What Makes a Game Fun?
Since founding XEODesign in 1992 Nicole's design and research has improved over 40 million player experiences, including several popular franchises for casual audiences such as three of the Myst Series, Diner Dash, GoPets, Cosmopolitan Virtual Makeover, Mavis Beacon teaches Typing, Jeopardy Online, as well as creativity coaching for the designers of The Sims.
Question: What makes a game fun?
Nicole Lazzaro: Yeah, so what I was inspired to do is to really dig down into what makes things fun. You know why do we play games? So what I did was I looked across games, so I studied everything from Halo to Tetris, people playing at home, school and work, young and old, all the platforms, cross gender and I noticed that there were a lot of similarities between what the favorite… people… player’s favorite moments in games were and so what I did was I collected those moments on videotape and then I used Paul Ekman’s facial action coding, simplified it for games to measure their emotional responses. So there is seven emotions you can measure in the face, others you can measure in the body and what I did is I took those favorite moments in games and did a cluster analysis and it turns out that they group into you know four roughly categories of emotion and then looking at those emotions I looked at well what were the similarities of the types of decisions players were making. What kinds of play styles? What kind of play mechanics were involved? And that’s how we came up with the four keys to fun. So that’s our model with essentially that’s basically the research says is that games create engagement in essentially four ways. There is the hard fun of challenge and mastery, the frustration that leads to what we call fiero, that yes, I won you know where you get the boss monster. There is this wonderful feeling in the body that’s on personal accomplishment. You know usability, making things easy to use won’t get you there at that emotion at all and in fact you have to feel frustrated and so frustrated you’re about ready to throw the controller through the window. If then at that point you win that’s when you get that feeling like yes, we really did it. Very, very powerful emotion and players will play hours of games, both hardcore and casual gamers will play hours to get that kind of feeling.
And then we noticed that well it wasn’t just about the points and scoring you know like basketball. It’s fun to shoot… You know it’s fun to shoot hoops for score, but it’s also just fun to just shoot hoops right. You know it wouldn’t be fun if the basketball hoop were like this big you know. You know it’s nice that it’s that small right and so it makes it… it makes it more challenging, but players also like other things like just dribbling the ball is fun or playing without a score and so there is this easy fun that goes along with the hard fun, so there is the hard fun of challenge and mastery. The easy fun is more about exploration and role play, storytelling. We get mechanics involving ambiguity and detail, so in the Sims you know you can put the Sims in your pool and then pull out the ladders to see what happens. You can drive a racetrack backwards. In Grand Theft Auto you can go from point A to point B on a mission. The hard fun of the game, right, but then at any point in time you can actually also they give you like on Improv Theater they give you a plate glass window. They give you freeway exit ramp, parking meters and it’s up to you as the player to figure out how those interact and so with that kind of mechanic we really… they’re very different type of… They’re very different types of interaction that were going. And what we noticed is that with the four keys is that bestselling games tend to have three out of the four and players wouldn’t do just one. They tended to also within a 20 minute session have three out of the four that they played and their favorites were three out of… you know roughly three out of the four. So that’s hard fun, frustration or fiero. That’s easy fun with curiosity, wonder and surprise. Wonder is this great emotion that actually adults feel very rarely, so that’s wonderful that games and movies you know can give it to us, but games especially.
Then the third one is what we call serious fun, so in easy fun you get a lot of feedback for you know car, plate glass window, see what happens. In serious fun it’s actually all about the reward. So how do you feel before, during and after? So we find players play to blow off frustration at their boss or at their teacher. They also play though for you know the feeling of getting smarter or of you know creating… you know making a difference in the world. There is people playing again Brain Age to lose weight, Dance, Dance Revolution to you know… I’m sorry, Brain Age to get smarter and Dance, Dance Revolution to lose weight, but we also see stuff that really represents who they are, so there is a lot of… There is about to be a real surge in eco games, which we are actually making one, which we can talk about in a bit that… our game Tilt and that allow players to express their values in the world, so it’s not just about playing games as a separate, but actually how it reflects on them and what they value, what their motives are, what they like about and want to see happen. So that’s serious fun. That’s excitement and relaxation, a lot of other emotions, repetition, rhythm. You know music can get into that. We’re using the fun of games to do real work often. Serious gaming where you’re doing a fire fighting simulator or a nuclear you know power plant simulator to learn. That’s all part of serious fun.
