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每当数百款新游争相登陆Steam

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Switch eShop和PlayStation Store

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每月如此

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我都会感慨做游戏最难之处

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也许是怎样让人知道你的游戏

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如今强大的营销手段层出不穷

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但出色的预告片仍是关键

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这是一段连续90多秒的游戏镜头展示

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直接映入潜在玩家的眼球

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所以你最好别浪费机会

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而你这时肯定想问

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什么才是好的预告片？

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所以，理解预告片的实际目的很重要

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预告片不是游戏片段的随机剪辑

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也不是干巴巴的特色概要

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它不是游戏开场动画

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也绝不是无脑推销

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嘿，看这儿

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问你个问题

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喜欢炫酷的东西吗？

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那你得玩玩这款游戏，伙计

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它酷毙了

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还超上瘾

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呃

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相反，预告片的首要目的是告诉玩家

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你的游戏为何独特

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你也知道

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热门独立游戏都有个卖点

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《节奏地牢》开发者雷恩·克拉克这样描述它

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“一些有趣的游戏信息”

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“能推动人们去尝试或讨论”

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它可以是巧妙的游戏玩法，比如

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随音乐节奏移动的地牢探索

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或可以说服敌人停战的RPG

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它可以是精彩的类型混搭

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比如牌库构筑Roguelike

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或潜行平台跳跃

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它可以是独特的设定、全新的故事

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或尤为醒目的美术风格

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预告片是向玩家和媒体展现卖点的机会

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他们会通过聊天、推文、新闻报导等途径分享这些

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德里克·刘是当下最高产的预告片制作人之一

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他说

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“重点在于想象人们看完预告片后会怎样议论游戏”

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“让一个点子越容易分享”

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“它收获的分享就越多”

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那么像《GRIS》这样的游戏美丽不言自明

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但如果卖点是巧妙的玩法

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你就得好好解释一番

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如果创意特别复杂

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没法只通过视觉轻松表达

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比如分支叙事和随机生成

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那也许明说会更好

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你可以弹出文字标题卡片

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或加入旁白

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举个例子，听听《天堂之穹》的预告

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我是考古学家

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我挖掘古迹

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我破译的每段远古铭文

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都是揭秘文明的线索

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我踏足的每个星球

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都是探索未知的新路

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我的每个新发现

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都会让故事截然不同

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短短几句话就揭示了游戏核心

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你扮演考古学家

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你要翻译铭文

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你在太空旅行

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故事还会随你的行动而变

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这不是随机拼凑台词

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而是清晰描述游戏创意

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最重要的是

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开发者让主角的配音演员来念台词

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这听着更自然，不像推销语

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也让我们认识了一名游戏角色

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但如果游戏不言自明

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那最好别画蛇添足

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如果让观众自己看懂游戏玩法

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我觉得他们会更积极地看完预告片

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这更有参与感

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你只需清晰简明地展示游戏玩法即可

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在脑洞大开的解谜游戏《Baba is You》预告片里

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我们首先看到句子“Baba是你”变成“石头是你”

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然后石头开始四处移动

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这精妙地概括了玩家可以如何摆弄游戏基础规则

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还有一款游戏《被动拳之道》

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玩家要格挡攻击直至敌人精疲力尽

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然后轻轻一碰击倒敌人

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为此，预告片前10秒展现主角抵御攻击的画面

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然后动作变慢，音乐停止

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主角轻轻一戳，就把疲惫的敌人整个击飞

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接着再看《奥伯拉丁的回归》预告片

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我们看到尸体

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怀表

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一些死亡场景，以及

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在航海日志上记录的死亡信息

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你用不着把预告片做成教程

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但也不应让玩家对游戏玩法感到困惑

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预告片制作人M·约书亚说

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“这是你的首要障碍”

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“玩家不会碰他们看不懂的游戏”

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一旦观众失去兴趣，你的游戏展示就毫无意义了

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节奏是关键

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如果没把握好

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观众关掉预告片的速度会比弃坑《辐射76》更快

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为了把握节奏

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你不妨试着照抄德里克·刘的“强度变化图”

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看着像这样…

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第一步是“冷开场”

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预告片的开场是成功的关键

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所以德里克通常开门见山，比如激烈的镜头

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一段游玩剪辑

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甚至一个笑话

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国林署叫人们别往里面走太远，那里很危险

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你在里面，对吧？

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看着没那么危险… 哇

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啊！不！

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亨利！

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说真的，这里完全没问题

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可恶！

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别一开始就让你的观众感到无聊

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除非你已经真有点名气

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否则还是先把工作室Logo藏好

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“来自《FTL》制作人”确实是个卖点

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但“便秘猩猩工作室”就没啥意思了

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因为这是我编的

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但是，你不能让整部预告片从头燃到尾

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无休止的演出令人疲惫

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观众会开始麻木，不再上心

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所以现在是第二步

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引子

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这时，德里克会让观众缓一缓

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将他们的注意力引向更平和的事物

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现在你可以铺垫故事、介绍游戏世界，或者

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如之前所说，解释主要游戏机制

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通过“冷开场”确保观众注意力

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也让他们对展示内容有了基本理解后

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我们可以进行第三步：升温

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这时，我们开始酝酿

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我们可以慢慢提升强度

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加入更多机制

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展现更多表演

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点燃更多爆炸

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减少镜头间隔

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这里的关键在于多样化

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如果总是看到相同类型的敌人或场景

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观众会开始想

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“这就是全部？”

