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31/07/2018
Estratégias de
Gamificação
aplicadas ao Negócio
de Turismo
Estado da Arte
Índice
1 Introdução .................................................................................................................... 3
2 Conceitos e Técnicas de Gamificação ........................................................................ 10
3 Estratégias de Gamificação Aplicadas ao Turismo ................................................... 22
4 Gamificação em Aplicativos Móveis para Uso no Turismo ...................................... 38
5 Considerações Finais e Desdobramentos ............................................................... 67
6 Referências ................................................................................................................ 72
1 Introdução
O estado da arte referente à linha de investigação 3: Estratégias de gamificação
aplicadas ao negócio do turismo pretende compreender, a partir de revisão bibliográfica, quais
são as estratégias de gamificação, tanto em ambiente web como móvel, utilizadas em atividades
de turismo. Tal levantamento deve envolver a compreensão de regras de design, os mecanismos
de jogo (como coleção de badges, reconhecimento por ter atingido determinado objetivo ou
execução de tarefa) e sua usabilidade, desde o backoffice de gestão e operação às aplicações
móveis propostas ao usuário.
Em termos gerais, gamification diz respeito à aplicação de técnicas de jogo para
contextos que não são de jogos. Neste texto, “gamificação” será usado como tradução do termo
em inglês. Considera-se a expressão “aplicar técnicas de jogo” como sinônimo do termo.
Ao estudar as estratégias de gamificação aplicadas ao turismo, de particular interesse é
o envolvimento de ações transacionais, isto é, relacionadas ao negócio local. A experiência
turística terá tratamento de aventura e deverá inspirar a credibilidade e confiança necessária
para o componente de negócio proposto, como a utilização de um voucher, a realização de uma
compra, ou a troca de pontos virtuais por algum tipo de produto real.
O objetivo da gamificação no seto de turismo é oferecer ao turista uma experiência
diferente daquela que um guia turístico, na forma de livro ou de pessoa, oferece. De especial
interesse são os casos que envolvem uma interface com dispositivos móveis que identificam e
sugerem pontos de interesse. Questões como conectividade e uso do GPS também são
importantes para os desenvolvedores. O objetivo final é fazer o turista jogador prestar atenção
à realidade regional local, o grande protagonista do jogo. Entende-se que essa relação tem sido,
até agora, pouco explorada, com os desenvolvimentos restritos a protótipos. Em termos de
locais que utilizam a estratégia, a maioria deles refere-se a museus.
Dois contextos exemplificam estratégias que inspiram este levantamento. O geocaching
consiste numa busca ao tesouro por artefactos banais apenas pelo prazer de descoberta do objeto
com base em georreferenciação e/ou enigmas que permitam chegar ao local do tesouro. Tendo
esta iniciativa tido inicio em 2000, em agosto de 2016 encontravam-se ativas 2.800.000 geo-
caches (na forma de tesouros) havendo uma participação com um alto grau de dinamismo por
parte de 3.000.000 de utilizadores em 180 países. O geocaching muitas vezes realizado em
família, vai além de um mero passatempo ocasional para muitos utilizadores, sendo que existem
agências de viagens especializadas em disponibilizarem pacotes turísticos para os turistas
disfrutarem da sua caça ao tesouro em diferentes países e / ou regiões. (fonte: p. 12 do projeto Commented [SML1]: Fonte?
Xplore)
Um outro fenômeno relacionado com a componente de descoberta de tesouros (neste
caso virtuais) é o Pokemon Go, um jogo para smartphones em que o utilizador deve percorrer
geograficamente uma ou mais regiões tentando colecionar um conjunto de monstros /
personagens com que depara-se e captura. Este jogo, tendo por base uma série televisiva de
1998 e lançada a 6 de julho de 2016, constituiu um dos maiores sucessos mundiais envolvendo
acima de 30.000.000 de utilizadores (19 de julho de 2016, duas semanas após o seu lançamento)
e com uma média de utilização diária de 23.000.000 utilizadores e um tempo médio diário
dedicado ao jogo de 33 minutos. (fonte: p. 12 do projeto Xplore) Commented [SML2]: Fonte?
Herrera (2013) ressalta que o estado da arte mostra como os principais conceitos e
métodos têm sido tratados nas pesquisas existentes, servindo para nortear motivações e
limitações do desenvolvimento atual pretendido. Ao investigar como autores têm tratado
conceitos, técnicas e métodos, o estado da arte atualiza e inspira o desenvolvimento atual
O tema da gamificação vem ganhando importância nos últimos anos, mas é ainda pouco
explorado. Ao mesmo tempo, por ser tratar de uma área tecnológica, desenvolvimentos ocorrem
em todo tempo. Por isso, houve uma preocupação que os trabalhos selecionados fossem
recentes. A Tabela 3 identifica a origem dos trabalhos, mostrando sua diversidade geográfica.
Mas o que é considerado gamificação? Souza, Varum & Eusébio (2017) apresentam o
desenvolvimento do conceito ao longo do tempo a partir da Figura 1.
Segundo Luimula & Trygg (2017), gamificação no turismo é uma ferramenta pujante
ao enriquecer a experiência do turista. Apesar da tendência de gamificar visitas turísticas estar
em crescimento, há produtos já disponíveis no setor turístico. A plataforma TripAdvisor é
considerado o maior portal de viagens em termos mundiais e o exemplo de uma das aplicações
de gamification mais conhecidas da indústria de turismo.
TripAdvisor, the world’s largest travel portal, is one of the best-known examples of
gamification in the tourism industry. The company offers a gamification platform on its
website, which allows tourists to express their reviews on different destinations, hotels,
restaurants, etc., gaining various rewards. This stimulates the interaction among
tourists, creating a TripAdvisor community, promoting travellers’ choice destinations,
attracting tourists on website, increasing the time spent on the website, and developing
tourists’ loyalty (…).TripAdvisor was used to show how “funware is developed for
motivating travellers to engage with its website and for improving the travellers’ online
experiential values and trip planning processes”. As a result, TripAdvisor increased the
experimental values (customer ROI, social, enjoyment-immersion) and generated some
important behavioural outcomes, like: “user engagement with the TripAdvisor website,
impacts on processes, outcomes and social interactions, destination cognition and
Projeto em curso com o apoio de:
Xplore market| Entidade Promotora: Parceiro:
Through gamification, the learning effects and the learning experience do not end when
the visitor leaves the site. Tourists may use these apps before they are starting the
journey to see what points of interest are worth visiting and learn about, during the
journey to plan the visits and to find information about the destination and after the
journey to remember the experience they had and to share with their friends and
relatives the knowledge they gained. Looking to the previous best practices, from the
point of the methodological approach, the main objectives of gamification was to
promote, develop and educate a sustainable tourism framework for the entire
community. (Negruşa et al., 2015, p. 11181).
10
Game. To begin with, the terms “game” and “play” are to be distinguished from one another in
the context of gamification. … In the context of gamification, ludus denotes the concept of games,
in which certain rules and clearly defined goals are in the foreground. Consequently, they do not solely
serve the purpose of entertainment, but they do have an additional and higher meaning. Paidia can
be understood in the sense of play and describes a free, improvised behaviour without a particular
structure, serving only the purpose of entertainment. As the name gamification suggests, gamified
solutions are to be assigned mainly to the ludus side.
Elements. To specify the characteristics of a game element, the concepts of gamification and
serious games can be opposed to one another. Serious games can also be assigned to the ludus side.
Following this concept, the consumer is meant to reach a higher goal through a playful process (for
example learning). … . The difference, however, is that serious games are understood as fully-fledged
games, while the concept of gamification only refers to the use of typical elements of games. Yet, the
line between game elements and the fully-fledged game is sometimes quite blurry and often
influenced by individual views.
