游戏、谜题与两者之间的一切

欢迎收听2026年2月3日的播客。

Welcome to the board cast for 02/03/2026.

本集由Red Raven Games赞助。

This episode is sponsored by Red Raven Games.

《Sleeping Gods》的设计师和艺术家Brian Lockett创作了全新的探索世界——《Song of Silverence》。

Brian Lockett, the designer and artist of Sleeping Gods, has created a new world to explore in Song of Silverence.

在这款游戏中，你和最多三位其他玩家将分别扮演十二个角色之一，穿越一片广阔如童话书般的土地，承接各种奇特的工作以赚取金钱，并追求一个终极目标：将你的父亲从债务人监狱中解救出来。

In this game, you and up to three other players, each representing one of a dozen characters, will travel a sprawling storybook land, taking on unusual jobs to earn money and chase one big goal, freeing your father from debtors prison.

该游戏在2025年的GameFound平台上成功完成了众筹，但目前仍开放后期支持，不要错过进入这个故事的机会。

A highly successful crowdfunding campaign wrapped on GameFound at the 2025, but late pledges are open, so don't miss your chance to step into this story.

关于《Song of Silverth》的详细信息，请访问bgb.news/song。

For details on Song of Silverth, go to bgb.news/song.

游戏、谜题，以及介于两者之间的所有内容。

Games, puzzles, and everything in between.

你能分清游戏和谜题之间的区别吗？

Can you tell the difference between games and puzzles?

这有关系吗？

And does it matter?

在Board Game Geek工作时，我经常浏览游戏提交队列，以批准待处理的游戏条目，要么是为了在BGG新闻帖中链接它，要么是因为出版商已经宣布了该游戏，并询问是否可以将他们的待提交条目提前处理。

While working at Board Game Geek, I'd often dip into the game submission queue to approve a pending game listing, either to link it in the BGG news post or because a publisher had already announced the game and asked whether their pending submission can be bumped to the front of the line.

但很多时候，我只是想帮助其他管理员清理队列。

Often though, I was just trying to help other admins clear out the queue.

提交到BGG数据库的游戏数量时多时少，通常在詹·康纳的演讲前一个月会激增。

Game submissions to the BGG database ebbed and flowed, often ballooning in the month prior to Jen Connor's spiel.

然后我会突然发现有500个待处理的提交，心想：也许我该去帮一把。

Then I'd suddenly notice 500 pending submissions and think, maybe I should lend a hand there.

无论一年中的什么时候，游戏提交队列中始终存在一些不适合数据库的提交，特别是拼图类内容。

One constant presence in that game submission queue no matter the time of the year were submissions inappropriate for the database, specifically puzzles.

几乎每周都会有人提交《堵车》（Rush Hour）的条目，这是由吉川信明设计的逻辑拼图，1996年由Binary Arts公司首次在美国发行，此后一直持续印刷。

Hardly a week would pass without someone submitting a listing for rush hour, a logic puzzle by Nob Yoshikahara that debuted in The US from Binary Arts in 1996, and then it's been in print ever since.

我们拒绝了这个提交，拒绝了下一个，再拒绝，再拒绝，再拒绝，但这些提交却源源不断。

We declined that submission, declined the next one, declined, declined, declined, yet those submissions kept coming.

Board Game Geek 禁止在数据库中收录拼图，此外还禁止饮酒游戏、对话游戏、电子游戏、预测工具以及大多数结构化活动，以明确界定收录范围。

Board Game Geek prohibits puzzles in the database in addition to prohibiting drinking games, conversation games, electronic games, prognostication tools, and most structured activities in order to keep a boundary around what's listed.

如果 PGG 为《华容道》添加了条目，那为什么不能为一个目标相似的木质滑块拼图也添加条目呢？

If PGG added a listing for rush hour, then why not a wooden sliding puzzle with a similar goal?

为什么不能收录索玛立方体？

Why not the Soma cube?

为什么不能收录由链条连接的金属马蹄铁，玩家需要从中解出被困的圆环？

Why not metal horseshoes linked with a chain in which you need to free a trapped ring?

为什么不能收录密码填字游戏，玩家需要找到密钥来解开答案？

Why not a cryptogram in which you similarly need to find the key to unlock the solution?

为什么不能收录拼图和填字游戏？

Why not jigsaw puzzles and crosswords?

