獎勵是一切遊戲中的重要特徵，因此是可見於所有遊戲類型的元素。獎勵的形式和大小多種多樣，如果獎勵得當，就能夠極大增加玩家的遊戲樂趣，激勵他們繼續玩遊戲。
獎勵甚至可以讓玩家去做一些他們原本並不想做，或者不喜歡做的事情。許多玩家仍然會為了獎勵而做一些無趣枯燥的事情。這種讓玩家去做違背自己意願的事情足以證明獎勵的威力。它們是設計師的重要工具。
設計獎勵結構
獎勵不應該只是心血來潮的產物，而應該富有結構和計劃。以下圖表就是根據馬斯洛需求層次而調整的獎勵結構。
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heirarchy_what_goes_where(from gamecareerguide)
從上圖可看出，每個環節都是上一層的基礎，而上一層又總比下一層更強大。如果有某個環節缺失了，上一層次也就不復存在。所以在設計獎勵結構時，應該從最底層開始自下而上地動工，以便得到穩定的結構。這也是每個層次需要環環相扣的原因所在。越高級的層次，其獎勵頻率就要越大。這裡應該採用碎片模式（遊戲邦注：例如，10個小獎勵=1個大獎勵，10個大獎勵=1個核心獎勵）。當然這並不需要嚴格的碎片化，但小獎勵的數量要超過大獎勵，以此類推。
我們越往上層走，其獎勵就會更趨於有形。最底層的獎勵對玩家來說最基礎和內在性——玩家體驗。而在這個金字塔頂端的獎勵，則完全是裝飾性的，並且無法脫離底層獎勵而存在，儘管它能夠強化底層的獎勵。我們可以用一桿步槍的射程為例，如果它射程大，那麼這杆槍就很棒，但前提是要有這杆槍才行。
我們將在下文中介紹每個層次及其獎勵的內容。此處所舉例子常見於冒險或RPG遊戲，但其原則適用於任何遊戲題材。獎勵結果應該根據自下而上的重要性進行設計。
獎勵玩家體驗
在考慮其他細節之前，一定要先完善玩家體驗。優秀玩法和沈浸感一定要貫穿遊戲機制、美術設計和UI（包括關鍵的玩家反饋）。我們很難定義這個環節是否已經實現，因為趣味屬於只可意會不可言傳的東西。一定要讓玩家享受在遊戲中逗留的樂趣。《俠盜獵車手》（GTA）系列在這方面就表現良好——遊戲中沒有設定目標，也沒有獎勵（事實上玩家還會因為丟失彈藥和支付醫藥費而受到懲罰），但人們還是樂此不疲，因為其遊戲玩法/機製本身就已經如此有趣和具有內在獎勵性。極少有遊戲的趣味能夠到達這種境界——讓人們不祈求任何獎勵而自願玩遊戲。也許這正是GTA如此成功的原因。
核心和長期獎勵
完善玩家體驗之後，就要考慮其核心/長期獎勵。這是玩家所獲得的最大獎勵。這方面的例子包括主要情節開發、開啟新內容的主要里程碑（例如在GTA中進入一個新島嶼），或者獲得一個新遊戲機制，例如《Crash Bandicoot 3》每一場boss戰後出現的機制。由於這些是玩家所得到的最大有形獎勵，並將影響其內在體驗，因此只能讓它們偶爾出現。這可以保證它們的價值，避免干擾玩家。如果人們每隔10分鐘就能得到一項新技能，他們遲早會抓狂的，因為他們根本來不及學習新技能。
主要和中期獎勵
這可以是升級、完成任務、獲得大量XP或金錢等。這些獎勵對當時的玩家來說很重要，但並不是可以永久保存的獎勵。它們本身就極具獎勵性，但也意味著它們會走向終結，並最終被他物替代或者變得多餘。
短期和次要獎勵
這些小型、頻繁的獎勵本身並不會給玩家帶來多大好處，但可以整合成一個大獎勵。這方面的例子包括蒐集某項道具，小數額的金錢/XP以打敗敵人，或者完成某個任務中的一個環節。主要獎勵意味著更大的終結，次要獎勵則意味著小規模的終點（即走向主要/中期獎勵）。
裝飾性獎勵
這是最後考慮的一個環節。在這個階級的最高層，它們只有純裝飾性功能，只能作為玩家進程的一個視覺測量指標。在某些情況下，它們只有信息量，例如顯示在屏幕上的得分數據，在《質量效應》中的小隊選擇屏幕。
另一方面，揭開地圖或填充進度條等視覺進程元素可以積極鼓勵玩家去做原本可能不會去做的事情。玩家可能會因為看到自己的經驗條接近於升級水平時，就會再多玩10分鐘的遊戲。如果不是看到成就挑戰，他們可能不會試圖以1顆手榴彈放倒10個敵人來挽回局面；如果沒揭開地圖，他們可能就不會跑遍整個區域。
雖然移除這些裝飾性獎勵後，遊戲可能仍然具有趣味，但它們卻可以增強玩家體驗，因為玩家可以從中看到自己的表現情況。視覺獎勵有助於玩家猜測和預期所得的回報，這是一個不容忽視的激勵因素。視覺獎勵從來不會真正影響進程或遊戲的其他任何層面。
