HUD减轻了玩家的记忆负担，比如记住当前携带的枪支或技能是什么，还剩多少弹药，下一个目标是什么。在《堡垒之夜》中，许多信息始终显示在屏幕上，例如切换某个物品/功能应按什么键。玩家不需要记住这些信息，它们总是显示在用户界面上。另外，我们允许玩家自定义HUD，玩家可以将自己感兴趣的物品合成配方挂在屏幕上，他们不需要记住需要采集多少个原材料，他们只需要专注于实现目标。我们的记忆很容易出错。当我们回到一款很久没打的游戏时，忘记了操作方式、目标或者某些系统的运作方式令人很受挫。减轻玩家的记忆负担至关重要，我们不希望玩家因为记不住关键信息而失去兴趣。

Memory

记忆

游戏流还在于节奏，即游戏对紧张和压力节奏的把控。一款游戏需要一些紧张的时刻，也需要一些休闲放松的时刻。比如在动作游戏中敌人分批进攻，而在吃鸡游戏中，玩家在搜集物资时相对平静，随着地图缩小卷入一次次对抗中。最后但很重要的一点是用户引导，用户引导对游戏流来说同样至关重要。为了达到“心流”状态，玩家必须理解游戏的意义以及如何成功（至少懂得如何在游戏过程中提升表现）。这也是为什么正确地引导玩家很关键，优雅地与游戏融为一体的教程能够极大地提高沉浸感。用户引导的意义在于确保玩家能胜任游戏。当然他们会出错，可能还会挂掉好几次，但如果游戏使玩家了解发生了什么，下一次如何提升，他们将取得进步。正如前面所说，进步感是主要内在动机之一。若你想了解更多关于用户引导的知识，你可以看看我在2016年游戏开发者大会的演讲。

You will find references on game design, UX, psychology, and more, on my webpage celiahodent.com/resources（source：Gamasutra）

Don Norman, The Design of Everyday Things (MIT Press, 2013)

I will detail here the three most important steps to develop a game UX mindset, which were taken during the development of Fortnite:

应用科学的方法&建立用户体验流程

19分钟后，记忆量降低至60%，24小时后降低至30%。这意味着如果你学习一些毫无意义的东西，并且未采用任何方法，你将在第二天丢失70%所学的东西。这一点对于电子游戏来说是相当不利的，特别是那些需要数天、数周甚至数月或数年才能打完的游戏。鉴于人类的记忆是有限的，我们注定会遗忘许多东西，我们要怎样确保回归游戏的玩家不会忘记所有关键信息呢？许多游戏采取了相应策略，例如通过教程重新提示玩家。然而，防止遗忘最有效的方法是减少玩家的记忆负担。始终显示的信息越多，玩家需要学习和记忆的信息就越少，因此一个优秀的HUD很重要。

Gameflow comes from the concept of “flow” in psychology, investigated by psychologist Mihaly Csikszentmihalyi. As he was trying to find out the secret to happiness, he noticed that those who were happier in life experienced the state of flow more often. You’re in a state of flow when you are deeply concentrated in doing an activity that is both worthwhile to you and challenging. You can experience this state at work, when being creative (e.g. if you like to draw, knit, or play music), and when you play certain video games. Jenova Chen is the game designer who has extensively explored gameflow, through games like Flow, Flower, or Journey. One of the main components of gameflow is challenge. A game needs to have the right level of difficulty so that the game is never too easy (otherwise we get bored), or too hard (otherwise we get too stressed out). That’s the main difference between the UX of a game and the UX of other products: in games you need to challenge the user. Game developers are carefully implementing frictions that are by design: players are going to encounter obstacles they will need to overcome. This is why multiplayer games need to perfect their matchmaking so that players at the same level of expertise and skills are matched together. Neither being destroyed in no time, or winning too easily is fun.

Offering good usability is critical for any product, including games, yet a game can be easy to use (i.e. the interface is intuitive and players can easily understand their goals and accomplish actions) yet boring. Unlike tools (such as a web browser or a software we use for work), video games are not a means to an end. We typically interact with games solely for the pleasure of playing them. Thus, if a game is not engaging, we are more likely to stop playing it, even if it’s easy to use. Don Norman speaks of “emotional design” to highlight the importance of any product to be more than just about functionality. But for games this emotional design is not merely important; it’s critical. Game developers often talk about fun or immersion. I prefer to use the term engagement and to refer to the ability of the game to be engaging, as it’s a more concrete concept to break down. Engage-ability is a fuzzier concept than usability; since we can never fully predict or understand why people do the things they do. Therefore, there aren’t any solid guidelines to achieve engage-ability yet. Throughout my work at Ubisoft, LucasArts, and Epic Games, there were three pillars I considered in order to improve the engage-ability of a game:

最后，关系指玩家在游戏中与其它人建立有意义的联系。人类是社交动物，多人游戏通过竞争或合作模式满足玩家的关系需求。尽管如此，合作比竞争更吸引人，这也是为什么大多数竞技游戏都提供合作模式（如团战或团队对抗团队）。

UNDERSTANDING THE GAMER’S BRAIN