Luyện nói tiếng Anh bằng Shadowing qua video: Practical Advice for Creative Projects - Extra Credits Gaming
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So, when I first met James, I remember asking him how he knew a game idea was a good one, and how one even comes up with a good game idea in the first place.
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Turns out those were two questions he got asked a lot, and boy, was he ready to answer them.
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And honestly, those answers have stuck with me for a long time now, as just some really clear and practical advice for anyone before they start making a video game, or really any creative endeavor,
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in order to have them end up with the best possible thing at the end.
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So, today, I thought it'd be nice if we shared them with all of you.
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Thanks so much to Trade Coffee for being the best creative fuel us caffeinated beings could ask for.
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Okay, let's start with the question of how do I come up with a game idea?
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Because that one's kind of easy, right?
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You probably have dozens.
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So to start, write down ten of them.
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Make them short, of course, a paragraph or less, like an elevator pitch for a publisher kind of thing.
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Next, I want you to write down ten more.
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Got them?
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Okay.
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And lastly, one last batch of ten.
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Now you're getting to the weird stuff, right?
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The stuff that's probably truly original, because you've run out of the things you've seen before, and at this point you're really stretching.
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And it's in this place of originality and weirdness that inspiration often does come.
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Also, do not worry about these ideas being good yet.
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I mean, Ayn Rand underwater shooter, a hedgehog but really fast, or a fantasy adventure where you shout, These are not really good ideas.
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Heck, they're only slightly less insane than an Italian stereotype who takes mushrooms and jumps on turtles.
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And the fact that they're not good ideas is totally okay, because in truth, it's execution, not the idea itself, that ends up making a good game.
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So the real answer to the question of how do I know if my game idea is good is actually another question, can you execute on it in an interesting way?
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And that right there, friends, James can give you real practical advice on.
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First, take each of your ideas and ask yourself, what's the unique selling point?
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What can this game offer that no other games do?
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What can you present the players that they haven't seen before?
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And any idea that you wrote down that doesn't have a clear answer to those questions can be crossed off your list.
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Next, envision a snapshot of the game.
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Does it have something visually unique for the player?
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A character they'll love, an art style that they'll recognize from a mile away?
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Maybe an area that will just sweep them off their feet?
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If you can't envision at least one incredible visual for a game idea, cross it off the list.
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Now try to think of the first five minutes of your game.
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How do you see them playing out?
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Can you show the player what's interesting about your game in those five minutes?
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Will it grab them?
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Or is it so complex that you'd have to play for 10 hours before you really get to the good bits?
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If there's nothing you can make compelling in the first five minutes, you guessed it, cross it off that list.
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Next, I want you to look around you at the people that will be making the game with you.
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And that could be metaphorically if you're working remotely.
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What are the skills of your team, even if that team is only you?
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What's everyone good at, right?
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Does your game idea highlight those skills?
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Because if you're telling me your game idea is something like werewolves in zero gravity, and you've got no one who has any idea how to do something like fur physics,
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then you should possibly cross that idea off the list too.
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Or maybe you have an amazing art team, but only one engineer.
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Well, then the idea you choose should probably showcase the art and not be too programming intensive. And anything
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that doesn't fit the bill of your team skills can really
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be just moved into your games to be made in the future bucket.
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Along those similar lines, you should be thinking about your timeline and budget.
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Think about your idea, right?
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Does it require a lot of content for the player to enjoy?
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Or is it really more about replayability and mechanics?
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If you've got a smaller budget or a tight schedule, at this point you can cross off all of the open -world games and all of the MMOs from the list.
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But it actually does go deeper than just those things.
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Because imagine your game idea.
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Does it need a ton of levels and enemies for the player to really enjoy it?
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Well, if so, then that's not what you want to be making with a small team on a restricted schedule.
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Now try to think about the end of your game.
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The denouement, if you will.
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Can you think of a truly memorable way for the player's experience with your game to end?
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Will the final bit of the narrative stay with your player forever?
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Will it make them weep?
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Will the end be so epic they can't help but spoil it for all of their friends?
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Will it pose a question that makes the player think about existence in a new way?
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If you can't come up with a good ending for an idea, then at this point, it's probably not the right one.
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So cross it off the list.
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Next, ask yourself, who is my audience?
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The more specific you can get here, the better.
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Is it grade school children at recess?
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45 -year -old man on bike rides?
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FPS players who like puzzles or puzzle gamers who just really like to shoot stuff?
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And hey, sometimes the audience is just you.
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And that's okay.
