How did Death Strand become “Schrodinger’s Cat”? A small island showman-style utopia


(Written on the eve of TGA)

In the current wind review, death stranding is in the state of “Schrödinger’s cat”-neither good nor rotten, not even medium, but half people say good, half people say bad, no legal theory is good Bad, like a cat in a box in the middle of life and death.

As for me, of course, the half who said yes …

However, writing a review must be comprehensive and honest. I won’t say that I’m objective, because talking about games is a very subjective thing, so I can only guarantee my honesty.

This review will write a lot of things, including the core gameplay of death stranding (hereinafter referred to as DS), storytelling, advantages and disadvantages, the mapping of Hideo Kojima’s previous design experience in this work, as well as the publicity and the causes caused by it. dispute.

List a directory:


How to play: send express, and other things
Asynchronous connection: important mechanism, metaphysical touch
Plot and narrative: a bad script written from the beginning
Small island-style open world: a different path than the breath of the wilderness
Dissemination and controversy: How do players want to feel in the game?
Closing Statement: Hideo Kojima’s Utopia
Attachment: Scoring and Guidelines

Disclaimer: As I have no screenshots, all in-game screenshots are derived from Skill Up’s review videos.

You can see my Skill Up review translation:

Translation: Death Stranded Reviews by Skill Up
https://zhuanlan.zhihu.com/p/89800118

Text starts:

How to play: send express, and other things

“Send express”, many people sneered at the word: “It’s nothing more than a walking simulator from point A to point B!”

And slow! If it can be summarized in this way, the entire Assassin’s Creed series, and even almost all the gameplay of 3A, can be summarized as “going from point A to point B and killing everyone” … and thinking in this way, the gameplay of DS I am afraid that 95% of 3A games will be punched and kicked, because walking in DS is part of the gameplay, most of 3A walking is a brainless push stick …

Therefore, taking “delivery” to summarize DS’s gameplay is really superficial,“Send express” is only the most basic concept of this gameplay. The extension and gameplay design made by Kojima Studio is the overall picture of the gameplay that deserves attention:

1. The delivery needs to carry the goods, so with the load management system, players need to plan well and arrange their goods and equipment so that they can walk easily. There are also tools to assist with load management, such as exoskeletons and suspended vehicles.

2. Express delivery has to set foot on a variety of mountains, rivers, plains, and snow, so the process of express delivery needs to find a way, traverse mountains and rivers, and you need to carefully walk down each step to prevent the goods from being damaged by accident. And there are ladders, climbing columns and vehicles to help players travel and cross country.

3. Express delivery will encounter some artificial or supernatural obstacles, namely the Mills and BT, so there will be rope CQC, cargo bait, various firearms, bombs to evade or face the enemy, and even if the battle is in this work It’s not the point, it also designed enough details to serve the gameplay details.

4. Infrastructure facilities to optimize the delivery of players, as well as asynchronous online supplemented by this system so that players can help each other …

It can be said that almost all game designs are extended from one of the simplest logics, for example, a logic of “going from point A to point B and killing everyone” can make everything in Devil May Cry This kind of gorgeous change moves, make the numerical growth in the Dragon Age, make the three-dimensional exploration in the wolf and the iron sword. Similarly, in DS, a logic of “carrying an item from point A to point B” can extend so many systems and designs mentioned above.

Let’s use a picture to directly explain how to play this game:

Within these various game systems extended by “Send Express”, there are more design details to enrich interaction and gameplay, and challenge players’ decision-making ability at all times. Let me give you an example. Carrying weight: The weight-bearing thing is not only reflected in the DS in the numerical value, but also in the various cargo boxes that are carried externally. Carrying a heavy load or more will affect the balance and mobility of the player. This is a relatively simple design detail, but it has a huge impact on player decision-making: it should only take one order and deliver directly, or take many orders and carry many goods, and plan a smooth route to get all the way and get praise ? If you press L2R2 all the time, you can balance, but it is very slow. If you do n’t keep the balance, you will go faster, but you have to adjust constantly, and it will increase the risk. What should you choose? There are many lost containers on the road. Picking up and delivering is rewarded but it will also increase the load, which will affect balance and mobility. How to balance the benefits?

