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Chris Zimmerman： I'm the honorary head of Sucker Punch Productions, and today I'm going to talk about the melee design of Soul of Tsuma. I'm going to focus on what we learned while developing the game, and skip over some of the things that went wrong, so this is a pretty regular GDC talk. 我是Sucker Punch Productions名誉负责人，今天主要说的是《对马岛之魂》的近战设计，接下来我会着重谈谈我们在这款游戏研发当中学到的东西，跳过一些做的比较失败的地方，所以这是一个很常规的GDC演讲。
I'll start by talking about the five problems I encountered in designing the melee design for Soul of Tsushima, then give a case or two for each problem, and then summarize what we learned in the process through case analysis. In addition, I did a lot of programming on the project so there were a lot of technical details that I was involved in, but that might not be of much interest to non-programmers, so I'll skip the programming part.
Many of you have probably played Ghost of Tsushima, but if you haven't, I suggest you try it. It's a great game, and it's a great way to understand what we're talking about today.
In short, Spirit of Tsushima is an open-world action RPG set in the late 13th century when the Mongol Empire first invaded Japan, with the island of Tsushima in between bearing the brunt. Seeing his native land trampled by iron hoof, the only survivor of the clan, Jing Jing, decides to take back his homeland and fight for Tsushima Island's freedom in an unusual way. 我会先说到设计《对马岛之魂》近战设计所遇到的5个问题，然后每个问题都给出一两个案例，然后通过案例分析总结我们在这个过程中学到了什么。另外，还在项目上做了大量的编程所以有很多技术细节我都参与过，不过非程序员可能对此不太感兴趣，所以程序部分我会跳过。 可能很多人都玩过《对马岛之魂》，如果没有玩过，我建议你们尝试，毕竟这是一款不错的游戏，而且对于理解今天所说的内容有很大的帮助。 简而言之，《对马岛之魂》是一款开放世界动作RPG游戏，背景设定是13世纪末蒙古帝国首次入侵日本，两者之间的对马岛首当其冲。看到故土遭铁蹄践踏，氏族唯一幸存者境井仁武士决定夺回家园，以非常之道为对马岛的自由而战。 When we created the game, we had three goals. First, we wanted the game to be immersive. We wanted the game to be a time machine where you could go back in time to Japan and become a samurai fighting the Mongol Empire. We wanted to make a game with historical accuracy, a credible game, so that meant there were no monsters, just iron and blood. The third is to lower the barrier to entry. As a game with a small marketing budget, we need a large user base. We didn't set out to make a niche game, but a game that millions of people can enjoy.
These three goals have influenced many subsequent designs, so it's easier to keep them in mind when we talk about game design later. 打造这款游戏的时候，我们有三个目的，首先是沉浸感，我们希望这款游戏成为时光机，让玩家进入游戏就可以回到那个时代的日本，成为与蒙古帝国斗争的武士；其次是有依据，我们希望打造的是一个具有历史准确性的游戏、可信的游戏，所以意味着游戏里没有怪兽，只有铁与血；第三是降低游戏门槛，作为一个营销预算不那么大的游戏，我们需要很大的用户群，我们开始的时候就没打算做一个小众游戏，而是要让数百万人都可以享受体验的游戏。 这三个目标影响了随后的很多设计，所以在后续我们谈到游戏设计的时候，记得这三个目标会更容易理解。
Why is melee good for this game? In fact, the katana is central to the samurai fantasy. Besides, melee combat is the background to our story, and if you can't fight evil through melee combat, then our story will fall apart. However, combat should not be too numerically difficult for the player to understand.
Melee combat in the samurai context is very broad. One-on-one combat, one-on-one groups, and fighting alongside a samurai partner are all different forms of combat.
At the heart of the samurai fantasy is precision and rules. We want every action in a game battle to have a purpose. Rules are about waiting for the perfect moment, which requires a deep mastery of the gameplay. Progress is a part of it, and constant effort helps the player master the gameplay, so keeping the player progress is an important goal.
In general, a samurai needs to have combat skills and master the katana in his hand, so we need to determine how the player mastered the skills. 近战为什么适合这个游戏呢？实际上，武士刀是武士幻想当中的核心。另外，近战是我们故事的背景，如果你不能通过近战与邪恶势力对抗，那我们的故事就会支离破碎。然而，战斗又不能用太多的数值让玩家很难理解。 武士背景下的近战是很宽泛的，一对一战斗，一对一组以及和武士伙伴并肩作战都是不同的表现形式。 决定武士幻想的核心是精准和规则，我们希望游戏战斗中的每一个动作都有目的，规则指的是等待最佳时机，这需要玩家对游戏玩法的深度掌握。进度也是其中的一部分，持续的努力就可以让玩家掌握游戏玩法，所以保持玩家进度也是很重要的一个目标。 总体来说，一个武士需要有战斗技巧，需要掌握手中的武士刀，所以我们需要确定玩家如何掌握技巧。 In fact, there are many ways to judge the player's skill. We mainly use two aspects, one is accurate practical grasp, and the other is quick and accurate reaction, all of which need to be done under high pressure from the enemy.
