MDA: Going Beyond Alchemy

Some say game design is an alchemy, a blend of art and science. However, others dare to question that sediment! I am not one who questions the inevitable evolution of design to a chemistry, but the application of a science with such an entropy. Regardless, there is a benefit to those creators, those authors of games, in the study of such an imperfect chemistry. 

So here is an old start to an essay regarding MDA (if you're panicking as to what that is just read the intro below). Ideally I was going to write much more on the topic; however my passion for game development outweighs my minimal dislike of how some used of MDA. I live for what I love, not for what I mildly dislike.
Luckily, I don't have to worry so much about it as one of my friends Victor Cecci is on the case. While here I have a slightly critical take, he is currently in the midst of writing a paper on the topic. I've gotten to look at where he's taking it and it's really going much farther for him than I hoped to deliver.
I'm positing this however to really try to increase the exposure of MDA and hopefully generate some interest in his work. Honestly, I have found MDA as a great (even if imperfect) language to talk about games. I hope you find this brief overview interesting and pursue more on the topic. (Also start bothering Victor to finish his paper, He's gonna do a great job and I want to watch him panic a little as he starts to realize just how helpful and informative this paper will be to designers, developers and critics of video games.)

Here is the old post from my website:

Intro:

I study games in a production oriented game-school. Much of the analysis done there is based around a particular understanding of the MDA framework (from seeing and reading about Marc LeBlanc talks about MDA I feel that this understanding is different from his own). I think that this understanding of MDA as it has been presented is vague, is somewhat impractical for the realities of development.

As harsh as it sounds, my goal isn't to remove MDA from the curriculum; it’s to change the way MDA is being presented and help it become stronger and more useful. Simply the current form is imperfect, and I want to try to improve and refine it. As a matter of fact MDA as it is currently presented is useful, just not for a production environment.

A diamond in the rough (MDA theory):

MDA strands for Mechanics (the rules of a game), Dynamics (those rules in motion; groups of mechanics interacting), and Aesthetics (what emotions and feelings players get from the dynamics). The summation of a game's Aesthetics are a breakdown of why it is “fun” or “engaging” to play. This allows for a specific description of an experience beyond a simple metric (ie it was kind of fun).

Essentially all game designers approach games by building mechanics which create dynamics which create aesthetics. Players experience games in reverse; they feel the aesthetics, understand the dynamics and (maybe) understand the mechanics. Players often have a very hard time seeing all the mechanics behind the dynamics and aesthetics that are experiencing. Game designers have a hard time seeing how mechanics will affect the dynamics and aesthetics of the games they are creating (mechanics do not translate 1:1 with specific aesthetics).

MDA can be used to break down and describe what a game is (or even what a genre is). Once a game or prototype is created and its prominent Aesthetics are identified you can make changes to the Mechanics and Dynamics to accentuate these features. This will make the game more appealing (better) to people who enjoy that aesthetic.

Each game has 2-3 core aesthetics

A game will create certain aesthetics in greater proportion than others. Thus players who want these aesthetics will like the game. Most games or game genres have 2-3 core aesthetics or aesthetics that are consistently reinforced through the game. Other aesthetics may appear from time to time; but in the end

The Mechanics, Dynamics, and Aesthetics can all be described as discrete parts.

A game’s Mechanics are essentially described as your rules. In an RPG his would be your stats and your derived stats, in a it’s how fast you move, it’s the particular set of rules by which enemy detection happens.

A game’s Dynamics are how your rules work together. In an RPG this could be things like character builds, or in a fighting game combos, or in an RTS it can be the interplay of limited resources requiring expansion/extermination/exploration to control more resources.

A game’s Aesthetics are the feelings that players have when playing your game. For instance particular games may be constructed to recreate the fantasy of sailing a boat; having dynamics to simulate the weather, the state of your rigging, and an environment similar to the ocean or coastline. An aesthetic or feeling of challenge may be created (regardless of actual difficulty) when a game becomes time limited, requires multiple objectives to be completed, and perhaps has additional consequences for failure.

A list of Aesthetics

Provided below is a list and description of specific aesthetics that games have been identified. There is the possibility of additional aesthetics (names used by the paper ‘MDA: A Formal Approach to Game Design and Game Research’ will appear in parentheses if they differ, an asterisk will appear if the aesthetic is unique to this particular interpretation of MDA).

