作者：Benjamin Quintero

对于大多数游戏，我都会选择在其热潮逐渐褪去后才开始尝试游戏，因为这么做能够帮助我更加客观地面对游戏。如此，我对于游戏的看法便不会受到任何评论者的影响（不管他们对游戏给予10分的高评价还是1分的糟糕评价）。而最近我开始接触《生化危机6》，或者我可以将其称为，对于耐性的无尽考验。

耐性是一种美德，特别是当你计划着去设计一款像Capcom的《生化危机6》一样的游戏时。不管是让人挫败的控制还是设计糟糕的遭遇，这都是任何游戏设计师必须尝试的游戏。它是设计师最不应该设计的游戏典例，它是让我们必须牢记于心的经验教训。以下我将列出一些你必须避开的要点，否则你便会制作出这般糟糕的游戏设计。

Resident Evil 6（from 1ms）

偶尔才呈现出一些有关游戏环境的内容

确保使用尽可能多的按键组合。努力教会玩家掌握游戏中的语言，然后尽可能频繁地打破规则。设置一些让玩家能够偶尔跃过的桌子。同时摆放一定量可被摧毁的板条箱。而其它鞋盒大小的板条箱则用于吸引玩家再次回来，即使他们已经能够跳到建筑物的最上方（游戏邦注：当环境选择可行时）。确保你所铺设的物体不会被轻易除掉——玩家不能从远处与这些物体进行互动，但却会被它们所吸引，并在靠近时被杀掉。这么做能够让许多最简单的事物产生特别的互动，如进入一个窄小的空间或踏上斜坡。如果在20分钟后，你还不能让玩家了解游戏环境，那就糟糕了。

模糊的游戏奖励屏幕和奖励

在屏幕上呈现出许多奖杯或金光闪闪的物品，但却不对其进行解释。在屏幕上列出一些数字，让那些受到激励的玩家去论坛上寻找答案。是否能在任何阶段或比赛中赢得这些奖杯？我只能看到自己所获取的奖励吗？这个奇怪的绿色奖杯是指什么？或者它本应该是青铜色？我刚刚是否获得了这一奖杯？这些奖励是否会影响我的级别或游戏发展？这是你希望玩家在跳过屏幕上的随机赞扬后问自己的一些问题。但是你必须更加谨慎地去设置这些内容，或通过图像设计帮助他们更有效地找到问题的答案。

在用户界面上，你必须让玩家能够不时经历一些弹出窗口，越多越好。

设置虚假的安全感

呈献给玩家一种虚假的安全感，如在角落中设置安全区域。这么做的话，玩家在退出游戏并再次回到游戏中后将不得不重新执行完整的任务。同时，遗忘所有能被收集的内容，如隐藏的道具，稀有的掉落品等等，甚至让玩家不能跳过所有过场动画。始终坚信真正喜欢游戏的玩家总会愿意接受看了无数遍的过场动画，直至你保存了游戏系统，并保存了他们的前进过程。

动画比玩家输入的内容来得重要

如果你设置了一个快速发展的事件，你就需要确保玩家不只看到自己需要按压哪个按钮，同时也需要知道自己应该遵循哪个动画序列。如果动画还未完成，玩家就开始按压下一个序列的按钮，那就严厉地惩罚他们。如要求他们攀爬绳子10分钟，或从10英尺高的地方跳下去等。这便意味着玩家在观看缓慢的动画的同时，也在被超过4倍的游戏内容所追逐着。这已经不是一种压迫感了，而是深深的恐惧！

角色反应玩家的情感

关键是你让玩家必须经历一系列无意义的考验的谜题，从而让他们困惑为什么不能直接开门进去。雪上加霜的是，你还让玩家的角色在一些无聊的谜题中不断呻吟与抱怨。如此玩家便会察觉到，其实你在创造这些谜题时便已经知道它们有够无聊，但是你却并未做出修改。

