A modern approach to game analysis and design: the AGE framework
1. A Modern Approach to Game
Analysis and Design:
the A.G.E. Framework
Assoc. Prof. Roberto Dillon
School of Business and IT
JCU Singapore
Roberto. Dillon@jcu.edu.au
2.
3. Overview
Why and how shall we analyze games?
MDA ( Mechanics – Dynamics – Aesthetics )
Reference: Hunicke, Le Blanc, Zubek:
“MDA: a Formal approach to Game Design and Game Research”.
Available online at: http://www.cs.northwestern.edu/~hunicke/MDA.pdf
The A.G.E. Model
6-11 Framework
Examples (Casual, Social and AAA games)
Conclusions
4. Why and how shall we analyze games?
“A method is needed in order to reason accurately”
Descartes
Game Designers explain their approaches in very
subjective ways
How to figure out what makes “good” Game Design?
Need for a “pragmatic” approach that tries to be as
objective as possible
Break down a game at different level of complexities
and analyze their relationships.
5. MDA: Game Components
Mechanics
“describe the particular components of the game, at the
level of data representation and algorithms”
i.e. Rules
Dynamics
“describe the run-time behaviour of the mechanics acting
on player inputs and each others' outputs over time”
i.e. Outcomes by applying the rules
Aesthetics
“describe the desirable emotional responses evoked in the
player, when she interacts with the game system”
6. MDA's Aesthetics Model
Eight kinds of Fun based on:
Sensation (e.g. pleasures)
Fantasy (e.g. role playing)
Narrative (e.g. storytelling)
Challenge (e.g. problem solving)
Fellowship (e.g. social framework)
Discovery (e.g. uncharted territory)
Expression (e.g. self discovery)
Submission (e.g. pastime)
8. But Game Designers are a troublesome
crowd… and definitions are a bit loose
What’s the exact scope of mechanics?
Are they really rules? What type of rules?
Yes, spanning any aspect of the game (Brathwaite & Schreiber)
No! Mechanics ARE NOT rules! They are “Skill atoms” (Koster)
Aesthetics?
“The branch of philosophy that deals with the principles of beauty
and artistic taste”
… Isn’t that related to graphics??
How do we actually move from one level to the other?
9. The A.G.E. Framework
Actions
the core actions that a player can perform,
usually described in terms of verbs.
E.g. moving, jumping, kicking a ball, shooting, taking cover
Gameplay
the resulting play achieved by using and
combining the available "actions". These can
be either verbs or higher level concepts,
E.g. fighting, race to an end, territorial acquisition
Experience
the emotional experience that engages
FUN
players during the game.
http://www.igda.org/newsletter/2012/09/30/teaching-games-through-the-a-g-e-framework/
10. Emotional Experience
The most difficult part to understand and
master
How do players feel when they play?
What do players really want?
What triggers „Fun“??
11. „6-11 Framework“
Reference: Roberto Dillon:
“On the Way to Fun: an Emotion Based Approach to Successful Game Design”
AKPeters / CRC Press, 2010
„Fun” as an outcome from engaging the player through
basic emotions and instincts
6 Basic Emotions
Ekman, Plutchik, Izard etc.
11 Instinct
Their correspondences/relationships
29. Analysis Framework
In general:
Emotions can trigger instincts
Instincts push the player to act in the game
Easy to link instincts to game gameplay and
actions
Escaping Hiding
Fear Survival Avoiding danger Running
Chasing Running
Anger Aggressiveness Kicking
Fighting
Casting a spell
30. Super Mario Bros. (Nintendo, 1985)
"the player can kill enemies by landing on top of them" links the jumping action to the fighting
enemies gameplay
“progress to the next stage by reaching an end-level flagpole" links the running and jumping
actions to the race-to-an-end gameplay
Goal of “saving the princess” and “finding all the secrets/coins” serve as motivation to link
the different gameplays to the emotional experience of players
32. Millionaire City (Digital Chocolate)
Real Estate CEO
Identification
Share results
Communication
Curiosity Collecting Protection
New daily prizes! Help friends
What happens next? Pride
Greed
We’re getting rich!
Joy Competition
You can do
better than
your friends!
Excitement
GamePlay Actions
Buy properties
Build and upgrade stuff
Sign contracts
Territorial Acquisition
Grab money and gifts
Plan Development
Etc.
Find presents and rewards
33. And for more complex games?
•Simple, core sequence
•Gets expanded through different…
•Missions and Quests
•Levels
34. Legend of Zelda: Twilight Princess
Identification
Protection
Pride
Joy
35. Legend of Zelda: Twilight Princess
Identification
Collecting
Protection Survival
Curiosity
Pride
…
Joy
36. Legend of Zelda: Twilight Princess
Hoard Goats
Collecting
Herding
Racing to an end
Pride
Riding
Joy
38. Legend of Zelda: Twilight Princess
Escaping from the dungeon
Curiosity Survival
Race to an end
Fighting
Exploring
Listening to Spirits
Anger
Moving around, digging Running
Using wolf “senses”
Revenge Jumping
Biting
Excitement
39. L.A. Noire
Color Identification
Appreciation
Curiosity
Roam City
Look for clues
Interrogate suspects
Drive
Manipulate objects Excitement
Review evidence
Evaluate answers
40. L.A. Noire
Color Identification Collecting
Appreciation 20 badges
50 movie reels
vehicles
Curiosity Protection
Save hostages
Aggressiveness
Chasing criminals
Street cases
Roam City
Look for clues
Interrogate suspects Pride
Drive
Manipulate objects Excitement Joy
Review evidence
Evaluate answers
41. Analyzing a game, step by step
Play the game
Determine the main emotional experience by using
the „6-11 Framework“
Relate instincts to gameplay
Explore how gameplay is obtained (i.e. identify
actions)
Not sure? Go back to Step 1! ;)
43. Conclusions
• Game design needs some well defined analysis methodology
• Gaining insights
• Teaching, sharing experiences
• MDA was the first model to define a pragmatic approach
• Still, lack of common jargon made things very difficult
• AGE as evolution of MDA
• Narrow but clear definitions
• Easy to relate the different layers
• Emotional experience seen in terms of easily understandable
components (6-11 Framework)
• Straightforward to learn and adopt in a variety of contexts
44. Thanks for
Your attention!
roberto.dillon@jcu.edu.au
twitter: rdillon73