I think it is this and many other design details that make Death Strand. In this work, “walking” has really become a gameplay in mainstream masterpieces, rather than the brainless joystick in other open world games.. That’s why Kojima dared to make such a “courier simulator”, and dare to make so many tasks into the form of Fetch Quest. Not to mention the huge amount of equipment used to play with the Millers and BT. But there is one particularly worth mentioning is the terrain design, because I found that combining the infrastructure system and express delivery, as you enter different terrain areas and unlock different equipment and infrastructure facilities, the gameplay will actually change significantly on a logical level. It even adds to the freshness of play (I will talk about this later).

So what are these interactions and gameplay for?

I think many people want to know why DS is “fun” in the minds of many people, and it is to explore this issue. No matter what kind of game design is to pursue a feeling, based on my experience of playing games, I can summarize the four kinds of feelings that the game can bring to people: a sense of excitement (eg doom), a sense of fun (eg wilderness Interest), sense of narrative (eg Wilderness 2), sense of accomplishment (eg P company strategy game). @Necromanov said in his article that DS is suitable for strategic players. I think this discussion goes a bit deeper:Strategy players pursue a sense of achievement in play, and death stranded has a profound sense of achievement in play.

This sense of achievement comes from every river and hill that the player has crossed and conquered. This sense of achievement comes from the praise and recognition given to you by the receiver every time the goods are delivered; this sense of achievement comes from the player The facilities constructed allow each node to be connected by unobstructed routes; this sense of achievement is more derived from the email communication between players and NPCs, watching those people open up and embrace the collective because of the players’ efforts; and, this kind of The sense of achievement also comes from the mutual help and mutual recognition of players in asynchronous online (although this feeling may be more metaphysical, I will talk about it later). The reason for this sense of accomplishment is deep because it is achieved through experiencing the delicate gameplay design of the above-mentioned small island group.

Let me give you an example, which is the example of many people going to the port node city: you are carrying a lot of cargo, struggling across the river, rocks, holding your breath across BT, and you may have to crawl in the tar Fight, some hardships. Eventually it cleared up, the big city was right in front of you, and you finally crossed this hurdle and ran downhill along the BGM. This is the profound sense of accomplishment.

In summary: The game of death stranding is that players carry cargo and overcome the difficulties and challenges brought by terrain, human enemies, and BT until the goods are delivered, gain praise and recognition, and improve understanding and mutual trust with NPC, and then Use the infrastructure to optimize the cycle of the entire journey, and in this, the sense of accomplishment of the game accompanies the whole journey.

Personal feeling is: It’s so fun ~

In terms of innovation, first of all, DS will finally fill the vacant part of “walking”. Walking in other 3A masterpieces is pure garbage time. Walking in DS really becomes a gameplay. This gameplay includes not only the interactive design of the activity of walking, but also the guidance for players to achieve a sense of accomplishment over mountains and mountains. . I believe this design will be noticed and learned by many works of later generations. In addition, cross-country delivery and the use of optimized construction routes, plus asynchronous online players to help each other, is indeed a unique gameplay, equivalent to the combination of Oka, Minecraft and soul series, but the combination is more attractive World view, the concept of “connection” to promote players to achieve a greater sense of achievement. After all, recreating on the basis of predecessors is also an innovation.

Of course, there are several disadvantages to mention:

1. The game is too slow, especially in the early stages. In fact, this problem has appeared in Phantom Pain, because both works use the character and growth system with the core of equipment and ability as the core, the lack of equipment in the early experience is really not good. This feeling is also the same when I play Phantom Pain, but Phantom Pain is a more mainstream stealth game, DS is an off-road game …

2. Although many small game-rich details have been designed in the battle area, the specific experience is not good, including enemy AI mental retardation, general feel, BOSS battle rhythm is not good, and the difficulty is too low. Although the specific gameplay is not centered on combat, the lack of design in this area does affect the experience of quite a few narrative levels.

