Warren Spector谈沉浸式模拟游戏当下的困境

原作者：James Batchelor 译者：Willow Wu

沉浸式模拟（immersive sims）是以选择为核心的一类游戏，近年来，这类游戏的数量剧烈下滑。

《杀出重围》《神偷》《耻辱》这三个系列在新作不尽人意的表现后都进入了休整期，就连《地下创世纪》（很多人认为这是沉浸式模拟游戏的鼻祖）的精神续作《地下世界：崛起》（Underworld Ascendant）的反馈都不太乐观，继续发展系列的可能性微乎其微。

人们很可能会说这个类型正在走向灭亡，至少在大型发行商的层面上是这样。而且考虑到这类游戏的制作规模，独立开发者也只能望而却步。在Reboot Develop大会上，我们采访了沉浸式模拟游戏知名开发者Warren Spector（代表作《杀出重围》《神偷》《网络奇兵》），讨论为什么这个类型会陷入困境。

“我们一直在要求玩家动脑筋，”他告诉 GamesIndustry.biz。“沉浸式模拟游戏不是那种像鲨鱼一样不断前进最终一定会赢的游戏。也不是那种你只要揭开了设计师的谜题，或者杀光所有东西就能可以获得胜利的游戏。在这类游戏中，你要自己决定下一步要做什么，如何跟这个世界互动。这不是纯粹的娱乐，你得多加思考。所以我想这是其中一部分原因。”

但这肯定算是沉浸式模拟游戏的魅力所在吧？关键就是如何选择，举个例子，如果玩家把《杀出重围》当作是一个射击游戏来玩，这并没有什么错。或者，玩家也可以把它当作是潜行游戏。他们也可以选择专注于黑客技术和其它非对战技能，找到新的前进方式。从本质上说，它就像一个RPG游戏，但没有数据处理或反复刷关。

“是的，完全正确。”Spector说。“奇怪的是，我一直认为，现在仍然认为，这一个大众都能想到的主意。如果我玩一个射击或者潜行游戏玩得不好，无法通关，那我只能放弃这个游戏。同理，我玩一个解谜游戏可能会想不出答案。而在沉浸式模拟游戏中，如果你觉得对战或者潜行太难，你可以从别的方面入手。”

Spector认为沉浸式模拟游戏的衰落可能是因为设计元素，甚至连游戏特质都不是独有的。虽然他很谨慎，避免谈及对自己的直接影响，但他表示《塞尔达传说:旷野之息》就是一个“包含沉浸式模拟游戏设计元素的游戏”。类似地，《孤岛惊魂》系列也让玩家能够根据自己的喜好调整游戏风格。

DeusExScreenshot(from gamasutra)

虽然这位《网络奇兵3》主创并不能代表其他公司发言，但他确实知道“《地下世界：崛起》的表现已经足够好了，不用为下个项目的资金问题发愁了”——虽说他不知道具体的销售数据。

“我的商业合作伙伴在处理这些事情，我只想好好做游戏，”他说。“我不想思考那些事情。和迪士尼打交道的那几年，我在工作室事务方面耗费的心血跟游戏项目差不多，我真的不想再过那样的日子了。我猜你是对的，销售数据没有完全达到我们的期望，但是具体的信息我真的不了解。”

不管这家公司的最新游戏销量收入是否能让后续项目预算无忧，我们都无法忽视实际中还是有不少公司卖不动沉浸式模拟游戏。考虑到这个行业的风险厌恶程度（尤其是顶级公司），这是否意味着沉浸式模拟游戏的末日即将来临？

“它不会消失的，”Spector说。“如果事情真的发生了，那我也会选择销声匿迹。”

“对于《网络奇兵3》还有OtherSide其它游戏，我们会尽量将预算和预期销售保持一致。考虑到预算，游戏的销量并不需要达到1亿份，我们不需要为了大型发行商的成功拼到10亿美元。现在我们压低了预算，这意味着我们不用卖那么多游戏来回本。我们有热爱这类游戏的用户，我们有热爱制作这类游戏的开发者，所以我们需要做的就是调整策略，得到那部分用户。
在这种情况下，开发者很有可能会改变方向，或至少对设计做出一定调整，解决同类游戏中让玩家失望的问题。但是Spector坚持说其它相似游戏所遇到的困境并没有影响他对当前项目的期望。

“或许当初我会受影响改变《网络奇兵3》，但事实是并没有。这么多年来我一直在说我只想按照我想要的方式做我想要的游戏，如果你不认同，那我们就做朋友，不要做同事。我脑中有《网络奇兵3》的蓝图，我有认同这个构想的团队，我们会一同努力将它转为现实，无所畏惧。”

《网络奇兵3》的真正挑战是延续前作的辉煌。距离初代《网络奇兵》的发行已经过去了25年，《网络奇兵2》也是20年前的游戏了，新游戏在沿袭前作的同时也要体现出新时代的优势，Spector表示“这个任务太可怕了”。

