[{"data":1,"prerenderedAt":567},["ShallowReactive",2],{"\u002F2021-02-01-game-narrative-notes-two":3},{"id":4,"title":5,"body":6,"date":544,"description":12,"extension":545,"meta":546,"navigation":549,"path":561,"seo":562,"stem":563,"tags":564,"__hash__":566},"blogs\u002F_legacy\u002F2021\u002F2021-02-01-game-narrative-notes-two.md","游戏叙事笔记两则",{"type":7,"value":8,"toc":506},"minimark",[9,13,16,19,23,26,35,38,41,44,49,52,55,58,62,65,68,71,74,78,81,84,87,91,99,110,114,117,120,124,127,130,133,137,143,146,150,153,158,161,165,168,173,176,180,186,189,193,196,199,202,205,208,211,218,225,228,235,238,242,253,256,263,266,269,273,276,279,283,286,289,292,296,299,302,305,309,312,315,319,322,325,329,332,335,338,342,345,348,351,355,358,361,364,367,370,373,376,379,405,408,412,423,426,430,441,445,448,462,465,468,474,477,483,486,489,492],[10,11,12],"p",{},"虽然之前看过一些叙事相关的，但是还是不得其门而入，最近看到两篇比较简单一些的，作了些笔记。",[10,14,15],{},"原本两篇是打算分开的，但是整理笔记的时候发现这两篇的理论有很高的相似性，所以就记录在一起了~",[10,17,18],{},"情节设计这块，似乎是有一些通用的设计术语的。比如三幕结构、激励事件这些，不过由于是专业外，所以有的词汇可能就会出现一些偏差……",[20,21,22],"h2",{"id":22},"叙事的五个转折点",[10,24,25],{},"这篇是之前看到有人推荐的比较适合入门的情节设置的文章：",[10,27,28],{},[29,30,34],"a",{"href":31,"rel":32},"https:\u002F\u002Fwww.storymastery.com\u002Fstory\u002Fscreenplay-structure-five-key-turning-points-successful-scripts\u002F",[33],"nofollow","STORY STRUCTURE: The 5 Key Turning Points of All Successful Screenplays",[10,36,37],{},"由五个转折点划分出六个阶段。总体而言和《救猫咪》的那套划分方式有些类似，不过更加简明易懂一些。",[10,39,40],{},"其实对这种划分方式一直有种强迫症，转折点的长度到底是多少呢？是一个场景吗？还是一个序列？",[10,42,43],{},"这个作者网站上还有一些其他的文章，基本上都是在同一个体系框架内的，有兴趣的可以延申阅读。不过感觉最核心的部分就在这篇文章里面了。",[45,46,48],"h3",{"id":47},"stage-1-the-setup","Stage 1: The Setup",[10,50,51],{},"剧情开始阶段的10%",[10,53,54],{},"所谓的铺垫阶段，用于将读者或者观众吸引到叙事之中，揭示主角的日常生活，并建立主角的形象。",[10,56,57],{},"大概就是所谓的“救猫咪”场景出现的地方。",[45,59,61],{"id":60},"turning-point-1-the-opportunity10","TURNING POINT #1: The opportunity(10%)",[10,63,64],{},"发生在10%处的第一个转折点",[10,66,67],{},"主角将得到一个机会，会为主角创造一个新的可见的目标，让主角踏上旅途。虽然说是一个机会，大抵上应当相当于“激励事件”。",[10,69,70],{},"这个点就是《黑客帝国》中，Neo被带去见Morpheus的地方。",[10,72,73],{},"需要注意的是，这里所产生的目标，并不是整个故事概念中的外部目标。而是这样一个目标，让主角进入下一个阶段……",[45,75,77],{"id":76},"stage-2-the-new-situation","Stage 2: The new situation",[10,79,80],{},"接下来的15%，主角开始应对由机会带来的新情况中。",[10,82,83],{},"他开始适应新的情况，试图辨别究竟什么在发生，或者形成一个计划来完成他的目标。",[10,85,86],{},"通常这个新情形会伴随着地理位置的变更，在很多剧本中主角是以乐观的情绪进入新的情况的。