6

Designing Systems and Features
設計系統與功能

Now that we have a clear understanding of game mechanics, it’s time to learn how to combine them into systems and features. We have studied the ingredients and we are now ready to mix and match them to create all kinds of recipes!
現在我們對遊戲機制有了清晰的理解，是時候學習如何將它們結合成系統和功能。我們已經研究了這些成分，現在準備好將它們混合搭配，創造出各種配方！

Sometimes, the terms System and Feature are used interchangeably, and again, giving formal definitions is something that we would like to avoid in this book. From a practical point of view, and looking at the ways we have seen these terms used over more than a decade in game design, we can say the following:
有時候，系統和功能這兩個術語可以互換使用，而在本書中，我們希望避免給出正式的定義。從實際的角度來看，並考慮到我們在超過十年的遊戲設計中看到這些術語的使用方式，我們可以這樣說：

• A System is a set of interconnected mechanics that interact with each other to create complex gameplay dynamics
  系統是一組相互連結的機制，它們彼此互動以創造出複雜的遊戲動態
• A feature is a broad term used to describe an aspect of the game that will be experienced by the player
  功能是一個廣泛的術語，用來描述玩家將會體驗到的遊戲方面

A perfect example of a System would be a Role-Playing Game’s (RPG’s) battle system, which integrates mechanics such as health points, weaponry effects, damage calculation, and enemy AI to create the dynamic of combat between two or more characters.
一個完美的系統範例是角色扮演遊戲（RPG）的戰鬥系統，它整合了如生命值、武器效果、傷害計算和敵人 AI 等機制，以創造兩個或多個角色之間的戰鬥動態。

However, the same system can also be described as a Feature, but with the player’s experience in mind and with more details about what the combat actually looks like. For example, 2D turn-based combat is a classic feature description. It includes a combat system, but also suggests what kind of experience it is supposed to give.
然而，同樣的系統也可以被描述為一個功能，但要考慮玩家的體驗，並更詳細地描述戰鬥實際上是什麼樣子。例如，2D 回合制戰鬥就是一個經典的功能描述。它包含了一個戰鬥系統，但也暗示了它應該提供什麼樣的體驗。

Sometimes features are not Systems at all. For example, the Photo Mode feature is now common in many games. It allows players to capture screenshots within the game, often with advanced options such as adjusting camera angles, applying filters, or controlling the time of day. While it adds a unique aspect to the player’s experience, it’s largely self-contained and doesn’t fundamentally interact with the game’s other mechanics or systems.
有時候，功能根本不是系統。例如，照片模式功能現在在許多遊戲中很常見。它允許玩家在遊戲中截取螢幕截圖，通常具有調整攝影機角度、應用濾鏡或控制時間等進階選項。雖然它為玩家的體驗增添了獨特的方面，但它大多是自成一體的，並不根本與遊戲的其他機制或系統互動。

For these reasons, we are going to use the term Feature as something that includes systems. The principle behind designing them is the same, but we believe that the term Feature includes all systems, but not vice versa.
基於這些原因，我們將使用「功能」這個詞來包含系統。設計它們的原則是一樣的，但我們相信「功能」這個詞包含了所有系統，而反之則不然。

This chapter is probably the most important in the entire book, as this is the essence of what game designers do on a daily basis both in game development studios and when designing their own indie games.
本章可能是整本書中最重要的一章，因為這是遊戲設計師在遊戲開發工作室和設計自己的獨立遊戲時每天所做工作的精髓。

We will discuss some of the theories behind game design and the creation of features that are fun to play, and we’ll dive into how game systems need to be taught to the player and how the core loop of a game is formed. Finally, we’re going to have a close look at the design of combat and progression systems.
我們將討論一些遊戲設計背後的理論以及創造有趣功能的過程，並深入探討如何向玩家教授遊戲系統以及遊戲核心循環的形成。最後，我們將仔細研究戰鬥和進程系統的設計。

You will learn about complexity and depth and the related problems a game designer needs to solve by using them.
你將學習到複雜性和深度，以及遊戲設計師需要通過使用它們來解決的相關問題。

We will cover the following topics in this chapter:
本章將涵蓋以下主題：

• Developing an idea into an experience
  將想法發展成為一種體驗
• Game loops
• Games as systems of conflict
  遊戲作為衝突系統
• Progression systems
• Teaching game mechanics  教授遊戲機制

Ready? Let’s go.  準備好了嗎？我們開始吧。

Developing an idea into an experience
將一個想法發展成一種體驗

As we discussed in Chapter 4, Creating Design Documentation, every design process should start with the definition of some goals and requirements.
如同我們在第四章《創建設計文檔》中所討論的，每個設計過程都應該從定義一些目標和需求開始。

When creating a feature, you should always keep in mind the following questions:
在創建一個功能時，你應該始終記住以下問題：

• What is the goal of the feature?
  這個功能的目標是什麼？
• Are there any constraints?
  是否有任何限制？
• What mechanics are going to be combined into a system?
  哪些機制將被結合成一個系統？
• What is the feedback to the player?
  給玩家的反饋是什麼？

The kind of game you are developing and its vision should guide you through the answers. Let’s say you are working on an action medieval-fantasy game where melee combat is your core feature. The first mechanic you’ll be focusing on is probably going to be the action of attacking an enemy.
你所開發的遊戲類型及其願景應該指引你找到答案。假設你正在製作一款以近戰戰鬥為核心特色的中世紀奇幻動作遊戲，那麼你首先要專注的機制可能就是攻擊敵人的動作。

What is the purpose of the combat system?
戰鬥系統的目的何在？

Regardless of the theme of your game and its vision, the fact that we are talking about an action game already provides some insights. An action-oriented combat game challenges the player’s physical skills and leverages their knowledge of the available game actions. So, one of the requirements would certainly be the use of the player’s hand-eye coordination skills.
無論你的遊戲主題和願景如何，既然我們談論的是一款動作遊戲，這已經提供了一些見解。一款以動作為導向的戰鬥遊戲會挑戰玩家的身體技能，並利用他們對可用遊戲動作的知識。因此，其中一個要求肯定是使用玩家的手眼協調能力。

It should also use memory skills, for pulling out combos or special attacks by pressing key combinations. The goal of such a feature is usually to give the player a skill-based combat system that is easy to learn but difficult to master, to fight different enemies using different weapons and tactics.
它還應該利用記憶技能，通過按下鍵盤組合來施展連擊或特殊攻擊。這種功能的目標通常是為玩家提供一個基於技能的戰鬥系統，易於學習但難以精通，以便使用不同的武器和戰術來對抗不同的敵人。

When creating a new feature, it is important to remember that we are trying to give a novel experience to the player. We are mixing ingredients to create a new recipe, not one that has been tasted many times already. We learned how the game vision gives us designers a clear direction to follow in order to develop our games. The first step in creating a new feature is to visualize the experience that we want our players to have.
在創造新功能時，重要的是要記住我們試圖為玩家提供一種新穎的體驗。我們是在混合各種材料以創造一個新的食譜，而不是一個已經被品嚐過多次的食譜。我們了解到遊戲願景如何為我們設計師提供一個清晰的方向，以便開發我們的遊戲。創造新功能的第一步是想像我們希望玩家擁有的體驗。

Let’s see a practical example.
讓我們來看看一個實際的例子。

Modern First-Person Shooter (FPS) games are very different from what we used to play in the 80s and 90s. When we immersed ourselves in a frenetic shooting game, all we needed were some interesting enemies, a few different weapons, and a bunch of basic controls, such as move and shoot.
現代的第一人稱射擊遊戲（FPS）與我們在 80 年代和 90 年代所玩的截然不同。當我們沉浸在一場緊張刺激的射擊遊戲中時，我們所需要的只是一些有趣的敵人、幾種不同的武器，以及一堆基本的控制，如移動和射擊。

In the quest for better immersion, game designers started to ask questions such as: How can we make an FPS more realistic?, How can we make shooting more tactical?, and How can we give players the impression that they are in the middle of a real shooting scenario?
在追求更佳沉浸感的過程中，遊戲設計師開始提出這樣的問題：我們如何讓第一人稱射擊遊戲更具真實感？我們如何讓射擊更具戰術性？以及我們如何讓玩家感覺自己置身於真實的射擊場景中？

A real gunfight scenario is miles away from a video game such as Wolfenstein or Quake, where the player can basically storm the enemies, shooting loads of ammunition at them and withstanding heavy fire with no hesitation. Imagine your task as a designer is to add more tactical gameplay to those classic FPS games, in order to evoke a more realistic shooting scenario. Which mechanics would you add to a game with only move and shoot mechanics?
真實的槍戰場景與《Wolfenstein》或《Quake》這類電子遊戲相去甚遠。在這些遊戲中，玩家基本上可以衝鋒陷陣，對敵人傾瀉大量彈藥，並毫不猶豫地承受猛烈的火力。想像一下，作為設計師的你需要為這些經典的第一人稱射擊遊戲增加更多戰術玩法，以喚起更真實的射擊場景。你會為只有移動和射擊機制的遊戲添加哪些機制呢？

There are many correct answers to this question, so before we keep reading, try answering it in your mind!
這個問題有許多正確的答案，所以在我們繼續閱讀之前，試著在心中回答它吧！

Done? Great!

A common answer would be adding cover.
一個常見的答案是增加掩護。

In a real gunfight, you don’t usually see people running toward their enemies, guns blazing...that’s typical of video games and movies! What people do, in reality, is take cover! They try to find a spot where they are protected from the bullets. Only once safe might they peek out just a little and try to return fire from behind the cover.
在真實的槍戰中，你通常不會看到人們向敵人衝去，槍林彈雨……那是電子遊戲和電影中的典型場景！現實中，人們會尋找掩護！他們會試著找到一個能夠擋住子彈的地方。只有在安全的情況下，他們才可能稍微探出身來，從掩護後面嘗試還擊。

Imagine if by pressing a button your character can crouch behind obstacles and take cover. And of course, enemies would be able to do the same. Can you visualize how different this game would be compared to the basic FPS we started with?
想像一下，只要按下一個按鈕，你的角色就能蹲伏在障礙物後面進行掩護。當然，敵人也能做到同樣的動作。你能想像這款遊戲與我們最初的基本 FPS 相比會有多麼不同嗎？

Now you can go even further. Can your character shoot from behind the cover? (In a way, that is different from just stepping out from behind the cover and shooting...maybe they are able to shoot a less precise shot from there? Or they can only shoot suppressing fire…) Can your character move from cover to cover, head down, instead of just walking or running between them?
現在你可以更進一步。你的角色能否從掩體後射擊？（以不同於僅僅從掩體後走出來射擊的方式……也許他們能從那裡射出較不精確的子彈？或者他們只能進行壓制射擊……）你的角色能否低著頭從一個掩體移動到另一個掩體，而不是僅僅在它們之間行走或奔跑？

Naughty Dog’s Uncharted and Ubisoft’s The Division are great examples of third-person tactical combat systems. Finding the right spots to take cover and moving between them is crucial to winning the fight. It also gives the player the freedom to choose how to tackle different encounters and how to exploit the terrain.
頑皮狗的《Uncharted》與育碧的《The Division》是第三人稱戰術戰鬥系統的絕佳範例。找到合適的掩護點並在其間移動是贏得戰鬥的關鍵。這也賦予玩家自由選擇如何應對不同的遭遇以及如何利用地形的空間。

Of course, the way the enemies react to the player’s behavior is as important as the mechanics available. Enemies might use different weapons to drive the player out of covers, such as grenades or heavy fire capable of destroying those covers. Or maybe there could be enemies with melee weapons running toward the player while they’re behind cover.
當然，敵人對玩家行為的反應方式與可用的機制同樣重要。敵人可能會使用不同的武器來迫使玩家離開掩體，例如手榴彈或能夠摧毀掩體的重火力。或者，可能會有持近戰武器的敵人在玩家躲在掩體後時衝向他們。

Addressing the need for a tactical and challenging game experience is the key to creating interesting game systems. It is important to note that realism doesn’t always have to be the experience we want to give to the player. In fact, some game designers might want exactly the opposite.
滿足對戰術性和挑戰性遊戲體驗的需求是創造有趣遊戲系統的關鍵。值得注意的是，現實主義並不一定是我們想要給予玩家的體驗。事實上，一些遊戲設計師可能正好想要完全相反的效果。

This is the case with games such as the latest version of Doom (2016). The idea behind the combat system was to go back to the roots of the FPS genre, offering visceral shootings and frenetic actions. How could you obtain that kind of experience if the game offers mechanics such as cover and stealth actions?
這正是像《毀滅戰士》（2016 年最新版本）這類遊戲的情況。其戰鬥系統的理念是回歸第一人稱射擊遊戲的根本，提供激烈的射擊和瘋狂的動作。如果遊戲提供掩護和潛行等機制，你又如何能獲得那種體驗呢？