“我们不是在跟前两作竞争，我们是在挑战玩家的游戏回忆。《网络奇兵》系列留给他们的印象并不是糟糕的2D动画、粗糙的画面、简单的关卡。

“现在我们有机会重新设计Shodan（游戏中的大反派），给她一个更合理的动机。在早期游戏中，很多带有疑问性的行动只能用“她疯了，脑袋不正常”这样的解释糊弄过去。Shodan是个非常有意思的角色，人们喜欢这个恐怖的敌人，但是关于她的背景设定还可以做得更加详细些。现在我们可以向玩家进一步详述她的历史，完善她的形象，这是件挺酷的事。

太空站Citadel Station也会通过某种特殊的形式回归——它真的被彻底摧毁了吗？重温初代，或许你就能找到答案。还有一些幸存下来的人，他们可以叙述自身的经历，这也是挺有意思的。

“但是我们得时刻记住平衡是非常重要的。要确保游戏吸引的不仅是系列核心玩家。原版的《网络奇兵1》和《网络奇兵2》在大约三年前重新上架，销量超过100万份——所以我们知道还是有玩家想要尝试这类游的，但我们的目标远不止于此。既能取悦现有粉丝，又能让新粉丝在不了解故事背景情况下注意到游戏的亮点，我们就是要在这其中找到平衡。”

《网络奇兵3》和《地下世界：崛起》让Spector有机会去重新审视、改良自己的早期作品，但是其它游戏的决策权还是在开发商手中。这位资深开发者过去曾把《杀出重围》称作他梦寐以求的项目，或许你觉得Spector失去这个游戏的控制权一定会很沮丧，但他反而对Square Enix迄今为止的策略表示赞赏。

“多数人都没有机会做出超自己能力范围的作品，所以这就像是‘看啊，我的孩子长大了。’《杀出重围3：人类革命》的开发团队很尊重这个系列，他们理解我们的愿景。

“当时的风险真的很大。我想他们连代码库都没有，没人做过《杀出重围》这样的游戏，太疯狂了，不过好在最后圆满完成了。有些事情我认为我会采取不一样的做法，于是我就去告诉他们，但得到的却是无视。或许这样做才是对的，毕竟已经是他们的游戏了。在游戏结束时，我得到的是一段《杀出重围》式的体验，一切都非常好。”

就如上文所说的，Spector坚信沉浸式模拟游戏不会消失。相反，他认为开发者有能力创造出更复杂的模拟内容，比如物理等其它元素，这只会让沉浸式模拟游戏发展得更宏大。玩家能够在游戏世界中应用实际逻辑，将这些模拟系统作为一个工具来解决他们遇到的问题。

“另外，是时候尝试多人模式了，”Spector总结道。“我认为这是一种必然趋势，相关讨论已经持续好几年了，但是没有人尝试成功。”

沉浸式模拟游戏一直以来都处在单机游戏的分支下，多人版本要怎么玩？

“如果我告诉你了，那之后只能杀你灭口了，”Spector说。或者悄悄地修改、删掉这篇文章——总是有另一种选择。

本文由游戏邦编译，转载请注明来源，或咨询微信zhengjintiao

Immersive sims is a genre all about choice, but fans are rapidly running out of them.

Deus Ex, Thief and Dishonored are all on hiatus following the disappointing performance of their latest outings, and the poor reception for Underworld Ascendant (the spiritual successor to Ultima Underworld, deemed by many to be the first immersive sim) makes a follow-up unlikely.

It would be easy to argue the genre is dying, at least at the level of major publishers, and the scope of such projects makes them difficult for indies to deliver. At Reboot Develop, we asked Warren Spector — known for immersive sims, including Deus Ex, Thief and System Shock — why the segment is struggling.

“The reality is we ask people to work,” he told GamesIndustry.biz. “It’s an interesting thing. The immersive simulation is not the kind of game where if you keep moving forward, like a shark, you’ll eventually win. It’s not the kind of genre where you just solve a puzzle the designer created for you, or kill everything that moves and you win. It’s a genre where you have to decide what to do, you have to choose how to interact with the world. That is work, it requires brain power. So I suspect that’s part of it.”

But surely that’s integral to the genre’s appeal? These games are all about choice. If a player wants to treat Deus Ex, for example, as a shooter and go in all guns blazing, they can. Alternatively, they can approach it like a stealth game, or concentrate on hacking and other non-combat abilities to find new avenues forward. Essentially, it’s like an RPG but without number-crunching or the grind.

“That’s exactly right,” said Spector. “The odd thing is I always thought, and still think, that’s the most mainstream idea you could possibly think of. If I play a shooter or a stealth game and I’m not good enough, all I can do is stop playing. Same if I’m playing a puzzle game and I’m not clever enough. In the immersive simulation, if the combat or stealth is too hard you try something else.”

