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      Elements

    Layers of Design

*by Brian Gleichman*

Dec 11,2002

  Layers of Design

    (or RPG design from the ten thousand foot view)

What do people think of when they think of game design? Generally things

like character generation, resolution mechanics, combat rules, etc.

Sadly this common view often causes people to miss most of the game as

it is actually played. This in turn results in either poor design that

fails to achieve its goals, or in poor evaluation of existing games

(which causes endless flamewars).

In the simplest terms, an rpg campaign consists of two very different

influences- the Game itself and the Meta-Game. These terms are generally

understood by most gamers and are a useful short hand. That split

however covers too much ground for my taste and I've identified five

layers (one in Game, and four in the Meta-Game) that differ

significantly enough from each other that a solid treatment of the

subject must give each their due.

Any game operates within (and is in effect designed for) these five

layers. Let's consider each of them in turn:

      Game

This layer is made up completely of the actual rules, i.e. the game's

mechanics. These rules must be objective and visible.

By objective, we mean that the mechanics would be resolved the same way

and produce the same outcomes (assuming equal rolls, card picks, etc) no

matter who the players are (assuming they are of course following the

rules). For example, in HERO it takes a roll of 11 or less on 3d6 to

succeed with an unadjusted 11- skill. Thus a die roll of 10 will be a

success for any player in any group no matter the opinions and thoughts

thereof.

By visible we mean that all data, resolutions and decisions in respect

to the mechanics are visible to all players at all times.

It is very important to realize that this level's primary purpose is to

define LIMITS on the available actions and results. In chess rooks can

move vertically and horizontality but never diagonally. A broadsword

does a specified amount of damage- no more, no less in D20. Etc. It is

by forcing limits that the mechanics assure objectivity, visibility and

provide a framework for play.

Game play at this level is based upon known certainties. Examples: "The

orcs have massed their greatest fighters in the center, we should..." or

"I have a 68% chance of taking down the goblin, but only a 33% chance on

the bigger hobgoblin. We're outnumbered right now and that's gives heavy

modifiers against us so I'll..."

In general tactical game design if done (the subject of a previous

article of mine) exists at this layer.

      Near Game

This layer consists of any hidden mechanics.

This includes but is not limited to such things as pre-plotted movement

(seldom used in RPGs, one example slightly modified is /The Burning

Wheel/), various rock-scissors-paper resolutions systems (hand-to-hand

combat in /Top Secret/, RSP itself in many LARPs, etc), hidden movement

(defined by Line of Site rules for the most part, D&D 3rd edition for

example defines the range limits of sight under various conditions),

hidden damage, and simultaneous assignment (such as the drop of the

initiative die in /The Riddle of Steel/)

The effect of this layer is to move decisions away from the visible

certainties above to one of predicting the decisions of other players or

guessing what information that they are hiding. Examples: "Tom tends to

mass his power in the center but he likes the cover forests give as

well. Let's deploy here so as to be within range of both and send scouts

in those two directions" or "I'll buff with this hand, Bill can never

tell when I'm buffing".

It should be noted that this layer remains objective and as such

contains many of the characteristics of the Game layer. But it has moved

into the Meta-Game to a large extent as the focus switches from visible

characters and their abilities (stats, locations, resources) to players

and their abilities (to guess and deceive).

In general, strategic game design if done (a subject of a future

article) exists at this level.

      Near Meta-Game

This layer consists of any subjective or invisible mechanics.

Subjective Mechanics are those that rely upon the interpretation of the

GM (or a player) to determine the final effect. D&D alignment is the

classic example of such a subjective mechanic, the GM is required to

determine when and if a character violates his Alignment and the player

is required to role-playing with its goals and limits in mind. Another

example is fumble mechanics where the actual effect is left up to the GM.

Another way of looking at these mechanics is to view them as "guiding

mechanics" or "advisory mechanics'. They may point in a direction, but

how far you go and sometimes even if you make the trip at all is

squarely a heavily subjective decision of the GM/Player.

A number of systems even toss combat modifiers that they normally

reserve for the Game Layer here. In HERO System for example the GM is

advised to give a bonus (+1 to +3) for creative and/or unexpected types

of attacks. In /Age of Heroes/, I leave specific terrain modifiers up to

the GM after providing a few examples.

      Meta-Game

This layer consists of pure subjective resolution/methods, "group

contracts', and role-playing itself.

Subjective resolution is free form or mechanic-less play. The classic

example is a GM or player just calling the outcome of an action: "I

think your character is more than able to track down the guy by using

legwork, you find him that evening at 8 PM".

However subjective methods covers more ground first comes to mind

including the "world" and adventure design essential to RPGs. If the GM

has decided (without resort to mechanics) that the mob boss has three

bodyguards, each highly skilled- he has engaged in the pure subjective

resolution of a question.

