Template:PatchDiff/March 31, 2015 Patch/tf/resource/closecaption schinese.txt

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33"Language" "schinese"
44"Tokens"
55{
6N/A"#commentary\tf2-Comment000.wav" "[Gabe Newell] 欢迎来到《军团要塞2》。 经过九年的开发,希望这款游戏值得大家为其等待。 如果要听留言内容,请将准星移到漂浮的留言符号上,然后按下使用键。 如果要停止收听留言内容,请再次将准星移到正在旋转的留言符号上,然后按下使用键。 某些留言内容出于介绍游戏特点的目的,可能会暂时控制游戏。 如果发生这种情况,只需再按一次使用键,即可停止播放留言。 请您在进行过游戏后,与我分享您的看法。 您可以发送电子邮件到:gaben@valvesoftware.com,而我最喜欢的兵种是间谍。 谢谢,祝您玩得开心!"
7N/A"[english]#commentary\tf2-Comment000.wav" "[Gabe Newell] Welcome to Team Fortress 2. After nine years in development, hopefully it will have been worth the wait. To listen to a commentary node, put your crosshair over the floating commentary symbol and press your use key. To stop a commentary node, put your crosshair over the rotating node and press the use key again. Some commentary nodes may take control of the game in order to show something to you. In these cases, simply press your use key again to stop the commentary. Please let me know what you think after you have had a chance to play. I can be reached at gaben@valvesoftware.com, and my favorite class is the spy. Thanks, and have fun!"
8N/A"#commentary\tf2-Comment001.wav" "[Jeremy Stone] 在多人游戏中,玩家们大部分的活动内容都与其他玩家有关。 为了对这方面进行增强,我们专门设计了一些功能来明确玩家间的关系。 例如,当玩家被击杀时,会出现杀人者的定格画面,能帮助玩家记住特定的、麻烦的对手。 复仇者功能也会对玩家进行而外的提醒,以表明某些敌人比其他的更为重要。 玩家如果复仇杀死了对方,就会获得额外的分数,这样就在游戏中产生出一个小的负反馈循环效果。"
9N/A"[english]#commentary\tf2-Comment001.wav" "[Jeremy Stone] In multiplayer games, the content players consume is largely generated by other players. To enhance this, we added features designed to promote relationships between players.
N/A6"#commentary\tf2-Comment000.mp3" "[Gabe Newell] 欢迎来到《军团要塞2》。 经过九年的开发,希望这款游戏值得大家为其等待。 如果要听留言内容,请将准星移到漂浮的留言符号上,然后按下使用键。 如果要停止收听留言内容,请再次将准星移到正在旋转的留言符号上,然后按下使用键。 某些留言内容出于介绍游戏特点的目的,可能会暂时控制游戏。 如果发生这种情况,只需再按一次使用键,即可停止播放留言。 请您在进行过游戏后,与我分享您的看法。 您可以发送电子邮件到:gaben@valvesoftware.com,而我最喜欢的兵种是间谍。 谢谢,祝您玩得开心!"
N/A7"[english]#commentary\tf2-Comment000.mp3" "[Gabe Newell] Welcome to Team Fortress 2. After nine years in development, hopefully it will have been worth the wait. To listen to a commentary node, put your crosshair over the floating commentary symbol and press your use key. To stop a commentary node, put your crosshair over the rotating node and press the use key again. Some commentary nodes may take control of the game in order to show something to you. In these cases, simply press your use key again to stop the commentary. Please let me know what you think after you have had a chance to play. I can be reached at gaben@valvesoftware.com, and my favorite class is the spy. Thanks, and have fun!"
N/A8"#commentary\tf2-Comment001.mp3" "[Jeremy Stone] 在多人游戏中,玩家们大部分的活动内容都与其他玩家有关。 为了对这方面进行增强,我们专门设计了一些功能来明确玩家间的关系。 例如,当玩家被击杀时,会出现杀人者的定格画面,能帮助玩家记住特定的、麻烦的对手。 复仇者功能也会对玩家进行而外的提醒,以表明某些敌人比其他的更为重要。 玩家如果复仇杀死了对方,就会获得额外的分数,这样就在游戏中产生出一个小的负反馈循环效果。"
N/A9"[english]#commentary\tf2-Comment001.mp3" "[Jeremy Stone] In multiplayer games, the content players consume is largely generated by other players. To enhance this, we added features designed to promote relationships between players.
1010For example, the freeze-cam shot of a player's killer helps the player remember specific, troublesome opponents. The nemesis feature adds an additional reminder that certain enemies are more significant than others. It creates a small negative reinforcement loop by giving players an opportunity to score extra points with a revenge kill.
1111"
12N/A"#commentary\tf2-Comment002.wav" "[Laura Dubuk] 地图都需要无法通行的边界,但除非我们将游戏环境限制在室内空间或陡峭的峡谷,否则那些边界是无法阻止玩家看到外围的、无法到达的区域。 在我们的一些较为真实的游戏中,例如半条命2,这些边界通常需要进行虚构和视觉的说明。 但是,在极具风格的《军团要塞2》世界中,明显的人为设计成为了我们的核心设计原则,因此我们可以简化或完全忽略这些解释,但又不影响玩家的体验。 例如,通过游戏测试发现,这些连接着空旷地区的低矮围栏,成功传达了一种信息:那就是栅栏以外的区域没什么意思,并且无法进入。"
13N/A"[english]#commentary\tf2-Comment002.wav" "[Laura Dubuk] Maps require impassable boundaries, but unless we restrict the environments to either interior spaces or steep canyons, these boundaries can't always block the player's view of the outlying, unreachable area. In our more realistic titles, like HL2, these boundaries often require fictional and visual explanations. In the heavily stylized Team Fortress world, however, conspicuous artificiality is a core design principle and so we can simplify or altogether ignore these explanations without compromising the player experience. Playtesting showed, for instance, that these low fences leading to an empty expanse successfully conveyed the message that the area beyond the fence is uninteresting and out-of-bounds."
14N/A"#commentary\tf2-Comment003.wav" "[Ariel Diaz] 《军团要塞2》中的每个兵种都经过专门设计,各自都具有独特的攻击和防守技能,而至于控制点,从根本上说,是一种让玩家注重那些重要的攻击与防守活动的方式。 控制点还能将玩家引领到地图上其他不同的地点。"
15N/A"[english]#commentary\tf2-Comment003.wav" "[Ariel Diaz] Each of the Team Fortress classes was designed to make a unique contribution to attack and defense, and control points are, fundamentally, methods of focusing players' attention on these core offensive and defensive activities. They're also useful for drawing players to different points of the map."
16N/A"#commentary\tf2-Comment004.wav" "[Jeff Lane] 在我们原来的设计中,一旦进攻方离开控制点,他们就会失去当前占领控制点的所有进度。 游戏测试表明,当玩家独自靠近敌方控制点并发现该区域有敌人时,他们就不会尝试去占领控制点。 此外,一旦某个团队只剩一个控制点来进行防守时,实力稍强的进攻方团队往往也无法成功占领最后一个控制点以完成全面占领状态,这使得许多游戏陷入了僵局。 因此,我们更改了占领方式,即使进攻方离开了控制点,其原有的占领进度也会保留一段时间,这样便同时解决了原来设计存在的两个问题。"
17N/A"[english]#commentary\tf2-Comment004.wav" "[Jeff Lane] In our original design, once attackers were cleared off a point, they lost any progress they'd made toward capturing the point. Playtests revealed that lone players near an enemy control point had no incentive to try to capture it if any enemies were in the area. Furthermore, once a team was reduced to defending a single control point, the stronger attacking team was often unable to successfully assault the final point for the full capture period, which caused too many games to end in a stalemate. We changed the capture mechanic so that capture progress persists for a while even after the attackers are cleared off the point, and this improvement fixed both of the problems with the original design.
N/A12"#commentary\tf2-Comment002.mp3" "[Laura Dubuk] 地图都需要无法通行的边界,但除非我们将游戏环境限制在室内空间或陡峭的峡谷,否则那些边界是无法阻止玩家看到外围的、无法到达的区域。 在我们的一些较为真实的游戏中,例如半条命2,这些边界通常需要进行虚构和视觉的说明。 但是,在极具风格的《军团要塞2》世界中,明显的人为设计成为了我们的核心设计原则,因此我们可以简化或完全忽略这些解释,但又不影响玩家的体验。 例如,通过游戏测试发现,这些连接着空旷地区的低矮围栏,成功传达了一种信息:那就是栅栏以外的区域没什么意思,并且无法进入。"
N/A13"[english]#commentary\tf2-Comment002.mp3" "[Laura Dubuk] Maps require impassable boundaries, but unless we restrict the environments to either interior spaces or steep canyons, these boundaries can't always block the player's view of the outlying, unreachable area. In our more realistic titles, like HL2, these boundaries often require fictional and visual explanations. In the heavily stylized Team Fortress world, however, conspicuous artificiality is a core design principle and so we can simplify or altogether ignore these explanations without compromising the player experience. Playtesting showed, for instance, that these low fences leading to an empty expanse successfully conveyed the message that the area beyond the fence is uninteresting and out-of-bounds."
N/A14"#commentary\tf2-Comment003.mp3" "[Ariel Diaz] 《军团要塞2》中的每个兵种都经过专门设计,各自都具有独特的攻击和防守技能,而至于控制点,从根本上说,是一种让玩家注重那些重要的攻击与防守活动的方式。 控制点还能将玩家引领到地图上其他不同的地点。"
N/A15"[english]#commentary\tf2-Comment003.mp3" "[Ariel Diaz] Each of the Team Fortress classes was designed to make a unique contribution to attack and defense, and control points are, fundamentally, methods of focusing players' attention on these core offensive and defensive activities. They're also useful for drawing players to different points of the map."
N/A16"#commentary\tf2-Comment004.mp3" "[Jeff Lane] 在我们原来的设计中,一旦进攻方离开控制点,他们就会失去当前占领控制点的所有进度。 游戏测试表明,当玩家独自靠近敌方控制点并发现该区域有敌人时,他们就不会尝试去占领控制点。 此外,一旦某个团队只剩一个控制点来进行防守时,实力稍强的进攻方团队往往也无法成功占领最后一个控制点以完成全面占领状态,这使得许多游戏陷入了僵局。 因此,我们更改了占领方式,即使进攻方离开了控制点,其原有的占领进度也会保留一段时间,这样便同时解决了原来设计存在的两个问题。"
N/A17"[english]#commentary\tf2-Comment004.mp3" "[Jeff Lane] In our original design, once attackers were cleared off a point, they lost any progress they'd made toward capturing the point. Playtests revealed that lone players near an enemy control point had no incentive to try to capture it if any enemies were in the area. Furthermore, once a team was reduced to defending a single control point, the stronger attacking team was often unable to successfully assault the final point for the full capture period, which caused too many games to end in a stalemate. We changed the capture mechanic so that capture progress persists for a while even after the attackers are cleared off the point, and this improvement fixed both of the problems with the original design.
1818"
19N/A"#commentary\tf2-Comment005.wav" "[Jim Hughes] 为了让玩家享受有趣的导航决策过程,必须根据玩家目前的兵种和地图状态,让地图的路线有效变化。 由于游泳的速度比跑步慢,水路会让我们为走特定路线付出更大的代价。 Spy 通常愿意付出这样的代价,因为这样才能隐秘潜入敌方。 Pyro 会避免付出这样的代价,因为他们在水下将无法使用主要武器。 如果敌方的防守稳固,任何兵种要从后方绕道攻击,走水路就很值得考虑。"
20N/A"[english]#commentary\tf2-Comment005.wav" "[Jim Hughes] To give players interesting navigation decisions, routes through a map should vary in effectiveness based on the player's current class and the state of the map. Water lets us increase the cost of taking a particular route, because swimming is slower than running. Spies often accept that cost in order to infiltrate undetected. Pyros avoid it because their primary weapon is useless underwater. If the enemy has a strong defense, the increased cost of the water route becomes a worthwhile tradeoff for any class trying to hit the defenders from behind."
21N/A"#commentary\tf2-Comment006.wav" "[Iikka Keranen] 为了减少广阔天空需要的内存,我们以 1/16 的比率构建了 3D 天顶空间。 也就是说,当火车在天顶空间和玩家间移动时,我们需要一点小技巧才能处理这样的画面。 其实每次火车移动都有两种版本;一个是实际玩家比例,用于实际的游戏空间,而另一个极小的版本则是用于天顶空间。 中间建筑每一侧的修理棚刚好可以掩饰我们在两辆火车间交换的位置。"
22N/A"[english]#commentary\tf2-Comment006.wav" "[Iikka Keranen] We build our 3d skyboxes at 1/16th scale to reduce the memory used by the large spaces in them. This means we have to get a little tricky when dealing with trains moving between the skybox and the player space. There are actually two versions of each moving train; A player-scaled one for the actual gameplay space, and a tiny one out in the skybox. The small repair sheds on either side of the middle building disguise the point at which we swap between the two trains."
23N/A"#commentary\tf2-Comment007.wav" "[Andrea Wicklund] 在理想状况下,每回合结束时,应该分别有一队赢家和输家。 而僵局基本上就是指两队都失败了。 为了避免出现僵局,我们的地图设计中融入了两个关键的变量:队伍重生时间以及从重生点到前线的路程时间。 占上风的队伍,其重生的时间会更快,并且重生点也会向前推进,这样能制造正面的反馈循环效果,增加他们推进的机会,并赢得胜利。"
24N/A"[english]#commentary\tf2-Comment007.wav" "[Andrea Wicklund] Ideally, matches should end in a victory for one team and a loss for the other. Stalemates are essentially a loss for both teams. To avoid stalemates, our map design considers two key variables: team respawn times and travel time from the respawn point to the frontline. The team that's winning gets slightly faster respawn times and more forward respawn points, a positive reinforcement loop that increases the chances for them to push forward and win the game."
25N/A"#commentary\tf2-Comment008.wav" "[Dave RIller] 为了配合 Sniper 这个兵种,地图中需要有开阔的空间、较长的视野以及能提掩护的地点。 而 Sniper 的目标需要另一条路线,以便绕过 Sniper 的视线,虽然这通常要付出额外代价,例如行进的时间会变长。 这样能让玩家做出选择:他们要选择直接但危险的行进路线,还是选择安全但缓慢的行进路线? 在地图的另一边,通常会有与 Sniper 此时位置相对的敌方狙击平台,让 Sniper 可以彼此对抗,掩护位于暴露区域的队友。"
26N/A"[english]#commentary\tf2-Comment008.wav" "[Dave Riller] To accommodate snipers, maps need wide open spaces, long sightlines, and protective cover. Targets of the Sniper require alternate routes that bypass the Sniper's sightlines, though these usually have an additional cost, such as increased travel time. This leaves players with a choice: do they take the more direct, but hazardous route, or the safer yet slower route? Sniper positions generally also have a corresponding enemy sniper deck, positioned on the other side of the arena, which allows one sniper to counter another, offering cover for teammates in exposed areas."
27N/A"#commentary\tf2-Comment009.wav" "[Bay Raitt] 僵局通常出现在门口周围,因为双方队伍在门口两侧通常会安排较强的防御兵力。 为了打破这种情况,我们设计了其他的行进路线,但行进时间必然会拉长,通常只有敌方在主要地段布下重兵时,这种路线才比较有吸引力。 进入敌方据点的入口数量是地图设计的关键,因为当敌人从多路进攻时,很难守住一个区域。 这让单向出口成为了有用的设计工具,因为这能让我们将敌方入口点的数量与友方防守路线的数量分开。"
28N/A"[english]#commentary\tf2-Comment009.wav" "[Bay Raitt] Stalemates generally occur around doors, where teams have a strong defensive presence on either side of the opening. To help counter this, we provide alternate routes with high travel costs that become more attractive only when the enemy has strong defenses behind the main route. The number of enemy entry points into an area is crucial to its design, since it's extremely hard to hold an area when enemies approach from multiple fronts. This makes one way exits a useful design tool, since they let us uncouple the number of enemy entry points from the number of friendly offensive routes."
