ITELE3:

GAME ANALYSIS AND

DESIGN
 01.

GAMES AND PLAYERS DEFINED

MODULE 01
OBJECTIVES
● At the end of this module, students should be able
to:
○ Learn what is a game and the attributes that
makes up a game.
○ Learn what are the different target audience of
different type of games and what are the
attributes of these audience/players.
○ Learn what are the different types of values
gained from player by the game developers.
○ Learn what is a target audience composite and
how to create a sample of it.
DEFINING GAME
 DEFINING GAME
● We need to define what a game is before we can define game systems
designers or game data designers.
● We need to define what a game is before we can define game systems
designers or game data designers.
● Games are human-made creations that have a few specific attributes.
● Instead of trying to sum up everything that it means to be a game, it’s
more valuable to look at various attribute criteria that must occur in
order for us to have a game.
 DEFINING GAME
● A simple checklist that requires all the checks be marked in order for
what we are looking at to be considered a game:
● A game has agreed upon, artificial rules.

● A player can have impact on the outcome of a game.

● A player can opt out of a game.

● Game sessions are finite.

● A game has intrinsic rewards that hold no extrinsic value.

 AGREED UPON, ARTIFICIAL RULES
● When one animal is hunting another, that is not a game. The goals in
such a scenario are to kill or survive.
● While there are physical limits to what can be done in the hunt, there
are no artificial limits; there is no such thing as cheating in the hunt.
● So hunting is not a game, but we can observe many animals playing
hunting-like games in the wild. Bear cubs may wrestle but not attempt
to hurt each other. Wolves may chase each other as they would prey—
but without attacking. These, essentially, are games.
 AGREED UPON, ARTIFICIAL RULES
● Now let’s consider two forms of human combat: street fighting and
collegiate wrestling.

Which of the two is considered a game?

 AGREED UPON, ARTIFICIAL RULES
● Street Fighting

● In a street fight, there are no rules.

● Street fighting is against the law, so there is not even a semblance of any
rule in the activity.

● If one of the combatants can grab and use a weapon, he might be able to
gain the upper hand.

● Whatever the physical circumstances of the environment allow can

happen in a street fight.
 AGREED UPON, ARTIFICIAL RULES
● Collegiate Wrestling

● It is also a very physical contest that can resemble a fight, but it is a

game.

● So what makes it different from street fighting? The rules.

● In wrestling, the players are not allowed to use weapons.