The problem with this is that human reaction times are actually slower than you might think, and it can take a little longer than the time it takes you to pull the knife out, which is usually no more than 15 milliseconds. 对于玩家技巧的判断实际上有很多方式，我们主要通过两个方面，其一是精准的实际把握，其次是快速精准的反应，这一切都需要是在敌人给出的高压力之下完成的。 但这时候我们会遇到一些问题，人类的反应速度实际上比你想象中的要慢，从看到视觉效果到作出反馈可能需要时间，这比你拔刀的时间要久一些，后者通常不会超过15毫秒。 There is no limit to how long enemies can move, and they can give feedback to the player at any time. In fact, we started out with a humanized reaction time that required a few hundred milliseconds to track, but it turned out to be completely wrong and insensitive.
I think it's because people have certain expectations from movies, and movies aren't that realistic, and people anticipate the action more than they actually react to it, but we have to give the user that expectation, so the enemy moves immediately.
It's worth noting that human reaction times are slow, but people's timing predictions can sometimes be perfect, and while it may take a while to practice, they always get it right. Our final goal for combat in the game is that it's all about skill, and if you can do it perfectly, you won't even get hit. No matter how many enemies are attacking you, if you do the right thing at the right time, you won't get hit.
What do we do? Initial enemy attacks have closing moves so you have time to react, successive attacks have a battle Combo, and player attacks can be fast enough to give NPCS no time to react.
But when we met in the design, fast attack either too slow or too fast, you can even find opportunities to interrupt the enemy reaction, we thought it was very reasonable design, but the test result is not good, although also for players to adopt strategies, but the sense that gives a person is not so skilled, combat experience is not interesting, so you must understand the solution to this problem. 敌人的动作时间是没有限制的，他们任何时候都能对玩家的动作给出反馈。实际上，一开始的时候我们设计了比较人性化的反应时间，需要几百毫秒的时间追踪，但结果发现这样的设计完全错了，给人的感觉很迟钝。 我觉得这主要是因为人们从电影当中产生了特定的预期，而电影并不是那么真实，人们对电影动作更多的是预期而不是自己真正的作出反应，但我们要给用户实现这样的预期，所以敌人会立即移动。 值得注意的是，人类的反应时间很慢，但人们的时机预测有时候会非常完美，虽然这可能需要一段时间的练习，但他们总能做到尽善尽美。我们对于游戏战斗的最后一个目标，就是希望战斗完全是看技巧的， 如果你能够完美操作，甚至不会被打到，不管多少敌人在攻击你，如果你在对的时间做对的动作，就不会被击中。 我们该怎么做？最初的敌人攻击都有收尾动作，以便你有时间作出反应，连续攻击会有战斗combo，玩家攻击也可以很快速，让NPC没有反应时间。 但在设计的时候我们遇到了问题，快速攻击要么太慢要么太快，你甚至可以找到机会打断敌人反应，我们本来认为这是很合理的设计，但测试结果并不好，虽然也让玩家采取策略，但给人的感觉并不是那么有技巧，战斗体验并不是很有趣，因此必须理解解决这个问题。 We were looking for natural limits and a believable way to present combat skills, so we chose shields against quick attacks. Then we added big guys to make it impossible for the player's katana to limit their range of attack, both of which worked well. But more importantly, we've added overlapping attacks, where some of the closing moves last a long time, but the enemy will make repeated attacks so that the closing moves of multiple attacks overlap, where players can use their skills to make quick attacks, giving them the feeling of being a samurai in the game.
