俄勒冈之旅

We all want to be heroes (or villains). To be the leading character in our own stories is an important aspect of playing the games we love, even if the story is abstract or apparently absent there is an inherent power in the sense of competence, esteem and autonomy we gain from play.

我们都想成为英雄(或恶棍)。 在我们自己的故事中成为主角是玩我们喜欢的游戏的重要方面，即使故事是抽象的或显然不存在，我们在玩游戏中所获得的能力，自尊和自治也具有内在的力量。

Most of the best games designers I know think this a lot although there are some inherent. For a start are we really playing the hero or in fact the side-kick. In Destiny we spend a lot of time waiting for our Ghost to do something obscure we don’t quite understand whilst we are fending off hordes of Vex or some such. Are we really the heroes?

我知道，大多数最佳游戏设计师对此都有很多看法，尽管有一些内在因素。 首先，我们是真正扮演英雄，还是扮演边踢。 在《天命》中，我们花费大量时间等待幽灵做一些我们不太了解的模糊事情，而我们正在抵御成群的Vex或类似的事情。 我们真的是英雄吗？

More than that we usually lack some important knowledge that our hero should by rights already know. Then there is the trouble with choice; something The Stanley Parable explores brilliantly, what if we don’t want to do something the plot requires us to do? However. I’m not looking to restart the debate of Ludo-narrative dissonance. Instead I want us to consider something else.

更重要的是，我们通常缺乏一些重要知识，而我们的英雄应该通过权利知道这些知识。 选择的麻烦就在于此。 斯坦利寓言的精彩探索，如果我们不想做剧情要求我们做的事情怎么办？ 然而。 我不想重启关于Ludo叙事不和谐的辩论。 相反，我希望我们考虑其他问题。

Players are not the heroes of the game. Not just because of the issues I’ve mentioned already but because of something more obvious. They are real people. That means they have lives and they can’t spend every waking moment playing your game.

玩家不是游戏的英雄。 不仅是因为我已经提到过这些问题，还因为更明显的事情。 他们是真实的人。 这意味着他们有生命，他们不能花所有醒着的时间来玩游戏。

When we design a game, especially now in this Games-As-A-Service age, we can’t just invest in the story arch for the hero, or whatever abstract purpose our game has. We have to take into account the Player Journey too.

当我们设计游戏时，尤其是在这个“即服务即游戏”时代，我们不仅可以投资英雄的故事拱门，也不能仅仅投资于游戏的抽象目的。 我们也必须考虑玩家旅程。

Campbell’s Heroes Journey is a well-trodden path and I’m going to help illustrate The Players Journey, of course it’s not the only Storytelling form, but it’s still quite a useful one. I’m also going to take a few very slight liberties with the specific stages, but all within the principles of the original.

坎贝尔的《 英雄之旅》是一条通俗易懂的道路，我将帮助说明《玩家之旅》，这当然不是唯一的讲故事形式，但它仍然是一个非常有用的形式。 我还将在特定阶段中采取一些非常轻微的自由，但所有这些都应遵循原始原则。

1. The Ordinary World – Players often already have games they are playing, and even if they are between games they are being bombarded on all sides with messages. Why should they play your game?

   普通世界 –玩家通常已经在玩游戏，即使在游戏之间，也遭到了消息轰炸。 他们为什么要玩你的游戏？

2. The Call To Adventure – Discovery is not a passive act. You have to create the conditions for players to find and desire your within your design through art, narrative, social interactions as well as through the other media and of course partners including the platform holders.

   冒险号召 -发现不是被动行为。 您必须创造条件，让玩家通过艺术，叙事，社交互动以及其他媒体以及当然包括平台持有人在内的合作伙伴在您的设计中找到并渴望您的设计。

3. The Refusal of the Call – don’t assume downloading a game means it will be played. The reality of a game before we learn the controls is always poorer than our imagination. Get your players playing fast and feeling good about their competence fast. Additionally, we have to consider the physical devices and the moments in time they choose to play this game. Are they interruptible? How much time can they spare? What is their mode of use? This is particularly noticeable on mobile where Games with a shorter incidence of play seem to attract more frequent play, even if playing sessions end up longer.