Sensation

The Aesthetic of Sensation is created when a game has a strongly desirable component based upon the 5 senses. Often this is a visual and/or auditory component of the game that is particularly desirable. Some games that use sensation as a core aesthetic are Superbrothers: Sword and Sorcery EP, BIT.TRIP BEAT and BIT.TRIP RUNNER, and Dear Esther.

Fantasy

The Aesthetic of Fantasy is created when a game tries to recreate the fantasy of a particularly cool persona. Often this is the “Hollywood version” of a particular job, like a special operations soldier, of fighter pilot. It can also be something actually fantastical like fighting in a giant robot, piloting a spaceship against all odds, being a vampire, slaying dragons or attending an idealized version japanese highschool with magical powers. This also includes games that are simulations; or try to accurately recreate a specific experience (like conducting a train, or being a pilot) or simulate a fantastical experience like a zombie apocalypse. Many games have a Fantasy element, but examples would be Amnesia: The Dark Descent, Ikaruga , ARMA and Day Z, and DEFCON.

Narrative

The Aesthetic of Narrative is created when a game contains drama surrounding their characters. essentially the interactions between the characters (and possibly the player) make up a significant desirable component. Simply you want to see what happens next with the characters as you progress through the game. Some games with a strong Narrative Aesthetic would be Catherine, Neverwinter Nights 2, Dragon Age, Metal Gear Solid 4.

Challenge

The Aesthetic of Challenge is created when a game creates perceived difficulty in the tasks the player is asked to perform. This may not be actual difficulty the player just needs to feel as if they are completing a difficult task and the completion of the task is rewarding in and of itself. Examples of games with a heavy Challenge Aesthetic would be Portal, SpaceChem, Super Meat Boy, Legend of Grimrock.

Fellowship

The Aesthetic of Fellowship is created when a game fosters a team work or community focus. You often see this in games where players are massively working together. An example of this is in most if not all ARGs and MMORPGs, However you can specifically see this in a lot of Co-op modes in games.

Discovery

The Aesthetic of Discovery is created when a game features finding things that are new. Often you see this in games that require actual exploration of new territory. However it can also be about finding new characters, items ect. While all games contain some elements of discovery, it’s most often a core Aesthetic if you find yourself wondering, what’s over there? I wonder who/what that is? Metroidvanias fall into this category as does Myst, or the Hexen series; I would also argue that dungeon crawlers with random maps or roguelikes also fall into this category (A Valley Without Wind is another good example).

Expression

The Aesthetic of Expression is created when a game focuses on the creation of a personal identity. This is generally seen when you create a character that the world responds to, even if these wishes aren't completely in line with what the player themselves might do (the character takes on a life of its own/ the player starts role-playing). The later Elder Scrolls series typically does this (as does Fallout 3), as does Dragon Age Origins and to an extent the Mass Effect series.

Abnegation (submission)

 The Aesthetic of Abnegation is created when a game focuses on the player doing repetitive actions for an incremental improvement or reward. Essentially the player gets rewarded from working an assembly line fashion. Games like Borderlands, Castlevania: Harmony of Despair, and Dungeon siege 2 are an example of this.

Competition*

The Aesthetic of Competition is created when a game focuses on the players (controlled by other people or a computer) working against each other to complete a goal. Basically it’s a game with multiple players under the same or similar rules where one player or group of player “Wins” and others “Lose”. Most fighting games, and multiplayer shooters and racing games have Competition as a core Aesthetic.

Dominance *

The Aesthetic of Dominance is created when the strict rules of the game create a struggle between the player and “the game” or the rules of the game. This is often seen where the often absurd difficulty of the game itself is seen as intentional and a part of the game. Examples of this would be 'I wanna be the guy' or Dark souls.

Kinesthetics *

The Aesthetic of Kinesthetics is created when the game causes the player to extend into actions of the game. Much like driving a car, in which the car becomes part of one's identity. Simply the physical actions are tuned in such a way that the player begins to innately identify with the games avatar or the actions. Examples of this would be DDR or Mario Bros.

Mastery *

The Aesthetic of Mastery is created when the game enforces replayability by setting up the game so that the player does better during each session through. Essentially practice makes perfect. Often this can be seen with competitive games, but also with games that have a difficult execution challenge (ie have a large difficulty). Examples of games that include Mastery are Rainbow 6: Vegas 2, Counter-strike, Starcraft, and Chess (Many sports fall into this category too)

Growth *

The Aesthetic of Growth is created when the game has the player watch and effect something that develops over time. Generally there is a sense of indirect control (or unknown control) of a things progression. Examples of this would be the Sims, Harvest Moon and those Tamogachi from years past.