I played Stop Disasters, a game created by the United Nations Office for Disaster Risk Reduction (UNDRR). The game is about educating users how to prevent and protect its populations against tsunamis, through simulating the looting of a coastal region in Asia. The game uses experience based play because the user is prompted to experience the narrative of the tsunami unfolding through the placement of “you” into a position as the urban planner for the region.
The game apples the MDAO framework as follows. First, the user is allowed to take various actions such as make different purchase types in classes of different types of shelters as well as shelters versus defences, considering the various options you would consider when it comes to disaster planning and prevention. The user can also take the action to start the simulation once they’ve made their preparations, seeing the tsunami roll in. When it comes to dynamics, there are a few supported by these mechanisms. Firstly, there is the dynamic of world creation where you feel like you are cultivating and building a world of your own, supported through the narrator’s guidance of you through the narrative of what you need to do — create a world– and also by the mechanics of building and deploying your defences.
Second, there is the dynamic of navigating ambiguity as you don’t know the outcome without hitting start simulation, supported by the fact that there is no indicator of whether your defences are successful until you execute the final move in the game. 
This creates various aesthetics, particularly one of narrative and sensation. There is narrative because you feel like you own this city and you are responsible for it, because of the dynamics of the narrator walking you through the play. Second, the actions in the game are mapping to real life narratives such as the purchase of a house, the instalment of a hospital, which invoke a large story of managing the town. The next aesthetic is sensation. You see the houses get flooded, created by the dynamic of not being able to do anything until you hit the start simulation button, this creates a shocking aesthetic wave of visual change in the map.
This leads to outcomes of behavioural change as the user feels focused on responsible on the task — I felt really shocked to see that I killed 64 and then 30 people on my two tries. And this is directly leading from my decision making. The two aspects of aesthetic sense from the destruction of the village, the narration of the deaths, and the sense of agency and ownership over the results of the game made me prompt — the user thinks: “oh is this the decisions real life world leaders are making?” and “this is something we really should care about”.
