[情報] The Evil Within 搶先介紹 上集
最近沒什麼遊戲發售，
只好來翻譯三上真司的新作，真是令人十分期待
網誌乾淨版
http://nemesisred.blogspot.tw/2013/04/ign-evil-within.html
原文網址
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.
三上真司從帽沿底下往上睨視，
這頂上面印著(Tango gameworks)商標的舌帽壓的低低的，蓋住了三上的眼睛。
(Tango gameworks ： http://tangogameworks.com/index)
「誠然，我喜歡恐怖的感覺」他想
「但是生存恐怖遊戲已經悖離了他原有的樣子，
所以我想把它拉回來，找回生存恐怖應該有的樣子。」
如果有誰能把這個類型的特質回歸到最初的型態，這個人就非三上莫屬。
這位蟄伏已久(subdued)的惡靈古堡之父這次重操舊業(stomping ground)。
(註：三上真司和卡普空的關係
http://zh.wikipedia.org/wiki/%E4%B8%89%E4%B8%8A%E7%9C%9F%E5%8F%B8)
在Tango Gameworks發表了這款新亮相的遊戲。
第三人稱生存恐怖遊戲The Evil Within《心魔》(暫譯)。
這部遊戲可能不會依循(adhere to)這種類遊戲在黃金年代時的老路子，
而這所謂的當年的黃金時期其實從一開始也就跟三上真司脫不了關係。
「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.」
「現下生存恐怖類遊戲難道還少了？
但是我的重點想放在恐怖感和動作性的完美平衡上。」
這完美平衡，在三上心目中，也就是遊戲之所以恐怖的很純粹的原因。
《心魔》當然包含了可以充分展現三上這段承諾的設定。
本作的提要挺老梗的(註：http://tinyw.in/OSbe)，
不過這可能不足以表明這遊戲真正的面貌。
Tango的辦公室牆上貼滿了描繪著一顆纏滿鐵絲的腦袋的海報。
這就是遊戲的設定--鬧鬼的精神病院--所代表的形象；
當然是一處比你床底下(things that go bump in the night)更加險惡許多的地方。
「就這主題而言，重點不在(劇情)到底多麼迂迴曲折，而是保持詭譎感；」
三上解釋道
「所以隨著劇情的推進你可能會一點一滴的瞭解整個故事，
但是你也會發現覆蓋在陰影底下的神祕也又更多。」
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.
遊戲的序章由咱的主角Sebastian，一個有著瘦削(chiseled)臉龐，
但是其他(but otherwise)特徵卻毫不顯眼(nondescript)的偵探，
在調查一起發生在瘋人院的兇殺案。
他和他的同事們，一個叫做Joseph，另一個被叫做(address as)"Kid"`，晚到了現場；
到達現場時停車場中已經佈滿了警車，而這座瘋人院聳立(loom)在濃霧中，若隱若現。
"奇怪的是這麼多車裡頭卻沒有半個人" Sebastian記錄道 "但卻也沒有暴力行為的痕跡"
本作擁有2.35:1的寬高比例 (註：16:9=1.77:1) ，
這代表玩家可以綜觀整個環境以及裡面巨量的細節，
鏡頭是在Sebastian的肩膀處，呈第三人稱視角。
「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.
「我們在整個遊戲的戲劇上的呈現角度花了很大的心力」 三上道
「希望整個遊戲的過程都讓人感覺很恐怖，
但是我們不想要讓這件事情影響遊戲的流暢性。
我們想要讓玩家在操縱腳色的過程中也能感覺到可怕，
絕不會讓玩家感覺到綁手綁腳(cumbersome)。
所以一旦加入更多動作元素，當然我們也就希望玩家能專注於其上。
(註：我覺得老遊戲的恐怖其實有一部分來自很低的操作性)
所以你在進行遊戲的時候會在如電影般的戲劇性和純粹的遊玩體驗之間遊走。」
當Sebastian進入這瘋人院的挑高大廳時，第一印象是這個地方十分的"血腥"。
警察、醫生、以及病人的一具一具屍身如斷線魁儡般深深的沉在椅子中，
有些則是橫豎的躺在牆旁。
Sebastian繼續前往監控室，
裡面有一個身受重傷的醫生正在細碎的已幾不可聞的聲音喃喃自語，
雖然Sebastian無法完全瞭解其內容
(不過Sebastian覺得那些他聽不懂的內容才是最關鍵的)，
最後僅能解讀出一些大概的話語：
"是他，怎麼可能是他.."
Sebastian往監視螢幕內看，
只看見一個穿著連帽衣物的神祕人正在屠殺毫無反抗之力的警察；
而突然這個人出現在Sebastian背後，
瞬間Sebastian就失去了意識。
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.
本作就是從這裡開始的，
而至此也開始瞭解三上想要為這款作品揉和(weave)什麼樣的元素。
也就是對抗、浸淫、然後深植於瘋狂中；到底是"誰的"瘋狂這件事也是是梗的一部份
雖然《心魔》是生存恐怖類，
但是這部由"id Tech 5"引擎開發的遊戲同時也藉由Naoki Katakai的手
(《惡靈古堡重製版》、《大神》、《完全征服》的藝術總監)
傳達了許多他們稱作「Tango-stylized」的小細節。
我們可以清晰的看到每一處血跡、每一段腸子；真是美得十分變態。
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'.
當Sebastian悠悠醒轉，
他發現他正頭下腳上的被掛在切肉場中，此處正是瘋子所處的獸穴。
他的四周也同時有著許多跟他一樣"待遇"的受害者。
一個看似高大笨重，
身穿染血吊嘎(wife-beater)和圍裙的屠夫正在拿其他受害者大卸八塊。
接著他把Sebastian也拉到一塊陳舊的砧板上，這使Sebastian倏生勇氣反擊！
這個場景十分超脫常理，一個年久失修、到處濺滿血花的瘋人院，
只被一些不斷閃爍明滅的日光燈所照亮；
這和在Sebastian暈倒前的場景大相逕庭，以致很難讓人覺得這是現實。
「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.」
「瘋人院這個詞對我們來說是個關鍵字」 三上道
「這只是遊戲中其中一個關卡，不過這也是頗具象徵意義的區域。這區域看似是處於大城
市中，但是卻讓人感覺這地方也可能處在鄉間，跟某些歷史息息相關。不過還是得說
(Having said that)，雖然故事是這樣寫，不過也可能會跟玩家表面上看起來不太一樣，
也可能會由不同觀點來描繪這個地方真正的樣貌」
--
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◆ From: 1.171.28.121
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