Gamification involves applying interactive game mechanics to non-game environments, such as news platforms, to drive user engagement and loyalty. Gamification can include more complex activities such as crossword puzzles, but also simpler interactive features such as quizzes, point collection systems, leaderboards, badges, hashtags, rankings, “like/dislike” options, and sharing, which may be more feasible for certain settings.

While most gamification studies focus on user experience, this one explores executive-level perspectives from media owners and editors-in-chief. Originally published in Journalism and Media, the study focuses on how Greek news media leaders are exploring and utilizing gamification strategies. The study’s authors conducted and analyzed interviews with a variety of digital media decision makers to uncover key trends and actionable insights.

Opportunities abound

Games are synonymous with fun. But gamification can have serious business benefits for digital media platforms, such as:

• Increased user time-on-site and repeat visits.
• Deeper user interaction, not just as a novelty, but fostering audience retention.
• Generation of analytics on user behavior, which can inform editorial strategy and content personalization.
• Appeal to younger, tech-savvy users- potentially without alienating long-term audiences.

Most of the media owners and editors interviewed perceive gamification as a promising strategic approach for increasing user engagement while enriching the digital news experience.  Leaders emphasized the need to uphold professional ethics while adapting established journalistic practices to accommodate the interactive and participatory nature of today’s digital media environment.

Potential pitfalls of media gamification

As much promise as gamification holds, some media executives express ethical concerns, such as credibility risks, especially among long-term users who value tradition. Some noted that older audiences may perceive gamification as gimmicky or inappropriate for news, possibly alienating core audiences. They stress the importance of maintaining editorial integrity and journalistic standards, especially in hard news contexts. Concerns about aggressive monetization were discussed. Finally, some leaders interviewed expressed concern about potential manipulation: the possibility that gamification could be used to prioritize clicks over informed citizenship.

Practical concerns also surfaced in interviews. Smaller newsrooms may lack technical capacity, design expertise, or budget to implement gamification effectively. Internal pushbacks from staff can occur, especially among those who view gamification as incompatible with traditional journalism values. Some executives question whether gamified features can be maintained over time without becoming stale or losing relevance.

Researchers also point out that while many participants in the study were able to recognize and assess individual gamified elements, they often lacked the training to conceptualize gamification as a planned, strategic approach. This indicates a need for professional development to help media leaders build skills to design, assess, and apply gamification in meaningful ways.

So, is gamification right for your media business?

Research indicates the importance of building internal buy-in before launching gamification innovations. Organizational resistance can hinder results, so ensure that all staff understand the value of proposed changes. Invest in training and be ready to assure stakeholders that ethical and practical issues have been thoughtfully considered to maintain integrity and mitigate potential pitfalls.

One caveat: the study data is drawn from ten in-depth interviews with media executives in Greece, including owners and editors-in-chief of Greek newspapers, radio stations, television channels, and online news platforms. While the interviews were thorough and represented diverse media venues, the research is drawn from a modest quantity of participants within a limited geographic area. 

Nevertheless, this study offers fascinating insight from those with real-world expertise in the field. The perspectives shared highlight the promise and complexity of merging gamification with journalistic practices. Digital media leaders seeking to innovate through gamification while upholding editorial credibility will find this research particularly relevant.

Research framework
The study uses a Normalization Process Theory (NPT) framework to analyze how gamification can be integrated into newsroom culture. The results point to a clear need for intentional design, strong editorial governance, and regular impact evaluation.

Research authors outline how frameworks like Normalization Process Theory (NPT) can guide adoption:
-Coherence: Make the purpose clear.
-Cognitive Participation: Get buy-in from staff.
-Collective Action: Assign roles and resources.
-Reflexive Monitoring: Evaluate and adjust.

The NPT framework can also be used to guide introduction of other emerging technologies.

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Señor argues that high-quality, distinctive reporting produced during these tumultuous periods has had an impact. Now, he says publishers need to “keep this momentum going.”

This is a point he emphasizes in the latest Innovation in News Media World Report*, which Señor co-edits. He and fellow editor Jayant Sriram write that “we need to build from this position of strength, even as the media world at large is in a period of unprecedented flux.”

How can publishers do this? Based on our conversation with Señor, and his latest Innovation Report, here are five recommendations for publishers as they look ahead to the uncertainties of the New Year.

1. Keep your foot on the subscription gas

“The key thing is to press on with subscriptions,” Señor recommends. He is bullish about reader revenue, stressing the subscription spike many publishers have witnessed in the past few years. “People know they have to pay for news,” he says, “so be the one that they pay for.”

