游戏设计的100个原理外文翻译资料

100 PRINCIPLES OF GAME DESIGN

Wendy Despain, Editor

1. Universal Principles for Game Innovation

Principle 7.Gardnerrsquo;s Multiple Intelligences

In 1983, Howard Gardner, a developmental psychology professor at Harvard, came up with a theory of multiple intelligences. This theory states that all of us, as individuals, have strengths and weaknesses in the way we learn. As an example, some take to learning math in school very easily whereas others struggle. This does not necessarily mean they cannot learn it, but that the traditional ways in which math is taught in schools may not be the correct approach for these students.

Through his research, Gardner found that there are eight different intelligences or ways in which people learn; he broke them down this way:

bull; Logical-Mathematical: The process of learning through critical thinking and using logic. This is what may be vaguely referred to as left-brained learning.

bull; Spatial: The process of learning by using the mindrsquo;s eye to visualize items in space. This is how professional Chess players are able to visualize the moves not only they can make but that their opponent can make in turn.

bull; Linguistic-Verbal: The process of learning from words, whether they be aural or written. Those strong in this intelligence can learn from listening to speeches or reading books.

bull; Bodily-Kinesthetic: The process of learning from moving onersquo;s body and the physical world around them. These learners do better if they can stand up, move around, or have physical contact with items they are learning from.

bull; Musical: The process of learning through the use of all things musical; tone, pitch, rhythm, and sound. A learner of this type can learn from childhood rhymes or anything posed to them in a lyrical fashion.

bull; Interpersonal: The process of learning from interactions with other people. This person might be a caring sort or a social butterfly.

bull; Intrapersonal: The process of learning from oneself. These are the quiet people who are always looking within themselves for answers.

bull; Naturalistic: The process of learning from relating to onersquo;s natural surroundings. If designers keep each of these intelligences in mind when designing a game, they can open it to an infinite number of players. These intelligences have been used in games before. Eve Online and Dungeons and Dragons appeal to those with logical and mathematical minds with all of the stats that players have to keep up with. A Rubikrsquo;s Cube and games like Lumines appeal to those people with a shine for spatial learning. Dungeons and Dragons and most text-based roleplaying games (RPGs) appeal to those who learn linguistically. Games like Red Light, Green Light and any of the new motion-controlled games excite those keen on kinesthetic learning. Musical Chairs and Legend of Zelda: Ocarina of Time utilize music to bring in those who learn this way. The advent of the Internetrsquo;s online play and group play in Dungeons and Dragons appeals to those who learn interpersonally. Solitary games such as Solitaire and some RPGs help those who are self-reflective learn more about themselves interpersonally.

Scavenger hunts and hidden items games allow those who learn from their surroundings in a naturalistic way to excel.

Many games utilize two or three of these intelligences, but how many of them touch on a little bit of each?

Principle 8.Howardrsquo;s Law of Occult Game Design

Howardrsquo;s Law of Occult Game Design (or just The Law of Occult Game Design or Howardrsquo;s Law) can be expressed as a formula: “Secret Significance prop; Seeming Innocence times; Completeness.” Translated into everyday speech, this equation means that the power of secret significance is directly proportional to the apparent innocence and completeness of the surface game. In this case, innocence refers to a surface that appears simple, cheerful, even carefree. Completeness means that players can experience the game naively as a conventional platformer, shooter, or other standard game genre without being aware of any thematic depth. Sudden knowledge of the gamersquo;s depths transforms playersrsquo; experiences. The

Law of Occult Game Design is often connected to a sense of the esoteric, of occult significance in both the connotation of dark magic and the original definition of occult: hidden.

The Law of Occult Game Design is why many indie game designers with emotive and thematic design goals tend to work in retro genres with simple mechanics and art styles. Indeed, many successful independent games could be boiled down to “the game seems like a simple platformer (or shooter/adventure game/puzzle game) but then. . . .” Retro genres and styles bring with them nostalgic expectations of simplicity associated with the early history of games. A metaphysical meditation on unseen cosmic forces is more unexpected, and therefore more powerful, in a sidescrolling shooter with eight-bit graphics and a chiptune soundtrack.

