为什么开发者们都爱夸夸其谈？在这个星球上，最爱自掘坟墓的人莫过于喜怒无常的游戏设计师了。这恰恰不是少见之事；无论是Silicon Knights游戏工作室总裁Denis Dyack发表了他的最新长篇演讲，还是Bullfrog工作室的核心人物Peter Molyneux告诉我们他的最新力作将强大到使成年男性承认自己对Milo产生恋童癖，我们都知道，游戏行业不缺说起话来滔滔不绝的家伙。然而，开发者们的嘴动得比他们团队的工作还快，结果必然是使玩家为他们的大肆宣传感到失望和怀疑。
为什么开发者喜欢大叔音？为什么所有男性主角除了Nathan Drake（游戏邦注：《神秘海域》的男主角）外说起话来时，声音听起来都像40岁的烟鬼呢？这就是我们所谓的“强迫性感”。是的，《战争机器》中的Marcus Fenix是让人觉得有一种酷酷的感觉，但是，所以任何肌肉发达的人说话都要刚像吃过一嘴烟灰吗？确实，塑造一位形象饱满的经典角色（如《007》系列的James Bond和《星球大战》的Han Solo）是很费功夫的，让大多数开发者感到棘手。
The Top 7… trendy game-design crutches
by Andrew Groen
We’ve all seen dozens of lists over the years that recount all the things old-school game designers loved to include in their games for bizarre and unknown reasons, like exploding barrels and wolves that carry gold and chainmail for you to loot upon their death. Yes, these things were weird, and yes, they were ubiquitous in 8-,16-, and even 32-bit games. But why stay fixated on such long-irrelevant game-design choices when so many current developers are finding new ways to make fools of themselves every week?
Above: Hardly anyone makes mine cart levels anymore. Time to move on
In the past few years, a number of trends just as inexplicable as exploding barrels have spread like wildfire among game designers, to the point that a lot of games seem to rely on them (however paradoxically) to be noticed. Over the following seven entries, we’ll examine some of the most egregious ones and try to get to the bottom of why developers love this stuff so much.
7. Gravelly Voices
Why do they love them? Why is it that every male lead character outside of Nathan Drake has to sound like some 40-year smoking veteran named Aunt Ethel chainsaw-battling an angry wolverine when he talks? This is what we like to call “forced cool.” Yeah, Marcus Fenix is kind of cool, but so is anyone with 28-inch biceps who sounds like he eats smoldering ashtrays for breakfast. Obviously, it takes so much effort to craft a good character with subtle wit and subdued badassery (like James Bond or Han Solo) that most developers simply cannot be bothered.
Case in Point: Alex Mercer (Prototype)
By what right does Alex Mercer deserve his deep baritone? He’s a hoodie fanatic who constantly hides his face and believes he’s been deeply wronged by the powers that be. That pretty much only qualifies him to be a whiny emo kid.
6. Hoods, masks and helmets
Why do they love them? Developers enjoy waxing philosophical about the reason they choose not to reveal their character’s face. They’ll tell you all about how it allows players to become more immersed in the character, because on some level, they believe the character could really be them! If you want the realistic truth, though, it’s because they don’t want to spend the time or the resources to develop decent facial animations, and they couldn’t think of any other reason why the character’s face would be perpetually constipated during gameplay. So they cover his face in a hood or a space helmet and call it a day. Also, hair is a bitch to animate.
Case in Point: Altair (Assassin’s Creed)
Supposedly, Altair hides his face because he doesn’t want to be noticed in a crowd, or identified. But seriously, what sticks out more in a crowd than a guy in a giant white robe who hides his face and creepily stalks around? Admit it, Ubisoft: the hood was just for cool points.
Why do they love it? We suspect that, at some point during the development of Assassin’s Creed, the developers at Ubisoft decided they needed some way to make things a bit more X-TREME. And since Altair with a BMX bike would have been a little silly, they had to find another extreme sport that fit more readily within the context of brutal-yet-subtle-murder. Thus, parkour suddenly became THE way to get around in games, and apparently it’s never going to go away, no matter how little sense it makes.
Case in Point: inFAMOUS
Seriously, why did having electric superpowers make Cole really good at climbing things in inFAMOUS? Couldn’t they have at least come up with some kind of silly lore-driven workaround, like those micro-fibers on Spider-Man’s fingertips?
4. Unreal Engine 3
Why do they love it? Unreal Engine 3 has become so synonymous with big-budget Western games that simply announcing you’ll be using it gets your game headlines. Developers don’t use it because they necessarily want to, but rather because using Unreal Engine 3 automatically guarantees the game will be considered “graphically superb” by a gaming world which dubs that which is shiniest, best.
Case in Point: Damnation
When Gears of War pioneered the “Unreal Engine 3 look” on consoles, it inspired years of wannabes to come chasing after its coveted aesthetic of “dirty and gritty, with a thick coat of saliva.” Damnation is a prime example, aping the weathered look of the Gears games, but none of their playability or charm. It’s also proof that “Unreal Engine 3” doesn’t necessarily mean “good-looking,” as anyone who’s seen it running for more than five minutes can attest.
Why do they love it? A game developer who mashes two genres together reeks of the same desperation as a starving gamer running to the fridge at 2 a.m. only to find it barren. A developer who exclaims, “platforming-first-person-shooter-adventure-… MMO!” is just like that starving gamer, who in our example goes on to craft the curious culinary concoction of stale spaghetti with mustard and a Powerbar on a sesame seed bun. We can all agree that it was… interesting, but most of the time we end up swearing we’ll never try it again.
Case in Point: MAG
OK, so, wait: Each game is like an RTS, but only for one person on each team? And that person gives orders to a bunch of sergeants, who are playing an RTS/FPS hybrid? And those sergeants then relay commands to 230 other soldiers, who are playing a pure FPS? And it’s sort of like an MMO too?
Why do they love it? No group of people on this earth is more fond of digging their own graves than temperamental game designers. This is not precisely a rare bird; whether it’s Denis Dyack going off on his latest tirade, or Peter Molyneux telling us all that his latest masterwork is going to be so powerful it will make grown men commit Natal pedophilia with Milo, we’ve certainly no shortage of daytime drama here in the videogame industry. And yet developers continue to run their mouths faster than their teams can work, with the end result being disappointment and skepticism after too much hype.
Case in Point: Peter Molyneux
“I reckon that Project: Ego [Fable 1] is going to be the greatest role-playing-game of all time, which is insane. I could say the second greatest, I could say quite good, I could say, ‘Hmmmm, it’s quite nice,’ but I’m going to say greatest game of all time.”
– Peter Molyneux, in an interview with Xbox Nation, July 2003
Why do they love it? So what if most sequels demand you spend the next few years of your life developing something soulless just for the money? It’s so freakin’ easy! Use the same engines and art assets from the last game, throw in a few more characters onscreen, add some zombies, and BOOM! Payday! That said, it’s hard to blame the developers for this, considering it’s the gamers who continue to purchase this stank-ridden swill. Seriously, who is it that’s still buying Dynasty Warriors?
Case in Point: Halo 3: ODST
We don’t know how good Halo 3: ODST will be, but what we do know is that it’s blatant brand-name sequel filler that’s being pushed out onto the market for the sake of filling another fiscal quarter with a Halo game. It may turn out to be a fantastic game, but let’s all be realistic: this is a cash-in title that exists for the sole purpose of keeping the seat warm for Halo 4.(source:gamesradar)