So some of the factors that go into it are creating social tokens for example, so if you have mechanics in your game that could then be mutated or changed in a certain way and pass from player to player that can actually increase the social bonding that goes on in the game. So if I give you a health pack I feel generous. You feel gratitude and then you know someone else might feel… see that action and say oh, elevation, wow, human kindness and then later on in the game you know that situation may be reversed or you might experience schadenfreude, which is you know the pleasure when someone you… when one of your rivals you know experiences misfortune or Naches, which is this pleasure and pride when someone you help succeeds. So when you mentor someone and they succeed you feel this emotion around them. So if you think about what we can do just by adding these different verbs, adding new verbs to the games we can actually change what we call an emotion profile, so just like wine or chocolate has this flavor profile. You know you have a nose and a head and nice long finish. Games and other entertainment produce a series of sensations in the body that can be intentionally designed. They already create… and even media products, other media products create… social media for example, creates… sort of have certain emotional signatures in the body if you will and you can actually intentionally design them to create different things that really go with the task at hand.
So for example, the social media platforms like Facebook and Twitter all of them have a number of different verbs that really match this profile of friendship and getting closer. So for example, the bestselling games on Facebook you know are the ones that are about people, plants and… you know people, plants and pets okay and all those have wonderful social emotions. You know Mafias. You’ve got Farmville, gardening and you’ve got you know Pet Society or you know the Animal Crossing kind of clones and all of those really revolve around friendship. You also have verbs, so the verb in Facebook of poke, so by adding that feature poke, that kind of is like well that’s a poke in the ribs maybe, so that’s friendly, so it creates a little bit of what we call amici.. You know it’s Italian for this friendly kind of feeling, but what we do can is with that is you can then actually by adding these verbs or taking them out you can adjust this emotion profile.
Same thing with Twitter, so Twitter actually has a very… a big challenge for it right now because it’s got a follow you, follow me kind of game going on, so you have underneath your avatar photo you’ve created a game because by putting that hard fun, that score, how many followers I have underneath my headshot, well that kind of encourages certain behavior because people will behave to maximize that score because that is what a score does, right, so what you do then is friend as many people who then friend you back and so then your score goes up, but then what happens to your feed of your following, if you’re following you know a million people are you really following any of them? Can you really use it to you know stay up or really touch base with them or is it just you know a lot of people have zero tweets and you know a thousand followers. It’s like well what is that all about? And so in a sense that vibe, putting a score there players actually broke the game. They broke the game a little bit and so the added addition of lists and obviously you know some other mechanics like re-tweeting and DM-ing and stuff, direct messaging and stuff that all helps bind the… you know bind the game… the game that is Twitter, bind that social experience together. So you can see how all these actions create… have a sense of cloud of emotion around them and that’s what makes the experience really fill out. Just like a film would with story and character we’re actually painting in a sense the UI. We’re actually painting the experience with emotion and attention and essentially by intentional design you can actually color it any emotion that you choose if you know what verb to use.
Recorded on February 16, 2010
Interviewed by Austin Allen
Based on the seven emotions we can identify in the face, researchers have identified the four factors that make for an addictive game.
Get smarter, faster. Subscribe to our daily newsletter.
How New York's largest hospital system is predicting COVID-19 spikes
Northwell Health is using insights from website traffic to forecast COVID-19 hospitalizations two weeks in the future.
- The machine-learning algorithm works by analyzing the online behavior of visitors to the Northwell Health website and comparing that data to future COVID-19 hospitalizations.
- The tool, which uses anonymized data, has so far predicted hospitalizations with an accuracy rate of 80 percent.
