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分享独立设计游戏的24个注意事项

发布时间:2011-09-26 14:56:02 Tags:,,

游戏邦注:本文作者是Edmund McMillen,他是游戏设计师和插图画家,代表作有《史莱姆吉什》、《时空幻境》和《超级食肉男》。此外,Edmund还曾制作若干在线独立游戏《Coil》、《Aether》和《Time Fcuk》。

我在采访中最常问的一个问题是:“你有没有什么建议要给独立开发新手,或广大开发人士?”这次换我回答:我总结系列独立开发注意事项。

这里我要说明的是这个列表并不完整,我相信随着时光的流逝,其中内容会发生改变。但以我这个涉足独立游戏领域10年之久的开发者角度来看,下述建议对所有独立游戏设计师和美工而言非常重要。

需注意的是我所指的“设计师”或“美工”包括程序员。所有艺术元素都在技术和创意上获得合理平衡;虽然编程属于技术范畴,这这并不代表其缺乏创意。

创意体现在整个内容而非具体细节。光和影是插图的主要技术元素,但若缺乏创意,组成要素就变成主题的复制品,缺乏个人格调或元素。

这个列表主要针对渴望独立的创造性开发者。这些建议并非告知开发者如何通过Flash游戏创收,或通过复制既有趋势和压榨玩家获得营收。这些建议主要针对渴望获得创造自由或“单纯希望制作受玩家喜爱作品”的设计师。

dos and don'ts from  voiceoftheyouth.com

dos and don'ts from voiceoftheyouth.com

1. 保持诚实

我所说的诚实是指用心说话。工作中避免表现出控制欲和优越感;设身处地地对待玩家。在创造艺术过程中诚实非常重要。

2. 需记住自己是在创造艺术

游戏设计师是艺术家,其在非创造性工作中存在优势;准确把握这些优势,进行充分利用。你的目标不是赚取大把营收。若是这样,你应该去念商学院,或当医生。这是个富有创造性的行业,大家首先应该以创造性视角看待它。项目融资是其次考虑的内容(游戏邦注:这也许是你作为独立设计师最大的优势)。

3. 用心设计

编写/设计你感兴趣的内容。全心投入工作,展示真实自我。你喜欢什么?讨厌什么?为什么?所有著名电影制作人都有自己的印章,这会出现在他们的作品中,证明他们的身份。这些主题最终将呈现给用户,使得成为你的代表。

4. 进行大冒险

试着就你制作的所有内容进行创新。从游戏玩法到游戏外观,保持独特性,你将会脱颖而出。挑战个人极限,尝试新类型、新机制和美学概念。试验和风险是成为设计师的必要元素。不要害怕失败;你能够失去的东西不多,你能够从失败中学习。

5. 从小处着眼

若你只是刚刚起步,从小处着手。若你着眼于自己无法完成的庞大内容,那么你将筋疲力尽,最终毫无成果。从来没有电影工作者以制作轰动巨作开始自己的事业。刚起步最容易犯的错误是盲目受抱负驱使,迈入自己尚未准备好的事业。放慢脚步,从容应对,从简单内容着手。原型设计对很多设计师来说非常重要。

6. 练习(制作各种小型游戏)

快速落实各种小构思;瞄准其中能够运作的内容。综观独立领域各成功或“完全实现”的作品你就会发现游戏最初都是从简单模型着手。你可以从感觉可行的游戏构思着手,对其进行简化。剖析构思的核心要素;这个要素是衔接工作的粘合剂。粘合性越强,所能添加的内容就越多。另一方面,若粘性不够强烈,就继续前进。不要浪费时间修复无法运作的内容。若其原始形式本身就缺乏趣味,完成后也很难变得有趣。

7.制作你想要制作的游戏

遵从自己的内心。若你已对某些内容没有感觉,将其放下,着眼你想制作的内容。我发现我的所有杰作都是很快完成,我对它们都充满热情。糟糕作品通常是我缺乏兴趣但迫使自己完成的内容。若内容不再受欢迎,你觉得自己对某个项目缺乏兴趣,试着以不同角度切入。简单转变视角或重新改造既有机制在缺乏积极性的情况下起着非常重要的作用。