FIPP’s new Q3 Digital Subscription Snapshot finds that “growth for most brands remains healthy, with period-on-period gains of 5% or more for many.” But growth is slowing, cautions CEO James Hewes. Gains are “significantly down” from this time last year, “when low double-digit growth might have been expected each quarter.”

The cost of living crisis, coupled with rises in many subscriptions, may all be contributing to this. FIPP also points to a maturing of this market. That means that “it is inevitable that growth percentages will begin to decline.” 

Despite this, Señor urges publishers to stay the course. “Keep pushing [subscriptions] first and foremost as a strategic priority,” he says, “even if it means heavy discounts.”  

A key factor behind this rationale is the cost of attracting new subscribers, which is typically more expensive than keeping new ones. That’s one reason why many publishers are increasingly investing in efforts to reduce churn. 

The habitual, relationship-based, nature of media consumption also matters. As economic conditions improve, you may be able to nudge up prices or upsell existing consumers. That’s harder to do with audiences who have churned off. 

2. Continue to explore opportunities for revenue diversification

Alongside maintaining relationships with existing audiences, publishers need to continue to find new routes to revenue. To help them do this, the latest Innovation Report outlines 14 different business models publishers can adopt. Publishers can mix and match these efforts to pull together a good range of diversified offerings. 

Aside from subscription-led approaches, other possibilities include a blend of B2B and B2C models such as memberships, events, affiliate marketing, and “think tank” style output. Educational activities, such as those offered by The Economist’s Executive Education program and Family Handman’s DIY University, may also be a good fit for some publishers and their audiences.

As many publishers know, if you wait long enough, then everything old becomes new again. In this regard, Señor is excited about what he describes as “the original habit-formation tool for newspapers – puzzles and games.” 

The New York Times’ acquisition of Wordle is the poster child for this, having brought “unprecedented tens of millions of new users to The Times.”  And, as The Innovation Report points out, “If even a fraction can then be converted to paying subscribers it would make for an excellent business proposition.”

Puzzles and games are again in vogue as gateways for publishers to capture new subscribers, generate fresh revenue streams and increase the “stickiness” of their relationships with audiences. 

Nevertheless, as Esther Kezia Thorpe suggests, “offering games is not a strategy in itself … Publishers need to find ways to bring regular puzzlers into a deeper relationship,” she says, “whether that be through newsletters, social features, or additional layers to the games themselves.”

3. Unlock the power – and results – of product thinking

Publishers have invested – and continue to invest – considerable resources in areas such as games, newsletters, and podcasts. Much of this is driven by a belief that these ventures can serve as a gateway to your content and drive subscriptions and aid retention by deepening bonds with their consumers. Señor calls them “conversion monsters.”

These efforts reflect product thinking, which has risen to the forefront of media strategies over the past decade. 

“Product thinking begins with realizing that every way people experience the news is a possible product or feature,” the Innovation Report observes. 

Each of these touchpoints, of course, is also potentially monetizable. 

As a result, “publishers must now become product companies and not just news media publishers,” Señor believes. That’s a sentiment increasingly applicable to revenue strategies, as well as content propositions.

“Product is changing everything,” agrees Luciana Cardoso, the Brazil-based Vice Chair of News Product Alliance’s Board Of Directors. Cardoso comments on how product is a driver for innovation “because we need to have the customer at the center of everything.” 

4. Be tech-led, not led by tech

This desire to be more consumer-centric, is accentuated by the need for publishers to prepare for a world without third-party cookies. Describing this as a ”first-party data moment,” Señor says these developments are “the key to a stronger future for our industry.” 

“First-party data gives us the chance to have a direct relationship, control the pricing, content and dialogue with our readers without intermediaries,” the Innovation Report states. “This is a massive shift and one we must prepare for.” 

Publishers must also look to the possibilities of Web 3.0. Señor points to the availability of “journalism without browsers” as one critical dimension of this brave new digital world. 

“When you look at how Condé Nast is experimenting with this, it’s very, very interesting,” he told us. 

One of their titles, GQ magazine, recently launched on Discord. “The way that we are thinking about it is we are throwing a party, GQ is the host, Discord is the venue and you are invited,” says Joel Pavelski, GQ’s Executive Director of Global Audience Development & Social Media.

Condé’s approach enables them to engage with communities in private online spaces, potentially reaching new audiences and serving existing ones in fresh ways. It’s part of a “conscious uncoupling” some publishers are having with traditional tech platforms; and part of a wider shift in media habits seen within the creator economy. 

Tapping into these emerging spaces and behaviors may reveal insights that can inform continued product thinking, drive subscription models, as well as support and shape first-party data strategies. 

5. Invest in content, especially visual media

Despite encouraging publishers to keep a watchful eye on emerging tech trends, Señor emphasizes that organizations shouldn’t go overboard. 

