The Ten Principles for Good Design, Part 1   

優秀設計的10個原則,Part 1                                                       

Mark Rosewater  
2010年5月3日
 
I often talk about Brian Tinsman's love of innovation. This doesn't apply to just his Magic design, but to pretty much everything he gets his hands on. One day Brian was thinking about all the design resources of Wizards of the Coast R&D. Remember, that Magic is but one thing we create here (Dungeons & Dragons and Duel Masters are the two big other products, but there are numerous smaller games created here as well). Was there a way to better synergize all this design talent?


我經常提起 Brian Tinsman 對創新的愛。 這不只是表現在Magic的設計上,也表現在他手上的任何事物。 有一天Brian思考Wizard在Coast R&D中所有的資源,還記得嘛,Magic就是在此誕生的 (龍與地下城Duel Master是另外兩個在此誕生的大作,還有許多其他的小遊戲,也在此處創建)。 有沒有一種方法更好地增效所有在此設計人才?

The end result was the bi-weekly meeting of a group Brian called the Game Design Best Practice Team. Every designer in R&D was invited. Each time, a different designer would choose any design-related topic and use the hour meeting to talk about it. Today's column was the topic I chose when I ran my first meeting.

最後的結果是多了一個被布萊恩稱為"遊戲設計最佳實踐組"的雙周會議 。每一位在R&D中的設計器都被邀請參與這個小組。在每次的會議當中,參與的設計師可以選擇任何一個設計相關的主題,並使用這一小時會議討論這件事。 今天的專欄是當我第一次參與這個會議所選擇使用的主題
 

Brain and Braun
腦與Braun(Braun是一家德國的電子公司)  

 

My hour was all about the 10 Principles for Good Design as proposed by a man named Dieter Rams. I'll start with where I started that day: who in the world is Dieter Rams?
According to Wikipedia:

在這一小時之中我將會專注於優秀設計的 10 個原則的主題上,這10個原則是由一個名叫Dieter Rams人的所提出的。
我將從我那天的開場白開始:
 
Who is Dieter Rams?
根據維基百科Wikipedia 
 
 
   
Dieter Rams (born May 20, 1932 in Wiesbaden, Hesse) is a German industrial designer closely associated with the consumer products company Braun and the Functionalist school of industrial design.
 
Dieter Rams (生於威斯巴登,黑森 1932年 5 月 20日) 是德國工業設計師·與消費者產品公司- Braun 和 工業設計學校 -Functionalist 有密切關連。
  
  
  
 What does a man who designed consumer electronics have to do with game design? As you will see, a lot more than one might think. To understand the connection between Dieter Rams and myself, let me show you the key connection:
 
當你看到這裡時,你可能會認為這個設計消費類電子產品的人跟遊戲設計有什麼關連?
讓我給你一個提示:
 
 

Who is this? This is a man named Jonathan Ive. He too designs consumer electronics products, although for a company that many of you might be more familiar with than Braun—a little company called Apple.

這是誰? 這是一個人,名叫Jonathan Ive。 他雖然也是為一家公司設計消費類電子產品,但比起Braun來說,你們可能更熟悉 這家— — 名為蘋果的小公司。

Jonathan Ive is the Senior Vice President of Industrial Design at Apple. More impressive to me than his qualifications, though, are his designs. Perhaps you're familiar with some of them:

Jonathan Ive是在蘋果工業設計的高級副總裁。 比他的地位更令人難忘的是他的設計。
也許你對下列他所設計的一些產品非常熟悉:
 
 
What does Jonathan Ive have to do with Dieter Rams? Let's take a look at some of Dieter Rams's work:
 
這個Jonathan Ive跟Dieter Rams有什麼關連呢? 讓我們來看看一些Dieter Rams的工作成果:
 
 
 
Many believe that Dieter Rams is the industrial designer that has had the greatest influence on Jonathan Ive's work. I believe Jonathan Ive to be one of the greatest modern industrial designers, so following this path of influence is of great interest to me. (If you're unfamiliar with my love of Apple, check out my article where I professed it. By the way, for those who care: I did get an iPad the day it came out, and I'm loving it. It is very much, I believe, the direction of the future.)
 
