Stumbling Sojourner, or Risk vs. Reward in Accumulative Achievements

As listeners to The Geek Night In will know, I play Niantic Labs’ Ingress, and have done so steadily since last September. As it is an alternate reality game (ARG) which lends almost no functionality to players who aren’t on the move, I was not surprised to find that many of its core features are similar to those which also find favour in ‘gamification’. What I have discovered recently is that unlike some other games which have picked up good features from this world of motivation and medals (a subject upon which I have mused before), Ingress‘ medals system sometimes works to actively discourage further play.


For the uninitiated: Ingress is a location-based turf war between two factions. Players hack, capture and deploy defences on virtual portals sited at public landmarks, and can then use said portals to draw fields covering large and small areas of the world. Whichever faction has most of the Earth’s surface covered during each scoring cycle is said to have won that cycle. That’s the game’s basic premise.

Adding to this basic gameplay is a series of rules for earning medals, displayed on each player’s profile. Some simply track statistics such as ‘number of portals hacked’ and ‘number of mods deployed’, while others act as guides to draw players out of their usual neighbourhoods, such as ‘number of missions completed’ and ‘number of unique portals captured’.

Examples of “Ingress” bronze-level medals

Often when such ‘feats’ are used in a game, they are of superficial value. In Ingress, however, earning medals is essential to progress in its ‘endgame’. In order to advance from level 8 to the maximum, level 16, a player must earn experience points in conjunction with certain levels of medal. Level 9, for example, may only be reached after attaining any one gold and 4 silver medals.

In a game like this, then, the ability to earn any medal counts. Some come naturally, as a result of performing the sorts of actions which earn experience points anyway. This is a common setup amongst many ‘casual’ games. The medals I have run afoul of most recently, however, are those which demand dedication to a certain style or pattern of play. My failure to earn them, then, feels not like a reflection of my strategy or skill within the game, but rather my lack of willingness to conform.

"Ingress"' Soujourner medal requires that players "hack a portal within consecutive 24 hour periods".
‘Soujourner’ medal in “Ingress”

When games award points or medals for ‘feats’ such as logging in and playing every day, it is, to my mind, at best irritating and at worst damaging. Such design choices can, of course, be problematic for someone like me with aspects of obsessive-compulsive disorder, but I think that even in a broader sense, encouraging players to chase these features can only ever lead to either a moderately pleasing outcome, or a downright infuriating failure – and these two states do not balance each other out well.

In my recent experience of Ingress, the problem basically arose due to poor communication. In the ‘Soujourner’ example above, the help text states one must “hack a portal within consecutive 24 hour periods”. There are two main areas of ambiguity here: must it always be the same portal? And how is this 24-hour period defined?

The first query was relatively easy to resolve through experimentation; the latter turned out to be a figurative minefield. I once discovered that I could actually skip a real day of play and still resume my hacking streak. Panic over the loss of 50-odd days’ progress was replaced with a respectable amount of joy, and faith in the game – that it might have checks to ensure that ‘real life’ need not impact an achievement hunt. I was also pleased to think that the description was actually not as ambiguous as I’d feared, apparently comprising a 48-hour time period from the last portal hack.

With that having been said, whatever rule is in place was either misinterpreted (based instead on a rolling series of arbritrary clock resets, perhaps?) or not applied so consistently, as a few weeks later I found that hacking a portal 38 hours after my last hack somehow did not qualify as being within two consecutive 24-hour periods. My streak of 71 days’ hacking was reset to 0.

Faced with this, there is nowhere for my frustration (as a player) to go but towards the game and its designers, which is rather counter-intuitive for a game seeking to reward repetitive play. After having been robbed of a months-long play streak based on a poorly-defined technicality, I can find no reason to strive for this medal again. The 71-day setback to any further attempt literally stares back at me from my player profile. Striving for the Sojourner medal was once a pleasant thing to try and keep up; now it has been revealed to be some sort of chore, beyond my capacity for what I like to think of as suspended bliss.

Perhaps what I feel so keenly about the loss of this medal is linked to it having some sort of intermediate failure state. It is, after all, an attempt to set a personal record. Certainly, it’s impossible for me to earn negative qualifying points towards other medals, like ‘number of resonators destroyed’ or ‘mind units captured’; these are earned cumulatively and irrespective of time.

It would, however, have been just as easy for the designers to implement a medal which tracks how many unique days you’ve been hacking portals for, regardless of succession or interruption. After all, Ingress already tracks ‘current hacking streak’ as a statistic separate from the Sojourner medal. Such a medal would still reward persistence of play (the medal is earned more quickly if you play absolutely every day), but would avoid risking the player’s ire when dangling a counter reset over them.

