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关卡设计视角论述游戏奖励机制

作者:Rudolf Kremers

若你能够让软硬兼施者放弃所有硬性措施转而向你呈现所有软性诱惑,那就再好不过。

我们之前曾谈到奖励机制和模式的潜在运作方式,及大众的生活期许。

本文我们将再次探究其中内容,但是基于关卡设计原理。我们也会衍生或构建某些游戏原则。

开始内容前先提出个重要论点,我们从一开始就要明白的是作为关卡内容作者,作为拥有丰富经验的玩家,我们完全能够以出乎意料的方式控制玩家奖励预期,但这最终对玩家来说更具回馈性。

虽然这是我们的职责所在,但常被人遗忘,更糟的情况是被忽略。只要我们不违背其他重要关卡设计原则,我们就能够让玩家跳过硬性措施,享受所有奖励,获得良好感觉。

逃避主义和愿望实现

关卡设计师幸运地置身这样的媒介:用户愿意及能够体验逃避主义和愿望实现感觉。

用户渴望这些东西完全能够理解;我们有时甚至希望用户仅追求这些元素。这使我们变得非常幸运,因为这能够确保用户是由愿意同我们并肩前行的群体组成,同时令我们掌握系列培养这类用户的诀窍。

我们可以通过将玩家带入并不存在的世界来实现这个目标,然后通过引人入胜的全新画面和音效取悦他们。幻想!

或者,我们可以将他们带入基于现实世界构思创造的愉快活动中。模拟!

二者存在许多共同之处,但也有许多明显差别。

虚化世界

关卡是个虚拟架构。它有自己的系列关卡、逻辑、物理机制、生态及其他内部机制,但它们都发生于虚拟背景中。此虚拟性的缺点是某人需要设计和落实所有内容。关卡设计师的优势是在此过程中,他们享有许多自由和权利。在非现实游戏关卡中,关卡设计师能够虚化游戏空间。

新规则

在奇妙虚拟架构中,我们能够在获得用户认可的情况下自由创建众多现实世界没有的内容或情境。我们不仅会创造这些新规则,我们还会积极鼓励大家这么做。

我们有在“教授机制”部分总结到我们的部分职责是教授玩家活动玩法的规则。在虚幻背景下,这点显得尤为重要,因为规则也许在现实生活中不为人所知。

例如,我们需要告知玩家,召唤火元素是阻止冰狼进攻的有效方式。

真正的趣味在于玩家享受这些内容,而且其中很多人非常愿意了解更多自己所处的新世界。以逃避者心态来看,体验幻想新构思本身就非常具有吸引力。

回到先前举的《托尔金》例子,我们可以发现这个神奇之作凭借其新创事物表现卓越。书中创造深刻奇幻感觉,部分是因为它通过详细而周详的规则连贯而彻底地呈现一个全新世界。这适用新创世界的任何事物,包括其历史、生态和魔法机制。所以这些内容是书籍成功的最大原因所在。

关卡设计师需要做同样的事情。他们需要诠释游戏空间的新规则,并以富有奇幻感觉的方式告知玩家这些规则,同时告知他们如何体验游戏。

新环境

结合新世界规则创造新环境;关卡设计师在此需完成许多任务,享有众多自由。需要处理许多任务是因为在这个虚拟架构中,某人需构造内容。这并不意味着关卡设计师需要自己创造所有环境内容(游戏邦注:虽然这有时可行,或有必要)。在多数情况下,这项工作需要携手美工部门。

但关卡设计师需要设计所有玩法空间以及其运用方式。这促使关卡设计师享有众多自由,因为他们是新玩法空间的创作者,从很大程度上来说,这是个全新的玩法世界。这也是为什么关卡设计是个如此令人倾心的职业;它赋予设计师创造游戏空间的权利。

到目前为止,一切都很好。其实这和关卡设计的其他形式没什么不同。

将奇幻背景下的各种逃避现实和愿望实现关卡设计同更现实的设计区别开来属于内在目标。设计关卡的一大原因在于呈现玩法环境和虚拟环境,它们本身存在足够吸引力,致使玩家愿意参与其中,花时间提取内容。

