The average age of a “gamer” is rising. Current research puts it around 34 years old. That means there is an increasing chance that any team you are part of is made up of self-identifying gamers. They’ve trekked across Skyrim. They’ve launched a blue shell in Mario Kart. They’ve flung an Angry Bird or two.
If this engages them, gets them in the flow state, and keeps them coming back… why would we not look towards game design when designing our team culture? Cody Royle, in his book Where Others Won’t, posits that we can borrow talent acquisition strategies from sports.
“A well-designed game is a guided missle to the motivational heart of the human psyche.” – Kevin Werbach
MDA Framework
We’re going to keep this simple for our analogy. For deep details on the MDA Framework, there are loads of articles on it. But here’s the basics:
As you can see, the game designer and the game player approach the game differently.
The designer can only control the mechanics so they build their game by creating mechanics, which impacts the dynamics, which influences the aesthetics.
The player comes at the game in the reverse order. The game is chosen because of the aesthetics they want (looking for “fun”), which they get from the dynamics, which is created by the rules. You never pick up a game because of a rule. You buy, play, and keep playing because of the feeling.
“Many of the traits, habits, beliefs and actions that teenagers and young adults pick up playing electronic games and working with handheld gadgets will help them as they enter the ever-changing global workforce.” – Karl Kapp
As a Lens for Culture
Like the game designer, we can really only control the mechanics of our culture. Mechanics are not your mission statement or your vision, but they are part of it. It’s more the rituals and operationalized mission. But instead of establishing rules we like and force the aesthetics we want, why not start with an end in mind?
We can think of culture design as game design, with a design thinking twist. Backwards by design. We’re going to start in the endzone, and figure out how to get there.
Granted, there are organizations that try to establish culture at the aesthetic level first. But they are trying to control the aesthetics as designers, which can’t be done. This will run in opposition with the established mechanics or clash with the personal narratives of the staff.
We can’t control the end, but we need to start there. If we work backwards, we can increase the likelihood of the aesthetic we want in our culture.
- What feelings do we want our team to have?
- Not only when they are “playing the game”, but also when they are at home or in their community.
- What interactions can our team have to promote these feelings?
- Interactions within the team, with the work, with the clients. All the interactions.
- What rules of play can we establish to encourage those interactions?
- These mechanics need to have boundaries that allow a little wiggle room but includes the interactions.
This is a place where mankind has sanitized, homogenized, and developed using a rigid and typically unforgiving material; concrete. A downfall of concrete’s hard-line take on the world is that sometimes cracks form. Cracks that let the organic spurt through. Dirt and rain make their way down, plants make their way up, and we’re left with this analogy. Creative ideas can grow in restrictive environments.
rosebush growing into the neighbor’s yard. These restrictions come from your users (it needs to be mobile, it has to do [task] faster, etc). However if we don’t let solutions diverge from the root of the problem, we wont have a chance to converge them into the best bouquet of products possible.
Setting a goal is playing a game where you are constantly in failure, until you’ve succeeded. If my goal was to get a promotion, everyday that I don’t have my promotion is a day that I haven’t hit my goal. And even when I do, what then? I’ve reached a waypoint but I don’t have any other direction.
Go Forth And Be Awesome 