OP Creativity
Moontower Munchies #28
[Programming note: No Moontower this Sunday. Family camping trip off-the-grid. Enjoy the long weekend]
Friends,
I am going to be reading game designer Raph Koster’s book Theory of Fun pretty soon. For a preview, I listened to his interview on the Think Like A Game Designer podcast with host Justin Gary.
Raph’s 25-year-old website is a monument to design knowledge — it includes his writing, talks, and links to projects.
Raph is a creative force of nature — poet, developer, musician, designer, artist. He has one of the those annoying CVs that only a vampire could have. This interview gets behind the madness.
I jotted down a few takeaways. As always with my recaps, this is just what I wanted to write down for my own future reference but so much more is covered (there’s an especially great section about the use of simulations).
🔗Lessons From Game Designer Raph Koster (Moontower)
I’ll share a few bits here.
Getting better — what does it mean to practice?
What’s the equivalent of “practicing scales” for other creative work?
I consider the practice of all those things I do as being very similar. I use the same habits for all of them. I made a list of them once in a blog post, which I think was called “practicing the creativity habit“. First was, whatever the activity is, do it regularly and make it a habit. So part of that is having the tools near you at all times. In the room I work out of, there are about 20 musical instruments within five feet, a complete art studio, a recording studio, and a game design reference shelf. Not actual games, but books about games, economics, interface design, and other topics related to games. For board games, I have a prototype kit with hundreds of dice, wooden bits of different shapes, and about 30 or 40 different decks of cards. The first thing is to make it a habit. Second, have the tools close at hand always.
Third, give yourself constraints. I try to do that regularly. If it’s guitar, I might find five jazz chords and learn them, then write a song using those chords until I understand them. I picked up this habit from studying art and poetry. There are traditional poetic forms like sonnets, Villanelles, and haikus. In a writing workshop, we set ourselves the challenge of writing a poem using every single traditional form. In game design, it would be trying different game types. I haven’t succeeded at it for games, but that’s not the point. It’s about understanding design patterns. This approach applies to everything I work with, be it music composition, writing, or drawing. It’s a common underlying principle. It’s like working out — you need to rotate through the different muscle groups.
This poppin’ view pic of the London Art Classes studio is how I imagine Raph’s workspace looks (sans guitars).
Nuance about the role of games in education
The changes over the years have involved the “chocolate covered broccoli” concept, where something fun is wrapped around an academic task. It’s clear this approach wasn’t effective. We’ve come to understand that games teach in specific ways that are well-suited for certain subjects but not for others. Games motivate players best through intrinsic motivation. Players choose to learn and take on tasks because they want to, with the game guiding their objective. For instance, instead of making a game to directly teach math, you create a game where players have a goal they wish to achieve. This might lead them to discover that understanding a certain type of math is the solution. They then learn it out of their own motivation. This is a realization that educational game design has recognized over time. As for games with broader themes, they can reflect social structures, human interactions, economics, politics, and other vast topics. While there’s an abundance of narrative-driven or viewpoint-based games out there, game systems can be informative as well. For instance, Sim City faced criticism for presenting an overly optimistic view of public transit and its associated challenges.
You can bias your game systems to convey specific lessons. It’s important to recognize that your game systems inherently teach lessons, intended or not.
Game-playing trains your “systems thinking”
Finding real world systems and abstracting them or boiling them down to their essence isn’t actually a very common skill. Games can teach people how to do this. The idea involves setting constraints, modeling real systems, and allowing people to experience them within a game context to understand them deeply. It provides an opportunity for individuals to experiment with these systems, unlike in real life where, for example, you only get one shot at lifetime earnings. Playing a game that emulates this system offers lessons. This is applicable to various scenarios, such as political engagement. There should be games that allow players to experiment with political engagement methods, helping them discern more effective strategies. This principle holds true in many areas.
Kris here…yea, I’ve made this point repeatedly over the years.
In Let Your Kids Play Boardgames I said this of the game Quacks of Quedlinburg:
Quacks is a bit like a deck builder. It’s known as a bag builder but with a don’t-bust-press-your-luck mechanic. To most of you, that means nothing but for the remaining, you should know this an outstanding game. It’s fun, and while seasoned gamers won’t like this necessarily, it has enough luck to allow a first grader to compete with an adult. I found myself thinking quite a bit about the value of the “options” (they’re actually chips representing ingredients in a potion recipe) in the game and their respective costs. The concepts of theta, volatility, and vega would be visible to someone with a finance background if they looked past the game skin. An engineer would see this game as a very pure simulation (most likely AI) based problem especially since the game has no trading interactions.
In Practice Second Gear Thinking I write:
We must identify second-order effects. In the options world, the “greeks” are sensitivities. Delta is the option’s sensitivity to the underlying. Gamma is a second-order sensitivity that describes how an option’s delta changes with respect to the underlying.
