The Evil Within 搶先介紹 下集 - PS

果然還是在文章的後半段才肯透漏一點點新系統的資訊呢。

怎麼不肯多講一點哪！


網誌乾淨版

http://nemesisred.blogspot.tw/2013/04/ign-evil-within_29.html#more

原文網址

http://www.ign.com/articles/2013/04/22/the-evil-within-first-look



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「With most of the enemies in the game,」 explains Katakai, 「an important
design concept is that they are always victims. Even when they're evil
creatures, there are greater evils still that are impacting on them or
causing them to suffer.」

Like the asylum, the decrepit cottage presents a very linear, labyrinthine
environment, although Katakai promises that the game will open up later on.

「Overall we have both very narrow, confined spaces and larger, wide open
spaces – a variety of different types of environments. The idea is to have a
wave where the player builds up a lot of tension and feels very
claustrophobic and set upon and then they break through that tension and
things open up and they feel a sense of relief. Then to repeat that cycle.
Also, having narrow stages and having more open stages, it provides more
opportunities to have enemies come out in unexpected ways or in unexpected
places.」

In this instance, a wave of enemies – moving in a slow and purposeful flock
very much in the spirit of Resident Evil 4's Los Ganados – approach
Sebastian from outside. Our Tango representative selects a mine trap from his
inventory, which Sebastian lays down by the doors; the rest of them are taken
care of via handgun as they try to clamber through the windows. Headshots
explode brains with a satisfyingly meaty splat.

「對於遊戲中大部分的敵人，」Katakai解釋道「其設計理念中的重要一環為這些敵人其
實都是受害者之一。雖然他們是邪惡生物，但是他們背後有著更大的邪惡在控制，並折磨
著他們。」

就像是瘋人院那個場景一樣，
這棟古舊的村舍是一個線性的，迷宮重重(labyrinthine)的環境。
雖然Katakai保證遊戲環境接下來會變得更加開闊、自由。

「總的來說，我們同時有著狹窄、幽閉的空間，和廣闊的開放空間，有著許多不同的環境
。
這是要讓玩家先在密閉空間建立緊張感以及幽閉恐懼，而在終於突破這層緊張感後，
將環境移轉到開放的空間，使玩家稍感緩解。然後再重複以上過程。
而且有著不同環境代表我們可以讓敵人出其不意的出現。」

在先前所提的例子中，這一波怪物從外面向Sebastian接近。
(和《惡靈古堡四》中的那群受寄生蟲感染的鄉民很相似--移動緩慢且來者不善。)
我們的展示人員從他的道具欄中選擇地雷陷阱放在門邊，
而其他從窗戶闖入的怪物則用手槍伺候。
暴頭的特效也有著十足的血濺感。

Of course, such straightforward run n' gun gameplay is far too pedestrian for
Tango, and it's here that we are offered a tantalizing glimpse of what Mikami
believes will be The Evil Within's game-changing feature. Without warning,
Sebastian's environment suddenly switches; but not so dramatically that I was
sure it wasn't a glitch, or that I hadn't, in a split-second, missed
something vital. Sebastian traces his steps back, the all-knowing Tango
representative mimicking the confusion new players will likely feel. Where
did I just come from? What just happened? Where's the exit? Before we get an
answer, a wave of blood tumbles down the corridor and envelops our bewildered
protagonist; a set-piece straight out of The Shining. When Sebastian 『comes
to,』 he is back in the asylum.

「It's a fundamental setting in the game," says Mikami. 「It's what's going
to make the game stand out and really be unique. It's going to make The Evil
Within what it is.」

While Mikami didn't want to provide context for me for fear of spoilers, he
did explain that the inspiration for the strange switches in space came from
the infamous Winchester House, the architectural oddity that was under
construction for 38 years under the unhinged eye of Sarah Winchester.


當然，如此直觀的跑跳碰射擊玩法對於Tango來說實在太無聊(pedestrian)了，
所以我們現在稍微給你們看一些三上認為本作之所以會改變此種遊戲生態的功能，來吊吊
你們胃口(tantalize)。
毫無前兆的，Sebastian附近的環境忽然開始變化；
不過並沒有像畫面撕裂這麼誇張，以至於我很確定這不是程式出了什麼差錯，
或我是不是在這瞬間(in a split-second)錯過了什麼重要的事情。

