摆脱“彼得潘综合症”的9个建议编辑本段回目录
Quantic Dream首席执行官David Cage在拉斯维加斯DICE峰会上称，“现在，游戏行业应走向成熟。我们应重新审视自己的身份以及手头事项。”他表示我们都患上了彼得潘综合症，“也就是畏惧成长，成为大人，实际上是拒绝长大。整个游戏行业就是如此。”
他提醒道，全球30款畅销游戏（游戏邦注：此处仅指售量）要么出自任天堂之手，要么是《使命召唤》、《侠盗猎车手》或《Kinect Adventures》这类。其中有21款来自任天堂。他指出：“榜单上只存在3种题材，即儿童、休闲以及暴力动作游戏。”
Cage补充道：“由此可见，近40年来，我们均采用同种主题与世界。在游戏中，你扮演英雄角色，解放世界，拯救公主，你必须消灭敌人。”
David Cage(from games.cz)
他提到：“对比1992年的《德军总部》与2012年的《使命召唤》，你会发现我们在画面制作上取得重大进展。但内容方面则一成不变。”
他表示，游戏行业在主题方面没有多大进展。“很多时候当我体验某款游戏时，我总觉得自己已玩过上百万次。我们应逐渐走出针对儿童、青少年与年轻人用户的传统市场。”
他提出要向成年用户领域进军。“思考下那些从不玩游戏的好友，还有父母亲。他们玩主机游戏吗？大多数时候他们并没有玩电子游戏。他们几乎不知道存在这种媒介。”然而你可以同他们探讨书籍、电影、电视，因为几乎所有人都对这些媒介耳熟能详。
基于上述前提，Cage揭示了游戏行业走向成熟应做出的9个调整。
1.针对所有用户制作游戏。Cage一再重复道：“我相信，现在该行业应针对成人用户创建内容和交互式体验。”
2.改变范例。他警告道：“我们不能重复同种套路制作相同内容，期望借此扩大市场规模。我们应认识到暴力不是唯一的制作途径。”
他表示：“对大多数成年玩家而言，掌控系统并不刺激，反而极为枯燥。”他们并不想要对抗模式。这在儿童用户那还行得通，而成人用户则对此不感冒。他补充道：“我不希望自己被10岁的小孩打败。”因此，游戏行业应尝试制作不带枪支的游戏。
3.意义的重要性。Cage指道：“如果你意识到这点，你便清楚许多游戏并未包含富有内涵的内容！这是个无可争辩的事实，但游戏是种玩具。我们可以制作出内容丰富且富有意义的游戏吗？”
他指出：“为此我们应邀请作家加入游戏开发行列。如今大部分时候，游戏是由程序员、美工与营销小组着手打造。我们的项目核心确实需要作家的参与。”
此外，所有游戏都应采用真实世界主题。大多数游戏都发生在虚幻世界中，但Cage认为我们应更加关注人类关系。“我们应围绕社会与生活中心制作游戏。在此，它们会以独特方式发挥作用。”
Peter_Pan_Syndrome(from deviantart.net)
4.游戏应易于操作。Cage指出：“我们应着眼于玩家思想，而不是其操作速度有多快！”我们应思考旅程与挑战的比重。游戏是指一系列障碍呢？还是一场旅途？只要一会功夫便能结束？
5.引进其他人才。David Cage在其职业生涯中曾与David Bowie（英国音乐人）及Ellen Page（好莱坞女演员）合作过，他表示这给他带来了审视游戏的全新视角。“与他们共事是场神奇经历。他们也是因为游戏行业的新奇事物而聚集于此。”
6.与好莱坞建立新关系。用Cage的话来说，游戏行业与好莱坞之间的合作常被误解为“主要通过授权开发游戏”而建立关系。他表示：“如今应与好莱坞建立有意义且平衡的新型合作关系。我们可以创造并合作，构造出全新娱乐形式。”他们擅长线性艺术，我们擅长互动模式。我们应将两者结合。
7.调整与审查制度的关系。Cage称道：“我认为自己是个作者。并尝试编写有关情感与对话的脚本。有时还会融入暴力元素，有时是情色内容，但这并不是问题。但现在，有人检查后表示：‘不，你必须做出调整。因为这样是不行的。’”
他补充道：“为什么在电影可行？在小说中也可行？答案总是如出一辙，因为游戏具有交互性。另外，在去年E3大会上的所见所闻着实令我震惊。其中有些游戏为了赶超竞争对手，逾越界限，在游戏中过度渲染暴力和情色元素。我认为这是一个大错。”
Cage表示：“有时我们走得太远，所作所为同愚昧的青少年毫无两样。我们应停止这种做法，毕竟这不仅是对游戏行业负责，同时也是对我们社会的责任。”
8.新闻媒体的作用。Cage表示：“我认为目前新闻媒体发挥着重要作用。其中一方面存在大量明智记者。他们思考着游戏行业，分析它，预测其未来走向。另一方面则有些人只是给出分数，仅此而已。”
他指出：“我认为这不符合新闻媒体的定义。分析何在？思考又何在？难道给个观点便能尊称为评论家吗？评论家是份职业。它要求技能与思考能力。”在此，他引用著名电影杂志Cahiers Du Cinema为例，该杂志影响了法国电影界新风潮，且明显改变了电影行业。
9.玩家的重要性。Cage称道：“我常常会把是否购买游戏比作政治选举。你的决定会影响游戏行业的发展方向。购买垃圾，只会得到更多垃圾。而购买仅人兴奋、冒险的游戏，你将会获得更多乐趣。你所购买的东西，决定着你所支持的游戏行业走向。”
Cage看好电子娱乐形式。“这种新型娱乐方式应对所有玩家开放，容纳所有主题与题材，在此，我们能有意义地探讨自身、人类以及社会。它应以旅程为基石，而不是挑战。”
Cage表示如果我们能做到这些：“电子游戏最终才能走向大众市场。”（本文为游戏邦/gamerboom.com编译，作者：Brandon Sheffield）
David Cage: Game industry has ‘Peter Pan Syndrome’
by Brandon Sheffield
Quantic Dream CEO David Cage says it’s time to grow up. “It’s time to reassess who we are, and what we are doing,” he said, during a talk at the DICE summit in Las Vegas. He says we have Peter pan Syndrome — “Someone who is anxious at the idea of growing up and becoming an adult, and who actually refuses to grow up,” by his definition. “And that’s quite a bold statement to make about an entire industry!”
