《鬼妇》开发者日志No.3 - 艺术总监的话
文章翻译：Vickie
Hello there! 嗨，各位好！
I’m Chandrika and my role in the making of this horror game is as an Art Director. Basically I just love art and then design since I was little, so I took Multimedia Design as my major in the past. As I’m actually not a big fan of horror games, cultural and mystical stuff still look really appealing to me. That’s why designing the level of the game (which is in accordance with the story or content the writers want to convey) is both fun and challenging for me.
我叫钱德里卡，在这款恐怖游戏制作中担任的角色是艺术总监。我从小就喜欢艺术和设计，所以我之前选择的专业是多媒体设计。虽然我并不算是恐怖游戏的狂热爱好者，但是文化和神秘这一类东西仍然对我很有吸引力。这就是为什么对我来说，设计游戏的关卡(根据作者想要传达的故事或内容)既有趣又具有挑战性。
After completing my part for Folklore One: The White Lady, now I started working on designing the level for Folklore Two: The Tied Corpse, where the scene takes place in the cemetery (which is certainly with reference location somewhere in Indonesia :)) especially West Java). The writers gave me photo references, moodboards, and also told me the story in elaborate. With all of that information as my guidance, I made a rough sketch for the level and the main building we want to have in the game, then followed by blocking the level in Unreal Engine.
在完成《印尼恐怖传说》的第一章节《白衣鬼妇》后，现在我开始投入第二篇章《尸袋怨灵》的创作，场景发生在墓地（印尼的某个地方为该墓地的方位提供了参考：))，特别是西爪哇岛）。编剧们给我提供了照片参考资料、moodboards(指经由对使用对象与产品认知的色彩，影像，数字资产或其它材料的收集，可以引起某些情绪反应，作为设计方向与形式的参考)，还详细地给我讲了这个故事。有这些信息作为指导，我为游戏中我们想要建立的关卡和主要建筑做了一个粗略的草图。
As for the buildings, we asked for help and consultation to our friend's architects for the design and size of the buildings, because we want it to be to be as authentic as it could be (also as accurate as it can be too :D), then made the 3D mesh for the building. It’s not done yet, but useful enough for at least blocking the level, put it into Unreal Engine, and test it by walking around the level so we can imagine the extent of the required level and the desired final result in a clearer and more accurate way.
关于游戏中的建筑，我们向朋友们的建筑师进行了关于建筑设计和尺寸方面的咨询，因为我们希望它尽可能是真实的：D 然后我为建筑制作了3D网格。 虽然还没有完成，但已经可以限制阻隔，并将其放入虚拟引擎中，通过在关卡中行走来进行测试，这样我们就可以以更清晰、更准确的方式来想象所需关卡的程度和最终结果。
So, take a look at these snapshots of what I’ve been working on (with some snippets of the reference).
因此，我们来看看这些快照，看看我一直在做什么(以及一些参考的片段)。
墓地守护人的房屋
公共厕所
清真寺
在2D模型中锁定地图
More detailed level blocking (adding grave zones, new paths, new open spaces, river and vegetation blocking)
During the landscape level creation, there were obstacles in determining the type of landscape which would be used for the level, whether it’s in the form of 3D mesh or landscape that’s available in the Unreal Engine. This problem arose because there’s a need for some parts that hollowed in the landscape for the graves (related to the story content and the gameplay itself). Finally, we found a solution with the combination of 3D mesh and landscape from Unreal.
更详细的层次阻隔(增加墓地区域、新的路径、新的开放空间、河流和植被区域)、在景观层面的创建过程中，在确定景观类型时一度存在障碍，无论是以3D网格的形式，还是在虚幻引擎中可呈现的景观。这个问题的出现是因为需要在墓地的景观中挖空一些部分（与故事内容和游戏玩法本身有关）。 最后，我们找到了一个解决方案，将3D网格和虚拟引擎中的风景进行结合。