But it's not the quick attack that makes the player feel skilled, it's the timing to block. The vast majority of enemy attacks can be blocked, especially at the beginning of the game when you can block and counter, and even at the end of an enemy move, which gives great player feedback. 我们寻求自然的限制，用可信的方式呈现战斗技巧，所以我们选择了盾牌抵挡快速攻击。随后我们还加入了大块头，让玩家的武士刀无法限制他们的攻击范围，这两种方式都很有效。但更重要的是，我们增加了重叠攻击，有些收尾动作持续时间比较长，但敌人会发起重复攻击以至于多次攻击的收尾动作重叠，这时候玩家可以使用技巧进行快速攻击，让他们找到在游戏里做武士的感觉。 但真正让玩家觉得有技巧的并不是快速攻击，而是找准时机格挡。绝大多数的敌人攻击都是可以被格挡的，尤其是游戏开始的时候，你可以格挡并发起反击，甚至是敌人动作收尾的时候，这样的设计带来了非常好的玩家反馈。 This was in line with our goal, where we wanted the sense of manipulation to disappear and the player to feel like they were wielding the sword and fighting, not just pressing these buttons to attack. Once some players discover these patterns, they continue to use blocking, even when it's not always fun. This is the problem with planning. Sometimes players know there's a bug, but they continue to play anyway. 这也符合我们的目标，我们希望操作感消失，让玩家觉得就是他们自己在挥舞刀剑战斗，而不只是按这些按钮呈现攻击动作。有些玩家发现了这些规律之后，他们就一直在使用格挡玩法，哪怕有些时候并不一定好玩，这就是策划会遇到的问题，有时候玩家明知道有bug存在，但还是会一直继续这样玩下去。 The most efficient way to play your game should be the most fun to play
These two examples follow a rule of game design: most players will play a game the way they think is most efficient, and even if that's not fun enough, they will play the way they think is most effective. However, productivity without fun isn't sustainable, so make sure that the most efficient way to play your game is also the most fun, or you'll run into trouble. 心得一：你的游戏最高效的体验方式，应该是玩起来最有趣的方式 这两个案例遵循了一个游戏设计规律，大多数玩家体验游戏的时候都会用他们认为最有效率的方式玩，哪怕那样不够有趣，他们依然会按照自己认为最有效的方式玩。然而，只有效率没有乐趣是无法持续的，所以，确保让最有效率玩游戏的方式，也恰好是最有趣的方式，否则你就会遇到麻烦。 During the test is very clear, different styles of player can enjoy the game experience, to ensure that their way of playing a game is fun, you can use a variety of experience, melee, ranged, stealth and so on, can get higher scores, because we thought it would be bring players more fun, the results also proved that we imagine.
Not always. The plan was for them to have fun and play more, but they always stayed in the same section. When we encourage players to play other things, they find it fun as well.
So, there are two basic ways to create a diverse experience: you can make the player encounter more diverse scenarios so that they use the same abilities in different environments; Either give the player more abilities, let them use different abilities in the same environment, or provide both.
Giving players a variety of abilities can increase the player's sense of involvement, but the problem is that they can use these abilities in ways that you might not expect, especially if they feel certain strategies are working, so they don't try different possibilities. Especially in a game like Spirit of Tsushima, where players don't have a lot of time to try different strategies, it's hard to push players to try other strategies.
There are two ways to get players to change strategies, you can limit the strategies they use frequently, or you can encourage them to use new strategies, such as adding an enemy, you can block all of his attacks, but he can still attack you in new ways. 测试期间非常明确的是，不同风格的玩家都可以享受游戏体验，确保他们玩游戏的方式是有趣的，可以使用各种体验方式，近战、远程、潜行等等，都可以得到更高分数，因为我们认为这样可以给玩家带来更多的乐趣，结果也证明了我们的设想。 当然也并不总是如此，我们原计划让他们获得乐趣然后体验更多的内容，但他们总是留在同一个部分。当我们鼓励玩家体验其他内容的时候，他们发现同样很有趣。 所以，创造多元化体验的基本方式有两种，你可以让玩家遇到的场景更多样化，然他们在不同环境中使用同样的能力；或者给玩家更多的能力，让他们在同一个环境下使用不同的能力，或者两种方式都提供。 给玩家们提供多种能力可以增强玩家的代入感，但问题是，他们使用这些能力的方式可能是你想不到的，特别是玩家觉得某些策略奏效的情况下，就不会去尝试可能性不同的策略。尤其是《对马岛之魂》这样给玩家压力很大的游戏，玩家们是没有太多时间尝试不同策略的，所以很多人都会选择既定策略，所以很难推动玩家尝试别的策略。 带动玩家更换策略的方式有两种，你可以对他们经常使用的策略进行限制，或者鼓励他们使用新策略，比如增加一个敌人，你可以完美格挡他的所有攻击方式，但他仍然可以有新的方式攻击到你。 Also, you can limit abilities that are used too much. Now, a lot of people might ask, why do that? Players are enjoying the way they've found the game, so why take that away from them? So, we're more about encouraging players to try new abilities, rather than putting too many restrictions on the strategies they often use, in a sense, we prefer the carrot approach to the stick approach.
