How Games Create Deep Flow (Lessons for EdTech)

The adventure game, Journey

Imagine a classroom where students are so engrossed in their learning activities that they lose track of time, forget about their worries, and feel a sense of joy and accomplishment. This is not a fantasy, but a possible reality when students experience the flow state.

The flow state, also known as being “in the zone”, is a psychological phenomenon that occurs when people are fully immersed in a challenging but enjoyable task that matches their skills and abilities.

Flow is a psychological state of optimal experience, where one is fully immersed and engaged in an activity. It is often associated with positive emotions, high performance, and intrinsic motivation. Flow has been studied in various contexts, including games. We’ve found that games can help us enter a flow state, and we can even measure the flow that is happening during activities.

You have likely seen this visual before. It’s pretty simple, and describes how matching the challenge level with the skill level of the person can let them access the Flow Zone.

Garry Chan adapted from Nakamura & Csikszentmihalyi

But have you seen this visual that gets at more of the nuances of the Flow State? One main thing we can take from this updated diagram is that low skill level and low challenge level are a recipe for apathy. We need to find ways to increase their skill level so we can give them harder challenges and allow them to access the true Flow State.

From Csikszentmihalyi

According to Csikszentmihalyi, the pioneer of flow research, there are nine dimensions that characterize the flow experience. Here is a brief explanation of each dimension and some examples of how they are used in games and gamified learning experiences:

Challenge-skills balance
Action-awareness merging
Clear goals
Immediate and unambiguous feedback
Concentration on the task at hand
Sense of control
Loss of self-consciousness
Autotelic experience
Transformation of time

Challenge-skill balance

This dimension refers to the optimal match between the perceived level of challenge and the perceived level of skill. When the challenge is too high or too low compared to the skill, one may feel anxious or bored, respectively. When the challenge and skill are balanced, one may feel engaged and motivated. Games often use adaptive difficulty, level design, and feedback mechanisms to create a challenge-skill balance for different players.

Harmonix

Guitar Hero is a game that supports the challenge-skill balance dimension of flow by providing different difficulty modes, feedback mechanisms, and rewards that adapt to the player’s skill level and performance. Guitar Hero is a game that allows the player to play various songs using a guitar-shaped controller. The game supports the challenge-skill balance dimension of flow through:

• Difficulty modes: The game allows the player to choose from four difficulty modes (Easy, Medium, Hard, and Expert) that affect the number and speed of notes the player has to hit on the controller. The game also allows the player to change the difficulty mode at any time during the game. The game provides different levels of challenge that match the player’s skill level and preferences.
• Feedback mechanisms: The game provides feedback mechanisms that show the player’s performance and progress during and after each song. The game uses a rock meter, a score multiplier, and a star power meter that indicate how well the player is playing and how close they are to failing or succeeding. The game also uses sounds, visuals, and animations that indicate the results and consequences of each action.
• Rewards: The game rewards the player with points, stars, in-game money, and unlockable songs and features that motivate the player to improve their score and progress. The game also rewards the player with applause, cheers, or boos from the audience that reflect the player’s performance.

By providing these elements, Guitar Hero creates a challenge-skill balance for different players that can enhance their flow experience. The game allows the player to select a difficulty mode that matches their skill level and provides them with a clear goal and a manageable challenge. The game also provides immediate feedback and rewards that inform the player about their results and consequences of their actions. The game also encourages the player to increase their skill level and challenge themselves by offering more songs, features, and modes that require more accuracy and speed.

IGN

Clear goals

This dimension refers to the clarity and specificity of the goals or objectives of the activity. Having clear goals helps one to focus on the task and to monitor progress. Games often provide clear goals through quests, missions, objectives, or achievements that guide the player’s actions and expectations.

Firaxis Games

Civilization VI is a simulation game about creating an empire from scratch and leading it from ancient times through multiple historical eras and into and even beyond the present day. It’s famous for being one of those “just one more turn” games where it’s difficult to put down, like a really good book. The game supports the clear goals dimension of flow by providing players with:

• Overarching Goals: The game can be won in one of four ways, but gaining a Domination, Science, Cultural or Religious Victory. Each of these have different end states that need to be reached, and the player can track how they (and their opponents) are progressing on each of these victory tracks throughout the game.
• Micro-Goals: There are many small goals to achieve and track throughout the game. They include: City management like keeping your citizens happy and productive, and strategically placing districts to benefit from bonuses and yields; Research and Technology including unlocking key technologies, and utilizing eurekas and inspirations to accelerate research; Military goals such as upgrading units and utilizing terrain bonuses and formations to maximize effectiveness; and finally Diplomacy and Espionage including building strategic alliances with other civilizations, and using spies to steal technology or sow discord among your enemies.
• Clear Feedback Mechanisms: These include: Visual Indicators like city icons, yield overlays, happiness & amenities, and science & culture progress; Tooltips and Notifications including hovering over most elements to gain more information, notifications for important events, and dedicated screens for subtasks like victory conditions and attempts at diplomacy; and Audio Cues such as civilization unhappiness, city growth and research completeness.

