写游戏范文(优选十七篇)

本文共计11485个文字，预计阅读时间需要46分钟。

写游戏范文(篇一)

年，回想起以前的年似乎也就出去看看，有时还要跟弟弟妹妹们玩，但以多少年没有期待过年了呢？我不由的思考，我似乎也与以前不一样了。

以前也许是因为没有什么烦恼吧，整天无忧无虑，一直期待过年。而现在，过年，我认为那是一个浪费时间的地方，而且想起家里的那些本子，我便欲哭无泪，都这样了过什么年！

而且随着我的长大，我也变的比以前孤独，以前的朋友也以快忘了，就连以前爱玩的东西也却的幼稚。

但是这不是我讨厌过年的原因，我不喜欢人们所谓的礼物，所谓的红包，这些只不过是一场大人之间的游戏，一场没有任何意义的游戏。

所以这样我就不想出去了。

回想以前，欢声笑语，烟花的声音在耳畔回响，可是当年的小孩以要长大，朋友也早已远去，这些又有什么可高兴的呢？

滴滴，手机上发来一大堆的QQ信息，我无意之中看去，发现大多都是同学发来的新年快乐的信息，心里的失落稍微好了一点。

但随着翻看，却越来越心惊，因为发来的不只现在的同学，还有以前已经几乎不联系的小学同学与朋友。

我看了看有一些哽咽，也许这才是年味吧，不需要礼物，不需要金钱，只需要一句普通的新年好就可以了。

也许是我傻吧，一个群发的信息比的过金钱，但是我却认为比的过，因为年味的开始也因是为了这一句所谓的没用的句子而写吧，而不是所谓的金钱！

写游戏范文(篇二)

人人都有一颗感恩的心，我们要怀着这颗感恩的心，去感谢那些给予我们亲情，给予我们无限关怀的父母。

我们总觉得父母对我们的爱是理所当然的，从不知足，直到昨天我才体会到那份亲情的无私。昨天，我们班上举行了亲子活动，三十个和他们的准时的来到了塔子山公园。我们的第一项节目是才艺展示，当父母们看到自己孩子的表演时，脸上无不露出灿烂的笑容，有的还自豪的对别的父母说：“你看，那是我的孩子！”尽管有的的表演不是那么的完美，可家长们仍旧送上了热烈的掌声。第二项是亲子游戏，其中一个游戏最有趣。游戏规则是蒙上孩子的眼睛，让孩子们摸家长们的手，判断哪一个是自己的，确认后给他们一个热烈的拥抱。大多数同学都能找对自己的父母，可有几个同学拥抱错了人，发现没对红着脸重新扑向自己父母的怀抱里。从这个游戏中我们知道了我们平常要多于父母交流、沟通，了解父母，这样才不会出现前面一幕尴尬的事情。

父母用那阳光般的亲情温暖着我们幼小的心灵，我们要更加努力的学习来汇报他们，让他们也能感受到我们对他们的爱！

写游戏范文(篇三)

电影制作人使用步骤原稿。建筑师使用蓝图。音乐家使用乐谱。根据古代的传说，甚至是宇宙造物主也制作了设计文件，在最初的文明之光普照大地之前，他让一小撮先知瞄了一眼——所以有了这个古代传说。既然神都是这么做的，那么游戏开发者就以之为榜样吧。

游戏邦注：原文发表于1997年9月22日，所涉数据及事件均以此为准。

另外可以参照的一些内容：

Creating A Great Design Document

by Tzvi Freeman

I’ve got to get product out. In the panic and dizziness, my head smashes against the CRT and next thing I know this genie whiffs up out of a virtual bronze-texture-mapped lamp and offers me three wishes. Without missing a beat, I answer, “I need…

A great team of talented, skilled, and dedicated engineers and artists (including a very understanding wife) with strong interpersonal skills.

Enough time and money to allow for a mess-up or two.

A first class design document.

Once upon a time, when coding a game involved one programmer (and maybe an artist) with a take-it-as-you-go budget and a loose deadline, documentation didn’t need to be taken so seriously. You knew what you wanted to make and you made it. If there were a few major changes along the way, the only one to complain was you. Nowadays, a thorough and readable document can mean the difference between a swift descent to budgetless Hell and a smooth ride to shrinked-wrapped Nirvana.

How the System Works

Most games go through three development stages, from concept to design to production. Think of them as “flash,” “paper,” and “grind.”

In the first stage, the concept paper acts both as a letter to yourself – setting out your goals clearly so you won’t lose sight of them – and as a sales tool for whomever takes the product to market down the road. Sometimes, this stage involves a working mini-prototype as well, which gives you a chance to experiment and revise your ideas.

The intermediate stage of design involves a lot of discussions with artists, animators, musicians, and engineers – trying things out, and finding ways to organize and set down your ideas.

In the final stage, production management is often left up to some expert in moving trains and tracks without major collisions. The original designer may be an integral part of the team, but in many cases – especially in large companies – the designer ends up as a kind of outside consultant.

