由於这篇文有点长，最近也没有特别的发售评论，所以我就把这篇分三段来翻。 其实文章的内容在前面大大翻译的影片中都多少有提及， 所以如果已经看过影片的朋友们可以跳过这篇文章，因为资讯差不多。 当然如果无聊的话也可以看看当作调剂。 BTW.一个额外的资讯给有苹果系列行动装置的朋友 http://www.ign.com/prime/promo/free-horn 乾净网志版 http://nemesisred.blogspot.tw/2013/04/ign-evil-within_28.html 原文网址 http://www.ign.com/articles/2013/04/22/the-evil-within-first-look ------------- What happens next is a striking example of Mikami's grasp of tension; Sebastian must avoid the giant in a long, drawn out, silent bid for freedom. 「The way the player moves is very important," explains Mikami. 「Obviously you're going round in this environment, but when there are enemies nearby the character becomes very alert, and that's when you start sneaking and crouching, you can run as well; but depending on whether there's monsters out to get you or whether you feel safe, the variety and range of motions change, the animations change.」 It's when Sebastian accidentally trips an alarm in the corridor that the tension breaks, as the alerted butcher bursts onto the scene brandishing one of Mikami's trademark weapons, a chainsaw. Our protagonist runs from the encroaching rattle at an awkward gallop, all arms flung behind him, far from graceful. His very human physicality evokes former survival horror everymen – a Harry from Silent Hill or a Leon - and crucially, encourages us to see him as vulnerable. (接续上篇)接下来发生的事情完整的展示了三上所谓"对剧情张力完整的掌握"。 Sebastian必须在很长的时间(drawn out)内安安静静地躲避巨人的追击， 奋力奔向(bid for)自由。 「玩家的移动方式在这里举足轻重」三上解释道 「明显你会在这环境中东奔西走，但是只要附近有敌人存在，角色就会变得十分警觉， 然後就算你开始潜行或是蹲伏行动，你依旧可以跑； 不过角色的动作会依据角色是否正被怪物追击， 或是否感到安全而有所不同，动画也会有所不同。」 正是当Sebastian在某处的回廊中不小心误触了警铃时，寂静的紧张感突然爆发； 而这警铃惊动了屠夫，它猛地冲入了这个场景，挥舞着最经典的三上风武器--电锯。 我们的主角面对这直逼而来的大玩具也只能仓皇逃命，武器在他身後粗野的咻咻而过。 他那身体动作使人唤起过去生存恐怖主角们的记忆，《沉默之丘》的Harry或是咱的Leon ； 而更关键的是，使我们发现他其实在这种恐怖面前是十分脆弱无法反击的。 「It's much harder to scare players these days,」 says Producer Masato Kimura. 「We hope to overcome that, or address that by having a more immersive experience, we want you to identify with the protagonist, with the main character, we want you to feel what he feels. When he's scared we want you to be scared. When he's excited we want you to have the same feeling. We're hoping we can address this and represent this in a way you don't see in other games. 」 When the fiend doesn't know where Sebastian is, its movements are erratic and unpredictable; when it spots him, Sebastian must either run or get a chainsaw to the neck (an outcome that Tango kindly demonstrated for us). It's tense, so tense that when Tango's representative tries to demonstrate how Sebastian can interact with his environment by throwing an empty bottle to distract the monster, he screws it up; the bottle smashes against the monster itself and it carries on with its relentless search. The rep curses, and laughs. There's no hiding now; Sebastian must race to literally save his neck. Unsurprisingly, this particular sequence ends in a frenzied sprint towards freedom; right after Sebastian leaps into an elevator and safety, the asylum itself begins to crumble around him. He limps past the rusted frames of forgotten gurneys and ancient wheelchairs – the abandoned hospital trope puts us very much in Jacob's Ladder territory here – runs through the lobby, and opens the door to a devastated cityscape. Police cars lie upside down in a giant crater, and the carnage stretches as far as the eye can see. The prologue ends. 