Template:PatchDiff/June 27, 2011 Patch/team fortress 2 content.gcf/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《Team Fortress 2》的世界。 经过九年的开发,希望这款游戏能让大家发现等待的价值。 如果要听评论内容,请将准心移到漂浮的评论符号上,然后按使用键。 如果要停止收听评论内容,请将准心移到旋转的节点上,然后再按一次使用键。 某些评论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,请再按一次使用键,即可停止播放评论。 在玩过游戏后,请您与我分享自己的想法。 您可以发送电子邮件到:gaben@valvesoftware.com,我最喜欢的兵种是间谍。 谢谢,玩得开心!"
N/A6"#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。 如果要听评论内容,请将准心移到漂浮的评论符号上,然后按下使用键。 如果要停止收听评论内容,请再次将准心移到正在旋转的评论符号上,然后按下使用键。 某些评论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,即可停止播放评论。 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!"
77"[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,玩家大部分的时间都是在与其他玩家互动。 为了增强玩家间的互动,我们专门设计了一些功能来增进玩家间的关系。
9N/A例如,我们提供杀手的定格画面,帮助玩家记住麻烦的特定对手。 复仇者功能也会提醒玩家,哪些特定敌人是比较重要的目标。 玩家如果复仇杀死了对方,就有机会获得额外分数,这样能在游戏中制造一点负面的强制循环。"
N/A8"#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。"
109"[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.
1110For 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.
1211"
13N/A"#commentary\tf2-Comment002.wav" "[Laura Dubuk] 地图都需要无法通行的边界,但除非是将游戏环境限制在室内空间或陡峭的峡谷,否则我们无法永远阻挡玩家看到遥远、无法到达的区域。 在我们更贴近实际的游戏中,例如 HL2,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《Team Fortress 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,这些通往空旷地区的低矮栅栏,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/A12"#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。"
1413"[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."
15N/A"#commentary\tf2-Comment003.wav" "[Ariel Diaz] 在《Team Fortress 2》中,每个兵种经过专门设计,各自都具有独特的攻击和防守技能,而控制点基本上就是要让玩家注意到这些核心的攻击和防守活动。 控制点还能将玩家带到地图上其他不同的地点。"
N/A14"#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。"
1615"[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."
17N/A"#commentary\tf2-Comment004.wav" "[Jeff Lane] 在我们原来的设计中,攻击方一旦离开据点,他们就会失去之前占领据点的所有进度。 游戏测试表明,当玩家独自靠近敌方控制点时,如果发现该区域有敌人,原来的设计不会让玩家有尝试占领据点的动机。 此外,一旦某个团队只剩一个防守点,实力稍强的攻击团队通常也无法成功占领最后一个据点,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,即使攻击方离开据点,占领进度也会保留一定时间,这样便同时解决了原来设计存在的两个问题。"
N/A16"#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。"
1817"[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.
1918"
2019"#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。"
2120"[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."
2221"#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。"
2322"[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."
24N/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。 僵局基本上就是两队都失败。 为了避免出现僵局,地图设计中融入了两个变量:队伍重生时间以及从重生点到前线的行军时间。 胜利时间较快的队伍重生的时间会快一点,并且重生点会向前移一点,这样能制造积极的强制循环,增加他们向前推进的机会,并赢得胜利。"
N/A23"#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。"
2524"[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."
2625"#commentary\tf2-Comment008.wav" "[Dave RIller] 为了配合 Sniper,地图需要宽广开阔的空间、较长的视线以及提供保护的掩护点。 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? 在竞技场的另一方,通常会有与 Sniper 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。"
2726"[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."
9897"[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."
9998"#commentary\tf2-Comment041.wav" "[Jason Mitchell] 这里是 Soldier:setpos 281.531250 3295.468750 -124.027405;setang 4.553997 176.268036 0.000000 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 Soldier 以插画的阴影风格出现在《Team Fortress 2》中。 Soldier 由旁边房间的光线照亮时,注意观察光线与暗影边之间的紧密转换。 我们在这里使用传统光线 [将 r_identitylightwarp 设定为 1],角色的明暗似乎太过柔和,与我们的插画风格不符。 然而,利用插图式照明模型 [将 r_identitylightwarp 设定为 0],游戏中照亮角色的方式比较符合整体的美术风格。 Soldier 背面在这里(较暗的角落靠近上面位置):setpos 482.125000 3267.843750 -124.027405;setang -1.386003 -137.399948 0.000000 插图照明的另一面,就是照亮边缘来突出角色轮廓,让角色不会混入背景中。 如果没有边缘的照明方式 [将 r_rimlight to 设定为 0],角色将混入背景中。 在加上边缘照明后,[将 r_rimlight 设定为 1],角色能与背景的其他部分区分开来,较为符合《Team Fortress 2》的美术风格。"
10099"[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 Soldier as he appears in Team Fortress 2, using our illustrative shading style. Note the tight transition between the light and dark sides of the Soldier as he is lit by the light in the next room. Using traditional lighting as seen here, the character lighting appears too soft and does not fit our illustrative style. With the illustrative lighting model, our characters are lit in a way which better fits our overall art style. Another facet of illustrative shading is the use of rim highlights to accentuate the silhouettes of characters to keep them from blending into the scenery. Without the rim lighting, the character blends into the background. With the rimlighting, characters are visible against the rest of the scene and better fit the art style of Team Fortress 2."
101N/A"#commentary\tf2-Comment042.wav" "[Alden Kroll] 二次元的 HUD 要素产生了特殊的美术问题,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,描绘“线条美术”影像。 这个系统让我们能在制作影像时采用固定分辨率,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 Shader 系统也能处理轮廓以及阴影,而且能应用到 3D 空间的世界元素,例如符号。 "
N/A100"#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。"
102101"[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. "
103102"#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。"
104103"[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."