For example, in our game, the most used attack is the light attack, which is the fast attack, and 90% of the players use the fast attack regularly. We wanted players to have more variety in how they could play, and we wanted to make it more attractive. First of all, we significantly increased the number of craps, which made it more attractive for players to play.同样，你还可以限制被使用过多的能力。可能很多人会问，为什么要这么做？玩家们非常享受他们找到的游戏方式，为什么要把快乐从他们手中夺走？所以，我们更多的是鼓励玩家尝试新能力，而不是对他们经常使用的策略做太多限制，某种意义上，我们更喜欢胡萝卜而不是大棒的方式。 比如在我们的游戏里，使用最多的攻击方式是轻型攻击，也就是快速攻击，90%的玩家都经常使用快速攻击。我们希望玩家有更多元化的游戏方式，希望让重击更具吸引力，首先，我们明显调高了重击的数值，这吸引了很多玩家尝试。 We even designed blocks, blocks and distances to help players understand the advantages of pounding and why they are using a new type of attack. Later on, we introduced faster crits to make them more efficient and useful, and by the time the game was released, the percentage of light attacks used had dropped below 65% and the percentage of crits used was over 20%, which was ideal.
We also had problems with the use of "war ghosts," which are a big part of our story. Players are used to regular attack items, and few people use Ghost, so we want to get more people to use it. 我们甚至设计了格挡点、格挡距离，以帮助玩家理解重击的优势，让玩家知道他们为什么要使用新的攻击方式。随后，我们提供了更快速的重击方式，让这些攻击更具效率、更好用，最后游戏发布的时候，轻型攻击的使用率占比降到了65%以下，重击的使用率超过了20%，这是比较理想化的结果。 同样，我们在“战鬼”的使用方面也遇到了问题，“战鬼”是我们故事很重要的一部分。玩家们很习惯常规攻击道具，使用“战鬼”工具的人比较少，所以我们希望让更多人使用它。 Instead of nerf regular attack weapons, we'll take the same carrot approach and encourage players to use "ghosts". We could also design NPCS that could only be attacked by war ghosts, but that would be a bad way to do it, so we focused on making the "war ghosts" more appealing.
The most important changes are to make these tools easier to use, such as the ability to throw more than one painless tool at a time, making the barrier to use much lower; Another is to unlock only one Ghostwarrior tool at a time. Before, when you could use multiple tools at once, the usage was low. When we limited the number of tools used at a time, we found that more people started using Ghostwarrior tools.
Why is that? As we said before, in the Spirit of Tsushima game, players don't really have much time to choose more strategies, and they're faced with so many choices that it's easy to overlook things. When we reduced the options, they were able to think quickly, so their usage increased. 我们不能对常规攻击武器进行削弱，而是同样采取胡萝卜的方法，鼓励玩家使用“战鬼”。我们也可以专门设计一些只能被战鬼攻击的NPC，但这其实也是比较糟糕的方式，所以我们聚焦于让“战鬼”更具吸引力。 最重要的改变就是让这些工具更容易使用，比如同时可以扔多个苦无，让使用的门槛大幅降低；另一个就是每次只向玩家解锁一个战鬼工具，之前可以同时使用多个工具的时候，使用率反而很低，当我们限制了每次使用的工具数量，结果发现更多人开始使用战鬼工具。 为什么会这样？就像我们之前所说，在《对马岛之魂》游戏里，玩家们实际上没有太多的时间选择更多策略，他们面临的选择太多了就很容易忽略一些东西。当我们减少了选项之后，他们就可以快速思考，所以他们的使用率就提高了。 Third thing we do can be subtle, we want to ensure that ammunition model also works, we are the war ghost tool used by number of ammunition, players only when feel enough ammunition will use these ammunition, if they think we won't have you're done, they may be cautious to use.
The first thing we did was to make sure we had enough ammo in the world. We used a few tricks. In Soul of Tsushima, if you had low ammo, then the probability of dropping ammo would be high, even if you didn't have enough, we would occasionally drop some. This is important because if we stop suffering drops, players will feel that there is less suffering to be gained later in the game, which will lead to less use. So, even if your ammo is full, you will get more, because it will keep the player from having to worry about running out of ammo and reducing usage. 我们做的第三件事可能比较微妙，我们希望确保弹药模式也行的通，我们是通过弹药数量来限制战鬼工具使用的，玩家们只有在觉得有足够多弹药的时候才会使用这些弹药，如果他们觉得用完了就不会再有，他们可能就会用起来很谨慎。 我们做的第一件事就是确保游戏世界里有足够多的弹药，我们用了一些小技巧，在《对马岛之魂》里，如果你的弹药量低的时候，随后掉落弹药的概率就会高，即便你的苦无足够用，我们还是会偶尔掉落一些苦无。这是很重要的，因为如果我们停止苦无的掉落，玩家们就会觉得游戏里随后能获得的苦无很少，因此就会导致减少使用量。所以，即便你的弹药是满的，也会再得到更多，因为这会让玩家不用担心弹药不够用而减少使用率。 Lesson 2: Players prefer carrots to sticks
What do these two cases tell us?
