I! NS game designer

Chapter 56 Satisfactory Answer Sheet

At this time, the children controlled Mario to move to the right. Just as he advanced a certain distance, Mario encountered his first enemy, the cool chestnut.

At this time, Kulibao revealed a terrifying face from the right side, approaching laterally to the left side where Mario was.

Looking at the chestnut walking sideways, the children could clearly tell that this was an enemy, but the children clearly showed that they were a little excited.

Wang Hao was slightly stunned when he looked at the scene in front of him. Why were these children happy?

If he was playing the game by himself, what would happen if he saw the enemy? Wang Hao looked at the picture projected on the wall by the projector, and two thoughts emerged in his mind.

First, I want to protect myself, I want to avoid enemies, I don’t want to die...defensive type.

Second, wanting to attack the enemy, wanting to get close, wanting to defeat the enemy...attack type.

But then again, if you follow the positioning given by your boss, then your current thinking is wrong.

Just like at the previous picnic, every time there was a meeting, I would suggest to Wei Junjie what to do with this monster, how to draw it, and how to let the players defeat it, etc.

But the boss seems to always veto it. The boss has told himself that when he makes games, he doesn’t want to make players scared, nor does he want to arouse players’ aggression. He just wants to make a game that makes players happy.

These children seem to be a little happy when they meet Coolli Bao, but why are these children happy to see Coolli Bao?

Why are children so happy when they discover cool chestnuts?
A person who is happy to meet an enemy may be considered a fool!

"Uncle, can you help me play the game? I want to go to the toilet." A child said looking at Wang Hao who was sitting beside him in a daze.

"Oh! Okay!" Wang Hao said quickly after hearing the child's words.

When Wang Hao took the controller from the child and started controlling the characters, it seemed that everything was explained.

Looking at Mario's direction and position, as well as mountains, grass, clouds, etc., these children will involuntarily ask questions: "Do you want to go to the right?"

Because the game screen does not say "Go Right" in large letters, there is no definite evidence to prove that this assumption is correct.

Immediately afterwards, the children noticed the cool chestnut coming out from the right. Amidst this uneasiness of not being sure whether going to the right was correct, if they encountered the cool chestnut...

This means that going to the right is correct, so the child is happy.

The child who asked Mario to go to the right is not sure whether his idea is correct, and is in an uneasy state of mind that wants to quickly confirm whether going to the right is correct.

At this time, something suddenly jumped out. It didn't matter whether it was an enemy. As long as something came out, the children were very happy because they knew that they were on the right path.

Because of this, they are happy even when they spot an enemy.

Just like riding a bicycle, children who have experienced a series of experiences will deeply believe that they have learned it when they ride on their own bike without falling.

In Tongli, players who have experienced a series of experiences will deeply believe that they have learned the "go to the right" rule here.

So can I use this method when making Odyssey?Design that gives people a spontaneous experience without giving any orders or instructions?

I believe it is possible.Players don’t play the game because it’s interesting, but because they “can’t help but think about it and do it involuntarily.” They play the game because they discover the fun inadvertently and fall in love with it.

There are no orders or instructions, and no solid evidence that the game in front of them is interesting. Players naturally start playing intuitively. This is a very good example of the power of games.

If you ask Mario to move forward to the right, the first thing that will appear is the cool chestnut and the block with "?" painted on it, as well as mushrooms, clay tubes, underground holes, gold coins...

Whenever this happens, players will try it with the assumption of "showing ability" and be filled with joy.

Players are like children picking up acorns. Every time they take a step forward, they can see the next acorn.When a player finds an acorn, the experience of picking it up is like threading beads.

The continuation of intuitive design is the basic strategy for designing game experience and the basic structure of the game.

In this way, the emotion continues to rise, and when it exceeds a certain point, the player will consciously realize that "this is interesting."

Tongli, this is why Xiaoxin felt that "Super Mario" was boring just now, because he already knew it, so what's the point in playing it?

This moment is exactly what the designer aimed for.

When planning game products, designers are always driven by the inner anxiety of "What if they are not recognized by players?"

Designers defeated by inner insecurity will design the game in a mess.The result is that players don't know what to do and the experience overall is terrible.

However, Super Mario is different.

Precisely because designers were able to clearly communicate the "go to the right" rule, players around the world took the first step toward adventure.

Not only limited to the first step of the adventure, intuitive design can always easily guide players to the front of the adventure.

Children's answers are always satisfactory. Their wild fantasies have different ideas from adult players. Perhaps they may not be able to express their ideas correctly.

But it's possible that something they inadvertently did is the answer you want.

Perhaps this is the answer given by this group of "game designers".

Game design is not only in the office, but also in life, in some daily trivial matters.

What designers need is a mind that is adaptable and strategizing, a mind that is smart enough to analyze the various possibilities in the game in an instant and make the most appropriate decision.

This is also a basic skill that game designers need to possess.

The sun was setting in the west, and the sunset glow filled the fiery red sky. Against such a beautiful background, a group of people from the Red Hat Studio bowed deeply to the child in front of them.

At the same time, Wei Junjie looked at Xiaoxin and smiled: "Xiaoxin, if you have time, you can bring your friends to our company."

In this world, no one understands games better than children, which is why the employees of this semi-bankrupt card company respect children so much.

This is Nintendo.

(End of this chapter)