Non-game context. The definition of gamification excludes the gamification of games. This process
would not be a gamification, but merely an extension of the game content and, therefore, a part of
game design (Shauchenka et al., 2014, p. 35). In this respect, it does not matter whether a classic
board game, a card game or a video game is affected. Thus, it is not the content that is of relevance,
but the context [grifo nosso] (Rackwitz, 2015, p. 219).
Gamification aims at enhancing miscellaneous non-game contexts by means of game design elements
(Deterding et al., 2011, pp. 12-13). Normally, these elements serve the purpose of entertaining the
player. In the concept of gamification, however, game design elements are mainly used to reach
different goals, for example to amplify motivation, engagement and participation of the consumer or
to support learning and interaction (Sailer, 2016, p. 14).
Design. The term design in the context of gamification can theoretically refer to game elements
(typical and characteristic components of games) or game-based technologies (for example game
controllers, 3D graphics engines, authoring tools). Deterding et al. (2011) suggest using the term
gamification exclusively relating to typical game design, and to illustrate this, consequently use the
term game design element (instead of gamification design element). Yet, compared to fully-fledged
games, only several game design elements are purposefully used in a gamified application. (Swacha
& Ittermann, 2017, pp. 60-61)
11
Gamification não se limita apenas à utilização das mecânicas de jogos, mas contempla
a utilização destas para a resolução de problemas e para a motivação e o engajamento
de um público determinado. Isso não significa necessariamente a participação em um
jogo, mas a utilização dos elementos mais eficientes, presentes nas mecânicas,
dinâmicas e estética, para reproduzir os mesmos benefícios que o ato de jogar
proporciona. (Busarello, 2016, p. 28).
12
Promotor
de ações
no jogo.
Compõem
os elementos jogador
para o
funcionamento
do jogo e Interações
permitem as entre o
orientações
interação jogador e as
nas ações do mecânicas
jogador. do jogo.
mecânicas dinâmicas
estética
Emoções do
jogador durante a
gamificação interação com o
narrativa jogo. Relações que
emblemas levam à criação
visualização de das emoções do
pontos personagens jogador.
recompensas solução de
problemas
O autor destaca que a gamificação deve criar um ambiente em que os usuários queiram
investir sua cognição, tempo e energia em desafios abstratos, com regras, que tenham
interatividade e resultem em respostas concretas mas com efeitos emocionais (Busarello, 2016).
Regras e uma estética que atue em como o usuário sente a experiência são elementos
importantes, mas o pensamento “como em um jogo” é o fator crucial: “Corresponde à ideia e
ao pensamento de converter uma tarefa enfadonha ou monótona em uma atividade
motivadora, aplicando elementos como: competição, exploração, cooperação e narrativa.
Torna-se um gerenciar de fatos virtuais que promovem insights em operações no mundo
real.” (Busarello, 2016, p. 27).
Projeto em curso com o apoio de:
Xplore market| Entidade Promotora: Parceiro:
13
• Sair da rotina
• Incentivar o comportamento
• Adaptação do conteúdo
• Aguaçar a curiosidade
aprendizagem
mecânicas
narrativa de jogos
• Viver a história Mecânica: orienta as ações
• Domínio da história e gamification Dinâmica: interação com
elementos interativos mecânicas
• Histórias são Estética: emoções na
engajadoras e mídias interação
para movimentação
{
Fantasia
{
Interesse Meta Regras e meta s
Regras Estímulos sens
Dasafio
Satisfação edback Desafios oriais
Fantasia
Envolvimento Fecipação Mistérios
Curiosidade
Confiança Parti Controle
35
Xplore market| Entidade Promotora: Parceiro:
14
Xu, F., Tian, F., Buhalis, D., & Weber, J. (2013a) reforçam essa descrição do processo
de gamificação destacando o papel da motivação do usuário.
The aim of creating meaningful and effective gamified systems is to introduce games as
the opposite of scoring elements. To encourage users, it needs more than a numerical
core system or badges attached to an activity (Nicholson 2012). People want to be
mentally and emotionally affected; therefore the intrinsic motivation of people needs to
be addressed (Deterding et al. 2011; Schell 2008). Intrinsic motivation is defined as the
doing of an activity for the pure enjoyment of the activity per se, rather than of its
rewarding value, pressure or external stimulates (Ryan and Deci 2000). Gamification
tries to address this intrinsic motivation by applying game design thinking in order to
engage people into meaningful and effective activities. (Xu, F., Tian, F., Buhalis, D., &
Weber, J., 2013a, p. 5).
Relatedness is the need to interact and connect with other players within the same interest group, such
as friends linked to the same gamified system or related social systems, to share achievements and to
be recognised among peers. Therefore, it is important to connect and to customise personal goals to
a meaningful story such as a brand story or customer experience stories in order to embed the right
game elements supporting the story visually and actively. McGonigal (2011) defined this category as
‘social connection’ which has a major impact on one’s happiness as social contacts are a fruitful
source to share experiences, build bonds and create memories.
Competence gives the player the feeling to have the abilities in mastering the system and achieving
goals. These goals should be clear, visual, varying and well-structured to provide motivation and
optimism about one’s own chances and possibilities. A satisfying and flowing activity arises from the
division of long-term goals into smaller achievable goals. The challenge for system designers is to
create a flow experience (Csikszentmihalyi 2008) and vary the difficulty within the flow-channel to
neither under- nor over-challenge the player. Even though failures are required to improve the game
experience, the player needs to have enough positive feedback to be encouraged for gameplay.
Autonomy is the freedom of the player to voluntarily join a gamified system and drop out at any time.
If the player realises himself losing autonomy and being controlled by the gamified system it will
lead to a de-motivating experience and not inspire further gameplay (Deterding et al. 2011;
McGonigal 2011; Schell 2008).
15
Mecânica Descrição
Meta Motivo pelo qual o utilizador realiza a atividade. É o propósito designado para tal atividade, que
o indivíduo persegue de forma constante. A meta não está limitada a um fim específico, mas
sempre orienta para a atividade e, por isso, ultrapassa o conceito de conclusão de tarefas.
Assim, difere-se de um objetivo, cujo foco limita-se à execução de determinada atividade com
início, meio e fim. Para o autor, “A introdução de metas contribui para a visualização de
propósito, de foco e de resultados mensuráveis. Por exemplo, para o sujeito, entender o quanto
está distante do objeto – através de incentivos, feedbacks e indicações de progresso – favorece
seu engajamento, dando liberdade e autonomia para a utilização de diferentes estratégias”.
Regras Possuem a função de determinar a forma como o indivíduo deve se comportar e agir para
cumprir os desafios no ambiente. As regras favorecem a liberação da criatividade e do
pensamento estratégicos uma vez que buscam ajustar o nível de complexidade do sujeito às
atividades que devem ser realizadas. São subdivididas em:
a. Operacionais: regras que descrevem como agir no ambiente;
b. De funcionalidade: regras sobre a funcionalidade do sistema. Essas regras dizem mais aos
desenvolvedores tornando-se abstratas para aqueles que utilizam o sistema;
c. De comportamento: regras que determinam como o usuário deve se comportar no universo do
jogo;
d. Instrucionais: regras básicas que apontam o que é necessário aprender para interagir no
sistema.
16
Feedback São as respostas do sistema ao utilizador. São as ferramentas por onde o indivíduo se orienta sobre
sua posição com relação aos elementos que regulam a interação dentro do universo do jogo. Este
sistema é importante para suportar a performance e a motivação do indivíduo. Segundo o autor, “
Fornecer respostas imediatas do sistema ao indivíduo possibilita que falhas possam ser evitadas ou
que o sujeito possa ser conduzido na recuperação de algum erro. Além de corroborar para o maior
aproveitamento do sistema, aumentado os níveis de engajamento.”
