游戏设计者们回击了两个观点。
我们是一个小型游戏设计者和美术者的团队。
最成功的游戏设计者总是知道如何混合熟悉和新奇。
The most successful game designers always know how to mix familiar and novel.
新学校的游戏设计者组合了一所非常棒的视频游戏学校。
A game designer from the New school put together a wonderful video gaming school.
另外，现在的游戏设计者还必须掌握游戏本身的种种特性。
Plus, it's important to understand all the mechanisms in games, otherwise the movement or the gameplay would not be right.
的游戏设计者相反，你们使用的是一个传统的平面游戏视角。
But you guys use a traditional, board-game-like perspective.
这是每个作家、艺术家和游戏设计者等活跃在创造型行业的人被询问最多的问题。
That's the question that writers, artists, game designers, and a lot of other people in creative fields will tell you they get asked the most.
这样的点击就是游戏设计者要传达的乐趣所在，也是游戏正真的目标。
Theseclicks are the fun that design distills, and the only real purpose of a game.
图8 - 1展示了游戏设计者可以用脚本系统实现的模式移动的实例。
Figure 8-1 shows an example of a movement pattern that a game designer can implement using a scripting system.
如果你希望玩家能像游戏设计者一样使用脚本系统的话，这是十分重要的。
This is true particularly if you want players as well as game designers to use the scripting system.
这点也适用于今日，现在的游戏设计者必须对平台有全面而深入的理解。
That still holds true in the current world, but for the game designer, it's important to understand the overall system.
一个真正应用于游戏的脚本语言是从根本上服务于游戏设计者和程序员的。
The actual scripting language used in a game is ultimately up to the game designers and programmers.
由专业扑克游戏设计者制作，加勒比海“扑克王”能令你在扑克桌上大展身手！
Created by a group of card game design experts. "King of Caribbean poker" has everything you need to make a miracle on the poker table!
也就是说，游戏设计者要根据娱乐性和经济因素决定一个游戏世界容纳的玩家数量。
That is, game designers pick a number of players a world will hold based on entertainment and economic considerations.
这样游戏设计者就可以轻轻松松地调整人的设定，而不需要在每次改动之后重新编译程序代码。
The game designers are free to tweak the creature setting without the need to recompile the program code after each change.
但它也让更多传统游戏设计者有机会创造一些让小女孩——而不只是小男孩——成为英雄的游戏。
But it also presents more conventional game designers with an opportunity to create games in which young girls, and not just young boys, actually become heroes themselves.
书中的主角大卫是一名30多岁，事业有成的视频游戏设计者，他的婚姻已经多年如同一潭死水。
His hero, David, is a successful video-game designer in his 30s whose marriage has "existed in a state of stasis" for years.
脚本就是一个不错的方式来让游戏设计者创建一个引人入胜的故事而不需要修改已经完成的游戏程序。
Scripting is an excellent way to enable the game designer to create a compelling story without the need to alter the actual game program.
在《黑暗原力》开发的早期，游戏设计者考虑让卢克·天行者作主角，继续《星球大战》正传之后的剧情。
Early in the development of Dark Forces, the game designers considered having Luke Skywalker be the central character, and follow the events of the original Star Wars.
于是每当他们因为时间所剩无几而阵脚大乱时，他们总是急着要求借用时间，几乎没人意识到游戏设计者其实是在“放高利贷”。
When they were scrambling amid time scarcity, they were quick to borrow time, and they were nearly oblivious to the usurious interest rates the game organizers were charging.
如果这些游戏设计者们向我们承诺了一个战斗模拟，为什么他们还要接着限制参与者的角色定位，从而引导行动变成了受限制的电车轨道？
If the game designers are promising a combat simulation, why are they then restricting the role of the participant, thereby channeling activities down restricted tramlines?
你们简直就是-不是刻意冒犯-公众关系工作的菜鸟。当然，GC只是一个游戏设计者而不是一个公关专家也是我们能理解的。
This seems to be - no offense - rookie public relations work. Which is to be expected, since GC is a game developer and not a public relations expert.
如果游戏可以教给我们更多的东西，那就非常绝妙了，不过正如Raph所言，能否做到这点，还是取决于我们这些游戏设计者。
It would be great if they taught a wider range of lessons, but as Raph says, that's up to us game designers to make it happen.
令人沮丧的是，我发现游戏设计者在考虑我们这群被称作“角色扮演精英”的网络游戏玩家主要群体的需求的时候出现了一些遗漏。
To my dismay, I began to see the flaws in their gaming design as it relates to those of us whom the majority of MMO-players call the "role-playing elite".
一个人可以逃过达哈卡这样一个事实，可以被认为是游戏设计者的这样一个观点：虽然命运似乎不可避免，但是实际上它可以被避免，甚至被征服！
The fact that one can escape the Dahaka can be seen as a suggestion from the game's designers that while fate seems inevitable, it can in fact be avoided and even conquered.
罗素说到游戏的设计者也要负到指引父母如何与游戏和孩子交互的责任。
Russell says game designers should also take responsibility in guiding parents on how to interact with the games and their kids.
莫里克教授发现，造成游戏间业绩的差距的原因，30%要归咎到制作人和设计者的身上；其中制作人的影响最大。
Mr Mollick found that some 30% of differences in revenue between games could be attributed to the producer and the designer alone; and that the lion's share of this variation was due to the producer.
莫里克教授发现，造成游戏间业绩的差距的原因，30%要归咎到制作人和设计者的身上；其中制作人的影响最大。
Mr Mollick found that some 30% of differences in revenue between games could be attributed to the producer and the designer alone; and that the lion's share of this variation was due to the producer.
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