Often, a particular mechanic has an unusual twist that operates in both the narrative and gameplay universes of the game, thereby exemplifying excellent narrative design. For example, Braid is a sidescrolling platformer in the style of Super Mario Bros., but Braidrsquo;s time-reversal mechanic encodes a reflection on the nature of love and loss. Eversion appears to be a platformer into which Lovecraftian cosmic horror gradually intrudes, revealed partially through the playerrsquo;s ability to evert (shift between dimensions). Terry Cavanaghrsquo;s Donrsquo;t Look Back appears to be a simple platformer, but the player is not allowed to move backward as he emerges from the underworld in the second half of the game. This gameplay rule mirrors a narrative rule attached to the hero, Orpheus, when he tried to rescue his lover, Eurydice, from the underworld: He could never look back,or her spirit would be pu

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游戏设计的100个原理

〔美〕迪斯潘（Wendy Despain）

第1篇 游戏创新的一般原理

原理7 .加德纳的多元智能理论

1983年，哈佛大学发展心理学教授霍华德·加德纳（Howard Gardner）提出了多元智能理论。该理论认为，作为个体，我们每一个人在认知方式上都各有长处和短处。比如，对于有些人来说在学校学数学很容易，对有些人来说却很难。这并不意味着他们不能学好它，而是学校对于数学的传统教学方式可能不适合这些学生。

加德纳在他的研究中发现人有8种不同的智能，或者说认知方式，以下分别解释了它们。

数理逻辑认知

通过批判性思维和逻辑来认知的过程，有时也被含糊地称为左脑学习。

空间认知

通过想象将物体在空间中的情形视觉化来认知的过程。专业的国际象棋选手们在脑海中想象他们和对手走的每一步棋的画面就是这样的一个过程。

语言认知

以听觉或书面的方式，通过文字来认知的过程。在这方面能力比较强的人擅长通过听演讲或者读书来学习。

身体-运动认知

通过身体或者周围的物理世界的移动来认知的过程。这些人如果能站起来，走动走动，或者与他们正在学习的东西有身体上的接触，就能学得更好。

音乐认知

通过各种和音乐有关的东西，包括音调、旋律、节奏和音色来认知的过程。这种类型的人能从童谣或任何以音乐形式呈现的东西中学习。

人际交往认知

在与其他人的互动中来认知的过程。这类人可能非常有爱心或者是一位交际花。

内省认知

自我反省和认知的过程。这类人通常都很安静，一直从自己的内心寻找答案。

自然探索认知

从周围相关的自然环境中认知的过程。

如果设计师在设计游戏时考虑到这些不同的智能，他们可以让游戏适应无限多的玩家。事实上这个理论在早年的游戏设计中有过体现。《星战前夜》（Eve Online）和《龙与地下城》（Dungeons and Dragons）就对擅长数理逻辑认知的人非常有吸引力，因为有许多统计状态需要玩家记住。魔方和类似《音乐方块》（Lumines）这样的游戏则对擅长空间认知的人有吸引力。《龙与地下城》和大多数基于文本的角色扮演类游戏（roleplaying games，RPG）对那些擅长语言认知的人有吸引力。而“红灯绿灯停”（Red Light，Green Light）和任何新兴的动作控制类游戏会吸引身体－运动认知类的玩家。抢椅子游戏和《塞尔达传说·时之笛》（Legend of Zelda ：Ocarina认知的人有吸引力。而“红灯绿灯停”（Red Light，Green Light）和任何新兴的动作控制类游戏会吸引身体－运动认知类的玩家。抢椅子游戏和《塞尔达传说·时之笛》（Legend of Zelda ：Ocarina of Time）利用音乐来吸引那些擅长这种认知方式的玩家。单人游戏如《纸牌》（Solitaire）和一些角色扮演游戏帮助那些自省认知类玩家更好地认识他们自己。寻宝类的游戏则让那些自然探索认知类的玩家从周围环境中去发挥他们的长处。

大多数游戏会利用这8种智能中的两到三个，而又有多少游戏会选择每一种都略有涉及呢？

原理8 .霍华德的隐匿性游戏设计法则

霍华德的隐匿性游戏设计法则（Howardrsquo;s Law of Occult Game Design，隐匿性游戏设计法则，或称霍华德法则）可以用以下公式来表示：秘密的重要性prop;其表面看来的无辜性times; 完整度（Secret Significance prop;Seeming Innocencetimes;Completeness）。翻译成日常用语来说，这个方程式意味着秘密的重要性，是与其表面上看起来无辜的程度及其完整度直接成比例的。