Level of Descript
abstraction ion
Game interface Interface-elements are located on the level best visible to the user. Those are known from
design patterns video games. Some of them are for example progress bars, points, badges, leaderboards,
ranks or levels
The second level determines the functionality of the interface elements (for example time
Game design constraint, limited resources) and thus influences the way in which the game is experienced
patterns and (for example fun
mechanics or experiences)
They prescribe the framework or the core for the implementation of gamification. In this
Game design respect, psychological aspects are considered (for example clear goals or a variety of game
principles and styles).
heuristics The principles of game design are crucial to the generation of motivation
On this level, the correct usage of interface elements and game design mechanisms are
Game models justified. These models are described as “conceptual models of the components of games
or game experience” (Deterding et al., 2011, p. 12)
Processes and methods of game development (for example playtesting or play-centric
Game design design) help game designers at implementing the gamification
methods
Herzig, Ameling, & Schill (2012) apresentam uma arquitetura de gamificação para
sistemas corporativos. Entender as questões que envolvem o desenvolvimento de um protótipo
com arquiteturas service-oriented ou event-driven são fundamentais para a discussão deste
estado da arte. Sobre o desenvolvimento da arquitetura, optou-se pela descrição literal feita
pelos autores.
17
We assume that everything that is relevant to gamification can be represented by events. For example,
if user u successfully finishes step x in process p, an event E exists that signifies and describes all
parameters E = (u, x, p). The business rule engine stores n game rules R = (r1, ..., rn). In fact, the
business rule engine must have complex event processing capabilities, e.g., temporal operators such
as after or before. The game rules are authored and managed via a business rule management system
(BRMS). Each game rule ri is an if-then condition P C where consequence C is executed immediately
once premise P evaluates true. The engine evaluates each event according to its predefined game rules.
For example, if there is a rule that rewards user u five points for finishing step x in process p, the rule
engine distributes a reward event for this user over the message broker. This reward event is, in turn,
processed by the game repository and stored in its database. The schema of the database reflects the
requirements from above with regards to content. Finally, an analytical component may be used to
analyze player behavior in order to improve game rules and optimize long-term engagement.
All services of the gamification platform are exposed via a service façade pattern [11, p. 333] in
order to provide a decoupled data contract between all communication partners. The game data
constitutes the state repository [11, p. 242] in order to allow stateless services. The rule engine is
in conjunction with the rules centralization pattern [11, p. 216]. The enterprise service bus allows for
the realization of data model transformation, data format transformation, and protocol bridging
patterns [11, p. 671–693].Second, we present the surrounding context for the platform. We presume
that the existing systems belong to one of the following architectural types or, more likely,
combinations thereof (Figure 2): (a) a SOA where services are orchestrated by a business process
management (BPM) solution and are represented by their frontends; (b) a legacy system which is
a monolithic block of arbitrarily complex functionality; (c) an event-driven architecture where a CEP
controls the choreography between services and/or frontends (Figure 2). In this example, we utilize
an inquiry and quotation service which are constituting a simple sales process which is either
composed by a BPM tool within SOAs or triggered by a CEP within EDAs.
Third, in Figure 3 we put our platform into the abstract context of the EIS. With the assumptions from
above, integration point is the message broker or enterprise service bus (ESB). Moreover, legacy
systems can be integrated with a legacy wrapper [11]. In addition, arbitrary external events can be
captured by the ESB. As specialized form of these external events, we explicitly present the frontends
of the respective EIS. These frontends can be either web, desktop, or mobile clients populating, e.g.,
user interface events into the target platform. Besides being publishers, these frontends also subscribe
for relevant reward events generated by the game engine, for example, to display a notification that
the user has reached a new level. Additionally, we integrate the enterprise’s BPM with the BRMS of
the platform in order to provide high flexibility and agility for a business user. In conjunction with
the requirements, game rules will change often and have to be changeable by a business user.
All the events are published into an enterprise service bus which takes care of routing, service
mediation, or security. The ESB is not only useful for integration with one target platform, but
especially when processes should be gamified across multiple businesses. For example, a developer
can define which events are communicated between enterprise boundaries, which events are relevant
for the gamification design, or how security is handled.
18
Game
Enterprise
SOA Perspective
Our prototype consists of four individually deployable packages. First, the rule package consisting
of the game rules and a changeset descriptor. Second, the rule engine consisting of Drools Fusion as
complex event processor. Third, the game data component that stores the users’ progress events.
Fourth, a legacy wrapper that pulls data out of a database from a legacy system. In addition, we use
Apache ActiveMQ in publish/subscribe mode for event routing and service mediation.
19
In the first step, the legacy wrapper may generate some new user events since in our case we handle
user management explicitly by rules (Listing 1). As alternative, user management may be done
implicitly on the arrival of arbitrary events.
After users have been created, subsequent user actions are sent from the legacy wrapper to the rule
engine. Herein, we provide an example where a user simply gets one experience point when opening
a severe ticket within 10 seconds after first login. For this purpose, the atomic event new login which
activates rule newLogin is transformed into a complex event delayed login by adding a duration
of 10,000 milliseconds.
This event, in turn, activates the rule loginAfterDurationEx- pired which deletes the delayed login
event from the working memory after its duration. However, if an open ticket event occurs and the
delayed login event is still available, the rule generates the respective gamification event (Listing
2).
It is important to note that all events are published to the message broker (called bus herein) which
dispatches the events to the game data repository based on type. Moreover, rules may need the users’
prior achievements. Currently, we delete the user from the rule engine’s working memory, retrieve
their data from the game repository and insert them again into the working memory on the arrival
of new events.
1 rule ” newUser ”
2 when
3 $evt : E ventObject ( t ype ==” new user ” ) from
entry −point eventstream
4 then
5 GamificationEvent ge = new GamificationEvent ( ) ; ge . setType (
6 ” createPlayer ” ) ;
7 ge . s e t P l a y e r i d ( $ e v t . getPlayerId ( ) ) ;
8 ge . p u t ( ” logonname ” , $ e v t . g e t ( ” logonname ” ) ) ;
9 bus . publish ( ge ) ;
10 retract ( $ e v t ) ;
11 end
20
1 rule ” newLogin ”
2 when
3 Player ( $ p l a y erid : userid )
4 $evt : E ventObject ( t ype == ’ new login ’ , playerid ==
$ p l a y e r i d , e v e n t D u r a t i o n ==0) from
entry −point eventstream
5 then
6 EventObject obj = new EventObject ( ) ; obj .
7 setType ( ” d e l a y e d login ” ) ;
8
o b j . setEventDuration ( 10 ∗ 1000) ;
9 o b j . s e t P l a y e r i d ( $ playerid ) ;
10 o b j . setDateTime ( new Date ( System .
currentTimeMillis ( ) ) ) ;
11 o b j . p u t ( ” sessionid ” , $ e v t . g e t ( ” sessionid ” ) ) ;
12 retract ( $ e v t ) ;
13 e n t r y P o i n t s [ ” e v e n t s t r e a m ” ] . i nsert ( o b j ) ;
14 end
15
16
17 rule ” l oginAfterDurationExpired ” timer ( e
18 x pr : $ duration ; )
19 when
20 $p : P l a y e r ( $playerid : userid )
21 $dl : E v e n t O b j e c t ( t ype == ’ d e l a y e d l o g i n ’ ,
$ d u r a t i o n : e v e n t D u r a t i o n , p l a y e r i d ==
$playerid ) from entry −point eventstream
22 then
23 retract ( $ d l ) ;
24 end
25
26
27 rule ” openTicketAfterLogin ”
28 when
29 $p : P l a y e r ( $playerid : userid )
30 $dl : EventObject ( t ype == ’ d e l a y e d login ’ ,
playerid == $ p l a y e r i d ) from entry −point
eventstream
31 $ o t : E v e n t O b j e c t ( t y p e== ’ o p e n t i c k e t ’ , l e v e l == ’
s e v e r e ’ , p l a y e r i d == $ p l a y e r i d , d a t a [ ’
sessionid ’]== $ d l . d a t a [ ’ sessionid ’ ]) from
entry −point eventstream
32 then
33 G a m i f i c a t i o n E v e n t ge = new G a m i f i c a t i o n E v e n t ( ) ;
34 ge . se t T y pe ( ” g i v e P o i n t s ” ) ;
35 ge . s e t P l a y e r i d ( $ e v t . getPlayerId ( ) ) ;
36 ge . p u t ( ” pointname ” , ”XP” ) . p u t ( ” amount ” , 1) ; bus
37 . publish ( ge ) ;
38 retract ( $ d l ) ;
39 end
Tourism and hospitality companies can combine game elements and use them to induce
certain types of behaviour. They have the possibility to determine tourists to reduce
the level of energy and water waste, to use public transportation or to rate services
etc. ( Negruşa, Toader, Sofică, Tutunea, & Rus, 2015, p. 11165).