游戏与拼图之间的界限难以判断，而且随着时间推移，设计师和发行商不断推出模糊这一界限的作品，使得判断更加困难。

The line between game and puzzle is difficult to judge and has only become harder over time as designers and publishers release titles that blur that line even further.

举一个历史上的例子，比如七巧板：玩家会看到一个剪影图案，并被要求用七块板子重新拼出该图案。

To pull out a historical example, let's look at tangrams in which are shown a silhouetted image and challenged to recreate it with seven tiles.

这明显是一个谜题。

This is clearly a puzzle.

是的？

Yes?

设计师杰夫·恩格尔斯坦会认为它确实是。

Designer Jeff Engelstein would argue it is.

他从根本上说，我看到了谜题与游戏的几个关键区别。

Fundamentally, he says, I see a few defining characteristics of puzzles versus games.

第一，谜题是一次性活动。

One, puzzles are one time activities.

如果你解开了一个谜题，就没有理由再回去重解一次。

If you solve a puzzle, there's no reason to go back to it to solve it again.

第二，谜题有唯一正确的答案。

Two, puzzles have a correct solution.

第三，谜题通常没有失败状态。

Three, puzzles generally have no loss state.

你只是不断尝试，直到找到解决方案为止。

You just keep working on them until you get the solution.

七巧板具备这三大特征。

Tangrams exhibit all three of these characteristics.

但如果有人将两套七巧板组合在一起，让玩家们各自用自己的那一套拼图快速重现同一图案，率先完成的人得分呢？

But what if someone packaged two sets of Tangram tiles together, and players now race to recreate an image with their own set of tiles, with the first player to do so claiming a point?

莫里斯·坎巴尔在1980年创造Tango's时就是这样做的。

This is what Maurice Kanbar did when creating Tango's, which debuted in 1980.

搞定。

Boom.

你刚刚把一个谜题变成了游戏，而且你可以对每一个谜题都这么做——把谜题的基本单元组合成游戏的复杂结构。

You've just gamified a puzzle, and you can do that for every puzzle in existence, smashing together puzzle atoms to form game molecules.

格里戈斯·雷赫特曼2003年推出的游戏Yubongo就是这一做法的典型例子：玩家使用完全相同的积木块，尽可能快地重现指定形状——这就像七巧板那样的谜题单元，而快速完成以获得奖励则构成了包含该单元的游戏结构。

Grigos Rechtman's game Yubongo, which debuted in 2003, is a prime example of this practice, with players using an identical set of pieces to recreate a shape, and that's the puzzle atom akin to tangrams, as quickly as possible in order to gain a reward, thus creating the game molecule that has that atom inside.

设计师伊丽莎白·哈格雷夫建议，Cryptid、Things in Rings 和 The Search for Planet X 也是类似的游戏，因为它们都有确定的正确答案，且不受玩家操作影响。

Designer Elizabeth Hargrave suggests Cryptid, Things in Rings, and The Search for Planet X as other games that work similarly since they all have correct solutions not affected by user input.

2010年代中期开始出现的密室逃脱游戏，如《Escape the Room》《Exit the Game》《Unlock》和《Deckscape》，是游戏与谜题之间模糊界限的另一个例子。

The escape room games that started to appear in the mid twenty tens such as Escape the Room, Exit the Game, Unlock, and Deckscape are another example of this blurry line between game and puzzle.

无论是实体密室还是这些游戏，你都会面对一系列谜题挑战，每解决一个，就会获得一个新的谜题、一个帮助解决之前谜题的工具，或其他类型的奖励。

In either a physical escape room or one of these games, you're presented with puzzle challenges, and as you complete them, you gain a new puzzle, a tool to help solve an earlier puzzle or some other kind of reward.

所以，这个密室不过是一系列谜题的组合。

So this escape room is nothing more than a series of puzzles.

是的？

Yes?

如果你从头再来，你已经知道所有答案，就能迅速通关，比之前更快地解决整个挑战。

If you started over, you know all the answers and could blitz through the puzzle, solving the overall challenge more quickly than before.

然而，正是花费时间达成目标这一要素，将一系列谜题转变为游戏，因为游戏所花费的时间可以转化为分数或输赢条件。

And yet, that element of spending time to reach the goal is what transforms a series of puzzles into a game because time spent playing can be translated into a score or a win loss condition.