这意味着融入游戏性不高(但促使实现逃避主义)的有趣地点属于合理举措,或者更进一步,宣称探索这些地点也是关卡目标玩法的组成部分。

许多人在游戏开发中常犯的一大错误是认定所有玩法空间都包含积极挑战和遭遇。融入通过探索媒介赞美逃避主义的玩法空间非常重要,或者其他能够让玩家享受游戏空间的渠道。这也是为什么如此多游戏都基于奇幻、科幻、超现实或其他幻想主题。就某些方面来看,这些题材特别适合这种设计。

给予玩家众多关卡设计情境选择以实现这些目标是融入愿望实现和逃避主义当中深刻和有趣元素的重要方式。关卡设计师需就其创造的情境提出某些基本问题。在奇幻背景下,问题要包括:

* 我是否能够到达那个奇怪而美丽的地点?

* 我要怎么研究那个新危险生物?

* 这个手工艺品还能用在其他什么方面?

* 谁创造这个架构?

* 我要怎么到达那个漂浮的堡垒?

这些只是若干随机例子,但各个都说明有趣关卡设计情境即将到来。回答这些问题能够向玩家呈现其希望的内容,有效运用强大奖励机制。

模拟

呈现逃避主义和愿望实现的另一不同方式是模拟,在我们谈论关卡设计理论和模拟内容前,我们先来看看这个词语的意思。

模拟和模仿

通常我们所说的模拟是指构筑真实世界机制或情境以学习新内容。

这可以出于科学目的;例如,模拟和研究猎人捕食循环可在某物种遭受过度捕猎,可能濒临灭绝的情况下起到警示作用。

这也可以出于财政目的;模拟特定经济体系能够预测哪个要素导致出现通货膨胀。在这些例子中,我们都能够发现模拟行为,要根据模拟内容呈现的数据进行正确推断,准确性就必不可少:

只有当潜在动态模型的等式得到破解,模拟内容才能产生结果。这个模式旨在模拟真实机制的时间进化理念。

多数游戏完全不是那样。游戏几乎都涉及趣味。当我们体验游戏时,我们都是出于各种轻松理由:享受乐趣、训练大脑、获得有意义的艺术体验等等。

模拟游戏没有什么不同,也是为了呈现有趣体验,通常是通过让玩家参与他们在现实世界所无法享受到的现实活动(游戏邦注:游戏还让玩家扮演足球经理人、火车售票员和主题公园经营者)。

worldwide soccer manager from pcmedia.ign.com

worldwide soccer manager from pcmedia.ign.com

这些都是游戏将愿望实现作为奖励机制的典型例子。若深入观察,我们会发现它们不属于模拟游戏,而是幻想和模仿游戏。游戏模仿真实世界的活动,复制其中的有趣元素,让玩家从中获得乐趣。

这种模仿和实际模拟不同,不涉及准确性,而是关乎准确性表现。若他们试图准确模拟活动所有内容,游戏很快就会变得乏味。

只要游戏支持有趣玩法,就需要遵守准确性原则。真实赛车模拟游戏(SIM)在多数玩家看来过于困难。若玩家无法从中取得胜利,那么体验国际汽车大赛SIM的意义何在?内容准确真实,但不够有趣,特别是游戏在首个关卡就表现不佳,无法提供游戏奖励机制的愿望实现元素。

Simulator Game from blogspot.com

Simulator Game from blogspot.com

奇怪的是,虽然“模拟”的使用存在不确定性,但我依然建议大家坚持其在游戏中的运用。不这么做的话会令人非常困惑,因为作为题材描述,其过于广泛,很难进行改变。但关卡设计师需把握模拟游戏真正包含的内容:愉快模仿。

这不是语义上的挑剔,而是会引发争议和突出的实质差异。几乎所有关卡设计师都经常同坚持制作无法满足此愉快模仿原则内容的开发者(游戏邦注:他们通常觉得游戏需准确模仿真实世界事件)争辩。

有时模拟和模仿会结论起来,也许是在融入某些运动社团的情况下,或者是需要遵照车辆准确大小,需清楚的是这些情况也是真实世界活动的愉快模仿。

这给这些游戏的关卡设计带来巨大影响。关卡设计师不受现实规则和物理现象的支配,如今开始扮演魔术师角色。模拟赛车游戏的轨道如今只需呈现正确样式;只要它们充满趣味,就算是圆满完成。只要能够在不破坏沉浸性的前提下创造预期结果,野生动物摄影游戏的地形即便缺乏准确性也毫不重要。