These elements create a sense of direction, purpose, identity, strategy, reward, and challenge for the players, which can enhance their immersion and engagement in the game. Civilization VI is an example of how game design can facilitate flow experiences for players who enjoy historical simulation games.

Control

This dimension refers to the sense of agency and autonomy over the activity. Having control means that one can influence the outcome of the activity and make choices that matter. Games often provide control through interactivity, branching narratives, customization, or player-generated content that allow the player to shape their own experience.

Nintendo

A game that provides control is Zelda: Breath of the Wild (BotW), which is an action-adventure RPG that lets you control the main character, Link as they journey and discover a vast and open world of Hyrule to rescue the Princess Zelda.

The game provides control through:

• Freedom of Movement and Exploration: The game uses open-world design, flexible movement mechanics, non-linear progression, environmental puzzles and challenges, and gear and inventory management. In essense, In essence, BotW flips the script on traditional game control. Instead of the game dictating where you go and what you do, it offers a vast, interactive world and the tools to explore it freely. This freedom of movement and exploration empowers you to define your own goals, experiment with solutions, and ultimately control your own adventure in Hyrule.
• Flexibility and Strategic Choices: The game offers: Flexible Combat with multiple weapon choices, enemy weak points, and open-ended solutions; Strategic Resource Management through weapon durability, and crafting and cooking mechanics; and Exploration and Problem-Solving including shrines and environmental puzzles with multiple solutions, and quests and challenges that can be completed through combat, stealth or cleverly using the environment.
• Customization and Expression: The game allows: Playstyle Customization with flexible character builds and rune ability utilization; Approaching Challenges including open-ending solutions and completist freedom; and World Exploration and Interaction such as fashion choices like armor and clothing, and Environmental Interaction with interactive elements like collecting bugs, lighting torches and simply admiring the scenery.

(Immediate) feedback

This dimension refers to the timely and relevant information that informs one about the results of their actions. Feedback helps one to adjust their performance and to learn from their mistakes. Games often provide feedback through sounds, visuals, scores, rewards, or punishments that indicate the consequences of the player’s actions.

Innersloth

Among Us is a casual and humorous multiplayer game that involves playing as a crewmate or an impostor in a spaceship or a base. The crewmates have to complete tasks and find the impostors, while the impostors have to eliminate the crewmates and sabotage the mission. The game provides immediate feedback by showing the player their role and objective, as well as indicators on how to achieve it. The game also features chat, voting, and animations to enhance the social and emotional aspects of the game.

Some examples of how Among Us provides immediate feedback are:

• Role and objective: At the start of each round, the game randomly assigns each player a role of either crewmate or impostor. The game also shows each player their objective for the round, such as completing tasks, finding impostors, eliminating crewmates, or sabotaging the mission. The game gives clear and concise information on what each player has to do and why.
• Tasks: The crewmates have to complete various tasks around the map, such as wiring, scanning, or fueling. The game shows each player their task list and their progress on completing them. The game also gives visual and auditory feedback on whether the player has successfully completed a task or not, such as a green check mark, a sound effect, or an animation.
• Sabotages: The impostors have to sabotage the mission by causing malfunctions or crises, such as turning off the lights, locking doors, or triggering a reactor meltdown. The game shows each player when a sabotage has occurred and how to fix it. The game also gives feedback on whether the sabotage has been resolved or not, such as a countdown timer, a sound effect, or an animation.
• Bodies: The crewmates have to report any bodies they find by pressing a report button. The game shows each player when they can report a body by displaying a report button and an exclamation mark. The game also gives feedback on whether the body was reported or not, such as a siren sound, an animation, or a message.
• Meetings: The players have to discuss and vote for who they think is the impostor during meetings. The game shows each player when they can call a meeting by displaying an emergency button or a meeting button. The game also gives feedback on who called the meeting, who voted for whom, and who was ejected or not, such as chat messages, voting results, or animations.

Among Us is a game that supports the immediate feedback dimension of flow by providing players with clear and timely information about their role, objective, and actions. The game also enhances the social and emotional aspects of the game by featuring chat, voting, and animations. Among Us is an example of how game design can facilitate flow experiences for players who enjoy multiplayer games.