3. The infrastructure to carry materials by itself is almost SB, which has discouraged the enthusiasm for building construction. I thought that since there is a delivery robot, it is not good for the robot to send building materials (although most of them only need a builder to build Okay)

4. The durability setting of the facility is also very SB, because this also requires the player to bring the materials to repair (of course, it is more convenient to remove and rebuild the cable builder with something like zipline), and the durability setting finally reflects this : Before the end, if the player sets the target of the game to 5 stars for all nodes, it is enough. There is no need to repair it. However, it can still be delivered freely after the end. …

5. The problem of not very serious repeatability lies in the smooth delivery experience after the route optimization is completed. The first time I experienced the route I successfully optimized was really good, and sending it a few times was boring. But if you just brush five stars, it won’t take too long in a node.

6. The UI interface design is complicated and the operation is tedious.

Asynchronous connection: important mechanism, metaphysical touch

As for the asynchronous online part, I will talk about it separately to show my different opinions:

This mechanism is pretty good, but I don’t really understand what it feels like to be “connected between players”.

This asynchronous online construction mechanism is an enhanced version of the soul series eloquence mechanism. In DS, the players ‘built facilities, leftover equipment, resources, vehicles and signs may appear in other players’ worlds, and may help them and be praised. I mentioned earlier that repairing buildings requires you to send your own materials, and that the durability setting is troublesome. This is a disadvantage, but it does make this asynchronous online system indispensable.

In addition, due to the existence of “optimizing the route through infrastructure”, the facilities built by other players not only provide help, but also provide different challenges. Other players’ projections in their own world are often incomplete, and they need to be built by themselves. For example, other players on the snow mountain have built many zipline points, but they are generally not connected with each other, and they need to go according to the facilities of other players Complementing it yourself is a challenge, and it can indeed produce a friendship that works together.

I think this kind of gameplay that accepts the help of other players and completes the existing facilities themselves is really attractive. This random performance brings more freshness and different challenges to players.This is a pretty good mechanism. It can be said that the players themselves are also involved in the level design.Most games are levels already designed by game designers, but there are really few games in which players participate in level design.

But if you feel the feeling of “players connect to each other”, it is more metaphysical …

First tell a story:

Today’s topic, let’s start with a pencil. Everyone is no stranger to pencils. Everyone has used it since school. It looks very simple. There is a pen core inside a wooden pole with an iron ring on it. An eraser. But just such a simple pencil, its story is very rich and equally legendary.

First, its raw materials are very complicated. This wood is not an ordinary wood, it is made exclusively from a type of wood called cedar. The paint on it is not one layer, but six layers. The paint is made of castor oil. Deeply, it is not only castor oil, it also has many complex elements. The graphite in the pen core is also added with clay and paraffin; the iron ring above is said to be made of brass; the rubber, which is a red, red pigment, is said to be cadmium sulfide. In any case, its raw materials are very complicated, and its origin comes from all corners of the world. What’s more, its manufacturing process is also very complicated. Go deeper, how big is the production scale of a pencil? How many people have ever been involved in producing a pencil? 50 people, 100 people, 1000 people? Nothing. Thousands of people.

Many people do n’t understand. It takes so many people to produce a pencil. Is it possible?

If you think about it, if you want to produce wooden poles, you need to saw the tree, if you want to saw the tree, you have to have steel, if you have to have steel, you have to make steel, if you have to make steel, you have to mine, and if you have a miner, you have to eat. Workers not only have to eat, they also have to drink coffee. Coffee has to be shipped. If shipping is to be done, there must be artificial ships. As long as the ships have to sail, they must first invent an accurate clock. How many people does this involve? This involves thousands of generations of effort.

Market forces have created the myth of pencils. What is the meaning of a pencil so amazing?

First: no one in the world has all the knowledge needed to make a pencil. How can we make a pencil, this knowledge can never be concentrated in one’s brain. No one knows how to make a pencil, but this pencil is made.

Second: Everyone involved in the production of pencils does not know that their own efforts will lead to the creation of a pencil, and everyone just does what he has at hand. Some people don’t know what a pencil is at all, and some people don’t need a pencil at all, but their efforts have enabled the pencil to be produced automatically and consciously.