设计师菲尔·沃克·哈丁表示，我认为谜题是一种拥有唯一解法、且对如何解决没有限制的挑战。

I have found it helpful to think of a puzzle as a challenge with a single solution and no constraints on how you might go about solving it, says designer Phil Walker Harding.

一旦你加入时间限制等约束条件，我就能理解为什么你会将这种挑战视为游戏了。

Once you add constraints such as a time limit, I can see why you might then characterize this challenge as a game.

显然，Board Game Geek也持相同观点，因此《Exit the Game》《Unlock》等游戏都被列在其数据库中。

Clearly, Board Game Geek agrees, which is why exit the game, unlock, and the like are all listed in its database.

然而，无论你赋予谜题何种特征以将其与游戏区分开，这些说法都站不住脚，因为反例屡见不鲜。

However, whatever characteristics you ascribe to puzzles defense them away from games prove inadequate because counterexamples are plentiful.

设计师保罗·舒尔茨表示，人们常说谜题只有一个最优解，但如果这是定义性特征，那么《Yubongo》《Ghost Blitz》和《Dobble》都是系列谜题，每一个问答游戏也是如此。

Says designer Paul Schultz, it is often said that puzzles have one optimal solution, but if that were a defining property, Yubongo, Ghost Blitz, and Dobble, all are a series of puzzles, and so is every single trivia game.

相信大多数玩家都会反对这种分类方式。

Surely, most gamers would protest this categorization.

他继续说道。

He continues.

我常听到的另一个关于谜题的典型特征是，它们依靠逻辑解决，但事实往往并非如此。

Another typical feature I hear about puzzles is that they are solved with logic, but that's often not true.

填字游戏常常只是问答题，而找词游戏、迷宫和拼图则是感知或专注力的练习。

Crosswords are often just trivia questions, while word searches, mazes, and jigsaws are perception or concentration exercises.

那里根本不存在逻辑。

No logic there.

然而，所有这些都被称为谜题。

Still, all of them are called puzzles.

我之前提到的游戏示例似乎通过竞争被游戏化了，但即使在限时或相互竞争的情况下解字谜，对大多数人来说仍不算游戏。

The game examples I gave earlier seem to be gamified by competition, but solving the crossword with a time limit or against one another still wouldn't qualify as a game for most of us.

杰夫·恩格尔斯坦甚至认为，现有的字谜本身就违反了他区分谜题与游戏的标准。

Jeff Engelstein even suggests that crosswords as they already exist break his criteria for differentiating between a puzzle and a game.

如果我在杂志里做字谜，我必须查看答案才能知道是否解对了，这意味着我确实会失败或成功地解开它。

If I'm doing the crossword puzzle in a magazine, I would have to look at the answer to see whether I solved it or not, which means that I do fail or succeed in figuring it out.

字谜软件通过让你知道是否正确，却不直接显示答案，来稍微规避这个问题。

Crossword software gets around that a bit by letting you know whether you're right or not, but not showing the answer.

另一方面，数独或密码字谜是自我验证的，你无需答案键就能判断自己的答案是否符合要求。

A Sudoku puzzle or cryptogram on the other hand is self checking, that in you can determine whether your answer fits the criteria without an answer key.

简而言之，舒尔茨说，游戏和谜题的类别并非仅仅重叠。

In short, says Schultz, the categories of games do not just overlap.

它们的界限是模糊不清的。

Their borders are inconsistent.

黄伟华是《银河掷骰》的联合设计师，曾为ThinkFun公司设计过许多逻辑谜题，如《重力迷宫》，并赢得过2008年数独全国锦标赛冠军，还是四届世界谜题锦标赛冠军。

Weiwa Huang is the co designer of Roll for the Galaxy, has worked on many logic puzzles for ThinkFun such as Gravity Maze, won the two thousand eight Sudoku National Championship, and is a four time winner of the World Puzzle Championship.

因此，他在游戏和谜题方面都有深厚的经验。

So he has deep experience in both games and puzzles.

他向我解释说，就像生活中的许多其他事情一样，谜题性并不是一个非黑即白的二元状态，而是一个连续谱。

And he explained to me that as with so many other things in life, puzzleness isn't a binary state of yes, no, but a spectrum.

他说，就像许多术语一样，我试图在‘我一看见就知道’和‘给出一个全面的定义’之间取得平衡。

He said, like many terms, I try to strike a balance between I know it when I see it, and here's a comprehensive definition.

因此，既然我愿意接受例外情况，这就是我对谜题的定义。

So given that I'm open to exceptions, here's my definition of a puzzle.

