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Side Meier答Warren Spector的游戏设计问题

发布时间:2013-10-12 16:02:04 Tags:,,,,

(本文选自2002年2月《游戏开发者》杂志中著名游戏设计师Warrne Spector对另一著名游戏设计大师Sid Meier的采访内容)

在游戏开发领域,Sid Meier的名号几乎可以说是如雷贯耳,无人不晓。自1982年与他人联合创立Microprose开始,Sid就设计和编写了一系列启发和影响了无数追随者的游戏。Sid之后担任了Firaxis Games董事长,以及《文明3》、《Sim Meier’s Sim Golf》的创意总监。

本月的采访由Warren Spector提问,Spector已在Origin Systems、Looking Glass Studios和Ion Storm设计过多款备受赞誉的游戏,代表作包括《杀出重围2》以及《Thief 3》。

warren spector(from gamasutra)

warren spector(from gamasutra)

Warren Spector:Sid Meier的灵感是什么?你玩过大量游戏吗?是否受到文化思潮的影响?有没有专门到游戏之外的领域寻找创意和灵感?

Sid Meier:我多数游戏理念可以追溯到孩提时期所感兴趣的事物。海盗、飞机、火车、历史以及南北战争都是我那时候感兴趣的东西。

WS:你如何开始游戏设计过程?一般脑中会有现成的玩法片段吗?或者一个故事或虚构背景?

也许你所想象的单个游戏机制就会很棒了?你想让玩家体验一个特殊的奇幻世界,或者你想让他们拥有一整个特殊的游戏体验?你想调动一种情绪或表达一种信息?你该从哪开始设计呢?

SM:在开始设计时我会关注两个关键时刻。其一就是玩家第一次开始游戏的时间,应该让他们快速被游戏所吸引。在游戏结束时,还应该让玩家觉得自己经历了一段很长的历程,游戏的开头和结局应该吸引玩家再次体验游戏。

WS:你开始动工之前要准备多少文件?你习惯事先多做计划,还是制作原型并进行修改?我经常听到的是后面一种说法,能否告知详情呢?

SM:我们开始一个新游戏项目是实际上并没有多少事先规划。我们使用自己已经了解的素材,再加上玩家已经知道这些素材,他们会欣然接受的理念。之后我们再根据调查增加深度,创造场景,让各项细节到位,一直到做成一款有趣的游戏为止。

WS:你最近做干多少“实事”,即花多少时间向团队传达项目愿景,或者让不同团队成员无缝融入游戏项目,还是只负责解决团队和工作室管理层的问题?

SM:实际上,我喜欢编程,不喜欢管理,所以我一般至少担任一个项目的主程序员。

WS:你如何解释自己的成功?你在这个行业所创造的科幻、历史模拟游戏,海盗游戏,间谍冒险游戏可能超过了其他所有人。是否认为自己最大的成功(或销量)是得益于特定题材的吸引力,或者与众不同的游戏玩法?

SM:我不知道如何预知一款游戏的成功。在事后看来,《文明》的制作好像毫不费脑力,但那时候它确实与Microprose的宗旨背道而驰。当时人们认为战略游戏很无趣很复杂。我只是编写了自己会喜欢玩的游戏,并寄希望于有人也和我一样喜欢玩这种游戏。

WS:游戏题材和玩法之间的联系有多紧密?换句话说,运用于科幻游戏的同种机制适用于历史模拟游戏吗?题材是否会决定游戏玩法和机制,还是说机制第一,题材第二?

SM:我们会选挑选游戏主题,然后再考虑机制问题。《文明》刚开始是即时游戏,后来转变成回合制。《Pirates! 》结合了故事、冒险和动作元素。我尝试将三种不同元素融入《Dinosaur》游戏——回合制、即时战略和卡牌游戏,但最后还是放弃了。

WS:我工作室中有许多人认为《半人马阿尔法星》的某些元素是我们未来打算制作的富有沉浸感的模拟游戏的楷模。你是否看过其他人的游戏,将你的某些理念具体化了?是否曾自问为何没有更多游戏开发者将你的理念运用到他们自己的作品?换句话说,你如何看待自己的作品对游戏开发界的影响?