But this topic is everywhere. If a company sells more widgets it makes more profit. But second-order effects mean attracting more competition or saturating a market. Every satisfied customer is one less customer that needs satisfying. So if I build a model of profitability based on units sold, when does the function inflect? When does opportunity fade into unsold inventory?
A fun way to think about second-order sensitivities is playing “engine builder” boardgames like Dominion or Wingspan where synergies between your cards lower the marginal costs of later actions2. In essence, the cards have gamma based on how you stack them. Every time I use a card it might increase my odds of winning by X. That’s the delta or “benefit per use”. But the delta itself increases with synergy, so as the game progresses, you get more delta or benefit/use ratio, from the same card
In Greeks Are Everywhere I write:
One of the reasons I like boardgames is they are filled with greeks. There are underlying economic or mathematical sensitivities that are obscured by a theme. Chess has a thin veneer of a war theme stretched over its abstraction. Other games like Settlers of Catan or Bohnanza (a trading game hiding under a bean farming theme) have more pronounced stories but as with any game, when you sit down you are trying to reduce the game to its hidden abstractions and mechanics.
The objective is to use the least resources (whether those are turns/actions, physical resources, money, etc) to maximize the value of your decisions. Mapping those values to a strategy to satisfy the win conditions is similar to investing or building a successful business as an entrepreneur. You allocate constrained resources to generate the highest return, best-risk adjusted return, smallest loss…whatever your objective is.
Games have mine a variety of mechanics (awesome list here) just as there are many types of business models. Both game mechanics and business models ebb and flow in popularity. With games, it’s often just chasing the fashion of a recent hit that has captivated the nerds. With businesses, the popularity of models will oscillate (or be born) in the context of new technology or legal environments.
In both business and games, you are constructing mental accounting frameworks to understand how a dollar or point flows through the system. On the surface, Monopoly is about real estate, but un-skinned it’s a dice game with expected values that derive from probabilities of landing on certain spaces times the payoffs associated with the spaces. The highest value properties in this accounting system are the orange properties (ie Tennessee Ave) and red properties (ie Kentucky). Why? Because the jail space is a sink in an “attractor landscape” while the rents are high enough to kneecap opponents. Throw in cards like “advance to nearest utility”, “advance to St. Charles Place”, and “Illinois Ave” and the chance to land on those spaces over the course of a game more than offsets the Boardwalk haymaker even with the Boardwalk card in the deck.
In deck-building games like Dominion, you are reducing the problem to “create a high-velocity deck of synergistic combos”. Until you recognize this, the opponent who burns their single coin cards looks like a kamikaze pilot. But as the game progresses, the compounding effects of the short, efficient deck creates runaway value. You will give up before the game is over, eager to start again with X-ray vision to see through the theme and into the underlying greeks.
I’ve shared notes on many interviews over the years but my favorites consistently come from game folks. These 2 in particular are what my kids would describe as “OP”:
🔗C Thi Nguyen on Game and Society
🔗Kathleen Mercury on Boardgaming in Education
All of my posts that deal with education/gaming can be found here:
https://notion.moontowermeta.com/general-childhood-education
Money Angle
Back in May, I was in Tahoe for an investment retreat called the Collective where I was invited to speak (I published some thoughts).
While I was there I had a chat with my friend Jason Buck (Pirates of Finance, Mutiny Funds). We recorded it for a podcast. Check it out here. A few topics we cover:
Adverse Selection
Discretionary Edge?
Manager Fee Alpha
Confidence Intervals
Life Optionality
☮️Stay groovy!
Substack Meetings
I was invited to be a part of the Substack Meetings beta. You can book a time to chat. I’m more expensive than a 900 number from 1988 and have a less sexy voice.
Book a meeting with Kris Abdelmessih
Moontower On The Web
📡All Moontower Meta Blog Posts
Specific Moontower Projects
🧀MoontowerMoney
👽MoontowerQuant
🌟Affirmations and North Stars
🧠Moontower Brain-Plug In
Curations
✒️Moontower’s Favorite Posts By Others
🔖Guides To Reading I Enjoyed
🛋️Investment Blogs I Read
📚Book Ideas for Kids
Fun
🎙️Moontower Music
🍸Moontower Cocktails
Becoming a patron
The Moontower letter is and will always be free. My writing is a search “for the others”. The “others” are people like you who are unlearning the mental frames that artificially narrow our choices.
If you are here you already understand that inspiration is a tradable good. It’s not as tangible as a cup of coffee, but it packs 10x the adrenaline with an infinitely longer half-life than caffeine.
If you feel inspired, you can upgrade to becoming a patron.