MDA

Back in July, out of the sunshine, in front of my computer, I read a paper.  Apparently, while reading, I was taking notes.  If you stopped by today looking for some free advice, affix your eyes to this next bit: Write things down!

I don't enjoy assuming, but I do it lots, so let's assume you, dear reader, and I share a process.  Specifically, a reading process.  Here's your cycle:

• Finish reading something you think is important.
• Mentally reflect on the piece's supposed importance for a moment - two moments if that's how long it takes your browser to load up the four to nine Web pages you've already managed to navigate to since you finished reading the important thing.
• Read something else.
• Forget all that came before the current thing.
• Repeat.

So many interesting thoughts get lost this way!  Not this time though.  I read a paper I found useful, took some notes, and managed to find those notes months later before someone tossed them into a recycling bin.  Cool.

With only a bit more ado, here are some interesting things:

MDA: A Formal Approach to Game Design and Game Research
Robin Hunicke, Marc LeBlanc, Robert Zubek

First off, MDA stands for mechanics, dynamics, and aesthetics.  Mechanics describes the particular components of the game, at the level of data representation and algorithms.  Dynamics describes the run-time behavior of the mechanics acting on the player inputs and each others' outputs over time.  Aesthetics describes the desirable emotional responses evoked in the player, when he/she interacts with the game system.  MDA is a formal approach to understanding games - one which attempts to bridge the gap between game design and development, game criticism, and technical game research.

Games are consumable goods.  Inevitably, games are purchased, used and eventually cast away.  Unlike other entertainment products however, the ways in which games are consumed is largely unpredictable - the events and outcomes that occur during gameplay are unknown at the time a game's development is finished.

Partly due to their unpredictable nature, the authors argue that games more represent artifacts, things not viewed as inherent elements but as products of human conception, than media.  To help convince yourself of this, think back to any story you've ever told about a game you played.  These kinds of stories are seldom about the polygons and algorithms the game presents you, the player, but rather about how you interpret this content in the moment and later relive and reshape the experience inside your own head.  As such, the behaviors of a game, rather than the media, represent a game's content.

Interesting, interesting.

The authors had a lot more to say, specifically about productive ways to discuss the aesthetics of a game.  Remember, aesthetics refer to an emotional response from the player while engaged in a game.  It's a great read.  Click the paper title above for a PDF download.

There's more I want to say.  I'll WRITE some more things down in a future post.  Also, Raph Koster talked positively about this framework during the talk he gave to the Omaha Game Developers Association.  I remember his mention of MDA because I WROTE it down.  I'm serious about how important I think the writing process is.

Carry a trustworthy pen with you always.

Cheers,

Danny