情境化游戏设计：Brian Upton的理论探索

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"Brian Upton的《情境化游戏设计》是一本由A K Peters_CRC Press_Taylor & Francis在2018年出版的专业书籍，主要探讨了游戏设计中的情境化策略和方法。" 在《情境化游戏设计》一书中，作者Brian Upton深入剖析了游戏设计的最新理论和实践，强调如何通过创建独特且引人入胜的游戏情境来提升玩家的沉浸感和游戏体验。书中的内容涵盖了游戏设计的核心元素，包括但不限于关卡设计、角色构建、故事叙述、交互性设计以及游戏机制的创新。首先，本书讨论了情境在游戏设计中的重要性。情境不仅为游戏提供背景，更是推动玩家行动和决策的关键因素。通过精心设计的情境，游戏能够引导玩家进入特定的角色，理解游戏世界的规则，并激发他们探索的欲望。其次，Brian Upton详述了如何构建动态的游戏环境，使玩家的每一次游戏体验都是独一无二的。这涉及到对玩家行为的预测、游戏系统的反馈机制以及适应性设计，确保游戏能够根据玩家的选择和行动进行调整，增强游戏的重玩价值。此外，书中还涉及了游戏故事叙述的艺术。通过分析不同类型的叙事结构，如线性叙事、非线性叙事以及玩家驱动的叙事，Upton展示了如何编织一个引人入胜的故事，使玩家在游戏过程中感到自己是故事的一部分。在角色设计方面，本书探讨了如何通过赋予角色深度和复杂性，让玩家与之建立情感联系。角色的动机、背景和个性特征的设定，都是为了让玩家在游戏过程中产生共鸣，从而增强游戏的吸引力。交互性设计是游戏设计的另一个关键环节。作者讲解了如何设计直观的用户界面，以及如何利用游戏机制鼓励玩家探索、解决问题，从而保持他们的参与度。最后，Brian Upton还提到了版权和许可问题，指出尽管已尽力确认所有资料来源，但可能存在疏漏，他呼吁若发现未获许可的版权材料，请及时告知以便于修正。《情境化游戏设计》是一本面向游戏设计师、开发者和游戏爱好者的重要参考书，它提供了丰富的理论知识和实践经验，帮助读者理解并掌握创造引人入胜游戏情境的技巧和策略。无论是对于新手还是经验丰富的设计师，都能从中获得宝贵的启示，提升游戏设计的水平。

Introduction ◾ 7

into account how its assumed player completes its system, and how the

distance between the game’s actual players and its assumed player can

cause that system to break down.

By focusing on the player’s experience and not the game’s structure,

situational design gives us a way to analyze how play unfolds during

moments of both stillness and aimlessness. If play is something that hap-

pens inside the player’s head, then we don’t need to design systems that

keep the player constantly busy. We can deliberately cra intervals where

the game holds still, giving the player room to mull over the implications

and ramiﬁcations of their situation. Or we can deliberately create play

spaces that don’t have any explicit goals, secure in the knowledge that the

player’s own intrinsic motivations will carry them forward.

MAKING MEANING WITH GAMES

e biggest advantage of situational game design, however, is that it pro-

vides an explanation for how games make meaning. We know that games

can make meaning because some games change us when we play them. A

trace of the experience lingers aer the game is over—a new idea, a new

emotion, a new way of understanding the world, a new way of understand-

ing ourselves. We’re diﬀerent people than we were before we encountered

them. So the question isn’t whether games can be meaningful. e ques-

tion is how this meaning-making occurs, and how we should go about

designing games to make it likely to occur. And situational design gives us

a way to answer both these questions.

e standard way to understand meaning-making is semiotics.

Semiotics is grounded in a transmission model of communication. e

speaker encodes the concept or feeling they want to convey (the signiﬁed)

with an arbitrary symbol (the signiﬁer). e signiﬁer is then transmit-

ted to the listener who decodes it to recover the intended meaning. ere

are, of course, many complications and elaborations to this basic model,

but the foundational structure remains the same: Meaning is produced by

the ﬂow of signiﬁers from speaker to listener, and if we want to make an

experience feel meaningful then we need to pay close attention to which

signiﬁers we’re transmitting.

is transmission model works well enough for deterministic media

like books and movies. e sequential words in a novel can be analyzed as

a stream of signiﬁers, each one transmitting a little bit of meaning from

the author to the reader. e meaning that lingers aer the reader has

ﬁnished arises from a “piling up” of all the individual signiﬁers that were

8 ◾ Situational Game Design

transmitted during the course of the reading. We can thus identify par-

ticular images or symbols in the text and link them to particular thoughts

or feeling that the reader experiences.