許多人相信Dieter Rams是對Jonathan Ive的工作的影響最大的工業設計師。 我相信Jonathan Ive是在最偉大的幾位現代工業設計師之一,因此研究此一影響是我的興趣之一。 (如果你不熟悉我對於蘋果的愛,可以來看看我的文章。我在 iPad上市的第 一天就去買了他而且我愛它。我相信這是未來的一大方向。)
 
Wait, wait, wait. I'm a card designer. What does that have to do with industrial design? My answer is "a lot," because I believe that design is design regardless of what is being created. To be a better designer, I have to understand not just Magic design or card design, but the concept of design in general.
 
等等!!  我是個卡片設計師。在這邊談一些工業設計有什麼關連? 我的回答是 "有很多關連",因為我相信設計就是設計,不論你在設計些什麼。 要成為一個好的設計師,我必需理解的不只是Magic的設計或其他卡片設計,還必須理解一般的設計理念。
 
Today's column (and the one in two weeks—it's a two-parter) is looking at Dieter Rams's 10 Principles for Good Design and talking about how the ten principles apply to game design and Magic design in specific. If you are truly interested in design, I think today's column is an important one.
 
今天的專欄 (和兩個星期後的第二部份) 是看Dieter Rams 的 10 優秀設計原則和淺談如何將這10個原則應用於遊戲設計及在Magic當中的設計。 如果您真的對設計感興趣,我認為今天的專欄將對你很有幫助。
 

Let me start by showing you the list:            我先讓你看看這10個原則

Dieter Rams's Ten Principles
for Good Design

1) Good design is innovative.
2) Good design makes a product 
    useful.
3) Good design is aesthetic.
4) Good design helps us to 
    understand a product.
5) Good design is unobtrusive.
6) Good design is honest.
7) Good design is durable.
8) Good design is consequent 
    to the last detail.
9) Good design is concerned 
     with the environment.
10) Good design is as little design
      as possible.

Dieter Rams 的10個優秀設計原則



1) 好的設計是創新的
2) 好的設計讓產品更加好用                                           
3) 好的設計有美感的
4) 好的設計幫助人們了解產品
5) 好的設計是不起眼的
6) 好的設計是誠實的
7) 好的設計是持久的
8) 好的設計是注重細節的
9) 好的設計是與環境結合的     
10) 好的設計是盡可能小的設計

  

Take a moment to sink it all in. These ten principles carry a lot of weight. When you're ready I'll walk through them one by one.

 請花一點時間來思考這10個原則。 他們的份量是很重的。 當你準備好時,我將會一個接一個的來討論他們。
 

1) Good design is innovative.  好的設計是創新的

It's hard to discuss this point without first discussing innovation. What exactly makes something innovative?

在談論這個主題之前,我們必須先定義什麼是創新。 什麼是真正的創新?

  1. It has to be new, or at least new to the field in question. When you innovate in design, you bring a new element or elements to the table.
  2. It has to bring about positive change. It's not enough for something to just be new. The new thing has to change the design process in a way that moves the design forward.
  3. It has to add value. That is, the change has to add something to the design that did not exist prior to its introduction.
  4. It often has a negative or destructive effect. Most often when something is added, something else is taken away.
  5. It tends to add risk. Change always comes at a cost.

    1.  它必須是新的,或至少是在某領域從未出現過的。 當您在創新設計時,你創造了
         一個新的元素或把一個從未使用過的元素加進設計之中。
    2.  它會帶來正向的改變。 如果只是新鮮感,那是不夠的。 新的事物應該要可以透過
         某種方式讓設計向前邁進。
    3.  它會增加價值。 也就是說他會增加一些以前不存在的東西到設計之中。
    4.  他經常會有負面或破壞性的影響。最常發生在添加一些東西時有另外一些消失了。
    5.  它往往添加風險。 改變通常需要代價。 

The point I think Rams was trying to make here is that design is about moving forward. At each step you have to be willing to challenge what you know and examine potential ways to improve the design. Good design involves embracing change, when necessary, and being willing to accept risk. I will make the important distinction that good design is innovation, but innovation isn't enough for good design.