To go back to the most frenetic FPS action, Doom’s game designers came up with a new game mechanic: glory kills. In short, by hammering an enemy with bullets, the player can cause them to stagger and then perform a special melee attack that instantly (and quite brutally) kills them.
為了回到最激烈的第一人稱射擊遊戲動作，《毀滅戰士》的遊戲設計師想出了一種新的遊戲機制：榮耀擊殺。簡而言之，玩家可以用子彈猛擊敵人，使其踉蹌，然後執行一個特殊的近戰攻擊，瞬間（且相當殘酷地）將其擊殺。

While performing a glory kill, the player is invulnerable and the enemy always drops extra items, such as ammunition and health. So, performing a glory kill is a rewarding tactical option that forces the player to approach combat in a very aggressive way and always move forward.
在進行榮耀擊殺時，玩家處於無敵狀態，敵人總是會掉落額外的物品，如彈藥和生命值。因此，進行榮耀擊殺是一個有回報的戰術選擇，迫使玩家以非常激進的方式進行戰鬥，並不斷向前推進。

This is a great example of a game system designed with the final player’s experience in mind. Let’s look at another example, in a completely different genre.
這是一個以最終玩家體驗為核心設計的遊戲系統的絕佳範例。讓我們來看看另一個例子，這次是在一個完全不同的類型中。

Adventure games, RPGs, and, in general, games based on narratives are often filled with conversations and interactions with Non-Playable Characters (NPCs). In these games, dialogues are as important as actions, and the player is challenged with critical choices in these interactions. A classic game feature that offers dialogues with multiple options is called branching dialogues.
冒險遊戲、角色扮演遊戲（RPG），以及一般基於敘事的遊戲，通常充滿了與非玩家角色（NPC）的對話和互動。在這些遊戲中，對話與行動同樣重要，玩家在這些互動中面臨關鍵選擇。提供多選項對話的經典遊戲功能被稱為分支對話。

Different lines open different branches of the dialogue, which usually leads to different outcomes and consequences. But how can one add tension and a sense of pressure if players can take all the time in the world to make their choice? In the internet era, players are even able to pause the game and look for the best answer online in a matter of minutes.
不同的對話選項會開啟不同的對話分支，通常會導致不同的結果和後果。但如果玩家可以花費無限的時間來做出選擇，該如何增加緊張感和壓力呢？在網際網路時代，玩家甚至可以暫停遊戲，並在短短幾分鐘內在線上尋找最佳答案。

In the early 90s, Sega’s Sakura Wars answered this question using a real-time conversation system, in which the player has only a few seconds to decide which option to take. This incredibly simple mechanic changed everything. Many modern adventure games have taken inspiration from that mechanic. Telltale Games is famous for its narrative games based on real-time conversations, which in the past few years have revamped the interest in the genre.
在九十年代初期，Sega 的《櫻花大戰》以一種即時對話系統回答了這個問題，玩家只有幾秒鐘的時間來決定選擇哪個選項。這個極其簡單的機制改變了一切。許多現代冒險遊戲都從這個機制中汲取了靈感。Telltale Games 因其基於即時對話的敘事遊戲而聞名，這些遊戲在過去幾年中重新激發了人們對這一類型的興趣。

Innovating with design  以設計創新

A great way to come up with a new feature is by asking yourself how things can be done differently. Thinking out of the box is a crucial skill for every game designer. What if is a great question to start with about something you know or are familiar with to completely re-invent it.
想出新功能的一個好方法是問自己事情可以如何以不同的方式完成。跳出框架思考是每位遊戲設計師的重要技能。從「如果」這個問題開始，針對你所知道或熟悉的事物，徹底重新發明它，是一個很好的起點。

A question such as What if we introduce zero-gravity in Super Mario? can open an ocean of new possibilities and unexplored mechanics and gameplay. When trying to innovate, the less is more principle comes in handy again. Many games have innovated entire genres by taking out something from existing games, rather than adding on top of them.
像是「如果我們在《超級瑪利歐》中引入零重力會怎樣？」這樣的問題，可以開啟一片新的可能性海洋，以及未曾探索的機制和玩法。在嘗試創新時，「少即是多」的原則再次派上用場。許多遊戲透過從現有遊戲中移除某些元素，而非在其基礎上添加，從而創新了整個類型。

What if, in a platform game, the character automatically runs in only one direction and the only action available to the player is jumping? That is why Canabalt (2009) was born, re-inventing the platform genre...actually, inventing (or more precisely, popularizing) a new one: the endless runner.
如果在一個平台遊戲中，角色只能自動向一個方向奔跑，而玩家唯一能做的動作就是跳躍呢？這就是為什麼《Canabalt》（2009）誕生了，重新定義了平台遊戲類型……實際上，是發明（或更準確地說，是普及）了一個新類型：無盡奔跑遊戲。

Note

While the endless runner concept has long been used in Korea, journalists credit Cananbalt as the title that single-handedly invented the smartphone-friendly single-button running genre and generated not only countless clones but also many great original games that rely on that mechanic, including Super Mario Run from Nintendo.
雖然無盡奔跑的概念早已在韓國使用，但記者們將《Canabalt》視為單憑一己之力發明了適合智慧型手機的單鍵奔跑類型的作品，不僅產生了無數的模仿作品，還催生了許多依賴該機制的優秀原創遊戲，包括任天堂的《Super Mario Run》。

The process of innovating is the most difficult to follow, but it’s the one that usually raises the bar to the next level. The games (and game designers) that are able to do that are the ones that are leaving a mark on the history of games and gaming. Of course, not all new mechanics, systems, and features are innovative, as by innovation here we mean something that evolves or revolutionizes a way of doing something.
創新的過程是最難以遵循的，但通常也是將標準提升到下一個層次的關鍵。那些能夠做到這一點的遊戲（以及遊戲設計師）正是在遊戲歷史上留下印記的。當然，並非所有新的機制、系統和功能都是創新的，因為在這裡所指的創新是指能夠演變或革新某種做事方式的事物。

Solving gameplay problems with design
以設計解決遊戲玩法問題

Sometimes introducing new systems or changes to existing ones is required to solve well-known gameplay problems. This is a typical scenario in live games (for example, competitive online games or massively multiplayer online games), where the game is constantly updated and adjusted to meet its audience’s evolving needs. But it might also be the case for sequels, franchises, and final releases after an alpha or beta test.
有時候，引入新的系統或對現有系統進行更改是解決眾所周知的遊戲問題所必需的。在即時更新的遊戲中（例如競技類線上遊戲或大型多人線上遊戲），這是一種典型的情況，因為遊戲需要不斷更新和調整以滿足玩家不斷變化的需求。但這也可能發生在續集、系列作品以及經過 alpha 或 beta 測試後的最終版本中。

One great example is the chest system in Clash Royale, one of the most interesting game systems in the history of mobile games (and one that has contributed to the incredible success of Supercell’s real-time PvP title).
一個很好的例子是《Clash Royale》中的寶箱系統，這是手機遊戲歷史上最有趣的遊戲系統之一（也是促成 Supercell 的即時 PvP 遊戲取得驚人成功的因素之一）。

This is how it works.
這就是它的運作方式。

In Clash Royale, by winning a battle, players win chests. Chests contain cards and gold, both essential for the player’s progression. These chests must be unlocked before the player can get the rewards they contain. Unlocking a chest takes a certain amount of time.
在《Clash Royale》中，玩家通過贏得戰鬥來獲得寶箱。寶箱中包含卡牌和黃金，這些都是玩家進步的關鍵。這些寶箱必須先解鎖，玩家才能獲得其中的獎勵。解鎖寶箱需要一定的時間。

Alternatively, this wait can be skipped using gems (the equivalent of real money). Each player has four chest slots, so they can only have up to four chests waiting at a time. It is still possible to battle when the chest slots are full, but no chests will be won, as all the slots are already taken.
或者，玩家可以使用寶石（相當於真錢）來跳過這段等待時間。每位玩家有四個寶箱欄位，因此同一時間最多只能有四個寶箱在等待。即使寶箱欄位已滿，仍然可以進行戰鬥，但不會獲得新的寶箱，因為所有欄位都已被佔滿。

What issues do you think this system has tackled and solved?
你認為這個系統解決了哪些問題？

Think about it for a few minutes before reading on. It is clear how Supercell addressed some of the major problems in F2P mobile games, that is, how to seamlessly integrate:
在繼續閱讀之前，請先思考幾分鐘。很明顯，Supercell 如何解決了 F2P 手機遊戲中的一些主要問題，也就是如何無縫整合：

• Sessioning: For how long and how often a player should play
  遊戲時長：玩家應該玩多久以及多頻繁
• Retention: Why a player should come back to the game
  留存率：為什麼玩家應該回到遊戲中
• Monetization: If a player can’t wait to open a chest, they can always spend some hard currency to do so
  變現：如果玩家等不及要打開寶箱，他們總是可以花費一些硬通貨來達成目的
• Progression: Opening chests is the main way to obtain new cards and therefore upgrade your deck and progress through the game
  進度：開啟寶箱是獲得新卡牌的主要方式，因此可以升級你的牌組並在遊戲中取得進展

In most mobile games, each of these critical issues is specifically addressed with a set of features that sometimes feel disconnected and sort of artificially constructed. The elegance with which Supercell integrated everything into one single system is a testament to their astonishing talent and massive success.
在大多數的手機遊戲中，每個關鍵問題都會透過一組功能來具體解決，但有時這些功能會顯得有些脫節，甚至有些人工構建的感覺。Supercell 將所有元素整合成一個單一系統的優雅方式，證明了他們驚人的才華和巨大的成功。

It is quite rare to find completely new game features or systems in the console and AAA space. Innovation usually means risk, and big projects are not the best for risk. This is why indie and mobile games usually present much more innovative features (and sometimes, they are disruptive in their genre). Always keep an eye on the indie and mobile scene and see what designers are doing to solve common design problems in more efficient and elegant ways.
在主機和 AAA 遊戲領域中，完全嶄新的遊戲功能或系統相當罕見。創新通常意味著風險，而大型項目並不是承擔風險的最佳選擇。這就是為什麼獨立遊戲和手機遊戲通常會呈現出更多創新功能（有時甚至在其類型中具有顛覆性）。始終關注獨立和手機遊戲的動態，看看設計師們如何以更高效和優雅的方式解決常見的設計問題。

Building a game feature starting from the players
從玩家出發設計遊戲功能

In order to be able to design a feature, we need to go back to some theory. Understanding how to combine different mechanics, why their combination is fun, and to which kind of player they appeal is extremely important if we want to come up with something good.
為了能夠設計一個功能，我們需要回到一些理論。理解如何結合不同的機制、為什麼它們的結合有趣，以及它們吸引哪種類型的玩家，這些都是我們想要創造出優秀作品時極為重要的。

There are many classifications and definitions of what fun is and what the types of players are. They are all valid (well, maybe some are objectively better than others…). There will be many opportunities to read and study all of them in your career and I strongly encourage you to do so. Personally, among all the studies I’ve read, I prefer two authors over the others, and I think their approach to such theoretical topics is the best for a book about practical game design.
關於樂趣的定義以及玩家類型的分類有許多種說法。這些說法都是有其道理的（嗯，也許有些客觀上比其他的更好……）。在你的職業生涯中，會有許多機會去閱讀和研究這些內容，我強烈建議你這樣做。就我個人而言，在我讀過的所有研究中，我偏愛兩位作者，我認為他們對這類理論主題的處理方式最適合一本關於實用遊戲設計的書。

These authors and the respective topics they have covered are as follows:
這些作者及其所涵蓋的主題如下：

• Richard Bartle, with his categorization of player types
  Richard Bartle，透過他對玩家類型的分類
• Nicole Lazzaro and her study about the four types of fun
  Nicole Lazzaro 及其關於四種樂趣的研究

In the next subsections, we’re going to explore these topics. By understanding them, you will be able to design better features and ultimately better player experiences.
在接下來的小節中，我們將探討這些主題。透過理解它們，你將能夠設計出更好的功能，最終帶來更佳的玩家體驗。

Many times, in your career, you will come across decisions and designs that are the result of your instinct and sensibility. There will be times when you will apply game design theory without even knowing it. What defines a good game designer (and game design), though, is being able to catch all those intuitions and explain them using the knowledge you have acquired through studying, reading, and practicing. Whenever you are not entirely sure of why something is that way, go back to the books and make sure you actually know what you’re doing!
在你的職業生涯中，你會多次遇到源自於直覺和敏銳感的決策和設計。有時候，你甚至會在不知不覺中應用遊戲設計理論。然而，優秀的遊戲設計師（以及遊戲設計）所具備的特質，是能夠捕捉所有這些直覺，並運用你透過學習、閱讀和實踐所獲得的知識來解釋它們。每當你不完全確定某件事情為何如此時，回到書本中，確保你真正了解自己在做什麼！

