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The MDA Framework

Mechanics. Dynamics. Aesthetics. The MDA Framework. Some Common Themes. Here are some themes we examined. Theme: Dynamics and Fantasy. Our game dynamics have meaning within our game’s core fantasy. That meaning may or may not be compatible.

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The MDA Framework

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  1. Mechanics Dynamics Aesthetics The MDA Framework

  2. Some Common Themes Here are some themes we examined.

  3. Theme: Dynamics and Fantasy • Our game dynamics have meaning within our game’s core fantasy. • That meaning may or may not be compatible. • In order to remain faithful to our subject matter, dynamics and fantasy must be in alignment.

  4. © Steve Jackson Games www.sjgames.com

  5. Theme: “Possibilty Space” and Drama Choices Time

  6. Theme: State Space and Design Flexibility • The state space of a game is the set of possible states the system can be in. • The larger the state space, the easier it is to make changes. • As we modify our design, we can expect the state space to grow.

  7. Theme: Aesthetic Breadth • Games are not aesthetic laser beams. • Neither are players, neither are designers. • As professionals, we need to be able to match the player’s values as well as our own.

  8. A Final Thought “The intellect is a Bailey bridge built between islands of inspiration” - Mike Myers www.algorithmancy.org algorithmancy@yahoo.com

  9. Shameless Plugs • Oasis(IGF, Wed) • Beyond Fun – Setting Aesthetic Goals and Sticking to Them (Fri AM) • Would the Real Emergent Gameplay Please Stand Up? (Thu AM) • Cross-Platform UI Development (Thu PM) • Industry Collaboration with Academia (Thu PM) • Experimental Gameplay Workshop (Thu PM)

  10. Probability is a Valuable Model This is a model of 2d6: Chance in 36 Die roll

  11. Game Design and Tuning Workshop Orientation Marc “MAHK” LeBlanc GDC 2003

  12. Orientation Overview Part I: Workshop Format Part II: Outline Our Formal Approach Part III: Formal Approach in Detail Part IV: Tuning

  13. Part I: Introduction In this part we will: • Explain the workshop high concept. • Describe the format. • Introduce the faculty.

  14. This Workshop Is: • In its third year • Designed to be hands-on. • Focused on the tuning process. • Grounded in a formal approach to game design. • Intended to be open-ended.

  15. This Workshop Isn’t: • About the game “industry.” • About the game design “profession.” • Concerned with the early stages of game design. • A one-way street.

  16. What You’ll be Doing • Playing games. • Analyzing games. • Critiquing games. • Modifying games. • Refining games.

  17. A Few Ground Rules • Please attend the whole thing. • Collaborate, Share, and Encourage. • Save the “meta-discussion” for the very end.

  18. Workshop Format • Small-group activities. • Main Exercises (3) • Electives (choose 1 from 3 each day)

  19. Introducing the Faculty • Myself • Rob Fermier • Austin Grossman • Frank Lantz • Andrew Leker • Steve Librande • Katie Salen • Tim Stellmach • Also Helping Out: • Art Min • Robin Hunicke

  20. Part II: A Formal Approach In this section, we present • A formal framework for game design. • A view of the designer-player relationship

  21. Game Design “Frameworks” • Paradigms for organizing our understanding.

  22. Game Design “Frameworks” • Paradigms for organizing our understanding. • Example Frameworks: • The 400 Project • Design Patterns

  23. Game Design “Frameworks” • Paradigms for organizing our understanding. • Example Frameworks: • The 400 Project • Design Patterns • Separate from the process.

  24. Our Framework • Organized around the designer-player relationship. • Grounded in a formal approach.

  25. The Designer-Player Relationship   Designer Player

  26. The Designer-Player Relationship   Game Designer Player

  27. The Designer-Player Relationship   Creates Consumes Game Designer Player

  28. The Designer-Player Relationship   Creates Consumes Game Designer Book Player

  29. The Designer-Player Relationship   Creates Consumes Game Designer Book Movie Player

  30. The Designer-Player Relationship   Creates Consumes Game Designer Book Movie Painting Player

  31. The Designer-Player Relationship   Creates Consumes Game Designer Book Movie Painting Chair Player

  32. The Designer-Player Relationship   Creates Consumes Game Designer Book Movie Painting Chair Car Player

  33. The Designer-Player Relationship   Creates Consumes Game Designer Book Movie Painting Chair Car Steak Dinner Player

  34. The Designer-Player Relationship   Creates Consumes Game Designer Player The difference is the way that games are consumed.

  35. An Extreme Opposite Example:A Theatrical Play The “design team” knows: • Script • Lighting • Acoustics • Seating • Intermissions

  36. Games, on the Contrary The designer doesn’t know: • When will the player play? How often? For how long? • Where? With Whom? And most importantly... • What will happen during the game?

  37. Obligatory Editorial This lack of predictability is the essence of play. It should be embraced, not eschewed.

  38. Rules System Behavior “Fun” A Formal Model of“Game Consumption”

  39. Rules System Behavior “Fun” The Player-Designer Relationship, Revisited   Designer Player

  40. Mechanics Dynamics Aesthetics The MDA Framework

  41. Definitions • Mechanics: The rules and concepts that formally specify the game-as-system.

  42. Definitions • Mechanics: The rules and concepts that formally specify the game-as-system. • Dynamics: The run-time behavior of the game-as-system.

  43. Definitions • Mechanics: The rules and concepts that formally specify the game-as-system. • Dynamics: The run-time behavior of the game-as-system. • Aesthetics: The desirable emotional responses evoked by the game dynamics.

  44. The Building Blocks: Formal Models • No Grand Unified Theory • Instead, lots of little models • Models can be formulas or abstractions. • We can think of models as “lenses.” • Discovering new models is an ongoing process.

  45. MDA is a “Taxonomy” for Models • Knowledge of Aesthetics • Knowledge of Dynamics • Knowledge of Mechanics • Knowledge of the interactions between them.

  46. Properties of Good Models We want our models to be: • Formal (i.e. well-defined). • Abstract (i.e. widely applicable). • Proven (i.e. known to work). On any given game, we expect to use several different abstractions, not one big one.

  47. Part III: MDA in detail In this part, we discuss Aesthetics, Dynamics and Mechanics in detail.

  48. Mechanics Dynamics Aesthetics The Player’s Perspective

  49. Mechanics Dynamics Aesthetics The Designer’s Perspective

  50. Understanding Aesthetics We need to get past words like “fun” and “gameplay.” • What kinds of “fun” are there? • How will we know a particular kind of “fun” when we see it?

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