Template:PatchDiff/April 29, 2015 Patch/tf/resource/closecaption tchinese.txt

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33"Language" "tchinese"
44"Tokens"
55{
6N/A"#commentary\tf2-Comment000.mp3" "[Gabe Newell] 歡迎進入《絕地要塞 2》的世界。 經過九年的研發後,希望這款遊戲能證明大家的等待是值得的。 如果要聽評論內容,請將準心移到漂浮的評論符號上,然後按下你的使用鍵。 如果要停止評論內容,請將準心移到旋轉的節點上,然後再按一次使用鍵。 某些評論內容可能為了介紹遊戲特點,會暫時控制遊戲。 如果發生這種情況,請再按一次使用鍵,即可停止評論內容。 請您玩過遊戲後,與我分享你的想法。 請寄電子郵件:gaben@valvesoftware.com,我最喜歡的兵種是間諜。 謝謝,玩得愉快!"
N/A6"#commentary\tf2-Comment000.mp3" "[Gabe Newell] 歡迎進入《絕地要塞 2》的世界。 經過九年的研發後,希望這款遊戲能證明大家的等待是值得的。 如果要聽評論內容,請將準星移到漂浮的評論符號上,然後按下你的使用鍵。 如果要停止評論內容,請將準星移到旋轉的節點上,然後再按一次使用鍵。 某些評論內容可能為了介紹遊戲特點,會暫時控制遊戲。 如果發生這種情況,請再按一次使用鍵,即可停止評論內容。 請您玩過遊戲後,與我分享你的想法。 請寄電子郵件:gaben@valvesoftware.com,我最喜歡的兵種是間諜。 謝謝,玩得愉快!"
77"[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!"
88"#commentary\tf2-Comment001.mp3" "[Jeremy Stone] 在多人遊戲中,玩家的滿足感大都是因為與其他玩家互動而產生。 為了提高玩家的互動性,我們特別設計了一些功能,增進玩家間的關係。
99例如,我們提供殺手的暫停畫面,讓玩家記住敵方特定的麻煩人物。 復仇者的功能也會提醒玩家,哪些特定敵人是比較重要的目標。 玩家如果復仇殺了對方,就有機會取得額外分數,這樣能在遊戲中製造一點負面的強制循環。"
7070"[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.'"
7171"#commentary\tf2-Comment029.mp3" "[Andrea Wicklund] 遊戲的美術設計方向能提供越多易懂的視覺呈現,就不需要花太多功夫解釋遊戲元素。 TF2 的最早版本採用非常寫實的美術設計方向。 隨著時間演進,我們發現這會造成許多問題。 我們很難以滿意的方式呈現玩家兵種的差異。 只要武器不使用子彈發射,就很難以視覺化呈現。 我們的地圖與真實世界不符,因為真實世界中不會有敵對的陣營在距離彼此五十呎的地方建設基地。 此外,遊戲的視覺呈現也與我們的其他遊戲沒有明顯差異。 但是風格化的世界就不會有這些問題:將魁武的 Heavy 擺在穿細條紋的 Spy 旁,玩家就能瞭解兩種兵種的生命數值差異,以及大異其趣的操作風格。 測試玩家一看到漂浮的紅色加號流向目標時,就能輕易瞭解這是 Medic 的治療光束。 虛構的風格能輕易解釋為什麼隊伍的基地距離這麼接近。 最後,TF2 的畫面很容易辨識,沒人會把 TF2 和我們其他的遊戲搞混。"
7272"[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."
73N/A"#commentary\tf2-Comment030.mp3" "[Moby Francke] 決定採用風格化的美術方向後,我們實驗了很多種風格,最後才決定採用 J.C. Leyendecker 的風格,J.C. 是二十世紀初期大受歡迎的插畫家。 Leyendecker 呈現衣物及材料的手法,提供我們絕佳的範例,不僅能添加角色細節,同時又能保持簡潔、銳利的輪廓形狀,這是辨認兵種特色的關鍵。 我們使用一般地圖製造衣物的縐折,這在近看時能提供良好的細節層次,又不會降低吸引玩家看見極重要武器的色彩明度。"
N/A73"#commentary\tf2-Comment030.mp3" "[Moby Francke] 決定採用風格化的美術方向後,我們實驗了很多種風格,最後才決定採用 J.C. Leyendecker 的風格,J.C. 是二十世紀初期大受歡迎的插畫家。 Leyendecker 呈現衣物及材料的手法,提供我們絕佳的範例,不僅能添加角色細節,同時又能保持簡潔、銳利的輪廓形狀,這是辨認兵種特色的關鍵。 我們使用法線貼圖來製造衣物的縐折,這在近看時能提供良好的細節層次,又不會降低吸引玩家看見極重要武器的色彩明度。"
7474"[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."
