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很少游戏类型能像潜行那样有这么强的代入感

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这类游戏要你东躲西藏

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从阴影中出击

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你要智取一整队敌人

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又不暴露自己存在

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其中囊括了间谍

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刺客，呃还有…

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蝙蝠侠

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但要实现这份代入感，就得平衡若干复杂的游戏系统

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从敌人感知

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到信息收集

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到稳健的侦测系统

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任何一个出错

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就会破坏整个体验

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所以欢迎来到“潜行学堂”

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这是“游戏制作工具箱”关于潜行游戏机制的迷你系列

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每一集，我将介绍潜行游戏的一个系统

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剖析它的机制

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考察其中有意义的技术问题

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设计想法

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和玩家实际体验

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第一集

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我们从大多数潜行游戏的起点讲起

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即玩家的躲藏

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然后回答个问题

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守卫是如何看见听见玩家的？

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说到底

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游戏里守卫都有虚拟的眼睛和耳朵

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用于模拟人类的两种主要感官

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视觉与听觉

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为了模拟视觉，游戏中的守卫通常会有视锥

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就是敌人面前这个隐形的扇形区域

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一旦玩家进入视锥

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就会被发现

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当然，实际情况会更复杂

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简单的锥形会让玩家即使挨着敌人也无法被发现

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所以游戏中的形状通常更复杂

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《细胞分裂：黑名单》中

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守卫的主要视野是个基本视锥

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但用了第二层大框来模拟外围视野

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身后还有个小区域

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用于模拟那种“有人在背后”的第六感

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开发者还要考虑视锥高度

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这取决于是否允许玩家藏于敌人上方

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要判断玩家藏在掩体后

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游戏通常会用“射线检测”

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就是在两个元素间画一条看不见的线

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检测是否有东西挡在中间

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游戏还会用更复杂的模型捕捉玩家部分掩护的状态

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比如《细胞分裂》中

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敌人会向山姆骨架模型上的8块骨头投出射线

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看到一定数量的骨骼才会发现他

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如果玩家进入敌人视锥又没掩护

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玩家可能不会被立刻发现

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但是，守卫的警觉性开始上升

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要让警戒条涨得慢一些

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玩家要么待在远处

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要么在守卫的外围视野

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要么藏于暗处

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要么蹲着

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要么静止不动

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但当警戒条满格

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守卫就会知道你的确切位置

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值得一提的是，守卫能察觉玩家角色之外的异常

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如开着的门

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有趣的物品

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或尸体

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这可以让玩家制订有趣的计划，如陷阱和干扰

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还能给人一种守卫们有智能和意识的错觉

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不过，听觉模拟又是另一回事

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当你发出声响

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比如开枪

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把地板踩得嘎吱响

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或丢石头

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声响会根据音量大小

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形成一个影响范围

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范围内的守卫

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都会被派去检查声响来源

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但是，声音不一定会直线传到守卫耳中

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因为墙壁会阻隔声响

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所以，通常的解决办法是运用寻路系统

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也就是那种引导敌人绕过障碍、找到前进路线的技术

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让声音在环境中穿行

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游戏就能更逼真地模拟声响在现实世界的传播方式

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以上只举了几个要点

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有些游戏可能会用更复杂的设计

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以《神偷》为例

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守卫可以从同伴的遭遇中间接掌握玩家动向

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在《杀手2》里

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如果47背过身，就会让执法者对他的感知降低

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使伪装更容易成功

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视频下方的简介里有更详细的技术资料链接

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如果实现得好

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这个系统就能模拟出相当逼真的人类视听感知

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让你能有依据地推断哪些地方安全

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还能用常识去判断不同光线下的能见度

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或墙壁的隔音效果

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但玩家总会遇到一些难以判断的情况

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并感到挫败和不满

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我敢肯定你试过在游戏中满以为自己完美隐蔽

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结果却被守卫发现

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所以为了让玩家心中有数

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开发者可以用一些巧妙办法让感知系统更明显

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一是界面辅助元素

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早在《神偷》时开发者就知道

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玩家很难从第一人称视角了解自己的显眼程度

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所以

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游戏用“光线宝石”提示你当前的隐蔽性

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在《细胞分裂》里

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要想知道自己正发出多大声响

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看一眼山姆抬头显示器里的表盘即可

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另外，大多数游戏界面还有探测指示器

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功能类似于之前提到的警戒条

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它帮助玩家了解自己是否要被发现

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有时甚至会提示发现你的人在哪

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第二，利用动画或音频

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帮助玩家读懂守卫状态

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无所事事的守卫，代表他们感知力很低

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但疑心重重的敌人会举着武器

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对潜在威胁更敏感

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对讲机声音也能让你了解守卫是否注意到你

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接着是避难空间

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通常情况下，游戏里这些地方

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能让你绝对隐蔽

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它们可能是“蝙蝠侠”里的滴水嘴兽

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（建筑输水管道喷口终端的一种雕饰）

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或“刺客信条”里的高草地

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或“杀手”里的箱子和橱柜

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游戏至少有这样一处地方

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让你能绝对安全地进行侦查或谋划

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还有个常用办法是“偏袒玩家”

