Game Design and Tuning Workshop

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Transcript Game Design and Tuning Workshop

The MDA Framework
Mechanics
Dynamics
Game Tuning Workshop
Aesthetics
Some Common Themes
Here are some themes we examined.
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Theme: Dynamics and Fantasy
• Our game dynamics have meaning within
our game’s core fantasy.
• That meaning may or may not be
compatible.
• In order to remain faithful to our subject
matter, dynamics and fantasy must be in
alignment.
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© Steve Jackson Games
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www.sjgames.com
Choices
Theme: “Possibilty Space” and
Drama
Time
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Theme: State Space and Design
Flexibility
• 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.
• As we modify our design, we can expect
the state space to grow.
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Theme: Aesthetic Breadth
• Games are not aesthetic laser beams.
• Neither are players, neither are designers.
• As professionals, we need to be able to
match the player’s values as well as our
own.
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A Final Thought
“The intellect is a Bailey bridge built
between islands of inspiration”
- Mike Myers
www.algorithmancy.org
[email protected]
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Shameless Plugs
• Oasis (IGF, Wed)
• Beyond Fun – Setting Aesthetic Goals and
Sticking to Them (Fri AM)
• Would the Real Emergent Gameplay Please
Stand Up? (Thu AM)
• Cross-Platform UI Development (Thu PM)
• Industry Collaboration with Academia (Thu PM)
• Experimental Gameplay Workshop (Thu PM)
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Probability is a Valuable Model
Chance in 36
This is a model of 2d6:
2
3
4
5
6 7 8
Die roll
9 10 11 12
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Game Design and Tuning
Workshop
Orientation
Marc “MAHK” LeBlanc
GDC 2003
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Orientation Overview
Part I: Workshop Format
Part II: Outline Our Formal Approach
Part III: Formal Approach in Detail
Part IV: Tuning
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Part I: Introduction
In this part we will:
• Explain the workshop high concept.
• Describe the format.
• Introduce the faculty.
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This Workshop Is:
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In its third year
Designed to be hands-on.
Focused on the tuning process.
Grounded in a formal approach to game
design.
• Intended to be open-ended.
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This Workshop Isn’t:
• About the game “industry.”
• About the game design “profession.”
• Concerned with the early stages of game
design.
• A one-way street.
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What You’ll be Doing
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Playing games.
Analyzing games.
Critiquing games.
Modifying games.
Refining games.
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A Few Ground Rules
• Please attend the whole thing.
• Collaborate, Share, and Encourage.
• Save the “meta-discussion” for the very
end.
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Workshop Format
• Small-group activities.
 Main Exercises (3)
 Electives (choose 1 from 3 each day)
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Introducing the Faculty
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Myself
Rob Fermier
Austin Grossman
Frank Lantz
Andrew Leker
Steve Librande
• Katie Salen
• Tim Stellmach
Also Helping Out:
• Art Min
• Robin Hunicke
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Part II: A Formal Approach
In this section, we present
• A formal framework for game design.
• A view of the designer-player relationship
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Game Design “Frameworks”
• Paradigms for organizing our understanding.
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Game Design “Frameworks”
• Paradigms for organizing our understanding.
• Example Frameworks:
 The 400 Project
 Design Patterns
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Game Design “Frameworks”
• Paradigms for organizing our understanding.
• Example Frameworks:
 The 400 Project
 Design Patterns
• Separate from the process.
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Our Framework
• Organized around the designer-player
relationship.
• Grounded in a formal approach.
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The Designer-Player
Relationship
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Designer
Player
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The Designer-Player
Relationship
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Game
Designer

Player
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The Designer-Player
Relationship
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Creates
Game
Designer
Consumes

Player
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The Designer-Player
Relationship

Designer
Creates
Game
Book
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Consumes

Player
The Designer-Player
Relationship

Designer
Creates
Game
Book
Movie
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Consumes

Player
The Designer-Player
Relationship

Designer
Creates
Game
Book
Movie
Painting
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Consumes

Player
The Designer-Player
Relationship

Designer
Creates
Game
Book
Movie
Painting
Chair
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Consumes

Player
The Designer-Player
Relationship

Designer
Creates
Game
Book
Movie
Painting
Chair
Car
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Consumes

Player
The Designer-Player
Relationship

Designer
Creates
Game
Book
Movie
Painting
Chair
Car
Steak Dinner
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Consumes

Player
The Designer-Player
Relationship
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Creates
Game
Consumes
Designer

Player
The difference is the way that
games are consumed.
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An Extreme Opposite Example:
A Theatrical Play
The “design team” knows:
• Script
• Lighting
• Acoustics
• Seating
• Intermissions
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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?
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Obligatory Editorial
This lack of predictability is the essence of
play. It should be embraced, not
eschewed.
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A Formal Model of
“Game Consumption”
Rules
System
Behavior
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“Fun”
The Player-Designer
Relationship, Revisited
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Designer
Rules
System
Behavior
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“Fun”

