本来是想偷懒的, 不过还是全部转载好了..翻译米糕出动. 先刊载 Chris Metzen 部分. Welcome to our second episode of BlizzCast! We have doubled the length of our second BlizzCast at the popular request of the community, which will begin with an in depth interview of Chris Metzen, our Vice President of Creative Development and creator of our original Warcraft, StarCraft, and Diablo storylines. In addition, Geoff Goodman, one of our World of Warcraft Designers will be elaborating on Magtheridon's Lair changes in Patch 2.4, which includes new itemization changes. Lastly, we are also adding a new community questions and answers section, to make sure your voices are heard and your questions are answered, by none other than the people making your favorite Blizzard games. Be sure to view the transcript to see all of the artwork. 欢迎来到Blizz广播第二话. 由於讨论玩家的普遍要求, 这次我们延长了广播时间两倍之长. 将从 Chris Metzen 的深度访问开始, 他也是我们创意研发的副总, 魔兽争霸, 星海争霸, 以及暗黑破坏神的故事原创者. 另外也要访问 Geoff Goodman, 为我们在2.4修正版中精心 制作了魔兽世界中玛格瑟里顿的巢穴, 包括许多物品的更改. 最後, 我们也加入了一些玩家 社群的问题与解答段落, 确保你的声音我们有听到, 也为你的问题做出解答. 如果你希望比 其他人塑照出更符合你喜欢的Blizz游戏, 你应该去看看对话原文以及所有的的美术图稿. Featured Artwork: 美术概念 Karune: Hello, Internet users. Welcome to our second episode of our BlizzCast series, designed, once again, to take you behind the scenes into the world of Blizzard. My name is Karune, the RTS Community Manager here at Blizzard. First up, we'll be interviewing Chris Metzen, our Vice President of Creative Development about the lore of Warcraft, StarCraft, and Diablo. On top of that, we'll be also bringing in Geoff Goodman, one of our World of Warcraft designers, to elaborate on the newest changes to the Magtheridon dungeon. Lastly, we'll also be answering questions from both the StarCraft and the World of Warcraft communities. Without further ado, we'll get started. 网路上的玩家, 大家好, 欢迎来到Blizz广播系列第二集. 这一集的主题, 同样的, 是带你 进入Blizz的世界背後的风景. 我的名字是 Karune, Blizz即时战略社群的管理者. 首先, 我们将访谈 Chris Metzen, 我们创意研发部门的副总裁, 也是魔兽争霸, 星海争霸, 以及 暗黑破坏神的规则与知识设定者. 然後我们也会为各位介绍 Geoff Goodman, 一位我们魔兽 世界的设计者, 精心创造了关於玛格瑟里顿地下城新的改变. 最後, 我们也会回答来自星海 争霸与魔兽世界社群反应的问题. 不浪费时间, 现在就开始. Welcome, Chris, to the show. In case you guys didn't know, Chris was also the voice in our intro bumper for BlizzCast series. 欢迎你, Chris, 来到这个节目. 如果大家还不知道的话, Chris也是Blizz广播系列中开头 欢迎词的声音来源. (译着: Chris 非常的多才多艺, 美术, 设定, 他与 Pardo 都是很常为单位配音的高层) [00:17] Chris Metzen: That's right. 没错. Karune: Pretty awesome. To start off, our first question. How challenging is it to develop and manage the lore behind three very distinct franchises: Warcraft, StarCraft, and Diablo? Do you find it jarring when you switch between them or does the variety encourage creativity as you change gears from one to another? 干的好啊. 一开始, 我们第一个问题. 发展并且管理三个非常不同的故事, 背後的知识与设 定, 挑战性在哪里? 当你转换主轴, 从一个故事到另一个时, 你会不会感到眼花撩乱, 或者 怎麽去做出不同地, 丰富的创造力? Chris Metzen: Interesting. That's two really good questions and I guess I'll just take the first part. How difficult is it to manage the lore behind the three franchises? I think if I was trying to do it by myself, it would be impossible and I'd make just a complete and utter mess of it all. At the end of the day, Warcraft alone is such a huge setting and such a big universe that there's no way any one person could manage all those characters and places and things. The team we built for World of Warcraft of quest designers and writers is just epic, so these days I get to work with a team of really talented people that really kind of breathe life into the setting. 这很有趣. 这是两个相当好的问题, 我想我先回答第一个部分. 管理这三个故事线背後的知 识与规则难度在哪? 我想如果我都要自己来动手, 那真的不太可能, 而且我将会做出来一个 完全混乱的鬼东西. 直到今日, 魔兽争霸本身就是个巨大的设定与宇宙, 没有一个人能独立 管理所有的角色, 地点或物品. 我们为魔兽世界所建立的团队, 包括任务设计师以及作家, 已经足以名留青史. 这些日子以来我与这个天才洋溢的团队一起工作, 就像呼吸一样自然 且运作良好. A lot of my story stuff on Warcraft these days is coming from a very high level, conceptualizing zones and characters, especially looking forward to future expansions – expanded content – I'm really keen to get in there and kind of create the broad strokes of things and then it really goes to special teams. We sit down many times a week and really walk through quest lines and characters and see how it all melds with the art creation process. So that the story-telling of it all is much more of a group activity these days on the Warcraft front. 最近我为魔兽争霸所创作的故事内容达到一个高度运作的阶段, 构组区域和角色, 尤其是构 思未来的资料片 - 更广大的内容 - 我相当投入於其中并且创造许多不同的惊奇, 并分配到 专属团队负责. 我们每个礼拜坐下来开会好几次, 并且实际去跑过任务流程与角色, 看他们 怎麽透过美术设定融入世界里. 