Many action-adventure games rely on the feeling of thrills via bullets, fire, grenade, more bullets, and gigantic booms. The way to enable all these is to offer a massive arsenal, from machetes to assault rifles all the way till bazookas.

許多動作冒險游戲都依靠子彈，火力，手榴彈，更多子彈和巨大的轟鳴聲來激發快感。 實現所有這些目的的方法是提供龐大的武器庫，從大砍刀到突擊步槍，一直到火箭筒。

With game having evolved as a medium, sub genres have evolved within the space. What was considered as action games are now classified under open-world action games, linear action adventure games, cover-shooter game, and much more. Open world games are punctuated by sequences of linear set-pieces, linear games have sprawling sandbox levels in them. The nuances that have developed with the branches and evolution of media are staggering. So how have players adapted to interacting with these games and how have we helped them?

隨著游戲作為媒介的發展，子類型也在空間內發展。 所謂的動作游戲現在分為開放式動作游戲，線性動作冒險游戲，掩體射擊游戲等。 開放世界游戲是由一系列線性布景打點的，線性游戲中包含龐大的沙箱級別。 隨著媒介的分支和發展而發展起來的細微差別令人震驚。 那么玩家如何適應與這些游戲的互動，以及我們如何為他們提供幫助？

If we take an example from the early 2000’s, when the concept of scale was truly growing, we’d look at a game like Grand Theft Auto III. Baseball bats, miniguns, shotguns, rocket launcher were the feature of the arsenal, followed by throwables like grenades and molotov. Each weapon was unique in the way it operated and the carnage it caused, and subsequently, in the spaces it could it be used. A pistol was always better than a baseball bat no matter where you are, but a rocket launcher in the crowded alley was suicide play. Yet the interface did not account for that, there was no way to change between the vast array of weapons that you had. It was exactly that — an array. A player had to go through the entire list to reach what they wanted.

如果我們以2000年代初期為例，當時規模的概念確實在增長，那么我們將看一下《俠盜獵車手III》這樣的游戲。 武庫的特色是棒球棍，迷你槍，shot彈槍，火箭發射器，其次是手榴彈和莫洛托夫等可拋物。 每件武器的操作方式和造成的屠殺都是獨特的，隨后在可以使用的空間中也是如此。 無論您身在何處，手槍總是比棒球棒更好，但是擁擠的小巷中的火箭發射器是自殺游戲。 但是界面并不能說明問題，您無法在擁有的各種武器之間進行切換。 就是那個數組。 玩家必須遍歷整個列表才能達到他們想要的目標。

There were two whole buttons (out of fourteen) dedicated to accessing the next and the previous buttons. PC players had to scroll through it like they were scrolling through a website. It was tedious, for one had to take so much effort to reach where they wanted. It was clumsy, for one had to press a button so many times and a mistake would be corrected by pressing more button. It was tiring because player needs would change from the space you occupied and the ammo you had for which players had to scroll again and again. Sure, the player was not required to look at the weapon icon in HUD since the weapon would update in real-time on the player character who was always the focus of attention anyway. But it still didn’t effectively inform where in the list you wanted to be to equip what you wanted to use. Every change that wasn’t to an immediate weapon was spent multitasking between a fight and a scroll interaction.

有兩個完整的按鈕(共14個)專用于訪問下一個和上一個按鈕。 PC播放器必須像瀏覽網站一樣瀏覽它。 這很乏味，因為一個人需要付出很多努力才能到達他們想要的地方。 這太笨拙了，因為一個人不得不按下一個按鈕那么多次，而通過按下更多按鈕可以糾正錯誤。 這很累，因為玩家的需求會從您所占據的空間和您擁有的彈藥中改變，玩家不得不為此反復滾動。 當然，不需要玩家查看HUD中的武器圖標，因為武器會實時更新始終是關注焦點的玩家角色。 但是它仍然不能有效地告知您想要在列表中的什么位置裝備您想要使用的東西。 并非即時武器的每項更改都需要在戰斗和滾動交互之間進行多任務處理。

Yet this was the early era of games where the ways of interaction were yet to catch up with the rapidly scaling systems of game.

然而，這是游戲的早期時代，交互方式尚未趕上快速擴展的游戲系統。

武器輪和視頻游戲 (The weapons wheel and video games)

While the wheel has been seen throughout games, from Ratchet & Clank to Dishonored, and has taken multiple iterations to reach the state we know and love. Let us look at how this evolution too has branched and has been dictated by the needs of the game. While there are many games older than the wheel which have resisted it (such as Fallout), there are some that have grown along and evolved it with themselves. Before we look at how that came to be, we will first look at why wheels are a great method of interactions.

從《棘輪與叮當》到《恥辱》，在整個游戲中都可以看到輪子，并且經過了多次迭代才能達到我們認識和喜愛的狀態。 讓我們看看這種演變是如何分支的，并且是由游戲需求決定的。 盡管有許多比輪子更古老的游戲對此產生了抵觸(例如《輻射》)，但也有一些游戲與它自己一起發展并發展。 在我們研究它的產生方式之前，我們將首先研究為什么輪子是一種很好的交互方法。

輪子，為什么這么好 (The wheel and why it’s so good)

This is the Fitt’s Law. It states that the time taken to complete a movement is a function of the start and end points of that movement and an inverse function of the width of the object to which we are reaching. a and b are constants that represent the dexterity of the user and the ergonomic ease of the input device. Many studies prove using this law why pointing with a finger is easier than pointing with a hand. And a device that ergonomically fits well and is represented by a pointer works very well for flat interfaces, hence the mouse. And the mouse has been often studied as a more viable interface to interact with games (especially games that involve shooting) than a controller.