Without question, the design document is where the original parent of the project exercises the most influence on how this little baby is going to grow up. Even if you, the designer, have decided to double as project manager, don’t delude yourself into thinking that you hold all the reins. A complex project involves many talented people. Skilled programmers and artists tend to have minds of their own. While you intend to create a horse, the artist may be envisioning a unicorn and the programmer a highly efficient camel. A good document ensures that you are all planning to make the same thing. A great document ensures you all have the same feel for the inner soul of this thing. Think of it as a big band jazz score – it puts everybody’s mind in the same place, even when there’s still plenty of room for the stars to improvise.

Your document is a sort of intermediary between your mind and the real world. It ensures that what you have in mind is something that the real world is able to handle, and that what you end up with will be what you originally had in mind.

Finally, remember the adage to which any salty gamer will attest: “Great art is in the details.” Brilliant details flow naturally from the general gestalt as though they were present in that first flash of inspiration. But once you get into the hands-on implementation, it’s easy to lose that spark.

The Challenge

Prototyping parts of the project yourself is definitely a good idea – make whatever rough sketches you can. But again, it’s those details that count. The more details your imagination can hold, the greater a masterpiece your work will be.

Working from a document has a flip side, as well. Developing an exciting game has to be exciting. Some of the best parts of many projects were discovered in the heat of last-minute deadline panic. True, the pressures of time and cost budgeting don’t allow for perpetual reiteration of concept, but you simply cannot expect a killer game to come out of dry, predictable work. The challenge is to create a design document that will allow your project to tolerate surprise adaptations without losing the integrity of its original direction and scope.

Table 1. The three stages of documentation.

Contents Purpose

1. Concept Paper Genre; target audience; description; most compelling features; market information; cost and time to develop. It defines the concept, scope, worthiness and feasibility; sells the idea to your client, publisher, employer, and venture capitalist.

2. Design Document Description of the body and soul of the entire project, with all the details, and the method by which each element will be implemented. It ensures that what is produced is what you want to produce.

3. Production Documents Time-management charts (Gantt, PERT, and so on); task database; budget spreadsheet; technical specifications; Q/A database. It implements the design document on time and within budget.

Ten Points for a Successful Design Document

1. DESCRIBE NOT JUST THE BODY, BUT THE SOUL. If game development was just an automated input/output issue – something like writing code and being able to predict how it’s going to work – you could get by with a dry, descriptive document. The reality is that development is done by people, many of them creative people, who have their own minds; most will want to leave a stamp of that mind on everything they do.

It works like this: You provide specs to the artists and discuss with them what to do. You then visit the programmers and go over their specs. Both groups nod to everything you say.

That night, around 2AM, just as the constellation of C++ is rising in the west, the programmer reaches a mid-life crisis and begins to think, “What, a geek programmer the rest of my life? Is this what my mother expected from me? Why, I can design a game just as well as anybody else!” And the hands keep typing code.

Around the same time, the artist has just woken up before his machine, having fallen into a deep stupor while waiting for a complex 3D rendering to finish. Unsure and not really caring whether he’s dreaming or is actually getting paid for all this, immersed in that wild world of artistic genius where fantasy and reality blend as one, the phosphors come together in ways previously unimagined – certainly not by you.

By the next morning, your horse has become a unicorn with two humps. With creative people, instructing is not good enough. You need to inspire.

In your design document, don’t satisfy yourself with a detailed description of every article and nuance. Take time to describe the feel that the game should have, the purpose behind each element, the experience each user will have, and any other aspects of the game’s soul you can envision and describe.

For example, say you’re designing a shooter. You want to train your players to deal with certain challenges before they actually meet them, so you place less lethal mini-challenges a few steps in advance. You’re going to have to explain that to everybody on the development team, so they’ll understand why certain things are where they are and why they work the way they do. That way, even if (read: when) your team toys with and mangles your ideas as they exist on paper, you can still harbor hopes that the outcome will have the same or similar overall effect. Or maybe even better.

2. MAKE IT READABLE. Go ahead, provide your people with full pages of 10-point, sans serif, 80-characters-per-line text, and demand that they read it. You may want to bundle Advil in the package – for those who actually take the pains to obey orders.

I try to follow at least some of the guidelines of good page layout.

Plenty of white space

Serif font for body text

Bold headers

Spaces between paragraphs

Short lines of text

Direct the eye towards important material

Use a hierarchical, “2D” format (see what I wrote about outliners in the “Design Documentation Tools” sidebar)

Many instances call for a table, spreadsheet, or chart. Use them and make them sensibly attractive.

3. PRIORITIZE. Now that you realize that you’re working with other conscious egos, you’ll appreciate the urgency of tagging certain game elements as sacred. True, there are no guarantees, but if you use the tag sparsely enough, it may get some respect. But don’t stop there. As long as you’re tagging ideas, you’ll also want to distinguish between things that you intend to do and things that you’d like to do if time, budget, skill sets, and technicalities permit.

