一份非官方的閱讀導覽An unofficial reading guide

透鏡與地圖Lenses and the Map

Jesse Schell《The Art of Game Design: A Book of Lenses》第三版的讀書地圖：這本書怎麼一章長出一個元素、116 個 Lens 分別要你看什麼，以及我們讀完後帶走的東西。

A reading map of Jesse Schell's The Art of Game Design: A Book of Lenses, third edition: how the book grows one element per chapter, what each of its 116 lenses asks you to look at, and what we took away.

35章chapters

116個 Lenslenses

35個地圖元素map elements

3處勘誤slips noted

地圖：35 章、35 個元素The map: 35 chapters, 35 elements

拖動滑桿，看地圖一章一章長出來。點任何一個元素，讀那一章。Drag the slider to watch the map grow chapter by chapter. Select any element to read about its chapter.

選一個元素或一章Choose an element or a chapter

每個元素都是那一章章名裡的一個詞；線則連到同一個章名裡提到、而且已經在地圖上的元素。實線是結構，虛線是章名裡提到的另一個元素。主幹由上而下是體驗、玩家、遊戲、設計師，和作者自己畫的地圖相同。

Each element is a word from its chapter's title; each line joins it to an element the same title names that is already on the map. Solid lines carry the structure; dashed lines show another element the title also names. The spine reads Experience, Player, Game, Designer from top to bottom, as in the author's own drawing.

這張地圖是我們依章名重畫的，不是作者原書的插圖。原書的版本還多了一個「Process（流程）」節點，以及一條從玩家繞回流程的測試迴圈，這些章名裡都沒有。This map is redrawn from the chapter titles; it is not the author's illustration. His version also has a Process hub and a playtesting loop from the player back to the process, which no title names.

這本書在說什麼What the book is about

Schell 的出發點很簡單，也很難：設計師真正想做的是一段體驗，但體驗沒辦法直接做出來。我們能做的只有規則、棋盤、程式這類人造物，然後期待玩家和它互動時，心裡會發生我們想要的事。他把這比作在瓶子裡造船：離你真正要做的東西永遠隔著一層，而且你永遠看不到作品真正的產出，因為那是別人心裡的感受。

Schell starts from a simple and difficult point: what a designer really wants to make is an experience, and experiences cannot be made directly. All we can build are artifacts, such as rules, boards and programs, and hope that when a player meets them, the experience we wanted happens in the player's head. He compares it to building a ship in a bottle: you always work at one remove from the real thing, and you never see your output, because it is someone else's feeling.

所以這本書不給公式，而是給觀點。一個 Lens 就是一組問題，讓你暫時只從一個角度看自己的遊戲：情緒、好奇心、公平、回饋、故事、社群、獲利……沒有哪個 Lens 是完整的，正因為如此才要很多個。全書一共 112 個編號 Lens，加上三個「半號」與一個 ∞，總共 116 個。

So the book offers perspectives instead of formulas. A lens is a small set of questions that lets you look at your game from one angle at a time: emotion, curiosity, fairness, feedback, story, community, profit. No lens is complete, which is exactly why there are many. The book numbers 112 of them, plus three half-numbered lenses and one marked ∞: 116 in all.

第二個骨架是一張地圖。作者在開頭就說，他要從一片空白開始，每一章加一個元素，最後畫出設計師、玩家、遊戲、團隊、客戶之間的關係網。而且每一章的章名本身就是一句關係：「設計師創造體驗」、「體驗從遊戲中產生」、「遊戲由元素構成」……把 35 個章名連起來，就是這本書的地圖。上面那張圖就是這樣畫出來的。

The second backbone is a map. At the start the author says he will begin from a blank slate and add one element per chapter, until the web of relationships between designer, player, game, team and client is drawn. Each chapter title is itself a relationship: The Designer Creates an Experience; The Experience Rises Out of a Game; The Game Consists of Elements. Join the 35 titles together and you have the book's map. That is how the map above is drawn.

最重要的技能是什麼？書的第一章給的答案不是畫圖、寫程式或數學，而是傾聽：聽玩家、聽團隊、聽客戶、聽遊戲本身，也聽你自己。整本書的 Lens，可以看成是學會「怎麼聽」的 116 種練習。

What is the most important skill? The first chapter's answer is not drawing, programming or mathematics but listening: to players, to your team, to your client, to the game itself, and to yourself. The 116 lenses can be read as 116 exercises in how to listen.