在這個主題下我想Rams要表達的是設計應該向前邁進。 你向前走的每一步都是一個挑戰,挑戰每一種你知道與不知道的改善設計的方法。 好的設計包含了必要的更改,並且需要接受一定的風險,我必需聲明一個重要的區別 :好的設計是創新的,但只是創新並不一定能稱為好的設計。

 

When you apply this to Magic, what it is saying is that Magic design must keep moving forward. Each new design has to think about its cards and mechanics and themes in the context of not just what came before, but what can be done now. Does modern design technology allow us to approach things from a new vantage point? If so, how can we make changes that advance the game without pulling it away from the core of its essence?

當您應用這個原則在Magic時,它所說的是Magic設計必須繼續向前邁進。 每個新的設計必須思考卡和機制和背景敘述不只是承接之前系列,而是可以創造現在。 現代設計技術允許我們從新的觀點來找出制造東西的方法嗎? 如果可以的話,我們怎樣才能使遊戲改變,而不是將核心系列的號碼+1來強迫遊戲推進?

I believe every Magic set needs to innovate in several ways:

我相信每個Magic 的延伸系列需要透過下列幾種方式來創新:

  1. Every new set should do something that hasn't been done before. This doesn't necessarily have to be as big as a new keyword mechanic, but more often than not it will be.

    每個新系列應該要有之前從未出現過的事情。這並不一定是出現一個新的關鍵字這麼大的改變,但這往往不會出現。
  2. Every new set should bring back something from the past and present it in a new light. Sometimes this will mean further evolving it, but not always.

    每個新系列應該要可以讓舊系列的東西出現新的亮點,有時這意味著更進一步的加強他,但並不總是這樣。
  3. Every new set should find ways to add new elements to old ideas. Another way to think of this is that every new set should give you new cards to add to your old decks.

    每個新系列應該要可以找到新的元素來加進舊的點子之中,換句話說就是每個新的系列要可以給你新的卡片來放進舊的牌組之中
  4. Every set should make players have to shift their thinking about the game in some way.

    每個新系列應該要可以從某些方面來改變玩家在遊戲當中的思維
  5. Every set should create a moment that is uniquely its own. What I mean by this is that in design I'm always on the lookout for the moment when you realize that this environment has its own feel. With Zendikar, it came the first time I found myself hoping to draw a land rather than a spell. I had been in the opposite situations a large number of times, and to see the situation reversed made me realize that the set was hitting on something cool.

    每個新系列應該要可以創造一個屬於這個系列的時代,我指的是每個環境都要可以讓你有身處這環境的獨特感受,比如說"贊迪卡"環境,這是第一次我常常希望我抽到的一張地而不是抽到一張料的環境,而這個感覺讓我覺得這個環境相當的有趣

I believe that if a set can accomplish these five tasks, it is bringing innovation to the design.

我相信如果一個系列有符合上述五種要求,那麼這就可以說是一個創新的系列 

2) Good design makes a product useful.  好的設計讓產品更加好用

Often when I'm at the bathroom of a fast food restaurant, I find myself forced to dry my hands with a hand dryer. It always has some sign that explains the many reasons it's superior to a roll of paper towels: it's better for the environment, it doesn't create waste, it's more hygienic. My response has always been, "If only it dried my hands!"

當我在一間速食店的廁所時,我常常發現我有使用烘手機的強迫症, 它總是有一些地方說明這比擦手紙更加優秀:更好的環境,沒有製造垃圾,而且更衛生。 我的訴求一直都只是"只要它弄乾我的手!"

In design, form does, in fact, have to follow function. When design gets in the way of the consumer being able to use the product effectively, it is failing. This point stresses that design is supposed to work with the product and not against it.