「It's just my personal opinion,」 says Mikami, 「but I'm the type of person, I'm the type of creator that when someone says 『that's what I do, that's my personal thing' I want to do something different. I've done a lot of different things; I've done a lot of different kinds of games in my career, but really it always comes down to that – I want to overcome people's perceptions of me.」 Indeed. 「最近玩家越来越吓不着了，」 制作人木村正人说 (*注：Masato Kimura我不知道汉字怎麽写的) 「我们希望可以克服这个问题，或是传达给玩家更多能浸淫於其中的实境经验， 我们希望玩家可以认同(identify with)里面的角色们，而且和他们一起感受。 当角色被吓到我们希望你也被吓到， 当角色很兴奋的时候我们也希望你也接收到这样的心情。 我们希望能够将一些其他游戏玩不到的情绪传达给你们。」 当怪物找不着Sebastian的踪影时，他们的行踪变得诡谲不定， 不过当怪物发现他时Sebastian只能块陶阿 或是在脖子上挨一记电锯(这个Tango曾示范给我们看过了)。 游戏的张力是如此的强，以至於当Tango正要帮我示范如何在暗处丢空瓶来引开怪物时， 他丢歪了，这空瓶直接的砸在怪物身上，让它怒不可抑，恶狠狠的四处寻找主角的踪迹。 这位帮我们示范的代表嘴里只能细碎几句，然後苦笑， 看来现在Sebastian又要为了他的脖子四处奔走了。 毫不意外的，这一连串的过程又以一次狂奔作终， 正当Sebastian一脚跳进电梯中而觉得自己安全了，整个疯人院竟开始在身边崩塌。 他颠簸的跨过遍布锈斑的病床然後在老旧的轮椅上跃过， 废弃的医院这个梗使我想到Jacob's Ladder (注：http://tinyw.in/YMY0 ) --冲过大厅，打开大门，最後却看到满目疮痍的城市。 警车在一个一个大坑洞中东倒西歪，而满目所见皆是一阵大屠杀。 「可能只是我个人这麽觉得，」三上说 「但是我是那种会觉得"这就是我的做事方法，我想搞些特别的"的人， 我实际上也已经作过了许多不同种类的游戏，也作过很多不一般的事， 不过这一切都不离(come down to)"我想颠覆大家对我的印象"这个想法。」 千真万确。 The second half of our demo dumps Sebastian alone in the dark outside as he makes his way towards an old abandoned cottage. There is no context for where he is; it's a section intended to demonstrate the 『action' part of Mikami's central pillar. We're yet to see anything on the HUD, save a single sliver of a health bar at the bottom of the screen, but interactive elements are marked with on-screen prompts. Sebastian has a gun: when he draws it, a small weapon icon shows a limited amount of ammo; a gesture of defence, really. 「We're not giving the player really any extraordinary powers,」 says Mikami, "but we don't want to go in the opposite direction and not give them any means of fighting back – that would violate the rules of survival horror. So we're looking at appropriate types of weapons with a limited amount of ammunition in order to get them through... if they're good.」 It's in this cottage that Sebastian encounters what I can only assume are The Evil Within's more garden-variety enemies, if such aberrations could be labelled as such. Zombie-like, they shamble towards him with blind bloodlust, but they're a more unearthly kind of undead; of the first two that Sebastian encounters, one is wrapped in barbed wire, and the other peppered with glass shards. Physical manifestations of their own mental torment, perhaps. 在第二段的展示里面，Sebastian被独自丢在黯道之中， 而这条道路通往一栋已久无人居的小村舍。 我们完全不知道他的所在地，这一段展示也是要展示所谓"三上流的动作性"精髓(central pillar)。 不过能够与之互动的物件会在萤幕上标注提示。 Sebastian带着枪，当他抽枪出鞘，一个小小的武器图示标注了有限的弹药。 (举枪的动作)呈一种防御的手势。 「我们不会给玩家太过分的武装，」三上说 「但我们也不想反过来不给玩家任何可以凭藉的火力--这样会违背生存恐怖的初衷。 所以我们会给玩家适当的武器种类，弹药也有所限制， 这都是要让玩家能够通关--仅在技术够好的前提之下。」 正是在这个村舍中Sebastian遭遇到了敌人， 这敌人我只能猜想这是本作中的普通(garden-variety)小怪，如果这种畸形算是普通的话 。 这些怪物如殭屍一般蹒跚的走近Sebastian，有着的只是纯粹的嗜血慾望， 有一只被铁刺网缠绕着，另一只则是全身插满了玻璃碎片。 大概是他们心中的折磨於肉体上的呈现吧。 --

※ 发信站: 批踢踢实业坊(ptt.cc) ◆ From: 1.171.9.186 ※ 编辑: nemesisred 来自: 1.171.9.186 (04/28 18:41) ※ 编辑: nemesisred 来自: 1.171.9.186 (04/28 18:44)