最近没什麽游戏发售， 只好来翻译三上真司的新作，真是令人十分期待 网志乾净版 http://nemesisred.blogspot.tw/2013/04/ign-evil-within.html 原文网址 http://www.ign.com/articles/2013/04/22/the-evil-within-first-look ------------ Shinji Mikami looks up from beneath the brim of his trademark cap, which sits low, shielding his eyes. 「Obviously I like horror,」 he muses. 「But survival horror has been drifting away from what makes it survival horror. And so I want to bring it back. Bring back survival horror to where it was.」 If anyone can restore essence to the genre, Mikami can. The characteristically subdued Resident Evil creator is returning to his old stomping ground with the debut game from his Tokyo-based studio Tango Gameworks, the third-person survival horror The Evil Within. And while the game may not adhere to all the ideals we recognize from the genre's golden age – which, let's face it, were shakily defined in the first place - it's built around Mikami's own definition of the genre he helped create. 三上真司从帽沿底下往上睨视， 这顶上面印着(Tango gameworks)商标的舌帽压的低低的，盖住了三上的眼睛。 (Tango gameworks ： http://tangogameworks.com/index) 「诚然，我喜欢恐怖的感觉」他想 「但是生存恐怖游戏已经悖离了他原有的样子， 所以我想把它拉回来，找回生存恐怖应该有的样子。」 如果有谁能把这个类型的特质回归到最初的型态，这个人就非三上莫属。 这位蛰伏已久(subdued)的恶灵古堡之父这次重操旧业(stomping ground)。 (注：三上真司和卡普空的关系 http://zh.wikipedia.org/wiki/%E4%B8%89%E4%B8%8A%E7%9C%9F%E5%8F%B8) 在Tango Gameworks发表了这款新亮相的游戏。 第三人称生存恐怖游戏The Evil Within《心魔》(暂译)。 这部游戏可能不会依循(adhere to)这种类游戏在黄金年代时的老路子， 而这所谓的当年的黄金时期其实从一开始也就跟三上真司脱不了关系。 「There are a lot of survival horror games nowadays, but the thing that I want to focus on is having the perfect balance between horror and action.」 That perfect balance, in Mikami's opinion, is what makes 『pure' survival horror. The Evil Within certainly has the set-up to deliver on Mikami's promises. Its premise is a cliché, but it would be misleading to suggest the game is; the poster for The Evil Within plastered around the colourful walls of Tango's office depicts a brain wrapped in barbed wire. It's in this image that its mental asylum spookhouse setting develops new meaning, one more sinister than the threat of things that go bump in the night. 「Thematically, it's less about having twists and turns and more about maintaining an air of mystery,」 explains Mikami. 「So through the story you learn a little bit more, and then a little bit more, but the more you learn, you also realize there's far more mystery out there to unfold.」 「现下生存恐怖类游戏难道还少了？ 但是我的重点想放在恐怖感和动作性的完美平衡上。」 这完美平衡，在三上心目中，也就是游戏之所以恐怖的很纯粹的原因。 《心魔》当然包含了可以充分展现三上这段承诺的设定。 本作的提要挺老梗的(注：http://tinyw.in/OSbe)， 不过这可能不足以表明这游戏真正的面貌。 Tango的办公室墙上贴满了描绘着一颗缠满铁丝的脑袋的海报。 这就是游戏的设定--闹鬼的精神病院--所代表的形象； 当然是一处比你床底下(things that go bump in the night)更加险恶许多的地方。 「就这主题而言，重点不在(剧情)到底多麽迂回曲折，而是保持诡谲感；」 三上解释道 「所以随着剧情的推进你可能会一点一滴的了解整个故事， 但是你也会发现覆盖在阴影底下的神秘也又更多。」 The game's prologue sets up protagonist Sebastian, a chiselled but otherwise nondescript detective called in to investigate a homicide at an inner-city asylum. He and his colleagues – a man called Joseph and a female detective they simply address as 'Kid' – arrive late to the scene. The parking lot is littered with police cars. The asylum, all Gothic architecture, looms. The cars are empty, Sebastian notes. There are no signs of violence but every single car is empty. Like Mikami's last foray into the genre, Resident Evil 4, The Evil Within is deeply cinematic, but while RE4 was presented in 16:9 (letterboxed on the GameCube within a 4:3 frame), The Evil Within has a true cinematic 2.35:1 aspect ratio, resulting in a low-sitting camera which displays an enormous amount of the environment at any given time. The camera, naturally, sits over Sebastian's shoulder. 游戏的序章由咱的主角Sebastian，一个有着瘦削(chiseled)脸庞， 但是其他(but otherwise)特徵却毫不显眼(nondescript)的侦探， 在调查一起发生在疯人院的凶杀案。 他和他的同事们，一个叫做Joseph，另一个被叫做(address as)"Kid"`，晚到了现场； 到达现场时停车场中已经布满了警车，而这座疯人院耸立(loom)在浓雾中，若隐若现。 "奇怪的是这麽多车里头却没有半个人" Sebastian记录道 "但却也没有暴力行为的痕迹" 本作拥有2.35:1的宽高比例 (注：16:9=1.77:1) ， 这代表玩家可以综观整个环境以及里面巨量的细节， 镜头是在Sebastian的肩膀处，呈第三人称视角。 