? Rules… ? Mechanics… ? Players take turns… ? Roll the dice ? Move that many spaces ? When you land on a space… ? Ladders take you up ? Snakes take you down ? First to the finish wins [外链图片转存失败，源站可能有防盗链机制，建议保存图片并直接上传(img-Bg1L8sIq-1656699068035)(evernotecid://BCE3D193-8584-4CB1-94B3-46FF37A1AC6C/appyinxiangcom/12192613/ENResource/p3869)]

玩家和玩家之间的关系是什么，有多少玩家？

太简单的游戏会让玩家很快失去兴趣， 游戏中必须有冲突和矛盾， 设置障碍、挑战和困难，防止玩家快速简单地实现目标。

Conflict is an intrinsic element of all games.

需要给玩家惊喜，让玩家的游戏体验更有趣。

抓住玩家的好奇心，探索世界。

A game is an artifice for providing the psychological experiences of conflict and danger while excluding their physical realizations. In short, a game is a safe way to experience reality.

? Rules are a defining quality of games but are not the experience of play

? The rules describe the formal system of the game but not the experience, the history or the culture of the game

? Does the story in my game have surprises?

Do the game rules? Does the art work? The technology?

满足好奇 ? “What happens when I turn this knob?” ? “Can we beat this team?” ? “What cn I make with this clay?” • “How many times can I jump this rope?” • “What happens when I finish this level?”

• A game’s success hinges on the players’ willingness to pretend it is important.

• What is valuable to the players in my game? • How can I make it more valuable to them? • What is the relationship between value in the game and the players’motivations?

• A game is a form of interactive entertainment where players must overcome challenges, by taking actions that are governed by rules, in order to meet a victory condition

Defining a game

• Conflict • All games embody a contest of powers • Against others, against “the system”, “the rules”

• Rules • Provide the structure out of which play emerges, by delimiting what the player can and cannot do • Quantifiable outcome • At the conclusion a player has either won or lost or received a numerical score • Distinguishes games from less formal play activities

Resultant design decisions

• Players • How many players are there? • Who or what is the player in the world? • Specifies a notion of identity

• Goals • What is the player trying to achieve? • Defined by the game or by the player? • Specifies the player focus

Resultant design decisions

• Rules • How does the player affect the world? • How does the player learn the rules? • Specifies the boundaries of the game

• Challenges • What obstacles must the player overcome? • Is there more than one way to overcome them? • Specifies the fundamental gameplay

More design decisions • Have we captured the essence of a game? • Seems very dry • Actions governed by rules, not defined by rules • Game modes • How are the challenges put together? • What is the interactional context? • Setting • What is the nature of the game world? • What is the player’s perspective • First person, side-scrolling, 3D, overview… • Story • What narrative will the player experience? • How is it connected to the gameplay? • What explains the player’s agency?

A game is a system in which players engage in artificial conflict, defined by rules, that results in a quantifiable outcome.

游戏设计元素：给用户创造挑战、如何保持玩家持续感兴趣、让游戏更持久、游戏平衡性、故事背景叙事风格、用户体验等等。用户心理等等。

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游戏4元素： mechanics, aesthetics, story, technology

• Mechanics describe the goal of your game, how players can and cannot try to achieve it, and what happens when they try • Supported by technology • Aesthetics that emphasize them clearly • A story that makes sense of them

Number of players • Single or multiple • Set or variable

Roles of players • Uniform or different • Balanced

Player interaction patterns • Single player versus game • Multiple individual players versus game • Player versus player • Unilateral competition • Multilateral competition • Cooperative play • Team competition

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• Capture Take or destroy something of opponent’s without being captured or killed

• Chase Catch or elude opponent

Race • Reach a goal before other players

Alignment • Arrange game pieces

Rescue or escape Get defined units to safety

Construction • Build, maintain and manage objects

Exploration • Explore game areas

Solution • Solve a puzzle before the competition

Outwit • Gain and use knowledge to defeat players

Methods of play and actions players are allowed to take to achieve the game objectives.

Formalise interaction • Guide player behaviour • Limited by the rules, put into action by the players • Creating interactions that would not take place outside of the game • You would use more efficient means to complete your goals

System procedures (behind the scenes) • The game makes enemies attack in waves • “You can walk, jump, swim, shoot and pick up stuff”

Who does what, where, when and how? • Who can use the procedure? • What exactly does the player do? • Where does it occur? • When does it take place? • How does the player access it?

