视频游戏如何让玩家成为故事叙述者 – David Cage

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视频游戏如何让玩家成为故事叙述者 - David Cage

当你在看电影或阅读小说时，是否曾希望自己能改变故事情节，以挽救你最喜欢的角色？游戏设计师大卫 · 凯奇允许你在他的视频游戏中做到这一点——由玩家在视频游戏中做出决定，去塑造一个不断变化的剧情。在演讲和现场演示中，凯奇展示了他的新游戏中的一个场景，让观众去控制一个角色的决定。凯奇说道： “互动的故事叙述可以成为20世纪的电影模式: 一门深刻改变时代的艺术。“

00:00
The way we tell stories has naturally changed since Aristotle defined the rules of tragedy about 2,500 years ago. According to him, the role of storytelling is to mimic life and make us feel emotions. And that's exactly what storytelling as we know it has done very well since then. But there is a dimension of life that storytelling could never really reproduce. It is the notion of choices.
自从约 2500年前，亚里士多德定义了悲剧的规则以来，我们讲故事的方式自然而然地发生了变化。他认为，讲故事的作用就是再现生活中的场景, 让我们的情感受到触动。众所周知，从此之后对故事的叙述越来越引人入胜。但生活中有一个维度，是故事永远无法真正再现的，这就是”选择“的概念。

00:36
Choices are a very important part of our lives. We as individuals are defined by the choices we make. Some of our decisions can have very significant consequences and totally change the courses of our lives. But in a play, a novel or a film, the writer makes all the decisions in advance for the characters, and as the audience, we can only watch, passively, the consequences of his decisions.
“选择”是我们生活中非常重要的一部分，作为个人，我们是由自己所做出的选择来定义的；我们的一些决定可能会产生非常重大的后果，甚至彻底改变我们的人生历程。但在戏剧、小说或电影中，作者已提前为角色做了所有的决定，而作为观众的我们，只能被动地目睹作者的决定所产生的结果。

01:07
As a storyteller, I've always been fascinated with the idea of recreating this notion of choices in fiction. My dream was to put the audience in the shoes of the main protagonists, let them make their own decisions, and by doing so, let them tell their own stories. Finding a way to achieve this is what I did in the past 20 years of my life.
作为一名故事叙述者，我一直痴迷于在小说中再现这种“选择”的概念。我的梦想是让观众站在主角们的立场上，通过自己做决定，来讲述自己的故事版本。我花了 20 年的时间，想要找到实现这一目标的方法。

01:37
Today, I would like to introduce you to this new way of telling stories, a way that has interactivity at its heart. Rather than exposing the theory behind it, which could have been kind of abstract and probably a little bit boring, I thought it would be a great opportunity to do a little experiment. I would like you, the people here at TED, to tell your own story.
今天, 我想向大家介绍这种讲故事的新方式，一种以“互动”为核心的方式。与其直接揭示其背后有点抽象，可能还有点无聊的理论，我觉得倒不如利用眼下这一难得的机会来做一个小实验，我希望在座的你们能够讲述属于自己的故事。

02:10
So I came with an interactive scene that we are going to play together. I've asked Vicky -- hello, Vicky -- to control the main character for us. And your role -- you, the audience -- will be to make the choices. So Vicky and I don't know what's going to happen, because it will all be based on your decisions.
所以，我带来了一个大家可以共同参与的互动场景。我会邀请维琪—— 你好，维琪—— 为我们操控主角。而你们的角色—— 作为观众的你们—— 将要做出选择。维琪和我都不知道接下来会发生什么，因为，接下来要发生的一切将完全取决于你们的决定。

02:36
This scene comes from our next game, called "Detroit: Become Human," and we are in the near future, where technology made possible the creation of androids that look exactly like human beings. We are in the shoes of this character called Connor, who is an android, and he can do very fancy things with coins, as you can see. He has this blue triangle on this chest, as all androids do, and now Vicky is in control of this character. She can walk around, she can go anywhere, she can look around, she can interact with her environment, and now she can tell her own stories by making choices.
这一幕取自我们的下一个游戏 “底特律: 成为人类”，场景是在不久的将来，利用科技所打造的机器人看起来和人类一模一样。我们现在站在康纳这个角色的立场，他是个机器人，就像你看到的那样，他会用硬币玩酷酷的小把戏，就像所有的机器人一样，他的胸部有个蓝色三角形标识，现在维琪正再操控这个角色，她可以（让角色）四处走动、可以去任何地方，可以环顾四周、可以与环境互动，现在，她可以通过选择来讲述自己版本的故事。