Autotelic experience

This dimension refers to the intrinsic motivation and enjoyment of the activity for its own sake. Having an autotelic experience means that one does not need external rewards or pressures to engage in the activity, but rather finds it inherently satisfying and rewarding. Games often provide an autotelic experience through fun, aesthetics, challenge, or curiosity that appeal to the player’s intrinsic interests and preferences.

Sony Computer Entertainment

A game that provides an autotelic experience is Journey, which is an adventure game that involves exploring a vast desert and reaching a distant mountain. The game does not have any dialogue, text, or explicit goals, but rather relies on the player’s curiosity and emotions to create a meaningful and enjoyable experience.

The game provides an autotelic experience through:

• Fun: The game allows the player to have fun by interacting with the environment, such as sliding on sand, flying with cloth, or singing with glyphs. The game also allows the player to have fun by interacting with other players, such as helping, following, or communicating with them.
• Aesthetics: The game offers aesthetics by creating a beautiful and immersive world, such as colorful landscapes, dynamic weather, and atmospheric music. The game also offers aesthetics by creating a mysterious and emotional story, such as discovering ancient ruins, encountering mystical creatures, and facing dangers and hardships.
• Challenge: The game provides challenge by creating a sense of curiosity and discovery, such as exploring unknown areas, finding hidden secrets, or unlocking new abilities. The game also provides challenge by creating a sense of urgency and danger, such as escaping from enemies, surviving harsh conditions, or overcoming obstacles.
• Curiosity: The game stimulates curiosity by creating a sense of wonder and awe, such as witnessing spectacular sights, experiencing magical moments, or reaching the final destination. The game also stimulates curiosity by creating a sense of mystery and ambiguity, such as leaving clues, symbols, and hints that invite the player to interpret and imagine their own meaning.

By providing these elements, Journey creates a sense of autotelic experience for the player that can enhance their flow experience. The game allows the player to enjoy the activity for its own sake and not for any external rewards or pressures. The game also provides meaningful experiences that reflect the player’s values and goals. The game also encourages the player to express their creativity and identity through their actions and choices.

Loss of self-consciousness

This dimension refers to the reduced awareness of oneself and one’s surroundings. Losing self-consciousness means that one is not distracted by irrelevant thoughts or worries, but rather fully immersed in the activity. Games often induce a loss of self-consciousness through immersion, presence, or identification that create a sense of being in another world or role.

Ubisoft

A game that induces a loss of self-consciousness for learners is Assassin’s Creed: Discovery Tour, which takes the popular video game series Assassin’s Creed and turns it into an educational experience where the player explores historical settings and learns about different cultures. The game also uses realistic graphics, sound, and narration to create a sense of immersion and presence.

The game supports the loss of self-consciousness dimension of flow through:

• Immersion: The game creates immersion by creating a realistic and detailed world, such as ancient Greece, Egypt, or Rome, that the player can explore freely and interact with. The game also creates immersion by using realistic graphics, sound, and animation that make the player feel like they are in another time and place.
• Presence: The game creates presence by allowing the player to choose from different characters and perspectives, such as a warrior, a scholar, or a tourist, that suit their preferences and goals. The game also creates presence by using a first-person or a third-person view that make the player feel like they are part of the world and the story.
• Identification: The game creates identification by allowing the player to learn about different cultures and histories, such as myths, legends, art, or politics, that interest them and resonate with them. The game also creates identification by using narration, dialogue, and interaction that make the player feel like they are connected to the world and the people.

By providing these elements, Assassin’s Creed: Discovery Tour creates a sense of loss of self-consciousness for the player that can enhance their flow experience. The game allows the player to forget about themselves and their surroundings and become fully absorbed in the activity. The game also provides meaningful experiences that reflect the player’s values and goals. The game also encourages the player to express their creativity and identity through their exploration and learning.

Time transformation

This dimension refers to the altered perception of time during the activity. Time transformation means that one may lose track of time or feel that time passes faster or slower than usual. Games often cause time transformation through pacing, flow triggers, or suspense that manipulate the player’s attention and arousal.

Maxis

The Sims is a life simulation game that allows players to create and control virtual characters and their lives. The game uses a variable time scale that changes depending on the actions of the player and the events in the game. I used to work on The Sims development team back in the day and can assure you that this game is very engaging and cause the player to lose track of time!