SM:我想在游戏设计领域,大家还会持续分享、借鉴他人理念。只要每款游戏都能带来新理念和创新,这就是我们行业的优势之一。当然,界面和控制方法的标准化也让游戏更易上手。我仍然喜欢玩游戏。我希望其他设计师能够继续创造出色的游戏,这样我也能玩玩这些游戏,偶尔从中获取一两个灵感。(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

In 2002, Warren Spector interviewed Sid Meier Exclusive GDMag Exclusive

By Game Developer magazine

In this classic interview from the February 2002 issue of Game Developer magazine, one renowned game designer interviewed another renowned game designer.

In the world of game development, Sid Meier (pictured above) is as close as one can get to being a man who needs no introduction. Since co-founding Microprose in 1982, Sid has designed and programmed dozens of games that have been heralded as nothing less than revolutionary, ingenious, and influential to all who follow in his footsteps. Sid lends his experienced hand to Firaxis Games as chairman and creative director of the recently released Civilization III and the upcoming Sim Meier’s Sim Golf.

This month’s questions were provided by Warren Spector, who has designed numerous critically acclaimed games for Origin Systems, Looking Glass Studios, and Ion Storm. Warren is currently executive producing Ion Storm’s upcoming Deus Ex 2 and Thief 3.

Warren Spector: What are Sid Meier’s inspirations? Do you play a lot of games? Do you look to the cultural zeitgeist? Do you specifically and consciously look outside the universe of games for fresh insights and ideas?

Sid Meier: Most of my game ideas trace back to my child- hood, to things that I became fascinated with at some point during my childhood. Pirates, airplanes, trains, history, and the Civil War were all interests of mine at one time or another.

WS: How do you start the game design process? Do you typically have a moment of gameplay in mind? Or maybe a story or fictional context?

Maybe a single game mechanic you think would be cool? A particular fantasy you want to allow players to experience or an overall experience you want them to have? A mood you want to evoke or a message you want to convey? Where does a design start for you?

SM: In starting a design I focus on two key moments. The first time a player starts the game, he or she needs to be quickly drawn into the game. At the end of the game, the player should have a sense of having come a long way since the beginning to a satisfying conclusion and be tempted to play again.

WS: How much documentation do you do before beginning to work? Are you a preplan-as-much-as-possible guy or a prototype and revise guy? I’ve always heard the latter, but I want details!

SM: There’s really no preplanning when we start a new game. We build the game using stuff we already know, with the idea that our players will already know this stuff too, and they’ll be able to jump right in. Later we do research to add depth, create scenarios, and get the details right, but not until we have a fun game.

Warren Spector

WS: How much “real work” do you do these days, and how much of your time is spent conveying a vision to a team, or melding various team members’ spins on the game into a seamless whole, or just dealing with team and studio management issues?

SM: Actually, I enjoy programming and I don’t enjoy management, so I’m generally the lead pro- grammer on at least one project.

WS: How do you explain your success? You’ve probably worked in a greater variety of genres than anyone else in this business science fiction, historical sims, pirate games, espionage adventures. Do you think your greatest successes were driven by the appeal of a specific genre or fiction, or were there gameplay differences that made the difference, sales-wise?

SM: I don’t really know how to predict the success of a game. In hindsight, it might seem that doing Civilization was a no-brainer, but at the time it was a real departure for Microprose. At the time, strategy games were considered boring and complicated. I write games that I think I would like to play and hope there are some other peo- ple out there who will like them as well.

WS: How tight is the link between genre and gameplay? In other words, can the same mechanics be applied to a sci-fi game as to a historical sim? Does genre dictate gameplay and game mechan- ics, or do the mechanics come first and then the genre?

SM: We pick the game topic first and then worry about the mechanics. Civilization started out as a real-time game and switched to turn-based. Pirates! was a combination of storytelling, adventure, and action. I tried three different approaches to the Dinosaur game – turn-based, real-time strategy, and a card game approach – before finally giving up.

WS A lot of folks in my studio look at some elements of Alpha Centauri in particular as a model for some of the things we hope to do in future immersive simulation games. Do you ever look at other people’s games, regardless of genre or game style, and see some of your own ideas embodied in them? Conversely, do you ever ask yourself why more game developers don’t adapt your ideas to their own work? In other words, how do you feel your games have influenced the development of games and gaming?

SM: I think there is a continual sharing, borrowing, and building upon game ideas among the design community. As long as each game also introduces some new ideas and innova- tion, this is one of the strengths of our industry. Certainly the standardization of interfaces and controls has made games easi- er to play. I still love to play games. I hope other designers will continue to create great games so that I can play them, and occasionally borrow an idea or two. (source:gamasutra


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