所以近来魔兽的故事叙述, 早已不只是一个小组的任务了. On StarCraft, it's definitely taken that turn as well. I'm still very involved at the scripting level, at the story-telling level – figuring out how the game moves forward and how it interacts with the cinematics and the whole ultimate linear progression, how that takes shape. But we've got a really amazing team these days, it's absolutely not just a one-man show. 星海争霸部分, 也是依照这样的流程来走. 我仍然很投入在剧本写作. 在叙事部分 - 阐述 这游戏该怎麽进行, 并且如何与动画互动, 以及最终的故事线性流程, 与故事大纲. 但我们 一直有一个很棒的团队在负责, 他们绝对不是独断独行的. On the original StarCraft, it was me and a guy named James Finney who was one of our designers at the time and we pretty much tag-teamed a lot of that story and pretty much defined how the story played out through that single-player campaign. This time around, our lead writer is a guy named Andy Chambers. He's a very good writer; he's worked in science-fiction a long time. We're working with the cinematics director, Nick Carpenter and we're all kind of jamming the story. It's much more of a team effort this time as opposed to the story coming from any singular spot. So, we kind of check-and-balance each other a lot and we're able to kind of draw on our common geeky love for films and science fiction in general. I think it's made the themes really pop this time. It feels like a much more grounded story this time around. I think the characters are a lot richer. I think the highs and lows they experience are just a lot more mature. 最初的星海争霸, 当时是我以及一位设计师叫做 James Finnet 的家伙, 我们一起创作故事 并且决定在单人战役中故事该怎麽进行. 但这一次, 我们首席作家是一位老兄叫做 Andy Chambers, 他是个非常棒的写手; 他写作科幻小说有很长一段时间了. 我们也跟动画 导演, Nick Carpenter 一起工作, 而我们也还卡在故事里. 对比於故事中任何一个环节, 每个地方都是团体合作的努力. 所以, 我们彼此之间常常互相检查/平衡, 我们也能表现出 对於电影以及科幻小说上独特的热爱. 我想这让主题非常明显. 我觉得这次的故事基础非常 具有深度. 我想角色变得更有内涵. 我想这次故事高潮与失落将会更成熟. We've come a long way since the original StarCraft. We've matured as story-tellers; we've matured as a team. The instincts that define what we dig and what we don't in story-telling are much more honed at this phase of our lives. We were twenty-something back in the day; we're thirty-something now, so all that life experience is definitely playing into the themes we're bringing forward in StarCraft and the way we're handling them. It's really fun. It's been a really rewarding experience. As far as handling continuity, and the broad story for the Diablo franchise, I guess that we'll have to see how that takes shape. 我们从最早的星海争霸以来已经走了这麽久. 我们在故事叙述上已经很成熟; 我们在团队合 作上面也很成熟. 我们在人生这个阶段所砥砺出来的直觉, 让我们在故事叙述上知道甚麽该 钻研下去, 甚麽不该在里面. 我们当时只是二十几岁的小夥子; 但我们现在也三十好几了. 所以这些人生经历绝对会在我们创作与处理星海争霸时, 影响故事主轴. 这很有趣. 这真的 是个感受到回报的经历.当我们处理故事的连续性, 以及扩展暗黑破坏神的世界时, 我想我 们会看看这如何去影响故事大纲. [ 00:58 ] Karune: I think it must have been really crazy, especially working with all the different teams and all the different franchises. How do you think it has been to switch gears between the two or to really…working with each different team, your schedule must be crazy every day. 我想这真的蛮疯狂的, 尤其是在不同的团队与不同的世界观里工作. 你是怎麽去转换在两个 主轴或是现实..与每个不同的团队工作, 你的行程表也一定每天都很变态. Chris Metzen: At this phase, I've actually cut a lot out of my schedule these days so I only have meetings every hour of the day, so that's good. I'm not double or triple stacked. For many, many years now, I've spent a lot of my time ping-ponging back and forth between different licenses every day. It's always a revolving door. But for me, for my specific personality – we're all wired very differently – I dig that. I dig changing gears all day long. You could be working in the same universe for a day but changing gears on ‘well, this is a level-design meeting,' ‘this is a quest/story meeting,' ‘this is purely VO-let's-get-our-characters-down-what-actors-are-we-hiring kind of meeting, ' so, I like that. I like the up and down of the day and never really getting bored with things. It's always moving fast and there's always kind of – as the day goes on, there's always some new challenge that's kind of fresh… 目前这个阶段, 我最近实际上已经砍掉很多行程, 所以我每天只需要每个小时开一次会. 这 还算不错. 我可没有双重, 或是三重堆积工作. 许多许多年以来, 我花了我非常多的时间在 乒乓球般地, 每天来回在不同的自由思想. 这就像是旋转门. 但以我而言, 我的人格特质, - 我们都是以不同的方式连在一起 - 我很投入. 我很投入在整天转换不同的事务. 你可以 整天在同一个故事环境中工作, 但是在"唔, 现在是关卡设计会议","这是个任务/故事会议" "这就只是个VO-我们-搞定-该请谁-来当声优-之类的会议", 马上转变心情. 我喜欢这样. 我喜欢每天都有起伏, 永远不会对事务感到厌倦. 事情总是进行的很快, 就像是 - 每天都 在过, 每天都有一些新的挑战与新的体验.. [ 04:44 ] Karune: Do you find those ups and downs kind of influencing each other as far as inspiration? 