How to make the settings more “valuable”?Maybe we should think about these issues

Q: Why is it that the traditional way of constructing a worldview inherited from DND is no longer suitable for most current games?

A: The traditional way of constructing a worldview often uses a combination of myths and legends and real experience to construct a fantasy world, piling up a lot of details in order to enhance the reality of the world.

The purpose of traditional world view construction is to create a fantasy world.

The purpose of constructing a mobile game worldview is to package the game and provide a display space for the content and gameplay of the game.

This difference in purpose makes the traditional way of constructing a world view more suitable for MMORPG. In other types of mobile games, the world view designed with the traditional DND model cannot be expressed in many details, and many settings cannot be communicated to the players, resulting in a phenomenon of “big and improper”.

If you roughly divide the game settings into two aspects: world/background settings and character settings (personal settings), you can see that different games have different emphasis on settings.

It is necessary to make a trade-off between the background setting and character setting of the game according to the game content, gameplay, theme and style.

(For example: Monster Hunter, the main gameplay of the game is to fight monsters. Therefore, the environment settings of the game world are set in very detailed and natural rules. Based on this environment setting, the monsters in the game are designed. Ecology.)

Most of the current mobile games are based on character development as the main content. Various characters with different shapes and clear settings are required. The characters are used to drive the plot. The background of the characters and the relationship between them constitute the general appearance of the game world. , It’s the characters that support most of the game. Therefore, most of the current mobile games are more suitable for light background setting (relatively speaking, light does not equal nothing), and the idea of ​​emphasizing role setting.

Q: How to design the background settings of most games under the premise of light background settings?

  • Choose focus according to game type and theme
  • Choose a reasonable way of expressing the world view
  • Find a breakthrough in the type

1. Choose different focus points according to the game type.

The criterion for its selection is to consider whether it can bring “effective information” to the target player.

The amount of effective information, in simple terms, refers to the content that the player is interested in, or the content that is helpful for the player to build the world in his mind.

If subdivided again, the background setting can be summarized into the following components:

  • Historical evolution (the evolution of the environment and the history created by “characters”)
  • The law of power (what is the power used by the characters in the world, and what rules are they following)
  • Social content relations (organizational structure, language and culture, religious beliefs, etc.)

For example, doomsday-themed games and magic-themed games (the common point is the overhead world, the fantasy component is more, and the credibility of the world view becomes important), and it is necessary to focus on describing the historical evolution of the game world.

A world that has history and is constantly evolving and changing, and even a world that can give feedback to player behavior. It can make players feel more immersed. Because where the world comes from, what events it has experienced, what impact it has caused, and what will happen in the future. The world we know and live in is exactly like this, which is in line with the cognitive habits of players. If the background is set with content that the player is interested in, or meets his expectations of a certain type of world, it can make the player have a desire to understand or explore.

In an urban-themed love development game, the development history of the city in the background of the game’s story has no intersection with the game’s characters. It is not attractive to the player and can be taken in a stroke.

If the mobile game is based on the story template of, the player is very interested in the power source of the characters and the strength ladder, so they can focus on describing and expressing the various rules (systems) in the setting.

2. Choose a reasonable way to express the world view

What we hear every morning from the alarm clock is “It’s March 20th, 8 o’clock in the morning”. Instead of saying “somewhere in the planet’s orbit where the earth is now, the rotation period is XX, and the revolution period is XX…”. Although the concept of time and date was formed by the rotation and revolution of the earth, we do not use “God’s perspective” to observe the world.

Many games have a perfect world view in all aspects, but there are problems when it is communicated to the players.

The designer is very anxious to show the full picture of the entire world view to the players, and to instill the game settings for the players.

Let’s not talk about whether players are willing to accept large paragraphs of text. The contradiction between perspective and cognition will cause players to directly ignore these background settings of the game, causing the opposite effect.

Therefore, when conveying the world view to the player, it is more inclined to show the result of the world development first, and the reason for this result can be passed to the player by means of system packaging, character setting, plot description, etc.

