eurosatory – hpc conference a cultural review of the use of serious games

Eurosatory – HPC Conference

A cultural review of the use of Serious Games

Olivier Rampnoux

Business Management DepartmentUniversity of Poitiers

[email protected]

Plan of the Presentation

A few general observations

The diversity of Serious Games

An alternative view of the subject

Olivier Rampnoux - University of Poitiers 2

What I am not going to cover…

A catalogue of the latest SG available on the market

An approach to technical solutions for developing effective SG

A description of an ideal scenario to achieve your objectives

A path to follow to guarantee the success of your next SG


Some guidelines - 1• A real need to understand this product

• SG are without doubt an economic reality based on: the volume of output the number of contributors currently in the SG

market the increasing turnover in SG within the video games

market

• During the last 6 years this term has spread throughout the various sectors of the market Development of professional conferences Ever increasing R&D budgets for this sector Production of good quality scientific publications


Some guidelines- 2Also,

Today the SG sector is very much in fashion

In strategic decision-making committees, in institutions and organisations, it’s more credible to talk about SG than about video games

The proactive strategy of innovation of certain major video game producers is changing the image of the video game

A new user’s group is emerging : the casual gamer

Because of the gender’s question, a review of the strategic vision of SG is taking place

Olivier Rampnoux - University of Poitiers5

Understanding the purpose of a SG

To invite a user to interact with a computer programme

To mix a serious goal with a video ludic script

There is a wide variety of potential applications: Education, teaching Training Simulation Information, communication

Implementation of a double scenario in the SG An educational scenario An video ludic scenario


How to identify a SG - 1As distinguished from a video game

It is possible to modify a video game in order to create a SG

However it is only a cognitive modification

A video game has no utilitarian scenario but has solely a fun scenario

Therefore in a SG it is ESSENTIAL that the utilitarian and the fun scenarios are coherent and compatible


How to identify a SG - 2As distinguished from a simulation

A simulation is a representation of a « world » or a universe where every detail is crucial

Simulations convey normative consumer values and models

In a simulation, there is no implemented scenario, it is constructed separately from the programme

In a SG, it is ESSENTIAL to have a fixed reference system which propose a judgement and an evaluation of user’s performance


Characteristics of game play in a SG

• The objective is to use fun strategies familiar to the user

• The game play ensures contact and consistency between the entertainment element of the video and the utilitarian scenario

• It is necessary for there to be a balance between the level of constraints imposed by the persuasive element and the ‘flow’ linked to the ludic element


The concept of ‘Flow’• A concept defined by Mihaly

Csikszentmihalyi, Hungarian psychologist :

“The state in which people are so involved in an activity that nothing else seems to matter, totally unaware of their surroundings but enjoying the task and having fun while doing it”

in Flow, the Psychology of Optimal Experience

• Thus we define the concept of ‘game flow’ as taking on some of the principle characteristics of ‘Flow’


The characteristics of ‘game flow’ for a SG

1. Compatibility of the input and output interfaces in phase with the users’ characteristics and the context of use

2. Contents adapted and adaptable to the various targets

3. Optimal orientation of the user within his experience

4. It makes you forget the effort associated with learning

5. Potential to set the parameters of the SG according to the user context and the public profile targeted

6. Optimal management of errors by a modifiable programme

7. Intrinsic coherence of the interfaces and consistency between the two scenarios


Plan of the presentationA few general observations





• The variety of applications of SG is vast and even today we are unaware of all its possibilities

• Identified applications for SG :• Defence and the Armed Forces• Education and training• Publicity and marketing• Information and communication• Culture• Health• Political activism et lobbying

• We propose to organise the SG into 4 large families


The ‘edugames’• Games with an educational objective

• The aim is to pass on information or a learning skill using games

• Example: ‘Education Arcade’ developed by the M.I.T. and the University of Wisconsin

• TEA explores games that promote learning through authentic and engaging play. TEA's research and development projects focus both on the learning that naturally occurs in popular commercial games, and on the design of games that more vigorously address the educational needs of players