In terms of the industry’s wider financial footing, “the Metaverse, Web 3, none of this stuff will make the difference,” he contends. “What will make the difference is investment in journalism.”

“We need to do original reporting. A lot of people want that,” Señor says. 

As part of this, he stresses the importance of high-impact visual journalism, which he believes is “absolutely essential,” and “perhaps the most exciting new field in journalism right now.” 

Product thinking can also shape how – and where – these visual-first stories are told. ”This is transformative,” Señor says, pointing out how many of these efforts are driven by a “story first, platform second” dynamic. 

Memorable examples, such as video Op-Ed’s pioneered by The New York Times and The Miami Herald’s award-winning “House of Cards” investigation, can also yield multiple outcomes for publishers. Impactful content can be integral to industry recognition (e.g. awards), and a key driver for unlocking new subscriptions, as well as the retention and upselling of existing consumers. 

Strategic synergies: bringing these principles together

Noting that next year’s Innovation Report will be their 23rd annual publication, Señor says the examples they feature are focused on reach, relevance, or revenue. Often, these elements are deeply intertwined. 

Parlaying that relevance into different spaces and products, and encouraging audiences to pay for it, remains essential if publishers are to traverse stormy economic waters and successfully navigate their way through 2023.

“Whatever you do, put all your efforts into gaining and retaining subscribers,” Señor advocates. Everything should be “about sustaining, developing, [and] amplifying your subscription strategy.”

There’s a myriad of interconnected ways to do this. This includes multiple means to generate revenues, distinctive products to attract and retain subscribers, the knock-on effect of memorable – often visually-led – journalism, as well as deepening relationships with audiences both on and off-platform; including in new and emerging digital spaces. 

This consumer-centric model eschews the shiny object syndrome that many media players have been guilty of in the past. Instead, as a new year begins to loom on the horizon, focusing on solid content-led foundations should be their guiding light. 

As the sun sets on 2022, publishers will once again set sail and steer a path into an uncertain future. Meeting audience needs through the trifecta of content, product and subscriptions, must be their North Star as we quickly advance into these unchartered waters. 

*The Innovation In News Media World Report 2022-23 is available to WAN-IFRA members (for free) or for purchase via INNOVATION’s website.

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The subscription behemoth isn’t the only publisher looking to level up in games. As the pressure to gain and retain subscribers grows, publishers are using puzzles not just to build habit, but to open a two-way relationship with readers – and their friends. 

A move to daily games

Jonathan Knight, The New York Times’ General Manager of Games, sees a correlation between daily engagement with the games and long term retention. “We see it as a great diversion from the news, when the news can often be quite rough,” he said. “We have a lot of people who are coming to read the news, and then the games are the ‘dessert’ at the end of the meal.”

Sensing an opportunity with a new wave of daily puzzle enthusiasts, New York Magazine announced a new crossword in January – with a twist. The 10×10 puzzle, housed under the Vulture brand, is entirely focused on entertainment and pop-culture. 

“We explored a few different avenues. But eventually we realized that what made the most sense was to start with something we already had,”said Vulture Editor Neil Janowitz. The 10×10 format is a relatively digestible puzzle that can typically be solved in under six minutes. But it also sits comfortably alongside the flagship New York crossword.

As the biggest site in the magazine’s network, Vulture made the most sense to house the new puzzle. “There’s a clarity and simplicity to making it a pop culture puzzle that everybody can immediately understand,” Janowitz added.  “You can put 10 crosswords side by side, and you can clearly pick out the one that Vulture published, because it feels like us.”

The Atlantic launched its mini daily crossword puzzle in October 2018, ahead of the publisher’s wider digital subscription drive. This one gets a little bigger and more challenging as the week goes on. “In addition to all the journalism we provide, we were drawn to the idea of giving people a moment of whimsy,” explained Executive Editor Adrienne LaFrance.

A gateway to subscriptions

The New York Times has taken a layered approach to its puzzles in order to entice players. Their ‘The Mini’ crossword is free to play for everyone. But if a user wants to be a part of the leaderboard and compete with friends, that’s a subscriber benefit. “That’s a great example of how we’ve managed to build a huge audience with daily engagement on a game that has a couple of layers to it,” Knight explained. Similarly the Spelling Bee word game has higher ranks of the game that are only accessible to subscribers.

The hope is that newly-acquired Wordle will introduce even more people to the NYT’s stable of games. “We want more people spending more time with the New York Times, and [the Wordle acquisition] plays a key role in that,” Knight commented.

Knight is committed to keeping the popular word game free on the site. They have no plans worked out for any other layers to it yet. But looking at where the subscriber walls fall on other NYT games, it is not inconceivable  that leaderboards or additional levels could be added to Wordle as a subscriber-only perk.

