a randomly-generated story that I had a hand in writing, through playing the game.

Shannon Perkins
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Thanks for responding directly Tony! I apologize for not reading the earlier parts in the series before responding. I'll read them tonight!



Yeah, after years of arguing for the importance of narrative elements in games I find myself focused on thinking more abstractly of language as system for organizing metaphor, and so thinking how to work directly with metaphoric powers of rules and interactivity directly in order to structure "story". I think this story just doesn't look like "the hero's journey"-- traditional ideas of narrative. I think the chain of experiences created through interactivity is maybe more lyrical.

Stephen Keating
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You should read Bogost's Unit Operations Shannon. It contains a wonderful commentary of the problematic nature of literary narrative versus the videogame's more operational narrative (a narrative as a unit rather than a standardized systemic literature).



In a sense, the problem with narrative relates entirely to our experience and exposure with literary narrative, and that in effect, we have yet to really look past that form of storytelling, with only a scant few rare exceptions in the present day (King of Dragon Pass/Dark Souls).

Shannon Perkins
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Thanks Stephen! I've read Bogost's book Newsgames and I'm familiar with his general POV, but I've not heard the 'narrative unit' discussion, sounds interesting! I'll Kindle it now!

Amanda Lynn
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I am new to gaming so I found this post very informative and it really helped me to understand an appeal for video games that might draw me in. I love to read, and identity and concept are the main reasons I read because I can become the character in the book just as someone may become a character in a game. I had never thought about narrative and story being an element in games but to me, games with an intricate and flexible story would be the most interesting and entertaining. I also like the idea of interdependancy so there is a community aspect shaping the outcome. I would like to try a game with these elements but would be unsure where to look

Roger Tober
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I personally like open areas with the story giving direction and making meaning out of moving to another open area. Doing something even grander, like having one huge open area, makes the game less focused in terms of what to do. At that point, they become a string of side events with a very loose story to bind them together. Skyrim is an example of that for me. They made it even worse by making the two sides undesirable to join, so it was a lot of side tasks with two sides of a struggle which I didn't care about and I ended up losing interest and quitting. I know I'm a different gamer because a lot of people raved about it, but narrative is more important to me. I also can't imagine wanting to spend hundreds of hours in a game. I think that's getting a little carried away. It's like games are being written for fanatics who don't have a life.


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