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Toward a Critical Vocabulary for Games - Greg Costikyan","","论述游戏领域中“gameplay”等概念的模糊性，并主张为游戏建立可辨识、可交流的批判性词汇。文章以“游戏为何有趣、与何相联系”为核心问题，强调游戏作为高度可塑媒介，其形式从桌面到数字乃至现场角色扮演差异巨大。作者通过区分“puzzles（静态谜题）”与“games（互动系统）”，进一步讨论互动的含义与目标，指出互动本身并不等同于游戏，关键在于其目的与决策结构。",{"@graph":69,"@context":123},[70,84,106],{"@type":71,"itemListElement":72},"BreadcrumbList",[73,77,79,82],{"item":74,"name":75,"@type":76,"position":8},"https://docshare.wps.com","Home","ListItem",{"item":78,"name":9,"@type":76,"position":14},"https://docshare.wps.com/document/",{"item":80,"name":15,"@type":76,"position":81},"https://docshare.wps.com/document/literature/",3,{"item":83,"name":65,"@type":76,"position":19},"https://docshare.wps.com/document/i-have-no-words-i-must-design-toward-a-critical-vocabulary-for-games-greg-costikyan/410487/",{"url":83,"name":65,"@type":85,"image":86,"author":91,"headline":65,"publisher":94,"fileFormat":97,"inLanguage":63,"description":67,"dateModified":98,"datePublished":99,"encodingFormat":97,"isAccessibleForFree":100,"interactionStatistic":101},"DigitalDocument",{"url":87,"@type":88,"width":89,"height":90},"https://docshare.wps.com/thumbnails/i-have-no-words-i-must-design-toward-a-critical-vocabulary-for-games-greg-costikyan/410487.png","ImageObject",300,407,{"name":92,"@type":93},"Fahsai","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-10-29","2026-09-28",true,{"@type":102,"interactionType":103,"userInteractionCount":105},"InteractionCounter",{"@type":104},"ViewAction",11,{"@type":107,"mainEntity":108},"FAQPage",[109,115,119],{"name":110,"@type":111,"acceptedAnswer":112},"文中如何批判“gameplay”这一常用术语？","Question",{"text":113,"@type":114},"作者认为“gameplay”是模糊且因此几乎无用的术语。仅说“有好的 gameplay”无法解释其具体带来何种乐趣，也无法指导如何让其他事物同样变得“好”。","Answer",{"name":116,"@type":111,"acceptedAnswer":117},"作者用什么标准区分“puzzles（谜题）”与“games（游戏）”？",{"text":118,"@type":114},"文中指出谜题是静态结构，玩家面对的是需被线索辅助求解的逻辑；而游戏会随玩家行动而改变状态。",{"name":120,"@type":111,"acceptedAnswer":121},"为什么“互动（interaction）”并不必然等于“游戏”？",{"text":122,"@type":114},"作者说明互动本身可以存在于非游戏情境，例如电灯开关的操作属于互动，但互动没有游戏价值。只有当互动具有明确目的，才能被视作游戏性的组成部分。","https://schema.org",{"og:url":83,"og:type":125,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":127,"canonical":83},"index,follow",{"doc_id":129,"site_id":62},410487,1791149237,{"code":4,"msg":5,"data":132},{"doc_id":129,"user_id":133,"nickname":92,"user_avatar":134,"doc_module":4,"category_id":14,"category_name":15,"doc_title":65,"doc_description":67,"doc_content":135,"file_id":136,"file_url":137,"file_type":138,"file_size":139,"view_count":105,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":140,"language":141,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":142,"faqs":143,"seo_title":144,"seo_description":67,"update_tm":145,"read_time":146},549768702563,"https://ap-avatar.wpscdn.com/avatar/8000c4aa63b76e948b?x-image-process=image/resize,m_fixed,w_180,h_180&k=1786536092046926083","I Have No Words & I Must Design: Toward a Critical Vocabulary for Games  \nGreg Costikyan  \n355 South End Ave \\#2B New York, NY 10280, USA  \n(646) 489–8609 [costik@costik.com](costik@costik.com)  \nI first heard the term “gameplay” when I interviewed for a job at Atari in 1982. It was used by someone who had just played a new arcade game, Zaxxon , I think.“It has good gameplay.”  \nSince then, the term has become ubiquitous in the field. People talk about gameplay, as if it’s some magical, mystical thing that games need to possess. Game designers like to paint themselves as “someone who understand gameplay,” unlike all you coders and management types and artists. But actually, few do – because “gameplay” itself is a nebulous, and therefore pretty useless term. Saying “it has good gameplay” is about as useful as saying“that’s a good book.” Calling something “good” doesn’t help us understand what’s good about it, what pleasures it provides, and how to go about doing something else good.  \nTHE GAME IS PLASTIC  \n“The game” is an amazingly plastic medium. It’s adaptable to any and every technology, from the neolithic to the high tech. And an amazing variety of games have been developed over the years... Boardgames, wargames, tabletop roleplaying games, computer and console roleplaying games, massively multiplayer online games, live-action roleplaying games, MUDs, MUSHes, MOOs, card games, collectible card games, play-by-mail games, play-byemail games, miniatures, sims, flight sims, vehicle sims, text adventures,  \n9 Proceedings of Computer Games and Digital Cultures Conference, ed. Frans Mäyrä.  \nTampere: Tampere University Press, 2002. Copyright: authors and Tampere University Press.  \ngraphic adventures, action adventures, shooters, sneakers, dancers, drivers, real-time strategy, turn-based strategy, god games, platformers, fantasy sports, sidescrollers, maze games, trivia games, puzzle games, wireless games, location-based entertainments, gambling, paintball, sports, and the horses    \nThey’re all games. But how to make sense of this amazingly disparate field? What is it about all these games that makes them interesting? Do they even have anything in common, when you get down to it?  \nTo understand games, to talk about them intelligently, and to design better ones, we need to understand what a game is, and to break “gameplay”down into identifiable chunks. We need, in short, a critical vocabulary for games  \nINTERACTION  \nBack in 1982, Chris Crawford published what remains one of the few decent books published about game design, The Art of Computer Game Design. In his book, Chris Crawford contrasts what he calls “games” with “puzzles.”Puzzles are static; they present the “player” with a logic structure to be solved with the assistance of clues.“Games,” by contrast, are not static, but change with the player’s actions.  \nSome puzzles are obviously so; no one would call a crossword a “game.”But, according to Crawford, some “games” a really just puzzles – Zork (Lebling & Blank), for instance. The game’s sole objective is the solution of puzzles: finding objects and using them in particular ways to cause desired changes in the game-state. There is no opposition, there is no roleplaying, and there are no resources to manage; winning is solely a consequence of puzzle solving.  \nCrawford overstates the case, I think; adventure games, the category to which Zork belongs, are more than mere puzzles. They do change state in response to player actions; you find yourself in a new location, the solution of a puzzle opens up new opportunities. In later games – Zork is among the earliest successful computer games – character interaction and story development are more important. Personally, I’d be reluctant to relegate Zork to the status of “not a game, for shame;” it’s a game with strong puzzle elements.  \nAlmost every game has some degree of puzzle-solving; even a pure military strategy game requires players to, e.g. , solve the puzzle of making an optim","cbCaivMQ5oXJxYgX","https://ap.wps.com/l/cbCaivMQ5oXJxYgX","pdf",694141,25,"English","# I Have No Words & I Must Design\n## Toward a Critical Vocabulary for Games\n## THE GAME IS PLASTIC\n## INTERACTION\n## GOALS","[{\"question\":\"文中如何批判“gameplay”这一常用术语？\",\"answer\":\"作者认为“gameplay”是模糊且因此几乎无用的术语。仅说“有好的 gameplay”无法解释其具体带来何种乐趣，也无法指导如何让其他事物同样变得“好”。\"},{\"question\":\"作者用什么标准区分“puzzles（谜题）”与“games（游戏）”？\",\"answer\":\"文中指出谜题是静态结构，玩家面对的是需被线索辅助求解的逻辑；而游戏会随玩家行动而改变状态。\"},{\"question\":\"为什么“互动（interaction）”并不必然等于“游戏”？\",\"answer\":\"作者说明互动本身可以存在于非游戏情境，例如电灯开关的操作属于互动，但互动没有游戏价值。只有当互动具有明确目的，才能被视作游戏性的组成部分。\"}]","I Have No Words & I Must Design - Toward a Critical Vocabulary for Games - Greg Costikyan | PDF",1790585482,39]