至少主角这个时候认为他所面临的新问题并没有那么严重。但是随着冲突逐渐构建，他开始意识到眼前的障碍比预想中的更加困难，然后他将会……",[45,88,90],{"id":89},"turning-point-2-the-change-of-plans-25","TURNING POINT #2: The Change of Plans (25%)",[10,92,93,94,98],{},"在剧情四分之一的地方，必须发生一些事情，将主角的原始目标导向一个明确可见的目标。这个目标就是主角的",[95,96,97],"strong",{},"外部目标","，也是定义故事概念的那个目标。",[100,101,102,107],"blockquote",{},[10,103,104,106],{},[95,105,97],{},"是主角在故事中明确可见的行动目标，观众也会明白，当这个目标实现或者彻底失败的时候，电影就结束了。",[10,108,109],{},"外部目标与主角的内在旅途是不同的。主角的内在渴望，过去的伤口，恐惧，勇气和成长，这些反映主角成长的元素通常是在故事构思阶段使用的，在故事中展现的话还是需要简单易懂的目标。",[45,111,113],{"id":112},"stage-3-progress","Stage 3: Progress",[10,115,116],{},"接下来的25%，新的计划似乎起了作用，他开始接近他的目标。",[10,118,119],{},"这个阶段并不是没有冲突，而是无论主角面对的是什么困难，他都能克服，直到他到达……",[45,121,123],{"id":122},"turning-point-3-the-point-of-no-return-50","TURNING POINT #3: The Point of No Return (50%)",[10,125,126],{},"中间点，在中间点之后，主角必须完全投入到他的目标。",[10,128,129],{},"在这个点之前，他还有机会退出，放弃计划，回到他在故事开始时的生活中。但是，这个时候，主角必须做出决定，斩断自己的退路。",[10,131,132],{},"从这个时刻开始，主角开始承担更多的风险，跨过了这个“不归点”之后，主角将会面对……",[45,134,136],{"id":135},"stage-4-complications-and-higher-stakes","Stage 4: Complications and Higher Stakes",[10,138,139,140,142],{},"在接下来的25%的剧情中，要达到",[95,141,97],{},"变得更加困难，如果主角失败也将承担更多的风险。",[10,144,145],{},"随着主角不断的经历各种冲突，在眼看着主角就要达到目标的时候，他遇到了……",[45,147,149],{"id":148},"turning-point-4-the-major-setback-75","TURNING POINT #4: The Major Setback (75%)",[10,151,152],{},"在第90页的时候，主角将会面临一无所有的时刻。在《黑客帝国》中，就是Morpheus被抓走的那个点。如果是爱情喜剧，这里就是主角的谎言被揭露和爱情破灭的时候。",[100,154,155],{},[10,156,157],{},"这里90页，对应的是120页剧本的描述。有的作者会假定剧本是110页的，所以特意算了一下",[10,159,160],{},"这些悲惨的场景，让主角只留下了一个选项：他必须做一个，最后的，非死即生的决定……",[45,162,164],{"id":163},"stage-5-the-final-push","Stage 5: The final push",[10,166,167],{},"被击倒之后，主角必须堵上他所拥有的一切，聚集他所拥有的所有力量和勇气来达成他的最终目标。",[100,169,170],{},[10,171,172],{},"这里应该是通常所谓的第三幕，结局序列",[10,174,175],{},"在这个阶段中，冲突开始加重，节奏开始提升，所有的东西都在与主角作对，直到他抵达……",[45,177,179],{"id":178},"turning-point-5-the-climax-90-99","TURNING POINT #5: The Climax (90-99%)",[10,181,182,183,185],{},"剧情的高潮部分必须发生几件事：主角必须面临整个故事中最大的障碍；他必须决定自己的命运；",[95,184,97],{},"必须被达成或是彻底失败。",[10,187,188],{},"高潮场景可以位于剧情的90%到最后的几分钟为止的地方，准确的位置取决于……",[45,190,192],{"id":191},"stage-6-the-aftermath","Stage 6: The Aftermath",[10,194,195],{},"不会有电影在主角解决问题后立刻就结束，你必须展现主角在完成旅途之后的新生活。",[10,197,198],{},"在一些电影，例如《洛基》、《楚门的世界》，几乎没有什么可以用于展示或解释的，作者的目的就是将观众至于一种震撼或者高昂的状态中。