1. The MDA Framework MechanicsAestheticsDynamics

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.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.

4. © Steve Jackson Games www.sjgames.com

5. 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.

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

7. Two Final Thoughts “ The intellect is a Bailey bridge built between islands of inspiration.” - Mike Myers “MDA is like an autopsy. It’s not something you do to your lover. It’s something you do to your ex-lover to find out what went wrong.” - Frank Lantz

8. Shameless Plugs Intution and Intellect: Decontructing the Design of Oasis (thurs, 9am)Intution and Intellect: Decontructing the Design of Oasis (thurs, 9am) Experimental Gameplay Workshop (thurs, 4pm)Experimental Gameplay Workshop (thurs, 4pm)

9. Links www.8kindsoffun.com Marc LeBlanc mahk@8kindsoffun.com Andrew Leker aleker@mind-control.com Rob Fermier rfermier@ensemblestudios.com Frank Lantz franklantz@yahoo.com Jonathan Hamel jhamel@breakawaygames.com Steve Librande slibrande@blizzard.com Art Min amin@junctionpoint.com Randy Smith RoninGameDeveloper.com Tim Stellmach timstellmach@hotmail.com Robin Hunicke hunicke@cs.northwestern.edu

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

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

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

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

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

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

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

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

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

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

20. Introducing the Faculty MyselfMyself Rob FermierRob Fermier Austin GrossmanAustin Grossman Frank LantzFrank Lantz Andrew LekerAndrew Leker Steve LibrandeSteve Librande Katie Salen Tim Stellmach Also Helping Out: Art Min Robin Hunicke

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

22. Game Design “Frameworks” Paradigms for organizing our understanding.Paradigms for organizing our understanding.

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

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

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

26. The Designer-Player Relationship  Designer  Player

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

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

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

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

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

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

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

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

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

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

37. Games, on the Contrary The designer doesn’t know: When will the player play? How often? For how long?When will the player play? 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?

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

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

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

41. The MDA Framework MechanicsAestheticsDynamics

42. 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.

43. Definitions Dynamics: The run-time behavior of the game-as-system.Dynamics: The run-time behavior of the game-as-system.

44. 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.

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

46. 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 them.Knowledge of the interactions between them.

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

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

49. The Player’s Perspective MechanicsAestheticsDynamics

50. The Designer’s Perspective MechanicsAestheticsDynamics

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

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

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

56. 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

57. 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

58. 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

59. 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

60. 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. Masochism Game as submission

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: Fellowship, Expression, ChallengeCharades: Fellowship, Expression, Challenge Quake: Challenge, Sensation, Competition, FantasyQuake: Challenge, Sensation, Competition, Fantasy Final Fantasy: Fantasy, Narrative, Expression, Discovery, Challenge, MasochismFinal Fantasy: Fantasy, Narrative, Expression, Discovery, Challenge, Masochism Each game pursues multiple aesthetics.Each game pursues multiple aesthetics. Again, there is no Game Unified Theory.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 goal.A rigorous definition of an aesthetic goal. Serves as an “aesthetic compass.”Serves as an “aesthetic compass.” States criteria for success as well as possible modes of failure.States criteria for success as well as possible modes of failure. Some examples…

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

66. Goal: Realistic Flight Simulation Possible Models: Our flight dynamics are realistic if: They match a mathematical formula, or,They match a mathematical formula, or, They pass our “realism checklist,”They pass our “realism checklist,” Failure Modes: Counter-intuitive system behavior.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 Failure Modes: Lack of conflict.Lack of conflict. Lack of tension.Lack of tension.  The conflict’s outcome is obvious (no uncertainty).  No sense of forward progress (no inevitability). Tension does not increase towards a climax.Tension does not increase towards a climax. On to Dynamics...

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

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 games.Analysis of existing games. Other Fields: Math, Psychology, Engineering…Other Fields: Math, Psychology, Engineering… Our own experience.Our 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 Cards: Shuffling, Trick-Taking, BiddingCards: Shuffling, Trick-Taking, Bidding Shooters: Ammunition, Spawn PointsShooters: Ammunition, Spawn Points Golf: Sand Traps, Water HazardsGolf: Sand Traps, Water Hazards

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

79. 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?

80. 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

81. Moving Forward… Let’s hope the future brings us: A rich aesthetic vocabulary.A rich aesthetic vocabulary. A eclectic library of game mechanics.A 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.”

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

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

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

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

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

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

88. Time for Coffee... After the break, go to the classroom that matches the color of your poker chip: Blue C1 Red C2 White C3