作者：William Anderson

你是否曾经问自己：“我是如何推动自己的一个理念的发展？”为了回答这一问题，我在过去几年学到了以下内容。

在开始任何新概念或设计项目之前，你应该先分析自己目前的状况，以及你的目标发行商或开发商的需求。如果未能清楚地了解这些变量，你注定会遭遇失败！

让我们开始吧。

首先，审视你目前的状况：

开始前都要问问自己，为了创造这一概念或设计我需要什么。

如果你可以独自完成任务，那很好，但通常情况下你都需要来自朋友或同事的帮助。一般说来，那些能够填补你的技能空缺的人同样也能够弥补你的领导能力和愿景。

接下来便是明确你想创造什么类型的产品，如果你宣传的是一个你未投入真心的游戏概念，它便不可能吸引人们的注意。

列出你真正想要创造或设计的游戏类型。

希望这个列表上的内容不只一个，因为只有你拥有更多想法，你才更有机会从中找到自己真正想做的。

进行一定的研究以判断接下来会流行什么类型的游戏，市场上的射击游戏，高尔夫球游戏或赛车游戏是否即将达到饱和，如果是这样的话发行商将不会愿意再看到这类型的概念或设计。

即使你认为自己拥有一个很棒的想法有可能将游戏推向顶峰，但可能对于发行商来说这却是一个很难销售的想法。

最后，你需要明确发行商或开发商愿意执行你的列表上的游戏类型的所有可能性。这可能需要你多花些时间进行研究，但只有真正搞清楚这些，你才能够在之后更轻松地建立一些重要关系。

我遇到过的所有发行商或开发商都会对那些真正了解他们以及他们的工作的人感到满意。

现在，我们是时候深入一些细节内容了！

初步审查发行商或开发商的需求和欲望：

在坐下来拟定你的概念之前，你最好能够先识别你的目标发行商或开发商的需求或欲望—-这对于最终的成功非常重要。如果你所提供的内容以及发行商或开发商现在的追求相一致，那么你之后的道路便会更加平坦。

接下来你需要清楚存在两种类型的发行商和开发商，即“需求”类型和“欲望”类型。当提到选择开发项目时，不同方向需要使用不同的方法，你需要找到最适合自己的方式。

发行商或开发商的需求：

迄今为止这是值得合作的最佳发行商或开发商的类型，因为他们通常都很了解市场趋势和赚钱机遇。但他们同时也是最难接受全新游戏概念的对象。

这些公司已经拥有了自己的产品销售节奏，并且非常害怕改变方向，特别是在提到销售或宣传一个不属于其安全地带的理念时。

关于这类型公司，我建议你能够使用一些关于游戏玩法的简单图像去编写关于游戏理念的描述内容，然后基于一种非正式方式向他们进行推广，即只是先试试水。如果你觉得水是温的，那就说明这家公司达到了一定的成功，所以他们可能会做出更多的冒险，或者他们已经衰败了，所以会孤注一掷地去寻找足以挽救自己的产品。

显然，你应该避开那些孤注一掷且正在衰败的公司。如果他们在你的项目开发过程中破产，你的概念和公司有可能会摊上法律和版权问题。但如果该公司是稳定的，你便可以一边发展自己的概念一边与他们保持联系。这能够帮助你避免时间延迟。

此外，不要彻底禁锢于你的概念，如此你便不能灵活地接受发行商或开发商的想法或建议。你会惊讶于小小的妥协所带来的威力！

发行商或开发商的欲望：

公司的欲望通常是寻求一个能够为其设定基调的决定性概念。就像Sega寻求他们的索尼克？Namco寻求他们的吃豆人？或者Capcpm寻求他们的下一个洛克人？他们想要的只是一个足够突出的概念，并且愿意为此投入许多。

为了能够创造一个吉祥物般的角色和产品，像马里奥，索尼克或Tomb Raiders等可以说是游戏设计的圣杯般的存在，任何设计师都不能掉以轻心。

因为这类型公司可能会投入许多钱，甚至是砸上公司招牌去创造这样的内容，所以他们可能会比往常更加紧张。所以在面对这类型公司时，你需要牢记几大关键内容：

1.永远都别炫耀任何半成品理念，概念或设计，这只会让他们更加紧张。要记得在早期阶段，这类型公司总是会认为自己是坐在泰坦尼号上，而如果他们在第一时间发现船泄露，他们便会直接爬上第一艘救生艇。

