aash29: переводы
I build to study: a manifesto for development-led research in games / Dan Pinchbeck / Я делаю, чтобы научиться: манифест производственно-ориентированного исследования игр.
→References
Apperley, T. H. 2006. Genre and game studies: Toward a critical approach to video
game genres. Simulation & Gaming, Vol. 37, No. 1, 6-23 (2006)
Dahlskog, S., Kamstrup, A. & Aarseth, E. 2009. Mapping the Game Landscape: Locating
genres using functional classification. In Proceedings of DiGRA2009: Breaking New
Ground: Innovation in Games, Play, Practice and Theory. London: Brunel.
Hitchens, M. 2009. B.J.'s family: a survey of First Person Shooters and their avatars. In
Proceedings of the Sixth Australasian Conference on interactive Entertainment (Sydney,
Australia, December 17 - 19, 2009). IE '09. ACM, New York, NY, 1-9. DOI=
http://doi.acm.org/10.1145/1746050.1746054
Pinchbeck, D. 2009. An Analysis of Persistent Non-Player Characters in the First-Person
Gaming genre 1998-2007: a case for the fusion of mechanics and diegetics. Eludamos:
Journal of Computer Game Cultures, 3 (2). pp 261-279.
Wolf, M. P. & Perron, B. 2003. The Video Game Theory Reader. London: Routledge.
Apperley, T. H. 2006. Genre and game studies: Toward a critical approach to video
game genres. Simulation & Gaming, Vol. 37, No. 1, 6-23 (2006)
Dahlskog, S., Kamstrup, A. & Aarseth, E. 2009. Mapping the Game Landscape: Locating
genres using functional classification. In Proceedings of DiGRA2009: Breaking New
Ground: Innovation in Games, Play, Practice and Theory. London: Brunel.
Hitchens, M. 2009. B.J.'s family: a survey of First Person Shooters and their avatars. In
Proceedings of the Sixth Australasian Conference on interactive Entertainment (Sydney,
Australia, December 17 - 19, 2009). IE '09. ACM, New York, NY, 1-9. DOI=
http://doi.acm.org/10.1145/1746050.1746054
Pinchbeck, D. 2009. An Analysis of Persistent Non-Player Characters in the First-Person
Gaming genre 1998-2007: a case for the fusion of mechanics and diegetics. Eludamos:
Journal of Computer Game Cultures, 3 (2). pp 261-279.
Wolf, M. P. & Perron, B. 2003. The Video Game Theory Reader. London: Routledge.
0 Библиография
Apperley, T. H. 2006. Genre and game studies: Toward a critical approach to video
game genres. Simulation & Gaming, Vol. 37, No. 1, 6-23 (2006)
Dahlskog, S., Kamstrup, A. & Aarseth, E. 2009. Mapping the Game Landscape: Locating
genres using functional classification. In Proceedings of DiGRA2009: Breaking New
Ground: Innovation in Games, Play, Practice and Theory. London: Brunel.
Hitchens, M. 2009. B.J.'s family: a survey of First Person Shooters and their avatars. In
Proceedings of the Sixth Australasian Conference on interactive Entertainment (Sydney,
Australia, December 17 - 19, 2009). IE '09. ACM, New York, NY, 1-9. DOI=
http://doi.acm.org/10.1145/1746050.1746054
Pinchbeck, D. 2009. An Analysis of Persistent Non-Player Characters in the First-Person
Gaming genre 1998-2007: a case for the fusion of mechanics and diegetics. Eludamos:
Journal of Computer Game Cultures, 3 (2). pp 261-279.
Wolf, M. P. & Perron, B. 2003. The Video Game Theory Reader. London: Routledge.
Apperley, T. H. 2006. Genre and game studies: Toward a critical approach to video
game genres. Simulation & Gaming, Vol. 37, No. 1, 6-23 (2006)
Dahlskog, S., Kamstrup, A. & Aarseth, E. 2009. Mapping the Game Landscape: Locating
genres using functional classification. In Proceedings of DiGRA2009: Breaking New
Ground: Innovation in Games, Play, Practice and Theory. London: Brunel.
Hitchens, M. 2009. B.J.'s family: a survey of First Person Shooters and their avatars. In
Proceedings of the Sixth Australasian Conference on interactive Entertainment (Sydney,
Australia, December 17 - 19, 2009). IE '09. ACM, New York, NY, 1-9. DOI=
http://doi.acm.org/10.1145/1746050.1746054
Pinchbeck, D. 2009. An Analysis of Persistent Non-Player Characters in the First-Person
Gaming genre 1998-2007: a case for the fusion of mechanics and diegetics. Eludamos:
Journal of Computer Game Cultures, 3 (2). pp 261-279.
Wolf, M. P. & Perron, B. 2003. The Video Game Theory Reader. London: Routledge.