Projeto em curso com o apoio de:
Xplore market| Entidade Promotora: Parceiro:
21
Estratégias de gamificação devem atuar nas diferentes etapas do turismo. Por exemplo,
na etapa de planeamento, recompensas como descontos na acomodação podem levar o turista
a escolher determinado hotel; uma vez no destino, a possibilidade de compartilhar a experiência
em plataformas sociais pode fazer mais diferença. Sobre a interação experiência de turismo com
experiência do usuário, os destaques são mantidos nas palavras dos autores.
22
The idea of applying gamification in tourism has found acceptance in both literature and
practice. One of the earlier works on the topic, by Nicholson (2012), is focused on science
and other participatory museums which, according to him, “provide models for both
real-world and digital gamification environments”. It promotes the concept of
“meaningful gamification” which enables participants to “find meaning in a real-world
activity, which can then lead to building up internal motivation to engage with that
activity”. (Swacha & Ittermann, 2017, p. 62).
Xu et al. (2017) identify six areas in which, according to them, gamification can benefit
tourism, which include “raise brand awareness”, “enhance tourist experiences”,
“engagement”, “improve customer loyalty”, “entertainment” and “employee
management”, and provide several examples illustrating such applications (though some
of them seem related rather to games than gamification). (Xu et al. (2017) como citado
em Swacha & Ittermann, 2017, p. 62).
23
Encourage Game design researchers (Brown and Cairns 2004, Ermi and Mäyrä 2005, Jennett et al.
tourist 2008) outline engagement as one dimension of game experience, which can be related
engagement to multiple concepts such as flow, motivation, pleasure, immersion, enjoyment and
presence. The enjoyment of playing games (Klimmt 2003) and the desire to continue
playing to test one’s own abilities (Brown and Vaughn 2009) result in the addiction of
game play. Game loops are critical in game play as they provide the feedback in form of
achieved points, badges and levels on the player’s abilities. These engagement loops
involve the player more and more into gameplay elicit different types of emotions (hope,
fear, excitement) and evoke a social call to action that the player becomes re-engaged
into the gameplay (Zichermann and Cunningham 2011). (p. 8)
Enhance Tourism, as an experience economy, provides a multi-dimensional and multifaceted
tourist offer of experiences (Kim et al., 2012, Neuhofer et al. 2012, Ritchie and Hudson 2009).
experiences However, tourism experience literature does not cover essential dimensions of
intrinsically interactive motivation, social play, challenge, fantasy and fun, which is
provoked by using game design elements and game thinking (Deterding et al. 2011). (p.
8)
Improve Loyalty programmes can support strategic objectives in tourism relationship marketing
tourist (Campon et al. 2013) based on quality, value and satisfaction (Oh 1999; Petric 2004;
loyalty Salegna and Goodwin 2005). However, researchers argue a more dynamic model of
building customer loyalty is needed (Cronin 2003; Donnell et al. 2008). Gamification
can transform customer’s loyalty to a new level by developing interactions between the
customer and the system (Crawford 1982, Clanton 1998) but also between different users
of the same system (Schiano and White 1998). One of the most known gamified systems
is probably frequent flyer programs and destination loyalty cards (Zichermann and
Linder 2011). (p. 8)
Increase many companies (e.g. Pizza Hut, KFC, McDonald’s, 7UP and Diesel) use games for
tourism placing their advertisements (gamerlimit.com). According to Çeltek (2010) games are
brand used in three ways for advertisements. First, advergames are branded games or sponsors
awareness for a game. A game is especially been produced for the purpose of branding and
advertisement to aim for a strong recall of the game. An example of such an advergame
is “Ireland Town” form the National Tourism Development Authority or “Holmenkollen
Ski Jump” from Visit Norway. Second, in-game placements are a placed logo or brand’s
name inside an existing game, which creates many opportunities to interact with the
player. A good example from hospitality is the integration of Starwood’s loyalty
programme into Foursquare, which now gives the tourist the opportunity to take
advantage of special promotion or share check-ins and travel tips with their social
network. Third, on-site advertisements are the placement of banners and other media on
gaming websites. (p. 8)
24
Levels (Gold,
Platinum, Executive
Platinum)
O público alvo do jogo é uma geração acostumada com videogames e ao uso do telefone
inteligente com conexão internética contínua. Xu, Tian, Buhalis, & Weber (2013b) explora a
motivação desse usuário no caso de turismo. O trabalho, feito a partir de grupos focais, é
considerado pioneiro e exigiu usuários que necessariamente fizessem uso de telefones
25
Motivação Detalhes
Curiosity ‘As this is a new thing, I have never heard of this, and have never played
Curiosity emerged as the most this; I would like to have a trial to see how it looks like. So, curiosity would
popular theme. Several groups be my first motivation…As this is specific tourism context, I would like to
mention that as they have never see what can I do there in Thailand, shopping, food, etc. What does the
played something like this before, Royal Palace look like, you know, that sort of tourist stuff.
the idea of ‘a tourist game’ attracts Explore….’(Group C )
them, and they would definitely
have a try.
Exploration ‘A good way to get to know some practical information about the
The second most popular theme is destination, particularly the small attractions, rather than popular,
exploration. Groups mention that the common attractions.’ (Group A)
major motivation of them would be ‘…practical information to tourists and time saving (you know all about
to see the destination in a virtual the destination through a game)’ (Group D)
world, to gather some information ‘When you play this kind of game, if you have already been to the
about the destination. destination, you will have a feeling of reality and virtual, this is a
wonderful feeling and exciting experience. And if you visit the destination
after you played the game, you will also remember how you played in the
game, you might wonder am I in the virtual world or real world. Haha. I
really look forward to playing this game as I have been to some places in
Thailand.’ (Group D)
Socialization ‘If they provide a platform to allow game players to communicate with
Socializing here refers to getting to each other, you might be able to meet some people to go to the destination
know some people who might also together. Saying buying a group ticket to get into the attraction or
want to go to the destination. It was something.’ (Group A)
also a popular theme, particularly ‘I think it would be good to get to know something about the local people
mentioned by females in the group. there, to ask them (local residents in the game) questions, to see their dress
Here, socialization includes to code, their local food. Sometimes on holiday, particularly if it is a package
socialize with potential tourists and holiday, you don't have much opportunity to ask the local people, as
with online local residents. The first everything has been arranged for you.’ (Group B)
type of socializing will result in a
travel company while the second
type of interaction will result in
learning more about the destination
and the local community.
