Computer Simulation for Game Design
Good game design is iterative. The loop of prototype → playtest → evaluate → design is where games get better — but most of it moves at human speed. I build compute simulation systems that handle the mechanical parts of that loop computationally, so designers can spend more time where it matters most: designing.
Live simulation run — Stepping through a full game of The Beautiful Bid in real time
The first step is encoding your rules as a simulation an AI agent can execute. This means converting your rulebook — however rough — into a structured system where agents can take turns, make decisions, and generate outputs. The act of encoding alone surfaces ambiguities you didn't know were there.
2. Game balance:
– The corruption mechanic seemed to provide a viable strategy, but the
Investigator's ability to audit and penalize it was an effective
counterbalance. I didn't feel that any single strategy was overpowered.
Simulated agents play through your game as distinct characters — each following your rules, making decisions, and traversing game states. Using LangGraph tracing, every turn is logged as a structural map of how your game flows in practice. Designers can see where players hesitate, which rules generate confusion, and which game states are never reached — powerful signal before a single human playtest.
TURN 1 — game_master_adjudicate_round_start
▸ 5 Chairman spaces (C1–C5) await first bids
▸ Presidency space open for next round's leadership contest
Bidding Phase
▸ First bid on any Chairman space sets that Chairman's vice
▸ Bribe tiles count as 2 bid strength but risk investigation penalties
Flow setup → bidding → investigation → resolution
By logging structured events across every simulated turn — resources, corruption seen, corruption caught, agent questions — we can graph game balance over time and spot runaway-leader dynamics or dead strategies. Without event-level tracking, simulation feedback is just prose.
Metrics Tracking — Feb 28 Session
Simulation handles the mechanical work — running rules, generating playthroughs, tracking metrics. But the creative leap — deciding what the game should feel like, what tension is worth preserving, what feedback to act on — that belongs to the designer. The goal of all of this is to put more of your time here.
I'm a game designer who has spent the last several years building computer simulation tools for board game design. I'm optimistic about simulation as a multiplier for designers — and rigorous about where it falls short.
Started designing games as a beginner — focused on how do you reliably bring a specific experience to a player? That led to an early obsession with researching mechanics and how they produce dynamics that players actually feel. The MDA framework — Mechanics, Dynamics, Aesthetics — became a key lens: designers work from mechanics inward, players experience from aesthetics outward. Understanding that gap between design intent and player reality is where it all starts.
Published an open source Python module for enforcing LLM-driven iteration on game playability. One of the earliest attempts to use language models to evaluate board game rule sets programmatically.
Built a multi-agent computer simulation framework using LangGraph — where specialized simulated agents take on player roles, run full game sessions, and generate structured rule and balance feedback. Applied to The Beautiful Bid, a board game about FIFA corruption.
Each agent follows a branching state machine — game master, bidders, investigator — stepping through turns with LangGraph tracing every decision and state transition in real time.