你觉得这些起伏对你的创意有影响吗? Chris Metzen: Oh yeah. Absolutely. I think it keeps – as far as I go, as I interact with the special teams and the different groups, where my head may have been, in one hour, I walk into a totally different meeting and that energy's still burning off. Or I might just go ‘Gah, you guys just wouldn't believe what we just jammed out in that last meeting!' And they'll go ‘Well tell us!' They might not even care, the animators might not even care what a zone looks like but I'm so geeked up about what we were just doing that I'll wind up babbling to them about whatever we were jamming on. So, it kind of almost creates this educational process where everybody's in the loop and it's just a cool communication thing. 喔当然, 绝对是有. 我想这些起伏 - 当我必须面对时, 也影响我和特殊团队与小组的互动. 当我的思绪在一个小时前还在某个地方, 我必须参加一个完全不一样的会议, 然而那个创意 仍然在燃烧. 有时我必须说"嘎, 你们这些家伙不会相信我们上个会议搞定了甚麽鬼东西!" 他们会说"那告诉我们啊!"他们可能实际上不太在乎, 动画师可能不在意一个区域长的是什 麽样子, 但我必须非常对他们作的事情无比挑剔, 以至於我会对他们一直叨叨絮絮, 有关於 我们哪里有问题. 所以, 这就像是创造一个教育流程, 每个人都在里面, 而且这的确是个很 酷的沟通事务. I like the up and down of it but, you can run into trouble sometimes where, if you're walking in from one game to another game, back-to-back creative meetings and come out of a StarCraft meeting with certain themes that were big in our minds and I walk in and ‘Guys, I had this idea for Warcraft blahblahblahblahblah,' and they're like ‘Woah, dude, that sounds just like… there's no laser guns in Warcraft!' ‘Oh, that's right!' So, sometimes you really have to change gears; your clutch can get a little fried, but I dig that kind of stuff and it's just been this way for years. I like being able to work on the different licenses and kind of keep, from an artistic level or a conceptual level, keep the old brain exercised. It's kind of cool to be able to jump around. 我喜欢高潮起伏, 但是, 你有时会陷入麻烦中. 当你想要从一个游戏转到另一个, 不断重复 的创意会议, 以及有关星海争霸的会议, 你的脑中有关於主题的庞大构想, 当你走进去时, "各位, 我有关於魔兽争霸的一些想法等等等等等", 结果他们说"喔啊, 老兄,这听起来就像 ... 魔兽争霸里可没有雷射枪!", "哦, 这就对了!" 所以, 有时候你真的必须转换心情. 你 的离合器就快要炸了, 但是我很投入其中, 这几年来我也习惯了. 我可以在不同的思想中工 作并且保持状态, 从一个美术层面到一个概念层面, 保持老迈脑袋运作. 其实能在每个地方 骚扰员工也挺酷的. Sometimes, when you're focused on a single idea, day in and day out, for a protracted amount of time, it dulls a little bit. At this rate, the way my job is structured, I think it keeps me on my toes, you know what I mean? It keeps me sharp – I hope! My coworkers may not think that's entirely true because I also have a terrible memory – short term memory, I don't even have that. What were we talking about? 有时候, 你会集中心思在一个单一想法, 一天就过去了,甚至是额外的工作时间, 的确是有 点乏味. 在这个情况下, 我的工作变的比较有条理. 我想这让我保持正常, 你知道我的意思 吧? 这让我保持每锐 - 至少我是这麽希望. 我的协力人员可能不是这麽想, 因为我的记忆 力实在是太差了 - 我应该没有短期记忆区块. 我们刚刚在讲啥? [ 05:54 ] Karune: For sure, I think the energy translates quite a bit to the story-line of the games. To talk about StarCraft in particular, how did that particular story-line get started with you? 这倒是. 我想把主题转换一点到游戏故事线上. 我们就来谈谈星海争霸, 他那特殊的故事线 你是怎麽想出来的? Chris Metzen: You know, it's funny. What a lot of people may not know is we were actually – Nick Carpenter and I, the cinematics director, we were developing, for Blizzard, we were the young Turks many years ago. After we had published Warcraft II. Nick and I spun off and were working on a science-fiction concept for a game that was actually more of an action shooter. It involved pretty gnarly stuff like space vampires, kind of clans of them, and this really cool sci-fi setting. 你知道的, 这挺有趣. 许多人不知道其实我们是在 - 我和 Nick Carpenter, 动画导演, 我 们一直在研发部门, Blizz的, 当许多年前我们还是非常年轻的顽童时. 当时我们推出了魔 兽争霸二, Nick 和我在外面投身於一个动作射击游戏, 与其中的科幻小说概念. 里面衍生 出很多古怪的东西, 如太空吸血鬼, 属於他们的部落, 以及他相当酷的科幻小说设定. At the same time, a separate development team, or the main development team at the time was developing science-fiction RTS. We had done Warcraft II and now we're interested in trying to do the next RTS outing in science-fiction. And early ideas like ‘well, let's blend them together man, we can do this kind of space-vampire-clan-thing and real-time-strategy.' We talked about that for a while and ultimately, that game fell through and as momentum really started picking up on the science-fiction thing, the group response is like ‘well, let's simplify this, right. People, they understand space-ships. They understand creepy, spidery aliens. They understand psychic brain aliens, right? So let's just cut down to the core motifs that are really classic in science-fiction. That's where we should start.' So we kind of threw away the world concept we were cooking and ultimately StarCraft just kind of took shape over time. It starts with, the way you build a world, it starts with tanks and fighter jets and just cool-looking alien shapes and ultimately that starts growing into a setting. Who's this? Where's that vehicle from? Who pilots this? I think the StarCraft setting really started taking shape at that conceptual level. 