游戏邦在:
杂志专栏:
gamerboom.com订阅到鲜果订阅到抓虾google reader订阅到有道订阅到QQ邮箱订阅到帮看

从不同层面分析游戏空间中的野地

发布时间:2013-09-07 13:53:22 Tags:,,,,

作者:Martin Nerurkar

毫无疑问,电子游戏是一种具有强大空间感的媒体。为玩家提供一个可以在其中穿行、与其互动的环境,对许多类游戏来说是必不可少的。我们来看看主要几种类型:

跑跳类(平台):名称已经暗示了这类游戏的空间性。达到一个隐蔽或困难的目标是其核心玩法。

RPG:在RPG中,探索通常也是一种重要的玩法。

动作:走位和躲避敌人、炸弹等通常是核心玩法。因为掩体机制的引入,玩家与周边环境的关系甚至变得更加明显。

策略:对于射手,巧妙地利用环境是关键。领土掠夺和占领通常是主要玩法。

所以,即使空间在玩法中具有重要作用,但是它们却长期被忽略,被当成故事的容器。当然,也有例外。我想到的第一个例子就是《生化奇兵》。设计团队似乎有意识地创造了他们想要的环境,所以游戏中的极乐城不只是作为游戏的背景,在某些故事中甚至成为一个角色。

bioshock(from gamearch)

bioshock(from gamearch)

说到设计人类角色,我们似乎可以想到数之不尽的原型,例如骗子、妖女、克隆人或更现代一点的反派等等。这些原型角色已经被深入全面地研究和探讨过了,且通常是从脚本创作的角度。比如,《Hero with a thousand Faces》和《The Writer’s Journey》这两本书就是这方面的代表作。

然而,似乎没有什么人像研究人物角色那样研究环境空间。如果空间可以成为故事中的角色,那么它们就应该有原型,对吧?比如,“避风港”、“监狱”、或者“野地”,等等。在接下来的几个月里,我会继续究这个假想。每两周,我会挑选一个新的空间原型并分析它。

我希望读者们对这个项目有兴趣,与我一起展开探索之旅。

这次我要说的第一种空间原型是:野地。它包括森林、荒漠、沼泽、幻境、外星球,等等。

tiger(from gamearch)

tiger(from gamearch)

电子游戏经常以野地为环境。跟着我的分析,你就会明白为什么会这样。事实上,野地普遍到许多游戏的构造甚至属于这种原型的空间。动作游戏往往就属于这一类,这是因为它们的情节元素通常极少。如果想传达更复杂的故事,最可能的办法就是让故事发生在各种各样的空间中。

核心主题

(这部分描述了决定这类原型以及使它与其他原型区别开来的本质特征。)

野地是充满危险和不确定因素的地方。本质上说,它是野性的。因为文明的光辉还没有照射到这里,所以初涉这片危险之地的人会感到前所未有的恐惧。

这不是适合人类居住的地方。在这里,玩家是异乡人。他感到不自在,不受欢迎;甚至可以说,他到了敌人的领土,不可能无所事事地闲逛。

野地通常是一个必须穿越的地方。而理由往往只是为了到达另一个新地方。比如,因为两座文明小岛之间隔着野地,所以就只能穿过它。另一个常见的原因是,寻找野地中的某东西,可能是宝藏,也可能是其他能带来名或利的东西,还可能是寻找一个因另一个原因而远离文明的人。

剧情层面

(这部分解释了故事中的角色如何看待和对待野地。)

在故事中,野地往往是文明区域的对立面。它们围绕着安全区,是边缘地带。出了城市,就进入野地。

对于居住在文明城市中的人,野地是一个让人心生恐惧的地方。游戏世界中的大部分不会轻易进入野地—-如果非要进入,那也是在被保护的情况下。在危机四伏的野地,只有极少数人能幸存下来,如向导或猎人。没有什么人敢住在那里,甚至那些被流放的、被通辑的危险份子也不肯。