“严肃游戏”

这个规则只有少数例外情况,主要体现在所谓的严肃和教育游戏内容。它们颇值得关注,因为虽然它们能够呈现许多其他视频游戏的特性,但依然十分不同。“严肃游戏”没有正式定义,但可以说他们的主要焦点在于传授某些实际应用或教育。

这可以变成商业焦点,例如驾校的驾驶游戏,或科学焦点,例如将要求学生辨认特定植物的游戏作为生物课的一部分。

游戏非常适合充当教学工具,因为我们从小就被告知如何在游戏中学习各种不同技能。这连同商业视频游戏日益完善的技术水平促使参照此原则的严肃和教育游戏层出不穷。

如不妨参考Serious Games Initiative,他们在这个领域投入许多:
Serious Games Initiative主要致力于利用游戏探索公共部门面临的管理和领导挑战。其指导方针的部分目标是创造电子游戏行业和教育、培训、健康和公共政策领域游戏项目的生产联系。

由于这些游戏的典型要素在于实际应用,大家总是希望它们能够带来有形结果,否者就会缺少基本功能。结果要始终保持逼真或准确,否则其实际应用将受到破坏。

由于这点,内容能够让玩家从中获得可靠指导信息,而非只是个模仿或幻觉。告知用户如何在现实生活中开飞机的严肃游戏需要履行现实生活中的某些严肃职责。

奇幻模拟

在少数情况下,某些混合游戏会试图通过“逼真”奇幻活动,或甚至是任何背景下的奇幻活动创造有趣玩法。

这是个奇怪内容,最初无法轻易量化,但存在某些典型例子。比如《模拟星城》,游戏希望玩家能够成功经营飞船殖民地,平衡各种船上物种的需求。另一个例子就是著名的电子宠物,游戏玩家需要以现实方式照顾空想玩家。

这些游戏都包含逃避主义和愿望实现奖励机制中的核心要素,但由关卡设计师决定哪里要虚化,哪里要模拟。当问题是:游戏如何保持奇幻色彩的同时又显得逼真?

融入“角色”

这个问题的答案在于确保关卡融入角色之中。和演员一样,游戏不承认其虚幻空间之外的世界。若出现这种情况,那么玩家通过循序渐进的滑翔板控制课程学习参加Martian Circular Race所需掌握的细节便不足为怪。

关卡设计师需注意虽然模仿和幻觉尚存有空间,但关卡无论何时都无法欺骗游戏规则。在其尚未过度超自然前,我暂时不予讨论,但我建议制作此类作品的关卡设计师要以严肃态度看待这些虚假规则,将其当作真的看待。

愿望实现的深化要点

在目前讨论的多数例子中,愿望实现主要同玩家自由体验现实世界无法参与的活动相联系(游戏邦注:这可以是在一级方程式赛车手或星级游船船长职业生涯中发光发热,活动本身就是实现愿望)。

但这个原则有时会以出乎意料的方式进行拓展。玩家会或许会面临一辆快速飞行的车辆,然后产生驾驶的欲望,或者玩家看到地平线上的城堡,希望能够到达那个地方。这些情境其实很多都掌握在关卡设计师手中。在愿望实现中,我们有非常强大的工具,能够通过关卡设计娱乐用户。

本文的关卡设计是指添加形成欲望的玩法情境,最终向玩家提供实现途径。

避免陈旧设计

愿望实现常受到的批评声是其迎合简单欲望,这“过于简单”,导致出现无法挑战或吸引用户的廉价娱乐。这个危险显然存在,但这并不是愿望实现模式所带来的结果,就像电梯音乐不是普及音乐所产生的结果。

若运用得当,愿望实现是个奖励玩法、深化沉浸性和挑战玩家预期结果的强大工具。关卡设计师决定如何落实这些原则,避免哪些陈旧设计。这里没有硬性规定,什么是所谓的陈腐设计完全取决于游戏类型或潜在用户。

游戏邦注:原文发布于2010年6月24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

Reward Systems, An Excerpt From Level Design: Concept, Theory, and Practice

by Rudolf Kremers

[Gamasutra is presenting an in-depth excerpt from IGF nominated Dyson/Eufloria co-creator Rudolf Kremers' new book Level Design: Concept, Theory, and Practice, which was recently released by AK Peters. This extract, just part of the book's seventh chapter, looks at wish fulfilment and escapism occasioned by some of the best video game level designs.]

