Concept

Aesthetics

You might say: the desired experience

Aesthetics are the emotional responses and kinds of fun the game aims to evoke through play.

What it does
Sets the experience target against which mechanics and dynamics can be judged.
Ask
Which specific feeling should this system support?

Sources

  1. Robin Hunicke, Marc LeBlanc and Robert Zubek, MDA: A Formal Approach to Game Design and Game Research, pp. 2–4Aesthetics describes the desirable emotional responses evoked in the player, when she interacts
  2. Celia Hodent, Cognitive Psychology Applied to User Experience in Video Games, author article: satisfaction, emotions, game feel, motivation and intended experienceThe emotional aspect in video games is frequently addressed through aesthetics, music, or narrative.
  3. Raph Koster, A Theory of Fun for Game DesignFun should not be a guilty pleasure. It is core to being human, and games are an incredibly important part of human development.
  4. Celia Hodent, Developing UX Practices at Epic Games, slides 3–7, 34–45Ultimately, players want to have fun, and this is what gameflow is all about.
  5. Steve Swink, Game Feel: The Secret Ingredient, opening; Polish; Conclusionthe aesthetic beauty possible with game feel.
  6. Ian Schreiber, Game Design Concepts, Level 5: Mechanics and Dynamics, Now, About That MDA Framework Thing…: aesthetics as player experienceAesthetics (in the MDA sense) do not refer to the visual elements of the game, but rather the player experience of the game
  7. Tynan Sylvester, The Simulation Dream, Creating apophenia; Creating Story-Richnesssimulation is a co-author of stories with the player
  8. Christopher W. Totten, An Architectural Approach to Level Design, Foreword, p. xxiiiit evokes a feeling of playfulness within the mind of any player who actively engages with it.

Use it on your project

teardown-apply: hold "Aesthetics" (aesthetics) from the teardown at https://teardownatlas.com/game-design/ against my project

Paste it into a coding agent that has the teardown skills.

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