游戏设计梦工厂》是南加州大学游戏设计系主任的经典著作。作为一本将现代游戏工业与先进教学体系完美融合的书籍，通过本书你将学会驱动式练习,不需要编程或艺术专业知识就可以按部就班地完成真实游戏的设计。本书内容全面、受众较广，既清晰而系统地介绍了实用的游戏设计创作过程，又细致讲解了工作原型、游戏测试，以及修改游戏设计时屡试不爽的方法和工具，为你提供了提升游戏设计技艺、壮大游戏事业的各方面基础。

推荐序 亲爱的读者，我是陈星汉，Jenova Chen。我是美国洛杉矶的 Thatgamecompany 的合伙创始人和创意总监。2016 年以后中国才对家用电脑以外的家用游戏机上的游戏内容开放限制，也许你之前并没有机会接触过我们开发的电子游戏。 为了把电子游戏从一种消磨时间的商业产品提升到艺术媒体，Thatgamecompany在创立以来的十年里获得了很多世界上重大的业界奖项，一举打破两项吉尼斯世界纪录，最终踏入独立游戏行业最有影响力的先驱制作室之列。我们的第一款作品《流》参选了美国现代艺术博物馆历史上第一次电子游戏设计展。我们的第二款游戏《花》是美国华盛顿国家博物馆历史上第一个电子游戏永久收藏品。我们最近的一款游戏《旅程》获得了英国电影电视艺术学院艺术设计成就奖和欧美多国最高荣誉的“年度最佳游戏”，《旅程》也成为了历史上第一个在格莱美和其他好莱坞电影一起被提名的最佳原声音轨的电子游戏。 在此我非常荣欣能够为我的恩师特雷西?弗雷顿教授的经典著作写序。2003 年 8月，我穿越太平洋来到美国洛杉矶南加州大学攻读电影学院的互动媒体专业，特雷西?弗雷顿教授是给我讲学游戏设计和游戏评论的第一个导师，《游戏设计梦工厂》（GameDesign Workshop）这本书也是开始我游戏设计师生涯的第一本教材。 在电影学院三年艰苦但快乐的学习中，我和弗雷顿教授在多个课程上邂逅，命运也让她成为我学术基金项目《云》和毕业设计《沉浸理论》以及延伸游戏《流》的导师。一心梦想成为动画导演的我，因为在南加州大学的学习以及弗雷顿和其他导师的引导，在 学 业 完 成 前 已 经 和 同 学 合 伙 创 立 了Thatgamecompany，期望由此改变游戏行业的未来。 USC 电影学院互动媒体专业在 2002 年成立。短短的十四年后，它已经成为美国普林斯顿排名第一的本科和研究生游戏设计专业，两年前正式改名成为互动媒体与游戏专业。随着时代变迁，以及教学上的迭代进化，特雷西的经典教材《游戏设计梦工厂》已经出到了第 3 版。今天的游戏业和十三年前的游戏业比起来已经改朝换代，人们对游戏的认知和理解在全球都发生着巨大的变化。但当一个赤诚学子步入游戏设计的殿堂时，很IV 推荐序多经典的东西还是不变的。 作为一本游戏设计的教科书，《游戏设计梦工厂》涵盖了游戏设计基本理念、游戏开发流程、游戏制作团队构成、游戏原型制作，甚至游戏竞标融资等重要议题。从理论到实践，针对学生必须掌握的基本游戏设计概念，以及戏剧性设计和游戏核心系统设计等重要概念，让学生在不具备编写程序能力的情况下，也可以通过课堂纸牌游戏的原型设计练习来真正理解和掌握游戏设计师应有的基本能力和术语。 书中介绍的很多的知识和讨论游戏的视角，成为我们新一代游戏设计师进入行业后互相沟通、评点的关键。只有当我们用一个有艺术性、批判性的眼光去研究和欣赏别人的游戏设计时，才能真正从中学习到让自己制作出更伟大的作品的精华。特雷西教授对我的教导改写了我的职业生涯。也希望《游戏设计梦工厂》能够帮助你走入游戏设计师的殿堂，和我们一起去改变游戏行业；让它成为一个帮助和感动全球玩家的成熟媒体，一个真正的第九种艺术，让游戏设计师和作家、画家、音乐家、导演一样成为一份受人尊重的职业。 ——陈星汉 前言 世间存在一种联系，把我的生命中的每一点与世间相连。这种联系就在那里，只需要天马行空般地去想象。 —— Peter Handke 游戏中存在一种魔法。这种魔法并不是那种 19 级的火球法术，也不是那种可以在魔术商店中买到的道具，更不是宗教组织给教徒们所描述的神秘体验。 这种游戏的魔法很难形容，像一个初吻，像终于找到一个难题的解决方法，像和好朋友吃着美食聊天。游戏的魔法在于去寻找到隐藏事物之间的联系，探索一个构建好的虚拟世界。随着玩家逐渐发现并了解这个世界的方方面面，使人获得一种丰富而深厚的体验。 相信大家对国际象棋和围棋都很熟悉，它们是如何利用简单的规则继续发展出新的策略和风格，甚至经过几个世纪后人们都还在孜孜不倦地研究它们？电脑和主机游戏看似孤立，但又是如何深入到我们每个人的生活当中，并让我们一起玩乐呢？ 棋盘上的两个棋子之间，比赛中的玩家之间，游戏内外的生活之间，这些都是值得我们挖掘的联系，这种联系造就了彼此的意义。如果游戏中的空间存在意义，那么游戏设计师就是这个意义的创造者，它们无中生有地构建了这个空间。这就是这本书存在的原因。 你愿意阅读这些文字是因为你不仅仅愿意玩游戏，还想亲自做出游戏。相信我：本书是为数不多能真正帮到你的一本书，它能帮助你做出你内心中想要的游戏。 本书用独到的眼光对游戏中重要的设计过程进行了分析，并针对游戏制作提出了一些可靠的方法论。而且内容并不局限于介绍游戏如何运转的概念，而是向读者详细讲解了如何把游戏设计理论付诸实际。 Tracy Fullerton 有着丰富的游戏制作实战经验，她不仅在学校教授游戏设计，并且还写了大量关于游戏设计的文章。我可以诚实地说，她已经让我对游戏设计有了更多的领悟。 为什么我们需要这本书？因为游戏的存在非常久远，几乎每种文化都有它的存在，并且游戏在人们的生活中越来越重要，但我们却对它知之甚少。游戏的原理是什么？我们如何创造它？它如何最大程度地去适应社会文化？ 近几十年来计算机和主机游戏经历了爆炸式的发展，而在欣欣向荣的背后也存在更多的风险和复杂性。本书不会把答案直接给VIII 前言你，因为关于游戏设计并没有一个绝对正确的标准。但它可以帮助你去进行探寻，并将此运用到你的设计之中。 我们正在经历一个古老人类文化形式的重生，正如 19 世纪是工业时代以及 20 世纪是信息时代，游戏将在 21 世纪里占据一个重要的位置。作为游戏设计师，我们将要去创造这个有趣的新世界，这是一个多么美妙和重要的责任——给这个世界带来奇妙的“魔法”，造就伟大的游戏，让全世界都为之轰动。 你明白我的意思了吗？ ——Eric Zimmerman 序 从我写这本书的第 1 版至今已有十年之久了，游戏行业已经发生了翻天覆地的变化。在这期间涌现出了新的平台、新的市场以及新的游戏类型。 今天，玩游戏的人无处不在。我知道在这个变幻万千的游戏世界里有一个永恒的东西，那就是游戏设计师对游戏玩法的创新，所以我推出了这本书的十周年版本，首先书中仍然把焦点放到了如何以游戏玩法为核心的设计和迭代过程，在此基础上更新、补充了与今天游戏行业相适应的内容。此外，一些新晋设计师也在书中对如今游戏在设计方面的挑战和机会发表了自己的观点，如 Jane McGonigal，Keita Takahashi，Robin Hunicke，Randy Smith，Michael John，Elan Lee，Anna Anthropy，Christina Norman等。 这个新版本还讨论了独立设计和游戏出版方面出现的机会、实验性游戏的设计、手机游戏和虚拟现实系统、艺术性游戏和社交游戏、调试游戏和指标测量玩家的游戏体验。 当我写完这本书的第 1 个版本时，业界有一种认识，认为游戏设计是一个不太容易被教授的东西，能不能做好游戏完全看你有没有“本事”。不用说，我肯定不同意这个观点。 十年很快过去，业界的这种认识发生了变化。 现在，南加州大学的游戏设计课程，被视为游戏人才和创新思想的孵化器。在这里学习的学生被证明通过训练和实践后，会变得更加具有创新能力，能在人才济济的游戏创意团队中良好地进行合作，并且优秀的设计技能能帮助他们创造有趣的游戏机制。 可能你没有想到，游戏设计课程也开始出现在技术学校，甚至是艺术培训学校，如今游戏设计无处不在。不仅是每个人学习游戏设计，并且每个人也会做与游戏相关的事情。今天的学生使用的《Minecraft》或《模拟城市》这样的构建类游戏学习历史和环境，他们热爱的游戏导致他们学会了相关的重要技能，如系统和程序化的思考方式。 再过十年，当这些以游戏系统方式学习和思考的孩子长大成人后，世界会变成什么样子？他们会想玩什么游戏呢？他们会以什么样的方式了解和参与到这个世界中？我迫不及待地想看到的未来会怎样。 当年最开始跟我学习游戏设计的学生现在已经发生了巨大的变化，他们的成就甚至使我震惊，都表现得如此有天赋和创造力。X 序他们在从业之后已经把行业的游戏美学标准拔高到了一个新的层次，假以时日，他们一定会为下一代游戏玩法的改变做出更多的贡献。 今天游戏行业创造出来的作品，特别是在实验和独立游戏设计领域，让我相信我们现在看到的仅仅是游戏玩法进化的一个开端。在将来，我们会看到更多文化、创意和商业上的进步与繁荣。 我知道这本书曾激励不少人走上玩法创新这条道路，我很兴奋能因此成为这波游戏革命大潮中的一份子。我希望学生和设计师读到这个新版后，依然能像过去十年受到影响的那批人一样，保持对游戏的激情和承诺。 继续玩游戏吧！ 介绍 不少人都认为创造好游戏并没有什么大不了，然而它其实是人类最困难的任务之一。 ——C.G. Jung 游戏是所有已知人类文化中不可分割的一部分。在游戏的形式和类别中，电子游戏其实仅仅是古代社交方式的一种全新表现。正如 Jung 在上面所提到的，创造好游戏是一个具有挑战性的任务，它需要一个具有可玩性的方式而不是一个系统解决方案。 游戏设计师的角色具有重要意义，同时承担着工程师、演艺人员、数学家、社交公关的部分职责去创造一套具有意义和动机的规则。无论我们谈论的范畴是民间游戏、棋类游戏、街机游戏还是大型多人在线游戏，游戏设计艺术都一直利用挑战、竞争和互动在创造着一种让人难以捉摸的组合，这种组合被玩家感知并称为“有趣”。 电子游戏作为一个行业在过去的三十年里已经逐渐变得成熟，它的崛起对电视和电影造成了一定的文化冲击。游戏行业的收入多年以来一直保持着两位数的高速增长，其市场规模早已超越了美国的电影票房，在2012 年达到 148 亿美元。根据皮尤公司最近的一份互联网报告显示，在 12 至 17 岁之间的美国青少年中有 97%玩电脑、网页、家用机或者手机游戏。这意味着几乎所有的青少年都在参与游戏，近三分之一的人每天玩游戏，五分之一的人每周有三到五天玩游戏。可能在青少年玩游戏并不是一个多么令人惊讶的行为，但根据娱乐软件协会的报告，游戏玩家的平均年龄是 30 岁，这就意味着平均每个普通美国家庭至少拥有一个专门用于游戏的家用机、电脑或是智能手机。 由于游戏在商业和文化两方面影响力的拓展，以游戏设计作为职业也越来越普遍。类似地，编剧和导演也是随着电影和电视产业的发展而产生的，如今有不少具有创造性的人把目光聚焦到游戏领域，把它作为一个新的表达形式。世界各地的不少学校也设立了游戏设计的学位以满足学生们的需求。国际游戏开发者协会认为这是大势所趋，于是还建立了一个教育团体帮助各地的游戏教育者，创建能体现专业游戏设计者在真实世界是如何进行开发的课程。有一个游戏教育峰会每年都会在游戏开发者大会（GDC）上共享在游戏设计教学方面最好的实践成果。GameCareerGuide.com 这个网站提供了关于学校、工作和学生的游戏作品的信息，对游戏开发的研究和实践起到了连接作用。而他们的网站上，GameCareerGuide.comXIV 介绍仅在北美就提供了超过 200 个项目的游戏设计课程或学位。而在全球，项目的数量已经超过了 400 个。 除了为微软、索尼、MTV、迪士尼等游戏公司设计游戏来积累经验，我还给不同背景和级别的学生教授了 17 年的游戏设计，并为南加州大学电影艺术学院的游戏设计专业建立了全世界认可的游戏设计课程。