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探索休閑游戲隱藏的深度 | GamerBoom.com 游戲邦
作者：Matthew Jarvis
從企業(yè)面板的極簡設(shè)計(jì)（最適合今天的觸屏）到Patrick Stewart所扮演的Captain Jean-Luc Picard對于敵對勢力的反應(yīng)，我們可以發(fā)現(xiàn)我們所深愛的科幻內(nèi)容已經(jīng)成為了眾多工作室的嘗試選擇。
特別是休閑游戲設(shè)計(jì)師應(yīng)該將Picard精干的命令當(dāng)成咒語，即“Engage（游戲邦注：在戰(zhàn)斗中指的是交戰(zhàn)，但同時也指代用戶粘性）?！?div style="height:15px;">
雖然這聽起來很簡單，但從概念上看這指的是，玩家玩游戲時間越長，這款游戲的成功率便越高。
如果你認(rèn)為這做起來很簡單的話，那么iOS和Android的暢銷應(yīng)用排行榜每周都應(yīng)該出現(xiàn)全新的變化。
但事實(shí)上，像《Candy Crush》，《戰(zhàn)爭游戲》和《部落戰(zhàn)爭》等游戲卻一直占據(jù)著排行榜最頂端的位置，
所以開發(fā)者到底該如何做才能帶著自己的休閑游戲從短暫的幻想變成能夠賺取巨大收益的強(qiáng)大內(nèi)容呢？
也許最佳開始方法便是去定義“休閑”本身。
這一詞其實(shí)有點(diǎn)欺騙性，因?yàn)橄裎⒔灰缀椭艺\的獎勵等休閑元素也會被整合到AAA級熱門游戲中，手機(jī)設(shè)備也能夠重新創(chuàng)造像主機(jī)內(nèi)容那樣的圖像和機(jī)制。
《水果忍者》的開發(fā)工作室Halfbrick的設(shè)計(jì)指導(dǎo)Alex Richardson說道：“在過去，當(dāng)提到休閑游戲時我們便會想到像《寶石迷陣》這樣的內(nèi)容?！?div style="height:15px;">
“而從技能來看，像《Flappy Bird》和《過馬路》這樣的游戲其實(shí)算是硬核游戲，但他們也仍然被歸為休閑游戲?！?div style="height:15px;">
Crossy Road(from develop-online)
Richardson還補(bǔ)充道，在真正開發(fā)之前將你的游戲定義為“休閑游戲”有可能為其貼上死亡標(biāo)簽。
他說道：“當(dāng)你在考慮如何設(shè)計(jì)某些內(nèi)容時，考慮‘休閑’游戲并不是什么有效的方法。”
Torsten Reil是NaturalMotion（游戲邦注：2014年初被《Farmville》和《Words With Friends》的創(chuàng)造者Zynga所收購）的聯(lián)合創(chuàng)始人兼首席執(zhí)行官。他認(rèn)為易用性是定義一款成功“休閑游戲”的關(guān)鍵，同時也是一種簡單的檢測方法。
Reil解釋道：“必須確保任何人都能夠玩游戲，不管他們擁有怎樣的游戲經(jīng)驗(yàn)。”
“除此之外，開發(fā)者必須確保玩家能在短時間內(nèi)玩游戲。也就是我們所謂的‘星巴克測試’，即在玩家等待自己購買的瑪奇朵的時候能夠沉浸于游戲中的能力?！?div style="height:15px;">
Richardson也擁有自己的合格測試標(biāo)準(zhǔn)。
他說道：“一款休閑游戲便是你進(jìn)入游戲中花幾分鐘去游戲并完成游戲的內(nèi)容。”
“你也可以創(chuàng)造半個小時的游戲內(nèi)容，但關(guān)鍵是，如果我在等公車的時候只有2分鐘的空閑時間，我便會選擇玩《瘋狂噴氣機(jī)》，《水果忍者》街機(jī)模式或者《Candy Crush》的1,2個關(guān)卡?！?div style="height:15px;">當(dāng)然了，你肯定不會只想獲得玩家的這30秒時間。一款優(yōu)秀的休閑游戲?qū)⒅铝τ谔钛a(bǔ)玩家的每一點(diǎn)空閑時間，并通過快速累積而達(dá)到數(shù)十個，甚至數(shù)百個小時的游戲時間。
為了做到這點(diǎn)，游戲的基本游戲玩法就必須提供一個穩(wěn)定的基礎(chǔ)，即擁有吸引人的外觀能夠快速吸引玩家的注意。
Richardson說道：“創(chuàng)造一款簡單的游戲意味著你必須確保核心游戲循環(huán)始終都很有趣且吸引人。如果你能在開發(fā)過程中確保游戲循環(huán)足夠吸引人且能夠吸引玩家反復(fù)游戲，這便算是一個很不錯的開始?！?div style="height:15px;">這是設(shè)計(jì)的關(guān)鍵：如果游戲玩法太過簡單，玩家便會很快對游戲失去興趣，但如果游戲玩法太過復(fù)雜，它也將很難調(diào)動玩家的興趣。而真正成功平衡了這兩個元素的一款手機(jī)授權(quán)游戲便是《Candy Crush》。
King倫敦工作室的總經(jīng)理Carolin Krenzer說道：“我們的很多玩家總是會在想要放松或者在通勤的時候想花幾分鐘時間輕松下時選擇游戲?！?div style="height:15px;">“還有一些玩家則更喜歡競爭游戲或者我們游戲中的競爭元素。例如我們便在游戲中添加了一些活動讓玩家能夠彼此競爭，并在有限時間內(nèi)收集或?qū)崿F(xiàn)特定目標(biāo)?！?div style="height:15px;">Halfbrick的產(chǎn)品經(jīng)理Resa Liputra提供了一些更深入的內(nèi)容。
