作者：Michael Jungbluth

手绘技巧（Solid Drawing）

动画中的应用

说起手绘技巧我们总是会直接联想到手绘动画，但是现在这种技巧也成为了电脑动画的核心理念。这意味着你必须了解你的描绘对象。在让他们移动之前，你必须知道他们静态的样子。你必须知晓他们的形状，结构和用途。你也必须清楚要使用何种道具，即你必须拥有一根合适的铅笔，并使用它勾勒出形象的角色。所以铅笔就像是钻探设备或者程序包一样的工具。但是如果从更深层次来看，你就必须先了解你的角色。知道他们的个性，背景，以及他们要说些什么或者什么时候说这些话等等。你必须深入探析他们的想法，真正了解这个角色。也就是说你不只需要描绘他们的外观，还必须理解并传达他们的情感。（请点击此处阅读本系列第1、第2、第3、第4、第5节内容）

这里涉及的就是所谓的体验派演员以及他们所拥有的演技。而在这里，演员变成了屏幕上和屏幕外的角色。他们要去体验自己所扮演角色的生活，但是如果过于极端，他们的生理和心理都会受到严重的影响，但是也正是这种体验派演技才能真正展示出我们所理解的生活面貌。

method_bale(from gamasutra)

如上图，不管怎样，当你看到Chrisitan Bale（游戏邦注：2011奥斯卡最佳男配角）所诠释的角色时，你都会深信他就是那个角色。

游戏设计中的应用

所以我认为我们必须成为体验派游戏开发者。将你所幻想的场景表现出来，刻画出你希望玩家能够控制的游戏角色，尝试并使用真实生活中的道具或武器以获得同等的触觉感受，尝试再现脚本中的情节，并观察自己的反应。看看自己在遇到类似问题时会有何表现。在你设计完整的游戏关卡之前花点时间去进行这些过程。因为当你亲自感受到游戏高潮时，才能真切地感受到角色在游戏中的表现。而借此你便能够更好地协调角色，玩家与叙述之间的关系。

如果你正在创造一款战争游戏，你就必须让整个军队团结在一起，并设置软弹气枪或者彩弹球场景，以便让玩家能够更深刻地感受到游戏高潮，无论那时候他们是奋力奔跑还是匍匐前进。你必须了解匍匐前进并开枪射击的感觉。如果你的游戏角色背着一个很大的双肩包，那么你就必须亲自背上一个大背包，去感受这种累赘和沉重感。如果你正在创造一款紧张可怕的游戏，你可以去鬼屋感受这种气氛，并观察鬼屋里那些“鬼怪”的移动。所有的这些时刻和体验都将帮助你更好地理解游戏情境，虽然你不能直接面对游戏角色，但是却能够通过类似的行动去感受类似的情感。你必须在现实世界中尝试任何你所创造的体验，因为只有亲力亲为的体验才能更深刻且更诚实地刻画出这种感觉。

dukakis(from gamasutra)

如果设计者自己都不满意场景设置，或者对其一点都不了解，那么这种场景很快便会失去可信度。

如果你在早期游戏原型或者关卡设计时便开始执行这种方法，你将能够更好地了解角色在不同关卡的不同表现形式。你将会清楚他在数字和物理环境中的反应。而这也是玩家所能感受到的。所以，当你需要解决问题或者重新设置一个新动作时，请不要闭门造车，最好多体验现实生活，因为这些体验才是真正对你有帮助的真实感悟，是具有真实感的情感体验。

吸引力（Appeal）

动画中的应用

吸引力是任何人接受一项事物的最终原则。角色设置必须合理可靠，必须能够表达情绪，并且引起观众做出情感反馈。而这些都必须通过有趣的视觉设计，图形和外表特征表现出来，特别是在不对称与对称设计和行动中更能清晰地表现出来。而所有的这些过程都是为了创造出具有视觉震撼力的角色，而不只是创造外表讨喜的角色。你的创造物不应该只是停留在外表吸引层面上，作为一名创造者，你同时也应该创造那些让人厌恶的角色，但这并不是指一个无趣的角色，而是一个虽然有缺陷，但却是非常真实的角色。而观众是否会对你的产物“一见钟情”或者是否愿意投入更多的情感，都取决于他们自己。因为如果你的创造对他们具有吸引力，他们便会敞开心扉真正去感受你的创造。

cute character(from gamasutra)

角色设计中的任何一块细节都是为了让观众拥有一种特别的情感。而在游戏设计中也需要关注于这种细节。

游戏设计中的应用

可以说，吸引力就是游戏的一切。在游戏设计中，我们的任务是将玩家与游戏世界和游戏角色融合在一起，带领他们感受游戏情节，面对各种难题等。而如果我们不能够吸引玩家的注意，让他们真正沉浸于游戏中而不只是麻木地操作游戏，那我们便不配作为具有发展潜力的创造者。如果你的角色不能达到预想的效果，你就必须创造出一个具有视觉震撼的世界，或者让人满意的游戏逻辑。如果我们不能让玩家真正愿意将情感投入于故事情节或角色中，那么玩家的游戏体验就只能像是猴子按压键盘那样毫无目的，麻木无感了。而我认为这么做对于玩家和开发者来说都是非常失礼的。

mickey mouse(from gamasustra)