這就是菲特定律。 它指出完成運動所需的時間是該運動的起點和終點的函數，并且是我們要到達的物體的寬度的反函數。 a和b是代表用戶的靈活性和輸入設備的人體工程學易用性的常數。 許多研究證明使用此定律為什么用手指指向比用手指指向更容易。 符合人體工程學的設備非常適合指針指示的設備，因此對于平面接口(對于鼠標)非常適用。 與鼠標相比，鼠標經常被認為是與游戲(尤其是涉及射擊的游戲)進行交互的更可行的界面。

https://www.csse.canterbury.ac.nz/andrew.cockburn/papers/julian_fitts.pdf

https://www.csse.canterbury.ac.nz/andrew.cockburn/papers/julian_fitts.pdf

This is obvious, as constants a and b are a measure of dexterity and ergonomics which perform better with a mouse as coarse motor movements (use of wrist) are well and accurately translated by flat tracking devices. The fine motor movements of a thumb are not as fast or lack the twitchiness of good reflexes and hence result in poorer performance on controllers.

這是顯而易見的，因為常數a和b是靈巧性和人體工程學的量度，由于粗略的運動(使用手腕)可以通過平面跟蹤設備準確且準確地平移，因此它們在鼠標上的表現更好。 拇指的精細運動不那么快或缺少良好反射的顫動，因此導致控制器的性能較差。

But Fitt’s law also states that more the size of target element, easier to reach it. Before we came to know it as weapon’s wheel, it was and continues to be more popularly known as a pie menu in traditional UI applications. Let’s see why they work so well without controllers and joysticks.

但是菲特定律還指出，目標元素的大小越大，越容易達到。 在我們將其稱為“武器之輪”之前，它在傳統的UI應用程序中曾經是并且一直被越來越普遍地稱為餅菜單。 讓我們看看為什么在沒有控制器和操縱桿的情況下它們能如此出色地工作。

As we see, the width is infinite because the radius of a circle can house infinite concentric circles. Without getting into complications of mathematics, it’s easy to be quick and accurate when the it’s a circle and the angle of sector is large enough. Studies have shown that humans can accurately navigate an average of 8 sectors (slices) without introducing any substantial cognitive load and reducing accuracy.

如我們所見，寬度是無限的，因為圓的半徑可以容納無限的同心圓。 不必擔心數學的復雜性，當它是一個圓并且扇形的角度足夠大時，很容易快速而準確地進行。 研究表明，人類可以準確地平均導航8個扇區(切片)，而不會引入任何實質性的認知負擔并降低準確性。

互動的姿態 (The gesture of interaction)

Weapon wheels all have a standard gesture when it comes to controllers and mouse, it’s dragging from centre of the wheel in the direction of the option players choose. For a mouse, that’s interacting with and element around which, radially, the menu shows up. For controllers, its usually holding a button down that shows the menu, which then responds to the direction in which one of the joysticks is pushed or pulled. This gesture to open a weapons wheel is also followed by games played with a mouse for standardisation’s sake.

當涉及到控制器和鼠標時，武器輪都具有標準手勢，它是從輪的中心向玩家選擇的方向拖動。 對于鼠標而言，它與交互，并在其周圍沿徑向顯示菜單。 對于控制器，通常按住按鈕不放即可顯示菜單，然后該菜單將響應操縱桿之一被推或拉的方向。 為了標準化，在打開武器輪的手勢之后還會進行鼠標游戲。

In games, usually when players open a weapons wheel the gameplay stops. With the enhancements in technology, time slows down instead of the gameplay completely stopping. Which means users can still react to the gameplay withut diluting the stress and pacing while in the menu, but the gameplay also doesn’t run ahead. Normally, one of two functions are taken away- the ability to turn the camera or the ability to move. The joystick that control the disabled function is instead used to navigate the wheel, so players are not forced to take their fingers off any of the input they were currently using (unlike a D-pad which requires players to displace their left thumb).

在游戲中，通常當玩家打開武器輪時，游戲停止。 隨著技術的增強，時間變慢而不是完全停止游戲。 這意味著用戶仍然可以對游戲進行React，而無需在菜單中減輕壓力和節奏，但是游戲也無法繼續進行。 通常，兩個功能之一會被取消-轉動相機的能力或移動能力。 相反，控制禁用功能的操縱桿用于導航方向盤，因此不會迫使玩家將手指從當前正在使用的任何輸入上移開(不同于D-pad，這需要玩家移開左手的拇指)。

While point and click are the dominant gesture of a mouse, drag works as well and the same features of button and drag can be used for a mouse. The more important thing to notice is that in the case of mouse, the function to disable is always the camera as games on PCs always control the camera via the mouse.

盡管單擊和單擊是鼠標的主要手勢，但是拖動也可以工作，并且按鈕和拖動的相同功能也可以用于鼠標。 需要注意的更重要的一點是，在使用鼠標的情況下，禁用功能始終是相機，因為PC上的游戲始終通過鼠標來控制相機。

For a mouse, clicking the option may be viable to end the micro-interaction. But for the sake of standardisation, the wheel system finalises the choice that is chosen when the triggering hold input is let go so it is consistent with controllers.

對于鼠標，單擊選項可能可以終止微交互。 但是出于標準化的考慮，車輪系統會在松開觸發保持輸入時最終確定選擇，以使其與控制器一致。

When hold and drag gestures are involved, tactility is a huge factor concerning the hold gesture. While holding and dragging is a one finger function for a mouse, becoming a two finger function for a controller (or tandem of keyboard and mouse) means managing the acute responsiveness of the menu open and close. That has to also correspond into a smooth transition between usually stressful combat gameplay and moments of respite in selecting a weapon without breaking the pacing too much, or at least making making the shift in pace very smooth.

當涉及到握持和拖動手勢時，觸覺是與握持手勢有關的重要因素。 按住和拖動是鼠標的單指功能，而成為控制器(或鍵盤和鼠標的串聯)的兩指功能則意味著管理菜單打開和關閉的敏銳響應性。 這還必須在通常壓力較大的戰斗游戲和選擇武器的喘息時間之間平穩過渡，而又不要過度破壞節奏，或者至少使步調非常平穩。

隨著電子游戲的發展，車輪的演變 (Evolution of the wheel with evolution of video games)

Going back to games that have imbibed and evolved weapon wheels, it would be important to mention the Far Cry series. And the first one to observe would be Far Cry 2, the final game in the series without a weapons wheel.