If somebody holding carrots beats you with a stick it would be very satisfying if you were to wrestle the stick away from your tormentor and make him give you all the carrots.

The previous chapter discusses many of the possible ways in which reward systems and structures can work, and, as importantly, what expectations people have from life.

In this chapter we will examine some of them again, but within the context of level design theory. We will derive or construct some game-specific principles, as well.

I would like to make an important initial point before we do this, however, What has to be clear from the outset is that as authors of a level’s content, and therefore of much of the player’s game experience, we are completely within our rights to manipulate the player’s reward expectations in ways that are unexpected, but that are ultimately more rewarding to the player.

Even though it falls squarely within our responsibilities to do so, this is oft en forgotten, or worse, ignored. As long as we don’t violate other important principles of level design, we have the power to give the player the opportunity to finally take away the big stick from the universal tormentor and run away with all the carrots, and feel really good about it.

Escapism and Wish Fulfillment

Level designers are lucky that they work in a medium that has an audience that is already willing and able to submit itself to feelings of escapism and wish fulfillment.

It is perfectly acceptable for a gamer to crave these things; it is even (erroneously) at times expected that a gamer will exclusively crave them. This makes us lucky, because it gives us an audience made up of people who are willing to travel with us and gives us a whole range of techniques that we can use to get them there.

We can do this by taking them somewhere that doesn’t exist in this world and then delight them with amazing new sight and sounds. Fantabulate!

Or, we can take them into our interpretation of an enjoyable activity based in real world concepts. Simulate!

Both have many areas where they overlap, as covered in many chapters elsewhere in this book. But they also have important differences that need to be examined. (There is also a third option that will be examined later.)

Fantabulate!

A level is a virtual construct. It may have its own set of rules, logic, physics system, ecology, and other internal systems, but they all take place in a virtual setting. The disadvantage of this virtuality is that somebody needs to design and implement all of these things. The advantage for level designers is that in this need, or put to put it differently, in this license to do so, lies a huge amount of freedom and power. In game levels with a non-realistic setting, the level designer has the license to fantabulate.

New rules

Within a fantastic virtual construct, we are free to create many things or situations that simply would not work in the real world, all with the approval of our audience. Not only may we invent these new rules; we are positively encouraged to do so.

We have already concluded in Chapter 2, “Teaching Mechanisms,” that part of our responsibility lies in teaching the player the rules of the available gameplay activities. In a fantastic setting this is especially important, as the rules may be unknown in real life.

For example, we may have to teach players that summoning a fire elemental is an extremely effective way of deterring packs of ice wolves from attacking.

The real fun lies in the fact that players who enjoy these kinds of things, and there are many, many millions of them, also really enjoy learning about this new world they find themselves in. Within an escapist mindset, experiencing new fantastic concepts is an attraction in its own right.

If we go back to our earlier example of Tolkien, we see a work of fantasy that partly excels because of its sheer scope of invention. The book creates a very deep sense of wonder, partly because it consistently and thoroughly showcases a new world with an extremely detailed and well-thought-out set of rules. This applies to almost anything in the world, including its history, its ecology, and its magic system. Reading about all of these things is a large reason for the success of the book.

Level designers have to do the same thing. They need to interpret the new rules of the world and teach them to players in such a way that it creates a great sense of wonder, as well as teaching them how to play the game.

New environments

Hand in hand with new world rules come new environments; and once again, a great amount of work and a great amount of freedom for the level designer. A great amount of work because within this virtual construct somebody has to do the constructing. This does not mean that the level designer has to create all the environments solely by himself or herself, although at times this is feasible or necessary. In most cases, this work must be done in partnership with the art department.

But the level designer does need to design all the gameplay space, and the way it is used. This gives level designers a great amount of freedom because they are the authors of a new gameplay environment, and to a large degree, of a whole new gameplay world. This is one of the reasons why level design is such an enormously fulfilling profession; it literally gives a designer the power to create worlds.

So far, so good. In fact, this is no different from most other forms of level design.

