​犹他大学作为全世界游戏设计专业的最高学府，一直是很多游戏人梦寐以求的学习圣地。

宋嘉文——作为由晶核学员虚幻班考入犹他大学游戏设计专业的优秀学生，今天为我们带来了一篇他在犹他大学完成的论文，让我们感受一下晶核学生是如何在以严厉著称的犹他大学学习生活的吧~

宋嘉文

晶核教育—1803 虚幻专业

目前就读：美国犹他大学

所读专业：游戏开发专业（Entertainment and Art Engineering: Master Game Studio，简称EAE: MGS）

课题：游戏叙述《Video Game and storytelling》

具体内容：通过游戏中各种元素来理解游戏中的内容情境

课程安排：每个游戏会讲1-2周时间（具体要求见附件）

作业要求：每讲完一个独立游戏就要写一个600-1000字评论，并且使用MDA框架。

作业思路：每个游戏都具有代表性，通过游戏的机制讨论游戏的玩法、规则并作出总结和归纳，分出游戏审美类别。

作业内容（英文/中）

Inhabiting an avatar and performing actions from that avatar's perspective greatly engage the player's emotion to the protagonist through characters, interactions with other characters, and the game world as a whole. In the game Shelter, the player inhabits as a mother badger to escort her five cubs to a new shelter. Naturally, it is the mother badger responsibility to feed cubs with food and protect them from dangers. Whenever the player playing the avatar mother badger finds new food, the player has the choice of deciding which cub get the food. As a result, cubs with enough food move faster while the cubs with not enough food could be too slow to escape dangers such as rapid streams and preying bird. Also, the mother is accountable for deciding the safest path when the threat is presented such as hiding under the grass when the preying bird is approaching. The mother badger's interaction of nursing the cubs with food and guide them to safety presents the player an emotional response not just for the protagonist mother badger, but for the cubs.

进入游戏化身为角色，并在游戏中以角色的角度执行动作，通过主角与其他游戏环境互动，能够极大地在第一人称的感情角度吸引玩家。玩家作为母獾居住，需要护送她的五只幼崽到一个新的庇护所。当然，母獾有责任给幼崽喂食，并保护它们免受危险。每当化身母獾的玩家发现新食物时，玩家可以选择决定哪只幼崽获得食物。结果，有足够食物的幼崽移动得更快，而没有足够食物的幼崽可能太慢而无法逃脱快速溪流和捕食鸟类等危险。此外，当出现威胁时，母亲有责任决定最安全的路径，例如当捕食鸟接近时隐藏在草地下面。母獾对幼崽护理的互动为玩家带来情感反应，不仅是因为主角母獾，还有幼崽。

Similar to Shelter, Papers, Please also evokes the player emotional response by making the player role play as an immigration officer in a highly interactive environment. Specifically, the player as the officer has the power to decide which border passenger is allowed to pass, to detain, and to reject. The game environment would respond accordingly. For instance, the police would come in and arrest the passenger who is decided by the player to be detained with falsified information. In both the games, the supported actions of either the cub got eaten, or the passenger became arrested due to the interactive role of the player created a personal responsibility for me. I feel I am accountable for the destinies of the cubs and passengers for better or worse.

与Shelter，Papers类似，通过让玩家在高度互动的环境中扮演移民官的角色来唤起玩家的情绪反应。具体而言，作为军官的玩家有权决定允许哪个边境乘客通过，扣留和拒绝。游戏环境会相应地做出响应。例如，警察会进入并逮捕由玩家决定被伪造信息扣留的乘客。在这两个游戏中，要么幼兽被吃掉，要么乘客因为玩家的互动而被捕，而这些反应是由玩家负责的。玩家对角色的命运负有责任

For the first playthrough of Shelter, I did not understand the mechanics that each cub would need food to become and healthy and move swiftly, so I gave food to the nearest cub. But since the nearest cub would always be the most robust and fed one, the player as the mother badger created an unequal distribution of the food to the cubs. At the end of the first section of the game, there was a patroling bird eagerly hunting for food. When I as the mother badger and my cubs were crossing from one section of the bush to another, the least fed cub was too slow and the cub got captured by the bird. I felt personally guilty as the mother to not take care of my child because of the previous actions of ignoring the cub.

