The art of computer game design (1)

Not reprinted!
Translation management by puzzy3d

The art of Computer Game Design
Chris Crawford
Electronic preface peabody@vancouver.wsu.edu.
Directory 1
Thanks
. Sequence 1
. Chapter 2-what is a game? 3
. Chapter 2-Why do people play games? 11
. Chapter 2-computer game Classification
. Chapter 2-computer as a game technology
. Chapter 2-game design Sequence
. Chapter 2-design technology and ideas
. Chapter 2-the future of computer games
. Chapter 2-Development of Excalibur
. Reflection-Interview with Chris

Thanks (omitted)
Collation
The premise of this book is that computer games constitute a new art form. Although it is not well developed yet, it brings great hope to designers and players.
This premise seems ridiculous or rash. How can I classify Space Invaders and Pac Man in art? How can tempest or missile command be compared with the Fifth Symphony of Beethoven, the beautiful lady of mixiqiro, or the farewell, war by Hemingway? Computer games are too trivial and lightweight to be called art. They are at best a lazy entertainment. The scammers say so.
However, we can't just drag computer games into a popular culture based on the existing games. This industry is too young and the situation changes too fast. We cannot draw conclusions from computer games so rashly. We must consider our potential rather than our current reality. It must be related to the basic aspects of computer games, so that we can get the conclusion that it is time-and change-tested.
There are many artistic definitions, but they do not make sense for new things. Here I propose my own definition: Art is something made to express your feelings through imagination. The artist provides his audience with a series of sensory experiences, which inspire universal imagination and resonate with each other. Only by imagining the beauty of the world can we produce art. However, art is difficult because there are many practical problems related to stimulating imagination. Imagination is deeply rooted in others' thoughts. The main problem is to get the attention or resonance of the audience. Most of the art only allows a very small number of participants. You sit quietly and listen to the music made and played by others, or you visit the museum to enjoy the pictures or sculptures created by others. You sat down passively to read a novel, a poem, or a short story. In all these artistic forms, the audience's role is passive. The artist is engaged in all active work, making the greatest emotional investment. The audience is expected to quietly absorb the results of the artist's efforts. Active participation is severely suppressed. If you do not participate together, your attention is reduced, and the effect is greatly inferior.
This is an unwise criticism of art or artist. Art is technically excluded from participation. It would be a great pleasure and no art to hear if we all jumped into the orchestra, or onto the opera stage, or together with bilkaso. Because people cannot participate in art, as a result, artists can say a lot in their work, and most people can only realize a little, which is almost a disaster of art.
Now let's talk about computers. Computer was conceived a long time ago and was born in the war and nurtured as a business assistant. Now this vigorous technology has rushed out of the computer room and penetrated into shopping centers, pizza shops, and homes. The computer has changed from a well-known, cold-blooded old image of a huge calculator to a new image of a TV transmitter. The computer was originally developed as a digital machine. When it has graphics and Sound capabilities, the computer has a new nature. This gives computers powerful Power: Now it can communicate with humans, not just in the indifferent language of numbers, but also in the form of images, sounds, and other attractive languages for immediate emotional communication. There is a new possibility of a previous dream: the possibility of using computers as an emotional communication art media. Computer games have become the best carrier for such media. Because computer games provide an experience for the audience to stimulate their feelings, they are an artistic form.
Unfortunately, the sensory experience produced by the current microcomputer is not as rich as that produced by the symphony orchestra or movies. The inherent nature of game participation is the basic advantage that most other forms of art lack, so this weakness is greatly compensated. Here, artists have a tool that is more sophisticated than traditional art. In other artistic forms, artists directly generate experiences that audiences will encounter. Because this experience is carefully planned and implemented, the audience must avoid interfering with it in some way; that is, do not participate together. In the game, artists produce not their own experience, but situations and rules. Players will follow them to produce their own personalized experience. Artists have