The MDA Framework MechanicsAestheticsDynamics. Some Common Themes Here are some themes we examined.

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The MDA FrameworkThe MDA Framework

Mechanics AestheticsDynamics

Some Common ThemesSome Common Themes

Here are some themes we Here are some themes we examined.examined.

Theme: Dynamics and Theme: Dynamics and FantasyFantasy

• Our game dynamics have Our game dynamics have meaning meaning within our game’s core within our game’s core fantasy.fantasy.

• That meaning may or may not be That meaning may or may not be compatible.compatible.

• In order to remain faithful to our In order to remain faithful to our subject matter, dynamics and subject matter, dynamics and fantasy must be in alignment. fantasy must be in alignment.

Theme: State Space and Theme: State Space and Design FlexibilityDesign Flexibility

• The The state space state space of a game is of a game is the set of possible states the the set of possible states the system can be in.system can be in.

• The larger the state space, the The larger the state space, the easier it is to make changes.easier it is to make changes.

• As we modify our design, we As we modify our design, we can expect the state space to can expect the state space to grow.grow.

Theme: Aesthetic Theme: Aesthetic BreadthBreadth

• Games are not aesthetic Games are not aesthetic laser beams.laser beams.

• Neither are players, neither Neither are players, neither are designers.are designers.

• As professionals, we need to As professionals, we need to be able to match the player’s be able to match the player’s values as well as our own.values as well as our own.

Two Final ThoughtsTwo Final Thoughts

““The intellect is a Bailey bridge built The intellect is a Bailey bridge built between islands of inspiration.”between islands of inspiration.”

- Mike Myers- Mike Myers

““MDA is like an autopsy. It’s not MDA is like an autopsy. It’s not something you do to your lover. It’s something you do to your lover. It’s something you do to your ex-lover to something you do to your ex-lover to find out what went wrong.”find out what went wrong.”

- Frank Lantz- Frank Lantz

Shameless PlugsShameless Plugs• Intution and Intellect: Intution and Intellect:

Decontructing the Design of Decontructing the Design of Oasis (thurs, 9am)Oasis (thurs, 9am)

• Experimental Gameplay Experimental Gameplay WorkshopWorkshop(thurs, 4pm)(thurs, 4pm)

LinksLinks

www.8kindsoffun.comwww.8kindsoffun.com

Marc LeBlancMarc LeBlancmahk@8kindsoffun.commahk@8kindsoffun.com

Andrew LekerAndrew Lekeraleker@mind-control.comaleker@mind-control.com

Rob FermierRob Fermierrfermier@ensemblestudios.corfermier@ensemblestudios.co

Frank LantzFrank Lantzfranklantz@yahoo.comfranklantz@yahoo.com

Jonathan HamelJonathan Hameljhamel@breakawaygames.comjhamel@breakawaygames.com

Steve LibrandeSteve Librandeslibrande@blizzard.comslibrande@blizzard.com

Art MinArt Minamin@junctionpoint.comamin@junctionpoint.com

Randy SmithRandy SmithRoninGameDeveloper.comRoninGameDeveloper.com

Tim StellmachTim Stellmachtimstellmach@hotmail.comtimstellmach@hotmail.com

Robin HunickeRobin Hunickehunickehunicke

@cs.northwestern.edu@cs.northwestern.edu

Theme: “Possibilty Theme: “Possibilty Space” and DramaSpace” and Drama

Probability is a Valuable Probability is a Valuable ModelModel

This is a model of 2d6:This is a model of 2d6:

2 3 4 5 6 7 8 9 10 11 12

Chance

Die roll

Game Design and Tuning Game Design and Tuning WorkshopWorkshop

OrientationOrientation

Marc “MAHK” LeBlanc

GDC 2003

Orientation OverviewOrientation Overview

Part I: Workshop FormatPart I: Workshop Format

Part II: Outline Our Formal Part II: Outline Our Formal ApproachApproach

Part III: Formal Approach in Part III: Formal Approach in DetailDetail

Part IV: TuningPart IV: Tuning

Part I: IntroductionPart I: Introduction

In this part we will: In this part we will: • Explain the workshop high Explain the workshop high

concept.concept.• Describe the format.Describe the format.• Introduce the faculty.Introduce the faculty.

This Workshop Is:This Workshop Is:

• In its third yearIn its third year• Designed to be hands-on.Designed to be hands-on.• Focused on the Focused on the tuningtuning

process.process.• Grounded in a Grounded in a formal formal

approachapproach to game design. to game design.• Intended to be open-ended.Intended to be open-ended.

