前言:
这一讲的编号是“Catch Up Class”,可能是给非传媒背景的学生补课,因为MIT的游戏学还是开在计算机学院的。这一讲有个非常非常非常重要的概念叫Agency!!!直译就是代理感,是强调用户在面对一些情况时用自己的脑子想出了他觉得能使情况得到改变的决定,并且付诸行动后看到了情况因此产生了变化,而带来的满足感。保证玩家能一直思考着游戏进程,一直获得这种满足感,是电子游戏设计的核心。
有个非常相关的GDC演讲:
An Approach to Holistic Level Design
https://www.youtube.com/watch?v=CpOoTAVeEcU
这一讲后半部分介绍了什么是游戏学研究,以及叙事的构成。
CMS.300 – Intro to Video Game Theory
Catch Up Class:AGENCY/NARRATIVE Agency与游戏叙事
Readings
Murray, Agency
Juul, Games Telling Stories
Costikyan, Breaking the String
Goals
· Introduce concepts of agency 介绍agency的概念
(in an ideal world, recap of contents)
· Discuss the relationship between games and stories 讨论游戏与叙事的关系
Ludology Terms 游戏学术语
· Agency
· Components of story (chatman) 故事的构成
· Narrative 叙事
· Embedded/emergent storytelling 植入式/突发式的讲故事方法
AGENCY: Q: Definition: Agency的定义(在游戏学领域)
“The satisfying power to take meaningful action and see the results of our decisions and choices” (Murray, p. 126)
采取有意义的行动并看到我们的决定和选择所造成的结果的,满足感
(是传统叙事形式所不能提供的)
Author: “choreographer” -> authorship
作者:“编舞者”-> 写作
Player: “dancer” -> agency {activity of interaction, meaningful changes}
玩家:“舞者”-> Agency{互动性活动,有意义的变化}
·More refined term than “interactivity” - it's not about the response of the system alone, but about affecting the world of the game
比“交互性”更精确的术语,它不仅仅是关于系统对玩家的响应,而是关于玩家可以影响游戏世界的发展
· Relates to MEANINGFUL PLAY – dusting chess pieces is not part of the game, moving them according to the rules is – what the system lets us do or not has meaning in the system, e.g.:
与有意义的游戏相关,清理棋子不是象棋游戏的一部分、但根据规则移动棋子是。系统允许我们做或不做的事情在系统中有存在的意义,例如:
·problem-solving 解决问题
·maze navigation 迷宫导航
·The player is an agent in the story, creating DRAMATIC OPPORTUNITIES which the player has to reenact
玩家是游戏故事中的代理人,游戏创造了戏剧性的演出,等待玩家行动
·Examples:
·Second Sight – IM Conversation
·Final Fantasy VII – Aeris' death 最终幻想7-艾丽丝之死
·Grand Theft Auto IV – Pick up your hat GTA4-捡起你的帽子
·The interactor is not the author of the narrative but has power on the world → it's AGENCY
游戏互动者不是故事的作者,但却对游戏世界有影响力→ AGENCY
·Example: MUDs
Pretend Agency – Actions that feel meaningful but do not have an effect on the world Ex: talking to your pet in Nintendogs consciously.
假装Agency 存在——感觉有意义但对世界没有影响的行为,例如:有意识地在任天狗里与虚拟宠物交谈。
The experience of Agency is the key design value for all digital artifacts
—— 《Hamlet on the Holodeck》
用户的Agency体验是所有数字产品的核心设计价值
The pleasures of Navigation 探索的乐趣
Intentional navigation 在于有目的性的探索
探索分两类:
- solvable maze [one single solution!] 有出口的迷宫【局限性:只有一个出口】
·cognitive problem (find path) 认知问题(寻找路径)
·emotionally symbolic pattern (facing unknown) 情感象征模式(面对未知)
2. Tangled rhizome [no ending!] “缠结根茎”【没有结尾】
·hypertext system 网络/超文本系统
·any point can connect to the other 任何一个点都与其它结点相连
The potential of the labyrinth as a participatory narrative form would seem to lie somewhere between the two. “迷宫”作为一种参与式叙事形式的潜力介于两者之间。
·goal driven enough to guide navigation 用目标来指引探索
·open-ended enough to allow free exploration 开放式结局来允许自由探索
Games as Narratives 作为叙事的游戏
·We're dealing with 2 CRITIQUES of approaching games as narrative (introduce Juul and
Costikyan) 讨论两个关于游戏叙事的评论
Q: How are these games narrative: 这些游戏是如何叙事的?
· Tetris 俄罗斯方块
·Super Mario Bros. 超级马里奥兄弟
·Zelda 塞尔达
·PacMan 吃豆人
→ NOT ALL GAMES TELL STORIES
→ 不是所有的游戏都讲故事
Ludology vs. Narratology → NARRATIVISM
游戏学 vs. 叙事学 → 叙事主义
· initial controversy 最初的争论
· Helped start discussion on games and narrative 帮助开始了关于游戏和叙事的讨论
· LUDOLOGY 游戏学
· (narrow definition) – Study of games as systems, formal properties
(狭义定义)-将游戏作为系统、形式属性进行研究
· (more like it) – Study of games as a cultural form, and as a social phenomenon, including players – what we do.
(更贴近现实的)-研究游戏作为一种文化形式,作为一种社会现象,研究对象也包括玩家——MIT。
· NARRATIVISM focuses on the relation between games and narrative.
叙事主义关注游戏与叙事之间的关系。
·Δ文艺是特殊的社会生产方式,是观念形态的上层建筑的一个部分,是人类整体社会实践活动的一个部分,是人的意识对客观对象加工制作的产物。——马克思主义文艺理论(包括了马克思主义电子游戏理论,西方马克思主义哲学的研究前沿。只讲游戏抽象的文学性,而忽视游戏背后的社会生产关系是永远不能正确处理资本与艺术的关系的)
GO THROUGH JUUL'SARTICLE, COUNTER-ARGUMENTS TO ALL POINTS (INCLUDING POSITIVE)
Focus on:
· Intros/Backstories are not the only part of the story
故事的开场和背景并不是故事的唯一组成
· Parts of Story (Chatman)
故事的组成包括:
· Adaptation – always changes the original
改编–始终更改原始版本
· Retelling doesn't translate dynamic system
复述不能翻译动态系统
·Retelling is ONE TYPE of NARRATIVE IN GAMES
复述是游戏中的一种叙事形式(让玩家复述游戏过程/情节/体验,故事在玩家脑 海中生成)
· Embedded Storytelling (Costikyan)
植入式叙事(场景,空间叙事)
· Emergent Storytelling
出现式叙事(剧情CG)
· algorithmic systems
· multiple approaches to problems
· Narativist RPGs – LARPs
Figuring out the story is also a game (eg. detective stories)
尝试理解发生了什么也是一种游戏(例如:侦探小说)
Emergent Storytelling works well for humans to process ——show cardgames Once Upon a Time and Gloom
出现式叙事易于人类接受
generating stories for computers is easy, but they are not satisfying. Generating stories is not necessarily a game 对计算机来说生成一个故事很容易,但往往结果不能令人满意。而且生成故事本身不一定是一个游戏。
Different 差异
· games about generating stories
产生故事的游戏(易经)
· games where stories generate from the world (The Sims, Grand Theft Auto)
从游戏世界中产生故事的游戏(模拟人生,GTA)
Are Choose Your Own Adventures games/stories? What is the relationship? What is game-like in a
CYOA?