回到吸收并發展了武器輪盤的游戲，提到《孤島驚魂》系列很重要。 第一個要觀察的是《孤島驚魂2》，這是該系列中沒有武器輪的最后一場比賽。

Without rattling on for hours about what I think is a hallmark of gaming experiences, at it’s core Far Cry 2 is about surviving the jungle. Jamming weapons, vehicles that break down, diegetic maps and radios, roads chock full of guard posts, virtual malaria — the game is a battle for survival. In this game, you had to visit a physical store owner to purchase weapons and a physical armoury to access weapons. Save points and fast travel were skimpy in terms of availability and weapons needed maintenance (or at least replacement). The game was brutal in the sense that everything was hard to acquire, and acquiring was just the first step.

關于《我認為是游戲體驗的標志》并沒有花上幾個小時的時間，《孤島驚魂2》的核心是在叢林中生存。 干擾性武器，發生故障的車輛，地圖殘骸和收音機，塞滿了崗哨的道路，虛擬瘧疾-游戲是一場生存之戰。 在此游戲中，您必須拜訪實體商店的所有者以購買武器，并拜訪實體武器庫以獲取武器。 節省點數和快速旅行在可用性和所需武器維護(或至少需要更換)方面是輕率的。 從一切都難以獲得的意義上說，游戲是殘酷的，獲得僅僅是第一步。

At any point, a player could carry only 4 weapons. The categories were hard fixed, and so were the quantities. The D-pad was exclusively conserved for the use of changing navigation, and doesn’t it look intuitive? A single tap to access a weapon of specialty, and the game doubled down on this by not allowing players to equip a weapon of another kind in a slot or even carry two weapons of the same type. On PC, the same system was mapped to number button 1, 2, 3, and 4.

在任何時候，一個玩家只能攜帶4種武器。 類別固定不變，數量也固定。 D-pad專為保存更改導航而保留，它看起來不是很直觀嗎？ 只需輕按一下即可訪問特種武器，并且游戲不允許玩家在插槽中裝備另一種武器，甚至不允許攜帶兩種相同類型的武器，從而使這一點倍增。 在PC上，同一系統已映射到數字按鈕1、2、3和4。

Was it better than the generation of GTA III? One would argue the merits and demerits, because at any time your could carry less weapons on your person. But it was neither overwhelming to navigate through them nor did it demand you pay attention to a list of scrolling objects on your HUD. And most certainly lent to the part of “bring your own solution” instead of “bring your entire arsenal and choose your solution”.

它比第三代GTA更好嗎？ 人們會爭論優缺點，因為在任何時候您都可以攜帶更少的武器。 但是瀏覽它們既不令人難以理解，也不需要您注意HUD上的滾動對象列表。 而且最肯定的是借給了“帶來自己的解決方案”的部分，而不是“帶來了整個武器庫并選擇解決方案”。

軍火庫的成長和需求，并幫助其沉浸 (Growth and requirements of an arsenal, and helping immersion)

In 2018, we got Far Cry 5. The series had a come a long way, benefiting from the growth of hardware. It’s scope and scale would explode equivalently. There were a ton of weapons, each serving it’s own purpose. There were other tertiary elements like grenades, baits, fishing rods, repair tools for vehicles, other explosives that players could carry around on their person at all times. Most importantly they were back to an age, much of GTA III, where the player character was a mule and a walking armoury at the same time.

在2018年，我們獲得了《孤島驚魂5》(Far Cry 5)，該系列在很大程度上受益于硬件的增長。 它的范圍和規模將同等爆炸。 有很多武器，每種武器都有自己的用途。 還有其他第三要素，例如手榴彈，誘餌，釣魚竿，車輛維修工具以及玩家可隨時隨身攜帶的其他炸藥。 最重要的是，他們回到了GTA III的時代，玩家角色同時是a子和步行軍械庫。

Gone were the simplistic requirements of Far Cry 2 when you could only carry 4 interchangeable weapons with you. The interactions of the D-pad would no longer suffice. They had long introduced the weapon wheel, but even the wheel was shaped by the contemporaries that took advantage of it.

當您只能隨身攜帶4種可互換武器時，《孤島驚魂2》的簡單要求就一去不復返了。 D-pad的交互不再足夠。 他們很早就引入了武器輪，但即使輪也由利用它的同時代人塑造。

Let’s look at the core loop of Far Cry 5

讓我們看一下《孤島驚魂5》的核心循環

While all of these can be done with ongoing combat due to open world nature of the game and ignoring the nuances, this is the core loop of the game. The player’s objectives would be to refill the ammo they just spent to win a combat encounter, and then they must look for other resources that will help upgrade their base. Slain enemies and ammo caches will dispense most, if not all, ammo. Due to prevalent nature of ammunition and it’s supply, they don’t require you to craft anything. You can purchase ammo from a roaming or a static vendor as well, or get it from looting the open world.

由于游戲的開放世界性質和無視細微差別，盡管可以通過持續的戰斗來完成所有這些操作，但這是游戲的核心循環。 玩家的目標是補充他們剛剛用來贏得戰斗對抗的彈藥，然后他們必須尋找其他資源來幫助升級他們的基地。 被殺死的敵人和彈藥儲藏室將分配大部分(即使不是全部)彈藥。 由于彈藥的普遍性質及其供應，它們不需要您制作任何東西。 您也可以從漫游或靜態供應商處購買彈藥，或者從掠奪開放世界中獲得彈藥。

On the other hand, what you must forage are the auxiliary resource that are available in the woods and forests. The game requests this as a an invitation to explore, forage, scavenge and then combine these resources to give you some of the best buffs and advantages in the game.