Spector suggested that part of the genre’s decline might be because elements, even the entire ethos, can be found in other games. While he’s careful not to claim direct influence, he cited Zelda: Breath of the Wild as a game with, “some of the tenets of immersive simulation.” Similarly, the Far Cry series has been built around enabling players to adapt their playstyle how they see fit.

While the System Shock 3 director can’t speak for other companies’ games, he does know Underworld Ascendant has “done well enough to get our next game funded” — although he said he doesn’t know the exact sales figure.

“My business partner handles all this stuff because I just want to make games,” he said. “I do not want to think about it. I spent a few years with Disney thinking about the studio as much as I was thinking about the game, and I don’t want to do that anymore. I suspect you’re right, that sales weren’t quite what we hoped for, but I really don’t know.”

Regardless of whether his company’s latest release sold well enough to fund another, it’s impossible to ignore the number of companies struggling to sell this type of game in sufficient quantities. Given how risk-averse this industry can be, particularly at the top, does this mean the end is nigh for immersive sims?

“It’s not going to disappear,” said Spector. “Well, if it does, I’m going to disappear. By choice.

“One of the ways to address this on System Shock 3 and at OtherSide in general is we’re trying to keep our budgets in line with our expected sales. Given our budget, we don’t have to sell 100 million copies, we don’t have to make $1 billion for a major publisher to succeed and to make money. Our budgets now are by choice more modest, and that means we don’t have to sell as many copies. We have a dedicated audience, people who love these games. We have people who love making them. So all we have to do is adjust our thinking to reach that audience.”

Under the circumstances, it would be tempting for a developer to pivot, or at least adapt its design to somehow address whatever it is about other titles in this space that disappoints players. But Spector insisted the woes experienced by so many similar franchises have not had an impact on his vision for his current project.

“It probably should have affected the way I think about System Shock 3, but honestly it hasn’t,” he said. I’ve been saying for years I make the games I want to make, the way I want to make them. If you don’t want that, let’s part ways now and stay friends. I’ve got a picture in my head [of System Shock 3], I’ve got a team that buys into that who are going to make that picture a reality, and we’ll let the chips fall where they may.”

The real challenge with System Shock 3 is living up to the legacy of its forebears. It’s been 20 years since System Shock 2, 25 since the original, and striking the balance between staying true to the old games but adopting the advancements of newer ones is “terrifying,” according to Spector.

“We’re not even competing with System Shock and System Shock 2; we’re competing with people’s memories of them. And their memories are not of terrible-looking 2D animation, blocky graphics, simple levels.

He continued: “But it’s interesting and strange to have the opportunity to go back and give Shodan some sensible motivation. In the earlier games it was like, ‘Why did I do it? Because I’m mad of course.’ It’s a great character; people love Shodan and she’s a terrific villain, but that’s not the most sophisticated motivation you can come up with. So the opportunity to explain who she is, let her become something is kinda cool.

We’re also going to bring back Citadel Station in some form — was it entirely destroyed? If you go back to the original game, you can find the answer. There were some survivors of those early games, so being able to tell people what happened to those characters is fun.

“But the thing we always have to remember is that it’s a balancing act. We have to make sure we reach beyond the core fans. The original System Shock and System Shock 2 were re-released in their original form with no changes about three years ago and sold over a million copies — so we know there’s an audience out there, but we need to reach beyond that. We’re finding the balance between pleasing the existing fans and giving new fans something to grab onto without knowing all the lore.”

System Shock 3 and Underworld Ascendant have given Spector the chance to revisit and improve on some of his earliest creations, although the rights to his other past works now lie in the hands of other publishers. The veteran has in the past described the original Deus Ex as his dream project, yet while you might expect he would be upset to no longer have control over it, he instead offered praise for Square Enix’s handling of the franchise so far.

“Not many people get the opportunity to work on something that’s bigger than they are, so it’s kinda like, ‘Oh look, my baby is growing up.’ And the people who worked on Deus Ex: Human Revolution respected the franchise, they got what we were trying to do.

“It was incredibly risky. I think they started with no codebase, they had never done a Deus Ex game. It was crazy, but they pulled it off. There were things I would have done differently, and I told them — and they ignored me, which is probably the right thing to do because it’s their game now. By the end of the game, I had had a Deus Ex experience because it’s all good.”

As mentioned, Spector remains confident that immersive sims won’t disappear. Instead, he believes developers’ ability to create more complex simulations of things like physics and other elements of the world will only improve the scope of them. Players will be able to “apply actual logic” to a world and the decisions they make, using these simulated systems as a tool to solve the in-game problems they face.

“Also, it’s probably time for us to go multiplayer,” he concluded. “I think we have to see that. We’ve been talking about it for years, nobody’s done it right.”

The history of the immersive sim is one of single-player campaigns, so how on Earth would a multiplayer version work?

“If I told you, I’d have to kill you,” Spector said. Or perhaps use a stealth takedown, or hack this article — there’s always another choice.

（source: gamesindustry.biz ）