Fun and Fantasy experience ‘Unlike reading a guide book or search online information and filter those
Respondents recognize gaming is a information to specific destination, I think it is fun to play a game and get
fun way to get to know the to know the destination. Very useful.’ (Group C)
destination. ‘If it is well designed, it would be fun as well. As everyone who plays a
game is based on it is fun. Otherwise, people would quite quickly after a
few trials.’(Group C)
‘It is a better way to show a destination to friends. Traditionally you sent
photos to your friend, now I invite you to play the game and show you
where I have exactly been, what does it really look like. You know, it is
fun.’ (Group D)
Challenge and achievement ‘You might start with basic information search, but in the end, it is still a
Challenge and achievement were game. I guess most people who play games are like me, looking for some
also mentioned by a few students. kind of achievement. Yes, if there is some challenge there, not so easily be
26
conquered then I will be interested. Otherwise, you play a few times before
you go to the destination, then you will never come back to play again after.’
(Group D)
Xu, F., Tian, F., Buhalis, D., & Weber, J. (2013b) sumarizam, na Figura 7, as motivações
do jogador em cada fase do turismo (pré, durante e pós viagem)
27
28
Tabela 10. Techniques applicable in the on-site phase of the visiting process
Fonte: Swacha, J., & Ittermann, R. (2017).
29
Tabela 11. Techniques applicable in the after-trip phase of the visiting process
Fonte: Swacha, J., & Ittermann, R. (2017).
An interesting and weighty observation coming from Tab. 2 and 4 is that all the solutions
proposed there require the gamification to both precede and last beyond the time
spent on the visited site. It can be easily achieved only if the gamification system
encompasses more than one tourist attraction. (Swacha & Ittermann, 2017, p. 65).
30
31
Para os autores, a análise das melhores práticas desses aplicativos trazem quatro pontos
para reflexão sobre o uso de técnicas de gamification. O primeiro ponto tem que ver com a
fidelidade à marca e seu efeito para os objetivos estratégicos da empresa.
For a company, tourists’ loyalty is extremely important for achieving its strategic
objectives. Even if loyalty programs have been used by tourism companies since 1981,
… the implementation of gamification can be considered marketing innovation in the
tourism and hospitality sector. … the companies have to collect data about tourists’
behaviour and their perception regarding the services consumed during the holiday.
Many gamification applications provide a sustainable way to do that, allowing
companies to customize their products in accordance with clients’ needs and their
economic objectives. … (Negruşa et al., 2015, p. 11171).
32
Por fim, cita-se a reflexão dos autores sobre os efeitos econômicos das aplicações da
gamificação.
33
É claro que a aplicação no turismo tem como objetivo principal aumentar a visibilidade
do lugar e, consequentemente, melhorar o negócio por trás do aplicativo. O diferencial está em
achar uma motivação para o jogo que engaje o turista. Promover o turismo sustentável parece
ser uma forma de fazer isso.
Studies comparing resource consumption (water, energy, food, gas, etc.) during
holidays to everyday life emphasize an accentuated level of consumption and waste (…)
Therefore, raising awareness about sustainable consumption during holidays and
creating tools to improve or change tourists’ consumption behaviour could represent
an important contribution of gamification to the development of sustainable tourism.
(Negruşa et al., 2015, p. 111177).
34
Tabela 12. Aplicações gamificadas para o Turismo com transbordamentos para comunidade local
Fonte: Com base em (Negruşa et al., 2015)
Tais aplicações têm um efeito educativo aos turistas e promovem os negócios locais
(Negruşa et al., 2015). Os autores ressaltam o valor do mecanismo de revisões e resenhas, em
termos de feedback, para as comunidades locais. É, de fato, uma boa ferramenta de promoção
dos serviços prestados. Com isso, representa um incentivo para a melhoria das atividades
turísticas.
Aqui, vale uma ponderação inspirada pela discussão dos autores. Enquanto para uma
empresa o objetivo da gamificação é clara e concreta – ela quer aumentar seu faturamento
aumentando seu número de clientes – para a comunidade local (envolvendo muitas vezes
instituições públicas e outras sem fins lucrativos [museus?]) há de se encontrar outra forma de
envolver o turista que não ligadas exatamente à sua atividade-fim. Envolver questões do meio-
ambiente parece ser um caminho certeiro para isso.
35
Na Figura 10, com dados de uma tabela, os autores classificam alguns dos aplicativos
cujos principais efeitos são sobre a comunidade local, mantendo a identificação em econômicos,
sociais e ambientais.
Destination branding
Changes in the
2. Stimulating sustainable Interest for
Increased efficiency local community and
consumption environmentally sustainable
in the use of resources tourists’ behaviour.
(Nest, students dorms) products or services.
Social interaction.
Funds for protecting
3. Charity
Clients’ loyalty Increase life quality the environment and
(Hotel Prinz Luitpold)
endangered species
4. Information, education,
tourists guiding
(Tourism Ireland, Tourism
36
The benefits of gamifying the relation between community and tourism organisations
are concentrated mainly on social and environmental pillars of sustainability. Social
interaction, cultural understanding, resource saving behaviours and the increase in the
quality of life of both tourists and residents represent the main objectives and desired
behavioural changes. (Negruşa et al., 2015, p. 11180).
Finally, the use of gamification by museums and other cultural sites represent an
opportunity to attract new visitors and in particular younger visitors. Gamification
enhances the learning experience, providing visitors with the opportunity to discover
and learn gradually the aspects about the tourist destination. (Negruşa et al., 2015, p.
11181).
… both intrinsic and extrinsic motivation can be identified in the previous best practices.
The focus is more accentuated on intrinsic incentives engaging the tourists in activities
which bring them self-esteem and social recognition, like charities, honest reviews for
the services consumed, reduction in the waste of resources or knowledge development.
The extrinsic incentives act as a complement in the game mechanism, providing strong
enough reasons for tourists to reduce waste or to learn things about the history and the
life of destinations’ community which otherwise may be boring or not so appealing,
especially for the younger tourists. (Negruşa et al., 2015, p. 11180).
37
The main behavioural changes targeted through gamification were: raise awareness
about the necessity for sustainable consumption among tourists and local residents;
responsible consumption during the holidays; save energy and reduce waste; involve in
charitable acts. The tourism experience is directly influenced by these types of
gamification applications because there are new funny tools that enriched the level of
education and awareness of tourists. Moreover, in this case, the tourism experience is
enriched by an inner satisfaction the tourists may have as a result their involvement in
the communities’ problems. Making donations, helping poor people to improve their
lives, knowing and understanding the beliefs and behaviours of residents, and
contributing to the protection of some endangered species of plants and animals create
a sense of self-esteem which makes the holiday unforgettable. In conclusion,
gamification represents an adequate support for the interaction between local
communities’ members and tourists, making them more aware of the environmental
impacts of both parties. (Negruşa et al., 2015, p. 11182).
Aplicativos móveis com técnicas de gamificação são uma importante ferramenta para a
indústria de turismo. O próximo item de coding explora casos específicos e seu efeito sobre o
envolvimento da comunidade local.
38
39
com espíritos que incorporam figuras históricas e essa interação vai orientando o turista ao
longo do caminho. Tais encontros são facilitados por ferramentas de detecção de
localização. A novidade do aplicativo é usar o mecanismo de detecção de gestos para
“acordar” os espíritos e se comunicar com eles (o acenar o telefone ao ar caracterizaria o
casting a spell).
O jogo começa no museu, onde os usuários assistem a um filme introdutório e
alugam o aparelho em que vão jogar. Aqui também há um elemento de envolvimento na
aventura: esse aparelho alugado seria um dispositivo elaborado por cientistas do museu
para detectar os espíritos. Nota-se que eles relacionam a necessidade de alugar o dispositivo
(por questões técnicas) à história. A descrição do jogo é feita de forma literal pelos autores
por citação direta.
