原作者：Richard Atlas 译者：Willow Wu
Stellar Jockeys工作室的Hugh Monahan在2016年 Full Indie Summit Failure Workshop环节上谈到Brigador的早期测试版预告：“问题在于从视频中看Brigador就像个双摇杆射击游戏，但它绝对不是。有些游戏，包括Brigador，亲自去玩和仅仅看玩法视频或者是看别人玩是完全不一样的体验。”他继续解释这两者的体验为什么不同，还强调了游戏玩法的深度是不能光凭眼睛体会到的。很多玩家在玩完后都会说“这不是我想买的那个游戏”。“Brigador看起来跟市面上已经存在的游戏类型很相似，有很多独一无二的特色都被‘哦，这是个双摇杆射击游戏’一句话抹杀了。”
已经建立好的规则不能被打破，不然游戏就存在破坏一致性的风险。如果你的游戏设定在2093年，那么菜单字体就不应该用Times New Roman（除非你有特别特别充分的理由，不然你为什么非得用这个一个半世纪多之前就出现的Times New Roman？？）如果玩家扮演的是一个非常善良、仁慈、平和的人，那他们就不应该在下一关中冷血地杀人。如果玩家总是能抓住平台游戏中的某个架子（或者其它能够帮助玩家跳跃的建筑、工具等），那么类似的架子应该都能抓到，不能制造无厘头的意外。塞尔达就是一个例子（实际上是我玩过的所有塞尔达游戏），有裂痕的墙意味着你可以炸它，始终如此。不然的话玩家就会对自己的游戏经历产生疑问，这样的墙到底是不是一定就可以炸。
说到成功，我要分析的是Yacht Club Games的《铲子骑士》（Shovel Knight）。开发者承诺这个游戏复古、很有挑战性，然后人们得到的就是如此。在体验怀旧内容的同时，我们还能享受新时代游戏所带来的优势，比如存档功能、响应式输入、游戏变长等等。游戏世界中的所有东西都保持了一致性：音乐、关卡设计、艺术风格、菜单、音效设计等等，玩家也因此沉浸其中。
M. Joshua Cauller在博客上写了一篇非常好的文章。(http://mjoshua.com/blog/2018/05/15/craft-emotional-intelligence-into-your-game-trailer/）这大概是我最常见到的游戏一致性问题了：开发者们做出来的预告（或者是由其它公司做，这样更糟糕）无法准确表现出真实玩家体验。这款游戏的预告片可能会完全偏离主题，重点展示那些开发者觉得兴趣的内容，但这并不是游戏的真正亮点所在。或者有时候，预告片本身很好，但是它并不能表现出游戏会给玩家带来怎样的感觉。比如说，你的游戏是因为行动流畅、射击精准而让人觉得好玩，而你制作了一个重点展示剧情的预告片，让玩家“被误导”……这样就会招致不少差评。
I’ve been thinking for a while about what makes a game successful, or rather what makes a game unlikely to fail. My definition of success, in this context, is simply not failing. That is to say, a game has been successful if it can earn its money back and not be a financial and critical failure. I’m not looking for a formula to solve game development, because I don’t think that exists. But I do think we can mitigate our failures by keeping some important points in mind, and I’ve been trying to discover what these points are.
I don’t think we can predict success if we define success as selling 1M copies or having your company bought by Microsoft… but I like to think that we can identify some key properties that will make a game unlikely to fail. This is a hit based industry and I would be a multi-millionaire if I knew which games would be critically acclaimed monumental financial successes… but I’m not. And I won’t pretend that I know the answers to what makes a hit, but I will throw an idea out there to be pondered within my definition of success. This idea was created in hearing tons of game developers talking about their failure stories, and I think there might be something to it:
Consistency is one of the most important predictors for a game’s success.
That’s my hypothesis, and hopefully it can be discussed, debated, and refined or refuted. I am by no means an expert in this subject and don’t intend this to be purely informative, but I think this is a point worth considering and discussing, and that discussion may help us achieve a deeper understanding of our craft.
I should add, before we get to definitions, that a crappy game won’t succeed regardless of how consistent it is. I can’t claim to know where exactly how high that minimum quality bar is set, but the idea is that many games that could have had success ended up not finding it, mostly due to a lack of consistency.