动作或姿态的不对称能够在任何情况下快速吸引人们的注意。而在游戏中，关卡或游戏机制的不对称设计也能够让玩家在不同情境下感受到不一样的感受。

作为一名游戏开发者，创造出具有吸引力的游戏体验的第一步便是，满腔热情地投入于这种创造工作。只有对自己的工作充满激情，你的创作才能备受感染，并且因此将这种情感传达给玩家，调动他们的激情。而如果你总是抱怨这种工作的艰难与困苦，那么玩家感受到的也只能是各种沉重感了。不论是缺少激情还是热情洋溢，都能完完全全地体现在你的创造中。而如果你必须花费几周，几个月甚至几年的时间去创造游戏，那你就必须确保自己在最后还能够保留住最初的那份激情。你可以出去旅游，听乐队演奏，玩乐高玩具，或者参加一些简单的比赛等，重新找回沉浸在内内心深处的那份热情和童真。因为只有当你感到兴奋时，你才会更加乐意去尝试新挑战，并创造出真正具有吸引力的内容。

为了获得真正特别的吸引力，你还必须使用一些其它原则。在这里不存在任何捷径，你必须尽可能地尝试一切原则，并判断哪一个才是对你最有帮助，从而根据你的选择朝着正确的方向前进。你应该创造出一种游戏体验能够真正萦绕在玩家情感中，并且时刻提醒着他们再次回到游戏中。你还必须牢记的一点便是，绝对不能构造虚假的吸引力，这与你难以假装自己很有魅力是一个道理。不论你尝试用何种方法去掩盖缺少的那部分吸引力，也不可能瞒过玩家的视线。如果你的游戏不具备任何吸引力，玩家将会很快对游戏失去兴趣，并最终放弃游戏。不论你的游戏多么华丽，只要缺少吸引力，玩家就会迅速退出游戏。游戏中任何一个无吸引力因素都能够轻易地阻碍玩家的体验。缺乏惯性跟随的动作，渐进渐出设置极差的迷题，或者节奏混乱的关卡设计都有可能让玩家对游戏失去兴趣。

只要你愿意进行详细的规划和探索，便能够挖掘出任何事物的吸引力。当你在创造任何新事物时，一定要花点时间去尝试所有原则。学习并研究这些原则，努力变成一个能够创造出自己设想目标的方法开发者。你必须了解你的角色以及游戏机制，并且知道如何将其融入到游戏中。你必须知道什么时候或者如何在游戏中安插一个让玩家感到惊喜的机制，并且能够将这些因素与游戏完整地结合在一起。你可以在一个适当的地方安插次要行动，以此优化游戏的核心体验。而这一切都是关于传达你的创造意义和真理所必须的步骤。

仔细思考后再开始创造。否则你的创造物中将只有空气，没有灵魂。（本文为游戏邦/gamerboom.com编译，拒绝任何不保留版权的转载，如需转载请联系：游戏邦）

Adding Weight to Your Game Design Part 11: Solid Drawing

by Michael Jungbluth

Solid Drawing

Applied to Animation

This one directly ties to hand drawn animation, but the core of the idea translates to computer animation as well.  It means, know your subject.  Before you can make it move, you must understand what it looks like standing still.  You have to know the form, the structure, the purpose.  It means you must know your tools.  You have to be comfortable with a pencil, before you can bring a character to life.  This is obviously the same with a rig or software package.  But on a deeper level, it also means, KNOW THE CHARACTER.  Know their personality, their background.  Know what they would say, and when they would say it.  Get inside their heads, and get into character.  This is how you convey not just their physical weight, but learn to understand and express their emotional weight.

This is known as being a method actor and is responsible for some of the most powerful performances ever captured.  The actor becomes the character, both on screen and off.  They live their life as if they ARE the person they are pretending to be.  And while taking it to the extreme can be dangerous to the health or emotional well being of yourself and those around you, the results of method acting can bring about some of the most honest depictions of life ever seen.

Sure it is extreme, but in both cases you entirely BELIEVE Chrisitan Bale is the character he plays.

Applied to Game Design

So I believe we should become method game developers.  Act out your scenes.  Become the character you want the player to control.  Try and wield a tool or weapon in real life to get a tactile feel of that object.  Try and recreate the scenarios for yourself, in a room somewhere, and see how you would react.  See what you would want to do when presented with a similar problem.  Do this before you even take the time to design the full level or game.  Because when YOU are in the thick of it, you will see what the character would want to do in game.  That in turn will translate to what the player wants to do.  And that is where you will get a beautiful harmony of character, player, and narrative.