在那个时候, 一个分开的研发团队, 或者是说当时主要的研发团队正在研发科幻小说的即时 战略. 我们已经搞定了魔兽争霸二, 现在我们有兴趣尝试下一个有着科幻外观的即时战略. 早期的想法是"那好吧, 我们把他融合起来, 我们可以做出像-太空-吸血鬼-部落-之类的东 西而且还是即时-战略." 我们谈论这主意了很久, 最终成为一股动力让我们来作科幻小说背 景的游戏. 小组这样回应"那, 把他简化一点吧好吧. 人们, 他们知道太空船. 他们能理解 诡异的, 蜘蛛般的外星人. 他们能想像心灵脑波的外星人, 好吗? 所以我们只要去芜存菁, 留下科幻小说最经典的核心. 我们就该从这里着手." 所以我们把原来策划中的世界观全扔 了, 才慢慢有现在星海争霸的雏型. 他是从这里开始的, 先建立一个世界, 开始有坦克和战 斗机, 以及一些看来很酷的外星人, 最终才有了这样的设定. 这家伙是谁? 这载具哪来的? 谁是这个驾驶? 我想星海争霸的设定的确是从很概念的阶段就成型的. It wasn't the story-line, specifically, the linear flow of events, the overthrow of the Confederacy, Kerrigan, Raynor, the Protoss, the destruction of their homeworld. A lot of that stuff wasn't clear from the get-go. We were just making the broadest science-fiction universe we could and trying to make sure it really resonated with people. It was only in constructing the single-player campaign that James and I really started laying out the broad strokes of how the universe would unfold and what this moment in time was really defined by: the Confederate fall and ultimately the invasion of Aiur. So it's funny, little ideas that weren't there from the beginning: the whole character of Kerrigan didn't really exist until the middle of our construction of that first campaign. We knew we had Ghosts and the joke was – I don't know if this is common knowledge but I think it was Command and Conquer that had a character named Tanya, back in the day. She was kind of like an assassin, a badass. And we just had this conversation one day using a Ghost character on a map, like ‘ha ha, how funny', the whole ice-skater debacle was going on with Tonya Harding and Nancy Kerrigan. ‘Haha, how funny, we'll make our super assassin named Kerrigan on this one map.' And it was a total throw-away character but as we started discussing it and really getting in to this character, we kept coming back to her; she had a lot of gravity. It really created a cool, kind of triangle of tension between Mensk and Raynor and this emergent Kerrigan character. 讲的精准一点, 这并不算是故事线. 事件的线性流程, 联邦的推翻, 凯瑞根, 雷纳, 神族, 他们家乡的毁坏. 这麽多东西一开始并不是很明朗. 我们只是想要尽量扩充这个科幻背景的 宇宙, 并且让人们认为的确很合理. 直到我们开始建构单人战役时, James 和我才开始设计 许多惊奇之处有关於这个游戏宇宙是怎麽形成的, 以及两个重要的时间点: 联邦的崩坏与翁 行星入侵. 蛮有趣的, 许多小小构想刚开始并未出现: 直到我们构筑第一章单人战役一半之 前, 凯瑞根这整个角色完全不存在. 我们知道我们的鬼子以及有关她的笑话: 我不确定这是 不是普遍认知, 但在那时终极动员令有个角色叫做谭雅. 她是属於刺客那种, 迷人又可恶的 角色. 所以有天我们讨论怎麽把鬼子放到地图上时, 就出现"哈哈, 真有趣啊, 整队的溜冰 者因为 痛呀.哈汀 以及 南西.凯瑞根而瓦解了~", "哈哈, 真有趣啊, 我们将要在这地图上 作一个我们的超级刺客, 叫做凯瑞根." 她本来是个不受重视的角色, 直到我们去讨论她之 後开始有了个性, 我们也一直反覆检视她; 她有许多的吸引力, 创造了她的确很酷, 在雷纳 与曼斯克之间有着三角关系张力, 这塑造了凯瑞根这个角色. Ultimately, it was pretty late in the game when we decided that she would be betrayed and become the Queen of Blades. The Queen of Blades was never an original concept; it really came about just at that, kind of in the final stretch of that campaign. Just another testament to the fact that what we publish and what people really cling to isn't necessarily always defined from the beginning. You would think, looking at StarCraft, that that was one of the core concepts but actually it was kind of tacked in later. I think that's where we're strong as story-tellers; when you pop ideas like that in the middle of your plan, we tend to be able to jump on those ideas and weave them into the core plot and really make them feel like they've been there from the beginning. That's kind of the trick to it: can we flex fast enough with emergent ideas and really make them feel contiguous? 最终, 我们也很晚才决定游戏中她会被背叛并且成为刀锋之後. 刀锋之後从来都不是个一开 始就有的主意; 的确是因为该出现了所以就有这个角色, 就是那个战役的最後张力. 另一项 证据则是很多玩家喜欢的角色是在一开始设计与发行时大不相同的. 你会想说, 看看星海争 霸, 有着核心概念但是後来有着自己的方针. 我想这就是我们说故事强的地方; 当你在计划 进行一半跳出一个想法, 我们会试着跳过某些想法, 并且把它织进去核心剧情, 让它看起来 就像是一开始就设计好的. 这也是一个小技巧: 我们能不能很快加进突然的想法, 并且真的 让它们感觉很连贯? [ 07:58 ] Karune: Yeah, that stories kind of evolve into it rather than set things that you try to throw in. That's really awesome. I think that's different than how some other companies might handle it. 没错, 故事已经发展的比你们当初设定的还要强大了. 这真的很神奇. 我想这跟其他公司的 处理手法也很不一样. Chris Metzen: : I think that's a big part of video game story-telling, you know, you go out and write a movie script or comics are like this a lot. It typically relies on the actor to – pardon me, the writer to have conceived of the thing pretty clearly up front and then you begin to build the mechanical component of the game on top of existing plot-lines or characters. Certainly films are like that. You start with a script. Comics, you typically start with a script. 我想电玩游戏的故事叙说是一们很大的学问, 你知道, 这就像是写一篇电影剧本或是漫画的 背景故事. 这基本上是依赖在演员 - 不好意思, 作家必须很清楚地表达出大纲, 然後你开 始建立起游戏的要素细节, 包括最上层的剧情, 或是角色. 