As I said before, the risk to player enjoyment does not seem to tally well with the potential reward for them earning this medal. The choice to follow gamification routes like this strike me as counter-intuitive in what is essentially a lifestyle game. Whilst ‘consecutive time playing’ may be seen as one of few metrics for which the game can demand a dedicated effort, I feel strongly that such demands should be reserved for the realms of player skill or strategy, rather than their personal circumstances.

Cover image based on “Sundial” by Liz West, used under a Creative Commons 2.0 license.

“Ripple Effect” at GDC 2016

I’m very proud to say that I’ll be speaking at next year’s Game Developer’s Conference (GDC) in San Francisco, at a session entitled “Ripple Effect: How Women-in-Games Initiatives Make a Difference“.

I’ll be joining Stephanie Fisher, Sagan Yee , Rebecca Cohen-Palacios and Zoe Quinn to discuss my path from an all-female game jam initiative to my career and the works I do today: including encouraging girls and women to create games at TjejHack and providing safe social spaces for gamers at LadyCADE. Naturally, I also look forward to exploring the conference and exposition itself – swapping game development ideas and providing insight to Sweden’s diversity efforts for those who are interested.

TjejHack Pyjama Jam - an all-girl game creation event held at Stockholm's Royal Technical College in 2015.
TjejHack Pyjama Jam – an all-girl game creation event held at Stockholm’s Royal Technical College in 2015.

Continue reading “Ripple Effect” at GDC 2016

VideoBrains at Nine Worlds 2015: “Zones 1, 2 & Green Hill”

The third annual Nine Worlds Geekfest has now passed, and as well as sitting on panels with esteemed and talented individuals like Katherine Cross, Maki Yamizaki, George Buckenham and Mary Hamilton, I was also invited to give a short talk as part of a VideoBrains evening at the event. As these talks were not recorded on video, I decided to re-record it myself post-facto, with slides.

Here, then, is my 7-minute talk on public transportation in games, entitled Zones 1, 2 & Green Hill:


Looking Back on Lyst (2015)

At the beginning of this month – when summer was only just beginning to hit the Nordic region – I once again had the privilege of attending the annual Lyst Summit on love, sexuality and romance in games. Its debut event was held in København, and while it took place on a boat, this year’s event in Helsinki went a step beyond. A few dozen of us – academics, developers and artists- descended upon rural Vartiosaari for a weekend of inspiration, creativity, relaxation and (inevitably) emotional bonding.

My own trip culminated in setting up camp on Thursday night, ready for a day of talks in Hakaniemi’s WHS Teatteri Union. A few of us had settled in early, and so introductions were made – with a few reunions thrown in for good measure. Morning brought with it clean air, an abundance of greenery and an exciting journey to central Helsinki via motorised raft, boat and metro.

Travelling from the campsite to the summit venue was far from a typical commute.

The summit followed the same format as last year: a day of talks, peppered with breaks, light lunch and a small selection of games to try out. Just like last year, these talks dealt with a variety of topics: from Dr Hanna Wirman’s opening talk on the classification of games (from dating sims to My Little Pony bukkake); through Prof. Mata Haggis’ practical guide to weaving emotion into plot structures; to frank and demonstrative offerings from dancer Sarah Homewood and porn actor Dale Cooper. The programme was eclectic but never chaotic, once again reminding all in attendance that expressions of love and sexuality are huge and complex parts of the human experience, and yet it’s a topic which games have only just begun to scratch the surface of.

Joy Richardson provides a snapshot example of how fairytales have skewed notions on stepmotherhood so strongly towards the negative (left-hand side of the sheet)

I found there were many ‘takeaways’, as the conference parlance goes, but a few notions stuck out for me from this array of talks:

  • that family and the bonds therein remain a woefully underused area in games, which all too often fall back on bluntness and the assumed family unit of father/mother/brother/daughter (Joy Richardson);
  • that as the field has grown, there are now more examples of art games dealing with very niche aspects of sexuality – often drawn from the author’s personal experiences (Dale Cooper);
  • that a successful plot need not encompass resolution for both a character’s intrinsic and extrinsic struggles (Mata Haggis).

As the summit wrapped up, we headed back out of Helsinki city centre on a boat ride to Vartiosaari, where dinner and drinks were served amidst an open barn. Where we gathered would become a communal hub for jamming over the rest of the weekend, but for that Friday night it became the staging ground for Zack Woods’ Playfully Transmitted Diseases – a running party game in which groups would share stories, cheer each other on and generally ‘break the ice’ with the goal of collecting letters from each other. It also became the stage for this piece of doom-laiden advice from one of our island hosts, Oliver Kochta-Kalleinen.