另一方面，您必須覓食的是森林和森林中可用的輔助資源。 游戲要求以此作為邀請進行探索，覓食，清理然后結合這些資源的邀請，從而為您提供游戲中一些最好的增益和優勢。

Notice how the instruction to craft is in the menu, but not in the actual function? Is this not poor accessibility? No, this is the developers’ demands that we use the intended tool for this function so we learn what to expect from the game which enhances immersion. These buffs require the players to forage the world and then craft them at a time of need, inciting these on-the-spot feelings of “scavenger” and “resourceful”.

請注意菜單中的操作說明如何，但實際功能中卻沒有？ 這不是可訪問性差嗎？ 不，這是開發人員的要求，我們需要使用預期的工具來實現此功能，以便我們了解可以增強游戲沉浸感的游戲內容。 這些增益要求玩家在世界各地覓食，然后在需要時制作它們，從而激發了現場的“清道夫”和“資源豐富”的感覺。

The interface surfaces the fantasy. The weapons wheel is a quick tool to use, and hence it elicits the feeling of “quickly crafting my solution” when players react to the challenge and craft the appropriate buff.

界面浮現了幻想。 武器滾輪是一種快速使用的工具，因此當玩家對挑戰做出React并制作適當的增益時，它會引起“快速制定我的解決方案”的感覺。

Obviously, conclusions are no good without research. I gathered 4 people I knew who have never played Far Cry 5, and dropped them in the middle of a firefight on normal difficulty. These people have been playing shooting games for a long time, but had never actively divulged in the Far Cry series. Next step was to understand what fantasy they most related to when they perused the weapons wheel to craft and consume a buff, which would be considered as a solution in uneven combat scenarios. The fantasies were pre-selected and presented in a manner that most of us relate to — fictional characters from movies.

顯然，沒有研究就不能得出結論。 我召集了4個我認識的從未玩過《孤島驚魂5》的人，然后以正常難度將他們扔在了一場交火中。 這些人玩射擊游戲已有很長時間了，但是他們從未積極參與過《孤島驚魂》系列。 下一步是了解當他們仔細閱讀武器輪來制作和消耗拋光效果時，他們最想得到的幻想是什么，這將被視為不平衡戰斗場景中的解決方案。 幻想是預先選定的，并且以我們大多數人都與電影中的虛構人物有關的方式呈現。

Click here for the complete research

點擊這里進行完整的研究

讓我們看看其他例子 (Let’s look at other examples)

Weapon wheels are abundant, but the games they are found in are very different. Another long standing franchise that has only recently incorporated a weapons wheel is Doom. Unlike Far Cry, Doom as a franchise kick started first person games and was copied by many. Released in 1993, it was a game that allowed the doom guy to carry 8 unique weapons which were again mapped to number keys on a keyboard. Almost 2 decades later, the doom slayer carries forward the tradition of packing a mammoth arsenal at all times. The core loop of the game is much different from Far Cry, and hence the solutions it implements.

武器輪很豐富，但發現的游戲卻大不相同。 直到最近才加入武器輪盤的另一個長期特許經營權是Doom。 與《孤島驚魂》不同，《毀滅戰士》作為專營權踢開始了第一人稱游戲，并被許多人模仿。 該游戲于1993年發行，允許厄運者攜帶8種獨特的武器，這些武器又被映射到鍵盤上的數字鍵。 將近20年后，厄運屠宰者一直保持著包裝龐大的武庫的傳統。 游戲的核心循環與《孤島驚魂》有很大不同，因此實現了解決方案。

With such an emphasis on fluid and easy to commit violence, it would’t fit the game to create the downtime by foraging and scavenging for resources. Especially in a linear game. Instead it makes the players search for keys to exit the current level, and offers smalls detours to look for resources that would upgrade your arsenal. So how’s the weapon wheel for such a game look like?

如此強調流動性和易于實施的暴力，不適合通過覓食和清理資源來造成停機時間的游戲。 尤其是在線性游戲中。 取而代之的是，它使玩家搜索退出當前關卡的鑰匙，并繞行小彎路以尋找可升級軍械庫的資源。 那么，這種游戲的武器輪是什么樣的呢？

While Far Cry 5’s weapon wheel has many layers, arrows, functions, and other kinds of gestures, Doom’s is pretty simple. It shows the player all the weapons that are available and how much ammo they have. That’s all the game deems needful to be shown at this point. Doom slayer isn’t a “nifty” and “resourceful” character, he’s a murder machine. This hasn’t caused the designers to forget accessibility though. The wheel is colour coded to show what ammo it uses. The R1/RB button is multi gesture, tap once to switch to previous weapon and hold to open the weapons wheel. This multi gesture allows the game to facilitate even faster change between weapons that are used in tandem, thereby enabling the murder machine to murder more efficiently. Yes, there are weapon mods in the game. But they are facilitated by a button the D-pad and not in the weapons wheel. The entire focus on the game is to be quick, so the adding and removing mods is a toggle function. Hence they don’t need to be offered by an on-screen interface, and instead use a button. The interface surfaces the fantasy.