He reminds us that the 30 best selling games (though here he just targets retail) are either by Nintendo, or are Call of Duty, Grand Theft Auto, or Kinect Adventures — and that’s it. 21 out of the 30 come from Nintendo. “Only three genres [make] the charts,” he says. “Kids games, Casual games, and violent action games.”
“When you think about it, you realize we use the same themes, the same worlds, for about 40 years,” he adds. “You’re a hero, and you need to kill people in order to go somewhere, free the world, free the princess, or whatever.”
“When you look at Wolfenstein in 1992 versus Call of Duty in 2012, you realize we have made huge advances in graphics,” says Cage. “But if you look at the content, you realized we have not advanced that much.”
The industry is not moving forward in its themes, he says. “Many times when I play a game, I get the feeling I’ve played it a million times before,” Cage says. “We need to move away from our traditional market, which is kids, teenagers, young adults.”
We need to move toward adults, he poses. “Think about your friends who don’t play. Think about your parents. Do they play console games? Most of the time they don’t play video games. They barely know they exist.” But you can talk about books, movies, TV, with them, because those mediums are perceived as being for everyone.
With that as a premise, Cage reveals 9 things he thinks we need to change in order for the industry to grow up.
1: Make games for all audiences. “I believe it’s time for this industry to create content, interactive experiences, for an adult audience,” he reiterated.
2: Change our paradigms. “We cannot keep doing the same games the same way and expect to expand our market,” Cage cautions. “We need to decide that violence is not the only way.”
“For most people out there, mastering a system is not something exciting, it’s boring,” he says. They don’t want to compete. It’s fine when you’re a kid, but not as fun as an adult. “I don’t want to feel the strange experience of getting my ass kicked by a 10 year old,” he added, challenging the industry to start making games with no guns.
3: The importance of meaning. “When you think about it, you realize many games have absolutely nothing to say!” says Cage. “There’s nothing against that, but that’s a toy. Can we create games that have something to say? That have meaning?”
To do this, we need to let authors come in, he says. “Games today, most of the time — not all, but most — are written by programmers and graphic artists and the marketing team. We need to have authors really at the heart of the project.”
In addition, we should use all real-world themes. Most games take place in a world we can never enter, but Cage says we should focus more on human relationships. “We need to put games at the center of our society, the center of our life. Games can do that in a very unique way.”
4: Become accessible. “Let’s focus on minds of the players, and not how fast they can move their thumbs!” he says. We need to think about the journey versus the challenge. Is a game a series of obstacles, or could it be just a journey? Just a moment that you spend?
5: Bring other talent on board. David Cage in his career has worked with David Bowie, and the actress Ellen Page, which he says brought new perspective to his games. “Working with these people has been an amazing experience,” he says. “They came to the game industry because that was something new to them.”
6: Establish new relationships with Hollywood. Relationships with Hollywood have traditionally been based on what Cage calls “a misunderstanding” for some time, largely through licensing. “I think the time has come for a meaningful constructive, balanced new partnership,” he says. “We can invent, together, a new form of entertainment.” They master linear art, and we master interactivity. We should bring them together.
7: Changing our relationship with censorship. “I see myself as a writer,” he says. “I try to write scripts talking about emotions, dialogues. Sometimes I use violence, and sometimes I use sex. And that’s fine. But now I have somebody looking over my shoulder saying ‘no, you have to change this. That’s not possible.’”
“Why would this be okay in movies? Why would this be okay in novels? And the answer is always the same — because you are interactive,” he adds. “On the other hand I was quite shocked by some things I saw at the last E3. Some games go over the top trying to be more violent, or have more sex than its competitors. And I think that’s also a mistake.”
“Sometimes we go too far, and we behave like stupid teenagers ourselves,” Cage says. “And we should stop doing this, because it’s a matter of being responsible not only to our industry, but also to our society.”
8: The role of the press. “I think press has a very important role to play,” Cage says. “[In the] press, we have on the one side, very clever people. They think about the industry, they analyze it, they try to see where it could go in the future. On the other side of the spectrum, you’ve got people giving scores. Just scores.”
“I don’t think this is press,” Cage says. “Where is the analysis? Where’s the thinking about this? Can anyone give his opinion and be respected as a critic? Being a critic is a job. It requires skills, it requires thought.” He here referenced the famous Cahiers Du Cinema, a film journal which helped influence the French New Wave of cinema, and changed movies significantly.
9: The importance of gamers. “I often think that buying or not buying a game is almost like a political vote,” Cage postulates. “You decide if you want the industry to go in this direction or not go in this direction. Buy crap, and you’ll get more crap. Buy exciting, risky games, and you will get more of them. When you buy games, you vote for where you want the industry to go.”
What Cage wants is digital entertainment. “This new form of entertainment should be accessible to all, should be open to all themes and genres, and should be able to talk about ourselves, human beings, and societies, in a meaningful way. It should be based on the journey, not the challenge.”
If we do this, Cage says, “Finally, we will have a chance to become mass market.” (source:gamasutra)