Huge sections of most games are turned over to Subjective

Resolution/Methods. One of the interesting aspects of that is that by

nature you can't design rules for it, each person does that himself

according to his own needs and desires. At best one can provide advice.

Thus in game design terms, this method is defined not by rules enforcing

limits, but by the absence of rules preventing subjective

decision-making. It is worth remembering that not including rules is as

a result game design as well.

Group Contracts are those agreements made by members of a group to

either engage ("we want to do a lot of hack and slash," "Let's try to

keep the game focused on court intrigue," "players should create

characters that work with others") or refuse ("we don't want evil

characters," "no rape will occur in this campaign) events, ideas or

storylines. Such group contracts are often informal although there are

exceptions, and they tend to be added on top of the game outside the

control or influence of the designer.

Role-playing itself is typically done at this layer with the players

determining the personality, actions and reactions completely on their

own without input from mechanical rules.

The main characteristic of this layer is that it's subjective. It is

also limited only the constraints accepted by the players themselves.

Since it's contained mostly within the minds of the players, it is also

in large part hidden with uncertain influences or outcomes.

      Far Meta-Game

These are influences unrelated to the game itself, but even so they

still carry great impact. There is almost no way to define all the

possible examples for the extent of their reach. Common ones are "GM's

girlfriend syndrome" or "Sherri worked late and is off her game, let's

be easy on her."

There is however one point in this layer where game design does matter:

the decision to play the game at all. Here we get game design that

attempts to make entry easy and attractive either by way of light and

simple rules, by seductive settings, or "new" concepts. These days we

see lots of effort to design at this layer in an attempt to expand or

open up new markets, often at the cost of other Layers.

      Designing by Layers

One of the first things a designer should do is decide which parts of

the game are to be handled by which Layer and for what reasons.

This will in large measure determine the character of the game and the

campaigns that result from it. Those things contained at the Game layer

will be highly defined and limited. Those at the Near Game will defined

and limited, but unknown to some in the short term. Those at the Near

Meta-Game will be guided, but not specifically controlled. The Meta-Game

level itself is its own lord and master. The Far Meta-Game may cause the

design to forgone certain mechanics as "too complex for his market" or

otherwise unacceptable.

For example, I designed /Age of Heroes/ to handle character creation,

advancement, combat, etc at the Game Layer. A few elements (like the

Personal Appearance Stat) are covered in the Near Game. I assigned a

large number of areas (all the world design, storyline, and

role-playing) to the Near Meta-Game. I gave no attention to the Far

Meta-Game not really caring why people chose to play.

An important concept to keep in mind is the fact that it's quite

possible to move elements I lumped into specific layers above to another.

A number of games for example move some parts of role-playing from its

normal Meta-Game subjective method to a subjective mechanic in the Near

Meta-Game. (D&D's alignment) or even to the Game Layer (CoC's Sanity at

certain points). Another example of crossing Layers is those systems

that determine at the Game Layer which player has control (and sometimes

for what ends) in the Meta-Game.

Since such "crossing" of layers is typically defined in one and resolved

in another, I've coined the time "Calling to the X Layer" (such as

Calling to the Meta-Game) for this type of design. It's an increasing

common method that many are finding exciting.

      Judging by Layers

Anyone attempting to judge the usefulness of a game system can benefit

by considering five layers if they are interesting in not greatly

misrepresenting other people's campaigns and tastes.

For example, it's easy to say that D20 or /Age of Heroes/ are purely

hack and slash designs given that most of the rules cover combat and

near combat events. They have forgotten the importance of the Meta-Game

level and the fact that both games are specifically designed to use it

for certain parts of the campaign. It's entirely possible for a group to

spend five gaming nights in pure role-playing without a single die being

toss, and then engage in a single evening's combat. To characterized

such a campaign as hack and slash would be a grave error- and a defining

statement of the limits of looking at a single Layer.

Knowing the Layers and your own tastes in them can be helpful anytime

you're thinking of trying out a new game system. It will quickly point

you towards things not to your taste and allow you to house rule it away

from the start or to turn your attention elsewhere.

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------------------------------------------------------------------------

      Previous columns

    * Elements of Strategy </news+reviews/columns/elements11feb03.html>

      by Brian Gleichman, 11feb03

    * Rationales for Mechanics (or the Case for Designer's Notes)

      </news+reviews/columns/elements14jan03.html> by Brian Gleichman,

      14jan03

    * Layers of Design </news+reviews/columns/elements11dec02.html> by

      Brian Gleichman, 11dec02

    * Elements of Tactics </news+reviews/columns/elements01nov02.html>

      by Brian Gleichman, 01nov02

    * Elements of Complexity

      </news+reviews/columns/elements20sep02.html> by Brian Gleichman,

      20sep02

      Other columns </news+reviews/columns.html> at RPGnet

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