The Atlantic’s crossword is also free to play. LaFrance sees this approach as habit-building. “If people are developing a regular relationship through the puzzle, meaning they’re coming back every day, these puzzles become a ritual,” she said. “It’s useful because people are going from the puzzle to reading. So it means developing a deeper relationship, not just with the puzzle, but with The Atlantic as a whole.”

Both the Vulture 10×10 and New York Magazine’s other puzzles sit outside the paywall. Readers can play as many as they want, and will only hit the metered paywall when they try to read an article. It’s an experiment for now, with the purpose of pulling new readers in by building habits.

Beyond puzzles: merch and newsletters

Puzzles may be an excellent way to keep people coming back to publisher sites on a regular basis. But the gap between a habitual puzzler and a reader still remains. For some publishers like the NYT, this isn’t a problem. Their separate games subscription means that they still monetize that audience, even if some of them never interact with the news product. 

“We think of the news as the sun in our solar system,” explained Knight. “But increasingly—with cooking, with games, with Wirecutter, with audio—there are these planets that rotate around that sun, and that is an essential part of our strategy.”

However, for other publishers who haven’t put a price on the puzzles, attention is turning to ways to bring regular gamers more fully into the fold.

The Atlantic is trying a different approach to bridge the gap between player and reader. Two months ago, the publisher launched The Good Word. Crossword Editor Caleb Madison does a weekly deep dive into a favorite word or phrase from that week’s crossword; what it means, where it comes from, and what led him to “enshrine this bit of language in the grid”.

“We love the idea of creating a closer and more direct connection between Caleb and the people who are fans of the puzzle,” LaFrance said. As well as being able to collect details, the newsletter serves as a useful tool to expose puzzlers to The Atlantic’s journalism. The bottom of each edition is carefully utilized to promote popular stories and events.  

For these reasons, The Good Word is one of the newsletters The Atlantic is keeping free. “It’s a useful entry point into The Atlantic,” LaFrance explained. “There may be people who play the puzzle and aren’t deeply familiar with The Atlantic and start reading. In fact, we’ve seen that the puzzle is a real portal to the rest of our journalism.”

The NYT spotted a further monetization opportunity from its puzzles: merchandise. Fans can buy ‘Mini’ crossword baby onesies or Spelling Bee tote bags. The Spelling Bee merchandise, which was released late last year, immediately sold out, according to Knight. 

Humanizing the games

For all three publishers, centering the puzzle’s creators is a key part of their strategies. The Atlantic’s Madison fronts both the crossword and the associated newsletter. Both New York Magazine and the New York Times have bylines on their various crosswords.

“I think the idea that there’s a human behind the game is really important,” said Knight. “You really sense you’re trying to solve a puzzle that some other human has put out there for you to solve versus just playing against the machine.” 

New York Magazine has seen puzzle creators become “puzzle influencers” in the audiences they build. “There are a ton of constructors out there who have personalities. If you are a devoted puzzler, you have your favorite constructors,” Director of Editorial Operations Mariam Aldhahi explained. New York Crossword author Matt Gaffney has an established audience, and Stella Zawistowski and Malaika Handa who work on the Vulture 10×10 are now building a following.

“For us, it was about finding constructors that we think brought the right voice and tone to our puzzles,” said Aldhahi. “There is an audience around specific [puzzle creators], and people will go where their favorite constructors are.” 

The power of sharing

During the pandemic, The Atlantic introduced a social “Play Together” feature to its crossword. This allowed puzzlers to invite friends to help solve the crossword together each day. But it is more than just a nice bonding opportunity for friends in lockdown. Being exposed to The Atlantic’s work by collaborating on a puzzle is the ultimate in referral by stealth.

LaFrance noted that social play was something the team were keen on introducing, even without the pandemic. “In print, you have the puzzle on the kitchen counter and someone else wanders in and works at it for a bit… so I think people are familiar with this experience of collaboratively doing puzzles,” she said. 

Collaboration is a feature the Vulture 10×10 has also built into its gameplay. The team were inspired by the social nature of Wordle, and how many people share their results online. “I have a group chat with friends and we text each other our Wordles in the morning,” said Janowitz. “Clearly there is some amount of interest in comparing, and the bet being maybe collaborating and doing these things together.”

Time to level up

The race to reader revenue shows no signs of slowing. It is evident from each of these publishers that attention is now turning to more sophisticated ways of engagement and habit-building. 

But simple games are no longer enough. Offering games is not a strategy in itself. To fully maximize the gaming investment, publishers need to find ways to bring regular puzzlers into a deeper relationship, whether that be through newsletters, social features, or additional layers to the games themselves.

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