● They are not allowed to punch each other, even though they clearly have
the means to do so, and it would almost certainly be an advantage to do
so.
 AGREED UPON, ARTIFICIAL RULES
● The game Chess and Rules
● When two players sit down to play chess, the goal is for one player to
capture all of his opponents chess pieces.
● Although there is nothing physically stopping the player from simply
reaching over to the other side of the board and grabbing his opponent’s
chess pieces, he is not allowed, by the rules, to do so.
● Only when the players have followed the artificial rules of the game and
one of them has created the circumstances to remove all chess pieces can
that player be declared the winner.
 AGREED UPON, ARTIFICIAL RULES
● If the rules of a game were not agreed upon, the game would quickly
break down and fail to function.
● If there is an established set of rules for a game and a player chooses
to play that game, we can implicitly assume that the player has agreed
to all the rules-regardless of whether that player knows or understands
them.
● While all of the attributes that make a game a game are important, the
most important one is that a game has agreed upon, artificial rules.
Without these rules, there is no game.
 PLAYERS HAVE AN IMPACT ON THE OUTCOME
● This attribute is actually slightly controversial. A small number of
people believe that a game can be a game even if players have no
impact on the game.
● If a player does not have an impact on the game, he/she is not a player
at all, and the activity is not a game.
 PLAYERS HAVE AN IMPACT ON THE OUTCOME
● In the game Candy Land, players
take turns drawing a card and then
moving an avatar along a linear track
toward a goal. Is this a game?
● According to the criteria we are
putting forth—that a player must
have an impact on the game—it is
not.
 PLAYERS HAVE AN IMPACT ON THE OUTCOME
● Imagine that one person were to play Candy Land as all four avatars.
Could this player have enough influence to make a preferred avatar
win? No
● It would proceed identically regardless of the desire, skill, or intent of
the player.
 PLAYERS HAVE AN IMPACT ON THE OUTCOME
● In contrast, with chess, if a single
player plays the turns for both sides,
it is easy for that player to decide
which side will win and which will
lose.
● In fact, most people find it difficult
to play chess against themselves
because it is too easy to favor one
side winning without even trying.
 PEOPLE CAN OPT OUT
● If a person is walking with a
basketball and someone calls out,
“That’s traveling. You must be
dribbling the ball while you walk,”
● The person might respond, “I’m not
playing basketball. I’m just
walking, so it’s okay.”
● This is perfectly fine. People are
never obliged to play a game.
 GAME SESSIONS ARE FINITE
● A game must have some form of
ending so that participants are
sometimes “playing the game”—but
not always.
● A massive multiplayer online game
(MMO), may go on indefinitely, but
players do stop playing from time to
time.
 INTRINSIC REWARDS
● One more aspect that distinguishes
games is intrinsic rewards—that is,
rewards that have value only in the
game.
● For example, when you play chess,
it is valuable to capture an
opponent’s pieces. However, that
captured checker holds no value
outside the game.
 INTRINSIC REWARDS
● At the end of the game, all checkers are returned to the set to be
redistributed at the beginning of the next game.
● Let’s consider a slightly more complex example: poker, In this game,
the players play for money that has an extrinsic value, but there are
significant portions of the game that hold only intrinsic value.
● For example, in the context of poker, having cards of the same suit and
in order is considered highly valuable.
● Outside the context of poker, randomly drawing five cards of the same
suit in order is still very rare, but it has no value.
FINDING THE TARGET
AUDIENCE OF A GAME
 FINDING THE TARGET AUDIENCE OF A GAME
● It is important to consider who you
are making a game for: Who will be
the game player?
● what is a game player? It could be
argued that literally everyone in the
world is either a current or former
game player; most people enjoy and
sometimes play some sort of game.
 FINDING THE TARGET AUDIENCE OF A GAME
● To define your target audience, you can think about various attributes,
attributes of game players run the gamut from demographic
characteristics to attitudes and behaviors.
● Don’t try to define the audience you want to play your game; you want
everyone to play it. Instead, define the audience for which you are
making the game.
● For example, some players won’t play games that have sessions that
last longer than a few minutes. Other players won’t play games whose
sessions last less than an hour.
 AGE
● Age can most effectively be split
into two major groups: adults and
developing children.
● As children develop cognitive
skills, they do so (very roughly) by
age.
● Games made for developing
children have specific requirements
and face legal restrictions.
 AGE
● There are entire fields devoted to
child development and making
learning activities or games for
children at different stages of
development.
● If you are planning on making a
game for children, you need to do
some research into the field of child
development.
 AGE
● Adults, on the other hand, can be
grouped into one large pool for the
sake of game development.
● You can assume that all adults that
you make games for can read, use a
controller or keyboard, understand
basic mathematics, and work out
puzzles on their own.
● This makes the categorization of
adults by specific age nearly
meaningless.
 TOLERANCE FOR LEARNING RULES
● Many people hate learning new rules.
● Hand someone a thick rule book and ask her/him to read it. Many
people would think this sounds awful, right? These people often
decide it is not worth the effort to play any new games.
● Think of people who play chess on a daily basis but no other games.
They are certainly gamers, but they’re not the same kind of gamer
who picks up a new game weekly just to give it a try.
 TOLERANCE FOR LEARNING RULES
● On the other end of the spectrum are players who enjoy learning the
rules of a game; they might even enjoy learning the rules as much as
or more than playing the game itself.
● These people might belong to a local board gaming club, where they