• Project: create educational programmes utilising actual entertainment sources


The ‘advergames’• Games with an advertising objective

• The objective is to take a gameplay from a classic video game and use it as a communication tool

• The player should be freed from learning the gameplay so that he focuses on the graphics or sound environment

• It is the graphics and sound that convey the brand image and/or the messages selected to be emphasised


‘Commitment’ games• These Serious Games convey messages

of a political, religious or ideological nature

• To achieve them, one must Reverse the usual goals found in classic

games (i.e. lose in order to win…)

Modify by mods the graphics or sound to challenge the user


‘Informational’ Serious Games

• Serious Games whose objectives are :

To inform a wider public

To make users aware of a socio-educational type of message

Highlight an item of news judged as important by the sponsor• A prevention policy• A public health policy• Sustainable development• Humanitarian aid• Broadcasts on best or good practices• …


Focus on a particular family of SG : the ‘edumarket’ games

• Regrouping of a set of ludic programmes whose purpose is to inform and make the users aware of a socio-educational message by means of a video game

• Purpose of the edumarket games To understand clearly what is socially stake

within specific activities To examine how to build the values of a citizen-

consumer To re-inforce the permitted freedom of choice


Plan of the Presentation

A few general observations




An alternative view of the SG

• The term SG is polymorphous and there are numerous possible applications As a teaching tool As a company communication tool As a training tool

• But what is more, the SG is a cultural product and become A communicator of cultural values A builder of social representations A conveyor of a normative approach

• Thus the SG is a powerful tool and an efficient mechanism

• Multi-channel broadcasting to the « public at large » lends weight to the potential of this communication tool


A few paths to explore

• The SG is a small part of a much bigger narrative system

• It is necessary to understand all of the various dimensions of the potential applications of SG

• It is possible to build a multi-media strategy around SG


Why talk about storytelling ?• We need to dissect this environment in order to

fabricate stories

• Digital storytelling grabs an individual’s imagination

• Storytelling replaces rational reasoning as it has a strong power of immersion

• Immersion is an evaluation’s criteria for the video game’s quality

• There is a strong similarity between the goal of storytelling and SG


A few ways of understanding the emergence of storytelling

Stories are no longer just for children

Today narrative thought competes with logical thought without any difficulty

Information technology creates the potential for developing narrative thought

There is no longer any way of distinguishing between the concept of narrative and stories

There is a desire to create confusion between these two concepts


Opportune conditions…• The time spent in front of the television is

ever-increasing – (3h45/day on average in France)

• The television still remains the most popular media for the population, however among younger viewers other screens have a much larger share of the audience

• Connecting (web, mobile) is the norm today, and this increases the speed at which stories are spread


An example of a breakdown of the story : the case of marketing

• In the early 2000’s, marketing was in serious crisis due to

• the development of new media which detracted from the power of advertising

• the lessening in persuasive power of advertising• Information spread by viral communication

• The consumer became resistant• NO LOGO were the leading book, that conveyor of

good sense and rejector of all marketing attempts• Dismissal of pseudo innovations, permanent

promotions, standardisation goods• Search for alternative products (organic) or other

ways of purchasing (fair trade)


Nike: an example of this rejection

At the end of the 90’s an important anti-brand influence emerged

The NGOs appealed to the consumers to make them aware of their power to change the state of things

Numerous surveys and studies on ‘sweatshops’ were published

Legal lawsuits against misleading advertisements took place in California

Nike was obliged to accept responsibility for their low wages, slave labour and arbitrary management


Nike’s reaction• Recruitment of the Director for the ‘Fight against Child

Labour’ programme

• A strategy of alternative stories introduced to counter anti-brand remarks

• Definition of a new brand identity Change of slogan ‘Just do it’ becomes ‘just in time’ Ecologist’s engagement are taken Setting a new labour policy

• Above all : Association of the brand with a less volatile strategy in its

slogan and advertising Changing the narration and the story of the brand


The narrative world of brands

• Globalisation creates a strong degree of homogenisation of products

• Therefore it is necessary to : Pass from the product to the logo to the story Work from the brand image to the brand story Demonstrate value for the consumer through the

story associated with the product

• However the consumer is not easily duped, on the contrary, they want to believe in the stories


A few facts to deal with• The success of a brand lies in the tales and stories it

tells :• To its clients• To its employees• To its partners• In a more general way, to its customers

• It’s no longer the case of seducing or convincing an audience

• They have to present a story to the consumer in which he will be able to identify himself

• The brand should have the capacity to generate belief, a real-life story in which the act of purchasing takes place


Why does the consumer accept ?

• The consumer is no longer faithful and he becomes disorientated faced with an over-excessive offer

• For the individual, his relationship with the world is through consumption and in particular the consumption of brands

• The consumer experience should translate into a fictional world

• The brand proposes its own vision of the world which potentially alleviates for the consumer to even question it


To what purpose ?• The objective of narrative marketing

is to synchronise people’s “view of the world”

• Marketing suggests its own view and its own interpretation of the world

• Consuming the ideals of America, is to embody the most powerful myth of all time, the American dream


How can SG be suitable for Storytelling ?

• There is a very close link between the video game and the Armed Forces

• This link is even more meaningful in the case of SG

• It is SG which was partnered by the Armed Forces which has had the greatest success with the wider public

• Are we here dealing with Storytelling or with historical truth?


A culturally-based perspective

• In the United States, the link between SG and the Armed Forces is supported and demonstrated

• In Japan, SG do exist but they are developed principally by video game producers

• In France, the SG’S offer is polymorphic as are its supporters

• Thus it appears at least that the SG is as much a marketing concept as a real technological innovation


The wealth of narrative of a SG

• The two necessary scenarios required to create a SG enable a much wider artistic freedom for the story

• The dynamic’s image, the sound quality and the dimension of immersion, increase the narrative potential of a SG

• The styles of communication of a SG are familiar and easily accessible to specific targets (children, young people, adults…)


The SG, a counter narration tool• The SG allows a virtual view of reality thanks to its

digital technology

• Within the dynamics of a educational scenario, it is easier to produce a narrative and give the narrative some meaning

• The fun dimension partly sets aside the critical analysis of the player

• The SG enhances and orientates the experience of the player by proposing an intrinsically solid approach


Thoughts on pluri media management of SG - 1

• The commercial success of a story and of a SG is uncertain, because the ‘sensitivity’ dimension of the individual needs to be taken into account

• However, success can result from a different management strategy

• Diffuse the same story via different media resources (TV, mobile, internet, cinema, books,…)

• Build in different timescales according to the media resource

• Build a licensing strategy with the help of a positioning charts

• Explore the potential of distributing the licence through all consumer target groups


Thoughts on multimedia management of SG - 2

• Incorporate the player in the process of building the story by giving him a role

• Allow for a modification of the SG and its scenarios according to the media resource

• Ensure the intrinsic coherence of the scenarios according to the variation of the media resource

• Constantly being aware of the suitability of the media resource, as perceived by the player, with regard to the teaching scenario and video entertainment element


Points to note in order to create an effective SG

• Have available the means to produce a SG appropriate to the strategy of your organisation

• Define the specifications without any preconceived ideas of the expected result

• Define precisely the objective that is to be implemented within the SG

• A SG is not in any way, shape or form, a video game, and they should not therefore be compared…

• The aim of a SG is to build or to modify a belief, a representation, an ability… thus you must not be mistaken as to the objective that is to be achieved


Conclusion

• SG are the perfect tools to integrate into any organisational strategy

• SG still have a huge potential to evolve in terms of performance and diffusion to the wider public

• Integrating innovative or modified interfaces into SG offers many developmental opportunities

• Mobile technology allows for innovations in SG scenarios


However

• With regard to developing SG which are to be targeted at a wider public, it is more difficult to control all of the parameters

• The consumer has a wonderful capacity to accept innovation and to adapt, but also to reject, resist, even boycott…


Thank you for your attentionThank you for your attention


eurosatory – hpc conference a cultural review of the use of serious games

Documents

sg marketthe

sg sector

video gameit

strategic vision of

video ludic scriptthere

latest sg available

video games marketduring

utilitarian scenario