Where level design featuring themes of escapism and wish fulfillment in a fantastic setting differs from more reality-based design is in some of the intrinsic goals. A big reason for the existence of the levels is to present a gameplay environment and a virtual environment that appeals enough in its own right that the player wishes to engage with it and spend time sampling its content.

This means that it is reasonable to include enjoyable areas that don’t feature much gameplay (but aid in escapism), or to go further and assert that exploring these areas is part of the gameplay appropriate to the goals of such a level.

A big mistake that many people in game development make is to assume that all gameplay spaces must feature active challenges and encounters. It is actually important to also include gameplay space that celebrates escapism through the medium of exploration, or other ways that the player can just enjoy the world. These are some of the reasons that so many games feature a fantasy, sci-fi, surreal, or otherwise fantastic setting. For many reasons, these genres are especially suited for this kind of design.

Providing the player with many level design scenarios to achieve these goals is an important way to allow for deep and interesting elements of wish fulfillment and escapism. Level designers should always ask fundamental questions about the scenarios they create. In the case of a fantastic setting, these questions can include:

* Can I reach that strange but beautiful area?

* How do I study that new dangerous creature?

* What else can I use this artifact for?

* Who built this structure?

* How do I reach that floating fortress?

These are just a few random examples, but each one shows that interesting level design scenarios are just around the corner. And answering questions like these goes very far in providing the player with what he or she wishes for, and constitutes an effective use of a powerful reward mechanism.

Simulate!

A completely different approach to escapism and wish fulfillment is found in simulations, and before we discuss level design theory and simulations, we should actually look at what is meant by the word.

Simulation and imitation

Normally, when we speak of simulation, we are talking about modeling a realworld system or situation in order to learn something new.

This could be for scientific reasons; for example, a simulation and study of hunter predator cycles could be used to warn when a particular species becomes overhunted and may become endangered.

It could also be for financial reasons; a simulation of a particular economic system may predict which factors contribute to inflation. In any of the examples we can find of simulations, it is generally the case that there is a need for accuracy in order to correctly extrapolate from the data that the simulation produces:

[A] simulation results when the equations of the underlying dynamic model are solved. This model is designed to imitate the time-evolution of a real system.(Emphasis mine.)

Most games are not like that at all. (The exceptions will be noted shortly.) Games are all about enjoyment. When we play games, we play them for all kinds of enjoyable reasons: to have fun, to exercise our brains, to have a meaningful artistic experience, and so forth.

Simulation games are no different and exist to provide an enjoyable experience, in most cases by providing players with a chance to engage in a real-life activity they normally would not be able to enjoy. A game can offer a player a chance to be a soccer manager or a train conductor or a theme park operator.

These are great examples of games based upon wish fulfillment as a reward system. If we look closer, we find that they aren’t games of simulation at all, but games of illusion and imitation. The game imitates real-world activities only to the degree that their fun aspects are replicated for the enjoyment of the player.

This kind of imitation is, unlike practical simulations, not concerned with accuracy at all, but with the appearance of accuracy. The games would quickly become extremely tedious if they tried to accurately simulate all aspects of the activity in question.

Accuracy only needs to be observed as long as it supports enjoyable gameplay. An actual racing game simulator (SIM) would be far too difficult for most gamers to enjoy. And what is the point of playing a grand prix SIM if the player cannot win? It would be accurate and realistic, but not much fun, especially because it fails at the first hurdle and doesn’t provide the wish fulfillment element of the game’s reward system.

Strangely, although the use of the word simulation is suspect, I still advise that we adhere to its usage in games. It is simply too confusing to do otherwise, because as a description of genre, it is too widespread to change. It is essential, however, that level designers know what simulation games are really about: enjoyable imitation.

This is not semantic nitpicking, but a fundamentally profound difference that causes much debate and conflict. Almost every level designer, on a regular basis, will have to argue this point against somebody who insists on making gameplay decisions that fail this test of enjoyable imitation, solely based on the argument that the game needs to correctly simulate a real world event.

There are times when simulation and imitation go hand in hand, perhaps when a particular sport’s league is implemented, or when the correct dimensions of a vehicle need to be followed. But even in those circumstances, it needs to be clear that these implementations still serve an enjoyable imitation of a real world activity.