- Machine-learning tools are helping health-care professionals worldwide better constrain and treat COVID-19.
The value of forecasting
<img type="lazy-image" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNTA0Njk2OC9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYyMzM2NDQzOH0.rid9regiDaKczCCKBsu7wrHkNQ64Vz_XcOEZIzAhzgM/img.jpg?width=980" id="2bb93" class="rm-shortcode" data-rm-shortcode-id="31345afbdf2bd408fd3e9f31520c445a" data-rm-shortcode-name="rebelmouse-image" data-width="1546" data-height="1056" />Northwell emergency departments use the dashboard to monitor in real time.
Credit: Northwell Health
<p>One unique benefit of forecasting COVID-19 hospitalizations is that it allows health systems to better prepare, manage and allocate resources. For example, if the tool forecasted a surge in COVID-19 hospitalizations in two weeks, Northwell Health could begin:</p><ul><li>Making space for an influx of patients</li><li>Moving personal protective equipment to where it's most needed</li><li>Strategically allocating staff during the predicted surge</li><li>Increasing the number of tests offered to asymptomatic patients</li></ul><p>The health-care field is increasingly using machine learning. It's already helping doctors develop <a href="https://care.diabetesjournals.org/content/early/2020/06/09/dc19-1870" target="_blank">personalized care plans for diabetes patients</a>, improving cancer screening techniques, and enabling mental health professionals to better predict which patients are at <a href="https://healthitanalytics.com/news/ehr-data-fuels-accurate-predictive-analytics-for-suicide-risk" target="_blank" rel="noopener noreferrer">elevated risk of suicide</a>, to name a few applications.</p><p>Health systems around the world have already begun exploring how <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC7315944/" target="_blank" rel="noopener noreferrer">machine learning can help battle the pandemic</a>, including better COVID-19 screening, diagnosis, contact tracing, and drug and vaccine development.</p><p>Cruzen said these kinds of tools represent a shift in how health systems can tackle a wide variety of problems.</p><p>"Health care has always used the past to predict the future, but not in this mathematical way," Cruzen said. "I think [Northwell Health's new predictive tool] really is a great first example of how we should be attacking a lot of things as we go forward."</p>Making machine-learning tools openly accessible
<p>Northwell Health has made its predictive tool <a href="https://github.com/northwell-health/covid-web-data-predictor" target="_blank">available for free</a> to any health system that wishes to utilize it.</p><p>"COVID is everybody's problem, and I think developing tools that can be used to help others is sort of why people go into health care," Dr. Cruzen said. "It was really consistent with our mission."</p><p>Open collaboration is something the world's governments and health systems should be striving for during the pandemic, said Michael Dowling, Northwell Health's president and CEO.</p><p>"Whenever you develop anything and somebody else gets it, they improve it and they continue to make it better," Dowling said. "As a country, we lack data. I believe very, very strongly that we should have been and should be now working with other countries, including China, including the European Union, including England and others to figure out how to develop a health surveillance system so you can anticipate way in advance when these things are going to occur."</p><p>In all, Northwell Health has treated more than 112,000 COVID patients. During the pandemic, Dowling said he's seen an outpouring of goodwill, collaboration, and sacrifice from the community and the tens of thousands of staff who work across Northwell.</p><p>"COVID has changed our perspective on everything—and not just those of us in health care, because it has disrupted everybody's life," Dowling said. "It has demonstrated the value of community, how we help one another."</p>Dark matter axions possibly found near Magnificent 7 neutron stars
A new study proposes mysterious axions may be found in X-rays coming from a cluster of neutron stars.
Are Axions Dark Matter?
<span style="display:block;position:relative;padding-top:56.25%;" class="rm-shortcode" data-rm-shortcode-id="5e35ce24a5b17102bfce5ae6aecc7c14"><iframe type="lazy-iframe" data-runner-src="https://www.youtube.com/embed/e7yXqF32Yvw?rel=0" width="100%" height="auto" frameborder="0" scrolling="no" style="position:absolute;top:0;left:0;width:100%;height:100%;"></iframe></span>Put on a happy face? “Deep acting” associated with improved work life
New research suggests you can't fake your emotional state to improve your work life — you have to feel it.