Third: These people who produce pencils live in different corners of the world. They do not know each other, speak different languages, believe in different religions, do not understand each other, sometimes look down on each other, sometimes are hostile to each other, and may even Fighted. But it doesn’t matter, they can work together to make a pencil.

Fourth: What is even more amazing is that although a pencil condenses the efforts of tens of thousands of people and accumulates generations of knowledge, but the price we pay for buying a pencil is minimal. If I said to you, I give you a hundred dollars, and you produce a pencil for me, will you? The answer is definitely not, how about a fool to produce a pencil?

What is the power to make such a magical thing happen? That’s the market. That’s what we said earlier, the platform that allows thousands of strangers to work together. This is caused by the division of labor and cooperation, which is the result of the market.

This is a truth that I have always taken for granted-as long as everyone can do their part, in the end, they must be able to help each other, influence and achieve social unity.

I also practiced this truth in the stranded death: I built roads, bridges, and ziplines for the sake of convenience, and since this is useful to me, it will definitely help others. In the end, it really helped other people, and I was really relieved when I got the praise (I got 230,000 likes when I cleared the customs), but I did n’t get that deep impression because I did n’t deliberately help others To get likes, just make your way a little better.

I think those players who deliberately help others will have a sense of accomplishment when they get likes, but those who don’t have this idea and think about “inadvertently inserting willows and willows” will not get the same feeling. Moreover, there is a defect that the appearance of player facilities in other worlds is relatively unreasonable. Those who like high will suppress those who like low, and have to wait for patches to optimize.

In general, this asynchronous online system that allows players to help each other and participate in the level design is really good, but if you really want to use this system as the main feature of the game, I think the design should guide the player more to get a The friendship and sense of accomplishment of “helping each other and moving forward together”. In the content I described in the previous section, players can get a sense of achievement in off-road, delivery, route optimization, and communication with various NPC characters. Although not everyone can feel it, it does have a gameplay design. Lead this feeling. In the asynchronous online system, it may be lacking to guide players to help each other and move forward together.

My amendment proposal is to do more courier NPCs and related spur lines like Igor to guide the narrative feelings. The ladders and ropes that Igor put down are really magical.

Plot and narrative: a bad script written from the beginning

The death stranded script is divided into two parts. Part of it is the “courier story”: crossing and uniting the United States, seeing people everywhere, using delivery to motivate these people to join the collective, rejuvenate, and get information to learn more about the death stranding. The other part is to find Amelie and discover the mystery surrounding Sam, Amelie and others. The script and narrative of “United States” is not a big problem, mainly about the script about the core characters of Amelie, Sam and so on.

In fact, the script is quite good. Some characters are very prominent, which can give players a deep impression and impression in some moments.

But the biggest problem with this script is that it cannot be combined with the core gameplay.

Death’s stranded main script about Amelie, Sam, and other core characters was created around a small number of core characters. The main point is the relationship between these core characters.

However, in the actual play process, delivering the express itself is a lone wolf action, and the remaining core characters cannot have too much interaction and contact with Sam during the process of delivering express. In the first to eighth chapters, the solution given by Kojima is to use long broadcasts to focus on shaping the characters and show the plot in the few chances of character encounters, but it is obviously not useful. No matter how long the movie is broadcast, at most a few hours, it took me at least 60 hours to pay for five stars in the big map. This means that the plot may only account for one-tenth of the plot during the first to eight chapters. After a while or so, the experience was too thin, and many core characters that had been well-formed were wasted.

As for the ninth chapter and beyond, in order to advance the plot, the core of “courier delivery” is actually kicked off. Express delivery can unite the United States but cannot save the world. It needs to be connected, hug, and dry … The activities after the chapter have basically nothing to do with the “delivery express” gameplay, but it depends on the game’s secondary system to support the rest of the game process … obviously not possible. But it can also partially save the extremely thin narrative experience in the first eight chapters.

