PC平台角色扮演游戏的体验设计
|
摘要
经过近半个世纪的发展,游戏产业已经成为世界各国经济中一股不可忽视的具有巨大潜力的新兴力量,根据权威统计机构Strategy Analytics的分析报告,到2013年全球游戏软件业产值将增长到649亿美元,超越电影、电视和唱片这三大传统娱乐行业的总产值也是大势所趋。2009年,中国游戏行业总产值已超过710亿元人民币。随着电脑软硬件技术的飞速发展,现在游戏的视觉效果也越来越精美和震撼,但人们在游戏中得到乐趣却好像没有比在许多年前的现在看起来粗陋不堪的老游戏中所得到的更多,甚至还不如一些老游戏所带来的快乐。单纯的追求技术是行不通的,技术只是工具,他不能取代游戏的本质——可玩性,即玩家在游戏中所得到的各种有深度的体验。
角色扮演游戏作为具有悠久传统的游戏形式,凭借其媲美电影和小说的故事性和游戏本身所具有的强大交互性的特质,将成为人们广泛接受的进行全新经历和情感体验的一种选择。根据马斯洛需求原理显示,人的需求是多方面的,它具有多层次,阶段性,是发展和变化着的。当一种需要被满足以后,就会有新的需要生成,在角色扮演游戏中玩家的需求也同样如此。对于游戏玩家来说,能动力是改变游戏中周围世界的能力,而移情能力是驱动游戏”故事”的心情引擎,玩家在游戏中主动推动体验,而不只是随波逐流。设计者需要通过能动性赋予玩家意志力和创造性,同时又要通过移情能力模拟和体验周围的复杂感情世界。
本文根据马斯洛需求原理将玩家在游戏中的需求分为基本需求和更高层次的需求,将体验设计的理念融入到游戏的设计过程中,以对比、举例、分析的方法,对如何充分调动玩家在游戏中的能动力和移情能力以使他们获得更优秀更丰富更有深度的游戏体验进行一些探索和思考。游戏应该可以为游戏者和参与者生成游戏和其他互动体验中的情感深度和广度,或者可以让游戏玩家与互动参与者沉浸到某个世界或角色中。让玩家在游戏中获得更有深度的情感体验即满足玩家更高层次的需求是我们所追求和努力实现的目标。
After the development about nearly half a century, the game industry has become an emerging force that can't be ignored with great potential in the world economy. According to the reports from authoritative statistical agency Strategy Analytics, by 2013 the output value of the global games industry will grow up to 64.9 billion U.S.D, it means that the game industry exceeding the the output of the three traditional entertainment industry, film,televisin and music recording, is an inevitable trend. In 2009, the output of Chinese game industry has been over 71 billion yuan. With the rapid development of computer hardware and software technology, current visual effects of game are more and more beautiful and shocking, but people doesn't seem to have more fun from the game compared to the many years ago old game which looks like crude-down, even get less as some old game. The simple pursuit of technology is not feasible, technology is just a tool, it can not replace the essence of the game-fun, that the variety of in-depth experience players can receive from the game.
Role-playing game is a game form which has a long tradition, with the features of its cinematic and narrative fiction and the powerful interactive of game itself, RPG will become a widely accepted chioce for new adventure and emotional experience. According to Maslow's needs theory, human needs are many, it has a multi-level stage and it's developing and changing. When one need is satisfied, a new one is going to be generated, the demand of gamers in RPG is as the same. For gamers, will power is the ability to change the world around them in the game, and empathy is the mood engine driving game "story". players in the game is to promote the experience actively, not just follow the crowd. Designers need to give the gamer initiative and creativity through will power, while also need to let gamers simulate and experience the mixed feelings world around through empathy at the same time.
This article divided the needs of players in the game into basic needs and the demand for higher level according to Maslow's needs theory, put the concept of experience design into the game design process, in contrast,example and analysis method, to do some exploration and reflection on how to fully mobilize the will power and empathy of the players in the game so that they can get better various and more in-depth gaming experience. The game should be able to generate emotional depth and breadth of interactive experiences for the gamers and participants, or can allow participants to immerse gamers and interaction to a world or role. To let the gamers get a deeper emotional experience that meet their needs of higher level is what we pursue and strive to achieve.