在这段时间，我发现了一些模式化的方式能让初级设计师掌握游戏结构的元素并应对一些常见的设计问题，某些类型的练习可以帮助他们学会如何更好地制作游戏。这本书凝聚了我与学生一起设计、制作原型以及对无数原创游戏进行游戏性测试所积累的经验。我的学生已经在游戏行业的各个领域工作，包括游戏设计、制作、程序、视觉设计、市场营销和质量监管。他们之中一部分人已经成为著名的独立游戏开发者，如Thatgamecompany 团队，以在南加州大学创建的一个学生研究项目为基础开发出了《流》这款优秀的作品，并在之后推出了广受好评的游戏《花》和《风之旅人》。而他们之中更多的人在微软、EA、Riot、Zynga 等现有的游戏公司中工作，制作的游戏如《生化奇兵2》、《Zynga 扑克》、《Kinect 星球大战》等。经过学生们一次次的实践，证明了我在这里介绍的方法是成功的。不管你的背景如何，你拥有什么样的技能，你想设计游戏的理由是什么，我这本书的目标是使你能够设计游戏，让玩家去玩并感受到快乐。 我的方法主要通过练习来驱动，而并非是通过技术。这可能会让你感到意外，但我不建议立刻把你的设计转换为软件的形式。软件开发的复杂性常常会束缚一个设计师的能力，以至于不能清楚地看到每一名系统结构元素。本书包含的练习不需要编程专业知识或美术方面的技能，而只需要把自己从错综复杂的电子游戏中释放出来，在简明扼要的游戏系统结构中去了解哪些部分对游戏本身有帮助，哪些部分在游戏中没有效果。此外，这些练习将教给你游戏设计中最重要的技能：原型迭代、游戏性测试、基于玩家反馈去修改系统。 我的方法有三个基本步骤: 步骤 1 首先要懂得游戏是如何运转的。了解规则、过程、目标，等等。什么是游戏？是什么东西让一款游戏具有吸引人玩的能力？本书的第一篇将涵盖这些游戏设计的基础。 步骤 2 学习如何对你的原创游戏进行概念化、原型化和游戏性测试。根据你的设计创建简单的物理或数字原型，让你能把基本的系统元素从复杂的游戏中剥离出来。把可玩的原型给玩家并进行游戏性测试，获得有价值的反馈。然后再通过反馈去修改和完善你的游戏设计。第二篇涵盖了这些重要的设计技巧。 步骤 3了解当今快速变化的行业以及游戏设计师在行业中的角色和位置。前两个步骤提供了成为一名合格游戏设计师的基础。之后，你就能继续学习游戏行业中使用的专业技能。例如，你能尝试制作、编程、美术或市场营销。你也可能会成为一名主游戏设计师或者某天建立一家公司。第三篇涵盖了对介绍 XV游戏设计师在团队和行业中角色、位置的解读。 本书有不少练习，意在让你能解决游戏设计中的问题并创造出自己的设计。在这个过程中，你将会为很多游戏制作原型并进行游戏性测试，并且至少会有一个属于你自己的原创可玩项目。我非常强调做这些练习的重要性，因为要成为一名真正的游戏设计师的唯一方法就是做游戏，只是玩或分析它们是远远不够的。 如果你把这本书作为一个工具来引导你进行设计，而不仅仅是读一读，你将会收获更多有价值的经验。如果已经准备好开始，现在就该轮到你了。祝你好运！

第 1 章 游戏设计师的角色 ························································································3 和玩家站在同一阵营··································································································3 热情和技巧··············································································································6 以玩法为核心的设计流程···························································································12 你应该知道的设计师 ·······························································································14 迭代设计过程 ········································································································18 为革新而设计··········································································································24 总结······················································································································24 设计师视角：CHRISTINA NORMAN ···········································································25 设计师视角：WARREN SPECTOR ············································································28 扩展阅读···············································································································30 章末笔记···············································································································30 第 2 章 游戏的结构·································································································31 《钓鱼》和《雷神之锤》···························································································31 让玩家投入·············································································································39 什么是谜题？ ········································································································40 这部分的总结··········································································································47 定义游戏················································································································48 超越定义················································································································49 总结······················································································································51 设计师视角：Jane McGonigal ···················································································52 设计师视角：Randy Smith ·······················································································55 扩展阅读················································································································57 章末笔记················································································································57 第 3 章 使用正规元素······························································································58 玩家······················································································································58 有说服力的游戏 ·····································································································66 目标······················································································································69 操作······················································································································75 规则······················································································································77 资源······················································································································81 冲突······················································································································87 