我很确定电影会这样作. 你开始 先有剧本. 漫画, 也是从脚本做起. So, when we construct stories for video games, more often than not, it starts with a molten idea. Sometimes it's broad, sometimes it's not, but as part of this team dynamic, as the special teams get involved and as the designers and the writers and the artists all kind of start talking about this molten idea, it hammers it out further. It becomes clearer and clearer as you go. People respond to characters or themes more than others. Like, you know what, this idea is cool but it just isn't fun. It doesn't play well; it doesn't work in the context of the game. Or, someone might go ‘Hey, what about this character Kerrigan?' and we go ‘Woah, we should absolutely use that! I've got a crazy idea, let's turn it into an alien!' So you never know where those ideas are going to pop so the trick is stay loose and give yourself enough breathing room that you can use those ideas. That you can jump on them without derailing the train. 所以, 当我们构思电玩游戏的故事, 一般来说, 都是从一锅翻腾的想法开始的. 有时候会想 的很广, 有时候却不是. 但随着团队变动, 专业的团队进来如设计师, 作家以及美术人员等 各种人员开始讨论这个滚烫的想法时, 就又多一点铸造出整个概念. 这想法会越来越清晰. 人们比较喜欢回应角色或是故事主轴. 就像是, 你知道, 这个主意很酷, 但事并不有趣. 它 很明显搞不起来; 它不符合游戏主旨; 或是, 有个人会说"嘿, 凯瑞根这个角色怎样?" 我们 会说"喔啊, 我们绝对应该用它! 我有一个疯狂的点子, 我们把她变成异形!" 所以你永远不 知道这些想法啥时跑出来, 所以秘诀是放松, 给你自己多一点喘息空间, 你可以去用这些想 法. 你可以不用改变大方向也能去尝试. People typically worry about Blizzard, it takes us a while to get games out. It ain't ready till it's ready. That is obviously a benefit. But one of the things that also happens in our longer gestation period is we're just talking about this stuff all the time and it gives us a little bit of room and breathing space to really chew on some of these ideas that might pop that other companies, with a tighter development schedule, might not be able to chase. They might not be able to really weigh things like that that might pop because it'll derail the train. That's one thing I dig about the freedom we've been allotted all these years is that we're able to really chase those things down and explore. 人们总是担心Blizz, 游戏总是要经过好一段时间以後才会出来. 游戏还没好之前是死也不 出来. 这很明显地是个优点. 但同样地, 我们孕育游戏的时程也会拉长, 我们一直在讨论这 些东西, 我们也很需要一些喘息的空间来让我们好好咀嚼这些创意, 甚至是别的公司的构想 , 而且是在这麽赶的研发行程之内, 我们很可能无法追上的程度. 人们可能没有真正去考量 到他们想出来的点子是否实用, 或是会偏离主题. 我这里谈的有关自由这一点, 就是这麽多 年来我们总能去好好地钻研并且深究重要的事务. [ 12:26 ] Karune: So what do you think about the StarCraft II story coming many years now after you developed the StarCraft original story? What has kind of been the popping elements to get that back to the story? 所以你是怎麽看星海争霸二的故事, 在这麽你发展出星海争霸原本故事这麽多年之後? 里面 有许多突发奇想的元素并且把他们加到故事里吗? Chris Metzen: The StarCraft II story. You know its funny, while I wouldn't say we had a lot of false starts, there were a lot of themes I really wanted it to be defined by when we began. And at this phase, some of those themes have fallen away. Some of them have become even clearer. Ultimately, we had a number of hanging plot threads after the first game. Obviously, you've got the huge thread of ‘Kerrigan's in charge of the zerg now. What's she doing? What's happening with our old buddies Mensk and Raynor? Where are they at? How do they play in to the future of this setting? How can we resolve this split between the Protoss civilization -the Light and Dark Templar? Will that be resolved? And ultimately, the larger mythology question of: why all this? Why now? The Protoss and the Zerg were created by some elder race as suggested – who is that race? And ultimately, was there a plan and a symmetry to all of these events that played out? Was it just random warfare or is there a bigger cycle of events playing out?' So those are a lot of the things we knew about right out of the gate. 星海争霸二的故事, 你知道是很有趣的. 我不会说我们开始是失败的. 有些主题你必须要一 开始就确定好. 在那个阶段, 有些主题就被放弃了. 有些主线变得更加明朗. 最终, 我们有 一堆剧情讨论串接在上一款游戏後面. 很明显地, 我们有大量关於凯瑞根接掌异形的讨论串 . 她正在做啥? 她的老朋友曼斯克和雷纳怎麽了? 他们现在在哪? 他们未来的角色定位又是 甚麽? 我们要怎麽解决神族文明中光明与暗影圣堂武士的分歧? 这问题能解决吗? 以及最後 , 最神秘的问题在於: 为什麽要这样做? 为什麽是这时候? 神族与异形被一个更古老的种族 所创造出来, 如同设定里的 - 那他们是谁? 以及最终, 这些事件是被安排与设计好的吗? 这只是偶然的战争, 或者有更大的计划在其後运作? 这些就是我们一开始就碰到的事情. We had many years to think about them, mull them around before we started official development on a project. After we've been in this for a while and we've really refined our story-telling process and our cinematic process, this game is much more cinematic than the previous game: we've got a lot of in-game sequences and the story mode space which we showed at BlizzCon last year. So it's been, just a tremendous experience to be able to really get closer to this universe. It's not just talking heads babbling at each other in ready-rooms anymore. You're really immersed in the tension and the drama and the story of it all. These characters are, the artwork, the voice-over and all that stuff, they're just more realized than we've ever really been able to do. It's just been tremendously rewarding to shape this thing and really see it take the shape beyond even what I had hoped for a few years ago. 