Empathy is a mindset that focuses on people, helping you to understand their thinking patterns and perspectives. Practical Empathy will show you how to gather and compare these patterns to make better decisions, improve your strategy, and collaborate successfully.

    James Paul Gee begins his new book with 'I want to talk about vide games- yes, even violent video games - and say some positive things about them'. With this simple but explosive beginning, one of America's most well-respected professors of education looks seriously at the good that can come from playing video games. Gee is interested in the cognitive development that can occur when someone is trying to escape a maze, find a hidden treasure and, even, blasting away an enemy with a high-powered rifle. Talking about his own video-gaming experience learning and using games as diverse as Lara Croft and Arcanum, Gee looks at major specific cognitive activities: How individuals develop a sense of identity; How one grasps meaning; How one evaluates and follows a command; How one picks a role model; How one perceives the world.

    In the 1987 Nintendo Entertainment System videogame Zelda II: The Adventure of Link, a character famously declared: I AM ERROR. Puzzled players assumed that this cryptic mesage was a programming flaw, but it was actually a clumsy Japanese-English translation of "My Name is Error," a benign programmer's joke. In I AM ERROR Nathan Altice explores the complex material histories of the Nintendo Entertainment System (and its Japanese predecessor, the Family Computer), offering a detailed analysis of its programming and engineering, its expressive affordances, and its cultural significance.Nintendo games were rife with mistranslated texts, but, as Altice explains, Nintendo's translation challenges were not just linguistic but also material, with consequences beyond simple misinterpretation. Emphasizing the technical and material evolution of Nintendo's first cartridge-based platform, Altice describes the development of the Family Computer (or Famicom) and its computational architecture; the "translation" problems faced while adapting the Famicom for the U.S. videogame market as the redesigned Entertainment System; Nintendo's breakthrough console title Super Mario Bros. and its remarkable software innovations; the introduction of Nintendo's short-lived proprietary disk format and the design repercussions on The Legend of Zelda; Nintendo's efforts to extend their console's lifespan through cartridge augmentations; the Famicom's Audio Processing Unit (APU) and its importance for the chiptunes genre; and the emergence of software emulators and the new kinds of play they enabled.

    When we play video games, our facial expressions are rarely those of happiness or bliss. Instead, we frown, grimace, and shout in frustration as we lose, or die, or fail to advance to the next level. Humans may have a fundamental desire to succeed and feel competent, but game players choose to engage in an activity in which they are nearly certain to fail and feel incompetent. So why do we play video games even though they make us unhappy? Juul examines this paradox. In video games, as in tragic works of art, literature, theater, and cinema, it seems that we want to experience unpleasantness even if we also dislike it. Reader or audience reaction to tragedy is often explained as catharsis, as a purging of negative emotions. But, Juul points out, this doesn't seem to be the case for video game players. Games do not purge us of unpleasant emotions; they produce them in the first place. What, then, does failure in video game playing do? Juul argues that failure in a game is unique in that when you fail in a game, you (not a character) are in some way inadequate. Yet games also motivate us to play more, in order to escape that inadequacy, and the feeling of escaping failure (often by improving skills) is a central enjoyment of games. Games, writes Juul, are the art of failure: the singular art form that sets us up for failure and allows us to experience it and experiment with it. "The Art of Failure" is essential reading for anyone interested in video games, whether as entertainment, art, or education.

    "Slay the Dragon" will help you understand the challenges and offer creative solutions to writing for a medium where the audience not only demands a great story, but to be a driving force within it. Aimed at traditional writers who want to learn interactive narrative as well as game creators who want to tell better, more emotionally involving stories, the book is written by two creative veterans of both Hollywood and "Nerdyhood." Through lively discussions and self-paced-exercises, Bryant and Giglio step you such topics as: the "no-act" structure of video games; writing great game characters; making gameplay emotionally meaningful; and bringing your game world alive.