high requirements. They must indirectly plan experience and take into account the player's possible actions and responses. Feedback is great because co-participation increases attention and increases the intensity of experience. When we passively observe other people's art forms, we benefit from others' feelings, but when we actively participate in the game, we invest part of ourselves in the illusory world of the game. Co-participation is a greater investment and a greater reward for emotional satisfaction. Indeed, the role of co-participation is so important that many people are satisfied with the results of their participation in amateur artists, far more than those who appreciate the works of professional artists. Therefore, it is essentially a game of joint participation that provides artists with a wonderful contact opportunity.
Until now, games, especially computer games, are basically not an impressive artistic form. Computer games are especially naive. This is because the technology of computer games is in the hands of technical experts rather than artists. These guys (almost all male) can write beautiful operating systems, languages, onboard programs, and other technological miracles, but their artistic vision is far behind the technical power.
Another reason for the current computer game development is that the market is timid. These machines are new. People are not familiar with them, and manufacturers do not dare to put too much pressure on them. Therefore, we chose to establish a small informal game, so we had to say something trivial. A truly strong mood or situation, such as pain, obsession, Majesty, ecstasy, catharsis or sorrow, is not dare to use. We justify ourselves that we are engaged in entertainment industry rather than art business, but the excuse only exposes a deep misunderstanding of art. Art may be a good thing to be cautious about, but good art may also be down-to-earth. The smart connotation of Art produces elitism, and its sincere feelings burst into shock.
The times are changing. We have seen the reaction of developing computer games. It is expressed in a variety of ways, such as the statute against game center placement in some regions, the criticism of educators on the game, and the provision by parents to be more vigilant about children's game activities. Only a few people in the industry are anxious to see this reaction. More dreamers are interested in watching this reaction, and do not want to defend themselves. What Americans tell us is very important. Although their tradition is not to interfere with other people's business, they are different in terms of computer games. Public discussions are usually concentrated on official publications, such as bad behaviors made by non-male teenagers in schools. In private, games are annoying, and fuzzy suspicion of games is a waste of time. It is impossible for everyone to be fooled forever; they begin to understand the world of computer games as a vast desert.
Computer games are more like candy, hyphens, and cartoons. All four things provide strong or exaggerated experience. Whether they use candy, exclamation marks or animated explosions, the purpose is the same: Provide extreme experience. Because they are fresh, children appreciate these things. Adults have been tired of such things over the years, and their preferences have shifted to more subtle and deeper things. As a result, we have a full set of devices in the gorgeous kitchen, a large number of literary giants and the film world, such as adult candy, comic strips and cartoons. However, we do not have an adult computer game. This deficiency implies a possibility because it provides a major recommendation for computer game design.
This development revolution has nothing to do with the rapid development of science and technology in recent years. Although technology continues to improve, we are no longer limited by hardware. However, our main problem is the lack of theory as the basis of our efforts. We don't really know what a game is, why people play games, and what makes a game great. Computer games can be truly artistic, but they cannot be achieved without understanding the path. We need to establish aesthetic principles, evaluate architectures, and develop models. New and better hardware will improve our game, but it cannot guarantee the success of our art, just as the development of the orchestra cannot ensure the emergence of Beethoven. Computer games have a long way to go compared to Shakespeare's play, the chaikestroski symphony, or Van Gogh's portrait. Each of these artists is standing on the shoulders of their predecessors. They are exploring the unknown world by their predecessors and plotting its map, later, the artist was able to make achievements and achieve even greater achievements on the basis of their work. Computer game designers must gather our shoulders so that our later players may stand on our shoulders. This book is my contribution to that career.

