Stanford CS547 HCI Seminar | Spring 2026 | Reading Games Well

Key Concepts

• Play-Centric Design: A methodology focusing on setting innovative experience goals and designing specifically to achieve them.
• Reader Response Theory: A literary theory positing that a text has no inherent meaning until a reader engages with it, creating a unique "event" of experience.
• Situational Game Design: A framework (by Brian Upton) that views a game not just as a system of rules, but as an ephemeral experience occurring between the artifact, the player, and the situation.
• The Well-Read Game: The concept that games should be treated as meaningful, emotional, and ephemeral events rather than just technical artifacts or systems.
• Player Response Journals: A tool for capturing and reflecting on the emotional and cognitive journey of gameplay, similar to literature journals.

1. The Philosophy of "Reading" Games

The speaker argues that games are often mischaracterized as mere "artifacts" or "systems" (defined by features and platforms). Instead, they should be viewed as events—ephemeral, emotional experiences that only come to life when a player interacts with them. Drawing from Louise Rosenblatt’s literary theory, the speaker asserts that a game is like "ink on a page" waiting for a player to provide the life force.

• The Diagram of Play: The speaker presents a model where the player brings "baggage" (life history/context) to the game. The interaction is not just an input/output transaction with a system, but a meeting where the player feels, thinks, and makes discoveries.
• The "Well-Read" Approach: This perspective encourages players to move beyond analyzing mechanics and instead focus on the personal, humanistic impact of the game.

2. Case Studies and Real-World Applications

• Journey (Thatgamecompany): A 15-year-old player, Sophia, shared how the game’s ending provided her father peace near the end of his life. The game served as a mirror for their shared journey, demonstrating that games can hold profound emotional weight comparable to literature.
• Unpacking: A game with no timer or competition that focuses on the narrative of a character’s life through the objects they keep. The speaker notes that players "read" the story of the character’s failed relationship and personal growth through the simple act of placing items, proving that meaning is generated by the player’s interpretation.
• Lost Words: A game that parallels a girl’s real-life grief over her grandmother’s stroke with a fantastical adventure. It demonstrates how games can help players process complex emotions like rage and loss.
• Walden, a Game: Designed by the speaker, this game serves as a companion to Henry David Thoreau’s Walden. It allows players to experience the seasons and environment of the book, fostering a deeper connection to the text.

3. Methodologies for "Reading" Games

To foster a more thoughtful engagement with games, the speaker suggests:

• Player Response Journals: Using prompts similar to book clubs (e.g., "What moment stood out to you?", "What character do you relate to?") to document the emotional journey.
• Annotation: Taking screenshots during gameplay and annotating them later to spark memory and reflection.
• Dream Description: Describing gameplay as if it were a dream to help articulate the "illogic" and emotional resonance of the experience.
• Pairing Texts: Integrating games into educational curricula alongside literature (e.g., pairing The Crucible with Werewolf or Walden with the Walden game) to provide immediacy and context.

4. Key Arguments and Perspectives

• Democracy and Empathy: The speaker posits that the "imaginative capacity" to step into another’s shoes—facilitated by games—is essential for a healthy democracy.
• Critique of Multiplayer Culture: While the speaker initially believed multiplayer games would foster connection, they express disappointment in the current toxic, performative culture. They argue for a return to "sportsmanship" and suggest that companies must enforce better behavior to reclaim the potential of these spaces.
• Authorial Intent vs. Personal Response: Acknowledging the debate in literary criticism, the speaker argues that while authorial intent exists, the player’s personal history and choices are equally vital to the "reading" of a game.

5. Notable Quotes

• "Text is just the ink on a page until a reader comes and gives it life." — Louise Rosenblatt (cited by the speaker as the foundation for their game theory).
• "The reason we play is not to speak to a system. The reason we play is to have these emotions, to have these discoveries."
• "I designed the game so people will read the book." — Regarding Walden, a Game.

Synthesis and Conclusion

The main takeaway is a call to action for players, educators, and designers to treat games as a serious medium for emotional and intellectual growth. By shifting the focus from "how the mechanics work" to "what the experience means," players can engage in a more profound, humanistic practice. The speaker advocates for "game book clubs" where the goal is to share personal discoveries and emotional responses, ultimately using games as a tool to become better citizens and more empathetic individuals.