Frequent types of procedure • Starting action: put the game into play • Progression of action: ongoing procedures • Special actions: conditional to other elements or game state • Resolving actions: bring gameplay to a close

Define game objects and allowable actions by the player • Restrict and limit the scope of procedures • Determine the effect of procedures • Keep the game balanced*

Rules defining objects and concepts • “bullets can be fired at a rate of twice per second” • Translated into an intuitive knowledge of cost, strength, power, range of the “gun”

Rules restricting actions • “in order to create knight units, a player must have upgraded to a keep and built a stable” - Warcraft II • Prevents an imbalance • “if nails are for nail guns, you can’t use nails in the thunderbolt" •

Rules determining effects • Create variation in gameplay • Not necessarily triggered based on the current context

The way in which rules are defined is affected by the play environment

Too many rules Make the game unplayable • Difficult to manage understanding of the game

Too few rules • Make the game so simple as to be unchallenging • Too little variety • Procedures become efficient

Poorly communicated rules • Confuse or alienate players • Players feel cheated by the consequences Meaningful play failure states

Artificial game “currency” creates dynamic play

• Hold a high value for players in reaching their objectives, made valuable

• Lives: Only have 3 lives • Health, currency, weapons and power-ups, armour, potions • Terrain: Must capture and hold terrain in strategy game • Time: Must complete the level within a certain time • Actions: Only have a certain number of moves / actions that are very powerful / powerups • Candy Crush Saga?

Should make conceptual sense • Why is there a health pack inside the oil barrel? Why would the player look there? • Meaningful play – relevant to the context

Must have utility and balanced scarcity, otherwise they are worthless • Need to determine how and when to control player access to resources

Conflict emerges from players trying to accomplish the goals of the game within the scope of its rules • Rules and procedures do not allow players to accomplish goals directly • Offer inefficient means to accomplish objectives • Force players to employ a range of skills • Obstacles • Physical and mental challenges

• Opponents • Primary feature in multiplayer games

• Dilemmas • Choices player has to make

Boundaries separate game from non-game

The barrier between the real world and the game • “gg” • Givescontexttothegame • Sport, gambling, spectators

Physical or conceptual • The edge of the arena, football pitch, the game world • Social agreement to play or not play • Players and spectators

Huizinga’s magic circle • To play a game means entering into a magic circle, or create one as a game begins

Pervasive games • Push the boundaries of the magic circle

Zero sum games • If one player wins, another loses • (+1)+(-1)=0

Non-zero sum games • Everybody wins together, especially if we cooperate • No explicit winning condition • Minecraft • Still have quantifiable outcome

Completing the game • Completing the game in the shortest time • Speed-running

Scoring the highest number of points before eventually losing • Rankings, score-boards

Less tangible rewards • Respect of peers?

游戏机制是游戏的核心

Categories of mechanic • Space – discrete, continuous, number of dimensions, bounded, connected • Time – discrete turns or continuous • Objects, attributes and states – secret, static, dynamic • Actions – what can the players do • Rules – constraints, defining the above, leading to goals • Skill – requiring the player to exercise physical, mental, social skills Real or virtual • Chance – uncertainty and surprise

识别游戏的核心机制： • The essential play activity players perform again and again in a game, and why • The purposeful interaction that occurs the most frequently. • Used to describe the experience of a game when placed in context • “It’s what you do in a game” • Often difficult to distinguish between core and secondary mechanics

A single action • A driving game / race = running • Trivial pursuit = answering questions • Donkey Kong = using a joystick and jump button to maneuver a character on the screen

A compound activity • Quake (FPS) = a set of interrelated actions such as moving, aiming, firing, managing resources such as health, ammo, armour • Starcraft (RTS) = resource management, wargame strategy, rapid mouse and keyboard command skills

Varying the core mechanic • A common practice with early arcade games • Pacman, Breakout • Repetitive core mechanic, easy to complete, then you do it again, and again… • Slight variations of core mechanic provide a “new” game • Add time limits, multiple levels, invert the mouse, change the behaviour of game elements • Same interactivity, different experience • Some successful, some not • Arguably few pure core mechanics, many variations on a theme

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Focus on gameplay, rules • What the player can, cannot do • The behavioural consequences of actions

Learning a gameplay gestalt • What the player does within the system, as allowed by the rules • Playing the game = performing the gestalt • A pattern of repetitive perceptual, cognitive and motor operations • Not a game design pattern • Not designed into the system of a game • Emergent from the rules and the design

Pros • Focus on player agency • Tight, well defined gameplay

Cons • Lack of player motivation • Hard to distinguish the game from others

Action games: shoot while being hit, strafe to hiding spot, take health, repeat

A representation of the function, operation or features of one process or system through another

Pros • No goal oriented activities / end-state • Repetitive action used to drive a simulation

Cons • Continue playing after all enemies are defeated

Games are a story medium

Focus on storytelling

Pros • Traditional narrative structure • Emotionally compelling, label artistic vision

Cons • Author voice over player voice • Poorly defined mechanics

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• GameDesign is a first-order design problem • Functional consequences of design 1级可以直接影响，做了一件事，另一件事发生了，例如：你按左键，游戏角色就往左走。

• Game Design is a second-order design problem • Psycho-social consequences of design 2级不能直接影响，我能影响到A，A影响我想设计的东西。我没法设计玩家体验，但我可以设计了跳这个动作，也许可以引起玩家的乐趣，

• Designer creates… • The formal system • The rules • Explicit interactions with the system

