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Subject: The Art of Computer Game Design- Chapter 2
Date: Sat, 15 Jan 2005 13:05:00 +0800
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G>
<UL>
<DIV align=3Dright>
<P><A name=3Dtop></A><FONT size=3D+3>Why Do People Play Games=20
?<BR></FONT><B>Chapter Two</B></P></DIV></UL>
<P>
<HR width=3D"100%">
<P></P>
<CENTER>
<TABLE cellSpacing=3D5 cellPadding=3D10>
<TBODY>
<TR vAlign=3Dtop align=3Dleft>
<TD><B><A=20
=
href=3D"http://www.vancouver.wsu.edu/fac/peabody/game-book/Chapter2.html#=
Fantasy/Exploration">Fantasy/Exploration<BR></A><A=20
=
href=3D"http://www.vancouver.wsu.edu/fac/peabody/game-book/Chapter2.html#=
Proving">Proving=20
Oneself<BR></A><A=20
=
href=3D"http://www.vancouver.wsu.edu/fac/peabody/game-book/Chapter2.html#=
Social">Social=20
Lubrication<BR></A><A=20
=
href=3D"http://www.vancouver.wsu.edu/fac/peabody/game-book/Chapter2.html#=
Exercise">Exercise<BR></A><A=20
=
href=3D"http://www.vancouver.wsu.edu/fac/peabody/game-book/Chapter2.html#=
Need for">Need=20
for Acknowledgement<BR></A><A=20
=
href=3D"http://www.vancouver.wsu.edu/fac/peabody/game-book/Chapter2.html#=
Summary">Summary</A></B></TD>
<TD><B><A=20
=
href=3D"http://www.vancouver.wsu.edu/fac/peabody/game-book/Chapter2.html#=
MOTIVATION VERSUS">MOTIVATION=20
VERSUS SELECTION<BR></A><A=20
=
href=3D"http://www.vancouver.wsu.edu/fac/peabody/game-book/Chapter2.html#=
Game">Game=20
Play<BR>Sensory Gratification<BR><BR></A><A=20
=
href=3D"http://www.vancouver.wsu.edu/fac/peabody/game-book/Chapter2.html#=
INDIVIDUAL">INDIVIDUAL=20
TASTES</A></B></TD></TR></TBODY></TABLE></CENTER>
<UL>
<P><B><FONT size=3D+2>G</FONT></B>ame-playing requires two components: =
a game=20
and a player. The game designer works to produce a game, and so her =
immediate=20
preoccupation is with the game itself. Yet, her final goal is to =
educate,=20
entertain, or edify the game-player; hence, the human player is the =
proper=20
primary concern of the game designer. Why do people play games? What =
motivates=20
them? What makes games fun? The answers to these questions are crucial =
to good=20
game design.</P>
<P><IMG height=3D120=20
=
src=3D"http://www.vancouver.wsu.edu/fac/peabody/game-book/pennybags.gif" =
width=3D128 align=3Dleft>One way to address the question of the =
purpose of games=20
is to inquire into their history. Games now are too varied, too =
intricate, too=20
involved, to indicate a single clear function. Perhaps their =
fundamental=20
nature would be more evident in their earliest incarnations. How far =
back must=20
we go? To MONOPOLY, created during the Depression? No, card games were =
played=20
long before that. Indeed, the discoverers of King Tutankhamen=92s tomb =
found=20
among the wealth there a wooden surface with regular divisions that =
appears to=20
be some sort of boardgame. But even archaeology does not take us far =
enough=20
back. If we wish to get back to the beginnings of games, we must go =
beyond the=20
realm of the archaeologist and into the realm of the paleontologist. =
We must=20
reach not thousands but millions of years into the past to find the =
earliest=20
games, for games predate not just history but all of mankind. They are =
not a=20
human invention.</P>
<P>Fortunately, direct recourse to paleontology is unnecessary. A trip =
to the=20
zoo will suffice. There we find two lion cubs wrestling near their =
mother.=20
They growl and claw at each other. They bite and kick. One cub wanders =
off and=20
notices a butterfly. It crouches in the grass, creeps ever so slowly =
toward=20
its insect prey, then raises its haunches, wiggles them, and pounces. =
We laugh=20
at the comedy; we say that the cubs are playing a game, that they are =
having=20
fun, and that they are such fun-loving, carefree creatures.</P>
<P>We are right on the first count: these cubs do indeed appear to be =
playing=20
a kind of game. We can certainly see in their behavior all four of the =
fundamental game attributes described in Chapter 1: representation,=20
interaction, conflict, and safety. We may be right on the second =
