An engaging examination of how video game design can create strong, positive emotional experiences for players, with examples from popular, indie, and art games.This is a renaissance moment for video games -- in the variety of genres they represent, and the range of emotional territory they cover. But how do games create emotion? In How Games Move Us, Katherine Isbister tAn engaging examination of how video game design can create strong, positive emotional experiences for players, with examples from popular, indie, and art games.This is a renaissance moment for video games -- in the variety of genres they represent, and the range of emotional territory they cover. But how do games create emotion? In How Games Move Us, Katherine Isbister takes the reader on a timely and novel exploration of the design techniques that evoke strong emotions for players. She counters arguments that games are creating a generation of isolated, emotionally numb, antisocial loners. Games, Isbister shows us, can actually play a powerful role in creating empathy and other strong, positive emotional experiences; they reveal these qualities over time, through the act of playing. She offers a nuanced, systematic examination of exactly how games can influence emotion and social connection, with examples -- drawn from popular, indie, and art games -- that unpack the gamer's experience.Isbister describes choice and flow, two qualities that distinguish games from other media, and explains how game developers build upon these qualities using avatars, non-player characters, and character customization, in both solo and social play. She shows how designers use physical movement to enhance players' emotional experience, and examines long-distance networked play. She illustrates the use of these design methods with examples that range from Sony's Little Big Planet to the much-praised indie game Journey to art games like Brenda Romero's Train.Isbister's analysis shows us a new way to think about games, helping us appreciate them as an innovative and powerful medium for doing what film, literature, and other creative media do: helping us to understand ourselves and what it means to be human....
|Title||:||How Games Move Us: Emotion by Design|
|Number of Pages||:||192 Pages|
|Status||:||Available For Download|
|Last checked||:||21 Minutes ago!|
How Games Move Us: Emotion by Design Reviews
I expected more from this book, or expected different, better said. It was interesting, no doubt about it, but 75% of the content is about multiplayer online games or games that include physical movement (kinect, wii, move...) - so for "my games" didn't bring me more than some tangential useful knowledge. The book's good, just know you'll find a lot of stuff con cool experimental games with online features, strange hardware and social components.
2 qualities that separates games from other media: choice & flow. "Actions with consequences—interesting choices—unlock a new set of emotional possibilities for game designers""feelings in everyday life, as well as games, are integrally tied to our goals, our decisions, and their consequences.""how game designers build upon the feelings generated by choice and control to create a broad palette of emotional experiences for players""the ease with which players can enter a pleasurable, optimal performance state that psychology researcher Mihaly Csikzentmihalyi calls “flow.”"When people are in flow—when musicians play at their best, when athletes are in “the zone,” when programmers stay up all night creating brilliant code—time seems to melt away and personal problems disappear."“games are held as an innovative and powerful medium for doing what all media do—helping us understand ourselves and explore what it means to be human.”"flow theory useful in exploring the deeper “why” behind the fun players have with games""flow theory offers a useful lens for understanding the unique emotional power of games compared to other media.""designers offer interesting choices and keep players in flow, they’re able to also start evoking another class of feelings in their players—the rich social emotions we experience in relationship with others."“Can a Computer Make You Cry?”"we engage this delusion willingly—it allows us to experience alternate situations and ways of being human, which in turn informs our own experience of being human.""Yet in any medium other than games, we are only witnesses, not actors, and cannot affect the outcomes of the stories before us.""Because they depend on active player choice, games have an additional palette of social emotions at their disposal."“Ultimately, I think the power of a game lies in its ability to bring us close to the subject. There is no other medium that has this power. I saw people cry over Train, not just once, but multiple times. People watching, playing, those trying to save the passengers. That’s powerful, and it’s the medium that does that.”"Cart Life masterfully evokes in players the feeling that there is never enough time, while also providing sweet moments with the customers and relatives and friends in the vendors’ everyday lives. ""I was investigating whether an NPC’s dominant or submissive style “personality” would affect how persuasive that NPC was in a team situation. ""The most frequently cited moments involved the death of NPCs with whom players had spent considerable time during gameplay. Players wept over losing valued and trustworthy companions.""To play it is to become, during gameplay, emotionally involved in the personal fears and consequences of this conflict.""Advocates of “games for change”—games designed to impact a player’s actions and growth toward advancing some kind of social good—believe this sort of immersion by enactment and identification may be an important tool in reaching younger audiences who are turning less and less to traditional information sources such as television and print journalism.""Game designers have developed powerful tools for enhancing social emotions that arise from gameplay.""game designers are really only beginning to explore how to use these capacities to create rich emotional experiences.""the long history of games is primarily a story of rules and equipment created to engage people together socially.""We know social interaction in general is deeply consequential to human flourishing.""Social play, then, helps address one of the most