• The experiential and cultural systems are emergent from the formal system created by the designer

• The designer indirectly designs the player’s experience by directly designing • The formal system • The rules • Explicit interactions with the system

• Player experiences are the result of player actions during gameplay • A result of the designers choices • E.g. MDA • But at multiple levels of abstraction – what does “direct interactions between a player’s controls and the game’s outputs mean?” • At the functional, utility/usage level (moment-to-moment?) • Psychosocial – social, psychological consequences • Player Experience Inventory • (Abeele et al, 2020)

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http://youxiputao.com/articles/6750

http://www.nadianshi.com/2015/11/87799

CS的机制是什么？ 移动，武器，弹药，炸弹，有一些特定的规则和步骤。 如果我被打中了我会掉血。我不允许走进墙里，我可以放炸弹，我可以跳，炸弹爆炸我会赢。

CS的动态是什么？ 动态模型产生美学体验。

动态系统就是游戏在运行时，上述的元素彼此并肩工作，接收玩家的输入，输出反馈玩家的输入，这些输出又回到游戏系统中，动态系统一直在变化， 一会使用了这个机制，一会使用了那个机制。 这些机制动态响应玩家的输入，生成输出带美学的结果返回给玩家。 例如，我走向了一个玩家，他把我打死了，这就是动态系统的成果物。

CS的美学是什么？ 美学在MDA中并不是图形化的东西，而是游戏体验。 感官，感觉，

玩家的美学反应是什么，被打死后可能是害怕或沮丧，或者是激动。

还有挑战，与敌对玩家的交互可以能带来一些需要克服的挑战。

Monopoly《地产大亨》 • Dynamic positive feedback model leads to failure of agency, dramatic tension

• Static components of the game • Data representation and rules

游戏机制（Mechanics）包括游戏规则， 数据的表现形式还有算法等一些列底层的东西。

核心机制就是在游戏中最频繁（可重复）发生、 有意识的交互行为。

例如在平台游戏（类似于超级马里奥的那种游戏）中， 核心机制就是跳跃； 在射击游戏中，核心机制就是射击； 在赛车游戏中，核心机制就是驾驶。

另一个判断方法就是， 若游戏缺了某个元素就无法运行， 则该元素即为核心机制。

次级机制是指发生频率较少的交互行为。 它们之间甚至还可以再划分为发生频繁更高和更低的不同层次。

游戏动态（Dynamics）其实是游戏机制在玩游戏的过程当中跟玩家互动的一个过程，是一个动态的系统。

• Run-time behaviour of mechanics and rules • Acting on player inputs and outputs

Dynamic Models • Dynamics work to create Aesthetic (fun) experiences • Challenge • Created by time pressure, adversarial play • Emotional investment in defeating opponent • Obstacles and Increasing difficulty

• Dramatic Tension • Encourage a rising tension followed by release • Fellowship • Sharing information between players • Winning conditions that are difficult to achieve alone • Expression • Systems for leaving a mark, purchasing, building, earning game items

MDA中年的美学是psychosocial response to the game,在玩家脑子里会产生哪种体验/经历/经验？

游戏美学（Aesthetics）描述了玩家在这个动态系统中互动的结果，也就是体验，或者说情绪的反应。

怎么让游戏变得更好玩？在问着问题之前，最好先问一下，什么是「好玩」。

好玩有哪些类型，我们在谈论一个游戏好玩或者一个玩法好玩的时候，能感觉到这种好玩和那种好玩是不一样的，但是具体要描述出来，却很难。

我们需要一些更具指导意义或者方向性的词。

感官（Sensation）：通过视觉，声效，震动等来刺激和给予玩家体验。

幻想（Fantasy）：通过营造一个幻想的世界，让玩家沉浸其中的体验。

叙事（Narrative）：通过精心设计的故事线来愉悦玩家。叙事性戏剧性的体验（Narrative/Dramatic）则经常会设置悬念-解释的构造。引起玩家的紧张感，然后释放。还会有一些过场动画

挑战（Challenge）：通过设置障碍物，挑战玩家。 挑战性经常可以这么实现：给一个时间压力（Time Pressure），玩家必须在一定时间下做出决策或者一个难以对付的对手（Oppoent Play）

Different challenges appeal to different players • Completed the game, best time, found everything, highest score

Explicit Challenge • Specifically designed by the game designer • More immediate, intense, perceptible • Exact timing required to dodge the piranha plant

Implicit Challenge • Emergent feature of the game design • Not specifically designed • Figure out the most efficient way to spend money in an RPG/RTS

• Require the player to assimilate information, use that information to decide best course of action • Perfect information • The player knows the complete state of play at all times • E.g. can see the whole chess board • Possible to produce a perfect strategy (in theory) • Imperfect information • Logic is not sufficient • Infer or guess based on extrapolation of existing facts • Force the player to hypothesize about the game world – a key element of gameplay, mystery • A compelling mystery story or narrative • “Fogofwar”