“The game is not the experience.” · p. 11

Lens 圖譜The lens atlas

每一個圓點是一個 Lens，依它所在的章排列，顏色是它關心的面向（我們的分類，不是書裡的）。點一下看它要你看什麼；也可以搜尋，或只看一個面向。

Each dot is a lens, placed under its chapter and coloured by what it is about (our grouping, not the book's). Select one to see what it asks you to look at, search, or show one family at a time.

最密集的是第 12、13 章：機制與平衡就佔了 28 個。第 23 章之後，Lens 變得稀疏，因為書轉向了團隊、客戶與責任這些「遊戲之外」的事。

The densest chapters are 12 and 13: mechanics and balance alone hold 28 lenses. After chapter 23 the lenses thin out as the book turns to things outside the game: team, client, responsibility.

以清單閱讀全部 116 個 LensRead all 116 lenses as a list

#1 Emotion · 2 · p. 19
你想讓玩家感受的情緒，與他們實際感受之間的落差。The gap between the emotions you intend players to feel and those they actually feel.
#2 Essential Experience · 2 · p. 22
你想給玩家的體驗、其核心要素，以及遊戲如何傳達它。The experience you want players to have, what defines it, and how the game conveys it.
#3 the Venue · 3 · p. 32
哪種遊玩場所適合這款遊戲、場所的特性，以及設計與場所的衝突。Which play setting suits the game, its special traits, and where design and setting clash.
#4 Surprise · 4 · p. 36
意外出現在哪裡：故事、規則、美術、技術，以及玩家彼此之間。Where unexpected moments arise: in story, rules, art, technology, and between players.
#5 Fun · 4 · p. 37
遊戲哪些部分好玩、為什麼，以及哪些部分還需要更好玩。Which parts of the game are fun, why, and which need more fun.
#6 Curiosity · 4 · p. 41
遊戲在玩家心中埋下哪些疑問，以及他們為何在乎答案。The questions the game plants in players' minds and why they care about answering them.
#7 Endogenous Value · 4 · p. 43
玩家在遊戲中重視什麼，以及這份價值與動機的關聯。What players value inside the game and how that value ties to their motivations.
#8 Problem Solving · 4 · p. 48
玩家必須解決的問題（含隱藏問題），以及如何持續產生新問題。The problems players must solve, including hidden ones, and how new ones keep appearing.
#9 the Elemental Tetrad · 5 · p. 55
四類元素是否齊全、能否加強，以及是否和諧地服務共同主題。Whether all four element types are present, improvable, and harmonized toward a shared theme.
#10 Holographic Design · 5 · p. 58
同時看待元素與體驗：哪些元素成就或損害體驗、該如何調整。Which game elements create or harm the experience, seeing elements and experience together.
#11 Unification · 6 · p. 67
遊戲的主題是什麼，以及是否用盡一切手段強化它。What the game's theme is and whether every possible means reinforces it.
#12 Resonance · 6 · p. 70
遊戲中隱藏的力量：什麼讓人興奮、什麼驅動你的直覺。The hidden power in your game: what excites people and what drives your instincts.
#13 Infinite Inspiration · 7 · p. 75
遊戲以外值得分享的人生經驗，以及如何把其精髓放進遊戲。Life experiences beyond games worth sharing, and how to capture their essence in play.
#14 the Problem Statement · 7 · p. 79
遊戲真正要解決的問題、隱含假設、遊戲是否最佳解與成功標準。The real problem the game solves, hidden assumptions, whether a game fits, and success criteria.
#15 the Eight Filters · 8 · p. 99
設計能否同時通過品味、受眾、新意、獲利、技術、試玩等限制。Whether the design survives every constraint at once: taste, audience, craft, novelty, money, tech, community, playtests.
#16 Risk Mitigation · 8 · p. 108
遊戲最可能出什麼大問題，以及現在就該如何預先化解。The worst things that could go wrong, and how to head them off right now.
#17 the Toy · 8 · p. 113
即使沒有目標，這個遊戲光是拿來把玩是否就很有趣。Whether the game is enjoyable to handle and fiddle with even without any goal.
#18 Passion · 8 · p. 119
你是否仍對這款遊戲懷有熱情，以及熱情消退代表什麼。Whether you still feel strong excitement for the game, and what losing it signals.
#19 the Player · 9 · p. 131
真正的玩家：他們的喜好、厭惡、期待，以及對這款遊戲的反應。Your actual players: their tastes, dislikes, expectations, and reactions to this particular game.
#20 Pleasure · 9 · p. 137
遊戲提供了哪些樂趣、缺了哪些，又該如何加強。Which kinds of enjoyment the game delivers, which are absent, and how to strengthen them.
#21 Flow · 10 · p. 148