→Development-led research is
high-cost and high-risk, but potentially very high-reward. And at that point, we transcend
responsiveness, we start taking responsibility for our uniquely safe position, and we start
to innovate ourselves.
high-cost and high-risk, but potentially very high-reward. And at that point, we transcend
responsiveness, we start taking responsibility for our uniquely safe position, and we start
to innovate ourselves.
0 Производственно-ориентированное исследовние дорого и рискованно, но потенциально несет большое вознаграждение. С этого момента мы поднимаемся над простым реагированием/комментированием, мы начинаем отстаивать свою уникальную, подтвержденную [материалом] позицию, мы начинаем обновлять самих себя
→Knowing what is out
there, objectively and openly, creates the road-map of design space, opening out
serious questions about what is possible or potential in games, and this leads us
inevitably to the creation of artefacts to test these areas of untapped potential.
Catalogue, analyse, identify, design, release, analyse.
there, objectively and openly, creates the road-map of design space, opening out
serious questions about what is possible or potential in games, and this leads us
inevitably to the creation of artefacts to test these areas of untapped potential.
Catalogue, analyse, identify, design, release, analyse.
0 Знания о том, что уже есть, объективные и открытые, задают карту пространства дизайна, открывая серьезные вопросы о том, что возможно и потенциале игр, и это неизбежно ведет нас к созданию артефактов для проверки этих областей нереализованного потенциала. Каталогизировать, анализировать, идентифицировать, разработать, выпустить, анализировать.
→As a discipline, however you feel the borders of games studies should be
conceptualised, we cannot continue to run without baseline data.
conceptualised, we cannot continue to run without baseline data.
0 Мы не можем двигаться вперед как научная дисциплина без первичных данных, как бы мы ни концептуализировали границы исследования игр.
→Catalogue, analyse, identify, design, release, analyse. Break the order and it
ceases to be research; fail to catalogue and we are left only with our own ‘expertise’ that,
whilst critical, is never enough.
ceases to be research; fail to catalogue and we are left only with our own ‘expertise’ that,
whilst critical, is never enough.
0 Каталогизировать, анализировать, идентифицировать, разработать, выпустить, анализировать. Измените порядок, и это перестанет быть наукой; пропустите каталогизацию, и останется только наша собственная "экспертиза", которая, хоть и критически важна, никогда не достаточна.
→It is based
upon a robust, representative and objectively available set of data about my chosen
genre of gaming, created by extensive cataloguing and analysis: but always in that
order.
upon a robust, representative and objectively available set of data about my chosen
genre of gaming, created by extensive cataloguing and analysis: but always in that
order.
0 Оно основано на надежном, репрезентативном и объективно доступном наборе данных о моем любимом игровом жанре, созданном обширной каталогизацией и анализом: но всегда в этом порядке.
→This is research at the speculative edge. But that does not
mean that it’s not a valid or robust methodology, quite the opposite. The work is driven
by exploring design vacuums and the serious question of whether there are new game
forms, or new understandings of existing game forms located within them.
mean that it’s not a valid or robust methodology, quite the opposite. The work is driven
by exploring design vacuums and the serious question of whether there are new game
forms, or new understandings of existing game forms located within them.
0 Это исследования на грани с умозрительным. Но это не значит, что это некорректная или ненадежная методология, совсем наоборот. Работой движет исследование пустот в пространстве дизайна и серьезный вопрос о том, есть ли в них новые игровые формы или новое понимание существующих.
→What justifies my activities as research, rather than just indie development? Because it
follows the patterns outlined in this paper. This is not just experimental development, it’s
a methodology designed to create new understanding, even if this is necessarily difficult
to pin down or measure.
follows the patterns outlined in this paper. This is not just experimental development, it’s
a methodology designed to create new understanding, even if this is necessarily difficult
to pin down or measure.
0 Что оправдывает моу деятельность как науку, а не просто независимую разработку игр? То, что она следует габлону, изложенному в этой статье. Это не просто экспериментальная разработка, это методология, призванная создавать новое понимание, даже если оно является неизбежно сложным для нахождения или измерения.
→Releasing games into the public domain means exposing ideas to an audience
who have little or no interest in the research question and care first, last and always
about the quality of the experience – and this injects a healthy dose of harsh reality into
our scholarly explorations.
who have little or no interest in the research question and care first, last and always
about the quality of the experience – and this injects a healthy dose of harsh reality into
our scholarly explorations.
0 Выпуск игр означает вынос идей на суд аудитории, которой мало или вовсе нет дела до исследований, а которая судит в первую, последнюю и единственную очередь по качеству опыта - и это вносит здоровую дозу суровой реальности в наши научные исследования.
