Continued

Author: Big Dog

This paper mainly focuses on the elements affect the authenticity of the game (interaction between individual and virtual environments). First, what is the authenticity of the game? The authenticity of the game is often difficult to grasp. On the one hand, the player wants to see more realistic images, hear more realistic sound effects, and more realistic interactions with the game world, and on the other hand, they are happy to receive some obvious distortion, For example, the protagonist in the action game can be violated, and the two racing in the racing game can collide in high-speed driving without rolling the fire. Chris Claford describes computer games as "a closed form system representing the innate system" in "Computer Game Design Art", according to his description, computer games are objective, In other words, it did not objectively copy the real world. Human thinking and imagination played a role in which the idea and imagination transformed the original untruthful world into true. Image, and objective authenticity only played the role of helping the thinking force and imagination of players, Crawford especially emphasized this eviction of this eviction, and the playability of the game, as "Free Space 2" Gabine Newway said: "For the game, the reality is a tool, not the purpose." The author has quoted Granny and Guspi Rivi in ​​the article "The author's theoretical foundation" The realization of the environmental immersion is elaborated: "... The virtual environment should be dominated by users, the technology is only one of the means, and the final decision has mastered in the user's hand, that is, whether the user is willing to give up their untrustworthy, or if Willing to believe that they do in virtual space "," this scene and participation does not necessarily need to get through 'realistic three-dimensional visual, auditory, tactile or olfactory', it can be reflected by the user's imagination. "It can be seen that the authenticity of the game is actually one of the performance of the immersion in the virtual environment. Its implementation is the key to how the players" give up their untrust ", not how to create objective real virtual environments. Second, the action is the realistic presence of the realistic system of the authenticity of the authenticity of the realism. All four subsystems - role and role tasks, input systems, virtual models, output systems - the most straightforward method, which is the most direct and simple way. Improve the reality of the screen sound effect, especially for merchants, due to magazines, television and other promotional media impossible to show the interactivity of the game, the most effective way of publicity is to put pictures, animation and other visual content as a selling point, in the reading age This is undoubtedly a promotional means of the effectiveness in front of the audience. Unfortunately, this means is not always valid. Once you enter this virtual environment, this authenticity created by the screen sound effect will be restricted by other factors. Hyde Gur had proposed "How to exist in", "in German, 'in' (sein) is a verb, it is an unfained, Hyde Gall uses it as a special philosophical term. From the words , Sein is a nominal, although the role of a noun, but Heidegre emphasizes that Sein should be understood from the verb, and its meaning represents it, therefore, 'exists in', meaning 'existence should appear ", It is a dynamic process, so the process-time is characterized by the characteristics, 'Time is based on the horizontal line' to which it is acquired, and the history of "Western Philosophy") Action is a basic element that creates a sense of scene. In this regard, another representative of the existentialism has a more direct elaboration. He believes that people's awareness of the objective world is not a visual stimulus passive reception. Process, action plays a key role in people's cognitive understanding.

In 1963, Richard Hyde and Allen Hayn have done a classic experiment on deep perception to prove that there is no so-called feeling without the existence of the limb movement system. The experimental content is as follows: Two groups of kittens were closed In the dark, it is the same visual graphics in front of them. One of the groups of kittens can be freely, and the other group cannot act. After a few weeks, the group of kittens that can be freely acts is normal, and another group of kittens If you constantly hit the other objects, it seems that you will not see the surroundings. Warella talked about this experiment in 1991: "The object is not perceived by the visual orientation of the characteristics." The above illustration, action is a link to the sensory stimulation and cognition understanding It is the foundation of thinking and imagination, this action also includes the experience of cured in memory in memory, with "hacking empire" as an example, one does not understand the computer, there is no contact space The audience is probably difficult to understand the existence of matrix. We can regard the creation and appreciation of movies, music, and novels as coding and decoding of existing experience. Compared with the virtual environment, the virtual environment has created this experience from the bottom floor, so it is more in the process of cognitive understanding. Emphasizing that users should take the initiative to participate in their own actions (this active participation needs to be based on the interactivity of the virtual environment. From this point of view, the immersion and interactivity of the virtual environment is interdependent, with the video game For example, if the player wants to know some pixels on the screen, they must be pressed. Keys them. If you want to know the dots in the maze is a bomb or beans, you must personally try it, if there is no action, these The symbols have lost meaning. Third, the external role and internal role "The Basis of Electronic Game Theory" One article mentioned when summarizing the characteristics of video games: "The player does not directly participate in the game, but must be manipulated by the game of the game, and many cases This manipulation must be achieved by means of substitute (that is, the player played in the game) is achieved. "This feature is easy to cause the outer role (OUT-of-Character) and the internal role (in-character) splitting, Especially when the game uses a third person's perspective. Before investigation of this problem, we need to further subdivide the "action" in the game into two interrelated links: the action of external roles and internal roles, the former is the player's action by entering the system. The instruction is passed to the internal role, and the latter means that the internal role makes a corresponding action in the game based on the received instructions, and the two is connected by the mapping of the input system. In the game of the first one, the fulcrum of the picture movement is the eye of the player. The movement of the player's sight is consistent with the protagonist in the picture, and the coherence on this space makes the two more likely to agree. In the game of the third person's perspective, the screen is centered on the control role, although its view is more convenient than the first person, making the player more convenient to judge the surrounding environment, but the inconsistency of the perspective is easy to cause external roles and The separation of the internal role, which affects the authenticity of the game, the player feels that he is manipulating a puppet, this puppet exists in the game (in Game but does not belong to the game (of game). To resolve this problem, you must use a good input system to make a naturally reasonable mapping of the action of the external role with internal roles.