Bartle’s types of players
巴特爾的玩家類型

Richard Bartle is the creator of the first virtual world (called the Multi-User Dungeon (MUD), 1978) and one of the most important scholars and authors in our industry. In his studies, he has categorized the kind of players who enjoy playing in virtual worlds (a categorization that can also be applied to other kinds of games, but it is worth pointing out that it was intended by the author for massively multiplayer online games only).
Richard Bartle 是第一個虛擬世界（稱為多使用者地牢（MUD），1978）的創造者，也是我們這個行業中最重要的學者和作家之一。在他的研究中，他對喜歡在虛擬世界中遊玩的玩家進行了分類（這種分類也可以應用於其他類型的遊戲，但值得指出的是，作者的本意是針對大型多人線上遊戲）。

He identified four main types of players. Let’s have a closer look at each category and try to understand why it is so crucial for a game designer to understand them:
他識別出四種主要的玩家類型。讓我們仔細看看每一類，並嘗試理解為什麼對遊戲設計師來說，了解它們是如此重要：

• Achievers: The achievers are the players who enjoy setting and reaching the goals set within the game. These goals might be explicitly set by the game itself (such as win conditions, quests to solve, leaderboard to climb, and collections to complete) or they might enjoy setting up goals for themselves (such as completing a game without ever losing or in the shortest amount of time possible). Achievers want to max out the game, in a way that could either be intended by its design or not.
  成就者：成就者是那些喜歡在遊戲中設定並達成目標的玩家。這些目標可能是由遊戲本身明確設定的（例如勝利條件、解決任務、爬上排行榜和完成收藏），或者他們可能喜歡為自己設定目標（例如在不失敗的情況下完成遊戲或以最短的時間完成）。成就者希望將遊戲發揮到極致，無論這是否是設計者的本意。
• Socializers: The socializers draw fun from the interactions they have with other people in the game. It goes without saying that multiplayer games are the best games for this type of player, but don’t forget that social interactions might be built even outside the game world in many ways.
  社交者：社交者從與遊戲中其他人的互動中獲得樂趣。毋庸置疑，多人遊戲是這類玩家的最佳選擇，但別忘了，社交互動也可以在遊戲世界之外以多種方式建立。

The incredible popularity of Facebook and social games, which started around 2008, is basically all thanks to these players. And it is safe to say that even the popularity of the whole video game medium owes much to the players who care about sharing their experiences as much as playing them.
Facebook 和社交遊戲自 2008 年左右開始的驚人氣勢，基本上都要歸功於這些玩家。而可以肯定地說，整個電子遊戲媒介的流行也多虧了那些既重視分享遊戲體驗又熱愛遊玩的玩家。

• Explorers: The explorers are the players that enjoy immersing themselves in every bit of knowledge the game has to offer. It might be the lore of an RPG game, such as The Elder Scrolls: Skyrim, or the rules and the cards in a collectible trading card game such as Magic: The Gathering. The explorers are the experts of game worlds. They are the players that, most of the time, end up knowing the games even better than the game creators.
  探險者：探險者是那些喜歡沉浸在遊戲所提供的每一點知識中的玩家。這可能是像《上古卷軸：天際》這樣的角色扮演遊戲的背景故事，或者是像《魔法風雲會》這樣的集換式卡牌遊戲中的規則和卡牌。探險者是遊戲世界的專家。他們是那些大多數時候比遊戲創作者更了解遊戲的玩家。
• Killers: The killers, lastly, are players driven by the desire to dominate the thrill of competition. These are the highly competitive players that see video games as a sport, and they constantly try to get better to dominate others. As opposed to the achievers, the killers’ desire to get better is driven by the only goal of defeating other players, not so much by the joy of progress:
  殺手：最後，殺手是那些被競爭刺激所驅動的玩家。他們是高度競爭的玩家，將電子遊戲視為一種運動，並不斷努力提升自己以擊敗他人。與成就者不同，殺手的進步動力僅僅來自於擊敗其他玩家的目標，而非進步的樂趣。

Figure 6.1 – Bartle’s four types of players and how they act and interact with both the virtual world and other players
圖 6.1 – Bartle 的四種玩家類型及其在虛擬世界中與其他玩家的行為和互動

Bartle’s study goes into much more depth, analyzing the interactions between these categories and how they influence the design and the entire existence of virtual worlds (by which Bartle means explicitly what we would define as mass multiplayer online games). Again, his books are highly recommended reads.
Bartle 的研究深入分析了這些類別之間的互動，以及它們如何影響虛擬世界的設計和整體存在（Bartle 明確指的是我們所定義的大型多人線上遊戲）。他的書籍再次被強烈推薦閱讀。

In regard to how to use player types to create new game mechanics, it is clear how important it is to understand your audience and then design with that in mind. That said, two things must never be forgotten: great games provide fun mechanics to every kind of player, and some players might well have many facets, enjoying being explorers one time and killers another time.
關於如何利用玩家類型來創造新的遊戲機制，顯然了解你的受眾並以此為基礎進行設計是多麼重要。話雖如此，有兩件事絕不能忘記：偉大的遊戲為每一種類型的玩家提供有趣的機制，而有些玩家可能擁有多重面向，有時喜歡當探險者，有時則喜歡當殺手。

Lazzaro’s types of fun
Lazzaro 的樂趣類型

Nicole Lazzaro proposes a similar model to Bartle’s, but instead of focusing on players, she focuses on their emotions and the kind of fun they have while playing games. She defines four keys to fun and states that for a game to be fun (generally speaking), at least three out of four of these keys to fun must exist in the game experience.
Nicole Lazzaro 提出了一個與 Bartle 類似的模型，但她的重點不在於玩家，而是在於他們的情感以及他們在遊戲中獲得的樂趣。她定義了四個樂趣的關鍵，並指出一個遊戲要有趣（一般來說），在遊戲體驗中至少要具備這四個樂趣關鍵中的三個。

Each key to fun corresponds to some fundamental human emotions:
每個樂趣的關鍵都對應著一些基本的人類情感：

• Hard Fun: Frustration and fiero, in the moment of personal triumph over adversity
  困難的樂趣：挫折與 fiero，在克服逆境的個人勝利時刻
• Easy Fun: Curiosity and awe
  輕鬆樂趣：好奇與驚嘆
• Serious Fun: Excitement and relief (relaxation)
  嚴肅的樂趣：興奮與放鬆（舒緩）
• People Fun: Amusement and joy
  人們的樂趣：娛樂與喜悅

You can already see the connection with Bartle’s model. But don’t make the mistake of thinking that People Fun is the type of fun socializers might experience or Easy Fun is the type of fun explorers experience. It doesn’t work like that, and as we said, a good game proposes at least three out of four types of fun to every player:
你可以已經看到與巴特爾模型的聯繫。但不要誤以為「人際樂趣」就是社交者可能體驗的樂趣，或「輕鬆樂趣」就是探索者可能體驗的樂趣。事情並不是這樣運作的，如我們所說，一款好的遊戲至少會向每位玩家提供四種樂趣中的三種。

Figure 6.2 – Lazzaro’s four keys to fun. A set of actions within the game triggers a specific emotion in the player and therefore enables a specific type of fun
圖 6.2 – Lazzaro 的四種樂趣關鍵。在遊戲中，一系列動作會觸發玩家的特定情緒，從而實現特定類型的樂趣。

Let’s have a look at a practical example of a couple of popular games.
讓我們來看看幾個受歡迎遊戲的實際例子。

The Dark Souls franchise is famous for its difficulty and the great anger and frustration that it causes players (are you already seeing the point?). That is, of course, its Hard Fun component. The frustration of repeatedly dying in the search for an optimal strategy is directly proportional to the triumph experienced for winning. That feeling of obtaining a meaningful victory is something really powerful.
《黑暗靈魂》系列以其高難度和給玩家帶來的極大憤怒與挫折而聞名（你已經明白重點了嗎？）。這當然是其「困難樂趣」的組成部分。在尋找最佳策略時反覆死亡的挫折感，與獲勝時所體驗的勝利感成正比。那種獲得有意義勝利的感覺，真的是非常強烈的。

Hard Fun and Serious Fun go hand in hand in Dark Souls; the difficulty of the fights is what generates frustration in players who get beaten, but it is also what makes it meaningful to progress, level up, find the right equipment, and strategize.
在《黑暗靈魂》中，艱難的樂趣與嚴肅的樂趣相輔相成；戰鬥的難度讓被擊敗的玩家感到挫折，但這也是讓玩家在進步、升級、找到合適的裝備和制定策略時感到意義非凡的原因。

The adrenaline rush when the boss fight begins is a powerful emotion that only a difficult situation can provide.
當與頭目戰鬥開始時，那股腎上腺素激增的強烈情感，只有在困難的情境中才能體會。

What about Easy Fun? You might think that a game such as Dark Souls doesn’t give many opportunities for Easy Fun...but just look at how many memes there are over the internet! The game might not have been designed with those funny moments in mind, but still, by providing a playground for players’ creativity, the game designers have opened the possibility for a lot of Easy Fun.
那麼，關於輕鬆樂趣呢？你可能會認為像《黑暗靈魂》這樣的遊戲並沒有提供太多輕鬆樂趣的機會……但只要看看網路上有多少相關的迷因！這款遊戲可能並不是以那些有趣的時刻為設計初衷，但透過為玩家的創意提供一個遊樂場，遊戲設計師仍然開啟了許多輕鬆樂趣的可能性。

The gesture feature (the player earns moves such as waving or cheering) and how it has been used to capture funny screenshots of the game is a perfect example of Easy Fun (combined with Social Fun, as part of it is sharing those screenshots or videos on the internet).
手勢功能（玩家可以獲得如揮手或歡呼等動作）以及它如何被用來捕捉遊戲中有趣的截圖，正是「輕鬆樂趣」的完美例子（結合了「社交樂趣」，因為其中一部分是將這些截圖或影片分享到網路上）。

Another great example is the Easy Fun provided by a compelling control system. If you think about rolling around in Dark Souls or jumping your way to your destination, which is quicker than just running...you’re experiencing Easy Fun!
另一個很好的例子是由引人入勝的控制系統所提供的輕鬆樂趣。如果你想到在《黑暗靈魂》中翻滾或跳躍到達目的地，這比單純奔跑要快得多……你正在體驗輕鬆樂趣！

People Fun (or Social Fun) is the most straightforward. Whether it is the co-op feature or the PvP, Dark Souls provides all you need to experience People Fun. But again, when we talk about social fun and interactions with real players, always think out of the box (out of the game in this case). Social Fun in video games comes from outside the world of the game. Games that are enjoyable just by being watched or eSports (such as League of Legends) that people enjoy watching as much as they enjoy playing offer incredible opportunities, and quite real emotions and fun. Keep that in mind when you design your game mechanics. In modern games, watchability is as important a characteristic as playability.
人際樂趣（或社交樂趣）是最直接的。無論是合作模式還是玩家對戰，《黑暗靈魂》都提供了你所需的一切來體驗人際樂趣。但再次強調，當我們談論社交樂趣和與真實玩家的互動時，總是要跳出框架思考（在這種情況下是跳出遊戲）。電子遊戲中的社交樂趣來自遊戲世界之外。那些僅僅透過觀看就能享受的遊戲，或是像《英雄聯盟》這樣的電子競技，讓人們在觀看時享受的樂趣不亞於親自遊玩，提供了令人難以置信的機會，以及真實的情感和樂趣。在設計遊戲機制時，請記住這一點。在現代遊戲中，可觀看性與可玩性同樣重要。

Designing a feature requires thoughtful consideration of player types and the types of fun. It is essential to ensure that the feature you’re designing aligns with the desired experiences of its targeted player. Periodically revisiting the original goals and requirements is an integral part of this process. Review the original goals and requirements with your team and validate that they have been met. These steps will provide invaluable insights, confirm your design decisions, and ensure that the feature fulfills its intended purpose.
設計一個功能需要仔細考慮玩家類型和樂趣類型。確保您所設計的功能與目標玩家所期望的體驗一致是至關重要的。定期回顧最初的目標和需求是這個過程中不可或缺的一部分。與您的團隊一起檢視最初的目標和需求，並確認它們已被滿足。這些步驟將提供寶貴的見解，確認您的設計決策，並確保該功能達到其預期目的。

