Is this thing on?. Game Design Workshop Orientation Marc “MAHK” LeBlanc GDC 2004

Is this thing on?Is this thing on?

Game Design WorkshopGame Design Workshop

OrientationOrientation

Marc “MAHK” LeBlanc

GDC 2004

Orientation OverviewOrientation Overview

Part I:Part I: Workshop FormatWorkshop Format

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

Part III:Part III: Formal Approach in DetailFormal Approach in Detail

Part IV:Part IV: TuningTuning

Part I:Part I: IntroductionIntroduction

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

conceptconcept

• Describe the formatDescribe the format

• Introduce the facultyIntroduce the faculty

About The WorkshopAbout The Workshop

• This is the fifth year This is the fifth year

• Hands-onHands-on

• Focused on Focused on iterative designiterative design

• Grounded in a Grounded in a formal formal

approachapproach to game design to game design

• Intended to be open-endedIntended to be open-ended

Things You Things You Won’t Won’t Learn Learn HereHere

• 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

In Other Words...In Other Words...

• It’s not about theIt’s not about the BusinessBusiness(Getting a job, pitching a game, getting (Getting a job, pitching a game, getting funded)funded)

• It’s not about theIt’s not about the ProfessionProfession(Writing documents, tracking bugs, using tools)(Writing documents, tracking bugs, using tools)

• It’s about theIt’s about the CraftCraft(Making games that are fun)(Making games that are fun)

What You’ll be DoingWhat You’ll be Doing

• Playing gamesPlaying games

• Analyzing gamesAnalyzing games

• Critiquing gamesCritiquing games

• Modifying gamesModifying games

• Refining gamesRefining games

A Few Ground RulesA Few Ground Rules

• Please attend the whole thingPlease attend the whole thing

• Collaborate, Share, and Collaborate, Share, and EncourageEncourage

• Save the “meta-discussion” for Save the “meta-discussion” for the very endthe 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

• Jonathan Jonathan

HamelHamel

• Robin HunickeRobin Hunicke

• Frank LantzFrank Lantz

• Andrew LekerAndrew Leker

• Steve LibrandeSteve Librande

• Art MinArt Min

• Randy SmithRandy Smith

• Tim StellmachTim Stellmach

Part II:Part II: A Formal A Formal ApproachApproach

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

designdesign

• 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 understandingunderstanding



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



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

• Separate from the processSeparate from the process

Our FrameworkOur Framework

• Grounded in a formal approachGrounded in a formal approach

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

The Designer-Player The Designer-Player RelationshipRelationship

Designer

Player


Designer

Player

GameGame


Designer

Player

Creates ConsumesGameGame


Designer

PlayerBook



Designer

PlayerBook

Movie



Designer

PlayerBook

MoviePainting



Designer

PlayerBook

MoviePainting

Chair



Designer

PlayerBook

MoviePainting

ChairCar



Designer

PlayerBook

MoviePainting

ChairCar

Pizza

GameGameCreates Consumes


Designer

Player

The difference is the way that games are consumed.

GameGameCreates Consumes

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?When will the player play?• How often? For how long?How often? For how long?• Where? With Whom?Where? With Whom?

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

Obligatory EditorialObligatory Editorial

This lack of predictability is the essence of play.

It should be embraced, not eschewed.

Games asGames as SoftwareSoftware

Code


Code Process


Code RequirementsProcess


Rules



Rules Activity



Rules “Fun”Activity


A Design VocabularyA Design Vocabulary






Mechanics

RequirementsProcess

“Fun”Game


Mechanics Dynamics


Mechanics AestheticsDynamics

The MDA FrameworkThe MDA Framework


DefinitionsDefinitions• Mechanics: Mechanics: The rules and concepts The rules and concepts

that formally specify the game-as-that formally specify the game-as-system.system.