   拒绝通话 –不要以下载游戏为准。 在我们学习控件之前，游戏的现实总是比我们的想象力差。 让您的玩家快速上场并快速感受到自己的能力。 此外，我们必须考虑物理设备以及他们选择玩此游戏的时间。 他们可打扰吗？ 他们可以节省多少时间？ 他们的使用方式是什么？ 这在移动设备上尤为明显，在移动设备上，即使游戏会话结束的时间更长，但游戏发生率较短的游戏似乎吸引了更频繁的游戏。

4. The Threshold – After the first play we need to think about why our players would want to come back and play again, and again. We want to create a sense of anticipation for their return to play. We can afford to be generous after all we want them to learn the value of continuing to play and if this is a free2play game to create a desire to spend money later.

   阈值 –在第一次比赛之后，我们需要考虑为什么我们的球员希望再次回到比赛中来。 我们希望对他们的重返比赛产生一种期待感。 毕竟，我们可以让他们宽容，我们希望他们学习继续游戏的价值，如果这是一款free2play游戏，那么人们会在以后花钱。

5. The Belly Of The Whale – There always comes a point where players fail, but this is a necessary step for us to be able to commit to playing, otherwise where is the challenge? How does your game make me want to get back up and play again? Longevity in games is linked to an innate sense of ‘unfinished business’ after play not just the rewards of success. There is some evidence that Whale players don’t start spending till after 8-12 days. That requires us to sustain their interest a long time.

   鲸鱼肚皮 –总是有玩家失败的地步，但这是我们能够致力于比赛的必要步骤，否则挑战在哪里？ 您的游戏如何使我想要重新起身并重新玩耍？ 游戏中的长寿与游戏后天生的“未完成的业务”感相关，而不仅仅是成功的回报。 有证据表明，鲸鱼玩家要等8至12天才开始消费。 这就要求我们长期维持他们的兴趣。

6. The Road Of Trials – Once we have passed the danger zone of the Learning Stage and they are still playing then we know they now properly engaged. It’s here that the repeatability of the core mechanic becomes essential; and has to remain fun. Why would we want to play again, and again? There has to be a sustainable delight!

   试用之路 –一旦我们通过了学习阶段的危险区域，并且他们仍在比赛中，那么我们知道他们现在可以正确参与了。 在这里，核心机制的可重复性变得至关重要。 并且必须保持乐趣。 为什么我们要一次又一次地玩？ 必须有可持续的喜悦！

7. The Temptation – Engaged players don’t just keep playing without an expectation of reward for their effort. Games needs to have a sense of purpose and progression to retain the players’ interest but we need a trigger if we are to get a player to spend money on DLC or In-App items. Players (according to research by Park & Lee) don’t spend money because they are happy. They do so in anticipation of future value. We need to create reasons to want to spend money in the game. That even more the case if we have a F2P game which is hoping to attract Whales (big spenders). These spenders aren’t born, they only emerge from deep engagement with your game.

   诱惑 –敬业的玩家不仅会继续努力，不会期望获得回报。 游戏需要具有目标感和发展感，以保持玩家的兴趣，但如果要让玩家花钱购买DLC或应用内商品，我们需要一个触发因素。 玩家(根据Park＆Lee的研究)不花钱是因为他们很快乐。 他们这样做是为了期待未来的价值。 我们需要创造出想在游戏中花钱的理由。 如果我们有一款F2P游戏希望吸引鲸鱼(消费大户)，那就更是如此。 这些消费者并非天生，他们只是通过与游戏的深度接触而出现的。

8. The Epic Battle – Having a sense of purpose is all well and good, but without an attainable goal or ‘sense of impending doom’ to drive us forward we can easily lose momentum. The Boss Battle isn’t just about a bigger fight; it’s as much about creating a target to aim for which is within reach. If it seems too far away, or we can’t relate to the goals we quickly get bored. There is danger here however, if we create ways for the player to pay their way past the Epic Battle (indeed to pay to avoid playing any aspect of the game) we break the game. That’s what ‘Pay To Win’ means – a broken experience!