• Draw on previous experience and knowledge and combining them in a new and unexpected way • Intrinsic Knowledge • Knowledge is gained from the game world • Extrinsic Knowledge • Knowledge gained outside the game world • Drawing on real life • E.g. the player knows that wood floats, water puts out fire

• Memory • Tax the player’s memory of recent game events • Purely intrinsic, solely based on events in the context of the game • Intelligence • Rely on how clever the player is • Given a sequence of shapes, predict the next shape in the sequence • C.f. IQ tests, but rarely seen in their pure form in games • Knowledge • Intrinsic, much like lateral thinking/logic • Extrinsic, based on knowledge of the real-world eg Trivial Pursuit

• Solve a challenge by identifying and learning a repeating pattern • Failure might be expected • Learn the sequence by trial and (repeated) error • Defeat the enemy • Learning its movement • Learning its pattern of firing bullets • Explicitly designed by the designer • Implicitly emerges as a design to the player

• Usually implicit • Necessarily need to understand the space to be able to explore, navigate • Hybrid of a memory challenge and an inference challenge • The player is challenged to make sense of a 2d representation of a 3d world • Understand the situated role of the player’s avatar • Immediate or long-term • Where am I going next, where have I just been • Learning the map • This is where important objects are • Potentially aided by a map or overview display

• Test the player’s ability to perform many simultaneous actions • Moving while aiming • Coordinating inputs with onscreen action • Time a jump over a chasm while avoiding enemies • Steering • Not unrelated to pattern recognition challenges • Learning sequences of controller inputs • Complex sequences inputs to trigger a special move as different from basic procedures • Trick jumping, strafe jumping, ”surfing”

• Test the timing abilities of the player • Almost always combined with coordination challenges • Usually important in action games • The speed at which the controls are operated maps directly to the speed at which the avatar reacts • The faster a player can move and the better their reaction time, the greater the advantage in the game • “Gaming mouse”

Moral Challenges • Draw upon players’ real-world experiences to provide gameplay value, presenting some kind of dilemma • Universal, cultural, personal contexts • Explicit or implicit • May have significant gameplay implications • Multiple endings • …or non

• The application of pure challenges (by the player) to a particular game play situation or style • A combination of one of more pure challenges • Applied to a given gameplay situation or style • Remember goals and objectives? • Race, construct, explore, outwit • The nature of the challenge suggests the nature of the player’s response • Allow the player to think creatively and use unconventional actions to meet the challenges

• What types of challenges do you want to include in your game? Do you want to challenge the player’s physical abilities, his mental abilities, or both?

• Game genres are defined in part by the nature of the challenges they offer. Have you selected a genre in advance, and if so, what does that imply for the gameplay? Do you intend to include any cross-genre elements, challenges that are not normally found in your chosen genre?

• Does the game include implicit challenges (those that emerge from the design), as well as explicit challenges (those that you specify)?

• Is the game’s collection of challenges a related group, or is it a compilation of unrelated elements? If the latter, does that have any effect on the player’s suspension of disbelief?

• Given that not all players enjoy the same kinds of challenges, how does the game’s target audience influence the challenges it includes? What challenges will you deliberately exclude?

• Will the player be required to face more than one challenge at a time? Which ones?

• Require the player to understand something new • Arising from intrinsic knowledge challenges • Her Story • Examine the evidence and deduce who committed the crime

• Simulate processes that the player must come to understand • Relationship not immediately made explicit by the game • Sim City • Direct relationship between efficient transport system and economic prosperity • Failure to deduce this will lead to difficult for the player

• “Gaming the system” • Dominant strategies and cheating • Information game

• The degree of involvement or engagement • Challenge-based immersion • Cognitive and motor requirements • Sensoryimmersion • Perceptual impact of multi- sensory properties • Imaginative immersion • Imaginary game world

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Levels of Immersion (Brown & Cairns)

• Engagement • Willing to invest time, effort, attention • Does the player like this genre of game? • Expected effort = expected reward • Losing track of time = a feeling of guilt

• Engrossment • “Game construction” directly affects player’s emotions • High level of emotional investment • Less aware of surroundings • Distraction free environments

• Total immersion • C.f. “Presence” • Stop thinking about the fact that a game is being played • The game is all that matters • Empathy with game characters

• A multi-valent model of interactivity

• Cognitive interactivity • Emergent • Interpretive participation • Using your imagination while playing a game • Psychological, emotional, intellectual interaction between player and system • How do we measure this? Presence, Immersion measures

• Functional interactivity • Designed • Utilitarian participation • Structural interactions • What does the interface look like, is it well designed? • Does the game feel responsive?

• Explicit interactivity • Designed • Participation with designed choices and procedures • Using the joystick to move Pac-Man • Choices, random events, rules and procedures • Defining what we mean when we say that games are interactive • Allowing the player to make choices

• Cultural, beyond-the-object interactivity • Emergent • Participation within the culture of the object • Fan-culture • Memes, videos, cosplay (!)