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

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

The Designer/Player The Designer/Player Relationship, RevisitedRelationship, Revisited

Designer

Player


The Player’s PerspectiveThe Player’s Perspective

Mechanics AestheticsDynamics Player

The Designer’s The Designer’s PerspectivePerspective

Mechanics AestheticsDynamicsDesigner

Three “Views” of GamesThree “Views” of Games

But they are causally linked


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• We can think of models as “lenses” We can think of models as “lenses” • Models can be formulas or Models can be formulas or

abstractionsabstractions• Discovering new models is an Discovering new models is an

ongoing processongoing process

MDA is a “Taxonomy” for MDA is a “Taxonomy” for ModelsModels

• Knowledge of Knowledge of AestheticsAesthetics• Knowledge of Knowledge of DynamicsDynamics• Knowledge of Knowledge of MechanicsMechanics

• Knowledge of the Knowledge of the interactions interactions between thembetween them

Properties of Good Properties of Good ModelsModels

We want our models to be: We want our models to be: • Formal Formal ((well-definedwell-defined))• Abstract Abstract ((widely applicablewidely applicable))• Proven Proven ((known to workknown to work))

On any given game, we expect to use several different abstractions, not one big one.

Part III:Part III: MDA in detailMDA in detail

In this part, we discuss In this part, we discuss AestheticsAesthetics, , DynamicsDynamics and and MechanicsMechanics in in detail.detail.

The Designer’s The Designer’s PerspectivePerspective

Mechanics AestheticsDynamicsDesigner

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”


1.1. SensationSensation Game as sense-pleasure


1.1. SensationSensation

2.2. FantasyFantasy Game as make-believe



2.2. FantasyFantasy

3.3. NarrativeNarrative Game as unfolding story



2.2. FantasyFantasy

3.3. NarrativeNarrative

4.4. ChallengeChallenge Game as obstacle course



2.2. FantasyFantasy


4.4. ChallengeChallenge

5.5. FellowshipFellowship Game as social framework



2.2. FantasyFantasy



5.5. FellowshipFellowship

6.6. DiscoveryDiscovery Game as uncharted territory



2.2. FantasyFantasy




6.6. DiscoveryDiscovery

7.7. ExpressionExpression Game as self-discovery



2.2. FantasyFantasy




6.6. DiscoveryDiscovery

7.7. ExpressionExpression

8.8. SubmissionSubmission Game as mindless pastime

Clarifying Our Clarifying Our AestheticsAesthetics

• Charades is “fun”Charades is “fun”

• Quake is “fun”Quake is “fun”

• Final Fantasy is “fun”Final Fantasy is “fun”

Clarifying Our Clarifying Our AestheticsAesthetics

• Charades isCharades is Fellowship, Expression, ChallengeFellowship, Expression, Challenge

• Quake isQuake is Challenge, Sensation, Competition, FantasyChallenge, Sensation, Competition, Fantasy

• Final Fantasy isFinal Fantasy is Fantasy, Narrative, Expression, Discovery, Fantasy, Narrative, Expression, Discovery,

Challenge, MasochismChallenge, Masochism

Each game pursues multiple aesthetics.Again, there is no Game Unified 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 for our game design.game design.

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

What is an “What is an “Aesthetic Aesthetic ModelModel?”?”

• 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…

Goal: Goal: CompetitionCompetition

Model: Model: A game is A game is competitivecompetitive if if players are players are emotionally invested emotionally invested in in defeating each other.defeating each other.

Success:Success: Players are adversaries.Players are adversaries. Players want to win.Players want to win.

Failure:Failure: 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: Goal: Realistic Flight Realistic Flight SimulationSimulation

Model: Model: Flight dynamics match user Flight dynamics match user expectations. expectations.

Success:Success: Match a mathematical formulaMatch a mathematical formula Pass our “realism checklist”Pass our “realism checklist”

Failure:Failure: Counter-intuitive system behavior.Counter-intuitive system behavior.

Goal: Goal: DramaDrama

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.

Dra

ma

tic

Te

nsi

on

Narrative Time

Conflict Resolution

Climax

Goal: Goal: DramaDramaSuccess: Success:

A sense of A sense of uncertaintyuncertainty A sense of A sense of inevitabilityinevitability Tension increases towards a climaxTension increases towards a climax

Failure:Failure: The conflict’s outcome is obvious The conflict’s outcome is obvious (no (no

uncertaintyuncertainty)) No sense of forward progress No sense of forward progress (no (no inevitabilityinevitability)) Player doesn’t care how the conflict resolves. Player doesn’t care how the conflict resolves.

