Hector rodriguez

Station - Hector RODRIGUEZ

One of the most popular genres of early computer games was the so-called “text adventure”. The player reads textual descriptions on a command window, normally written in the second person, such as for instance “You are inside a dark cellar”. The player controls a virtual character by typing instructions in imperative form: “go north”, “open the door”, “examine the box”, “take the gun”, etc. Once the player has typed the instructions, the system responds with a new text message and then waits for new instructions from the player.

The most important task of the game designer is the creation of a structure of rules meant to simulate a world. The player must make decisions, which can succeed, fail, or have various consequences depending on the structure of the virtual world. The world model built into the system is thus the core of a text adventure game.

This gives the designer the opportunity to think procedurally. Instead of creating a narrative with one or more rigidly predefined endings, the designer can focus on the rules of the simulation, and let the story emerge spontaneously through the interaction of the player and the rule system during the course of game play.

This project adopts the format of a detective puzzle. The puzzle is defined procedurally. While most puzzles require players to find a pre-existing solution, the rules of this game are established so that the solution of the puzzle emerges during (not prior to) game play. This is achieved by parametrizing several techniques from classical detective novels in the form of highly general rules. These rules in turn generate solutions that depend in part on the decisions of the player. The creative challenge of the project is to ensure that every play session involves a demanding puzzle that gives the player a fair chance to discover a solution.

《下一站》

「文字探險遊戲」是早期電腦遊戲界裡最流行的其中一個類別。玩者會在一個指令視窗裡讀到一些多以第二身角度寫出來的描述,例如:「你身處於一個黑暗的地窖。」然後,玩者需要打上一些命令式的指示去控制一個虛擬角色:「向北走」、「把門打開」、「檢查一下盒子」、「把槍拿起」等等。玩者打上指示,系統隨即以一個新的文字訊息作回應,再等待玩者的新指示。

對遊戲設計師來說,最重要的是建立出一個規則結構,以模擬出另一個世界。玩者須在那裡作出很多決定:那些決定可以是成功的,也可以是失敗的,又或者是取決於模擬世界裡的結構而產生出來的很多不同的結果。在電腦系統內建立的模擬世界因此而成為文字探險遊戲的重點。

這是一個給設計師作程序式思考的機會。與預先設立一個或多個結果不同,設計師可以專注於模擬法則的建立,透過遊戲過程中法則系統與玩者之間的互動關係來讓故事自然地發展。

此作品採取了偵探故事的形式,而謎底則建立於遊戲的過程當中。一般的謎團需要玩者去尋找一個預設的解決方法。然而,這個作品所定下的法則會讓答案在遊戲過程中產生出來。這是由於遊戲大致上的法則都參考了經典偵探小說的幾個技巧。部分經這些法則所產生出來的結果取決於玩者在遊戲過程中所作的決定。要保證每個遊戲單元都有一個難度高的謎團,好讓玩者有機會去發現結局,於作品的創意是一項挑戰。


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Hector RODRIGUEZ is a digital artist and media theorist. His digital animation Res Extensa received the award for best digital work in the Hong Kong Art Biennial. His game system CoPerspective was a finalist in the Games Meets Graphics competition at Eurographics 2006. His essays about film theory and digital art have been published in Screen, Cinema Journal, and Game Studies, and he has participated in various art and technology conferences. He is Artistic Director of the Microwave International Media Art Festival, where he has also taught workshops on Java programming. He is currently Associate Professor at the School of Creative Media, City University of Hong Kong, where he teaches courses in Visual Studies, Contemporary Art, Play and Game Studies, Film Theory, Computation, and Critical Theory.

羅海德是數碼藝術家及媒體理論學者,他的數碼動畫「物之廣延」曾於香港藝術雙年展的數碼組別獲得優秀獎。他的電腦遊戲系統CoPerspective進入了Eurographics 2006的遊戲與圖像比賽的決賽。他撰寫的電影理論和數碼藝術的文章曾刊登於多份國際期刋之中,包括Screen, Cinema Journal 和 Game Studies。他參與過多個藝術與科技的會議,現為香港城市大學創意媒體學院副教授和微波國際媒體藝術節的創作總監。



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