盡管《孤島驚魂5》的武器輪有許多層，箭頭，功能和其他各種手勢，但《毀滅戰士》卻很簡單。 它向玩家顯示所有可用武器以及它們擁有多少彈藥。 這是目前為止需要顯示的所有游戲。 末日殺手不是一個“聰明”和“機智”的人物，他是一個謀殺機器。 但這并沒有導致設計人員忘記可訪問性。 車輪采用顏色編碼，以顯示其使用的彈藥。 R1 / RB按鈕是多手勢，點擊一次即可切換到上一個武器，并按住以打開武器輪。 這種多手勢功能使游戲可以促進串聯使用的武器之間更快的轉換，從而使謀殺機器能夠更有效地謀殺。 是的，游戲中有武器改裝。 但是它們是通過D-pad上的按鈕而不是武器輪來實現的。 整個游戲的重點是快速，因此添加和刪除mod是切換功能。 因此，它們不需要由屏幕界面提供，而只需使用按鈕即可。 界面浮現了幻想。

In 2017, a (then) PS4 exclusive game gained a lot of attention for unique open world gameplay. That was Horizon Zero Dawn, a game about a young girl finding her way through untamed wilderness and making the best of everything the natural and artificial environment has to offer. Aloy, too, has a huge arsenal of weapons that she can carry with her all times. The challenges here are different though, such that unlike Far Cry 5 and much like Doom, Aloy carries her entire arsenal with her all the time. But unlike Doom and much like Far Cry 5, she is a very human character who is quite vulnerable. In Far Cry 5, players have to visit a store or the HQ to swap weapons in and out of the weapons wheel. Aloy can do that from her back pack in the main menu. Yet her weapon wheel only allows her to carry 4 weapons. Let’s try to understand why.

在2017年，一款(當時)PS4獨家游戲因其獨特的開放世界游戲而備受關注。 那就是《地平線零黎明》(Horizo??n Zero Dawn)，這是一個游戲，講述一個小女孩在不受限制的荒野中找到自己的路，并充分利用自然和人工環境所提供的一切。 阿洛伊(Aloy)也擁有龐大的武器庫，可以隨時隨身攜帶。 然而，這里的挑戰是不同的，以至于與《孤島驚魂5》不同，就像《毀滅戰士》一樣，阿洛伊始終帶著她的整個武器庫。 但是與《毀滅戰士》不同，與《孤島驚魂5》很像，她是一個非常人性化的人物，非常脆弱。 在《孤島驚魂5》中，玩家必須訪問商店或總部才能將武器交換進出武器輪。 Aloy可以從主菜單的背包中做到這一點。 但是她的武器輪只允許她攜帶4種武器。 讓我們嘗試了解原因。

The loop, while similar to Far Cry 5, has a nuances. There is no clear demarcation of things that are craftable and things which must be purchased, and there is no clear HQ that the game sends Aloy back to. Both these reasons are why Far Cry 5’s protagonist needs to frequently revisit the HQ, but Aloy can survive in the wilderness and rely on nothing but her environment. Ammo can be entirely created from salvaged material from killing enemies, making it a positive feedback loop. Constant weaving in and out of stealth is facilitated by the AI of robo dinosaurs, thereby allowing to puncture times of intense combat with opportunity to instantly utilise scavenged resources. Aloy is more tuned towards the “resourceful” and “self sufficient” trope than the the protagonist of Far Cry 5, where the narrative theme is to build a community in Hope County by bringing back resources. While Aloy only carries 4 weapons on wheel, she carries a huge amount of specialised ammo that is the core focus of the combat. The weapon firing this ammo is merely a multiplier on the damage and effects of this ammo.

該循環與《孤島驚魂5》類似，但有細微差別。 沒有明確界定可制造的東西和必須購買的東西，也沒有明確的總部將游戲送回Aloy的總部。 這兩個原因都是為什么《孤島驚魂5》的主人公需要經常重訪總部，但阿洛伊只能在野外生存，除了她的環境外，什么也沒有。 彈藥可以完全由殺死敵人的救助材料制成，使其成為一個積極的反饋回路。 機器人恐龍的AI有助于不斷地進出隱身，從而使穿刺時間縮短，并有機會立即利用被清除的資源。 與《孤島驚魂5》的主人公相比，阿洛伊更偏向“資源豐富”和“自我充實”的敘事，其敘述主題是通過帶回資源在希望縣建立社區。 雖然Aloy只能攜帶4種武器，但她攜帶的大量專業彈藥是戰斗的重點。 發射該彈藥的武器僅僅是該彈藥的傷害和效果的乘數。

Hence crafting is a very core function of the weapons wheel, and so is accommodating it all in a single layer. Far Cry 5 has a multi layered wheel due to clear separation of things that can be crafted vs can’t (or primary and secondary). But Aloy’s character is about wits and management, and the players have to exercise equal wits when choosing to prioritise what ammo type to quickly craft during combat.

因此，制作Craft.io是武器輪盤的核心功能，因此將其全部容納在一個單獨的層中。 Far Cry 5具有多層輪子，因為可以清楚地區分可以制作和不能制作的東西(或主要和次要)。 但是阿洛伊(Aloy)的性格在于機智和管理能力，玩家在選擇優先選擇哪種彈藥類型以在戰斗中快速制作時必須表現出同等的機智。

Another game in a similar vein, albeit the lack of a true open world, is Tomb Raider.

盡管缺少真正的開放世界，另一個類似的游戲是《古墓麗影》。

And doesn’t it look very similar to HZD’s weapons wheel?

而且看起來與HZD的武器輪盤非常相似嗎？

The accessibility and usability functions are very similar as well. They both indicate the ammo quantity you are currently possessing, but HZD show’s the upper capacity when a player highlights it as crafting is possible in the wheel. This is important to know when crafting so players could how many they will end up holding and how many resources will be consumed to top up. Why isn’t the same feature in Tomb Raider? Because crafting isn’t a function in the wheel. In Tomb Raider, players can simply hold R2/ RT/ RMB during gameplay and Lara will craft her arrows. And that is where players would need the information of ammo caps and resources more than here.

可訪問性和可用性功能也非常相似。 它們都指示您當前擁有的彈藥數量，但是當玩家突出顯示它時，HZD顯示最大容量，因為可以在方向盤上進行制作。 重要的是要知道在制作游戲時，玩家可以最終持有多少，消耗多少資源來充值。 為什么《古墓麗影》沒有相同的功能？ 因為Craft.io不是方向盤上的功能。 在古墓麗影(Tomb Raider)中，玩家只需在游戲過程中手持R2 / RT / RMB，Lara就會制作箭頭。 這就是玩家比這里需要更多彈藥上限和資源信息的地方。

武器輪到底是不是全部？ (Are Weapon Wheels the end all, be all?)

