| |
| |
| Prologue | |
| |
| |
| |
| Why Seductive Interactions? | |
| |
| |
| LinkedIn and Profile Completeness | |
| |
| |
| Why seduction? | |
| |
| |
| The iLike story | |
| |
| |
| Beyond usability | |
| |
| |
| It's all about experiences | |
| |
| |
| |
| Aesthetics, Beauty, and Behavior | |
| |
| |
| |
| Why Aesthetics? | |
| |
| |
| What's the connection? | |
| |
| |
| Why aesthetics? | |
| |
| |
| |
| Are You Easily Understood? | |
| |
| |
| Gestalt Psychology and a drinking game | |
| |
| |
| |
| Are You Attractive? | |
| |
| |
| You remind me of | |
| |
| |
| Can you trust me on this? | |
| |
| |
| Perceptions of time | |
| |
| |
| Put it all together | |
| |
| |
| "Attractive things work better" | |
| |
| |
| Stitching it all together | |
| |
| |
| |
| Who Do You Remind People Of? | |
| |
| |
| Aesthetics, associations, and Apple | |
| |
| |
| Advertising and coded iconic messages | |
| |
| |
| Positive and Negative associations | |
| |
| |
| Language and associations | |
| |
| |
| Applications | |
| |
| |
| |
| When Aesthetics Aren't Attractive | |
| |
| |
| Curious implication 1: the good, the bad, and the ugly | |
| |
| |
| Curious implication 2: When utility is beautiful | |
| |
| |
| Curious implication 3: Context and character | |
| |
| |
| Curious implication 4: Is beauty subjective? | |
| |
| |
| Closing | |
| |
| |
| |
| The Power of Faces | |
| |
| |
| Leaving your friends | |
| |
| |
| Summary | |
| |
| |
| |
| Playful Seduction | |
| |
| |
| |
| Are You Fun to Be Around? | |
| |
| |
| Use humor, when appropriate | |
| |
| |
| A Case for Humor: MailChimp | |
| |
| |
| Why bother making someone smile? | |
| |
| |
| |
| Are You Unpredictable? | |
| |
| |
| Mixing surprise with rewards | |
| |
| |
| Delighters | |
| |
| |
| My personal annual travel report | |
| |
| |
| |
| Are You Stimulating? | |
| |
| |
| Will the real Dopplr logo please stand up? | |
| |
| |
| |
| Are You Mysterious? | |
| |
| |
| Curious marketing | |
| |
| |
| Venturing into the unknown | |
| |
| |
| The information gap theory | |
| |
| |
| Business application? | |
| |
| |
| Specific motivation | |
| |
| |
| Now what? | |
| |
| |
| |
| Can People Express Themselves Around You? | |
| |
| |
| Section Three | |
| |
| |
| |
| Small First Steps | |
| |
| |
| Shaping the path | |
| |
| |
| Making a commitment | |
| |
| |
| Sharing places | |
| |
| |
| Picking up items placed on hold | |
| |
| |
| Completing a travel booking | |
| |
| |
| Endowed progress effect | |
| |
| |
| Sequencing | |
| |
| |
| Shaping | |
| |
| |
| |
| Coming on Too Strong (and how not to!) .105 | |
| |
| |
| Fewer options | |
| |
| |
| Less text | |
| |
| |
| Fun distractions | |
| |
| |
| Creating the illusion of less by hiding information | |
| |
| |
| Hacking the visual system to make things simpler | |
| |
| |
| Less to think about | |
| |
| |
| |
| Attracting Attention | |
| |
| |
| Contrast and characters | |
| |
| |
| Shh! We're hoping no one notices | |
| |
| |
| Did you see that? | |
| |
| |
| |
| The Path of Least Resistance | |
| |
| |
| Default options | |
| |
| |
| The power of suggestion | |
| |
| |
| Convenience and personalized recommendations | |
| |
| |
| Afraid to Let Go | |
| |
| |
| |
| The Influence of Words | |
| |
| |
| Framing | |
| |
| |
| Anchoring | |
| |
| |
| Let's get personal | |
| |
| |
| Clear language | |
| |
| |
| |
| An Eye for Details | |
| |
| |
| |
| Role-play the interaction | |
| |
| |
| |
| Script the narrative experience | |
| |
| |
| |
| Break down compound requests into | |
| |
| |
| |
| |
| |
| |
| Minimize choices (at each moment in time) | |
| |
| |
| |
| Look for micromoments | |
| |
| |
| |
| Choose clicks over characters | |
| |
| |
| |
| The Game of Seduction | |
| |
| |
| |
| Real World Games | |
| |
| |
| Games are first and foremost about fun | |
| |
| |
| The Elements of Game Design | |
| |
| |
| |
| A Challenge Worth Pursuing | |
| |
| |
| Back to the classroom | |
| |
| |
| A Real Challenge | |
| |
| |
| A quick note on status | |
| |
| |
| Challenges vs. goals | |
| |
| |
| Closing | |
| |
| |
| |
| Making Things Difficult | |
| |
| |
| Playing hard to get | |
| |
| |
| Using scarcity in commerce | |
| |
| |
| Using scarcity to increase quality | |
| |
| |
| Using scarcity to encourage Participation | |
| |
| |
| Why scarcity works | |
| |
| |
| Other forms of scarcity: Limited duration | |
| |
| |
| Limited access | |
| |
| |
| Other forms of scarcity: Limited choice and calculations | |
| |
| |
| |
| How Are We Doing? | |
| |
| |
| Unintended side effects of hypermiling | |
| |
| |
| A little perspective | |
| |
| |
| Serious games | |
| |
| |
| Making a game out of e-mail | |
| |
| |
| Closing | |
| |
| |
| |
| What's the Prize? | |
| |
| |
| Why do game mechanics work? | |
| |
| |
| Performance goals | |
| |
| |
| Are you offering your users any performance goals? | |
| |
| |
| The fun layer: Narrative, story, aesthetics | |
| |
| |
| Closing | |
| |
| |
| |
| Let's Get Serious | |
| |
| |
| The Kano model | |
| |
| |
| |
| Only the Beginning | |
| |
| |
| The Rider and the Elephant | |
| |
| |
| The Behavior Grid | |
| |
| |
| A sense of purpose | |
| |
| |
| One thing everyone is doing | |
| |
| |
| "Show me the money!" | |
| |
| |
| Who's on your site? | |
| |
| |
| Final Thoughts | |
| |
| |
| Index | |