边界······················································································································88 结果······················································································································90 总结······················································································································91 设计师视角：Tim LeTourneau ··················································································92 设计师视角：Matt Korba ··························································································94 扩展阅读················································································································96 章末笔记················································································································96 第 4 章 运用戏剧元素······························································································97 挑战······················································································································97 玩·······················································································································102 故事预设··············································································································105 角色····················································································································108 故事····················································································································112 互动式叙事的两大误区 ··························································································114 构建世界··············································································································115 情节发展··············································································································116 总结····················································································································120 设计师视角：DR. RAY MUZYKA ···············································································121 设计师视角：DAGLOW ··························································································123 扩展阅读··············································································································125 章末笔记··············································································································125 第 5 章 活用动态的游戏系统 ··················································································126 游戏作为一个系统··································································································126 系统动态··············································································································130 解构 Set ·············································································································131 与系统进行互动·····································································································146 对话 WILL WRIGHT ······························································································150 调整游戏系统········································································································155 总结····················································································································156 设计师视角：Alan R Moon ······················································································157 设计师视角：Frank Lantz ·······················································································160 扩展阅读··············································································································162 章末笔记··············································································································162 第二篇 设计一款游戏 ····························································································163 第 6 章 概念设计··································································································165 获得灵感··············································································································165 头脑风暴技巧········································································································168 其他方法··············································································································171 实验性游戏玩法 ···································································································172 修改和优化···········································································································178 EA 的预制作工坊··································································································· 179 把创意转化成游戏··································································································184 游戏的想法来自何处？ ··························································································186 如何从焦点小组中得到最大收获················································································189 结论····················································································································191 设计师视角：陈星汉 ·····························································································193 设计师视角：Josh Holmes ·····················································································196 扩展阅读··············································································································198 章末笔记··············································································································198 第 7 章 原型········································································································199 制作原型的方法·····································································································199 第一人称射击游戏原型设计 ····················································································205 “失败”的原型设计过程与其他故事 ········································································207 万智牌的设计进化 ································································································216 使你的实物原型更好·······························································································233 超越实物原型········································································································233 总结····················································································································234 设计师视角：JAMES ERNEST ·················································································235 设计师视角：KATIE SALEN ····················································································238 扩展阅读··············································································································240 第 8 章 软件原型··································································································241 软件原型的种类·····································································································241 游戏设计中软件原型的使用 ····················································································248 游戏感觉的原型 ···································································································252 制作《云》的原型 ································································································256 有效的界面设计·····································································································264 制作原型的工具·····································································································266 总结····················································································································270 设计师视角：David Perry ························································································271 设计师视角：Elan Lee ···························································································274 扩展阅读··············································································································276 章末笔记··············································································································277 第 9 章 游戏测试··································································································278 游戏测试和迭代设计·······························································································279 招募游戏测试者·····································································································279 进行游戏测试········································································································282 “典型玩家”的反馈如何帮助你避免错误？ ·······························································283 一个用户测试的例子： 《帝国时代 2：国王时代》 ·····················································285 游戏测试的方法·····································································································289 游戏测试入门：别死抱着这些规则！ ········································································290 我们为什么玩游戏 ································································································297 记笔记·················································································································301 基础可用性技术·····································································································303 数据收集··············································································································304 游戏设计中的度量 ································································································305 游戏测试练习（实践）····························································································310 结论····················································································································311 扩展阅读··············································································································312 章末笔记··············································································································312 第 10 章 功能性、完成度和平衡性 ··········································································313 你要测试的是什么？