Then there’s the trash bin – things that sounded great, but were trashed for good reason. Refer to them explicitly and explain the reason that they were trashed. If you don’t, I can almost guarantee that they will be resurrected. Here’s your list of tags:

Indispensable

Important

If Possible

Rejected

You may wish to use visual symbols to represent these. Don’t rely on color, since documents aren’t always printed in color.

4. GET INTO THE DETAILS. A document without details is useless. Generalities can be interpreted by anybody in any way that they like. “Thou Shalt Not Kill” meant one thing to Moses and another to a Spanish conquistador. Detailing whom you shouldn’t kill and under which circumstances would have been more helpful. The same holds true for your document: Once you’ve described some practical details and given some examples, your idea becomes more concrete – and harder to shove around.

For example, don’t just say, “Bronze bird is invincible.” Describe exactly what happens to this creature in each possible instance of its being hit, and how it recovers afterward. True, if the animator has any spunk and artistic dignity, you can rest assured that he won’t follow your specifications. But at least he’ll have a clear idea of what you want to achieve, and his modifications won’t seriously alter the related portions of the game.

Don’t just say, “At this point, users will have to press the jump key with the arrow key to climb the wall.” Describe what will happen if a player tries anything else. Explain why you think users will be able to figure out the combination that you’ve provided. Explain what about the environment suggests that it’s possible to climb this wall.

Again, your artist will come up with something else, perhaps something even more suitable than what you originally conceived. That’s real success: When your developers’ results come out even closer to your original flash of conception than what you were able to describe on paper. But this won’t happen unless you first lucidly describe your concept.

Don’t just say, “Bongo Man is stronger than Bongo Boy, but Boy has faster reflexes.” Use tables, spreadsheets, and charts to assign real values to the character’s speed of movement, how many hits the character can take, how much damage the character’s hits do, how many cels it takes to animate a hit, and so on. This sort of spreadsheet is invaluable in the Q/A and tweaking stages of production.

Don’t just say, “Most people will figure out the whole game in a few days.” Make a chart of predicted product life in different households, indicating at which points in time you expect various features to be discovered. User testing will later provide valuable feedback for designing your next game.

5. SOME THINGS MUST BE DEMONSTRATED. Sometimes a few rough sketches are enough, but if the idea is truly important to your concept of the project, you may want to make a rough animation yourself. When behaviors of elements become too complex and ambiguous to describe on paper, you’ll want to make a prototype. A side benefit of prototyping is that this practice often leads to a simpler, more elegant solution.

Even when you provide animations and prototypes, put the concept in words as well. True, an animation is worth a gigabyte of words, but words can communicate in ways that animations can’t. Words also clearly spell out the vital nuances that may be missed when watching the animation.

6. NOT JUST “WHAT” BUT “HOW.” In the real world, the “how” determines the “what.” For example, suppose you’ve opted for claymation. Work out the process of how the images will be captured and document everything. What material and what color should the backdrop be? What camera should be used and why? What are the steps for processing the captured frames? And on and on. If you’ve tried it, you’ll know that any one of these factors can have a serious impact on the end result.

Or suppose you’re working on a motorcycle racing game. You state that the motorbikes must be balanced by their differing pros and cons. You even provide a chart that shows how balanced they are. Then you state that tweaking will be necessary. State how you plan to tweak – what is the process? Suppose the main character in your game is the Phantom of the Opera. Describe how the player’s keyboard is mapped as a pipe organ. Provide a map of each key. Specify how many channels of sound will be available. Talk it over with your programmer and work out every detail of how. Then document it. Two different “hows” can mean two very different results.

7. PROVIDE ALTERNATIVES. Project managers spend a lot of time with their Gantts and PERTs. Personally, I can’t really say that this stuff is effective for game development – principally because there are just so many unknowables. The more radical and pioneering your game technology, the less predictable the development stream is going to be. The best thing you can do to ensure that your team reaches your milestones on schedule is to provide more than one way of doing things.

Lets go back to the keyboard as pipe organ example. Your engineer describes to you the ultimate method of getting awesome and funky results with tremendous power and depth to the user – at a cost of about 50 person-hours to implement. As with everything else we’ve discussed, you document the whole thing.

You can’t stop there. You’ve got to ask, “What would it take if we just wanted a trimmed-down, eight-channel pipe-organ? And what will we need to achieve the bare minimum? And what if we just had some assistant doing this?” And then you document all that as well. When the FedEx truck is on its way over for the final daily pickup, you’ll be able to save your skin with a simple, “OK, do Plan C.”

One of the biggest mistakes I’ve made in product design is asking engineers, “Can it be done?” Unless you’re asking a first-class programmer, the question is useless. More specifically, responses fall into one of three categories:

(Lousy programmer) “Sure, that’s no problem.”

(Mediocre programmer) “Nope. Can’t be done.”

(First-class programmer) “I could do it like this and it’ll take two weeks. Or I could make a slight modification like this and it’ll take five hours.”