8. 脱颖而出

不要制作和既有作品外观或风格相似的内容。用户对于新内容的设计怀有更大宽容心,最终你的设计会获得更多关注度。这非常明显,但有时会被设计师忽略。不要一味关注美学理念或玩法机制发展趋势。避免追逐行业潮流:大胆创新和突破。不要再制作那些忍者和僵尸游戏,若你打算创造某个射击手角色,不要把他设定在太空中。请慎重考虑。

9. 批判思考

99%的游戏设计都包含批评性思考。试图寻找设计漏洞:若你无法进行填补,就转移至其他内容。在你着手制作自己的项目前,应全面考虑项其无法运作的情况。一开始就探究这些核心要素如何落实,这些内容未来会如何回来困扰你。创造性思维是避免随后冲突的关键;确保三思而后行。退一步考虑项目。以看待他人工作的角度着眼项目。若项目无法完成,其优劣何在?

10. 体验游戏

若你没有体验所制作的内容,你很难从中学到什么。即便内容非常糟糕,分析畅销作品的原因在于:进行分解,找出其中原因(游戏邦注:若你未进行体验,你就无法获悉制作项目过程中将遇到的阻碍)。

11. 剖析既有模式

所有游戏“题材”都有模式。关卡设计、教授规则、跳脱模式:这些都根据模式。分解这些模式,查看其运作形式。体验大量游戏:找出自己喜欢的元素,分析喜欢理由,然后进行重新设计。解构游戏模式和建构新模式同样重要。在多数情况下,你会在解构过程中学到更多。如今你已握有众多可供支配的游戏模式。

12 发展

你不再是个小孩,若你觉得需要制作更成人的游戏,那就这样做。作为独立开发者,你不需要回应任何人,所以不要抱着获得ESRB批准的的心态设计游戏。我不是说大家要制作色情游戏,只是为什么所有视频游戏都融入不成熟的主题?用户并不愚昧:所以不要认为他们很无知。像同好友描述那样陈述游戏内容,亲自设计,不要自我审查游戏构思。

13 走向外面的世界

房间之外的世界非常重要。同时还非常有启发性。到外面探险,然后回家写款与此有关的游戏(游戏邦注:宫本茂就是这么做的)。我觉得若没有生活,你很难受到启发。生活是所有艺术家力量的来源;你如何从不存在的事物中吸收内容?我们都尽量表现突出,多数人都专注于自己的工作,但获得平衡非常重要。进行和视频游戏及电脑无关的活动。不要停滞不前。

14. 保持平衡

许多设计师都面临沮丧或其他精神失衡现象。照顾好自己的大脑,最重要的是,照顾好自己。

15. 保持谦虚

不论你觉得自己多么优秀,总有人比你更胜一筹。保持谦逊,承认自己并不完美。设计师的自我会阻碍其发展,因为其不愿承认自己可能出现错误。若你觉得自己已没有需要学习的内容,那么你是时候该离开。诚实看待自己,承认自己的缺点,接受自己可能出现失误。

16. 接受反馈信息

若许多人表示你的游戏在某些方面存在不足,但你坚信其非常完美,那么也许你是错的。我们很难接受批评建议,尤其是在我们其实没错的情况下。放松身心,保持谦虚,记住你没有自己想象的那么优秀。若玩家一致认为某些内容存在失误,你应回过头检视自己的行为。但不要只是按用户期望的那样设计内容。若他们对某些内容存在异议,弄清其中缘由。若用户不喜欢你的控制装置,这也许体现各种不同方面(游戏邦注:从游戏内容的移动方式到按键的操作方式)。在回应这些反馈信息的时候,询问某些问题,试着找到问题的根本。不要通过回避问题寻找权宜之计。

17. 同他人合作

人类非常友善。有些人擅长你所不擅长的东西。游戏设计需要利用你整个大脑;但你也许在某些方面缺乏造诣。寻找某个能够填补你缺陷的人员。就我的经验的看来,人有阴阳平衡,有些人更有技术头脑,有些更有创造头脑。我已从中发现创意和途径的完美结合点。这并不意味着大家都这样。但我觉得和至少一个人共事非常重要。独立游戏设计师很容易变成隐士,屋内有其他人验证构思能够防止你变成与世隔绝的隐士。

18 网络

和其他设计师、粉丝和媒体分享你所进行的内容。你能够从中获悉他人对你作品的看法,甚至还能交到朋友。最大的误区是认为大家不想听取创意人士的意见。其实他们希望听到。作家喜欢书写和你有关的内容,粉丝想要知道你的下个项目,设计师希望同你分享他们的构思和经验。所以请尽情进行交流!