「We're paying a lot of attention to the theatrical and cinematic aspects of the game,」 says Mikami. "We want the game to be scary so we want to support that throughout the game experience, but we don't want to go so far as to impact on the flow of gameplay. We want the controls and the way players interact with the controls and the game to feel scary and cinematic, but not cumbersome. So once you get on more of the action elements you want players to focus on that. So you'll see something of a wave, you're drifting from one end to the other end – from cinematic elements to purely gameplay elements and back and forth.」 Venturing into the asylum's vast, high-ceilinged lobby, someone remarks that the place 「smells of blood.」 Bodies of cops, doctors and patients slump on chairs and against walls. Sebastian makes his way into a video surveillance room, where a wounded doctor mumbles something I half missed (although I have a feeling that was the point), 「it was him, it couldn't be,」 perhaps. Peering at the screens, Sebastian sees a hooded figure slaughtering helpless police; suddenly, the figure appears behind Sebastian, and he's knocked unconscious. 「我们在整个游戏的戏剧上的呈现角度花了很大的心力」 三上道 「希望整个游戏的过程都让人感觉很恐怖， 但是我们不想要让这件事情影响游戏的流畅性。 我们想要让玩家在操纵脚色的过程中也能感觉到可怕， 绝不会让玩家感觉到绑手绑脚(cumbersome)。 所以一旦加入更多动作元素，当然我们也就希望玩家能专注於其上。 (注：我觉得老游戏的恐怖其实有一部分来自很低的操作性) 所以你在进行游戏的时候会在如电影般的戏剧性和纯粹的游玩体验之间游走。」 当Sebastian进入这疯人院的挑高大厅时，第一印象是这个地方十分的"血腥"。 警察、医生、以及病人的一具一具屍身如断线魁儡般深深的沉在椅子中， 有些则是横竖的躺在墙旁。 Sebastian继续前往监控室， 里面有一个身受重伤的医生正在细碎的已几不可闻的声音喃喃自语， 虽然Sebastian无法完全了解其内容 (不过Sebastian觉得那些他听不懂的内容才是最关键的)， 最後仅能解读出一些大概的话语： "是他，怎麽可能是他.." Sebastian往监视萤幕内看， 只看见一个穿着连帽衣物的神秘人正在屠杀毫无反抗之力的警察； 而突然这个人出现在Sebastian背後， 瞬间Sebastian就失去了意识。 It's here that The Evil Within proper begins, and I start to gain an understanding of the kind of game Mikami is weaving together: confrontational, gore-soaked and rooted in madness; although whose madness exactly is part of the intrigue. It's recognizably survival horror, but delivered with a wealth of detailing realized in a heavily modded id Tech 5 engine which Art Director Naoki Katakai (Resident Evil Remake, Okami, Vanquish) calls 「Tango-stylized.」 We see every spot of blood, every severed intestine with garish clarity; beautifully disgusting. 本作就是从这里开始的， 而至此也开始了解三上想要为这款作品揉和(weave)什麽样的元素。 也就是对抗、浸淫、然後深植於疯狂中；到底是"谁的"疯狂这件事也是是梗的一部份 虽然《心魔》是生存恐怖类， 但是这部由"id Tech 5"引擎开发的游戏同时也藉由Naoki Katakai的手 (《恶灵古堡重制版》、《大神》、《完全征服》的艺术总监) 传达了许多他们称作「Tango-stylized」的小细节。 我们可以清晰的看到每一处血迹、每一段肠子；真是美得十分变态。 When Sebastian wakes up, he's hanging upside down in a meat-locker, the lair of a madman, surrounded by victims of a similar fate. A giant, hulking butcher in a stained wife-beater and apron lumbers in and cuts down one of Sebastian's hanging fellows, dragging him off to a well-worn butcher's block to gut him with an indelicate squelch. The scene is immediately otherworldly, a decrepit, blood-splattered alternate asylum lit by a flickering fluorescent bulb, too at odds with the game's previous environment to be in any way grounded in 'reality'. 当Sebastian悠悠醒转， 他发现他正头下脚上的被挂在切肉场中，此处正是疯子所处的兽穴。 他的四周也同时有着许多跟他一样"待遇"的受害者。 一个看似高大笨重， 身穿染血吊嘎(wife-beater)和围裙的屠夫正在拿其他受害者大卸八块。 接着他把Sebastian也拉到一块陈旧的砧板上，这使Sebastian倏生勇气反击！ 这个场景十分超脱常理，一个年久失修、到处溅满血花的疯人院， 只被一些不断闪烁明灭的日光灯所照亮； 这和在Sebastian晕倒前的场景大相迳庭，以致很难让人觉得这是现实。 「The mental hospital is a really important key word for us,」 says Katakai. 「It's one of the many stages that we have, but it's one of the more forward facing, symbolic areas. It's really important to us to design and realize that as a playable area. Visually the sense is that it's inside of a metropolitan area but it has a feel that it could be urban or maybe rural with some sort of history associated with it. Having said that, through the course of the narrative, it may take on different faces. It may look different ways or have different aspects that come to the fore in depicting what this place is.」 「疯人院这个词对我们来说是个关键字」 三上道 「这只是游戏中其中一个关卡，不过这也是颇具象徵意义的区域。这区域看似是处於大城 市中，但是却让人感觉这地方也可能处在乡间，跟某些历史息息相关。不过还是得说 (Having said that)，虽然故事是这样写，不过也可能会跟玩家表面上看起来不太一样， 也可能会由不同观点来描绘这个地方真正的样貌」 --

※ 发信站: 批踢踢实业坊(ptt.cc) ◆ From: 1.171.28.121 ※ nemesisred:转录至看板 XBOX 04/25 00:29