GAMIFICATION AND GAMES, THEIR POTENTIAL FOR APPLICATION

IN MARKETING STRATEGIES

Katarzyna Wrona, M.Sc. Eng.

Institute of Aviation

Introduction
The goal of this work is to present the functioning of one of the latest marketing trends known as ga-
mification, the analysis of games used in gamification systems in terms of their structure and mechanisms,
as well as transferring gamification and games to the area of marketing activities.

What is gamification?
Gamification is the application of structure and mechanics of games (points, rewards, levels, challen-
ges, trophies) to the real world, in order to boost the engagement of users, change their behaviour and
solve problems of various kinds.
„Engagement” from the point of view of business is a close connection between the brand and the
consumer. When we take into consideration mobile technologies and Internet networks, the strength of
engagement can be measured by means of the following indicators:
• frequency of appearance,
• frequency of interaction,
• the duration of interaction,
• readiness for propagation,
• assessment1.
Only achieving a high level of engagement of the user can guarantee an adequate growth of income for
the company. Just informing and encouraging to make a purchase of an ever greater number of services
or goods has lost its significance.
In the marketing context, the term “loyalty” is used to define engagement. The term means that the
users will choose the benefit we provide, instead of reaching for our rival’s offer. Applying gamification
may help a company gain the upper hand on the market in times when the client has at his or her disposal
several similar, in terms of characteristics, price and availability, goods or services.
When we start thinking about clients as players, we change the approach to the brand itself and start
assuming a long, symbiotic cooperation based on pleasure and fun. Every subject area has a potential

1 G. Zichermann, Grywalizacja. Mechanika gry na stronach WWW i w aplikacjach mobilnych, Helion 2012, p. 11.

93
to become play, thus, it makes no difference which branch a company or institution represents. Whether
a game is funny depends not on the motive, but on the mechanics. This is what can capture a player’s
attention for a long time.
In the social media players can express their loyalty by sharing information, inviting friends, informing
them about the received awards – thanks to this people start talking about the brand associated with
a particular game. This gives the opportunity to stand out from the crowd and become the market leader.
Gamification systems can not only stimulate the growth of the clients’ loyalty and advertise a particular
brand. The spectrum of applications may be much broader – from motivating employees to take particular
actions to stimulating their creativity, which leads to innovative activity.
„According to Gartner (analytical company dealing with the IT market) by 2015 over 50% of non-govern-
mental organizations managing innovation, will gamify this process. It is also expected that by 2012 gamified
marketing services will become as popular as Facebook, eBay or Amazon and over 70% of the 2000 biggest
global concerns will have at least one application taking advantage of the concept of gamification...” 2.
„Harvard Business Review” placed gamification on the list of trends that can’t be ignored in the nearest
future. It was called “one of the most innovative marketing concepts of the recent years” 3.

What is a game?
John Huizing, Dutch historian and anthropologist, the author of “Homo ludens”, describes game as
a “...voluntary activity which we consciously separate from the “normal” world as “less serious” and at the same
time absorbing the player in an intensive and complete way. The activity is not associated with any material
gain and it cannot be a source of profits. The game is played in the player’s own space, both location and time,
according to predefined rules and according to a particular order.” 4
Games are separated from reality in the aspects of time and place. Complex narrative structure sup-
ported with physical (and sometimes only virtual) attributes – objects typical of a game, like pawns, chess
pieces etc. which are attributed with higher than their real value - are responsible for moving the player
into a different reality.
There are three basic types of narration:
• Telling stories - the audience is passive, plays the role of an observer, there is no interaction, this type
of narration isn’t typical of games.
• Forming stories - typical of chess games, the player himself forms the story.
• Wandering around a story - typical of the use of social media, MMORPG5, games, it is enough to
enter and immerse yourself in the world, establishing social relations.6

2 Definition quoted at www.poligamia.net „Czym jest gamifikacja i skąd ten szum dokoła niej?”
3 P. Tkaczyk, Grywalizacja. Jak zastosować mechanizmy gier w działaniach marketingowych, Helion 2012, p. 149-150.
4 Definition quoted in Ibidem, p. 14
5 MMORPG games (Massively multiplayer online role-playing game) – a kind of computer RPG, in which a large number of
players can play together in a virtual world. Similarly as in RPG games, the player impersonates a particular character and
controls its actions – source: Wikipedia
6 Ibidem, p. 19-22.

