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📄 chris crawford interview on game design.mht

📁 游戏设计大师Chris Crawford的大作《The Art of Game Design》唯一不足的是英文版的
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Subject: Chris Crawford Interview on Game Design
Date: Sat, 15 Jan 2005 13:03:36 +0800
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<HTML><HEAD><TITLE>Chris Crawford Interview on Game Design</TITLE>
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      <P><FONT face=3D"Verdana, Arial, Helvetica, sans-serif" =
color=3D#ff6600=20
      size=3D3><B>CHRIS CRAWFORD </B></FONT><FONT face=3D"Verdana, =
Arial, Helvetica"=20
      size=3D-2><A=20
      =
href=3D"http://www.theswapmeet.com/articles/crawford.html#process"><BR>DE=
AN=20
      OF AMERICAN GAME DESIGN <BR></A></FONT><FONT=20
      face=3D"Verdana, Arial, Helvetica" size=3D-1><IMG height=3D1=20
      src=3D"http://www.theswapmeet.com/picts/trans.gif" width=3D200 =
align=3Dbottom=20
      NATURALSIZEFLAG=3D"0"><BR><BR></FONT><FONT face=3D"Verdana, Arial, =
Helvetica"=20
      size=3D-2><B>CHRIS CRAWFORD</B> made his game design debut at =
<B>Atari</B>=20
      in 1979, created countless games since, published <A=20
      =
href=3D"http://www.vancouver.wsu.edu/fac/peabody/game-book/Coverpage.html=
"=20
      target=3D_blank><B><I>The Art of Computer Game Design</I></B></A> =
in 1982 -=20
      a seminal text dealing with the nature of game design at a time =
when=20
      computers were barely infiltrating the home - and founded the =
<B>Game=20
      Developers Conference</B> in 1985, to establish a dialogue between =
game=20
      design professionals. <BR><BR><BR></FONT><FONT=20
      face=3D"Verdana, Arial, Helvetica" size=3D-1><IMG height=3D337=20
      src=3D"http://www.theswapmeet.com/PICTS/articles/crawford.jpg"=20
      width=3D275></FONT><FONT face=3D"Verdana, Arial, Helvetica"=20
      size=3D-2><B><BR></B></FONT><FONT face=3D"Verdana, Arial, =
Helvetica"=20
      size=3D2><FONT size=3D1>Image copyright notice (?<A=20
      href=3D"http://www.kimstringfellow.com/portfolio.html"=20
      target=3D_blank>kimstringfellow 1999</A>) </FONT></FONT><FONT=20
      face=3D"Verdana, Arial, Helvetica" size=3D-2><B><BR></B><BR>Having =
already=20
      published three books, Chris's prolific writings have graced the =
pages of=20
      <I>Edge</I> and other publications - many available directly on <A =

      href=3D"http://www.erasmatazz.com/Library.html" =
target=3D_blank>his=20
      website</A>. His considerable narrative talents are now applied to =
the=20
      world of <B>Interactive Storytelling</B>, through his <A=20
      href=3D"http://www.erasmatazz.com/" =
target=3D_blank><B>Erasmatazz</B></A>=20
      project. </FONT></P>
      <P><FONT face=3D"Verdana, Arial, Helvetica" size=3D-2>For more =
info: <A=20
      href=3D"http://www.erasmatazz.com/"=20
      target=3D_blank>http://www.erasmatazz.com/</A><BR><BR></FONT><FONT =