人们告诉你要万分小心,给(或卖)你装备,好帮助你穿越野地。(“只身前往很危险,拿着这个吧。”)他们会告诉你关于野地和它的住民的事、某人在野地失踪的传说。

但那还不够。当夜幕降临,人们还要锁上门窗。因为不仅野地是危险的,它的周边也是不安全的—-可能有大批野兽和怪物出没,甚至会偷走人类的小孩。

空间-视觉层面

FarCry2(from gamearch)

FarCry2(from gamearch)

(这部分从建筑学的角度分析野地的空间和视觉表现作用。)

野地的核心特征是不确定性、不可控性和二者产生的危险性。

不确定性通常表现为有限的可见度。在野地中很难看到远处正在发生什么事,更不可能看到野地的全貌。这意味着野地的时形是复杂的,暗藏着许多断层、凹陷和裂缝。还有大量阻碍视线的东西。

野地中没有明显的道路或小径。没有安全的路径,意味着不可能看出往哪个方向走才是最安全的。光照条件差或有浓雾通常也是野地的典型特征,进一步隐蔽了它的危险处。

叙述层面

(这一部分详述了野地在故事来情境中的典型目的。)

与故事中的其他地方一样,野地可能是极其重要的存在,也可能只是一个短暂休息的场所。对于后一种情况,野地可以轻易地提供一些活动和悬念,与比较缓慢的故事节奏形成鲜明对比。

如果野地是重要故事高潮中的一个地方,那么它通常也是角色接受考验的地方。它的不确定性给主人公带来许多不得不面对的挑战。在电子游戏中,通常要求玩家掌握应用挑战的技能才能继续进展,但在其他叙述媒体中,主人公挑战失败是同样可以接受的结果。

star-wars-luke-sand-people(from gamearch)

star-wars-luke-sand-people(from gamearch)

然而,野地也可以是一个得到意外启示或邂逅的场所。因为对野地几乎一无所知,所以角色可以在那里醒悟到什么或认识新物品、地点、人或发现真相。

野地还可以是暴露角色另一面的地方。角色应对危险(或对恐惧危险)的方式可以让我们对他产生新认识。

同样地,野地可以用来展示角色力量的成长。随着熟悉,原本应该让人感到害怕的地方可能变得毫无危险。

功能层面

(这部分探讨了野地的核心特征如何响应游戏和互动机制。)

从玩法的角度说,野地是暗藏危险的地方。可能是土匪或盗贼、野兽或自然灾害。

野地的关键挑战通常是,达到目标,同时尽可能少受伤。

不确定的寻径

寻径通常是不清楚的。野地上没有或极少有人为的道路或小路,所以需要进行一定程度的探索。不确定性是空间让人产生不安全感的重要原因。

野地通常有许多隐藏空间,可能是有益的也可能是有害的。这意味着探索者面临着有意义的选择,要么是冒险去探索新的路,以便发现什么东西,或者呆在安全的地方。

不可控的危险

危险往往是隐蔽和不可预见的。敌人的移动模式和出现很难预料,所以每一步都要走得加倍小心。

野地是遭遇战的多发地;每一次遇到的危险都是不同的。这些遭遇战通常是无限的,这意味着危险也是无尽的。通常不可能通过暴力让野地变得安全。

另一方面,许多RPG利用野地作为刷任务刷怪的场所。如果是这样的话,那么野地就失去危险性了。所以,野地的危险性必须随着主人公力量的增长而提高。但这就让野地在剧情中的作用变得非常荒诞了。

案例1:黑森林

野地的最传统最典型表现就是黑森林。这种场景经常出现在童话故事中,比如《Hansel & Gretel》(游戏邦注:这个童话也译名为《糖果屋》,讲的Hansel和Gretel俩兄妹被后母遗弃在黑森林,后发现一个糖果屋的故事)和《小红帽》,在这些故事中,黑森林是一个危险、容易让人迷路或被野兽吃掉的地方。

案例2:梦境

另一个常见的野地场景是梦境。梦境不是一个真实的空间,正是因为如此,它才是危险而离奇的。例如,Fade就是游戏《龙腾世纪:起源》中的一个梦境之地。

总结

剧情:

不可控制

危险

让普通民众感到害怕的

空间-视觉:

