MDA is described as a framework put together for game designers that illustrate the way in which the process of games design is planned out. There are three main stages which describe the development phase, of which only one is controlled by the designer. The other two stages rely solely on these changes and their effects on one another. The stages are called:
Mechanics
Dynamics
Aesthetics
The article explains that the Mechanics are the base of the game, the Dynamics then rely on how the Mechanics interact. The Aesthetics are the feelings that affect the player whilst playing the game, influenced by both the Mechanics and the Aesthetics phases.
The game designer only has full control over one aspect of this: Mechanics. The Mechanics are the core of the game, this includes things such as: rules, player's movements, 'game bits', and all the core Mechanics required for the game to be played.
The Dynamics are the next stage, during this stage it is possible for the designer to see the way in which all the rules and mechanics interact with each other. A designer cannot change the Dynamics directly at this stage, however by observing the behavior of the Dynamics it can be seen if small changes are required in order to refine it. At this point changes to Mechanics can be implemented in order to improve the way they interact.
Aesthetics are possibly the most important stage to a game designer, however it is also the hardest to achieve and manage accurately. This stage is where the game presents the intended emotions for the player, the feelings they experience when playing the game. This is controlled by all the previous elements combined to create the final, beautiful product. The designer no longer has control over the game, because the game has in fact been published and is far into production. A game designer cannot directly know that the player will experience the intended feelings, and in games such as RPGs it is not unheard of for the player to decide how they feel when playing.
The only fully accessible stage to the designer is the Mechanics, however their target is to achieve the final Aesthetics stage and the Core Mechanics directly affect this. It is important for a game designer to look at game design from a different angle, instead of creating Mechanics that make the game function soullessly it is possible to use some that create a specific emotion within the user. For example a horror game may wish to use claustrophobia, hindered movement, small hallways, darkness and atmospheric music as Mechanics.
This article has presented me with a new way of designing a game by looking through the player's eyes and working backwards to the core. When designing a game it is important to consider the player before the designer; after all, that's who we're doing this all for.
Until next post...
"Run! You fools!"
- Gandalf
These are good notes and show an understanding of the article and its importance to the design of games. The other readings build on this.