玩家反饋（它出現於最底層次）與裝飾性獎勵（位於最頂端）之間的界線模糊。玩家反饋是用戶溝通交流的關鍵，但裝飾性獎勵則可獨立存在，或者融入玩家反饋豐富視覺效果。這兩者的一個明顯區別在於，忽略玩家反饋可能會破壞遊戲，或者至少打破沉浸感。例如，看到你的虛擬角色在遊戲世界中移動時，如果它只是簡單地飄浮在地表上，這就會徹底打破沉浸感，讓許多玩家大失興趣。《湮滅》和《輻射3》中都曾出現類似問題。其中的虛擬角色確實會移動，但沿對角線奔跑時的方向與動作卻並不一致，所以角色看起來像是浮在地面上。在玩第三人稱遊戲時，這種情況會徹底破壞沉浸感。
雖然我們是自下而上設計獎勵層次，但玩家通常是自上而下體驗這種結構。他們會先看到裝飾性元素和次要獎勵，例如獲得一個任務（這是他們原本就有的獎勵），之後就是收集道具和XP這種次要獎勵，這會引向一個更大的獎勵（通過完成任務或升級而獲得），最後是得到新機製或解瑣新世界等核心獎勵。
成功遊戲的例子
這個層級包括《魔獸世界》中的獎勵。
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heirarchy_wow(from gamecareerguide)
以上僅選取遊戲中的部分獎勵內容，但很顯然這款遊戲每個關卡的獎勵都很豐富。其遊戲世界和玩法極富沉浸感，玩家體驗（職業、專長、PVP/PVE、RP等）的定制化程度也如此之高，這意味著它一款遊戲就結合了成百上千種玩家體驗。
各類無限量供應的獎勵都會相互關聯，並集合起來引向更大的獎勵。而在其最頂端卻是一個裝飾性的隨機獎勵。即使是最無趣的怪獸也可能隨機而罕見地掉落特大獎勵。玩家在遊戲中總能找到繼續玩下去的理由，從各方面來看這都是一個極為強大的獎勵結構。
失敗遊戲的案例
我曾為了自己的論文而製作了一款非常簡單的2D太空射擊遊戲。雖然它很適合作為試驗品並且能夠得出相應結論，但其遊戲本身在現實世界中卻並不受歡迎。在開發了這種獎勵結構後，我決定將其運用於我的遊戲：
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dis_game_heirarchy(from gamecareerguide)
遊戲的頂端很強大，但越往下走越脆弱。這種遊戲在今天的市場上毫無立足之地，無論其頂端結構究竟有多好，因為其底層結構並不完整。由於遊戲玩法缺乏生氣，這整個環節都丟失了。緊湊的時間和有限的資源意味著遊戲需關注可以快速而輕易創造的有形獎勵。因為我沒有時間去創造出色的玩法，這款遊戲僅僅是可以運行而已。
我們很容易將這款遊戲與70年代的流行街機遊戲進行對比。後者在當時很成功，儘管它們包含出現於積分排行榜前列的長期獎勵——但它們的主要吸引力卻在於懷舊風格。當今的遊戲擁有更為複雜的玩法和獎勵結構，所以這樣一款遊戲根本就沒有競爭力。
讓我們看看，如果《魔獸世界》丟失了一個層次會怎樣：
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heirarchy_section_removal(from gamecareerguide)
從上圖可知，去掉這個層次後，整個層級不再可行。例如，升級增量沒了，玩家就得用刷任務的方法從第1級升至90級。玩家會一直很弱，並在紊亂的一段時間後突然變得無比強大。他們需要999億點XP才能升到下一級，在玩家每擊敗一個敵人只能獲得20點XP的情況下，這種目標真令人沮喪。
移除這個層次完全削弱了下層獎勵的價值。次要和視覺獎勵對下一輪目標的作用甚至小，所以根本感覺不出其中的獎勵性。玩家感到自己的目標是確實何行之時才會更樂意玩遊戲。
總結
質量並不等於數量，但每個層次至少要有一個獎勵。要滿足每個層次的獎勵，確保它們集合成另一個更大的獎勵。雖然這個結構還沒有進行大規模試驗，但遵循這種做法卻可以讓你的遊戲實現強大、結構分明、有益的玩家體驗。
在設計獎勵結構時運用這一模型，可以確保遊戲擁有紮實的根基，並且令玩家獲得良好的感覺，從而讓他們持續在遊戲中逗留。
－－－－－－以下原文－－－－－－
The Hierarchy of Needs for Rewards in Games
[Chelsey Webster explains how a skillfully implemented reward structure can enhance a player's experience and make a game more enjoyable throughout.]