No interface is the end all, be all. It simply exists to facilitate the fantasy that the players are expecting.

沒有接口是全部，就是全部。 它的存在只是為了促進玩家期望的幻想。

Yet another game that sells the fantasy of quick-wittedness and crafting quick solutions during tense encounters is the first Last of Us. While the loop of that game is also similar to these, the feel of the game is much, much different. It’s narrative about an apocalyptic zombie outbreak and a story of a two people traversing the desolate ruins of civilisation. The resources are far limited and even harder to acquire, the atmosphere is dark and uncertain, the ambiance is tense. Crafting from a common pool of rare resources means prioritising and choosing quickly is important. The game implements a quick menu instead of a weapons wheel, where the menu forms a plus sign. The weapons are along the horizontal prong and and throwables (along with health packs) are on the vertical prong. Even “quick crafting” is slower than rest of the games, navigating the quick menu is done by buttons instead of the stick and there is no hold to open the menu. This requires more dexterity and precision as mistakes mean more clicks and more time spent not being aware of surrounding dangers. The quick menu auto-directs to the full crafting menu and the player character gets on their knees to craft. The auto shift to a menu that covers the screen and the character taking a vulnerable pose with an unfavourable camera zoom-in creates a real sense of dread and urgency in the players while they are crafting. This tension and dread would be the case if we are handling small objects in highly anxious and immobile states where dangers surround us and mobility is the only way to save ourselves. Without using a wheel, the game offers a convenient way to access weapons from a rather hefty arsenal (4 weapons, throwables, health packs) and not breaking the immersion or the pacing.

另一個在緊張的遭遇中出售機靈幻想和精心設計快速解決方案的游戲是《 Last of Us》。 盡管該游戲的循環也與此類似，但游戲的感覺卻大不相同。 這是關于世界末日僵尸爆發和兩個人穿越荒涼的文明廢墟的故事的敘述。 資源非常有限，甚至更難獲得，氣氛昏暗而不確定，氛圍緊張。 從公共的稀有資源庫中進行制作意味著優先級和快速選擇非常重要。 該游戲實現了一個快速菜單，而不是一個武器輪，該菜單在其中形成了加號。 武器沿著水平的叉尖，可拋物(連同醫療包)放在垂直的叉尖上。 甚至“快速制作”也比其他游戲慢，導航快捷菜單是通過按鈕而不是操縱桿完成的，無需按住即可打開菜單。 這需要更高的靈活性和精確度，因為錯誤意味著更多的點擊次數和更多的時間不了解周圍的危險。 快速菜單會自動轉到完整的制作菜單，玩家角色會屈膝進行制作。 自動切換到覆蓋屏幕的菜單，并且角色在不利的相機放大下擺出易受傷害的姿勢，會在玩家制作游戲時給他們帶來真正的恐懼感和緊迫感。 如果我們在高度焦慮和動蕩的狀態下搬運小物體，這種危險和恐懼就屬于這種情況，在這些狀態中危險環繞著我們，而機動性是拯救自己的唯一途徑。 無需使用輪子，該游戲提供了一種便捷的方式來從沉重的軍火庫(4種武器，可拋物，醫療包)中獲取武器，并且不會破壞沉浸感或步調。

Halo, a game about a soldier’s mission to save the world and win a galactic war, has never featured weapons wheels. It has always been about Master Chief and his ability to carry exactly 2 weapons, and the players’ ability to strike a balance between their tactics and the offered weapons. The narrative facilitates the abilities and heart of a hero facing against the odds, unlike Doom which puts a spotlight on a literal superhuman force of carnage and destruction. Carrying every weapon at all times is a characteristic of the violent nature of the Doom Slayer.

《光暈》是一款有關士兵拯救世界并贏得銀河戰爭的任務的游戲，從未使用過武器輪子。 一直以來，都是關于酋長長和他攜帶2種武器的能力，以及球員在戰術和所提供武器之間取得平衡的能力。 與《毀滅戰士》不同的是，敘事促進了英雄面對困境的能力和內心，《毀滅戰士》則將焦點放在了真正的屠殺和破壞超人力量上。 隨時攜帶每種武器是《末日殺手》暴力性質的特征。

Fallout, a series about a technological standstill, features a very cumbersome interface that resembles what it represents. Analog computers were bulky and, most importantly, required a lot of input to achieve very little. Many tiny switches, manual input for every repetitive task, a terrible UX were hallmarks of that technological era (just attend a electronics engineering class with me, I’ll show you). Doesn’t the fact that switching weapons requires players to access the pip-boy, navigating the old-fashioned menu to find the weapon manually, equip it, and then return to gameplay sound equally cumbersome? Even though it may be low on usability and breaks the pacing of the encounter, does it not encapsulate the sense of tediousness of the thing it represents?

《輻射》(Fallout)系列涉及技術停滯，其界面非常笨拙，類似于它所代表的內容。 模擬計算機體積龐大，最重要的是，它需要大量輸入才能達到很小的效果。 許多微小的開關，用于每項重復性任務的手動輸入，糟糕的UX是該技術時代的標志(只要和我一起參加電子工程課程，我就會告訴你)。 切換武器是否需要玩家訪問“ pip-boy”，瀏覽老式菜單以手動找到武器，為其配備設備，然后返回游戲玩法聽起來同樣麻煩呢？ 即使它可能會降低可用性并打斷相遇的節奏，但它是否不包含它所代表的事物的乏味感？

Then comes an important question — could Fallout, Halo or Last of Us include a weapons wheel? For Halo, the two weapon system is the great pillar of gameplay. So a UI element to facilitate choice when owning a huge arsenal is redundant. For Last of Us, it would objectively create a disconnection with the immersion carefully crafted by the designers.As Fallout continues to transition into an action-adventure genre while disowning it’s RPG pillars slowly and methodically, this may be the natural conclusion. Fallout’s scavenger style fantasy of scrounging for resources to bring back to base to craft ingenious contraptions may be replaced by a weapons wheel and in-inventory crafting to quicken the pace. How would Fallout feel with a in-wheel creation and consumption of stimpaks, drugs and food instead of going into the pip-boy to eat a hundred carrots? How would a wheel resonate with other pace-breaking mechanic like CRITS, for better or for worse? Before we ask “is this good or bad”, we must ask “does it help sell the fantasy promised by the game”.