我们有许多年都在思考这些问题, 并且在正式启动研发计划前仔细地考虑. 当我们开始一段 时间, 我们真的重写我们的叙事流程与动画流程, 这让这款游戏比前一款更戏剧化: 我们有 一堆游戏中剧情以及故事模式部份, 去年BlizzCon有展出来过. 所以这将是一次无与伦比的 经验, 能更接近这个游戏宇宙. 这是不再是一个会说话的人像, 对着准备室里的每个人喃喃 自语. 你这次真的会深陷於故事的张力与剧情. 这些角色, 包括美术层面, 对白语音以及其 他所有的东西, 都让你觉得更真实, 比我们以前作的都还要好. 看着他们塑造这些事物, 并 且看着他们成型, 就已经是莫大的回报, 远远超出几年前我所期望的. You kind of have a sense of the story and your expectations and your hopes for it as a singular writer, but as the teams' gotten involved and as we've been jamming on it all these years, the inclusion of fresh voices like Andy Chambers and even old voices like Nick Carpenter, I think we're all doing the best work of our careers. It's funny, I've said a number of times. World of Warcraft kind of became the center of the Blizzard universe, pardon the pun, for many years. The game was so big, it demanded a tremendous amount of mind-share from us all. Even though other games were in development at the time. Certainly StarCraft II. 你可能觉得或是期望, 希望故事是由一个单一作家完成的, 但是这麽多年的踌躇以来, 一直 都是有团队在负责. 包括新人如 Andy Chambers 或是老骨头如 Nick Carpenter, 我想我们 正在进行工作生涯中最棒的作品. 这很有趣, 我好像说了好几次. 魔兽世界变成了Blizz游 戏的骨干, 虽然我只是开玩笑的说, 但也很多年了. 这游戏是如此庞大, 需要我们之间极可 观的创意交流. 即使是其他游戏还在研发, 也就是星海争霸二. But now, it just feels like, with StarCraft II, as we're able to focus more and more, it feel s like the best work we've ever done. It's finally the story I really wanted us to tell. It's got a lot of heart, it's got a lot of depth, and, on top of it, it's just a rip-roaring wargame. It's badass. It's been very, very rewarding to see this thing take shape. Just getting back to that Blizzard of yesteryear where it's not all about WoW – don't get me wrong, I love WoW! But we're so much more than that and I think the world will see, when we pop with this thing that we haven't been idle. 但是现在, 可以这麽说, 星海争霸二, 我们可以越来越集中在上面, 完成我们有史以来最好 的作品. 终於我可以说这个故事是我想跟大家分享的. 里面有很多心血. 里面很具深度, 以 及, 超乎所有之上, 他将是个让人无可挑剔的战争游戏. 他就是这麽迷人. 看着他成型实在 是非常, 非常地具有成就敢. 想起Blizz去年的时候还到处都是魔兽世界 - 可别误会了, 我 喜欢魔兽世界. 但是我们可不是只有魔兽世界, 我想世界会看到, 当我们端出星海争霸二时 , 大家就知道我们其实并没闲着. [ 14:41 ] Karune: And everybody's quite excited. Let's also use that to shift gears from Warcraft III. How did the story evolve from Warcraft III, an RTS game, jumping into World of Warcraft, the MMO? 当然每个人都很兴奋. 我们转换跑道到魔兽争霸三. 一个即时战略游戏, 魔兽争霸三, 是怎 麽转到大型多人线上游戏, 魔兽世界的? Chris Metzen: I think at the end of the day, that you have to remember that we developed both of them concurrently. I was lead writer, creative director on World of Warcraft – sorry, on Warcraft III. Same thing; both. As we were developing Warcraft III, the call came down ‘hey, look, we're gonna try this MMORG thing. We're gonna build World of Warcraft.' Okay. We kind of built them from the conceptual standpoint at the same time, roughly. I knew what the Warcraft III story was, I knew what the new lands were, I knew what cultures were involved and ultimately where all the pieces on the chess board would be by the end of that, considering The Frozen Throne expansion. So as we were developing WoW, we knew where everything was, we knew what the broad themes were, and we were able to build on that snapshot of the world that Warcraft III left you with. So if that was your basis; now we can take those maps and those ideas and those art assets, that fundamental art direction and really launch off into a far broader setting. 我想是在有一天结束时, 你还记得我们同时研发这两个游戏. 我当时是首席作家, 魔兽世界 的创意总监 - 抱歉, 是魔兽争霸三. 一样的事情; 两个游戏, 当我们在开发魔兽争霸三时, 有个声音传下来"嘿, 你看看, 我们应该试试看大型多人线上角色扮演的玩意. 我们应该来 作魔兽世界" 好的, 我们在差不多的时间点上, 也作出魔兽世界的基础概念. 我知道魔兽争 霸三的故事, 我知道新的大陆是甚麽, 我知道哪些文化会加进来, 最终成为棋盘上的棋子. 也包括寒冰霸权的故事. 所以当我们在研发魔兽世界时, 我们知道每样东西, 我们知道该拓 展哪些主题, 我们可能根据魔兽争霸三给你的印象去构筑这个世界. 当你有了这些基础: 我 们可以运用地图, 想法以及美术作品, 这些是基础的美术方向, 来大肆扩建我们的设定. At the end of the day, the boxed product of WoW was pretty static in terms of: it kind of re-introduces you to the setting, the world but it didn't have a real strong sense of linear story. That would come, I think, as we got into the Ahn'Qiraj patch event where Ahn'Qiraj comes out and suddenly, no matter where you were, Alliance or Horde, at the level you're at: suddenly, oh! There's an event happening! And the world is kind of bent towards this new episodic content where obviously, with the patches that followed and in Burning Crusade, we began to get back into more of a linear series of stories. 