·······························································································313 你的游戏具备功能性吗？·························································································315 你的游戏内部完备了吗？·························································································316 你的游戏平衡吗？··································································································323 和 Rob Pardo 的交谈 ···························································································337 模块化思维··········································································································345 结论····················································································································346 设计师视角：Brian Hersch ····················································································347 设计师视角：Heather Kelley ···················································································350 扩展阅读··············································································································352 章末笔记··············································································································352 第 11 章 乐趣性和易用性 ······················································································353 你的游戏是否乐趣十足？·························································································353 改进玩家的选择·····································································································361 调整和平衡：人类对抗机器人 ·················································································375 乐趣杀手··············································································································381 超越乐趣··············································································································386 你的游戏是否易用？·······························································································387 将声音作为一种游戏反馈设备 ·················································································388 结论····················································································································392 设计师视角：Robin Hunicke ···················································································393 设计师视角：Lorne Lanning ···················································································397 扩展阅读··············································································································399 第三篇 像一名游戏设计师一样工作 ··········································································401 第 12 章 团队结构·································································································403 团队结构··············································································································403 开发团队··············································································································405 申请游戏设计师职位 ·····························································································407 发行商团队···········································································································416 团队档案··············································································································419 齐心为设计···········································································································421 团队建设··············································································································421 团队沟通··············································································································422 结论····················································································································423 设计师视角：NAHIL SHARKASI ···············································································424 设计师视角：MATT FIROR ·····················································································426 扩展阅读··············································································································428 章末笔记·············································································································428 第 13 章 开发阶段和方法 ······················································································429 定义阶段··············································································································429 从课堂到游戏主机：制作 PS3 游戏《流》 （FlOw） ··················································434 敏捷开发··············································································································436 独立游戏制作人的机遇 ··························································································441 