In fact, with regard to the performance in Chapter 9 and beyond, I have clearly felt that Kojima realized that this preset script and gameplay were incompatible. The best way is to change the script, but this means that the table can be redone, and it may also conflict with several actors who have already made an appointment. And the manpower of the Kojima group can’t afford the pressure of “redo”. So the final result is that Chapter IX and later kicked “Send Express” for narrative, and designed based on these sub-systems of combat stealth (but they are all sub-systems. If you can design well, you will have ghosts)

Another script that is applicable to the “delivery express” gameplay has actually been shown in the game, which is the script of the “courier story”: cross and unite the United States, meet people everywhere, and during and after delivery The exchange of NPCs at various nodes, observing their attitudes and values, and watching them turn from depression to optimism because of Sam’s delivery, this should be the best plot experience in big map delivery. But this is actually a subscript.

The most suitable script for death stranding is actually the style of this subscript. If I modify it, I will modify it like this: Cut down or downgrade the characters such as Fragir, Mind, Dead, Mama, and Higgs. The NPC characters focus on the stories of Sam and Amelie, the Holy Grail knights and the goddess in the lake, plus the roles of BB and Cliff to explain the historical grievances. In addition, we should focus more on the description of the “courier story”, strengthen the description of the secondary NPC (that is, the person who receives the goods at each node), make the entity (not holographic images), write more small stories and try to make these small stories as possible Into the main line.

But even so,Because the script itself is great, the actors perform exquisitely (the uncle is the best!), Bring some deep and touching moments to the players, and more importantly, effectively convey the main purpose of Kojima’s “connection and understanding between people”, Another script about the “courier story” is not leaky, so it can’t be considered a hindrance..

However, Kojima has committed a movie addiction, and each cut scene is in various show lenses, show performances, and speaking a lot of useless lines …

There is one more thing to mention. Some parts are definitely Hashima Cao. Let me give an example: I think of running in the sunset that day, that is my youth that has passed away.

Small island-style open world: a different path than the breath of the wilderness

The open world design, except for Phantom Pain and stranded death, roughly gives a large area for players to explore and play around. Players will definitely get benefits from exploration. Open world design based on this idea accounts for about 95% of all open world games. The highest level is naturally the breath of the wilderness.

But there is also a question to ask: Can the open world really only follow this kind of thinking to design? Do all open-world games need to follow in the wild?

The stranding of death presents another idea.I wouldn’t say that it reaches or exceeds the level of Breath of the Wild, but it does provide another new idea for open world design.

To discuss the stranded open-world design, we must first discuss the open-world design of Phantom Pain, because DS’s open-world design ideas obviously inherit the idea of ​​Phantom Pain, which is also the idea that Kojima has always had.

In Phantom Pain, the open world is played like this: You take a mission on a helicopter and choose to airborne to a point on the map. You have a mission goal, he is usually in a stronghold, or in the transfer from one stronghold to another stronghold. Because this is an open world, you have almost limitless ways to accomplish this task, including multiple routes to sneak into the stronghold, long-range enemy or short-range uniform style brought by sniper rifle or mute pistol, through landmine and many other Way to ambush and intercept on the route. These ways to complete the task require players to explore, but this is almost the only exploration benefit, because the remaining benefits, resources are better than nothing, diamonds are more difficult to find. What’s more, players will be punished for more exploration. First, the mission time is too long, or if they are accidentally found during the exploration, or even an alarm is triggered, the score will be affected. Second, exploration and the enemy will consume ammunition and airdrop supplies It costs money. The most important substantive rewards can only be obtained by completing tasks instead of exploring and brushing. So the correct posture for playing Phantom Pain is: airdrop in place-speed to complete the task-if convenient, do one or two branches-withdrawal and resupply-for the next task.

From the open design idea of ​​Phantom Pain, you can know how the island’s open world style is: This is an extremely large sandbox level. Players can explore and choose any way to complete the task in this level, and players need to pay attention The task itself does not have to be deliberately distracted to explore in pursuit of substantial rewards.

The phantom pain of adopting this design idea, despite not being able to complete it, has won applause. As an open world sandbox, no one has surpassed the game (but you can expect the performance of the Arkane group in the future. Two generations of shame have been demonstrated Enough hard power but they have not challenged the complete open world) but the phantom open world design still has some weaknesses, such as restrictions on the player ’s movement in the area in order to take care of the level design, there are various inaccessible areas, and it is more deadly The cost is too great.