29N/A"#commentary\tf2-Comment010.wav" "[Jamaal Bradley] 为了游戏平衡性的目的,我们有时候需要抑制兵种的速度。 比如说,那些控制中央大门的定时器就是为了确保所有兵种可以在行动真正开始之前,抵达地图中段。 游戏测试表明,让队伍以小组方式等待大门开启,这样会更有乐趣。 玩家对战斗的期待加上疾驰的火车,让中间的控制点极具冲突气氛。"
30N/A"[english]#commentary\tf2-Comment010.wav" "[Jamaal Bradley] For gameplay purposes, we sometimes need to neutralize the speeds of the classes. For instance, these central door timers were created to ensure that all classes could make it to the middle part of the map by the time the action actually starts. Playtesting showed that it was more fun to have the teams waiting as a group as soon as the doors open. The anticipation of battle, combined with the hazardous moving trains, creates a great opening clash for the middle control point."
31N/A"#commentary\tf2-Comment011.wav" "[Matt Boone] 作为一种实用设计工具,防弹玻璃位于重兵把守的区域,例如控制点附近。 这让进攻方有机会看到敌方的防守兵力和步哨枪的位置,同时也让防守方能清楚看见敌人的集合情况。 这样的设计通常对防守方很重要,例如进攻方正在等待 Medic 补充无敌能量。"
32N/A"[english]#commentary\tf2-Comment011.wav" "[Matt Boone] Bulletproof glass is a useful design tool in strongly defended areas, such as around control points. It gives the offensive team a chance to see enemy defenders and sentrygun positions, while affording the defensive team a good view of the gathering attackers. This is often crucial for the defense if the offense is waiting for a Medic's invulnerability charge."
33N/A"#commentary\tf2-Comment012.wav" "[Matthew Russell] 在攻/守地图上,僵局通常是因为攻方的队伍配置不佳,导致他们只能眼睁睁看着定时器的时间流逝。 为了避免出现这种情况,我们会设法让可能失败的状况像滚雪球一样迅速真正成为败局。 游戏一开始的时间很短,但只要攻方成功占领一个控制点,时间就会增加一点。 这样一个回合可以尽快结束,让游戏过程充满高度紧张。 回合的时间太长就无法产生我们想要创造的紧迫感。"
34N/A"[english]#commentary\tf2-Comment012.wav" "[Matthew Russell] On Attack/Defend maps, stalemates generally involve a weakly positioned attacking team beating its head against the wall as the timer bleeds out. To avoid this, we encourage likely losses to snowball into actual losses as quickly as possible. We start with a short time limit, and then add time whenever the offensive team succeeds in capturing a point. This way the round plays out in as short a time as possible and keeps the tension high throughout. Long round times aren't conducive to the sense of urgency we want to create."
35N/A"#commentary\tf2-Comment013.wav" "[John Cook] 设计可防御的建筑时,高度是一项有用的特征。 例如,控制点 B 的建筑需要防守方从各个方位防守。 建筑的高度加上四周的窗户,能给予建筑中的防守方优势,尤其是从建筑内部发射火箭及榴弹。 某些窗户使用了防弹玻璃,让他们可以安全地看到正在接近的敌人。"
36N/A"[english]#commentary\tf2-Comment013.wav" "[John Cook] Height is a useful feature when designing defensible buildings. For instance, the Cap B building needs to be defended from all directions. The height, and windows on all sides, give defenders in this building an advantage, when launching rockets & grenades from within. Bulletproof glass in some windows lets them safely view approaching enemies."
37N/A"#commentary\tf2-Comment014.wav" "[Jake Nicholson ] 针对 Soldier,我们在设计空间的高度时特别注意。 Soldier 通常要居高临下向对手射击,这样才能发挥火箭扩散伤害的最大效果。 这里的屋顶让他们能有这种优势。 而屋顶的高度只有士兵利用火箭跳跃才上得来,其他兵种通常无法爬上屋顶。 因为使用火箭跳跃时必须承受火箭的伤害,因此 Soldier 必须牺牲一些生命值才能换取空间高度的优势。 这样的折衷手段,以及在屋顶上缺乏治疗品,让我们可以保持这项强大优势,同时又不会破坏地图平衡,因为 Soldier 需要依赖下面的 Medic 才能保持他们的生命值。"
38N/A"[english]#commentary\tf2-Comment014.wav" "[Jake Nicholson ] For Soldiers, we design spaces with specific attention to height. Soldiers generally want to be shooting down at opponents to maximize the effect of their rockets' splash damage. The rooftop here gives them that advantage. It can also only be reached with the soldier's rocket jump, making it generally inaccessible to the other classes. Because of the splash damage from a rocket jump, soldiers have to trade health for the height advantage. This tradeoff, coupled with the lack of health on the roof, lets usmake the rooftop a powerful advantage without unbalancing the map, since soldiers will need to rely on medics down below to keep them healthy."
39N/A"#commentary\tf2-Comment015.wav" "[Dave Riller] 为了配合 Scout 兵种,地图需要开放空间,让 Scout 能沿着其他兵种无法前进的路线进行双重跳跃。 这一区域有各式各样的屋顶和岩石,Scout 在穿越时不会遇到任何非 Scout 的对手。 Scout 通常能利用他们的速度优势撤退并恢复生命值。因此,我们在这里将治疗品放在封闭的小区域,让他们必须牺牲某种程度的移动自由,强迫他们承担一些风险。"
40N/A"[english]#commentary\tf2-Comment015.wav" "[Dave Riller] To accommodate the scout class, maps need open spaces that allow scouts to double jump along paths that the other classes can't navigate. This area features a variety of rooftops and rocks that a scout can traverse while staying above any non-scout opponents. Scouts often use their speed advantage to retreat and collect health, so here we force them to adopt some risk by placing the health inside a small, enclosed area, where they sacrifice some freedom of movement."
41N/A"#commentary\tf2-Comment016.wav" "[Matt Boone] Spy 是专为想要智取对手的玩家而设计。 如果水平够高,他可以在游戏中渗透进敌方队伍,在伪装下伺机行动,用他的背刺技立即杀掉敌人,尤其是 Sniper、Engineer 及 Medic。 他的隐形能力则是为了在两种关键情况中提供帮助。 第一种是穿越前线;前线的玩家们通常会非常警觉,并且很容易对行进方向不对劲的“队友”产生怀疑。 第二种情况是从敌方区域逃离,尤其是在敌人势力范围内被识破伪装时。 他的电子工兵能轻松解决无人看管的敌方步哨枪,使得敌方 Engineer 必须守好他们的建筑。"
42N/A"[english]#commentary\tf2-Comment016.wav" "[Matt Boone] The Spy is designed for players who want to outsmart their opponents. At a high level, his gameplay flow is to infiltrate the enemy team, move around while disguised, and use his instant-kill backstab to take out key enemies, usually snipers, engineers, and medics. His invisibility cloak is designed to help him in two key situations. The first is in getting past the frontline, where players are most vigilant against enemies and most suspicious of friends not heading in the right direction. The second is in escaping from enemies who have seen through his disguise while he's in enemy territory. His sapper was designed to allow him to easily take out unattended enemy sentryguns, forcing enemy engineers to keep a close eye on their buildings."
43N/A"#commentary\tf2-Comment017.wav" "[Eric Kirchmer] 平衡 Engineer 由人工智能控制的步哨枪的优势,是《Team Fortress 2》中略显困难的设计问题之一。 如果步哨枪的威力太大,只有实力最强的玩家才能对付步哨枪。 如果步哨枪的威力太弱,Engineer 就没有机会对抗技实力强大的玩家,这样就让 Engineer 完全找不到首先建造步哨枪的理由。 为此,我们让步哨枪只能有两种反应方式:对于不找掩护的对手,步哨枪可以发挥致命威力,但是如果敌人以掩护方式突然出现,步哨枪则无法聪明地对付敌人。 这样使得 Engineer 必须使用他们的次要武器技能,弥补步哨枪的死角弱点,如果敌人试图硬冲过步哨枪,那么步哨枪将是难以逾越的屏障。"
44N/A"[english]#commentary\tf2-Comment017.wav" "[Eric Kirchmer] Balancing the strength of the Engineer's AI-controlled sentrygun was one of more difficult design problems in Team Fortress 2. If the gun was too powerful, only the most skilled players would be able to counteract it. If the gun was too weak, the Engineer would have no chance against skilled players, effectively eliminating any reason to build it in the first place. Our solution was to make the sentrygun essentially binary in the sense that it's lethal to opponents who don't take cover, but can't intelligently deal with enemies popping in and out of cover. This forces the Engineer to use his own secondary weapons skill to compensate for the sentrygun's corner weakness, while still making the sentrygun a formidable obstacle for any opponent simply attempting to sprint past it."
45N/A"#commentary\tf2-Comment018.wav" "[Andrew Burke] Scout 的设计目的是让玩家能快速移动,同时追踪目标。 其他战斗兵种依靠的是强大的杀伤力,但 Scout 则依仗高速移动以及双重跳跃的能力,从而避开敌人火力。 Scout 的战斗风格大多都是根据主要武器 - 机枪设计而成。 机枪能造成大量伤害,但其较大的范围使得 Scout 必须接近敌人才能发挥全部威力,而这样自己受伤的风险也很高。 机枪的攻击速率很慢,因此 Scout 必须暂时停住才能开火,接着闪躲,然后又暂停,重复这样的动作,敌人在停顿间有很大的机会可以打中他。 最后,机枪弹匣小,装弹时间慢,这是为了让 Scout 脱离战斗才能新装子弹,Scout 可以利用速度优势轻松完成这项操作,但也让受伤的敌人有机会在 Scout 回来之前逃走。"
46N/A"[english]#commentary\tf2-Comment018.wav" "[Andrew Burke] The Scout is designed for players who are able to rapidly move around while tracking their target. Where other combat classes rely on high amounts of damage, the Scout relies on his high movement speed and double jump ability to dodge enemy fire. Much of his combat style is crafted through the features of his primary weapon, the scattergun. It does a large amount of damage, but has a wide spread that forces him to get close to the enemy for full effect, where he's also at highest risk of being hurt. It has a slow rate of fire that encourages him to pause to fire, then dodge, then pause, and so on, which gives enemies a higher chance to hit him at intervals. Finally, it holds a small clip and a slow reload time to encourage the Scout to pull out of combat to reload, something which he can do easily with his speed, and gives injured enemies a chance to run before the Scout returns."
47N/A"#commentary\tf2-Comment019.wav" "[Dhabih Eng] Soldier 是核心战斗兵种,具备多种移动能力,以及优秀的远距离杀伤力。 他几乎能在任何战况下如鱼得水,而且是远距离反步哨枪的最佳兵种。 他的主要弱点是由于主要武器火箭发射器。 火箭发射器的弹匣小,这让 Soldier 必须谨慎控制弹药量,并且由于发射的是速度相对较慢的发射弹,如果在短射程内遇到动作敏捷的敌人,比如 Scout,那么火箭发射器就几乎没有用武之地。"
48N/A"[english]#commentary\tf2-Comment019.wav" "[Dhabih Eng] The Soldier is a core combat class featuring versatile movement and terrific long range damage capability. He's designed to be comfortable in almost any combat situation, and to be the best long-range anti-sentrygun class. His main weaknesses are designed into his primary weapon, the rocket launcher. It has a small clip size, which forces the Soldier to carefully manage his reloads, and it fires relatively slow-moving projectiles, making it ineffectual beyond short range against any opponent who dodges well, like the Scout."
49N/A"#commentary\tf2-Comment020.wav" "[Charlie Brown] 狙击枪是另一个伤脑筋的设计问题。 为了符合玩家期待,狙击枪必须能够在单发击中头部时杀掉对手。 另一方面,我们要确保狙击枪击中敌人臀部时不会造成同样严重的伤害,否则只要是经验老道的玩家拿着狙击枪,狙击枪就会变成游戏中最致命的短程武器,这会让 Sniper 完全没有了主要弱点。 为了解决这个问题,我们采用了攻击伤害计量器,这只会在 Sniper 将画面拉近时才会出现。 这个方法有几项有利的副作用:
N/A19"#commentary\tf2-Comment005.mp3" "[Jim Hughes] 为了让玩家享受有趣的导航决策过程,必须根据玩家目前的兵种和地图状态,让地图的路线有效变化。 由于游泳的速度比跑步慢,水路会让我们为走特定路线付出更大的代价。 Spy 通常愿意付出这样的代价,因为这样才能隐秘潜入敌方。 Pyro 会避免付出这样的代价,因为他们在水下将无法使用主要武器。 如果敌方的防守稳固,任何兵种要从后方绕道攻击,走水路就很值得考虑。"
N/A20"[english]#commentary\tf2-Comment005.mp3" "[Jim Hughes] To give players interesting navigation decisions, routes through a map should vary in effectiveness based on the player's current class and the state of the map. Water lets us increase the cost of taking a particular route, because swimming is slower than running. Spies often accept that cost in order to infiltrate undetected. Pyros avoid it because their primary weapon is useless underwater. If the enemy has a strong defense, the increased cost of the water route becomes a worthwhile tradeoff for any class trying to hit the defenders from behind."
N/A21"#commentary\tf2-Comment006.mp3" "[Iikka Keranen] 为了减少广阔天空需要的内存,我们以 1/16 的比率构建了 3D 天顶空间。 也就是说,当火车在天顶空间和玩家间移动时,我们需要一点小技巧才能处理这样的画面。 其实每次火车移动都有两种版本;一个是实际玩家比例,用于实际的游戏空间,而另一个极小的版本则是用于天顶空间。 中间建筑每一侧的修理棚刚好可以掩饰我们在两辆火车间交换的位置。"
N/A22"[english]#commentary\tf2-Comment006.mp3" "[Iikka Keranen] We build our 3d skyboxes at 1/16th scale to reduce the memory used by the large spaces in them. This means we have to get a little tricky when dealing with trains moving between the skybox and the player space. There are actually two versions of each moving train; A player-scaled one for the actual gameplay space, and a tiny one out in the skybox. The small repair sheds on either side of the middle building disguise the point at which we swap between the two trains."
N/A23"#commentary\tf2-Comment007.mp3" "[Andrea Wicklund] 在理想状况下,每回合结束时,应该分别有一队赢家和输家。 而僵局基本上就是指两队都失败了。 为了避免出现僵局,我们的地图设计中融入了两个关键的变量:队伍重生时间以及从重生点到前线的路程时间。 占上风的队伍,其重生的时间会更快,并且重生点也会向前推进,这样能制造正面的反馈循环效果,增加他们推进的机会,并赢得胜利。"
N/A24"[english]#commentary\tf2-Comment007.mp3" "[Andrea Wicklund] Ideally, matches should end in a victory for one team and a loss for the other. Stalemates are essentially a loss for both teams. To avoid stalemates, our map design considers two key variables: team respawn times and travel time from the respawn point to the frontline. The team that's winning gets slightly faster respawn times and more forward respawn points, a positive reinforcement loop that increases the chances for them to push forward and win the game."
N/A25"#commentary\tf2-Comment008.mp3" "[Dave RIller] 为了配合 Sniper 这个兵种,地图中需要有开阔的空间、较长的视野以及能提掩护的地点。 而 Sniper 的目标需要另一条路线,以便绕过 Sniper 的视线,虽然这通常要付出额外代价,例如行进的时间会变长。 这样能让玩家做出选择:他们要选择直接但危险的行进路线,还是选择安全但缓慢的行进路线? 在地图的另一边,通常会有与 Sniper 此时位置相对的敌方狙击平台,让 Sniper 可以彼此对抗,掩护位于暴露区域的队友。"
N/A26"[english]#commentary\tf2-Comment008.mp3" "[Dave Riller] To accommodate snipers, maps need wide open spaces, long sightlines, and protective cover. Targets of the Sniper require alternate routes that bypass the Sniper's sightlines, though these usually have an additional cost, such as increased travel time. This leaves players with a choice: do they take the more direct, but hazardous route, or the safer yet slower route? Sniper positions generally also have a corresponding enemy sniper deck, positioned on the other side of the arena, which allows one sniper to counter another, offering cover for teammates in exposed areas."