什麼抓住玩家：目標是否清楚、有無干擾、挑戰是否跟上技能成長。What holds the player's attention: clarity of goals, distractions, and challenge keeping pace with skill.
#22 Needs · 11 · p. 156
遊戲真正滿足了哪些基本人性需求，以及如何滿足得更多更好。Which fundamental human needs the game truly satisfies, and how to satisfy more or better.
#23 Motivation · 11 · p. 160
玩家遊玩的各種理由：各自從何而來，哪些互相強化或衝突。The mix of reasons people play: where each comes from, and which reinforce or clash.
#24 Novelty · 11 · p. 161
遊戲有什麼新意、新鮮感能維持多久，新鮮感過後還剩什麼。What is new in the game, how long it stays fresh, and what remains afterward.
#25 Judgment · 11 · p. 162
遊戲如何評價玩家，這評價是否公平、受重視並激勵進步。How the game evaluates players, and whether that verdict feels fair, matters, and motivates improvement.
#26 Functional Space · 12 · p. 171
剝除外觀後遊戲空間的抽象結構：維度、邊界與子空間。The abstract shape of the play space once visuals are removed: dimensions, boundaries, subspaces.
#27 Time · 12 · p. 173
什麼決定遊戲時長與節奏，計時器或分層回合是否有幫助。What sets the length and pacing of play, and whether clocks or nested rounds would help.
#28 the State Machine · 12 · p. 176
有哪些物件、屬性與可能狀態，以及觸發狀態改變的原因。Which objects exist, their attributes and possible states, and what causes each state change.
#29 Secrets · 12 · p. 178
哪些資訊由誰掌握，改變知情者會如何重塑玩法。Who holds which information, and how shifting that knowledge would reshape play.
#30 Emergence · 12 · p. 181
催生策略的條件：動詞、作用對象、達標途徑、可控單位與副作用。Verbs, objects per verb, routes to goals, controlled pieces, and side effects that breed strategy.
#31 Action · 12 · p. 183
基本與策略動作、兩者比例，以及玩家想做卻做不到的事。The basic and strategic actions available, their ratio, and actions players wish they had.
#32 Goals · 12 · p. 189
終極與階段目標是否清楚、相關、具體、可達成、有回報、長短兼備Whether ultimate and interim goals are clear, connected, concrete, achievable, rewarding, and varied in span.
#33 Rules · 12 · p. 189
規則的底層結構：基礎與操作規則、模式、執行者與是否易懂。The deep rule structure: foundational versus operational rules, modes, enforcement, and clarity.
#34 Skill · 12 · p. 193
遊戲要求哪些技能、何者主導，以及是否塑造出想要的體驗。Which skills play demands, which dominate, and whether they produce the intended experience.
#35 Expected Value · 12 · p. 207
實際與感知機率，以及每個行動各種結果的真正價值。Actual versus perceived odds, and the real worth of outcomes behind each player action.
#36 Chance · 12 · p. 209
隨機與風險出現在哪、帶來何種感受，又如何與技能交織。Where randomness and risk appear, how they make players feel, and how they meet skill.
#37 Fairness · 13 · p. 217
考量技能差異後，每位玩家是否都覺得自己有公平的勝算。Whether each player, given their skill level, gets a chance of winning they consider fair.
#38 Challenge · 13 · p. 220
有哪些挑戰、難度是否合適、如何隨進展升高、是否夠多樣。What the challenges are, how hard, how they escalate, and whether they vary enough.
#39 Meaningful Choices · 13 · p. 222
選擇是否真的有影響、數量是否恰當、有沒有支配策略。Whether choices truly matter, come in the right number, and avoid dominant strategies.
#40 Triangularity · 13 · p. 223
玩家是否面對穩健小獎與冒險大獎之間的平衡抉擇。Whether players face a balanced pick between a safe small reward and a risky big one.
#41 Skill vs. Chance · 13 · p. 226
玩家是來被評判還是來冒險，以及相應的技能與運氣比例。Whether players come to be judged or to take risks, and the matching skill-luck mix.
#42 Head and Hands · 13 · p. 227
玩家想要的手上操作與動腦比例，以及兩條路線可否任選。The blend of physical dexterity and thinking your players want, and room to choose either.
#43 Competition · 13 · p. 228
是否公平衡量實力、讓勝利值得驕傲，新手與高手都能競爭。Whether the game measures skill fairly and makes winning worth pride for novices and experts.
#44 Cooperation · 13 · p. 229
溝通、分工與無法獨力完成的任務如何促成團隊合作。How communication, distinct roles, and tasks no one can finish alone foster teamwork.
#45 Competition vs. Cooperation · 13 · p. 230
