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  • So let's say you want to make a video game. Where do you even begin?

    如果你想要做一款遊戲

  • Some developers start with a story they want to tell, or a premise they want

    你會從哪開始?

  • to explore. Others start with some emotion they want the player to feel, like terror

    有些人想要說個故事,或是一項假設的探討

  • or accomplishment.

    有些人則想讓玩家體驗某種感受,例如恐懼與成就

  • Others still start by using the technology to simulate something, like a planet, or a

    還有人則是透過技術來模擬實境,像是星球與宇宙

  • universe. And, of course, plenty of developers start by taking a game that already exists,

    當然有更多人是從現有遊戲中挑一款進行參考

  • and adding in a few extra features.

    然後加了一點新的要素進去

  • But Nintendo is, predictably, quite different.

    任天堂與眾不同

  • Whether it's making a brand new game or the latest entry in the long-running Super Mario

    無論是開發一款全新的遊戲 或在瑪莉歐系列增添一章

  • series, Nintendo always starts with the same goal: coming up with a new way to play.

    任天堂的目標永遠相同

  • So what you do in the game, and how you do it, is used as the catalyst to drive everything

    嶄新的玩法

  • else - from the design of the main character, to the way you deal with enemies, to the genre

    所以你在遊戲中玩什麼、該怎麼玩

  • of music on the soundtrack.

    決定了這款遊戲的一切

  • "That's how we make games at Nintendo," says Shigeru Miyamoto - creator of Mario,

    無論是角色的設計

  • Zelda, Pikmin, and more. "We get the fundamentals solid first, then do as much with that core

    還是敵人的機制

  • concept as our time and ambition will allow".

    甚至是遊戲的音樂也一樣

  • And so, in this episode of Game Maker's Toolkit, we're going to look at how one of the world's

    「我們就是這樣做遊戲的」─宮本茂這麼說

  • greatest game developers finds success by prioristing play.

    他是瑪利歐、薩爾達、皮克敏與多個系列作品的作者

  • In many of its games, Nintendo starts by coming up with some interesting new action for the

    「我們先建好扎實的基礎」

  • main character to perform. The late Gunpei Yokoi,

    「接著在時間與野心允許下盡情從核心發想創作」

  • said "I first take the character which you're going to control and replace them with a dot

    因此在本集的GAME MAKER'S TOOLKIT

  • as a placeholder, then I think about what kind of movement would be fun".

    我們要來看全世界最優秀的遊戲開發公司之一

  • The most famous outcome of this way of thinking is this guy. You might know him as Mario,

    是如何在「遊戲優先」下成功的

  • but when he arrived on the scene he was simply known as Jumpman because this portly Italian

    許多遊戲的開端,任天堂先讓遊戲角色能做點新奇的事

  • plumber is defined by his leap.

    現已去世的橫井軍平說 (GAME BOY的開發者)

  • Not only does he have the most dynamic and expressive jump in all of gaming - 2D or 3D

    我把玩家要控制的角色先用一個點來當作參考

  • - but his breakout game, Super Mario Bros, is all about the jump.

    接著我再思考怎麼樣做會好玩

  • Mario leaps onto platforms and over pipes. He jumps into bricks to break them and blocks

    在這個思考模式下創作出來最有名的角色

  • to unleash power-ups. And that includes the fire flower which shoots at an annoying 45

    就是他─

  • degree angle meaning you have to jump to get a good shot. And the flagpole is always one

    你們應該都知道他叫做「瑪利歐」

  • brick off the ground, so you have to jump to finish the level.

    但其實在剛登場的時候,他的名字叫做「JUMPMAN」

  • Miyamoto toyed with other ideas, including a shoot 'em up stage, but dropped them because

    因為這個胖胖的義大利水管工擁有獨領風騷的特質─

  • "we wanted to focus on jumping action".

    他會跳

  • Oh, and don't forget about jumping on enemies to kill them. That might seem like an obvious

    在2D與3D遊戲裡 他不僅有最具活力與個性的跳法

  • way to dispatch foes as that's how Sonic, Aladdin, and scores of other platformer heroes

    而他的成名作:超級瑪利歐兄弟

  • do it but - get this - no one did it before Mario.

    更是充滿了跳躍要素

  • Miyamoto came up with that by asking: what is the logical way to defeat an enemy in a

    瑪莉歐跳上平台、蹬過水管

  • game about jumping?

    撞破磚塊、取得道具

  • There's a real advantage to forging a game around a strong main mechanic.

    其中包含從討人厭的45角發射彈跳火球的火之花

  • When you can interact with almost everything in the game by using this mechanic, Nintendo

    代表你如果要射的準,你得跳

  • can make a game where the player's range of actions is very small and easy to learn - but

    最後的旗子也在底端放了一個磚塊

  • the number of things they can interact with is huge.