他建議：“游戲的核心機(jī)制就像外包裝，這是誘導(dǎo)玩家去嘗試游戲的市場營銷工具?！?div style="height:15px;">“今天當(dāng)你嘗試著去設(shè)計(jì)能夠長期留住玩家的游戲時，你就必須確保游戲的核心循環(huán)足夠優(yōu)秀從而能讓玩家反復(fù)游戲而不會感到厭煩。這也是確保玩家不斷回到游戲中繼續(xù)前進(jìn)的關(guān)鍵?！?div style="height:15px;">盡管這看來好像是在突顯游戲機(jī)制的復(fù)雜性，但Reil也強(qiáng)調(diào)需要逐步提升玩家對于游戲內(nèi)部系統(tǒng)的理解，否則將只會嚇跑他們。
他建議：“復(fù)雜性和深度必須在玩家已經(jīng)熟悉了游戲時才能打開，所以它與早期的易用性并不矛盾。就像在《笨拙的忍者》中，我們連續(xù)好幾個月每周三次會在大街上隨機(jī)讓人嘗試我們的全新游戲架構(gòu)以對其進(jìn)行測試。”
確保玩家能夠長期沉浸于游戲是休閑游戲存活的關(guān)鍵。與玩家事先付錢并能夠決定自己要花多少時間與游戲的全價(jià)PC游戲和主機(jī)游戲不同，免費(fèi)游戲是基于相反的邏輯：玩家投入多少時間將影響游戲最終所創(chuàng)造的收益。
早前的休閑游戲經(jīng)常忘記用戶留存與收益的對等性，即總是嘗試通過將玩家置于游戲玩法劣勢中而強(qiáng)迫他們購買提高性能的游戲道具。幸運(yùn)的是，現(xiàn)代的盈利方式讓開發(fā)者們能夠更加寬容地對待那些潛在的玩家。
Halfbrick的首席游戲程序員同時也是產(chǎn)品經(jīng)理的Adam Wood說道：“如今的開發(fā)者可以更輕松地?cái)[脫付費(fèi)獲勝機(jī)制，因?yàn)樗麄兛梢赃M(jìn)一步轉(zhuǎn)向廣告內(nèi)容?！?div style="height:15px;">“雖然一開始的橫幅廣告或全屏廣告會突然出現(xiàn)在你眼前并讓你感到厭煩，但現(xiàn)在出現(xiàn)了全新的獎勵性廣告?！?div style="height:15px;">“這種類型的廣告以及激勵性的視頻之所以很有用是因?yàn)?0%的休閑游戲用戶基礎(chǔ)都是沒有信用卡的青少年?！?div style="height:15px;">Liputra也認(rèn)為，使用得當(dāng)?shù)脑?，?jīng)常被誤會的廣告可以為開發(fā)者和玩家創(chuàng)造雙贏的結(jié)果。
他說道：“這與作為孩子的你在周六早上看動畫片的時候出現(xiàn)廣告的情況一樣。雖然這具有強(qiáng)迫性，但是它們是出現(xiàn)在預(yù)定的時間間隔里，你也清楚它們何時會出現(xiàn)?！?div style="height:15px;">Krenzer提供了一些有關(guān)《Candy Crush》對于微交易的使用的看法，即保持玩家不斷游戲比潛在但卻具有破壞性的現(xiàn)金獲取方法更有價(jià)值。
她說道：“我們的所有關(guān)卡都是不需要購買游戲內(nèi)部提升工具便能夠完成的。比起短期利益，我們更看重長期的玩家留存?！?div style="height:15px;">現(xiàn)代游戲的發(fā)展?fàn)顟B(tài)意味著開發(fā)者仍需要做出各種改變。也許增加游戲現(xiàn)有的用戶數(shù)充滿誘惑力，但是Storm8的首席執(zhí)行官兼聯(lián)合創(chuàng)始人Perry提醒我們，保持平衡更加重要。
他解釋道：“即使擁有經(jīng)驗(yàn)，你也必須聽取玩家的反饋并不斷改變現(xiàn)狀去保持游戲的新鮮感。”
“游戲發(fā)行只是開始。當(dāng)你在更新游戲去完善玩家體驗(yàn)時，你必須確保保持核心且有趣的游戲玩法不變，且不要添加那些只能吸引特定玩家群體的不必要的復(fù)雜性。：
Tam表示，手機(jī)游戲這頭猛獸的吸引力將持續(xù)延伸著，所以開發(fā)者在將游戲帶向市場前需要更努力去完善自己的設(shè)計(jì)。
他認(rèn)為：“與幾年前相比，今天的不同在于很多用戶會玩一款或多款手機(jī)游戲，所以如今的新游戲很難將玩家從自己當(dāng)前喜歡的內(nèi)容中拉出來?！?div style="height:15px;">“如今的質(zhì)量標(biāo)準(zhǔn)已經(jīng)提高了很多。全新開發(fā)者需要創(chuàng)造更多獨(dú)特的內(nèi)容才能獲得玩家的注意。”
（本文為游戲邦/gamerboom.com編譯，拒絕任何不保留版權(quán)的轉(zhuǎn)發(fā)，如需轉(zhuǎn)載請聯(lián)系：游戲邦）
Harder than you think: Exploring the hidden depth of casual games
By Matthew Jarvis
From the minimalist design of the Enterprise’s panels – ideal for today’s touchscreens – to the measured reaction of Patrick Stewart’s Captain Jean-Luc Picard to hostile forces – an allegory for effective community management if there ever was one – the beloved sci-fi show is ripe with ‘how to’ examples for studios.