play a new board game every week, rarely replaying a game.
● The draw of the game for this group is learning new rules with the
group, and the games themselves are secondary.
● As you create a game, you need to decide what tolerance level for
learning new rules your target audience will need to have.
 TOLERANCE FOR LEARNING RULES
● People basically fall into five groups when it comes to tolerance for
learning rules:
● Refusing: Players in this group
all but refuse to learn new rules.
If you are making a game for this
group, it is almost certainly a
game based on a real-world
game, or it is a sequel to an
existing game, or at least it fits
tightly into a very specific genre.
 TOLERANCE FOR LEARNING RULES
● Resistant:Players in this group do not like learning new rules, but they
will do so occasionally so that they can play a specific game. Players in
this group tend to stick to a small variety of games, or possibly a narrow
genre, and tend not to explore new titles beyond what they already know.
Designing games for people in this group is easy if you are doing
something that would be familiar to them and takes very little ramp-up.
However, members of this group are nearly impossible to reach if you are
doing something unique or well outside their comfort range.
 TOLERANCE FOR LEARNING RULES
● Resistant(con’t): Think of the
“match three” genre of games,
like Bejeweled. Many players
play only this genre because it is
easy to learn and play and is
available on a convenient device,
such as a smartphone. If you
wanted to make a new twist on a
match three game, this group
might be open to giving your
game a chance.
 TOLERANCE FOR LEARNING RULES
● Neutral: Players in this group are fine with learning new rules if it is
for the specific purpose of playing a new game. Many casual video
game players and board game players fall into this category. This group
is unlikely to read or understand all the rules; instead, they learn as they
go, and they may be interested in only the rules that are needed to play
the game.
 TOLERANCE FOR LEARNING RULES
● Neutral(con’t): Players in this
group are the kinds of players
who follow several specific
franchises and buy each new
installment of those games. They
are also likely to buy similar
competitors within the same
game genre, but they are unlikely
to wander outside their preferred
genre to try something
completely new.
 TOLERANCE FOR LEARNING RULES
● Accepting: Players in this group
like learning new games and new
rules. They often learn more rules
than the bare minimum needed to
play. They sometimes seek out
rules exploits and use them to
their advantage.
 TOLERANCE FOR LEARNING RULES
● Accepting(con’t): This group is also likely to have a favorite genre and
stick
to it mostly but also explore other genres. The accepting category is a
significant market and makes up a good share of professional game
developers’ target market. This is the group that is most targeted and
valued by the gaming industry, and accepting players are often flooded
with a variety of games made for them.
 TOLERANCE FOR LEARNING RULES
● Enthusiasts: Players in this group love to learn new rules. They often
jump from game to game, and many of them drop a game as soon as
they figure out the rules completely. While it is easy to get a rules
enthusiast to play your new game, it is just as hard to hold on to that
player. This group is also willing to accept many more rules and much
higher barriers to entry than are the other groups. While there are no
exact numbers on the size of each group, sales of games with many
complex rules provide significant anecdotal evidence that this is the
smallest of the five groups.
 INTEREST IN CHALLENGE
● There are many varieties of
challenge, but we can simplify
this attribute to tolerance for
failure.
● Most games have mechanics that
allow the player to both succeed
and fail.
● We can quantifiably measure the
frequency of success versus
failure and use it as a metric that
defines challenge.
 INTEREST IN CHALLENGE
● To some players, failure is almost
—or even completely—
unacceptable. They want constant
rewards and play games simply to
feel good or pass time—and not
for challenge.
● It is possible to quantify this
aspect by listing an accepted
failure level as a simple ratio of
the number of failures to the
number of successes.
 INTEREST IN CHALLENGE
● Consider these two dramatically different ratios:
● 15/1: This notation indicates an expected 15 failures for every 1 success.
This is a very challenging game; it is so challenging that it will likely
drive away many players, but it may attract a small devoted following.
● 1/100: This notation indicates an expected 1 failure for every 100
successes. This would be a game that is not intended to frustrate players.
Story-driven RPGs and simple puzzle games may have this type of
accepted failure level. The challenge of the game is not really the point
of such a game, and so challenge is heavily downplayed.
 DESIRED TIME INVESTMENT
● Desired time investment can be broken into two subcategories: session
time and total time.
● Some games, such as checkers, don’t have a total time, only a session
time.
● But many games have both.
 DESIRED TIME INVESTMENT
● Session time
● is how long it takes to play a
standalone session of a game or, in
longer video games, to have what the
player would consider a satisfying
session.
● Volleyball is a well-divided game. It
consists of points that make up a set,
and sets which make up a match.
 DESIRED TIME INVESTMENT
● Total time
● is the amount of time it takes to
“complete” a game—which can be
very different for different games.
● Some games are never completed.
Think of MMOs, match three games,
and older arcade games.
 DESIRED TIME INVESTMENT
● For each of these time investment subcategories, you need to define
what you expect out of a game and what the audience wants.
● Some players want a quick 5-minute session with no end game; casual
mobile puzzle games suit this audience.
● Other players want 2-hour-long sessions with a 20-hour completion
time; many action and adventure video games appeal to this group.
 DESIRED TIME INVESTMENT
● The following are some examples of how you might quantify desired
time investment for various games:
● Checkers: 10-minute session, no total time

