Theory / Thoughts

If we squint at it's apex, the pinnacle of Maslow's pyramid, self-actualization, is where illustrators continually evolve their style and push their creative boundaries. As Koltko-Rivera (2006) aptly puts it,

"Self-actualization... involves the pursuit of personal growth, self-fulfillment, and the realization of personal potential." 

This mirrors Maslow's emphasis on physiological needs. However, once these basic needs are met, individuals seek safety and security, which for illustrators might translate to consistent clients or a stable platform to showcase their work.

The integration of Maslow's hierarchy, gamification, and reward systems provides a holistic framework for educational tools like JOBOPOLY. At the foundational level, Maslow's physiological and safety needs can be likened to the basic mechanics and rules of the game. As students progress, they engage more deeply with the game, mirroring Maslow's higher-order needs of belonging, esteem, and self-actualization.

Gamification, with its interactive elements, ensures that students are not just passive recipients but active participants in their learning journey. The reward systems, both intrinsic and extrinsic, serve as motivators, driving students to engage, explore, and excel. In the context of JOBOPOLY, these elements come together to create an environment where students are motivated to learn, not just by the allure of rewards but by the intrinsic joy of mastering new skills and knowledge.

Systems like 'BENJACKS' in JOBOPOLY serve as extrinsic motivators. While these rewards can drive specific behaviors, they might undermine intrinsic motivation if overemphasized. Kaufmann (2018) notes, "The balance between game elements and educational content is crucial for ensuring deeper engagement and better learning outcomes." Games that offer intrinsic rewards motivate players through the sheer joy of the experience.

Using gamification as a teaching tool can provide a chance to tune out the details of the complicated world and focus on sometimes more abstract tasks that require high-level reasoning. The shift from passive to interactive learning suggests that gamification enhances student engagement. Conley & Donaldson (2014) emphasize, 

"Gamification, when applied correctly, can lead to increased motivation, engagement, and problem-solving."

This sentiment is echoed by those who believe that games offer players experiential learning opportunities, allowing them to simulate real-world scenarios. 

Although not entirely connected, I stumbled across this quote by Tarn Adams,

"When people play games, they tell stories about their experiences. A tale might concern the tactics used in a chess game or be part of a multi-part series recounting the generations of a family in The Sims (Maxis 2004). If we view games as a storytelling companion, we can think systematically about what sorts of game mechanics encourage player stories of a certain kind or make the storytelling process easier for players, and we can think about utilizing traditional authorial techniques toward these ends."

It got me thinking about how experiences, and by extension personal resonant storytelling is such a powerful catalyst for learning. Drawing from this, games, with their immersive narratives, can be seen as platforms that facilitate experiential learning. Kolb's experiential learning theory posits that learning is a process where knowledge is created through the transformation of experience. 

In this case, students, for the first time in their lives, experienced the potential success or catastrophe or graduated life - maybe now they can better anticipate the realities of this and prepare appropriately.  

References:

Koltko-Rivera, M. E. (2006). Rediscovering the later version of Maslow's hierarchy of needs: Self-transcendence and opportunities for theory, research, and unification. Review of General Psychology, 10(4), 302-317.

Conley, K., & Donaldson, C. (2014). Gamification: The Measurement of Benefits. Springer International Publishing. Link

Kaufmann, D. (2018). REFLECTION: BENEFITS OF GAMIFICATION IN ONLINE HIGHER EDUCATION. JIR.

Adams, T. (2021). Characterization and Emergent Narrative in Dwarf Fortress. In B. Suter, R. Bauer, & M. Kocher (Eds.), Narrative Mechanics: Strategies and Meanings in Games and Real Life. Bielefeld: transcript Verlag.

Diving Deep into "Dwarf Fortress" with Tarn Adams

I recently stumbled upon Tarn Adams' piece, "Characterization and Emergent Narrative in Dwarf Fortress," nestled within the collection Narrative Mechanics: Strategies and Meanings in Games and Real Life. And, as is often the case with such serendipitous finds, it got the cogs in my mind whirring.

Having immersed myself in the intricate world of "Dwarf Fortress" for countless hours, reading Tarn Adams' essay, "Characterization and Emergent Narrative in Dwarf Fortress," felt like a journey into the heart of the game's narrative mechanics. Here's what I took away from it:

1. Games as Storytelling Companions: Adams starts off with a profound observation: "When people play games, they tell stories about their experiences." This isn't just about the narratives games provide but the personal stories we craft as players. It's a reminder that games are more than just entertainment; they're platforms for personal storytelling.
2. The Power of Simplicity: "Dwarf Fortress relied on text and ASCII glyphs, so we had to use paragraphs of text for this purpose." The game's ASCII graphics, which some might see as a limitation, actually push players to engage more deeply. We're not just playing; we're imagining, creating, and often, reminiscing.
3. Character Depth and Evolution: Adams discusses how the game's characters evolved over time, from simple entities with basic attributes to complex beings with emotions, memories, and evolving personalities. "Dwarves never really changed... but they had the same essential personalities at age 20 as they did at age 130." This reflection on character development in the game resonates with the depth and complexity of real-life personalities.
4. The Role of Memories: "We decided to give them memories... The strongest events in several categories, such as “work” or “family”, are selected and stored into a first layer of memories each season." This system of memories not only adds depth to the characters but also provides players with a richer narrative experience.
5. The Social Fabric of the Game: "Characters are not defined in isolation... Dwarves have family, friendships, grudges, citizenship, religious affiliations and positions in society." This emphasis on social interactions and relationships adds another layer of complexity to the game, making it more than just a simulation but a reflection of real-world social dynamics.

As a fan of "Dwarf Fortress" and its graphically deficient ASCII graphics, this provided a insight into the game's narrative mechanics. I find the game's simplicity, combined with its depth, makes it a unique storytelling platform. Every time I play, I'm not just building a fortress; I'm crafting a narrative, creating memories, and experiencing a world that's as complex and intricate as the real one.

References:

Adams, Tarn. "Characterization and Emergent Narrative in Dwarf Fortress." 

JOBOPOLY - Outcomes and Observations

The game's debut was, in many ways, a mirror to the real world. Some students navigated the labyrinth of freelance work with ease, while others found themselves ensnared in the complexities of balancing personal needs with professional demands. The PHYSIOLOGICAL and PSYCHOLOGICAL rows, representing immediate needs, often overshadowed the pursuit of illustrative work. It was a poignant reminder of how personal challenges can eclipse professional aspirations.

But amidst the chaos, there were moments of brilliance. A faction of our students showcased entrepreneurial flair, prioritizing stability over immediate gains. They took on part-time jobs, hoarded resources, and laid a foundation before diving headfirst into the unpredictable world of freelancing. Their strategy was reminiscent of an episode I watched from Undercover Billionaire. The protagonist, starting from scratch, emphasized the importance of not being in "SURVIVAL MODE" when building a business. It's about laying the groundwork, ensuring you have a safety net, and then taking calculated risks. And seeing this strategy play out in JOBOPOLY? Absolutely fascinating.

Feedback and Forward

Of course, not everything went as smoothly as I'd hoped. Some students were overwhelmed, some misinterpreted the rules, and some were just plain confused. But every hiccup, every tear, every moment of frustration was a learning opportunity. For them and for me.

I was always on hand to clarify, to guide, and to re-explain. And while I believe the core mechanics of JOBOPOLY are sound, it's evident that a more comprehensive introduction is needed. Perhaps a tutorial round, where students can get their bearings without the pressures of expenses, might be the way forward.

By the game's end, whether they had a mountain of 'BENJACKS', a handful of completed illustration jobs, or just a deeper understanding of invoicing, every student walked away with something. And that, in itself, is a victory.

JOBOPOLY: The Illustrator's Hustle

So here are the rules for JOBOPOLY - a game aimed at contextualising the BENJACKS, but also to simulate the additional life role of an illustrator. Surviving a year as an illustrator isn't just about drawing. It's about managing time, finances, and the unpredictable nature of freelance work. JOBOPOLY aims to encapsulate this experience.

RULES

Objective: Survive and thrive as an illustrator over the course of a year, balancing work, reputation, and personal needs.

Setup:

Components: Maslow Charts, JOB cards, CHANCE cards, money tokens (BENJACKS), reputation tokens.

Each player starts with the money they've earned from prior commissions in IL403 or ß1000, whichever is greater.

Players can decide to live together and share resources, just like in real life.

Turn Structure:

1. Complete the month’s Maslow Chart: Evaluate your PHYSIOLOGICAL, PSYCHOLOGICAL, and PRODUCTIVITY needs.
2. Spend money at the SHOP: Purchase essentials like food, pay rent and buy appliances and furniture.
3. Calculate your TIME: Determine the amount of time you have available for work based on your Maslow Chart.
4. Draw job & chance cards: For every JOB card drawn, players must also draw a CHANCE card.
5. Amend time based on CHANCE events: Some events might give you extra time, while others might take it away.
6. Determine which JOBS you can/will do: Ensure you meet the reputation requirements.
7. Deduct TIME and complete JOBS: Allocate your available time to the jobs you've chosen.
8. Allocate remaining time: Spend any leftover time on portfolio work, part-time work, etc.

Illustration Work:

To undertake illustration work, players must draw a JOB card.

You may only undertake a JOB if you have the required REPUTATION. Every player has a reputation score.

Every job has a DEADLINE, fee, reputation reward, and time required.