My Definition(s) of Consistency
When one creates a game, they create a universe. They create at the bare minimum a visual style, a set of rules of physics, a soundscape, interactions between parts, a user experience, and a universe. Beyond that, game developers may create mechanics, rules of interaction between systems, stories, cultures, languages, customs, and more. These systems need to be consistent with how the game is talked about, consistent with one another, and consistent in themselves.
I’d like to consider three kinds of consistency here, and then we can discuss whether this is actually a strong predictor for success (i.e. non-failure). Personally, I think the order I’m presenting them is their order of importance.
We talk about and pitch our games in different ways, on different platforms, and to different people. We try to explain our entire game in a catchy sentence, we show a screenshot, or we make a trailer that tries to convey the player’s experience in our games. Unfortunately, we often break the consistency of the universe we’re attempting to create even in the way we pitch or market out games; we show off static shots of cute characters when really the in-context animations are what give them their charm, we talk about procedural generation in a rogue-like when the real fun comes from the combat mechanics, and we talk about open-world and crafting when the best part is the story.
From a failure workshop talk that Hugh Monahan of Stellar Jockeys gave at Full Indie Summit in 2016, he talks about his early access trailer for Brigador: “The problem is that it looks like a twin-stick shooter. Brigador is anything but a twin-stick shooter. For some games, Brigador included, the subjective experience of playing the game is totally different from what it looks like watching a video of gameplay or watching somebody else play.” He goes on to explain how the feel is different from what it looks, and how much deeper the gameplay is than it looks: “This isn’t the game I was sold”, is what many players were saying after playing it. “Because this game looked close enough to existing tropes, or existing genres of gameplay, a lot of what was creative and unique and different about Brigador got completely wiped by this instinctive ‘oh, it’s a twin-stick’”.
Now, I know that anecdotal evidence isn’t going to prove my point, because for any example I give I’m sure others can be found that were inconsistent in their marketing but still did well, but I think this shows how this inconsistency can be dangerous.
Players have certain expectations about your game based on other games they’ve played in the genre, other games they’ve played with the same art style, and other games that list similar mechanics or features to yours. If a game is a hardcore strategy game, it needs to look like a hardcore strategy game. If it doesn’t, it needs to be made abundantly clear to players why it doesn’t look like they would expect it to. I should add that we have to be careful when making games, because any hint that our game is similar to another game or similar to games in a genre will be picked up by players, and the expectations start to creep up.
This is not to say that we should make games that all look like one another… absolutely not. But I think we need to be aware that player expectations exist regardless of what we want, and that making a deep strategy game that looks like the image below is setting yourself up for an uphill struggle of trying to change player expectations that are already pre-established.
While I haven’t played the game yet, there’s a pretty wide agreement that Yooka-Laylee didn’t live up to expectations. I don’t think it sold as well as was anticipated, and its review scores for metacritic were not too favourable. The issues that reviewers talk about always include the idea that the nostalgia element was good, but the game brought with it all of the annoying things from those old games like Banjo Kazooie: the camera, the pointless currency collection, etc. I’m not sure the Yooka-Laylee team could have prevented this, since the expectations were set high as soon as Playtonic mentioned that they were making a 3D platformer. But at the end of the day, people expected something more than what they got.
Just as a quick aside, I know and respect both of these companies whose “failures” I’m highlighting, and I still look up to them as game developers despite using their games as “failure” examples.
I touched a bit already on what game consistency is comprised of: things in the game cannot contradict what other things in the game say, how they work, or how they feel. Within the game itself, the mechanics and everything that you’ve created in your game universe need to be consistent and predictable.
A rule that has been established and conveyed to the player cannot be broken by the game, otherwise the game risks losing consistency. If the game is set in the year 2093, the font used in the menus shouldn’t be Times New Roman (unless there’s a damn good explanation, and even then, why are you using Times New Roman??). If the player plays as an extremely kind-hearted, benevolent, peaceful person, they shouldn’t be killing in cold blood in the next level. If the player can always grab ledges in a platformer, there shouldn’t be similar looking ledges that can’t be grabbed. The example here is in Zelda (in every Zelda game I’ve ever played, in fact), a cracked wall means you can bomb it. It never, ever means that anything else, as this would bring the player out of the experience and lead them to question the rule they learned, that all cracked walls are bombable.