Introduction
Rewards are an important feature of any game, and as such, can be found everywhere across all genres. Rewards can come in any shape or size, and when given to the player appropriately can greatly increase their enjoyment of a game, motivating them to continue to play.
Rewards can even have a player do something that they don't want to do, or don't enjoy doing (which is quite opposite of the purpose of playing a game). Many players will do annoying, tedious or boring things for rewards. The ability to have a player do what they dislike of their own volition attests to their power. They are an essential tool to a designer.
Designing Reward Structures
Rewards shouldn't be included on a whim; they must be scheduled and structured. The following diagram is a hierarchy of needs, adapted for reward structures.
Fig 1: Hierarchy of Rewards in Games
Based on Maslow's Hierarchy of Needs, each section is a prerequisite to the one above, and can greatly enhance the one below. If a section is missing, however, those above it become ineffective.
When designing a reward structure, it is important to work from the bottom of the hierarchy upwards to achieve a solid foundation. It is therefore important that each section is linked to the next.
The higher up in the hierarchy, the more frequently the reward should be distributed; a fractal-like pattern should emerge (ie 10 minor rewards = 1 major reward, 10 major rewards = 1 core reward). It doesn't have to be strictly fractal of course, but minor rewards should considerably outnumber major rewards, and so on.
As we move upwards through the hierarchy, rewards become less intrinsic/more tangible. The bottom of the hierarchy is the most fundamental and intrinsic of rewards to the player – the player experience. At the other end of the scale, the top is purely cosmetic and cannot exist without the rewards listed below – however it works to enhance those below. Think of a scope for a rifle. The scope is great, and makes the gun much better; but it is completely worthless without the gun.
The following gives an overview of each section of the hierarchy and what kind of rewards may be found therein. Examples here will often be of the kind found in adventure or RPG games, but the principles can be applied to any genre. The rewards structure should always be designed in order of importance – from bottom to top.
Rewarding Player Experience:
Before considering anything else in detail, the player experience must be perfected. Good gameplay and immersion must first be obtained through the mechanics, aesthetics and UI (including essential player feedback). It is difficult to define whether this section is fulfilled, as fun is something that can only be experienced. The player must enjoy simply playing around with the game. The Grand Theft Auto franchise achieves this very well – who hasn't switched it on, then ignored the missions and started wreaking havoc until they're killed? There is no set goal to this, no rewards given (in fact the player is punished by losing ammo and paying hospital bills), but people do it because the gameplay/mechanics themselves are so much fun and intrinsically rewarding. Few games are fun to the extent that a person will play them with no prospect of rewards at all. Perhaps this is why GTA is so successful.
Core and Long Term Rewards:
Once the player experience is perfected, consider the core/long term rewards. These are very big rewards that the player will have forever. Examples include major plot developments, major milestones in opening new content (reaching a new island in Grand Theft Auto for example ), or receiving a new game mechanic, such as those given after every boss fight in Crash Bandicoot 3. As these are the biggest tangible rewards that the player will receive and can affect the intrinsic experience, they should be given only occasionally. This retains their value and prevents annoying the player. People would become frustrated if they earned a new ability every 10 minutes; they'd never learn how to play.
Major and Mid Term Rewards:
These may be levelling up, completing quests, gaining large quantities of XP or money, etc. These rewards are significant to the player at the time but are not end rewards that are kept forever.
They are very rewarding in themselves, but are also means to and end and will eventually be overwritten, replaced or become redundant.
Short Term and Minor Rewards:
These are small, frequent rewards which on their own do not benefit the player, but accumulate towards a bigger reward. Examples include collecting an item, small amounts of money/XP for defeating an enemy, or completing a stage in a mission. Just as Major rewards are means to a bigger end, Minor rewards are also means to an end on a smaller scale (the end being major/mid term rewards).
Cosmetic Rewards:
This is the final section to be considered. At the top of the hierarchy, they are purely cosmetic, serving only as a visual measure of the player's progress. In some cases they are simply informative, such as numbers appearing on screen when you add to your score, or the squad selection screen in Mass Effect – the player can guess that they're about halfway through when they've filled half of their squad slots.