Casual game designers, in particular, should consider taking the pithy command of Picard as their mantra: “Engage.”
It sounds simple and, in concept, it is: the longer gamers play, the more successful a game becomes.
If it were as easy in practice, however, the iOS and Android top-grossing charts would offer a fresh set of names every week.
Instead, podium staples such as Candy Crush, Game of War and Clash of Clans have become exactly that, with contenders left to scrap over their 15 minutes in the spotlight.
So how can developers help their casual game cross the thin rope between fleeting fancy and financial powerhouse?
“Thinking about games as ‘casual’ isn’t useful in figuring out how to design something.”
Alex Richardson, Halfbrick
Perhaps the best place to start is with the definition of ‘casual’ itself.
It’s somewhat of a deceiving term, with casual tropes such as microtransactions and loyalty gifts bleeding into triple-A hits, and mobile devices able to recreate the graphical and mechanical prowess of console efforts.
“In the past, when we thought of casual games we would think of stuff like Bejeweled,” observes Alex Richardson, design coach at Fruit Ninja studio Halfbrick.
“Games like Flappy Bird and Crossy Road are actually hardcore games in terms of skill, but still feel like casual category.”
In fact, Richardson adds, considering your game as merely ‘casual’ can sign its death warrant before development even begins.
“I don’t think that thinking about games as ‘casual’ is useful in figuring out how to design something,” he says.
Torsten Reil is co-founder and CEO of NaturalMotion, which was acquired by FarmVille and Words With Friends creator Zynga in early 2014. He sees accessibility as the defining feature of a successful ‘casual’ title – and has an easy way to check.
“The game needs to be playable by pretty much anybody, regardless of their game playing experience,” Reil explains.
“In addition to that, the game needs to be playable in short chunks. We call it the ‘Starbucks line test’ – the ability to be immersed in a game in the time it takes for you to order your daily macchiato.”
Richardson has his own eligibility test.
“A casual game is something where you can go in, have a play session that’s only a few minutes long and that’s it – you’re done,” he states.
“You could do a half-hour session, but the point is that if I have two minutes to wait for this bus, I could do a run of Jetpack Joyride, Fruit Ninja’s arcade mode or a level or two of Candy Crush.”