Meaningful Play包含2个方面， 主要是玩对游戏的意义，玩家通过玩游戏， 对游戏产生的意义， 侧面是游戏对玩家产生什么意义， 或对这个世界产生了什么意义。

1. 游戏行为所产生的的游戏结果创造了意义；
2. 评估行为与结果的关系，让我们判断出这些在设计系统里是否有足够的意义；

当可辨识性告诉了玩家当前发生的事件， 融入机制会让玩家知道这件事会对游戏的其余部分带来何种影响。

可辨识性告诉我们，打了怪之后， 怪会掉血，直到死亡，增加角色经验， 而融入机制会让玩家知道这个时间会对游戏的其余部分带来怎样的影响。 经验值到了会升级。（有文献支撑，那本书） 而满级后，又有新的事情做，去探索更广阔的世界， 去完成更史诗级的任务，去跟其他玩家打更激烈的战场。 去团队副本参加活动，获得更好的装备。

给玩家选择，给玩家2道门，让玩家做选择， 而不是只给1道门，2道门更有意义。

车的颜色是红是白对游戏没啥影响， 那这个选择对玩家来说就是虚的。

• 具有可辨识性discernable 行为与结果间的关系是可辨识的，游戏行为的结果以一种可感知的方式传达给玩家。如果没有得到一个反馈去告诉你当前做的好不好，那么你所采取的行为是几乎没有意义的，没有。例如：玩家打陨石后要给反馈，饥饿时要给反馈，部队收到攻击要给反馈；没有可辨识性，玩家只能瞎玩，而瞎玩是没有意义的。

• 具有融入性integrated 融入到游戏的大背景下， 如果赢得赛跑的队伍对后面的比赛没有任何影响， 那赢得赛跑对于整个十项全能来说是没有意义的， 但如果赛跑可以获得积分，那赛跑的行为和结果就很好地融入到比赛里了；

Micro choice：最小交互单元，例如前后左右，WASD

Macro choice：一系列Micro choice的结构构成了Macro choice，例如我要去地图的这部分，还是要去地图的那部分？

例如下棋，每走一步就是Micro choice， 但你脑子里的整体的策略就属于是Macro choice。

玩家需要在游戏中做出选择和采取行动， 选择所导致的行为会产生一个结果，会影响游戏系统。

国际象棋是一个很有深度和意义的游戏， 因为一开始精巧的开局会直接导致游戏中局的发展， 而中局的情况会延伸到游戏最后的结果。

https://unity.com

Bolt可视化编程工具 https://learn.u3d.cn/tutorial/bolt-mstudio

Unity的项目一定要记得手动保存！！！

https://docs.unity3d.com/Manual/index.html

https://learn.unity.com/course/beginner-scripting?signup=true

https://learn.unity.com/project/space-shooter-tutorial

http://www.sikiedu.com/course/explore/unity?filter%5Btype%5D=all&filter%5Bprice%5D=all&filter%5BcurrentLevelId%5D=all&orderBy=latest

游戏发布：

https://docs.unity3d.com/Manual/PublishingBuilds.html

https://docs.unity3d.com/Manual/BuildSettingsStandalone.html

Asset Store可以下载一些素材，包括声音等等， 不用自己从0开始。

按右键+WASD可以飞

2个碰撞体可以碰撞，碰撞体与真实的物体是2个东西，可以重叠在一起。

注意高度，2个高度在视角上不一样，并不产生能碰撞。

prefab 将游戏对象保存在工程中, 在需要的时候创建出来，这就是预制体(prefab)，是一种复用机制。

预制体存储着一个游戏对象, 包括游戏对象的所有组件以及其下的所有子游戏对象。

https://blog.csdn.net/qq448545478/article/details/106970612/

https://blog.csdn.net/Futureing/article/details/82354743

VS打点不出东西，需要在Unity上设置external tools设置成VS关联即可。

Layers allow us to implement different behaviours for different surfaces.

2个带碰撞器的物体碰撞后会停住

重力，可以设置一些物理相关的属性。

在Unity给东西打上标签后，可以在C#代码中引用到这个东西，

GameController gameController; 

    // Start is called before the first frame update
    void Start()
    {
        GameObject gameControllerObject = GameObject.FindWithTag("GameController");

    }

在Unity中，检测碰撞发生的方式有两种， 一种是利用碰撞体， 另一种则是利用触发器。

例如，在角色扮演游戏里， 玩家走到一个地方会发生出现Boss的事件， 就可以用触发器来实现。

当绑定了碰撞体的游戏对象进入触发器区域时，会运行触发器对象上的OnTriggerEnter 函数，同时需要在检视面板中的碰撞体组件中勾选 IsTrigger复选框。

触发信息检测使用以下 3 个函数： MonoBehaviour.OnTriggerEnter（Collider collider），当进入触发器时触发。 MonoBehaviour.OnTriggerExit（Collider collider），当退出触发器时触发。 MonoBehaviour.OnTriggerStay（Collider collider），当逗留在触发器中时触发。

