Games and their analysis

Definition of game

A game is a series of transactions that is complementary (reciprocal), ulterior, and proceeds towards a predictable outcome. Games are often characterized by a switch in roles of players towards the end. Games are usually played by Parent, Adult and Child ego states, and games usually have a fixed number of players; however, an individual's role can shift, and people can play multiple roles.
Berne identified dozens of games, noting that, regardless of when, where or by whom they were played, each game tended towards very similar structures in how many players or roles were involved, the rules of the game, and the game's goals.
Each game has a payoff for those playing it, such as the aim of earning sympathy, satisfaction, vindication, or some other emotion that usually reinforces the life script. The antithesis of a game, that is, the way to break it, lies in discovering how to deprive the actors of their payoff.
Students of transactional analysis have discovered that people who are accustomed to a game are willing to play it even as a different "actor" from what they originally were.

Analysis of a game

One important aspect of a game is its number of players. Games may be two handed (that is, played by two players), three handed (that is, played by three players), or many handed. Three other quantitative variables are often useful to consider for games:
- Flexibility: The ability of the players to change the currency of the game (that is, the tools they use to play it). In a flexible game, players may shift from words, to money, to parts of the body.
- Tenacity: The persistence with which people play and stick to their games and their resistance to breaking it.
- Intensity: Easy games are games played in a relaxed way. Hard games are games played in a tense and aggressive way.
Based on the degree of acceptability and potential harm, games are classified as:
- First Degree Games are socially acceptable in the players' social circle.
- Second Degree Games are games that the players would like to conceal, though they may not cause irreversible damage.
- Third Degree Games are games that could lead to drastic harm to one or more of the parties concerned.

Games are also studied based on their:
- Aim
- Roles
- Social and Psychological Paradigms
- Dynamics
- Advantages to players (Payoffs)

Contrast with rational (mathematical) games

Transactional game analysis is fundamentally different from rational or mathematical game analysis in the following senses:
- The players do not always behave rationally in transactional analysis, but behave more like real people.
- Their motives are often ulterior.

Some commonly found games

Here are some of the most commonly found themes of games described in Games People Play by Eric Berne:

-YDYB: Why Don't You, Yes But. Historically, the first game discovered.
-IFWY: If It Weren't For You
-WAHM: Why does this Always Happen to Me? (setting up a self-fulfilling prophecy)
-SWYMD: See What You Made Me Do
-UGMIT: You Got Me Into This
-LHIT: Look How Hard I've Tried
-ITHY: I'm Only Trying to Help You
-LYAHF: Let's You and Him Fight (staging a love triangle)
-NIGYYSOB / NIGYSOB: Now I've Got You, You Son Of a Bitch
-RAPO: A woman falsely cries 'rape' or threatens to - related to Buzz Off Buster

Berne argued that games are not played logically; rather, one person's Parent state might interact with another's Child, rather than as Adult to Adult.
Games can also be analysed according to the Karpman drama triangle, that is, by the roles of Persecutor, Victim and Rescuer. The 'switch' is then when one of these having allowed stable roles to become established, suddenly switches role. The Victim becomes a Persecutor, and throws the previous Persecutor into the Victim role, or the Rescuer suddenly switches to become a Persecutor ("You never appreciate me helping you!").

Why Don't You/Yes But

The first such game theorized was Why don't you/Yes, but in which one player (White) would pose a problem as if seeking help, and the other player(s) (Black) would offer solutions (the "Why don't you?" suggestion). This game was noticed as many patients played it in therapy and psychiatry sessions, and inspired Berne to identify other interpersonal "games".
White would point out a flaw in every Black player's solution (the "Yes, but" response), until they all gave up in frustration. For example, if someone's life script was "to be hurt many times, and suffer and make others feel bad when I die" a game of "Why Don't You, Yes But" might proceed as follows:
White: I wish I could lose some weight.
Black: Why don't you join a gym?
W: Yes but, I can't afford the payments for a gym.
B: Why don't you speed walk around your block after you get home from work?
W: Yes but, I don't dare walk alone in my neighborhood after dark.
B: Why don't you take the stairs at work instead of the elevator?
W: Yes but, after my knee surgery, it hurts too much to walk that many flights of stairs.
B: Why don't you change your diet?
W: Yes but, my stomach is sensitive and I can tolerate only certain foods.

