1. Is this thing on?

2. Game Design Workshop Orientation Marc “MAHK” LeBlanc GDC 2004

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

4. Part I: Introduction In this part we will: Explain the workshop high conceptExplain the workshop high concept Describe the formatDescribe the format Introduce the facultyIntroduce the faculty

5. About The Workshop This is the fifth yearThis is the fifth year Hands-onHands-on Focused on iterative designFocused on iterative design Grounded in a formal approach to game designGrounded in a formal approach to game design Intended to be open-endedIntended to be open-ended

6. Things You Won’t Learn Here How to get a job as a game designerHow to get a job as a game designer How to write a design documentHow to write a design document Where game ideas “come from”Where game ideas “come from” How to get your game fundedHow to get your game funded How to use a level editorHow to use a level editor

7. In Other Words... It’s not about the Business (Getting a job, pitching a game, getting funded)It’s not about the Business (Getting a job, pitching a game, getting funded) It’s not about the Profession (Writing documents, tracking bugs, using tools)It’s not about the Profession (Writing documents, tracking bugs, using tools) It’s about the Craft (Making games that are fun)It’s about the Craft (Making games that are fun)

8. What You’ll be Doing Playing gamesPlaying games Analyzing gamesAnalyzing games Critiquing gamesCritiquing games Modifying gamesModifying games Refining gamesRefining games

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

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

11. Introducing the Faculty MyselfMyself Rob FermierRob Fermier Jonathan HamelJonathan Hamel Robin HunickeRobin Hunicke Frank LantzFrank Lantz Andrew LekerAndrew Leker Steve LibrandeSteve Librande Art MinArt Min Randy SmithRandy Smith Tim StellmachTim Stellmach

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

13. Game Design “Frameworks” Paradigms for organizing our understandingParadigms for organizing our understanding

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

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

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

17. The Designer-Player Relationship  Designer  Player

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

19. The Designer-Player Relationship  Designer  Player CreatesConsumes Game

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

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

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

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

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

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

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

27. An Extreme Opposite Example: A Theatrical Play The “design team” knows: ScriptScript LightingLighting AcousticsAcoustics SeatingSeating IntermissionsIntermissions

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

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

30. Games as Software Code

31. Games as Software Code Process

32. Games as Software Code Requirements Process

33. Games as Software Rules CodeRequirementsProcess

34. Games as Software Rules Activity CodeRequirementsProcess

35. Games as Software Rules “Fun” Activity CodeRequirementsProcess

36. A Design Vocabulary Rules“Fun” Activity CodeRequirementsProcess

37. Code RequirementsProcess Rules “Fun” Activity A Design Vocabulary Mechanics

38. Requirements Process “Fun” Game A Design Vocabulary Mechanics Dynamics

39. A Design Vocabulary Mechanics Aesthetics Dynamics

40. The MDA Framework MechanicsAestheticsDynamics

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

42. The Designer/Player Relationship, Revisited  Designer  Player MechanicsAestheticsDynamics

43. The Player’s Perspective MechanicsAestheticsDynamics  Player

44. The Designer’s Perspective MechanicsAestheticsDynamics  Designer

45. Three “Views” of Games But they are causally linked MechanicsAestheticsDynamics

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

47. MDA is a “Taxonomy” for Models Knowledge of AestheticsKnowledge of Aesthetics Knowledge of DynamicsKnowledge of Dynamics Knowledge of MechanicsKnowledge of Mechanics Knowledge of the interactions between themKnowledge of the interactions between them

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

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

50. The Designer’s Perspective MechanicsAestheticsDynamics  Designer

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

52. Eight Kinds of “Fun”

53. 1.Sensation Game as sense-pleasure

54. Eight Kinds of “Fun” 1.Sensation 2.Fantasy Game as make-believe

55. Eight Kinds of “Fun” 1.Sensation 2.Fantasy 3.Narrative Game as unfolding story

56. Eight Kinds of “Fun” 1.Sensation 2.Fantasy 3.Narrative 4.Challenge Game as obstacle course

57. Eight Kinds of “Fun” 1.Sensation 2.Fantasy 3.Narrative 4.Challenge 5.Fellowship Game as social framework

58. Eight Kinds of “Fun” 1.Sensation 2.Fantasy 3.Narrative 4.Challenge 5.Fellowship 6.Discovery Game as uncharted territory