Death Strand inherited the open-world design ideas of Phantom Pain and made major improvements,It once again proved that an open world designed as a level is indeed feasible.At this point, the stranded open-world design of death is commendable.

In the world of DS, most missions are to send goods from one point to another, and players can freely choose routes and equipment to complete this mission. Every inch of land, including rugged terrain, the territory of the Mills, the emergence of time rain and BT are all challenges to players. Players also need to pass these levels through pathfinding, fighting and stealth. Players make decisions and various Equipment can provide multiple ways to pass the level. In the later stage of infrastructure optimization, players’ experience in the level will also affect this series of activities and decisions, for example, players will choose the route without BT and optimize facilities on their favorite routes. The facilities of other players provided by the asynchronous online system will also affect and participate in this map design and level design, because players generally cooperate with other players’ facilities to make infrastructure and optimize routes.

With this design, the entire open world is a challenge, and the entire world is under pressure from players. In general games, Fetch Quest is annoying because this kind of task is not challenging, there is no plot, only to go to a place without a brain to pick up an object and return. In the stranded death, as long as the player is carrying cargo, embarked on a journey, or determined to build something to make their journey comfortable, they are facing and solving different challenges. And given the characteristics of the open world, the freedom to do tasks can reach a fairly high degree.

More importantly, as the progress advances, players have more equipment, unlock more abilities, need to face different terrains, and enrich the gaming experience. Despite the shortcomings of repetitive task design and conflict design, I still don’t feel repetitive. What’s more, in different areas of the map, the novice teaching area, the large map flat area, the large map snow mountain, can produce completely different logic. In the novice zone, players are taught to learn basic delivery with walking and only one motorcycle; in flat areas, due to the existence of roads, players begin to use flat-level transportation as the center and the road as the center Through pathfinding and construction of appropriate facilities to form a transport network between nodes; in the snow mountain, because the highway is no longer applicable, it was replaced by zipline, and the gameplay has become to climb on various commanding points on foot and insert the flag (zipline, which is really quite (Like flags), and zipline with other players to form a zipline net.

The ultimate result of these designs is that the entire map is a level of high freedom. The entire world, not just a few enemies, is a challenge imposed on the player.. To be honest, this is a design result that impresses me very much, and I am sure that there will be works in future generations to learn from this experience.

Dissemination and controversy: How do players want to feel in the game?

I have finished the game itself, but I still want to mention the controversy surrounding the game.

I wrote above that the feeling that death stranded brings to players is “a sense of accomplishment.” I also summarized four types of feelings that players can get from the game based on experience: stimulus, fun, narrative, and accomplishment. Different types of players expect different feelings from the game, resulting in audience differentiation. RPG players who play The Witcher 3 will praise the narrative, characterization and role-playing experience of this game. However, if you switch to an ACT player to play, I am afraid that the phrase “this combat system is chopped paper” will be rejected, because RPG Players want a good narrative and role-playing experience, while ACT players want a thrilling battle.

The main strand of death stranded, the “feeling of accomplishment” obtained through off-road and connection, the audience of this feeling is relatively small. If more than 90% of players can appreciate the sense of excitement and fun, and 50% of the players can appreciate the sense of narrative, then the player who can realize the sense of accomplishment is estimated to be less than 20% (not to mention that it is estimated that half of these 20% can only experience To the sense of achievement of siege in a strategy game …)

For example, the soul series, many people have described that the soul series has a great sense of accomplishment in defeating a boss. This sense of achievement comes from the guidance of the game mechanism to the player’s learning, because the boss is not only a pile of numbers but a truly skilled opponent. Moreover, it will also add a narrative performance effect to the BOSS, so players continue to improve their abilities and finally defeat the BOSS is a very fulfilling thing.

The soul series focuses on this sense of accomplishment. Of course, it also has a certain good sense of stimulus and narrative, but if stuck in a boss for dozens of times, the stimulus will disappear, and the hidden narrative may not be as great Sense of narrative. The cloud experience of the soul series is good because it is exciting, but if the anchor dies in front of a BOSS dozens of times, the audience will definitely dial the progress bar to the time when the anchor wins.