Chapter 1
What is a game?
Board games
Poker games
Sports Games
Children's games
Computer games
Expression
Interaction
Conflict
Security

What is a game?
To understand the game and game design, we must first establish a clear basic orientation. We must define what the word "game" means. It is also necessary to determine the basic features of all games. We will first discuss the inherent obstacles in this practice, then briefly describe the main categories of the game, and then propose a set of attributes that express all the features of the game.
Games are a basic part of human existence. Gaming claims imply in our language that they are not real activities. We participate in annoying activities. It means we play with those who need our cooperation. When we are dishonest, we play games. A voluntary partner is playing games for an enterprise. This gaming concept is widely applied to the entire human experience and creates two potential obstacles to our understanding of the game.
First, the use of the word game in a liberal sense prompted us to exaggerate our understanding of the game. We cannot enter the subject that can be carefully and strictly analyzed, that is, the more academic questions we prefer, and it makes it easy for us to ignore the complexity of game design. Game Design is completely amateur. They only have programming skills and have no further preparation experience as a game player. Those who are overestimating their understanding of the game are underestimating the importance of learning.
The second obstacle is ambiguity. We are so widely applied to the principles and concepts of games, resulting in a great deal of initial significance. The concepts we seek to understand are no longer clear and concentrated. Game designers do not have a good set of common words to communicate with each other. The discussion of game design often becomes a semantic debate. Bulldozer and Machete are required to eliminate the barriers that grow around the game.
Let's move back for a while, take the positive direction, and start this effort. Let's make a brief roaming tour of the game world and make a simple tour of every major area. In this roaming process, I hope to update the reader's memory and simple establishment of the game before strictly analyzing the basic game features. I think there are five main types of games: board games, playing cards games, sports games, children games and computer games.

Board games
We started with board games. These games have a surface that is divided into several areas, each of which is occupied by a group of movable blocks. The most common arrangement is that movable blocks are directly related to players, and the playing surface shows that they are not directly controlled by players. Players dispatch their blocks to pass through the playing surface and try to capture blocks of other players, achieve a purpose, gain territorial control, or gain valuable benefits. In these games, players are mainly concerned with the analysis of the geometric relationship between blocks.

Poker games
The second type of games is poker games. These Games use a group of 52 cards, with two factors: divided into four groups, each with 13 levels. The game is considering a combination of these two factors. Players can randomly process or combine rules to win or lose a card. Each valid combination has a value related to the final result of the game. Players must be aware of both the existing and potential combinations and calculate an overview of the required playing cards for the complete combination. This introduction must be equivalent to the winning value of the combination. Because the number of combinations is very large, it is necessary to introduce the Precise Computation of more than the intelligence of all players. The game is mainly an intuitive training. Therefore, players are mainly concerned with the analysis of combinations.

Sports Games
Another form of Traditional Games is sports games. This kind of game emphasizes physical strength over intelligence. The rules of the game strictly specify a set of precise actions, allowing players to execute or requiring them to execute. In this kind of game, players are mainly concerned with using their bodies skillfully.
We must be careful when distinguishing between sports games and sports competitions. For example, a competition is a competition rather than a game. The line between the game and the competition points out the basic elements of a game. I think there are two levels of interaction between players. Theoretically, runners are irrelevant to each other. Each Runners only race against the clock. The appearance of other runners should be non-substantive. In fact, runners do interact psychologically, because the performance of one runner can affect the performance of other runners. In addition, in some competitions, one player (or the driver, pilot, or Captain) is able to put his body between the target and another contestant, thus gaining benefits. I have come to the conclusion that, in the simplest competition, each person tries to accomplish some of the best tasks in it, but does not need to interact directly with other competitors, it does not constitute a game, but a competition. A competition that allows interaction is a game.

Children's games
Another type of game activity is children's game. A common example is "Hide-and-Seek", "Red", "tab", and "Kick-jar. These games often take the form of groups, emphasizing simple physical activity. Although these games contain simple intellectual and physical components, their role is not to challenge the children's intellectual and physical limits. On the contrary, players are primarily concerned with social skills in these games and need to show the basic role of groups in human life.
Various activities for children are often called games. When a child peeled off a bark, picked it up, and blew it out, we also said this behavior was a game. For this book, I excluded these activities from the game. These impromptu games do not provide any useful information about the game.

