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[翻譯] 用這個開發坦克的影片來解釋那些開發中遊戲為什麼會變成災難


The plague of buggy, unfinished games explained by a video about tanks. Yes, really

[翻譯] 用這個開發坦克的影片來解釋那些開發中遊戲為什麼會變成災難

原文網址:http://www.polygon.com/2015/1/6/7501619/buggy-games-why-they-happen

作者:Ben Kuchera

Jan 06, 2015

Have you ever wondered why big-name games, made by teams filled with industry veterans and coming from well-funded publishers, often can’t ship in stable condition?

Keith Fuller shipped 12 AAA titles as a programmer, design manager and producer before starting his own company, Fuller Game Production, and he shared this video from the movie Pentagon Wars that explains exactly what it’s like to be a producer at the helm of a big game.

你是否曾經想要知道那些名響一時又有雄厚投資的的老牌遊戲團隊,卻最終沒辦法發售的原因?

Keith Fuller在創立他自己的公司Fuller Game Production前,是一位曾經發售過12個高品質的遊戲的程式設計師,設計經理,及製作人。他分享了這個電影Pentagon Wars<烈火突擊隊>的片段,用來解釋一個巨作的製作人的挑戰到底是怎麼樣?

How things go bad

到底發生了甚麼事

Fuller was nice enough to break down exactly what the process is like.

Fuller正好是一個能夠解釋這樣情節的人。

“Colonel Smith — the producer — is a middle man who doesn’t make anyone happy until three presidential terms have gone by. Notice how the only time his commanding officers are happy is at the very beginning and the very end?" Fuller explained. Every request is countered by the gentleman drafting the documents with a reasonable rebuttal, but it doesn’t matter. If the people with the money want something, there’s very little you can do.

Fuller解釋著:史密斯上校,也就是製作人,是一個試圖取悅各方人馬的中間人,你是否注意到他率領的軍官只有在一開始與結束的時候是開心的嗎?他對畫草圖的部下的每一個命令其實都遭到一個理性的反駁意見,但那意見其實並不重要。假如投資人要某件東西,事實上就沒甚麼好協商的。

The armored vehicle, our stand-in for the game, was designed and aimed at one specific task, but that goes out the window quickly. The initial vision doesn’t really matter in the scheme of things; it’s just the first step in a long road of painful compromises.

裝甲車輛,在我們的例子就是遊戲,原本是以某個目的而設計的,但很快的事情就不是這麼回事。最初的願景其實並不重要;那只是痛苦妥協之路的前菜而已。

“Smith’s given an initial plan, tries to execute it, and then is given change after change drawing out the process interminably," Fuller told Polygon.

Fuller說到:史密斯提出了計畫,試著執行,然後就是不斷的規格變更。

“Producers get these requests all the time from a client, publisher, or higher-up in the studio. ‘Can’t you just…’ was a code phrase we used on the floor to indicate another demand made from on high with little regard for the cost of implementation," he continued.

Fuller繼續:製作人總是從客戶,發行商,高層收到這些變更的要求。"你能不能…"變成一個超越實作成本的需求發出時候的鈴鐺。

So you’re making a real-time strategy game that is designed for short rounds and solid online play? That sounds great! But can’t you just make a first-person minigame with a single-player story? The kids love those. No, you can’t have more people, money or time. It’s just a minigame!

你正在做即時策略遊戲,有著快節奏跟高反應的連線功能?聽起來不錯!但能不能再做一個第一人稱的給單人玩的劇情模式小遊戲?玩家很喜歡這種東西。但很可惜我們沒辦法再增加人力,資金,及延展時程。就只是個小遊戲而已吧!

This process becomes trickier when other games are released, especially those that do well. Your vision is important, sure, but what about that other thing making all the money? Why can’t we make that money too?

當其他的遊戲釋出時,這個情形就越來越嚴重,尤其是大作出現。製作人的眼光很重要,但是那些別人的遊戲上能賺錢的特色也一樣重要?難道你不想賺錢嗎?

The final product looked almost nothing like the original design

產品最終就跟最初的設計完全不相同了。
“Imagine if one of the generals had looked at the scale mockup of the Bradley and told Smith, ‘Fantastic, but…I hear the Russians have something like this that can fly. Make the Bradley flight-capable,'" Fuller explained.

Fuller繼續解釋:想像一下當將軍看了那些布雷德利裝步戰車的縮小模型後告訴史密斯:"這很有趣,但是…我聽說俄羅斯人已經有類似這種東西,但他們能飛起來,要不我們也讓我們的裝步戰車飛起來如何?"

“This is what happens during development of every big budget game when another big budget game ships."

這就是高預算的遊戲案開發同時,另一個巨作問世後會發生的事情。

This sort of thing is more common than you think, and it leads to muddled, unfinished and often buggy releases. It’s not a matter of including the kitchen sink; developers are sometimes tasked with adding a hot tub at the last second as the project develops.

這類似情節其實比想像中更常見,而這會造就模糊,未完成,或是充滿臭蟲的上市產品。這不是單純只是處理廚餘(把問題解決),開發者常常是在開發的最後一刻才被追加這些燙手山芋。

Fuller now works to help developers avoid these problems with his own company, and has written about the topic and even helped create tools to help with developer engagement. But that experience was hard-won.

Fuller現在正努力協助他的公司的開發者避免這些問題,也試著撰寫相關的文章,提供工具協助其他開發者。但他會這樣做都是因為有這些經歷。

“I worked on a game that had all of these things happen. Creative direction was given from the license holder, budget and time restrictions given by the publisher, personnel constraints given by the studio head," Fuller said. “No regard whatsoever was given to the fact that we were using a renderer designed for short view distances, indoor only, to create an open world sandbox game."

Fuller 說:我做過發生過以上全部事件的遊戲案。創意特色是由智財擁有者提供,預算與時間是由發行商控制,人事則由公司高層指派,更別說繪圖的引擎的選用過於短視,選了一個適合室內的引擎,卻要做開放世界沙盒遊戲。

So what happened with the game? “The development spanned two different presidents. The final product looked almost nothing like the original design. We shipped the Bradley depicted in this movie."

那最後發生了甚麼事?最終產品跟原先的設計完全不一致。就跟布雷德利裝步戰車的情況一樣。

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