八角框架與炒幣

八角框架與炒幣 Octalysis and Trade

Bilibili

什麼是遊戲化 What is Gamification

遊戲化是我一直都很感興趣的主題,可惜坊間相關的著作不多。之前 SITCON 去台北的時候,在誠品書店偶然預見《遊戲化實戰全書》和《莊家優勢》兩本書1,直接入手。最近的文章里也偶有提及這兩本書,所以想找機會單獨把它們拎出來談談心得。這篇先來談談第一本,討論一下智能合約如何幫助我們擴展遊戲化的邊界。

沒買這本書也可以直接看 作者的 WordPress 博客,看起來博客的內容和材料更多。不過這裡我要吐槽的是,作者似乎故意不按照正常 WordPress 的 BestPractice 來組織頁面,文章找不到時間不說,連個 Archive 頁面都找不到,只好暫時用 作者分類 來代替。

我之前一直想說,其實拿智能合約用來設計遊戲是 yet another 「if all you have is a hammer」2,正確的方法應該是利用智能合約去做遊戲化。通證經濟與遊戲化都是關乎於激勵的。遊戲化告訴我們,人類是一種特殊的感性的動物,激勵人的方法不僅包含經濟激勵而已。而智能合約給我們提供了一組工具,如何在資源受限的情況下,構建出原本只有在強信任背書的條件下才能實現的激勵。

我自己的例子 Myself as an Example

影響我最大的遊戲化的例子自然要數 USACO 了。USACO 提供一個題庫可供全世界所有的信息學競賽選手進行訓練。題庫共有 6 章,為六檔難度的試題。每一個章中一般有 4~5 個小節,集中介紹某一類型的試題。

USACO 成功的將枯燥的看書刷題過程演變為一個頗為有趣的闖關遊戲,這也是我第一次感受遊戲化的的魅力,那段時間每天我最喜歡的事情就是上午提前閱讀好每一關的題目,構思好演算法,中午鑽去機房直接開敲。USACO 的訓練題庫具有非常強的順序性。除非將某一個章節中所有試題都通過,你無法進入下一節。完成努力解鎖新的一章節時,同時還會解鎖相關的課文,幫助你提供必要的知識。能夠獨立的完成全部 USACO 題目基本已經能夠算是演算法競賽成功入門。

一般的 Online Judge 很少會主動限制你的刷題順序,她們更像是一個隱式的 類銀河戰士惡魔城遊戲(Metroidvania),因為顯然在你沒有掌握特定知識時,你無法進入某個區域。

當然這些 Online Judge 也都會一些遊戲化的設定,幾乎所有 Online Judge 都會包含一個排行榜,少數像 Project EulerRosalind 這樣的 Online Judge 還會給你發各種成就徽章,像 Vijos 這樣的有論壇系統的 Online Judge 還會把你的過題數換算成小星星,顯示在頭像下方。後來,到了 Web2.0 時代,大家紛紛效仿 Topcoder 的 Elo Rating 模式,這些 Online Judge 也都演變成了更酷更動態的交互方式,這個時代的 Online Judge,例如 CodeforcesAtCoderBest CoderUOJ,以及最近的 Comet 無不如此。最終演變的結果是 SGU 直接變為 Codeforces 的一個子集。

而這種平台流行的結果是,使得原本一些自控力不那麼強的小朋友 —— 比如我,也喜歡上了演算法競賽,願意進行一定強度的訓練,從而促進了演算法競賽水平的整體提高。

所以當我看到了 USACOVijos 的成功之後,我跑回去告訴我們的小學數學老師,我應該 drop out 出來去做一個類似的 Euclid Online Judge,去給我們的學生專門用來訓練平面幾何!這樣我們的奧數隊就可以大殺特殺,立於不敗之地了!