As we all know, the soul series is a niche hobby so far, so we can see how narrow the audience is.

The source of death’s stranded “feeling of achievement” is even more tricky, because this is not a game with “adversarial” at its core. When 99% of the games on the market are centered on “adversarial”, the sense of achievement of “connecting” to the public is probably to the bull. But “antagonism” is by no means a bad word, because games need to bring sensory pleasure, and “antagonism” is the cheapest way to achieve this joy. But it is in this case that Hideo Kojima’s attempts in the death stranded are even more admirable, because he did make a game that is not “confrontational” at the core, and for a considerable part It ’s fun and understandable for people. This group of people includes not only ordinary players, but also senior game producers such as Sakurai Masahiro and Cory Balrog, Skill Up and Kuro Kuro.

However, in the announcement, there was no clear gameplay and mechanism, which obviously caused the wrong audience to buy death stranded and scold the street.

First of all, I make my point: if manufacturers decide not to pick a trick to conduct market experiments, then they must be prepared to accept infamous, and I support the right of critics of misleading information buyers.

Death stranded is doing a market experiment: if you first explain how the express delivery in this game, how to build the infrastructure, I am afraid that you can only sell 100,000 copies, so the gameplay can not be explained, even if it is designed very powerful.

I understand what KJP and Sony do. Make an analogy: Promote “Irish” to someone who has only watched Marvel movies for a long time, and tell this story about an old gangster of several old men. There is a 90% chance that the guy will fall asleep, but this does not mean he must Don’t like The Irishman, but he has never seen it. So the best way to sell is to blow Martin Scorsese.

In the end, the announcement of death stranded was better than “clarifying the gameplay from the beginning”. If the consequences of clarifying the gameplay is that 100,000 copies are scolded by no one, then now one million copies are sold with 500,000 praises and 500,000 scolded streets (just a metaphor, not really selling one million copies). Adding 400,000 audiences and making them an eye-opener is also a virtue.

What about the half a million people who swear? Despite scolding (I will also reflect this part of the opinion into personal ratings)

As I said, if you decide to make such an announcement, you have to bear the consequences, even if this announcement is not a wrong approach. And they are all adults. KJP must have anticipated this situation. As for rejection, it depends on their good fortunes.

However, I personally believe that most players’ desire for a game to be “fun” is actually hindering the progress and expansion of the game. I think games need interactivity, but this interactivity does not necessarily lead to the “fun” feeling in the broad sense. Interactivity can bring excitement and fun, but it can also be used as a narrative to bring more emotions such as sense of achievement. Experience. And now there are many different types of players, each with different needs, why do you want to force a game to follow the flow?

Closing Statement: Hideo Kojima’s Utopia

Regarding the asynchronous stranded asynchronous online system, there is another point that I have not mentioned, and I am very pleased: Hideo Kojima erased almost all the negative emotions in this online system, so that everyone can have absolute positive Feel.

Of course, some people will disagree.但有很大一部分只玩单机游戏的玩家,他们拒绝玩网游是因为害怕感受到与其他玩家交互的负面情绪。而且,在现实中网络交流的巨大戾气同样会令一些人望而却步。对于他们来讲,死亡搁浅是他们能够不害怕负面情绪而勇敢地去体会与他人交流和连接的正面感受的乌托邦.从这方面来讲,死亡搁浅的意义不仅停留在个人体会,也能反映到社会现实中。

从这一点可以看出,小岛秀夫对“游戏”这种娱乐形式的追求和理想——一个传递思想的媒介。他确实认为游戏在将来可以成为一个正经的文艺形式,所以他能毫不忌讳地将“马里奥和蜜桃公主”作为正经的比喻放入对话中(即使在现在这种比喻依然会引来哄堂大笑)。而整个死亡搁浅,就是一个充满了他个人理想的乌托邦,吸引着众多怀抱共同理念的人来欣赏,来加入,来贡献。

但乌托邦,作为一种理想的载体,终究难以被那些怀着不同理念的人理解,一些人还会发出恶意的声音。就像我所听说的:“游戏里的人都充满善意,但游戏外则相反。”