40
Figura 11. A gravestone inscribed with a secret language serves as inspiration for the gesture vocabulary
for REXplorer. The long-term goal of the player is to help scientists decode the mystery behind this
gravestone
Fonte: Rafael, Kratz Sven, Yu Eugen, Borchers Jan, Walz Steffen, Fuhr Claudia, Tann Martin, H. L. (2007).
O aplicativo utiliza de uma linguagem secreta real ainda não decifrada como parte do
mistério. Outras considerações são feitas em relação à narrativa criada, fundamental em um
jogo.
Destaca-se no caso o fato de o usuário não utilizar seu telefone próprio durante a
aventura. Os autores tratam essa decisão como fundamental em termos de design. Como o
41
Figura 12. The REXplorer measurement device consists of a Nokia N70 mobile phone and a GPS receiver
packaged together in a protective shell. A soft overlay transforms the standard phone keypad to an 8 key
game interface.
Fonte: de Ballagas Rafael, Kratz Sven, Yu Eugen, Borchers Jan, Walz Steffen, Fuhr Claudia, Tann Martin, H. L.
(2007).
42
Jonathan and Barbara have just seen the introductory video in the REX
museum and are ready to start playing REXplorer. Barbara is holding the device
and Jonathan is in charge of the map as they leave the museum. Shortly after they
walk out the door, a visual heartbeat on the device starts to beat faster, with both
audio and vibration feedback, indicating that they are near an important building.
From the video Barbara knows that she needs to cast a spell. Jonathan flips
over the map, and looks at the different gestures, and points to “wind” for Barbara
to try. After glancing at the map to get an idea of the gesture motion, Barbara holds
down the gesture button and waves the device through the air, just as she saw in the
introductory video. As she moves the device, she sees feedback showing her gesture
progress. Once the gesture is complete, she releases the button, and a short
“tornado” video shows her that she has successfully completed the wind gesture.
Johanne Kepler (a famous mathematician from the 1600’s) greets the players
through the loud speaker of the phone, and his likeness is displayed on the device
screen. Kepler talks about the planets and presents Barbara and Jonathan with a
quest challenge. After listening carefully to the text, Barbara understands that she
must cast a “fire” spell to accept the quest. She looks at Jonathan and asks “which
one was fire, again”. Jonathan shows her the gesture legend, and she successfully
accepts the quest. Johannes Kepler then sends them to their next destination where
they can listen to the closure part of the “cliff-hanger”. (Ballagas Rafael, Kratz
Sven, Yu Eugen, Borchers Jan, Walz Steffen, Fuhr Claudia, Tann Martin, 2007, pp.
5).
43
Figura 13. When players are moving around the city, a slow heartbeat indicates that there is no abnormal
activity
Fonte: Ballagas Rafael, Kratz Sven, Yu Eugen, Borchers Jan, Walz Steffen, Fuhr Claudia, Tann Martin, H. L.
(2007).
Figura 14. As players move into a hotzone, the heartbeat animation speeds up, and there is additional
vibration and audio feedback.
Fonte: Ballagas Rafael, Kratz Sven, Yu Eugen, Borchers Jan, Walz Steffen, Fuhr Claudia, Tann Martin, H. L.
(2007).
44
Figura 15. Players perform gestures by waving the device through the air. A visualization of the gesture
on the screen shows the gesture progress
Fonte: De “REXplorer: A Mobile, Pervasive Spell- Casting Game for Tourists.” de Ballagas Rafael, Kratz Sven,
Yu Eugen, Borchers Jan, Walz Steffen, Fuhr Claudia, Tann Martin, H. L. (2007).
Figura 16. An example character interaction. (A) The player enters the hotzone, and the heartbeat is
excited. (B) After the player has successfully performed the wind gesture, the device shows the
corresponding element. (C) The spirit communicates through the loudspeaker of the phone and his
likeness appears on the device screen
Fonte: Ballagas Rafael, Kratz Sven, Yu Eugen, Borchers Jan, Walz Steffen, Fuhr Claudia, Tann Martin, H. L.
(2007).
45
Por fim, o jogo fornece aos usuários informações sobre sua aventura na forma de
um blog de viagem, isto é, um sítio eletrônico com um resumo da aventura. A dimensão
de interação social é crucial para o tipo de público do jogo.
As visitors move through the city interacting with characters, their game
progress is tracked by a server at the REX museum. At the end of the game, the
users are presented with a souvenir blog customized to show their personal
experiences in the city. The blog uses Google Maps2 to provide an interactive map
that shows the users’ path through the city and highlights the points of interest they
visited. Players are also encouraged to take pictures and videos during their visit.
This media automatically appears on the blog with location marked in the map. The
blog provides a nice summary of their experience to share with friends and family.
More importantly, it allows users to explore history in more depth after their visit
by providing summary text, images, and links to more information. (Ballagas
Rafael, Kratz Sven, Yu Eugen, Borchers Jan, Walz Steffen, Fuhr Claudia, Tann
Martin, 2007, pp. 5-6).
Dez anos depois do REXPlorer, outro aplicativo lidando com uma área patrimônio
cultura da UNESCO é apresentado. Grand Master Challenge, denominado pelos autores como
The Game, trata de um jogo que explora a cidade medieval de Rhodes. É uma região cujo
turismo vem declinando principalmente por causa da crise dos refugiados; apesar das ilhas
46
Aegean terem recebido 2,5 milhões de visitantes nos últimos três anos, apenas 3% deles foram
à cidade medieval (Papathanasiou-Zuhrt, Weiss-Ibanez, & Di Russo, 2017). A ideia, portanto,
é cativar e envolver esse público ocasional. À época do estudo, também era um protótipo em
fase de teste para sistemas operacionais iOS e Android.
The field research revealed that the new race of connected consumers,
independently of age, is looking for authentic experiences at heritage places,
exploiting all possibilities for the co-creation of context. While most cultural and
tourism-oriented services include exceptional scenic or heritage assets to attract
consumer flows, the Game generates customized experiences and points of
enthusiasm, broadened and deepened by the stories and their interpretation. By
highlighting cultural experiences in the Medieval Town, win-win scenarios for the
host community and its visitors are offered via a new heritage mobility model in the
Medieval City that terminates the vicious circle, where only three monuments are
solely visually consumed: Street of the Knights, Great Hospital, Grand Masters’
Palace. (Papathanasiou-Zuhrt et al., 2017, p. 62).
47
The Game aims to capture the essence of 32 heritage assets, organized in and effectively
communicate their significance in a cognitive-emotional way to non-captive audiences
in real time following a new heritage mobility model in the Medieval City. Prime goal
of the Game is to facilitate information processed in each heritage narrative considering
the working memory limitations and the scarce time budget of the audience, but not at
the expense of understanding. Therefore the constraints inherent in the working memory
are the determinants for the design of heritage narratives. (Papathanasiou-Zuhrt et al.,
2017, p. 61).
48
The National Heritage Register declares 281 assets within the wall of the
Medieval Town of Rhodes (1948). 32 assets have been selected, following the
Significance Assessment methodology adopted by DIVERTIMENTO, documenting
exactly why assets are significant using a multivariate analysis. A Statement of
Significance produced for each asset on the basis of the historic-archaeological
information, intrinsic qualities, inherent values, visibility in the landscape, spatial
importance, social recognition, physical accessibility and interpretive potential,
49
build the asset values, the meanings that shall be conveyed to the audience.
Meanings are contextual in nature, including a linguistic, spatial and a social
context. To access any meaning is to comprehend it within a given context. The
significant context of meanings in tourism is a spatial one, the sense of place.
Meanings extracted from a visit to place, heritage or natural site, collection etc.,
constitute the high added value experience a visitor takes away in memory [grifo
nosso]. In this vein, the visitor experience is the meaning as a result of cognitive
processing.