角色扮演游戏作为具有悠久传统的游戏形式,凭借其媲美电影和小说的故事性和游戏本身所具有的强大交互性的特质,将成为人们广泛接受的进行全新经历和情感体验的一种选择。根据马斯洛需求原理显示,人的需求是多方面的,它具有多层次,阶段性,是发展和变化着的。当一种需要被满足以后,就会有新的需要生成,在角色扮演游戏中玩家的需求也同样如此。对于游戏玩家来说,能动力是改变游戏中周围世界的能力,而移情能力是驱动游戏”故事”的心情引擎,玩家在游戏中主动推动体验,而不只是随波逐流。设计者需要通过能动性赋予玩家意志力和创造性,同时又要通过移情能力模拟和体验周围的复杂感情世界。
本文根据马斯洛需求原理将玩家在游戏中的需求分为基本需求和更高层次的需求,将体验设计的理念融入到游戏的设计过程中,以对比、举例、分析的方法,对如何充分调动玩家在游戏中的能动力和移情能力以使他们获得更优秀更丰富更有深度的游戏体验进行一些探索和思考。游戏应该可以为游戏者和参与者生成游戏和其他互动体验中的情感深度和广度,或者可以让游戏玩家与互动参与者沉浸到某个世界或角色中。让玩家在游戏中获得更有深度的情感体验即满足玩家更高层次的需求是我们所追求和努力实现的目标。
After the development about nearly half a century, the game industry has become an emerging force that can't be ignored with great potential in the world economy. According to the reports from authoritative statistical agency Strategy Analytics, by 2013 the output value of the global games industry will grow up to 64.9 billion U.S.D, it means that the game industry exceeding the the output of the three traditional entertainment industry, film,televisin and music recording, is an inevitable trend. In 2009, the output of Chinese game industry has been over 71 billion yuan. With the rapid development of computer hardware and software technology, current visual effects of game are more and more beautiful and shocking, but people doesn't seem to have more fun from the game compared to the many years ago old game which looks like crude-down, even get less as some old game. The simple pursuit of technology is not feasible, technology is just a tool, it can not replace the essence of the game-fun, that the variety of in-depth experience players can receive from the game.
Role-playing game is a game form which has a long tradition, with the features of its cinematic and narrative fiction and the powerful interactive of game itself, RPG will become a widely accepted chioce for new adventure and emotional experience. According to Maslow's needs theory, human needs are many, it has a multi-level stage and it's developing and changing. When one need is satisfied, a new one is going to be generated, the demand of gamers in RPG is as the same. For gamers, will power is the ability to change the world around them in the game, and empathy is the mood engine driving game "story". players in the game is to promote the experience actively, not just follow the crowd. Designers need to give the gamer initiative and creativity through will power, while also need to let gamers simulate and experience the mixed feelings world around through empathy at the same time.
This article divided the needs of players in the game into basic needs and the demand for higher level according to Maslow's needs theory, put the concept of experience design into the game design process, in contrast,example and analysis method, to do some exploration and reflection on how to fully mobilize the will power and empathy of the players in the game so that they can get better various and more in-depth gaming experience. The game should be able to generate emotional depth and breadth of interactive experiences for the gamers and participants, or can allow participants to immerse gamers and interaction to a world or role. To let the gamers get a deeper emotional experience that meet their needs of higher level is what we pursue and strive to achieve.
引文
①李新科,中国游戏产业突围,朝华出版社,2006.
①薛海安,产品体验设计与品牌创建,中央圣马丁艺术与设计学院
①(美)Neal & Jana Hallford著,陈洪等译,剑与电—角色扮演游戏设计艺术,清华大学出版社,2006.
①(美)Neal & Jana Hallford著,陈洪等译,剑与电—角色扮演游戏设计艺术,清华大学出版社,2006.
①(美)Neal & Jana Hallford著,陈洪等译,剑与电—角色扮演游戏设计艺术,清华大学出版社,2006.
①柳沙,设计艺术心理学,清华大学出版社,2006.
②李砚祖,产品设计艺术,中国人民大学出版社,2005.
①(美)Tracy Fullerton、Christopher Swain、Steve Hoffman著,陈建春、白雁、万传风等译,游戏设计工作坊,电子工业出版社,2005.