3. Look for a breakthrough in the type

At present, there are many movies and animation works that can stand out and gain traffic only by relying on the setting of the story background. How do they do it?

① Reorganize type elements to break the norm

The era background and scene of the adaptation genre

“Kabaneri of the Iron Fortress” is a zombie apocalyptic theme, but its background setting is different from other zombie themes. The animation defines the technological level of the story in the context of the steam age. People in the story world built a walled city in order to fight against zombies. Only armored trains can travel through the world outside the walled city.

The subject of doomsday zombies can be said to be a very common and popular type. However, if the era of occurrence is put into the steam era, or even the cold weapon era, it will give the audience a completely different perception (the Korean drama “Kingdom” is exactly the zombie film in the cold weapon era). “The Iron City” concentrates the main scenes of the story in a train, which further strengthens the dramatic conflict of the story.

Change other elements of the setting

“Attack on Titan” adapts the element of “the power to destroy the world” in the apocalyptic theme into “Invasion of Giants”, which makes its perception and perception different from other similar themes (only the attraction of the setting to the audience will be discussed here. Power issues).

The uncharacteristic setting makes the characters appear unique in ordinary events even if they make ordinary actions.

②Change the tone of reverse type theme

“Magic Girl Madoka Magica” adapts the theme of the magical girl full of girlish hearts into a cruel story with a dark background, and uses this “darkness” to reflect the great friendship between the protagonists. This 180-degree change in the theme of the theme will bring players a completely different feeling from their psychological expectations.

③Considering the values ​​close to life as the core of the story

The core of the story means that the story will revolve around a core principle, which is closely related to the setting.

Take the movie “Nezha” as an example, the film adapts the core of the story into life’s growth and setbacks. Therefore, in the setting, Nezha’s “demonized” side is enlarged, so that he is not recognized by society and ordinary people, and it increases resistance to his growth and self-awakening, making the plot full of twists and turns.

So although “Nezha” is still a magic theme, its core story is very close to the lives of ordinary people, making the movie closer to the audience and easier to get a sense of identity. “Assassins Five Six Seven”, “Soul Soul Street”, “Fox Fairy Little Matchmaker” and other successful national comics also have this design more or less.

Thinking of values ​​close to life as the core of the story is also a method used in almost all Disney movies.

Although the game “Onmyoji” tells the fantasy story of Ping An Jing’s slaying demons and demons, the story behind it reflects the entanglement of good and evil in real life.

In most games where character development is the main content, character setting is even more important.

The characters in drama design are divided into “round characters” and “flat characters”.

Round figures:Refers to characters with complex personalities in literary works. Such characters are often polysemy and changeable characters in novels. The characteristic of this type of character is the process of character formation and development. The basic characteristics of round characters are: the creation of round characters breaks the simple classification method of all good and bad, all bad, and portrays the characters according to the true colors of life, revealing the complexity and richness of human nature more truthfully and deeply. , Has a higher aesthetic value (taken from Baidu).

For example, James Lannister in “A Song of Ice and Fire” is a very successful “round figure”.

However, “round characters” often require more space to show, and in order to maintain the rationality of their personal settings, other characters interacting with him also need to be as complete and full as possible. This makes the construction of the plot need to be controlled within a small range (for example, the main characters in most Hollywood films are often only three to four). Therefore, the design idea of ​​round characters is not suitable for most mobile games.

Flat characters:Both abstract and even symbolic characters, the typical characteristics of the role can be highly generalized.

Flat characters are easily understood and remembered by viewers. Most of the characters in games and animations are flat characters.

The idea of ​​designing flat characters is: the process of clearing the character’s character creation and the character image symbols, and strive to show the “shining points” of the characters. This “shine spot” can even be just a bright spot on the image.

Therefore, the character can be roughly divided into two parts: character shaping and external image.

Character shaping, that is, what kind of experience the character is designed to form this character.

Create a character with a distinct personality. This is a sentence often heard, but the key is not the “personality” of the character, but how the character forms this personality.