Always ask for more than one alternative and an estimate of how long each will take. Then indicate your preference – do this is if we have time, or this if we don’t.

8. GIVE IT A LIFE. I’ve already warned you against strangling the inspiration and spontaneous creativity that comes with the excitement and fun of seeing ideas become living objects in your hands. You’ve got to allow your document to tolerate change – by you or by (hopefully intelligent) others.

I first learned this lesson as a music composition major at the University of British Columbia. With much toil, I had written a neo-renaissance brass quintet of which I was quite proud. My professor liked it, too. When we brought it to the college’s star brass quintet for rehearsal, however, I passed through several stages of horror, disbelief, indignation, and clinical depression within ten seconds. The quintet began to play, then stopped on signal from the tuba player. The fellow took out his pencil and began to change a few notes, and then everyone continued. It happened more than once.

My professor, noting my sudden faint state of health, turned to me and commented, “Don’t worry, they did that to Mozart as well. And they’re usually right.”

The fact is, no matter how good something looks on paper, the greatest expert still modifies things when it enters the concrete world of objective perception. Nevertheless, you don’t want to witness the ruthless rape of your design and dreams. Rather, you’re hoping for a kind of organic growth – ideas growing naturally out of the seeds you’ve planted without needing foreign limbs and bodies grafted onto them.

Here are some tips for creating a document that can tolerate change without corrupting the original idea or sabotaging the development process:

Make certain to engrave in stone those aspects that are so essential to the game concept that they must not be changed.

Make certain everybody understands the feel that the game is supposed to have and the purpose of each of its details.

If information is repeated, it must be cross-referenced. Otherwise, if there are changes, you can end up with contradictory instructions.

And here are some tips for the actual implementation stage:

When a change is suggested, check back in your design document and see if it is in concordance with the “soul” of your game.

Check whether this is just an isolated change, or it’s of major global ecological impact (see “The Ecology of Improvement”). If it’s the latter, save it for your next project.

Update the design document and include the reasons for the change. Or if you didn’t make the change, say so and explain why it was rejected.

Changes, deletions, and rejected ideas should be retained in a master document to avoid discussing the same thing twice.

Everyone must be working from the same version. Past versions should be destroyed.

Crucial, Vital, and Urgent: The design document must be maintained under one person’s supervision only.

9. NOBODY SHOULD BE ABLE TO SAY, “I DID IT THAT WAY BECAUSE I COULDN’T FIND ANY REFERENCE TO IT IN THE DOCUMENT.” I’ve seen documents that didn’t even have the pages numbered. And then they complain that people didn’t follow instructions. Every good word processor will auto-number pages and print the date and title in the header or footer of every page. Some will even allow you to change the header at new chapters. Use bold text to direct attention to important material. Repeat yourself in different parts of the document as much as you like, as long as you cross-reference so you can update everything together as well. Make a thorough Table of Contents.

You may wish to write your document using HTML and provide hot links. Some progressive word processors provide hot link capabilities without HTML. But remember that more often than not, people prefer to work from a hard copy. (That way there’s something to read while rebooting after the hourly system crash.)

10. DELIVER IT IN GOOD CONDITION. After all this, you need to do whatever you can to facilitate everyone actually reading and using the thing. A pile of papers doesn’t get read – it doesn’t look important enough. Only things with hard covers look important.

Create a list of everyone who is supposed to have a copy. Keep the list. Print out the whole thing with the date in the header of each page. Have holes made and put it in binders. Label the spine and cover of each binder. When there are updates, provide everyone with the revised pages. At some points, you may need to provide new books and throw out the old ones.

In Sum Check…

Movie makers use move scripts. Architects use blueprints. Musicians use a score. According to ancient hearsay evidence, even the Cosmic Creator created a design document – which He later let a few prophets take a peek at – before the primal “Let there be light!” So game developers, following their Supernal Role Model, can certainly do the same. Do it right and it’s smooth sailing the rest of the way.

Tzvi Freeman teaches Game Design and Documentation at Digipen School of Computer Gaming in Vancouver, British Columbia, Canada. He has designed several commercial games and has acted as a consultant on many others. He can be reached at TzviF@. （source:gamasutra）

写游戏范文(篇四)

这次作文课，老师教我们玩了一个游戏——写纸条。

游戏规则是这样的：先把十六人分成四个组，第一个组写是谁、第二个组写在什么时候、第三个组写在什么地方、第四个组写在干嘛。我是属于第三组的，我想了一个地址，写在纸上——“在太平洋”。开始拼装起来读纸条了，我们争先恐后地举起手来，都迫不及待的想读一读！我从每个组的纸条里分别抽了一张，然后连起来就变成了这样一句话：狸猫在火车作文站吃饭！“终于来了一个正常点的！”同学们异口同声地说道。原来，前面组装的句子都十分搞笑，同学们哈哈大笑，有的甚至笑得滚到地上去了。比如：列宁在厕所里打灰太狼，恐龙在太阳系自杀……听到这些怪句子，我开始胡思乱想了，我想出一个十分好笑的句子：公鸡在天上飞翔。怎么样？我编的这一句，是不是也很好笑呀！