Computer games
The next game area we tested was the topic of popular games and books, computer games. These Games use five types of computers: oin op machines) expensive dedicated machines, cheap dedicated machines, multi-program home game consoles (such machines as Atari 2600 and Atari 5200), personal computers and large computers. Most computers in the game serve as opponents and arbitrators; many of them also provide animated graphics. The most common form of computer games is skill and Action (S & ). S & A games emphasize hand-eye coordination. These S & A games are often violent. There are also many other computer games: adventure games, fantasy games and war games. However, due to the wide variety of skills and action games, our rough browsing affects the attention of other games.
Here we have made a quick look at the most prominent categories in the gaming world. Later, we will return to the topic, propose a computer game classification method, and then use a specific game example to point out its characteristics. Now we must talk about the question that prompted us to investigate: What are the common basic elements of these games? I think there are four universal factors: expression, interaction, conflict, and security.

Expression
First, the game is a closed system that expresses the real subset subjectively. Let's examine every word in this statement carefully. "Closed" means that the game is a complete and self-circular structure. The simulated world produced by the game is complete internally, and there is no need for a frame of reference outside the game. Some poorly-designed games cannot meet this requirement. Such game products cause a debate over the rules because they allow the situation to not develop according to the rules. In the future, players will have to expand rules to make their own situations inclusive. This situation always leads to debate. A well-designed game excludes this possibility in advance, because the rule embraces all accidental events encountered in the game, so it is closed.

Form
The word "form" indicates that the game has clear rules. Game rules without "Forms" are loose or intentionally vague. That kind of game is not mainstream.

System
The word 'system' is often misused, but in this case its application is very appropriate. A game is a collection of Interactive Parts in complex ways. It is indeed a system.

Subjective Expression
The expression has two sides: one is an objective side and the other is a subjective side. The two sides are interrelated. They are subjective due to objective facts and constantly obtain nutrition from objective facts. In the game, these two sides are entangled, emphasizing the subjective side. For example, when a player breaks down hundreds of aliens, no one believes that his entertainment directly reflects the objective world. However, a game may be a real embodiment of the player's perception of the world. I don't want to use the psychological analysis of popular players to defile my arguments and give the playground an excuse for a complicated attack. Obviously, what players are thinking is not simply destroying aliens. However, we do not need to care about its precise content. For the time being, we believe that it is entirely appropriate for a player to feel that the game expresses his own illusory world. Therefore, games express the subjective world rather than objective reality. Games are objective and virtual. the situations they express are not actually created physically, but they are subjective to players. It is human imagination to turn an objective and unrealistic situation into a carrier of subjective truth. Imagination plays an important role in any game situation. Games express imagination rather than scientific models.

Comparison between games and Simulation
Considering the differences between simulation and games, we can figure out the differences between objective and subjective expressions. Simulation is an attempt to strictly and correctly display a real phenomenon as another broader form. Games are simplified expressions of phenomena. Simulation designers do not want to simplify it. If there is a simplification, it is also a concession due to material and intellectual limitations. Game designers deliberately simplify the process to focus the attention of players on factors that the designers think are important. There are basic differences between the two. The purpose of simulation is to calculate or estimate, while the game is to create for education or entertainment (Training simulation is incorporated into the intermediate zone of the education game ). Accuracy is a prerequisite for simulation; clarity is a prerequisite for games. Simulating the relationship between games is like the relationship between technical drawing and painting. The game is not just a small simulation that lacks details; the game intentionally compresses details to emphasize the broader information the designer wants to present. Simulation is segmented, while games are stylized.
For example, consider the difference between a PC simulated airplane program and a coin operated game Red Baron. Both of them are about flight and aircraft, and they are all operating on a microcomputer system. The flight simulator demonstrates many flight-related technologies, such as stall, tumble, and rotation, which Red Baron does not have. Indeed, it is impractical for players to include planes in the Red Baron file. It cannot stall, roll, rotate or dive. It is automatically restored when the joystick is released. However, from these observations, we can conclude that Red Baron is not as correct as a simulated aircraft. Red Baron is not a game about real flight; it is a game about flying, shooting, and preventing being shot. Details that contain flight technology will shift most Players' Attention to other aspects of the game. The designers of Red Baron properly stripped the details of the flying technology and focused Players' Attention on the combat aspect of the game. Red Baron lacks the technical details and is not a disadvantage but an advantage because it provides a focus for the game. The lack of details about simulated aircraft is a disadvantage and a problem.