接下來是一個重要的問題-輻射，光暈或我們最后的一生會包括武器輪嗎？ 對于《光暈》來說，兩種武器系統是游戲玩法的重要Struts。 因此，擁有大量兵工廠時方便選擇的UI元素是多余的。 對于《 Last of Us》，它會客觀地與設計師精心打造的沉浸感產生脫節。隨著《 Fallout》繼續過渡為動作冒險類型，同時又緩慢又有條理地放棄了RPGStruts，這可能是自然的結論。 Fallout的拾荒者風格幻想著尋找資源以重新帶回制作精巧的裝置，可以用武器輪和庫存制作來代替，以加快步伐。 輪流創造和食用卷心菜，毒品和食物，而不是讓小男孩吃一百根胡蘿卜，后果如何？ 車輪會如何與CRITS等其他具有節奏感的機械裝置產生共鳴，無論是好是壞？ 在我們問“這是好事還是壞事”之前，我們必須問“這是否有助于銷售游戲所承諾的幻想”。

When it comes to gestures and accessibility though, we can see in Far Cry 5 itself that they implemented a weapons wheel and a weapons grid. A grid with clickable buttons works better for a mouse as the mouse is clearly meant for point and click, while grids don’t work so well with controllers where the gesture emulated is a drag.

但是，在手勢和可訪問性方面，我們可以在《孤島驚魂5》本身中看到它們實現了武器輪和武器網格。 帶有可單擊按鈕的網格對鼠標更有效，因為鼠標顯然是用于點和單擊的，而網格在模擬手勢為拖動的控制器上效果不佳。

Ubisoft was considerate enough to give an option to switch between either since familiarity with an interface is also important, causing players to choose something familiar over something ergonomically more efficient. But this shows that even for the same game and experience, a weapons wheel is not end all be all.

由于對界面的熟悉也很重要，因此育碧足夠周到，可以在兩者之間進行切換，這使玩家選擇了熟悉的東西而不是符合人體工程學的更有效的東西。 但這表明即使對于相同的游戲和經驗，武器輪也不是全部。

如果存在該方法和技術，《孤島驚魂2》是否也應該擁有一個武器輪？ 如何設計？ (If the method and technology existed, should and could Far Cry 2 have a weapons wheel? How would it be designed?)

The Far Cry series after the second is about a sandbox to have fun in, where the world is littered with tools to facilitate your fun. The map is abundant with checkpoints and safe zones to restock ammo, and fast travel makes them even easier to access.

第二部分之后的《孤島驚魂》系列講述了一個充滿樂趣的沙盒，世界上到處都是工具，可以促進您的娛樂。 該地圖上充斥著檢查站和安全區，可補充彈藥，而且快速旅行使他們更容易進入。

Far Cry 2, on the other hand, is about survival. It focuses on tension and looming mortality. The console version does not even have quicksave, fast travel can only occur to and from specific points, and the protagonist suffers random health attacks from malaria. Weapons wear down and start jamming which is a huge inconvenience during tense firefights.

另一方面，《孤島驚魂2》與生存有關。 它著重于緊張和迫在眉睫的死亡率。 控制臺版本甚至沒有快速保存功能，只能往返于特定地點快速旅行，而主角會遭受瘧疾的隨機性健康攻擊。 武器磨損并開始卡塞，這在緊張的戰斗中給您帶來極大的不便。

Naturally, a weapons wheel would mean the pace and immersion of combat will be broken every time it is accessed. The D-pad based weapon switching of Far Cry 2 is very good for the same reasons of not breaking out of the combat, and the state of a weapon is very diegetic in the sense that as it wears down, it’s physical shine disappears and is replaces by scratches and rust. While the game may not objectively improve with a weapons wheel, this is how I would design it with “tension” and “unreliability” being the keywords if I had to.

自然，武器輪意味著每次進入時都會破壞戰斗的節奏和沉浸感。 出于不中斷戰斗的相同原因，基于D-pad的Far Cry 2武器切換非常好，并且武器的狀態非常消沉，因為它的磨損會消失，其物理光澤會消失，并且替換為劃痕和生銹。 盡管使用武器輪可能無法客觀地改善游戲，但是如果需要的話，這就是我將“張力”和“不可靠”作為關鍵詞進行設計的方式。

Without changing any game systems or even the existing control scheme, it made no sense to add throwables (grenades and molotovs) and syrettes (health packs) to the weapons wheel as they already have their own dedicated buttons. While there are only two types of throwables which operate in a toggle manner, the concept includes a reminder to players about the actual button used to switch between them.

在不更改任何游戲系統或什至不存在現有控制方案的情況下，在武器輪上添加可投擲物(手榴彈和燃燒彈)和槍械(健康包)是沒有意義的，因為它們已經具有自己的專用按鈕。 雖然只有兩種類型的可投擲物品以切換方式操作，但該概念包括提醒玩家有關在它們之間進行切換的實際按鈕。

The major theme of weapons in Far Cry 2 is that weapons wear out after use. The more their condition erodes, the more unreliable they become. Worn out weapons may jam more frequently during combat, which is a huge looming sense of tension when the player hasn’t replaced their worn out weapon in a long time. This UI concept takes advantage of that, as the encroaching red fill in a slot shows how much the weapon is worn out. Use of indefinite colour instead of a definitive bar fill lends into the unknowable nature of when exactly and how often it will jam, but whenever players may access the weapons wheel they will be reminded of the weapon’s unreliable nature. The unknown is what creates the original sense of unreliability and using a UI element denoting known quantity will negatively affect the fantasy. Surely it could have taken on an artistic touch. Using themes of cracks, scratches, and rust in the UI to depict wear and tear with the passage of time would be much better suited. But the concept still remains the same to surface a fantasy.