这时高潮场景会放置在非常接近末尾的地方。",[10,200,201],{},"但是，对于大部分浪漫喜剧、神秘剧和戏剧中，尾声通常占据最后的5~10页脚本。",[20,203,204],{"id":204},"游戏叙事设计工具",[10,206,207],{},"这个是GDC的一篇演讲",[10,209,210],{},"GDC 2017, Storytelling Tools to Boost Your Indie Game's Narrative and Gameplay",[10,212,213,214],{},"演讲地址：",[29,215,216],{"href":216,"rel":217},"https:\u002F\u002Fwww.youtube.com\u002Fwatch?v=8fXE-E1hjKk&t=1419s",[33],[10,219,220,221],{},"演讲者的Twitter: ",[29,222,223],{"href":223,"rel":224},"https:\u002F\u002Ftwitter.com\u002Fmatahaggis",[33],[10,226,227],{},"作者首先提到，心流模型和叙事张力具有一些相似性：",[10,229,230],{},[231,232],"img",{"alt":233,"src":234},"image-20210113201010992","\u002Fwp-content\u002Fuploads\u002F2021\u002F01\u002Fimage-20210113201010992_thumb.png",[10,236,237],{},"游戏中能够提供的张力可以来自叙事或者机制，或者同时来自两者。",[45,239,241],{"id":240},"motivation","Motivation",[10,243,244,245,248,249,252],{},"对于角色，其行动动机可以分为",[95,246,247],{},"外部动机","和",[95,250,251],{},"内部动机","。",[10,254,255],{},"外部动机通常是试图改变外部世界的渴望，例如财富、旅行目标、情感目标等。",[10,257,258,259,262],{},"内部动机则是试图改变自己内部的渴望，例如满足复仇、",[95,260,261],{},"理解","到新的东西(通常他已经知道)。",[10,264,265],{},"在俄罗斯方块中也能作这样的目标划分：外部目标是积分，内部目标是让世界变得更有秩序。",[10,267,268],{},"故事中必须发生改变，渴望得到满足，或者彻底的失败。",[45,270,272],{"id":271},"plot-structure","Plot structure",[10,274,275],{},"角色或者玩家具有了他们的目标，此时，我们需要精心设置一些事件来让改变发生。",[10,277,278],{},"情节控制着故事弧光的节奏。",[280,281,282],"h4",{"id":282},"铺垫",[10,284,285],{},"要将故事的开始放在关键事件发生之前，在叙事上就是要首先让观众能够与主角建立共情。",[10,287,288],{},"游戏上，就是需要让玩家首先体验游戏的基本规则和背景故事。通常就是\"教学关卡\"。",[10,290,291],{},"我们想要让玩家完成游戏中的挑战，在让玩家面临挑战之前，需要让玩家了解游戏世界，设置好玩家的外部和内部目标。",[280,293,295],{"id":294},"inciting-incident","Inciting incident",[10,297,298],{},"激励事件",[10,300,301],{},"玩家了解了游戏世界之后，就可以开始设置挑战了。增加叙事的或者机制上的张力。让对抗者登场，添加新的敌人，让风险上升或者打破通常情形。",[10,303,304],{},"克服这个出现的挑战通常就是情节结构中的外部目标。",[280,306,308],{"id":307},"explore","Explore",[10,310,311],{},"此时玩家通常不会直接开始与问题对抗，而是试图对机制进行摸索、回避或者在路途中进行一些小的战斗。通常最开始的时候，玩家甚至会没有目标的四处闲逛。",[10,313,314],{},"不过最终他们还是会开始实现游戏设置的目标。无论是因为已经没有什么可以探索的了，还是他们决定自己开始挑战。",[280,316,318],{"id":317},"the-complexity-increases","The complexity increases",[10,320,321],{},"随着探索的进行，基础的能力将会变得没有那么有效。