59. Eight Kinds of “Fun” 1.Sensation 2.Fantasy 3.Narrative 4.Challenge 5.Fellowship 6.Discovery 7.Expression Game as self-discovery

60. Eight Kinds of “Fun” 1.Sensation 2.Fantasy 3.Narrative 4.Challenge 5.Fellowship 6.Discovery 7.Expression 8.Submission Game as mindless pastime

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

62. Clarifying Our Aesthetics Charades isCharades is  Fellowship, Expression, Challenge Quake isQuake is  Challenge, Sensation, Competition, Fantasy Final Fantasy isFinal Fantasy is  Fantasy, Narrative, Expression, Discovery, Challenge, Masochism Each game pursues multiple aesthetics. Again, there is no Game Unified Theory.

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

64. What is an “Aesthetic Model?” A rigorous definition of an aesthetic goalA rigorous definition of an aesthetic goal States criteria for success and failureStates criteria for success and failure Serves as an “aesthetic compass”Serves as an “aesthetic compass” Some examples…

65. Goal: Competition Model: A game is competitive if players are emotionally invested in defeating each other. Success:  Players are adversaries.  Players want to win. Failure:  A player feels that he can’t win.  A player can’t measure his progress.

66. Goal: Realistic Flight Simulation Model: Flight dynamics match user expectations. Success:  Match a mathematical formula  Pass our “realism checklist” Failure:  Counter-intuitive system behavior.

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

68. Goal: Drama Success:  A sense of uncertainty  A sense of inevitability  Tension increases towards a climax Failure:  The conflict’s outcome is obvious (no uncertainty)  No sense of forward progress (no inevitability)  Player doesn’t care how the conflict resolves. On to Dynamics...

69. Understanding Dynamics What about the game’s behavior can we predict before we go to playtest?What about the game’s behavior can we predict before we go to playtest? How can we explain the behavior that we observe?How can we explain the behavior that we observe?

70. Formalizing Game Dynamics Rules Input Output State (Player) (Graphics/ Sound) The “State Machine” Model Examples: Chess, Quake

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

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

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

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

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

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

77. Examples CardsCards  Shuffling, Trick-Taking, Bidding ShootersShooters  Ammunition, Spawn Points GolfGolf  Sand Traps, Water Hazards

78. Mechanics vs. Dynamics There’s a grey areaThere’s a grey area  Some behaviors are direct consequences of rules.  Others are indirect.  “Dynamics” usually means the latter.

79. Mechanics vs. Dynamics There’s a grey areaThere’s a grey area  Some behaviors are direct consequences of rules.  Others are indirect.  “Dynamics” usually means the latter. Dynamics and Mechanics are different views of games.Dynamics and Mechanics are different views of games.

80. Mechanics vs. Dynamics There’s a grey areaThere’s a grey area  Some behaviors are direct consequences of rules.  Others are indirect.  “Dynamics” usually means the latter. Dynamics and Mechanics are different views of games.Dynamics and Mechanics are different views of games. Dynamics emerge from Mechanics.Dynamics emerge from Mechanics.

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

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

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

84. Part IV: Tuning In this part we will: Define tuningDefine tuning Present a formal approachPresent a formal approach

85. What we mean by “Tuning” Tuning is an iterative process. Test Analyze Revise

86. We’re not limited to: Parameter tweakingParameter tweaking “Fiddling with knobs”“Fiddling with knobs”

87. MDA in the Tuning Process Aesthetic Models help us:Aesthetic Models help us:  Articulate our goals  Point out our game’s flaws  Measure our progress Dynamic Models help us:Dynamic Models help us:  Pinpoint our problems Both kinds help us:Both kinds help us:  Evaluate possible revisions

88. Learning From the Tuning Process Between iterations, we re-evaluate: Our goalsOur goals Our modelsOur models Our assumptionsOur assumptions Sometimes we need to revise our own thinking as well.

89. The Tuning Process Before we start Know our aesthetic goalsKnow our aesthetic goals While we iterate Aesthetic and dynamics models guide our wayAesthetic and dynamics models guide our way Between Iterations Learn from the processLearn from the process

90. Time for Coffee...

91. Part V: Some Common Themes Here are some themes you’ll see throughout the workshop.

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

93. © Steve Jackson Games www.sjgames.com

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