94
 Narrative program, according to Jim Banister – the owner and creative director of consulting agency
SpectrumDNA, consists of five basic elements. They are the following:
• Context – rules, regulations giving a structure to the narration, which at the same time impose limi-
tations.
• Content – the thing we can perceive with our senses.
• Community – interaction between players.
• Trade – exchange of value.
• Tools, code – limitations associated with the used technology, engine of the game.7
The structure of every game consists of the following elements:
• clearly defined condition of success,
• challenge or goal that a player has to achieve in order to win,
• actions or in other words activities expected from the player,
• obstacles, or difficulties encountered by the player on his way to the goal,
• rules establishing limitations.8
Rules created by the narrative layer create a specific order in the game. Breaching the rules results
in certain penalties and sanctions against the player. Game is a voluntary activity and thus accepting
its rules is the basic condition for the existence of the world of the game. At the same time the player
can also be rewarded with certain allowances and benefits, which help him or her bypass certain rules,
eg. purchasing tickets ahead of a whole queue.

Types of players and their motivation

According to Richard Bartle, the author of „Games People Play”, professor of the University of Essex,
players are motivated by four main factors:
• Discovering the world of a game – this is important for those who like to explore a virtual world
and learn about the rules governing it.
• Achievements within a game – this is important for those who consistently strive to achieve goals
set by the game and want to do their best.
• Establishing contacts with other people – essential for those who like interpersonal contact, conver-
sations, which can later be transferred to reality.
• Exerting influence on others – important for those who like chaos, challenge others to duels,
rob and kill others.9
The above types of behaviour have led Bartle to defining four basic categories of players:
• Explorers – they gather experiences, explore the world of a game, they want to learn as much about
it as possible. They are symbolized by the spade – digging into the world in search for knowledge.
• Achievers – they collect points, they like games with scoreboards and levels. The most important
7 Ibidem, p. 18-19.
8 Ibidem, p. 73-74.
9 Ibidem, p. 78.

95
 thing for them is to carry out the tasks in the game in a manner possibly closest to perfection. They
want to be better than others and for them failure usually means loss of interest in the game. They are
symbolized by diamonds – amassing wealth.
• Socialisers – they gain social experience and for them the game constitutes a start of long-term
social interactions. What counts for them are other players, the game itself is just the background for
establishing interesting contacts. They are symbolized by hearts – empathy is pleasure. This is the
most numerous group of players.
• Killers – they want other players to loose, they play in order to gain domination over others. They are
symbolized by clubs – having a weapon provides pleasure from the game. This is the least numerous
group of players.
Most players display all above types of behaviour simultaneously with one or two dominating types
of behaviour. Designing a game or a gamification system it is necessary to take into consideration the
motivation of each type in order to win them over and encourage them to make a greater effort and get
more involved.
Picture 1. Types of players, according to Bartle.10

Game mechanisms and dynamics

Mechanics is about the functional elements of a game. Dynamics is about the interaction of the player
with mechanics – building it properly leads to a situation in which the game becomes attractive for players
following various motivations. Sometimes these terms can be used in the same meaning.
The following are further combinations of dynamics together with appropriate mechanics:
• Points and feedback (rewards),
• Levels (status),
• Scoreboards (competition),
• Trophies (achievements and challenges),