19 保持工作兴趣

如果你对所从事的工作没有兴趣,那又怎么指望他人会感兴趣?谈论你的工作内容,尽可能推销自己和游戏。若游戏无法激起你的兴趣,那你为什么要做这项工作?若你不满意自己的工作,那就停下脚步。若你不喜欢自己的工作,便很难产生积极性;尽情让此热情渗透至媒体采访中。成为独立开发者意味着自己制定规则:若你自己的规则无法吸引你,就需要重新进行考虑。

20. 加入社区

独立游戏社区开始繁荣发展:加入其中。你不需要发布内容,单阅读它们就能够让你把握游戏开发初期的注意事项以及常见游戏设计理念。

21. 学习商业知识

商业不是值得推崇的内容,但把握若干相关知识非常重要,这样你才能获悉自己是否被利用。这同网络并肩进行:询问志趣相投人士其所处商业情况。了解项目制作成本、利润分成、销售数量和出售商品的最佳地点。若你不了解运作情况,就会面临看似光鲜的发行委托,且会很容易被利用,丧失作品的知识产权。

22. 不要担心经济拮据

独立游戏设计师都是饥肠辘辘的艺术家。保持节俭和谦逊。你的首要目标不是获得营收,若你是采取这种态度,将很容易失败。独立游戏设计师获得丰厚营收是少见情况(游戏邦注:若你重视金钱胜过“完美工作”,那么这就不是你的发挥领域)。

23. 试着创收

出售项目,争取游戏赞助,借助在线广告,或寻求捐助都是创收渠道。你需要金钱维持生计,所以要努力创收。

24. 获得乐趣

若你无法从中获得乐趣,那么就放弃工作。人的生命只有一次;若工作无法让你感到快乐,还有什么理由继续做下去。

游戏邦注:原文发布于2009年12月30日,文章叙述以当时为背景。(本文为游戏邦/gamerboom.com编译,如需转载请联系:游戏邦

Opinion: Indie Game Design Do-s and Don’t-s: A Manifesto

by Edmund McMillen

[Veteran indie game creator Edmund McMillen, known for his work on 2005 IGF Grand Prize winner Gish, Time Fcuk, and Super Meat Boy for WiiWare, shares his opinions and manifesto on making indie games, with 24 clear do-s and don't-s to make your art thrive.]

One of the most common questions I’m asked in interviews is, “Do you have any advice for independent game developers who are new to the scene, or tips for developers in general?” Well, I actually answered it this time: I came up with this list of indie do-s and don’t-s.

Now, I’m going to make clear that I’m not perfect and I’m sure as the years go by this list will change. But from where I stand right now, having made independent art/games for a living for the past 10 years, the advice below is crucial to all indie game designers, and all artists for that matter.

Also note that when I refer to a “designer” or “artist,” I include programmers. All aspects of art have a fine balance of the technical and creative; just because programming is viewed as a technical field does not mean it is void of creativity.

The creative is visible in the work as a whole rather than in the specifics. Light and shadow are vital technical aspects of illustration, but without creativity the piece is nothing more then a photocopy of the subject, void of any personal touch or presence.

This is a list for the creative designer who strives to be independent. This isn’t advice on how to monetize your Flash game or survive financially by copying existing trends and juicing the public for their cash. This is a list for artists who are driven by the desire for creative freedom and/or to “just make some cool shit people will love.”

Anyway, here’s the list. Take what works for you and leave what doesn’t:

1. Be honest.

When I say “be honest” I mean to speak from your heart. Don’t be manipulative or condescending in your work; treat the player how you’d wanted to be treated. Honesty is extremely valuable when making art.