   史诗般的战斗 –有目标感是件好事，但是如果没有可实现的目标或“即将来临的厄运感”来推动我们前进，我们很容易失去动力。 老板之战不仅仅是一场更大的战斗。 创建目标就可以达到目标就差不多了。 如果距离似乎太远，或者我们无法实现目标，我们很快就会感到无聊。 但是，这里存在危险，如果我们为玩家创造出一种方式来超越史诗般的战斗(实际上是为了避免玩游戏的任何方面而付费)，我们就会中断游戏。 这就是“赢钱”的意思–糟糕的体验！

9. The Ultimate Boon – The lure of short term goals and ultimate conflicts is all very good, but in the end we eventually seek something more meaningful. A long term payoff we can anticipate and predict, but where the conditions of that reward can’t quite be pinned down – leaving scope for anticipation and ideally with enough unfinished business that will keep our attention for a long time to come. In the end we need to be able to look back on our playing (and paying) experience and see the utility we gained from this investment.

   终极收益 –短期目标和终极冲突的诱惑都非常好，但最终我们最终会寻求更有意义的东西。 我们可以预期和预测长期的回报，但是在那种回报条件还不能完全确定的情况下–可以进行预期的工作，理想情况下还有足够的未完成业务，这将使我们长期关注。 最后，我们需要能够回顾我们的游戏(和付费)经验，并看到我们从这项投资中获得的效用。

10. Rescue From Without – Social factors are essential for long term engagement. Just as the Hero often needs an external helping hand we, as social creatures, need some contact with other players to sustain our interest in the games over time. There is great power in shared experiences and the power to discuss our own magical moments. It’s the heart of storytelling. One of the keys to success in service-based based is the realisation that we need interaction with the Free-Players in order to create the conditions to keep the paying players playing (and paying). Social experiences aren’t binary, we can have shared moments with strangers as well as deep connections exemplified by guilds where the social interaction becomes more important than the game itself.

    无人救援 –社会因素对于长期参与至关重要。 正如英雄经常需要外部帮助一样，作为社交动物，我们也需要与其他玩家进行某种接触，以保持我们对游戏的兴趣。 共享的经验中有很大的力量，而讨论我们自己的神奇时刻的力量也很大。 这是讲故事的核心。 基于服务的成功的关键之一是认识到我们需要与免费玩家互动，以便创造条件来保持付费玩家继续玩(和付费)。 社交体验不是二元的，我们可以与陌生人共享时刻，也可以与公会进行深入的联系，在公会中，社交互动比游戏本身更重要。

11. The Return? – Whilst we can work hard to create ongoing experiences we have to acknowledge that in the end players will churn, they will return to their Ordinary World and perhaps even seek out other adventures. If we have done our work well they will have been changed by their experience and their expectations from other games will be permanently affected.

    回报？ –尽管我们可以努力创造持续的体验，但我们必须承认，最终玩家会流失，他们将回到普通世界，甚至可能会寻求其他冒险。 如果我们做得很好，他们的经验将改变他们，他们对其他游戏的期望将永久受到影响。

12. Master of Two Worlds – Players who leave a game feeling that their investment in terms of money and time was worthwhile will continue to be positive influences for other potential players and may even be ripe to return for the sequel or an extension of the original game. This has to be treated as a new journey, but one with new dangers to face and new treasures to uncover.

    两个世界的大师 –离开游戏的玩家觉得自己在金钱和时间上的投资值得，这将继续对其他潜在玩家产生积极的影响，甚至可能会更愿意回归续集或扩展原始游戏。 这必须视为新的旅程，但要面对新的危险和发现新的宝藏。

These 12 Steps aren’t a fool-proof formula, but they hopefully will help you set your sights further than just the first playing session. We have to consider our players as real people with real lives who want what you have to offer them in terms of entertainment and perhaps, just perhaps this will help us create more sustainable experiences and dare I say… better games?

这12个步骤并不是万无一失的公式，但希望它们能帮助您将目光投向更远的地方，而不仅仅是第一次比赛。 我们必须将我们的玩家视为具有现实生活的真实人物，他们希望您在娱乐方面为他们提供什么，也许，也许这将有助于我们创造更多可持续的体验，并且敢说……更好的游戏？

If you’d like to know more, Oscar will be discussing this topic at the IGDA Webinar on Wednesday 15th October – if you want to join that register at https://www2.gotomeeting.com/register/158293626

如果您想了解更多信息，Oscar将在10月15日星期三的IGDA网络研讨会上讨论此主题-如果您想通过https://www2.gotomeeting.com/register/158293626加入该注册，

p.s. You don’t have to be an IGDA member to join in.

ps您不必成为IGDA成员即可加入。

翻译自: https://blogs.unity3d.com/2014/10/13/the-players-journey/

俄勒冈之旅