这个游戏让我明白了一个道理：我们组词造句要符合规则和常理，不然会闹出很多笑话。

写游戏范文(篇五)

学校要举行游戏节的消息像长了翅膀一样，飞到校园的各个角落。每个班级都八仙过海，各显神通，纷纷开始准备各自的游戏节目。

那我们班是什么游戏呢？哦！原来是“小猫钓鱼”。也许你会觉得奇怪，鱼在哪里呢？到了傍晚，老师布置了一个奇怪的作业——自己动手做鱼！哦！原来是制作“纸鱼”。

第二天，同学们兴高采烈地拿来了许多鱼交给老师。老师一边把鱼装进了袋子里，一边赞不绝口地说：“多漂亮的鱼啊！”我伸长脖子，好奇地一看袋子，哇噻！里面有很多奇形怪状的鱼呢！这次可有好戏看啦！

盼星星，盼月亮，终于盼到了游戏节，操场上一下子变成了欢乐的海洋。我们班的游戏地点设在音乐教室，美其名曰“钓鱼馆”。我们的地盘，我做主！经过商量，我们制定了游戏规则：只有2分钟时间，不能用手去拉鱼线，你如果一条也钓不上是“哭脸”，一条以上的是“笑脸”。

铃声响了，那些在外面等的同学都迫不及待想挤了进来，可是每次只能来十个同学。老师一声令下：“计时开始！”同学们飞快地冲上前，抓过一个鱼竿，抖开线。一甩鱼钩，便开始专心致志地钓起鱼来。我紧张地握着鱼竿，像热锅上的蚂蚁，心里盼着鱼儿快上钩。好不容易钓了一条，可是快到了又掉了下去。真是心急吃不了热豆腐，我急得手心里都冒出了细汗。后来，老师微笑着安慰我说：“做事要有耐心！”在老师的鼓励下，我终于如愿以偿地钓到了一条“大鱼”。

耶！我成功了！一股自豪感油然而生。今天的游戏，玩得可开心呢！

写游戏范文(篇六)

“叮铃铃……”，一节漫长又难熬的语文课终于下课了，郦老师像往常一样夹着书本走出了教师室。平静的教室一下子活跃了起来，我和几个要好的伙伴也相约走出了教师室。看着其他同学都在跑来跑去，我们也按捺不住，商量玩什么游戏好。

有人提议，我们玩扔跳绳的游戏吧，反正郦老师看不见。我们轮流把跳绳抛向空中，看谁抛的高，接得的稳。轮到我了，我非常自信的把跳绳用力向空中抛去，揉成团的跳绳像火箭一样发射了出去。没想到这次扔偏了，我一下子担心起来，眼看跳绳就要越过过道围栏，砸向一楼去了。这时正是下课时间，楼下到处都是一年级的学生，我不由自主地蒙起了自己的双眼。半分钟过去了，似乎什么也没有发生，让我紧张的心情放松了许多，我慢慢地睁开了眼睛，准备去找回跳绳继续玩。

就在我转身的时候，突然看见一位披着红色披风的人向我走来，完全是一副超人的打扮。我正不知所措的时候，她说：“小朋友，这是你的跳绳吧？”我看了一眼说：“是的。”我正想说谢谢，忽然她把衣服掀开，原来是郦老师呀！我不知道是该说谢谢呢？还是该向郦老师道歉。郦老师严肃地说：“以后要注意不能再这样玩了，刚才还好我在楼下接住了跳绳，不然会砸到人的。”我小声地回答道：“对不起，我错了，以后我会注意的。”郦老师拍拍我的肩，微笑着说：“快进教室上课吧！”

郦老师就是这样“刀子嘴，豆腐心”。平时很严格，却对我们很好，我们都喜欢她。

写游戏范文(篇七)

“往左、往右……”，教室里一片喧闹，走近一瞧，原来是五（3）班同学在玩一个非常有趣的游戏——贴鼻子，让我们去看看吧！

游戏规则：先选两个同学上来合作，一个人蒙着眼睛，另一个来指挥蒙着眼睛的那个人从指定的位置走到“小熊”前面，把鼻子贴上，如果把鼻子贴错地方，就要接受一些让人捧腹大笑，让大家笑个够的惩罚，有趣的贴鼻子作文。游戏开始了，做游戏的有：6组合作——xxx和xxxxx，xxx和xxx，彭典范和陆昌弘，夏芷含和朱亚铃……其中，令我最满意，印象最深刻的是我和xxx合作的这一次，让我来给你仔细地讲一讲这件事情有趣的经过吧！一开始，我面带微笑，而xxx很紧张，同学们一个个又高兴又激动，欣喜若狂的，活像心里吃了蜜似的，脸上有说不出的开心与兴奋。

