Combining Instructional & Game Design (Part 2)

In my last post, I talked about backward design for developing training. Today, I'll cover at the MDA framework for game design so that in my next post, I can cover how to put the two concepts together.

Game Design and the MDA Framework

Game design is complicated and the MDA framework isn't a step by step approach to creating a game. But it is useful for conceptualizing the aspects of game design and how different people will interact with a game. MDA stands for Mechanics, Dynamics, and Aesthetics. You probably can intuitively understand what each of these mean, but I'll provide a little explanation of each before showing how they interact and why that matters.

The Pieces of the MDA Framework

Game Mechanics are the processes, structures, and rules of how a game runs. Game mechanics also include how different rules in the game interact with each other, or meta-mechanics. A common mechanism in platformer video games is jumping. Each game may vary jump height, speed, length, duration. And some games allow players to change direction midair. A common boardgame mechanism is dice rolling. Dice can vary in number, values, and probability of outcomes. For a complete list of board game mechanics with examples, check out this list from Board Game Geek.

Dynamics are how a player interacts with a game. To use the platformer example above, jumping usually requires a players to push a button on a handheld controller. Some game characters automatically jump when they come to an edge. In Ring Fit Adventure, player trigger a jump by aiming the controller ring downward and squeezing. In the case of dice, some games come with specific cups or domes to use when rolling. Players may choose to roll dice to attempt an action or they may be required to roll the dice to move or avoid a negative event. Players may also need to strategically select dice from a resource pool before rolling.

Aesthetics are what a player senses. What they see and hear. In the case of games like BeanBoozled, they include what players smell, taste, and feel. Aethetics include the art style, graphics, and Heads Up Display. They include the weight of tokens, the finish on the came cards, and the shape of the controller. Sometimes, game aesthetics are also used as a way of describing how the game elicits different types of fun for the players (a topic for a future post).

Bringing the Pieces Together

A game designer can be inspired by something relating to any one of these categories, and can begin to conceptualize a game based on one or all three. But in general, game designers approach a game first through it's mechanics. That's where they spend their time working out what the "game" is. Based on a core group of mechanics, designers plan out the games dynamics. Last of all, they finalize the games aesthetics. Ideally, the mechanics, dynamics, and aesthetics will align with each other and match in tone and theme. But often Aesthetics for a game can be changed out with the least impact to the game design. There are number of games that had different aesthetics until very late in the design process. 

In contrast, players first approach a game's aesthetics. They may pick up the box to study its art or read the back. They judge the game based on what they sense before they begin playing. From aesthetics, players move on to the games dynamics through play. While the impact of a players actions and the games dynamics are realized through its mechanics, players tend to only subconsciously observe some mechanics and may not be at all aware of others. 

Why Does This Matter

Considering how a player experiences a game can inform game design and how to interpret feedback. Sometimes what is seen as a major flaw can be resolved relatively quickly. Sometimes, the mechanics of a game are what draws in players. For example, the game Root is an asymmetric board game where each player acts under a different set of rules. The designers understood the impact the different types of mechanics would have on each individual and made intentional decisions to promote player fun through their consideration of both dynamics and mechanics. 

Generally

Designers → Mechanics → Dynamics → Aesthetics

Mechanics ← Dynamics ← Aesthetics ← Players

This of moving between the parts of the MDA framework is important when bringing MDA and the steps of backwards design together, which I'll cover in my next post. Remember, your learners don't always see everything you do to make their experience a success, but your efforts have far reaching effects. Keep making the world a better place.  

- Matt, Dungeon Learning Solopreneur