The game supports the time transformation dimension of flow through:

• Pacing: The game allows the player to adjust the speed of the game according to their preferences and goals. The game has four speed modes (Normal, Fast, Ultra Speed, and Pause) that affect how fast or slow the time passes in the game. The player can also use a clock and a calendar to keep track of the time and date in the game.
• Flow triggers: The game uses flow triggers, which are events or stimuli that capture the player’s attention and increase their arousal. The game has various flow triggers, such as needs, wishes, opportunities, or emergencies, that require the player to respond quickly and effectively. The game also has various flow triggers, such as relationships, careers, hobbies, or achievements, that require the player to plan ahead and strategize.
• Suspense: The game creates suspense by creating a sense of uncertainty and anticipation for the player. The game has various elements that create suspense, such as random events, surprises, twists, or outcomes, that can affect the player’s characters and their lives. The game also has various elements that create suspense, such as goals, challenges, risks, or rewards, that can motivate the player to achieve their desired outcome.

By providing these elements, The Sims creates a sense of time transformation for the player that can enhance their flow experience. The game allows the player to experience different perceptions of time depending on their actions and choices. The game also provides meaningful experiences that reflect the player’s values and goals. The game also encourages the player to express their creativity and identity through their characters and their lives.

Concentration

This dimension refers to the intense focus and attention on the activity. Concentration means that one is not easily distracted by external or internal stimuli, but rather fully absorbed in the activity. Games often foster concentration through challenge, complexity, or novelty that require the player’s cognitive and emotional engagement.

Nintendo

Mario Kart 8 Deluxe is a game that involves racing and driving with various characters and vehicles. The game supports the concentration dimension of flow through:

• Challenge: The game provides challenge by creating a sense of curiosity and discovery, such as exploring different tracks, collecting coins, or unlocking items. The game also provides challenge by creating a sense of urgency and danger, such as avoiding obstacles, using items, or competing with others.
• Feedback: The game provides feedback by showing the player’s performance and progress through speed, position, lap, and time. The game also provides feedback by using sounds, visuals, and animations that indicate the results and consequences of each action.
• Adaptive difficulty: The game uses adaptive difficulty by offering different modes and options that suit the player’s preferences and goals. The game also uses adaptive difficulty by adjusting the speed and behavior of the opponents according to the player’s skill and performance.

By providing these elements, Mario Kart 8 Deluxe creates a sense of concentration for the player that can enhance their flow experience. The game requires the player’s full attention and reflexes to complete the race and achieve their desired outcome. The game also provides meaningful experiences that reflect the player’s values and goals. The game also encourages the player to improve their performance and have fun with their friends.

Merging action-awareness

This dimension refers to the harmony and integration between one’s actions and awareness. Merging action-awareness means that one does not need to think consciously about what to do next, but rather acts intuitively and spontaneously. Games often facilitate merging action-awareness through skill mastery, flow zones, or muscle memory that enable the player to perform effortlessly and automatically.

Meta & Beat Games

Beat Saber is a game that involves slicing musical blocks with virtual sabers in sync with the rhythm. The game supports the merging action-awareness dimension of flow through:

• Simple controls: The game uses simple controls that allow the player to use natural and intuitive movements to play the game. The game only requires the player to use two controllers, one for each hand, and to move them according to the direction and color of the blocks. The game does not require any complex or confusing buttons or menus to navigate or interact with.
• Minimal graphics: The game uses minimal graphics that create a clear and focused visual environment for the player. The game only shows the blocks, the sabers, and the background, which are designed to match the music and the mood of the game. The game does not show any unnecessary or distracting elements, such as text, icons, or characters, that may interfere with the player’s attention and awareness.
• Ambient music: The game uses ambient music that creates a relaxing and immersive auditory environment for the player. The game features various songs from different genres and styles that suit the player’s preferences and goals. The game also synchronizes the music with the blocks and the sabers, creating a sense of harmony and rhythm for the player.

By providing these elements, Beat Saber creates a sense of merging action-awareness for the player that can enhance their flow experience. The game allows the player to act effortlessly and automatically without thinking or reflecting on what to do. The game also provides meaningful experiences that reflect the player’s values and goals. The game also encourages the player to express their creativity and identity through their actions and choices.

Joanna Lovejoy is Head of Learning at Kinjo and former Director of Curriculum and Instruction at Alpha School. She has visited dozens of museums around the world and she had this to say about immersive experiences and deep flow:

Fever Labs Inc.

“The 2017 Vincent Van Gogh immersive art exhibit skillfully incorporates two key elements of flow — loss of self-consciousness and transformation of time perception. Van Gogh’s swirling skies and vibrant landscapes captivate visitors, while synchronized music queues bursts of colors.

The incorporation of Van Gogh’s personal letters, contrasted against art from the same period and animated portraits that breathe and blink, blurs the lines between observer and artwork.

