Design games as a tool, a mindset and a structure Kirsikka Vaajakallio
Design games as a tool, a mindset and a structure Kirsikka Vaajakallio
Design games as a tool, a mindset and a structure Kirsikka Vaajakallio
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Above I pointed out some of the benefits that can be reached when placing<br />
the scenario creation into an actual application context. Besides the<br />
positive influence, there are some challenges <strong>as</strong> well. Particularly in service<br />
design, defining the use context may be hard since it typically covers<br />
several locations bound together <strong>as</strong> a customer journey (Figure 14), i.e.<br />
the experience consists of several activities <strong>and</strong> stages such <strong>as</strong> preparation,<br />
approach, arrival, actual service experience, <strong>and</strong> follow-up. Demonstrating<br />
a customer journey in-situ, through acting out the scenario, may<br />
hence not serve the purpose of envisioning new experiences, <strong>as</strong> it works<br />
with a more specific object-b<strong>as</strong>ed design. Besides several places, service<br />
experience often involves many people.<br />
arriving to<br />
the shopping<br />
centre<br />
trying to find<br />
the pharmacy<br />
customer<br />
service in<br />
the pharmacy<br />
payment at<br />
the c<strong>as</strong>hier<br />
Fig.14<br />
Since services take place in many locations <strong>and</strong> environments, in-situ performances may not be<br />
appropriate. Especially acting out the whole service journey, like the one illustrated in the image,<br />
is challenging. (Image adapted from Johanna Nieminen’s MA thesis work she did <strong>as</strong> part of the<br />
Service Business Cl<strong>as</strong>sification project at Aalto University, Service Factory. That particular customer<br />
journey is b<strong>as</strong>ed on observations done in 2010 in Iso Omena shopping centre in Finl<strong>and</strong>.)<br />
To avoid time consuming <strong>and</strong> complex settings, envisioning future scenarios<br />
are often performed in meeting rooms, where it is e<strong>as</strong>y to invite<br />
several people such <strong>as</strong> users, designers, stakeholders at once; researchers<br />
typically do some preparatory fieldwork to get familiar with the practice<br />
context <strong>and</strong> draw from that when designing a co-design gathering. In addition,<br />
the artificial environment apart from peoples’ everyday practices<br />
may sometimes make it e<strong>as</strong>ier to change roles <strong>and</strong> gain fresh viewpoints.<br />
When we <strong>as</strong>k people to act scenarios, we should remember community<br />
drama facilitator Chris Johnston’s (1998/2005, p 63) point about performing<br />
in drama workshops 10 , namely, “for a participant there’s nothing<br />
worse than showing vulnerability <strong>and</strong> having it disrespected”. Therefore,<br />
10 He defines a drama workshop in the following way: “[…] a collaborative event which might have<br />
one of the following objectives: recreation, learning, experimentation, debate, confidence-building,<br />
research into social conflict or even devising a play. […] it uses the drama medium <strong>and</strong> tends not to<br />
involve the presence of an audience.” (Johnston, 1998/2005, in the introduction)<br />
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