螢幕中的Sebastian依循著他所走來的足跡往回，
而這就是我們的示範人員模仿第一次遇到這種情況的玩家所會採取的動作。
玩家心中可能會想"我怎麼到這地方來的啊？"、"到底發生什麼事了？"、"要怎麼出去？"
在這些疑問尚未得到解答前，一條血跡流淌過整個迴廊，
接著將我們惶恐的(bewildered)主角整個包覆(envelop)，
就像是《鬼店》(http://tinyw.in/tnVd )的劇情一樣。
Sebastian又回到了那座瘋人院。

「這是本作的基礎設定，」三上說
「這是之所以本作出類拔萃的原因，這將成為本作的代名詞。」

雖然三上不想再繼續再告訴我額外的訊息以免劇透，不過他告訴我起初這樣的"轉換"系統
靈感源自Winchester House(http://tinyw.in/fmMx )。
就是那棟在Sarah Winchester迷信的眼睛下連續38年修築的大宅邸。


「It has doors that open up and suddenly there's a dead drop or stairs or
something like that. It otherwise looks normal but suddenly things change in
an instant and you don't know what to expect.」
It's clear that the developers are aiming for a careful balance of not only
action and horror, but of the old and the new, weaving classic survival
horror tropes with new and interesting psychological horror features. And
it's all wrapped up, of course, in a state-of-the-art package (on both
current and next-gen technology), resulting in a game that has that Resident
Evil-era Mikami vibe, but feels much, much richer overall.

「15 or 20 years ago, characters in video games were walking around like
robots, and the games were very linear, but now you're able to put in a much
greater detail into the character and it really adds to the immersion,」 says
Mikami.


「打開了門，然後突然就看到有一個樓梯，
或是一個秘密藏信地點(dead drop)或是類似的東西；
原本看起來很正常的東西突然變化，你無法預測接下來會發生什麼事。」

明顯開發者不只致力於動作和恐怖感之間的平衡，
還有新與舊的平衡，揉合經典生存恐怖和新的心理精神病的元素。
而在本作中這些元素都收諸囊內，當然，是以最先進(state-of-the-art)的技術，
(以這個世代以及下個世代主機的技術)
這使這個遊戲有著惡靈古堡時代的三上氛圍(vibe)，但是內容卻又更加的豐富。

「十五到二十年前，遊戲中的腳色就像機器人那樣的死板，遊戲內容也十分的一本道，
不過今天你有能力加入更多角色的細節，這的確增加了玩家沉浸(immersion)入戲的感受
。」


"You don't require the player to use their imagination as much as you had to
in the past. You're able to show things on a much more granular level. A much
finer level of detail. And make things feel that much more visceral to the
player. You're able to impart a much greater sense of space and able to use
lighting to your advantage much more than you were able to in the past.」
Our demonstration ends with a glimpse at a new enemy, which - fittingly -
throws up further questions pertaining to the nature of this world and its
inhabitants. It's a giant, multi-legged, multi-armed wraith that explodes
from a fountain of blood and rushes towards Sebastian at a breakneck clip. As
the code resets to the title screen, everyone in the room laughs nervously.
It's an appropriate reaction to such a relentless 25 minutes. While Mikami
acknowledges that it's harder to scare people these days, that laugh says it
all.
「Horror as a genre has a set number of patterns, and the more time you spend
with those patterns the more you get used to them. And the more used to those
patterns a person is, the harder it is to scare them and do something above
and beyond and original.」


"你不用像過去一樣要求玩家要有想像力，你現在有能力將你想表達的事情展現出來，
以一個更加細緻的程度。你也可以使玩家更有感覺。
你也有能力傳遞一個更好的空間感，也可以加入光照等等的效果，比你以前能做的多很多
。"

在展示的最後，我們看見的新的敵人，
它的出現讓我們對於這個世界的生態和居民有了更深一層的疑問。
它是一隻多手多腳的巨人，突然從血噴泉中以極快的速度(breakneck)奔向Sebastian。

當畫面回到主畫面，每個人都緊張得笑了。
這展示讓我們經過了緊繃的25分鐘。
當三上承認現在的玩家很難嚇到，這些笑聲給這段話下了最好的註腳。

「"恐怖"這個種類有許多的模板，當你花越多時間在這些模板上，你就漸漸會習慣。
而當人越習慣這些模板，就越難嚇到他們，遑論作出超越原版的事情了。」
(我想他應該是指恐怖遊戲的製作者們。)


He lifts up the brim of his cap slightly.

他緩緩地推高了帽沿。

「If players say 'I haven't played a game this scary in a while,' that would
make me the happiest.」

「如果能讓玩家說出"我好一陣子沒玩過這麼恐怖的遊戲了！"，
那就是讓我最開心的事。」


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