Game loops

In his book Advanced Game Design: A Systems Approach, Michael Sellers – a game designer and professor – identified four principal loops that define a video game experience:
在他的著作《進階遊戲設計：系統方法》中，遊戲設計師兼教授 Michael Sellers 確立了定義電子遊戲體驗的四個主要循環：

• The game’s model loop  遊戲的模型循環
• The player’s mental loop  玩家的心理循環
• The interactive loop  互動循環
• The designer’s loop  設計師的迴圈

Why do we call these loops? The idea is that a game is not a linear experience, but a looping structure where an action by the player generates an effect (and gives feedback); this effect allows the player to take another action and so on and so forth, in a loop.
為什麼我們稱這些為迴圈？這個概念是因為遊戲並非線性的體驗，而是一種迴圈結構，玩家的行動會產生效果（並提供反饋）；這個效果讓玩家可以進行下一個動作，如此循環往復，形成一個迴圈。

Every feature finds its place within a loop, which is effectively a sequence that determines the flow of player experiences while engaging in the game’s systems.
每個功能都在一個循環中找到其位置，這個循環實際上是一個序列，決定了玩家在參與遊戲系統時的體驗流程。

When designing a feature, it is crucial to understand its place, how often the player is expected to interact with it, and in which way this interaction produces results that feed the next system and keep the loop moving.
在設計一個功能時，了解其位置、玩家預期與其互動的頻率，以及這種互動如何產生結果以推動下一個系統並保持循環運行是至關重要的。

Game’s model and player’s mental loops
遊戲模型與玩家的心理循環

The game’s model loop represents the dynamic world of the game. It is the combination of all the systems present in the game with which the player can interact. The player’s loop, on the other hand, is the mental model of the game world that the player creates.
遊戲的模型循環代表了遊戲的動態世界。它是遊戲中所有系統的結合，玩家可以與之互動。另一方面，玩家的循環則是玩家所創造的遊戲世界的心理模型。

The player builds their own mental loop based on the actual game model loop. They set their goals and execute actions that generate feedback in the game and continue to do so until their goal is achieved.
玩家根據實際的遊戲模型循環建立自己的心理循環。他們設定目標並執行動作，這些動作在遊戲中產生反饋，並持續進行直到達成目標。

The important thing about the player’s mental loop is that the activities that a player executes in a game might not match the game’s model loop. Players can find their fun by not completing the game goals, but by setting their own and pursuing them. Maybe in an RTS game with the goal to defeat the enemy faction, some players might find it more fun and exciting to build a city of a particular shape, or to collect all the resources on the map.
玩家的心理循環中重要的一點是，玩家在遊戲中執行的活動可能與遊戲的模型循環不一致。玩家可以通過不完成遊戲目標，而是設定自己的目標並追求它們來找到樂趣。或許在一個以擊敗敵方陣營為目標的即時戰略遊戲中，有些玩家可能會覺得建造一個特定形狀的城市或收集地圖上的所有資源更有趣和刺激。

Or, in an open-world RPG, they might prefer to go around and befriend all the animals in the world instead of following and completing the main quest.
或者，在一個開放世界的角色扮演遊戲中，他們可能更喜歡四處走動，與世界上的所有動物交朋友，而不是跟隨並完成主要任務。

Interactive loops

The interactive loop determines the actions the player can take to interact with the world and the feedback that the game gives in response to those actions.
互動循環決定了玩家可以採取哪些行動來與世界互動，以及遊戲對這些行動所給予的回饋。

The player’s actions are basically inputs into the game’s model loop, and the game feedback contributes to creating the player’s own mental model loop. The interactive loop is made by a core loop and an extended loop, which we are going to describe in detail in the following subsections.
玩家的行為基本上是遊戲模型迴圈的輸入，而遊戲的反饋則有助於創建玩家自己的心理模型迴圈。互動迴圈由核心迴圈和擴展迴圈組成，我們將在接下來的小節中詳細描述。

Core loops

By core loops, we mean the loop of basic actions the player needs to perform in a game.
核心循環指的是玩家在遊戲中需要執行的基本動作循環。

As we learned, these actions are a set of core mechanics that the player has to interact with. The loop happens when the player interacts with the mechanics over and over again in order to progress into the game.
正如我們所了解的，這些動作是一組核心機制，玩家必須與之互動。當玩家不斷地與這些機制互動以推進遊戲時，循環便發生了。

In fact, some designers have defined core mechanics exactly like that: the core mechanics in a game will usually be the purposeful interaction that occurs the most frequently. In a platforming game, this is usually jumping. In a shooter game, it is usually shooting. In a racing game, it will be driving.
事實上，一些設計師正是如此定義核心機制：遊戲中的核心機制通常是最頻繁發生的有目的互動。在平台遊戲中，這通常是跳躍。在射擊遊戲中，通常是射擊。在賽車遊戲中，則是駕駛。

There could be other definitions, as with every other game design concept. As we have said many times already, you don’t have to stick with one particular definition of a game design concept. On the contrary, knowing more means you have a clear idea of what other people’s points of view on each concept or principle are.
如同其他遊戲設計概念一樣，可能會有其他的定義。正如我們已經多次提到的，你不必拘泥於某一特定的遊戲設計概念定義。相反地，了解更多意味著你對於每個概念或原則的其他人觀點有清晰的認識。

We call them core loops because the core mechanic is an action that will produce some results that will trigger a new need to perform the core mechanic...and so on. The following figure shows a simple core loop for a game similar to BattleHand.
我們稱之為核心循環，因為核心機制是一種行動，會產生一些結果，從而引發新的需求來執行核心機制……如此循環不已。下圖展示了一個類似於《BattleHand》的遊戲的簡單核心循環。

The player fights a battle to gain currency (fame, in this case). Fame is used to develop and upgrade the player’s town. Upgrading the town unlocks the hero and card upgrade. With these upgrades, a more challenging battle can be fought.
玩家進行戰鬥以獲得貨幣（在此情況下為名聲）。名聲用於發展和升級玩家的城鎮。升級城鎮可以解鎖英雄和卡牌升級。有了這些升級，玩家可以進行更具挑戰性的戰鬥。

Figure 6.3 – A simple core loop for an action-card game similar to BattleHand; each system provides a result that is used as an input for another system
圖 6.3 – 一個類似於 BattleHand 的動作卡牌遊戲的簡單核心循環；每個系統提供的結果作為另一個系統的輸入

Extended loops

The extended loop is more complex (and a realistic representation of an entire game). Defining your core loop is part of deciding which systems you might need in your game. Consider games such as The Witcher III: Wild Hunt and Middle Earth: Shadow of War. Both games’ core loops consist of fighting enemies to get rewards and experience points.
擴展迴圈更加複雜（也是整個遊戲的現實表現）。定義你的核心迴圈是決定遊戲中可能需要哪些系統的一部分。考慮像《巫師 3：狂獵》和《中土世界：戰爭之影》這樣的遊戲。這兩款遊戲的核心迴圈都由戰鬥敵人以獲得獎勵和經驗值組成。

You could argue that it’s the core loop of most RPG games, and you’d be right! However, the systems within the loop change dramatically from game to game: imagine a turn-based RPG and a real-time action RPG, or a level system based on increasing stats and another based on gaining new abilities.
你可以說這是大多數 RPG 遊戲的核心循環，這樣說也沒錯！然而，循環中的系統在不同遊戲中會有顯著的變化：想像一下回合制 RPG 和即時動作 RPG，或者一個基於提升屬性的等級系統與另一個基於獲得新能力的系統。

So, what makes The Witcher and Shadow of War two different games (apart from their settings and lore, of course)? It’s the extended loop, and how all the different game systems interact with each other.
那麼，除了背景設定和傳說之外，《巫師》和《中土世界：戰爭之影》這兩款遊戲有什麼不同呢？關鍵在於擴展循環，以及各種遊戲系統之間的互動方式。

In both games, the core loop (fighting enemies to get rewards) is related to the game’s progression, and in both, there is a virtual skill system attached to it. What is really different is what you can do with what you get by defeating enemies and progressing through the game.
在這兩款遊戲中，核心循環（擊敗敵人以獲得獎勵）與遊戲的進程息息相關，並且兩者都附有一個虛擬技能系統。真正的不同在於，通過擊敗敵人和推進遊戲進程後，你能用所獲得的東西做什麼。

Geralt (the protagonist of The Witcher saga) can craft a variety of potions and alchemical items and can undertake quests to hunt monsters and interact with various NPCs (with a lot of emphasis on romance). Most of the extended loop is related to expanding the narrative in different and new directions.
《巫師》系列的主角傑洛特能夠製作各種藥水和煉金物品，並能接受任務來獵殺怪物，與各種 NPC 互動（其中強調浪漫情節）。大部分的延伸循環都與在不同且全新的方向上擴展敘事有關。

Shadow of War approaches the extended loop in a different way: you can collect and organize your personal army of orcs and then use it to lay siege to enemies’ fortresses or to defend yours. This feature, which completely changes the gameplay when the player immerses themself in the extended loop, is perfectly integrated with another unique selling point of the Shadow of Mordor franchise: the nemesis system.
《戰爭之影》以不同的方式接近擴展循環：你可以收集並組織你個人的半獸人軍隊，然後用它來圍攻敵人的堡壘或保衛自己的堡壘。當玩家沉浸在擴展循環中時，這個功能徹底改變了遊戲玩法，並完美地與《魔多陰影》系列的另一個獨特賣點——宿敵系統相結合。

The idea behind the nemesis system is to create emergent stories unique to each player by allowing enemies to develop their own personalities, rivalries, and traits that may grow over time depending on the battles they take part in or the way players defeat or get defeated by them.
宿敵系統的理念是透過讓敵人發展出自己的個性、競爭關係和特質，來為每位玩家創造獨特的自發性故事。這些特質可能會隨著時間的推移而成長，取決於他們參與的戰鬥，或是玩家擊敗他們或被他們擊敗的方式。

The depth of the system and the meaningfulness of these enemies and their development transformed the way players play the game. The core loop of solving the quests to proceed through the storyline and eventually finish the game is almost subverted by the extended loop of hunting those enemies and forging their stories.
系統的深度以及這些敵人的意義和發展，改變了玩家遊玩遊戲的方式。解決任務以推進故事情節並最終完成遊戲的核心循環，幾乎被狩獵這些敵人並鍛造他們故事的擴展循環所顛覆。

Of course, this was meticulously planned by Monolith’s game designers, with a remarkable result. It is important to understand that different game modes can be seen as part of the extended loop of a game (for example, the different PvP modes in Blizzard’s Overwatch), but as a designer, it is better to think about the core and extended loop as the actions that happen within a single game session.
當然，這是由 Monolith 的遊戲設計師精心策劃的，並取得了顯著的成果。重要的是要理解，不同的遊戲模式可以被視為遊戲擴展循環的一部分（例如，Blizzard 的《Overwatch》中不同的 PvP 模式），但作為設計師，最好將核心和擴展循環視為在單一遊戲會話中發生的動作。

From a design perspective, the more the extended loops are integrated into the core loop and the game systems within, the more organic and compelling the player experience will be.
從設計的角度來看，將延伸迴圈更多地整合到核心迴圈和遊戲系統中，玩家的體驗將會更加自然且引人入勝。

Designer’s loops  設計者的循環

Finally, there’s the designer’s loop. This is similar to the player’s mental model, but this is the designer’s mental model of the game. The main difference from the player’s mental model is that the designer’s loop is a perfect model of what the game and the player’s experience in the game should be.
最後，還有設計者的迴圈。這與玩家的心理模型相似，但這是設計者對遊戲的心理模型。與玩家的心理模型的主要區別在於，設計者的迴圈是一個完美的模型，描繪了遊戲以及玩家在遊戲中應有的體驗。

The designer’s loop is the game design process in itself. Iterating by designing and testing a game forms the designer’s loop, where the feedback given by someone playing the game and the difference between the player’s feedback and the designer’s intent generates the iterative process that has already been discussed.
設計者的循環本身就是遊戲設計過程。透過設計和測試遊戲來進行迭代，形成設計者的循環，其中玩家在遊戲中給予的反饋以及玩家反饋與設計者意圖之間的差異，產生了之前已經討論過的迭代過程。

Progression systems

One of the most common systems in game design, one that is present in almost every video game ever made, is the progression system.
在遊戲設計中，最常見的系統之一，幾乎存在於每一款製作過的電子遊戲中，就是進程系統。

A progression system can assume many forms, from a level system in an RPG such as Badlur’s Gate in which the player receives experience points for winning battles and completing quests, to technology trees in a strategy game such as Total War, in which the player decides which new technology to unlock when the previous one is completed.
進階系統可以有多種形式，從像是《博德之門》這樣的角色扮演遊戲中的等級系統，玩家透過贏得戰鬥和完成任務來獲得經驗值，到像是《全面戰爭》這樣的策略遊戲中的科技樹，玩家在完成前一項科技後決定解鎖哪一項新科技。