當然,這個看起來明顯中二的(確實當時也是初二)idea,後來也被國外的團隊 以遊戲的方式呈現了

這裡還有更多的遊戲化的方式引導,特別是針對 K12 的小朋友,進行編程學習的例子,例如 Code Monkey 以及 Lightbot。其中我最喜歡的一個 App 是 Hacked,這個小遊戲提供了一種簡化的 Python 語言,不僅解決了手機上編程的操作問題,甚至還帶有一個沙盒,可以自己編寫各種復古小遊戲。

用遊戲化去做教育事實上與遠程教育一樣非常有意義,在一些缺乏家長和老師引導的地區,她們都能夠促進 教育平權。事實上我認為衡量一個中學老師是否優異的一個因素,就是能否將枯燥的中學的學習過程演變為頗為有趣的事情。

當然除了教育之外還有遊戲化還可以用來做很多其它事情,一個最簡單的例子是,Believe me or Not,遊戲化可以用來改善睡眠。

定義 Definition

不妨先來看看 Wikipedia 里關於遊戲化的條目。首先看一下關於遊戲化的定義:

Gamification is the application of game-design elements and game principles in non-game contexts.[1][2] It can also be defined as a set of activities and processes to solve problems by using or applying the characteristics of game elements. Gamification commonly employs game design elements[1][3][4][5][2] to improve user engagement,[6][7][8] organizational productivity,[9] flow,[10][11] learning,[12][13] crowdsourcing,[14] employee recruitment and evaluation, ease of use, usefulness of systems,[11][15][16] physical exercise,[17] traffic violations,[18] voter apathy,[19] and more. A collection of research on gamification shows that a majority of studies on gamification find it has positive effects on individuals.[4] However, individual and contextual differences exist.[20]
—— Wikipedia, Gamification

吐槽一下,這篇短短的條目里居然包含了 130 多條 References。可見這一塊的內容相當的碎片化。從定義中我么能看出,遊戲化這個單詞類比 希臘化(Hellenistic Period),強調的是遊戲化是將遊戲設計中的元素和方法論遷移應用到非遊戲的場景中。並且最後一句也提到讓我們關注到個體差異,每個人對於遊戲化的反饋都是不同,完美的遊戲化應該是自適應的(參見陳星汗的 心流理論)。

上面的定義是非常 Make Sense 的,不過遊戲化依然是一個相當模糊的單詞,當我們在討論遊戲化的時候,大家可能指的不是一個東西。維基百科的日文條目 援引 ゲーミフィケーション —— <ゲーム>がビジネスを変える 一書給出了下面的定義:

  • 最広義: 社會的な活動にとってゲームが役に立つこと。
  • 狹義: コンピュータ・ゲームのなかで特徴的に培われてきたノウハウを現実の社會活動に応用すること。アドバゲームやシリアスゲームは含まない。
  • 最狹義: 強化學習プロセスやフロー體験を成立させるための最適なフィードバック設計のノウハウを応用すること。

其中最狹義特指去構建心流體驗(フロー體験),狹義似乎和英文的定義差不多,不過特別指出,アドバゲーム(Advertising in video games)シリアスゲーム(Serious Game) 還有 代替現実ゲーム (ARG) 不算,因為他們不是 Non-game。

Gamification is the craft of deriving all the fun and engaging elements found in games and applying them to real-world or productive activities. This process is what I call 「Human-Focused Design」 as opposed to 「Function-Focused Design.」 It』s a design process that optimizes for human motivation in a system, as opposed to pure efficiency.

The reason we call it Gamification is because the gaming industry was the first to master Human-Focused Design.
—— Octalysis – the complete Gamification framework

事實上,正如 Yukai 在書中指出的那樣,「遊戲化」是一個頗為迷惑的詞語,你們這樣咬文嚼字是不行的,重要的是我們要解決問題,於是提出,我們應該用一個更好的術語 Human Focused Design 來進行替代。作者也指出,之所以我們會通常稱之為遊戲化,是因為遊戲行業是最早系統化的掌握並應用 Human-Focused Design 的地方。

而我這裡倒是傾向於使用一個更廣義的定義,既:應用的領域可以推廣到遊戲本身,而方法的來源也可以來自遊戲之外。

歷史 History

根據維基百科的介紹,術語「遊戲化」在 2008 年開始出現,但是到 2010 才開始流行。實際上,在這個術語開始流行之前,遊戲化的過程就已經開始了,例如在研究 學習障礙(Learning disability)科學可視化(Scientific Visualisation) 的過程之中,已經使用了某些遊戲設計時的元素。維基百科裡提到了一些研究報告,比如遊戲化如何啟發人機界面的設計3,以及蘇聯和美國在激勵勞工時所採用的遊戲化策略4。這兩篇論文都來自一個叫做 International Academic MindTrek Conference5 的會議。緊接著在滑鐵盧大學出現了 Gamification Only 的相關會議(不過好像沒有一直辦下去)。不過最近的還有 Gamicon2k19