We teach our players the rules of our universe in many ways, and if we ever contradict the rules that we established or the rules that players believe we established then we break the immersion and we create a bad experience for players.
Why Do We Care?
Consistency is key, in my opinion, becauseplayer expectations are created by consistency and those same expectations are shattered by inconsistent marketing and game design, leading to a bad experience.
These player expectations are created by you, your universe, trailers, screenshots, menus, game mechanics, art style, website, and everything else that has anything to do with the game. These expectations are also created by preexisting genre tropes, and anything your game does has to be aware of those preconceived notions.
This is why, in my search to find some properties of a game that will help it to avoid failure, I’m pointing to the idea of consistency as a proposed indicator.
Some Good Examples
I’m going to give some examples of some projects that I think achieved the consistency I’m discussing. As is the case with any argument, using anecdotal evidence is not a strong way to provide “proof”… but I’d just like to demonstrate some strong consistency examples after talking about a couple of weak examples in the above sections.
To provide an example of success, I present the game Shovel Knight by Yacht Club Games. That game promised retro, old school, challenging gaming and that’s what people got. What we also got was the innovations in new games (save files, responsive input, longer game, etc.) while not ruining any of the old stuff that we found so charming. Plus, everything about the game kept you in its world by being consistent: the music, the level design, the art style, the menus, the sound design, etc.
Firewatch from Campo Santo is another good example. First I should say that the trailer for Firewatch is a work of art. This is just one of the trailers they made, but they all seem to be consistently amazing.
It gives you every feeling that you’re going to feel while playing the game: suspense, discovery, relationship building, fear, relaxation, everything. This really sets the tone for the game, and it doesn’t fail to deliver. The music, the art, and everything else about the game reinforces this core point.
Like I said before, finding these examples doesn’t “prove” my point, but it can help illustrate why I think consistency might be a major factor in determining success of a game.
Suggestions to Improve Consistency
I can think of a few ways to try to ensure consistency, some harder than others.
Make sure your trailer conveys how the player will feel when playing your game.
M. Joshua Cauller has a great article about this on his blog. This is probably the consistency issue I’ve seen most: developers will create trailers (or worse, have trailers created for them by other companies) which don’t properly explain what the player experience is like. The trailer might completely miss the mark and focus on something that the developers find interesting, but that isn’t the real thing that makes the game fun. Sometimes, trailers can even be good on their own accord, but not linked to how the game makes the player feel. For example, if your game is interesting because of the flow and precise shooting and movements, creating a story-heavy trailer that doesn’t show those elements might cause people to expect something very different from what you’re providing… that lack of consistency leads to bad reviews.
Get an artist.
Probably not this artist…
I’m not an artist, and I wish I was better at this… but people need to have an artist with a good eye look at their graphical elements. I’ve seen too many games with strange menu fonts, colours that don’t match the theme, UI elements that look like they came from Hearthstone in a game where the rest of the screen looks like Fez, etc. Strangers and other developers will can you if your visual style is inconsistent… leading to the next point.
Show the game often, and show it early.
By soliciting player feedback early, you practically ensure that you’ll catch the major issues before you get too far. Showing the game to other game developers, artists, film people, designers, architects… all of these will help you to understand the consistency of your art style and your game in general.
Be aware of everything that is in or related to your game.
I might just be picking patterns out of nothing here, but I find that often the inconsistency I’ve seen in games is linked closely to outsourced work that wasn’t well monitored. Art asset creation assigned to other companies, completely outsourced trailers, and far removed audio teams could contribute to this. If we are careful about the details about all of the things that are going in our game or are related to the game’s universe, we may be able to mitigate some of that.
What Do You Think?
Do you agree with that consistency might be a good predictor for success, above a certain low quality bar? Do you disagree? Do you think I’ve missed something important and shouldn’t be focusing on consistency? Do you think I might be on to something, but misinterpreting it? I’d love to hear what you think, so feel free to email me or discuss on Twitter.
Thanks for reading, if you’ve made it this far! （source:gamasutra.com ）