到最後, 魔兽世界的决定版已经定型: 就像是要重新介绍你这个设定, 这个世界本来没有很 令人印象深刻的年代史的. 就像是, 我想, 当我们埋首於 Ahn'Qiraj 修正档时, Ahn'Qiraj 就这麽现身, 无论你在联盟或是部落, 你会觉得: 突然之间, 哦! 这有个事件正在发生! 整 个世界很明显地都为了这个插曲事件改变了. 当不断地推出更新档, 以及燃烧的远征中, 我 们开始回到比较向直线的故事流程. Burning Crusade is a definite chapter, it's a year in the life of this setting. And you could track all the events that played out, right. Wrath of the Lich King again is that next chapter, that next vital offering of events that are pushing this continuity forward where I think WoW is more of a snapshot. I think certainly pushed the continuity forward from Warcraft III but not in as dynamic a way as our current expansion sets are doing. I'm not sure if that answered your question, though. 燃烧的远征是个决定性的章节, 在游戏里大约设定是一年左右. 是的, 你可以追溯所有的事 件并且完整历练. 巫妖王之怒则又是另一个章节, 下一个我们提供的重要事件会继续推动整 个连续情节, 让我觉得魔兽世界只不过是其中一个环节. 我想我们的确有承接魔兽争霸三的 故事, 但并不是像魔兽争霸资料片一样那麽大幅度改变故事情节. 我不确定这时不是有回答 到你的问题. [ 18:30 ] Karune: Well, I mean, going even further into Wrath of the Lich King, what types of stories – the storyline that was already told in Warcraft III – will be told in Wrath of the Lich King and also what types of loose ends that haven't been told or are going to be introduced in Wrath? 呃, 我的意思是, 深度探讨巫妖王之怒, 这是个甚麽样的故事 - 在魔兽争霸三里已经有叙 述过的部分 - 在巫妖王之怒会怎样呈现? 另外尚未公布的, 巫妖王之怒的开放式结局? Chris Metzen: Right. A couple that spring to mind – there's all sorts of stuff going on in Wrath of the Lich King – it's big, conceptually, it's like – if you look at Burning Crusade at a conceptual level: we're going into outer space. There's clearly a war between good and evil playing out in the greater universe. There's some sort of predestination of the orcs coming to Azeroth. Now we get to see their origins. 好的, 我的想法是这样的 - 几乎所有的事情都跟巫妖王之怒有关连 - 他的规模庞大, 在概 念上, 就像是说 - 如果你从概念上来检视燃烧的远征: 你即将前往外域. 在那广大的宇宙 中很明显地好坏两方面在争斗. 那里也有为何半兽人要前往艾泽拉斯与其宿命. 我们得要去 看这些事件的起源. The Burning Legion, the Burning Crusade: it was huge on a conceptual level, right? Some would argue maybe too huge, right. Whatever happened to Gnolls and Kobolds. Suddenly, you're in outer space fighting angels. With Wrath of the Lich King, you almost get both. We come back to terrestrial Azeroth, so it's a little more back into the realm of gnolls and kobolds – well, I'm not promising you'll see either of those in Northrend – it's a little more palatable to classic fantasy. But at the same time, we're also pushing forward hugely on the setting. We're going to get into themes like the Titans and the creation of the world, the function of Azeroth at the dawn of creation. Why this planet? Why does this planet continue to be central to events? The whole dwarven storyline of them trying to plumb the depths of their origins and how that ties into the creation of the world. We're getting into a lot of cool new territory with the war of magic and the creation of the dragon flights – what's their function in the world? How are they currently doing? At this phase of history, there's all sorts of big, broad themes playing out – not the least of which are looking again at the Alliance and the Horde from an overall angle and just gauging “How're they doing, these days?” After the events of that first year of play culminating with – I don't even know what it was – Ahn'Qiraj, Blackwing Lair, Naxxramas, all the big event patches we put out which I kind of look at as Year One, and certainly with the Burning Crusade: both alliances sending expeditions into this burning, alien world and being flung into those events. 燃烧的远征中灼炎军团: 在概念上更为庞大, 不是吗? 有些争论它实在是太大了. 豺狼人跟 狗头人根本没人想理. 突然间, 你就在外域跟天使们开打了. 在巫妖王之怒里面, 你两者都 会碰的到. 我们将回到艾泽拉斯的地理环境, 也会有一点跟豺狼人与狗头人国度的交锋 - 嗯, 我可不敢保证你在诺森德会不会看到他们 - 传统的奇幻故事还是挺有趣的. 但同时间 , 我们也大量推动整个设定情节. 我们将会作出泰坦以及世界创造起源的情节, 艾泽拉斯在 世界创造之初的角色. 会甚麽是这个星球? 为什麽这个星球会是所有故事的中心? 整个矮人 的故事线将会直达他们的起源, 以及他们是怎麽跟这个世界的创造扯上关系. 我们有许多新 的地貌, 有关於魔法之战以及翱翔天空之龙的起源 - 他们在世界里扮演甚麽样的角色? 他 们现在正在做甚麽? 这个部分的历史, 有一大堆相关, 广大的主题来呈现 - 不只是从全面 角度重新审视联盟与部落, 也要来评估" 他们这些日子干了些甚麽?", 在游戏第一年中完成 这麽多的事件并且达到一个高潮总结 - 我还不确定有哪些 - Ahn'Qiraj, 黑翼巢穴, Naxxramas, 这些我们在修正档中释出的大型副本, 我认为是游戏第一年中发生的事件. 