你最好能够确保概念艺术和故事板足够清晰，且充满颜色。所有设计和关卡布局都应该包含足够的注释，包括呈现出玩家方向的箭头。

最后，可能也是最困难的是，如果你不能清楚地传达概念背后的内容，那就与那些能够帮助你做到这点的人进行合作！我已经看到许多因为设计师或制作人不能有效传达自己的产品而糟蹋了一些优秀的概念的情况。即使你可能需要花钱聘用这类型的员工，你也要清楚这是值得支付的一笔钱。

2.呈现尽可能多的概念艺术以确保你的发行商和团队清楚你走在正确的道路上，并清除地告诉他们你正在做些什么。

我非常认可呈现足够的产品概念艺术的作用。这在电子游戏产品中具有重要作用。首先这能够确保整个团队都专注于产品的最终目标。愿景更加具体，团员们便比较不会分心。这同样也能够增强你的发行商的信心，并告诉他们你正把控着概念，不留任何漏洞，让发行商们能够相信你将会做得很好。

牢记设计的黄金法则：“确保你的团队充满信心并专注于目标，确保你的发行商或开发商对你的团队领导能力充满信心。”

如果你忘记了这一箴言，你便很难创造出一款优秀的游戏。

3.始终确保与你的团队，发行商或开发商分享概念和设计。这并不是说你应该与他们交流一切内容—-这么做是不实际的。但你需要确保的是能够准确地传达信息，并且不会遗漏掉任何他们需要知道的内容。

4.不要在与任何人共事的时候变成一个“唯命是从的人”。有些人认为你必须始终同意团队，发行商或开发商的决定，或者你需要快速给出问题的答案并完成工作。

实际上这只是在欺骗你自己罢了。

如果真的出现一些你觉得会对团队，产品或时间表造成负面影响的内容，那就大声地说出来！我想分享自己作为Namco的产品经理兼设计师时所获得的一个最佳建议：“不要觉得你现在就必须给出一个答案！”先等等，并仔细思考下！尝试着避免自己快速地做出回答—-因为这只会让你在事后感到后悔。

5.最后，遵守所有的约定，时间表和关键日期。确保你与这类型公司的时间安排总是留有一定的空间，因为任何延迟只会导致他们对你们团队和产品，甚至是你们公司的怀疑。

进入文件编制阶段：

在我们进入本文的最后一部分前，我将解释引出一个全能力生产的阶段，从而让你能够清楚地了解这一过程。

首先，随着制作一个完整的电子游戏的成本不断提升，你需要找到一家大型发行商并寻求其现金承诺，并且不需要所谓的概念验证（POC）。

POC是你的一个游戏阶段，即能够审核以下内容：

1.能够定义游戏的游戏能力的全局功能。

2.产品的任何知名的应用或关键的游戏功能。

3.关于背景，玩家角色和非玩家角色的艺术类型的例子。

总而言之，你的POC游戏需要具有足够的判断力去证实它是否能够有效地发展。

现在，你应该基于你的目标系统，所开发的游戏类型，你的开发团体的经验以及你所拥有的装备，花费3至12个月的时间去计划这一POC开发阶段。

专注于：

你或者你的公司为了确保一切内容在制作过程中的有序发展需要创造一些关键文件。

概念提案文件

这些文件应该包含以下信息以及你认为对宣传概念有帮助的内容。注意，这些内容是我在自己过去设计游戏时所总结的，但也许你的概念还需要一些其它的关键描述。所以你可以根据自己的需要进行创造。

1.概念名字。

2.包含目标系统，ESRB分级以及其它关键点的宗旨。

3.概念综述或总结你所提议的内容（游戏邦注：确保将其压缩在1页内容上）。

4.使该产品突出的元素！（不要说是图像！）

5.市场上有哪些与该产品类似的竞争产品？

6.你的主角的概念艺术。（颜色总是能够得到较强的反应！）

7.你的角色在行动中的一些概念图像。（最好以颜色进行突显。）

8.你的概念的流程图，包括界面，世界和关卡。

9.游戏的一些关卡，世界和独特机制的故事板。

10.进入POC开发阶段的最快方法是什么？

11.在POC阶段后转向最终产品模式时你需要些什么？

12.POC时间表和最终制作时间表。

13.POC阶段以及最终制作阶段的人员配置需求。

14.当前装备以外的装备需求。

15.谁是你们公司在这一概念建议上的主要联系对象，如CEO，创意总监，制作人，首席设计师或者首席美术师。

16.总结你需要发行商或开发商在将你的概念带到POC阶段时提供给你什么帮助。

记得他们可能会在最后审批前要求你添加更多细节到你的概念建议上，所以来来回回进行修改是必要的。同时，你还需要牢记，失败随时都有可能出现，而你能够做的便是将其转变成优势。