On to Dynamics...

Understanding Understanding DynamicsDynamics

• What about the game’s behavior What about the game’s behavior can we can we predict predict before we go to before we go to playtest?playtest?

• How can we How can we explain explain the behavior the behavior that we observe?that we observe?

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 TheoryAgain, no Grand Unified Theory

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

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

Some examples…

Example: Example: Random 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

in 3

6

Die roll

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

Room

Too Cold

Too Hot

An Ideal Thermostat

Thermometer

Controller

Cooler

Heater

Example: Example: Operant Operant ConditioningConditioning

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

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

Where Models Come Where Models Come FromFrom

• Analysis of existing gamesAnalysis of existing games

• Other Fields: Other Fields: Math, Psychology, Engineering…Math, Psychology, Engineering…

• Our own experienceOur own experience

On to Mechanics...

Understanding Understanding MechanicsMechanics

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

ExamplesExamples

• CardsCards Shuffling, Trick-Taking, BiddingShuffling, Trick-Taking, Bidding

• ShootersShooters Ammunition, Spawn PointsAmmunition, Spawn Points

• GolfGolf Sand Traps, Water HazardsSand Traps, Water Hazards

Mechanics vs. DynamicsMechanics vs. Dynamics

• There’s a grey areaThere’s a grey area Some behaviors are direct Some behaviors are direct

consequences of rules.consequences of rules. Others are indirect.Others are indirect. ““Dynamics” usually means the latter. Dynamics” usually means the latter.



consequences of rules.consequences of rules. Others are indirect.Others are indirect. ““Dynamics” usually means the latter.Dynamics” usually means the latter.

• Dynamics and Mechanics are Dynamics and Mechanics are different different viewsviews of games. of games.



consequences of rules.consequences of rules. Others are indirect.Others are indirect. ““Dynamics” usually means the latter. Dynamics” usually means the latter.

• Dynamics and Mechanics are Dynamics and Mechanics are different different viewsviews of games. of games.

• Dynamics Dynamics emerge emerge from Mechanics.from Mechanics.

Interaction ModelsInteraction Models

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

• How do specific dynamics evoke How do specific dynamics evoke specific aesthetics?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 vocabularyA rich aesthetic vocabulary• A eclectic library of game mechanicsA eclectic library of game 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:Part IV: Tuning Tuning

In this part we will: In this part we will: • Define Define tuningtuning

• Present a formal approachPresent a formal approach

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

Tuning is an iterative process.

TestTest AnalyzeAnalyze

ReviseRevise

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 flawsPoint out our game’s flaws Measure our progressMeasure our progress

• Dynamic Models help us:Dynamic Models help us: Pinpoint our problemsPinpoint our problems

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

Learning From the Tuning Learning From the Tuning ProcessProcess

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

• Our goalsOur goals• Our modelsOur models• Our assumptionsOur assumptions

Sometimes we need to revise our own thinking as well.

The Tuning ProcessThe Tuning Process

Before we startBefore we start• Know our aesthetic goalsKnow our aesthetic goals

While we iterateWhile we iterate• Aesthetic and dynamics models Aesthetic and dynamics models

guide our wayguide our way

Between IterationsBetween Iterations• Learn from the processLearn from the process

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

Part V:Part V: Some Common Some Common ThemesThemesHere are some themes you’ll see Here are some themes you’ll see

throughout the workshop.throughout the workshop.

Theme: Dynamics and Theme: Dynamics and FantasyFantasy

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

© Steve Jackson Games www.sjgames.com

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

• The The state space state space of a game is the set of a game is the set of possible states the system can be of possible states the system can be in.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 can As we modify our design, we can expect the state space to grow.expect the state space to grow.

Documents

Is this thing on?. Game Design Workshop Orientation Marc “MAHK” LeBlanc GDC 2004