To complete the work, tick off the boxes on the job card. Convert your available PRODUCTIVITY days from your Maslow Chart into work days.

Using Your Maslow Chart:

Start by ticking off your PHYSIOLOGICAL points.

Move to PSYCHOLOGICAL points once you have at least 5 PHYSIOLOGICAL points.

PRODUCTIVITY points become available after securing 10 PHYSIOLOGICAL and 5 PSYCHOLOGICAL points.

The total number of ticks represents your available TIME for the month.

CHANCE CARDS:

CHANCE cards MUST be played.

These cards can impact your ability to work or might provide bonuses.

The SHOP

A marketplace where players purchase items to fulfill their physiological and psychological needs, enhancing their overall well-being and productivity.

Items, ranging from essentials like food to productivity tools, directly impact a player's ability to manage their time, tackle jobs, and navigate unexpected CHANCE events.

End of the Game:

The game concludes after 12 rounds (representing 12 months).

The winner is determined by a combination of total money earned, reputation gained, and successful job completions.

Glossary:

Maslow Chart: A tool to track your physiological, psychological, and productivity needs.

JOB Card: Represents potential illustration work with specific requirements and rewards.

CHANCE Card: Random events that can either benefit or hinder your progress.

BENJACKS: The currency used in the game. 

Gamifying Maslow?

I've been diving deeper into the development of Jobopoly, and one thing's for sure: it's not just about money. It's about time. And not just any time, but quality, uninterrupted chunks of it. The kind where you can sit down, get in the zone, and produce some of your best work. But how do you ensure that in a game setting? Enter Maslow's hierarchy of needs.

Maslow's pyramid has always fascinated me. The idea that our basic needs must be met before we can even think about our higher, more abstract needs makes so much sense. But in the hustle and bustle of the illustration industry, it's easy to forget that. We're so focused on the next paycheck, the next client, the next deadline, that we often neglect our basic needs. And that's where Jobopoly comes in.

In the game, players must ensure their basic needs are met before they can take on jobs. This is represented by "time pools". The better you are at managing your basic needs, the more time you have available to work. But it's not just about time management. It's about life management.

For instance, if a player doesn't secure housing in the game, they'll find their available time drastically reduced. No shelter means less sleep, which means less energy to work. Similarly, without proper nutrition, players will find themselves with less stamina and focus. And without social interaction? Well, let's just say it's hard to be creative when you're feeling isolated and lonely.

But here's the twist: players can't just focus on their basic needs. They also have to think about their higher needs. Things like self-esteem, creativity, and personal growth. Because in the real world, it's not enough to just survive. You have to thrive.

The challenge, then, is to balance these needs. To ensure you're not just living, but living well. And that's what I hope players will take away from Jobopoly. That success in the illustration industry isn't just about talent or hard work but finding a manageable balance.

Simulating the Illustration Industry in an afternoon?

I'm currently working on a new unit on the new curriculum - "EXPLORING SUBJECT" (IL403) which we have preliminarily earmarked to be the industry unit. Within this, we have attempted to simulate the industry in a series of weekly briefs, with very tangible real-world expectations. This was led with a very gamified and automated series of editorial illustration briefs to both keep the students busy - and also get them used to the real-world cycle of engaging with the transactional nature of illustration (i.e. - you are not the main character here anymore...). We supported this with real-world fees, and fake money (BENJACKS!) to support this. As the sessions went on, a nagging thought kept popping up: while they're earning this money, do they truly grasp where it might need to be spent in the real world?

A lot of students are asking where this is heading - and currently, I don't know. We considered making a tuck shop so they could spend their money - but really without having to fund a pretend real-life existence with the pretend real-life money it seems a bit meaningless.  Ideally, I'd like to develop something (likely a game) that simulates the entire hustle of the illustration industry. Not just the earning, but the spending, the managing, the juggling. Invoicing, tax, handling multiple deadlines, client communication... all of it.

But, here's the thing: at that moment, I didn't have a clear roadmap. I just had this gut feeling that there was potential here. A game could be the bridge between classroom learning and real-world application. It could be the tool that makes the abstract tangible.

Currently within my own practice - I am attempting to sell a flat, buy a house, day job as a lecturer, manage an online shop, paint a Warhammer army - and maybe - just maybe - draw a sausage. Whilst none of this is too overwhelming individually, I am very aware of both my inability to manage time, and Maslow's hierarchy of needs - that we are just human, trapped in this linear grind of time. It's something I'd like to play with as being an illustrator is not just about balancing the books, but also life-ing too.

Balancing the intricacies of professional life with personal aspirations and day-to-day challenges is a dance every illustrator must learn. Ideally it will be a sandbox to practice, fail, learn, and ultimately prepare for the rhythm of the real world. Stay tuned as I delve deeper into this project, sharing insights, challenges, and progress.