元素 Elements

點數 Points

Points are basic elements of a multitude of games and gamified applications.[30] They are typically rewarded for the successful accomplishment of specified activities within the gamified environment[31] and they serve to numerically represent a player’s progress.[32] Various kinds of points can be differentiated between, e.g. experience points, redeemable points, or reputation points, as can the different purposes that points serve.[9] One of the most important purposes of points is to provide feedback. Points allow the players’ in-game behavior to be measured, and they serve as continuous and immediate feedback and as a reward.[33]

徽章 Badges

Badges are defined as visual representations of achievements[31] and can be earned and collected within the gamification environment. They confirm the players’ achievements, symbolize their merits,[34] and visibly show their accomplishment of levels or goals.[35] Earning a badge can be dependent on a specific number of points or on particular activities within the game.[31] Badges have many functions, serving as goals, if the prerequisites for winning them are known to the player, or as virtual status symbols.[31] In the same way as points, badges also provide feedback, in that they indicate how the players have performed.[36] Badges can influence players’ behavior, leading them to select certain routes and challenges in order to earn badges that are associated with them.[37] Additionally, as badges symbolize one’s membership in a group of those who own this particular badge, they also can exert social influences on players and co-players,[34] particularly if they are rare or hard to earn.

https://en.wikipedia.org/wiki/Socialist_emulation
“1973 socialist competition winner” award.

排行榜 Leaderboards

Leaderboards rank players according to their relative success, measuring them against a certain success criterion.[38] As such, leaderboards can help determine who performs best in a certain activity[39] and are thus competitive indicators of progress that relate the player’s own performance to the performance of others. However, the motivational potential of leaderboards is mixed. Werbach and Hunter[31] regard them as effective motivators if there are only a few points left to the next level or position, but as demotivators, if players find themselves at the bottom end of the leaderboard. Competition caused by leaderboards can create social pressure to increase the player’s level of engagement and can consequently have a constructive effect on participation and learning.[40] However, these positive effects of competition are more likely if the respective competitors are approximately at the same performance level.[41][42]

成績單
CodeForces


Credit: Zicen

性能圖表 Performance graphs

Performance graphs, which are often used in simulation or strategy games, provide information about the players’ performance compared to their preceding performance during a game.[29] Thus, in contrast to leaderboards, performance graphs do not compare the player’s performance to other players, but instead, evaluate the player’s own performance over time. Unlike the social reference standard of leaderboards, performance graphs are based on an individual reference standard. By graphically displaying the player’s performance over a fixed period, they focus on improvements. Motivation theory postulates that this fosters mastery orientation, which is particularly beneficial to learning.[29]

Google Analysis



有意義的故事 Meaningful stories

Meaningful stories are game design elements that do not relate to the player’s performance. The narrative context in which a gamified application can be embedded contextualizes activities and characters in the game and gives them meaning beyond the mere quest for points and achievements.[43] A story can be communicated by a game’s title (e.g., Space Invaders) or by complex storylines typical of contemporary role-playing video games (e.g., The Elder Scrolls Series).[43] Narrative contexts can be oriented towards real, non-game contexts or act as analogies of real-world settings. The latter can enrich boring, barely stimulating contexts, and, consequently, inspire and motivate players particularly if the story is in line with their personal interests.[44] As such, stories are also an important part in gamification applications, as they can alter the meaning of real-world activities by adding a narrative 『overlay』, e.g. being hunted by zombies while going for a run.