还 有关於燃烧的远征: 两个联盟都送出远征队抵达这个燃烧, 不友善世界并且投身其中剧情. What are the stresses that have resulted over time because of those things? What are the discoveries? The discovery of the Mag'har in Outland: what does that do to the Horde? That Thrall's finally found his – where's his head at? The Northrend events, Wrath of the Lich King kind of looks at each of these alliances and how these events have played out and shows you the new stress fractures, perhaps appearing in the upper echelons of leadership. There's new characters kind of coming to the forefront that may or may not challenge the status quo for both factions. There's all sorts of sweet – everybody knows about death knights, but you know, we just had a meeting the other day about how they play out, about how the storylines of potentially Mograine and the Ashbringer and all those events in the Plaguelands: what was the point of all of that and how does it really play out? There's all sorts of little nooks and crannies like that, that Northrend really brings full circle, that the Wrath of the Lich King expansion really brings full circle. So, it's been really fun for me to be able to help steer the setting. 在这些事情发生後, 产生出甚麽样的冲突与摩擦? 新的发现又是甚麽? 关於外域 Mag'har的 探索: 对於部落有甚麽影响? 索尔终於找到他的 - 他的目标在哪? 诺森德的剧情, 巫妖王 之怒对於联盟中各势力的影响, 现在这些剧情将会带来新的紧张情势, 也许反应在高阶领导 层里面. 有些新的角色也会上到前线, 有可能, 也可能不会为两方的派系带来影响. 不过这 些东西都是美好的 - 大家都知道死亡骑士们, 但你知道, 我们才在某天开完一个会议, 有 关他们在游戏中的角色, 以及强大的 Mograine 和 Ashbringe r的故事线, 以及其他瘟疫之 地的副本: 这些事件的关键是甚麽? 他们该怎麽呈现? 故事很多地方都有隐晦或是缺陷之处 , 但诺森德将会弥补成为一个完整的剧情, 也就是巫妖王之怒将会圆满诠释整个故事. 所以 , 对我而言来架构这些设定是相当有趣的. If we were making a comic book series every month, obviously, you've got to roll it out but while our expansion sets, they certainly don't roll out month by month, they are episodic, ultimately, so it's been really cool to push the setting forward and begin to bring some of these characters and points of history back to the forefront so that fans of the story of WoW can really feel immersed and that everything is cohesive and compelling, we hope. 如果我们每个月要出一本漫画书, 很明显地, 我们必须赶着上工; 但我们的资料片, 他们并 不需要每个月都出来. 他们是一部部的插曲, 最终, 把这些设定推到台面真的很棒, 开始让 这些角色与历史环节呈现在最前端, 魔兽世界故事的拥护者可以真正感受到深陷其中的滋味 , 每样东西都是互有因果跟令人深思的, 我们是这麽希望的. [ 20:55 ] Karune: Very nice. I think that most people are hanging at the edge of their seats right now about all of the Wrath of the Lich King stuff. Our last question: how did the events of the Sin War Trilogy fit into the Diablo universe and why was this an important story to tell? 相当地好. 我想大部分人现在都迫切渴望有关巫妖王之怒的任何事物. 我们最後一个问题: 原罪之战三部曲中的事件, 是怎麽融入暗黑破坏神的世界? 他们为什麽这麽重要? Chris Metzen: At the most basic level, apart from the story of it, in terms of just how the product came to be at a publishing level, we were talking with our partners, PocketBooks, a couple of years ago. “Hey, let's do trilogies per license; for each of these three licenses.” My first instinct was, “hey, killer! Let's use go back and those trilogies to really give people a sense of the origin of each of these series.” Thus, with Warcraft, we did the War of the Ancients which was the definitive, first conflict of Azeroth that really set the stage for everything happening in the current age. StarCraft as well, with the Dark Templar trilogy, even though it was spun with the protagonist kind of reliving history in his mind, it really gave you a sense of the mythology of the Protoss and the events that really echo in the current day, in the pre-staging to StarCraft II. 在最一开始, 整个故事还没起头, 不像现在已经上架了, 我们跟我们的合作夥伴, 口袋书出 版商, 大概是在一年前有谈到" 嘿, 我们来帮每个系列作个三部曲; 包括星海, 魔兽, 以及 暗黑破坏神都要." 所以, 在魔兽争霸理, 我们作了远古之战系列, 绝对是艾泽拉斯第一次 的战争冲突, 也为所有事件的起源在那个年代设定好了舞台. 星海争霸也是, 在暗影圣堂三 部曲里(译着: 封面很丑的那三本, 不是中文版这三本), 即使那只是主角在想像 中体验过去的历史, 所编造出来的故事, 他仍然能让你了解有关神族的神话, 以及当时回响 剧烈的事件, 来构筑星海争霸二的舞台. With the Sin War as well, while we didn't want to get into ‘time-travel' or ‘character reliving history in his head' – it's more of a straight look at ancient events – I think I may be roasted for this, it happened about a thousand years before Diablo I, and really, the Sin War trilogy was meant to take a snapshot of the Diablo world as it was and really show you the events and characters that set in motion everything that plays out in the present day. 就原罪之战来说, 我们一点也不想要搞"时光旅行"或是"角色在脑海中回想历史"之类的 - 是更直接来检视远古的事件 - 我想泄漏这些我会有点麻烦, 这故事是发生在暗黑破坏神1的 千年之前, 以及实际上, 原罪之战也给你一个暗黑破坏神世界的缩影, 也让你知道这些事件 与角色, 你在目前游戏中碰到的人他们是怎麽出现的. Karune: Well, I think that's all the questions that we have for today so thanks a lot, Chris, for joining us. 好的, 我想这就是我们今天要问的所有问题了, 非常感谢你, Chris, 感谢你来参加. Chris Metzen: Certainly. Thanks a lot! 也谢谢你! ----------------------------------------------------------- e04...好长 Kendai -- → powerpoint:这次 我真的是龟懒趴火 → powerpoint:整个都是火!!!!!!!!!!!!!!!!!!!!!! → powerpoint:fire!!!!!!!!!!!!!!!!!!!!!!!! → powerpoint:die!!!!!!!!!!!!!!!!!!!!!!! 推 Mink0417:fire!!!!!!!!!!!!! die!!!!!!!!!!!!!!!!!!!!! --

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