Saturday morning brought with it the start of Lyst Summit’s 2015 game jam, and although we’d generally assembled in our pre-determined groups the night before, it was here that much of the conceptualisation work was done. To help along with this – and get us motivated after a sluggish/hungover breakfast -a number of us took part in a fascinating workshop led by Sabine Herrer and Henrike Lode. Entitled Let’s Get Personal: Leveraging your dirty secrets for game design, the workshop began with a brief presentation before we were tasked with trying to illustrate a moment from our own romantic or sexual pasts. The idea was to bore down to the essence of this moment as a mechanic. We then discussed these in small groups, refined the idea where necessary, and pursued them if we so wished – either in our assigned jam groups, or solo.

My own idea – depicting the moment I felt my pre-formed concepts of sexuality drop from underneath me – didn’t make it past the pencil-and-paper stage. However, the workshopping process was as personally gratifying as it was fascinating to see around me, since games with a personal story attached are so often seen in isolation. They give every sign of having come out of nowhere, and while I’m not sure to what extent that is true or false, sessions and game jams like this one at Lyst allow a group of people to support each other in connecting to that creative process.

There’s no easy way to segue into the fact that the game I helped make at Lyst Summit was at some remove from these sorts of deep and personal motivations. As Joon, Raimund Schumacher and I returned to discussions we’d begun over dinner, we began to prototype the game which would become Noah’s Arks.

We tested the idea of “Noah’s Arks” and its interface at the same time, using an iPad drawing app. and my paper prototyping kit

Borne initially from an idea which riffed on the phrase, “ships passing in the night”, we made a straightforward game in which two players must fling animals between their on-screen arks in order to make mating pairs, and so save them from the biblical flood. It leans heavily upon co-operative, social interaction and a crisp art style, exploring relationships through the lens of a heavily-fantasised, long-lasting myth – with an absurd, modern twist. The game can be downloaded for free from

The game was kept intentionally simple, and so the three of us were generally at liberty to soak up much of the jam atmosphere on Vartiosaari. Moments came and went, such as when rain forced more jammers indoors at the wooden kindergarten cabin or the Artist House, overlooking our campsite. Well into the first solid day of jamming, we came to realise that said cabin had a mother bird nesting in it, and we adopted her as our mascot. There was good food, bright Nordic midnights, and an unforgettable night spent in the sauna – with Richard Lemarchand leading us to embody The World’s Quietest Synthesiser. In reality this became an organic jamming session, with haunting vocals and a beat made all the more spell-binding for the fact it was held up by a dozen nude game artists. I simply cannot express how fundamentally and intimately human the game jam became after that.

I began the Sunday morning with a walk around the island – reflecting on many personal revelations and re-charging after the previous month spent dashing around the Baltic region. The day’s work comprised of animal art assets for our game, ready for the jam’s evening closure. As is traditional for game jams, we swept aside our working tools for this, and began a round of presentations – to each other, and a selection of invited guests.

Runa Haukland, Mathilda Bjarnehed and Simon Stålhandske with “Myling”

The results were even more varied than last year, all tackling wildly different aspects of the theme: from a point-and-click photosphere story of woodland spirits (Myling) to a card game about domestic arguments and our own quirky, arcade-style title. There were also two performance-style games, including Sabine Herrer’s Fashion Party (customise paper cutouts of various anatomical parts in order to try and impress the nominated Fashion Pope) and a profoundly intimate game for all the summit’s attendees, about pleasing a member of your trio through non-sexual, physical stimuli.

Said game (which was named Surrender) went on to garner the most votes from this summit’s participants, and I can see why. For me personally, it married an innovative and physical expression of game mechanics (the player being tended to must make their choices known by stepping towards the source of the most pleasing sensations) with a truly intimate (yet safe) play experience.

The transition from mock-blindfolded arousal of one’s hands and wrists to gathering for the closing group photo and then dinner was always going to be abrupt – but then, it felt like a macrocosm of the experience to come as Lyst began to wrap up. We went out with a bang, as Sabine held a ceremonial bonfire for the death of Fashion Party (which I captured below), but as Monday came around we departed from Vartiosaari in waves, all heading our separate ways across northern Europe and even further afield.

Just as in 2014, Lyst Summit is an experience too intimate and detailed to sum up neatly. It mirrors its subject matter in both form and outcome, leaving participants like me dazed and inspired. That’s not to say that what it does is somehow wishy-washy or artsy, though – at its core seems to be a strong belief that games can and should address these fundamental parts of the human experience. By bringing together the people that it does, Lyst expresses this goal with practical and thought-provoking guidance, support and inspiration. The more this movement continues, the more I feel we’re going to see real change in games like these, as an art form and artistic medium.