If you want the player to use an ability, don't force them to use it, don't create new enemies that are only hurt by the new ability, and especially don't block one ability and force the player to use another. Instead, try to make the new ability more attractive, make its value more obvious, make sure the player knows what the new ability is for, make the new ability easier to use, and make the player prefer the carrot to the stick.
Let's look at another way to bring variety to the experience: by presenting the game with new environments for the player to handle. 心得2：玩家更喜欢胡萝卜而不是大棒 这两个案例告诉我们什么？ 如果你想让玩家使用某个能力，不要迫使他们去用，不要创造只被新能力伤害的新敌人，特别是不要妨碍玩家的一个能力而逼迫他们使用另一个。相反，努力让新能力更具吸引力，让它的价值更明显、确保玩家了解新能力的用途，让新能力更简单易用，玩家们更喜欢胡萝卜而不是大棒。 我们再看另一种带来多样化体验的方式：让游戏呈现新的环境让玩家处理。 Back to the beginning of the topic, the reaction of the human limitations, we decided by means of the complexity of the decision-making speed, simple environment, simple choice will lead to rapid response, if you want to increase the complexity, offer the choice of more complex, will reduce the players need to reflect the time limits, as the situation is more and more complex, the response time of the players will be longer.
The same goes for player reaction time, which you can adjust by increasing or decreasing complexity, so it's important to find a balance between the two. Make sure the experience is challenging and fair, and that those challenges can be overcome.
An example of this is the bow and arrow, which is an essential weapon when it comes to the Mongol Empire, but when it comes to testing it, we run into problems. 回到一开始的那个话题，人类的反应局限，我们通过复杂度的方式决定决策速度，简单的环境、简单的选择可以带来快速反应，如果要增加复杂度、提供更复杂的选择，就要降低玩家需要反映的时间限制，随着情况越来越复杂，玩家们的反应时间就会越长。 同样，玩家反应时间也是如此，你可以通过增加或者降低复杂度的方式调整玩家反应时间，所以，找到这两者之间的平衡是很重要的。确保游戏体验既有挑战又保证公平，让这些挑战可以被玩家战胜。 这里的一个案例就是弓箭，谈到蒙古帝国的时候，弓箭是必不可少的武器，但在测试的时候，我们遇到了问题。 How do you fight in melee combat when there are archers present? If they can shoot at melee characters at will, it's easy to get hurt for no reason, and your strategy is to find out where the archers are and take them out one by one, but that would be a repetitive experience that we didn't find interesting.
Or, you could have the archers not attack the melee crowd, which we tried, and it worked a little better, but it still wasn't fun, because you could just ignore the archers, and it was as if they weren't there.
Our enemy types rarely in the game, no monsters, no magic, so the archer must be useful, so the archer shooting will shout in a word, "to duck", is the translation of this is to remind players they are pursued by the archer, although less fastidious, but players feel very interesting, as long as heard these words, you can dodge. It's also very simple and easy to recognize, and if the design is too long and complex, it can increase the player's response threshold. 当有弓箭手在场的时候，近战要怎么打？如果他们可以随意向近战角色射击，玩家就很容易莫名其妙受伤，那么你的应对策略只能是发现弓箭手位置，然后一个个解决他们，但这样做会带来很重复的体验，我们觉得是没有趣味的。 或者，你可以让弓箭手不攻击近战人群，我们也尝试过，虽然效果好一些，但依然没有趣味，因为你完全可以忽略弓箭手，他们就像不存在一样。 我们的游戏里敌人类型很少，没有怪兽、没有魔幻的对手，所以弓箭手必须是有作用的，因此弓箭手射击之前都会喊一句话，翻译过来就是“闪开”，这就提醒玩家他们正在被弓箭手追击，虽然不那么考究，但玩家们觉得很有趣，只要听到这句话，就可以躲闪。而且这句话非常简单，容易被玩家识别，如果设计太长太复杂的话，就可能增加玩家的反应门槛。 心得3：玩家可能忽略能力多样化，但不会错过内容多样性 So, players may ignore new abilities you give them, but if you do more, they won't miss the chance to try them out. Good encounter design allows them to naturally use more abilities and experience more, so changing the environment is a great way to provide variety of experiences.