Unity 3D 中的碰撞体和触发器的区别在于：碰撞体是触发器的载体，而触发器只是碰撞体的一个属性。

如果既要检测到物体的接触又不想让碰撞检测影响物体移动，或者要检测一个物体是否经过空间中的某个区域，这时就可以用到触发器。

例如，碰撞体适合模拟汽车被撞飞、皮球掉在地上又弹起的效果，而触发器适合模拟人站在靠近门的位置时门自动打开的效果。

https://blog.csdn.net/qq_42292831/article/details/86564225

https://www.cnblogs.com/-831/p/11574923.html

• Bottom

– Project assets and console. This shows assets associated with the project

– the contents of the project’s assets folder – textures, 3D models, C# scripts, and generic game objects

– prefabs

– that we want to reuse.

Assets can be dragged from this tab into the scene or the hierarchy to instantiate them as game objects.

The console tab prints debug logs and errors.

• Top-left

– Hierarchy or scene graph.

This is a hierarchical list of objects or entities that are currently in the scene.

The scene is essentially the stage for the game, and contains the objects of the game.

A game can have multiple scenes, with scenes mostly being used to create a level for the game.

By default, the scene has a camera and a light in it, so we can see, but nothing else.

Selecting an object here highlights it in the scene and opens its properties in the inspector.

• Right

– Inspector.

This displays the editable properties of the object selected in the hierarchy.

Most objects in the scene will have a transform consisting of location, rotation and scale, as well as other properties depending on the functionality of the object.

Functional components can be added to the object to extend its functionality, for example physics properties, collision detection, or custom C# scripts.

• Centre

– Scene/Game.

This presents a 3D view of the scene including the objects currently in it.

Objects can be moved, rotated and scaled using their handles.

The view onto this scene can be moved and rotated using the middle and right mouse buttons, and set to look along a given axis using the widget in the top right.

Try moving by holding one of the WASD keys while holding the right mouse button.

This is a common way of navigating in 3D software, but might take some getting used to.

Immediately above this view is the play button. Pressing this switches to the game tab, and starts the scene “running” – i.e. starts the game. Pressing it again stops the game and returns to the editable scene view.

Here you can also set the game view to maximise on play, and also set a desired aspect ratio for the game window.

Here the curve variable is an AnimationCurve exposed to the inspector, and the curve editor can be used to specify a simple sinusoidal movement. There is no need for a Rigidbody 2D component here as the position of the object is being directly set, rather than moved by forces, but a Box Collider 2D is required to generate collision events between player and the hazard. Note also that we must use OnCollisionEnter2D rather than its 3D counterpart.

https://docs.unity3d.com/ScriptReference/AnimationCurve.html [外链图片转存失败,源站可能有防盗链机制,建议将图片保存下来直接上传(img-i1BaYf2f-1656699068051)(evernotecid://BCE3D193-8584-4CB1-94B3-46FF37A1AC6C/appyinxiangcom/12192613/ENResource/p3873)]

• using the SceneManager to reset the scene is the replacement for Application.LoadLevel, but needs the SceneManager using statement as above.

The magnitude and frequency of the movement of the hazard are set in the curve editor, or in the script if you prefer. Setting the Ping Pong option at each end of the curve via the gear icon will turn it into a repeating sine wave.

You may have noticed that every bullet that is fired that doesn’t hit an asteroid remains in the hierarchy travelling upwards, and every asteroid that the player does not shoot remains travelling downwards. This is essentially a memory leak – these are unwanted objects that are taking up memory. Create a script component, DestroyByTime that calls the Destroy function with a delay. https://docs.unity3d.com/ScriptReference/Object.Destroy.html void Start() { Destroy(gameObject, 20); } Here, gameObject refers to the Game Object to which the script is attached.

[外链图片转存失败,源站可能有防盗链机制,建议将图片保存下来直接上传(img-cyGlPGWn-1656699068052)(evernotecid://BCE3D193-8584-4CB1-94B3-46FF37A1AC6C/appyinxiangcom/12192613/ENResource/p3871)] [外链图片转存失败,源站可能有防盗链机制,建议将图片保存下来直接上传(img-rxe0YfV3-1656699068053)(evernotecid://BCE3D193-8584-4CB1-94B3-46FF37A1AC6C/appyinxiangcom/12192613/ENResource/p3872)]

https://opengameart.org/content/magic-cliffs-environment

http://www.davidhellman.net/braidbrief.htm

平台横版教学： https://www.bilibili.com/video/BV1Mb411H7iV

https://v.qq.com/x/cover/meb7uikyksfen9r/h003178e9j0.html

https://www.cnblogs.com/linzheng/p/3954207.html

unity中sprite是图片精灵的意思； 图片精灵是用来绘图集的控件， 精灵可以在一张大图中去截取一部分（大图就是整体图像集合（Atlas）， 而截取的小图就是一个精灵）， 然后给精灵命名， 使用时通过精灵的名称就能直接绘制， 并且精灵还可以用来制作动画。