复杂的地形

视线被各种掩体阻挡

能见度低(有雾或光照差)

叙述:

危险可以作为挑战

可能发现隐藏的真相、事实和物品

可以体现主角(们)的力量成长

功能:

探索各种路径

隐藏的宝藏和危险(探索,随机)

随机遭遇战、不可预测的敌人

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

Archetypical Spaces

by  Martin Nerurkar

Video games are undoubtably a very spatial medium. Environments that players can (and must) move through or interact with are essential for many types of games. Let’s just briefly examine a few genres:

Jump ‘n’ Run: The name itself already suggests a movement through a space. Here reaching an elusive goal is the core gameplay.

Role-Playing Games: Often times in RPGs exploration plays a paramount role.

Action: Here clever positioning and evasion of enemies and projectiles is often core. With the introduction of cover mechanics this relationship to the surroundings has become even more overt.
Strategy: As with shooters, tactical use of the environment is key. Territorial acquisition and control is often directly anchored into the gameplay.

So even though spaces are such a big part of the gameplay side of things, they have long been neglected as a vessel for storytelling. Granted there’s been some exceptions to this rule. One that immediately comes to mind is of course Bioshock. Here the design team seems to have created their environment very consciously. In a way the city of Rapture is more than a backdrop, it has very much become a character for this specific story.

When it comes to writing human characters we seem to have an exhaustive collection of archetypes. The trickster, the temptress, the crone or the more modern antihero are just a few of those. These lists of prototypical characters have been throughly researched and discusssed, often from the perspective of script writing. The famous Book “Hero with a thousand Faces” and it’s followup The Writer’s Journey are prime examples of this.

However for environments there seems to be much less brainpower spent on the topic. Still if spaces can be characters in a story, then there must be archetypes, right? Places such as the “safe haven”, the “prison” or the “wilderness”. At least that is the assumption that I will follow up for the next couple of months. Every two weeks I will pick a new space archetype and try to dissect through the lens of the game and level designer.

I hope this is a project you are interested in seeing and that you’ll join me on this little expedition.

Aliases: The Forest, the Desert, the Swamp, the Dreamlands, the Alien Planet

The Wilderness is an incredibly common trope in video games. It will become evident why this is the case as I dissect this trope. The Wilderness is so common in fact, that many games are built only of spaces that belong to this archetype. Action games very often use only this one pattern, something they can do because their stories are often so minimal. Would they want to tell more complex stories, they would most likely have to include a wider variety of spaces.

Core Theme

(this section describes the essential kernel that determines this archetype and makes it recognizably different from all others)

The Wilderness is a place of danger and uncertainty. At it’s core it is an untamed place. Barely touched by civilization it is a dangerous place, a sort of manifestation of the ever present fear of the unknown.

This space is not fit for people to dwell in. In this space the player is a stranger. He is not at home nor is he welcome. He is – so to say – in enemy territory. It is not a place to stand around in idly.

The Wilderness is usually a place that has to be traversed. Often the reason is simply to get to a new place. And since these islands of civilization are far apart one has to cross the intermittent wilderness. Another common reason is to seek out something within the Wilderness. This may be a treasure or object of renown or importance, or a person that has removed himself from civilization for one reason or another.

Diegetic Layer

(This section describes how the Wilderness is treated and seen by the inhabitants of the storyworld)

In the storyworld itself the Wilderness is usually what demarks civilized areas. It is the space that surrounds safe places and thus marks their borders. Beyond the city the Wilderness begins.

For the people living in the predictable safety of civilization the Wilderness is a place to be feared. Most people of this world hesitate to tread there lightly – and if so then only if they are well protected. Only a hardy few make their living in this dangerous place, as guides or hunters. And even fewer dare live there. And even those are most likely dangerous, driven into exile and twisted by their environment.

People urge you to be careful, giving (or selling) you equipment to get you through the wilds. [It is dangerous to go alone. Take this.] They will tell stories of the Wilderness and the things that dwell within. Tales of people succumbing to the hazards, vanishing forever.