Real subset
The last word I use is a real subset. One aspect of the word subset is easily proved. It is clear that the game itself is not real, and it cannot include all the real; therefore, the game is at most a real subset. The material selection of a subset is a method that provides focus for games. It is difficult for players to understand a game with a large real subset, which is almost impossible to be different from life itself. Therefore, they can grasp the most interesting factor of the game, that is, its focus.

Summary
The game produces a subjective, deliberately simplified emotional expression. The game is not an objective and accurate expression of the truth. There is no need for high objective accuracy, as long as it can support players' imagination. The player's imagination is a key carrier for making real games in psychology.

Interaction
Some real media are static. A painting or sculpture describes a real snapshot at a specific time. Some media are dynamic; they show time changes. Movies, music, and dance are dynamic. They are able to show real changes in richer ways. But the most fascinating thing about reality is not here, or how it changes, but how it changes. All things are linked through the complex entanglement of cause and effect. The only way to properly present such entanglement is to allow the audience to explore its corners and gaps, so that they can make their own reasons and observe the results. Therefore, the highest and most complete form of expression is interactive expression. Games provide this interactive element, which is also a key factor in the attractiveness of games.

Comparison between games and riddles (puzzles)
One way to understand the nature of game interaction is to compare Games with riddles and other non-interactive challenges. Compare the guess cube riddle with the tic tac toe game. Compare a basketball game with a high jump. In each comparison, two activities provide similar challenges to players. Making one activity a game and another activity is not the key difference in the game is the interactive element. The cube riddle does not actively respond to human activities; the climbing pole does not respond to the efforts of the High leader. In the toe and basketball games, the other party pays attention to and responds to the player's actions.
The differences between games and riddles are completely irrelevant to the techniques of the situation; we can easily turn many puzzles and sports challenges into games, and vice versa. For example, chess is a game, but it has incubated a whole kind of problem, that is, final problem. Games can include many puzzles as a subset, and most of them do this. Most of the time puzzles make up a small portion of the game. If a game includes most of its challenges, once the puzzle is solved, the game will soon lose the value of the challenge.

Comparison of games and stories
Another way to illustrate interaction is to compare Games with stories. A story is a fact in chronological order, which contains a causal relationship. Because the fact of a story is not really important, the facts presented are often deliberately fictitious. Only the causal relationship provided by the fact order is an important part of the story. For example, we don't care whether Luke Skywalker and death star actually exist. We can see that Luke Skywalker is kind and simple, and Death Star is evil. Luke Skywalker defeated death star. The causal relationship of story expression is the victory of good over evil. Therefore, a story is a carrier to express the truth. It implies a causal relationship through the fact sequence rather than the fact itself.
The game is also trying to be real. The difference with the story is that the story presents facts in an unchanged order, while the game presents an Ordered Tree, and allows players to choose from each tree to generate their own stories. The story audience can only deduce the causal relationship from a single sequence of facts. players in the game are encouraged to explore alternative, swap, and invert options. Gamers can freely explore causal relationships from many different perspectives.
Indeed, players expect to play games multiple times and try different strategies each time. A story means an experience. Because it cannot provide new information later, the value it represents decreases. A game increases value with each play until the player has explored the subset represented by all the branches on the game's web.
This does not mean that the game is better than the story. Although the story only follows the single sequence of causal development, it is more complex and detailed than the game. Details are decisive for success stories, because details provide structure and true feelings, making stories more attractive. The author of the story gives a strong tornado of fact and brings the conclusion to the audience. Game designers cleverly create a complex path network that skillfully shows players all possible aspects of a single fact. In this regard, a story is like a statue, and a game is like a gem. The value of the statue is enhanced by outstanding details and complicated structures. On the contrary, jewelry does not require details; its surface must be completely smooth. Jewelry is valuable for reflecting light from many different angles. The statue must be fixed, and the jewelry is intended to be moved. Therefore, the story is static, while the game is dynamic.
The story has exceeded the special superiority of Contemporary computer games: the element of surprise. A good story wins with a series of twists and turns and interesting plots. The storyteller introduced us into a series of expectations and cleverly inserted a new element to create a twist and enter a new fascinating situation. This process can be repeated many times in the progress of the story. In computer games, only adventure provides such an element of surprise. Unfortunately, to ensure that players are surprised in an appropriate environment, they can only do so by limiting their freedom of action. Soon, all adventure games began to sniff the fallen path. A truly exciting possibility provided by computer games is to establish a tortuous plot prospect in response to a player's actions, rather than simply dragging him into the pre-doomed fall path. However, to be surprised, you need to be able to analyze the player's actions, deduce his expected goals, and generate credible twists and turns. If a player is not defeated, it proves that his expectation is wrong. However, such advanced AI still needs to be created.

