Gamasutra - Formal Abstract Design Tools

• Church starts by asking simply “what is a modern computer game made of?”
• Design, Art Audio Levels and code.
• Describing how they work together to create a synthesis. Audio is mentioned, which is important from other types of games. You can say the same about the code however I believe that you can define that as the mechanics of the game, like rules.
• Without these disciplines working together, he describes how the game would just be a CD full of data, but no experience.

• The main problem which slows down development and evolution of games in general, he describes, is having the lack of design vocabulary meaning the game designers can only discuss whether the game is fun or not and then the analysis stops there, in contrast with other professions sports/health with more technical jargon

• Design vocabulary today is essentially specific to individual games and genres. (giving examples how this years RTS games are built on from last years.)
• Leads to a conclusion that a shared design vocabulary would be very useful. Formal Abstract Design Tools (FADT) is an attempt to create a framework for such a vocabulary and a way of building that process.
• Breaking down the phrase we have:
• ‘Formal’ which implies a precise definition and not just saying something is ‘cool’.
• Abstract – to focus on an underlying idea not specific to one particular game. For example a ‘Giant Slaying Sword’ is not abstract because it focus’s on a single game. Instead, describe the general notion that a magic sword is based on – a mechanic for delivering more powerful equipment to the player.
• Design and tools are self-explanatory, Design being what we’re intending to do and the tools that we’ll be using.

• Gives examples of how FADT is used in Mario 64. Or rather breaks down the game using FADT.
• Players are encouraged to form their own goals. For example how players can choose which world to enter and the amount of stars they can collect. This is a good way to empower the player.

• The Tools that are mentioned in the article are Intentions, Perceivable Consequences and Story.
• It’s good to have both Intended Goals and ones that are different from level to level. The player can implement a plan to the current situation in the game and the understanding of game play involved.
• Perceivable consequence – ‘a clear reaction from the game world to the action of the player.’ This tool is often used in RPG’s with a plot or where the character can develop they’re abilities. Saying that there is a consequence implies the player has made a choice.
• “Because of X, Y has happened”
• Some consequences can be less direct for example a player could decide to stay at an inn, but the designers might not want them to stay in town too long consequently the player could get ambushed. This type of consequence is not perceivable by the player.
• The player will also know where they went wrong and make more choices.
• Creates the emotion of rage.
• Story -
• Binds events together (either player/Designer driven)
• Drives the player to complete the game.
• In a story driven game. You need to pull back the player control and then designer has to control potential outcomes.