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But at this point, if any of your ideas don't have an audience jumping out to you, something's probably off.
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So if you're stumbling here, this is also a good time to cross some ideas off the list.
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After that, let's take a detour back to budget land for a moment, kinda.
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Because now it's time to ask yourself what your game is worth.
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What do you think a reasonable price point is for any of your ideas that are left?
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This of course is a bit harder for free -to -play or ad -supported games, but in those cases, just ask yourself, how much do you expect the median player to pay?
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Does that number make sense with your budget?
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Does this idea sound like a one -hour walking simulator, but it also needs to be so visually stimulating that you need a $10 million budget?
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Are you really getting a million people to pay $10?
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Are your Steam reviews going to be filled with people saying, $10 for an hour of playtime?
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What a ripoff!
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So, would you really then need to sell 10 million units for something like a dollar?
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Does that seem realistic?
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If not, or if the clarity just isn't there, it's also back to the drawing board.
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Oh, and I should probably mention here, remember that your publisher and your platform holders are also going to take their cut as well.
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Finally, try and sketch out the moment where all of this comes together.
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Create for yourself one example of play that gathers everything that's unique and interesting about your game that we've determined above, and really sells the player on why this is great.
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Keep it brief, like describing five or ten minutes of gameplay.
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But do describe it for yourself in detail.
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Why it's amazing.
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Why it will leave them odd.
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Can you do that?
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Because if you can, you might just have your winner.
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Because really, anything can be an idea for a game.
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The difficult part is actually separating the ones that made it through your ideas list gauntlet, and the ones that got crossed off along the way.
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And that's done by thinking not about just the idea itself, but the execution.
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All of the things that determine what it's going to be like when it's brought to life.
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If you've gone through all of the above steps, you should not only have an idea that you're confident in, but one that you've really kicked the tires on.
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One where you've found the flaws and contradictions that require a little bit closer inspection.
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But more importantly, you should now be practically ready to pitch it to anyone.
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You know why this is good.
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You know who it's for you know what the budget needs to be.
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You know this idea is good, so go turn it into a reality.
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Though if you are feeling a little bit mentally pooped from this episode's creative exercise, might I suggest a pick -me -up from our friends over at Trade Coffee?
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We love working with Trade because the EC crew drinks a lot of coffee.
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They're this awesome subscription service
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that delivers fresh curated -for -you coffee from local roasters right to your door when and how you want it.
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And they use their expertise to map your specific taste against hundreds of different coffee flavor profiles, which is to say they help you find the perfect roast and grind just every single time.
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Case in point, Trade just matched me with a great blend from a local
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NYC roaster with a historically named reference on the front and everything.
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And not only did they grind it perfectly for my French press, but it showed up at my door fast.
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And I know that Jeff has been having a great time trying out all of Trade's dark, dark espresso beans because he totally doesn't have a problem.
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So if you'd like to join us in upgrading your morning routine with just way better beans, Right now, Trade is offering one free bag of coffee with any subscription.
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If you use our link, drinktrade .com slash extra credits.
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This is not a drill, people!
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Free coffee!
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You can sign up for Trade right here, you're gonna love it!
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And once you're fully caffeinated, check out another of our videos here.
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Once upon a time, Michael Hoggett, Koya Koi, Joseph Blaine, IzzyCoin, Dominic Valenciana, Arcalite Games, Angelo Valencian, and Ahmed Ziad Turk were the best legendary patrons!
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That time is now.
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Từ vựng và ghi chú luyện nói cho bài học này
Bài luyện nói trình độ B2 này dựa trên video “Practical Advice for Creative Projects - Extra Credits Gaming”. Video này có 125 câu và 1760 từ để luyện shadowing. Phần lời nói dài 8:08. Người nói nói nhanh, khoảng 216 từ mỗi phút, nên sẽ có nhiều chỗ nối âm và nuốt âm. 88% số từ nằm trong 3.000 từ tiếng Anh thông dụng nhất, nên từ vựng dễ theo. 41 trong 125 câu là câu hỏi, nên bài này hợp để luyện ngữ điệu câu hỏi và cách trả lời ngắn.
