[情報] The Evil Within 搶先介紹 中集
由於這篇文有點長，最近也沒有特別的發售評論，所以我就把這篇分三段來翻。
其實文章的內容在前面大大翻譯的影片中都多少有提及，
所以如果已經看過影片的朋友們可以跳過這篇文章，因為資訊差不多。
當然如果無聊的話也可以看看當作調劑。
BTW.一個額外的資訊給有蘋果系列行動裝置的朋友
http://www.ign.com/prime/promo/free-horn
乾淨網誌版
http://nemesisred.blogspot.tw/2013/04/ign-evil-within_28.html
原文網址
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.
(接續上篇)接下來發生的事情完整的展示了三上所謂"對劇情張力完整的掌握"。
Sebastian必須在很長的時間(drawn out)內安安靜靜地躲避巨人的追擊，
奮力奔向(bid for)自由。
「玩家的移動方式在這裡舉足輕重」三上解釋道
「明顯你會在這環境中東奔西走，但是只要附近有敵人存在，角色就會變得十分警覺，
然後就算你開始潛行或是蹲伏行動，你依舊可以跑；
不過角色的動作會依據角色是否正被怪物追擊，
或是否感到安全而有所不同，動畫也會有所不同。」
正是當Sebastian在某處的迴廊中不小心誤觸了警鈴時，寂靜的緊張感突然爆發；
而這警鈴驚動了屠夫，它猛地衝入了這個場景，揮舞著最經典的三上風武器--電鋸。
我們的主角面對這直逼而來的大玩具也只能倉皇逃命，武器在他身後粗野的咻咻而過。
他那身體動作使人喚起過去生存恐怖主角們的記憶，《沉默之丘》的Harry或是咱的Leon
；
而更關鍵的是，使我們發現他其實在這種恐怖面前是十分脆弱無法反擊的。
「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.
「最近玩家越來越嚇不著了，」 製作人木村正人說
(*註：Masato Kimura我不知道漢字怎麼寫的)
「我們希望可以克服這個問題，或是傳達給玩家更多能浸淫於其中的實境經驗，
我們希望玩家可以認同(identify with)裡面的角色們，而且和他們一起感受。
當角色被嚇到我們希望你也被嚇到，
當角色很興奮的時候我們也希望你也接收到這樣的心情。
我們希望能夠將一些其他遊戲玩不到的情緒傳達給你們。」
當怪物找不著Sebastian的蹤影時，他們的行蹤變得詭譎不定，
不過當怪物發現他時Sebastian只能塊陶阿
或是在脖子上挨一記電鋸(這個Tango曾示範給我們看過了)。
遊戲的張力是如此的強，以至於當Tango正要幫我示範如何在暗處丟空瓶來引開怪物時，
他丟歪了，這空瓶直接的砸在怪物身上，讓它怒不可抑，惡狠狠的四處尋找主角的蹤跡。
這位幫我們示範的代表嘴裡只能細碎幾句，然後苦笑，
看來現在Sebastian又要為了他的脖子四處奔走了。
毫不意外的，這一連串的過程又以一次狂奔作終，
正當Sebastian一腳跳進電梯中而覺得自己安全了，整個瘋人院竟開始在身邊崩塌。
他顛簸的跨過遍布鏽斑的病床然後在老舊的輪椅上躍過，
廢棄的醫院這個梗使我想到Jacob's Ladder (註：http://tinyw.in/YMY0 )
--衝過大廳，打開大門，最後卻看到滿目瘡痍的城市。
警車在一個一個大坑洞中東倒西歪，而滿目所見皆是一陣大屠殺。
「可能只是我個人這麼覺得，」三上說
「但是我是那種會覺得"這就是我的做事方法，我想搞些特別的"的人，
我實際上也已經作過了許多不同種類的遊戲，也作過很多不一般的事，
不過這一切都不離(come down to)"我想顛覆大家對我的印象"這個想法。」
千真萬確。
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.
在第二段的展示裡面，Sebastian被獨自丟在黯道之中，
而這條道路通往一棟已久無人居的小村舍。
我們完全不知道他的所在地，這一段展示也是要展示所謂"三上流的動作性"精髓(central
pillar)。
不過能夠與之互動的物件會在螢幕上標註提示。
Sebastian帶著槍，當他抽槍出鞘，一個小小的武器圖示標註了有限的彈藥。
(舉槍的動作)呈一種防禦的手勢。
「我們不會給玩家太過分的武裝，」三上說
「但我們也不想反過來不給玩家任何可以憑藉的火力--這樣會違背生存恐怖的初衷。
所以我們會給玩家適當的武器種類，彈藥也有所限制，
這都是要讓玩家能夠通關--僅在技術夠好的前提之下。」
正是在這個村舍中Sebastian遭遇到了敵人，
這敵人我只能猜想這是本作中的普通(garden-variety)小怪，如果這種畸形算是普通的話
。
這些怪物如殭屍一般蹣跚的走近Sebastian，有著的只是純粹的嗜血慾望，
有一隻被鐵刺網纏繞著，另一隻則是全身插滿了玻璃碎片。
大概是他們心中的折磨於肉體上的呈現吧。
--
※ 發信站: 批踢踢實業坊(ptt.cc)
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