谜题是一种有明确目标路径的活动，这个路径通常被称为解决方案，其中运用智力是找到解决方案的主要部分。

A puzzle is an activity with an intended and specific path to a goal, often called a solution, where using intelligence is the primary part of the solution finding process.

这个定义中的一些关键点。

Some salient parts of this definition.

第一，解决方案路径越不明确，该活动就越不像谜题。

One, the less specific the solution path is, the less puzzle like the activity is.

如果我给你一堆冰棒棍，让你搭一座能承重一磅的桥，有人会觉得这很有谜题感，但我认为这更像一个棘手的问题或设计挑战。

If I give you a bunch of popsicle sticks and ask you to build a bridge that can handle a one pound weight, someone would consider that puzzly, but I'd consider that more like a puzzling problem or a design challenge.

第二，如果没有明确的解决路径，活动就更偏向于问题导向，而非谜题导向。

Two, if there is no intended solution path, it becomes less puzzly and more problemy.

比如《瘟疫危机》这款游戏就具有谜题元素，但由于其设置依赖于随机发牌，我不认为玩《瘟疫危机》本身是一种谜题。

A game of Pandemic, for example, has puzzling aspects, but since the setup is based on random card shuffling, I don't consider playing a game of pandemic to be a puzzle.

另一方面，可以设想为玩家提供一组经过精心设计的特定发牌顺序，使得获胜方式极为有限，玩家可以反复尝试，直到成功。

On the other hand, one could imagine providing players a specific ordering for the cards in pandemic that was carefully selected such that there are only a limited number of ways to win, and the players are allowed to play with that repeatedly until they win.

尽管规则与《瘟疫危机》完全相同，但我会把这种情况视为一个谜题。

I would consider that a puzzle despite the rules being identical to pandemic.

或许更广为人知的例子是国际象棋谜题，比如‘白方先行，三步将死’——玩家必须通过推理各种可能的走法，找到唯一预设的解法，而这个解法通常不符合一般的国际象棋策略。

Perhaps a more well known example is chess problems of the nature white to play and win in three moves, where the player has to think through the different possible chess moves to find a single intended solution, and that solution is usually not in alignment with general chess strategy.

虽然传统上这些被称为‘国际象棋问题’，但我认为它们其实是国际象棋谜题。

Although traditionally, these are called chess problems, I would consider them chess puzzles.

而一个国际象棋问题则是：这里有一个来自真实对局的局面。

Whereas a chess problem would be, here's a position from a real chess game.

最好的一步是什么？

What's the best move?

第三，使用智力对于‘谜题’这个概念至关重要。

Three, using intelligence is important for the term puzzle to work.

完成《吃豆人》的一个关卡或击败一个摔跤机器人可能有目标和特定的路径，但通常不被认为是谜题。

Finishing a level of Pac Man or beating an arm wrestling robot might have a goal and an intended and specific path, but aren't generally considered puzzles.

第四，我对‘乐趣’是否是谜题的重要组成部分还持保留态度。

Four, I'm somewhat on the fence as to whether having fun is an important part of being a puzzle.

如果设计者和玩家都不打算让这个活动变得有趣，那么它是否仍算作谜题，只要满足其他条件？

If neither the person designing the activity nor the person playing the activity intend for it to be fun, is it a puzzle if it qualifies for the other goals?

由于乐趣因人而异，以解谜者面对谜题时的感受来定义谜题似乎有些奇怪，但菲尔·沃克·哈丁却非常认同这种观点。

Given that having fun is relative from one person to another, it might seem odd to think about defining puzzles based on the vibes that solvers have when confronting them, but Phil Walker Harding leans into that notion.

他说，关于什么是谜题、什么不是谜题的这些定义讨论或许是很有趣的思维练习，但我认为过于死板或教条地界定它们并没有太大意义。

Most of these definitional discussions about what is and isn't a puzzle can be interesting thought exercises, he says, but I don't think much is gained by trying to lock things in too neatly or by being dogmatic about it.

对我来说，当考虑像《Cascadia》和《Harmonies》这类‘取与放’类型游戏的吸引力时，这种区分很有意思。

For me, I think this distinction is interesting when considering the appeal of games in the take and make genre such as Cascadia and Harmonies.

在这里，我注意到很多人用‘有谜题感’这个词来形容他们在回合中的决策。

Here, I notice a lot of people use the word puzzly to talk about making decisions on their turn.