结论····················································································································444 设计师视角：Michael John ·····················································································445 设计师视角：Jeff Watson ·······················································································448 扩展阅读··············································································································450 章末笔记··············································································································450 第 14 章 沟通你的设计 ·························································································451 可视化·················································································································451 流程图·················································································································453 表格····················································································································455 概念图·················································································································455 游戏描述··············································································································456 虚拟现实和 Oculus Rift ··························································································457 设计文档的格式·····································································································460 内容····················································································································460 设计宏·················································································································465 结论····················································································································466 设计师视角：Anna Anthropy ···················································································467 设计师视角：ROB DAVIAU ·····················································································469 扩展阅读··············································································································470 章末笔记··············································································································471 第 15 章 理解新的游戏产业 ···················································································472 游戏业的规模········································································································472 分发平台··············································································································473 游戏类型··············································································································474 移动游戏设计和 Zombies ,Run! ··············································································476 发行商·················································································································481 开发商·················································································································482 游戏发行业务········································································································483 结论····················································································································486 设计师视角：KEITA TAKAHASI 高桥庆太 ···································································487 设计师视角：GRAEME BYALESS ·············································································489 扩展阅读··············································································································491 章末笔记··············································································································492 第 16 章 如何带你的创意进入游戏 ··········································································493 在发行公司或开发公司找一份工作 ···········································································493 提案你的创意········································································································497 独立开发··············································································································500 结论····················································································································500 设计师视角：Erin Reynolds ····················································································501 设计师视角：Asher Vollmer ····················································································504 扩展阅读··············································································································505 结语····················································································································506

Tracy Fullerton是一位饱受赞誉的游戏设计师和教育者，她的从业经验超过十五年。她在近期赢得了IndieCade 2013的Trailblazer奖，这是对她在独立游戏社区中的突出贡献的嘉奖。Tracy是南加州大学电影学院互动媒体及游戏系的主任和教授，这个专业在普林斯顿的北美游戏设计专业排行榜上高居第一。