N/A27"#commentary\tf2-Comment009.mp3" "[Bay Raitt] 僵局通常出现在门口周围,因为双方队伍在门口两侧通常会安排较强的防御兵力。 为了打破这种情况,我们设计了其他的行进路线,但行进时间必然会拉长,通常只有敌方在主要地段布下重兵时,这种路线才比较有吸引力。 进入敌方据点的入口数量是地图设计的关键,因为当敌人从多路进攻时,很难守住一个区域。 这让单向出口成为了有用的设计工具,因为这能让我们将敌方入口点的数量与友方防守路线的数量分开。"
N/A28"[english]#commentary\tf2-Comment009.mp3" "[Bay Raitt] Stalemates generally occur around doors, where teams have a strong defensive presence on either side of the opening. To help counter this, we provide alternate routes with high travel costs that become more attractive only when the enemy has strong defenses behind the main route. The number of enemy entry points into an area is crucial to its design, since it's extremely hard to hold an area when enemies approach from multiple fronts. This makes one way exits a useful design tool, since they let us uncouple the number of enemy entry points from the number of friendly offensive routes."
N/A29"#commentary\tf2-Comment010.mp3" "[Jamaal Bradley] 为了游戏平衡性的目的,我们有时候需要抑制兵种的速度。 比如说,那些控制中央大门的定时器就是为了确保所有兵种可以在行动真正开始之前,抵达地图中段。 游戏测试表明,让队伍以小组方式等待大门开启,这样会更有乐趣。 玩家对战斗的期待加上疾驰的火车,让中间的控制点极具冲突气氛。"
N/A30"[english]#commentary\tf2-Comment010.mp3" "[Jamaal Bradley] For gameplay purposes, we sometimes need to neutralize the speeds of the classes. For instance, these central door timers were created to ensure that all classes could make it to the middle part of the map by the time the action actually starts. Playtesting showed that it was more fun to have the teams waiting as a group as soon as the doors open. The anticipation of battle, combined with the hazardous moving trains, creates a great opening clash for the middle control point."
N/A31"#commentary\tf2-Comment011.mp3" "[Matt Boone] 作为一种实用设计工具,防弹玻璃位于重兵把守的区域,例如控制点附近。 这让进攻方有机会看到敌方的防守兵力和步哨枪的位置,同时也让防守方能清楚看见敌人的集合情况。 这样的设计通常对防守方很重要,例如进攻方正在等待 Medic 补充无敌能量。"
N/A32"[english]#commentary\tf2-Comment011.mp3" "[Matt Boone] Bulletproof glass is a useful design tool in strongly defended areas, such as around control points. It gives the offensive team a chance to see enemy defenders and sentrygun positions, while affording the defensive team a good view of the gathering attackers. This is often crucial for the defense if the offense is waiting for a Medic's invulnerability charge."
N/A33"#commentary\tf2-Comment012.mp3" "[Matthew Russell] 在攻/守地图上,僵局通常是因为攻方的队伍配置不佳,导致他们只能眼睁睁看着定时器的时间流逝。 为了避免出现这种情况,我们会设法让可能失败的状况像滚雪球一样迅速真正成为败局。 游戏一开始的时间很短,但只要攻方成功占领一个控制点,时间就会增加一点。 这样一个回合可以尽快结束,让游戏过程充满高度紧张。 回合的时间太长就无法产生我们想要创造的紧迫感。"
N/A34"[english]#commentary\tf2-Comment012.mp3" "[Matthew Russell] On Attack/Defend maps, stalemates generally involve a weakly positioned attacking team beating its head against the wall as the timer bleeds out. To avoid this, we encourage likely losses to snowball into actual losses as quickly as possible. We start with a short time limit, and then add time whenever the offensive team succeeds in capturing a point. This way the round plays out in as short a time as possible and keeps the tension high throughout. Long round times aren't conducive to the sense of urgency we want to create."
N/A35"#commentary\tf2-Comment013.mp3" "[John Cook] 设计可防御的建筑时,高度是一项有用的特征。 例如,控制点 B 的建筑需要防守方从各个方位防守。 建筑的高度加上四周的窗户,能给予建筑中的防守方优势,尤其是从建筑内部发射火箭及榴弹。 某些窗户使用了防弹玻璃,让他们可以安全地看到正在接近的敌人。"
N/A36"[english]#commentary\tf2-Comment013.mp3" "[John Cook] Height is a useful feature when designing defensible buildings. For instance, the Cap B building needs to be defended from all directions. The height, and windows on all sides, give defenders in this building an advantage, when launching rockets & grenades from within. Bulletproof glass in some windows lets them safely view approaching enemies."
N/A37"#commentary\tf2-Comment014.mp3" "[Jake Nicholson ] 针对 Soldier,我们在设计空间的高度时特别注意。 Soldier 通常要居高临下向对手射击,这样才能发挥火箭扩散伤害的最大效果。 这里的屋顶让他们能有这种优势。 而屋顶的高度只有士兵利用火箭跳跃才上得来,其他兵种通常无法爬上屋顶。 因为使用火箭跳跃时必须承受火箭的伤害,因此 Soldier 必须牺牲一些生命值才能换取空间高度的优势。 这样的折衷手段,以及在屋顶上缺乏治疗品,让我们可以保持这项强大优势,同时又不会破坏地图平衡,因为 Soldier 需要依赖下面的 Medic 才能保持他们的生命值。"
N/A38"[english]#commentary\tf2-Comment014.mp3" "[Jake Nicholson ] For Soldiers, we design spaces with specific attention to height. Soldiers generally want to be shooting down at opponents to maximize the effect of their rockets' splash damage. The rooftop here gives them that advantage. It can also only be reached with the soldier's rocket jump, making it generally inaccessible to the other classes. Because of the splash damage from a rocket jump, soldiers have to trade health for the height advantage. This tradeoff, coupled with the lack of health on the roof, lets usmake the rooftop a powerful advantage without unbalancing the map, since soldiers will need to rely on medics down below to keep them healthy."
N/A39"#commentary\tf2-Comment015.mp3" "[Dave Riller] 为了配合 Scout 兵种,地图需要开放空间,让 Scout 能沿着其他兵种无法前进的路线进行双重跳跃。 这一区域有各式各样的屋顶和岩石,Scout 在穿越时不会遇到任何非 Scout 的对手。 Scout 通常能利用他们的速度优势撤退并恢复生命值。因此,我们在这里将治疗品放在封闭的小区域,让他们必须牺牲某种程度的移动自由,强迫他们承担一些风险。"
N/A40"[english]#commentary\tf2-Comment015.mp3" "[Dave Riller] To accommodate the scout class, maps need open spaces that allow scouts to double jump along paths that the other classes can't navigate. This area features a variety of rooftops and rocks that a scout can traverse while staying above any non-scout opponents. Scouts often use their speed advantage to retreat and collect health, so here we force them to adopt some risk by placing the health inside a small, enclosed area, where they sacrifice some freedom of movement."
N/A41"#commentary\tf2-Comment016.mp3" "[Matt Boone] Spy 是专为想要智取对手的玩家而设计。 如果水平够高,他可以在游戏中渗透进敌方队伍,在伪装下伺机行动,用他的背刺技立即杀掉敌人,尤其是 Sniper、Engineer 及 Medic。 他的隐形能力则是为了在两种关键情况中提供帮助。 第一种是穿越前线;前线的玩家们通常会非常警觉,并且很容易对行进方向不对劲的“队友”产生怀疑。 第二种情况是从敌方区域逃离,尤其是在敌人势力范围内被识破伪装时。 他的电子工兵能轻松解决无人看管的敌方步哨枪,使得敌方 Engineer 必须守好他们的建筑。"
N/A42"[english]#commentary\tf2-Comment016.mp3" "[Matt Boone] The Spy is designed for players who want to outsmart their opponents. At a high level, his gameplay flow is to infiltrate the enemy team, move around while disguised, and use his instant-kill backstab to take out key enemies, usually snipers, engineers, and medics. His invisibility cloak is designed to help him in two key situations. The first is in getting past the frontline, where players are most vigilant against enemies and most suspicious of friends not heading in the right direction. The second is in escaping from enemies who have seen through his disguise while he's in enemy territory. His sapper was designed to allow him to easily take out unattended enemy sentryguns, forcing enemy engineers to keep a close eye on their buildings."
N/A43"#commentary\tf2-Comment017.mp3" "[Eric Kirchmer] 平衡 Engineer 由人工智能控制的步哨枪的优势,是《Team Fortress 2》中略显困难的设计问题之一。 如果步哨枪的威力太大,只有实力最强的玩家才能对付步哨枪。 如果步哨枪的威力太弱,Engineer 就没有机会对抗技实力强大的玩家,这样就让 Engineer 完全找不到首先建造步哨枪的理由。 为此,我们让步哨枪只能有两种反应方式:对于不找掩护的对手,步哨枪可以发挥致命威力,但是如果敌人以掩护方式突然出现,步哨枪则无法聪明地对付敌人。 这样使得 Engineer 必须使用他们的次要武器技能,弥补步哨枪的死角弱点,如果敌人试图硬冲过步哨枪,那么步哨枪将是难以逾越的屏障。"
N/A44"[english]#commentary\tf2-Comment017.mp3" "[Eric Kirchmer] Balancing the strength of the Engineer's AI-controlled sentrygun was one of more difficult design problems in Team Fortress 2. If the gun was too powerful, only the most skilled players would be able to counteract it. If the gun was too weak, the Engineer would have no chance against skilled players, effectively eliminating any reason to build it in the first place. Our solution was to make the sentrygun essentially binary in the sense that it's lethal to opponents who don't take cover, but can't intelligently deal with enemies popping in and out of cover. This forces the Engineer to use his own secondary weapons skill to compensate for the sentrygun's corner weakness, while still making the sentrygun a formidable obstacle for any opponent simply attempting to sprint past it."
N/A45"#commentary\tf2-Comment018.mp3" "[Andrew Burke] Scout 的设计目的是让玩家能快速移动,同时追踪目标。 其他战斗兵种依靠的是强大的杀伤力,但 Scout 则依仗高速移动以及双重跳跃的能力,从而避开敌人火力。 Scout 的战斗风格大多都是根据主要武器 - 机枪设计而成。 机枪能造成大量伤害,但其较大的范围使得 Scout 必须接近敌人才能发挥全部威力,而这样自己受伤的风险也很高。 机枪的攻击速率很慢,因此 Scout 必须暂时停住才能开火,接着闪躲,然后又暂停,重复这样的动作,敌人在停顿间有很大的机会可以打中他。 最后,机枪弹匣小,装弹时间慢,这是为了让 Scout 脱离战斗才能新装子弹,Scout 可以利用速度优势轻松完成这项操作,但也让受伤的敌人有机会在 Scout 回来之前逃走。"
N/A46"[english]#commentary\tf2-Comment018.mp3" "[Andrew Burke] The Scout is designed for players who are able to rapidly move around while tracking their target. Where other combat classes rely on high amounts of damage, the Scout relies on his high movement speed and double jump ability to dodge enemy fire. Much of his combat style is crafted through the features of his primary weapon, the scattergun. It does a large amount of damage, but has a wide spread that forces him to get close to the enemy for full effect, where he's also at highest risk of being hurt. It has a slow rate of fire that encourages him to pause to fire, then dodge, then pause, and so on, which gives enemies a higher chance to hit him at intervals. Finally, it holds a small clip and a slow reload time to encourage the Scout to pull out of combat to reload, something which he can do easily with his speed, and gives injured enemies a chance to run before the Scout returns."
N/A47"#commentary\tf2-Comment019.mp3" "[Dhabih Eng] Soldier 是核心战斗兵种,具备多种移动能力,以及优秀的远距离杀伤力。 他几乎能在任何战况下如鱼得水,而且是远距离反步哨枪的最佳兵种。 他的主要弱点是由于主要武器火箭发射器。 火箭发射器的弹匣小,这让 Soldier 必须谨慎控制弹药量,并且由于发射的是速度相对较慢的发射弹,如果在短射程内遇到动作敏捷的敌人,比如 Scout,那么火箭发射器就几乎没有用武之地。"
N/A48"[english]#commentary\tf2-Comment019.mp3" "[Dhabih Eng] The Soldier is a core combat class featuring versatile movement and terrific long range damage capability. He's designed to be comfortable in almost any combat situation, and to be the best long-range anti-sentrygun class. His main weaknesses are designed into his primary weapon, the rocket launcher. It has a small clip size, which forces the Soldier to carefully manage his reloads, and it fires relatively slow-moving projectiles, making it ineffectual beyond short range against any opponent who dodges well, like the Scout."
N/A49"#commentary\tf2-Comment020.mp3" "[Charlie Brown] 狙击枪是另一个伤脑筋的设计问题。 为了符合玩家期待,狙击枪必须能够在单发击中头部时杀掉对手。 另一方面,我们要确保狙击枪击中敌人臀部时不会造成同样严重的伤害,否则只要是经验老道的玩家拿着狙击枪,狙击枪就会变成游戏中最致命的短程武器,这会让 Sniper 完全没有了主要弱点。 为了解决这个问题,我们采用了攻击伤害计量器,这只会在 Sniper 将画面拉近时才会出现。 这个方法有几项有利的副作用:
5050在不拉近画面或刚拉近画面时开枪的伤害低,能确保 Sniper 无法临时轻松开火就杀死敌人。 攻击时间表示 Sniper 可以快速造成低伤害,或以缓慢的间隔时间发出高伤害火力,这让对手在同时快攻时可以压制 Sniper。 如果 Sniper 在计时结束前开火就能造成高伤害,这是对狙击行为的奖励,例如位于相当好的优势位置,充分准备后猎杀敌人。"
51N/A"[english]#commentary\tf2-Comment020.wav" "[Charlie Brown] The sniper rifle was another tricky design problem. To meet players' expectations, a sniper rifle has to be able to kill an opponent with a single shot to the head. On the flip side, we need to ensure it can't be snap fired from the hip with the same effect, because then, in the hands of an experienced player, it also becomes the game's most lethal short range weapon, negating the Sniper's primary weakness. To solve this, we implemented a charging damage meter that only appears when the sniper is zoomed. This solution has several beneficial side effects:
N/A51"[english]#commentary\tf2-Comment020.mp3" "[Charlie Brown] The sniper rifle was another tricky design problem. To meet players' expectations, a sniper rifle has to be able to kill an opponent with a single shot to the head. On the flip side, we need to ensure it can't be snap fired from the hip with the same effect, because then, in the hands of an experienced player, it also becomes the game's most lethal short range weapon, negating the Sniper's primary weakness. To solve this, we implemented a charging damage meter that only appears when the sniper is zoomed. This solution has several beneficial side effects:
5252The low damage both while un-zoomed and at the initial zoom ensures that Snipers can't kill opponents with impromptu snap fire. The charge time means Snipers can deal out low damage shots quickly or highly damaging shots at slow intervals, which allows opponents to overwhelm them with a coordinated rush. The high damage at the end of the charge rewards Sniper-esque behaviors, such as locating a decent vantage point and taking very deliberate shots.
5353"
54N/A"#commentary\tf2-Comment021.wav" "[Marc Scaparro] Pyro 被设计成最佳短程战斗兵种,目的是为鼓励玩家利用埋伏的游戏方式。 为了实现这个目标,我们让 Pyro 在空旷区时容易受伤,迫使玩家找寻封闭区域以及出入口。 为了增加 Pyro 的短程杀伤力,我们让火焰喷射器的视觉效果非常显眼,这样能帮助不知所措的对手找到火焰来源并猎杀对方。"
55N/A"[english]#commentary\tf2-Comment021.wav" "[Marc Scaparro] The Pyro is designed to be the best short-range combat class, aimed at encouraging players to adopt an ambush style of play. To achieve this, we made the Pyro vulnerable in the open, which forces players to seek out enclosed areas and doorways. To add to the Pyro's short range lethality, we made the flamethrower effects visually noisy, which helps disorient opponents long enough for the flames to finish them off."
56N/A"#commentary\tf2-Comment022.wav" "[Wade Schin] Demoman 是能力最全面的战斗兵种,能快速从强力进攻转为防守状态。 他是游戏中唯一具备间接火力的兵种,能在角落解决步哨枪,而利用黏性炸弹能进行黏弹跳跃,类似 Soldier 的火箭跳跃技能。 他的黏性炸弹也能防止敌人从出入口移动、掩护撤退行动,即使不在控制点附近,也能防守控制点。"
57N/A"[english]#commentary\tf2-Comment022.wav" "[Wade Schin] The Demoman is the most versatile combat class, capable of rapidly switching from strong offensive pushes to defensive area denial. He has the only indirect fire capability in the game, allowing him to take out sentryguns around the corner, and his sticky bombs give him a grenade jumping ability similar to that of the Soldier's rocket jumps. His sticky bombs can also prevent enemies from moving through doorways, cover a retreat, and defend control points even when the Demoman is somewhere else."