在設計時必須想到產品的功能,如果要等到使用者自己來找到一個有效率的方式,那就失敗了。
這邊強調的是設計應該與產品相互配合,而不是互相衝突

To apply this to game design, you simply have to define what the function of a game is. While there are numerous answers, I'll stick with my favorite: a game's function is to be fun. Yes, it should stimulate the mind, it should enable socialization, it should test the player—it should do all sorts of things, but in the end, if the players aren't enjoying themselves, nothing else matters.

將這觀點應用到遊戲設計上,你必須先定義這個遊戲的功能是什麼。雖然有很多種的答案,但我還是最喜歡這一個 :
遊戲的功能是帶來歡樂
是的,他應該要能夠刺激心靈,他應該要能夠有助於社交,他應該要測試玩家,他應該要有個其他各式各樣的功能,但如果玩家不能夠享受於此,那一切都白費了。

I often ask my Magic designers to explain to me why a particular card or mechanic or set will be fun for the players. If they can't explain to me what is fun about it, I tell them to "find the fun" or scrap it. Too often a designer can get lost in the intricacies of making a card work that they lose sight of why they're making the card in the first place.

我經常會要求Magic設計人員解釋為何某張卡或某個機制或某個系列會讓玩家感到有趣。 如果他們不能答出來,我會要他們"找到樂趣"或"取消它"。一個設計師常常會迷失在錯綜複雜的卡片功能,而忘記了卡片組成最主要的部份。

I often talk about the lesson I learned from Odyssey. In the design, I turned the concept of card advantage on its ear making it the correct play much of the time to throw away your hand to activate an ability you didn't even care about. The problem is that throwing away your hand isn't fun. Players want to play their cards. It didn't matter if I could make them understand strategically why they might want to do it. If I can't get them to want to do it, I, as a designer, have failed.

我經常談起奧德賽的教訓。在這個系列的設計中,他造成了太多時間讓你棄掉你的手牌取啟動一個您跟本不關心的能力,主要問題就出在於你在棄掉手牌時並不會感到有趣。 玩家想要玩他們的精心挑選出來的卡片。如果我能夠使玩家從戰略上瞭解他們為什麼要這樣做,這才重要。 如果我不能讓他們想要做這件事,作為設計師的我,相當失敗。

3) Good design is aesthetic. 好的設計是有美感的

Aethetics is another topic I touch upon from time to time as it's such an important part of design. For a quick refresher, click this link to my a Zen and the Art of Cycle Maintenance. In it, I explain the basics of aesthetics. The short version for those who don't want to hit the link is this: When perceiving things, humans care a great amount about if the object in question "feels right." Certain qualities create comfort, while others create discomfort.

美學是我時常觸及的領域,因為它是一個設計上的重要課題。 你可以快速的參考此連結一禪與週期維修藝術。在這理,我為那些不想點連結的懶惰鬼解釋美學基礎的知識:  當看見事物時,人們有很大的焦點放在這個事物是不是"感覺對了"。正確品質帶來舒適感,而其他則帶來不適感。

The role of aesthetics is understanding what generates a positive response from people. The science of aesthetics has told us that these qualities are much more objective than one might assume. Biologically, humans are wired to crave certain things: balance, structure, completion, etc. Designers have to understand aesthetics because it has a huge impact on how their designs are received and perceived.

美學的作用是幫助我們瞭解什麼可以讓人產生一個正面的回應,從科學的角度來說這也許是由不只一個面向來組成,比如說從生物學的角度來看,人類渴望著平衡的、有結構的、完美的事物。設計人員必需了解美學,因為他影響了其他人如何去接收和理解你的設計。

A big part of any art is learning the rules of that art. Painters have to understand perspective, photographers have to understand light, writers have to understand story structure. Most of these rules come from the lessons of aesthetics. What does a painting or a photograph or a story have to do to "feel right" to the audience?