遊戲該落在競爭與合作之間哪裡，團隊對抗是否合適。Where the game should sit between rivalry and teamwork, and whether team competition fits.
#46 Reward · 13 · p. 234
給了哪些獎勵、是否令人興奮且易懂、是否多變並逐步加碼。Which rewards appear, whether they excite and are understood, and how they vary and build.
#47 Punishment · 13 · p. 237
為何及如何懲罰玩家、是否公平、能否改用獎勵達成效果。Why and how players are punished, whether it feels fair, and whether rewards could replace it.
#48 Simplicity/Complexity · 13 · p. 240
規則本身的複雜能否轉為湧現複雜，簡單系統是否長出深度。Innate complexity that might become emergent, and whether depth grows from simple rules.
#49 Elegance · 13 · p. 241
每個元素身兼幾種用途，哪些單一用途的部分該合併或刪除。How many purposes each element serves, and which single-purpose parts to merge or cut.
#50 Character · 13 · p. 242
讓遊戲有辨識度、玩家津津樂道的古怪特質與可愛缺陷。The odd, lovable quirks and even flaws that give a game its identity.
#51 Imagination · 13 · p. 244
哪些細節由遊戲提供，哪些留給玩家的想像力補足。Which details the game should supply and which to leave for players' imagination.
#52 Economy · 13 · p. 248
玩家如何賺取與花用貨幣，這些決定是否有意義且平衡。How players earn and spend currency, and whether those decisions stay meaningful and balanced.
#53 Balance · 13 · p. 250
整體直覺上遊戲感覺對不對，以及背後的原因。The overall gut sense of whether the game feels right, and the reasons behind it.
#54 Accessibility · 14 · p. 257
玩家是否知道如何起手、能否聯想到熟悉事物、想不想動手。Whether players see how to begin, relate it to something familiar, and want to handle it.
#55 Visible Progress · 14 · p. 258
進展的定義、中間成功步驟是否足夠，以及哪些進展被隱藏。What progress means here, whether interim steps are enough, and which progress stays hidden.
#56 Parallelism · 14 · p. 261
卡關瓶頸在哪，是否有多樣且相互關聯的平行挑戰可轉換。Bottlenecks that stall players, and whether varied, linked parallel challenges offer alternatives.
#57 the Pyramid · 14 · p. 262
小謎題是否層層匯聚成一個清楚又吸引人的最終挑戰。Whether smaller puzzles build upward into one clear, compelling final challenge.
#58 the Puzzle · 14 · p. 265
遊戲有哪些謎題、數量是否恰當、是否融入而不突兀。Which puzzles the game has, whether the count is right, and whether they fit in.
#59 Control · 15 · p. 268
玩家是否覺得操作符合預期，而且自己真能左右結果。Whether players feel their inputs behave as expected and genuinely influence the outcome.
#60 Physical Interface · 15 · p. 272
玩家觸碰與感知的東西如何對應遊戲動作，而非照抄現成控制器。How what players physically touch and sense maps to game actions, beyond copying existing controllers.
#61 Virtual Interface · 15 · p. 273
玩家需要哪些額外資訊、何時需要，如何呈現而不妨礙互動。What extra information players need, when, and how to deliver it without blocking the world.
#62 Transparency · 15 · p. 274
介面是否退到意識之外，讓玩家即使在壓力下也能不假思索地操作。Whether the interface fades from awareness so players act without thinking, even under stress.
#63 Feedback · 15 · p. 277
每個當下玩家需要、想要知道什麼與該有何感受，回饋如何配合。What players need, want, and should feel at each moment, and how responses support that.
#64 Juiciness · 15 · p. 280
動作是否引發連續有力的二階運動，並同時以多種方式回報玩家。Whether actions trigger continuous, powerful second-order motion and reward players in many ways simultaneously.
#65 Primality · 15 · p. 282
遊戲哪些部分訴諸連動物都具備的原始本能，哪些還能更原始。Which parts of the game tap instincts so basic that even animals could engage with them.
#66 Channels and Dimensions · 15 · p. 287
哪些資料最重要，又該由哪些通道與維度（如顏色、大小）來傳達。Which data matter most and which channels and visual dimensions should carry each piece.
#67 Modes · 15 · p. 289
哪些模式真有必要、是否重疊，以及模式切換是否清楚傳達。Which modes are truly needed, whether they overlap, and how clearly mode changes are signaled.
#67½ Metaphor · 15 · p. 293
借用玩家熟悉事物的隱喻，是在幫助理解介面，還是反而造成干擾。Whether a familiar real-world comparison helps players grasp the interface or gets in the way.
#68 Moments · 16 · p. 300