10 G. Zichermann, Grywalizacja. Mechanika gry..., op. cit., p. 32.

96
• Instructions (introduction),
• Social engagement loops,
• Adaptation (expressing oneself ),
• Presents (altruism).
Points are awarded for desired activities in the game. They indicate the level of progress in the game.
Thanks to this the world of the game conditions the player to comply with the world’s rules. They also
help overcome one’s own weaknesses, show progress towards success. This is the favourite type of reward
for an achiever.
Feedback is an immediate reaction of the game’s environment to the activities of the player.
The availability of feedback is an advantage that games have over real life, in which the time of reaction
to people’s activities is much longer.
Levels create the structure of a game. They motivate players to participate in the game by providing
them with the feeling of satisfaction – it appears when the player advances to a higher level. They are
an indicator of the status of a player, understood as relative position in comparison to other participants
of the game. Status profits allow players to move ahead of others in a defined ranking system. Status gives
power and respect among players focused on competition. A well-designed game is the one in which the
status is always visible.
Scoreboards raise the involvement of players who want to compare themselves with others. They
derive greatest satisfaction from the awareness of competition and the possibility to boast about their
achievements.
Trophies (achievements and challenges) is a way of informing about completed tasks and progress
in exploring the system of a game. Sometimes they can replace levels as indicators of progress in a game.
They are supposed to provide “fun” and surprise. This is a mechanism which shows the challenges a par-
ticular player faced and what achievements he has. A unique combination of trophies allows a player to
express him- or herself. Winning a trophy leads to the release of dopamine into the brain. This hormone
is responsible for the feeling of pleasure and is often called the hormone of happiness.
Instruction is a process of introducing newcomers to the system. The first moment when a player gets
involved in the system is the most precious moment from the point of view of the game, as it is then that
the player decides whether to devote more time to the game. The first minute allows the player to “feel the
atmosphere” and learn about the way of functioning of the game. The main rules are that newcomers have
to remain anonymous and that they don’t loose during the introduction, because this could discourage
them from continuing the game. Introduction is essential for the creator of the (system) game, because
it allows him to learn something about the player.
In social engagement loops the starting point is a motivating emotion. Thanks to it the player returns
to the system, accepts social challenge to act, which is followed by progress in the game or winning
a reward, this again leads to a motivating emotion. Social engagement loops guarantee a viral effect to
systems. Such well-known media as Twitter take advantage of these loops.

97
 Picture 2. Social engagement loop.11

Reward system
Frederic Skinner, professor of psychology at the Harvard University, the creator of radical behaviorism,
conducting research on the bahaviours of various species as a consequence of interaction with the society,
proved that a person who expects a reward of a particular value, becomes frustrated when he receives
an award of lesser value. This is the so-called behavioral contrast. As Huizing pointed out, participating
in a game is fully voluntary for players, thus players may abandon a game, if they are not satisfied with
the received reward. Thus, it is necessary to be really careful about ending and modification of loyalty
programs, because such moves could cause undesirable reactions of current clients. Players who have
got used to particular rewards, may become aggressive and may display destructive behaviour, as soon
as they stop getting these rewards.
Rewards given to players can be distributed depending on the time they spent playing, or depending
on the scale of effort and engagement in the game.
The key to creating an adequate reward pattern in a gamification system is understanding the func-
tioning of intensifying stimuli. Intensification focuses on defining the way in which the conversion
of the expected reward into the player’s actions takes place, depending on the number of rewards and
the frequency of rewarding.
If the same reward is given at constant, defined intervals, in the period between successive rewards
the player will carry out only the tasks that are necessary to receive the rewards – no more, no less. This
is intensification or stimulation at constant interval, which results in only small engagement. In this ca-
se it is necessary to reckon with the eventuality that the player’s engagement will drop almost to zero

11 Ibidem, p. 69.

98
following a reward. The period of lack of activity is the longer, the more time a player has to wait to get
another reward.
If a player doesn’t know what the value of the reward will be or when he will get it, he will be much
more engaged in the tasks offered by the game. This kind of modifier can be called intensification
of variable schedule, or also operant conditioning. This model is used in gambling machines and in all
basic gambling models.
In practice, it is advisable to plan locating a few rewards of this kind in a game, independent of its real
context, as they are a very strong factor directing the behaviour of the player.12
Appropriately designed games apply a few reward patterns in order to encourage the player to first
repeat simple and later ever more complex tasks. The player participates in a game in order to be rewarded,
later he gets closer and closer to a state similar to trance, called flow.

Flow
According to Mihaly Csikszentmihaly, the author of the work „Flow. The psychology of optimum
experience”, flow is a mental state which can be described as concentrated motivation. It is achieved
by means of full emotional immersion in the experience of the carried-out task, which is characterized by
an appropriately high level of difficulty (it is assumed that the skill level of the person participating in the
challenge is just as high).
Csikszentmihalyi distinguished between ten components of the flow. They are the following:
• clear targets – clear tasks and challenges,
• high concentration,
• the loss of the feeling of self-awareness, thanks to identifying oneself with an avatar,
• disturbed perception of time,
• direct and immediate feedback,
• balance between the level of challenge and skills,
• the feeling of personal control,
• performing an activity itself treated as a reward,
• loss of physiological needs leading to hunger or exhaustion,
• limiting concentration to just the challenge lying ahead of the player.13
Leading into the state of flow can be achieved slowly, by ordering players to repeat certain tasks until
they fully master them and later raising the level of game’s difficulty.
Players who have entered the state of flow experience the feeling of exaltation, the feeling
that they are using their potential to the greatest possible extent, the feeling of maximum engagement
and satisfaction. This is the state sometimes experienced by sportsmen, creators, managers, employees
who achieve a breakthrough in their projects. Every success starts in the state of flow.14
12 Ibidem, p. 30.
13 P. Tkaczyk, Grywalizacja. Jak zastosować mechanizmy gier..., op. cit., p. 53-54.
14 J. Gandziarowska-Ziołecka, J. Średnicka, W poszukiwaniu stanu flow, Raport Game Industry Trends 2012,
Nowy Marketing 2012, p. 66.