無論是任何藝術你都必須了解其最主要的規則.畫家必須有透視圖的概念、攝影師必須有光線的概念、小說家必須了解故事的結構概念.這些規則大多來自於美學,什麼因素可以讓圖畫、相片或是小說 "感覺對了"

Game design is no different. Games have to "feel right." For Magic, this means that we have to be conscious of many factors that might not seem important on the surface. This includes things like being careful how much we use a particular mechanic and where we put it in color and rarity. It also includes what abilities we put together. Designers have to be very conscious about the overall feel of a card as they add or subtract elements.

遊戲設計也是一樣的,遊戲必須讓人"感覺對了"。在Magic之中我們必須考慮許多看起來並不顯眼的要素,比如說我們使用了多少特殊機制的牌,這些牌在各色間的比例如何。也包括了各異能間的組合,設計者必須非常小心的增加或減少卡上的元素來維持一張卡整體的感覺。

Aesthetics also makes us very careful about how we use different elements on a card. The best example of this would be our use of numbers. We are very aware what numbers appear on a card and when those numbers feel as if they want to have relevance to one another. For example, if a creature deals 3 damage when it enters the battlefield, we strongly push towards making the creature have a power of 3, as we want to create the feel that the creature is "attacking" as it enters play.

美學也影響著我們如何使用不同的元素在一張卡上,這裡有一個很好的例子是當我們必須使用數字的時候,我們必須特別的小心數字在牌上的使用方式,比如說我們現在希望有一個生物進場時可以造成3點傷害,那麼直接在牌上寫上"此生物進場時,造成3點傷害"跟讓這個生物的攻擊力是3,牌上寫著"此生物進場時可以馬上發動攻擊",是不是後者看起來就少了一種突兀的感覺了呢?

Often when several numbers on the card match we push to line up other numbers as well. Several weeks ago, I explained how we were very careful about what power/toughness combinations we used on the levelers to make their progression feel right. All of these things might seem small in a vacuum but the combined effect of caring about all these small things is that the sets have the right feel.

通常卡上的幾個數字會迫使我們寫下另外幾個數字,幾個禮拜之前,我解釋了我們如何調整可Level up的生物攻防值使她們看起來感覺對了,也許這只是一個小事但是許多的小事集合起來就可以使得這整個系列感覺對了!

4) Good design helps us to understand a product.  好的設計幫助人們了解產品

One of the things I love about Apple's design is that things tend to work the way you think they would work. The designers at Apple take great care to match expectation. This concept is so important to design that I've nicknamed it; I call it the Paperclip Effect. The first time you are shown a paper clip, it feels natural. So natural, in fact, that it becomes hard to imagine any other way to temporarily hold multiple pieces of paper together. That's the sign of clean design. It so encompasses its purpose that it eclipses the idea that it is but one way to do it. It feels like the way, not a way.

我喜歡蘋果的設計其中的一個原因是,她們的設計會照著你想像中的方式運作,蘋果很在乎她們的設計是不是符合使用者的預期,這是非常重要的一個設計概念,我稱他為迴紋針效應。當你拿到一個迴紋針的時候,感覺是如此的自然,而且你很難想像到有其他的方式可以讓一疊紙緊密的靠在一起,他似乎就是為此而存在,就像是一條本來就存在在那裡的道路,而不是人為尋找出來的

Rams is also talking, I believe, about the importance of a design serving as instruction. The object needs to be designed such that its very form explains how it is used. It's easy to think of design solely as cosmetic, to create the prettiest version of whatever it's trying to be. With this principle, Rams is reminding the designer that they trade in information just as much as image.

Rams也談到作為一個設計的重點。 產品需要設計成一個特殊的形象來表現如何使用它。 就像是化妝品一樣,化妝品往往被設計成一個漂亮的外表,因為他的功能也正是如此(讓人得到一個漂亮的外表)。 在這項原則上Rams要提醒設計師們:圖片一樣也能帶給人們資訊。

This is especially important in Magic because of the limitations of trading card games. The designer does not control in what order the player experiences the game. This means that great care has to be taken to communicate what is going on. The biggest way this is accomplished is by use of common cards. These cards are the backbone of the set, because they will exist in the largest volume. If the designer wants to send a message about what the set is about, that message has to live in common to ensure that it will be seen. As I often say, if your theme isn't in common, it isn't your theme.

