Summary of Jane McGonigal's Reality Is Broken

Everest Media

Description

Please note: This is a companion version & not the original book.
Sample Book Insights:
#1 We all have a bias against games today. We can’t help it. This bias is part of our culture, and it’s even woven into the way we use the words game and player in everyday conversation.
#2 All games share four defining traits: a goal, rules, a feedback system, and voluntary participation. The goal is the specific outcome that players will work to achieve. It focuses their attention and continually orient their participation throughout the game.
#3 The four traits of games are challenge, feedback, a clear win condition, and arbitrary limitations on your freedom to work in the most efficient way. The opposite of gameplay is not a game.
#4 The most important difference between digital and non-digital games is the intensity of the feedback they provide. In computer and video games, the interactive loop is satisfyingly tight. There seems to be no gap between your actions and the game’s responses.

Sujets

• Activities
• Video
• Games
• Mobile

Informations

• Publié par: Everest Media LLC
• Date de parution: 22 juin 2022
• Nombre de lectures: 0
• EAN13: 9798822538603
• Langue: English
• Poids de l'ouvrage: 1 Mo

Extrait

Insights on Jane McGonigal's Reality Is Broken
Contents Insights from Chapter 1 Insights from Chapter 2 Insights from Chapter 3 Insights from Chapter 4 Insights from Chapter 5 Insights from Chapter 6 Insights from Chapter 7 Insights from Chapter 8 Insights from Chapter 9 Insights from Chapter 10 Insights from Chapter 11 Insights from Chapter 12 Insights from Chapter 13 Insights from Chapter 14
Insights from Chapter 1

#1

We all have a bias against games today. We can’t help it. This bias is part of our culture, and it’s even woven into the way we use the words game and player in everyday conversation.

#2

All games share four defining traits: a goal, rules, a feedback system, and voluntary participation. The goal is the specific outcome that players will work to achieve. It focuses their attention and continually orient their participation throughout the game.

#3

The four traits of games are challenge, feedback, a clear win condition, and arbitrary limitations on your freedom to work in the most efficient way. The opposite of gameplay is not a game.

#4

The most important difference between digital and non-digital games is the intensity of the feedback they provide. In computer and video games, the interactive loop is satisfyingly tight. There seems to be no gap between your actions and the game’s responses.

#5

The four core elements of games, goals, rules, feedback, and voluntary participation, remain the same regardless of the game. The dark metaphors we use to talk about games are revealed to be the irrational fears they really are when we understand games in this light.

#6

The goal of a game is to make the player feel something, and the feedback they receive is what motivates them to keep playing. So why are so many people willing to tackle such unnecessary obstacles.

#7

Good games are hard work that we choose for ourselves. They are extremely addictive and mood-boosting, and they make us happy because they are hard work that we choose for ourselves. Hard work that someone else requires us to do doesn’t activate our happiness systems in the same way.

#8

The game industry is already doing this, and it’s helping us choose the right work at the right time. It’s fulfilling our need for better hard work, and it’s helping us feel happier.

#9

When we do hard work, we feel more capable than when we started. When we do creative work, we feel proud of something we’ve created. When we do busywork, we feel like we’re getting things done. But when we do high-stakes work, we feel like we’re making a difference.

#10

The most primal emotional rush we can experience is fiero, which is what we feel after we triumph over adversity. It is a craving for challenges that we can overcome, battles we can win, and dangers we can vanquish.

#11

All the good that comes out of games stems from their ability to organize us around a voluntary obstacle. Understanding this is how games really work can help us stop worrying about how people might game our systems, and instead encourage them to play our games.
Insights from Chapter 2

#1

The science of happiness was first born in 1975 when American psychologist Mihaly Csikszentmihalyi observed the same thing games do, which is give us hard work that is enjoyable and helps us achieve our potential. But in real life, we rarely get that.

#2

The field of modern psychology was still largely focused on understanding mental illness and negative emotions in 1975, not optimal human experience. However, the tools we had for inventing and sharing new games with mass audiences were still in their infancy.

#3

The game industry is also changing, and becoming more focused on emotional experiences. This is no accident, as game designers and developers are becoming the most talented and powerful happiness engineers on the planet.

#4

The difference between games and reality is that games focus on something we’re good at and enjoy, while reality is depressing. We are finally ready to harness the potential of games to make us happy and improve our everyday quality of life.

#5

When we play video games, we experience flow almost instantly. This is because video games take the traditional properties of potentially flow-inducing activities, such as a goal, obstacles, and increasing challenge, and then uses a combination of direct physical input, flexible difficulty adjustment, and instant visual feedback to tighten the feedback loop of games.

#6

Flow is one of the most exciting parts of video games, but it can also be the most exhausting. It can lead to happiness burnout if it’s not followed by a period of rest.

#7

The game industry has long struggled with the question of how to keep gamers addicted to their favorite games without detracting from their real lives. The industry knows that gamers crave flow and fiero, and the more game developers give it to them, the more time and money they will spend on their games.

#8

Gamers are beginning to recognize that the happiness that comes from playing games is not enough, and that they want more lasting emotional rewards.

#9

There are many ways to be happy, but we cannot find happiness outside of ourselves. We have to make our own happiness by working hard at activities that provide their own reward.

#10

The prevailing positive-psychology theory that we are the one and only source of our own happiness is a biological fact. Our brains and bodies produce neurochemicals and physiological sensations that we experience as pleasure, enjoyment, satisfaction, ecstasy, contentment, love, and every other kind of happiness.

#11

We’ve developed many external shortcuts to triggering our hardwired happiness systems. We don’t think of happiness as a process of tapping strategically into our neurochemistry, but rather as something that feels good and meaningful.

#12

The four types of intrinsic rewards are satisfying work, the experience of being successful, social connection, and meaning. They are the most powerful motivations we have other than our basic survival needs.

#13

Good games are productive. They help us achieve the four things we crave most: safety, cheapness, and reliability. They enrich us with intrinsic rewards.
Insights from Chapter 3

#1