→Making games forces you to think and operate like a developer, with all the constraints
and compromises that go with that. This is, in itself, a great reason for academics to
make games, if for nothing other than to be confronted with the economies of production
that lead to design decisions, developing a better appreciation of why and how these are
made.
and compromises that go with that. This is, in itself, a great reason for academics to
make games, if for nothing other than to be confronted with the economies of production
that lead to design decisions, developing a better appreciation of why and how these are
made.
0 Разработка игр заставляет думать и действовать как разработчик, со всеми ограничениями и компромиссами, которые этому прилагаются. Это само по себе отличный поводу для ученых делать игры, хотя бы для того чтобы самим столкнуться с экономикой разработки, ведущей к дизайнерским решениям, и лучше понять, почему и как эти решения принимаются.
→Whilst I recognise that experiments like Korsakovia
are not suitable for making robust conclusions about isolated variables, what they
contribute are glimpses of game design spaces that fall outside the body of work we
draw upon for analysis and study. Even temporarily, they fill in some of the blanks, and
there is simply no other valid way of doing this.
are not suitable for making robust conclusions about isolated variables, what they
contribute are glimpses of game design spaces that fall outside the body of work we
draw upon for analysis and study. Even temporarily, they fill in some of the blanks, and
there is simply no other valid way of doing this.
0 Хотя я понимаю, что эксперименты вроде Korsakovia не подходят для обоснования надежных выводов об изолированных переменных, они могут сообщить проблески информации об областях гейм-дизайна, которые находятся за пределами того массива, из которого мы черпаем игры для анализа и изучения. Пусть и временно, но они заполняют пробелы, и другого верного способа сделать это просто нет .
→This, in itself, contributes a new understanding to how
games, specifically first-person horror games, are constrained or may be
conceptualised. Equally, its introduction into the wider gaming community not only bases
this on a large body of debate in a natural setting, but projects this understanding
outside the academy in a format more accessible to a larger number of people –
including game and mod-makers.
games, specifically first-person horror games, are constrained or may be
conceptualised. Equally, its introduction into the wider gaming community not only bases
this on a large body of debate in a natural setting, but projects this understanding
outside the academy in a format more accessible to a larger number of people –
including game and mod-makers.
0 Это само по себе способствует новому пониманию того, как игры, в особенности игры ужаса от первого лица, ограничены или могу быть концептуализированы. Наравне с этим, презентация игры в широком игровом сообществе не только основывает исследования на большом массиве обсуждений в естественной среде, но и проецирует это понимание за пределы ученого сообщества в формате, доступном большому количеству людей - включая разработчиков игр и модов.
→All of these are indications that subverting gameplay traditions, even when pushed to
extremes where one might expect a breakdown of the experience for players, has real
value. Overall, Korsakovia occupied a design space that, according to traditional design
wisdom, was redundant or non-functional, and demonstrated that in fact there was much
to be gained from doing so.
extremes where one might expect a breakdown of the experience for players, has real
value. Overall, Korsakovia occupied a design space that, according to traditional design
wisdom, was redundant or non-functional, and demonstrated that in fact there was much
to be gained from doing so.
0 Все это указывает на то, что свержение геймплейных традиций, даже доведенное до крайности, когда можно ожидать распад опыта для игрока, имеет действиельную ценность. В целом Korsakovia заняла область в пространстве дизайна, которая, согласно традиции, считалась избыточной или нефункциональной, и показала, что в этом есть большая польза.
→Players were very positive about the ambiguity of the world,
characters and plot, and long discussions of the meaning and significance of aspects of
the game emerged on community sites. Along with Dear Esther, this reinforces the
question of the requirement of a diegetic, story-based game to make sense in the
traditional manner. Equally, well-managed subversion of gameplay mechanics and
design is clearly an interesting avenue of investigation.
characters and plot, and long discussions of the meaning and significance of aspects of
the game emerged on community sites. Along with Dear Esther, this reinforces the
question of the requirement of a diegetic, story-based game to make sense in the
traditional manner. Equally, well-managed subversion of gameplay mechanics and
design is clearly an interesting avenue of investigation.
0 Игрокаи очень положительно восприняли неоднозначность мира, персонажей и сюжета, и на сайтах сообщества появились длинные обсуждения смысла и значения игры. Вместе с Dear Esther, это поднимает вопрос о необходимости для диегетической, основанной на истории игры быть понятной в традиционном смысле. В равной мере, управляемый подрыв игровой механики и дизайна - явно интересный путь исследования.
→On the positive side, many players reported affective experiences that, in their own
words, were greater than their normal diet of horror games. Terror, panic, fear, unease,
disorientation, disgust and even isolated reports of physical sickness (during the
distorted environment sections) were all commonly reported and viewed as positive
aspects of the experience.
words, were greater than their normal diet of horror games. Terror, panic, fear, unease,
disorientation, disgust and even isolated reports of physical sickness (during the
distorted environment sections) were all commonly reported and viewed as positive
aspects of the experience.