    Yet it is widely believed that the market for electronic literature--predicted by some to be the future of the written word--languishes. Even bestselling author Stephen King achieved disappointing results with his online publication of Riding the Bullet and The Plant.Isn't it possible, though, that many hugely successful computer games--those that depend on or at least utilize storytelling conventions of narrative, character, and theme--can be seen as examples of electronic literature? And isn't it likely that the truly significant new forms of electronic literature will prove to be (like games) so deeply interactive and procedural that it would be impossible to present them as paper-like e-books? The editors of First Person have gathered a remarkably diverse group of new media theorists and practitioners to consider the relationship between story and game, as well as the new kinds of artistic creation (literary, performative, playful) that have become possible in the digital environment.This landmark collection is organized as a series of discussions among creators and theorists; each section includes three presentations, with each presentation followed by two responses. Topics considered range from Cyberdrama to Ludology (the study of games), to The Pixel/The Line to Beyond Chat. The conversational structure inspired contributors to revise, update, and expand their presentations as they prepared them for the book, and the panel discussions have overflowed into a First Person web site (created in conjunction with the online journal Electronic Book Review).

    The Humane Interface is a gourmet dish from a master chef. Five mice! --Jakob Nielsen, Nielsen Norman Group Author of Designing Web Usability: The Practice of Simplicity This unique guide to interactive system design reflects the experience and vision of Jef Raskin, the creator of the Apple Macintosh. Other books may show how to use todays widgets and interface ideas effectively. Raskin, however, demonstrates that many current interface paradigms are dead ends, and that to make computers significantly easier to use requires new approaches. He explains how to effect desperately needed changes, offering a wealth of innovative and specific interface ideas for software designers, developers, and product managers. The Apple Macintosh helped to introduce a previous revolution in computer interface design, drawing on the best available technology to establish many of the interface techniques and methods now universal in the computer industry. With this book, Raskin proves again both his farsightedness and his practicality. He also demonstrates how design ideas must be bui

    We still don't know how to talk about game design. We can't share our visions. We forget what works (and doesn't). We don't learn from history. It's too hard to improve.The breakthrough starts here. A Game Design Vocabulary gives us the complete game design framework we desperately need--whether we create games, study them, review them, or build businesses on them.Craft amazing experiences. Anna Anthropy and Naomi Clark share foundational principles, examples, and exercises that help you create great player experiences...complement intuition with design discipline...and craft games that succeed brilliantly on every level.Liberate yourself from stale cliches and genres Tell great stories: go way beyond cutscenes and text dumps Control the crucial relationships between game "verbs" and "objects" Wield the full power of development, conflict, climax, and resolution Shape scenes, pacing, and player choices Deepen context via art, animation, music, and sound Help players discover, understand, engage, and "talk back" to you Effectively use resistance and difficulty: the "push and pull" of games Design holistically: integrate visuals, audio, and controls Communicate a design vision everyone can understand

    But as the field evolves, designers enter the field from many disciplines. Practitioners today have enough experience in UI design that they have been exposed to design rules, but it is essential that they understand the psychology behind the rules in order to effectively apply them. In "Designing with the Mind in Mind," Jeff Johnson, author of the best selling "GUI Bloopers," provides designers with just enough background in perceptual and cognitive psychology that UI design guidelines make intuitive sense rather than being just a list of rules to follow. * The first practical, all-in-one source for practitioners on user interface design rules and why, when and how to apply them.* Provides just enough background into the reasoning behind interface design rules that practitioners can make informed decisions in every project.* Gives practitioners the insight they need to make educated design decisions when confronted with tradeoffs, including competing design rules, time constrictions, or limited resources.

    Twenty-five years and dozens of award-winning games later, LucasArts has earned a prestigious place in the industry and in the hearts of gamers everywhere. Rogue Leaders is the first substantive survey of a videogame companya deluxe compilation that traces its history through never-before-published interviews. In addition, more than 300 pieces of concept art, character development sketches, and storyboards have been lavishly reproduced to showcase the creative talent behind such videogame classics as The Secret of Monkey Island, Grim Fandango, and Star Wars: Knights of the Old Republic, as well as games that were never publicly released. A thrill for millions of videogame and LucasArts fans around the world.