过场动画使用不当

当你能够使用过场动画时为何还只是滞留于讲述故事？如何进门？使用过场动画！如何拉动控制杆？使用过场动画！如何在城市里搭顺风车？使用过场动画！如何游过一小摊水？使用过场动画！严肃点！不要约束自己。过场动画的潜力是无限的！

如果你使用了过场动画，你就需要警惕如下现象：

1.确保敌人AI足够活跃并始终瞄准玩家。如此，尽管摄像机是位于地图的另一侧，敌人也能够继续打击玩家，并最终杀死他。

2.确保在玩家角色的相反方向设置摄像机，如此他们便能够知道哪个方向不受控制。

3.如果你所激活的过场动画需要两名玩家，一定要阻止第一名玩家打破动画去帮助倒下的另一名玩家。

复制所有作品

你吸取了过去10年里的所有游戏并将其整合到一款游戏中。最关键的是你只选择了其中的一些内容。如复制了《死亡空间》的导航系统，但却未完全应用；《战争机器》的覆盖系统，但却不够新颖，有效；同时还有《现代战争》中一些壮烈时刻，如射击客机，但却不够吸引人。你同时还需要像《光晕》中的生命系统，但是确保敌人只拥有一条生命值，从而让他们不可能再次复苏。玩《生化危机6》就好像是在看《迷失东京》（游戏邦注：2003年10月3日上映的一部美国电影），但却变成是由Chuck Norris所主演，David Schwimmer所拍摄的一部以28天为情节的纪录片。

无足轻重的boss战斗

除非玩家打败4个以上相同敌人的化身，否则游戏中的Boss战斗就不像是真正的boss战斗。在使用抢击爆他们的头颅，用列车碾过他们的身体，拿他们的身体去喂僵尸，放闪电炸爆他们，并使用火箭发射器烧掉他们的第二颗头颅后，玩家便会在看到一根金属长钉刺穿他们的腹部时相信敌人这才真的死了。关键是，玩家知道来自无害的庭院中突出金属钉子居然比自己随身背着的致命武器更具杀伤力。（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）

What Resident Evil 6 Taught Me

by Benjamin Quintero

How Not To Make A Game

Like most games, I seem to find the time for them after the craze has faded.  In many ways I like to be late to the party because it helps me enter the game with a clean palette.  My opinion is not immediately salted by partisan reviews of perfect 10′s and 1′s.  My latest endeavor was a trip down the rabbit hole that is titled Resident Evil 6, or as I like to call it, a relentless exercise in patience.

Patience is a virtue some would say, and it is a very important trait to have if you plan to play Capcom’s Resident Evil 6.  From the frustrating controls to the poorly designed encounters, this game is a must-play for any game designer.  This game is a perfect example of how not to design a game, a lesson that many of us should take to heart.  Below are some tips to help your game execute on equal ground with this tent-pole for bad game design.

Use Contextual Input, But Only Sometimes

Be sure to use as many button combinations as possible.  Also do your best to teach the player the language of the game and then break the rules as often as possible.  Have lots of tables to jump over, but only sometimes.  Be sure to include crates you can break, but only certain ones.  Other crates of shoe box size should be enough to hold the player back even if he is capable of leaping across building tops when the context option is available.  Make sure you have lots of bodies laying around to trip on that can’t be disposed of.  Make those bodies such that the player can’t interact with them from afar, but then have them leap out and kill the player when he gets close.  It’s also a good idea to have many special-case interactions for the most simple things like entering a crawl space or stepping up a 6″ incline.  If more than 20 minutes have passed in your game and you aren’t forcing the player into a context sensitive situation then you are doing it wrong.

Make Your Reward Screen As Illegible As The Reward

Show lots of medallions and shiny things on the screen but never explain them.  Put lots of numbers up on the screen for those motivated enough to dig through forums to figure out what they mean.  Can these medallions be earned on any stage or campaign?  Are there more or am I seeing only what I’ve earned?  What is that weird green medallion, is that supposed to be bronze or did I just not achieve that objective?  How do these rewards effect my rating or the story?  These are the kinds of questions you want your players to be asking themselves as they quickly skip past the collection of random empty compliments on screen.  It will be well worth the engineering and art budget to make this happen.