Ingress
托馬西 https://twitter.com/iruitui/status/765348390628528128

虛擬身份 Avatars

Avatars are visual representations of players within the game or gamification environment.[31] Usually, they are chosen or even created by the player.[43] Avatars can be designed quite simply as a mere pictogram, or they can be complexly animated, three-dimensional representations. Their main formal requirement is that they unmistakably identify the players and set them apart from other human or computer-controlled avatars.[31] Avatars allow the players to adopt or create another identity and, in cooperative games, to become part of a community.[45]

隊友 Teammates

Teammates, whether they are other real players or virtual non-player characters, can induce conflict, competition or cooperation.[43] The latter can be fostered particularly by introducing teams, i.e. by creating defined groups of players that work together towards a shared objective.[31]

誒隊友呢?隊友呢?誒隊友呢?隊友呢?隊友呢?
—— TI8語音輪盤比賽出處!

歷代口袋妖怪中的宿敵的設計

博德之門,口袋妖怪

什麼是八角框架 What is Octalysis

在我們嘗試使用 Yu-kai Chou 的八角框架 來分析炒幣行為之前,不妨先來看一下什麼是八角框架。在上一節的最後,我們列出了一些遊戲化的基本元素,但是它們看起來非常零散,互相之間缺少關聯。於是坊間開始出現了一些分類的工具。例如 The Periodic Table of Gamification Elements。八角框架也是其中的一員,是 Yu-kai Chou 在多年的實踐中,總結出的一種分類的方法,是一個頗為有用的分析和設計遊戲化的工具。

八角框架 Octalysis

這八個角分別代表的是:

  1. 使命 Epic Meaning & Calling
  2. 發展與成就 Development & Accomplishment
  3. 賦予創造力 Empowerment of Creativity & Feedback
  4. 所有權 Ownership & Possession
  5. 社會影響力 Social Influence & Relatedness
  6. 稀缺性 Scarcity & Impatience
  7. 不確定性 Unpredictability & Curiosity
  8. 避免 Loss & Avoidance

你會發現即使是上面提到的最基本的元素有時也不能簡單的放到其中一個類別中,例如徽章,看起來是 2。但是好像也可以涉及 1、4、5。總之,在不同的 Context 下使用不同的元素,可能包含的意義也會不同。另外要時刻銘記,八角框架只是一個經驗工具,作者自己也說,多年的嘗試和調整,他發現還有一個隱藏的 Core Drive 叫做感覺(Sensation)。

With many years of trials and adjustments, I believe that, besides a ninth hidden Core Drive called 「Sensation,」 everything you do is based on one or more of the 8 Core Drives.

下面先來逐一看一下每個角的內容。每個角我都會選擇幾個代表性的遊戲,當然這個選擇會非常之主觀。

1. 使命 Epic Meaning & Calling

代表作:風之旅人、見證者、古劍傳奇
元素:願景、Slogan

Epic Meaning & Calling is the Core Drive where a player believes that he is doing something greater than himself or he was 「chosen」 to do something. A symptom of this is a player that devotes a lot of his time to maintaining a forum or helping to create things for the entire community (think Wikipedia or Open Source projects). This also comes into play when someone has 「Beginner』s Luck」 – an effect where people believe they have some type of gift that others don』t or believe they were 「lucky」 to get that amazing sword at the very beginning of the game.

風之旅人

風之旅人

《風之旅人》 的 ED 曲,叫做 I Was Born For This6。《inner universe》里,我唯一能聽懂的歌詞,就只有那句「I am Calling Calling now, Spirits rise and falling」7。使命感是早在遊戲誕生之前,應該就是被人們所認知的一項,她也是所有驅動力中最最核心,最 powerful 的一項。子曰:朝聞道,夕死可矣。論語為什麼影響了我們幾千年?任重而道遠,仁以為己任 —— 這就是使命感。

People don’t buy what you do; they buy why you do it. If you talk about what you believe, you will attract those who believe what you believe.
—— Simon Sinek, TEDxPuget, How great leaders inspire action

Simon Sinek 的演講中舉了蘋果作為例子。而 Apple 的所有廣告中,最能提現使命感這一點的,顯然就是 Think Different。

Because the people who are crazy enough to change the world, are the ones who do.
—— Apple – Think Different – Full Version