If you are creating a war game, get the entire team together and stage airsoft or paintball scenarios, so that they can feel what it is like to be in the thick of it, whether they would be running full steam or crouching and walking slowly.  Find out what it feels like to be ambushed and shot.  Go to a shooting range to understand the weight and feel of a real weapon.  If you have a character with a big backpack, wear a giant backpack to see how you react with it on.  If you are creating a tense, horror game, go to a haunted house and see how you react and move.  Observe the actions of those around you to see how they move through the rooms.  All of these moments and experiences will add to your understanding of the situation, and while they might not be 1 to 1, you can at least sympathize with the characters in the world.  Everything you create you should try to have some touchstone in real world experience.  Because that is when you will bring your own personal touches, which will make it feel unique and honest.

Not being comfortable or knowing your scene can quickly lead to losing believability.

If you do this alongside playing early prototype, greyblock levels, you will know the form and the character of the level to its very core.  You will be aware of how it feels both digitally and physically.  And that is going to be felt by the player.  So get out of your chair when trying to solve a problem or devise a new action.  Experience as much of the digital world as you can in real life, because it is those experiences that will give you something of your own to say.  Something with some real weight behind it.（source:gamasutra）

Adding Weight to Your Game Design Part 12: Appeal

Appeal

Applied to Animation

Appeal is the last principle and ultimately the culmination of every one that comes before it. Characters have to be relatable.  They have to emote, and they have to appeal to the emotions and sensibilities of the player.  This is all done by creating visually interesting designs, shapes and physical features.  A big key to this is knowing when to employ the use asymmetrical vs symmetrical designs and actions.  All of this is done in an effort to create virtual charisma for your character.  And this isn’t just used to create characters that are likeable.  You need to do this when the player should dislike the creations.  It is your job as the creator to make them dislikable, not because you created an uninteresting character, but because you made them a genuinely flawed being.  It all comes down to the player investing themselves emotionally and mentally into your creation from first sight.  Because if it is appealing to the eye, the player will be opening themselves up for continued emotional investment.

Every part of the character is designed to make the player feel a specific emotion. Design your games with the same attention to detail.

Applied to Game Design

Appeal is what games are all about. We are connecting the player into our world, into our characters.  Into our gameplay scenarios and problems.  And if we can’t appeal to them, to make them fully invest their minds and hearts, beyond just their hands, then we aren’t living up to the full potential as creators.  What good is creating a visually appealing world, and satisfying gameplay sequences, if the characters fall flat?  If we let the player’s mental and emotional connections lapse when it comes to story and character growth, we are reducing their experience down to a monkey pressing a button that flashes a light.  And personally, I can’t think of anything more insulting to both the player, and the developer.

Asymmetry in any action or pose will quickly add appeal to any movement. Asymmetry in your levels or gameplay mechanics can make each feel unique and appropriate in different situations.

The first step towards creating an appealing experience is for you, the game developer, to be excited about your creation.  If you are passionate about what you are working on, you are injecting that excitement into your creation.  And that will be felt by the player, and appeal to THEIR passion. But if you are just churning out another game, that will also be felt.  Your lack of enthusiasm will show in your creation, just as much as your enthusiasm will.  And while spending weeks, months, and years on one creation can be draining, it is up to you to find ways to keep up that initial excitement.  Be it taking a vacation, finding a new band, a box of legos, some silly string or lame t-shirt contest, find something to inspire your inner child.  Because when you are excited, you are more willing to take on new challenges, and that is when you begin to create something truly appealing.

To achieve appeal on something specific, you have to use all the other principles as the ingredients.  There is no perfect recipe, but if you have all the principles in use and then just go with what feels right, you will be on the right track.  You will create an experience that sticks with the player and has that “it” factor that they keep coming back to.  But the biggest thing to remember is that you can’t fake appeal, just like you can’t fake charisma.  No matter how much else you add on top to try to cover up a general lack of appeal, it won’t fool the player.  If you don’t have any appeal built into whatever it is you are creating, they will feel uninterested and put down the controller.  No matter how flashy your creation is, if there is no appeal then the player will check out.  And all it takes is one unappealing aspect of the game to drive the player off.  One action without follow through, one puzzle with poor slow in and slow out, or a level with terrible timing, and the game can lose its appeal for the player.

But with enough pre-planning and exploration, you can find the appeal in almost anything.  Take the time to use all the principles when creating something new.  Study and research it to become a method developer and become what it is you want to create.  Be aware of the staging, contrast, and exaggeration of the character or mechanic to know where it fits into the rest of the game.  Know when and how you want the player to anticipate what will happen next and where all the element’s arcs fit together.  Find places to build in secondary actions to help strengthen and flesh out the core experience.  These are all how you convey a sense of weight and truth in your creation.

Think and then create.  Otherwise you are just breathing air into your creation, not life.（source:gamasutra）