我认为这很有洞察力，因为当你放置一个棋子时所经历的思考过程，类似于解决一个空间逻辑谜题。

I think this is insightful because the thought process you are going through when placing a piece is similar to doing a spatial logic puzzle.

然而，由于并没有唯一解——你可能通过多种不同方式获得胜利分数，而且你无法完全掌握未来事件的信息，比如对手会拿走哪些棋子——所以这并不是一个纯粹的谜题，而更像一个‘有谜题感’的游戏。

However, because there isn't one single solution, since you may arrive at a winning score in many different ways, and because you don't have complete information about future events such as which pieces your opponent will take, this isn't a pure puzzle but more a puzzly game.

伊丽莎白·哈格雷夫有不同的看法。

Elizabeth Hargrave has a slightly different take.

当我们说某些游戏‘有谜题感’时，我认为通常是指游戏中存在一个最佳走法或一系列最佳走法，可能还有几个略逊一筹的选项。

When we say certain games feel puzzly, I think it's often in the sense that there is a single best play or series of plays, and maybe a few more that are only slightly suboptimal.

这些最佳走法是可以被推导出来的，而这种推导过程本身就能带来满足感。

That this can be figured out, and that the figuring out can feel like its own reward.

我完全不反对那些明确属于谜题类的游戏。

I have absolutely nothing against games that are solidly in the puzzle category.

事实上，我非常喜爱这类游戏。

In fact, I'd love them.

但如果你想制作一个不是谜题的游戏，你就需要寻找一种结果，这种结果根本不是‘你是否找到了唯一答案’。

But if you want to make a game that's not a puzzle, you need to be looking for an outcome that's not fundamentally, did you find the one answer?

实现这一点的一种方法是让玩家决定这个唯一答案是什么，从而使每次游戏中的唯一答案都不同。

One way to do this is to put players in charge of what that one answer is so that that lone answer differs with each playing.

哈格雷夫举了‘Clover’作为这一类游戏的例子，而保罗·舒尔茨则建议了《Codenames》《Decrypto》《Crackle Oracle》和《Concept》。

Hargrave gives just one caution signs, and so Clover as examples of games in this category, while Paul Schultz suggest codenames Decrypto, Crackle Oracle, and Concept.

哈格雷夫说，仍然存在一个正确答案，但玩家的输入现在改变了你达成这个答案的方式。

Says Hargrave, there's still a correct answer, but user input is now changing how you get to that answer.

就像我会忽略计时器和限时谜题游戏一样，我也会忽略这些谜题派对游戏中的计分规则。

And just like I ignore the timers and timed puzzle games, I ignore the scoring rules in these puzzle party games.

找出答案本身就令人感到满足。

It's just satisfying to figure out the answer.

这种满足感也体现了哈格雷夫对谜题与游戏之间区别的理解，尽管她会把所有谜题都归类为游戏的一种。

That concept of satisfaction plays into Hargrave's sense of how a puzzle differs from a game, even though she'd label all of the former as an example of the latter.

我喜欢把游戏广义地定义为：一套规则系统，它创造了一种人为的挣扎，供我们娱乐时去参与。

I like the broad definition of a game as a system of rules that creates an artificial struggle that we can undertake for our entertainment.

根据这个定义，我会把所有谜题归为游戏的一个子集。

By that definition, I would lump all puzzles as a subset of games.

使谜题成为游戏中的一个可定义类别——或者说，有些人认为是将谜题与游戏区分开来的关键——在于它们拥有一个固定的正确答案，以及相对固定的一条或若干条通往该答案的路径。

The thing that makes puzzles a definable category within games, or some would say, the thing that separates them from games, is that they have a fixed correct answer and a more or less fixed path or set of paths for arriving at that answer.

无论解谜者如何输入，都无法改变这一点。

No amount of input by the puzzler will change this.

唯一的问题是你是否能找到答案并获胜。

The only question is whether you will find the answer and win.

而我个人在达成这种胜利状态时的满足感如此强烈，以至于任何试图在‘你赢了’之外再添加游戏化元素的做法都显得多余。

And my personal experience of this win state is often so satisfying that any attempt to gamify it beyond you win feels tacked on.

在这方面，哈格雷夫特别推荐了《食肉动物做到了》，称其为她在2025年斯皮莱森展上最喜爱的发现。

Along these lines, Hargrave gives a shout out to a carnivore did it, calling it her favorite find of Spielesen 2025.