58N/A"#commentary\tf2-Comment023.wav" "[Keith Huggins] Heavy 的转轮机枪火力范围广,玩家即使没有精确瞄准的技能,也能冲进激烈战斗区拼杀。 为了补偿玩家在精确瞄准上的欠缺,我们增强了其他技能的重要性。 例如,开火前的准备时间以及 Heavy 开火时速度会降低,使得玩家要学着预测战斗开始及敌人来袭的攻击时间。"
59N/A"[english]#commentary\tf2-Comment023.wav" "[Keith Huggins] With its wide field of fire, the Heavy's minigun lets players who don't have great twitch-aiming skills still wade into the thick of combat. To make up for this reduction in the value of the player's aiming skill, we amplified the importance of other skills. For instance, the wind-up time before firing and the heavy's reduced speed while firing force players to learn to anticipate both the start of combat and incoming enemy attacks."
60N/A"#commentary\tf2-Comment024.wav" "[John Morello] Medic 是主要的支持兵种。 我们以前设计的支持兵种有很多问题。 以前的支持兵种不怎么强调技术运用,因为他们主要在防御区的后方,也就是远离游戏中最有趣的部分。 最糟糕的是,这意味着他们没什么用,因为他们通常不会在最需要治疗的玩家附近。 通过让他们留在交战区内,我们在《Team Fortress 2》中解决了 Medic 的这些问题。 此外,我们设计的医疗枪使用非常简便,因此 Medic 可以在求生的同时为队友提供治疗。 医疗枪几乎不需要瞄准,让 Medic 可以专心跟随他们的医疗目标,而这些医疗目标也为 Medic 提供了强有力的安全保护。"
61N/A"[english]#commentary\tf2-Comment024.wav" "[John Morello] The Medic is the main support class. Previous support classes we've designed had a variety of problems. They didn't require much skill, because they stayed back in defended areas, which also kept them out of the funnest parts of the game. Worst of all, this meant they weren't even terribly useful because they generally weren't near the players who most needed to be healed. We designed the Team Fortress 2 Medic to solve these problems, primarily by focusing on keeping them right in the thick of battle. Additionally, we designed the medigun to be as easy to use as possible, so that Medics can focus on survival while healing teammates. Virtually no aiming is required, which lets Medics concentrate on following their heal target, who has a huge incentive to keep his Medic benefactor safe."
62N/A"#commentary\tf2-Comment025.wav" "[Aaron Halifax] 我们设计医疗枪的主要目的是在 Medic 和治疗目标间建立深厚关系。我们想知道,如果专注于建立两个玩家间的关系会是什么结果,而不仅仅是设法让大型队伍展开团队合作。医疗枪的设计能确保 Medic 以及他的治疗目标意识到彼此的存在,关注他们的生命值和相互位置,同时谨慎制定战略。我们希望玩家利用技巧让自己成为有意义的治疗目标,这样 Medic 才愿意找出并治疗有作战技术的目标。这将有助于构建我们希望看到的关系。"
63N/A"[english]#commentary\tf2-Comment025.wav" "[Aaron Halifax] Our main goal in designing the Medigun was to build a strong relationship between the Medic and his healing target. We wanted to see what we would get if we focused on creating a tight loop between two players, instead of just thinking about getting the larger team to cooperate. The Medigun's design ensures that the Medic and his target are extremely conscious of each other, watching their health and relative positions, and making tactical choices carefully. We wanted there to be skill involved in being a good healing target, so that Medics would seek out and latch onto skilled targets. This helps foster the relationship we were after."
64N/A"#commentary\tf2-Comment026.wav" "[Jakob Jungels] 无敌状态考虑进了多人游戏速度的因素,否则会让多人游戏的情绪起伏不如设计优秀的单人游戏。 进入无敌状态的 Medic 和队友进攻会让玩家觉得很刺激。 这对防守方而言也是紧急时刻,因为他们必须抵抗住 10 秒,直到无敌状态结束。 当敌方队伍退缩但又拒绝离开基地时,无敌状态能帮助队伍推进防御僵局,从而加快游戏进度。 如果不是缺少防御的零散兵力,攻方就比较容易在没有干扰的情况下补充无敌状态的能量。 此外,无敌状态也是 Medic 的得意目标,是作为他进行有效治疗后的奖励。 为了鼓励这种行为,Medic 治疗受重伤的队友时,重伤伤员获得的能量会比轻伤伤员多。"
65N/A"[english]#commentary\tf2-Comment026.wav" "[Jakob Jungels] Invulnerability adds an element of pacing to the multiplayer experience, which otherwise tends to have fewer emotional highs and lows than a well-crafted single player game. When an invulnerable Medic & his friend come running in, it's an extreme high point for them. It's also a rush for the defenders, who know they've just got to hold on for 10 seconds until invulnerability fades. Invulnerability also sharpens pacing by helping a team push through a defensive stalemate, when the enemy team turtles up and refuses to come out of their base. Without a lack of defensive skirmishers, it's easier for the offense to build up the invulnerability charge without interruption. In addition, invulnerability is a great goal for the Medic and rewards him for being an effective healer. We encourage the behavior by adding more charge when the Medic is healing injured teammates than when he's healing ones who are already at full health."
66N/A"#commentary\tf2-Comment027.wav" "[Jeff Lane] 多人玩家的团队通常倾向于选择小地图,喜欢重复进行游戏。 我们没有制作大量的地图,因为有很多地图根本就无人问津,所以我们选择在单个地图上下足功夫,让它充满乐趣,重复玩也不会腻。 通常,在大多数的多人地图中,您在完成地图下载前就知道自己该做什么。 但在我们的地图中,我们希望玩家无法对地图进行预测,即使是最基本的起点也不行,更不用说让玩家知道该做什么或该往哪里去。 因此,Hydro 这张地图将以随机的方式开始。 我们强调对不断变换的地域进行控制,这意味着玩家几乎不会觉得地图在不断重复。 同时,直接的回合结构让玩家将注意力放在队伍上,并在队伍占领或失去领土时感受到起伏的情绪。"
67N/A"[english]#commentary\tf2-Comment027.wav" "[Jeff Lane] Multiplayer communities tend to focus on a small group of maps, playing them over and over again. Instead of producing a large number of maps, most of which would go un-played, we decided to try and build a single map with more innate replayability than any we'd built before. With most multiplayer maps, you know what you'll be doing before the map has even finished loading. In our case, we wanted a map where you couldn't predict even something as basic as your starting point, let alone what you would be doing when you got there. Hydro therefore begins with a randomized starting state. The emphasis on control of constantly shifting territories means the map rarely feels repetitive. Meanwhile, the explicit round structure keeps teams focused, and provides regular highs and lows as the teams gain and lose territory."
68N/A"#commentary\tf2-Comment028.wav" "[Kerry Davis] 通常,游戏会显示排名,即比较全球玩家的记录。 这种统计方式通常只有名列前茅的玩家感兴趣。 在 TF2 中,我们决定采用更好的排名方式,与玩家自己之前的成绩进行比较,将全球比较系统变成个人的激励系统。 游戏新手在技术未熟练之前就能得到鼓励与认同,知道自己在不断进步。 游戏老手则能知道自己与上次记录的差距,鼓励他们打破自己的记录。 个人统计系统同时也是一种认证系统。 玩家如果觉得自己这回合表现不错,统计系统会弹出消息,通常都是显示:“没错,刚才表现良好”。"
69N/A"[english]#commentary\tf2-Comment028.wav" "[Kerry Davis] Games usually approach stats by comparing the player to everyone else in the world. This is only really of interest to those who are near the top. With TF2 we decided that a better approach might be to compare stats to the player's previous successes, turning them from a worldwide comparative system into a personalized motivational one. The beginning player gets encouragement and acknowledgement that while they're not highly skilled yet, they're getting better all the time. The veterans get to see when they've managed to come close to their previous record, which encourages them beat that record. The personal stat system also acts as a validation system. When a player feels like they've had a really good run, the stats system pops up and essentially says, 'You're right, that was a great run.'"
70N/A"#commentary\tf2-Comment029.wav" "[Andrea Wicklund] 游戏的美术设计方针能提供越多易于理解的视觉效果,就不会需要花太多时间解释游戏元素。 TF2 的最早版本采用了非常写实的美术设计。 随着时间的过去,我们发现这会造成许多问题。 它在体现玩家兵种的差异方面很难让我们满意。 只要不是使用子弹的武器都很难从视觉上体现。 我们的地图并不符合现实世界的风格,因为现实中不会有对垒双方在距离彼此五十英尺的地方修建基地。 此外,游戏的视觉效果也与我们的其他游戏没什么差异。 但是风格化的世界就不会存在这些问题:将大块头的 Heavy 和穿细条纹的 Spy 放一起,玩家就能了解两个兵种的生命数值差异,以及完全不同的操控风格。 当玩家看到漂浮的红色加号流向目标时,就能立即明白这是 Medic 的治疗光束。 虚构的风格能够轻易解释为什么队伍的基地距离这么接近。 最后,TF2 的画面很容易识别,没有人会把 TF2 和其他游戏混为一谈。"
71N/A"[english]#commentary\tf2-Comment029.wav" "[Andrea Wicklund] The more your art direction can use well-understood visual representations, the less work you have to do to explain your game elements. The earliest version of TF2 had a heavily realistic art direction. As time went on, we found this was causing us a lot of issues. The differences between our player classes were hard to expose satisfactorily. Weapons firing anything other than bullets were hard to visualize. Our maps didn't make a lot of sense in the real world, where two opposing forces rarely build bases within fifty feet of one another. In addition, the game wasn't visually distinct from our other products. A stylized world had none of these problems: Put the massive Heavy next to the pinstripe-suited Spy, and players understand both the numerical health differences between the classes and their very different gameplay styles. The medic's healing beam was easily understood by playtesters when they saw the floating red plus symbols streaming into the target. A stylized fiction can easily explain why the team's bases are built right next to each other. Finally, a TF2 screenshot is easily recognizable, ensuring that no one will confuse it with another of our games."
72N/A"#commentary\tf2-Comment030.wav" "[Moby Francke] 在决定采用风格化的美术方针后,我们尝试了很多种风格,最终决定采用 J.C. Leyendecker 的风格,J.C. 是二十世纪初期广受欢迎的插画家。 Leyendecker 呈现衣物及材料的手法为我们提供了绝佳的范例,它不仅能添加角色细节,还能保持清晰、锐利的轮廓形状,这是体现兵种特色的关键。 我们使用了一般绘图法来描绘衣物的绉折,以便在近看时提供良好的细节层次,但又不会降低色彩值,从而通过色彩让玩家将视线放在极为重要的武器上。"
73N/A"[english]#commentary\tf2-Comment030.wav" "[Moby Francke] Having decided on a stylized art direction, we experimented with a variety of styles before settling on the example of J.C. Leyendecker, an enormously popular illustrator of the early 1900s. Leyendecker's rendering of clothing and material provided a great example of how to add detail to a character while keeping the clean, sharp silhouette shapes that were key to our class identification. We used normal maps to craft folds of clothing, which provided a fine level of detail when seen up close, without detracting from color values meant to draw the player's eyes to the all-important weaponry."
74N/A"#commentary\tf2-Comment031.wav" "[Ariel Diaz] 在多人游戏中,角色是美术设计的重点,因此我们在角色设计上耗费了大量心血。 我们针对角色模型研发了读取层级,玩家只要看到模型,就能了解所需的信息。 我们的层级如下:首先,他们在哪一队,其次,他们玩什么兵种,第三,他们使用哪种武器。 我们让每一队都采用独特的整体色彩,以便解决队伍识别的问题,红队采用暖色调,蓝队则采用冷色调。 兵种则以角色的轮廓来识别。 距离较远时,独特的轮廓及动画形状,加上大范围的光影层次,比模型上的其他视觉细节数量更加容易识别。 最后,我们特别强调武器的质感。 对比度最强的区域能吸引玩家的目光,这些区域全着重在角色模型的胸口,也就是他们持武器的地方。 此外,从角色双脚周围黑暗的细微倾斜,到胸口附近的明亮区域,这些都有助于吸引玩家注意武器。"
75N/A"[english]#commentary\tf2-Comment031.wav" "[Ariel Diaz] Characters are the most important piece of art in a multiplayer game, so that is where we spent most of our effort. We developed a read hierarchy for player models, prioritizing the information that players needed to be able to read merely by looking at the model. Our hierarchy was this: first, what team they're on, second, what class they're playing, and third, what weapon they're wielding. Team readability was addressed by adopting an overall color palette for each team, picking warm colors for Red and cool colors for Blu. Class readability was addressed through the character's silhouette. Unique silhouette and animation shapes are more identifiable at far distances, and across a broader range of light levels, than any amount of other visual detail on the model. Finally, the weapon was highlighted through the textures. The areas of highest contrast, which attracts player's eyes, are all focused around the chest area of our character models, right where they hold their weapon. In addition, the subtle gradient from darkness around the character's feet, to the bright areas around the chest, also helps draw the player's eyes to the weapons."
76N/A"#commentary\tf2-Comment032.wav" "[Charlie Brown] 玩家的兵种是 TF2 游戏的支柱。 对于兵种为什么是实用的设计工具有很多原因。 兵种是一种隐性的体验,游戏中的各个兵种都有相对的独特性。 厌倦其中某个兵种的玩家可以换成玩别的兵种,从而获得全新体验。 兵种能让我们满足玩家对不同技能与希望的需求。 新手或老手都能享受到游戏的乐趣。 行为谨慎的玩家、注重策略的防守玩家,以及追求刺激、喜欢强大火力的玩家,都能找到适合自己的兵种。 《Team Fortress 2》的兵种设计让我们能在游戏中提供大量的玩家技能,同时让单一玩家的决策权保持在可控制的范围内。"
77N/A"[english]#commentary\tf2-Comment032.wav" "[Charlie Brown] Player classes form the backbone of TF2's gameplay. There are a bunch of reasons why they're a useful design tool. A class is a bottled up experience, designed to be unique relative to the other classes in the game. A player who is getting tired of one class can switch to another class and get a fresh experience. They allow us to cater to players with a variety of different skills and desires. Beginning and advanced players can have fun together. Cautious cerebral thinkers, strategic defenders, and twitch firing adrenaline junkies can all find their niche. Team Fortress 2's Class design decisions enable us to have a larger number of player abilities in the game, while still keeping a single player's decisions down to a manageable level."