Player
The MDA Framework
Mechanics
Dynamics
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Aesthetics
Definitions
• Mechanics: The rules and concepts that
formally specify the game-as-system.
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Definitions
• Mechanics: The rules and concepts that
formally specify the game-as-system.
• Dynamics: The run-time behavior of the
game-as-system.
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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.
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The Building Blocks: Formal Models
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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.
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MDA is a “Taxonomy” for
Models
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Knowledge of Aesthetics
Knowledge of Dynamics
Knowledge of Mechanics
Knowledge of the interactions between
them.
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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.
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Part III: MDA in detail
In this part, we discuss Aesthetics,
Dynamics and Mechanics in detail.
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The Player’s Perspective
Mechanics
Dynamics
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Aesthetics
The Designer’s Perspective
Mechanics
Dynamics
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Aesthetics
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?
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Eight Kinds of “Fun”
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Eight Kinds of "Fun"
1. Sensation
Game as sense-pleasure
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Eight Kinds of "Fun"
1. Sensation
Game as sense-pleasure
2. Fantasy
Game as make-believe
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Eight Kinds of "Fun"
1. Sensation
Game as sense-pleasure
2. Fantasy
Game as make-believe
3. Narrative
Game as drama
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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
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Eight Kinds of "Fun"
1. Sensation
Game as sense-pleasure 5. Fellowship
Game as social framework
2. Fantasy
Game as make-believe
3. Narrative
Game as drama
4. Challenge
Game as obstacle
course
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Eight Kinds of "Fun"
1. Sensation
Game as sense-pleasure 5. Fellowship
Game as social framework
2. Fantasy
Game as make-believe
6. Discovery
Game as uncharted territory
3. Narrative
Game as drama
4. Challenge
Game as obstacle
course
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Eight Kinds of "Fun"
1. Sensation
Game as sense-pleasure 5. Fellowship
Game as social framework
2. Fantasy
Game as make-believe
6. Discovery
Game as uncharted territory
3. Narrative
7. Expression
Game as drama
Game as self-discovery
4. Challenge
Game as obstacle
course
Game Tuning Workshop
Eight Kinds of "Fun"
1. Sensation
Game as sense-pleasure 5. Fellowship
Game as social framework
2. Fantasy
Game as make-believe
3. Narrative
6. Discovery
Game as uncharted territory
7. Expression
Game as drama
Game as self-discovery
4. Challenge
8. Masochism
Game as obstacle
course
Game as submission
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Clarifying Our Aesthetics
• Charades is “fun.”
• Quake is “fun.”
• Final Fantasy is “fun.”
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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 Game Unified Theory.
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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.
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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…
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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.
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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.
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Goal: Drama
Model: A game is dramatic if:
• Its central conflict creates dramatic tension.
• The dramatic tension builds towards a climax.
Dramatic Tension
Clima x
Conflict
Resolution
Narrative Time
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Goal: Drama
Failure Modes:
• Lack of conflict.
• 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.
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On to Dynamics...
Understanding Dynamics
• How can we predict and explain the
behavior of the game-as-system?
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Formalizing Game Dynamics
Input
Rules
(Player)
Output
State
(Graphics/
Sound)
The “State Machine” Model
Examples: Chess, Quake
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Models of Game Dynamics
• Again, no Grand Unified Theory
• Instead, a collection of many Dynamic
Models.
• Dynamics models are analytical in nature.
Some examples…
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Example: Random Variable
Chance in 36
This is a model of 2d6:
2
3
4
5
6 7 8
Die roll
9 10 11 12
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Example: Feedback System
A feedback system monitors and regulates its own state.
Room
Thermometer
Heater
Too Cold
Too Hot
Cooler
Controller
An Ideal Thermostat
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Example: Operant Conditioning
• The player is part of the system, too!
• Psychology gives us models to explain
and predict the player’s behavior.
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Where Models Come From
• Analysis of existing games.
• Other Fields: Math, Psychology,
Engineering…
• Our own experience.
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On to Mechanics...
Understanding Mechanics
• There’s a vast library of common game
mechanics.
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Examples
• Cards: Shuffling, Trick-Taking, Bidding
• Shooters: Ammunition, Spawn Points
• Golf: Sand Traps, Water Hazards
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Mechanics vs. Dynamics
We need to acknowledge mechanics and
dynamics as distinct concepts.
Dynamics emerge from Mechanics.
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Interaction Models
• How do specific dynamics emerge from
specific mechanics?
• How do specific dynamics evoke specific
aesthetics?
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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
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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.”
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Part IV: Tuning
In this part we will:
• Define tuning.
• Present a formal approach.
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What we mean by “Tuning:”
Analyze
Test
Revise
Tuning is an iterative process.
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We’re not limited to:
• Parameter tweaking
• “Fiddling with knobs”
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MDA in the Tuning Process
Aesthetic Models help us:
• Articulate our goals.
• Point out our game’s flaws.
• Measure our progress.
Dynamic Models help us:
• Pinpoint our problems.
Both kinds help us:
• Evaluate possible revisions.
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Learning From the Tuning
Process
Between iterations, we re-evaluate:
• Our goals.
• Our models
• Our assumptions.
Sometimes we need to revise our own
thinking as well.
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The Tuning Process
Before we start:
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Know our aesthetic goals.
While we iterate:
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Aesthetic and dynamics models guide
our way.
Between Iterations
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Learn from the process.
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Time for Coffee...
After the break, go to the classroom that
matches the color of your poker chip:
Blue
Red
White
C1
C2
C3
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