    所以你要過關,你非跳不可

  • When talking about Pikmin, Miyamoto said "the basic action that you conduct is very simple.

    宮本曾經打算在遊戲中加入僅透過射擊來過關的關卡

  • It's a matter of simply throwing the Pikmin at tasks and calling them back. And yet with

    但最後捨棄了這個念頭,因為─

  • the Pikmins' abilities and the breadth of strategies available, it opens up broad possibilities

    「我們想專注在『跳躍』上」

  • of how you can approach the gameplay".

    也不要忘了「踩扁敵人」這個擊倒方式

  • Other examples of unique actions include shooting a water gun, firing ink, turning into a painting,

    就算這概念看起來是這麼地理所當然

  • plucking things out of the ground, and using a vacuum cleaner.

    像是音速小子、阿拉丁,跟數不盡的角色都這麼做

  • In Luigi's Mansion for Gamecube, Luigi interacts with the world almost exclusively through

    但你必須知道

  • his vacuum cleaner. He can't even jump but where his brother overcomes every challenge

    瑪利歐前沒人這麼幹

  • with a big springy leap, Luigi uses his hoover to solve puzzles, suck up ghosts, collect

    「在一個跳躍的遊戲中,該怎麼打倒敵人才合理?」 宮本從此問題中得到了踩扁敵人這個答案

  • loot, check for booby-trapped doors, and more.

    遊戲專注在單一且強而有力的機制上有莫大的好處

  • So while some developers might say their game is about prejudice or ideology or the decline

    當只透過一個機制來與遊戲中幾乎所有東西互動時

  • of the American frontier, how many games are literally about using a vacuum cleaner?

    任天堂可以做一款遊戲 玩家操作簡易又平淡無奇

  • And when Nintendo needs to add in extra mechanics, it can attach them to those main actions.

    而可以互動內容卻是斑駁陸離

  • For example, Splatoon is primarily about shooting ink and swimming in ink - and so, you can

    當提到皮克敏系列時,宮本說:

  • reload your gun or climb up a high wall by shooting ink on the floor and then swimming

    「基本概念非常的簡單」

  • in it. No extra buttons required.

    「把皮克敏扔出去辦事,再叫他們回來」

  • God that's good.

    「然後,搭配皮克敏的能力與可以使用的策略」

  • Of course, not every game is built around some brand new mechanic. Nintendo is, after

    「展開了充滿各種玩法可能性的大門」

  • all, not exactly known for making entirely new games and characters - or new IPs as the

    其他獨特玩法的例子 像是「射水槍」

  • industry calls them - and there are only so many things you can strap to the back of a Mario brother

    「噴墨汁」

  • But Nintendo games are still driven by new ways to play and so sometimes it's about putting

    「變成一幅畫」

  • a new twist on an already established mechanic.

    「拔蘿蔔」

  • That might involve reinventing 2D gameplay in a 3D world, as we saw in Mario 64 and Zelda:

    「使用吸塵器」

  • Ocarina of Time. It might be about putting those old mechanics in an interesting new

    在Game Cube的路易吉洋樓中 路易吉幾乎僅透過吸塵器來互動

  • context, like Super Mario Galaxy which is still fundamentally about jumping - but now

    他甚至不能跳

  • in micro gravity. Or how Pikmin 3 is still about commanding Pikmin, but now with the

    比起他哥哥用跳的方式突破各種挑戰

  • added stress of juggling three heroes.

    路易吉則用吸塵器解決謎題、吸取鬼魂 收集寶物、確認陷阱、以及更多

  • And sometimes, Nintendo looks to come up with an interesting new system that governs how

    當一些開發者會說他們的遊戲是關於歧視

  • you play - like the three day timer in Majora's Mask or the interconnected map of Metroid.

    是在探討意識形態

  • Whatever the case, there's got to be some new gameplay that can help drive things - or,

    又或是描述美國邊疆的衰落

  • Nintendo says there's no point making the game.

    有多少遊戲只在乎你怎麼用吸塵器?

  • When Miyamoto was told that fans wanted to see a new F-Zero game, he said "I'd like

    而任天堂需要在遊戲中加入額外的機制時

  • to ask those people: Why F-Zero? What do you want that we haven't done before". To Miyamoto,

    這些機制可以附加在核心上

  • the thought of just making another racing game with more attractive graphics is unfathomable.