This Workshop This Workshop Isn’t:Isn’t:

• About the game “industry.”About the game “industry.”• About the game design About the game design

“profession.” “profession.” • Concerned with the early Concerned with the early

stages of game design. stages of game design. • A one-way street.A one-way street.

What You’ll be DoingWhat You’ll be Doing

• Playing games.Playing games.• Analyzing games.Analyzing games.• Critiquing games.Critiquing games.• Modifying games.Modifying games.• Refining games.Refining games.

A Few Ground RulesA Few Ground Rules

• Please attend the whole Please attend the whole thing.thing.

• Collaborate, Share, and Collaborate, Share, and Encourage.Encourage.

• Save the “meta-discussion” Save the “meta-discussion” for the very end.for the very end.

Workshop FormatWorkshop Format

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

day)day)

Introducing the FacultyIntroducing the Faculty

• MyselfMyself• Rob FermierRob Fermier• Austin Austin

GrossmanGrossman• Frank LantzFrank Lantz• Andrew LekerAndrew Leker• Steve LibrandeSteve Librande

• Katie Salen

• Tim Stellmach

Also Helping Out:

• Art Min

• Robin Hunicke

Part II: A Formal Part II: A Formal ApproachApproach

In this section, we presentIn this section, we present• A formal framework for game A formal framework for game

design.design.• A view of the designer-player A view of the designer-player

relationshiprelationship

Game Design Game Design “Frameworks”“Frameworks”

• Paradigms for organizing our Paradigms for organizing our understanding.understanding.

• Example Frameworks:Example Frameworks: The 400 ProjectThe 400 Project Design PatternsDesign Patterns

• Separate from the process.Separate from the process.

Our FrameworkOur Framework

• Organized around the Organized around the designer-player relationship.designer-player relationship.

• Grounded in a formal Grounded in a formal approach.approach.

The Designer-Player The Designer-Player RelationshipRelationship

Designer

Player

Designer

Player

Designer

Player

GameCreates Consumes

Designer

Player

Designer

Player

BookMovie

Designer

Player

BookMovie

Painting

Designer

Player

BookMovie

Painting

Designer

Player

BookMovie

Painting

ChairCar

Designer

Player

BookMovie

Painting

ChairCar

Steak Dinner

Designer

Player

The difference is the way that games are consumed.

An Extreme Opposite An Extreme Opposite Example:Example:A Theatrical PlayA Theatrical Play

The “design team” knows:The “design team” knows:• ScriptScript• LightingLighting• AcousticsAcoustics• SeatingSeating• IntermissionsIntermissions

Games, on the ContraryGames, on the Contrary

The designer The designer doesn’t doesn’t know:know:• When will the player play? How When will the player play? How

often? For how long?often? For how long?• Where? With Whom?Where? With Whom?

And most importantly...And most importantly...• What will happen during the What will happen during the

game?game?

Obligatory EditorialObligatory Editorial

This lack of predictability is the This lack of predictability is the essenceessence of play. It should be of play. It should be embraced, not eschewed. embraced, not eschewed.

A Formal Model ofA Formal Model of“Game Consumption”“Game Consumption”

Rules “Fun”System

Behavior

The Player-Designer The Player-Designer Relationship, RevisitedRelationship, Revisited

Designer

Player

Rules “Fun”System

Behavior

The MDA FrameworkThe MDA Framework

DefinitionsDefinitions

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

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

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

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

• Aesthetics: The Aesthetics: The desirable emotional desirable emotional responsesresponses evoked by the game evoked by the game dynamics.dynamics.

The Building Blocks: Formal The Building Blocks: Formal ModelsModels

• No Grand Unified TheoryNo Grand Unified Theory• Instead, lots of little modelsInstead, lots of little models• Models can be formulas or Models can be formulas or

abstractions.abstractions.• We can think of models as We can think of models as

“lenses.” “lenses.” • Discovering new models is an Discovering new models is an

ongoing process.ongoing process.

MDA is a “Taxonomy” MDA is a “Taxonomy” for Modelsfor Models

• Knowledge of AestheticsKnowledge of Aesthetics• Knowledge of DynamicsKnowledge of Dynamics• Knowledge of MechanicsKnowledge of Mechanics• Knowledge of the Knowledge of the

interactions interactions between them.between them.

Properties of Good Properties of Good ModelsModels

We want our models to be: 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 On any given game, we expect to use several different use several different abstractions, not one big one.abstractions, not one big one.

Part III: MDA in detailPart III: MDA in detail

In this part, we discuss In this part, we discuss Aesthetics, Dynamics and Aesthetics, Dynamics and Mechanics in detail. Mechanics in detail.

