全景探秘游戏设计艺术.(The.Art.of.Game.Design).Jesse.Schell..pdf

www.GFX The Art of Game DesignThis page intentionally left blank The Art of Game DesignA Book of Lenses Jesse Schell Carnegie Mellon University AMSTERDAM BOSTON HEIDELBERG LONDON NEW YORK OXFORD PARIS SAN DIEGO SAN FRANCISCO SINGAPORE SYDNEY TOKYO Morgan Kaufmann Publishers is an imprint of Elsevier Morgan Kaufmann Publishers is an imprint of Elsevier.30 Corporate Drive,Suite 400,Burlington,MA 01803,USA This book is printed on acid-free paper.2008 by Elsevier Inc.All rights reserved.Designations used by companies to distinguish their products are often claimed as trademarks or regis-tered trademarks.In all instances in which Morgan Kaufmann Publishers is aware of a claim,the product names appear in initial capital or all capital letters.All trademarks that appear or are otherwise referred to in this work belong to their respective owners.Neither Morgan Kaufmann Publishers nor the authors and other contributors of this work have any relationship or affiliation with such trademark owners nor do such trademark owners confirm,endorse or approve the contents of this work.Readers,however,should contact the appropriate companies for more information regarding trademarks and any related registrations.No part of this publication may be reproduced,stored in a retrieval system,or transmitted in any form or by any meanselectronic,mechanical,photocopying,scanning,or otherwisewithout prior written permission of the publisher.Permissions may be sought directly from Elseviers Science&Technology Rights Department in Oxford,UK:phone:(?44)1865 843830,fax:(?44)1865 853333,E-mail:.You may also complete your request online via the Elsevier homepage(http:/),by selecting “Support&Contact”then“Copyright and Permission”and then“Obtaining Permissions.”Library of Congress Cataloging-in-Publication Data Application submitted ISBN:978-0-12-369496-6 For information on all Morgan Kaufmann publications,visit our Web site at or Printed in the United States of America 08 09 10 11 12 5 4 3 2 1 For Nyra who always listens This page intentionally left blankvii Table of Lenses.xvii Acknowledgments.xxiHello.xxiii1 In the Beginning,There Is the Designer .1 Magic Words .1 What Skills Does a Game Designer Need?.2 The Most Important Skill.4 The Five Kinds of Listening.5 The Secret of the Gifted.6 2 The Designer Creates an Experience.9 The Game Is Not the Experience .10 Is This Unique to Games?.11 Three Practical Approaches to Chasing Rainbows.12 Introspection:Powers,Perils,and Practice.14 Dissect Your Feelings .17 Defeating Heisenberg .18 Essential Experience .20 All Thats Real Is What You Feel .21 3 The Experience Rises Out of aGame.23 A Rant About Definitions.24 So,What Is a Game?.26viiTABLE OF CONTENTSTABLE OF CONTENTSix A Short History of Software Engineering .81 Risk Assessment and Prototyping .83 Eight Tips for Productive Prototyping .86 Closing the Loop.91 How Much is Enough?.94 8 The Game is Made for a Player.97 Einsteins Violin.98 Project Yourself .99 Demographics .99 The Medium is the Misogynist?.102 Psychographics .108 9 The Experience is in the PlayersMind .113 Modeling .115 Focus .118 Empathy .123 Imagination .124 Motivation .126 Judgment .127 10 Some Elements are GameMechanics.129 Mechanic 1:Space .130 Mechanic 2:Objects,Attributes,and States .136 Mechanic 3:Actions .140 Mechanic 4:Rules .144 Mechanic 5:Skill .150 Mechanic 6:Chance .153TABLE OF CONTENTSx 11 Game Mechanics Must be inBalance .171 The Twelve Most Common Types of Game Balance .172 Game Balancing Methodologies.201 Balancing Game Economies .203 Dynamic Game Balancing .205 The Big Picture .205 12 Game Mechanics Support Puzzles.207 The Puzzle of Puzzles .208 Arent Puzzles Dead?.209 Good Puzzles .211 A Final Piece .219 13 Players Play Games Through anInterface.221 Breaking it Down .223 The Loop of Interaction .228 Channels of Information .234 Other Interface Tips .240 14 Experiences Can be Judged by Their Interest Curves.245 My First Lens .246 Interest Curves .247 Patterns Inside Patterns .250 What Comprises Interest?.253 Interest Factor Examples .258 Putting It All Together .259TABLE OF CONTENTSxi 15 One Kind of Experience Is the Story .261 Story/Game Duality .262 The Myth of Passive Entertainment .263 The Dream .264 The Reality .264 The Problems .266 The Dream Reborn .270 Story Tips for Game Designers .270 16 Story and Game Structures canbe Artfully Merged with IndirectControl .283 The Feeling of Freedom .284 Indirect Control Method#1:Constraints .285 Indirect Control Method#2:Goals .286 Indirect Control Method#3:Interface .286 Indirect Control Method#4:Visual Design .287 Indirect Control Method#5:Characters .292 Indirect Control Method#6:Music .292 Collusion .293 17 Stories and Games Take Place inWorlds.299 Transmedia Worlds .300 The Power of Pokemon .301 Properties of Transmedia Worlds .303 What Successful Transmedia Worlds Have in Common.305 18 Worlds Contain Characters.309 The Nature of Game Characters .310TABLE OF CONTENTSxii Avatars .312 Creating Compelling Game Characte