count; who=20
knows if lions can have fun? But we are dead wrong on the last count. =
These=20
cubs are not carefree. They do not indulge in games to while away the =
years of=20
their cubhood. These games are deadly serious business. They are =
studying the=20
skills of hunting, the skills of survival. They are learning how to =
approach=20
their prey without being seen, how to pounce, and how to grapple with =
and=20
dispatch prey without being injured. They are learning by doing, but =
in a safe=20
way. Better to make mistakes with butterfly and sibling than with the =
horns of=20
the wildebeest.</P>
<P>Games are thus the most ancient and time-honored vehicle for =
education.=20
They are the original educational technology, the natural one, having =
received=20
the seal of approval of natural selection. We don=92t see mother lions =
lecturing=20
cubs at the chalkboard; we don=92t see senior lions writing their =
memoirs for=20
posterity. In light of this, the question, "Can games have educational =
value?"=20
becomes absurd. It is not games but schools that are the newfangled =
notion,=20
the untested fad, the violator of tradition. Game-playing is a vital=20
educational function for any creature capable of learning.</P>
<P>The incidence of game-playing in animals is itself instructive.=20
Game-playing has been observed only in mammals and birds. The =
phylogenetically=20
earlier orders (fish, insects, amphibians, and reptiles) have not been =
shown=20
to engage in game-playing. (See <I>Animal Play Behavior</I>, by Robert =
Fagen,=20
Oxford University Press.) Game play seems to be associated with that =
quality=20
which we have clumsily attempted to measure with brain size, =
intelligence, and=20
ability to learn. This correspondence cannot be attributed to =
accident;=20
clearly game play is an important component in the development of many =
creatures.</P>
<P>We commonly associate the playing of games with children. Indeed, =
"play" as=20
an activity is considered to be the almost exclusive preserve of =
children, and=20
the term is applied to adults either disparagingly or jocularly. =
Children are=20
expected to play games because we recognize (perhaps unconsciously) =
the=20
fundamental utility of games as an educational tool. As children grow =
up,=20
cultural pressures change and they are encouraged to devote less time =
to the=20
playing of games so that they can devote themselves to more serious=20
activities.</P>
<P>I claim that the fundamental motivation for all game-playing is to =
learn.=20
This is the original motivation for game-playing, and surely retains =
much of=20
its importance. This claim does not conflict with my other primary =
assertion=20
that computer games constitute a new art form. Consider, for example, =
humans=20
and food. The fundamental motivation to eat food is the base desire =
for=20
nourishment, yet this has not prevented us from embellishing this =
fundamental=20
activity with all manner of elaborate and non-nourishing customs, =
rituals,=20
seasonings, and garnishes. I do not mean to imply that food is an art =
form;=20
only that we humans can take an activity far beyond its prime cause =
without=20
denying that prime cause.</P>
<P>I must qualify my claim that the fundamental motivation for all =
game-play=20
is to learn. First, the educational motivation may not be conscious. =
Indeed,=20
it may well take the form of a vague predilection to play games. The =
fact that=20
this motivation may be unconscious does not lessen its import; indeed, =
the=20
fact would lend credence to the assertion that learning is a truly =
fundamental=20
motivation.</P>
<P>Second, there are many other motivations to play games that have =
little to=20
do with learning, and in some cases these secondary motivations may =
assume=20
greater local importance than the ancestral motivation to learn. These =
other=20
motivations include: fantasy/exploration, nose-thumbing, proving =
oneself,=20
social lubrication, exercise, and need for acknowledgment. I shall =
examine=20