99
Games in marketing
Research and scientific institutions, similarly as companies, in reaction to dynamic changes on the
market, resort to complex marketing strategies in order to build and maintain strong brands based on
close relations with clients.
One of the four elements of marketing-mix, along with product, distribution and price are promotional
activities. Thanks to promotional activities research and scientific institutions provide information about
their capacity and strategy for development. They do that by means of various channels of marketing
communication – direct contacts with the client, presenting messages by means of the Internet, the
media and printed materials.15
The used promotional activities help form a positive image of an institution, popularize its achieve-
ments and facilitate cooperation with the business sector, which helps win over new partners and finance
the conducted research.
For research and development institutions it is also important that promotional activities give them
the chance to disseminate and popularize the knowledge associated with the branch represented by
a particular institution, which may contribute to growth of interest in a particular area of knowledge
among youth and in turn raise the number of graduates of universities interested in joining an institution’s
scientific staff. A good example here is the program “Era inżyniera” (ed. “Age of engineers”), which was
launched by the Institute of Aviation together with a few dozen partners in 2008. It is targeted at young
people from secondary schools and it is supposed to popularize and boost the prestige of the profession
of engineer, which in turn is supposed to lead to raising the number of people choosing engineering
studies.
Currently, along with changing conditions for the functioning of companies the very essence of marke-
ting is subject to far-reaching transformation. The start of the 21st century is characterized by “information
overload” - this term was first used by Alvin Toefler, sociologist, the author of “Future shock”. Access to
the Internet has led to a situation in which information has turned from a scarce resource into a rather
worthless element of life . People’s time is a limited, precious resource and it has become important to
spend it in a possibly friendliest and most satisfying manner – experiences which can be “collected” have
gained great importance.16
Over the last decades traditional methods of promoting brands boiled down to providing information
about the existence of a product or a service on the market and hoping that the consumer will learn abo-
ut them, take them into consideration and in the end make a purchase. Brands were built on the basis
of USP – Unique Selling Proposition. The client would choose a few brands depending on their USP and
purchase the one he preferred. Later a particular brand would try to keep the loyalty of clients serving fur-
ther portions of information concerning various models and promotional campaigns. The very knowledge

15 J. Matulewicz, Marketing instytucji badawczych i naukowych – celowość i sposoby działania, MINIB. Marketing instytucji
naukowych i badawczych, Warszawa 2010, p. 52-53.
16 A. Olejniczak, Reklama – psychologiczne aspekty wpływu marketingowych sztuczek, MINIB. Marketing instytucji nauko-
wych i badawczych, Warszawa 2012, p. 207.