This has tremendous impact for the level design of these games. Instead of being at the mercy of real-life rules and physics, the level designer now has the role of illusionist. The tracks in a realistic racing SIM now only have to feel like they are correct; as long as they are fun, the job is well done. The lack of accuracy in a wildlife photography game’s terrain means nothing as long as it produces expected results that don’t break immersion. It is all smoke and mirrors.

“Serious games”

There are only few exceptions to this rule, mainly in the area of so-called serious games and educational games. They are noteworthy because although they can display many of the characteristics of other video games, they are fundamentally different. There is no formal definition of what exactly constitutes “serious games”, but it is fair to say that their main focus is that of teaching some real world application or education.

This can be a commercial focus, for example a driving game for a driving school, or a scientific one, for example a game that lets students identify certain plants as part of a biology lesson.

As already noted in Chapter 2, games are extremely suitable as a teaching tool, since we are already trained at a very young age to engage in gameplay in to learn all kinds of diverse skills. This and the ever-improving technological sophistication of commercial video games have led to a proliferation of serious and educational games that recognize this principle.

For example, see the Serious Games Initiative, which has done much work in this arena:

The Serious Games Initiative is focused on uses for games in exploring management and leadership challenges facing the public sector. Part of its overall charter is to help forge productive links between the electronic game industry and projects involving the use of games in education, training, health, and public policy.

Because the defining aspect of these games is that of real-world application, they are always expected to produce tangible results, or they will have failed in their basic function. And this result has to be realistic or accurate at all times, or its real-world application will be ruined.

Because of this, the player has to be able to trust the game to produce teaching material that is trustworthy and cannot just be an imitation or an illusion. A serious game teaching somebody how to fly an airplane in real life has some serious responsibilities in real life to live up to.

Fantastic Simulation

On rare occasions, a hybrid game form appears that tries to provide fun gameplay through “realistically” simulating an activity in a fantastic setting, or even a fantastic activity in any setting.

This is a strange beast indeed and initially is no easy to quantify, but some clear examples exist. Take for instance Startopia, a game that expects the player to successfully run a spaceship colony, balancing the needs of all the diverse onboard species. Another example can be found in the famous Tamagotchi brand, where the player is expected to take care of a fantastical creature in a realistic manner.

These games still contain the key elements of a rewards system based on escapism and wish fulfillment, but it is up to the level designer to decide where to fantabulate and where to simulate. However, the question can be asked: how can a game simultaneously be both fantastic and realistic?

Staying “in character”

The answer to this question lies in the assumption that a level should stay in character. Like an actor, the game cannot acknowledge the world outside of its own fiction. If this happened, it might not be strange for a player to take slow incremental lessons in hover board control to perfectly learn the nuances needed to enter the Martian Circular Race.

The level designer needs to be aware that although there is room for imitation and illusion, the levels cannot cheat the in-game rules at any time. I will leave this topic for now, before it all becomes too metaphysical, but I would like to advise any level designer working on such a game to treat the fake rules of the game as if they were real.

Some Further Notes on Wish Fulfillment

In most of the examples and cases discussed so far, wish fulfillment has been linked to giving players the freedom to engage in activities they probably can’t in real life. This can be to shine in a career as a formula one racing driver or to captain a star ship. The activity itself is the wish being fulfilled.

The principle goes much further, however, sometimes in unexpected ways. The player may be confronted with a fast vehicle, leading to a wish to drive it, or the player may spot a castle on the horizon, leading to a wish to reach it. Many of these kinds of scenarios are actually in the hands of the level designer. In wish fulfillment, we have an immensely powerful tool to entertain the player through our level designs.

In this context, wish fulfillment means adding gameplay scenarios that create a desire and eventually give the player the means to satisfy it.

Avoiding clichés

A well-known criticism of wish fulfillment is that it panders to simplistic desires and that is “too easy,” leading to cheap entertainment that doesn’t challenge or engage the audience enough. This danger certainly exists, but it is no more a result of wish fulfillment than elevator music is a result of making music accessible.

If used well, wish fulfillment is a powerful technique that can be used to reward gameplay, deepen immersion, and to challenge the player’s conception of what a desired outcome is. It is up to the level designer to decide how to implement these principles, and what clichés to avoid. There are no hard and fast rules and what constitutes a cliché can be entirely dependent on the game’s genre or expected audience.(Source:gamasutra


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