Inspiring People 不僅僅可以 Sell Product,當然也可以維繫社群,領導公司甚至是國家。「Make America Great Again」似乎要比「I’m with her. Stronger together」 更加鼓舞人心。「改變臺灣從首都開始,改變臺北從文化開始,這是一場以文化為主體的社會運動,也是台灣歷史上第一次以改變政治文化當訴求的選舉。」柯文哲的競選口號,連我也可以倒背如流。這方面最直觀的例子或許是里根總統關於 小政府 的演說。

We the people』 tell the government what to do, it doesn』t tell us. 『We the people』 are the driver, the government is the car. And we decide where it should go, and by what route, and how fast. Almost all the world』s constitutions are documents in which governments tell the people what their privileges are. Our Constitution is a document in which 『We the people』 tell the government what it is allowed to do. 『We the people』 are free
—— Ronald Reagan – “We the People”

再回到遊戲,似乎大部分使命感主要體現在遊戲的劇本里(Narrative)。在書里 Yu-kai Chou 還找了另外的例子,例如 Beginner』s Luck 讓玩家感覺自己是 Choosen One。軒轅劍里的每一代的主角幾乎都會帶著神器,陳靖仇初始攜帶的神農鼎,姬良初始攜帶的天書。

但是顯然我認為更合理的例子是引用獨立遊戲,一部分獨立遊戲是作者用於自我表達的,其中又有一部分是表達了只有用遊戲不可才能表達的思想,是有目的性的。而最終引起與玩家的共鳴的。而這就不能不提吹哥的《時空幻境》與《見證者》。

2. 發展與成就 Development & Accomplishment

代表作:牧場物語、只狼
元素:點數、徽章、排行榜、挑戰

Development & Accomplishment is the internal drive of making progress, developing skills, and eventually overcoming challenges. The word 「challenge」 here is very important, as a badge or trophy without a challenge is not meaningful at all. This is also the core drive that is the easiest to design for and coincidently is where most of the PBLs: points, badges, leaderboards mostly focus on.

牧場物語

牧場物語

現在應該沒有哪個遊戲沒有成就系統了吧,大家會批評說你這個遊戲沒做正反饋,畢竟 Steam 都直接把成就系統包在了外面w。我自己特別喜歡牧場物語那種從 0 開始,封妻蔭子,逐漸奔小康的過程(但是我討厭重複的勞動,而且我記得小時候玩得時候都是強迫症一樣要把每天的時間最大化,導致我玩得很累,玩了很久才到第一個冬天)

關於這一項特別需要 highlight 出來的一個遊戲是最近大熱的《只狼》。一般評論家認為《只狼》會是一個缺少正反饋的遊戲,大多數時候升級對你的人物能力的提高並沒有特別大的幫助,收集葫蘆種子也只是能夠多磕幾口葯而已,但是這個遊戲的 Development 的是玩家本身對這個遊戲的理解和技藝的進步,讓玩家感到「我被這個遊戲尊重了」,Develop 玩家本身實際上是比 Develop 遊戲中的角色更高級的 Development,在這個世代顯得更加可貴。

這點可以看一些 App 的實驗性質的功能,只開放給部分用戶。一個直接的例子是 Spot 里需要用戶升級才可以解鎖地圖背景貼圖。更加複雜的例子是抖音的開店功能,只開放給擁有一定數量粉絲的 KOL,這同時提現了八角框架的 2、5、6,是一個更加綜合的設計。

3. 賦予創造力 Empowerment of Creativity & Feedback

代表作:Besiege、Mine Craft、淘金者、World of Craft III
元素:UGC 內容、gu地圖編輯器、逃課

Empowerment of Creativity & Feedback is when users are engaged in a creative process where they have to repeatedly figure things out and try different combinations. People not only need ways to express their creativity, but they need to be able to see the results of their creativity, receive feedback, and respond in turn. This is why playing with Legos and painting are fun in-and-of themselves and often become Evergreen Mechanics, where a game-designer no longer needs to continuously add more content to keep the activity fresh and engaging.