Comparison between games and toys
In terms of control capabilities, the game is between stories and toys. The story does not allow the audience to have any opportunity to control the order of facts. The game allows gamers to manipulate illusory facts, but rules that govern illusory situations are well developed. Toy is very loose. A toy user can manipulate it freely in any way to achieve his imagination. Storytellers creatively and directly control the audience experience; game designers indirectly control the audience experience; and toy makers barely control the audience experience.

Importance of Interaction
Interaction is important for some reasons. First, it injects social or human factors into the event. It transforms game challenges from technology to human beings. To solve a cube problem, it is a strict technical operation. Playing chess is an operation between people. In the former, the logic for the situation is playing; in the latter, the logic for the usage is playing with the opponent.
Second, interactions transform the nature of challenges from negative challenges to active challenges. A challenge is always presented to players with the same challenges. However, the opponent of the game reacts to the player's actions, and each game presents a different challenge. What is important is the difference in feeling. The person who solves the problem must predict, guess, deduce, control, or discover the key skills that the designer puts into the problem in some way. Emotionally, a difficult player is solving a difficult problem, or its designers reveal its secrets. Once a secret is known, the puzzle is no longer interesting. On the contrary, players have to face different challenges each time they play games. The puzzle is hard, and the game is live. players must generate a solution to the game in a way suitable for themselves and their opponents. The main difference between games and puzzles is that creating your own solutions is different from discovering the solutions of designers. The game recognizes the existence of players and reflects the player's personality. The puzzle is as rigid as a dead fish.
Computer games rarely provide a real human competitor, so they lack the social factors offered by other games. However, they can present an illusory character that players must treat. This is the most exciting game technology and the least developed computer potential. Whether computers succeed or fail in integrating social elements, they can easily produce a high interactive experience for players in the game. It can quickly and thoroughly respond to players' actions.

Nature of Interaction
Interaction is not a binary number; it is a continuous number of multiple values. The problem is almost no interaction, and the game has a lot of interaction. Some games only have very small interactions (such as blackjack, Tag, or PONG) between players ). Although players may want to interact with each other, the game only provides a very limited interaction mode (two options: standing or colliding, running, and twisting ). Players are not allowed to put themselves into the game too much, or to respond to their opponents in multiple ways. Other games, such as bridge, football, and legionnaire (trademark of the U. S. Veterans Association Member and aveon Hill game company), allow quite diverse interactions between players. Players can twist each other at multiple levels. The first game is often considered boring, and the second game is generally considered more interesting. The importance of Interaction Models lies not in their mechanical quality, but in their emotional significance. Pong is boring, because I cannot express many things in my character through a lively sphere. Bridge is much better, because it contains elements such as collaboration, deception, and cooperation in its interaction. I can better print my personal characteristics on the bridge game. Therefore, the degree of interaction provides a useful game indicator.

Conflict
The third element that appears in all games is conflict. Conflicts naturally occur in the interaction of games. Players actively pursue certain goals. Obstacles prevent players from achieving this goal easily. If the obstacle is passive or static, the challenge is a difficult problem or a sports challenge. If they are active or dynamic, they can consciously respond to players, and that challenge is the game. However, active, responsive, and conscious obstacles must be a smart opponent. If the clever opponent actively blocks the player from reaching his goal, conflicts will inevitably occur between the player and the opponent. Therefore, conflicts are fundamental for all games.