From a system design perspective, progression is the structure that organizes a player’s advancement within a game. It is the backbone that guides the player through increasing levels of difficulty, sophistication, or complexity, while offering corresponding rewards. If this sounds familiar, it is because that is what we talked about when discussing core loops.
從系統設計的角度來看，進程是組織玩家在遊戲中進展的結構。它是引導玩家通過逐漸增加的難度、精巧度或複雜度的脊椎，同時提供相應的獎勵。如果這聽起來很熟悉，那是因為這正是我們在討論核心循環時所談到的內容。

In fact, a progression system keeps track of the core loop and provides meaning to the player going through it repeatedly.
事實上，進程系統會追蹤核心循環，並賦予玩家反覆進行的意義。

Progression systems provide pace to the game
進程系統為遊戲提供節奏

Progression systems create a structured journey for the player, unlocking new experiences over time, and serving to pace gameplay and narrative elements. They also provide a mechanism to gate features, preventing players from accessing certain content until they have achieved certain prerequisites or simply to avoid overwhelming them.
進程系統為玩家創造了一個結構化的旅程，隨著時間的推移解鎖新的體驗，並用來調節遊戲玩法和敘事元素的節奏。它們還提供了一種機制來限制功能，防止玩家在達到某些先決條件之前訪問特定內容，或僅僅是為了避免讓他們感到不知所措。

This practice, known as gating, is a common method used in game design to control access to certain areas, abilities, or other game features. It serves to incrementally expose players to more complex mechanics, helping them master the basic skills and systems before moving on to more advanced ones.
這種稱為「門控」的做法，是遊戲設計中常用的方法，用來控制玩家對某些區域、能力或其他遊戲功能的訪問。它的作用是逐步讓玩家接觸到更複雜的機制，幫助他們在進入更高階的內容之前，先掌握基本的技能和系統。

Gating is achieved by tying access to these features to player level, story progression, or acquisition of certain items or abilities. This can enhance the game’s sense of discovery and reward. For example, in The Legend of Zelda: Breath of the Wild, the player gains four powerful abilities during the game only after defeating certain bosses.
限制機制是透過將這些功能的使用權限與玩家等級、故事進程或特定物品或能力的獲取相結合來實現的。這可以增強遊戲的探索感和獎勵感。例如，在《薩爾達傳說：曠野之息》中，玩家只有在擊敗特定頭目後才能獲得四種強大的能力。

Progression systems provide variety
進程系統提供多樣性

Another fundamental aspect of a progression system is to provide variety to the game. These systems often allow customizing the gameplay by choosing from a variety of options every time an advancement is made.
進階系統的另一個基本面向是為遊戲提供多樣性。這些系統通常允許玩家在每次進階時，從多種選項中進行選擇，以自訂遊戲玩法。

It can be choosing from different abilities in Diablo, increasing several stats in Elden Ring, or simply expanding your card collection like in Hearthstone.
無論是選擇《暗黑破壞神》中的不同能力，提升《艾爾登法環》中的多項屬性，或是像《爐石戰記》那樣擴充你的卡牌收藏。

The idea is that different players will progress in different ways, building their game entities according to their favorite play style. This type of progression also offers replayability, as players can play the same game multiple times, choosing different progression paths every time.
這個概念是不同的玩家會以不同的方式進行遊戲，根據他們喜愛的遊玩風格來建構他們的遊戲實體。這種進程方式也提供了重玩性，因為玩家可以多次遊玩同一款遊戲，每次選擇不同的進程路徑。

When designing a progression system, make sure to reward your players for engaging in the features of your game, especially those that are part of your core loop. Give value to the amount of time the player invests in your game and remember to acknowledge both their successes and failures.
在設計進程系統時，務必獎勵玩家參與遊戲中的各項功能，特別是那些屬於核心循環的一部分。賦予玩家投入遊戲時間的價值，並記得肯定他們的成功與失敗。

Games as systems of conflict
遊戲作為衝突系統

According to a formal definition given by Katie Salen and Eric Zimmerman in their famous book Rules of Play, a game is a system in which players engage in an artificial conflict, defined by rules, that results in a quantifiable outcome.
根據凱蒂·薩倫和埃里克·齊默曼在他們著名的著作《遊戲規則》中給出的正式定義，遊戲是一個系統，玩家在其中參與由規則定義的人工衝突，並產生可量化的結果。

It’s an interesting definition, perfect for deeply understanding system design. It is easy to think about conflict in terms of war and triumph through competition, and this is indeed one of the reasons why games that represent fights and battles are so popular.
這是一個有趣的定義，非常適合深入理解系統設計。人們很容易將衝突與戰爭和競爭中的勝利聯繫在一起，這確實是為什麼描繪戰鬥和戰爭的遊戲如此受歡迎的原因之一。

But by conflict here, we really mean any kind of problem that is artificially created by the game designer for the player to solve. So why are these conflicts so important for the players and how can we create conflicts that are fun to solve?
但在這裡所指的衝突，實際上是指任何由遊戲設計師人工創造出來讓玩家解決的問題。那麼，為什麼這些衝突對玩家來說如此重要，我們又該如何創造出有趣的衝突讓玩家去解決呢？

Conflicts can arise from three things:
衝突可能源於三件事：

• Opponents
• Obstacles
• Dilemmas

You have to always keep these three elements in mind when designing your game because no good game can exist without them.
在設計遊戲時，你必須時刻記住這三個要素，因為沒有它們，就不可能有好的遊戲存在。

Opponents

The most obvious cause of a conflict is the fact that an opponent is trying to reach the same goal as the player or simply preventing the player from getting there. In a single-player game such as Dark Souls, clearly every enemy in the game exists with only one purpose: to kill your character and stop you from proceeding further into the game.
衝突最明顯的原因是對手試圖達成與玩家相同的目標，或僅僅是阻止玩家達成目標。在像《黑暗靈魂》這樣的單人遊戲中，顯然遊戲中的每個敵人都只有一個目的：殺死你的角色並阻止你繼續進入遊戲的更深處。

Multiplayer PvP games are so interesting because the game world is populated by real humans, all with the common goal of winning the game at the expense of the other players. Some games might have much more abstract opponents, such as time, for example, in the case of a single-player time-trial racing game.
多人對戰遊戲之所以如此有趣，是因為遊戲世界中充滿了真實的人類，大家都有著共同的目標，就是在其他玩家的損失下贏得比賽。有些遊戲可能會有更抽象的對手，例如時間，比如在單人計時賽車遊戲中。

Obstacles

Obstacles are very common in all kinds of games. They might appear in the form of a physical object that blocks the player somehow from reaching their objective, or they might involve mental skills, such as puzzles in adventure games. Obstacles are different from opponents because they don’t have an objective and they are not driven by any motivation. Nonetheless, they challenge the player’s mental and physical skills.
在各類遊戲中，障礙物是非常常見的。它們可能以某種實體物件的形式出現，阻擋玩家達成目標，或者涉及心智技巧，如冒險遊戲中的謎題。障礙物與對手不同，因為它們沒有目標，也不受任何動機驅動。然而，它們仍然挑戰玩家的心智和身體技能。

Dilemmas

Dilemmas are probably the most important elements in a game and the type of conflicts they generate are often the most meaningful to the player experience. Dilemmas are the choices players have to constantly make when playing a game.
兩難困境可能是遊戲中最重要的元素，而它們所產生的衝突類型往往是對玩家體驗最有意義的部分。兩難困境是玩家在遊戲中必須不斷做出的選擇。

The legendary game designer Sid Meier (designer of the Civilization franchise, among others) once said: Games are a series of interesting decisions. The more meaningful those decisions, the better the player’s experience and the game will be. Choices in games are everywhere; how to invest resources in strategy games, which team and formation to select in a football game, which option to choose in a dialogue, which weapon to use in an FPS, which character to leave behind in a narrative game, and so on.
傳奇遊戲設計師席德·梅爾（文明系列等的設計者）曾說過：遊戲是一系列有趣的決策。這些決策越有意義，玩家的體驗和遊戲就會越好。遊戲中的選擇無處不在；在策略遊戲中如何投資資源，在足球遊戲中選擇哪個隊伍和陣型，在對話中選擇哪個選項，在第一人稱射擊遊戲中使用哪種武器，在敘事遊戲中留下哪個角色，等等。

Dilemmas have their impact from the macro to the micro. Even the smallest game mechanic needs to include an element of choice.
兩難的影響從宏觀到微觀無所不在。即使是最小的遊戲機制也需要包含選擇的元素。

Modern combat systems in action games express this principle in a great way. If you think about action games with a melee combat system today, you realize how many details are put into designing just the basics of the combat. Sometimes the player needs to make a choice at the start of the game, such as selecting a class, that will influence the entire game.
現代戰鬥系統在動作遊戲中以極佳的方式展現了這一原則。若你思考當今具有近戰系統的動作遊戲，你會發現設計戰鬥基本要素時投入了多少細節。有時玩家需要在遊戲開始時做出選擇，例如選擇一個職業，這將影響整個遊戲。

The player also needs to choose their gear (weapons, armor, spells, you name it!). During the combat, there might be strategic choices about whether to charge the enemy or take them out stealthily. And also, can they dodge or block with a shield? Are they using a slow but powerful attack or a series of quick ones?
玩家還需要選擇他們的裝備（武器、盔甲、法術，應有盡有！）。在戰鬥中，可能會有戰略性的選擇，比如是要衝向敵人還是偷偷地解決他們。此外，他們能否閃避或用盾牌格擋？他們是使用緩慢但強力的攻擊，還是一連串快速的攻擊？

The choices in these games start from the macro (which character and gear I am going to use) to the micro (how to tackle this horde of enemies) to the even more micro (how to approach the fight with the enemy I’m attacking right now).
在這些遊戲中，選擇從宏觀層面開始（我要使用哪個角色和裝備），到微觀層面（如何應對這群敵人），再到更微觀的層面（如何處理我現在正在攻擊的敵人）。

No choices mean no agency over what’s going on in the game, just button-smashing through a repetitive sequence of events. Ultimately, no choice means no fun.
沒有選擇就意味著對遊戲中發生的事情沒有掌控權，只是透過按鍵猛擊來重複一連串的事件。最終，沒有選擇就意味著沒有樂趣。

System design is the art of mixing opponents, obstacles, and dilemmas with game mechanics and transforming them into an experience that the player will enjoy playing and solving!
系統設計是一門藝術，它將對手、障礙和困境與遊戲機制相結合，並將其轉化為玩家樂於遊玩和解決的體驗！

Quality over quantity  重質不重量

It is important to note that with many choices comes great responsibility. A common pitfall in designing game systems is to offer way too many choices and go for quantity instead of quality.
值得注意的是，隨著選擇的增加，責任也隨之而來。在設計遊戲系統時，一個常見的陷阱就是提供過多的選擇，追求數量而非質量。

More choices don’t translate into better games unless those choices are meaningful! If a dialogue with an NPC offers a vast range of possible answers, but none of them really affect the game with different consequences, or maybe 50% of them lead to the same bad consequence while the other 50% to the positive one…that would be a pretty poor implementation.
更多的選擇並不會轉化為更好的遊戲，除非這些選擇是有意義的！如果與 NPC 的對話提供了大量可能的回答，但其中沒有一個真正對遊戲產生不同的影響，或者可能有 50%的選擇導致相同的不良後果，而另外 50%則導向正面的結果……那將是一個相當糟糕的實現。

If striking an enemy with a quick attack produces the same outcome as using a heavy attack...it is as if there is no real choice at all.
如果用快速攻擊擊中敵人所產生的結果與使用重攻擊相同……那就彷彿根本沒有真正的選擇。

More choices, not best choices
更多選擇，不是最佳選擇

Yes, one choice could be the best one for a specific situation or scenario. But if that choice is designed to always be the same one...then, again, the game will be offering very few choices. If one class is stronger than the others in a competitive RPG, why should a player choose the other? Or if a resource grants access to the best units in a strategy game, how would it be interesting to use or invest in the others?
是的，某個選擇可能是針對特定情境或場景的最佳選擇。但如果這個選擇被設計成永遠都是相同的……那麼，遊戲將提供的選擇就會非常有限。如果在競技類角色扮演遊戲中某個職業比其他職業強，玩家為什麼要選擇其他的呢？或者如果某個資源能讓玩家獲得策略遊戲中最強的單位，那麼使用或投資其他資源又有什麼趣味可言呢？