萬年搶險體驗的 Besiege

賦予創造力是我認為遊戲最有趣的一項,這點看 Steam 上繁榮的創意工坊就可知一二。一項遊戲如果能夠成功的激發玩家的創造力,她一定不會賣的太差。這塊目前最成功的例子,應該是 Mine Craft 了。

Web2.0 是相對於 Web1.0 的新的時代。指的是一個利用 Web 的平台,由用戶主導而生成的內容互聯網產品模式,為了區別傳統由網站僱員主導生成的內容而定義為第二代互聯網,Web2.0 是一個新的時代。

事實上 Web2.0 這個概念就是和 UGC 緊密的聯繫在一起的。

4. 所有權 Ownership & Possession

代表作:暗黑破壞神 II、夢幻西遊、CryptoKitties
元素:虛擬形象、虛擬資產、虛擬貨幣

This is the drive where users are motivated because they feel like they own something. When a player feels ownership, she innately wants to make what she owns better and own even more. Besides being the major core drive for wanting to accumulate wealth, this deals with many virtual goods or virtual currencies within systems. Also, if a person spends a lot of time to customize her profile or her avatar, she automatically feels more ownership towards it too. Finally, this is also the core drive that makes collecting stamps or puzzle pieces fun.

誰不喜歡佔有某物呢?《緣之空》 中春日野穹為什麼會非常怨恨小時候的要好鄰居依媛奈緒?還不是因為對哥哥的佔有慾。(???)

這方面似乎智能合約會有發揮的獨特舞台,畢竟 CryptoKitties 宣稱的概念是 True Ownership(笑)。

5. 社會影響力 Social Influence & Relatedness

代表作:傳奇、夢幻西遊
元素:版主、精華帖、投幣、轉發、關注、10w+

This drive incorporates all the social elements that drive people, including: mentorship, acceptance, social responses, companionship, as well as competition and envy. When you see a friend that is amazing at some skill or owns something extraordinary, you become driven to reach the same level. Also, it includes the drive we have to draw closer to people, places, or events that we can relate to. If you see a product that reminds you of your childhood, the sense of nostalgia would likely increase the odds of you buying the product. This Core Drive is relatively well-studied too, as many companies these days are putting a lot of priority on optimizing their online social strategies.

人是尋求地位的猴子(People are status-seeking monkeys),這方面沒有文章比 Eugene Wei 的 那篇文章 總結的更好的了。從遊戲設計的角度來說,這是為什麼我認為 Don’t Starve Together 總是比 Don’t Starve 好玩的多得多的遊戲(即便是在遊戲內容環節有所刪減)。早先社會影響力似乎只能通過網路遊戲體現,當然隨著互聯網的普及,單機遊戲網路化也已成為趨勢,這已經成為 2000-2010 年代的往事了。

6. 稀缺性 Scarcity & Impatience

元素:期間限定、限時優惠、每日登陸、體力值、稀有道具

This is the drive of wanting something because you can』t have it. Many games have Appointment Dynamics (come back 2 hours later to get your reward) – the fact that people can』t get something right now motivates them to think about it all day long. This is the Core Drive utilized by Facebook when it first started: at first it was just for Harvard. Then it opened up to a few other prestigious schools, and eventually all colleges. When it finally opened up to everyone, many people wanted to join because they previously couldn』t get in it.


—— Credit: 熱血傳奇:傳奇歷史記錄者,當年有它可以換輛車!

大家都喜歡別人沒有的東西,這是為什麼 カルビス 要出那麼多季節限定,地區限定的原因。

7. 不確定性 Unpredictability & Curiosity

代表作:Rogue、FGO
元素:Roguelike、Gambling、開箱 && 抽卡、製造懸念

Generally, this is a harmless drive of wanting to find out what will happen next. If you don』t know what』s going to happen, your brain is engaged and you think about it often. Many people watch movies or read novels because of this drive. However, this drive is also the primary factor behind gambling addiction. Also, this core drive is utilized whenever a company runs a sweepstake or lottery program to engage users. The very controversial Skinner Box experiments, where an animal irrationally presses a lever frequently because of unpredictable results, are exclusively referring to the core drive of Unpredictability & Curiosity, although many have misunderstood it as the driver behind points, badges, and leaderboard mechanics in general.