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注意让每个镜头展示不同内容

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很多预告片制作人都会用一个有趣技巧：主角不动

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但背景、敌人或服饰不断变换

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以彰显内容丰富

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这有点老套

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但仍胜过一张卡片写着

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“60关”

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第四步是“高潮”

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所有演出积聚到最具张力的一刻

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然后戛然而止

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我们不想展示一切

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我们希望在观众脑海留下悬念

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这支《光明旅者》预告片以可怕的Boss战收尾

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而这段《看火人》预告片巧妙地设下谜团，让你想玩玩游戏

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看接下来发生什么

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等等，你已经到那了？

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你不在瞭望塔？

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我不在塔里

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那谁在那？

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到这里，我们终于可以揭示游戏名或Logo

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展示相关信息，比如平台和发行日期

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或者让大家买买买

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只不过别让观众陷入决策瘫痪

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让他们专注做一件事

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有时，还有第五步

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尾音

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一个额外笑话，一点特别演出

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或预告片结束后的挑逗

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毕竟，你想高调收场

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预告片的展现效果尤为重要

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这么短时间

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这么多快速镜头

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而第一印象又是你的一切时

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让每帧都有价值比以往更显重要

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最关键的是，让预告片一目了然

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这意味着减少杂乱

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让观众注意力聚焦于最重要的内容

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卢卡斯·波普可以这样展示《请出示文件》

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毕竟这就是游戏原貌

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三个不同窗口

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用大量信息噪音争夺你的注意力

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与此相反

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卢卡斯只裁出画面中他需要的部分

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移民队伍

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脸庞

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文件

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公章

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条例手册

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照片

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我们一般倾向于隐藏界面元素

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比如HUD和鼠标指针

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通过画面的裁剪、放大甚至修改

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来强调重要信息

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别让噪音干扰注意力

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清晰的镜头剪辑同样重要

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观众会去注视画面中某物

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通常是玩家角色

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但镜头切换时

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他们就得去找新的关注点

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既累人又浪费时间

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所以

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在镜头切换时，试着将关注点保持在相近区域

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除了可读性，预告片还得吸引人

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所以要考虑构图，运用各种技巧比如“三分法”

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壮丽的风景画

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跟踪摄影和英雄人物特写

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让游戏看着美轮美奂

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记住作为预告片制作人

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你不仅是导演和剪辑师

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你也是演员

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所以你希望展现行云流水的游戏过程

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德里克会把一个动作录上几十遍，例如

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在《看火人》里扔这瓶子

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以获得完美素材

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除非是强调永久死亡

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否则你都不会想在录像时受伤或死掉

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声音也很重要

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音乐应该正好烘托画面中的氛围

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所以有时作曲家会专门为预告片写首歌

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有时是按营销需求裁剪原声配乐

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有时整部预告片都围绕音乐来剪

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踏着节奏剪辑很有趣

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踏着节奏演出也一样

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另外别忘了音效

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M·约书亚说

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“玩家会通过声音来感受游戏，虽然他们可能并未察觉”

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“如果你播的预告片只有音乐没有音效”

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“它很有可能枯燥乏味”

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你也知道音效对游戏本身有多重要

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所以别在预告片中禁音

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我们来看看这一切的实践

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这是《美丽水世界》的预告片，作者德里克·刘

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我们先看到12秒高强度画面

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爆炸

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火焰

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解体的船只

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激烈的音乐

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快速的剪辑

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然后我们换挡：引子

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一切平静下来

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我们也看到玩游戏时实际做些什么

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我们跳入大海，四处游荡

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戳戳这个，造造那个

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过了一会，旁白响起

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听着像我们空降舱里的AI语音

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它巧妙地解释了游戏核心循环

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利用外星资源是种成熟的生存策略

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探索

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学习

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分类新物种

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保护食物和能源

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收集特殊现象的数据

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节奏开始慢慢升温

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音乐如泉涌，我们看到能在游戏里做多少事

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所有能造的东西

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所有试着干掉我们的生物

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深海巨骨

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还有：评价引用！

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如果有人赞美，炫耀吧

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然后到高潮

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不详的独白

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我们不该去那么深

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一处神秘建筑

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最后是游戏名和Logo

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喔！

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这预告片节奏拿捏得真好

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既解释了游戏怎么玩

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还留下未解之谜鼓舞你去亲身体验

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它有着多样化展示

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暗示游戏还有大量事物等你探索

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而《美丽水世界》的卖点

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关于你能打造大型建筑以在外星水下世界生存

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表达得非常清晰

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这预告片满分

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我想唯一还有顾虑的是

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如果你太依赖这套结构

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你的预告片会开始看着千篇一律

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于是又回到最初难题

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如何与众不同

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所以创造力和差异化很重要

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将上述结构作为参考，而非模板

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比方说

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看看《异星工厂》的精彩预告片

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它仍然展示了游戏卖点

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演示了游戏玩法

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也让画面情绪不断升温

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但它是用一个连续镜头做到的

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如果有疑虑，请个专家吧

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我在视频简介附上了所有预告片王牌制作人的网站链接

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以及各种额外资源，比如怎样录制高质量素材

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如何运用ESRB和PEGI标志等等

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嘿，感谢收看！

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显然本期节目与游戏设计无关

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但对于涉足独立游戏开发可怕世界的人们来说一样超级重要

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我想现在我该按前面总结的那样，怂恿你做些什么

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所以，这次我想让你…

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过个愉快的一天

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好，拜拜