Of course, you’re not looking to capture just 30 seconds of someone’s time. A well-made casual game is designed to fill every free space, quickly totalling up to tens or even hundreds of play hours.
To achieve this, the gameplay fundamentals of the title must provide a solid foundation – an aesthetically-pleasing wrapper will quickly disintegrate under the intense scrutiny of dedicated players.
“Having a simple game means making sure that the core game loop is always fun and engaging,” says Richardson. “If you can make that loop engaging enough that people are playing it over and over internally while you’re developing, that’s a really good start.”
This is the crux of the design: if gameplay is too simplistic, players will quickly lose interest, but if it’s overly complex, it will appear impenetrable and fail to gather momentum. One mobile franchise to have successfully balanced the two seemingly opposed forces is Candy Crush.
“A lot of our players choose to play when they want to relax and unwind or just want to spend a few minutes having fun while they’re on their commute,” says Carolin Krenzer, who is general manager of King’s London studio.
“Others are more engaged and enjoy the competition or the more complex elements of our games. For example, we run events in our games that allow players to compete against each other, collaborate or to achieve a certain goal in a limited amount of time.”
Halfbrick product manager Resa Liputra expands on the necessity to offer something beyond the surface.
“The core mechanic of the game is just packaging – it’s a marketing tool for someone to get enticed and check out that game,” he advises.
“When you’re trying to design games today that retain players for a long time, the core loop needs to be good enough that you do that action over and over without getting bored. It’s the meta stuff that keeps you coming back and progressing.”
Although it may be tempting to advertise the complexities of a game’s mechanics right away, Reil highlights the need to gently ramp up players’ understanding of in-game systems – or risk scaring them off.
“Complexity and depth should only unfold once the player is familiar with the game, so it’s not necessarily contradictory to early accessibility,” he suggests. “With Clumsy Ninja, we did ‘man on the street’ testing with new builds of the game three times a week, over several months.”
“It’s critical to listen to player feedback and challenge the status quo to keep the game fresh.”
Perry Tam, Storm8
Keeping players engaged for as long as possible is uniquely vital to the survival of casual games. Unlike full-price PC and console releases, where gamers pay upfront and decide how many hours to invest, the freemium model works on contrary logic: the number of hours invested by players dictates the revenue generated by the product.
Early casual games often forgot that retention runs parallel to revenue, attempting to coerce players into paying for performance-boosting in-game items by placing them at a gameplay disadvantage. Luckily, modern advancements in monetisation have allowed developers to be more lenient with their prospective audience.
“It’s a lot easier for developers to not be pay-to-win, because they can shift back further to the advertising front,” says Adam Wood, lead games programmer and product manager at Halfbrick.
“When that first came in, it was banner ads or full screen ads and was really in your face and annoying, but there’s now a new approach to it where it’s rewarded advertising.
“The advertising and incentivised video route is extremely good because 70 per cent of the casual games user base is teenagers that don’t have a credit card.”
Liputra agrees that the oft-maligned presence of advertising can be a win-win situation for developers and players, as long as it is treated with respect.
“It’s not very different from Saturday morning cartoons when you’re a kid and you watch commercials during the ad break,” he suggests. “It’s forced upon you, but they happened at scheduled breaks and you knew when they were going to occur.”
Krenzer offers some insight into Candy Crush’s own use of microtransactions, indicating that keeping gamers playing is ultimately more valuable than a potentially damaging cash-grab.
“All of our levels are possible to complete without having to pay for in-game boosters,” she reveals. “Our priority is long-term retention of our network of players, rather than short-term monetisation.”
Even when the stars align and a game is simple yet deep, monetised yet fair, attractive yet substantial, it’s still not time for a developer to breathe easily.
The ongoing state of modern games means that changes will need to be made as time drags on. It may be tempted to double-down on the audience that already exists for a title, but Perry Tam, CEO and co-founder of Storm8, warns that balance must be maintained.
“Even with experience, it’s critical to listen to player feedback and challenge the status quo to keep the game fresh,” he explains.
“Launches are only the beginning. When updating games to improve the player experience, it’s critical to remain true to the core, fun gameplay and not unnecessarily add complexity that may only appeal to a limited set of players.”
Tam concludes that the magnetism of mobile behemoths continues to grow, making it vital that developers perfect their design before they hit the market – or risk becoming another name in the long footnote of casual gaming history.
“The difference now, compared to several years ago, is that a good portion of the audience has likely played one or more mobile games, which makes it even harder for new games to pull users away from their existing favourites,” he observes.
“The quality bar has gone up tremendously. New developers really need to bring something unique to be noticed.”(source:develop-online)
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