78N/A"#commentary\tf2-Comment033.wav" "[Robin Walker] 我们在 1999 年的 E3 首度展示了 TF2,而现在已经是 2007 年了。 为什么会花这么长的时间? 简单的答案是花时间才能出精品。 而详细的答案则需要让大家看看我们的研发过程。 研发过程的核心就是假设我们事先并不知道怎样的游戏设计才有趣。 我们知道过去有趣的部分。 但如果我们有三个想法,我们无法肯定哪一个创意最有趣。 因此,我们专注于研发重复过程,找出最有趣的创意。 这是根据不断的重复试验,尽可能让许多玩家试玩游戏,观察他们的反应并做出评估。 在 TF2 的开发过程中,我们尝试过很多特色,其中只有少数最终被采用,而其他大部分都被删除了。 例如,在最初版本的 TF2 中,我们试图以指挥官的概念制作游戏,有一位单人玩家可以看到战场的实时战略视野。 他要负责建立团队结构,并提供统一的团队策略。 但这牵涉到艰巨的设计挑战。 例如,要如何设计一款游戏,让指挥官能享受乐趣,同时又能确保战场上的其他玩家也觉得有趣? 要如何确保玩家和指挥官都重视彼此的付出? 万一指挥官很糟糕,或者情况相反,如果您是杰出的指挥官,但队员却很糟糕,我们又要如何保证游戏仍然有趣? 我们花了好几个月去解决诸如此类的问题,但是从未找到满意的答案。 此外,我们的游戏变得过分复杂,因为我们要尝试增加战略层次的部分,才能确保加入指挥官角色是有意义的。 最后,我们还是痛下决心放弃指挥官角色,继续开发游戏。"
79N/A"[english]#commentary\tf2-Comment033.wav" "[Robin Walker] We first showed TF2 at E3 in 1999, and here we are in 2007. So what took us so long? The short answer is that it took us this long to make something we were happy with. The long answer requires a look at our development process. At its core is the assumption that we don't really know ahead of time what will be fun. We know what has been fun in the past. But if we've got 3 ideas on the table, we can't say for sure which one will be the most fun. So, we've focused on developing a repeatable process that will find out. It's based on a cycle of constant iteration, where evaluation is done by watching as many people play the game as possible. In developing TF2, we tried out many, many features-a few of which made it to the final product, but most of which were cut. For example, our initial versions of TF2 were focused on trying to build a game around the concept of a commander, a single player who had a real-time-strategy view of the battlefield. He was responsible for building structures and providing a unifying strategy for the team. But there were significant design challenges involved. For instance, how do we design the game such that the commander can have fun, and at same time ensure that the players down on the ground can have fun? How do we ensure that the players & the commander value the output of the other? How do we ensure that the game is still fun if you have a terrible commander, or conversely, if you're a great commander with a terrible team? We spent many months working on these and other issues, and never reached a point where we were satisfied. In addition, our game had become overly complex, due to our attempts to add a strategy layer deep enough to warrant the addition of the commander in the first place. In the end, we made the hard decision to remove him from the game and moved on."
80N/A"#commentary\tf2-Comment034.wav" "[Kelly Thornton] 为了重点强调游戏节奏,爆击成为主要的特色之一。 我们会根据玩家最近的表现提高爆击率,尝试以爆击系统对游戏的情节起伏稍加影响。 总之,您表现越好,则保持优异成绩的可能性越大。 这将有助于制造少见的高潮,单一玩家可能连续爆击,快速连杀 3 到 4 个对手。"
81N/A"[english]#commentary\tf2-Comment034.wav" "[Kelly Thornton] Critical hits are one of the features that resulted from our focus on pacing. The critical hit system attempts to slightly influence the highs and lows of the game, by increasing the chance of a critical hit based upon the player's recent performance. In summary, the better you're doing, the more likely you'll continue to do well. This helps create those rare high moments, where a single player goes on a rampage and gets 3 or 4 kills in rapid succession."
82N/A"#commentary\tf2-Comment035.wav" "[Adrian Finol] 《Team Fortress Classic》与《Team Fortress 2》之间主要的变化之一就是投掷式手榴弹的取消。
N/A54"#commentary\tf2-Comment021.mp3" "[Marc Scaparro] Pyro 被设计成最佳短程战斗兵种,目的是为鼓励玩家利用埋伏的游戏方式。 为了实现这个目标,我们让 Pyro 在空旷区时容易受伤,迫使玩家找寻封闭区域以及出入口。 为了增加 Pyro 的短程杀伤力,我们让火焰喷射器的视觉效果非常显眼,这样能帮助不知所措的对手找到火焰来源并猎杀对方。"
N/A55"[english]#commentary\tf2-Comment021.mp3" "[Marc Scaparro] The Pyro is designed to be the best short-range combat class, aimed at encouraging players to adopt an ambush style of play. To achieve this, we made the Pyro vulnerable in the open, which forces players to seek out enclosed areas and doorways. To add to the Pyro's short range lethality, we made the flamethrower effects visually noisy, which helps disorient opponents long enough for the flames to finish them off."
N/A56"#commentary\tf2-Comment022.mp3" "[Wade Schin] Demoman 是能力最全面的战斗兵种,能快速从强力进攻转为防守状态。 他是游戏中唯一具备间接火力的兵种,能在角落解决步哨枪,而利用黏性炸弹能进行黏弹跳跃,类似 Soldier 的火箭跳跃技能。 他的黏性炸弹也能防止敌人从出入口移动、掩护撤退行动,即使不在控制点附近,也能防守控制点。"
N/A57"[english]#commentary\tf2-Comment022.mp3" "[Wade Schin] The Demoman is the most versatile combat class, capable of rapidly switching from strong offensive pushes to defensive area denial. He has the only indirect fire capability in the game, allowing him to take out sentryguns around the corner, and his sticky bombs give him a grenade jumping ability similar to that of the Soldier's rocket jumps. His sticky bombs can also prevent enemies from moving through doorways, cover a retreat, and defend control points even when the Demoman is somewhere else."
N/A58"#commentary\tf2-Comment023.mp3" "[Keith Huggins] Heavy 的转轮机枪火力范围广,玩家即使没有精确瞄准的技能,也能冲进激烈战斗区拼杀。 为了补偿玩家在精确瞄准上的欠缺,我们增强了其他技能的重要性。 例如,开火前的准备时间以及 Heavy 开火时速度会降低,使得玩家要学着预测战斗开始及敌人来袭的攻击时间。"
N/A59"[english]#commentary\tf2-Comment023.mp3" "[Keith Huggins] With its wide field of fire, the Heavy's minigun lets players who don't have great twitch-aiming skills still wade into the thick of combat. To make up for this reduction in the value of the player's aiming skill, we amplified the importance of other skills. For instance, the wind-up time before firing and the heavy's reduced speed while firing force players to learn to anticipate both the start of combat and incoming enemy attacks."
N/A60"#commentary\tf2-Comment024.mp3" "[John Morello] Medic 是主要的支持兵种。 我们以前设计的支持兵种有很多问题。 以前的支持兵种不怎么强调技术运用,因为他们主要在防御区的后方,也就是远离游戏中最有趣的部分。 最糟糕的是,这意味着他们没什么用,因为他们通常不会在最需要治疗的玩家附近。 通过让他们留在交战区内,我们在《Team Fortress 2》中解决了 Medic 的这些问题。 此外,我们设计的医疗枪使用非常简便,因此 Medic 可以在求生的同时为队友提供治疗。 医疗枪几乎不需要瞄准,让 Medic 可以专心跟随他们的医疗目标,而这些医疗目标也为 Medic 提供了强有力的安全保护。"
N/A61"[english]#commentary\tf2-Comment024.mp3" "[John Morello] The Medic is the main support class. Previous support classes we've designed had a variety of problems. They didn't require much skill, because they stayed back in defended areas, which also kept them out of the funnest parts of the game. Worst of all, this meant they weren't even terribly useful because they generally weren't near the players who most needed to be healed. We designed the Team Fortress 2 Medic to solve these problems, primarily by focusing on keeping them right in the thick of battle. Additionally, we designed the medigun to be as easy to use as possible, so that Medics can focus on survival while healing teammates. Virtually no aiming is required, which lets Medics concentrate on following their heal target, who has a huge incentive to keep his Medic benefactor safe."
N/A62"#commentary\tf2-Comment025.mp3" "[Aaron Halifax] 我们设计医疗枪的主要目的是在 Medic 和治疗目标间建立深厚关系。我们想知道,如果专注于建立两个玩家间的关系会是什么结果,而不仅仅是设法让大型队伍展开团队合作。医疗枪的设计能确保 Medic 以及他的治疗目标意识到彼此的存在,关注他们的生命值和相互位置,同时谨慎制定战略。我们希望玩家利用技巧让自己成为有意义的治疗目标,这样 Medic 才愿意找出并治疗有作战技术的目标。这将有助于构建我们希望看到的关系。"
N/A63"[english]#commentary\tf2-Comment025.mp3" "[Aaron Halifax] Our main goal in designing the Medigun was to build a strong relationship between the Medic and his healing target. We wanted to see what we would get if we focused on creating a tight loop between two players, instead of just thinking about getting the larger team to cooperate. The Medigun's design ensures that the Medic and his target are extremely conscious of each other, watching their health and relative positions, and making tactical choices carefully. We wanted there to be skill involved in being a good healing target, so that Medics would seek out and latch onto skilled targets. This helps foster the relationship we were after."
N/A64"#commentary\tf2-Comment026.mp3" "[Jakob Jungels] 无敌状态考虑进了多人游戏速度的因素,否则会让多人游戏的情绪起伏不如设计优秀的单人游戏。 进入无敌状态的 Medic 和队友进攻会让玩家觉得很刺激。 这对防守方而言也是紧急时刻,因为他们必须抵抗住 10 秒,直到无敌状态结束。 当敌方队伍退缩但又拒绝离开基地时,无敌状态能帮助队伍推进防御僵局,从而加快游戏进度。 如果不是缺少防御的零散兵力,攻方就比较容易在没有干扰的情况下补充无敌状态的能量。 此外,无敌状态也是 Medic 的得意目标,是作为他进行有效治疗后的奖励。 为了鼓励这种行为,Medic 治疗受重伤的队友时,重伤伤员获得的能量会比轻伤伤员多。"
N/A65"[english]#commentary\tf2-Comment026.mp3" "[Jakob Jungels] Invulnerability adds an element of pacing to the multiplayer experience, which otherwise tends to have fewer emotional highs and lows than a well-crafted single player game. When an invulnerable Medic & his friend come running in, it's an extreme high point for them. It's also a rush for the defenders, who know they've just got to hold on for 10 seconds until invulnerability fades. Invulnerability also sharpens pacing by helping a team push through a defensive stalemate, when the enemy team turtles up and refuses to come out of their base. Without a lack of defensive skirmishers, it's easier for the offense to build up the invulnerability charge without interruption. In addition, invulnerability is a great goal for the Medic and rewards him for being an effective healer. We encourage the behavior by adding more charge when the Medic is healing injured teammates than when he's healing ones who are already at full health."
N/A66"#commentary\tf2-Comment027.mp3" "[Jeff Lane] 多人玩家的团队通常倾向于选择小地图,喜欢重复进行游戏。 我们没有制作大量的地图,因为有很多地图根本就无人问津,所以我们选择在单个地图上下足功夫,让它充满乐趣,重复玩也不会腻。 通常,在大多数的多人地图中,您在完成地图下载前就知道自己该做什么。 但在我们的地图中,我们希望玩家无法对地图进行预测,即使是最基本的起点也不行,更不用说让玩家知道该做什么或该往哪里去。 因此,Hydro 这张地图将以随机的方式开始。 我们强调对不断变换的地域进行控制,这意味着玩家几乎不会觉得地图在不断重复。 同时,直接的回合结构让玩家将注意力放在队伍上,并在队伍占领或失去领土时感受到起伏的情绪。"
N/A67"[english]#commentary\tf2-Comment027.mp3" "[Jeff Lane] Multiplayer communities tend to focus on a small group of maps, playing them over and over again. Instead of producing a large number of maps, most of which would go un-played, we decided to try and build a single map with more innate replayability than any we'd built before. With most multiplayer maps, you know what you'll be doing before the map has even finished loading. In our case, we wanted a map where you couldn't predict even something as basic as your starting point, let alone what you would be doing when you got there. Hydro therefore begins with a randomized starting state. The emphasis on control of constantly shifting territories means the map rarely feels repetitive. Meanwhile, the explicit round structure keeps teams focused, and provides regular highs and lows as the teams gain and lose territory."
N/A68"#commentary\tf2-Comment028.mp3" "[Kerry Davis] 通常,游戏会显示排名,即比较全球玩家的记录。 这种统计方式通常只有名列前茅的玩家感兴趣。 在 TF2 中,我们决定采用更好的排名方式,与玩家自己之前的成绩进行比较,将全球比较系统变成个人的激励系统。 游戏新手在技术未熟练之前就能得到鼓励与认同,知道自己在不断进步。 游戏老手则能知道自己与上次记录的差距,鼓励他们打破自己的记录。 个人统计系统同时也是一种认证系统。 玩家如果觉得自己这回合表现不错,统计系统会弹出消息,通常都是显示:“没错,刚才表现良好”。"
N/A69"[english]#commentary\tf2-Comment028.mp3" "[Kerry Davis] Games usually approach stats by comparing the player to everyone else in the world. This is only really of interest to those who are near the top. With TF2 we decided that a better approach might be to compare stats to the player's previous successes, turning them from a worldwide comparative system into a personalized motivational one. The beginning player gets encouragement and acknowledgement that while they're not highly skilled yet, they're getting better all the time. The veterans get to see when they've managed to come close to their previous record, which encourages them beat that record. The personal stat system also acts as a validation system. When a player feels like they've had a really good run, the stats system pops up and essentially says, 'You're right, that was a great run.'"
N/A70"#commentary\tf2-Comment029.mp3" "[Andrea Wicklund] 游戏的美术设计方针能提供越多易于理解的视觉效果,就不会需要花太多时间解释游戏元素。 TF2 的最早版本采用了非常写实的美术设计。 随着时间的过去,我们发现这会造成许多问题。 它在体现玩家兵种的差异方面很难让我们满意。 只要不是使用子弹的武器都很难从视觉上体现。 我们的地图并不符合现实世界的风格,因为现实中不会有对垒双方在距离彼此五十英尺的地方修建基地。 此外,游戏的视觉效果也与我们的其他游戏没什么差异。 但是风格化的世界就不会存在这些问题:将大块头的 Heavy 和穿细条纹的 Spy 放一起,玩家就能了解两个兵种的生命数值差异,以及完全不同的操控风格。 当玩家看到漂浮的红色加号流向目标时,就能立即明白这是 Medic 的治疗光束。 虚构的风格能够轻易解释为什么队伍的基地距离这么接近。 最后,TF2 的画面很容易识别,没有人会把 TF2 和其他游戏混为一谈。"
N/A71"[english]#commentary\tf2-Comment029.mp3" "[Andrea Wicklund] The more your art direction can use well-understood visual representations, the less work you have to do to explain your game elements. The earliest version of TF2 had a heavily realistic art direction. As time went on, we found this was causing us a lot of issues. The differences between our player classes were hard to expose satisfactorily. Weapons firing anything other than bullets were hard to visualize. Our maps didn't make a lot of sense in the real world, where two opposing forces rarely build bases within fifty feet of one another. In addition, the game wasn't visually distinct from our other products. A stylized world had none of these problems: Put the massive Heavy next to the pinstripe-suited Spy, and players understand both the numerical health differences between the classes and their very different gameplay styles. The medic's healing beam was easily understood by playtesters when they saw the floating red plus symbols streaming into the target. A stylized fiction can easily explain why the team's bases are built right next to each other. Finally, a TF2 screenshot is easily recognizable, ensuring that no one will confuse it with another of our games."
N/A72"#commentary\tf2-Comment030.mp3" "[Moby Francke] 在决定采用风格化的美术方针后,我们尝试了很多种风格,最终决定采用 J.C. Leyendecker 的风格,J.C. 是二十世纪初期广受欢迎的插画家。 Leyendecker 呈现衣物及材料的手法为我们提供了绝佳的范例,它不仅能添加角色细节,还能保持清晰、锐利的轮廓形状,这是体现兵种特色的关键。 我们使用了一般绘图法来描绘衣物的绉折,以便在近看时提供良好的细节层次,但又不会降低色彩值,从而通过色彩让玩家将视线放在极为重要的武器上。"
N/A73"[english]#commentary\tf2-Comment030.mp3" "[Moby Francke] Having decided on a stylized art direction, we experimented with a variety of styles before settling on the example of J.C. Leyendecker, an enormously popular illustrator of the early 1900s. Leyendecker's rendering of clothing and material provided a great example of how to add detail to a character while keeping the clean, sharp silhouette shapes that were key to our class identification. We used normal maps to craft folds of clothing, which provided a fine level of detail when seen up close, without detracting from color values meant to draw the player's eyes to the all-important weaponry."
