On average, a development project takes 3 to 6 months. If the content is highly complex or if there are many stakeholders involved, we often start with an analysis process in which we carefully map out the problem and the context. Based on the results of this analysis, we then develop a paper prototype that we can test with the target audience. Although this is often time-consuming in the beginning, our experience is that this investment pays off handsomely later on.
Not all our work is digital, but most of it is. The important thing to remember with us is that digital is never the starting point. Technology follows content. That said, we at IJsfontein are always interested in innovative technologies and we like to see how they could make a valuable contribution in achieving the goal.
A serious game is especially suitable for learning new behaviours, although less so for the straightforward transfer of knowledge. In a game, you learn by experiencing something. During the initial discussions, we complete the Playful Learning Canvas together with the client. By filling out this canvas, we highlight the client's requirements from a variety of different angles and we can soon find out if and how a game can contribute to achieving their goal. We also offer separate canvas sessions in which we explore whether a game is a good solution in the first place and what kind of game would best suit the target group and objective.
Some stories are best told in an interactive way. That is why interactivity is increasingly being used for exhibitions and other spaces with an informational function (public space, hospital, reception area). This can be achieved with interactive objects that are part of an exhibition, such as touch screens, and/or by giving people their own personal 'guided tour' with an audio-tour or multimedia tour. To get the best results, it is always important to collaborate with curators and content experts. Costs vary depending on the type of project, of course, but here is a rough indication: we can develop an audio-tour starting at 30,000 euro. However, interactive installations require not only an attractive application with content, but also hardware that is durable even with constant use. So, for a small interactive installation, the costs quickly rise to around 40,000 euro. For larger interactive installations or complete exhibitions, we work with budgets ranging from 100,000 euro to more than 1 million euro.
It is difficult to say EXACTLY what we do. We do so many different things. Yet there is a common thread in our work, because the key words are always 'playing' and 'learning'. Sometimes it's about 'hardcore' learning in which you get credits for using one of our tools, while at other times the goal is more focused on having fun. At IJsfontein, we are very good at making complex content accessible by applying technology and design in the right way.
You can come to us if you want to have a serious game or gamified e-learning module developed. For example, to train staff or bring about behavioural change in patients.
We also think about the role of technology and games in public spaces and develop interactive installations for museums.
Designing for children is in our DNA. This ranges from a fun app for toddlers to an online platform to make young people aware of what constitutes unwanted sexual behaviour. For example, we have collaborated a lot with Malmberg. Together we digitise and gamify learning methods and think about the place that digital learning games should have in the classroom.
That varies enormously. It depends partly on the complexity of the content, but also on what is desired when it comes to technology and form. A multiplayer game suitable for all devices costs more than a straightforward quiz for the iPhone. To give you an indication, you can develop a small game starting at 40,000 euro. The cost of games that need to offer more than the standard game concepts, whether conceptually, visually or technically (medium-sized games), can quickly rise to between 80,000 and 120,000 euro. Because these projects tend to be innovative in character, we create prototypes and carry out tests to see whether the game has the desired effect. Part of a project budget is reserved for finetuning the game based on test results. The large games we develop are usually part of a learning programme or form a standalone learning method. These projects can have a budget of several hundred-thousand to more than 1 million and are designed to guide players' development over an extended period of time.
We start nearly all our projects with a canvas session. This is a half-day session, where together with our client we fill in the IJsfontein Playfulness Canvas. This A2 Canvas is derived from the more familiar business model Canvas. The business model Canvas is mainly used as a tool for developing or sharpening a business model.
The Playfullness Canvas is used in a similar way, except we use it to see if and how we can use Play to solve a problem. The canvas has boxes with questions that we fill in together with the client. Ideally, we do this with three people from IJsfontein and three people from the client organisation.
The outer ring contains boxes of questions that we use to identify the preconditions that ensure the solution will actually have the impact we want. They are questions on topics like: 'goal of the project', 'the player's goal', 'inspiration', 'the assignment in 5 bullets', 'sources of inspiration', 'opportunities', and 'context'. Once the boxes are filled in and there is a consensus, we zoom in and work out the preconditions for the solution yet to be devised. This is what the central part of the canvas is for. For example, we describe what emotions or reactions we want to elicit from the players, what game mechanics might go with that, and what playing the game should look like. Every box in the canvas will affect the boxes next to them, so it's quite a puzzle.
A canvas session is not an easy session. It often reveals conflicting ideas. And yet that is precisely what makes it so powerful. It is a great starting point for resolving an issue. We not only get everyone facing in the same direction, but we are also able to set down a concept at a very high level.
A canvas session does not have to be linked to a project at IJsfontein. We can facilitate a session as a 'one-off', and a company or department can use the insights gained to implement steps of its own.
Please contact us if you want to know more.
Serious games can have a wide range of purposes. Here are a few examples:
Serious games are used in education, healthcare, and business.
Evidence-based design is our own working method derived from SCRUM. In our Playlab, we have the ability to test our products right from the start of development. In many cases, we first develop a paper prototype that we can use to test with the target audience. We do this regularly, so that we know throughout the project whether the concept is going to achieve the desired results. This way of working has become increasingly important in recent years, especially when we make something for healthcare. 'Evidence based' is a hard requirement here. By already testing and working with proven principles during the development process, our final products are often validated faster.
A serious game is a complete game where you step into another world. A world where different rules apply and where you can experiment freely. In gamification, game principles are applied to real life.
E-learning means 'electronic learning'. As a serious game is often digital, it can fall into the category of e-learning. However, in practice, they are seen as two different things. In a serious game, the player's behaviour is the central factor. Serious games are designed by game designers who think from form and experience. By contrast, e-learning modules are designed by educators who think more from content and didactic steps. Depending on your learning objective, you can choose to develop a more traditional e-learning format or a serious game. And there are many forms in between. One form may not actually be a game, but the user is still motivated by game mechanics to continue learning or repeat an exercise. But be careful - simply applying a few game mechanics is not generally a good idea. This can often have a negligible or even the opposite effect. Game design is a professional skill!
Many of our games are made for a specific audience and are not available to the public. However, we can often demonstrate these games on request. A number of our games can be played online:
You can experience our interactive installations in such places as:
Finally, a selection of our apps you can download:
The company founders, Hayo Wagenaar and Jan Willem Huisman, came up with the name IJsfontein (Ice Fountain). As students at HKU, they created a little children's game based on a number of children's songs on a CD. The title song was 'King Winter' and that became the name of their game. Since this was the beginning of their collaboration, they wanted a name that referred to King Winter. There is also a contrast within the name 'IJsfontein': ice is static whereas a fountain is dynamic. And in our work, we use contrasts of all kinds to design the rhythm and experience, such as dark versus light, stillness versus busyness, fast versus slow.