The core idea is rethinking the concept of fun
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- Erin argues that “fun” is not just superficial entertainment but rather an emotional signal.
- He says that games that actually feel meaningful bridge two models. The game model (rules, mechanics, and systems inside the game) and the world model (the players mentor frameworks for how a specific subject area or life in general works).
- The most powerful games allow players to take insights from the game model into their world model
She also introduces the phrase “precision of emotion”
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- Emotional states in games–like tension, risk, relief, uncertainty, and moral ambiguity–should be designed to align with learning or thematic goals.
- For example, instead of giving history practice problems that are framed as a fun game, designers should ask the following question: “What emotions do we want players to feel that specifically connect to history.” For instance the tension of uncertainty, the thrill of discovery, etc
There are specific roles of uncertainty and stakes
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- Uncertainty is necessary for engagement. If every choice is obvious or too easy, then the players disengage. Games need to be somewhat unpredictable or tricky
- Adding stakes makes the experience of playing the game more memorable. If failure actually matters emotionally, then it encourages reflection
- Failure shouldn’t just be a punishment. Instead it should try to spark a new insight. For example: Why did this fail? What did that situation reveal about the larger system?
Games are meaningful when they change how players see the outside world after the game
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- There’s two contrasting examples. Candy Crush is fun but isolated, and ultimately it doesn’t reshape the way you think. However the game Journey makes players resonate with the emotional components, which still lingers in players’ minds after play.
- Educational designers should aim for this resonance, not just excitement/fun or engagement metrics. They need to change the way players feel from before and after.
Instead of adding fun to existing content, design mechanics and emotions are the lessons themselves.
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- Could possibly design games where players feel the uncertainty of scientific discovery or the ethical weight of policy choices. This would be better than just pretty UIs/components.
The main thing that stood out was how Erin reframed “fun”. I always thought fun in games as a reward or distractions, but her idea of precision of emotion made me realize how powerful of a design tool fun could be. I saw that it’s not necessarily about making something lighthearted, but rather deliberately shaping emotions so they align with the lessons or experiences we want to teach. If I apply this to my own projects or learning, it means I should stop thinking of “fun” as just an afterthought. Instead, I should ask myself before designing: What emotions would make this lesson stick? How can the system itself make me feel what I need to learn? I personally loved this reading and it definitely changed a lot for me about how I view game design.