Progress: For progress, our goal is to improve the player's mastery of the game through the mastery of the rules and a lot of practice. As the protagonist progresses in the game, the player becomes more and more skilled. 所以，玩家们可能会忽略你提供给他们的新能力，但如果你做了更多的内容，他们不会错过尝试的机会，优秀的遭遇战设计可以让他们自然而然地使用更多能力、体验更多内容，所以，改变环境也是提供体验多样性不错的方式。 进度：对于进度，我们的目标是通过规则的掌握和大量的练习，提升玩家对游戏的掌握度，随着主角在游戏里的进展，玩家的技巧也越来越高。 When we introduce new concepts, we increase the difficulty of the game, but the player also has a longer reaction time to deal with the complex environment. At the same time, the player learns more about the content and gameplay of the game, as they learn about new enemy types, new tools, new tricks, and so on, all in parallel with the protagonist's adventures.
We treat character growth, player skill, and player knowledge of the game separately. 当我们呈现新概念的时候，就会提升游戏难度，但玩家也有更长的反应时间应对复杂环境。与此同时，玩家们对游戏内容和玩法的了解也会越多，他们知道了新敌人类型、新工具、新技巧等等，这些都是与主角的冒险之旅平行的。 我们在考虑角色成长、玩家技巧和玩家游戏知识增加的时候，是分开对待的。 Players are reluctant to try new things, probably not all players, but at least most players, so make your new gameplay compelling enough, especially for the first time, to impress the player, and if it works for them the first time, it will be worth it.
Also, make sure you don't ruin the player's first experience because of the game's progress. A lot of people design new abilities with a weaker version and then increase it later, but don't do that, if the player doesn't like the ability the first time, there's a better chance they won't try it later.
Also, present the best ideas to the player first, not last. The first 15 minutes of experience is the most important experience of the 50 minutes. The first hour is the most important hour. If these things are not good enough, if the first 15 minutes or hour of experience is not good enough, nothing else matters.
In the iteration of melee design, one of the most important features we added was posture. We didn't plan to do it at the beginning, but decided to try it out during the development. We were initially worried because it would complicate the already complicated gameplay, but when we tested it, many players found it appealing, even though the initial adoption rate was not that high. 玩家们是不愿意尝试新事物的，可能不是所有玩家，但至少是大部分玩家，所以让你的新玩法足够有吸引力，尤其是让第一次体验印象深刻，如果玩家第一次使用新能力很有效果，他们就会觉得很值得。 另外，确保不要因为游戏进度的原因破坏了玩家首次体验。很多人设计新能力的时候往往会使用弱一些的版本，随后才增强，但不要这样做，如果玩家第一次就不喜欢某个能力，那么随后他们更大概率不会尝试。 同样，把最好的想法先呈现给玩家，不要留到最后。前15分钟的体验是50分钟当中最重要的体验，第一个小时是最重要的一个小时，如果这些东西不够好，如果前15分钟或者一个小时的体验不好，其他什么都没有用。 在近战设计的迭代中，我们增加的一个很重要的功能就是姿势，一开始研发的时候我们没打算做，研发过程中才决定尝试。最初我们很担心，因为这会让原本就已经复杂的玩法更复杂，但测试的时候，没想到很多玩家觉得这样的设计很有吸引力，虽然刚开始的普及率并不是那么高。 However, many players only use the first stance because they get used to it and don't want to change, and some players try the second stance but then don't try anything new, which is not a good result either.
So, our first step was to make the value of these different poses more visible. In addition to being faster to block, we also made subtle designs, such as the fact that some poses have a brighter spark of combat, and players are sensitive, and they can easily see that value.
The second step is to give the player an advantage, such as a water position; The third step is to add more expectation to the player, which is not easy to do. By defeating advanced enemies in a new pose, the player will expect more from them and therefore be more willing to try the new pose.