But the standard semiotic model breaks down when we to get at the

heart of how meaning-making operates in games. Much of the meaning

that we take away from a game is not a function of the signiﬁers that it

transmits to us, but rather of the things it allows us to do. Games don’t tell

us things; they allow us to perform things. And that performance is where

much of the meaning of a game lies.

If we analyze a game, we can sometimes identify images or symbols

that function as signiﬁers in the standard semiotic sense—a stop sign in a

game means much the same thing as a stop sign in a movie. But if we try to

pin down the particular signiﬁer that transmits the feeling of companion-

ship that we experience when we play Journey, for example, we discover we

can’t, even though that feeling of companionship lies at the heart of what

Journey means. Journey’s meaning-making is not explainable through the

standard semiotic model because most of its meaning doesn’t arise from a

transmission of signiﬁers.

By situating play in the mind of the player, situational design provides

a new formalism for understanding how meaning emerges from an aes-

thetic experience. Rather than meaning being seen as something that’s

transmitted, it’s seen as something that’s constructed. Some of a player’s

moves change the external state of the game, but other moves change their

internal understanding of the game, and the eﬀects of these internally

directed moves can linger aer the external game ends.

A game doesn’t transmit its meaning to a player in a stream of encoded

signiﬁers. Rather, the game’s rules intersect with the player’s understand-

ing to structure a sequence of situations, and how the player responds to

these situations in turn alters the player’s understanding. is shi in

understanding in response to the contingencies of playful situations is

where the meaning-making power of a game resides.

So, the meaning of a game emerges from an accumulation of strate-

gies. ese strategies are a response to the structure of the game, not a

recapitulation of it. Journey doesn’t contain “companionship” anywhere

within itself. It doesn’t transmit “companionship” to the player through a

coded signiﬁer. Rather, it structures a space in which a move toward com-

panionship is an eﬀective strategy, and so aer the game ends a lingering

trace of that tendency toward companionship remains behind in the mind

of the player.

Introduction ◾ 9

e notion that players invent strategies in response to the challenges

presented by games is nothing new, of course. But since most games are

designed along transactional lines, these strategies tend to be limited to

eﬀective ways to win. If you treat a game as a self-contained system, then

the strategies you develop in response to it will tend to be meaningful only

within that system. Getting good at League of Legends may have some

spillover into your day-to-day life, but most of the strategies you learn

from playing it will only be meaningful in the context of it or similar

games.

e power of situational design (from the perspective of making

games meaningful) is that it encourages the designer to treat the play-

er’s pre-existing attitudes and feelings as part of the game system. As

a result, a game can be structured around situations where the “best

move” is not necessarily one that advances the player toward an arbi-

trary win state, but rather one that shis the player’s attitudes or feel-

ings in satisfying ways. Such moves are more likely to have a lingering

eﬀect on the player, to be more personally signiﬁcant than simply learn-

ing how to operate eﬀectively within the walled garden of the transac-

tional game.

In other words, if we design game systems to make use of a player’s

existing attitudes toward the world, then the strategies they adopt as they

play the game will aﬀect those attitudes. e game changes the player, not

because it tells the player something new, but because it gives the player a

space to inhabit in which a new way of being is an eﬀective strategy.

SUMMARY

Situational design is a player-centric approach to game design and

analysis. It takes into account not just the rules of the game, but the

attitude of the player toward the game and the context of how the

game is played. As a result, it’s able to address design questions that

transactional design normally overlooks.

Speciﬁcally, situational design is good for analyzing non-interac-

tive play—the moments during a game when the player is engaged in

either anticipation or interpretation instead of interaction. It’s also

good for analyzing non-goal-directed play—the moments during a

game when the player stops trying to win and instead pursues some

other objective such as performance or identity construction.

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