7575"#commentary\tf2-Comment031.mp3" "[Ariel Diaz] 多人遊戲中,角色是美術設計的重頭戲,因此我們耗費最多心力設計角色。 我們針對角色模型研發了讀取式階級,玩家只要看到模型,就能讀取所需的資訊。 我們的階級如下:首先,他們在哪一隊,其次,他們玩什麼兵種,第三,他們使用哪種武器。 我們讓每一隊都採用獨特的整體色彩,處理可讀取的團隊資訊,紅隊採用暖色系,藍隊則採用冷色系。 兵種的可讀取資訊則以角色的輪廓處理。 距離較遠與光線亮度不一時,獨特的輪廓及動畫形狀,比模型上再多的其他視覺細節更加容易辨識。 最後,我們特別強調武器的質感。 能吸引玩家目光、對比最強的區域,全都在角色模型的胸口附近,也就是他們持武器的地方。 此外,從角色雙腳附近的暗色,到胸口附近明亮區域的微妙變化,也能協助玩家注意武器。"
7676"[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."
9696"[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. "
9797"#commentary\tf2-Comment040.mp3" "[Robin Walker] 遊戲中有九種兵種,加上許多武器及特殊能力,我們最大的挑戰之一,就是要將這些元素都呈現給玩家,但又不能過頭,導致玩家不知所措。 即使是基本資訊的精選清單也夠嚇人了,包括地圖目標、隊友的行蹤、誰用什麼武器攻擊他們等等。 我們沒有方法能以畫面呈現這些資訊,因此我們首先要列出優先順序,並且找出每位玩家在享受遊戲樂趣時,必須知道的基本資訊。 他們玩遊戲時能取得的資訊,例如地圖佈局,是次要的資訊,但像 Medic 的無敵能量這種資訊,若我們不提供,玩家就完全看不到了。 我們試圖盡量避免將 2D 元素加入 HUD,因為我們希望玩家看見的是 3D 世界,而非抽象的圖畫。 例如,玩家永遠能看見自己團隊中的 Spy 長什麼樣子,但他們也需要知道當我方的 Spy 偽裝時,在敵人的眼中是什麼模樣。 我們試過粗糙的方法,就是在 Spy 頭上放一個圖示,代表 Spy 目前的偽裝。 結果我們發現測試玩家很難理解這個圖示。 為了解決這個問題,我們嘗試將剪下的紙面具放在 Spy 臉上,這樣不只符合遊戲的幽默風格,而且玩家只要看一眼 Spy 的模型,馬上就能取得所有相關資訊,這樣能讓他們專注於角色及遊戲的行動。 我們也因此上了一課,瞭解如果我們堅守設計原則,最後通常能協助我們想出更好的解決方案,這比取巧走捷徑的效果好多了。"
9898"[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."
99N/A"#commentary\tf2-Comment041.mp3" "[Jason Mitchell] 為了讓角色的描影風格,能與影響我們遊戲美術設計方向一致,即二十世紀早期商業插畫風格,我們改變了角色身上擴散的照明變化。 這裡我們能看到 Soldier 以插畫的描影風格出現在《絕地要塞 2》中。 Soldier 由旁邊房間的光線照亮時,注意他的光線與暗影側邊之間的緊密轉換。 我們在這裡使用傳統光線 [將 r_identitylightwarp 設定為 1],角色的明暗似乎太過柔和,與我們的插畫風格不符。 利用插圖式照明模型 [將 r_identitylightwarp 設定為 0],遊戲中照亮角色的方式比較符合整體的美術風格。 插圖描影的另一個層面,就是打亮邊緣強調角色輪廓,讓角色不會與背景混在一起。 如果沒有邊緣的照明方式 [將 r_rimlight to 設定為 0],角色會融入背景中。 加上邊緣照明後,[將 r_rimlight 設定為 1],角色能在背景的其他部分突顯出來,比較符合《絕地要塞 2》的美術風格。"
N/A99"#commentary\tf2-Comment041.mp3" "[Jason Mitchell] 為了讓角色的描影風格,能與影響我們遊戲美術設計方向一致,即二十世紀早期商業插畫風格,我們改變了角色身上擴散的照明變化。這裡我們能看到 Soldier 以插畫的描影風格出現在《絕地要塞 2》中。Soldier 由旁邊房間的光線照亮時,注意他的光線與暗影側邊之間的緊密轉換。我們在這裡使用傳統光線,角色的明暗似乎太過柔和,與我們的插畫風格不符。利用插圖式照明模型,遊戲中照亮角色的方式比較符合整體的美術風格。插圖描影的另一個層面,就是打亮邊緣強調角色輪廓,讓角色不會與背景混在一起。如果沒有邊緣的照明方式,角色會融入背景中。加上邊緣照明後,角色能在背景的其他部分突顯出來,比較符合《絕地要塞 2》的美術風格。"
100100"[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."
101101"#commentary\tf2-Comment042.mp3" "[Alden Kroll] 二次元的 HUD 要素造成特殊的美術問題,因為無論玩家使用哪一種解析度,畫面都必須清晰銳利。 根據目前高解析度寬螢幕的普及度,這需要大量的記憶體處理質感,而且還要花很多功夫預測不同的顯示解析度設定。 TF2 的問題更是棘手,因為我們希望在 HUD 中包含大量平滑線條的元素。 我們研發了新的 Shader 系統,描繪線條與色彩明顯的影像。 這套系統讓我們能以固定解析度製作影像,即使按比例放大到極高的解析度,也能呈現平滑的輪廓。 這套填色系統也能處理輪廓及陰影,而且能應用到 3D 空間的世界元素,例如號誌。 "
102102"[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. "