Lesson 4: The first experience is the most important 然而，很多玩家只使用第一个站姿，因为他们习惯了之后就不愿意改变，还有些玩家尝试了第二种站姿，但随后就不再尝试新东西，这也不是好的结果。 所以，我们的第一步是让这些不同姿势的价值更为凸显，除了更快速格挡之外，我们还做了比较微妙的设计，比如有些姿势战斗可以迸发更闪亮的火花，玩家们是很敏感的， 他们很容易发现这些价值。 第二步就是让玩家拥有优势，比如水上姿势；第三步是给玩家增加更多期待，这并不好做，通过新姿势击败一些高级敌人，玩家们会对它们的期待值更高，因此更愿意尝试新姿势。 心得4：首次体验是最重要的 We find this applies to almost every new feature. Make sure the first experience is positive. For example, the first application is painless, it's easy to use and it's very effective. This will give players a very good first impression. 我们发现这一点几乎在所有新功能当中都适用，确保第一次体验是正向的，比如第一次适用苦无，它简单易用而且非常有效，这会给玩家留下非常好的第一印象，如果做的不好，玩家们就会不愿意适用新功能。 We find this applies to almost every new feature. Make sure the first experience is positive. For example, the first application is painless, it's easy to use and it's very effective. This will give players a very good first impression. It's probably obvious that Soul of Tsushima has changed a lot in the six years it's been in development, but we started out with a lot of focus on creative prototyping and iteration. We did 13 internal tests and 25 external tests, about half of which probably lasted a week or so.
If you develop your game this way, there's probably an important question that needs to be answered: How do you know that your idea is fun? The worst thing you can do is to give up on an idea before it's proven, but perhaps worse, it hurts R&D even more to persist when you know it's not the best idea.
When we don't make a decision, it takes more time and resources to implement it, and it becomes more difficult to make choices as we go along, so we have to prototype and iterate ideas, and early decisions are necessary.
Another reason early testing is important is that a lot of people have a vision of how good the prototype will be when it's done, but it's really just a fantasy, and if it's not good enough, it means iteration. In other cases, the player may have unrealistic expectations of some half-baked idea, and at the end of the day, they may object to a lot of things. 谈到这里可能会比较明显的是，《对马岛之魂》在6年的研发时间里改变了很多，但我们最开始的时候非常注重创意原型和迭代，我们做了13次内部测试和25次外部测试，半数左右的测试可能只持续一周左右。 如果这样研发游戏，可能就会有一个比较重要的问题需要回答：怎样确定你的想法是有趣的？最糟糕的情况是，在被证明之前就放弃了一个想法，但或许更糟糕的是，明明知道它不是最好的想法，还坚持没有放弃，这给研发带来的伤害更大。 当我们不做决策的时候，执行起来就会耗费更多的人力物力，越到后面就越难以取舍，所以我们必须做创意原型和迭代，早期决策是必要的。 早期测试之所以重要，另一个原因是很多人可能会憧憬原型被完成之后有多么好，但实际上这只是在想象之中，如果测试出来的结果不够好，那就意味着需要迭代。还有一种情况是，玩家可能对一些不成熟的想法抱有不切实际的期待，到了最后的时候，他们可能会对很多东西表示反对。 When you start out, you're testing something rough, and you know the feedback from players, and as you iterate, their satisfaction with the test increases rapidly. However, as you add more content and establish a lot of things, people will feel bad, which makes you feel hopeless, and there are two possibilities: by working hard, you solve the problem of player dissatisfaction and everyone will be happy; If you can't solve these problems, it will be hard to ship on time or even fail.
So what about avoiding such pitfalls? 刚开始的时候，你测试的是比较粗糙的东西，你知道玩家的反馈，随着版本迭代，他们对测试的满意度会快速提升。然而，当你增加更多内容，确定了很多东西之后，人们反而会觉得糟糕，这会让你觉得绝望，这时候就会有两个可能：通过努力工作，你解决了玩家不满意的问题就会皆大欢喜；如果你无法解决这些问题，就很难准时发布，甚至最后失败。 那么，如果避免这样的陷阱呢？ First, you need to know what the test objective is. For example, with Spirit of Tsushima, we wanted players to feel like they were good samurai in the game.
Second, find the most critical parts of your idea and present them to the player. Then, find things that prevent the player from playing those great ideas or gameplay, keep things that confuse the player to a minimum, don't expect the pie to make the player expect more from your game, what you see is what you get, what they see determines the feedback.
To find a clear way for the player to win, the creative prototyping stage doesn't have to worry about too much detail, backstory, effects, side effects... These are not important, they may be critical in the final version, but they are not important at this stage, and you can test your idea without them. If not, don't go from the idea stage to the final completion stage, and if the player doesn't know how to beat it, make sure it's in the creative prototype, otherwise you're taking a gamble.