①(美)Tracy Fullerton、Christopher Swain, Steve Hoffman著,陈建春、白雁、万传风等译,游戏设计工作坊,电子工业出版社,2005.
①(美)David Freeman编著,邱仲潘译,游戏情感设计,红旗出版社,2005.
①(美)Neal & Jana Hallford著,陈洪等译,剑与电—角色扮演游戏设计艺术,清华大学出版社,2006.
①(美Neal & Jana Hallford著,陈洪等译,剑与电—角色扮演游戏设计艺术,清华大学出版社,2006.
②(美Neal & Jana Hallford著,陈洪等译,剑与电—角色扮演游戏设计艺术,清华大学出版社,2006.
①(美Neal & Jana Hallford著,陈洪等译,剑与电—角色扮演游戏设计艺术,清华大学出版社,2006.
①(美Neal & Jana Hallford著,陈洪等译,剑与电—角色扮演游戏设计艺术,清华大学出版社,2006.
①(美)David Freeman编著,邱仲潘译,游戏情感设计,红旗出版社,2005.
①(美)David Freeman编著,邱仲潘译,游戏情感设计,红旗出版社,2005.
①(美Neal & Jana Hallford著,陈洪等译,剑与电—角色扮演游戏设计艺术,清华大学出版社,2006.
[1]李砚祖,《产品设计艺术》,中国人民大学出版社,2005
[2]李四达,《数字媒体艺术概论》,清华大学出版社,2006.
[3]李乐山,《设计调查》,中国建筑工业出版社,2007.
[4]李砚祖,王明旨主编,刘瑞芬编著,《设计程序与设计管理》,清华大学出版社,2006.
[5]柳沙,《设计艺术心理学》,清华大学出版社,2006.
[6]程杰,《大话设计模式》,清华大学出版社,2007.
[7]周陟,《UI进化论——移动设备人机交互界面设计》,清华大学出版社,2010.
[8]董建明,《人机交互：以用户为中心的设计和评估》,清华大学出版社,2007.
[9]李砚祖,芦影,《视觉传达设计的历史与美学》,中国人民大学出版社,2000.
[10]李四达,《交互设计概论》,清华大学出版社,2009.
[11]李先科,《中国游戏产业突围》,朝华出版社,2006.
[12]戴力农,《当代设计研究理念》,上海交通大学出版社,2009.
[13]薛海安,产品体验设计与品牌创建,中央圣马丁艺术与设计学院
[14]UCDChina编著,《UCD火花集》,人民邮电出版社,2009.
[15](美)RobinWilliams著,苏金国,刘亮译,《写给大家看的设计书》,人民邮电出版社,2009.
[16](日)原研哉著,朱锷译,《设计中的设计》,山东人民出版社,2006.
[17](英)布丽姬特·贾艾斯主编,黄国强等译,《认知心理学》,黑龙江科学技术出版社,2000.
[18](美).Jeff Johnson著,盛海艳等译,《GUI设计禁忌2.0》,机械工业出版社,2009.
[19](美)Steve Krug著,De Dream'译,《点石成金：访客至上的网页设计秘笈(Don't Make Me Think)》,机械工业出版社,2006.
[20](美)库珀,(美)瑞宁,(美)克洛林著,刘松涛等译,《About Face 3交互设计精髓》,电子工业出版社,2008.
[21](美)Steven Heim著,李学庆译,《和谐界面——交互设计基础》,电子工业出版社,2008.
[22](美)加瑞特,《用户体验的要素：以用户为中心的Web的设计》,机械工业出版社,2008.
[23](美)David Freeman编著,邱仲潘译,《游戏情感设计》,红旗出版社,2005.
[24](美)Neal & Jana Hallford著,陈洪等译,《剑与电—角色扮演游戏设计艺术》,清华大学出版社,2006.
[25](美)Phil Co著,姚晓光,孙泱译,《游戏关卡设计》,机械工业出版社,2007.
[26](英)汤普森等著,张凯功译,《英国游戏设计基础教程》,机械工业出版社,2008.
[27](美)Tracy Fullerton,(美)Christopher Swain,(美)Steve Hoffman著,陈建春,白雁,万传风等译,《游戏设计工作坊》,电子工业出版社,2005.