Sometimes, some choices are the best ones a player could make, but there is a price to be paid for choosing them. We are going to see, in Chapter 11, Balancing Your Content and Systems, how the outcome of each choice can be balanced in different ways – for example, how to mitigate a choice that is clearly the best one, with an element of risk.
有時候，某些選擇是玩家能做出的最佳選擇，但選擇它們需要付出代價。在第十一章《平衡你的內容與系統》中，我們將看到如何以不同方式平衡每個選擇的結果——例如，如何在明顯是最佳選擇的情況下，加入風險元素來調和。

Combat systems

One of the major epitomes of the conflict metaphor is combat. There are countless arguments against violence and the depiction of fights and wars in video games, and indeed, because there is so much more to video games other than battles, fights, and violence, those arguments are often just empty words. It would be like condemning cinema because there are movies about war.
衝突隱喻的一個主要典範就是戰鬥。針對暴力以及在電子遊戲中描繪戰鬥和戰爭的無數爭論確實存在，然而，因為電子遊戲中除了戰鬥、打鬥和暴力之外還有更多的內容，這些爭論往往只是空話。這就像因為有關於戰爭的電影而譴責電影業一樣。

The reality about combat in video games (and all kinds of games really) is that fighting is part of our nature. And while our society and culture have made it possible for us to avoid fights in our real lives, many people will always be fascinated by some of the characteristic elements of combat.
在電子遊戲（以及各種遊戲）中，戰鬥的現實是，戰鬥是我們天性的一部分。儘管我們的社會和文化使我們能夠在現實生活中避免衝突，但許多人始終對戰鬥的一些特徵元素感到著迷。

Of course, many others won’t. Not all games need to include combat, fights, or violence at all, and there are millions of players not interested in playing games that involve any kind of violence.
當然，許多人不會這麼認為。並非所有遊戲都需要包含戰鬥、打鬥或任何形式的暴力，還有數以百萬計的玩家對於涉及任何暴力的遊戲並不感興趣。

So, why is combat still so popular?
那麼，為什麼戰鬥仍然如此受歡迎呢？

First of all, combat means competition, one of the most powerful drivers of human nature. Combat also means engaging in an activity that challenges the player’s skill and intellect. Combat in games perfectly embodies Lazzaro’s definition of Hard Fun and goes hand in hand with so many fantasies of our culture: epics, heroism, commanding an army, cloak-and-dagger storylines, and many more.
首先，戰鬥意味著競爭，這是人性中最強大的驅動力之一。戰鬥也意味著參與一項挑戰玩家技能和智力的活動。遊戲中的戰鬥完美地體現了 Lazzaro 對「艱難樂趣」的定義，並與我們文化中的許多幻想密切相關：史詩、英雄主義、指揮軍隊、諜影重重的情節等等。

It is very likely that you will face the challenge of designing a combat system; that’s why we decided to include an entire section about it in this chapter. As you are going to learn, many of the teachings from this section are applicable to the design of any kind of game, so even if you’re not interested in how combat systems work, read on and see what you can learn from them!
在設計戰鬥系統時，你很可能會面臨挑戰；這就是為什麼我們決定在本章中專門為此設立一個完整的部分。正如你將要學習的，這部分的許多教學內容都適用於任何類型遊戲的設計，因此即使你對戰鬥系統的運作不感興趣，也請繼續閱讀，看看你能從中學到什麼！

How to design a combat system
如何設計戰鬥系統

When we talk about combat systems, it is easy to think about games with stunning combat action and incredibly satisfying fights. Games such as Batman: Arkham Knight and Dark Souls have set a pretty high standard for how combat should be designed in action games. But truth be told, one of the greatest combat systems of all time still belongs to the king (or queen) of all games: chess.
當我們談論戰鬥系統時，很容易聯想到那些擁有令人驚豔的戰鬥動作和極具滿足感的戰鬥的遊戲。像是《蝙蝠俠：阿卡漢騎士》和《黑暗靈魂》這類遊戲，已經為動作遊戲中的戰鬥設計樹立了相當高的標準。但說實話，有史以來最偉大的戰鬥系統之一仍然屬於所有遊戲中的王者（或女王）：象棋。

There is only one combat mechanic in chess: by moving one of your pieces onto an enemy piece, you take it (out of the game). Space represents the only element of chess’ combat mechanic. So how is it possible that just this simple mechanic is at the core of one of the most competitive and long-lived games of all time? The greatness of chess, like any other great game I would say, comes from the interaction of all its mechanics, and the space of possibilities that they open.
在西洋棋中，只有一種戰鬥機制：透過將你的棋子移動到敵方棋子的位置上，你便能將其吃掉（從遊戲中移除）。空間是西洋棋戰鬥機制中唯一的元素。那麼，為什麼僅僅這麼簡單的機制卻能成為有史以來最具競爭性且歷久不衰的遊戲核心呢？西洋棋的偉大之處，我認為如同其他偉大的遊戲一樣，來自於其所有機制的互動，以及它們所開啟的可能性空間。

The move-to-take mechanic, together with the chess board rules and movements available to the different pieces, creates a perfect harmony of game mechanics from which an immensely vast range of possibilities emerges. So, to understand how to create a great combat system, you always need to take into account all the elements and the mechanics of the rest of your game.
移動捕捉的機制，結合棋盤規則以及不同棋子的移動方式，創造出一種完美和諧的遊戲機制，從中衍生出無窮無盡的可能性。因此，要理解如何創造一個出色的戰鬥系統，你必須始終考慮到遊戲中所有的元素和機制。

Holistic game design  整體遊戲設計

Components such as art, animations, and sound effects have a huge impact on how a combat system feels (and on any other game mechanics), and your design should always be influenced and informed by the entire vision of the game you are developing. In modern game development, a new concept of game design has emerged, called holistic game design.
藝術、動畫和音效等元素對戰鬥系統的感受（以及其他遊戲機制）有著巨大的影響，而你的設計應該始終受到你正在開發的整個遊戲願景的影響和啟發。在現代遊戲開發中，一種新的遊戲設計概念已經出現，稱為整體遊戲設計。

This means that the mechanics, aesthetics, and even every technical aspect of a game cannot exist as a separate entity anymore. This is especially true in modern games where the level of realism is extreme. There is a great YouTube video that shows how awkward (or awesome, depending on your point of view) Battlefield 4 would be if it were using 8-bit sound effects from the 80s console era: https://youtu.be/7c1PBufdfcE.
這意味著遊戲的機制、美學，甚至每一個技術層面都不能再作為獨立的個體存在。這在現代遊戲中尤其如此，因為其現實感的程度極高。有一個很棒的 YouTube 影片展示了如果《Battlefield 4》使用 80 年代主機時代的 8 位元音效會有多麼尷尬（或精彩，這取決於你的觀點）：https://youtu.be/7c1PBufdfcE。

Holistic game design teaches us that it is crucial to look at the big picture. There is a great GDC talk by Naughty Dog’s Anthony Newman, who goes into the details of the melee combat system in The Last of Us. In particular, it gives precious insights into how much the design of the combat mechanics is intertwined with how the characters in the game are animated and scripted.
整體遊戲設計教導我們，審視全局是至關重要的。頑皮狗的 Anthony Newman 在 GDC 上有一場精彩的演講，深入探討了《最後生還者》中的近戰系統。特別是，他提供了寶貴的見解，說明戰鬥機制的設計與遊戲中角色的動畫和腳本是如何緊密相連的。

It also gives you an idea of the amount of work required in AAA games to create satisfying combat systems and how specialized the professionals who take on those challenges are. I really recommend that you watch it as soon as you have finished reading this chapter. You can find it at this link on YouTube: https://youtu.be/Ox2H3kUQByo.
這也讓你了解到在 AAA 遊戲中創建令人滿意的戰鬥系統所需的工作量，以及那些承擔這些挑戰的專業人士有多麼專業。我強烈建議你在閱讀完本章後立即觀看。你可以在 YouTube 上的這個鏈接找到它：https://youtu.be/Ox2H3kUQByo。

Types of combat system
戰鬥系統的類型

A comprehensive list of all the combat systems that have been used in video games would be quite long. Surprisingly though, there are basically only two main categories:
如果要列出所有曾在電子遊戲中使用過的戰鬥系統，清單會相當長。然而，令人驚訝的是，基本上只有兩大類別：

• Turn-based
• Real-time

Turn-based games divide in-game actions into a series of distinct parts known as turns (a discrete time-space). Turn-based gaming is often associated with the combat systems in strategy, card, and RPG games and is at the core of board games (both physical and digital). Typical examples are games such as Hearthstone, XCOM, and Civilization.
回合制遊戲將遊戲中的動作分成一系列獨立的部分，稱為回合（離散的時空）。回合制遊戲通常與策略、卡牌和角色扮演遊戲中的戰鬥系統相關，並且是桌上遊戲（無論是實體還是數位）的核心。典型的例子有《爐石戰記》、《XCOM》和《文明帝國》。

In a real-time combat system, all the actions take place in a continuous time-space, therefore characters act as quickly as it takes for an action to be ready. The most prominent examples are action games and FPSs, such as The Witcher, Call of Duty, and StarCraft.
在即時戰鬥系統中，所有動作都在連續的時空中發生，因此角色的行動速度取決於動作準備好的時間。最顯著的例子是動作遊戲和第一人稱射擊遊戲，如《巫師》、《決勝時刻》和《星海爭霸》。

We could even add a third category, hybrid combat systems, which mix a bit of both real-time and turn-based, but the reality is that most of the time, the system underneath a hybrid combat system is always a turn-based one, implemented in a way that might feel like real time. Classic examples are RPGs such as Neverwinter Nights, Baldur’s Gate, and Star Wars: Knights of The Old Republic.
我們甚至可以加入第三類，混合戰鬥系統，這種系統結合了即時和回合制的元素，但事實上，大多數時候，混合戰鬥系統的底層系統始終是回合制的，只是以一種可能讓人感覺像即時的方式實現。經典的例子有《無冬之夜》、《博德之門》和《星際大戰：舊共和國武士》等角色扮演遊戲。

These games, in particular, look like they run in real time, but under the hood, there is a turn system that determines who can attack, move, or act. As you know at this point, there’s no such thing as systems that are universally better than others. Every system and mechanic works (or doesn’t work) depending on its game context. One important thing to note, though, is that turn-based systems are less dependent on the implementation of characters’ animations and actions.
這些遊戲看起來像是即時運行，但在背後其實有一個回合制系統來決定誰可以攻擊、移動或行動。正如你現在所知道的，並不存在一種普遍優於其他的系統。每個系統和機制的運作（或不運作）都取決於其遊戲背景。不過，有一點需要注意的是，回合制系統對角色動畫和動作的實現依賴較少。

This means that the designer can better control them through prototyping and simulations, which is a precious advantage. Another interesting thing about turn-based systems is that it is not just the designers that are interested in building models to simulate them. Part of the fun for some players who enjoy these kinds of games is, in fact, building their own game models and analyzing them to find the best strategies.
這意味著設計師可以通過原型設計和模擬更好地控制它們，這是一個寶貴的優勢。關於回合制系統的另一個有趣之處在於，不僅僅是設計師對構建模型以模擬它們感興趣。對於一些喜歡這類遊戲的玩家來說，樂趣的一部分其實在於構建自己的遊戲模型並分析它們以找到最佳策略。

Combat depth

This applies to games in general, not just to combat systems: what is depth?
這適用於一般遊戲，而不僅僅是戰鬥系統：什麼是深度？

It is an interesting concept to analyze because depth comes relates to the dynamics (the interaction of each game mechanic) rather than the mechanics themselves. Depth in games comes from the number of meaningful choices available to the player. I don’t usually look for a formal definition of game design concepts, but I love this particular one and I believe it’s one of the best.
這是一個有趣的概念值得分析，因為深度與動態（每個遊戲機制的互動）相關，而非機制本身。遊戲的深度來自於玩家可做出的有意義選擇的數量。我通常不會尋求遊戲設計概念的正式定義，但我非常喜愛這個特定的概念，並且相信它是最好的之一。

Let’s analyze it.  讓我們來分析一下。

We have already seen how choices are at the core of every fun game experience. When aiming for depth, it’s a common mistake to think that the more choices available, the more depth the gameplay will have. That, of course, is not true, as, for a choice to be meaningful, it is paramount that the number of options available is limited.
我們已經看到，選擇是每個有趣遊戲體驗的核心。在追求深度時，一個常見的錯誤是認為可用的選擇越多，遊戲玩法就會越有深度。當然，這是不正確的，因為要讓選擇具有意義，關鍵在於可用選項的數量必須有限。

There are moments when giving too many choices becomes the same as not giving any at all. If I am able to attack my enemies with hundreds of different weapons, producing the consistent result of defeating them all, in the same way, all the time...I am not playing a deep game.
有時，給予太多選擇與完全不給選擇沒有什麼不同。如果我能用數百種不同的武器攻擊敵人，卻總是以相同的方式擊敗他們，那麼我並沒有在玩一個深刻的遊戲。