But that’s not enough, because when night comes, they lock their doors and man the walls. Not only is the Wilderness a dangerous place, it’s influence also extends beyond its borders. It can be the cauldron from which terrible beasts spring forth. Out of the thick underbrush they come at night to steal human children.

Spatio-Visual Layer

(This section explains typical tropes when it comes to the architectural make up of these spaces and their visual presentation)

The core themes of the Wilderness are uncertainty, uncontrollability and the danger that grows out of those.

Uncertainty often manifests as a limited visibility. It is difficult to overlook what’s happening and to get a complete sense of the space. This means that the geometry is often complex and fractured with many hidden nooks and crannies. There’s a lot of visual cover and sight lines are usually uncomfortably short.

There’s no clear road or path which to follow. The lack of a safe path makes it impossible to see which way is the least dangerous. The Wilderness also often features very poor lighting conditions and/or fog, additionally obscuring it’s dangers.

Narrative Layer

(This section details the typical purpose of the Wilderness in the context of a story)

As with all places in a story it can be of vital importance or provide only a short intermission. In the latter purpose the Wilderness can easily provide some action and suspense to create contrast to the slower paced segments of a story.

If the Wilderness is the place of a vital story beat then it is often where the character is tested. Its uncertainty brings forth many challenges that the protagonist has to face. In video games these are usually to be mastered to continue but in other narrative media a failure is an equally acceptable outcome.

However it can also be a place of unexpected revelations or encounters. Since little is known about the Wilderness, it is where new insights come to light or old items, places, people or truths can be found.

This can also bring out new facets of known characters. The way they deal with the dangers of the Wilderness (or their fear of those) can tell us something about them.

Also like all challenges the Wilderness can be used to show the growing power of the characters. A place that was to be feared has grown familiar and harmless.

Functional Layer

(This section talks about game and interaction mechanics that correspond with the core themes of this archetype)

In Gameplay terms the wilderness is where danger lurks. This can be anything from bandits or pirates to wild beast and natural hazards.

It’s key challenge is usually to reach one’s goal, suffering as little harm as possible.

UNCERTAINTY OF NAVIGATION

Navigation is often unclear. There are no or few man-made roads or paths and so a degree of exploration is required. This unordered uncertainty is important to make the space feel unsafe.

Often the space supports exploration beyond a bare minimum, offering hidden spaces, both rewarding and dangerous. The meaningful choice can be whether to risk the danger and leave the beaten path in the hopes of discovering something or to stay safe.

UNCONTROLLABLE DANGER

Danger is often hidden and unpredictable. The movement patterns and appearance of enemies is hard to predict and so every step needs to be carefully measured.

Often the Wilderness features random encounters, where the dangers are different every time one visits the place. These encounters are also usually infinite, that means the supply of danger is never exhausted. It is usually impossible to make the space secure through violence.

On the other hand in many RPGs this can lead to using these spaces for grinding. If this happens then the space has lost it’s danger and has become something else to the player. This also leads to something else, where the environments need to keep up with the escalating power of the protagonist. This makes the Wildernesses grow increasingly diegetically absurd.

Example 1: The Dark Forest

The clearest and most traditional expression of the Wilderness is the dark forest. A trope that often appears in classic fairytales. From Hansel & Gretel to Little Red Riding Hood, the Forest is a place of danger, where one is likely to be lost and eaten.

Example 2: The Dreamland

Another common and very pure manifestation of the Wilderness is the dreamland. The dreamland is a space that is not truly real within the diegetic world. It is strange and dangerous through this alone. An example use of this in video games is the Fade as it appears in Dragon Age: Origins.

Summary

DIEGETIC
Untamed
Dangerous to be in
Feared by the general populace

SPATIO-VISUAL
Fractured geometry
Visual cover, short sight-lines
Poor visibility (fog, lighting)

NARRATIVE
Danger can be a challenge
Hidden truths, facts and items can be uncovered
Can show growing power of the protagonist(s)

FUNCTIONAL
Exploration through varying paths and niches
Hidden treasure and hazards (exploration, random)
Random encounters, unpredictable enemies

(source:gamearch)


上一篇:

下一篇: