Today I thought I would talk a little bit about this elusive concept of “fun.” Games, we are told, are supposed to be fun. The role of a eLearning designer is, in most cases, to take something and make it fun. I use the word “fun” a lot and I usually enclose the word “fun” in quotation marks, on purpose. My reasoning is that “fun” is not a particularly useful word for eLearning designers. We instinctively know what it means, sure, but the word tells us nothing about how to create fun. What is fun? Where does it come from? What makes games fun in the first place? Decisions can look like they might be fun. Is that all there is to it?

Not entirely, because it doesn’t say anything about why these kinds of decisions are fun. Or why uninteresting decisions are still fun for children. For this, we turn to Raph Koster. What a lot of Koster’s Theory of Fun boils down to is this: the fun of games comes from skill mastery. This is a pretty radical statement, because it equates “fun” with “learning”… and at least when I was growing up, we were all accustomed to regard “learning” with “school” which was about as not fun as you could get. So it deserves a little explanation.

Theory of Fun draws heavily on the work of psychologist Mihaly Csikszentmihalyi, who studied what he called the mental state of “flow” (we sometimes call it being “in the flow” or “in the zone”). This is a state of extreme focus of attention, where you tune out everything except the task you’re concentrating on, you become highly productive, and your brain gives you a shot of neurochemicals that is pleasurable – being in a flow state is literally a natural high. Csikszentmihalyi identified three requirements for a flow state to exist:

  • You must be performing a challenging activity that requires skill.
  • The activity must provide clear goals and feedback.
  • The outcome is uncertain but can be influenced by your actions. (Csikszentmihalyi calls this the “paradox of control”: you are in control of your actions which gives you indirect control over the outcome, but you do not have direct control over the outcome.)

If you think about it, these requirements make sense. Why would your brain need to enter a flow state to begin with, blocking out all extraneous stimuli and hyper-focusing your attention on one activity? It would only do this if it needs to in order to succeed at the task. What conditions would there have to be for a flow state to make the difference between success and failure? See above – you’d need to be able to influence the activity through your skill towards a known goal.

Csikszentmihalyi also gave five effects of being in a flow state:

  • A merging of action and awareness: spontaneous, automatic action/reaction. In other words, you go on autopilot, doing things without thinking about them. (In fact, your brain is moving faster than the speed of thought – think of a time when you played a game like Tetris and got into a flow state, and then at some point it occurred to you that you were doing really well, and then you wondered how you could keep up with the blocks falling so fast, and as soon as you started to think about it the blocks were moving too fast and you lost. Or maybe that’s just me.)
  • Concentration on immediate tasks: complete focus, without any mind-wandering. You are not thinking about long-term tradeoffs or other tasks; your mind is in the here-and-now, because it has to be.
  • Loss of awareness of self, loss of ego. When you are in a flow state, you become one with your surroundings (in a Zen way, I suppose).
  • There is a distorted sense of time. Strangely, this can go both ways. In some cases, such as my Tetris example, time can seem to slow down and things seem to happen in slow motion. Actually, what is happening is that your brain is acting so efficiently that it is working faster; everything else is still going at the same speed, but you are seeing things from your own point of reference.) Other times, time can seem to speed up; a common example is sitting down to play a game for “just five minutes”… and then six hours later, suddenly becoming aware that you burned away your whole evening.
  • The experience of the activity is an end in itself; it is done for its own sake and not for an external reward. Again, this feeds into the whole “here-and-now” thing, as you are not in a mental state where you can think that far ahead.

I find it ironic, when a typical kid is in their “not now, I’m playing a game” mental state, the parent complains that they are “zoned out.” In fact, the gamer is in a flow state, and they are “zoned in” to the game.

All this says is that if you have a high skill level and are given an easy task, you’re bored; if you have a low skill level and are given a difficult task, you’re frustrated; but if the challenge level of an activity is comparable to your current skill level… flow state! And this is good for games, because this is where a lot of the fun of games comes from.
Note that “flow” and “fun” are not synonyms, although they are related. You can be in a flow state without playing a game (and in fact without having fun). For example, an office worker
might get into a flow state while filling out a series of forms. They may be operating at the edge of their ability in filling out the forms as efficiently as possible, but there may not be any real learning going on, and the process may not be fun, merely meditative. (Thanks to Raph for clarifying this for me.)

Games just happen to be naturally good at putting players in a flow state, so it is much easier to design a fun game than a fun course in Calculus. As Koster points out in A Theory of Fun, the
brain is a great pattern-matching machine, and it is the finding and understanding of patterns that is what is happening when our brain is in a flow state. I think games bring this out really well because you have three levels of patterns: feeling the Aesthetics, discerning the Dynamics, and finally mastering the Mechanics (in the MDA sense). Since every game has these three layers of patterns, games are three times as interesting as most other activities.

Published by theirishduck

I love the ability where I can plan, prioritise, design, develop and deliver blended learning solutions for a variety of markets. I love to consult and advise about the best use of digital learning and improve design standards in line with evolving ways of working. I also enjoy to keep up to date with, understand and regularly recommend emerging technologies and practice to improve individuals, teams and organisational capabilities. With over 12 years digital learning experience and demonstrated experience in both instructional design and eLearning development, I have also a lot of experience conducting training needs analysis including how to leverage principles such as design thinking and root cause analysis to understand and address performance gaps. I also have led many facilitation workshops and even presented at iDesignX and Game Developers Conferences both here in Australia, Wales and in the United States. I bring loads of coding experience in Java, ASM, C++, HTML, JavaScript, SCORM and xAPI, as well as proven capability using Adobe Captivate, Trivantis Lectora and Articulate Storyline 360 Studio authoring programs. Of course, Adobe Creative Cloud is also part of my toolbox which I also use daily. Being taught traditional and advanced 3D animation techniques, I love hand drawing and polymer clay sculpture, but can also use the Blender, 3D Studio Max, Maya and Softimage applications. With strong multimedia, training and programming backgrounds, I understand modern learner behaviour including micro and social learning, I am very familiar with most LMSes and app-based (XCode and Android Studio), adult learning models and e-solutions. I also possess the ability to manage multiple projects simultaneously, whilst being pro-active in delivering work independently with minimal supervision, but enjoy working in teams. I've been told I am a resilient, relationship focused guy which can manage and navigate conflicting views and stakeholders/subject matter experts.

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