A deep game is one where I’d need to choose the right weapon for the right scenario. Let’s take a shooter game set in a modern combat environment. A grenade or a rocket launcher might produce the same desired effect in a particular scenario. I might have been successful using a heavy machine gun or a well-placed mine or explosive...but it is very unlikely that I would be successful using a light gun with a suppressor or a sniper rifle.
一款深度的遊戲是指我需要為不同的情境選擇合適的武器。以一款設定在現代戰鬥環境中的射擊遊戲為例。在某些情境下，手榴彈或火箭筒可能會產生相同的效果。我可能會成功地使用重機槍或精心佈置的地雷或炸藥……但若使用消音輕型槍或狙擊步槍，成功的可能性就很低。

If all of these weapons were good enough to achieve my goal...what would be the point of having all those differences in the first place?
如果所有這些武器都足以達成我的目標……那麼一開始設計這些差異的意義何在呢？

This is why we talk about meaningful choices. Just having choices is not enough to achieve depth.
這就是為什麼我們談論有意義的選擇。僅僅擁有選擇並不足以達到深度。

Emergent gameplay

Emergent gameplay refers to complex situations in games that emerge from the interaction of relatively simple game mechanics. It might be part of the initial vision the designer imagined; the result of an attentive design focused on how emergent gameplay could happen. Or it can be something even the designer did not expect. Usually, good games designed with a clear vision of how emergent gameplay could flourish from the core mechanics end up having both those types of emergent gameplay.
Emergent gameplay 指的是遊戲中由相對簡單的遊戲機制互動所產生的複雜情況。這可能是設計師最初想像的願景的一部分；是專注於如何讓 emergent gameplay 發生的細心設計的結果。或者，它可能是連設計師都未曾預料到的情況。通常，好的遊戲在設計時對於如何從核心機制中滋生 emergent gameplay 有清晰的願景，最終會擁有這兩種類型的 emergent gameplay。

Designing mechanics that are disconnected from each other, without any vision as to how they could kickstart emergence, usually results in a chaotic maelstrom of useless mechanics, with no actual ways to interact.
設計彼此脫節的機制，沒有任何關於如何啟動 emergence 的願景，通常會導致一個混亂的無用機制漩渦，沒有實際的互動方式。

A great example of emergent gameplay is the rocket jump in Quake. The rocket launcher in Quake had a knockback effect that players found useful for extending the height of their jumps. By giving up a bit of health (due to the explosion), they were able to jump much higher and reach better strategic positions.
Emergent gameplay 的一個絕佳例子是《Quake》中的火箭跳。Quake 中的火箭發射器具有擊退效果，玩家發現這對於增加跳躍高度非常有用。通過犧牲一點健康（由於爆炸），他們能夠跳得更高，並達到更好的戰略位置。

None of the designers probably implemented the rocket launcher knockback effect with this in mind. Nonetheless, players have been using this technique to their advantage and the mechanic itself has influenced many other multiplayer shooters over subsequent years.
設計師們可能都沒有考慮到火箭發射器的後座力效果會有這樣的影響。然而，玩家們已經開始利用這項技術來獲取優勢，而這個機制本身也在隨後的多年中影響了許多其他的多人射擊遊戲。

Of course, this emergent mechanic exists only because Quake had a deep enough system for it to emerge. The Rocket Launcher was a unique weapon to use in particular situations and unlike others had a knockback effect with every shot. Gaining a good shooting position was an important part of the strategy for winning a game.
當然，這種自發的機制之所以存在，是因為《Quake》擁有足夠深度的系統讓它得以出現。火箭發射器是一種在特定情況下使用的獨特武器，與其他武器不同的是，每次射擊都會產生後座力。獲得良好的射擊位置是贏得比賽策略中的重要部分。

Jumping was an important factor as well, useful for moving faster and in a nonlinear way. All of this prepared the ground for the emergence of a new way to use the weapon.
跳躍也是一個重要因素，有助於更快且以非線性的方式移動。所有這些都為一種新武器使用方式的出現做好了準備。

So, ultimately, depth can be achieved by giving the player different tools to solve problems (or fight their enemies) in different ways. Be warned, though: giving different tools means that even if one might be the best in a specific occasion or scenario, it should never be an optimal strategy for the entire game or for every combat instance.
因此，最終可以通過給予玩家不同的工具來以不同的方式解決問題（或對抗敵人）來實現深度。但請注意：提供不同的工具意味著即使某一工具在特定場合或場景中可能是最佳選擇，也不應該成為整個遊戲或每次戰鬥中的最佳策略。

If the rocket launcher is clearly the weapon that does the most damage, with the best accuracy and area of effect, and it even allows me to rocket jump if I want to...why would I bother using the other available weapons at all?
如果火箭發射器顯然是造成最大傷害的武器，擁有最佳的準確性和效果範圍，甚至還允許我進行火箭跳躍……那我為什麼還要費心使用其他可用的武器呢？

An optimal strategy is the opposite of depth. There’s no depth in a game where something is clear and always better than everything else. For some players, it might be fun to find optimal strategies and stick to the best characters, units, or weapons...but you can bet they won’t enjoy your game for long. We’re talking here of objectively better game elements, not favored ones.
最佳策略與深度相反。在一個某物明顯且總是優於其他一切的遊戲中，是沒有深度可言的。對某些玩家來說，找到最佳策略並堅持使用最好的角色、單位或武器可能很有趣……但你可以肯定，他們不會長久地享受你的遊戲。我們在這裡談論的是客觀上更好的遊戲元素，而不是偏愛的元素。

There is a huge difference, and, in fact, players will most likely stick to their favorite options, but since they won’t be optimal strategies, their preference will be constantly challenged by the game. Sometimes difficulty might ramp up just because they deliberately chose to go for their favorite tools, instead of the best ones.
這之間有很大的差別，事實上，玩家很可能會堅持他們喜愛的選擇，但由於這些選擇不會是最佳策略，他們的偏好將不斷受到遊戲的挑戰。有時候，難度可能會上升，只因為他們故意選擇了自己喜愛的工具，而不是最好的工具。

Sometimes they could be surprised by how heavily the gameplay might change, just by switching weapon, character, or strategy. This is all great news. Good games empower players to choose their own tools and let them embrace the consequences of their choices.
有時候，他們會驚訝於遊戲玩法會因為更換武器、角色或策略而發生多大的變化。這一切都是好消息。優秀的遊戲賦予玩家選擇自己工具的權力，並讓他們接受選擇所帶來的後果。

Depth and complexity  深度與複雜性

We already talked about quality over quantity, but this is so important that it is going to take its own space.
我們已經談過質量重於數量，但這一點如此重要，以至於需要單獨討論。

Are deep systems also complex?
深度系統是否也意味著複雜？

If we think about the simplest system of all, we could say that it is formed of just one basic core mechanic. We also said that depth emerges through the interaction of two or more mechanics. But more mechanics, by definition, make games more complex.
如果我們考慮最簡單的系統，我們可以說它僅由一個基本核心機制組成。我們也提到過，深度是通過兩個或更多機制的互動而產生的。但根據定義，更多的機制會使遊戲變得更複雜。

It appears that depth and complexity are, in fact, related, but here is the thing: our job as game designers is to achieve the maximum amount of depth with the minimum amount of complexity.
看來深度和複雜性確實有關，但重點是：作為遊戲設計師，我們的工作是以最小的複雜性達到最大的深度。

Ben Brode, the game designer behind Hearthstone and Marvel SNAP talked about this (and many other game design topics) in his remarkable GDC talk Designing Marvel SNAP. It is one of the best game design talks around, an absolute must-watch. You can find it on YouTube at this link: https://youtu.be/HjhsY2Zuo-c.
《爐石戰記》和《Marvel SNAP》的遊戲設計師 Ben Brode 在他精彩的 GDC 演講《Designing Marvel SNAP》中談到了這一點（以及許多其他遊戲設計主題）。這是最好的遊戲設計演講之一，絕對值得一看。你可以在 YouTube 上找到這個連結：https://youtu.be/HjhsY2Zuo-c。

A very complex game is likely to offer great depth, and that’s why we refer to these games as hardcore games. But hardcore games are difficult to learn, and even if many players would love to understand how to play them and overcome their intrinsic complexity, the effort required is too high and they will never do it.
一款非常複雜的遊戲可能會提供極大的深度，這就是為什麼我們稱這些遊戲為硬核遊戲。但硬核遊戲很難學習，即使許多玩家希望了解如何玩這些遊戲並克服其內在的複雜性，所需的努力太大，他們永遠不會去做。

Much more challenging is to create the same amount of depth of hardcore games while reducing the complexity to a level that is appealing to as many players as possible. If you analyze the history of every AAA game out there, this is exactly what happened and is still happening. We want our games to be played by all the players out there, not just the ones that can afford to spend hours just learning the basics.
更具挑戰性的是，在減少複雜度的同時，創造出與硬核遊戲相同深度的遊戲，讓更多玩家感興趣。如果你分析每款 AAA 遊戲的歷史，這正是已經發生並仍在發生的事情。我們希望我們的遊戲能被所有玩家遊玩，而不僅僅是那些能花費數小時學習基礎的玩家。

Reducing complexity

If complexity and depth grow together, how can we mitigate the former and favor the latter, then?
如果複雜性和深度一同增長，那麼我們該如何減少前者並促進後者呢？

The implicit complexity of a game system, its rules and core mechanics, can be simplified only to the extent to which they don’t become trivial. This is a fact and there’s little we can do except try to design them in the most elegant way. There are three main areas we can look at if we want to reduce complexity without affecting depth:
遊戲系統的隱含複雜性，其規則和核心機制，只能在不變得過於簡單的範圍內進行簡化。這是事實，我們能做的有限，除了嘗試以最優雅的方式設計它們。如果我們想在不影響深度的情況下減少複雜性，可以著眼於三個主要領域：

• User interface (UI): We’re going to talk about UI more in a later chapter. For now, keep in mind that a simple and elegant UI is the first and most important way to reduce complexity. No one enjoys a screen cluttered with icons and buttons; even the most hardcore player doesn’t want to click through 10 screens to find what they’re looking for.
  使用者介面（UI）：我們將在後面的章節中更深入探討 UI。現在，請記住，簡單而優雅的 UI 是減少複雜性的首要且最重要的方法。沒有人喜歡螢幕上充滿圖示和按鈕的混亂，即使是最狂熱的玩家也不想要點擊十個畫面才能找到他們想要的東西。

No Skyrim fan ever expected to scroll through an infinite list of text to interact with their inventory. I would argue that the more hardcore a game is, the more its UI should be uber-simplified, so the player can focus on understanding the game more than its UI.
沒有任何《Skyrim》的粉絲會期望透過無限的文字列表來與他們的物品欄互動。我認為，遊戲越是硬核，其使用者介面就應該越簡化，這樣玩家才能更專注於理解遊戲本身，而不是其介面。

• Pace: The pace of the game is a major factor in its complexity. The number of decisions the player has to make (which smells like depth) needs to be reasonably balanced against the time they have to make them. Too little time and the player’s brain simply won’t be able to process everything at once, resulting in complexity sabotaging depth.
  節奏：遊戲的節奏是其複雜性的一個主要因素。玩家需要做出的決策數量（這聞起來像是深度）需要與他們有的時間合理平衡。時間太少，玩家的大腦就無法同時處理所有事情，導致複雜性破壞了深度。

This is particularly true whenever the player is asked to make uninformed decisions, that is, choices about things they don’t really know or understand yet. A classic example is character creation in RPGs. Deciding on the character’s class and abilities will have a profound impact on the whole gameplay, so be careful about how many choices the player has to make to create their character and how many of those are definitive for the rest of the game.
這尤其適用於當玩家被要求做出未經充分了解的決定時，也就是對他們尚未真正了解或理解的事物做出選擇。一個經典的例子就是角色扮演遊戲中的角色創建。決定角色的職業和能力將對整個遊戲過程產生深遠的影響，因此要謹慎考慮玩家在創建角色時需要做出多少選擇，以及其中有多少是對遊戲其餘部分具有決定性的。

• Tutorials: Tutorials are essential to teach players how mechanics work in the game. They can be included at any point in a game when something new is introduced. Clever level design or pacing can allow the player to experiment with the new tools available in a safe way and aid the player in using them correctly.
  教學：教學對於教導玩家遊戲中的機制運作至關重要。當遊戲中引入新元素時，可以在任何時刻加入教學。巧妙的關卡設計或節奏安排可以讓玩家在安全的環境中試驗新工具，並幫助玩家正確使用它們。