[28](美)库帕(Coper,A.)著,(美)丁(Ding,C.)译,《交互设计之路：让高科技产品回归人性(第二版)》,电子工业出版社,2006.
[29](美)龙尼·利普顿著,王毅,刘晓麓译,《信息设计实用指南》,上海人民美术出版社,2007.
[30](丹)罗尔夫·詹森著,王茵茵译,《梦想社会：为产品赋予情感价值》,东北财经大学出版社,2003.
[31](美)布里顿等著,王成等译,《体验：从平凡到卓越的产品策略》,中信出版社,2003.
[32](美)Eric Butow著陈大炜,孙志超译,《用户界面设计指南》,机械工业出版社,2008.
[33](美)巴克斯顿著,黄峰,夏方昱,黄胜山译,《用户体验草图设计：正确地设计,设计得正确》,电子工业出版社,2009
[34](美)唐纳德·A·诺曼著,梅琼译,《设计心理学》,中信出版社,2003.
[35](美)罗伯特·K·殷著,周海涛主译,李永贤,张蘅参译,《案例研究设计与方法》,重庆大学出版社,2005.
[36](美)特里斯,(美)阿伯特著,周荣刚等译,《用户体验度量》,机械工业出版社,2009.
[37](美)库珀等著,詹剑锋等译,《软件观念革命：交互设计精髓》,电子工业出版社,2005.
[38](美)Chris Crawford著,李明,英宇译,《游戏设计理论》,中国社会科学出版社,2007.
[39](美)阿恩海姆,腾守尧著,朱疆源译,《艺术与视知觉》,中国社会科学出版社,1984.
[40](美)Matt Jones,奚丹译,《移动设备交互设计》,电子工业出版社,2008.
①薛海安,产品体验设计与品牌创建,中央圣马丁艺术与设计学院
①(美)Neal & Jana Hallford著,陈洪等译,剑与电—角色扮演游戏设计艺术,清华大学出版社,2006.
①(美)Neal & Jana Hallford著,陈洪等译,剑与电—角色扮演游戏设计艺术,清华大学出版社,2006.
①(美)Neal & Jana Hallford著,陈洪等译,剑与电—角色扮演游戏设计艺术,清华大学出版社,2006.
①柳沙,设计艺术心理学,清华大学出版社,2006.
②李砚祖,产品设计艺术,中国人民大学出版社,2005.
①(美)Tracy Fullerton、Christopher Swain、Steve Hoffman著,陈建春、白雁、万传风等译,游戏设计工作坊,电子工业出版社,2005.
①(美)Tracy Fullerton、Christopher Swain, Steve Hoffman著,陈建春、白雁、万传风等译,游戏设计工作坊,电子工业出版社,2005.
①(美)David Freeman编著,邱仲潘译,游戏情感设计,红旗出版社,2005.
①(美)Neal & Jana Hallford著,陈洪等译,剑与电—角色扮演游戏设计艺术,清华大学出版社,2006.
①(美Neal & Jana Hallford著,陈洪等译,剑与电—角色扮演游戏设计艺术,清华大学出版社,2006.
②(美Neal & Jana Hallford著,陈洪等译,剑与电—角色扮演游戏设计艺术,清华大学出版社,2006.
①(美Neal & Jana Hallford著,陈洪等译,剑与电—角色扮演游戏设计艺术,清华大学出版社,2006.
①(美Neal & Jana Hallford著,陈洪等译,剑与电—角色扮演游戏设计艺术,清华大学出版社,2006.
①(美)David Freeman编著,邱仲潘译,游戏情感设计,红旗出版社,2005.
①(美)David Freeman编著,邱仲潘译,游戏情感设计,红旗出版社,2005.
①(美Neal & Jana Hallford著,陈洪等译,剑与电—角色扮演游戏设计艺术,清华大学出版社,2006.
[1]李砚祖,《产品设计艺术》,中国人民大学出版社,2005
[2]李四达,《数字媒体艺术概论》,清华大学出版社,2006.
[3]李乐山,《设计调查》,中国建筑工业出版社,2007.
[4]李砚祖,王明旨主编,刘瑞芬编著,《设计程序与设计管理》,清华大学出版社,2006.
[5]柳沙,《设计艺术心理学》,清华大学出版社,2006.