The Player’s PerspectiveThe Player’s Perspective

The Designer’s The Designer’s PerspectivePerspective

Understanding Understanding AestheticsAesthetics

We need to get past words like We need to get past words like “fun” and “gameplay.”“fun” and “gameplay.”

• What kinds of “fun” are there?What kinds of “fun” are there?• How will we know a particular How will we know a particular

kind of “fun” when we see it?kind of “fun” when we see it?

Eight Kinds of “Fun”Eight Kinds of “Fun”

Eight Kinds of "Fun"Eight Kinds of "Fun"

1. Sensation1. SensationGame as sense-Game as sense-

pleasurepleasure

2. Fantasy2. FantasyGame as make-Game as make-

believebelieve

pleasurepleasure

2. Fantasy2. FantasyGame as make-Game as make-

believebelieve

3. Narrative3. NarrativeGame as dramaGame as drama

pleasurepleasure

2. Fantasy2. FantasyGame as make-believeGame as make-believe

4. Challenge4. ChallengeGame as obstacle Game as obstacle

coursecourse

pleasurepleasure

coursecourse

5. Fellowship5. FellowshipGame as social Game as social

frameworkframework

pleasurepleasure

coursecourse

frameworkframework

6. Discovery6. DiscoveryGame as uncharted Game as uncharted

territoryterritory

pleasurepleasure

coursecourse

frameworkframework

territoryterritory

7. Expression7. ExpressionGame as self-discoveryGame as self-discovery

pleasurepleasure

coursecourse

frameworkframework

territoryterritory

7. Expression7. ExpressionGame as self-discoveryGame as self-discovery

8. Masochism8. MasochismGame as submissionGame as submission

Clarifying Our Clarifying Our AestheticsAesthetics

• Charades Charades is “fun.”is “fun.”• Quake Quake is “fun.” is “fun.” • Final FantasyFinal Fantasy is “fun.” is “fun.”

Clarifying Our Clarifying Our AestheticsAesthetics

• CharadesCharades: : Fellowship, Expression, ChallengeFellowship, Expression, Challenge

• QuakeQuake: : Challenge, Sensation, Competition, Challenge, Sensation, Competition, FantasyFantasy

• Final FantasyFinal Fantasy: : Fantasy, Narrative, Fantasy, Narrative, Expression, Discovery, Challenge, MasochismExpression, Discovery, Challenge, Masochism

• Each game pursues multiple Each game pursues multiple aesthetics.aesthetics.

• Again, there is no Game Unified Again, there is no Game Unified Theory.Theory.

Clarifying Our GoalsClarifying Our Goals

• As designers, we can choose As designers, we can choose certain aesthetics as certain aesthetics as goals goals for our game design.for our game design.

• We need more than a one-We need more than a one-word definition of our goals.word definition of our goals.

What is an “Aesthetic What is an “Aesthetic Model?”Model?”

• A rigorous definition of an A rigorous definition of an aesthetic goal.aesthetic goal.

• Serves as an “aesthetic Serves as an “aesthetic compass.”compass.”

• States criteria for success as well States criteria for success as well as possible modes of failure. as possible modes of failure.

Some examples…

Goal: CompetitionGoal: Competition

Model: A game is Model: A game is competitivecompetitive if: if:• Players are adversaries.Players are adversaries.• Players have an Players have an ongoing emotional ongoing emotional

investment investment in defeating each other.in defeating each other.

Some Failure Modes: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.

Goal: Realistic Flight Goal: Realistic Flight SimulationSimulation

Possible Models: Our flight Possible Models: Our flight dynamics are dynamics are realisticrealistic if: if:

• They match a mathematical formula, They match a mathematical formula, or,or,

• They pass our “realism checklist,”They pass our “realism checklist,”

Failure Modes:Failure Modes:• Counter-intuitive system Counter-intuitive system

behavior.behavior.

Goal: DramaGoal: Drama

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

Narrative Time

Conflict Resolution

Climax

Goal: DramaGoal: Drama

Failure Modes:Failure Modes:• Lack of conflict.Lack of conflict.• Lack of tension.Lack of tension.

The conflict’s outcome is obvious (no The conflict’s outcome is obvious (no uncertaintyuncertainty).).

No sense of forward progress (no No sense of forward progress (no inevitabilityinevitability).).

• Tension does not increase towards Tension does not increase towards a climax.a climax.

On to Dynamics...