● Poker: 3-hour session, no total time

● Skyrim: 2-hour session, 100-hour total time

● Mario Kart: 15-minute session, 50-hour total time to unlock every reward
 PACE PREFERENCE
● The pace of a game is difficult to quantify but is important to players.
● You should consider multiple factors related to pace.
● For example, a game of speed chess is fast paced, but it is fast in a
different way than a “shoot ’em up” top-down shooter is.
● When you want to quantify the pace preference of players, you should
specify what specific type of pace you mean.
 PACE PREFERENCE
● When describing pace preference, it is important to be as accurate and
specific as possible.
● The following are some examples of how you might quantify pace
preference for various games:
● Chess: Slow, turn-based, thoughtful pace

● Ping Pong: Very fast, athletic, reflex-based pace

● Generic computer RPG: Alternating between slow and mid-paced

action with some slower thoughtful crafting moments throughout
 PACE PREFERENCE
● Generic deathmatch FPS: Fast-
paced, high-dexterity, with very little
downtime for breaks
● Generic 1980s arcade game:
Moderate and dexterity-based pace
to start that gradually ramps up to
fast dexterity until the player can’t
keep up; play then starts over.
 COMPETITIVENESS
● Some games are built specifically around competitiveness, and others
avoid it completely.
● For example, all racing games clearly rank players based on how they
finished the race.
● It games such sandbox games, farming simulations, and other casual
games, it is often hard to determine player ability in these games at all,
let alone to compare one player quantitatively against another.
 COMPETITIVENESS
● If you were making a highly noncompetitive game, you would want to
avoid leaderboards, ranking, and maybe even visible scoring of any
sort.
● If you were making a competitive game, you would need to plan well
in advance how to track, measure, and display relative ability to the
player.
● Regardless of which way you want to go with a game, it’s a good idea
to keep competitiveness in mind from the outset.
 COMPETITIVENESS
● The following are a few examples of how you might describe various
levels of competitiveness:
● Noncompetitive: The game has no
scoring, no ability tracking, and no
player-versus-player comparison. It
is meant to be easy and fun to play
and not make players feel bad
about their current ability.
 COMPETITIVENESS
● Competitive: The game tracks a few
key metrics on a per-session basis.
At the end of a game session,
players are shown a score and given
a ranking for that session. However,
each session is individual, and the
scores are wiped clean at the end,
allowing the players to feel a bit
competitive without being judged
overall.
 COMPETITIVENESS
● Highly competitive: Every possible
aspect of play is tracked, measured,
and displayed in detail for the
player. Individual sessions are
tracked and compared, and global
leaderboards are dynamically
maintained and shown to the player.
Players are encouraged to constantly
refine their skills and are driven by
climbing leaderboards of different
time scales.
 PLATFORM PREFERENCE
● Games are available for many
platforms, including PC, console,
mobile, gambling table games, and
VR games.
● Knowing the specific hardware
platform, or multiple platforms, for
a game will help define your
audience—though not in a deeply
meaningful way.
 SKILL LEVEL
● Many games require that players bring some skills with them or
quickly develop those skills while playing.
● Requiring specific skills for a game will attract some players and repel
others.
● When designing games for adults, you can assume that players have
reading skills and basic motor dexterity skills.
 SKILL LEVEL
● Consider these examples of the skills that some games require:
● Tennis: High degree of hand–eye coordination and physical endurance