孤島驚魂2中武器的主要主題是武器使用后會磨損。 他們的病情侵蝕越多，他們就越不可靠。 磨損的武器在戰斗中可能會更頻繁地卡住，這在玩家很長一段時間沒有更換舊的武器時是一種迫在眉睫的緊張感。 這個UI概念利用了這一點，因為插槽中的紅色標記顯示了武器的磨損程度。 使用不確定的顏色代替確定的條形填充會導致無法準確識別卡紙的確切時間和頻率，但是無論何時玩家進入武器輪，都會提醒他們武器的不可靠特性。 未知是造成原始不可靠感的原因，使用表示已知數量的UI元素會對幻想產生負面影響。 當然，它可能具有藝術氣息。 在UI中使用裂縫，刮擦和生銹的主題來描繪隨著時間的流逝的磨損會更適合。 但是這個概念仍然相同，以浮出水面。

The game also has a mechanic that induces an incapacitated state in the player character who is suffering from Malaria. With such mechanic striking randomly (even just after tense combat) with no scripted event to warn about it, the game has no problems prioritising continuity of combat over gameplay stopping mechanics. With such an inference, this UI concept also does not include any slow motion or background blurring to remain consistent with the immersion. The opaque UI also borrows from the examples where reduced/ covered viewport create a sense of dread and the possibility of danger when players are distracted. It is even placed near the cursor area to purposefully create a nuisance value while in the middle of shooting but not in the centre to create a disconnection from ongoing events.

該游戲還具有一種機制，可以在患有瘧疾的玩家角色中造成喪失能力的狀態。 有了這樣的技工隨機擊打(即使是在緊張的戰斗之后)，也沒有腳本事件來警告它，因此游戲在優先考慮戰斗連續性而不是阻止游戲玩法機制方面沒有問題。 通過這種推斷，此UI概念也不包含任何慢動作或背景模糊以保持與沉浸感一致。 不透明的UI還借鑒了以下示例：縮小/覆蓋的視口會產生恐懼感，并在玩家分心時會產生危險。 它甚至被放置在光標區域附近，以便在拍攝過程中有目的地創建一個討厭的值，但不在中心以與正在發生的事件斷開連接。

拿走資源 (Take Away resource)

While making the prototype in the above section, I ended up making a document where I could chart down the pillars of just the weapons wheel to analyse why certain decisions were being made. I hope that this can also be a helpful resource to others

在上一節中制作原型時，我最終制作了一個文檔，可以在其中繪制武器輪的Struts，以分析做出某些決定的原因。 我希望這對其他人也是有用的資源

Weapons Wheel design document

武器輪設計文件

結論 (Conclusion)

Weapon wheels have transformed from a way to make a choice between finite selections to now containing their own standardised and familiar micro-interactions. In-wheel crafting, customisation, menu navigation have been successfully integrated in weapons wheels. Wheels have gone from being simple solutions to multi-layered and multi-faceted tools. Every game that has integrated them has added their own nuances and design tweaks born from their individual requirements. Yet, a weapons wheel is not a checkbox to mark when it comes to using it in our own games as it is a very deep and complex tool with many implications on immersion, feel, fantasy, usability and pacing.

武器輪已經從在有限選擇之間做出選擇的方式轉變為現在包含其自己的標準化和熟悉的微交互方式。 輪內制作，定制，菜單導航已成功集成到武器輪中。 車輪已經從簡單的解決方案變成了多層和多面的工具。 整合了它們的每款游戲都增加了自己的細微差別，并根據各自的需求進行了設計調整。 然而，在我們自己的游戲中使用武器輪時，并不是一個復選框即可標記，因為它是一種非常深入和復雜的工具，對沉浸感，感覺，幻想，可用性和步調有許多影響。

Unlike traditional applications like a pizza ordering app for Domino’s, the UX of a game is not dependent on the lowest barrier of entry. While we must empathise without players, we must focus on why we are doing things rather than how to best suffice an entry into our UIs. If players are attracted to the experiences because of fantasy and immersion, then why contest them? Wouldn’t a cumbersome gameplay UI that replicates old military interfaces help with immersion for a WW1 game, even if the usability aspect was slightly compromised? Obviously this is not a license to design terrible UX , as components like a matchmaking lobby is universal and should be designed for minimum frustration since it is not a place where players seek immersion.

與傳統的應用程序(例如用于Domino的披薩訂購應用程序)不同，游戲的用戶體驗并不取決于最低的進入門檻。 盡管我們必須在沒有參與者的情況下產生同情心，但我們必須專注于我們做事的原因，而不是如何最好地滿足進入UI的需求。 如果玩家因為幻想和沉浸而被游戲吸引，那么為什么要比賽呢？ 即使可用性方面稍有妥協，復制舊軍事界面的繁瑣游戲界面也不會有助于沉浸于WW1游戲中嗎？ 顯然，這并不是設計糟糕的UX的許可，因為像婚介大廳這樣的組件是通用的，并且應該設計成將挫敗感降到最低，因為它不是玩家尋求沉浸感的地方。

But while we empathise with players, we must also realise that they are seeking to empathise with an immersive experience. Wouldn’t the best way to facilitate that is to imbibe the nuances and structured frustration of whatever experience they are expecting?

但是，在我們同情玩家的同時，我們還必須意識到，他們正在尋求沉浸式體驗的同情。 促進這種發展的最好方法不是讓他們期望的任何體驗都變得微妙和結構化嗎？

The prototype was made using Adobe XD.

原型是使用Adobe XD制作的。