What is deep acting?
<img type="lazy-image" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNTQ1NDk2OS9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYxNTY5MzA0Nn0._s7aP25Es1CInq51pbzGrUj3GtOIRWBHZxCBFnbyXY8/img.jpg?width=1245&coordinates=333%2C-1%2C333%2C-1&height=700" id="ddf09" class="rm-shortcode" data-rm-shortcode-id="9dc42c4d6a8e372ad7b72907b46ecd3f" data-rm-shortcode-name="rebelmouse-image" data-width="1245" data-height="700" />Arlie Russell Hochschild (pictured) laid out the concept of emotional labor in her 1983 book, "The Managed Heart."
Credit: Wikimedia Commons
<p>Deep and surface acting are the principal components of emotional labor, a buzz phrase you have likely seen flitting about the Twittersphere. Today, "<a href="https://www.bbc.co.uk/bbcthree/article/5ea9f140-f722-4214-bb57-8b84f9418a7e" target="_blank">emotional labor</a>" has been adopted by groups as diverse as family counselors, academic feminists, and corporate CEOs, and each has redefined it with a patented spin. But while the phrase has splintered into a smorgasbord of pop-psychological arguments, its initial usage was more specific.</p><p>First coined by sociologist Arlie Russell Hochschild in her 1983 book, "<a href="https://www.ucpress.edu/book/9780520272941/the-managed-heart" target="_blank">The Managed Heart</a>," emotional labor describes the work we do to regulate our emotions on the job. Hochschild's go-to example is the flight attendant, who is tasked with being "nicer than natural" to enhance the customer experience. While at work, flight attendants are expected to smile and be exceedingly helpful even if they are wrestling with personal issues, the passengers are rude, and that one kid just upchucked down the center aisle. Hochschild's counterpart to the flight attendant is the bill collector, who must instead be "nastier than natural."</p><p>Such personas may serve an organization's mission or commercial interests, but if they cause emotional dissonance, they can potentially lead to high emotional costs for the employee—bringing us back to deep and surface acting.</p><p>Deep acting is the process by which people modify their emotions to match their expected role. Deep actors still encounter the negative emotions, but they devise ways to <a href="http://www.selfinjury.bctr.cornell.edu/perch/resources/what-is-emotion-regulationsinfo-brief.pdf" target="_blank">regulate those emotions</a> and return to the desired state. Flight attendants may modify their internal state by talking through harsh emotions (say, with a coworker), focusing on life's benefits (next stop Paris!), physically expressing their desired emotion (smiling and deep breaths), or recontextualizing an inauspicious situation (not the kid's fault he got sick).</p><p>Conversely, surface acting occurs when employees display ersatz emotions to match those expected by their role. These actors are the waiters who smile despite being crushed by the stress of a dinner rush. They are the CEOs who wear a confident swagger despite feelings of inauthenticity. And they are the bouncers who must maintain a steely edge despite humming show tunes in their heart of hearts.</p><p>As we'll see in the research, surface acting can degrade our mental well-being. This deterioration can be especially true of people who must contend with negative emotions or situations inside while displaying an elated mood outside. Hochschild argues such emotional labor can lead to exhaustion and self-estrangement—that is, surface actors erect a bulwark against anger, fear, and stress, but that disconnect estranges them from the emotions that allow them to connect with others and live fulfilling lives.</p>Don't fake it till you make it
<p>Most studies on emotional labor have focused on customer service for the obvious reason that such jobs prescribe emotional states—service with a smile or, if you're in the bouncing business, a scowl. But <a href="https://eller.arizona.edu/people/allison-s-gabriel" target="_blank">Allison Gabriel</a>, associate professor of management and organizations at the University of Arizona's Eller College of Management, wanted to explore how employees used emotional labor strategies in their intra-office interactions and which strategies proved most beneficial.</p><p>"What we wanted to know is whether people choose to engage in emotion regulation when interacting with their co-workers, why they choose to regulate their emotions if there is no formal rule requiring them to do so, and what benefits, if any, they get out of this effort," Gabriel said in <a href="https://www.sciencedaily.com/releases/2020/01/200117162703.htm" target="_blank">a press release</a>.</p><p>Across three studies, she and her colleagues surveyed more than 2,500 full-time employees on their emotional regulation with coworkers. The survey asked participants to agree or disagree with statements such as "I try to experience the emotions that I show to my coworkers" or "I fake a good mood when interacting with my coworkers." Other statements gauged the outcomes of such strategies—for example, "I feel emotionally drained at work." Participants were drawn from industries as varied as education, engineering, and financial services.