"Why Don't You, Yes But" can proceed indefinitely, with any number of players in the Black role, until Black's imagination is exhausted, and she can think of no other solutions. At this point, White "wins" by having stumped Black. After a silent pause following Black's final suggestion, the game is often brought to a formal end by a third role, Green, who makes a comment such as, "It just goes to show how difficult it is to lose weight."
The secondary gain for White was that he could claim to have justified his problem as insoluble and thus avoid the hard work of internal change; and for Black, to either feel the frustrated martyr ("I was only trying to help") or a superior being, disrespected ("the patient was uncooperative").
Superficially, this game can resemble Adult to Adult interaction (people seeking information or advice), but more often, according to Berne, the game is played by White's helpless Child, and Black's lecturing Parent ego states.

"Drunk" or "Alcoholic"

Another example of Berne's approach was his identification of the game of "Drunk" or "Alcoholic." As he explained it, the transactional object of the drunk, aside from the personal pleasure obtained by drinking, could be seen as being to set up a situation where the Child can be severely scolded not only by the internal parent but by any parental figures in the immediate environment who are interested enough to oblige. The pattern is shown to be similar to that in the non-alcoholic game "Schlemiel," in which mess-making attracts attention and is a pleasure-giving way for White to lead up to the crux, which is obtaining forgiveness by Black.
There are a variety of organizations involved in playing 'Alcoholic’, some of them national or even international in scope, others local. Many of them publish rules for the game. Nearly all of them explain how to play the role of Alcoholic: take a drink before breakfast, spend money allotted for other purposes, etc. They also explain the function of the Rescuer role in the game. Alcoholics Anonymous, for example, continues playing the actual game but concentrates on inducing the Alcoholic to take the role of Rescuer. Former Alcoholics are preferred because they know how the game goes, and hence are better qualified to play the supporting role of Rescuer than people who have never played before.
According to this type of analysis, with the rise of rescue organizations which publicize that alcoholism is a disease rather than a transactional game, alcoholics have been taught to play "Wooden Leg", a different game in which an organic ailment absolves White of blame.

The script for "Drunk"

Roles: Victim (addict), Persecutor (usually spouse), Rescuer (often family member of same sex), Patsy (enabler), Connection (supplier)
Pastimes: Martini (how much I used) and morning after (look what you made me do). Many addicts find unlimited access to these pastimes in organizations such as AA.
The game is played from the Victim role as "see how bad I've been; see if you can stop me." The purpose is self-punishment and the garnering of negative (persecution) strokes and positive ones of forgiveness, and the vindication of an "I'm not OK" existential position. The game often becomes elaborated into a self-destructive life script, especially if the parents were also chemically dependent.
Effective antithesis and cure can be achieved through psychotherapeutic script analysis, redecision, relearning.

Rackets

A racket is the dual strategy of getting "permitted feelings," while covering up feelings which we truly feel, but which we regard as being "not allowed". More technically, a racket feeling is "a familiar set of emotions, learned and enhanced during childhood, experienced in many different stress situations, and maladaptive as an adult means of problem solving".
A racket is then a set of behaviours which originate from the childhood script rather than in here-and-now full Adult thinking, which (1) are employed as a way to manipulate the environment to match the script rather than to actually solve the problem, and (2) whose covert goal is not so much to solve the problem, as to experience these racket feelings and feel internally justified in experiencing them.
Examples of racket and racket feelings: "Why do I meet good guys who turn out to be so hurtful", or "He always takes advantage of my goodwill". The racket is then a set of behaviours and chosen strategies learned and practised in childhood which in fact help to cause these feelings to be experienced. Typically this happens despite their own surface protestations and hurt feelings, out of awareness and in a way that is perceived as someone else's fault. One covert pay-off for this racket and its feelings, might be to gain in a guilt free way, continued evidence and reinforcement for a childhood script belief that "People will always let you down".
In other words, rackets and games are devices used by a person to create a circumstance where they can legitimately feel the racket feelings, thus abiding by and reinforcing their Childhood script. They are always a substitute for a more genuine and full adult emotion and response which would be a more appropriate response to the here-and-now situation.