… Capturing and keeping their attention high up during the Game, it means
to create bridges between the inherent values of the heritage assets selected for
presentation and the Game players. Far beyond the dissemination of factual
information, an interpretation process creates meanings, so that the Game Players
can put a place into personal perspective and identify with it in more profound and
enduring way. (Papathanasiou-Zuhrt et al., 2017, p. 63).
The Game refers to the inherently interesting and valuable tales that most
heritage assets can narrate about the history, culture and environment of
the surrounding landscape and communities. Telling the story is a creative
process that includes many types of synergies within the Local Stakeholder
Map. Through the story, citizens can express what is unusual and special
about their communities [grifo nosso]. The Game is the intentional,
coordinated message conveyed to the audience about the heritage assets
and their qualities. The additional emphasis of quality and continuity of the
visitor’s experience distinguishes the Game from other tourism products
and management issues like landscape protection or land management
efforts. The development of the game encourages the Local stakeholders
to seek out, document and communicate all of the special qualities of a
place: archaeological, natural, cultural, historic, recreational and scenic
[grifo nosso]. This makes the onsite experience an integrative experience:
visual, educational, physical and emotional. The Game aims at increasing
cultural and tourism consumption: while most culture and tourism-oriented
services include exceptional scenic or recreational heritage assets to
attract consumer flows, the Game will draw experiences, broadened and
deepened by the story and its interpretation. (Papathanasiou-Zuhrt et al.,
2017, p. 63).
Projeto em curso com o apoio de:
Xplore market| Entidade Promotora: Parceiro:
50
Outro aspecto do jogo discutida pelos autores é sobre a carga cognitiva relacionada ao
volume de informação oferecido pelo jogo.
Modern neuroscience is yielding insights which can give valuable tools for
the design and delivery of quality visitor experience. Brain literacy can help
accurately identify aesthetic reactions to the visual environment and
catalogue the features which sustain or detract from important aesthetic
experiences (Papathanasiou-Zuhrt & Di Russo, 2015). Aligned with the
principles of human cognitive architecture, information units in the
iOS/Windows/Android environment are chunked with max. 3 novel
concepts per unit, below the limit proposed by Miller (1956), Baddeley and
Hitch (1981) and Baddeley (2003 and 2012). Graphic design is aligned
with the eye-scan-path movement, information layering follows
international standards for the interpretation of heritage (Papathanasiou-
Zuhrt &Weiss-Ibanez, 2014). In order to decongest working memory,
redirect attention and allow visitors to connect with prior knowledge from
the everyday life, metaphors and associations have been extensively
utilized. Meanings communicated through the use of associations and
metaphors are based on universal concepts, and differ substantially from
transmitting formal knowledge. Main goal is to inspire visitors co-create
content; experience heritage in a playful way without alienating the socio-
historical context; have fun and realize the benefits. (Papathanasiou-Zuhrt
et al., 2017, p. 63).
O terceiro caso apresentado destaca o efeito desses jogos para os negócios locais. É o
protótipo de aplicativo móvel Nook and Cranny (algo como Canto e Recanto) que oferece um
guia turístico para a cidade de Tampere, na Finlândia, na forma de jogo de realidade
aumentada. Os objetivos subjacentes aos jogo têm que ver com proteção ambiental e promoção
do ecoturismo; do lado do usuário, o seu bem estar e envolvimento com atividade física são
enfatizados. O autor apresenta o protótipo a partir de imagens (Abdi, 2016).
O aplicativo inclui mapa, biblioteca e o uso da câmera.
51
Figura 18. wireframe of the app showing basic features such as map, library, camera button, quest button
and settings
Fonte: Abdi, A. (2016).
52
Figura 19. by swapping the screen to the right, user will access the leadership board, which shows how
well the user is doing compared to the rest of the players
Fonte: Abdi, A., 2016, p. 22.
Um avatar, que aparece toda vez que o usuário aperta o botão da tarefa, ajuda com o
itinerário, informações e os desafios do jogo.
Figura 20. Tom is your buddy tour guide, who pop up on the screen when user press the quest button and
provides an itinerary, information and help for the next challenge
Fonte: Abdi, A. (2016).
53
Figura 21. after unlocking a new quest the player should physically move to the location pinpointed on
the map
Fonte: Abdi, A. (2016).
Por exemplo, quando o usuário alcança determinado local, uma fada da floresta aparece
para interação.
54
Figura 22. when reaching the location the forest fairy appear on the screen
Fonte: Abdi, A. (2016).
Exemplo de tarefa pode ser achar determinado tipo de folha da árvore; o mapa mostra
sugestão de possíveis locais.
55
Figura 23. Player need to find birch leaf. They are locations on the map with birch tree indicated as
suggestions
Fonte: Abdi, A. (2016).
Figura 24, player takes a photo of a birch leaf and the app identify it
Fonte: Abdi, A., 2016, p. 25.
56
Figura 25. Mission accomplished. The player receives a badge and earns virtual points
Fonte: Abdi, A. (2016).
57
Figura 26. Player receive another quest, walk to the location and get guidance
Fonte: Abdi, A. (2016).
Figura 27. player moves to the location indicated on the map and by moving the opacity slider matches
his/her camera angle with the old photo angle and he earns points when completed
Fonte: Abdi, A. (2016).
58
O jogo tem dois formatos, o modo turista e o modo jogador. Basicamente, difere o
público naquele que quer uma visita mais tradicional a um museu e aquele mais jovem que quer
uma experiência diferenciada. Há conteúdo adicional disponível em ambiente de realidade
virtual.
User starts the tour by choosing between tourist-mode or a game-mode. These two
modes have carefully designed methods by separating the needs of target groups by
Projeto em curso com o apoio de:
Xplore market| Entidade Promotora: Parceiro:
59
This application was particularly demanding in its development since we had four
aspects to include – needs of the castle tour, needs of the customer (company who
ordered the application), using the newest technology in creating augmented reality
and VR environment having in mind to create an application with novelty and
indulging user experience. Museum representatives expressed special interest in
focusing on the paintings which they have on display, wishing to include all the
information inside the application since on the display, there is no information given
to the visitors. This way people could also have access to the data and explore the
content after visiting the museum. Our customer, Lingsoft, has their services and
“One Hour Words” system integrated with castle tour in a form of brochure that
people receive with the ticket purchase. Their wish was to include the brochure in
a digital form as a virtual guide and search engine inside the application, for easier
inquiry of terms that they provide. The amount of textual content received from the
museum became a challenge of how to integrate within the application without
creating an actual book for users to read. Visitors of the museum, and our target
audience, are not interested to read the text even on the displays of the museum, so
we had to find a gamified solution in which the content would be presented to the
user as an optional feature that can be accessed at any point during or after the
museum tour. (Luimula & Trygg, 2017, p. 56).
A ideia dos autores, ao desenvolver o aplicativo, é ter uma plataforma que pode ter seu
uso estendido para outras áreas, conforme Figura 29.
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Our development projects have goal to create a wow guidance platform which can
be used in various cases, such as exhibition halls, historical places, and city centers.
Piloting this platform in different kind of environment will give us better
understanding how the business model has to be designed. Our wow guidance
platform will be utilizing technologies such as mobile computing, game engines,
virtual reality, augmented reality, speech recognition, open spatial databases,
CAD, and point clouds. The ultimate goal in these cases is to provide a platform
and a business model which is ready to be scaled in new use cases (Figure 4)
[Figura 29]. That is to say, above mentioned technologies will be used in three
cases, and a business model will be tested and proved to be vital without endless
public support. (Luimula & Trygg, 2017, p. 57).
Figura 29. Three use cases and their research focus areas
Fonte: Luimula, M., & Trygg, M. A. N. B. (2017).