我和xxx决定——她来蒙眼睛去贴鼻子，而我就来指挥她的步伐。我们商量好以后，心里开始有一点儿小紧张，但不过和面部表情还是信心实足，得意洋洋。老师一声令下，游戏开始了，xxx耳朵竖起来，在喧闹的声音中仔细听我指挥。步伐小心万分；走到黑板前，豪不犹豫地把“小熊“贴上了鼻子。顿时，教室里鸦雀无声，这可把xxx吓坏了，脸红成了一个又圆又红的小苹果。可当拿去眼罩的那一秒钟，xxx惊呆了，简直不敢相信自己的眼睛——鼻子贴得正正的。

其实，我们有一个小秘决：喧闹的全

写游戏范文(篇八)

今天，天气晴朗，阳光灿烂，我和爸爸妈妈去公园游玩。

因为天气很好，公园里的游人很多，刚进公园就遇到我的同学，他们一边游玩一边找春天。和他们分手后，我一路小跑，跑到小山坡上，从山上往下看，游人变得好像小蚂蚁一样。忽然，妈妈说：“快看，柳树发芽。”我抬头一看，果然是，柳树发出绿油油的嫩芽，原来春姑娘悄悄地来。

我们来到游戏乐园，在那里我们玩许多游戏，有：空中飞碟、电子射击、划船……这几项游戏既好玩又能锻炼我的体力。比如：空中飞碟锻炼腿部力量，射击锻炼眼睛的观察力，划船锻炼平衡力。

所有游戏中，最好玩的就是划船。今天没有风，湖面非常平静，像一面大镜子。湖中有许多的船只，小船驶过，湖面上荡起一阵涟漪。我握着船舵，用脚使劲的蹬着脚蹬，小船轻飘飘的掠过一个个桥洞。忽然，我发现湖面上有一抹金色的晚霞，那是夕阳的余晖倒映在水中，微风轻轻吹过，湖面波光粼粼。

玩一下午，我们该回家，我十分留恋公园的美景，舍不得离去。如果你有时间的话，也要去看一看、玩一玩哦！

写游戏范文(篇九)

父亲身材高大魁梧，肩膀宽阔，宽阔的脸上有一双明亮的眼睛，宽厚的嘴唇上挂着朴素的微笑。爸爸各方面都做的很好。他性格开朗，爱说话爱笑，工作努力，吃苦耐劳。唯一的爱好，也可以说是最大的缺点，就是游戏迷。因为这个原因，我妈不知道劝了我多少次，也改不了，一有时间就坐下来玩。

爸爸经营一家汽车修理中心。有一天，我爸爸修完车，没活干了，就打开电脑开始玩游戏。我们叫他吃西瓜，他说:“放那儿！”原来我们叫他吃午饭的时候瓜还在！叫他吃午饭，他连头都没抬:“你先去吃吧！”午休结束，爸爸笑着问:“谁陪我吃面？”我和哥哥说:“我不去。”唠叨了几句后，妈妈和他一起去了。

我又一次看到父亲狂喜地玩游戏，我告诉他没有反应。但是后来我接到一个电话。听说有人车半路抛锚，连电脑都没涉及，赶紧开车出去把车拉回来。我连口水都喝不下。我一直在检查和修理它。我佩服这样的父亲！

我喜欢努力的我爸，我喜欢关心我们的我爸，我也很佩服克制力很强的我爸，但是我不喜欢老是玩游戏伤害身体的我爸！爸爸，你能不能别玩游戏了？

写游戏范文(篇十)

我喜欢玩画鼻子的游戏，我还喜欢玩运气球的游戏，但我最喜欢玩射击游戏。

老师今天说要和我们一起玩一个射太阳的游戏，老师说完后我们都议论纷纷，哪里有太阳啊？接着老师像变魔术一样变出了老师画好的靶子，惊得我们目瞪口呆！

游戏规则是分为两个组，每个组发九张纸来做子弹，在老师规定的距离处发射子弹，射的多的那一组就胜利。老师说完游戏规则后就给我们每人发了一纸，我们各自做自己的子弹，等老师宣布游戏开始时，我才发现同学们做的子弹，可真是五花八门。

第一个上台的是马天亢，他自信满满的走上台，他歪着头，眯着一只眼睛瞄准着，然后把子弹放在眼前，一只脚在前，一只脚在后，仰着身子，瞄的准，射的远，把力气全部用在右手上大声喊：“射。”

轮到我上台了，我开心极了，我拿着我的子弹把它放在眼前，用大拇指瞄准，然后把所有力气都放在右手上然后扔，结果我的第一发没射中。我又再次瞄准，第二发也没射中，我的第三发又没有射中，结果我没有射中一个太阳，只好垂头丧气的离开了。

最后胜利的是一组，因为他们射中了两个太阳，而我们只是射中了一个太阳。

这个游戏告诉我看花容易，绣花难。想取得胜利可不是一件容易的事，凡事一定要刻苦练习，做好准备才有可能成功。

写游戏范文(篇十一)