    比方說,漆彈大作戰中能做的是噴墨汁與在墨汁裡游泳

  • Nintendo designers are big fans of the design principle "form follows function", which basically

    當你需要補充墨汁或是爬上高台時

  • means that how something looks is determined by how that thing works. It's something that

    只要在噴出來的墨汁裡游泳就好

  • Miyamoto likely picked up when studying industrial design at college.

    無須再按其他的鍵

  • And it's why boos blush when you look at them, and why enemies that charge at you in Super

    超棒

  • Mario World look like quarterbacks, and it's why whenever Nintendo re-releases the original

    當然並不是全部的遊戲都建立在全新的機制上

  • Mario Bros it swaps turtles for Spinies because everyone keeps trying to jump on the damn

    任天堂從來不是以嶄新的遊戲與角色出名

  • turtles.

    或是業界用法─全新的IP(智慧財產權)

  • But Nintendo goes further than that, and uses the new gameplay at the heart of a game, to

    瑪利歐兄弟能背負的東西也只能這麼多

  • determine almost every aspect of the presentation.

    但任天堂的遊戲還是以「新的玩法」作為主要動力

  • Once Splatoon's mechanics had been developed, producer Hisashi Nogami says "we then conceived

    所以有些時候只是在既有機制上做點改變

  • the characters and the world vision to match perfectly with the gameplay".

    這可能包含在3D世界中重製2D遊戲的玩法

  • So if you ever got to play Splatoon during the prototyping phases, you would have controlled

    就如同超級瑪莉歐64

  • a big white block. The designers came up with the squid kids afterwards, when they needed

    與薩爾達傳說:時之笛

  • to find a character that could swim in ink, and would clearly separate the inking and

    這可能也包含用新奇的內容來重新包裝舊有的機制

  • swimming mechanics.

    像是超級瑪莉歐銀河,雖然還是在「跳」 但增加了迷你星球重力

  • And entire characters can come about as extensions of the mechanics themselves - like Navi, who

    或像皮克敏3還是在指揮皮克敏

  • is a personification of the z-targeting system in Ocarina of Time. Or this Lakitu, who carries

    但這次添加了同時操作三位主角的挑戰

  • the new-fangled camera in Super Mario 64.

    有些時候任天堂注重於影響玩法的遊戲系統

  • Or the Luma who hides in Mario's hat and shows the player when Mario's spin move is recharged.

    例如穆修拉的假面的三天限制 與銀河戰士(Metroid)的中互相連接的地圖

  • In this way, gameplay needn't be abstract systems but organic parts of the game world.

    無論如何,必須透過新的玩法來給予契機與動力

  • Splatoon's producer also revealed that because shooting ink is a bit like spraying graffiti,

    不然─任天堂說─做這遊戲就沒有意義

  • the game got its punk rock music and 90s aesthetic. Similarly, the only reason Super Mario Sunshine

    當宮本得知粉絲想要全新的F-Zero時,他說

  • is set on a tropical island is because the water pistol gameplay made the designers think

    「我想要請教這些玩家,為什麼想要全新的F-Zero?」

  • about summer.

    「還有什麼是你們想要而我們還沒做出來的?」

  • The mechanic can even drive the narrative. Sorry to burst your bubble but the story in

    對於宮本而言,「為更好的畫面而再做一個競速遊戲」

  • the Zelda games isn't part of some grand overarching narrative but it's simply there "to bring

    這個想法是沒有辦法理解的

  • out the best of the fun and interesting gameplay elements", according to late Nintendo president,

    任天堂的遊戲設計師皆有相同熱愛的設計原則

  • Satoru Iwata.

    形式服務功能

  • A Link Between Worlds has a mad artist for an antagonist because Nintendo needed some

    簡單來說,物件的外觀取決於物件的功能

  • reason for why Link can turn into a painting. And even Ocarina of Time's beloved story came

    這應該是宮本在大學期間從工業設計中領會的

  • from a process like this. Miyamoto wanted both young and teenage Link in the same game

    這就是為什麼布布(Boo)被你盯著時會害羞地遮臉

  • so the writers had to come up with a time travel plot to make it happen.

    為什麼超級瑪莉歐世界中衝向你的敵人長得像四分衛

  • This might seem like a crazy way to come up with a story, but it can help ensure that

    同時也是為什麼任天堂重製元祖瑪利歐兄弟時

  • there's a deep connection between what you do in the game, and what happens in the story.

    會把遊戲中的烏龜換成刺龜

  • Consider Yoshi's Island, which has a narrative about protecting baby Mario, and gameplay

    因為每個人的直覺反應就是「踩扁他」

  • mechanics about protecting baby Mario.