這在Magic中非常重要,因為在集換式卡片遊戲中,你無法限制玩家接觸到的卡片的順序,這意味著有些卡片必須拿來解釋他們如何運作,最好的方式是透過一些常見的功能卡片來作為遊戲的核心,因為他們會被大量的使用到,如果設計師想要傳達這個系列的核心是什麼,就必須確保著你想傳達的概念能夠被人看見。就像我常說的那樣:如果你的主題並不顯而易見,那他就不是一個主題。

Good Magic design has to convey information. This is done in two ways. First is the card-by-card information. Each card has numerous places to provide information: the rules text, the card type line, the power/toughness, the title, the art, the flavor text, etc. The designer has to understand when each part can and should be used.

良好的Magic卡片設計可以傳達一些訊息。這通常表現在兩個方面,第一個是卡片上的共通格式,每張卡上都有幾個地方會提供固定的資訊:像是功能敘述,卡片類別,攻/防數值,卡片名稱,畫師,背景敘述等等。 設計師必須了解這些共通格式何時可以使用而且必須使用。

Next are the tools used to communicate information about the set: rarity, color, cycles, reflections, etc. Part of conveying things about your set is setting up parallel cards that reinforce your themes. Remember that a player has five times more chance to see a traditional five-color cycle than a single card.

另一個是關於這個系列的敘述工具:像是稀有度,顏色,五色循環卡片等等。這些部份可以透過各類卡片來反應的你主題,你要知道當你把主題作成五色循環卡片時,比起一張單卡,他將有五倍以上的機會被人們注意到

A designer has to always be conscious not just of what the product is, but of what its design says as an introduction. When someone sees your product for the first time, it will be up to your product to convey your message.

設計師除了產品本身是什麼之外,還必須清楚的了解到設計可以帶來什麼樣子的訊息。 當有人第一次接觸到你的產品時,他是否可以接收到你想傳達的訊息。

5) Good design is unobtrusive. 好的設計是不起眼的

During the first few years I was in Hollywood, I worked as a runner. (You can read all about my runner days in my column Tales of a Runner.) Also called a production assistant or a "go-fer" (as in"go fer" this and "go fer" that), a runner is the lowest person on the Hollywood food chain. You basically do whatever errands you are told to do.

我在好萊屋工作的第一年,我只是個跑龍套的角色(你可以到這邊來看看我的龍套日記.),也可以稱為製片助理,就是在好萊屋食物鍊最底層小咖,但基本上就是別人要你幹嘛就幹嘛。

One of my jobs was as a runner on the show Anything but Love starring Jamie Lee Curtis and Richard Lewis. One day I was called to the office of one of the producers. It was his job to oversee the runners. He called me in and told me to take a seat. He explained that there had been some complaints about me. Was I not doing my job efficiently? No, I was doing a good job. Was I failing to perform some task? No, I was doing everything asked of me. Had I done something I wasn't supposed to do? No, I hadn't stepped out of bounds. Then what was I doing wrong? The problem, he said, was that I was too visible.

我的其中一個工作是在電影Anything but Love(由Jamie Lee Curtis 和 Richard Lewis 主演)中,跑個小龍套,有一天製片人把我叫了過去並且對我說有些人對我有意見,並不是我的工作作的不夠好或是我做錯了什麼,問題出在於我太顯眼了。

Too visible? What did that mean? He explained that part of a runner's job was to be as low-key as possible. A runner was not supposed to be noticed. I had too much personality. I was getting noticed. I wasn't unobtrusive.

太顯眼?這是什麼意思?他解釋了跑龍套的角色必需要盡可能到不引起別人注意,而我太有個性了導致於我非常起眼

At the time I was pretty upset. The whole reason I took the low-level runner job was to work my way up. I was trying to get noticed. It wasn't until many years later that I began to understand what he was saying. To be an effective runner, I had to fulfill all requirements of the job. An important one was that I wasn't supposed to pull focus. I was supposed to do my job without causing any disruption. I was supposed to be invisible, because my job in the big picture was a supporting one.