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就是巧妙操纵系统使之对玩家友好

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《细胞分裂：黑名单》程序员马丁·沃尔什曾说

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“从模拟角度来看，NPC看到听到什么并不重要”

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“重要的是玩家觉得NPC应该看到听到什么”

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所以在他的游戏中

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守卫超出屏幕的话，听力会减半

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因为被看不见的人听到行踪，令人觉得不公平

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《最后生还者》里

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敌人的视线通常投向乔尔的头部

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当乔尔蹲伏时，则投向他的胸部

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这样乔尔就算探头窥视也不会被发现

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然后最有用的办法，如前所述

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就是模糊的侦测系统

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如果一进入守卫的视锥就被发现

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会让人觉得不太公平

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所以合理做法是让守卫花点时间才意识到你存在

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最后还有个相当大胆的做法

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就是向玩家展现这些感知系统

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在优秀的横版潜行游戏《忍者之印》中

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你可以清楚看到守卫的感知范围

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他们的视锥显示在画面上

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忍者在阴影或光线中的状态

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会在角色图像上反映出来

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你制造的噪音会围绕声源发出又大又圆的脉冲

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影响范围甚至在发声前就会显示

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辅助你判断声东击西或隐匿潜行能否成功

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借助屏幕上的信息

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玩家不会对系统当前状态有任何疑惑

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你要么在视锥里

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要么不在

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声响要么传到了守卫耳中

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要么没有

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所以《忍者之印》的二元感知系统

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能搭配一个即时触发的二元侦测系统

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不过，这游戏的敌人视锥边缘检测还是有点模糊

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“有人在吗？”

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这里还有个稍有区别的例子

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看看《影子战术：将军之刃》

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游戏中，敌人视锥分三部分

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敌人面前的鲜绿色区域是高危区

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一旦进入就会被立刻探测到

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深绿色区域中，蹲伏能保持隐匿

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站起来就会暴露

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点状区是避难空间，长满灌木与高草

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让你保持隐蔽

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如果你进入敌人视野

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敌人整个视锥会逐渐变黄

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一旦黄色部分碰到你

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你就暴露了

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这种在屏幕显示所有必要信息的做法很高明

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当然，在3D游戏里实现会困难得多

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初代《合金装备》的解决方案就是勾勒画面布局

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然后在雷达上以俯视角2D显示

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再画出敌人视锥

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《杀出重围：人类分裂》等游戏仍在用这种粗暴的办法

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但它是可行的

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“狡狐大冒险”系列的守卫会用手电照出一圈显眼的黄光

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你要是踏入光圈，就会被发现

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否则就很安全

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有点不真实？

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是的

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但也确实直观

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不过最重要的

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是不同感知系统所造就的体验

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如果感知系统带有模糊与不确定性

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玩家就必须更设身处地地用常识来判断环境

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分析光线、阴影、距离和声音

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这也会给游戏带来一定的紧张感

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让你永远不能百分百放心

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我觉得这跟潜行游戏的代入感很吻合

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你的力量并非源自纯粹的蛮力

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而是来自躲避敌人的技巧

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所以让玩家的潜行带点脆弱和不确定

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能时刻提醒玩家随时失去微弱优势的风险

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正如“神偷”程序员汤姆·里安纳特所说

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“这是为了让玩家脉搏加速”

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“因可能暴露而提心吊胆”

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在借鉴潜行元素的生存恐怖游戏里隐藏感知系统尤为重要

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比如《异形：隔离》

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要是能清楚看到异形的视线范围就太糟糕了

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因为游戏的恐怖与焦虑正源自你对异形感知的模糊认识

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不过，让感知系统完全可见显然也有好处

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它赋予玩家更多掌控感

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让你玩起来自信满满

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你就像一个顶级捕食者

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引诱敌人落入圈套

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或悄然而来、无声击杀

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正如《忍者之印》制作人杰米·郑所说

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“迭代过程中”

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“我发现自己没兴趣去猜测守卫能否听见我”

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“而是醉心于为敌人埋下死亡陷阱”

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当然，狩猎的感觉可通过其它途径实现，比如

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前面提到的避难空间

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或提供一堆小工具和超能力

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但玩家越是能精确预测敌人感知

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就能越快收获成就感

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以上就是第一课

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潜行游戏的守卫通过虚拟的眼睛和耳朵去看去听

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开发者带来的不同游玩体验

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取决于感知系统对玩家的展现程度

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下回我们将继续深入探讨潜行游戏的设计

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如果你订阅了我的频道

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就能第一时间收看最新视频

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嘿，感谢收看

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希望大家在这场可怕的新冠疫情中一切安好

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现在情况太可怕了

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大家注意安全

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勤洗手

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听从必要安排

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我会尽力制作有趣的内容

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供大家开心地消磨时间