例如，如果发行商或开发商拒绝了你的概念，你可以问他们如下问题：

1.你们是否认为这一概念缺少了某些内容？

2.能否提供任何建议去强化我们的概念？

3.如果我们做出了你们所需要的修改，你们是否会对修改后的内容感兴趣？

从根本上来看，你们需要在整个过程中始终保持眼睛和耳朵的清晰度，并且避免卷入任何事件中，不管好坏。

你的眼前摆着一大堆需要完成的工作，你只需要专注于你们团队的目标便可。

（本文为游戏邦/gamerboom.com编译，拒绝任何不保留版权的转功，如需转载请联系：游戏邦）

How to Get Your Game Design Ideas into Production

by William Anderson

Have you ever asked yourself, “How do I get one of my idea or concepts into development?” In answer to that question, the following are some of the things I’ve learned over the years.

Before you start any new concept or design project, you should first analyze your current situation, as well as the needs or wants of your target publisher or developer. Without a clear understanding of these variables you are doomed to fail!

So let’s get started…

First, Review your Current Situation:

Before you start, always ask yourself, what do I need to pull together to create this concept and design.

If you can do it all by yourself — great, but more often than not you will need the help of some friends or colleagues. Generally speaking, people who can fill the gaps in your skills that are also on board with your leadership and vision.

Next, identify what style of products you would like to create, as there is really no point in pitching a game concept you have no heart in.

Make a list of the types of games you would really enjoy creating a concept or design for.

Hopefully, you will have more than one, as the more you have, the greater chance you will have to find something in that group you really want to do.

Do some research to see what types of games might be coming out soon, for if the market is destined to be saturated with shooting games, golf games or racing games, then publishers are most likely not looking for those types of concepts or designs anytime soon!

Even if you think you might have the killer idea that will push your game to the top, it will still be a hard sell to the publisher.

Lastly identify all of the possible publishers and or developers that are doing the types of games on your list. This may take some research time, but the clearer you are on this, the easier it will be to make important contacts down the road.

I’ve never met a publisher or developer yet who was not flattered by someone really knowing about them and their work.

Now with this done, it’s time to really get into the nitty-gritty of it!

Initial Review of the Publishers or Developers Needs and Wants:

Before you sit down to draft your concept, it is best to identify your target publishers’ or developers’ needs or wants — this is critical to your chances for success. By simply matching up what you can provide with what the publishers or developers are currently looking (or have a history of publishing) will make your job much easier down the road.

Next, you should always understand that there are two types of publishers and developers out there, the “Needs” type and the “Wants” type. Each approach from a different direction when it comes to selecting a project for development and each must be approached in their own way.

The Needs Publisher or Developer:

This is by far the best type of publisher or developer to work with as they are usually more savvy about market trends and money making opportunities. They are also however, the hardest nut to crack with a totally radically new game concept.

These companies have established a rhythm for selling products, and are extremely fearful of breaking out of that direction when it comes to selling or pitching an idea out of their comfort zone.

My advice with this type of company is to write a short description of your game idea with some simple drawings of game play and then pitch it in an informal way, just to test the waters. If you find the waters warm, then more than likely this company has reached a level of success that allows them to take more risks, or they are dying and desperately looking for a life raft product.

Obviously, try to avoid the desperate and dying companies. If they die in the middle of your project they could easily tie your concept and company up in years of legal and copyright headaches. But if the company appears stable, then work at evolving your concept while keeping them in the information loop. This will help you to avoid costly time delays due to reworking the concept back in their direction.

And, don’t get so married to your concept that you become inflexible to a publisher or developer’s ideas or suggestions. You will be surprised how far a little compromising will take you!

Now for the Wants Publisher or Developer:

The Wants type of company is normally looking for a killer concept that will set the tone for their company. Be it Sega? looking for their Sonic?, Namco? looking for Pac-Man? or Capcom? looking for their next Mega-Man? concept, they all want something that stands out, and are willing to put some major bucks behind it!

To be able to establish a mascot character and product, like Mario, Sonic or Tomb Raiders for a game is the Holy Grail of game design and should never be taken lightly by any designer, if so tasked.

Because this type of company may be risking a lot of money and company reputation to establish such a property, they may become more than a little nervous on occasion. If this proves the case, there are a number of key things you need to keep in mind when dealing with such a company:

1: Never showoff any idea, concept or design that is only half complete, this will only serve to freak them out. Remember that during this early stage most companies in this position consider themselves on the Titanic, and at the first sign of a leak they will head for the first life raft!

Concept art and storyboards should be clean and, if at all possible, in full color. All designs and level layouts should contain as many notes as possible, including arrows showing player direction.

Lastly, and possibly one of the hardest pills to swallow, if the main brain or visionary behind the concept is not very articulate with other people, then team him or her up with someone who is! I can’t tell you how many great concepts and designs I’ve seen go down in total flames just because the designer or producer presenting the product could not communicate well with others. Even if you have to hire someone just for this task alone it is money well spent!