Characters with full character often seem to be like this, but in fact they are not.

The truth of a character’s personality is different from what others see it, or what he deliberately expresses. It is necessary to show the real character of the character to the player through the development of the plot, and explain the reason or process of its formation.

The “experience” of a character usually shows the various contradictions encountered in the growth process (personality formation process) of the character.

  • The contradiction between the character and the external environment (for example, the character in the end times faces the survival crisis brought by the environment every day)
  • The contradiction between the character and others (for example, the character meets a dying person in the last days, and the character himself will face the danger of material shortage if he saves him)
  • Contradictions within the character (for example, the character struggles to save the dying person)

We use certain contradictory typical events that the character has experienced, as well as other people’s evaluation of him (this part is not necessary), to shape the setting of the character’s background.

When a character is thrown into a certain situation under such a setting, he will have enough motivation to make behaviors and choices that conform to his setting. Then in the following plot, the character of the character is gradually plumped or made a 180-degree change.

Generally speaking, the appearance of a character is designed to fit the character’s personality, life experience, professional characteristics or attribute abilities.

But on the one hand, because the existing role types have been highly symbolized, on the other hand, because of the needs of network communication.

There are also roles that are dominated by the appearance of the character, and in turn design the character of the character.

But regardless of the process, the basic setting of the character is the basis for the character to be quickly recognized by the player. On this basis, further thinking is needed, and the character design conforms to the current social network communication mode.

Q: In recent years, why can the works (film, animation, and games) that are simply “selling people setting” and “selling setting” occupy a certain market? Why do good works increasingly emphasize the role of “setting”?

1. The accelerating pace of life makes viewersplayers need to understand the general appearance and overall temperament of a work as soon as possible.

2. There are a huge number of works on the market, and a standard is needed to find the target type you want.

3. In the current form of Internet socialization, audiences need to find people in the same circle through specific tags to achieve communication and self-expression.

Q: In view of these actual conditions, what else should be done under the premise of ensuring the quality of the setting?

① Develop the breadth and depth of the role

Take the current hot mobile game “The Horse Racing Niang” as an example. The game did not spend much time on the setting of the race horse girl, but deeply digs into the career history of every horse racing in history, and restores the famous scenes and skills of horse racing in the game. According to the horse’s coat color, posture characteristics and the rider’s decisive outfit, hair and clothing are designed for the characters.

This method is more suitable for anthropomorphic subjects. Or have historical (literary works, myths and legends) prototypes.

②Design the relationship between the characters that trigger the topic

The setting of the relationship between characters generally serves the plot or character creation. However, the relationship between characters is a topic that players talk about, so you can design some relationships that attract target users to attract users.

According to the author’s observation, different types of game audiences have different levels of acceptance and attention to the relationship between different characters.

For example, the audience of the “two-dimensional” game will pay more attention to the relationship between the “protagonist” and other game characters. I am more willing to see the interaction between the protagonist and the formed character, or the establishment of the relationship.

The female audience of the game will pay more attention to the relationship between the game characters, and the attitude of female players towards the game plot is more like watching a TV series.

Of course, the above two points only illustrate a tendency, not that a certain type of user only likes a certain type of character relationship.

③Differentiation of character attributes, shaping extreme attributes

The character attribute here does not refer to the numerical ability of the character, but the attribute on the setting. In a game, we try to avoid the overlap of character attributes when designing.

For example, both are cute mascot characters, one may be a plush organic creature, and the other may be designed as a cute inorganic creature (such as a snowman).

When the differences between the roles are formed, you can try to enlarge the differences between the roles to form contrast and contrast. The ultimate goal is to make a few of the most extreme characters stand out and become the focus of players’ attention (friends who are interested can search for the role of “Kashino” in the Azur Lane, everything is clearly stated).

The above are some of my immature thoughts on how to build game settings in the current network environment.

If you are interested in game plot writing, you can also go to this article, looking forward to it.


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