Anything that can be removed should not be left in the original prototype, and strictly speaking, not even the sequence of scenes in the game, it's a waste of time and confusing to the player, so just cut it. 首先，你要知道测试目标是什么。比如《对马岛之魂》，我们希望让玩家觉得在游戏里他们是出色的武士。 其次，找到你的想法当中最关键的部分，然后展示给玩家。随后，找到那些阻止玩家体验这些优秀创意或玩法的东西，把困惑玩家的东西降到最低，不要指望画饼的方式让玩家对你的游戏有更高的期待，所见即所得，他们看到的内容决定了反馈结果。 要找到清晰的玩家获胜方式，创意原型阶段不需要考虑太多的细节，背景故事、特效、支线…这些都不重要，它们可能在最终版本很关键，但在这个阶段是不重要的，没有这些也可以测试你的想法。如果没有，那就不要从创意阶段走向最终完成阶段，如果玩家们不知道如何通关，那么你就要确保这些东西呈现在创意原型中，否则你就是在赌。 任何能够去掉的东西都不要留在创意原型中，严格来说，甚至不要对游戏内的场景涉及顺序，这是在浪费时间，还会让玩家困惑，所以砍掉就好。 This case is a confrontation, inspired by the movie Toon Shizaburo, where the two main characters are holding a samurai sword and the surrounding vegetation is swaying in the wind, which sets off a very impressive scene, and we hope to create the same feeling in the Spirit of Tsushima.
What's the key here? It's tension, it's conflict, normally you can attack directly in a game, but in this scenario, you can hold your weapon and wait to attack, and then the enemy's total is faster, and they don't have long finishing moves, and you know they're different from normal combat, so you know they're more dangerous. 这个案例是对峙，灵感来自于电影《椿十三郎》，两名主角拿着武士刀僵持着，周围的草木随风摇曳，衬托出非常令人印象深刻的场景，我们希望也在《对马岛之魂》里创造这样的感觉。 这里的关键是什么？是紧张感、冲突，通常情况下，你在游戏里可以直接攻击，但这个场景中，玩家可以按着武器等待进攻，这时候敌人的共计会更快，他们没有很长的招式收尾动作，你知道它们与普通的战斗不同，因此知道会更危险。 n fact, back at E3 2018, the standoff demo we did was a creative prototype that was playable but not actually built, but we were very confident about it and knew how to make the player win. Of course, we didn't just rely on confidence, but we did a lot of engine work to complete the game development, which made our confidence in the project more reliable.
Another example is the serial assassination prototype that was shown at E3 2018. It's a beautiful serial action, but it's limited in the game, you can't do it all the time, and we don't want it to be too powerful and spoil the balance of the game.
At this point, it was much easier to get things done. There were things we hadn't done yet, but we were sure we could do them, and we actually went straight into development, and there were some bugs that weren't fixed, but nothing that affected the functionality of the game. 实际上，在2018年E3展会的时候，我们做的对峙demo只是一个创意原型，虽然能够玩到，但实际上并没有做出来，但我们对此非常有信心，很清楚如何让玩家获胜。当然，我们并不是只靠信心，而是做了大量的引擎工作来完成游戏研发，让我们对项目的信心更可靠。 另一个案例也是在E3 2018展示的连环暗杀创意原型，非常漂亮的连环动作，不过这个功能在游戏里是被限制的，你不能一直这么做，我们不希望这个能力太过于强大而破坏了游戏平衡。 到了这个时候，就更容易完成，有些东西我们还没做，但我们这时候就已经确定，可以把这些想法做出来，实际上我们直接开始了研发，虽然还有些bug没解决，但没有什么影响游戏功能了。 Which brings us to our fifth tip, when you do something new, the first thing to do is to find the sparkle. When you make an idea that may only be seen a glimpse, might not work, every time may trigger the wrong time, this ability is not enough to make you feel like a hero, or you are the enemy of the design is not good enough, but when you see this function after a successful, you can find more reliable ways to implement it.
If you don't have that sparkle in your testing, then you probably don't have something to win with, something to build your project around. Not every moment in the game is magical, but you have to have at least one.
Hopefully that was helpful or interesting, and that's all I have to say. 这就到了我们的第五个心得，当你做某些新东西的时候，首先要做的就是要找到它的闪光之处。当你做某个想法的时候，可能只是看到了惊鸿一瞥，或许可能不会每次都行得通，或许触发这个能力的时机不对，不足以让你觉得自己是个英雄，或者你的敌人设计还不够好，但当你看到了这个功能一次成功之后，就可以寻找更可靠的方式来实现它。 如果测试的时候没有这样的闪光点，那你可能就没有可以致胜的东西，就没有能够围绕其打造项目的东西。并不是说游戏里的每个时刻都很神奇，但你至少要有这样的时刻。 希望这些内容是有帮助的或者有趣的，以上就是我分享的全部内容。
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