</p><p>The results, <a href="https://psycnet.apa.org/doiLanding?doi=10.1037%2Fapl0000473" target="_blank" rel="noopener noreferrer">published in the Journal of Applied Psychology</a>, revealed four different emotional strategies. "Deep actors" engaged in high levels of deep acting; "low actors" leaned more heavily on surface acting. Meanwhile, "non-actors" engaged in negligible amounts of emotional labor, while "regulators" switched between both. The survey also revealed two drivers for such strategies: prosocial and impression management motives. The former aimed to cultivate positive relationships, the latter to present a positive front.</p><p>The researchers found deep actors were driven by prosocial motives and enjoyed advantages from their strategy of choice. These actors reported lower levels of fatigue, fewer feelings of inauthenticity, improved coworker trust, and advanced progress toward career goals. </p><p>As Gabriel told <a href="https://www.psypost.org/2021/01/new-psychology-research-suggests-deep-acting-can-reduce-fatigue-and-improve-your-work-life-59081" target="_blank" rel="noopener noreferrer">PsyPost in an interview</a>: "So, it's a win-win-win in terms of feeling good, performing well, and having positive coworker interactions."</p><p>Non-actors did not report the emotional exhaustion of their low-actor peers, but they also didn't enjoy the social gains of the deep actors. Finally, the regulators showed that the flip-flopping between surface and deep acting drained emotional reserves and strained office relationships.</p><p>"I think the 'fake it until you make it' idea suggests a survival tactic at work," Gabriel noted. "Maybe plastering on a smile to simply get out of an interaction is easier in the short run, but long term, it will undermine efforts to improve your health and the relationships you have at work. </p><p>"It all boils down to, 'Let's be nice to each other.' Not only will people feel better, but people's performance and social relationships can also improve."</p>You'll be glad ya' decided to smile
<span style="display:block;position:relative;padding-top:56.25%;" class="rm-shortcode" data-rm-shortcode-id="88a0a6a8d1c1abfcf7b1aca8e71247c6"><iframe type="lazy-iframe" data-runner-src="https://www.youtube.com/embed/QOSgpq9EGSw?rel=0" width="100%" height="auto" frameborder="0" scrolling="no" style="position:absolute;top:0;left:0;width:100%;height:100%;"></iframe></span><p>But as with any research that relies on self-reported data, there are confounders here to untangle. Even during anonymous studies, participants may select socially acceptable answers over honest ones. They may further interpret their goal progress and coworker interactions more favorably than is accurate. And certain work conditions may not produce the same effects, such as toxic work environments or those that require employees to project negative emotions.</p><p>There also remains the question of the causal mechanism. If surface acting—or switching between surface and deep acting—is more mentally taxing than genuinely feeling an emotion, then what physiological process causes this fatigue? <a href="https://www.frontiersin.org/articles/10.3389/fnhum.2019.00151/full" target="_blank">One study published in the <em>Frontiers in Human Neuroscience</em></a><em> </em>measured hemoglobin density in participants' brains using an fNIRS while they expressed emotions facially. The researchers found no significant difference in energy consumed in the prefrontal cortex by those asked to deep act or surface act (though, this study too is limited by a lack of real-life task).<br></p><p>With that said, Gabriel's studies reinforce much of the current research on emotional labor. <a href="https://journals.sagepub.com/doi/abs/10.1177/2041386611417746" target="_blank">A 2011 meta-analysis</a> found that "discordant emotional labor states" (read: surface acting) were associated with harmful effects on well-being and performance. The analysis found no such consequences for deep acting. <a href="https://doi.apa.org/doiLanding?doi=10.1037%2Fa0022876" target="_blank" rel="noopener noreferrer">Another meta-analysis</a> found an association between surface acting and impaired well-being, job attitudes, and performance outcomes. Conversely, deep acting was associated with improved emotional performance.</p><p>So, although there's still much to learn on the emotional labor front, it seems Van Dyke's advice to a Leigh was half correct. We should put on a happy face, but it will <a href="https://bigthink.com/design-for-good/everything-you-should-know-about-happiness-in-one-infographic" target="_self">only help if we can feel it</a>.</p>3,000-pound Triceratops skull unearthed in South Dakota
"You dream about these kinds of moments when you're a kid," said lead paleontologist David Schmidt.