图片精灵的意思（Flash引擎里也有图片精灵对象）， 将导入的图片类型设置为Sprite即可拖到场景面板里，带有随屏幕大小自动缩放功能， 还可以加Collider进行射线检测，简单实用。

https://edu.csdn.net/learn/18616?spm=1002.2001.3001.4157

https://blog.csdn.net/weixin_44302602/article/details/104020847

https://blog.ubnlh.com/224.html

瓦片地图，可以使用Tilemap快速构建2D关卡（横向闯关）

类似于画布，瓦片地图，

创建第二个tilemap中添加一些背景植物等等，角色会穿过去。

修改TileMap中的属性Tilemap Renderer中的Order in Layer改成2后，角色会被遮挡。

调色板，所有的Tile要集中在调色板上才能画在Tilemap上

在这里选择你需要的Tile

瓦片，存储存储Sprite引用，颜色值和碰撞类型。

精灵图可以批量转换成瓦片，不用自己一个一个单独转换。

ProBuilder

ProBuilder must be added to your project as a package. Search for “ProBuilder” in the package manager (Window->Package Manager) then click install to add the package.

Open the ProBuilder window (Tools->ProBuilder->ProBuilder Window). You might find it useful to dock this tab somewhere convenient rather than leaving it floating.

在Asset Store上下载的素材也需要使用Package Manager。

如果代码挂在当前物体上， 可以直接调用当前物体：

// 关闭粒子系统，灭火
       GetComponent<ParticleSystem>().Stop();
        

否则可以

GameObject fireComplex = GameObject.Find("fireComplex");
       fireComplex.GetComponent<ParticleSystem>().Stop();

通过引用过来的对象，可以用代码显示或隐藏

public GameObject fireComplex;

fireComplex.SetActive(false);
fireComplex.SetActive(true);

Rules of Play: Game Design Fundamentals. Katie Salen and Eric Zimmerman (2003)

Game Design Workshop: A Playcentric Approach to Creating Innovative Games. Tracy Fullerton (2004)

The Art of Game Design: A Book of Lenses. Jesse Schell (2008)

Andrew Rollings and Ernest Adams on Game Design. Andrew Rollings and Ernest Adams (2003)

Game Engine Architecture. Jason Gregory (2014)

Patterns in Game Design. Staffan Bjork and Jussi Holopainen (2004) Difficult to get hold of but available in wiki form here:

www.gameplaydesignpatterns.org

Fairlyheavy“theory” • Rules of Play: Game Design Fundamentals. Katie Salen and Eric Zimmerman (2003) • Strongconcepts,heuristics • Game Design Workshop: A Playcentric Approach to Creating Innovative Games. Tracy Fullerton (2004) • The Art of Game Design: A Book of Lenses. Jesse Schell (2008) • Andrew Rollings and Ernest Adams on Game Design. Andrew Rollings and Ernest Adams (2003) • Systems • Game Engine Architecture. Jason Gregory (2014) • Plus specific papers as identified as we go • Others • Patterns in Game Design. Staffan Bjork and Jussi Holopainen (2004) • Ian Bogost, Jane McGonigal • Youtube, Twitch, https://itch.io/

Strong Concepts: Intermediate-Level Knowledge in Interaction Design Research. Kristina Höök and Jonas Löwgren (2012) http://mobilelifecentre.org/sites/default/files/a23-hook.pdf

Rules of Play chapters 7, 22

Game Taxonomies: A High Level Framework for Game Analysis and Design.

Craig Lindley (2003)

https://www.gamasutra.com/view/feature/131205/game_taxonomies_a_high_level_.php

Homo Ludens. Johan Huizinga (1938)Man, Play and Games.

Roger Caillois (1961)I Have No Words &

I Must Design: Toward a Critical Vocabulary for Games.

Greg Costikyan (1994).

http://www.costik.com/nowords2002.pdf

Andrew Rollings and Ernest Adams on Game Design chapters 9, 10, 11, 15

The Art of Game Design: A Book of Lenses chapters 4, 12

用Youtube和Twitch可以去看游戏， 而不是真正的玩。 https://itch.io，免费游戏

• PS1版的《桃太郎传说》中，玩家背包中的鱼会因为时间的流逝而腐烂，时间长不食用也不卖掉的话会自行腐烂掉，只能扔了，没有任何价值。玩家的装备会被NPC偷走，藏在某个地方；

• 《生化危机2》中的表里关设定，用男主使用的道具或做出的决策会影响女主这边，等用女主这边玩的时候会发现。在地下研究所中有一道指纹门必须要表里关的男女主先后按指纹才能进入，让玩家们有了想一窥故事全貌的动力，在当时是十分新鲜的设计；

In the course of the adventure, you will meet partners who regard Azeroth as their homeland. Many people have created lasting friendships and bonds in World of Warcraft. Whether it is a trusted companion around you, a teammate standing behind, or an enemy standing in front of you, this game spirit will bring people together. This is not just a game, but a way of life.