新的敌人具有新的能力，或者新的故事要素会揭示事情比表面上看起来更复杂。",[10,323,324],{},"在射击游戏中，通常会出现新的攻击模式或者敌人组合方式。",[280,326,328],{"id":327},"hope-overcomes-fear-with-effort","Hope overcomes fear.. With effort",[10,330,331],{},"玩家将会找到新的武器或者新的策略来对抗敌人(外部改变)",[10,333,334],{},"角色将会发现自己内在的勇气(内部改变)",[10,336,337],{},"角色学会如何组织自己的力量来与困难对抗，风险上升了，但是这是唯一的希望。",[280,339,341],{"id":340},"the-black-moment","The Black Moment",[10,343,344],{},"所有战胜困难的可能性都充满了危险。",[10,346,347],{},"最终boss被打败了...但是它还有新的形态！",[10,349,350],{},"玩家\u002F主角必须使用至今为止所学到的全部知识、羁绊以及掌握的策略，才能跨越眼前的最终障碍。",[280,352,354],{"id":353},"ending","Ending",[10,356,357],{},"尽快的结束，结局应当尽量简洁。",[10,359,360],{},"当然，对于一些恐怖类或者动作类游戏会使用剧情钩子以及...",[10,362,363],{},"这通常是，恐怖类游戏在开始前，事先展示恐怖的情景",[10,365,366],{},"或者是，动作类游戏一开始玩家可以使用所有的能力，然后再从头开始收集能力",[10,368,369],{},"另外，在一些惊悚类故事中，结局之后还会揭示\"惊人\"的新事实。",[45,371,372],{"id":372},"关卡结构",[10,374,375],{},"整体故事的结构同样可以应用到每个关卡上，虽然会稍微简化一些。",[10,377,378],{},"所有的关卡或者场景都必须具有：",[380,381,382,389,395],"ul",{},[383,384,385,388],"li",{},[95,386,387],{},"目标","，一个玩家的目标或者体验",[383,390,391,394],{},[95,392,393],{},"冲突","，在叙事或者机制上让目标难以实现",[383,396,397,400,401],{},[95,398,399],{},"结果","，玩家通过后所获得的",[402,403,404],"em",{},"改变",[10,406,407],{},"整个关卡过后，虽然玩家获得了改变，但是……",[280,409,411],{"id":410},"aliens-versus-predator","Aliens Versus Predator",[380,413,414,417,420],{},[383,415,416],{},"目标：重启电源让基地重新运作",[383,418,419],{},"冲突：玩家成功开启电源，但是却烧坏了整个基地的电路",[383,421,422],{},"结果：基地面临的危险变高了，角色所面临的情境变得更加复杂",[10,424,425],{},"玩家获得了成功，但是角色的情况变得更加糟糕了",[280,427,429],{"id":428},"god-of-war","God of War",[380,431,432,435,438],{},[383,433,434],{},"目标：继续前进",[383,436,437],{},"冲突：出现了新的持盾的敌人",[383,439,440],{},"结果：玩家必须使用新的攻击来击败这种敌人，战斗变得更复杂了",[45,442,444],{"id":443},"check-list","Check list",[10,446,447],{},"如果你的游戏感觉很平淡，可以尝试使用分析玩家体验的方式来寻找问题。",[380,449,450,453,456,459],{},[383,451,452],{},"玩家的目标是否清晰？",[383,454,455],{},"是否有新的机制或者叙事上的冲突，还是只是单纯的在重复？",[383,457,458],{},"关卡的结果是否有意义的对机制或者叙事或者两者产生了影响？",[383,460,461],{},"在整个关卡或者游戏中，改变是否发生在了玩家或者角色或者两者上？",[45,463,464],{"id":464},"总结",[10,466,467],{},"作者自己把所有的内容总结到了两张PPT里面，虽然一些表述稍有出入，总体而言还是和前面的内容差不多，这里就直接上原图了。",[10,469,470],{},[231,471],{"alt":472,"src":473},"image-20210113212122268","\u002Fwp-content\u002Fuploads\u002F2021\u002F01\u002Fimage-20210113212122268_thumb.png",[10,475,476],{},"这张图里面的比例划分，与第一篇的基本一致。