上帝喜歡擲骰子。嗜賭是人類天性,畢竟連小白鼠都無法抗拒。我花費在 Roguelike 遊戲中的時間可能是僅次於競技類遊戲的。

8. 避免 Loss & Avoidance

代表作:Fomo3D
元素:沉沒成本(Sunk cost)期間限定限時優惠聯動角色

This core drive is based upon the avoidance of something negative happening. On a small scale, it could be to avoid losing previous work. On a larger scale, it could be to avoid admitting that everything you did up to this point was useless because you are now quitting. Also, opportunities that are fading away have a strong utilization of this Core Drive, because people feel like if they didn』t act immediately, they would lose the opportunity to act forever.

避免似乎是整個系統的另外一面,這是人們為什麼都不能夠理性接受 沉沒成本(Sunk cost) 的原因。基於同樣的原因,人們也很難和過去的自己握手言和,例如《今、そこにいる僕》 中,ナブカ 即便意識到了自己的荒謬之處,也是不能夠很快的去接受的。而這方面目前做到極致的遊戲莫過於 Fomo3D 了。

左與右

如果只是單純的列舉這 8 個類目的話,好像缺少了那麼點意思,實際上在八角框架中,方向也是被賦予了一定含義的。

讓我們再來看一下這幅圖。

白與黑

(。。。)

當然,鼓舞的反面是煽動。

當然,使命也不完全是好的,守序邪惡通常比混亂邪惡的影響更大。古代中國打仗都知道要師出有名。歷史上的各種戰爭,哪邊又不是在為自己的使命戰鬥著呢?滅霸為什麼要消滅宇宙中一半的生命?是為了宇宙的平衡。Aya 最後為什麼會拾起《解體新書》?和父親一樣是為了追求自己的變態美學。

八角框架與炒幣

下面讓我們開始分析炒幣,炒幣能和遊戲化有什麼關係?但是 Griffith 似乎已經向我們表明,炒幣有可能帶來 Great Adoption。

Once people have something analogous to cash in their pocket they will want some way to use it.

The Burner is turning out to be a pretty great way to get adoption.
—— emojicoin.exchange a journey of onboarding and 💩 coining
—— 中譯,這個無聊的實驗說明,炒幣是人類的本能

首先是所有權(Ownership & Possession)與稀缺性(Scacity & Impatience),這構成了炒幣的必要基礎。然後是避免(Loss & avoidanc)和不確定性(Unpredictability & Curiosity),避免這裡自然體現在 Fomo,看著別人踩空是怎樣的一種幸福?

接下來是社會影響力和賦予創造力…
… 炒幣炒成 KOl 的大有人在。

創造力 -> Hype 。。。

接下來是成就與使命

成就很簡單,比如貨幣的做多開倉,分享圖。

How often do you get the chance to work on a potentially world-changing project?
—— Bitcointalk, Gavin Andresen Profile Page

炒幣炒出使命感的大有人在 ….

EOS 本身沒有風險。EOS 最大的風險在於,你以為有風險,可能拿不住。
—— EOS 信仰語錄大全

(WIP, Go here to check the livesteaming writing: https://hackmd.io/@E-5gxTGiSByBOKpvsaKa_g/H1Ms_gBZH/edit

智能合約如何幫助我們進行遊戲化

(滿分 5 分,但是即便做到 5 分也不足以抵抗因為用戶門檻而帶來的損失。)

  1. 使命感(儀式感)
    5 分(需要講故事),

  2. 成就感
    5 分,如果用戶賺錢,0 分,如果用戶虧錢
    (1。可以不是 0 和博弈嗎?2. 如果是 0 和博弈,應該讓賺錢的人更多)

  3. 賦予創造力
    。(開放 API?支持第三方開發?)
    Really Hard to Deliver。。

  4. 所有權 Ownership & Possession
    5 分,真財產所有權。
    (但是使用中心化的方法也能夠做到 5 分。)
    (比如如果用戶能夠打包數據隨時帶走。。)

  5. 社會影響力 Social Influence & Relatedness
    並不能夠直接幫助。。

  6. 稀缺性 Scarcity & Impatience
    10 分。。。真稀缺性。

  7. 不確定性 Unpredictability & Curiosity
    10 分。。真隨機數。
  8. 避免 Loss & Avoidance
    10 分。真 Fomo (參考閃電網路、與智能合約)

結論。。智能合約是一個黑帽工具。。。