遊戲中最關鍵的時刻有哪些，如何讓每個時刻更有力量。Which moments in the game matter most and how to make each one hit harder.
#69 the Interest Curve · 16 · p. 305
玩家興趣隨時間的走勢：hook、漸升、休息、高潮與碎形層次。The shape of player interest over time: hook, rising tension, rests, finale, fractal layers.
#70 Inherent Interest · 16 · p. 307
遊戲中本身就引人注意的元素：新奇感、本能訴求與劇烈變化。What in the game grabs attention by itself: novelty, instincts, and dramatic change.
#71 Beauty · 16 · p. 308
每個元素及其組合，如何在這款遊戲的脈絡中變得更美。How each element, and their combination, can become more beautiful within the game's context.
#72 Projection · 16 · p. 310
玩家多容易產生認同、想像自己身在其中，並沉浸於遊戲。How readily players can relate to, imagine themselves in, and lose themselves in the game.
#73 the Story Machine · 17 · p. 320
選擇、衝突、個人化與聽眾，如何讓規則衍生出值得轉述的故事。How choices, conflicts, personalization, and audiences let your rules generate stories worth retelling.
#74 the Obstacle · 17 · p. 329
角色為何在意目標、有何阻礙、誰在作梗，以及阻礙如何加大。Why the character wants the goal, what blocks it, who opposes, and how obstacles escalate.
#75 Simplicity and Transcendence · 17 · p. 331
世界如何比現實更單純、賦予玩家超凡力量，同時不抹煞挑戰。How the world is simpler than reality and grants players power without erasing challenge.
#76 the Hero’s Journey · 17 · p. 333
英雄故事能否借助原型結構而變得更好，同時避免流於公式。Whether a heroic story could gain from archetypal structure without becoming formulaic.
#77 the Weirdest Thing · 17 · p. 337
故事中的怪異元素是引發好奇，還是讓玩家困惑、疏離。Whether strange story elements intrigue players or confuse and alienate them.
#78 Story · 17 · p. 339
遊戲是否需要故事、玩家為何在意，故事與四元素如何互相支援。Whether the game needs a story, why players would care, and how it supports the tetrad.
#79 Freedom · 18 · p. 343
玩家何處感到自由或受限，哪裡能更自由、哪裡自由多到無措。Where players feel free or constrained, and where freedom could grow or overwhelm them.
#80 Help · 18 · p. 352
玩家在幫助誰、與受助角色有多親近，以及對方如何表達感謝。Who the player helps, how connected they feel, and how gratitude is shown.
#81 Indirect Control · 18 · p. 354
哪些細膩手法能引導玩家走向理想行為，同時保有他們的自由感。Which subtle means can steer players toward ideal behavior while keeping their sense of freedom.
#82 Collusion · 18 · p. 359
角色如何推進預期的玩家體驗，又不違背自己在遊戲世界中的目標。How characters can advance the intended player experience without betraying their own in-world goals.
#83 Fantasy · 19 · p. 366
這個世界滿足什麼願望、玩家夢想成為誰、想在那裡做什麼。What wish the world fulfills, who players dream of being, and what they want to do.
#84 the World · 19 · p. 369
世界如何勝過現實、能否有多個互補門徑，並容納許多故事。How the world beats reality, supports multiple gateways, and allows many stories beyond one.
#85 the Avatar · 20 · p. 376
玩家角色是否是動人的理想形象，又夠圖像化，讓玩家能投射自我。Whether the player character is an appealing ideal and iconic enough for players to project into.
#86 Character Function · 20 · p. 378
遊戲需要哪些角色功能，構想中的角色如何承擔、分擔或合併。Which roles the game requires and how imagined characters can fill, share, or combine them.
#87 Character Traits · 20 · p. 380
哪些精煉的特質定義角色，又如何展現在言語、行動與外觀上。Which distilled traits define each character and how they surface in speech, action, and looks.
#88 the Interpersonal Circumplex · 20 · p. 382
角色在友善度與支配度上的相對位置，包括空缺與極端角色。Where characters sit relative to one another on friendliness and dominance, including gaps and extremes.
#89 the Character Web · 20 · p. 384
每個角色對其他每個角色的具體感受，以及哪些關係缺漏或雷同。How each character specifically feels about every other, and which connections are missing or repetitive.
#90 Status · 20 · p. 386
角色間的相對地位、如何表現，以及地位在哪裡競逐與轉換。Characters' relative standing, how they display it, and where status conflicts and shifts occur.
#91 Character Transformation · 20 · p. 390