100
about a product was enough to make a client purchase it from a particular producer of service provider.17
Currently, considering the flood of information, customers have started defending themselves aga-
inst traditional advertising, which involves providing successive portions of data. They spend more
and more time in the social media asking their friends about their experiences and preferences. The power
of recommendations given by friends has become much greater than the power of access to information
from a producer or service provider. Interaction is very important and people don’t gain preferences
in the traditional, linear way any more. Clients have started favouring more and more the experien-
ces, which provide the opportunity to get immersed in the world of a brand (similarly as in the world
of a game). They have started paying not for USP, but for the time spent with a brand. Clients have
stopped following information, thus brands should offer them experiences and associated memories.
The traditional advertising model, where the producer was at the same time the source of the message
and the client was a passive recipient, is fading away.18
The application of advergames in contacts with clients can provide them with unique experiences,
which they are looking for. Advergames can inform about the existence of the brand of an institution,
help create its positive image. They can allow the recipients to get in touch with the brand over a long
period, through the Internet and other platforms such as mobile phones, CD and DVD discs. Games
of this kind also make it possible to build a database of potential clients and can constitute an important
element of competitions. With the use of games it is possible to attract fans in the social media, collect
players’ e-mail addresses, they allow education and even integration of members of a group or branch.
Games can utilize the following mechanisms: recommendation of a game, publication of results and the
possibility of comparing results. However, the most important element is always the game itself and the
experienced pleasure, advertising comes second19.
Taking into consideration the above deliberations, it seems reasonable that research and scientific
institutions, noticing changes in the essence of marketing and following changes on the market, should
use the potential given by the application of advergames in brand promotion.
We can offer to a potential client not only a brochure, or a leaflet, but also the immersion in an expe-
rience by giving him a game associated with the subject of conducted research or a particular research
achievement, or designed technology.
It is also necessary to remember about marketing functioning withing an institution itself. Games
can be successfully used in course of integration meetings, because they help build social connections
and as we know “we tend to like people who play games with us.20
Jesse Schell, a lecturer at Carnegie Mellon University, the author of „The Art Of Game Design: A Book
Of Lenses” defined game as “solving a problem which we regard as a play21.

17 P. Tkaczyk, Grywalizacja. Jak zastosować mechanizmy gier..., op. cit., p. 136.

18 Ibidem, p. 137-138.
19 A. Olejniczak, Reklama – psychologiczne aspekty..., op. cit. p. 214.
20 Ibidem, p. 139-140.
21 W. Świeczak, Inbound Marketing..., op. cit., p. 187-188.

101
 Business games are a useful element of employee trainings, offering the opportunity to solve complex
problems in form of play and efficiently motivating to learn and improve skills.

Gamification in marketing
We could go a step further, apply gamification and transfer mechanisms and solutions from games to
clients’ daily life in such a way that we get the target group more engaged, motivate it to take particular ac-
tions, which in effect will result in loyalty and attachment to a brand represented by a particular institution.
Gamification can facilitate communication of an institution’s brand with the recipient. If we adapt
the motivating factors appropriate for each type of players to the dynamics of the gamification system,
we can lead to boosting their engagement.
In order to implement gamification systems in relation marketing, we need to select a situation
we would like to transform into a game. The situation should correspond to the essence of a particular
brand and the lifestyle of clients. A good starting point for designing a gamification system is using par-
ticular rituals, daily habits which the clients may associate with a particular brand.
In „The Ritual Masters” published by the BBDO agency in 2007, rituals are divided into the following
categories:
• Preparation for battle – facing the challenges of daily life, after leaving home,
• Feasting – eating a meal together, celebrating meals, often after the hardships of daily life or stan-
ding up to a challenge,
• Beautification – care for health, looks and fitness,
• Return to encampment – the customer’s return home, to the office following a stormy meeting, then
relaxation replaces stress,
• Protection against the future – making sure that you are safe ahead of going to sleep22.
Gamification system associated with a brand should correlate with the client’s lifestyle, which accor-
ding to Ray Oldenburg, an American sociologist, revolves around three main centres: home, work and the
so-called third place. The third place means “home far away from home”, it is important from the social
point of view, it can be a theatre, cafe, restaurant, it is often purely virtual, like a message board or an
online game.23
The last and the most difficult stage of gamification is creating a coherent and comprehensive expe-
rience. This means both preparing a coherent plot layer and working out the names for procedures and
parts of the gamification system. Plot combined with the mechanics of games give purpose to the activi-
ties of the player and make it possible to keep his attention, offering new, but attainable targets. Players
in the state of flow derive pleasure from constantly perfecting their skills – successive tasks are not boring
and frustrating thanks to the level of difficulty.