在當時我非常的沮喪,因為我並不只是想當一個跑龍套的而已,所以我試著引起大家的注意。後來過了很多年後,我才漸漸了解他所說的意思,要成為一個好的龍套角色,我必須達到龍套應該作到的所有要求,而讓自己不起眼其實也是要求之一,我應該在不干擾任何其他元素的前提之下做好我的工作,因為我的工作就是要讓主要的畫面變得更突出。

It's very easy to see the job from my perspective. I was using it to try and move on to something else. The harder part is to see it from the producer's perspective. He had a need that had to be filled. I wasn't giving him everything he needed. Instead of fitting into the organization, I was trying to stand out. It was problematic.

從我的角度來看待跑龍套的工作是很簡單的,所以我會開始作些其他份外的事情,但從製片人的角度來思考其實是很困難的,他必須用一些龍套角色來填畫面,雖然我幫他填補了畫面但是我試圖突顯我自己時..我其實破壞了整個畫面。

Let's apply this to Magic design. The role of any individual card is to serve the needs of the set. The card's first duty is to the set, not to itself. One of the hardest things for designers to do is to pull the awesome card that isn't quite doing what it's supposed to be doing. The problem is that the card is less important than the set. If the card pulls focus, it disrupts the set. A designer's job, much like that producer, is to look at the system as a whole. Yes, it's disruptive from that card's perspective, but the design has a purpose much larger than an individual card's need.

讓我們來看看這如何應用到Magic之上吧.任何的一張單卡都只是為了整個系列而存在,卡片的功能應該是完善這個系列而不是突顯這張卡片的強大,設計師困難的地方在於要如何讓一張強卡能夠達到想要的效果但不能只靠自己就達到這個效果,問題點在於卡片的重要性必須小於系列的重要性。如果某張單卡成為了焦點,他將會破壞整個系列。設計師的角色就像是製片人一樣,在設計時必須審視整個系列,雖然這會降低單卡的強度,但卻可以達成更大的目標。

I think Rams's major point here is that all the elements have to serve the design first and foremost and no other. The second any one element puts itself above the design as a whole, it jeopardizes the design. This is true in making lamps or record players, and it's true in making Magic cards.

我相信Rams在這邊想表達的重點是無論添加了任何元素都只有一個目的-讓產品本身變得更好。在產品之中放入了任何一個獨立的元素對產品都是一種傷害。不論你是在拍電影或是設計Magic卡片都是一樣的道理

Gimme Five 擊個掌吧!

That's the first five of Rams's ten principles of good design as they apply to Magic. Join me in two weeks for part 2. (Next week is a theme week.) I'm curious if you like this style of column. Would you like me to write another one the next time it's my turn to present? I'm interested to hear what you all think (both of my question and of Rams's principles). Make a comment in the thread, drop me an email, or find me on Twitter (@maro254).

這是Rams的十個原則當中的前五個原則以及他們如何應用在Magic上。兩週後我將會帶來後五個,我很好奇你是否會喜歡這種型式的專欄文章,如果你有任何想法。請連絡我。

Join me next week when I'll level with you all.

下週見囉~

Until then, may you see your own design in Rams's principles.

你也可以試著用Rams的原則來思考你的設計

--
原文出處: http://www.wizards.com/magic/magazine/Article.aspx?x=mtg/daily/mm/89

創作者介紹

ICE桌遊誌

Icebolt 發表在 痞客邦 PIXNET 留言(1) 人氣()


留言列表 (1)

發表留言
  • 黑豬
  • 囧> 我們這篇只翻譯到一半,沒想到ice這邊就先翻出來了
    ice你該不會已經著手在翻譯part 2了吧
  • part 2 我剛開始而已

    Icebolt 於 2010/06/08 11:57 回覆

找更多相關文章與討論