QuoteDesign includes:

• A shared set of practices and techniques
• A public discourse about its values, goals, innovations, and limits
• A canon of existing examples and counterexamples
• A worldview that differentiates design from other kinds of activities
• A pedagogy that brings new practitioners into the community.

from ROMchip Presents: Peter McDonald on The Impossible Reversal: A History of How We Play (timestamp 44:59)

a high degree of reliance on qualia
- devastates the foundation of design discourse (todo: link to mcdonald's definition of design)
- is or seems to some degree necessary because of the immense complexity of games (todo: link to conversation with jw)

there is something missing.

when i'm 'playing' gameplay (forever), i am having a complex subjective experience that comes from countless interacting things, both internal and external.

i think that i am writing this thread because i have found that descriptions of aesthetics (in the MDA sense) is not very useful to me as a player, as a designer, as an appreciator, or as an artist.

this is not a new idea.

i believe the philosophical term that is most commonly used to refer to these things that are useless to describe is "qualia".

(end of examination of brlka's post.)

QuoteIn an angel dances in the sparks of a bonfire (aka angel game), a timer spawns two sparks, then resets to a random interval between one and zero. The result is uneven, unpredictable clumps of sparks - sometimes massive, dense waves, sometimes a sparse handful. This feels very different! It isn't fair, but it's fun.

the above contains a textbook-order example of the MDA framework.

MECHANICS : a timer spawns two sparks, then resets to a random interval between one and zero
DYNAMICS : The result is uneven, unpredictable clumps of sparks - sometimes massive, dense waves, sometimes a sparse handful.
AESTHETICS : This feels very different! It isn't fair, but it's fun.

mechanical descriptions interlaced with experiential descriptions:

Quotehazards that move around and threaten the player

- "hazards that move around" describe a thing that can be defined in code.
- "threaten the player" is a feeling ('threat') delivered to the player.

QuoteA player-aware hazard that chases the player is easy to avoid, while player-indifferent hazards can often be ignored if you're standing still; mix the two, and the chasing hazard will force the player to move and engage with the other hazards.

- "A player-aware hazard" and "player-indifferent hazards" are defined earlier in mechanical terms; their movement is or is not influenced by player position (even here, 'indifferent' as a word carries a whiff of intentionality or sentience)
- "easy to avoid" describes the (subjective) difficulty of a player action
- "force the player to move and engage with" describes the player's action as reactive, animated by the game -- player as object, rather than subject (the game forces the player to move, rather than the player moving)

QuoteAvoiders should demand the player's attention

^an even more explicit framing of the game animating the player.

Quoteshort, arcadey mini-games about avoiding obstacles in claustrophobic spaces.

brkla defines "avoiders" as having certain qualities:
- "short", describing a quality of the average player experience
- they are "about avoiding obstacles", describing the purpose of them in terms of the actions which the player undertakes
- "claustrophobic spaces", describing the spaces in terms of how they feel to the player (claustrophobic space can be used loosely as a synonym for tight space, but carries a psychological connotation)

i read brkla's "designing avoiders"

after spending a large amount of time with my own gameplay (forever), in a sibling sort of genre.

brlka's writing belongs to a very common canon of game design writing that focuses on something i will tentatively call 'player experience'.

excerpts from "designing avoiders" will follow, accompanied by commentary.

kill gameplay.