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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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