角色如何轉變，轉變是否清楚、足夠、出人意料又可信。How characters change through the game, and whether that change is clear, sufficient, surprising, believable.
#92 Inner Contradiction · 21 · p. 401
遊戲或其子系統中，是否有任何東西違背它們本身的目的。Whether anything in the game or its subsystems works against their own purpose.
#93 The Nameless Quality · 21 · p. 404
設計是否生動有機，具備 Alexander 十五特性的哪些Whether the design feels alive and organic, and which of Alexander's fifteen properties it shows.
#93½ Presence · 22 · p. 424
玩家是否真的感覺身歷其境，以及哪些元素削弱或強化了這種感覺。Whether players feel truly there, and which elements erode or reinforce that feeling.
#94 Atmosphere · 23 · p. 431
遊戲世界那種難以言喻的氛圍，以及如何用視覺與聲音加深它。The intangible mood of your world, and how visuals and sound can deepen it.
#95 Spectation · 24 · p. 440
遊戲對旁觀者是否有趣，以及如何讓觀看變得更吸引人。How engaging your game is for onlookers, and ways to make watching it more compelling.
#95½ Cheatability · 24 · p. 441
玩家可能如何作弊、是否會被察覺，以及玩家是否信任這款遊戲。Ways players could cheat, whether it would be detected, and whether players trust the game.
#96 Friendship · 25 · p. 447
玩家如何認識、成為朋友並保持聯繫，以及他們想要哪種友誼。How players meet, bond, and keep in touch, and what friendships they want.
#97 Expression · 25 · p. 449
玩家能透過哪些方式展現自我、還漏了哪些，以及是否以身分為傲。Which channels let players show who they are, which are missing, and their pride.
#98 Community · 25 · p. 454
凝聚社群的衝突、空間設計、經驗層級、活動與玩家間的相互需要。The conflict, spaces, experience tiers, events, and mutual needs that hold a community together.
#99 Griefing · 25 · p. 456
哪些系統容易招來騷擾、如何讓騷擾變得無趣，以及被忽略的漏洞。Which systems invite harassment, how to remove the fun from it, and overlooked loopholes.
#100 Love · 26 · p. 463
你與隊友是否真心在乎這個專案，以及如何重新點燃熱情。Whether you and your teammates genuinely care about the project, and how to rekindle it.
#101 the Team · 26 · p. 469
團隊是否適合專案，溝通是否客觀、清楚、互信且能團結一致。Whether the team fits the project and communicates with objectivity, clarity, trust, and unity.
#102 Documentation · 27 · p. 478
專案必須保存與傳達哪些資訊，以便只寫真正需要的文件。Which information the project must retain and share, so you write only necessary documents.
#103 Playtesting · 28 · p. 494
每次遊戲測試的目的、參與者、時機、地點、觀察重點與方法。The purpose, participants, timing, location, focus, and methods of each playtest.
#104 Technology · 29 · p. 507
檢視所選技術是否真正為體驗打底、是否名實相符、值得採用。Whether your technology choices serve the experience foundationally, and whether they truly merit using.
#105 the Crystal Ball · 29 · p. 508
具體推演某項技術在未來數年的樣貌，並說明理由。Concrete, reasoned forecasts of where a given technology will be in coming years.
#106 Utopia · 29 · p. 510
檢視遊戲是否帶來魔法感、令人期待、推進技藝並讓世界更好。Whether your game feels magical, excites people, advances the art, and improves the world.
#107 the Client · 30 · p. 519
客戶說出口的、自以為要的、與內心真正渴望之間的落差。The gap between what a client states, believes, and truly desires underneath.
#108 the Pitch · 31 · p. 532
提案時自己的目的、成功的定義，以及聽者的需求與利益。Your aims, your definition of success, and the listener's needs and interests in a pitch.
#109 Profit · 32 · p. 546
遊戲的金流去向、總成本、預期收入與市場進入門檻。Where your game's money flows, its full costs, expected earnings, and market entry barriers.
#110 Transformation · 33 · p. 565
遊戲可能如何改變玩家，包括變好與變壞兩個方向。The ways your game might change players, both for better and for worse.
#111 Responsibility · 34 · p. 572
遊戲是否、以及以什麼方式真正幫助到玩它的人。Whether, and in what ways, your game genuinely helps the people who play it.
#112 the Raven · 35 · p. 574
眼前的專案是否值得投入你有限的人生時間。Whether the project in front of you deserves your limited time at all.
#∞ Your Secret Purpose · 35 · p. 575
驅動你從事設計工作的那個私人、深層動機。The personal, private motive that drives your work as a designer.

