制作简短的直接体验存在相应基本模式，能够通过3种变体呈现。下文中我将进行详述。

AB from thebusinessplanblog.com

A/B

这里我们存在两种操作选择A和B，它们相互对立。在这里时间不是必要元素，但最好设定成“几乎同时”。从概念看，这意味着A运作的时候B也在运作。正面角色活动的时候负面角色也在活动。其的运作流程无需相互契合，虽然某些时候它们需要进行互动（游戏邦注：在剧情高潮最理想）。此设置在大型项目中的运作效果最好，其中玩家（通常是A）能够在多种设计模式中运作，只是模糊意识到B的操作（这通常被称作“Blind A”或“Blind B”情境）。进一步来说，你也许会向一方隐瞒另一方的存在，虽然这会去除玩家的满足感，令他们无法获悉自己面临的风险，以及有望得到的奖励。

注意：多数游戏体验都处在“Blind A”情况下，因为一方通常都不清楚对手的操作。

A:B

这更多是传统的因果情境，被表述成“若A则B”。在这种情况下，A和B无需处在对立位置，它们可以是操作和结果，前进和后退或是任何绑定组合。多数双人棋盘游戏都基于此原理。在多人情境中，这体现于众多熟练玩家中——单个角色遵循因果关系，玩家希望所有A操作都能够带来B结果，NPC将B当作操作奖励。在这种模式中，基于“后续发展”的紧张感是游戏发展的动力，因为玩家会希望知道“随后进展”。

A-B(-C)

这是最开放，也是最微妙的结构，通常被表述成“A到B”。这不是直接的关系（即A:B），这更多是从一事件到另一事件的路径。在线性情境中，这就是从关卡探索者到某地点，或者从一空间向另一空间转移。这里尚未呈现的是C元素，这通常被定义成更大目标，A和B是任务列表或指导模版中的事项，能够促使C目标的实现。

现在看看它们如何相互配合。假设游戏存在两位玩家，他们处于出现一具尸体的房间中。

1. 两位玩家处于存在一具尸体的房间中（他们自然会想要探索/检查房间和躯体，虽然他们更多会检查躯体，因为他们觉得其中会存在更多线索）[A-B]

2. 两位玩家会推测，他们是谁，为什么会在这里[A:B]

3. 虽然出现此情况，但游戏世界存在于此房间之外[A/B]

4. 玩家会发现某些情节元素（否则游戏就会陷入停滞状态）[B:A]

5. 玩家需要相互合作方能离开房间[A-B]

从理想角度看，整个游戏需要始终融入这些元素，是的，从理论角度看，你需要通过此速记法标记这些“情境”。

现在从整体游戏体验切入，我们会看到更大规模的A、B关系。在双回合体验中，第一回合是A，第二回合是B。关系的变化取决于回合的衔接方式，这是对预期情节的呈现（游戏邦注：或通过游戏，或通过GM）。同样，你也许会指定玩家是A，对手是B，然后确定他们的关系。更进一步来说，你也许会将所有PC看作A，将其运作空间看作B。

在分成A、B两栏的纸上，A罗列适当情境或角色。给它们编号，这样你就能够相互对照。然后B栏也是这么操作。

在游戏设计中，你要能够罗列出所有游戏元素，即便这是最开放的体验，因为机会无需呈线性模式，但它们能够能够进行设定。（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）

More Game Design Goodies: A B structure

I originally taught this with note cards, but have found you can also do this in two columns on a piece of paper. Designate one column (or card) ‘A’ and the other ‘B’.  (Or some cards ‘A’ and some ‘B’) Put them aside.

Now, the theory – for creating shorter (and slightly more intensive) direct experiences, there is a basic mechanic at work. It can be expressed and explained in three variations. I will detail them below.