下课后，老师会带我们玩给熊猫贴鼻子的游戏。大家听了，跳了三尺高。

游戏开始，才看到大熊猫有一个圆圆的脑袋，两只毛茸茸的耳朵，一张弯弯的嘴巴，却没有鼻子。你搞笑吗？刘宏宇来到黑板前，老师先把熊猫的黑鼻子递给他，然后用围巾蒙住眼睛。他转了三圈，然后慢慢走到黑板前，摸着头，动着圆圆的鼻子。过了一会儿，他终于找到了“对”的位置，贴在熊猫眼上。突然，教室里的笑声似乎爆发了。

过了一会儿，轮到我了。我既紧张又害怕。我害怕歪着鼻子。老师用围巾遮住了我的眼睛。当时真的很黑。我小心翼翼地走到黑板前，想了想。一时拿不定主意，下面的同学催我：“快贴！”我立刻把它塞到鼻子里，但每个人都大笑起来。我立刻抓起围巾。太可惜了。原来我也是鼻子贴眼睛。我太高兴了，不想退缩。

我太喜欢这个游戏了。

写游戏范文(篇十二)

在上海某IT企业工作、回长过年的邱先生抱怨说：“整个春节手机一直在响，生活都被红包包围了，即使和朋友聚会吃饭时也是一手握着手机，每次群里发的红包，几秒钟就被抢光了。今年过年真挺累啊。”

专家：事物都有两面性 微信红包只是一种社交游戏。

春节是什么?对70后、80后、90后来说，除了鞭炮和春联福字，最深的记忆当属收红包压岁钱了。

省社科院社会学所所长付诚24日表示，微信红包的高明之处正是在于将移动支付与这种年俗传统很好的整合到一起，使其在过年的喜庆氛围中迅速在智能手机用户中推广风靡。

“您过年也收到或发过微信红包吗?”记者问。“当然。我不太会发，收的比较多。”付诚笑着说。

付诚认为，微信红包的成功之处正是其方便性、游戏性和社交化。微信红包已超出了红包的概念，它更像是一个社交游戏。

写游戏范文(篇十三)

世界上有许多动物，有小巧灵活的老鼠，呆萌的考拉，可爱的兔子……我只有一只可爱的茶杯狗。

这只茶杯狗，是同学在我生日时送我的礼物，因为它毛茸茸的，雪白雪白的，像一团雪球，所以我就叫它“小雪球”。

每当我放学回家后，小雪球就会从我的房间内走出来，迎接我。在我写作业时它一直在我脚上走来走去，时不时还发出“汪汪汪”的叫声，好像在说：“主人，你快点写完作业，我们一起玩吧!”有时，它也会跳到桌子上，在我的作业本上印上几朵“小梅花”摇了摇尾巴，好像在说：“小主人，你看我画得好看吗?”

每当我写完作业后，我就会在它的饭碗里加上一把狗粮和一杯水。它就会跳到我的手上，好像在说：“小主人，谢谢你，等我吃完后，我们再一起去玩吧!”我就坐在床上，看着它在吃东西，它每吃一口，就会跳一下。好像生怕自己变胖似的。等它吃完后，我又和它一起玩着游戏。“我说你做”的游戏。我跟它拍拍手它也拍了拍手，可爱极了!

我喜欢我的小雪球，无论我在哪，我都会记住你的。

写游戏范文(篇十四)

“挤眉弄眼”多有趣呢？看了文章你就知道了！

游戏规则：参赛选手每人一块饼干，放在额头上，用面部表情移动饼干，率先吃到饼干的一方获胜。注意事项：1、在游戏过程中饼干不能掉在地上，如果掉了需要把饼干重新放回额头上；2、游戏过程中不能用手去触碰饼干。

比赛开始，妈妈当裁判，我和妹妹比。妈妈一声令下，我立刻开启了表情包模式：皱眉，歪头、龇牙咧嘴各种夸张的表情在脸上展现的淋漓尽致。天哪！妈妈居然偷拍？管不了那么多了，现在的我眼里只有饼干。

我用尽了洪荒之力，可饼干就是不往嘴的方向去，我甚至怀疑对手在操控我的饼干。经过了一番努力，终于吃到了饼干，可惜太慢，输了。这时耳边响起：“失败是成功之母”，“再比一次”我信誓旦旦地说。“比就比，谁怕谁！”妹妹骄傲的说。

第二回合，我开启了更夸张的表情包模式：挤眉、眯眼、撅鼻子、嘟嘴巴，面部的每一寸皮肤都在努力！哈哈，我赢了妹妹。

最后一轮分胜负，我信心十足。这一次，饼干像长了腿一样，在我的鼻尖优雅一跳，直往张开的嘴里掉。只用了短短3秒钟。我再看向妹妹，此时的她，睁着一只大眼睛，闭着的另一只眼上饼干稳稳的，无法动弹。张大的嘴里缺掉的大门牙显得格外耀眼。哈哈样子特别滑稽！

