《游戏设计》第一部 第一章

shoot321

大家好。
我是一个新人，昨天在第二人生找到了安德努.罗宁斯（Andrew Rollings）和欧斯内特.亚当斯（Ernest Adams ）所写的《游戏设计技术》一书，英文版的，中文版的有点贵（穷啊，还没工作，哈哈）。想必这里大多数的前辈或同志已经看过了。但是我还是觉得我一个人看不如把它拿出来与大家一起分享。我打算从今天起，每天上传书的一部分，或许是一个章节，也或许是某一片断，但是是连续的。（当然，如果各位谁有此书的中文版愿意与大家分享，我想应该会更好的）
在下的英语水平不是很好，有不周到的地方还请各位见谅并且多多指正。以下是书的第一部分 第一章 第一节
前面的序言部分也没什么实质的东西，而且还有点多，在下就偷懒了：）。

第一章：什么是游戏设计
  人类发明和参与游戏已经有数千年的历史了。有许多的人在争论到底现有的游戏那个是最古老的；一些人认为是围棋，但另外一些人认为是一种源自非洲的石头游戏Awari （这个词实在翻译不到，请大家见谅）,当然最早所发明的游戏我们现在已经无从考证. 游戏设计工作已经古老的得可以追溯到人类大脑皮层开始活动的那一刻，而且可以确信它涉及到人类的饰他（这是一个我自己想的词，意思是扮演其他角色）能力，毫无疑问，创作和扮演是每个虚幻的游戏世界中最核心的东西。 一些游戏, 例如围棋和国际象棋，他们规则的完善以至于许多世纪以来都未曾有所改变。另外一些出现在世界历史中的游戏，在经过一时的流行后却归于消亡。 但是人们总是喜欢接触新的游戏，这便形成了一种对游戏新设计的可持续性需求.


游戏设计包含如下的过程:

设想一个新的游戏或玩法.

确定这个游戏的规则.

描述出组成这个游戏的各种元素(概念上的, 功能上的, 艺术上的, 和其他的).

把这些信息传达给将会制作这个游戏的团队

一个游戏设计师的工作包括以上所有的东西.在这一章节，我们谈论究竟游戏设计会涉及到那些东西，我们为何要做这些工作，我们怎样才能成为游戏设计师。


无论游戏设计的历史有多么的悠久，但是令人惊讶的是只有很少的学术研究致力于这个方面。游戏设计真正的被当作一个科目作为研究也仅仅是近十年的事情。但是，研究需要长时间的投入和高额成本，因此，大多数的研究用在了游戏所带来的经济利益和军事应用领域。这些研究中有一少部分被应用在游戏设计上，但更多的东西需要我们用先进的统计学知识去将其解密。我们将更多的致力于游戏本身的设计问题上，而不是那些形式上的理论知识。


（第一部份 第一章 第一节完了，好累哦：）以下是原文。英文的电子版各位可以在第二人生找到）如果有认为不对的地方请多多指正，如果大家觉得我的翻译晦涩难懂也请告诉我，多谢各位支持）


Chapter 1. What Is Game Design?
Humans have been devising and playing games for thousands of years. There is hot debate about which existing game is the oldest; some argue for Go (shown in Figure 1.1) and some for the African stone game Awari, but the first game ever devised is almost certainly lost to us today. The field of game design is as ancient as the human neocortex and is clearly related to our capacity to pretend, for pretending—that is, creating and playing in an artificial world—is at the heart of all games. Some, such as Go and chess, were perfected so long ago that their rules have not changed for centuries. Other games come on the market, enjoy a brief popularity, and fade away again. People are always interested in new games, so there is a constant demand for new game designs.

Figure 1.1. Go.


Game design is the process of:

Imagining a game.

Defining the way it works.

Describing the elements that make up the game (conceptual, functional, artistic, and others).

Transmitting that information to the team that will build the game.

A game designer's job includes all of these. In this chapter, we discuss what's involved in game design, why we do it, and what it takes to be a game designer.

