果然还是在文章的後半段才肯透漏一点点新系统的资讯呢。 怎麽不肯多讲一点哪！ 网志乾净版 http://nemesisred.blogspot.tw/2013/04/ign-evil-within_29.html#more 原文网址 http://www.ign.com/articles/2013/04/22/the-evil-within-first-look ------------- 「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. 「对於游戏中大部分的敌人，」Katakai解释道「其设计理念中的重要一环为这些敌人其 实都是受害者之一。虽然他们是邪恶生物，但是他们背後有着更大的邪恶在控制，并折磨 着他们。」 就像是疯人院那个场景一样， 这栋古旧的村舍是一个线性的，迷宫重重(labyrinthine)的环境。 虽然Katakai保证游戏环境接下来会变得更加开阔、自由。 「总的来说，我们同时有着狭窄、幽闭的空间，和广阔的开放空间，有着许多不同的环境 。 这是要让玩家先在密闭空间建立紧张感以及幽闭恐惧，而在终於突破这层紧张感後， 将环境移转到开放的空间，使玩家稍感缓解。然後再重复以上过程。 而且有着不同环境代表我们可以让敌人出其不意的出现。」 在先前所提的例子中，这一波怪物从外面向Sebastian接近。 (和《恶灵古堡四》中的那群受寄生虫感染的乡民很相似--移动缓慢且来者不善。) 我们的展示人员从他的道具栏中选择地雷陷阱放在门边， 而其他从窗户闯入的怪物则用手枪伺候。 暴头的特效也有着十足的血溅感。 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. 当然，如此直观的跑跳碰射击玩法对於Tango来说实在太无聊(pedestrian)了， 所以我们现在稍微给你们看一些三上认为本作之所以会改变此种游戏生态的功能，来吊吊 你们胃口(tantalize)。 毫无前兆的，Sebastian附近的环境忽然开始变化； 不过并没有像画面撕裂这麽夸张，以至於我很确定这不是程式出了什麽差错， 或我是不是在这瞬间(in a split-second)错过了什麽重要的事情。 萤幕中的Sebastian依循着他所走来的足迹往回， 而这就是我们的示范人员模仿第一次遇到这种情况的玩家所会采取的动作。 玩家心中可能会想"我怎麽到这地方来的啊？"、"到底发生什麽事了？"、"要怎麽出去？" 在这些疑问尚未得到解答前，一条血迹流淌过整个回廊， 接着将我们惶恐的(bewildered)主角整个包覆(envelop)， 就像是《鬼店》(http://tinyw.in/tnVd )的剧情一样。 Sebastian又回到了那座疯人院。 「这是本作的基础设定，」三上说 「这是之所以本作出类拔萃的原因，这将成为本作的代名词。」 虽然三上不想再继续再告诉我额外的讯息以免剧透，不过他告诉我起初这样的"转换"系统 灵感源自Winchester House(http://tinyw.in/fmMx )。 就是那栋在Sarah Winchester迷信的眼睛下连续38年修筑的大宅邸。 「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. 「打开了门，然後突然就看到有一个楼梯， 或是一个秘密藏信地点(dead drop)或是类似的东西； 原本看起来很正常的东西突然变化，你无法预测接下来会发生什麽事。」 明显开发者不只致力於动作和恐怖感之间的平衡， 还有新与旧的平衡，揉合经典生存恐怖和新的心理精神病的元素。 而在本作中这些元素都收诸囊内，当然，是以最先进(state-of-the-art)的技术， (以这个世代以及下个世代主机的技术) 这使这个游戏有着恶灵古堡时代的三上氛围(vibe)，但是内容却又更加的丰富。 「十五到二十年前，游戏中的脚色就像机器人那样的死板，游戏内容也十分的一本道， 不过今天你有能力加入更多角色的细节，这的确增加了玩家沉浸(immersion)入戏的感受 。」 "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.」 "你不用像过去一样要求玩家要有想像力，你现在有能力将你想表达的事情展现出来， 以一个更加细致的程度。你也可以使玩家更有感觉。 你也有能力传递一个更好的空间感，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，我们看见的新的敌人， 它的出现让我们对於这个世界的生态和居民有了更深一层的疑问。 它是一只多手多脚的巨人，突然从血喷泉中以极快的速度(breakneck)奔向Sebastian。 当画面回到主画面，每个人都紧张得笑了。 这展示让我们经过了紧绷的25分钟。 当三上承认现在的玩家很难吓到，这些笑声给这段话下了最好的注脚。 「"恐怖"这个种类有许多的模板，当你花越多时间在这些模板上，你就渐渐会习惯。 而当人越习惯这些模板，就越难吓到他们，遑论作出超越原版的事情了。」 (我想他应该是指恐怖游戏的制作者们。) He lifts up the brim of his cap slightly. 他缓缓地推高了帽沿。 「If players say 'I haven't played a game this scary in a while,' that would make me the happiest.」 「如果能让玩家说出"我好一阵子没玩过这麽恐怖的游戏了！"， 那就是让我最开心的事。」 --

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