● Chess: Ability to think out future moves and options

● FPS: High degree of hand–eye coordination and fast reflexes

● Match three: Pattern recognition

● Sandbox building: Spatial awareness

● Poker: Probability calculation

VALUE GAINED FROM
PLAYER
 VALUE GAINED FROM PLAYER
● Another important factor to consider
when designing a game is what
value players are going to give to
you.
● After all, you are going to put a
considerable amount of time and
effort into entertaining your
audience, and you probably want
some form of compensation from
your audience in exchange for that
experience.
 PAYMENT
● The simplest form of compensation from players is payment. This
could be as simple as each player purchasing a copy of the game.
● Each form of payment attracts some players and repels others.
● Knowing the kind of payment you want to get from your players from
the start is an important factor in determining how the game is built.
● The following sections describe a few common types of payment and
some pros and cons that you should consider for each type:
 PAYMENT
One-Time Purchase
● With a one-time purchase, a player buys a game and can keep it forever.
● This is the oldest and most straightforward method of player value.
PROS
● Players pay for the entire experience up front. This is often a larger amount
than is required with other types of payment.
● The game can be considered done at some point. Many modern games are in
production long after they ship or are even in perpetual development.
 PAYMENT
CONS
● There is no opportunity to make more money after the initial purchase.
● There can be little incentive to fix flaws discovered after the game shipped.
● There is no opportunity for the development team to get paid to continue
working on the game.
● There is no external incentive for players to return to the game for new
content.
 PAYMENT
Expansions Purchase
● With an expansions purchase, players
buy a core game and then may buy
expansions for the game at a later time to
modify or expand the central game.
● These are usually self-contained and
fairly small in number. For example, a
new expansion pack may come out twice
a year.
 PAYMENT
PROS
● This format potentially keeps players wanting to revisit the game, which
increases other forms of value.
● It is possible to tweak balance and fix mistakes*.
● The game can be shipped quickly and on a smaller budget since it is expected
that more content will be released for the game later.
● The game can be sold for a lower price because more money is expected from
players for the expansions.
 PAYMENT
CONS
● Players may feel as though the initial game is not a full experience.
● Part or all of the team is tied up working on game expansions instead of new
projects.
● The audience is much more narrow for an expansion pack than for a new
game*.
 PAYMENT
Microtransactions
● With the microtransactions model,
players buy or get the game for free to
start.
● Then, while playing the game, they can
make in-game purchases of things as
simple as decorative changes all the way
up to new levels and mechanics.
 PAYMENT
PROS
● There is a continuing possible source of income from players.
● Games can be initially priced low, or even free, which greatly expands the
potential market of players.
● Players can specifically tailor their purchases to their own taste.
 PAYMENT
CONS
● Purchasing in game can feel like cheating in a competitive game.
● Players may feel that they are being “nickel and dimed.”
● Much of the developed content may not be used if players don’t buy it.
● The base game may feel unsatisfying. Conversely, the base game may feel
good enough that players decide they don’t need to buy anything and,
therefore, the game does not make money.
 PAYMENT
Advertising
● With advertising, players pay a reduced
amount for the game or no money at all,
and the developer makes money from in-
game advertising.
 PAYMENT
PROS
● The game can be inexpensive or free for players, leading to a potentially
larger audience.
● The game has a continuing source of income.
● The payment is “fair” in that players who watch advertising are not
purchasing an advantage in the game.
 PAYMENT
CONS
● Ad revenue tends to be rather low on a per-player basis. It takes a whole lot of
players seeing a whole lot of ads to pay a development team.
● The player is pulled out of the game experience by the ads. Often, the
developer has limited or no control of the ads being shown. The ads may have
a conflicting message to the intention of the game or may even be for a
competitor.
 OTHER FORMS OF VALUE
● In the end, money is the goal of professional development, but there is
not always a direct path from creating a game to piles of cash.
● Developers can gain other forms of value from players as well.
● The following are a few of the ways types of value besides money that
you can gain from players:
 OTHER FORMS OF VALUE
Word of Mouth
● When players like a game and discuss it
with their friends, their friends are more
likely to get the game.
● When a game has mechanics built into it
that get players to play with each other,
seek out people to play with, or just talk
about the game, there are more
opportunities to bring in a bigger
audience.
 OTHER FORMS OF VALUE
Social Media
● Social media is an even more expansive
but less personal form of getting the
message out than word of mouth.
● It essentially allows players to act as free
advertising.
● While social media can help a small
game reach a much larger audience, there
can be backlash over “spam” games in