In spite of the long history of game design, surprisingly little study has been devoted to the subject. Indeed, game design has been taken seriously as a subject worthy of academic interest only in the last few decades. But study requires funding; consequently, most game theory research has been directed toward economic principles and military applications. Little of this work applies to games intended for the consumer, and most of it requires an advanced knowledge of statistics to decipher. We concentrate on practical game design rather than formal

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第一章 第二节
艺术, 科学, 还是工艺?
许多人认为游戏设计是一门艺术,因为只有少数有才华的人才能充分利用自己那拥有疯狂创造力的神秘思想源泉. 他们联想到游戏界的一些知名人士---Peter Molyneux ， Brian Moriarty, Roberta Williams ，认为他们是艺术家，他们羡慕这些人给他们做的游戏所带来的想像力和创意。.他们认为游戏设计者们把时间用来沉湎于放飞自己的想像，他们忽视或者说没有意识到游戏设计过程中所要面临的漫长和艰辛。

另外一些更精于计算的人却把游戏设计看做是一门科学. 他们全神贯注于决定最好游戏规则的方法论上，他们注意那些用于平衡综合型游戏的
错综复杂的程序上。他们考虑游戏的平衡公式, 结构关系和资源流程 。游戏设计对这些人来说是一套技术，一套处理想法的程序。

但是，我们认为这些人都是错误的, 至少是不完全正确的. 游戏设计不纯粹是一种艺术，因为它的核心不仅仅是一种美学的表达方式。游戏的艺术性质在初步概念的构想中得到继承, 可一旦这个想法形成，那么便是定义和简化游戏如何运作的时候了。当然游戏设计也不是一门纯科学，它并不提出假设并探索真相.它也不被严格的逻辑学或正式规则标准所束缚。游戏最终的目的是贯穿始终的娱乐, 游戏设计同时需要创造力和科学的计划蓝图。

互动式娱乐是一种艺术形式, 就象电影，电视，和戏剧, 它是一种需要协作完成的艺术形式，没有那个单独的人有资格说自己是艺术家。事实上，大多数的设计者并不认为他们是艺术家. 游戏设计是项工艺，就象好莱坞的电影制作和服装设计。一个游戏包含艺术和功能原理两部分：它必须得提供给人们愉悦的审美感，但同时也能充分的运作让人有参与其中的快感。伟大的游戏糅合了所有这些美丽的元素，所达到的品质只能用高雅（没相通为何用这个词）来形容。 高雅是一项技术达到最高规格的标志。



Art, Science, or Craft?
Many people consider game design to be an art, drawing on a mysterious wellspring of creativity possessed only by a talented few. They think of the "big names" in the game industry—Peter Molyneux, Brian Moriarty, Roberta Williams—as artists, and they admire the vision and originality that such people bring to their games. They imagine that game designers spend their time indulging in flights of imagination, and they ignore or are not even aware of the long and painstaking work that real design requires.

Other people who are more mathematically oriented see game design as a science. They concentrate on the methodology for determining the best rules of play, the intricate procedure of balancing a complex game. They think about equations, relationships, and the flow of resources. Game design to these people is a set of techniques, a process of thought.

We believe both of these views are wrong, or at least incomplete. Game design is not purely an art because it is not primarily a means of aesthetic expression. "Artistry" comes into envisioning the initial concepts and ideas, but once that is done, it's time for the real work of defining and refining how the game will function. Nor is game design purely a science; it doesn't posit hypotheses or seek truth. It's not bound by rigorous standards of logic or formal methods. The goal of a game is to entertain through play, and designing a game requires both creativity and careful planning.

Interactive entertainment is an art form, but like film, television, and theater, it is a collaborative art form, with no single person entitled to call himself the artist. In fact, most designers don't think of themselves as artists at all. Designing games is a craft, like cinematography or costume design in Hollywood. A game contains both artistic and functional elements: It must be aesthetically pleasing, but it also must work well and be enjoyable to play. The greatest games combine these attributes brilliantly, achieving a quality for which the only word is elegance. Elegance is the sign of craftsmanship of the highest order.

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希望有朋友能帮忙
一起来翻译

多谢
（谁有这书的中文电子版一定要告诉我啊，多谢了）

GeeGee

唔，真是好同志

暗夜公爵

……是不是希望出版射的那本啊～

over56

留名~

yougiou

谢了,收了

javfall

阅，thx

role

继续努力啊，
偶等待着。。。。。。

niexuchina

楼主能否给出英文原名或下载地址？
不胜感激。