可以说和第一篇能够互相进行补充。",[10,478,479],{},[231,480],{"alt":481,"src":482},"image-20210113212201148","\u002Fwp-content\u002Fuploads\u002F2021\u002F01\u002Fimage-20210113212201148_thumb.png",[20,484,485],{"id":485},"纸上得来终觉浅",[10,487,488],{},"看这种入门文章容易产生一种幻觉：我已经掌握了其中的技巧。",[10,490,491],{},"但是实际操作的时候还是会遇到不少问题。这种的只能……",[100,493,494,497,500,503],{},[10,495,496],{},"《冬夜读书示子聿》",[10,498,499],{},"（南宋）陆游",[10,501,502],{},"古人学问无遗力，少壮工夫老始成。",[10,504,505],{},"纸上得来终觉浅，绝知此事要躬行。",{"title":507,"searchDepth":508,"depth":509,"links":510},"",2,3,[511,524,543],{"id":22,"depth":508,"text":22,"children":512},[513,514,515,516,517,518,519,520,521,522,523],{"id":47,"depth":509,"text":48},{"id":60,"depth":509,"text":61},{"id":76,"depth":509,"text":77},{"id":89,"depth":509,"text":90},{"id":112,"depth":509,"text":113},{"id":122,"depth":509,"text":123},{"id":135,"depth":509,"text":136},{"id":148,"depth":509,"text":149},{"id":163,"depth":509,"text":164},{"id":178,"depth":509,"text":179},{"id":191,"depth":509,"text":192},{"id":204,"depth":508,"text":204,"children":525},[526,527,537,541,542],{"id":240,"depth":509,"text":241},{"id":271,"depth":509,"text":272,"children":528},[529,531,532,533,534,535,536],{"id":282,"depth":530,"text":282},4,{"id":294,"depth":530,"text":295},{"id":307,"depth":530,"text":308},{"id":317,"depth":530,"text":318},{"id":327,"depth":530,"text":328},{"id":340,"depth":530,"text":341},{"id":353,"depth":530,"text":354},{"id":372,"depth":509,"text":372,"children":538},[539,540],{"id":410,"depth":530,"text":411},{"id":428,"depth":530,"text":429},{"id":443,"depth":509,"text":444},{"id":464,"depth":509,"text":464},{"id":485,"depth":508,"text":485},"2021-02-01","md",{"layout":547,"status":548,"published":549,"author":550,"author_login":552,"author_email":553,"wordpress_id":554,"wordpress_url":555,"date_gmt":556,"excerpt":557},"post","publish",true,{"display_name":551,"login":552,"email":553,"url":507},"风铃","flinkor","flinkor@foxmail.com",3124,"\u002F?p=3124","2021-01-31 19:22:50 +0000",{"type":7,"value":558},[559],[10,560,12],{},"\u002F2021-02-01-game-narrative-notes-two",{"title":5,"description":12},"_legacy\u002F2021\u002F2021-02-01-game-narrative-notes-two",[565],"narrative","UibioiQLJ6LiOhcwuFZ1LcA9Kc-q3xGWpwEYPLGOXh8",1788763177317]