Từ vựng quan trọng trong video
15 từ khó nhất trong video, kèm phiên âm và nghĩa:
| Từ | Phiên âm | Nghĩa |
|---|---|---|
| grind động từ | /ˈɡɹaɪnd/ | xay, nghiền |
| puzzle danh từ | /ˈpʌzəl/ | sự bối rối, sự khó xử |
| bean danh từ | /ˈbi(ː)n/ | đậu |
| publisher danh từ | /ˈpʌblɪʃɚ/ | người xuất bản, nhà xuất bản |
| espresso danh từ | /ɛˈspɹɛsoʊ/ | espresso |
| hedgehog danh từ | /ˈhɛd͡ʒ.hɔɡ/ | nhím |
| werewolf danh từ | /ˈwɛəɹwʊlf/ | người sói, ma sói |
| poop danh từ | /ˈpuːp/ | phân |
| mechanic danh từ | /mɪˈkænɪk/ | thợ máy |
| restrict động từ | /ɹɪˈstɹɪkt/ | hạn chế |
| roast động từ | /ɹoʊst/ | nướng |
| turtle danh từ | /ˈtɝtl̩/ | rùa |
| batch danh từ | /bæt͡ʃ/ | mẻ |
| showcase danh từ | /ˈʃoʊˌkeɪs/ | tủ kính |
| sweep động từ | /swiːp/ | quét dọn, quét |
Cụm động từ bạn sẽ nghe
| Từ | Nghĩa |
|---|---|
| write down động từ | viết ra, ghi xuống |
| check out động từ | tính tiền, trả phòng |
Những câu đáng luyện lại
Các câu ngắn, trọn ý trong video mà bạn có thể dùng lại khi giao tiếp hằng ngày:
- What can you present the players that they haven't seen before?
- How do you see them playing out?
- Does your game idea highlight those skills?
- Next, ask yourself, who is my audience?
- Does that number make sense with your budget?
Ngữ pháp trong video
Những cấu trúc người nói dùng nhiều nhất, kèm đúng cụm từ trong video:
| Cấu trúc | Trong video |
|---|---|
| Thì hiện tại hoàn thành have/has + quá khứ phân từ — việc đã xảy ra nhưng còn liên quan đến hiện tại | have stuck · you've run · haven't seen |
| Câu bị động be + quá khứ phân từ — nhấn vào việc xảy ra, không phải người làm | can be crossed · be just moved · are left |
| Mệnh đề quan hệ who / which + mệnh đề — thêm thông tin về người hoặc vật | people that will · one who has · profiles, which is |
Phát âm cần chú ý
Người nói dùng 35 dạng rút gọn, ví dụ you're, you've, can't. Hãy nói theo dạng ngắn đúng như bạn nghe.
- Âm “sh” và “zh”: envision /ɪnˈvɪʒn̩/, subscription /səbˈskɹɪpʃən/, publisher /ˈpʌblɪʃɚ/, contradiction /ˌkɑːntɹəˈdɪkʃən/, snapshot /ˈsnæpʃɒt/
- Từ dài — đặt trọng âm cho đúng: caffeinated /ˈkafɪneɪtɪd/, visually /ˈvɪzju.əli/, contradiction /ˌkɑːntɹəˈdɪkʃən/, originality /əˌɹɪd͡ʒɪˈnælɪti/, stereotype /ˈstɛ.ɹi.əˌtaɪp/
Cách luyện với video này
- Nghe hết video một lần, chưa cần nói, và ghi lại những từ bạn chưa biết.
- Bắt đầu ở tốc độ 0,75×, nói đuổi từng câu, rồi quay lại tốc độ bình thường khi đã quen.
- Ghi âm giọng mình rồi so với bản gốc, chú ý các từ như grind, puzzle, bean.
Phương Pháp Shadowing Là Gì?
Shadowing là kỹ thuật học ngôn ngữ có cơ sở khoa học, ban đầu được phát triển cho chương trình đào tạo phiên dịch viên chuyên nghiệp và được phổ biến rộng rãi bởi nhà đa ngôn ngữ học Dr. Alexander Arguelles. Nguyên lý cốt lõi đơn giản nhưng cực kỳ hiệu quả: bạn nghe tiếng Anh của người bản xứ và lặp lại to ngay lập tức — như một "cái bóng" (shadow) đuổi theo người nói với độ trễ chỉ 1–2 giây. Khác với luyện ngữ pháp hay học từ vựng bị động, Shadowing buộc não bộ và cơ miệng phải đồng thời xử lý và tái tạo ngôn ngữ thực tế. Các nghiên cứu khoa học xác nhận phương pháp này cải thiện đáng kể phát âm, ngữ điệu, nhịp điệu, nối âm, kỹ năng nghe và độ lưu loát khi nói — đặc biệt hiệu quả cho người luyện IELTS Speaking và muốn giao tiếp tiếng Anh tự nhiên như người bản ngữ.