2. Realize you’re making art.

Game designers are artists and have advantages over non-creative jobs; think about what they are and exploit them. Your goal shouldn’t be to make tons of money. If it were, you would have gone to business school or become a doctor. This is a creative field and should be treated as such first and foremost. Financing your art comes later. This is probably your greatest advantage as an indie designer.

3. Design from the heart.

Write / design around things you’re passionate about. Put yourself into your work and show the world who you are. What do you love? What do you hate? Why? All notable film makers have a stamp, something that appears in their work and speaks to who they are. These themes will always come through to your audience, giving your work a sense of your self.

4. Take big risks.

Try to innovate the hell out of anything you make. From how your game plays to how it looks, be unique and you’ll stand out. Push your personal limits, try new genres, mechanics and aesthetics. Experimentation and risk are the keys to growing as an artist. Don’t be scared of failure; you don’t have much to lose and you’ll only learn from your mistakes.

5. Don’t bite off more then you can chew.

If you’re just starting out, think small, then think smaller. If you start on something big you won’t finish it and if you do you’ll be burnt out and probably won’t make another. A filmmaker never starts his career with a blockbuster movie. One of the easiest mistakes to make starting out is letting ambition drive you down a path you’re not ready to travel. Slow down, take your time and start simple. Prototyping is crucial for all designers.

6. Practice (make lots of small games).

Make lots of small ideas quickly; build on the ones that work. If you look at any successful or “fully realized” game in the indie scene you’ll note that it began as a simple prototype. If you get an idea that feels right, simplify it. Strip it to its core element; this element will become the glue that holds your work together. The stronger the glue the more you can add. On the opposite end, if the glue isn’t holding, move on. Don’t waste your time trying to fix something that won’t work. If it’s not interesting or fun in its primitive form, it’s not going to be when it’s finished.

7. Make the games YOU want to make.

Go with what moves you. If you’re no longer feeling something, put it down and work on what you want. I’ve found that all of my best games were ones I made quickly and felt passionate about. The ones that sucked were ones I lost interest in but forced myself to finish. If things have gone sour and you feel yourself losing interest in a project, try looking at it differently. A simple change of perspective or reinvention of an existing mechanic can make all the difference when you’re losing motivation.

8. Stand out.

Don’t make something that looks or feels exactly like an existing work. When people experience something new they’re more forgiving of its design, and in the end your creation will get more attention. This should be obvious, but somehow goes over the heads of most designers. If you notice a trend in aesthetics or play mechanics: DON’T DO THAT. Avoid trends; innovate and break new ground. Stop making goddamn ninja and zombie games and if you’re making a shooter don’t put it in space. Seriously.

9. Think critically.

99% of game design is critical thinking. Try to find holes in your designs: if you can’t fill them, move on to something else. Before you set out to work on your project you should have already given plenty of thought to how it might NOT work. Start asking how these core elements cpi;d be exploited and how might things come back to haunt you in the future. Thinking critically is the key to avoiding later conflict; always look before you leap. Take a step back from your project. Consider it the same way you would someone else’s work. If you hadn’t made it, what would you see as its strengths and weaknesses?

10. Play games.

You can’t expect to learn anything if you aren’t playing what’s out. Even if they suck, games that sell well in the mainstream do it for a reason: pick them apart and find out why. If you don’t play them, you won’t know what NOT to do when you make your own.

11. Dissect existing formulas.

All game “genres” are formulas. Level design, teaching rules, jumping patterns: it’s all according to a formula. Pick apart those formulas and see how they work. Play a shit load of games: find out what elements you like, decide why you like them, then redesign them. It’s as vital to be able to deconstruct a game’s formula as it is to be able construct one. In most cases you’ll learn much more from deconstruction. You already have thousands of existing formulas at your disposal.

12. Grow up.

Chances are you’re not a fucking kid anymore, so if you feel like making a more adult game, do so. When you’re indie you don’t have to answer to anyone, so stop designing games like you have to have to pass ESRB. I’m not saying everyone should make porn games, but why do all video games seem to have immature themes? People aren’t stupid: stop treating them like they are. Speak through your work like you would to your friends, design for yourself and don’t censor your ideas.