2: Put as much concept art as possible out there to ensure your publisher and team that you are on the right track and really putting great thought behind what you’re doing.

I’m a very big believer in having lots of conceptual art behind a product. It serves a vital role in video game products. For one thing, it keeps the entire team’s eye on the end goal of the product. The more concrete the vision, the harder it will be for distractions to throw things off. It also gives great confidence to your publisher and the press that you are in total control of your concept and leaving nothing to chance and in the field of video game production, keeping your publisher confident can make your life really wonderful!

Remember the Golden Rule of Design: “Keep your Team Confident and Focused on the Goal, and Keep your Publisher and or Developer Confident in your Leadership of the Team”

If you lose on either of these maxims, you will have a hard time producing a great game.

3: Always keep every aspect of your concept and design communication tight with your team, publisher and/or developer. This is not meant to imply you should communicate everything to them — that would be impossible and impractical. But make sure, as much as possible, that the information passed on is correct and is not lacking anything they might need to know to perform their jobs.

4: Don’t be a “yes man” (or woman) when working with others! Some people believe that you have to totally be agreeable with your team, publisher or developer, or that you must have a quick answer to a question to get things done.

Well the fact is you are just kidding yourself!

If something is coming down that you really believe will negatively affect your team, product or schedule then speak up! And I’ll pass on one of the best pieces of advice I ever got while working as a Product Manager and Designer for Namco: “Don’t feel like you have to give an answer now!” Hold, wait, and think about it! Try to keep yourself from making quickly and off the cuff answers — in the end it will save you a lot of grief.

5: And, lastly, keep all appointments, schedules and milestone dates with them. Always inflate your time projections with this type of company as any delays will only serve to diminish their trust in your team, production and or company.

Diving Into the Documentation Stage:

Before we dive into the last part of this article, I would like to explain the phases that lead into a full production, just so you have a clear idea of the process.

First, with the ever-increasing cost of producing a full-length video game product, you would have to be completely mad to go into a large publisher asking for a full commitment of cash without, what we like to call POC or Proof of Concept.

POC is typically one stage of your game that contains enough to judge the following:

1: Global features of play-ability that will define the game.

2: Any killer-apps or signature game play features of the product.

3: Examples of the art style for the backgrounds, player character and non-player characters.

In short, your POC game needs to have enough to judge if it is going to good.

Now, you should plan for this POC development phase taking anywhere from 3-12 months depending on the target system, the type of game your developing, experience of your development team and the equipment you have.

Wrap Up:

There are a number of key documents that you or your company will need to produce in order to get things rolling and to keep things on track during production.

The Concept Proposal Document

This document should contain the following information and anything else you believe is important to pitch your concept. Note that these items are some of the ones I’ve run across during my years of design, but your concept may require some other key descriptions. Just use your best judgment.

1: Title of your concept.

2: Mission Statement that covers target system, ESRB rating and other key target points.

3: Concept overview or summary of what you are proposing. (Keep it to 1-page, if possible).

4: What makes this product stand out! (Please don’t say graphics!)

5: What competitive products are out there like this or somewhat like this?

6: Concept art for your lead character, if any! (Color always gets a stronger reaction!)

7: Some conceptual drawings of your lead character in action. (Also in color if possible!)

8: Flowchart of the scope of your concept, including Interface, worlds and levels.

9: Storyboards of some of the levels, worlds and some unique mechanics of the game.

10: What is your readiness to go into the POC stage of development?

11: What will you need after the POC stage to move to final product mode?

12: POC Schedule and Final Production Schedule.

13: Staffing needs for POC stage and staffing needs for final product.

14: Equipment needs, outside of current equipment on-hand.

15: Who is to main contacts at your company for this concept proposal, such as CEO, Creative Director, Producer, Lead Designer, Lead Artist.

16: Final summary of what you need from this publisher or developer to take your concept into the POC stage.

Remember that you may be asked by them to add some more details to your concept proposal before final approval, so a little back and forth is to be expected. Also, try to remember that if failure comes, use it to your advantage.

For example, if a publisher or developer turns your concept down then ask them a few follow-up questions, like:

1: Was there anything lacking from this concept in your opinion?

2: Do you have any suggestions on how to enhance our concept or presentation?

3: If we make all of the changes you are looking for, would you be interested in another review?

Basically, just keep your eyes and ears open during the entire experience, and don’t get too caught up in any one event, good or bad.

You have a lot of work ahead of you and you will need to stay just as focused on the goal as your team.

Hope this helps you (source:gamasutra)