真有意思。游戏让我从“失败”中看到了“希望”，从“成功”中感受到了“快乐”。

写游戏范文(篇十五)

今天早上，天气晴朗。学生们在明亮的教室里认真上课。突然，铃响了，穿着漂亮衣服的同学们收拾好了书本、作业本、铅笔盒、便笺簿等。，然后快步跑出教室。小明、萧红、肖强、小吴然先玩“三个角色”的游戏，他们先“玩黑白”。当萧蔷和小吴黑了以后，他们让小吴和萧蔷到一边去抓谁输了。萧蔷输了，萧蔷说:“我来了。”大家都在跑来跑去，小明跪在树后像老鼠一样大叫:“叽叽，叽叽，叽叽”。小红蹲在石椅后面，像狗一样叫道:“汪，汪，汪”。

搞得小强不知道往哪里跑。小红看见萧蔷来了，就跑了，大家都很高兴。当萧蔷看到小明不注意的时候，他赶紧跑过去抓住小明的衣服。小明还没来得及说“三个字”，就被萧蔷抓住了，大家笑得前仰后合，肚子疼。

我由此知道，我们可以从游戏活动中学到很多东西，学生可以交流和合作，但我想提醒大家，不要在课堂上想着玩游戏，而是要认真听，积极说话，孝顺父母，多动脑。

写游戏范文(篇十六)

今天，李老师和我们玩了一个游戏，叫写纸条游戏。老师说：“游戏规则是这样的，每一个大组的前面分别放有一个盒子，写完以后把纸条放进盒子里面，再找几个同学上来读纸条。”

老师把我们分为四个大组，第一个大组些时间，第二个大组写人物，第三个大组写地点，第四个大组些事情。

“开始！”老师一声令下，教室里鸦雀无声，只听见同学们“哗哗”的写字声，连一根针掉在地上也能听见。有的同学在犹豫写些什么好，而有的同学忍不住哈哈大笑。同学们的欢声笑语在教室里不停地回荡，我们都沉浸在有趣的“写纸条”的游戏中。而我绞尽脑汁，却怎么也想不起来。我左手敲着脑袋，右手增着脸，一副愁眉苦脸的样子，不知写什么是好。我想：“如果写上厕所，同学们会觉得恶心；如果写喝水，同学们会觉得没有趣味；不管三七二十一，我必须写好。”写好以后，我把纸条折好后放进盒子里去了。我想：“这些小纸条会组成怎样幽默、搞笑的的句子呢？”

不一会儿，同学们都写好了，精彩的时刻到了。同学们七嘴八舌：“我来！”“我！”“老师让我来！”……同学们都目不转睛的注视着盒子里的那些神秘纸条。我想：“老师会让谁去呢？”突然，老师说：“胡靓、樊闯、孙煜杰、郑天乐你们上讲台。”他们小心翼翼的抽出纸条，只见他们忍不住哈哈大笑。“在一个阳光明媚的中午”“白雪公主”“在太空里”“上厕所”。话音刚落，有的同学哈哈大笑，有的同学前仰后伏。而我在想：“这个也太恶心了，到底是谁写的？”

下课了！有趣的游戏在笑声中完美结束。

写游戏范文(篇十七)

今天，我们玩了一个游戏，名字叫“击鼓传花”。游戏一共分两轮，方法是这样的：第一轮：共4组同学，每人一张纸条，第一小组同学在纸条上写时间，第二小组同学在纸条上写地点，第三同学小组在纸条上写人物，第四小组同学在纸条上写事情。游戏开始前，同学们推荐一名击鼓手，击鼓手变换节拍击鼓，同学们随着鼓声传递老师事先准备好的花–“糖盒子”，鼓手的鼓声停时花在谁的手里谁就从每一组里各抽一张纸条，组合成一句话，读出来。第二轮：共4组同学，每一组每人写个问题。游戏方法一样，持花者回答所抽纸条上的问题，答对加分，答错扣分。

第二轮开始了。“花”从第四组向第一组传着，越传越快，而第二轮的鼓手没有停的意思。我正纳闷着，冷不丁“花”到了我的桌上。我像抓了个烫手山芋，想赶紧丢出去，可就在这时鼓停了下来。我只好乖乖地走上讲台，伸出手从纸盒里抽出张纸条一看，呀！这什么啊？这么简单。原来是一个歇后语“张飞穿针”，不是粗中有细吗我心中暗想。我假装在思考，等老师数到最后一个数“0”的时候我一叫说：“知道了，张飞穿针–粗中有细。”老师一听，乐呵呵地表扬我说；“曹可欣，不错嘛，加一分。”我听了喜滋滋的。老师又问了我一个歇后语：“猪八戒吃人生果。”说完看着我，我想都没想就接道：“没啥滋味。”老师又赞许地点点头。

突然，铃声响了，这样一堂有趣的课就结束了。通过这堂课，我们得到了快乐，同时也在知识方面有了一点收获，我喜欢这样的课。