      face=3D"Verdana, Arial, Helvetica" size=3D-1><IMG height=3D38=20
      src=3D"http://www.theswapmeet.com/picts/trans.gif" width=3D200 =
align=3Dbottom=20
      NATURALSIZEFLAG=3D"0"></FONT><FONT face=3D"Verdana, Arial, =
Helvetica"=20
      size=3D-2><BR><BR>Interview by<BR>by Frederique =
Krupa.<BR><BR></FONT><FONT=20
      face=3D"Verdana, Arial, Helvetica" size=3D-1><IMG height=3D150=20
      src=3D"http://www.theswapmeet.com/picts/trans.gif" width=3D200 =
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      NATURALSIZEFLAG=3D"0"></FONT> </P></TD>
    <TD vAlign=3Dtop width=3D497><FONT=20
      face=3D"Verdana, Arial, Helvetica, sans-serif" size=3D2>
      <P><B><FONT color=3D#ffffff>How did you get into the game design=20
      industry?</FONT></B> </P>
      <P>In 1966, a friend showed me a paper wargame, "Blitzkrieg". We =
played=20
      it, I became an avid wargamer, and from there started thinking of =
my own=20
      designs. When computers became available, I built one and =
programmed it=20
      with a wargame. In 1979, I got a job at Atari.</P>
      <P><B><FONT color=3D#ffffff>What are the necessary skills for =
doing game=20
      design well, and can it be taught?</FONT></B> </P>
      <P>Most important, breadth of education. Game design is not a =
specialized=20
      form of programming. All the great designers have a broad range of =

      intellectual interests: economics, history, music, science, etc. =
Also, a=20
      continuing insatiable intellectual curiosity. All the great =
designers are=20
      avid readers. </P>
      <P><B><FONT color=3D#ffffff>Of the game designer's we've =
interviewed, we=20
      have identified three approaches to starting a project - develop a =

      scenario, follow a game-genre heritage, or start from a =
technological=20
      premise. Is there another method? </FONT></B></P>
      <P>Yes. Decide what you want to accomplish, then do it. It's so =
simple, so=20
      obvious, yet so rarely done. For example, my last game, "Patton =
Strikes=20
      Back", was designed with the goal of creating "a wargame for the =
rest of=20
      us". Before that, I did "Balance of the Planet" with the goal of =
"showing=20
      people how environmental problems interact with economic and =
cultural=20
      issues". My most creative design, "Trust and Betrayal", was built =
with the=20
      goal "talk to the animals". The three methods you cite have no =
clear=20
      objectives, so it should come as no surprise that they don't =
accomplish=20
      anything. If you don't know where you're going, you'll never get =
there.=20
      <BR></P>
      <P><B><FONT color=3D#ffffff>How do you initiate a project?</FONT> =
</B></P>
      <P>I set my objective, something that's important, something that =
I=20
      believe in. Then I explore ways to reach that objective. I =
normally choose=20
      difficult objectives, so the exploration process often takes a =
long time.=20
      Once I have hit upon a satisfactory strategy, I set to work =
implementing=20
      it, but there are often many ugly surprises along the way, =
requiring=20
      intense redesign effort. Eventually I get it working. <BR></P>
      <P><B><FONT color=3D#ffffff>How do you organize your work? Do you =
have a=20
      predefined working process?</FONT></B> </P>
      <P>I have no set way of tackling any design problem other than =
hard work=20
      and a refusal to back down from difficult problems. Any truly =
interesting=20
      problem must be new enough to lie beyond the applicability of =
standardized=20
      methods. If you want to stamp the products out in rapid order, get =
a=20
      machine, or a human who has been ground down to the status of a=20
      machine.<BR></P>
      <P><B><FONT color=3D#ffffff>What are the tools of your trade and =
what is=20
      your relationship to these tools?</FONT></B> </P>
      <P>Books, a computer, a compiler, pen and paper, music to listen =
to while=20
      I work, woods through which to walk while I think. The books =
educate me,=20
      the computer angers me, the compiler frustrates me, the paper =
clarifies my=20
      thoughts, the music harmonizes my mind, the woods maintain my=20
      perspective.<BR></P>
      <P><B><FONT color=3D#ffffff>What is the biggest technological =
limitation of=20
      your profession, and how do you deal with it?</FONT></B> </P>
      <P>The execrable state of input devices. The keyboard and mouse =
reduce my=20
      user to an inarticulate clod; I can't very well interact with a =
user who=20
      can't say much to me. Would that computer systems spent half as =
much money=20
      on input devices as they spend on output devices! <BR></P>
      <P><B><FONT color=3D#ffffff>Where do you get your inspirations? =

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