Games MDA

This week’s readings focused on various types of game rules and frameworks and how to adopt good application of game rules in game design.

The first reading proposes a comprehensive framework that provides a systematic understanding of the vast areas that encompasses games including but not limited to rules, base mechanics, software, design goals and player experience.

The authors begin by acknowledging that games, just like any other product is ‘bought, consumed and then cast away.’ However, an important aspect is stated that sets video games apart from other entertainment products – the unpredictability of games experienced during gameplay. It is due to that unpredictability that a framework is put in place to be able to analyse the consumption of game by breaking it down to three main components – which are able to envelope the different views of a game designer and player.

MDA Framework (Hunicke et al 2004) sourced

The authors then proceed to discusses this popular and commonly used approach to game design and understanding games referred to as the MDA framework. The MDA framework is an acronym for Mechanics Dynamics and Aesthetics and was created by Robin et al.(Hunicke, Leblanc,& Zubek, 2004).  The purpose of this framework is to break down a game into a set of components as previously mentioned:

Mechanics refers to base components such as code, algorithms, rules, and basic in-game actions e.g sprinting, jumping, and shooting.

Dynamics describes how various mechanics that are running in the game’s background are affected by the various inputs of players over time. For instance, the example provided by the video talks about how in Monopoly you can move around (mechanic) and also purchases tiles (mechanic). Combining both mechanics creates the dynamic of ‘territorial acquisition’.

Aesthetics refers to the emotional response evoked in the player from their in-game experience produced from the dynamics and mechanics of the game. This is further broken down to the following classifications (each game bearing a combination of those):

·         Sensation – refers to the player’s emotions experienced during gameplay

·         Fantasy – the game’s ability to immersive the player into its fictional world and/or atmosphere.

·         Narrative – the storytelling element of a game.

·         Challenge – refers to the obstacles of game such as puzzles or problem-solving.

·         Fellowship – two or more players come together to complete game tasks.

·         Discovery – exploring and uncovering interesting artifacts.

·         Expression – the player’s ability to put forward their creativity with the current tools at their disposal.

·         Submission- the satisfaction gained from time and effort put in the game.

The video that accompanied this week’s readings has discussed what was already mentioned above but with an emphasis on how the MDA framework can be used as tool to discern the components that made an existing  game ‘good’ and apply those components in your own game. This would explain why certain successful games held similar qualities yet are still different.

LeBlanc  also states how these components can be viewed differently from both perspectives of the game designer and player. In the designer’s point of view, the mechanics elicit dynamic behavior from the player which then results in their emotional response. In the player’s point of view, this process would work vice versa. This raises the importance of a game designer being able to discern the types of mechanics that create dynamics which evoke particular emotions from the player. Understanding how these components and its characteristics are percolated through both spectrums will provide a broader picture of what is needed to produce a successful game.