Abstract
A building will more likely collapse if it does not have any proper foundations. Similarly, the design philosophy of Triadic Game Design (TGD) needs to reside on solid building blocks, otherwise the concept will collapse as well. In this level I will elaborate on these building blocks. First I will explain what the general idea of TGD is. It is a design philosophy, for sure, but one which stresses that an “optimum” needs to be found in a design space constituted by three different worlds: Reality, Meaning, and Play. Additionally, these worlds need to be considered simultaneously and be treated equally. The latter requires balancing the worlds which may result in different tensions, within and between two or three of the worlds. I continue by discussing each of the worlds and showing their perspective on the field of games with a meaningful purpose. From this, we clearly see that it is feasible to think of each world and that the idea makes sense. I substantiate this further by relating the notion of player and similar approaches to this framework. This level is quite a tough pill to swallow yet essential for finishing the other levels. Do not cheat or simply skip this level, but just take a big cup of coffee or tea and start reading it.
He who has not first laid his foundations may be able with great ability to lay them afterwards, but they will be laid with trouble to the architect and danger to the building—Niccolo Machiavelli
An imitation of an action must represent one action, a complete whole, with its several incidents so closely connected that the transposal or withdrawal of any one of them will disjoin and dislocate the whole. For that which makes no perceptible difference by its presence or absence is no real part of the whole—Aristotle
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Notes
- 1.
The designers of September 12th stress that it is not a game. They call it a simulation. They did this to emphasize that their product really mimics a process in the real world and that its message should be taken seriously.
- 2.
When players die in a game, and the rules allow for this, they can “respawn” somewhere. This means they appear alive somewhere in the game environment and are able to continue playing.
- 3.
I made some adaptations to the approach by Duke and Geurts (2004). They speak, for example, of the creation of “policy exercises” or “policy games” which are participatory methods for actual policy and decision making. I renamed this to “games,” because I think their approach goes beyond the creation of these “policy exercises.” I also renamed phase 5 from “Implementation” to “Deployment,” as implementation has a different meaning in the context of digital games. Last but not least, I further adjusted the steps in such a way that they are understandable to any reader and can be easily related to the aspects mentioned in this book.
- 4.
Games may also refer to (other) fictional “things” from reality, like movies, cartoons, or books. For example, some games, like Levee Patroller, borrow the concept of “teleportation” from the Star Trek series which is the ability to disappear at one location and appear at another in a split second (and to which the catch phrase “Beam me up, Scotty!” is related to). Of course, these fictional “things” bear also some connection with reality. This makes games a copy of a copy whenever they refer to these other fictional “things,” or, in the words of Baudrillard (1981/1994) a “simulacrum.”
- 5.
A poison head crab is one of the enemies players can encounter in Half-Life 2. According to Lamar (2008) it is the second most terrifying game enemy of all time.
- 6.
Some games, in particular indie games (i.e., games developed by independent developers), make actually use of creating an experience that goes against people’s intuitive behavior. The Path, for example, only becomes interesting when the player wanders around instead of complies with the explicated goal of the game which is to walk from A to B. Braid is another game that requires players to reconsider their own logic of how the world on their screen unfolds.
- 7.
Instead of “model of reality” some scholars call it the “simulation model” and reality the “reference system” (cf., Peters et al. 1998). I opted instead for “model of reality,” because aside that this term clearly refers to the world of Reality, the other term, “simulation,” can cause confusion. Simulation can also refer to the artifact itself, to a genre of games, or to a traditional tool (in operation research) which uses computer models to calculate possible scenarios and which have little to no association with games, whereas I just wanted to refer to something that is part of every game. For this reason, I chose to use a term that is less contested.
- 8.
In the glossary of INNOV8, BPM is defined as “a structured, often cross-functional approach—combining management methods with information technology—to improving business process over time or adapting them to meet new customer or market needs.”
- 9.
The Beer Game was originally built to research and educate the occurrence of the “bullwhip effect”: when the inventory levels of the retailer decline, it is followed in sequence by a decline in the inventory of the other roles, the wholesaler, distributor, and eventually also the factory. When inventory falls, players tend to increase their orders. Faced with rising orders and large backlogs of unfilled orders, the factory eventually brews and ships huge quantities of beer, and inventory levels surge. Using a very simple game, in which players only have to place orders, this effect can be demonstrated.
- 10.
The “hard work” that players have to perform in San Andreas relates to going to the gym and performing violent crime. The gym leads directly to more stamina and strength. Crime leads to money which can be used to buy the more “healthful” but more expensive salad meals at the restaurants.
- 11.
The distinction of knowledge, skills, and attitudes (KSA) is slightly related to the frequently referred to Bloom’s taxonomy (Bloom et al. 1964) which distinguishes a cognitive, psychomotoric, and affective domain in setting educational objectives. KSA departs from Bloom’s taxonomy in two ways: skills can be either cognitive (social skills) or psychomotoric (physical skills), and knowledge is a subcategory within the cognitive domain. KSA is sometimes also referred to as knowledge, skills, and abilities which to me seems awkward because I think skills and abilities are similar to each other.
- 12.
Here I do not make a difference between implicit and tacit knowledge. However, it needs to be kept in mind that often the first is seen as all the information that has not been articulated, while the latter is considered to be information that cannot be articulated. I also do not make a difference between implicit and procedural knowledge. However, similar to tacit knowledge, procedural knowledge also cannot be articulated. It is further much more concerned with “knowing how” and in this way it is closely affiliated with the concept of skills, while implicit knowledge covers aspects as conditioned responses and reflexes as well.