social media.
 OTHER FORMS OF VALUE
Ranking Sites
● Many websites have ranking lists of new
games based on player scores. Games
with high scores are typically more
attractive to new players.
● Some small games have broken out and
become successful simply by having a
consistent and growing following of high
scores on ranking sites.
TARGET AUDIENCE
COMPOSITE
 TARGET AUDIENCE COMPOSITE
● Once you have determined the attributes you want and don’t want in
the players you are making a game for, you need to do something
with this information.
● One thing you can do is create a target audience profile.
● These profiles were created based on games that already exist—and
they show that you can examine target audience profiles after you put
out a game in order to look at the kinds of players you ended up
targeting.
 TARGET AUDIENCE COMPOSITE
Chess
● Learning new rules: Resistant. This player is willing to learn a small
number of unchanging rules so they can play the game repeatedly with the
same or new opponents around the world.
● Challenge level: Variable. The player will find the right challenge level by
finding the right opponent. There is no single-player version.
● Time investment: Sessions are around 30 minutes; there is no total time.
● Pace: Very slow and thoughtful.
 TARGET AUDIENCE COMPOSITE
● Competitiveness: Highly competitive. One player will win or lose every
session. The drive to beat the current opponent is a motivating factor for
playing the game.
● Platform: Analog board and pieces.
● Skills required: Very little. Only the ability to comprehend the basic rules.
● Value gained from player: Word of mouth and player pool.
 TARGET AUDIENCE COMPOSITE
Galaga
● The gameplay of Galaga puts the player
in control of a spacecraft which is
situated at the bottom of the screen,
with enemy aliens arriving in formation
at the beginning of a stage, either trying
to destroy, collide with, or capture the
spaceship, with the player progressing
every time alien forces are vanquished. 
 TARGET AUDIENCE COMPOSITE
Galaga
● Learning new rules: Resistant. The player is not interested in learning
complex controls and systems but wants to get right into the game
immediately and figure out the mechanics through trial and error.
● Challenge level: Very high. Failure is assured with every session. The player
is happy to start playing knowing that every session will end in failure.
● Time investment: Low. Sessions are around 5 minutes; there is no total time.
● Pace: Players likes to start at a moderate pace and keep playing as the pace
increases to the point that they can’t keep up.
 TARGET AUDIENCE COMPOSITE
● Competitiveness: High. Players can see their score and try and do better. A
public leaderboard enhances competition at the arcade machine. Players are
driven to beat their own high scores and get their initials on the public
leaderboard.
● Platform: Arcade cabinet.
● Skills required: Hand–eye coordination and reflexes.
● Value gained from player: Direct payment. A quarter gets a short oneplay
session.
 TARGET AUDIENCE COMPOSITE
Mario Kart
● It is a series of racing video games
published by Nintendo on various
consoles, featuring a number of
characters from the company’s Mario
franchise.
● The goal of the games is to traverse
multiple race tracks based on locations
seen in the Mario franchise. The player
can choose their own character
and kart parts.
 TARGET AUDIENCE COMPOSITE
Mario Kart
● Learning new rules: Resistant. The mechanics and controls are in line with
those of other racing games, so a player who has ever played any racing
games will be able to quickly transition in. Further, a player who has driven a
car knows the rough analogy the game is using.
● Challenge level: High. 5/1 failure rate. When players start, they lose against
artificial intelligence (AI) most of the time. As players get better, the AI and
challenge level increase consistently to keep players losing frequently. This
ratio of loss motivates players to come back for more and improve their
skills.
 TARGET AUDIENCE COMPOSITE
● Time investment: Low. Sessions are around 15 minutes. A total time of 100+
hours is required to unlock all rewards.
● Pace: Very high. There is no time for contemplation in any moves.
● Competitiveness: Very high. Players are ranked per race, and there are
multiple leaderboards.
● Platform: Nintendo game systems exclusively.
● Skills required: Basic racing game skills.
● Value gained from player: Payment is primary, player interaction is
secondary.
 TARGET AUDIENCE COMPOSITE
● Time investment: Low. Sessions are around 15 minutes. A total time of 100+
hours is required to unlock all rewards.
● Pace: Very high. There is no time for contemplation in any moves.
● Competitiveness: Very high. Players are ranked per race, and there are
multiple leaderboards.
● Platform: Nintendo game systems exclusively.
● Skills required: Basic racing game skills.
● Value gained from player: Payment is primary, player interaction is
secondary.
 WHAT TO DO WITH A TARGET AUDIENCE PROFILE?
● You can use the audience profile as a guide through the rest of the
game-making process.
● Each time there is a suggestion for a new feature, system, or data, the
team should consider: Will this make the audience happy?
● By constantly coming back to the target, the process of making the
game becomes more grounded.
 THANKS!
Doralph.cadalzo@mcc.edu.p
you have any questions?
h
https://m.me/cadalzo.ralp
h
https://bit.ly/2YksuN7
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