You may remember from the MDA Framework that the authors listed 8 kinds of fun. These are: Sensation. Games can engage the senses directly. Consider the audio and video “eye candy” of video games; the tactile feel of the wooden roads and houses in Settlers of Catan; or the physical movement involved in playing sports, Dance Dance Revolution, or any game on the Nintendo Wii. Fantasy. Games can provide a make-believe world (some might cynically call it “escapism”) that is more interesting than the real world. Narrative. As we mentioned earlier in passing, games can involve stories, either of the embedded kind that designers put there, or the emergent kind that are created through player action. Challenge. Some games, particularly retro-arcade games, professional sports, and some highly competitive board games like Chess and Go, derive their fun largely from the thrill of competition. Even single-player games like Minesweeper or activities like mountain climbing are fun mainly from overcoming a difficult challenge. Fellowship. Many games have a highly social component to them. I think it is this alone that allows many American board games like Monopoly to continue to sell many copies per year, in spite of the uninteresting decisions and dull mechanics. It is not the game, but the social interaction with family, that people remember fondly from their childhood. Discovery. This is rare in board games, but can be found in exploration-type games like Tikal and Entdecker. It is more commonly found in adventure and role-playing video games, particularly games in the Zelda and Metroid series. Expression. By this, I think the MDA authors mean the ability to express yourself through gameplay. Examples include games like Charades or Poker where the way that you act is at least as important as what other actions you take within a game; Dungeons & Dragons where the character you create is largely an expression of your own personal idea; or open-world and sim video games like The Sims or Grand Theft Auto or Oblivion or Fable, which are largely concerned with giving the player the tools needed to create their own custom experience. Submission. A name that often has my students chuckling with their dirty minds, but the intent is games as an ongoing hobby rather than an isolated event. Consider the metagame and the tournament scene in Magic: the Gathering, the demands of a guild to show up at regular meetings in World of Warcraft, or even the ritualized play of games at a weekly boardgame or tabletop-roleplaying group.

The fact of the matter is that each market/user group has its own particular set of situational and psychological differences that determine which behaviors will be adopted and which will never even be attempted. The job of every product team, whether they know it or not, is to make it as easy and delightful as possible for their target market/user group to perform a behavior that they find doable, useful, compelling, and enjoyable that also leads to an important business outcome for the company. If any of these things are missing, there is no Behavior Market Fit and the project and any associated products will be a failure.

Draft your emotional Before/During/After for each moment. Challenge yourself to superforecast how you think people will feel at each moment. Design, adjust, re-adjust. Jobs to be Done

Iceland went from 42% of its 15 and 16 year olds having been drunk in the past month in 1998 to only 5% in 2018. This change is a great case study in offering alternative behaviors and shifting social norms on a national scale.

We have identified 30 “elements of value”—fundamental attributes in their most essential and discrete forms. These elements fall into four categories: functional, emotional, life changing, and social impact. Some elements are more inwardly focused, primarily addressing consumers’ personal needs.

7 customer research sources: 1/ Media Kits 2/ Google Scholar 3/ Amazon Reviews 4/ The New Forums 5/ Comment Sections 6/ Customer Data 7/ Interviews

The most common question I get on responsible design: ‘How do I actually embed ethical considerations into our innovation process?’ (They don’t actually phrase it like that, but you know… trying to be concise.) Although I don’t love cramming a multifaceted field like ethics into a linear diagram, it’s helpful to show a simple process map. So here’s my attempt.

Artefact is proud to introduce The Tarot Cards of Tech: a tool to inspire important conversations around the true impact of technology and the products we design. The Tarot Cards of Tech encourage creators to think about the outcomes technology can create, from unintended consequences to opportunities for positive change. The cards are our way of helping you gaze into the future to determine how to make your product the best it can be.

Consequence Scanning – an agile practice for Responsible Innovators A timely new business practice; Consequence Scanning fits alongside other agile practices in an iterative development cycle. This is a dedicated time and process for considering the potential consequences of what you’re creating

discover and recommend software products.

Pyramid of Users' Needs - Aarron Walter, the author of Designing for Emotion, used a Maslow’s hierarchy of needs to create the pyramid of user needs. At the bottom of this pyramid, you can see the baseline characteristic of any product — functionality (does this product work?). Next comes reliability (is this product reliable?), usability (is this product easy to use?), and, finally, pleasurability (does this product makes us feel good when we use it?). Pleasurable products connect with users on an emotional level, and this feature makes them want to use it more and more.

soap with a toy inside to motivate hand washing for kids

Ride-hailing apps have allowed more binging—and increased demand for bartenders

soap-infused sticks of chalk