Sierra On-Line, 1998
Windows
Sierra On-Line, 1998
Windows
传说中的设计师 Roberta Williams 在 90 年代末遇到了一个大问题。当时的游戏市场正在蓬勃发展,游戏机和 3D 动作游戏作品的销量达到了数百万,但冒险游戏却被认为是一种已然没落的类型。她在 1979 年创建的 Sierra[1] 公司仍然是一个体量巨大的公司,但 Roberta 和她的丈夫在 1996 年便将其出售(尽管他们仍然在那里工作)。而此时,Sierra 公司的新主人迫切需要一个爆款游戏。
The fabled designer Roberta Williams had a big problem in the late 90s. The gaming market was booming, consoles and 3D action games titles were selling millions, but adventure games were considered a dead genre. Sierra, the company she founded in 1979, was still a giant corporation, but Roberta and her husband had sold it in 1996 (although they still worked there). And now Sierra's new owners were desperate for a big hit.
于是乎,Roberta 参考了当时最流行的一些游戏——《雷神之锤(Quake)》、《古墓丽影(Tomb Raider)》和《暗黑破坏神(Diablo)》,并加入了在当时颇为新颖的 3D 图形,试图创造一种全新的冒险游戏风格,一款能够吸引这些现代游戏受众投入到她的《国王密使(King’s Quest)》系列的游戏。
如此一来得到的成果是一个可以在第一或第三人称模式下游玩的动作 RPG 游戏,包含了实时战斗,平台闯关,甚至还有一个允许你爬墙的抓钩。许多 RPG 元素也被添加进来,如等级和经验值、各种武器和盔甲,甚至是类似《暗黑破坏神》的魔药工具栏。
然而,《国王密使》系列前作的游戏特色却几乎没有展现。虽然你偶尔会遇到一两个谜题——比如需要使用斧头砍倒树木迫使河流改道,来让附近的磨坊停工——但这些都是非常少见的。你也不要指望有对话树(dialogue tree)[2] ,大多数时候,剧情是通过杀死所有会动的东西,然后点击所有不会动的东西来推进的。
如果游戏的其他部分是优秀的,那么这些缺点最终都可以被忽略。但它确实就是不怎么样。移动和跳跃感觉很笨拙(臭名昭著的“坦克式移动”[3] ),战斗也只不过是在喝药水的同时点击敌人,游戏场景沉闷而空洞,剧情很幼稚,游戏根本无法以任何方式让玩家感到兴奋。
回顾过去,Roberta 曾处于一个困难的境地,她需要尽力去拓展新的游戏受众。用现在的眼光来看,要批评她很容易,但她做出这样大胆的赌注在当时的情况下确实是可以理解的。事实上,《永恒的面具(Mask of Eternity)》与备受推崇的经典冒险游戏《冥界狂想曲(Grim Fandango)》在同一年发布,并在销量上以二比一的优势超过了后者。
销量领先能够证明它是一个好游戏吗?答案绝非如此。但它可以作为一个关于游戏产业及其趋势的前车之鉴。
So Roberta took some of the most popular games at the time – Quake, Tomb Raider and Diablo –, added then-innovative 3D graphics and tried to create a new style of adventure game, one that would attract this modern gaming audience into her King's Quest series.
The result is an Action RPG that can be played in either first- or third-person mode, complete with real-time combat, platforming sections and even a grappling hook that allows you to climb walls. Many RPG elements also were added, such as levels and experience points, various weapons and armour and even a Diablo-like toolbar of magical potions.
However, little from the previous King's Quest games is present. While occasionally you'll come across one or two puzzles – such as using an axe to chop down a tree, so that it diverts the flow of a river and stops a nearby mill – those are extremely rare. And don't expect a single dialogue tree either. Most of the time you'll progress by killing everything that moves, and then clicking on everything that doesn't.
All could eventually be overlooked had the rest of the game been good. But it just isn't. Moving and jumping feels clunky (the infamous “tank controls”), combat is nothing but clicking on enemies while chugging potions, environments are dull and empty, the writing is childish and the game simply never manages to excite the player in any way.
Looking back, Roberta was in a difficult position and tried her best to reach this new gaming audience. It's easy to criticise her now, but such wild bet made sense at the time. In fact, Mask of Eternity was released in the same year as the much revered adventure classic Grim Fandango – and outsold it 2-to-1.
Does that make it a good game? Definitely not, but serves as a cautionary tale about the whims of the game industry and its trends.
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1 译者注:一家美国电子游戏制作商和发行商,1996 年被出售后 1998 年再被转手,成为维旺迪(Vivendi)的子公司,后又随母公司维旺迪并入动视(Activision, Inc.)。作为发行商,发行过像《半条命(Half-Life)》这样的现象级作品。
2 译者注:对话树是许多冒险游戏(含动作冒险游戏)、电子角色扮演游戏遍穿使用的游戏机制。当和非玩家角色互动时,玩家需要选择在对话中说什么,并选择直到对话结束。视觉小说和恋爱模拟游戏等某些电子游戏类型,几乎完全围绕此类角色交互和分支对话。
3 译者注:tank controls,一种备受争议的游戏控制机制,这种控制模式下,移动使用的是角色本身而非相机作为参考点,即只能通过左右按键或摇杆控制角色朝向,所以角色无法横移,或者在转身的同时移动。早期的《生化危机》和《古墓丽影》采用的就是这种控制机制。一些人认为,这种方式可以限制玩家对环境的观察能力,从而提高沉浸感和恐惧感。