This immersive approach mirrors techniques used in video games, such as engaging environments and interactive storylines that captivate players, allowing them to lose sense of time and self. By integrating these elements, the exhibit transcends traditional art displays; it creates an educational and emotionally resonant experience. Visitors gain a deeper understanding of Van Gogh’s artwork and life, enhanced by a unique educational approach that leverages unexpected methods to boost learning and engagement.”

Designing for the Dimensions of Flow

Designing for learning is the process of creating learning environments, content, and tools that can accommodate individual learning differences and optimize teaching and learning for all people. One approach to designing for learning is Universal Design for Learning (UDL), which is based on scientific insights into how humans learn and guides the development of flexible learning environments and spaces that can meet the needs of diverse learners.

A non-game designer can use the nine dimensions of flow as principles to design for learning by applying them to the UDL framework, which consists of three main guidelines: provide multiple means of engagement, representation, and action and expression.

Here are some examples of how to do this:

Provide multiple means of engagement

This guideline aims to stimulate interest, motivation, and persistence in learning by addressing the affective networks of the brain. To achieve this, a non-game designer can use the following dimensions of flow:

• Challenge-skills balance: Provide learners with options to adjust the level of difficulty and complexity according to their abilities and preferences. For example, offer different levels of scaffolding, support, or guidance; allow learners to choose their own goals or challenges; or use adaptive technologies that tailor the content to the learner’s level.
• Clear goals: Provide learners with explicit and measurable learning objectives and criteria for success. For example, use rubrics, checklists, or models to communicate expectations; provide feedback loops or progress indicators; or use gamified elements such as badges, points, or levels to show achievement.
• Autotelic experience: Provide learners with opportunities to pursue their own interests, passions, and values in learning. For example, offer choices of topics, formats, or media; incorporate authentic or real-world problems or scenarios; or use project-based or inquiry-based learning approaches.

Provide multiple means of representation

This guideline aims to present information in different ways and formats that suit diverse learners’ preferences and needs by addressing the recognition networks of the brain. To achieve this, a non-game designer can use the following dimensions of flow:

• Action-awareness merging: Provide learners with immersive and engaging learning experiences that capture their attention and focus. For example, use multimedia elements such as audio, video, images, or animations; use interactive elements such as simulations, games, or virtual reality; or use storytelling elements such as narratives, characters, or emotions.
• Unambiguous feedback: Provide learners with timely and specific feedback that helps them monitor their understanding and performance. For example, use formative assessments such as quizzes, polls, or self-checks; use feedback mechanisms such as hints, tips, or explanations; or use peer feedback or collaborative learning strategies.

Provide multiple means of action and expression

This guideline aims to enable learners to demonstrate their learning in different ways and modes that suit their abilities and preferences by addressing the strategic networks of the brain. To achieve this, a non-game designer can use the following dimensions of flow:

• Concentration on the task at hand: Provide learners with clear and relevant instructions and prompts that guide them through the learning process. For example, use chunking strategies to break down complex tasks into manageable steps; use scaffolding strategies to provide support or cues at appropriate moments; or use modeling strategies to demonstrate examples or best practices.
• Sense of control: Provide learners with options to exercise autonomy and agency in their learning. For example, offer choices of methods, tools, or resources; allow learners to set their own pace or sequence; or use self-regulation strategies such as goal-setting, planning, or reflection.
• Loss of self-consciousness: Provide learners with a safe and supportive learning environment that reduces anxiety and enhances confidence. For example, use positive and constructive feedback; use praise and encouragement; or use inclusive and respectful language and practices.
• Transformation of time: This dimension of flow can be considered as an outcome rather than a principle of designing for learning. When learners experience flow, they may lose track of time or perceive it differently. This can indicate that they have entered the Magic Circle and are deeply engaged and enjoying the learning process.

By using the nine dimensions of flow as principles to design for learning, a non-game designer can create learning experiences that are more likely to foster flow states in learners, which can lead to enhanced learning outcomes, satisfaction, and well-being.

This article originally appeared in Stanford University’s Game Design Thinking.

About the author:
Chris Bennett has over 20 years of interactive game design experience including three very successful franchises: The Sims, Diner Dash and Tiger Woods PGA Tour. Chris works with and advises companies including Toyota, Microsoft, Kinjo and Digital Media Academy on measurably improving engagement and learning at scale.

Chris is an invited lecturer on games and learning at Stanford University Graduate School of Education. His work has been recognized by NBC TV, NPR, Forbes.com and the San Francisco Chronicle. Follow Chris on Linkedin.

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