22 Ibidem, p. 142-143.
23 Ibidem, p. 144-146.

102
 The following three pillars can guarantee success (this is where the sociologists’ term 3F generation
came from):
• Fun – pleasure, satisfaction,
• Friends – the opportunity to play within a community, group, making new contacts, cooperation,
competition,
• Feedback – receiving quick feedback concerning the actions taken by a player.24
Whole communities can be built around brands. A good example of this are fan-pages on Facebook.
Communities built on the basis of gamification create an environment in which clients contact each other
and the brand constitutes a background evoking nice connotations. Under such circumstances, subtle
messages and suggestions directed to recipients are received and absorbed better. Such a gamification
system gets players involved for a long time, gives them the satisfaction from progress in the game
and the struggle for status.
Gamification takes advantage of the players’ internal motivators, at the same time regular contests,
represented by loyalty programs, which involve winning prizes and trophies, are based on external moti-
vators – people participate in them to win the prizes and not to have fun. In gamification systems prizes
are an additional element intensifying engagement.
Gamification can be adapted to the individual needs of a consumer, but thanks to it it is also possible
to form social attitudes, promote healthy lifestyle and popularize education, because it can influence the
behaviour of players in their daily life.
Marcin Niewęgłowski in Raport Game Industry Friends25 gives a few examples of such applications. The
mobile application TrashOut designed by Slovaks was created in order to locate illegal garbage dumps.
For providing such information users get rewards, which are higher if a particular piece of information is
followed by additional action – for example organizing a cleaning team. Application called Goalpost is
targeted at smokers willing to quit smoking. The program offers successive goals, achieving these goals
is rewarded, all of this takes place in combination with support of friends from the social media.
Gabe Zichermann, Christopher Cunningham described Nike Plus application as an example of the
utilization of a gamification system. Nike recognized the purchasing of its brand products as a secondary
target and focused on the popularization of running. The application is a complex pedometer with a stop-
-watch, which offers a series of challenges to the runner. Thanks to them the runner can compete with
himself and with other runners. Runners are encouraged to connect to Facebook and inform others about
their results on their own scoreboards. When the runner starts running, the application sends information
to his friends and asks them for support. Every time when a friend from a social network clicks the but-
ton “like”, the application plays a “hurray” sound informing about support. Such a social loop boosts the

24 S. Starzyński, Gryfikacja, modny trend używany przez marketerów, Raport Game Industry Trends 2012, Nowy Marketing
2012, p. 46-47.
25 M. Niewęgłowski, Gamification: na zdrowie dla społeczeństwa i lepszej pracy, Raport Game Industry Trends 2012, Nowy
Marketing 2012, p. 68-69.

103
player’s motivation and his resolve to continue using the exercise program.26
The utilization of gamification systems has a broad potential which can be used for the marketing
activities of research and scientific institutions. Its the idea that counts – if it is successfully implemented,
it can make it possible to promote a brand, drawing a very broad group of players-customers into the ga-
mification system, address them and give them something more than just the offer and plain information
about it. Thanks to the adaptation of gamification, we can show the clients how significant they are, that
their disposition is important. We can give them fun, pleasure – thanks to this they will fall in love with
the brand and attach themselves to it for a longer time. At the same time, it can also be used to change
their behaviours and social attitude.

Bibliography
1. Gandziarowska-Ziołecka J., Średnicka J., W poszukiwaniu stanu flow, Raport Game Industry Trends
2012, Nowy Marketing 2012,
2. Jankowski J., Rozwój advergames i gier w marketingu, Raport Game Industry Trends 2012, Nowy Mar-
keting 2012, Nowy Marketing 2012,
3. Matulewicz J., Marketing instytucji badawczych i naukowych – celowość i sposoby działania, MINIB.
Marketing instytucji naukowych i badawczych, Warszawa 2010,
4. Niewęgłowski M., Gamification: na zdrowie dla społeczeństwa i lepszej pracy, Raport Game Industry
Trends 2012, Nowy Marketing 2012,
5. Olejniczak A., Reklama – psychologiczne aspekty wpływu marketingowych sztuczek, MINIB. Marke-
ting instytucji naukowych i badawczych, Warszawa 2012,
6. Starzyński S., Gryfikacja, modny trend używany przez marketerów, Raport Game Industry Trends
2012, Nowy Marketing 2012,
7. Świeczak W., Inbound Marketing jako forma marketingu internetowego, MINIB. Marketing instytucji
naukowych i badawczych, Warszawa 2012,
8. Tkaczyk P., Grywalizacja. Jak zastosować mechanizmy gier w działaniach marketingowych, Helion
2012,
9. Zichermann G., Grywalizacja. Mechanika gry na stronach WWW i w aplikacjach mobilnych, Helion
2012.

Websites
• www.poligamia.net

26 G. Zichermann, C. Cunningham, Grywalizacja. Mechanika gry na stronach WWW i w aplikacjach mobilnych, Helion
2012, p. 94-95.

104