#GameDiversity in Action

With due apologies for my recent quietude (even in regards to my ongoing Patreon campaign,) these have been decidedly Interesting Times as far as my games diversity efforts are concerned.

TjejHack Pyjama Jam in full swing, with a Scratch workshop by Inger Ekman
TjejHack Pyjama Jam in full swing, with a Scratch workshop by Inger Ekman

On the 15th of May, I was involved in TjejHack‘s efforts to host a wildly successful ‘Pyjama Jam’ at Stockholm’s KTH (Royal Technical College). Girls between the ages of 11 and 16 gathered for 24 hours of tuition, geekery and game development with a wide variety of tools at their disposal. Around 8 games were made in all, expressing various and novel aspects of touch.

Days later, I caught a train to Malmö and represented Diversi at the Nordic Game Conference, as part of a team which not only hosted 14 female students as part of an all-inclusive outreach for the conference, but also put together meet & greets, a diversity mixer and a stellar panel on world-changing games.

The Diversi Summit at Nordic Game Conference 2015, hosted by Karin Ryding with panellists Åsa Roos, Ann-Sofie Sydow, Annika Fogelgren, Dajana Dimovska and Rami Ismail
The Diversi Summit panel at Nordic Game Conference 2015, hosted by Karin Ryding with panellists Åsa Roos, Ann-Sofie Sydow, Annika Fogelgren, Dajana Dimovska and Rami Ismail

I write a mere two days before I take another train to Sweden’s south coast, this time to host LadyCADE‘s first social outside of England, as part of the brand new Creative Coast Festival. It forms part of an exciting, cross-media programme which is sure to set me in an excellent headspace for Lyst Summit the week after, and Castle Game Jam some weeks after that.

Suffice it to say, my calendar turned rather busy, and it’s not for reasons directly associated with game development. I am, however, content with this. I still receive no income for this sort of outreach, which does turn every decision into a financial battle – these demands on my time are vying against things which would otherwise help keep the roof over my head. Nevertheless, I take small pride in the fact willing sponsors like Intel Software are now coming forward to cover costs for such events, and as somebody working to try and improve this medium from within, that is gratifying to see.

Paradox Interactive's Susana Meza Graham gave a particularly informative talk on workplace diversity, and invited CEO Fredrik Wester to 'defend' the inclusive vacancy to which she had once applied
Paradox Interactive’s Susana Meza Graham gave a particularly informative talk on workplace diversity, and invited CEO Fredrik Wester to ‘defend’ the inclusive vacancy to which she had once applied

Nordic Game Conference was, itself, something of a reflection of this changing attitude within games. It is of course the Nordic region’s largest games conference, hosting at least 1,000 attendees for a programme stretching two-and-a-half days. That programme is an eclectic one, meandering smoothly between the concerns of big-budget studios, independent developers, business and artists. The talks I saw included a trailer-heavy, business-minded keynote from Ubisoft Annecy’s Rebecka Coutaz, a spoken essay on games critique from freelance writer Cara Ellison, and a humourous-yet-informative session of straightforward PR experience from Coffee Stain Studios’ Armin Ibrisagic. There’s no ‘indie summit’ here, and nor are the diversity sessions herded off into their own track where they can be ignored; instead lessons from all aspects of the industry are smoothly incorporated into an open and friendly conference programme.

The people we meet at conferences are almost always the best reason to attend, and the crowd at Nordic Game is uniquely friendly. More than that, though: through attending in my capacity as chair of Diversi I was able to meet dazzling individuals whose enthusiasm for games, encouraging others to take up their craft, and the change that this medium can wield were inspirational beyond reckoning. I was also honoured to meet the many fine and talented students we were able to bring along, learning much about the quality of education in this region. Here too are we starting to see change, although it’s clear there is much work yet to be done – especially in encouraging more women to apply for these courses, and keeping them there ’til graduation.

Intel Software's sponsorship enabled Diversi to bring 14 female students from across the Nordic region to attend this year's conference
Sponsorship from Intel Software allowed Diversi to bring 14 female students from across the Nordic region to attend this year’s conference, including travel and accommodation

Gratitude, awe and inspiration are powerful motivators, and I’m riding high on them at the moment. Flippant though this may sound sometimes: more power to this sort of thing. I do what I can, but I’m glad those with the power and money to facilitate this change have decided that they ought to step in as well.


My name is Gemma Thomson, and I'm a British game designer living and working in Stockholm. I play, draw and explore, and I strive to create engaging interactive experiences.