03:17
So here we have our first choice. There is a fish on the ground. What should we do? Should we save it or should we leave it? Remember, we are under time pressure, so we'd better be fast. What should we do?
好了，现在我们要做出第一个选择。地上有一条鱼，我们该怎么办呢？我们是该拯救它，还是置之不理？记住，我们没有太多时间，所以最好快点。我们该怎么办呢？

03:30
Audience: Save it!
观众：救它呀！

03:31
David Cage: Save it? Save the fish?
大卫 · 凯奇：好，救起这条鱼对吧？

03:37
(Video) (Fish plops)
(视频)(鱼扑棱了一下)

03:38
DC: There we go. OK, we have an android who likes animals. OK, let's move on. Remember, we have a hostage situation.
大卫 · 凯奇：鱼得救了。看来我们的机器人喜欢动物。那么，我们继续前进。别忘了，我们还要去处理人质事件。

03:47
(Video) Woman: Please, please, you've got to save my little girl! Wait -- you're sending an android?
(视频)女人：求你了，求你了，请一定要救救我的女儿！等等——你们派了一个机器人来？

03:54
Officer: All right, ma'am, you need to go.
警官：好了，女士，你该走了。

03:57
W: You can't do that! Why aren't you sending a real person?
女人：你们不能那么做！为什么不能派一个真人来呢？

04:02
DC: OK, she's not really happy. Her daughter's been taken hostage by an android, and of course, she's in a state of shock. Now we can continue to explore this apartment. We see all the SWAT forces in place. But we need to find this Captain Allen first. That's the first thing we need to do. So, again, we can go anywhere. Vicky's still in control of the character. Let's see -- oh, I think this is Captain Allen. He's on the phone.
大卫 · 凯奇：好吧, 这位女士不高兴了。她的女儿被一个机器人扣为人质，当然，她正处于震惊的状态。现在，我们可以继续侦察这个公寓了。可以看到，所有的特警部队都已就位。但我们得先找到艾伦上尉，这是我们需要做的第一件事。同样，我们可以去任何地方，维琪还在操控这个角色。我们来看一下—— 哦，我想打电话的那人正是艾伦上尉。

04:27
(Video) Connor: Captain Allen, my name is Connor. I'm the android sent by CyberLife.
(视频)康纳：艾伦上尉，我叫康纳。我是数字生命组织派来的机器人。

04:35
Captain Allen: Let's fire at everything that moves. It already shot down two of my men. We could easily get it, but they're on the edge of the balcony -- it if falls, she falls.
艾伦上尉：我们对所有移动的东西开火吧，它已经打死了我的两个手下。我们本来可以很轻易地制服它，但他们现在在阳台的边缘—— 如果它掉下去，她也会掉落下去。

04:45
DC: OK, now we need to decide what we want to ask the captain. What should be our choice? Deviant's name? Deviant's behavior? Emotional shock?
那么，现在我们需要决定想问上尉什么样的问题，我们的选择应该是什么？是问这个离经叛道的机器人的名字？它的古怪行为？还是它的情绪是否受到了刺激？

04:53
(Video) C: Has it experienced an emotional shock recently?
(视频)康纳：它最近情绪受过刺激吗？

04:57
Capt A: I haven't got a clue. Does it matter?
上尉：我不知道。这（和绑架）有什么关系吗？

04:59
C: I need information to determine the best approach.
康纳：我需要了解更多信息以确定最好的（营救）方案。

05:02
DC: OK, a second choice. Maybe we can learn something. What should we choose?
大卫 · 凯奇：好了, 第二个选择来了。也许我们可以了解一些东西。我们应该选择什么？

05:06
Audience: Behavior.
观众：行为。

05:07
DC: OK, deviant behavior, Vicky.
大卫 · 凯奇：好，维琪，问它是否举止古怪。

05:09
(Video) C: Do you know if it's been behaving strangely before this?
(视频)康纳：你知道在这之前它的行为是否很奇怪吗？