N/A74"#commentary\tf2-Comment031.mp3" "[Ariel Diaz] 在多人游戏中,角色是美术设计的重点,因此我们在角色设计上耗费了大量心血。 我们针对角色模型研发了读取层级,玩家只要看到模型,就能了解所需的信息。 我们的层级如下:首先,他们在哪一队,其次,他们玩什么兵种,第三,他们使用哪种武器。 我们让每一队都采用独特的整体色彩,以便解决队伍识别的问题,红队采用暖色调,蓝队则采用冷色调。 兵种则以角色的轮廓来识别。 距离较远时,独特的轮廓及动画形状,加上大范围的光影层次,比模型上的其他视觉细节数量更加容易识别。 最后,我们特别强调武器的质感。 对比度最强的区域能吸引玩家的目光,这些区域全着重在角色模型的胸口,也就是他们持武器的地方。 此外,从角色双脚周围黑暗的细微倾斜,到胸口附近的明亮区域,这些都有助于吸引玩家注意武器。"
N/A75"[english]#commentary\tf2-Comment031.mp3" "[Ariel Diaz] Characters are the most important piece of art in a multiplayer game, so that is where we spent most of our effort. We developed a read hierarchy for player models, prioritizing the information that players needed to be able to read merely by looking at the model. Our hierarchy was this: first, what team they're on, second, what class they're playing, and third, what weapon they're wielding. Team readability was addressed by adopting an overall color palette for each team, picking warm colors for Red and cool colors for Blu. Class readability was addressed through the character's silhouette. Unique silhouette and animation shapes are more identifiable at far distances, and across a broader range of light levels, than any amount of other visual detail on the model. Finally, the weapon was highlighted through the textures. The areas of highest contrast, which attracts player's eyes, are all focused around the chest area of our character models, right where they hold their weapon. In addition, the subtle gradient from darkness around the character's feet, to the bright areas around the chest, also helps draw the player's eyes to the weapons."
N/A76"#commentary\tf2-Comment032.mp3" "[Charlie Brown] 玩家的兵种是 TF2 游戏的支柱。 对于兵种为什么是实用的设计工具有很多原因。 兵种是一种隐性的体验,游戏中的各个兵种都有相对的独特性。 厌倦其中某个兵种的玩家可以换成玩别的兵种,从而获得全新体验。 兵种能让我们满足玩家对不同技能与希望的需求。 新手或老手都能享受到游戏的乐趣。 行为谨慎的玩家、注重策略的防守玩家,以及追求刺激、喜欢强大火力的玩家,都能找到适合自己的兵种。 《Team Fortress 2》的兵种设计让我们能在游戏中提供大量的玩家技能,同时让单一玩家的决策权保持在可控制的范围内。"
N/A77"[english]#commentary\tf2-Comment032.mp3" "[Charlie Brown] Player classes form the backbone of TF2's gameplay. There are a bunch of reasons why they're a useful design tool. A class is a bottled up experience, designed to be unique relative to the other classes in the game. A player who is getting tired of one class can switch to another class and get a fresh experience. They allow us to cater to players with a variety of different skills and desires. Beginning and advanced players can have fun together. Cautious cerebral thinkers, strategic defenders, and twitch firing adrenaline junkies can all find their niche. Team Fortress 2's Class design decisions enable us to have a larger number of player abilities in the game, while still keeping a single player's decisions down to a manageable level."
N/A78"#commentary\tf2-Comment033.mp3" "[Robin Walker] 我们在 1999 年的 E3 首度展示了 TF2,而现在已经是 2007 年了。 为什么会花这么长的时间? 简单的答案是花时间才能出精品。 而详细的答案则需要让大家看看我们的研发过程。 研发过程的核心就是假设我们事先并不知道怎样的游戏设计才有趣。 我们知道过去有趣的部分。 但如果我们有三个想法,我们无法肯定哪一个创意最有趣。 因此,我们专注于研发重复过程,找出最有趣的创意。 这是根据不断的重复试验,尽可能让许多玩家试玩游戏,观察他们的反应并做出评估。 在 TF2 的开发过程中,我们尝试过很多特色,其中只有少数最终被采用,而其他大部分都被删除了。 例如,在最初版本的 TF2 中,我们试图以指挥官的概念制作游戏,有一位单人玩家可以看到战场的实时战略视野。 他要负责建立团队结构,并提供统一的团队策略。 但这牵涉到艰巨的设计挑战。 例如,要如何设计一款游戏,让指挥官能享受乐趣,同时又能确保战场上的其他玩家也觉得有趣? 要如何确保玩家和指挥官都重视彼此的付出? 万一指挥官很糟糕,或者情况相反,如果您是杰出的指挥官,但队员却很糟糕,我们又要如何保证游戏仍然有趣? 我们花了好几个月去解决诸如此类的问题,但是从未找到满意的答案。 此外,我们的游戏变得过分复杂,因为我们要尝试增加战略层次的部分,才能确保加入指挥官角色是有意义的。 最后,我们还是痛下决心放弃指挥官角色,继续开发游戏。"
N/A79"[english]#commentary\tf2-Comment033.mp3" "[Robin Walker] We first showed TF2 at E3 in 1999, and here we are in 2007. So what took us so long? The short answer is that it took us this long to make something we were happy with. The long answer requires a look at our development process. At its core is the assumption that we don't really know ahead of time what will be fun. We know what has been fun in the past. But if we've got 3 ideas on the table, we can't say for sure which one will be the most fun. So, we've focused on developing a repeatable process that will find out. It's based on a cycle of constant iteration, where evaluation is done by watching as many people play the game as possible. In developing TF2, we tried out many, many features-a few of which made it to the final product, but most of which were cut. For example, our initial versions of TF2 were focused on trying to build a game around the concept of a commander, a single player who had a real-time-strategy view of the battlefield. He was responsible for building structures and providing a unifying strategy for the team. But there were significant design challenges involved. For instance, how do we design the game such that the commander can have fun, and at same time ensure that the players down on the ground can have fun? How do we ensure that the players & the commander value the output of the other? How do we ensure that the game is still fun if you have a terrible commander, or conversely, if you're a great commander with a terrible team? We spent many months working on these and other issues, and never reached a point where we were satisfied. In addition, our game had become overly complex, due to our attempts to add a strategy layer deep enough to warrant the addition of the commander in the first place. In the end, we made the hard decision to remove him from the game and moved on."
N/A80"#commentary\tf2-Comment034.mp3" "[Kelly Thornton] 为了重点强调游戏节奏,爆击成为主要的特色之一。 我们会根据玩家最近的表现提高爆击率,尝试以爆击系统对游戏的情节起伏稍加影响。 总之,您表现越好,则保持优异成绩的可能性越大。 这将有助于制造少见的高潮,单一玩家可能连续爆击,快速连杀 3 到 4 个对手。"
N/A81"[english]#commentary\tf2-Comment034.mp3" "[Kelly Thornton] Critical hits are one of the features that resulted from our focus on pacing. The critical hit system attempts to slightly influence the highs and lows of the game, by increasing the chance of a critical hit based upon the player's recent performance. In summary, the better you're doing, the more likely you'll continue to do well. This helps create those rare high moments, where a single player goes on a rampage and gets 3 or 4 kills in rapid succession."
N/A82"#commentary\tf2-Comment035.mp3" "[Adrian Finol] 《Team Fortress Classic》与《Team Fortress 2》之间主要的变化之一就是投掷式手榴弹的取消。
8383大部分的兵种都可以携带标准手榴弹加上次要手榴弹,与兵种的关系更为紧密。 《Team Fortress 2》重视独特的兵种角色,这让我们注意到相对某些主要武器而言,标准手榴弹更加能影响战斗过程。 这样会导致兵种的战斗风格过于类似,而这不是我们想要的效果。 此外,当我们回头看《Team Fortress Classic》的某些地图僵局,会发现原因通常是大量的手榴弹轰炸。 有两种状况特别麻烦:一种是玩家重复通过出入口扔手榴弹,希望能击中可能经过的敌人;而另一种情况则是快死亡的玩家会快速丢出所有的手榴弹,希望死也能多赚一个敌人。 取消标准手榴弹后,游戏马上变得更加有趣,尤其是弄不明白自己怎么死的新手,他们并不知道滚过脚边的手榴弹就是元凶。 在检验特定于兵种的手榴弹后,我们发现了类似的问题。 我们在游戏测试中取消了手榴弹,结果让游戏变得更有趣。 我们决定取消手榴弹后,对每个兵种进行了分析,看看这个决策会让每个兵种失去哪些能力。 如果我们发现兵种丧失的能力,会导致他们无法做出某些有趣的决定,而这些决定与特殊的手榴弹类型相关,我们就会加入其他能力作为弥补。"
84N/A"[english]#commentary\tf2-Comment035.wav" "[Adrian Finol] One of the main changes between Team Fortress Classic and Team Fortress 2 was the removal of thrown grenades.
N/A84"[english]#commentary\tf2-Comment035.mp3" "[Adrian Finol] One of the main changes between Team Fortress Classic and Team Fortress 2 was the removal of thrown grenades.
8585Most classes could carry a standard hand grenade along with a secondary grenade, tied more closely to the class. Team Fortress 2's focus on unique class roles led us to notice that the standard hand grenade was a more powerful combat decider than some of the primary weapons. This made the classes more similar in combat-not a desired effect. In addition, when we looked at some of Team Fortress Classic's map stalemates, they often resulted from large amounts of grenade spam. Two cases were particularly problematic: That of players throwing grenades repeatedly through doorways, hoping to kill any enemies who might be there, and players on the verge of death throwing all their grenades in rapid succession, hoping to get a kill after they die. Removing standard hand grenades made the game more fun almost immediately, especially for new players who were often confused as to why they died, when a grenade went off at their feet. When we examined the class-specific grenades, we found similar problems. Eliminating them from playtests gave us yet another boost in making the game more fun. Once we'd decided on removal, we analyzed each class to see what capabilities might have been lost as a result of the decision. In some cases we added other capabilities, where we felt a class had lost the ability to make some interesting decisions, related to its special grenade type.
8686"
87N/A"#commentary\tf2-Comment036.wav" "[Hamish McKenzie] 在游戏研发的后期,游戏的其他部分均已定型,我们发现还有时间可以做些额外的动画。 当时我们有许多想法,包括特定于武器的嘲笑动画。 在评估游戏特征时,我们会看这个特征能与多少其他特征关联,而嘲笑的特征明显胜出。 这项特征与杀手的暂停画面相辅相成,能增强复仇者与受害者间的敌对关系。 我们还能借此突出新的脸部动画技术,让玩家从各种角度检验这项技术。 最后,TF2 的角色有各自独特的性格,通过动画以及声音表情来嘲笑敌人,是表现角色性格的最佳方式。"
88N/A"[english]#commentary\tf2-Comment036.wav" "[Hamish McKenzie] Late in the project, while other parts of the game were being finished up, we found ourselves with some time left over for extra animation. There were several ideas on the table, including weapon-specific taunt animations. When evaluating a feature, we look at how many other features it connects to, and taunts were the clear winner. They play well with the killer freeze-cam, adding to the relationship between the nemesis and his victim. They gave us a highly visible place to show off our new facial animation technology, allowing the player to examine it from all angles. Finally, TF2's characters have a lot of personality, and taunts were the perfect way to show that personality through animation and voice acting."
89N/A"#commentary\tf2-Comment037.wav" "[Eric Smith] 我们在《Half-Life 2》中研发了所谓“响应规则”,这套系统能让我们微调角色说台词的方式,对无法完全预测的游戏事件进行响应。 在《Team Fortress 2》中,我们首次将“响应规则”应用到多人环境中。 “响应规则”系统的运作方式,是在简单的文本文件中,列出说话的概念;如果游戏中的事件符合文本文件中定义的规则或状况,那么游戏程序会让角色尝试说话。 例如,玩家填装武器弹药时,程序会发出讯号,告诉“响应规则”系统现在是时候让角色说出与填装弹药相关的台词。 “响应规则”系统会检查游戏世界的状态,并将状态与一连串的规则比较,决定当时的说话内容最好采用哪一句台词。 如果玩家的生命值过低,他在装弹药时所说的台词,可能会与生命值全满时的台词不同。 如果他在过去的 20 秒内杀死了两个以上的敌人,他可能又会说出特别的台词,如果他在水中,可能又会换另一句台词,以此类推。 我们将对话及规则保存在脚本档案中,让游戏的作者不需要任何程序的支持,就能在游戏中加入台词。"
90N/A"[english]#commentary\tf2-Comment037.wav" "[Eric Smith] For Half-Life 2 we developed something called Response Rules, a system that lets us fine-tune the way characters speak lines of dialog in response to game events that are not completely predictable. In Team Fortress 2, we extended Response Rules to the multiplayer environment for the first time. The Response Rule system works by listing speech concepts in a simple text file; the game code then makes characters attempt to speak when the rules or conditions defined in the text file are met in the game. For instance, when a player reloads his weapon, this signals the Response Rule system that now would be an appropriate time to speak a line about reloading. The Response Rule system checks the state of the world, and matches it to a set of rules that determine the best line of dialog to use for that speech concept. If the player's health is low, he may speak a different reloading line than if he is completely healthy. He could play a special line if he has killed more than two enemies in the last 20 seconds, another set of lines if he's underwater, and so on. Keeping dialog and rules in script files gives the game's writers the ability to add speech to the game without needing any code support.
N/A87"#commentary\tf2-Comment036.mp3" "[Hamish McKenzie] 在游戏研发的后期,游戏的其他部分均已定型,我们发现还有时间可以做些额外的动画。 当时我们有许多想法,包括特定于武器的嘲笑动画。 在评估游戏特征时,我们会看这个特征能与多少其他特征关联,而嘲笑的特征明显胜出。 这项特征与杀手的暂停画面相辅相成,能增强复仇者与受害者间的敌对关系。 我们还能借此突出新的脸部动画技术,让玩家从各种角度检验这项技术。 最后,TF2 的角色有各自独特的性格,通过动画以及声音表情来嘲笑敌人,是表现角色性格的最佳方式。"
N/A88"[english]#commentary\tf2-Comment036.mp3" "[Hamish McKenzie] Late in the project, while other parts of the game were being finished up, we found ourselves with some time left over for extra animation. There were several ideas on the table, including weapon-specific taunt animations. When evaluating a feature, we look at how many other features it connects to, and taunts were the clear winner. They play well with the killer freeze-cam, adding to the relationship between the nemesis and his victim. They gave us a highly visible place to show off our new facial animation technology, allowing the player to examine it from all angles. Finally, TF2's characters have a lot of personality, and taunts were the perfect way to show that personality through animation and voice acting."
N/A89"#commentary\tf2-Comment037.mp3" "[Eric Smith] 我们在《Half-Life 2》中研发了所谓“响应规则”,这套系统能让我们微调角色说台词的方式,对无法完全预测的游戏事件进行响应。 在《Team Fortress 2》中,我们首次将“响应规则”应用到多人环境中。 “响应规则”系统的运作方式,是在简单的文本文件中,列出说话的概念;如果游戏中的事件符合文本文件中定义的规则或状况,那么游戏程序会让角色尝试说话。 例如,玩家填装武器弹药时,程序会发出讯号,告诉“响应规则”系统现在是时候让角色说出与填装弹药相关的台词。 “响应规则”系统会检查游戏世界的状态,并将状态与一连串的规则比较,决定当时的说话内容最好采用哪一句台词。 如果玩家的生命值过低,他在装弹药时所说的台词,可能会与生命值全满时的台词不同。 如果他在过去的 20 秒内杀死了两个以上的敌人,他可能又会说出特别的台词,如果他在水中,可能又会换另一句台词,以此类推。 我们将对话及规则保存在脚本档案中,让游戏的作者不需要任何程序的支持,就能在游戏中加入台词。"
N/A90"[english]#commentary\tf2-Comment037.mp3" "[Eric Smith] For Half-Life 2 we developed something called Response Rules, a system that lets us fine-tune the way characters speak lines of dialog in response to game events that are not completely predictable. In Team Fortress 2, we extended Response Rules to the multiplayer environment for the first time. The Response Rule system works by listing speech concepts in a simple text file; the game code then makes characters attempt to speak when the rules or conditions defined in the text file are met in the game. For instance, when a player reloads his weapon, this signals the Response Rule system that now would be an appropriate time to speak a line about reloading. The Response Rule system checks the state of the world, and matches it to a set of rules that determine the best line of dialog to use for that speech concept. If the player's health is low, he may speak a different reloading line than if he is completely healthy. He could play a special line if he has killed more than two enemies in the last 20 seconds, another set of lines if he's underwater, and so on. Keeping dialog and rules in script files gives the game's writers the ability to add speech to the game without needing any code support.
