taxonomy helps us describe games , shedding light on how and why different games appeal to different players , or to the same players at different times .
Aesthetic Models
Using out aesthetic vocabulary like a compass , we can define models for gameplay . These models help us describe gameplay dynamics and mechanics .
For example : Charades and Quake are both competitive . They succeed when the various teams or players in these games are emotionally invested in defeating each other . This requires that players have adversaries ( in Charades , teams compete , in Quake , the player competes against computer opponents ) and that all parties want to win .
It ’ s easy to see that supporting adversarial play and clear feedback about who is winning are essential to competitive games . If the player doesn ’ t see a clear winning condition , or feels like they can ’ t possibly win , the game is suddenly a lot less interesting .
Dynamic Models
Dynamics work to create aesthetic experiences . For example , challenge is created by things like time pressure and opponent play . Fellowship can be encouraged by sharing information across certain members of a session ( a team ) or supplying winning conditions that are more difficult to achieve alone ( such as capturing an enemy base ).
Expression comes from dynamics that encourage individual users to leave their mark : systems for purchasing , building or earning game items , for designing , constructing and changing levels or worlds , and for creating personalized , unique characters . Dramatic tension comes from dynamics that encourage a rising tension , a release , and a denouement .
As with aesthetics , we want our discussion of dynamics to remain as concrete as possible . By developing models that predict and describe gameplay dynamics , we can avoid some common design pitfalls .
Chance in 36
2 3 4 5 6 7 8 9 10 11 12 Die Rolls
Probabilistic distribution of the random variable 2 D6 .
For example , the model of 2 six-sided die will help us determine the average time it will take a player to progress around the board in Monopoly , given the probability of various rolls .
Room
Too Cold !
Too Hot ! A thermostat , which acts as a feedback system .
Similarly , we can identify feedback systems within gameplay to determine how particular states or changes affect the overall state of gameplay . In Monopoly , as the leader or leaders become increasingly wealthy , they can penalize players with increasing effectiveness . Poorer players become increasingly poor .
Losers $$$$$$
Winners $$$$$$
Roll
The feedback system in Monopoly .
Pay Up !
Cash In !
Thermometer
Controller
Move
As the gap widens , only a few ( and sometimes only one ) of the players is really invested . Dramatic tension and agency are lost .
Using our understanding of aesthetics and dynamics , we can imagine ways to fix Monopoly – either rewarding players who are behind to keep them within a reasonable distance of the leaders , or making progress more difficult for rich players . Of course – this might impact the game ’ s ability to recreate the reality of monopoly practices – but reality isn ’ t always “ fun ”.
Mechanics
Mechanics are the various actions , behaviors and control mechanisms afforded to the player within a game context . Together with the game ’ s content ( levels , assets and so on ) the mechanics support overall gameplay dynamics .