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本文原载于The Game KitchenDevelopment Blog(介于内容和The Last Door有关而选择部分摘录于此)

Title:Seventh Episode’s Preproduction Is Now Closed!

题目:第7章的试生产现在结束!

Writer: Mateo Pérez 

作者:Mateo Pérez

time:May 22, 2015

Steamship Islander leaving Vancouver British Columbia for Skagway Bay crop

For the first week we had this clear idea for the new episode, something we had been thinking in doing for a long time: the whole episode would take place on board of a big screw ship. We liked this setting for several reasons. It was constrained, which is a powerful tool for creativity, and the number of different rooms was quite limited, which would lighten production load in favor of more iteration. There was also the ominous atmosphere of something going wrong in the middle of the sea, the darkness of the engine rooms, the mystery of exploring the depths of the ship… and its name, too: SS Unknown, so the episode could be called The Unknown.

第一周的时候我们对于新章节(的内容)有明确的想法,一些我们已经考虑了很久的东西:整章将会发生在一艘螺桨轮船上。我们喜欢这个设定的理由很多。螺桨船是拘束的,这对创作来说是一个有力的工具,而且不同房间的总体数量也有限定,这可以减轻创作负荷,也有利于更多重复(工作)。在汪洋之中也有一些带着不详气氛的事物,黑暗的发动机轮室,探索轮船深处的谜团…而且就像这船的名字:SS 未知,所以这章的名字也被叫做:未知。

But already in the middle of the season we couldn’t afford an episode so separated from the rest. The idea certainly is juicy for a self-contained story, but it is very difficult to join with the other episodes. As we worked on it, more questions whose answers we didn’t know kept appearing. Where was the ship heading to? What would happen when it got there? How had we got on board? What could be the meaningful contributions to the main arc or to the series’ lore? Because this third episode needs to prepare the players and the story for a satisfactory, thrilling, and terrifying season finale.

但由于已经处于这季的中期,我们无法支撑一个与其他章节都分开的独立情节。这想法对于独立的故事肯定是鲜美多汁,但与其他章节很难相容。我们处理起这个的时候,越来越多问题的答案,我们竟无从让它存续。 船往哪去? 抵达那里会发生什么? 我们怎么上的船? 对于主线或者系列做出了什么有意义的贡献? 因为第三章需要承接(准备)一个能让玩家和故事本身圆满,兴奋又可怕的季结局。

Aran Islands Inishmore Ireland-300x225

Gladly, Enrique had had an alternative idea during this first. After talking about it for a while with José Antonio and me, we all soon realized it could create a really interesting, strange and deep atmosphere. Our heads started boiling with scenes, characters and puzzle elements, fragments of plot and new elements for enriching the lore. This was at the start of the second week, so we took the decision to abandon the previous work and commit to this thrilling new idea!

让人高兴的是,Enrique第一周的时候有一个替代的想法。 在与JoséAntonio和我谈过一段时间之后,我们很快意识到它可以制造一个十分有趣,奇特又深刻的气氛。 我们的脑子在场景,人物和谜题元素,情节的片段和用来丰富传说的新元素之间沸腾起来。这还是第二周的开始,所以我们决定放弃以前的工作,并承担起这个惊险的新思路!

I know, I wanted like the most an episode of The Last Door set in an enclosed, limited space. Maybe in a future project…

我知道,我想要像最后一扇门里的但部分单章一样在一个封闭的,有限的环境里。也许以后吧……

We cannot disclose much yet, because things are still fresh and can (and should) change quite a bit during production, when we see exactly how everything works together. And the last thing we want is to spoil anything. But we can safely tell it will take place in an Irish island, where we will come across a peculiar celebration, and that we will discover a new perspective on the series’ lore, drawing mainly from elements suggested during the fourth episode.

目前我们不能透露太多,因为东西仍然都是新的,而且在制作过程中可以(并且应该)改变很多,(尤其是)当我们切切实实看到一切是如何组织起来的时候。 最后我们想要的是破坏任何东西。 但我们可以放宽心地说这章将会在一个爱尔兰岛上进行,在那里我们会遇到一个奇特的庆祝活动,将发现此系列的全新视角,通过这个视角能够勾勒出被暗示了的第四章的主要素。

With this new, fertile idea, connections with the rest of the season emerged naturally. From here on, we looked for other people’s work that related somehow with the atmosphere, to use for reference. We always do this, since the beginning of the series: in the first episode they would be Poe’s The Raven and The Black Cat, Maupassant’s The Horla, and the typically Lovecraftian story of the scientific research gone wrong. In the second one there were elements of Lynch’s Inland Empire, Machen’s The Great God Pan, and Poe’s The Telltale Heart, among others. Kubrick’s Eyes Wide Shut, and Borges’ The Approach to Al-Mu’tasim would be two of the references for the third.

伴随着这个新的又丰富的想法,这一季其余部分的联系也就自然而然地显现了。 从这儿,我们开始寻找其他人的作品,与气氛相关的,以供参考。 我们总是这样做,从系列的开始:在第一章,他们(参考对象)是Poe的乌鸦和黑猫,莫帕桑的霍拉,和典型的Lovecraft式的科学研究故事。 第二章是Lynch的内陆帝国,Machen的“大神潘”,还有Poe的泄密的心等等。 Kubrick的大开眼戒以及Borges的The Approach to Al-Mu’tasim都是第三章的参考。

For this episode –at least at this point — there is a main influence we cannot tell yet, but others are Lovecraft’s The Ceremony and some seductive stories from Yeat’s The Celtic Twilight, which has been recently re-published in Spain.

至于这章 - 至少在这一点上 - 有一个主要的影响,我们还没有说的就是,其他部分是Lovecraft的The Ceremony,和最近在西班牙重新出版的Yeat的凯尔特薄暮中的诱人故事。

This time around we took less time pre-producing the episode, because last time we realized we tend to advance and enhance the experience way more efficiently while building the game. So we are two weeks intro production already: most of the core gameplay of the beta is implemented at this point, as are many of the dialogues. The first backgrounds are ready too, but the game is still lacking content, enough for another two weeks at least. Then we need to iterate the experience a couple of times, and run the translation-proofreading process, until it is ready for beta testing.

这一次,我们花了较少的时间来制作章节,因为上一次我们意识到,我们倾向于在游戏开发中更有效地推进和增强体验。 所以我们介绍一下目前两周:大部分beta版的核心游戏都是在这个阶段实现的,许多对话就是这样。 第一个层面的背景已经准备好了,但游戏还是缺少内容,至少还需要两周。 然后,我们需要循环重复这些,并进行翻译校对的过程,直到它真的准备好进行beta测试。

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