05:12
Capt A: Listen ... saving that kid is all that matters.
上尉：听着，救那个孩子才是最重要的。

05:17
DC: OK, we are not going to learn anything from this guy. We need to do something. Let's try to go back in the lobby. Oh, wait -- there's a room over there on your right, Vicky, I think. Maybe there's something we can learn here. Oh, there's a tablet. Let's have a look.
大卫 · 凯奇：看来，从这个家伙身上了解不到什么信息。我们需要做点什么，我们再回到客厅试试吧。哦，等等—— 维琪，你右边好像有一个房间，也许我们可以在这里了解到一些信息吧。哦, 有一个平板电脑，我们一起来看看。

05:41
(Video) Girl: This is Daniel, the coolest android in the world. Say "Hi," Daniel.
(视频)女孩：这是丹尼尔，世界上最酷的机器人，说 "嗨" 丹尼尔。

05:46
Daniel: Hello!
丹尼尔：哈罗！

05:47
G: You're my bestie, we'll always be together!
女孩：你是我最好的朋友，我们会永远在一起！

05:50
DC: That was just one way of playing the scenes, but there are many other ways of playing it. Depending on the choices you make, we could have seen many different actions, many different consequences, many different outcomes.
大卫 · 凯奇：那只是场景的一种玩法，还有很多其他的玩法。根据你做出的选择，我们会看到许多不同的动作，许多不同的结果，许多不同的结局。

06:03
So that gives you an idea of what my work is about as an interactive writer. Where a linear writer needs to deal with time and space, as an interactive writer, I need to deal with time, space and possibilities. I have to manage massive tree structures, where each branch is a new variation of the story. I need to think about all the possibilities in a given scene and try to imagine everything that can happen. I need to deal with thousands and thousands of variables, conditions and possibilities. As a consequence, where a film script is about 100 pages, an interactive script like this is between four and five thousand pages.
这样你们就能了解，我作为一个互动作家的工作是什么。一个线性作家只需要构思时间和空间，而作为一个互动的作家，我要考虑时间、空间，以及其他各种可能性。我必须处理大量分支结构中的情节，而其中每个分支都是故事的一个新的变量。我需要思考一个特定场景中的所有可能性，并努力想象一切可能会发生的事情。我需要处理成千上万的变量、各种情况和可能性，结果就是，一个电影剧本只需大约 100 页，而像这样的交互式剧本，长度却在 4000 到 5000 页之间。

06:51
So that gives you an idea of what this work is about. But I think, in the end, the experience is very unique, because it is the result of the collaboration between a writer creating this narrative landscape and the player making his own decisions, telling his own story and becoming the cowriter but also the coactor and the codirector of the story.
以上给大家介绍的就是我的工作内容。但我认为，最终这种体验将是非常是独特的，因为它是共同协作的成果，由创造这种叙事场景的作家和自己做决定的玩家共同来完成，玩家在讲述自己的故事，并成为故事的联合创作人、联合演员和联合导演。

07:22
Interactive storytelling is a revolution in the way we tell stories. With the emergence of new platforms like interactive television, virtual reality and video games, it can become a new form of entertainment and maybe even a new form of art.
互动的故事叙述是我们讲故事方式的一场革命，随着像互动电视、虚拟现实和视频游戏等新平台的出现，它可以成为一种新的娱乐形式，甚至可能成为一种新的艺术形式。

07:41
I am convinced that in the coming years, we will see more and more moving and meaningful interactive experiences, created by a new generation of talents. This is a medium waiting for its Orson Welles or its Stanley Kubrick, and I have no doubt that they will soon emerge and be recognized as such. I believe that interactive storytelling can be what cinema was in the 20th century: an art that deeply changes its time.
我坚信，在今后几年里，我们还将看到越来越多、由新一代人才创造的、感人而有意义的互动体验。这是一个在等待它的奥森 · 威尔斯或斯坦利 · 库布里克出现的媒介，而我相信他们很快就会出现，并成为新时代的电影大师。我相信，互动的故事叙述会成为 20 世纪电影的新貌：一种深刻改变时代的艺术！