这款由多梅洛·萨尔迪基斯和乌尔蒂斯·希林斯卡斯设计的作品包含2000个逻辑挑战，你之所以会认为它是一款游戏，仅仅是因为规则中建议了时间限制。

This design by Dommelo Sardikis and Urtis Schilinskas consists of 2,000 logic challenges, and the only reason you'd consider it a game is because of time limits suggested in the rules.

这种获胜的快感让我们再次回到‘氛围’是谜题核心要素这一点上。

That you win feeling brings us back to vibes being a core element of a puzzle.

与此类似，保罗·舒尔茨说，这就像水果和蔬菜的讨论。

Along these lines, Paul Schulz says, it could be like the fruit versus vegetable discussion.

它们本质上并没有不同。

They're not different by nature.

关键在于我们如何使用它们。

It's about how we use them.

如果我们关注的是为了解决而解决，那就是一个谜题。

If our focus is on solving for the sake of solving, it's a puzzle.

如果我们关注的是其他方面，比如竞争或以故事作为结局，那就更像是一款游戏。

If our focus is on other things such as competition or an overarching story as an exit, it's more likely a game.

黄伟华和杰夫·恩格斯坦都提到了曼努埃尔·罗斯瓦的《时间故事》，称其是一种以故事独特融合谜题与游戏的设计。

Both Weihua Huang and Jeff Engelstein call out Manuel Rossoy's time stories as a design that uses story to blend puzzle and game in a unique way.

《时间故事》的每一集通常都有一个最优路径穿过循环，这是谜题的典型特征，同时又包含玩家选择和掷骰子等随机元素来解决战斗。

An episode of time stories typically has an optimal path through a loop, something common to puzzles, while featuring random elements like player choices and dice rolls to resolve combat.

玩家可以通过多种方式失败并输掉一集，但他们可以利用过往经验从头开始重玩，以取得更好的成绩。

Players can fail an episode in a multitude of ways, losing the game, yet they can restart from the beginning using past experience to do better.

恩格尔斯坦表示，这种循环机制让游戏更像一场游戏，它确实有失败状态，但也存在最优路径，因此没有理由重复玩同一个案例。

Says Engelstein, the looping nature makes it feel more like a game, and it does have a loss state, but it also has an optimal path, and there is no reason to play a case again.

最近，我开始认为游戏类似于即兴表演，演员们被赋予一个场景、角色和基本的互动规则，然后自由发挥、相互回应。

Recently, I've come to think of games as being akin to improv, with the actors being fed a setting, roles, and basic rules for interaction, then let loose to play off one another.

而谜题则更像话剧，你有固定的台词和明确的舞台动作指导。

Whereas puzzles are akin to plays in which you have scripted lines and directions for how the action is supposed to be carried out on stage.

尽管由于失误或即兴发挥，表演中常常会出现即兴成分。

Although improvisation will often happen thanks to mistakes and chants.

无论是话剧还是即兴表演的演员，都能从中获得极大的满足感，观众也能欣赏到这两种表演形式中演员的技艺。

Performers of both plays and improv can find great satisfaction in what they do, and bystanders can appreciate the skill of performers in either role.

所以，这并不是说其中一种比另一种更优越。

So it's not like one is superior to the other.

舒尔茨说，将谜题融入游戏中，符合我最喜欢的游戏定义——自愿地克服不必要的障碍。

Says Schultz, including puzzles with games goes along with my favorite definition of games, the voluntary overcoming of unnecessary obstacles.

伯纳德·苏茨在1978年的著作《蚱蜢：游戏、生命与乌托邦》中使用了这一定义，对游戏和谜题采用如此宽泛的定义，对设计师和玩家而言都极为理想，为所有人提供了更广阔的舞台，让他们能自由地创造和表演。

Bernard Suits used this definition in his 1978 book, The Grasshopper Games, Life, and Utopia, and having a broad definition like this for both games and puzzles seems ideal for designers and players alike, giving everyone a wider stage on which to create and perform as they wish.

再次感谢 Red Raven Games 对本次广播的赞助。

Once again, thanks to Red Raven Games for sponsoring this broadcast.

欲了解其下一款作品《Song of Silvarenth》的更多信息，请访问 b g b 点 news 斜杠 song。

For info on its next title, Song of Silvarenth, go to b g b dot news slash song.