Ejemplos del modelo MDA

Curso de Diseño de Videojuegos

Descubrir las bases del diseño de juegos

¿Por qué jugamos?

¿Qué es el diseño de juegos?

¿Qué es un juego?

¿Qué NO es el diseño de juegos?

¿Qué es la diversion?

Los ocho tipos de diversión

¿De dónde viene un juego?

Crear la documentación de tu juego

La documentación de tu juego

Los elementos de un juego

Ejemplos del modelo MDA

Definir detalles de tu juego

Los 4 tipos de jugadores: La tipología de Bartle

El estado de flujo y sus elementos

La pirámide de necesidades de Mark Terrano

Los juegos como sistemas

El proceso iterativo

Tipos de Balanceo

La curva de la dificultad

Retórica Procedural

Desarrollar la narrativa de tu juego

Cómo los juegos cuentan historias

¿Dónde suceden las historias en los videojuegos?

Diseñar niveles en tu juego

Principios de diseño de nivel

Reflexionar sobre los juegos

¿Generan los videojuegos violencia?

El poder del juego y la responsabilidad del diseñador

Las habilidades del Game Designer

Cierre

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Resources

The average game model is composed of mechanics, dynamics and aesthetics. The mechanics are the rules and systems of the game that are created by the designers. These mechanics are the basis for generating the dynamics, which are the interactions and experiences that the player experiences when playing the game. Finally, the aesthetics are the emotional and visual response that the game provokes in the player.

How is the game experienced from the player's point of view?

The player experiences the game from the opposite perspective of the designer. While the designer creates the mechanics, the player experiences the game visually through trailers or other marketing materials. The player will recognize the aesthetics of the game and may identify the dynamics or try the game to experience them. However, the player is unlikely to recognize the specific mechanics on which these dynamics are based.

How does the alignment between the game aesthetics and the mechanics and dynamics affect the game?

It is crucial for the designer to be clear about the aesthetic response they want to give the player from the start. If the game mechanics and dynamics are not aligned with this aesthetic response, the game may fail. This is because the player's expectations will not be met and a disconnect will be generated between what was promised and what is experienced. It is important that all parts of the model in media are aligned to achieve player enjoyment and satisfaction.

How does a lack of alignment between aesthetics and mechanics and dynamics affect gameplay?

When the aesthetics of the game are not in line with the mechanics and dynamics, the game can be a financial failure. An example of this is the author's personal case, where the aesthetics promised in the marketing materials did not align with the game mechanics. This generated incorrect expectations in players and led to negative reviews. It is essential to remember the importance of keeping the entire game experience aligned from the player's first point of contact.

What is the benefit of aligning aesthetics with mechanics and dynamics?

The main benefit of aligning aesthetics with mechanics and dynamics is player enjoyment. When the player's expectations are aligned with the game experience, it generates satisfaction and a sense of reward. Seeing someone experience a game aligned at this level is one of the most rewarding experiences for a game designer. The smile and laughter during play is the greatest reward one can get.

Examples of application of the model on average in different game genres

Japanese RPG (JRPG): In a JRPG, the model in media is composed of mechanics that allow the exploration of a fantasy world. The aesthetic response is the sensation of inhabiting this world. The dynamics of the game are experienced through the combat mechanics and the narrative load. Players are drawn into the story and aesthetics of the game.
FPS (First Person Shooter): In an FPS, the model on average is simpler. The mechanics are based on shooting and the player experiences the dynamics of the game by successfully overcoming challenges. The aesthetic response is found in action and explosions, while the shooting mechanics allow the player to get what they want.
Strategy games (TBS): In strategy games, the model on average has two layers: tactical and strategic. Tactics involves making plans and executing them in combat, while strategy involves long-term resource management. The aesthetic response lies in the challenge and satisfaction of planning and executing successfully.
Immersive simulators: These games seek to simulate physics and reality to provide the player with an immersive experience. The average model of an immersive simulator consists of exploration of the level to discover how it works, followed by the creation and execution of a plan using the elements discovered. The aesthetic response is found in the discovery and satisfaction of successfully executing the plan.

How to apply the media model to your own game?

To apply the model in media to your own game, it is important to define the mechanics, the gameplay cycle and the

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Luis Roberto Rollano Ovando