In the next section, we are going to discuss how to teach game systems and mechanics and reduce a game’s intrinsic complexity with the use of tutorials.
在接下來的部分，我們將討論如何教授遊戲系統和機制，並通過使用教程來減少遊戲的內在複雜性。

Teaching game features  教授遊戲功能

One of the eternal dilemmas of every game designer is: How do I teach players how to play the game?
每位遊戲設計師永恆的難題之一是：我該如何教會玩家如何玩這款遊戲？

In the early days of video games, there was a physical instruction manual that players had to read in order to understand how to play a game. Most players, of course, never bothered reading it and just jumped into the gameplay, figuring things out by themselves. That has been the standard for years.
在電子遊戲的早期，玩家必須閱讀一本實體的說明手冊才能了解如何遊玩遊戲。然而，大多數玩家當然不會去看手冊，而是直接進入遊戲，自己摸索著學習。這種情況已經持續多年。

With the video game audience growing larger and the medium spreading through more affordable and mainstream technology, the average video gamer is today pretty much anyone. It is therefore impossible to take for granted that they’d be able to learn a game just by immersing themself in it.
隨著電子遊戲受眾的擴大，以及媒介透過更平價和主流的技術普及，如今的平均玩家幾乎可以是任何人。因此，不能理所當然地認為他們只需沉浸其中就能學會一款遊戲。

On the other hand, video games themselves have become quite complex systems. Learning a game such as Doom back in 1993 was a straightforward task: use the arrow keys to move, Ctrl to fire, and the spacebar to use objects. With those controls in mind, all you have to do in the game is shoot at the monsters and open some doors by activating switches or collecting keys.
另一方面，電子遊戲本身已經成為相當複雜的系統。回想 1993 年學習《Doom》這款遊戲時，操作起來相當簡單：使用方向鍵移動，按 Ctrl 鍵射擊，空白鍵使用物品。記住這些控制方式後，遊戲中你只需射擊怪物，並透過啟動開關或收集鑰匙來打開一些門。

Of course, other mechanics were distinctive of the game, such as picking up new weapons and avoiding traps such as radioactive and toxic pits. There was nothing new that needed to be taught to the player, though. Got a new weapon? You still shoot by pressing Ctrl.
當然，遊戲中還有其他獨特的機制，例如拾取新武器和避開放射性及有毒的陷阱。不過，這些都不需要特別教導玩家。拿到新武器了嗎？你仍然可以按下 Ctrl 鍵來射擊。

Let’s jump 23 years ahead, to the recent Doom game released in 2016 by Bethesda. The brilliant tutorial phase teaches you how to shoot at enemies, interact with objects, use the alternate fire of your weapon, perform glory kills, and access and use your codex and mission log, as well as accessing and navigating the automap, destroying gore nests, climbing on ledges, jumping, and upgrading your weapons and the Predator suit.
讓我們跳到 23 年後，來到 2016 年由 Bethesda 發行的最新《毀滅戰士》遊戲。精彩的教程階段教會你如何射擊敵人、與物品互動、使用武器的替代射擊模式、執行榮耀擊殺、訪問並使用你的編年史和任務日誌，以及如何訪問和導航自動地圖、摧毀血巢、攀爬邊緣、跳躍，並升級你的武器和掠奪者套裝。

That’s a lot of stuff! And all of it is taught in the first 10 minutes of the game. It follows naturally that while the original 1993 Doom developers (all hail John and John!) didn’t really need to worry about how to teach their game, our friends at id Software must have put in quite a bit of effort to explain all those mechanics in the recent Doom game.
這真是太多東西了！而且這些內容都在遊戲的前 10 分鐘內教會玩家。這自然讓人想到，雖然 1993 年原版《Doom》的開發者（向 John 和 John 致敬！）並不需要太擔心如何教會玩家他們的遊戲，但 id Software 的朋友們在最近的《Doom》遊戲中一定花了不少心思來解釋所有這些機制。

How to design a tutorial
如何設計教學關卡

There is a famous quote from an ancient Chinese philosopher that says:
有一句古代中國哲學家的名言說：

“Tell me and I forget, show me and I may remember, involve me and I learn.”
「告訴我，我會忘記；展示給我，我可能會記住；讓我參與，我就會學習。」

This phrase should be a mantra for every game designer working on a tutorial to teach a game mechanic. How many game tutorials have you played that were just a lot of dialogues and instructions, one after the other? And how many times has getting back to a game with such tutorials after a few days required you to go through those dialogues again (or have a look at a guide on the internet)?
這句話應該成為每位遊戲設計師在設計教學關卡時的座右銘。你玩過多少遊戲教學關卡只是充滿了一個接一個的對話和指示？而在幾天後重新回到這樣的遊戲時，你又有多少次需要再次瀏覽那些對話（或在網路上查找指南）？

A tutorial made of just instructions and text is a bad tutorial, especially if it overwhelms the player with a huge amount of information in quick succession. Remember that the more text the player has to read to learn something about a game, the less they will actually read.
僅由指令和文字組成的教學是糟糕的教學，特別是當它在短時間內以大量資訊壓倒玩家時。請記住，玩家需要閱讀的文字越多，他們實際上會閱讀的就越少。

So, what does that quote mean when talking about game tutorials?
那麼，當談到遊戲教程時，這句話意味著什麼？

Just telling players how something works is never enough. Imagine a tutorial on how to use a shield in Dark Souls without having any shields. The tutorial message Press Left Ctrl to Parry would be pretty meaningless, since with no shield equipped, by pressing left-Ctrl, nothing would really happen. So, even if the player knows which key they need to press to use a shield, chances are that when they eventually need to use one, they won’t remember how.
僅僅告訴玩家某個功能如何運作是遠遠不夠的。想像一下在《黑暗靈魂》中學習如何使用盾牌的教程，但卻沒有任何盾牌。教程信息「按左 Ctrl 進行格擋」將毫無意義，因為如果沒有裝備盾牌，按下左 Ctrl 鍵，什麼也不會發生。因此，即使玩家知道需要按哪個鍵來使用盾牌，但當他們最終需要使用時，很可能已經不記得怎麼做了。

Showing a game mechanic is another classic way to teach how to play.
展示遊戲機制是教學的另一種經典方式。

A great example is in the recent Far Cry games. Just before getting into a particular scenario where a new mechanic can be introduced, the game pauses and a series of captioned images are presented to the player explaining how to perform the new mechanic. What is great about the Far Cry tutorials is that those tutorial messages are displayed exactly before a perfect scenario to experiment with the new mechanics is presented to the player. And this is where the involve me part begins.
一個很好的例子是在最近的《Far Cry》遊戲中。就在進入一個可以引入新機制的特定場景之前，遊戲會暫停，並向玩家展示一系列帶字幕的圖片，解釋如何執行新機制。《Far Cry》教程的優點在於，這些教程信息恰好在一個完美的場景出現之前展示給玩家，讓他們可以實驗新機制。而這正是「讓我參與」的部分開始的地方。

Explaining what a system or mechanic is in a context where the player can try it out and experiment with it in a safe way means the player will truly learn it before moving on to the next one. The kind of tutorial you will need for your game is deeply connected to the experience you want to give to your players and their behavior and expectations.
在一個玩家可以安全地嘗試和實驗的環境中解釋系統或機制的意義，意味著玩家在進入下一個之前會真正學會它。你所需要的遊戲教程類型與你希望給予玩家的體驗以及他們的行為和期望息息相關。

Some games are fun because they deliberately don’t have a tutorial, so it’s up to the player to figure out how things work. If that is part of the fun you want to give to your players, by all means, go ahead! Always remember, though, that not understanding is the most frustrating experience in video gaming, so be careful!
有些遊戲之所以有趣，是因為它們故意不設置教學關卡，因此玩家必須自行摸索遊戲的運作方式。如果這是你想要帶給玩家的樂趣之一，那就儘管去做吧！不過，請始終記住，不理解是電子遊戲中最令人沮喪的體驗之一，所以務必小心！

We’re going to talk about tutorials again, later, in Chapter 13, Making Your Game Accessible, and have a closer look at how to teach game systems to players.
我們將在第十三章《讓你的遊戲更易上手》中再次討論教程，並深入探討如何向玩家教授遊戲系統。

Tutorials in free-to-play games
免費遊戲中的教程

Special attention should be given to free-to-play games. This is an excellent example of how your business model, game genre, and target audience can deeply influence every aspect of your game design. Unlike premium games, free-to-play games are downloaded for free, so the initial commitment from your players is very low. They can immediately lose interest or decide to move to the next free game within seconds of their decision to try yours.
特別需要注意的是免費遊戲。這是一個絕佳的例子，展示了您的商業模式、遊戲類型和目標受眾如何深刻影響遊戲設計的每一個方面。與高級遊戲不同，免費遊戲是免費下載的，因此玩家的初始投入非常低。他們可能會立即失去興趣，或者在決定嘗試您的遊戲後的幾秒鐘內就選擇轉向下一個免費遊戲。

Players who buy premium games have already invested money in those games, so their commitment to the game and attention to what’s going on the screen is immensely higher than what they have for free-to-play games.
購買高級遊戲的玩家已經在這些遊戲上投入了金錢，因此他們對遊戲的投入和對螢幕上發生的事情的關注度遠高於免費遊戲。

This doesn’t mean that premium games tutorials can be poorly designed, but for sure they can be designed with more focus on a variety of elements. On the other hand, free-to-play game tutorials need to be fun, accessible, interesting, and promising all at the same time. Accomplishing this is a very difficult task and an incredible challenge for every game designer. Always keep in mind your audience at every step of your design and be consistent with your design choices.
這並不意味著高級遊戲的教程可以設計得很差，但它們確實可以更專注於多種元素的設計。另一方面，免費遊戲的教程需要同時具備趣味性、易於上手、引人入勝和充滿希望。要達成這一點是一項非常困難的任務，也是每位遊戲設計師面臨的巨大挑戰。在設計的每一步中，始終要記住你的受眾，並在設計選擇上保持一致。

We are going to discuss free-to-play games and what challenges they pose to game designers in Chapter 14, Mastering Games as a Service.
我們將在第十四章《掌握遊戲即服務》中討論免費遊戲及其對遊戲設計師構成的挑戰。

Summary

What a chapter! This has probably been the most difficult one so far. We’ve been through a lot of concepts, principles, and examples. I suggest you reflect on what you have read before proceeding. Let this chapter settle in and go back to any part that you think might be worth re-reading; it’s a lot to take on!
真是精彩的一章！這可能是迄今為止最困難的一章。我們已經探討了許多概念、原則和範例。我建議你在繼續之前，先反思一下你所讀到的內容。讓這一章的內容沉澱一下，回頭重讀任何你認為值得再讀的部分；這確實需要消化一番！

Our journey started with understanding how it is important to come up with game systems that transform a vision into a playable experience. We looked at two fundamental studies about player types, the types of emotions they experience when playing games, and the importance of keeping these in mind when designing the game’s systems.
我們的旅程始於理解如何設計遊戲系統，將願景轉化為可玩體驗的重要性。我們研究了兩個關於玩家類型的基本研究，探討他們在遊戲中所體驗的情感類型，以及在設計遊戲系統時考慮這些因素的重要性。

We learned how games are organized in loops and explored two of the most fundamental systems in games, progression systems and combat systems, and looked at some important principles of system design: holistic game design, emergent gameplay, depth, and complexity.
我們學習了遊戲如何以循環的方式組織，並探討了遊戲中兩個最基本的系統：進程系統和戰鬥系統，同時也了解了一些系統設計的重要原則：整體遊戲設計、突現玩法、深度和複雜性。

We briefly explored the art of teaching a game using tutorials.
我們簡要地探討了如何利用教程來教授遊戲的藝術。

There has been quite a lot of theory, but as Abraham Lincoln once said, Give me six hours to chop down a tree and I will spend the first four sharpening the axe.
理論已經相當多，但正如亞伯拉罕·林肯曾說過的，給我六個小時砍倒一棵樹，我會先花四個小時磨斧頭。

We can never recommend enough that you consolidate what you’ve read in the last two chapters by searching and studying the proposed source material. There are many articles online on these topics and, of course, the author’s publications themselves. Keep reading, watching, and studying!
我們無法強調得更多，請務必透過搜尋和研究所提議的資料來鞏固您在過去兩章中所讀到的內容。網上有許多關於這些主題的文章，當然還有作者本人的出版物。繼續閱讀、觀看和學習！

We are now ready to deal with one of the most practical chapters in this book, so let’s chop down the tree and learn how to implement what we have learned so far through prototyping.
現在，我們已經準備好處理本書中最實用的章節之一，讓我們砍倒這棵樹，並通過原型設計來學習如何實現我們迄今所學到的知識。