fundamental of human needs, in ways that solo play (even with charismatic NPCs) probably doesn’t.""Playing together brings meaningful choices into the social interactions of gameplay.""games provide us with opportunities for both sociability and social play.""three building blocks designers use in social digital games to evoke rich emotional responses in players: coordinated action, role-play, and social situations.""something deeply satisfying and bonding about overcoming a challenging mental and physical situation with someone else, especially if it requires close coordination""When people play together as avatars, the game transforms from a private, personal journey into real social interaction.""Game designers combine avatars and actions to generate rich possibility spaces for emotionally meaningful social interaction.""The game worlds they create may be imaginary, but the social dynamics are not.""social roles usually shape and constrain individual behavior, creating a more manageable experience for everyone""using game elements to create social situations that are interesting and compelling, scenarios where players have fun together.""a game where every player would contribute to the collective success of the group""Designers of MMOs stress the importance of working with players as they explore and renegotiate what is possible and desirable in play.""In multiplayer gaming, the meaningful actions that make up each individual’s gameplay experience combine to create real social experiences between players, despite the “virtual” nature of the world they find themselves in.""how players can become highly engaged, even transformed, when they inhabit avatars and interact in social gameplay, however artificial and fantastic their digital “virtual” surroundings may be.""We can hold multiple identities both within ourselves and in our conceptions of each other.""I would argue that no other medium offers this kind of transformative power at the individual and social levels.""striking impact that movements of the body can have on players’ emotional and social experience.""game designers use movement to shape emotion and social connection—setting up physical challenges that provoke emotional responses, using movement to catalyze interesting social dynamics, and using the body as a vehicle for bringing players’ fantasy identities to life.""Not only do our movements shape our own emotions, but they also affect anyone who’s watching us—emotions are, in a sense, “contagious.”"keyboard-based experience that makes players acutely aware of physical presence and effort,""aim to enhance “your connection with yourself and with the present moment” "emotional tenor of what unfolds depends upon each player’s attitude and approach.""Game designers combine the building blocks of emotional connection described in chapter 2—coordinated action, avatar-based role-play—with the power of network connections to create a wide range of emotionally meaningful social experiences for players who are geographically distant from one another. ""sharing and exchanging of digital objects, the cultivation of “summer camp”–like contexts for play, and the shaping of hobbyist and activist communities around play.""Gift giving and favors are part of the social glue that holds us together and strengthens our connections with one another.""These aren’t conversation but they nevertheless strengthen the social fabric.""The magic circle is a term coined by Dutch historian and cultural theorist Johan Huizinga in the 1930s—a cocreated safe and bounded context in which players can comingle fantasy and reality, and which thus allows for freer and more flexible social connection and emotional expression.""Games at a mass scale allow us to observe one another’s strategies and to create a community of expertise much as communities form around hobbies."
So interesting & so relevant. "One of my aims as a game researcher is to grow the emotional palette of games as we know them" This book helps me see how games should be viewed as a creative challenge & breeding ground for teaching emotional intelligence, empathy, social interaction, identity, and all sorts of other amazing types of personal & human interaction. This book gives really wonderful examples of games that are pushing the envelope of what games can & should do. As a teacher, I'm inspired to create & craft curriculum based on the games & ideas I learned from this book. I've never identified myself as a Gamer but now I want to try! "Games are capable of so much, and there is room for a far broader range of thriving genres and forms than we have today" I hope video games have the same respect & love as other mediums in the future!
Livro curto e simples sobre o papel e o potencial simbólico dos jogos para nós. A escrita é fluida e a autora usa vários exemplos para ilustrar seu ponto de vista. Trata-se de um livro mais especulativo/reflexivo que um manual de uso, o que é muito positivo pois deixa mais possibilidades em aberto.
Expone de forma muy clara y sencilla las distintas técnicas de diseño que se utilizan para evocar sentimientos en el jugador, distinguiendo entre varios tipos de juego. Además, selecciona ejemplos muy interesantes y curiosos para dichas técnicas.
This is a fascinating book. I kept stopping to look up the games that were discussed and talk about them with my friends and family.
This book was fascinating; it was clearly written for use in coursework, but as a recreational read I found it very enriching. The author often specifically seeks out examples of unknown, private, or activist games to illustrate the concepts she is discussing rather than mainstream or publicly available ones. This decision was surprising to me at first, but her explanation made a lot of sense and ultimately I think this was the right call for exploring what games are capable of and what they can be. I particularly enjoyed her discussion of games as catalysts for caregiving, and I personally related to the idea of sending small in-game treats as a means of reassurance and support. The way she frames the conversation surrounding Words With Friends also resonated with me, and while it's clear there's a lot more to say on this subject this text is an excellent primer. I would recommend it to anyone with an interest in games as an art form, with the caveat that it's definitely an academic text and the tone reflects that.