0 В числе плюсов, многие игроки отметили аффективный опыт, который, по их словам, был более сильным, нежели обычная диета в играх ужаса. Ужас, паника, страх, беспокойство, потеря ориентации, отвращение и даже отдельные случаи тошноты (во время эпизодов с искаженным окружением) сообщались игроками и были сочтены положительными аспектами опыта.
→This is interesting as the non-combat
repetition (exploration and running away) were not criticised, suggesting that the
inherent power in being able to ‘beat’ the agents undermined the building sense of panic
and terror being felt elsewhere in the game. Given the survival horror genre’s move
towards combat, and coupled with critical and player-community comments about the
drop in horror, or fear, of such games, it does suggest that powerlessness remains a
relatively under-exploited basis for engaging experiences in games.
repetition (exploration and running away) were not criticised, suggesting that the
inherent power in being able to ‘beat’ the agents undermined the building sense of panic
and terror being felt elsewhere in the game. Given the survival horror genre’s move
towards combat, and coupled with critical and player-community comments about the
drop in horror, or fear, of such games, it does suggest that powerlessness remains a
relatively under-exploited basis for engaging experiences in games.
0 Это интересно, так как небоевые повторяющиеся элементы (исследование и убегание) не критиковались, что позволяет предположить, что присущая игроку сила и возможность "победить" агентов подрывали чувство паники и ужаса, царившее в игре в остальном. Принимая во внимание переход игр в жанре survival horror к бою и реакцию на него сообщества игроков в виде комментариев об исчезновении из них ужаса и страха, можно предположить, что беспомощность остается относительно неиспользуемым базисом для увлекательного опыта в игре.
→More central to the hypothesis, some players simply ascribed the
subversion of gameplay to bad design, a topic that is complicated by the fact that in at
least one case, we made a very poor design decision that was not raised as an issue by
playtesters. We thus need to be careful in any conclusions drawn. Perhaps more
importantly, a significant number of players felt that the combat and more traditional
gameplay elements subtracted from the game.
subversion of gameplay to bad design, a topic that is complicated by the fact that in at
least one case, we made a very poor design decision that was not raised as an issue by
playtesters. We thus need to be careful in any conclusions drawn. Perhaps more
importantly, a significant number of players felt that the combat and more traditional
gameplay elements subtracted from the game.
0 Ближе к гипотезе, некоторые игроки просто приписали свержение геймплея плохому дизайну, что осложнялось еще и тем, что по крайней мере в одном месте мы приняли неверное дизайнерское решение, которое никто из тестеров не оспорил. Таким образом, нужно быть осторожным, делая выводы. Более важно то, что существенное количество игроков сочли бой и более традиционные элементы геймплея ухудшающими игру.
→This was a product of the low budget of the production, but for some
players it broke any sense of the creation of an engaging game world. Equally, overuse
of entities caused frame-rate slowdown for some players. Both of these were
compounded by expectations from our previous game, Dear Esther (2008-9). Players
simply wanted a similar experience and struggled with the very different tone of
Korsakovia.
players it broke any sense of the creation of an engaging game world. Equally, overuse
of entities caused frame-rate slowdown for some players. Both of these were
compounded by expectations from our previous game, Dear Esther (2008-9). Players
simply wanted a similar experience and struggled with the very different tone of
Korsakovia.
0 Это было следствием малого бюджета разработки, но для некоторых игроков это разрушало всякое ощущение увлекательного игрового мира. Также, избыточное количество объектов приводило к торможению для части игроков. Обе этих претензии осложнялись ожиданиями, оставшимися от нашей предыдущей игры, Dear Esther (2008-9). Игроки желали схожего опыта и не принимали другого тона Korsakovia.
→Korsakovia split opinion amongst players, and the reasons for it being seen as either a
good or bad game provide us with interesting data. The problems with the work were
tellingly technical which informs us both about player expectation, and about the
constraints and dependencies of making research-driven games. One of the major
criticisms, unrelated to the hypothesis, was the re-use of assets from the original Half
Life 2 game.
good or bad game provide us with interesting data. The problems with the work were
tellingly technical which informs us both about player expectation, and about the
constraints and dependencies of making research-driven games. One of the major
criticisms, unrelated to the hypothesis, was the re-use of assets from the original Half
Life 2 game.
0 Мнения среди игроков разделились, и причины видеть в ней хорошую или плохую игру сообщают нам много интересного. Проблемы с игрой были техническими, что говорит нам и об ожиданиях игрока, и об ограничениях и зависимостях производства исследовательских игр. Одной из основных жалоб, не относящихся к гипотезе, было использование ресурсов из Half-Life 2.
→Which leads to the second question: did it work?
0 Что влечет за собой следующий вопрос: сработала ли она?
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