Understanding Understanding DynamicsDynamics

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

Formalizing Game Formalizing Game DynamicsDynamics

RulesInput Output

State(Player)

(Graphics/Sound)

The “State Machine” Model

Examples: Chess, Quake

Models of Game Models of Game DynamicsDynamics

• Again, no Grand Unified Again, no Grand Unified TheoryTheory

• Instead, a collection of many Instead, a collection of many Dynamic Models.Dynamic Models.

• Dynamics models are Dynamics models are analytical in nature. analytical in nature.

Some examples…

Example: Random Example: Random VariableVariable

This is a model of 2d6:This is a model of 2d6:

2 3 4 5 6 7 8 9 10 11 12

Chance

Die roll

Example: Feedback Example: Feedback SystemSystemA feedback system monitors and regulates its own state.A feedback system monitors and regulates its own state.

Too Cold

Too Hot

An Ideal Thermostat

Thermometer

Controller

Cooler

Heater

Example: Operant Example: Operant ConditioningConditioning

• The player is part of the The player is part of the system, too!system, too!

• Psychology gives us models Psychology gives us models to explain and predict the to explain and predict the player’s behavior. player’s behavior.

Where Models Come Where Models Come FromFrom

• Analysis of existing games.Analysis of existing games.• Other Fields: Math, Other Fields: Math,

Psychology, Engineering…Psychology, Engineering…• Our own experience.Our own experience.

On to Mechanics...

Understanding Understanding MechanicsMechanics

• There’s a vast library of There’s a vast library of common game mechanics.common game mechanics.

ExamplesExamples

• Cards: Shuffling, Trick-Cards: Shuffling, Trick-Taking, BiddingTaking, Bidding

• Shooters: Ammunition, Shooters: Ammunition, Spawn PointsSpawn Points

• Golf: Sand Traps, Water Golf: Sand Traps, Water HazardsHazards

Mechanics vs. DynamicsMechanics vs. Dynamics

We need to acknowledge We need to acknowledge mechanics and dynamics as mechanics and dynamics as distinct concepts.distinct concepts.

Dynamics Dynamics emerge emerge from from Mechanics.Mechanics.

Interaction ModelsInteraction Models

• How do specific dynamics How do specific dynamics emerge from specific emerge from specific mechanics?mechanics?

• How do specific dynamics How do specific dynamics evoke specific aesthetics?evoke specific aesthetics?

Example: Time PressureExample: 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 Various mechanics create time

pressure: pressure: Simple time limitSimple time limit ““Pace” monsterPace” monster Depleting resourceDepleting resource

Moving Forward…Moving Forward…

Let’s hope the future brings us:Let’s hope the future brings us:• A rich aesthetic vocabulary.A rich aesthetic vocabulary.• A eclectic library of game A eclectic library of game

mechanics.mechanics.• A catalog of formal models: A catalog of formal models:

Aesthetic, Dynamic, InteractionAesthetic, Dynamic, Interaction

In other words,In other words,

““Formal Abstract Design Tools.”Formal Abstract Design Tools.”

Part IV: TuningPart IV: Tuning

In this part we will: In this part we will: • Define Define tuningtuning..• Present a formal approach.Present a formal approach.

What we mean by What we mean by ““Tuning:”Tuning:”

Tuning is an Tuning is an iterative iterative process.process.

Test Analyze

Revise

We’re not limited to:We’re not limited to:

• Parameter tweakingParameter tweaking• ““Fiddling with knobs”Fiddling with knobs”

MDA in the Tuning MDA in the Tuning ProcessProcess

Aesthetic Models help us: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:Dynamic Models help us:• Pinpoint our problems.Pinpoint our problems.

Both kinds help us:Both kinds help us:• Evaluate possible revisions.Evaluate possible revisions.

Learning From the Learning From the Tuning ProcessTuning Process

Between iterations, we re-Between iterations, we re-evaluate:evaluate:

• Our goals.Our goals.• Our modelsOur models• Our assumptions.Our assumptions.

Sometimes we need to revise our Sometimes we need to revise our own thinking as well.own thinking as well.

The Tuning ProcessThe Tuning Process

Before we start:Before we start:• Know our aesthetic goals.Know our aesthetic goals.

While we iterate:While we iterate:• Aesthetic and dynamics Aesthetic and dynamics

models guide our way.models guide our way.

Between IterationsBetween Iterations• Learn from the process.Learn from the process.

Time for Coffee...Time for Coffee...

After the break, go to the After the break, go to the classroom that matches the classroom that matches the color of your poker chip: color of your poker chip:

BlueBlue C1C1

Red Red C2C2

White White C3C3

The MDA Framework MechanicsAestheticsDynamics. Some Common Themes Here are some themes we examined.

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