On the topic of user interface, it is important that you have the player run through as many pop-ups as possible to get into the game.  The more the better, you can never have too many pop-ups.

Progress Is For The Weak

Be sure to give your player a false sense of security with that classic “saving…” in the corner.  That way when they exit the game and return to continue their session later it will force them to replay the entire mission.  Also make sure that you lose any content that may have been collected along the way such as hidden items, rare drops, and most importantly all of the cut scenes that can’t be skipped.  A true fan of your game is willing to watch every cut scene as many times as it takes before your save system actually saves their progress.

Animation Is More Important Than Player Input

If you have a quick-time event, make sure that the player must not only watch for which buttons to press but also they need to follow the animation sequence.  If the animation is not complete and the player begins their action for the next button in the sequence, penalize them as severely as possible.  A good example might be to force them to climb a rope for 10 minutes, forcing them to fall a good 10 feet if they break the sequence or interrupt the animation.  It is also suggested that you play the animation as slow and methodical as possible while being chased by something at least 4x faster than you.  That’s not frustration you are feeling, that is fear!  Can you feel it?!

Have the Avatar Reflect Your Feelings

It is critical that you drag the player through a series of meaningless trials and puzzles that are too easy to be called a puzzle and just difficult enough that they question why you didn’t just let them walk through the door.  To add insult to injury, make sure the player’s character is constantly moaning and groaning at the idiocy of the puzzles.  That way they know that you as well know that these puzzles sucked when you made them and they still suck now.

Cut Scenes Are Not Just For Story Kids

Why stop at just telling the story when you can do everything with cut scenes?  Need to walk through a door? Cut Scene!  Need to pull a lever? Cut Scene!  Need to hitch a ride through the city? Cut Scene!  Need to swim across a small body of water? Cut Scene!!  Seriously!  Don’t limit yourselves people.  The potential of cut scenes are immeasurable.

If you do use cut scenes, there are some rules you need to follow.

1.Be sure to keep the enemy AI active and targeting you.  This way they can continue to beat you to death while the camera is on the other side of the map.

2.Be sure to face the camera in the opposite direction from the point at which you took control from the player.  This will ensure they know what direction not to take once control resumes.

3.If you activate a cut scene that requires both players, prevent the first player from breaking out of the animation to help the second player who has just been taken down and is bleeding at their feet.

Copy EVERYONE!

It’s important that you take the best elements of every game from the past 10 years and jam them into one game.  More importantly however is that you do them all half-ass.  Have a navigation system like Dead Space, but no exactly.  Have a cover system like Gears of War, but not as stylish and not nearly as useful.  You can’t forget the epic moments like a shoot out on a passenger plane from Modern Warfare, but less awesome.  Make helicopter crashes so awesome that you have to play them twice to appreciate it’s awesomeness!  You also need a health system like Halo but make sure that the enemies take at least 1 whole bar so that you have no hope of ever healing back to full health; especially with non-intractable zombies that suddenly come to life before your slow-as-molasses character can react.  Playing Resident Evil 6 felt like I just watched Lost In Translation, cast with Chuck Norris, with the plot of 28 days, and it was filmed as a documentary by David Schwimmer.  You need this kind of forward thinking in your games.

Boss Like A Boss

A boss fight is not a boss fight unless you fight 4+ frustrating incarnations of the same enemy.  After blasting their head off with a shotgun, running them over with a train, feeding them to zombies, frying them with lightning bolts, then blowing their second head off with a rocket propelled grenade, trust that they are dead when a tiny metal spike pierces their abdomen.  It’s important that the player understand that a metal spike protruding from a harmless courtyard centerpiece is far more dangerous than the armory of death-dealing mayhem they carry on their back.  It is events like these that make the player really feel like it was all worth while.（source：gamasutra）