Is this thing on?

Mechanics, Dynamics, Aesthetics A Formal Approach to Game Design Marc “MAHK” LeBlanc April 2003

Game Design “Frameworks” Paradigms for organizing our understanding.

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

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

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

The Designer-Player Relationship  Designer  Player

The Designer-Player Relationship  Designer  Player Game

The Designer-Player Relationship  Designer  Player Game CreatesConsumes

The Designer-Player Relationship  Designer  Player Game CreatesConsumes Book

The Designer-Player Relationship  Designer  Player Game CreatesConsumes Book Movie

The Designer-Player Relationship  Designer  Player Game CreatesConsumes Book Movie Painting

The Designer-Player Relationship  Designer  Player Game CreatesConsumes Book Movie Painting Chair

The Designer-Player Relationship  Designer  Player Game CreatesConsumes Book Movie Painting Chair Car

The Designer-Player Relationship  Designer  Player Game CreatesConsumes Book Movie Painting Chair Car Steak Dinner

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

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

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?

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

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

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

The MDA Framework MechanicsAestheticsDynamics

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

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

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.

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.

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

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.

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

The Player’s Perspective MechanicsAestheticsDynamics

The Designer’s Perspective MechanicsAestheticsDynamics

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?

Eight Kinds of “Fun”

Eight Kinds of "Fun" 1. Sensation Game as sense-pleasure

Eight Kinds of "Fun" 1. Sensation Game as sense-pleasure 2. Fantasy Game as make-believe

Eight Kinds of "Fun" 1. Sensation Game as sense-pleasure 2. Fantasy Game as make-believe 3. Narrative Game as drama

Eight Kinds of "Fun" 1. Sensation Game as sense-pleasure 2. Fantasy Game as make-believe 3. Narrative Game as drama 4. Challenge Game as obstacle course

Eight Kinds of "Fun" 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

Eight Kinds of "Fun" 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

Eight Kinds of "Fun" 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

Eight Kinds of "Fun" 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 surrender

Clarifying Our Aesthetics Charades is “fun.” Quake is “fun.” Final Fantasy is “fun.”

Clarifying Our Aesthetics Charades: Fellowship, Expression, Challenge Quake: Challenge, Sensation, Competition, Fantasy Final Fantasy: Fantasy, Narrative, Expression, Discovery, Challenge, Masochism Each game pursues multiple aesthetics. Again, there is no Grand Unified Theory.

Clarifying Our Goals As designers, we can choose certain aesthetics as goals for our game design. We need more than a one-word definition of our goals.

What is an “Aesthetic Model?” A rigorous definition of an aesthetic goal. Serves as an “aesthetic compass.” States criteria for success as well as possible modes of failure. Some examples…

Goal: Competition Model: A game is competitive if: Players are adversaries. Players have an ongoing emotional investment in defeating each other. Some Failure Modes: A player feels that he can’t win. A player can’t measure his progress.

Goal: Realistic Flight Simulation Possible Models: Our flight dynamics are realistic if: They match a mathematical formula, or, They pass our “realism checklist,” Failure Modes: Counter-intuitive system behavior.

Goal: Drama Model: A game is dramatic if: Its central conflict creates dramatic tension. The dramatic tension builds towards a climax.

Goal: Drama Failure Modes: No dramatic tension. Tension does not increase towards a climax. On to Dynamics...

Understanding Dynamics How can we predict and explain the behavior of the game-as-system?

Formalizing Game Dynamics Rules Input Output State (Player) (Graphics/ Sound) The “State Machine” Model

Models of Game Dynamics Again, no Grand Unified Theory Instead, a collection of many Dynamic Models. Dynamics models are analytical in nature. Some examples…

Example: Random Variable This is a model of 2d6: Chance in 36 Die roll

Example: Feedback System A feedback system monitors and regulates its own state. Room Too Cold Too Hot An Ideal Thermostat Thermometer Controller Cooler Heater

Example: Operant Conditioning The player is part of the system, too! Psychology gives us models to explain and predict the player’s behavior.