13. Go outside.

The world outside your room is important. It can also be very inspiring. Go take an adventure, then come home and write a game about it. That’s what Miyamoto did. I believe that you can’t be inspired without living. Life is what every artist pulls from; how could you pull from something that wasn’t there? We all strive to be great, and most of us tend to obsess over our work, but it’s important to have balance. Go do things that don’t involve video games and computers. Don’t become stagnant.

14. Stay balanced.

Many designers are prone to depression or other mental disorders. Take care of your brain and, most importantly, yourself.

15. Stay Grounded.

No matter how good you think you are there’ll always be someone better. stay humble and accept that you’re not perfect. A designer’s ego can easily put up walls that will stunt his growth just because he doesn’t want to admit he might be wrong. The moment you think you have nothing to learn is the moment you should quit. Be honest with yourself, admit your flaws and shortcomings and accept that you’re probably wrong.

16. Be open to feedback.

If a bunch of people say your game is lacking in some area, but you insist it’s perfect, chances are you’re wrong. It’s hard to take critical feedback, especially when it’s right. Loosen up, stay humble, remember you’re not as great as you think you are. If players agree that something’s wrong, you should probably take a step back to reconsider what you’re doing. But don’t make the mistake of just doing what your audience expects. If they have an issue with something, figure out why. If people don’t like how your game controls, this could mean one of hundreds of things, from how things move in the game to what buttons it uses. When responding to feedback, ask specific questions and try to find the root of the problem. Don’t attempt a quick fix by just cutting out the problem.

17. Work with people.

People are nice. Some are good at things you aren’t. Game design uses your whole brain; chances are you’re lacking in some area. Find someone who can fill your hole. In my experience, there’s a yin/yang dynamic between a person with a technical mind and one with a creative mind. I’ve found in this a perfect marriage of ideas and approaches. That’s not to say this will be everyone’s experience. But I do think it’s important to work with at least one other person. The indie game designer can easily become a hermit and having someone else in the room to validate an idea can be the one thing that stops you from becoming that recluse who bathes with bleach.

18. Network.

Talk to other designers, fans, the media about what you’re doing. You might gain some perspective on how others view your work, maybe even make a few friends. There’s no shame about wanting to talk to people about your work. The biggest misconception is to assume that people don’t want to hear about creative folks. They do. Writers love to write about you, fans want to know about your next project, and designers want to share their ideas and experiences with you. Talk!

19. Be excited about your work.

If you can’t get excited about something you’ve done, how can you expect others to be? Talk about your work and sell yourself as well as your game. If your work doesn’t excite you, why are you doing it? If you’re not happy doing what you do, stop. It’s impossible to be properly motivated unless you love what you’re doing; don’t be scared to let that passion spill into the press. Being indie means making your own rules: if your own rules don’t excite you, rethink them.

20. Join communities.

Indie game communities are booming: join one. You don’t have to post anything, but reading them will give you an understanding of the dos and don’ts of beginning game development, as well as insight and opinions about design in general.

21. Learn a little about business.

Business sucks ass, but it’s important to know something about it so you’ll know if you’re getting fucked over. This goes hand-in-hand with networking: ask like-minded people about business situations they’ve been in. Find out how much things go for, percentage cuts, sales numbers and the best places to sell your wares. It’s easy to get caught up in a seemingly amazing publishing deal if you have no perspective on how things work, and just as easy to get totally fucked over and lose your intellectual property in the process.

22. Don’t worry about being poor.

Indie game designers are starving artists. Be frugal and humble. Again, your goal shouldn’t be financial gain first and foremost, If it is, you will most likely fail. A profitable indie game designer is a rare thing. If you value money over “a job well done” then this isn’t the field for you.

23. Try to make money.

Selling your work, getting your games sponsored, using online ads or asking for donations are all means of making money from your work. You need money to eat, so try to make some.

24. Have fun.

If you’re not having fun then quit. You only live once; there’s no reason to keep doing something if it’s not making you happy.

[Edmund McMillen is an independent game designer & illustrator based in Santa Cruz, CA. Best known for his work on Gish, Braid and the upcoming Super Meat Boy. Edmund has also spent the past 6 years working on honing his craft by releasing smaller, more personal online projects like Coil, Aether and Time Fcuk.] (Source:gamasutra


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