- 13.
In my view, games are specifically good in providing for “system knowledge.” This subtype of explicit knowledge is about “knowing the big picture.” As games are systems, they enable to understand how the little pieces of a “system” fit together, over time and under different circumstances. It is about seeing the overall structures, patterns, and cycles, rather than seeing only specific events. A system can be anything, from a human body (how does the heart respond to different medicines?) to an economic market (what strategy will make our company survive in the longer term?).
- 14.
Besides knowledge, skills, and attitudes another term that is frequently applied, especially in the field of Human Resource Management (HRM), is “competences.” Some say competences include knowledge and skills, others add also attitudes to it. The term is generally used to indicate requirements that people need to have to perform a job. Although this term nicely integrates aspects that on many occasions are linked to each other, I prefer to use the separate terms, because clearly some games are more aimed at knowledge, while others are more aimed at skills and attitudes. By using the separate terms, these differences in emphasis become clear.
- 15.
The term “graphical rhetoric” is based on the term “procedural rhetoric” and “graphical logic.” The latter was used by Noah Wardrip-Fruin to refer to games that only wrap a theme or visuals around existing game mechanics (see Bogost 2007, p. 89).
- 16.
It could be argued that Sneak King does have procedural rhetoric. By sneaking up on hungry people and surprising them with Burger King food, the game says that when people are hungry, we should make them happy by bringing them to Burger King.
- 17.
I based the mediocre scores of the Burger King games on the meta-scores provided by Metacritic, see http://www.metacritic.com.
- 18.
Bogost (2007) introduced “persuasive games” as a substitute to “serious games” or actually as a term that covers “serious games” as well as other types of games, because in his opinion the term serious games does not cover games that “speak past or against the fixed worldviews of institutions like governments or corporations” (p. 57). However, whether this is true or not, in my opinion not all games with a non-entertainment purpose are about “persuasion” in the first place which renders the term useless as an overarching concept. Take games aimed at “data collection” for example. But more importantly, in a strict sense persuasion is aimed at changing or influencing one’s beliefs or actions. In other words, it is aimed at “attitude change.” These games are thus only related to this value.
- 19.
For more examples of “human computation” games, see http://www.gwap.com.
- 20.
Scientifically speaking, this distinction can be seen as an inductive approach when it comes to exploration and a deductive approach when it comes to theory.
- 21.
The Matrix is produced by Joel Silver and directed and written by Larry and Andy Wachowski. It was distributed by Warner Bros. Pictures in 1999.
- 22.
Compared to the classification by Rollings and Adams (2003) I have made some adjustments. Some genres I conceived of subgenres, like vehicle simulations, and others I conceived as half-breeds, genres that fall between two other genres, such as sports simulations (action and simulation). More information about each of the genres can further be found in their book. I simply made a synopsis of the elements I thought to be most characteristic.
- 23.
Although “leveling” is not explicitly present in the less game-like virtual worlds, such as Second Life, the notion of “reputation” is certainly present. By means of having certain objects or having a “cool looking” and more advanced character, players gain more status.
- 24.
The delivery modes are actually three of the six criteria Aldrich (2004) mentions to build a game. I left out the other three, which are systems, cyclical, and linear content, because these content types are provided by the delivery modes.
- 25.
The four dimensional framework consists—of course—of four dimensions rather than three. I left out the fourth, the “learner,” because this dimension is accounted for by TGD and the other approaches implicitly.
- 26.
In the original article Mishra and Koehler (2006) coined their theoretical framework “TPCK.” Later, they changed this to TPACK. This framework is built on Schulman’s (1986, 1987) formulation of “pedagogical content knowledge” (PCK). He observed that teachers’ subject knowledge and pedagogy were being treated as mutually exclusive in research and education programs and argued that it would be better to focus on the blending of content and pedagogy to get an understanding of how particular aspects of subject matter are organized, adapted, and represented for instruction. For teachers to be successful, they need to deal with C and P simultaneously to make sure the content is (re)presented in the best way possible (by means of analogies, illustrations, examples, etc.). Doing this requires another set of knowledge which Schulman referred to as PCK. More on information about TPACK can be found at http://www.tpack.org.
- 27.
Over time I have been rethinking myself what terms to pick to denote the three worlds. At first, I decided to use “Reality, Pedagogy, and Game.” I refrained from the term “Pedagogy” as not every game with a serious purpose is used for training and education. Additionally, the term is derived from the ancient Greek “paidagogos,” the slave who supervised the education of slave children. The modern interpretation of pedagogy is the art or science of being a teacher. However, in essence the word “paidia” refers to children, which is why some like to make the distinction between pedagogy (teaching children) and andragogy (teaching adults). To avoid confusion about whether this approach is only directed at children or not, concerned another reason to let go of Pedagogy. As for Game, the reasoning was plain and simple: this term connotes too much the artifact itself and not a “world.” After that, I started using more abstract terms, such as “Ontology, Semiosis, and Ludus.” Although I liked the terms, I could not see how actual designers would use this in practice.
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Harteveld, C. (2011). Foundations. In: Triadic Game Design. Springer, London. https://doi.org/10.1007/978-1-84996-157-8_2
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