Template:PatchDiff/March 15, 2012 Patch/team fortress 2 content.gcf/tf/resource/closecaption schinese.txt

From Team Fortress Wiki
Jump to: navigation, search
9595"[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. "
9696"#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。"
9797"[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] 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。"
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 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."
N/A98"#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 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。 使用传统光线,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,游戏中照亮角色的方式比较符合整体的美术风格。 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。 如果没有边缘照明方式,角色将混入背景中。 在加上边缘照明后,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。"
N/A99"[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."
100100"#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。"
101101"[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. "
102102"#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。"
108108"#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。"
109109"[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.
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 Orange box 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/A111"#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。"
112112"[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."
113113"#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。"
114114"[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."