9191"
92N/A"#commentary\tf2-Comment038.wav" "[Moby Francke] 在早期,当我们讨论如何表现角色的风格时,决定要采用插画式或风格画的外观,不打算过度强调 Toon Shader。 我们希望阴影的线条能比此类游戏的一般呈现方式更加柔和。 因此,我们使用 2D 质感定义角色上的光线,而在光线与阴暗的交界处,我们添加一点温暖的色调,让转换处有色彩的爆发力。 一旦我们完成正确的明暗模型,我们为角色加入边缘线,这样角色的轮廓边缘就有很好的明显效果,让角色在 3D 世界中更为突出。"
93N/A"[english]#commentary\tf2-Comment038.wav" "[Moby Francke] In our early discussions of rendering styles for the characters, we decided we wanted them to have a look that was illustrative or stylized, without going to the extremes of most toon shaders. We wanted softer lines for shading than was typical for this sort of rendering. So, we used a 2-D texture to define the lighting on the characters, and at the point where light and dark meet, we added a hint of warmth to give it that burst of color at the transition. Once we had achieved the right shading model, we added a rim-term to the characters, so they would have a nice highlight around the edges of their silhouettes, which helps them to stand out from the surrounding 3d world."
94N/A"#commentary\tf2-Comment039.wav" "[Dhabih Eng] 粒子系统的挑战,就是要建立有趣又具有视觉刺激的效果,但同时又不能太过头,否则玩家将无法了解效果在游戏中的意义。 在一般的竞赛中,画面上同时有许多效果,最大的危险就是画面过于杂乱。 因此,我们要对效果进行提炼,使之更简洁。 我们要让玩家能更轻松的注意到游戏中最重要的部分,而主要是美学考虑的视觉设计则要在背景中体现。 "
95N/A"[english]#commentary\tf2-Comment039.wav" "[Dhabih Eng] The challenge of the particle system was to create effects that were fun and visually exciting, without being so 'over the top' that no one could read their meaning in the game. In a typical match, there are so many effects onscreen at the same time, that the biggest danger is visual clutter. Therefore, the effects were refined to be cleaner and simpler. Those that were most important for gameplay were made easier to see, while those that were mainly eye-candy were allowed to fall into the background. "
96N/A"#commentary\tf2-Comment040.wav" "[Robin Walker] 游戏中有九个兵种,加上许多武器和特殊能力,我们最大的挑战之一就是要将这些元素全部呈现给玩家,但又不能过头,不能让玩家不知所措。 即使是精选后的基本信息清单也够吓人了,包括地图目标、队友的行踪、谁用什么武器攻击他们等等。 我们无法以画面呈现所有这些信息,因此我们要首先列出优先级,同时找出每位玩家要享受游戏乐趣所必须知道的基本信息。 他们玩游戏时能获得的信息,例如地图布局,都是次要的信息,但如果我们不提供此类信息,玩家就完全看不到这些信息了,例如 Medic 的无敌能量。 我们试图尽量避免在 HUD 中加入 2D 元素,因为我们希望玩家眼前的是 3D 世界,而不是抽象的图画。 例如,玩家始终能看见自己团队中 Spy 的长相,但他们还需要知道当本方的 Spy 伪装后,在敌人的眼中会是什么模样。 我们试过比较粗糙的方法,就是在 Spy 头上放一个图标,表示 Spy 目前已进行伪装。 结果,测试玩家很难理解这个图标。 后来,我们将纸面具放在 Spy 脸上,试着解决这个问题,这样不仅仅符合游戏的幽默风格,而且玩家只要看一眼 Spy 的模型,马上就能取得所有实际的信息,这样便能让他们专注于角色和游戏的行动。 我们也因此上了一课,明白如果我们坚持一成不变的设计原则,最后通常能帮助我们想出更好的解决方案,这比走快捷方式的效果好多了。"
97N/A"[english]#commentary\tf2-Comment040.wav" "[Robin Walker] With nine classes of characters, and so many weapons and unique abilities, one of our biggest challenges was exposing all these combinations to players without overwhelming them. Even the shortlist of essential information is intimidating, including map goals, the whereabouts of their friends, who's shooting them with what weapon, and so on. We didn't have any way to make all of this information visual, so first we had to prioritize and come up with an essential list of things every player needed to know in order to just have fun. Information they could learn by playing the game-such as map layout-was of secondary importance; but there was also information, such as the Medic's invulnerability charge, that would be completely invisible unless we exposed it. We tried to avoid attaching 2D elements to the HUD as much as possible, since we wanted players to be looking at the 3D world we'd built rather than some abstract representation. For example, players always see their own team's spies as a spy, but they need to know how the spy is disguised to the other team. We tried a quick hack where we put an icon representing the spy's current disguise floating above his head. The icon proved baffling to playtesters. When we tackled the problem by putting cut-out paper masks on the spy, it not only fit the humorous style of the game, but it let players get all pertinent information directly from a quick look at the spy's model, thus keeping them focused on the characters and on the action of the game. We took this as a lesson, in how holding ourselves to a strong design principle can often force us to come up with better solutions, than if we'd taken the easy route."
98N/A"#commentary\tf2-Comment041.wav" "[Jason Mitchell] 为了让角色阴影的风格能与影响游戏美术设计方向的二十世纪早期商业插画的风格一致,我们改变了角色身上扩散的照明变化。这里我们能看到 Heavy 以插画的阴影风格出现在军团要塞 2 中。注意观察他上臂皮肤上的光线与暗影边之间的紧密转换。使用传统光线,角色的明暗似乎太过柔和,缺乏手绘插画中所看到的独特外观。然而,我们的着色模型捕捉了光线与暗影边之间的戏剧性转换,有助于界定明确无误的军团要塞 2 外表。插图照明的另一面,就是照亮边缘来突出角色轮廓。在加上边缘照明后,您可以看到此 Heavy 特别的肩膀、脖子和头部,角色能与背景的其他部分区分开来,较为符合军团要塞 2 的美术风格。"
99N/A"[english]#commentary\tf2-Comment041.wav" "[Jason Mitchell] To achieve a style of character shading which is consistent with the early 20th Century commercial illustrations that influenced our art direction, we alter the diffuse lighting on characters. Here, we can see the Heavy as he appears in Team Fortress 2, using this type of shading style. Note the tight transition between the light and dark sides of the skin on his upper arm. Using a traditional shading model as seen here, the character lighting appears too soft and lacks the distinctive look seen in hand painted illustrations. Our shading model, however, captures the dramatic transition between light and dark and helps to define the unmistakable look of Team Fortress 2. Another facet of illustrative shading is the use of rim highlights to accentuate the silhouettes of characters. Without the rim lighting, the characters tend to blend into the scenery. With the rim lighting, which you can see specifically on the Heavy's shoulders, neck, and head in this example, our characters are visible against the rest of the scene and better fit the art style of Team Fortress 2."
100N/A"#commentary\tf2-Comment042.wav" "[Alden Kroll] 二维的 HUD 元素产生了一个特殊的美术问题,因为无论玩家使用什么分辨率,画面都必须清晰锐利。 由于目前高分辨率宽屏幕的普及,这就需要大量的内存来处理质感,同时还得花很多功夫来预测不同的显示分辨率设定。 TF2 的问题更是令人气馁,因为我们希望在 HUD 中包含大量的平滑线条元素。 我们研发了新的系统,用以描绘“线性美术”影像。 这个系统能让我们在固定分辨率下所制作的图像即使按比例放大到极高的分辨率,也同样能呈现平滑的轮廓。 这个着色系统也能处理轮廓以及投影,而且能应用到 3D 空间的世界元素,例如一些标志。"
101N/A"[english]#commentary\tf2-Comment042.wav" "[Alden Kroll] Two-dimensional HUD elements present a particular art problem, because they have to look good and sharp no matter what resolution the user is running their game at. Given today's availability of high resolution wide-screen displays, this can require a lot of texture memory and a lot of work anticipating different display resolutions. The problem for TF2 was even more daunting because of our desire to include a lot of smooth curved elements in our HUD. We developed a new shader system for drawing 'line art' images. The system allows us to create images at a fixed resolution that produced smooth silhouettes even when scaled up to a very high resolution. This shader system also handles outlining and drop-shadows, and can be applied in the 3D space to world elements such as signs. "
102N/A"#commentary\tf2-Comment043.wav" "[Chris Green] 我们希望《Team Fortress 2》采用了许多特殊粒子效果,用于提升多样化的武器和兵种技能。 在以前版本的 Source 引擎中,所有粒子效果都需要由程序设计人员编写自定义代码。 在《Team Fortress 2》中,我们建立了一个系统,让设计师能快速构建新的粒子系统,同时不断改进目前的粒子系统,这一切都不需要程序设计人员介入。 游戏中的编辑器让设计师能够编辑对粒子系统的定义,并立即查看实际游戏效果。 编辑器也能让美术设计师连结模块效果“建筑方块”,建立复杂的视觉效果。 至于粒子系统本身,我们免去了许多图形加速器的系统计算,这让我们可以增加画面上的粒子,同时又不会降低帧速度。"
103N/A"[english]#commentary\tf2-Comment043.wav" "[Chris Green] We intended Team Fortress 2 to feature many special particle effects to enhance the wide variety of weapons and class abilities. In previous versions of the Source engine, all particle effects required that custom code be written by the programmers. For Team Fortress 2, we created a system where designers can rapidly create new particle systems and iteratively refine existing ones, without programmer involvement. An in-game editor allows designers to edit the definitions of particle systems and immediately preview effects in the game itself. The editor also allows artists to connect modular effect 'building blocks' to create complex visual effects. As for the particle system itself, we have offloaded many of the system calculations to the graphics accelerator, which allows us to increase the number of particles onscreen without reducing the framerate."
104N/A"#commentary\tf2-Comment044.wav" "[Eric Kirchmer] 在我们确定游戏世界以及角色的美术设计方向后,我们随后将注意力放到了武器和道具上。 虽然这些东西都有现实根据,但我们通常会做较大的改动。 例如,Soldier 的火箭发射器符合肩扛式火箭发射器的模型,但是一个弹匣却能容纳四发火箭。 为了让这样的设计合理化,并且玩一下风格化的间谍虚构故事,我们将外观设计成能自定义的硬件,每个角色都能根据自己的需求对武器进行个性化和修改。 为了符合游戏的工业主题,在设计主要武器时,我们借鉴了六十年代的产品设计原则,然后从乐器中吸取灵感来设计次要武器及近战武器,因为这样能强化次要武器与每个角色性格间的关联。"
105N/A"[english]#commentary\tf2-Comment044.wav" "[Eric Kirchmer] Once we had a handle on the art direction for our world and characters, we turned our attention to the weapons and gadgets. While these objects have some grounding in reality, they usually diverge in significant ways. For instance, the soldier's rocket launcher fits the general mold of a shoulder mounted rocket launcher, but somehow manages to hold four rockets in a clip. To justify this, and play up our stylized Spy-tech fiction, we designed the weapons to look like customized pieces of hardware, personalized and modified by each character to suit his own ends. In keeping with the industrial theme of the game, we looked to 60's era product design principles for the primary weapons, then focused on musical instruments for secondary and melee weapons, thinking these would reinforce the connection between the secondary items and each character's personality."
106N/A"#commentary\tf2-Comment045.wav" "[Jim Hughes] 设计高水平的战斗区域时,我们试着避免过于复杂混乱的场面。 复杂的几何学设计会让玩家感到困惑,让他们难以追踪敌人,并对他们战斗时的移动和瞄准能力产生干扰。 当房间无法容纳在里面战斗的玩家人数时,通常会让战斗的混乱情况加剧。 在地图的最后区域,我们希望玩家能在取得决定性的胜利前,首先自由展开激烈的战斗。 为了实现这个目标,我们建立了开阔的空间,添加上几个入口,同时提供多种高度,让玩家能以多种方式进攻和防守。 我们没有采用电梯或梯子,而是采用了斜坡,因为这样玩家随时都能自由移动而不会受到限制。 根据游戏测试,我们大幅改变了房间的维度和入口的大小,这样能确保战斗区域可以容纳更多玩家。 "
107N/A"[english]#commentary\tf2-Comment045.wav" "[Jim Hughes] When designing areas for high levels of combat, we try to avoid complexity and chaos. Complex geometry confuses players, making it hard for them to track enemies, and interfering with their movement and aiming during combat. The most chaotic combat tends to occur when the size of the room fails to support the number of players fighting in it. In this final area of the map, we wanted a freeform battle to rage for some time before anyone could achieve a decisive victory. To achieve this, we built a wide open area with several entrances, and gave players a variety of attack and defense options at various heights. Rather than depend on elevators and ladders, we relied on ramps, since these allow freedom of movement at all times instead of confining players. Through playtesting we made many changes to the dimensions of the room, the size of cover elements, and the size of the entrances, thus ensuring the area could accommodate a battle of many players. "
108N/A"#commentary\tf2-Comment046.wav" "[Aaron Barber] Hydro 不像 TF 中的地图有渐进的蓝色及红色侧边,例如 2fort 以及 Well,TF2 中的队伍能拥有 Hydro 的四个主要竞技场。 我们需要一个整体的主题,让一些结构合理化,例如岩墙及隧道,但是同时也要保持中性的色彩组合。 我们选择沙漠主题,搭配红棕色岩石、冷色调蓝天以及中性浅色系的独特色调,配合周围环境。 不同区域的色彩略有不同,但仍可以彼此搭配。"
109N/A"[english]#commentary\tf2-Comment046.wav" "[Aaron Barber] Unlike maps in TF such as 2fort and Well, which have progressively blue and red sides, Hydro's four main arenas can be owned by one team or the other. We needed an overall theme that justified structures like rock walls and tunnels, but which also had a neutral color scheme. We chose a desert theme with a palette of reddish-brown rock, cool blue sky and neutral light colors that complement the surrounding area. The colors of the seperate areas vary slightly but still key together.
N/A92"#commentary\tf2-Comment038.mp3" "[Moby Francke] 在早期,当我们讨论如何表现角色的风格时,决定要采用插画式或风格画的外观,不打算过度强调 Toon Shader。 我们希望阴影的线条能比此类游戏的一般呈现方式更加柔和。 因此,我们使用 2D 质感定义角色上的光线,而在光线与阴暗的交界处,我们添加一点温暖的色调,让转换处有色彩的爆发力。 一旦我们完成正确的明暗模型,我们为角色加入边缘线,这样角色的轮廓边缘就有很好的明显效果,让角色在 3D 世界中更为突出。"
N/A93"[english]#commentary\tf2-Comment038.mp3" "[Moby Francke] In our early discussions of rendering styles for the characters, we decided we wanted them to have a look that was illustrative or stylized, without going to the extremes of most toon shaders. We wanted softer lines for shading than was typical for this sort of rendering. So, we used a 2-D texture to define the lighting on the characters, and at the point where light and dark meet, we added a hint of warmth to give it that burst of color at the transition. Once we had achieved the right shading model, we added a rim-term to the characters, so they would have a nice highlight around the edges of their silhouettes, which helps them to stand out from the surrounding 3d world."