隐匿性游戏设计法则解释了为什么很多有情感或是主题目标的独立游戏设计师，往往喜欢采用复古的格调，使用简单的机制和美术风格。事实上，很多成功的独立小游戏都可以这样总结：“这个游戏看起来是一个简单的平台跳跃类（射击类/冒险类/解谜类）游戏，但是接下来hellip;hellip;”复古风格营造的怀旧氛围让人联想到在游戏早期的历史上，游戏都是很简单的。在一个采用8位图形和芯片音乐的横向卷轴射击游戏中出现不可见的宇宙战队，其中形而上的哲学思考就更让人意想不到，也就更有力量。

通常，一个特定的机制在游戏的叙事和玩法层面包含一个非同寻常的情节转折，来展现游戏出色的叙事设计。例如，《时空幻境》（Braid）是一个《超级马里奥兄弟》（Super Mario Bros.）风格的横向卷轴平台跳跃游戏，但是《时空幻境》的时间反转机制反映了爱与失去的本质。《超级小花》（Eversion）首先看起来是一个平台跳跃类游戏，随着玩家在不同世界之间穿梭的能力，洛夫克拉夫特风格的恐惧逐渐侵入。特里·卡瓦纳（Terry Cavanagh）制作的小游戏《勿回头》（Donrsquo;t Look Back，也有译作《勿回望》或《不要往后看》等）看起来也是一个非常简单的平台跳跃类游戏，但是当游戏到了后半段进入地下世界之后，就不许玩家往回看了。这个游戏规则取材于希腊神话中关于英雄俄耳甫斯（Orpheus）的故事，当他下到冥府想救回他的爱妻欧律狄刻（Eurydice）时，冥王告诉他不许回头看，否则爱妻的灵魂将被拉回死亡之地。

以上提到的所有游戏都给玩家提供了类似的转折性体验，一个看似普通的游戏背后原来隐藏着具有深意的主题（参见原理58“主题”），就好像从一张魔术图片中突然出现一个秘密的设计。霍华德法则告诉我们这样的游戏刚开始的时候看起来越像是一个单一维度的、独立的体验，这种转折的力量就越大。

隐匿性设计和彩蛋（游戏中隐藏的一个秘密设计，比如将设计师的首字母放在其中）的概念也有关联，但主要是跟世界建筑相关的彩蛋。第一个彩蛋出现在雅达利2600的游戏《冒险》（Adventure）中，玩家输入游戏的创作者沃伦·罗比奈特（Warren Robinett）的首字母就能进入一个秘密房间。有的彩蛋让玩家有机会透过重重面纱进入另一个世界，从而在原本游戏的基础上带来一个巨大的空间扩张。例如，任天堂（Nintendo Entertainment System，NES）上最早版本的《塞尔达传说》（Legend of Zelda）中，玩家在完成游戏后输入主人公林克的名字“Link”就能发现在另一个地牢中的第二个任务。

霍华德法则在游戏的空间、时间、机制设计和经验累积方面都有影响。在关卡设计中，密密麻麻的、有许多隐藏通道和门洞相连的迷宫是隐藏秘密最有效的方式。游戏《恶魔之魂》（Demonrsquo;s Souls）就是贯彻这一关卡设计原理的一个例子，其续作《黑暗之魂》（Dark Souls）中的主世界设计则将这一点体现得更加淋漓尽致。在时间方面，游戏中如果有一些重复发生却又让人不可预料的事件，这些时刻就有着特别强大的力量，如在超自然恐怖游戏《致命预感》（Deadly Premonition）中，黑色恶魔狗于午夜之后在街上狂吠时。隐匿性设计也可以应用于一些隐藏的机制。如在《恶魔之魂》中，一个隐秘的世界里玩家在服务器上的一系列动作可以解锁隐藏事件、区域和人物。当这样的秘密功能逐渐结合到一起，揭示游戏世界中更大的秘密的时候，它们的作用就发挥到了极致。如在《致命预感》中地图最终形成一条狗的形状，呼应那些在深夜的街上吠叫的恶魔狗，这个形象同时也呼应了游戏中乔装反派人物的那条宠物狗。

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