each in turn. <FONT size=3D-1><A=20
=
href=3D"http://www.vancouver.wsu.edu/fac/peabody/game-book/Chapter2.html#=
top">Top</A>=20
</FONT></P>
<P><A name=3DFantasy/Exploration></A><B>Fantasy/Exploration</B></P>
<P>A very important motivation to play games is fantasy fulfillment. =
Like a=20
movie, a book, or music, a game can transport the player away from the =
tawdry=20
world that oppresses him and create a fantasy world in which he can =
forget his=20
problems. Games are potentially superior to the traditional means of =
escape=20
(movies, books, music) because they are participatory. Instead of =
merely=20
watching a movie, reading a book, or listening to music, the player is =
actively involved in the game. Indeed, the player drives the game, =
controls it=20
in a way that is quite impossible with the passive fantasies. This =
need to=20
escape, to fantasize is certainly an important motivation.</P>
<P>Fantasy fulfillment frequently takes the form of symbolic =
exploration.=20
There=92s a big world out there, full of exciting things, people, and =
places, yet=20
most of us are confined to a world ,of asphalt, plastic, and paper. =
Many art=20
forms attempt to transport the audience into a different world, to =
present=20
experiences or feelings not often known in the everyday world.</P>
<P>Consider, for example, the success of Disneyland. This place is =
undoubtedly=20
the most successful of its genre. Such parks are often called =
"amusement=20
parks" or "theme parks." These terms are misleading, for the success =
of=20
Disneyland cannot be attributed solely to its amusements and =
diversions. These=20
elements are technically excellent, but other amusement parks sport=20
technically excellent rides. The success of Disneyland can be summed =
up in one=20
word: fantasy. Disneyland creates and supports an aura of fantasy, a =
context=20
of make-believe that permeates all of the activities within the park. =
Within=20
moments of entering the park, the visitor feels that s/he is in a =
different=20
world. Fanatic attention to detail in signposts, walls, windows, even =
railings=20
has created an environment that encourages suspension of =
disbelief.</P>
<P>Fantasy is an important component of human play. It is critical to =
our=20
recreation, our art and our games.</P>
<P><B>Nose-Thumbing</B></P>
<P>A common function of games is to provide a means of overcoming =
social=20
restrictions, at least in fantasy. Many games place the player in a =
role that=20
would not be socially acceptable in real life, such as a pirate or a =
thief. An=20
excellent (albeit extreme) example of this is the game CRUSH, CRUMBLE, =
AND=20
CHOMP by Automated Simulations. In this game the player is cast as a=20
1950=92s-vintage monster going on a rampage through his favorite city. =
He stomps=20
on police cars, crushes buildings, swats helicopters, and creates =
general=20
mayhem. The box art shows a monster about to attack an IRS building as =
terrified citizens flee. This represents an extreme case of =
anti-social=20
behavior made acceptable by the safety of the game.</P>
<P>Sometimes the player=92s role is itself socially acceptable, but =
the actions=20
taken are discouraged in real life. MONOPOLY encourages players to =
engage in=20
what the Federal Trade Commission delicately calls "predatory trade=20
practices." Wargames encourage players to start and win wars. Some =
games=20
address sexual matters, allowing players to indulge in make-believe =
behavior=20
that they could never exhibit in the real world.</P>
<P>The most telling example of this nose-thumbing phenomenon lies in =
the=20
arcade games. These games emphasize violence, and lots of it. The =
theme is=20
almost universal in arcades: destroy somebody. The coup de grace is =
not=20
delivered discreetly or elegantly. On the contrary, the victim is =
dispatched=20
with the most colorful animated explosion possible. Like a Sam =
Peckinpah=20
movie, the violence is the whole point and purpose of the enterprise. =
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