A Formal Approach to Game Design and Game Research

1. A M D A Formal Approach to Game Design and Game Research

2. MDA: Why? • Post mortems are 20/20… • …but understanding is fuzzy! • Formal Abstract Design Tools, et al • Make better games • Save time and money • Scaffold for research, study and production

3. MDA: What? • Game Tuning Workshop • GDC 2001-2006 • Teach via exercises • Experienced Faculty • Blizzard, Ensemble, Mind Control, Ion Storm, Looking Glass, SOE, Valve, Visual Concepts, Wizards of the Coast, etc.

4. MDA: Who? • Audience • Academic • Ludology, Narratology, Game Studies • Development • Design, Programing, Art • Marketing, Production and Biz! • Blends • Computer Science • Art/Technology

5. MDA: Biased! • Artifact-centered approach • Games produce behavior, not media • Building is understanding • Until you apply these concepts, it’s hard to really “grok” them.

6. A M D Introduction

7. Designer-Player Relationship   Creates Consumes Game Designer Player

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

9. Designer-Player Relationship • Unpredictable • How will it be consumed? • What happens during consumption? • How can we formalize this?

10. Rules System “Fun” Formalizing Games

11. Rules Code System Behavior “Fun” Requirements Formalizing Games

12. Formalizing Games Code System “Fun” Mechanics Rules Behavior Requirements

13. Formalizing Games Code Behavior “Fun” Mechanics Dynamics Rules System Requirements

14. Formalizing Games Code Behavior Requirements Mechanics Dynamics Aesthetics Rules System “Fun”

15. Mechanics Dynamics Aesthetics Definitions • Mechanics • Components of a game at the level of data representation and algorithms

16. Mechanics Dynamics Aesthetics Definitions • Dynamics • Run-time behavior of the mechanics as they operate upon user input, and the outputs of other mechanics, over time.

17. Mechanics Dynamics Aesthetics Definitions • Aesthetics • Desirable emotional responses evoked in the player, when she interacts with the game.

18. A M D Aesthetics

19. Aesthetics • Charades is “fun” • Quake is “fun” • The Sims is “fun” • Final Fantasy is “fun”

20. 1. Sensation • Game as sense-pleasure • 2. Fantasy • Game as make-believe • 3. Narrative • Game as drama • 4. Challenge • Game as obstacle course • 5. Fellowship • Game as social framework • 6. Discovery • Game as uncharted territory • 7. Expression • Game as self-discovery • 8. Submission • Game as pastime Aesthetics • 8 Kinds of Fun:

21. Aesthetics • Charades: Fellowship, Expression, Challenge • Quake • The Sims • Final Fantasy

22. Aesthetics • Charades: Fellowship, Expression, Challenge • Quake: Challenge, Sensation, Fantasy • The Sims • Final Fantasy

23. Aesthetics • Charades: Fellowship, Expression, Challenge • Quake: Challenge, Sensation, Fantasy • The Sims: Discovery, Fantasy, Expression, Narrative • Final Fantasy

24. Aesthetics • Charades: Fellowship, Expression, Challenge • Quake: Challenge, Sensation, Fantasy • The Sims: Discovery, Fantasy, Expression, Narrative • Final Fantasy: Fantasy, Narrative, Expression, Discovery, Challenge, Submission

25. Aesthetics • No “Grand Unified Theory” of fun • Concrete vocabulary helps us: • Break games into constituent elements • Pinpoint features that aid aesthetic goals • Taxonomize games beyond “genre”

26. Aesthetic Models • What games do: well or poorly • Charades and Quake: Competition • Requires emotional investment • Perceivable winning condition • Achievable winning condition

27. Models in Action • Models guide us like a compass • Does this aesthetic work for target players? • Are we missing something? • How can we modify our design? • Quake + fellowship = Counter Strike

28. A M D Dynamics

29. Dynamics • Dynamics create Aesthetics • Challenge • Time pressure • Opponent play • Fellowship • Shared information (teams) • Group-sized goals (capture a base)

30. Dynamics • Dynamics create Aesthetics • Expression • Building, buying, and designing • Personalizing or customizing • Dramatic Tension • Rising tension, release, denouement • Characters in conflict, alliances and betrayals

31. Dynamic Models • Predict and describe interactions • Evaluate them concretely • Avoid pitfalls

32. Model: 2D 6 Chance in 36 2 3 4 5 6 7 8 9 10 11 12 Die Roll

33. Model: Feedback System Room Thermometer Too Cold! Controller Too Hot!

34. Model: Monopoly Move Roll Losers $$$$$$ Pay Up! Winners $$$$$$ Cash In!

35. Models in Action • Fix the boring endgame? • Reward players who are behind • Impede players who are ahead • Less “realistic” perhaps, but… • Winners feel challenge • Losers have hope • Tension arc is longer & more fulfilling

36. A M D Mechanics

37. Mechanics • Mechanics support Dynamics • Cards: • Trick taking, betting… • …bluffing, shooting the moon • Shooters: • Weapons, ammo, spawn points… • … camping or sniping

38. Mechanics of Monopoly • Dice and Board • Own/Collect Land • Specials (Go, jail, railroads, etc) • Draw Cards • Build stuff • Negotiate (optional)

39. Mechanics of Monopoly • Increased Dramatic Tension • Smaller board, more rolls, larger dice • Constant rate tax or increased payouts • Randomly distributed properties

40. Mechanics of Monopoly • Achievable Winning Conditions • Subsidies for the poor • Taxes for the rich • Calculate @ Go • or when exercising a monopoly

41. Tuning • Discuss flaws using MDA • Do changes effect aesthetics? • Taxes lead to complex calculations

42. Tuning • Use models to guide our thinking • Proposed die/board changes • Length of turns? • Length of games? • Odds for acquisitions?

43. A M D Framework for Player and Designer

44. Mechanics Dynamics Aesthetics MDA as Lens • Typical designer perspective • Mechanics give rise to Dynamics… • which support the overall Aesthetic.  Designer

45. MDA as Lens • Typical player perspective • Aesthetics set a tone… • born out by Mechanics and Dynamics.  Mechanics Dynamics Aesthetics Player

46. Mechanics Dynamics Aesthetics A New Perspective • When playing • Recognize how our actions help create and support entertainment experiences  Player

47. A New Perspective • When building • Use aesthetic goals to drive our overall design  Mechanics Dynamics Aesthetics Designer

48. MDA • Put the player on stage

49. MDA • Put the player on stage • Avoid feature-driven design

50. MDA • Put the player on stage • Avoid feature-driven design • Eliminate “clutter”