[6]程杰,《大话设计模式》,清华大学出版社,2007.
[7]周陟,《UI进化论——移动设备人机交互界面设计》,清华大学出版社,2010.
[8]董建明,《人机交互：以用户为中心的设计和评估》,清华大学出版社,2007.
[9]李砚祖,芦影,《视觉传达设计的历史与美学》,中国人民大学出版社,2000.
[10]李四达,《交互设计概论》,清华大学出版社,2009.
[11]李先科,《中国游戏产业突围》,朝华出版社,2006.
[12]戴力农,《当代设计研究理念》,上海交通大学出版社,2009.
[13]薛海安,产品体验设计与品牌创建,中央圣马丁艺术与设计学院
[14]UCDChina编著,《UCD火花集》,人民邮电出版社,2009.
[15](美)RobinWilliams著,苏金国,刘亮译,《写给大家看的设计书》,人民邮电出版社,2009.
[16](日)原研哉著,朱锷译,《设计中的设计》,山东人民出版社,2006.
[17](英)布丽姬特·贾艾斯主编,黄国强等译,《认知心理学》,黑龙江科学技术出版社,2000.
[18](美).Jeff Johnson著,盛海艳等译,《GUI设计禁忌2.0》,机械工业出版社,2009.
[19](美)Steve Krug著,De Dream'译,《点石成金：访客至上的网页设计秘笈(Don't Make Me Think)》,机械工业出版社,2006.
[20](美)库珀,(美)瑞宁,(美)克洛林著,刘松涛等译,《About Face 3交互设计精髓》,电子工业出版社,2008.
[21](美)Steven Heim著,李学庆译,《和谐界面——交互设计基础》,电子工业出版社,2008.
[22](美)加瑞特,《用户体验的要素：以用户为中心的Web的设计》,机械工业出版社,2008.
[23](美)David Freeman编著,邱仲潘译,《游戏情感设计》,红旗出版社,2005.
[24](美)Neal & Jana Hallford著,陈洪等译,《剑与电—角色扮演游戏设计艺术》,清华大学出版社,2006.
[25](美)Phil Co著,姚晓光,孙泱译,《游戏关卡设计》,机械工业出版社,2007.
[26](英)汤普森等著,张凯功译,《英国游戏设计基础教程》,机械工业出版社,2008.
[27](美)Tracy Fullerton,(美)Christopher Swain,(美)Steve Hoffman著,陈建春,白雁,万传风等译,《游戏设计工作坊》,电子工业出版社,2005.
[28](美)库帕(Coper,A.)著,(美)丁(Ding,C.)译,《交互设计之路：让高科技产品回归人性(第二版)》,电子工业出版社,2006.
[29](美)龙尼·利普顿著,王毅,刘晓麓译,《信息设计实用指南》,上海人民美术出版社,2007.
[30](丹)罗尔夫·詹森著,王茵茵译,《梦想社会：为产品赋予情感价值》,东北财经大学出版社,2003.
[31](美)布里顿等著,王成等译,《体验：从平凡到卓越的产品策略》,中信出版社,2003.
[32](美)Eric Butow著陈大炜,孙志超译,《用户界面设计指南》,机械工业出版社,2008.
[33](美)巴克斯顿著,黄峰,夏方昱,黄胜山译,《用户体验草图设计：正确地设计,设计得正确》,电子工业出版社,2009
[34](美)唐纳德·A·诺曼著,梅琼译,《设计心理学》,中信出版社,2003.
[35](美)罗伯特·K·殷著,周海涛主译,李永贤,张蘅参译,《案例研究设计与方法》,重庆大学出版社,2005.
[36](美)特里斯,(美)阿伯特著,周荣刚等译,《用户体验度量》,机械工业出版社,2009.
[37](美)库珀等著,詹剑锋等译,《软件观念革命：交互设计精髓》,电子工业出版社,2005.
[38](美)Chris Crawford著,李明,英宇译,《游戏设计理论》,中国社会科学出版社,2007.
[39](美)阿恩海姆,腾守尧著,朱疆源译,《艺术与视知觉》,中国社会科学出版社,1984.
[40](美)Matt Jones,奚丹译,《移动设备交互设计》,电子工业出版社,2008.