- The triceratops skull was first discovered in 2019, but was excavated over the summer of 2020.
- It was discovered in the South Dakota Badlands, an area where the Triceratops roamed some 66 million years ago.
- Studying dinosaurs helps scientists better understand the evolution of all life on Earth.
Credit: David Schmidt / Westminster College
<p style="margin-left: 20px;">"We had to be really careful," Schmidt told St. Louis Public Radio. "We couldn't disturb anything at all, because at that point, it was under law enforcement investigation. They were telling us, 'Don't even make footprints,' and I was thinking, 'How are we supposed to do that?'"</p><p>Another difficulty was the mammoth size of the skull: about 7 feet long and more than 3,000 pounds. (For context, the largest triceratops skull ever unearthed was about <a href="https://www.tandfonline.com/doi/abs/10.1080/02724634.2010.483632" target="_blank">8.2 feet long</a>.) The skull of Schmidt's dinosaur was likely a <em>Triceratops prorsus, </em>one of two species of triceratops that roamed what's now North America about 66 million years ago.</p>Credit: David Schmidt / Westminster College
<p>The triceratops was an herbivore, but it was also a favorite meal of the T<em>yrannosaurus rex</em>. That probably explains why the Dakotas contain many scattered triceratops bone fragments, and, less commonly, complete bones and skulls. In summer 2019, for example, a separate team on a dig in North Dakota made <a href="https://www.nytimes.com/2019/07/26/science/triceratops-skull-65-million-years-old.html" target="_blank">headlines</a> after unearthing a complete triceratops skull that measured five feet in length.</p><p>Michael Kjelland, a biology professor who participated in that excavation, said digging up the dinosaur was like completing a "multi-piece, 3-D jigsaw puzzle" that required "engineering that rivaled SpaceX," he jokingly told the <a href="https://www.nytimes.com/2019/07/26/science/triceratops-skull-65-million-years-old.html" target="_blank">New York Times</a>.</p>Morrison Formation in Colorado
James St. John via Flickr
Triceratops illustration
Credit: Nobu Tamura/Wikimedia Commons |
World's oldest work of art found in a hidden Indonesian valley
Archaeologists discover a cave painting of a wild pig that is now the world's oldest dated work of representational art.
- Archaeologists find a cave painting of a wild pig that is at least 45,500 years old.
- The painting is the earliest known work of representational art.
- The discovery was made in a remote valley on the Indonesian island of Sulawesi.
Oldest Cave Art Found in Sulawesi
<span style="display:block;position:relative;padding-top:56.25%;" class="rm-shortcode" data-rm-shortcode-id="a9734e306f0914bfdcbe79a1e317a7f0"><iframe type="lazy-iframe" data-runner-src="https://www.youtube.com/embed/b-wAYtBxn7E?rel=0" width="100%" height="auto" frameborder="0" scrolling="no" style="position:absolute;top:0;left:0;width:100%;height:100%;"></iframe></span>