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G|A|M|E – The Italian Journal of Game Studies
The article distinguishes gamification as market expansion for the video game industry, as pointsification, and as a broader cultural shift. Each meaning shapes how the practice is judged.
Ivan Mosca's "+10! Gamification and deGamification" examines the contested meaning of gamification and argues that its prevalence carries significant cultural and ethical costs. The author begins by distinguishing competing definitions: gamification as market expansion for the video game industry, as "pointsification" (the application of points, badges, and rewards to non-game contexts), and as a broader cultural phenomenon in which the ludification of serious practices and the seriousization of play blur together. Drawing on philosophical accounts of culture as an implicit, serious fiction rooted in play, the work asks whether gamification simply makes culture's ludic origins explicit or instead risks converting play into labor.
The central thesis is that gamification inherently generates "degamification." As game mechanics become pervasive, their playfulness erodes, and the autotelic, self-directed character of play gives way to goal-oriented systems engineered to foster dependency and drive consumption. Mosca draws on cognitive science findings that external rewards can reduce intrinsic interest in an activity, and points to social network games as examples in which engagement shades into compulsion. He concludes that gamified activities should be evaluated aesthetically as well as ethically, since the loss of autotelic play entails a loss of freedom and beauty.
The analysis concludes that contemporary gamification is largely pointsification rather than a radical transformation of culture, and that the practice transmits values of competition, hierarchy, and predation. Every gamification of one domain, the author argues, entails the degamification of another, and a fully gamified culture would eliminate the liminoid spaces where play remains meaningful. The work is conceptual and theoretical, offering no quantitative data, and its scope is primarily the video game industry and broader cultural theory rather than any specific geographic region or time period.