    Within the industry, studies on game mechanics and behavioral psychology have become proliferate. However, few people understand how to merge the two fields into experience designs that reliably increases business metrics and generates a return on investment. Gamification Pioneer Yu-kai Chou takes reader on a journey to learn his twelve years of obsessive research in creating the Octalysis Framework, and how to apply the framework to create engaging and successful experiences in their product, workplace, marketing, and personal lives. Effective gamification is a combination of game design, game dynamics, behavioral economics, motivational psychology, UX/UI (User Experience and User Interface), neurobiology, technology platforms, as well as ROI-driving business implementations. This book explores the interplay between these disciplines to capture the core principles that contribute to good gamification design. The goal for this book is to become a strategy guide to help readers master the games that truly make a difference in their lives. Readers who absorb the contents of this book will have literally obtained what many companies pay tens of thousands of dollars to acquire. The ultimate aim is to enable the widespread adoption of good gamification and human-focused design in all types of industries.

    Sid Meier’s Memoir! is the story of an obsessive young computer enthusiast who helped launch a multibilliondollar industry. Writing with warmth and ironic humor, Meier describes the genesis of his influential studio, MicroProse, founded in 1982 after a trip to a Las Vegas arcade, and recounts the development of landmark games, from vintage classics like Pirates! and Railroad Tycoon, to Civilization and beyond.Articulating his philosophy that a videogame should be “a series of interesting decisions,” Meier also shares his perspective on the history of the industry, the psychology of gamers, and fascinating insights into the creative process, including his ten rules of good game design.

    Cooper details many of these meta functions to explain his central thesis: programmers need to seriously re-evaluate the many user-hostile concepts deeply embedded within the software development process. Rather than provide users with a straightforward set of options, programmers often pile on the bells and whistles and ignore or de-prioritise lingering bugs. For the average user, increased functionality is a great burden, adding to the recurrent chorus that plays: "computers are hard, mysterious, unwieldy things." (An average user, Cooper asserts, who doesn't think that way or who has memorised all the esoteric commands and now lords it over others, has simply been desensitised by too many years of badly designed software.) Cooper's writing style is often overblown, with a pantheon of cutesy terminology (i.e. "dancing bearware") and insider back-patting. (When presenting software to Bill Gates, he reports that Gates replied: "How did you do that?" to which he writes: "I love stumping Bill!") More seriously, he is also unable to see beyond software development's importance--a sin he accuses programmers of throughout the book. Even with that in mind, the central questions Cooper asks are too important to ignore: Are we making users happier? Are we improving the process by which they get work done? Are we making their work hours more effective? Cooper looks to programmers, business managers and what he calls "interaction designers" to question current assumptions and mindsets. Plainly, he asserts that the goal of computer usage should be "not to make anyone feel stupid." Our distance from that goal reinforces the need to rethink entrenched priorities in software planning. -- Jennifer Buckendorff, Amazon.com

     They say you shouldn't ask your mom whether your business is a good idea, because she loves you and will lie to you. This is technically true, but it misses the point. You shouldn't ask anyone if your business is a good idea. It's a bad question and everyone will lie to you at least a little . As a matter of fact, it's not their responsibility to tell you the truth. It's your responsibility to find it and it's worth doing right .Talking to customers is one of the foundational skills of both Customer Development and Lean Startup. We all know we're supposed to do it, but nobody seems willing to admit that it's easy to screw up and hard to do right. This book is going to show you how customer conversations go wrong and how you can do better.

    Sure, they cover the basics. But The Ultimate Guide to Video Game Writing and Design goes way beyond the basics. The authors, top game designers, focus on creating games that are an involving, emotional experience for the gamer. Topics include integrating story into the game, writing the game script, putting together the game bible, creating the design document, and working on original intellectual property versus working with licenses. Finally, there’s complete information on how to present a visionary new idea to developers and publishers. Got game? Get The Ultimate Guide to Video Game Writing and Design.