魔兽世界怀旧服（永久60）是一款非常值得深玩的游戏， 有趣的玩法有很多：

• 普通PVE：追求最好的装备，打团本；
• 高玩PVE：赛季服；
• 极限挑战：高难度开荒，争首down，5人打黑龙MM，单刷等；
• 剧情，做大量任务来体验感人的剧情与宏大的世界观；
• 声望：将大量声望冲到崇拜；
• 收集：收藏各种玩具，小宠物，坐骑，服装，装备，可以收集一些好看的衣服做Cosplay或存粹的审美；
• PVP：打战场，换大元帅套装，野外执法，偷袭骚扰敌对玩家，屠城，杀小号，守尸；
• 练小号：尝试新鲜事物，体验不同职业的特性与精髓；
• 商人：囤积物资，低买高卖，卖RMB；
• 打工：去团本给老板打工赚钱；
• 休闲：钓鱼，烹饪，旅行；

文化的重要性： 《魔兽世界》的文化之所以能被大多数人接受， 就是因为他的文化比较大众化，尤其是在《哈利波特》与《指环王》系列热播之后，玩家喜欢魔幻中的怪物。 游戏的世界观需要是玩家熟悉并且喜爱的文化，并且合理。

设计元素：

• 阵营，阵营的归属感：做的最好的当然是《魔兽世界》，最好的地方在于只有两个敌对阵营，而不是3个，4个或5个。使得双方阵营的归属感很强，敌对阵营玩家不能组队和聊天，在PVE服务器见面就可以杀；
• 进入战斗，脱离战斗；
• 跑尸；
• 装备绑定，灵魂绑定；
• 位面系统；

耗费大量成块时间，例如，打一场40人团队副本的时间成本非常高，并且会很累：

• 准备阶段长，组织40个合适的玩家，坦克，输出，治疗，包括合适的装备，需要提前准备的buff；
• 打通副本里的boss，花费时间多，需要40个人的团队配合以及听从指挥，还可能出现部分玩家犯错的情况，团灭，跑尸，玩家之间互相撕逼，核心玩家退团，黑装备，黑金币等；
• 分配装备依然需要花费大量时间；

The sense of environment is also very label, for example, when player stand in the desert, it will give players a desolate feeling. These elements make the player feel like they are part of a world, not just a game.

https://www.zhihu.com/question/312090063

综合：

• 区分白天与夜晚，与现实世界同步，在最高画质下，暴风城内的影子会随着时间的推进而慢慢变化，白天太阳照到建筑物的影子会因为时间的推移与阳光的移动而变化；
• 艾尔文森林的狗头人矿洞深处有蜘蛛巢穴，一些狗头人被倒挂在洞穴上部，有的狗头人的鼻涕流了出来；
• 比较寒冷的地方，人物会吐哈气，例如：纳克萨玛斯，丹莫罗等；
• 联盟的任务线剧情明显要比部落更加细腻，引人入胜。例如：讲历史，营救受伤NPC，调查某些奇怪的事件等等，著名的《斯塔文的传说》，《藏尸者的妻子》等；
• 盗贼潜行后在沙地或雪地上的脚印会消失；
• 天气效果，下雨、下雪、沙尘暴等等；
• 角色穿过草丛，草丛会动；
• 玩家死后地上会有尸体，复活后地上会有骷髅（未和谐），通过骷髅的大小可以判断出种族；
• 允许喝酒，喝醉后，视线模糊，怪物等级降低，走路不走直线；喝多了会呕吐；
• 会有很多小动物，例如暴风城的角落里会有老鼠，野外的食肉动物如狼、狮子等会捕杀小动物；
• 暴风城会有2个小孩追逐抢洋娃娃，会有老师带着孩子们在城中溜达；
• 经典任务，爱与家庭等等；
• 许多建筑物可以进入；
• 有人杀掉黑龙公主或奈法利安后拿着龙头回主城交任务后，主城中所有玩家会被电击，并显示屠龙者的咆哮这个buff；

音效，背景音乐：

• 背景音乐以交响乐为主；
• 狼会狼嚎；
• 靠近精灵的灯时，能听到能量的声音；
• 走在湖边能听到水流的声音；
• 在灰谷在室外能听到蛐蛐叫；
• 人类与亡灵的旅馆中当背景音乐停止时能听到有旅客在喝酒聊天；
• 很多音效像脚步声会由远及近再由近及远；
• 暴风城白天的背景音效中会出现市民谈话的声音，而到了晚上会变成猫头鹰和蛐蛐的叫声，白天在森林中会有许多鸟叫声，在晚上几乎没有，因为小鸟要睡觉；
• 英文原版亡灵NPC说话会带一种特殊的回音，有一些低沉与空洞；
• 暴风城的街道上可以听到背景有人在聊天的声音，虽然音量很小；
• 暴风城到了现实世界中的整点（例如12点整）会敲钟报时；
• 幽暗城门口钟楼处背景有敲钟声，往王座处