N/A94"#commentary\tf2-Comment039.mp3" "[Dhabih Eng] 粒子系统的挑战,就是要建立有趣又具有视觉刺激的效果,但同时又不能太过头,否则玩家将无法了解效果在游戏中的意义。 在一般的竞赛中,画面上同时有许多效果,最大的危险就是画面过于杂乱。 因此,我们要对效果进行提炼,使之更简洁。 我们要让玩家能更轻松的注意到游戏中最重要的部分,而主要是美学考虑的视觉设计则要在背景中体现。 "
N/A95"[english]#commentary\tf2-Comment039.mp3" "[Dhabih Eng] The challenge of the particle system was to create effects that were fun and visually exciting, without being so 'over the top' that no one could read their meaning in the game. In a typical match, there are so many effects onscreen at the same time, that the biggest danger is visual clutter. Therefore, the effects were refined to be cleaner and simpler. Those that were most important for gameplay were made easier to see, while those that were mainly eye-candy were allowed to fall into the background. "
N/A96"#commentary\tf2-Comment040.mp3" "[Robin Walker] 游戏中有九个兵种,加上许多武器和特殊能力,我们最大的挑战之一就是要将这些元素全部呈现给玩家,但又不能过头,不能让玩家不知所措。 即使是精选后的基本信息清单也够吓人了,包括地图目标、队友的行踪、谁用什么武器攻击他们等等。 我们无法以画面呈现所有这些信息,因此我们要首先列出优先级,同时找出每位玩家要享受游戏乐趣所必须知道的基本信息。 他们玩游戏时能获得的信息,例如地图布局,都是次要的信息,但如果我们不提供此类信息,玩家就完全看不到这些信息了,例如 Medic 的无敌能量。 我们试图尽量避免在 HUD 中加入 2D 元素,因为我们希望玩家眼前的是 3D 世界,而不是抽象的图画。 例如,玩家始终能看见自己团队中 Spy 的长相,但他们还需要知道当本方的 Spy 伪装后,在敌人的眼中会是什么模样。 我们试过比较粗糙的方法,就是在 Spy 头上放一个图标,表示 Spy 目前已进行伪装。 结果,测试玩家很难理解这个图标。 后来,我们将纸面具放在 Spy 脸上,试着解决这个问题,这样不仅仅符合游戏的幽默风格,而且玩家只要看一眼 Spy 的模型,马上就能取得所有实际的信息,这样便能让他们专注于角色和游戏的行动。 我们也因此上了一课,明白如果我们坚持一成不变的设计原则,最后通常能帮助我们想出更好的解决方案,这比走快捷方式的效果好多了。"
N/A97"[english]#commentary\tf2-Comment040.mp3" "[Robin Walker] With nine classes of characters, and so many weapons and unique abilities, one of our biggest challenges was exposing all these combinations to players without overwhelming them. Even the shortlist of essential information is intimidating, including map goals, the whereabouts of their friends, who's shooting them with what weapon, and so on. We didn't have any way to make all of this information visual, so first we had to prioritize and come up with an essential list of things every player needed to know in order to just have fun. Information they could learn by playing the game-such as map layout-was of secondary importance; but there was also information, such as the Medic's invulnerability charge, that would be completely invisible unless we exposed it. We tried to avoid attaching 2D elements to the HUD as much as possible, since we wanted players to be looking at the 3D world we'd built rather than some abstract representation. For example, players always see their own team's spies as a spy, but they need to know how the spy is disguised to the other team. We tried a quick hack where we put an icon representing the spy's current disguise floating above his head. The icon proved baffling to playtesters. When we tackled the problem by putting cut-out paper masks on the spy, it not only fit the humorous style of the game, but it let players get all pertinent information directly from a quick look at the spy's model, thus keeping them focused on the characters and on the action of the game. We took this as a lesson, in how holding ourselves to a strong design principle can often force us to come up with better solutions, than if we'd taken the easy route."
N/A98"#commentary\tf2-Comment041.mp3" "[Jason Mitchell] 为了让角色阴影的风格能与影响游戏美术设计方向的二十世纪早期商业插画的风格一致,我们改变了角色身上扩散的照明变化。这里我们能看到 Heavy 以插画的阴影风格出现在军团要塞 2 中。注意观察他上臂皮肤上的光线与暗影边之间的紧密转换。使用传统光线,角色的明暗似乎太过柔和,缺乏手绘插画中所看到的独特外观。然而,我们的着色模型捕捉了光线与暗影边之间的戏剧性转换,有助于界定明确无误的军团要塞 2 外表。插图照明的另一面,就是照亮边缘来突出角色轮廓。在加上边缘照明后,您可以看到此 Heavy 特别的肩膀、脖子和头部,角色能与背景的其他部分区分开来,较为符合军团要塞 2 的美术风格。"
N/A99"[english]#commentary\tf2-Comment041.mp3" "[Jason Mitchell] To achieve a style of character shading which is consistent with the early 20th Century commercial illustrations that influenced our art direction, we alter the diffuse lighting on characters. Here, we can see the Heavy as he appears in Team Fortress 2, using this type of shading style. Note the tight transition between the light and dark sides of the skin on his upper arm. Using a traditional shading model as seen here, the character lighting appears too soft and lacks the distinctive look seen in hand painted illustrations. Our shading model, however, captures the dramatic transition between light and dark and helps to define the unmistakable look of Team Fortress 2. Another facet of illustrative shading is the use of rim highlights to accentuate the silhouettes of characters. Without the rim lighting, the characters tend to blend into the scenery. With the rim lighting, which you can see specifically on the Heavy's shoulders, neck, and head in this example, our characters are visible against the rest of the scene and better fit the art style of Team Fortress 2."
N/A100"#commentary\tf2-Comment042.mp3" "[Alden Kroll] 二维的 HUD 元素产生了一个特殊的美术问题,因为无论玩家使用什么分辨率,画面都必须清晰锐利。 由于目前高分辨率宽屏幕的普及,这就需要大量的内存来处理质感,同时还得花很多功夫来预测不同的显示分辨率设定。 TF2 的问题更是令人气馁,因为我们希望在 HUD 中包含大量的平滑线条元素。 我们研发了新的系统,用以描绘“线性美术”影像。 这个系统能让我们在固定分辨率下所制作的图像即使按比例放大到极高的分辨率,也同样能呈现平滑的轮廓。 这个着色系统也能处理轮廓以及投影,而且能应用到 3D 空间的世界元素,例如一些标志。"
N/A101"[english]#commentary\tf2-Comment042.mp3" "[Alden Kroll] Two-dimensional HUD elements present a particular art problem, because they have to look good and sharp no matter what resolution the user is running their game at. Given today's availability of high resolution wide-screen displays, this can require a lot of texture memory and a lot of work anticipating different display resolutions. The problem for TF2 was even more daunting because of our desire to include a lot of smooth curved elements in our HUD. We developed a new shader system for drawing 'line art' images. The system allows us to create images at a fixed resolution that produced smooth silhouettes even when scaled up to a very high resolution. This shader system also handles outlining and drop-shadows, and can be applied in the 3D space to world elements such as signs. "
N/A102"#commentary\tf2-Comment043.mp3" "[Chris Green] 我们希望《Team Fortress 2》采用了许多特殊粒子效果,用于提升多样化的武器和兵种技能。 在以前版本的 Source 引擎中,所有粒子效果都需要由程序设计人员编写自定义代码。 在《Team Fortress 2》中,我们建立了一个系统,让设计师能快速构建新的粒子系统,同时不断改进目前的粒子系统,这一切都不需要程序设计人员介入。 游戏中的编辑器让设计师能够编辑对粒子系统的定义,并立即查看实际游戏效果。 编辑器也能让美术设计师连结模块效果“建筑方块”,建立复杂的视觉效果。 至于粒子系统本身,我们免去了许多图形加速器的系统计算,这让我们可以增加画面上的粒子,同时又不会降低帧速度。"
N/A103"[english]#commentary\tf2-Comment043.mp3" "[Chris Green] We intended Team Fortress 2 to feature many special particle effects to enhance the wide variety of weapons and class abilities. In previous versions of the Source engine, all particle effects required that custom code be written by the programmers. For Team Fortress 2, we created a system where designers can rapidly create new particle systems and iteratively refine existing ones, without programmer involvement. An in-game editor allows designers to edit the definitions of particle systems and immediately preview effects in the game itself. The editor also allows artists to connect modular effect 'building blocks' to create complex visual effects. As for the particle system itself, we have offloaded many of the system calculations to the graphics accelerator, which allows us to increase the number of particles onscreen without reducing the framerate."
N/A104"#commentary\tf2-Comment044.mp3" "[Eric Kirchmer] 在我们确定游戏世界以及角色的美术设计方向后,我们随后将注意力放到了武器和道具上。 虽然这些东西都有现实根据,但我们通常会做较大的改动。 例如,Soldier 的火箭发射器符合肩扛式火箭发射器的模型,但是一个弹匣却能容纳四发火箭。 为了让这样的设计合理化,并且玩一下风格化的间谍虚构故事,我们将外观设计成能自定义的硬件,每个角色都能根据自己的需求对武器进行个性化和修改。 为了符合游戏的工业主题,在设计主要武器时,我们借鉴了六十年代的产品设计原则,然后从乐器中吸取灵感来设计次要武器及近战武器,因为这样能强化次要武器与每个角色性格间的关联。"
N/A105"[english]#commentary\tf2-Comment044.mp3" "[Eric Kirchmer] Once we had a handle on the art direction for our world and characters, we turned our attention to the weapons and gadgets. While these objects have some grounding in reality, they usually diverge in significant ways. For instance, the soldier's rocket launcher fits the general mold of a shoulder mounted rocket launcher, but somehow manages to hold four rockets in a clip. To justify this, and play up our stylized Spy-tech fiction, we designed the weapons to look like customized pieces of hardware, personalized and modified by each character to suit his own ends. In keeping with the industrial theme of the game, we looked to 60's era product design principles for the primary weapons, then focused on musical instruments for secondary and melee weapons, thinking these would reinforce the connection between the secondary items and each character's personality."
N/A106"#commentary\tf2-Comment045.mp3" "[Jim Hughes] 设计高水平的战斗区域时,我们试着避免过于复杂混乱的场面。 复杂的几何学设计会让玩家感到困惑,让他们难以追踪敌人,并对他们战斗时的移动和瞄准能力产生干扰。 当房间无法容纳在里面战斗的玩家人数时,通常会让战斗的混乱情况加剧。 在地图的最后区域,我们希望玩家能在取得决定性的胜利前,首先自由展开激烈的战斗。 为了实现这个目标,我们建立了开阔的空间,添加上几个入口,同时提供多种高度,让玩家能以多种方式进攻和防守。 我们没有采用电梯或梯子,而是采用了斜坡,因为这样玩家随时都能自由移动而不会受到限制。 根据游戏测试,我们大幅改变了房间的维度和入口的大小,这样能确保战斗区域可以容纳更多玩家。 "
N/A107"[english]#commentary\tf2-Comment045.mp3" "[Jim Hughes] When designing areas for high levels of combat, we try to avoid complexity and chaos. Complex geometry confuses players, making it hard for them to track enemies, and interfering with their movement and aiming during combat. The most chaotic combat tends to occur when the size of the room fails to support the number of players fighting in it. In this final area of the map, we wanted a freeform battle to rage for some time before anyone could achieve a decisive victory. To achieve this, we built a wide open area with several entrances, and gave players a variety of attack and defense options at various heights. Rather than depend on elevators and ladders, we relied on ramps, since these allow freedom of movement at all times instead of confining players. Through playtesting we made many changes to the dimensions of the room, the size of cover elements, and the size of the entrances, thus ensuring the area could accommodate a battle of many players. "
N/A108"#commentary\tf2-Comment046.mp3" "[Aaron Barber] Hydro 不像 TF 中的地图有渐进的蓝色及红色侧边,例如 2fort 以及 Well,TF2 中的队伍能拥有 Hydro 的四个主要竞技场。 我们需要一个整体的主题,让一些结构合理化,例如岩墙及隧道,但是同时也要保持中性的色彩组合。 我们选择沙漠主题,搭配红棕色岩石、冷色调蓝天以及中性浅色系的独特色调,配合周围环境。 不同区域的色彩略有不同,但仍可以彼此搭配。"
N/A109"[english]#commentary\tf2-Comment046.mp3" "[Aaron Barber] Unlike maps in TF such as 2fort and Well, which have progressively blue and red sides, Hydro's four main arenas can be owned by one team or the other. We needed an overall theme that justified structures like rock walls and tunnels, but which also had a neutral color scheme. We chose a desert theme with a palette of reddish-brown rock, cool blue sky and neutral light colors that complement the surrounding area. The colors of the seperate areas vary slightly but still key together.
110110"
111N/A"#commentary\tf2-Comment047.wav" "[Chet Faliszek] Team Fortress 2 中的配音演员 Ellen McLain,她独一无二的声音特质让她成为唯一个在所有橙盒产品中出任配音工作的演员。对于她在 Team Fortress 2 中的角色,我们让 Ellen 用不同的感觉读出相同的句子,希望她的即兴表现能够呈现不同的人物特点。终于在第 5 次演绎时,她找到的最佳状态。她失望而又略带怒气,邪恶而又至上无上的声音立即可以让你感觉到,在 Team Fortress 游戏中,平局并不意味着每个人都赢了,而是代表统统是输家。"
112N/A"[english]#commentary\tf2-Comment047.wav" "[Chet Faliszek] The announcer for Team Fortress 2, Ellen McLain, has the rare distinction of being the only voice actor to perform in all the products in the Orange box. For her role in Team Fortress 2, we had Ellen try various reads on the same lines letting her ad-lib different personalities. On the 5th try, she came up with the winner. Her disappointed and slightly angry evil overlord clearly lets you know, in the world of Team Fortress a tie does not mean everyone wins, but that everyone loses."
113N/A"#commentary\tf2-Comment048.wav" "[Laura Dubuk] 这个区域是个麻烦的问题。 因为竞技场主要是在室内,我们不能对基本结构进行大幅改动,因此我们着重于小心处理室内空间的形状,以便构建浮雕空间。 建筑本身是个方块,有大型的长方形窗户,与中央的圆形(发电机)形成对比。 为了制造深度和视差,我们添加了线性元素,例如轨道和电缆。 我们利用地板上的阴影以及光线的明暗对比,再加上走廊来建立有趣的明暗图样。 将这些元素结合在一起后,玩家的目光将被旗帜所吸引 — 而旗帜必须成为竞技场的焦点。"
114N/A"[english]#commentary\tf2-Comment048.wav" "[Laura Dubuk] This area presented a difficult problem. Since the arena is primarily an interior, there wasn't much we could do to alter its basic structure, so we concentrated on careful management of the interior shapes to create an iconic space. The building is essentially a box with big rectangular windows, contrasted by round elements (generators) in the center. To create depth and parallax, we added linear elements such as railings and cables. We used contrasting values of dark and light on the floor, with walkways to create an interesting value pattern. All these elements work together to draw the player's eye to the flag--which must always be the focal point of the arena."
N/A111"#commentary\tf2-Comment047.mp3" "[Chet Faliszek] Team Fortress 2 中的配音演员 Ellen McLain,她独一无二的声音特质让她成为唯一个在所有橙盒产品中出任配音工作的演员。对于她在 Team Fortress 2 中的角色,我们让 Ellen 用不同的感觉读出相同的句子,希望她的即兴表现能够呈现不同的人物特点。终于在第 5 次演绎时,她找到的最佳状态。她失望而又略带怒气,邪恶而又至上无上的声音立即可以让你感觉到,在 Team Fortress 游戏中,平局并不意味着每个人都赢了,而是代表统统是输家。"
N/A112"[english]#commentary\tf2-Comment047.mp3" "[Chet Faliszek] The announcer for Team Fortress 2, Ellen McLain, has the rare distinction of being the only voice actor to perform in all the products in the Orange box. For her role in Team Fortress 2, we had Ellen try various reads on the same lines letting her ad-lib different personalities. On the 5th try, she came up with the winner. Her disappointed and slightly angry evil overlord clearly lets you know, in the world of Team Fortress a tie does not mean everyone wins, but that everyone loses."
N/A113"#commentary\tf2-Comment048.mp3" "[Laura Dubuk] 这个区域是个麻烦的问题。 因为竞技场主要是在室内,我们不能对基本结构进行大幅改动,因此我们着重于小心处理室内空间的形状,以便构建浮雕空间。 建筑本身是个方块,有大型的长方形窗户,与中央的圆形(发电机)形成对比。 为了制造深度和视差,我们添加了线性元素,例如轨道和电缆。 我们利用地板上的阴影以及光线的明暗对比,再加上走廊来建立有趣的明暗图样。 将这些元素结合在一起后,玩家的目光将被旗帜所吸引 — 而旗帜必须成为竞技场的焦点。"
N/A114"[english]#commentary\tf2-Comment048.mp3" "[Laura Dubuk] This area presented a difficult problem. Since the arena is primarily an interior, there wasn't much we could do to alter its basic structure, so we concentrated on careful management of the interior shapes to create an iconic space. The building is essentially a box with big rectangular windows, contrasted by round elements (generators) in the center. To create depth and parallax, we added linear elements such as railings and cables. We used contrasting values of dark and light on the floor, with walkways to create an interesting value pattern. All these elements work together to draw the player's eye to the flag--which must always be the focal point of the arena."
115115}
116116}