When we consciously think "I am jumping", "I am picking up the things", the feeling of manipulation is actually no longer existed, the input system has become part of our body or to say an extension, just as a one Skilled musicians do not need to remember, you can play the desired tunes, at which point the action of external roles and internal roles have been integrated. Fourth, thinking and imagination In addition to designing a natural and reasonable mapping program, the player can make the player to give full play to their thoughts and imagination is also an indispensable factor in improving the authenticity, if not A certain thinking force and imagination, even if we press the arrow keys, you can't connect the pixels on the screen together with yourself, and you can't connect the dots on the screen to the bombs or beans. From the sensory stimulation to cognitive understanding, the synergy of action and thinking, imagination is required. When it is not possible to get sufficient realistic feelings, the player's thinking and imagination will play a crucial role. Steven Pur in "triggering happiness: video game and entertainment revolution", the three inconsistent features of video games: causality is not coherent, function is not coherent and space is not coherent, he thinks it is these three The game is not true. It is not consistent with the same action to lead the contradiction under different situations. Poole uses "Tomb Raidth 3" as an example, the game in the game can fry the enemy into a fragment, but the wooden door is no effect, and the door must be opened, which is obviously not logical. Function is inconsistent means that some props can only be used at specific situations or specific times. In the above example, you can at least try to use the rocket to be stabilized, but in the case of the function is not mobilized, you can't buckle the trigger, the game will tell you: "You can't use a rocket in it here." Pur think this is a Lazy performance, if the designer provides the player with some of the props with a specific function, it should make it can be used in any case, how the effect is another thing. The non-connection of space is also one of the mistakes that the game designer is committed, such as a height is completely protracted, but because the route is not correct, the player cannot pass. In fact, the three unconnected nature of Po will belong to logic in connection with logical inconsistency, and the player cannot make a correct judgment through its own thinking and imagination. Therefore, you cannot make the right cognitive and understanding of the surrounding world. When the player can neither get the intuitive perception of the game world, it is also impossible to obtain the logical perception of the game world with their own thinking and imagination, will be greatly reduced. V. 3D VS. 2D In 2D games, due to a lot of action, the players are more operative and their own thinking, imagination to make up for the lack of scene sensation; In a 3D game, the degree of freedom and flexibility of action have a qualitative leap, and the player can obtain direct perception of the game world through the movement of the body and the sight, thus strengthening the connection between the sensory stimulus and cognitive understanding. Jeff Holland's 3D Technology and 2D technology in the "2D vs. 3D" article each include three advantages, of which 3D technology has changed the way the player observes the game world in: 1, 3D technology; 2 The animation is more convenient; 3. Creating new objects on the original basis is more convenient. The advantage of 2D technology is: 1. The fineness of the screen in a single plane is higher; 2. Processing and display speed faster; 3. The development cycle of the engine is shorter. From the comparison, we can see that in the case where efficiency is not considered, the essence between 3D games and 2D games is that "the player observes the way the game" is different, and the explanation of Holland is: "3D The game can show the surrounding world at different angles, and the player can move in different steps.