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The VR environment is designed as a digital replica of the room itself, however for
the purposes of the gameplay in comparison to the real world, there are items that
are missing or added to the VR environment. These items serve as a hint- system in
finding the clues for solving the game. As VR is not available on tablet devices, we
are using the same setting with 3D motion tracker and acceleration sensors. While
on a mobile device and headset we can provide the gameplay without physical
interaction with the device, the triggering works by keeping the small marker on a
screen at desired item for certain time, while on tablets the interaction works by
regular touch- system. (Luimula & Trygg, 2017, p. 58).
SUMMIT is a location-based mobile app that encourages the walking and hiking
community to avail themselves of local resources including hospitality businesses,
product vendors, tourist attractions and local information. The key goal is to “gamify”
the user experience by adding additional elements of social fun, motivation and rewards
to walking activities whilst increasing cultural appreciation through promotion of the
local amenities and services to the benefit of the local economy.
The idea behind SUMMIT is to challenge walkers and hikers to reach
checkpoints (geo-fenced areas) that are located along popular walking and hiking
routes. When walkers reach a checkpoint they are presented with a list of rewards on
their mobile app from which they can choose their favourite. The rewards are provided
by local businesses in the area and may include things like a free muffin or a 20%
discount on a product. For example, if the walker decides to choose a free muffin as his
reward at some checkpoint, he selects this in his app and a virtual muffin is added to his
Projeto em curso com o apoio de:
Xplore market| Entidade Promotora: Parceiro:
62
“reward knapsack”. He then takes this virtual muffin to the local shop that offered this
reward to exchange his virtual muffin for a real one. While he is there he may also buy
a coffee or take friends with him who may also make some purchases.
In this way, SUMMIT benefits both walkers and local businesses. It encourages
physical activity by making such activities more fun and rewarding but also introduces
walkers and hikers to new local resources in the area that they might not have visited
otherwise. (Lim, Taylor, & Gallacher, 2015, p. 50).
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The supplier can add, edit or delete a business. They can add, deactivate, re-activate,
delete and edit a specific reward item. They can also approve claims from the mobile
app users. Fig. 3 shows the web app dashboard which displays the list of businesses and
rewards own by a provider as well as the available actions. Alert icons will appear
beside reward items that reach zero count so that the provider can decide to add more
of the reward or delete it. (Lim, Taylor, & Gallacher, 2015, p. 52).
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Prior to the game, users can check out different routes and rewards associated with
each of the routes. They can then select a route that provides the rewards they desire
and suits their constraints in terms of time and distance. This flexibility enables users to
customise their gaming experience based on their needs at any particular time. …. When
users select a route, the route information will be downloaded onto their phone
assuming Internet connection is available. By pre- loading the routes, the issue of
unreliable 3G signal is avoided as the route information is now locally stored, hence
will always be available to users when on route. During the hike, only GPS signal is
required to track users’ position. Since each checkpoint covers an area of 50-metre
radius, a short lost of GPS signals will not affect the performance of the app. These
approaches give users the Virtual “Always- On” Connectivity impression allowing them
to have an undisrupted interaction experience. The problem of draining the battery
power is also minimised as the phone is not constantly connected to the network.
Synchronisation with the server occurs the next time network connectivity is available
and activated by the user when all logged data on the mobile device is uploaded. To
help users locate the rewards, a map that shows the locations of the different
checkpoints is provided as illustrated in Figure 5(a). Fig. 5(b) [Figura 34]shows a
rewards selection dialog box. (Lim, Taylor, & Gallacher, 2015, p. 54).
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Figura 34. (a) Map with checkpoints, (b) Rewards selection dialog box
Fonte: Lim, M. Y., Taylor, N. K., & Gallacher, S. M. (2015).
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Tabela 13. Sistematização de aplicativos móveis com gamificação para uso no Turismo
Aplicativo e Uso Fase de Narrativa Tecnologias Questões técnicas Soluções técnicas Interação Social Envolvimento
Desenvolvimento envolvidas local
REXplorer (museu Protótipo em teste Caça ao tesouro Aparelho Problemas com Busca de outras Blog de viagem
e cidade) específico, GPS soluções de design compartilhado no
algoritmo de Facebook
reconhecimento de
gesto e detecção de
localização
Grand Master Protótipo em teste Caça ao tesouro Disponibilização Locais contam sua
Challenge (cidade) de informação livro história
digital (iBook) |
Google Maps
Nook and cranny Protótipo Identificação de Uso da câmera para Comparação do Pontos virtuais
(cidade) pistas identificação de desempenho com podem ser trocados
objetos | realidade outros jogadores por refeição/bebida
aumentada |
Google Maps
Turku Castle in Piloto em teste Identificação de A câmera escaneia Problemas com Instalar aplicativo e Cartão postal Cartão eletrônico,
Your Hand (museu pistas códigos (como internet, com uso offline eletrônico que pode integração da
e cidade) QR)| realidade iluminação e com ser compartilhado plataforma com
aumentada e sistema de negócios locais
realidade virtual escaneamento
SUMMIT (região) Protótipo em teste Caça ao tesouro Geolocation e GPS Questões de Instalar aplicativo e Compartilhar Recompensas a
internet e de bateria uso offline conquistas no partir de recursos
Facebook locais
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As aplicações são para dispositivos móveis, mas explicações mais densas de design,
arquitetura, integração com backoffice, não foram muito exploradas pelos autores. Levando isso
em conta, o Xplore preenche uma lacuna da área ao permitir informações de todas as etapas,
soluções para os principais desafios e envolvimento com a comunidade local.
Sobre as empresas envolvidas com tecnologias de gamificação, Negruşa et al. (2015)
reflete sobre o desafio colocado às pequenas empresas e às entrantes diante de um mercado em
que há grandes empresas bem situadas. A essa reflexão soma-se o apresentado nos casos de
aplicativos móveis neste estado da arte, com protótipos desenvolvidos por universidades vez
ou outra financiados por grandes empresas da área de tecnologia (e não de turismo).
Considering the global trends in the use of gamification solutions, some aspects of the
overall profile of key players in the gamification market can be highlighted:
Mostly, both providers and buyers of these solutions are often part of large companies
that already have a recognized brand on the market, financial resources and
development strategies that make possible these innovations;
The majority of organisations that have adopted these solutions are part of a specific
offline community, geographically bounded, or of an online one, purpose bounded and
have a special supportive relationship with the stakeholders.
Thus, for small companies or new entrants to the market, the adoption of these solutions
can become an important challenge for top management, and a possible positive
decision in this regard must start from a well-founded cost-benefits analysis. There is a
bottom-up approach stressing the important role the leadership vision has when it
comes to the successful implementation of gamification. (Negruşa et al., 2015, p. 11183).
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With the implementation of gamified systems into business and society, companies have
to be aware of challenges initiated by the over-gamification of life. …
Pointsification is the implementation of scoring systems into real life, which might lead
to a fatigue of collecting badges, points and trophies for its own sake. The conflation of
game elements neither reflects the essence of games nor real life. Instead, game systems
need to offer meaningful choices, which involve loss and gain that are the source of the
real game experience driven by mastery, learning and challenges. …
The implementation of gamification into a healthy business system, named as
exploitationware, might also harm the system and lead to a polar-effect. The over-
enthusiasm of tourism decision makers following a trend that promises easy, cheap and
replicable success and is therefore tempting but bears risks triggering annoyance
among customers and employees. The implementation of scoring systems will not allow
the user to fully understand the meaning and motive behind, but instead be perceived as
a control and monitor tool (Bogost 2011; Werbach and Hunter 2012).
Designing meaningful gamified systems is challenging and needs the knowhow of game
designers to decide which activities in tourism and hospitality are suitable for being
‘gamified’, (Nicholson 2012). Thus, the prerequisite of implementing gamified system
is a transparent communication of the purpose to support a voluntary participation of
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players. (Xu, F., Tian, F., Buhalis, D., & Weber, J., 2013a, p. 9).
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