Where Models Come From Analysis of existing games. Other Fields: Math, Psychology, Engineering… Our own experience. On to Mechanics...

Understanding Mechanics There’s a vast library of common game mechanics.

Examples Cards: Shuffling, Trick-Taking, Bidding Shooters: Ammunition, Spawn Points Golf: Sand Traps, Water Hazards

Mechanics vs. Dynamics We need to acknowledge mechanics and dynamics as distinct concepts. Dynamics emerge from Mechanics.

Interaction Models How do specific dynamics emerge from specific mechanics? How do specific dynamics evoke specific aesthetics?

Example: Time Pressure “Time pressure” is a dynamic. It can create dramatic tension. Various mechanics create time pressure: –Simple time limit –“Pace” monster –Depleting resource

Moving Forward… Let’s hope the future brings us: A rich aesthetic vocabulary. A eclectic library of game mechanics. A catalog of formal models: Aesthetic, Dynamic, Interaction In other words, “Formal Abstract Design Tools.”

The Three Musketeers...and the Dynamics of Drama

Rules for Three Musketeers Players take turns moving one of their pieces. No diagonal moves. Musketeers move by capturing a nearby enemy. Cardinal’s men move to a nearby empty space. Cardinal wins if the Musketeers are in the same row or column. Musketeers win if they cannot move. Starting Board

Discussion Questions What’s a good strategy for the Musketeers? For the Cardinal?

Discussion Questions What are the aesthetics of Three Musketeers? In other words, what’s “fun” about it?

© Steve Jackson Gameswww.sjgames.com

Discussion Questions When does the “dramatic climax” of the game occur?

Discussion Questions Can we prove that the game halts?

Discussion Questions 1. What is the maximum number of choices the musketeer player can have on his turn?

Discussion Questions 1. What is the maximum number of choices the musketeer player can have on his turn? 2. How many first moves are there?

Discussion Questions 1. What is the maximum number of choices the musketeer player can have on his turn? 2. How many first moves are there?

Discussion Questions 1. What is the maximum number of choices the musketeer player can have on his turn? 2. How many first moves are there? 3. How many last moves are there?

Discussion Questions What does this graph look like? Time Choices

Discussion Questions Time Choices

The Dramatic Arc Time Rising Action Falling Action Climax

The Dramatic Arc Pervades Game Aesthetics Challenge: Obstacle/Triumph Discovery: Novelty/Mastery Submission: Toil/Reward Competition: Equality/Supremacy

So Games are Stories, Right?

Rather, Play and Narrative intersect.

So Games are Stories, Right? Rather, Play and Narrative intersect. The Dramatic Arc is the point of intersection.

So Games are Stories, Right? Rather, Play and Narrative intersect. The Dramatic Arc is the point of intersection. Drama is more “primal” than narrative.

So Games are Stories, Right? Rather, Play and Narrative intersect. The Dramatic Arc is the point of intersection. Drama is more “primal” than narrative. Games don’t tell stories, they are stories.

Drama in Detail Drama Requires: Dramatic Tension Rising and Falling Action

Drama in Detail Drama Requires: Dramatic Tension –Uncertainty –Inevitability Rising and Falling Action

Dramatic Tension Uncertainty: The outcome is ambiguous Inevitability: The outcome is imminent.

Drama in Three Musketeers Uncertainty: Search tree complexity Inevitability: Depletion of the Cardinal’s men (consider “pushing” variant)

Other Sources of Uncertainty Negative Feedback (“Crash Team Racing”) Rising Stakes (“Jeopardy”) Limited Information (“Warcraft”)

Other Sources of Inevitability Non-reversible processes. Non-renewable resources. Perception is important.

Denouement in Games Games need to resolve their tension. Some resolution happens outside the game. Many digital games build in post-game resolution.

That’s All! Drama is a central play aesthetic. Drama is structured tension. Several different dynamics evoke uncertainty and inevitability.

Questions? (