四個值得親手玩一次的觀念Four ideas worth trying by hand

你做的是遊戲，玩家得到的是體驗You make the game; the player gets the experience

設計師與體驗之間永遠隔著兩層：你做出人造物，玩家和它互動，體驗才在玩家心裡發生。這也是為什麼書這麼重視自我觀察、觀察他人和測試：你沒有其他辦法知道體驗到底有沒有發生。

Two layers always stand between a designer and the experience: you make an artifact, the player interacts with it, and only then does the experience happen, inside the player. This is why the book leans so hard on introspection, observing others and playtesting: there is no other way to know whether the experience happened.

設計師Designer人造物（規則、程式、棋盤）Artifact (rules, code, board)玩家的互動Player's interaction體驗（只存在玩家心裡）Experience (only in the player)

四個元素：機制、故事、美學、技術Four elements: mechanics, story, aesthetics, technology

第 5 章把遊戲拆成四個基本元素，並強調沒有哪一個比較重要。它們依「玩家看不看得到」排列：美學最明顯，技術最隱形。好的設計讓四者朝同一個主題使力，一邊的限制常常就是另一邊的靈感。點一個元素看看它是什麼。

Chapter 5 breaks a game into four basic elements and insists none is more important than the others. They are arranged by how visible they are to the player: aesthetics most, technology least. Good design has all four pulling toward one theme, and a limit in one often inspires a change in another. Select an element to see what it covers.

興趣曲線：把最精彩的時刻排好The interest curve: arranging your best moments

第 16 章把一段體驗看成一連串的時刻，並把觀眾的興趣畫成曲線：帶著一點期待進場、很快被一個 hook 抓住、在起伏中逐步升高、到高潮、收尾，最好離開時的興趣比進來時還高。這個形狀可以是碎形的：整個遊戲、每一關、每個挑戰各有自己的小曲線。下面可以拖動點來畫你的曲線；右邊的檢查是我們依這一章整理的粗略判讀，不是書中的公式。

Chapter 16 treats an experience as a series of moments and draws the audience's interest as a curve: they arrive with some expectation, are caught early by a hook, rise through peaks and rests, reach a climax and a resolution, and ideally leave with more interest than they came with. The shape can be fractal: the whole game, each level and each challenge can have its own small curve. Drag the points to draw your own; the checks beside it are our rough reading of the chapter, not a formula from the book.

開場很快就有 hookAn early hook
整體逐漸升高Interest rises overall
中間有喘息的低點Rests along the way
高潮在最後The climax comes last
離開時比進來時更想要They leave wanting more

興趣從哪裡來？書裡給了三個來源：事件本身就有趣（inherent interest）、呈現的方式夠美（poetry of presentation）、以及玩家把自己投射進去（projection）。互動媒體最大的優勢在第三個：事情是發生在玩家自己身上。

Where does interest come from? The book names three sources: events that are interesting in themselves (inherent interest), a beautiful way of presenting them (poetry of presentation), and the player putting themselves into it (projection). Interactive media's great advantage is the third: things happen to the player.