No conflicting games.
Some people are afraid of this aspect of the game. There have been many attempts to design a non-conflicting cleaning game. Such games emphasize cooperation rather than conflict. They are not successful in business; this means that few people like them.
More importantly, these games fail because they are not games first. Only the active responses to player actions can avoid conflicts. Without a positive response, there is no interaction. Therefore, deleting conflicts from the game inevitably damages the game.
Aside from game conflicts, it is impossible not to destroy the game, but it is possible to change the conflict to include a cooperative element. In the conflict with the opponent's team, the team members can cooperate with each other. The opponent may be another group, individual, or computer simulated player. In all circumstances, the opponent must be perceptible and human-oriented. The game crashes if there is no illusory response to the player's actions.
This kind of game conflict is reinforced by social context and often plays with them in social relationships. Conflicts in our real world are always indirect, spreading over time and making close adjustments. Moreover, they often all lack decisive results, because conflicts in daily life seldom achieve direct victories. There are some local successes, but the struggle continues and there is no clear and decisive result. Because games are subjective expressions of the real world, they focus our attention on a particular aspect of the world by emphasizing a certain aspect. Game conflicts tend to (but are not always necessary) emphasize its most direct and intense form of violence. Violence is not necessary or basic for games. Violence is common in games because it is the most obvious and natural expression of conflict.

Conflict Summary
Conflict is an essential element of all games. It may be direct or indirect, violent or non-violent, but it always appears in every game.

Security
A conflict implies danger; a danger means injury; and an injury is undesirable. Games provide conflicting and dangerous psychological experiences while eliminating physical dangers. In short, games are a real security method. More correctly, the results of the game are not as cruel as they are simulated by the game. A player can attack monsters all day, but the risks are negligible. She can gather great wealth and lose them in an hour, but there will be no loss if she is full. She can lead a great army into a desperate war, and the fate of the country hangs on it, but no one will shed any blood. In a heartless causal world, the separation of action and result is a striking feature of the game in the tragic concatenation and inevitable results.
This does not imply that the game lacks results. The penalty for losing a game is sometimes a serious deterrent to players. Losing to another person always loses some dignity. Losing to computers is less of a shame than computer games are attractive. A failure can be defeated without losing face. Moreover, the true victory over computers is considered impossible in most games; this further reduces the shame of failure.
In almost all games, the rewards and punishments structure is positive. That is, the loser is not punished for failure, and the winner is rewarded for victory. The only loss for a loser is the cost of entering the game, such as gambling or starting the game. This investment is usually very small and can be regarded as a service charge for game management, rather than a penalty for all potential losers.
Gambling raises some difficult questions when it comes to security issues. A gambling user may be at risk of money or things as a result of a random or near random process. The loser loses their bet, and the winner is rewarded. Therefore, gambling presents real financial risks to players. But there are two circumstances that can reduce the crime: first, the gambling players of entertainment have very little risk of money, and second, some gamblers themselves deny the rules of luck. They indulge in the dream of control. They think that the proper sound of the dice shaking and the correct rotation of the slot handle will make a difference. Therefore, gambling that deviates from mainstream entertainment in the game may be included in the game. Serious gambling, including a large amount of money and a desire to gain a large amount of property benefits, is more off the verge of entertainment and is on the verge of a gray area.
The special form of gambling worth considering here is playing cards. Playing cards are fraudulent games. The key to success is to make your opponent believe that you have a card that is better or worse than the actual one. Because the bet is money and the player feels nervous, he tries his best to cheat his opponent. Therefore, the danger of gambling (the minimum outcome of other games) is an essential part of the playing card structure. This special aspect of playing cards deserves special consideration. So I divide playing cards into game classes.

Security Summary
The game provides real security methods for experience. Although there are many special cases, the game is safe and still the core principle. In this chapter, I have introduced a set of features to illustrate the meaning of the word "game. I emphasize the essential features of the game, not the motivation of the players. This separation between games and players is artificial and misleading because they are mutually dependent. In the next chapter, I plan to examine the game players and their motivations.