没错,死亡搁浅是存在着缺点的,有些还是不小的缺点,但出于它的创新,它的设计和制作水准,它的理念,它的社会意义,我相信它值得一个高度的赞誉。

这个高度赞誉就是:A HIDEO KOJIMA GAME

就像油管主Skill Up说的:

在死亡搁浅里,你会找到你喜欢的东西,你也会找到你不喜欢的东西,不变的是你总能找到值得回味的时刻,而且现在值得这评价的游戏没多少了(尤其是3A游戏)

附加:评分与评分准则

虽然我以前觉得评分没必要搞,但想一想还是搞一个我自己的评分准则出来,而且我这个自创准则会和一般的评分方式不同。

详细说明一下:

1. 不使用一个固定数值来打总分,而是采用标定上下限的方式。因为对于一个游戏,有些人能更加容忍一些缺点并有更好的体验,但另一些人会不能容忍这些缺点而获得较差的体验。出于这种原因,采用上下限标定的方式来打总分,即打出一个上限分并附上一个下限修正值(为负值)能更全面体现游戏的品质。上限分体现的是,考虑进所有缺点所能造成的不可避免影响,游戏设计目标实现的程度和效果如何,下限修正值会体现游戏的缺点(不考虑bug等可由补丁解决的技术性问题)能对游玩体验影响到何种程度,这个下限修正值同样也会考虑厂商在宣发时是否有阐明玩法和确定受众。例如一款RPG游戏战斗系统不行,鉴于RPG玩家不会太在意就扣少一点分,但如果厂商不阐明这是一个RPG游戏,战斗系统的缺陷会扣分得很惨烈。

2. 总分由游戏性体验分和叙事性体验分两部分来决定,一个是玩起来怎么样,一个是故事讲得怎么样。两者比重基于游戏设计目标和最终效果决定,这两部分的分数同样是采用打出一个上限分并附上一个下限修正值的形式。

3. 除了以上两个主要打分部分,另外附加技术力和创新力两个额外修正分,上限正5,下限负5。技术力表示游戏成品bug如何,优化如何,动捕和画质这些技术事务执行如何,技术力方面如遇到辐射76这种技术灾难,可以考虑突破负5的下限。创新力顾名思义。技术力修正分只能作用于下限修正值,创新力修正分只能作用于上限分。

以上为打分规则全说明,具体要理解就直接看死亡搁浅的个人评分吧:

上限分:95*0.6 + 75*0.4 + 4 = 91

下限修正值:(-50)*0.6 + (-15)*0.4 + 5 = -31

总分:91-31

游戏性体验分:95-50 占比60%

对于正确的受众而言,是毫无疑问的大师之作,具有丰富和高度可玩的互动性并成功导引至“连接成就感”,虽然会有一些小问题影响体验。但鉴于宣发不挑明玩法,默认该游戏卖给所有3A玩家,出于众所周知的理由,体验下限很低。

叙事性体验分:75-15 占比40%

主剧本叙事上由于和核心玩法结合不当,效果打折扣,同时在开放世界中的叙事节奏控制不好,还有一些小岛哈草桥段(笑)。但“快递员故事”的次级剧本发挥良好,且主剧本本身不错,演出发挥出色,内涵表达有力,扳回一城。

创新力修正分:+4(仅作用于上限分)

将“走路”的互动形式通过地形系统,装备辅助,基建外设等方式加成,终于做成了一种能进入主流3A的游戏性形式;继承于MGSV幻痛的作为大型沙盒关卡来设计的开放世界设计理念继续发扬光大;基建系统和异步联机系统允许玩家加入关卡设计活动,增强游玩多样性。不给到上限5分是因为我给初代MGS的创新力修正为5分,由此标准死亡搁浅得4分。

技术力修正分:+5(仅作用于下限修正值)

我觉得这方面根本不用多说吧。

作者:荒魂野猎
专栏地址:https://zhuanlan.zhihu.com/p/96424202

.

Related Posts

Leave a Reply

Your email address will not be published. Required fields are marked *