    任天堂並沒有就此滿足

  • Most developers come at the other way round. They dream up stories, characters

    他們還以新的玩法作為本體,決定遊戲的美感表現

  • and worlds, and then work backwards to figure out what gameplay mechanics might fit. It's

    當漆彈大作戰的遊戲機制確立後,製作人野上恆說

  • no surprise that they're rarely very successful.

    「我們接下來才確定搭配玩法的角色與遊戲世界」

  • But, okay, I shouldn't paint Nintendo as some game design gods and every other developer

    所以如果你有機會玩原型階段版本的漆彈大作戰

  • as just getting it completely wrong. Though, maybe...

    你會發現你控制的是一塊大豆腐

  • No, no. Nintendo gets it wrong sometimes. And other developers get it oh so right - indie

    而為了可以清楚區分噴墨型態、游泳型態的遊戲機制

  • developers, for example, are particularly good at building their games around unique

    設計師才決定出「墨靈」這個角色

  • gameplay. And I loved how the new Doom completely orbits around the melee mechanic - it's at

    有些角色的創作源自於遊戲機制的衍伸

  • the heart of the combat system, it gives you health, and it ties into movement. You even

    像是將Z鎖定功能進行擬人化,成為時之笛中的Navi

  • use the melee button to open doors, just like how Samus opens doors by shooting them. Doom might

    或是在超級瑪莉歐64中這個帶著全新攝影機的雲龜

  • be the most Nintendo game that Nintendo would never, ever make.

    又或是Luma,平時藏在瑪利歐帽子裡面 當旋轉攻擊補充完畢就會跳出來提醒

  • And then you get a game like Portal, which is so beautifully built one super smart bit

    這樣的話,玩法並不單單是個抽象的系統

  • of interactivity that it's no surprise Miyamoto has said that game was "amazing".

    更可以成為遊戲世界中不可或缺的一部份

  • Because for Nintendo, the way you play a game is simply more important than anything else.

    漆彈大作戰的製作人也揭露說 因為噴墨汁就像是噴漆塗鴉

  • So it's not just the jumping off point for a new project, but every other element - the

    遊戲便帶入了龐克搖滾的音樂與90年代的風格美術

  • enemies, graphical style, locations, music, stories, and characters - are picked and produced

    類似的,之所以陽光瑪利歐地點發生在熱帶小島

  • to frame the most fundamental aspect of a game.

    僅是因為射水槍這個機制讓設計師聯想到夏天

  • And when every aspect of the game is suggesting the way you play it, it becomes effortless

    遊戲機制甚至會影響到故事演出

  • to pick the game up and get stuck in. And so this is one big reason why Nintendo's games

    很抱歉讓你心碎,但薩爾達傳說系列的劇情

  • often feel quite different to everything else on the market.

    從來都不是什麼巨大的故事盛宴

  • They're more playful and toylike than most other games. They're more accessible and inviting - but no less

    而是更加單純

  • complex. And, quite frankly, they're some of the most elegantly designed games ever

    「為了帶出最有趣的遊戲元素與最棒的遊戲體驗」

  • made. And so, even after missteps and miscalculations, we're there. Ready and waiting for whatever

    已逝世的任天堂社長岩田聰這麼說

  • this iconic Japanese developer comes up with next.

    眾神的三角神力2中之所以有一個瘋癲的畫家擔任惡役

  • Hey there, thanks so much for watching. This episode was a pretty big undertaking but I

    是因為任天堂需要可以讓林克變成一幅畫的理由

  • hope it sheds some new light on what makes Nintendo such a fascinating game developer.

    甚至受到眾人愛戴的時之笛,故事來由也不過如此

  • I wanted to say a huge thank you for helping me reach 100,000 YouTube subscribers, and extend another

    宮本茂想要在同款遊戲中玩小孩與少年版的林克

  • thank you to everyone who has taken the time to translate the subtitles on these videos

    所以劇本家只好掰出一個時空穿梭的梗

  • into other languages.

    雖然這種故事創作方式聽起來很扯

  • Game Maker's Toolkit is proudly funded by its fans, over on Patreon. Who don't just

    但可以確保玩家的作為與遊戲故事有深刻的連接

  • get a fuzzy feeling in their tummy for helping support independent games criticism but also

    用耀西島來考慮,故事是在保護瑪利歐寶寶

  • tonnes of goodies like bonus videos, video recommendations, game reviews, and more. And

    而遊戲機制也是在保護瑪利歐寶寶

  • those donating 5 bucks get to see their name at the end of the video like... this!

    大多數的開發者從別的角度出發

So let's say you want to make a video game. Where do you even begin?

如果你想要做一款遊戲

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Nintendo - Putting Play First | Game Maker's Toolkit

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    Mayu Okuuchi   發佈於 2020 年 01 月 31 日
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