在第一个游戏中，我因为不理解每只幼崽需要食物来变得健康和快速移动的机制，所以我把食物给了最近的幼崽。但是，由于最近的幼崽总是最健壮的，作为母獾的玩家创造了一个不平等食物分配环境。所以在比赛的第一节结束时，有一只巡逻的鸟急切地寻找食物的时候，我作为母獾和我的幼崽从灌木的一个部分穿越到另一个部分时，喂养最少的幼崽太慢了，导致幼崽被鸟抓住了。作为母亲，由于之前忽视弱小的行为，使我对没有照顾到的孩子感到内疚。

Unlike Shelter, where I felt personally liable for losing the cubs; in Papers, Please, I felt powerful in deciding the fate of the passenger. When the mechanic in which the immigration officer can search all Koechians, people from a hostile neighboring country, is implemented, I requested all Koechians to be scanned. I felt the emotion of ressentiment of an immigration officer who could not support his family and vent the hate to others by abusing power. Even though Papers, Please is not a serious game with an educational purpose, I experienced what it felt to be oppressed from the state and how I would turn that resentment to a weaker group of people. For instance, when I found a Koechians woman who had a hidden gun on her, I immediately pushed the search button. I felt the impact of my action to reshape her destiny from a lawful citizen of Kolechia to potentially a criminal in Arstotzka as the bordering policemen escorted her out. It is ironic that I have such a power as an immigrant officer yet I could not feed my family.

与Shelter不同的是，在Paper里，相比于在幼崽身上的责任；在Paper上，决定乘客的去留让我感到很强大。当移民局官员能够搜查到所有科赫人的机修工，也就是来自敌对邻国的人时，我要求对所有科赫人进行扫描。我能感觉到一个移民官的感慨，虽然不能养家糊口，但是我可以在民众身上发泄仇恨。尽管Paper不是一个严肃的游戏，但我也经历了被国家压迫的感觉，以及如何将这种怨恨倾泻于弱势群体。例如，当我发现一个科希亚妇女身上藏着一把枪时，我立刻按下了搜索按钮。我感觉收到我行动的影响，她的命运收到了改变，从一个合法的公民转变为了囚犯。讽刺的是，我有移民官这样的权力，却不能养活我的家人。

In Shelter, the third person perspective helps me as the player take more attention to the surroundings, which are the cubs. In Papers, Please, the first person perspective immerses the player more at the task at hands. The minimalistic interface of Shelter allows the player to pay more attention to the game world and the cubs without overwhelming features. On the contrary for the Papers, Please, the intricate interface of checkpoint workstation, the numerous paperwork, the rotating clock, and a bird view third person perspective of a long line of passengers on the top build up a sense of anxiety for the overwhelming task. Similar to the distinctive shape and abilities of quadrilaterals in Thomas Was Alone, the distinctively patterned badger babies personified themselves as recognizable characters. Contrastly, the spreadsheet style of abstractly representing the families members and their states alienate my empathy with them. Combining with the different perspectives of the two games and their effects, I sense more emotional connections with the badger babies in Shelter over the families in Papers, Please.

在Shelter里，第三人称能够更好的帮助我注意周围的环境，也就是我的幼崽。在Paper中，第一人称会让玩家更加沉溺于手头的任务中。Shelter的简约界面可以让玩家更多关注于游戏世界以及幼崽。相反Papers检查站工作站的复杂界面，众多的文书工作，旋转时钟和鸟类视图顶层乘客的第三人称视角构成了对繁杂人物产生的焦虑感。似于托马斯的四边形的独特形状和能力，独特图案的獾宝宝把自己拟人化为可识别的角色。相比之下，抽象地表示家庭成员及其状态的电子表格风格疏远了我对他们的同情心。结合这两个游戏的不同视角及其效果，我感觉到在Shelter里与獾宝宝的情感联系比Paper上的家庭要多。结合两个游戏的不同视角及其效果，我感觉与Shelter中的獾婴儿比Please中的家庭有更多的情感联系。
 

原文从游戏的机制，内容，画面来谈及游戏所带给玩家的直观感受。从不同的角度分析游戏每个环节设计为游戏所带来的意义。

最终游戏所要向玩家所表达的真正内涵。

在看完宋嘉文同学论文所表达的含义，我们不禁对犹他大学对待游戏设计所秉持的严谨认真的态度感到由衷的敬佩。一篇小小的周作业，也要对游戏的内在有着深刻的理解。

而晶核也一直在人才培养上保持着必须与时俱进能够准确快速切入行业时代需求的理念，多年来一直在行业最前沿深度研究和学习课程开发。为企业输送了大批高质量的优秀人才。

未来，晶核会一直将“为精品而生”的理念深入骨髓，将晶核教育打造成中国的犹他！