Note: All of these can situationally operate ‘backwards’ as B:A B/A and B-A

A/B

Here we have two tracks of action, an A and B, and they work oppositionally. Time is not necessarily a factor here, but this is best expressed as ‘nearly simultaneous’.
Conceptually, this means that while A acts, so does B. While the good guys act, so do the bad guys. Their agendas need not mesh, although at some point, they should intersect (at plot climax ideally). This setup works best in larger scale campaigns, where players (often A) can operate under a wide variety of designs and are only vaguely aware of B’s actions. (If that is the case, this is called a ‘Blind A’ or ‘Blind B’ scenario). Taken a step further, you may even withhold the existence of the one side from the other, although that tends to rob the players of the satisfaction of knowing the stakes they face and therefore projecting possible reward/praise.

Note: The majority of game experiences fall under ‘Blind A’ conditions, as the party operates mostly unaware of what their foes are directly doing (even though they might know about the goals).

A:B

This is more a traditional cause-and-effect situation, and is stated as “If A, therefore B” In this case, A and B need not be opposing sides, they could be action and consequence, move and counter-move, or any like-bonded pair. The majority of two player board games operate under this theory. (If he moves his pawn, I will move my knight — if the rogue checks for traps, I will guard the door, etc) In multiplayer contexts, this serves a lot masters – individual characters follow cause-and-effect, players have an expectation of having their actions ‘A’ have in-world consequences ‘B’, and NPCs assume that ‘B’ is the reward for their plot. In this model, the tension surrounding “what will happen next” serves the desire to move things forward, as players will naturally want to know “what happens next”.

A-B(-C)

This is the most open-ended and often most subtle expression of the structure, and is stated as ‘A to B’. This is not a direct relationship (that’s A:B), this is more about the option of the path from one item to the next. In a linear context, this is going from a quest giver to a location, or moving from one room to the next. What is not stated here is ‘C’, which is often defined as a larger goal (clear out the dungeon, win the election, do my errands, etc) and that ‘A’ and ‘B’ are items on a to-do list or instructional template that lead towards C’s realization.

Now, let’s see how they all blend together. Let’s assume you have two players (the actual number doesn’t matter), and that you’re starting them in a room with a body.

1. Two players are in a room, with a body. (It is natural that they will want to explore/examine both the room and the body, although more likely the body, as they will assume it possesses more potential) [A-B]

2. Two players will speculate as to who they are and why they are here [A:B]

3. While this is occurring, the world exists OUTSIDE this room [A/B]

4. The players will discover some plot elements (they have to, else the game stalls out) [B:A]

5. The players must cooperate to leave the room [A-B]

Ideally yes, the whole game should blend together these elements on a moment-by-moment scale, and yes, in theory you should be able to chart the ‘beats’ (the scenes, the ‘things’) by this shorthand.

Now as an overall game experience, we can see a larger A and B relationship. In two-session play, the first session is ‘A’, and the second ‘B’. The variation in relationship is dependent upon the way the sessions link together, which is an expression of the desired plot (either via game or via GM). Likewise, you may designate the players ‘A’ and the antagonist ‘B’ and determine their relationship accordingly. Going further, you may see all PCs (heroes and villains) as ‘A’ and the world they operate in as ‘B’.

Return to your paper or note cards. On ‘A’ list the appropriate beats or characters. Number them as well, so that you can cross reference. Do the same for ‘B’. See below

A

1. The players are in a room with a body

2. Gary, player #1, has an Aspect of ‘Don’t Take Me For Granted’

3. The villain buys the election.

B

1. The players must cooperate to escape.

2. Engineer the situation so that Gary is compelled.

3. Therefore, he’s set to become comptroller in two months.

(Using note cards is easier, since you can create note card pairs like A-1 & B-1, but side-by-side columns are effective if you have space for them)

In game design (as in storycraft of a novel) you should be able to chart out even the most open-ended experiences (hi Skyrim!) because the opportunities need not be linear, but they can be plotted (If the story/characters go to Location #1, that’s an A:B, at Location #19 that’s B-A).（Source：writernextdoor）