期望值，以及它什麼時候會騙人Expected value, and when it misleads

第 12 章教的期望值很直接：每個結果的機率乘上它的價值，再加總。但書裡緊接著提醒：價值必須是對玩家「真正有用」的價值。下面是我們自己的例子：一招穩定的攻擊和一招賭運氣的大招。調整敵人剩下的血量，看看哪一招比較划算。

Chapter 12 teaches expected value directly: multiply each outcome's chance by its value and add them up. Then it warns that the value must be what is really useful to the player. Here is our own example, a steady attack and a gamble. Change the enemy's remaining hit points and see which one is worth more.

敵人剩下的血量Enemy hit points left40

穩定斬擊：90% 命中，6 點傷害Steady strike: 90% to hit, 6 damage

孤注一擲：25% 命中，30 點傷害Long shot: 25% to hit, 30 damage

敵人只剩一點血時，大招多出來的傷害是浪費的；這時真正的期望值會掉下來。書裡也提到另一面：玩家估計的機率常常和真實機率不同，而人在只玩一次時，會為了避免後悔而選擇比較穩的選項。

我們把每一張表格重新算過、把每一處交叉引用對過。整本書非常嚴謹，只有以下三處小問題，記下來供讀者參考。

We recomputed every table and checked every cross-reference. The book is careful throughout; we found only these three small slips, noted here for readers.

p. 76
第 7 章提到「Lens #1: Essential Experience」，但在第三版裡 #1 是 Emotion，Essential Experience 是 #2。看起來是改版重新編號時留下的舊編號。Chapter 7 refers to “Lens #1: Essential Experience”, but in the third edition #1 is Emotion and Essential Experience is #2, apparently a number left over from an earlier edition's numbering.
p. 203
計算「其他點數」的機率時寫著「Using Rule #8」，但這一步用的「1 減去發生的機率」是同章的 Rule #7；Rule #8 講的是多次隨機相加後不再均勻。Computing the chance of “anything else”, the text says “Using Rule #8”, but the step it takes, one minus the chance of the event, is the chapter's Rule #7; Rule #8 is about sums of random rolls not being uniform.
p. 204
「只有 11 點贏」那張表印的期望值是 −$0.86，但它自己的兩列是 $0.28 和 −$0.94，加起來是 −$0.66（未四捨五入為 −$0.67）。結論「這是輸錢的遊戲」不變。The “only eleven wins” table prints an expected value of −$0.86, but its own rows are $0.28 and −$0.94, which make −$0.66 (−$0.67 unrounded). The conclusion, that it is a losing game, stands.

關於這份導覽About this guide

這是一份獨立、非官方的閱讀筆記，與作者 Jesse Schell 及出版社（CRC Press／Taylor & Francis）沒有任何關係。內容依據第三版（十週年紀念版）。所有摘要、說明與 Lens 的一句話描述都是我們自己的文字；書中原文只出現在章名、Lens 名稱與少數標明頁碼的短引文中。頁面上的圖都是我們自己繪製的，沒有使用書中的插圖。

This is an independent, unofficial reading guide with no connection to the author, Jesse Schell, or the publisher (CRC Press / Taylor & Francis). It follows the third (tenth anniversary) edition. All summaries, explanations and one-line lens descriptions are our own words; the book's wording appears only in chapter titles, lens names and a few short quotations with page numbers. All drawings on this page are ours; none of the book's illustrations are used.

這份導覽想做的是讓你更想讀這本書，而不是取代它。每個 Lens 真正的價值在它的那組問題、作者的例子和上下文，那些都在書裡。

The aim is to make you want to read the book, not to replace it. The real value of each lens is in its questions, the author's examples and their context, and those are in the book.

製作方式：我們用自己的工具把自己購買的書做成私人閱讀版，逐章精讀後寫下這些筆記；每一處書中引文都以原文核對過。摘要難免有我們的詮釋，若與原書不同，請以原書為準。

How it was made: we turned our own copy of the book into a private reading edition with our own tools, read it chapter by chapter, and wrote these notes; every quotation was checked against the text. Summaries inevitably carry our interpretation; where they differ from the book, the book is right.