One concern with the mass-produced BCI games is proper evaluation; namely, how to prove that the user's brainwaves are the actual control signals driving the game. Of course, from a hybrid BCI perspective, gamers can (and must) also use other physiological signals and interaction modalities. The point, however, is to demonstrate that users have a sufficient degree of mental control for those aspects of the game that require so, as advertised. This issue also raises the question of how to evaluate games as a whole to ensure that they provide a valuable and enjoyable experience. In this respect, the Fun of Gaming (FUGA) project advocates a multi-dimensional evaluation using self-reports, behavioral observations and psychophysiological measures as each in itself is insufficient to get the full picture (IJsselsteijn et al., 2008). Much of the research in pleasure and satisfaction in entertainment focuses on gaming but some might be applied to entertainment in general. For example, “fun” in a game includes challenge, curiosity, fantasy, and Csikszentmihalyi's theory of flow (level of engagement that one is completely absorbed in the current activity and enjoys it in itself without any need for future benefit), but these can also apply to interactive art and creativity (and by extension interactive media, Costello and Edmonds, 2007). Only such a kind of evaluation will prove beneficial for BCI games in general, and for disabled people in particular. Otherwise, BCI games will be just another “fast-food toy” that customers buy and stop using quickly, thus risking to seriously damage the credibility of the BCI field – such a blow that early in its development stage could cripple the field, by projecting a negative image to the public, other industrial sectors, and to funding agencies.