On the other hand, visual progress elements such as unveiling a map or filling a bar can actively encourage players to do things that they would not do otherwise, as can achievements depending on design. A player might play for 10 minutes longer where they would have otherwise stopped because their XP bar shows them how close they are to levelling up. They may not attempt to round up and defeat 10 enemies with 1 grenade if there was not an achievement challenging them to do so, and may not just run around the entire area if they weren't revealing their map.
While a game can still be enjoyable if the cosmetic rewards are removed, they will enhance the player experience as players like to see how they're doing. Visual rewards are vital in helping the player to gauge and anticipate rewards which is an encouraging motivator. Visual rewards never actually affect progress or any other aspect of the game at all.
There is a blurred line between the player feedback (mentioned at the bottom of the hierarchy), and cosmetic rewards (at the top). Player feedback is essential communication to the player, but cosmetic rewards can exist on their own (as with achievements, etc), or tie into player feedback for visual enrichment. One big difference between the two is that omitting essential player feedback can be game breaking, or at least break immersion. An example of essential feedback is seeing your avatar animate as you move around in the world. if it simply floated across the landscape this would completely break immersion and make it unplayable to many players. A problem like this is found to an extent in Oblivion and Fallout 3 (3rd person). The avatar animates but not it doesn' t match its direction if running diagonally, so the character appears to float around. When playing in 3rd person this can completely break immersion. You can see an example of this here.
While it should be designed bottom up, the player will often experience much of this hierarchy from a top down perspective. They will experience cosmetic elements and minor rewards to begin, such as obtaining a task (this is where they are initially given the prospect of rewards), then minor rewards such as collecting items and XP, which lead to major rewards earned by completing the quest or levelling up, and eventually core rewards such as a new mechanic or unlocking a new world.
Application to a successful game:
This hierarchy includes rewards featured in World of Warcraft, a very popular (and notoriously addictive) game.
Fig 2: A Basic reward structure of World of Warcraft
(does not include all rewards)
These are just a selection of the rewards offered, but it is clear that the game is abundant in rewards on every level. The world and the gameplay are immersive and such high customisation of the player experience (classes, specialisations, PVP/PvE, RP , and so on) means there are hundreds of player experience combinations in one game.
Add to this the limitless supply of rewards of all kinds which all tie in to one another and accumulate towards something. Then, to top it off it is peppered with random chance rewards. Even the most mundane creature can drop disproportionately powerful rewards on very rare occasions. There is always a reason to keep playing; this is clearly a very strong reward structure in every aspect.
Application to an unsuccessful game:
As part of an experiment for my dissertation I created a very simple 2D space shooter game. Though it was fit for the purpose of an experiment on rewards and yielded conclusive results, the game would not be popular or successful in the real world. After developing this hierarchy I decided to apply it to my game:
Fig 3: Reward structure of a basic 2D space shooter
The game is strong at the top and gets weaker as we get to the fundamentals of the hierarchy. There is no hope for this game on the market today no matter how good the upper sections are, because the lower sections are not fulfilled. As well as gameplay being lacklustre, an entire section is missing. Tight time and resource limitations meant that the game focused on tangible rewards which could be created quickly and easily. There was no time to invest in excellent gameplay; it just had to work.
It is easy to draw a comparison between this game and popular arcade games from the 70′s. These were successful in their day, though they did include the long term reward of top slot on the leaderboards – but today their main appeal is arguably nostalgia . Todays games have far more sophisticated gameplay and reward structures, so a game like this cannot compete.
Consider the World of Warcraft hierarchy if a section is missing:
Fig 4: World of Warcraft's reward structure with a section removed.
With this section missing, the hierarchy doesn't make much sense. Level increments are gone, for example, so now the player must go from level 1 to level 90 (or whatever its new name would be) in one grind. The player would be consistently weak and the suddenly immensely powerful, but only after an inordinate amount of time. Needing 999,000,000,000 XP to reach the next/last level is far too discouraging when the player is getting 20XP per enemy, even more so when their XP bar never seems to budge. Bitesized chunks are essential.
The removal of this section has completely devalued those above. The minor and visual rewards contribute so little to the next goal that they don't feel very rewarding at all. Players are much happier and more likely to play if they feel that their goal is realistically obtainable.
Summary
Quality does not equal quantity, but it is important to have at the very least one reward in each section. Aim to fulfil each section of this hierarchy to a high standard and ensure that they accumulate towards one another. Though it has not been around long enough to be tried and tested on a large scale, following this structure should achieve a strong, structured, rewarding player experience.
While many of the examples throughout this article are based on action adventure/RPG type games, they can be applied across any genre, from puzzle games to sports and racing. By applying this model when designing a reward structure, the designer can ensure that the game has solid foundations and is rewarding enough to make the player feel good. This can ultimately keep them playing the game
創作內容
概念淺談：如何設計遊戲獎勵
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