[新聞] BlizzCast Episode 2

看板StarCraft作者 (Carrier has Arrived!)時間16年前 (2008/03/03 11:48), 編輯推噓5(5推 0噓 1→)
留言6則, 6人參與, 最新討論串1/1
本來是想偷懶的, 不過還是全部轉載好了..翻譯米糕出動. 先刊載 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. 歡迎來到Blizz廣播第二話. 由於討論玩家的普遍要求, 這次我們延長了廣播時間兩倍之長. 將從 Chris Metzen 的深度訪問開始, 他也是我們創意研發的副總, 魔獸爭霸, 星海爭霸, 以及暗黑破壞神的故事原創者. 另外也要訪問 Geoff Goodman, 為我們在2.4修正版中精心 製作了魔獸世界中瑪格瑟里頓的巢穴, 包括許多物品的更改. 最後, 我們也加入了一些玩家 社群的問題與解答段落, 確保你的聲音我們有聽到, 也為你的問題做出解答. 如果你希望比 其他人塑照出更符合你喜歡的Blizz遊戲, 你應該去看看對話原文以及所有的的美術圖稿. Featured Artwork: 美術概念 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. 網路上的玩家, 大家好, 歡迎來到Blizz廣播系列第二集. 這一集的主題, 同樣的, 是帶你 進入Blizz的世界背後的風景. 我的名字是 Karune, Blizz即時戰略社群的管理者. 首先, 我們將訪談 Chris Metzen, 我們創意研發部門的副總裁, 也是魔獸爭霸, 星海爭霸, 以及 暗黑破壞神的規則與知識設定者. 然後我們也會為各位介紹 Geoff Goodman, 一位我們魔獸 世界的設計者, 精心創造了關於瑪格瑟里頓地下城新的改變. 最後, 我們也會回答來自星海 爭霸與魔獸世界社群反應的問題. 不浪費時間, 現在就開始. Welcome, Chris, to the show. In case you guys didn't know, Chris was also the voice in our intro bumper for BlizzCast series. 歡迎你, Chris, 來到這個節目. 如果大家還不知道的話, Chris也是Blizz廣播系列中開頭 歡迎詞的聲音來源. (譯著: Chris 非常的多才多藝, 美術, 設定, 他與 Pardo 都是很常為單位配音的高層) [00:17] Chris Metzen: That's right. 沒錯. 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? 幹的好啊. 一開始, 我們第一個問題. 發展並且管理三個非常不同的故事, 背後的知識與設 定, 挑戰性在哪裡? 當你轉換主軸, 從一個故事到另一個時, 你會不會感到眼花撩亂, 或者 怎麼去做出不同地, 豐富的創造力? 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. 這很有趣. 這是兩個相當好的問題, 我想我先回答第一個部分. 管理這三個故事線背後的知 識與規則難度在哪? 我想如果我都要自己來動手, 那真的不太可能, 而且我將會做出來一個 完全混亂的鬼東西. 直到今日, 魔獸爭霸本身就是個巨大的設定與宇宙, 沒有一個人能獨立 管理所有的角色, 地點或物品. 我們為魔獸世界所建立的團隊, 包括任務設計師以及作家, 已經足以名留青史. 這些日子以來我與這個天才洋溢的團隊一起工作, 就像呼吸一樣自然 且運作良好. 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. 最近我為魔獸爭霸所創作的故事內容達到一個高度運作的階段, 構組區域和角色, 尤其是構 思未來的資料片 - 更廣大的內容 - 我相當投入於其中並且創造許多不同的驚奇, 並分配到 專屬團隊負責. 我們每個禮拜坐下來開會好幾次, 並且實際去跑過任務流程與角色, 看他們 怎麼透過美術設定融入世界裡. 所以近來魔獸的故事敘述, 早已不只是一個小組的任務了. 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. 星海爭霸部分, 也是依照這樣的流程來走. 我仍然很投入在劇本寫作. 在敘事部分 - 闡述 這遊戲該怎麼進行, 並且如何與動畫互動, 以及最終的故事線性流程, 與故事大綱. 但我們 一直有一個很棒的團隊在負責, 他們絕對不是獨斷獨行的. 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. 最初的星海爭霸, 當時是我以及一位設計師叫做 James Finnet 的傢伙, 我們一起創作故事 並且決定在單人戰役中故事該怎麼進行. 但這一次, 我們首席作家是一位老兄叫做 Andy Chambers, 他是個非常棒的寫手; 他寫作科幻小說有很長一段時間了. 我們也跟動畫 導演, Nick Carpenter 一起工作, 而我們也還卡在故事裡. 對比於故事中任何一個環節, 每個地方都是團體合作的努力. 所以, 我們彼此之間常常互相檢查/平衡, 我們也能表現出 對於電影以及科幻小說上獨特的熱愛. 我想這讓主題非常明顯. 我覺得這次的故事基礎非常 具有深度. 我想角色變得更有內涵. 我想這次故事高潮與失落將會更成熟. 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. 我們從最早的星海爭霸以來已經走了這麼久. 我們在故事敘述上已經很成熟; 我們在團隊合 作上面也很成熟. 我們在人生這個階段所砥礪出來的直覺, 讓我們在故事敘述上知道甚麼該 鑽研下去, 甚麼不該在裡面. 我們當時只是二十幾歲的小夥子; 但我們現在也三十好幾了. 所以這些人生經歷絕對會在我們創作與處理星海爭霸時, 影響故事主軸. 這很有趣. 這真的 是個感受到回報的經歷.當我們處理故事的連續性, 以及擴展暗黑破壞神的世界時, 我想我 們會看看這如何去影響故事大綱. [ 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. 我想這真的蠻瘋狂的, 尤其是在不同的團隊與不同的世界觀裡工作. 你是怎麼去轉換在兩個 主軸或是現實..與每個不同的團隊工作, 你的行程表也一定每天都很變態. 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… 目前這個階段, 我最近實際上已經砍掉很多行程, 所以我每天只需要每個小時開一次會. 這 還算不錯. 我可沒有雙重, 或是三重堆積工作. 許多許多年以來, 我花了我非常多的時間在 乒乓球般地, 每天來回在不同的自由思想. 這就像是旋轉門. 但以我而言, 我的人格特質, - 我們都是以不同的方式連在一起 - 我很投入. 我很投入在整天轉換不同的事務. 你可以 整天在同一個故事環境中工作, 但是在"唔, 現在是關卡設計會議","這是個任務/故事會議" "這就只是個VO-我們-搞定-該請誰-來當聲優-之類的會議", 馬上轉變心情. 我喜歡這樣. 我喜歡每天都有起伏, 永遠不會對事務感到厭倦. 事情總是進行的很快, 就像是 - 每天都 在過, 每天都有一些新的挑戰與新的體驗.. [ 04:44 ] Karune: Do you find those ups and downs kind of influencing each other as far as inspiration? 你覺得這些起伏對你的創意有影響嗎? 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. 喔當然, 絕對是有. 我想這些起伏 - 當我必須面對時, 也影響我和特殊團隊與小組的互動. 當我的思緒在一個小時前還在某個地方, 我必須參加一個完全不一樣的會議, 然而那個創意 仍然在燃燒. 有時我必須說"嘎, 你們這些傢伙不會相信我們上個會議搞定了甚麼鬼東西!" 他們會說"那告訴我們啊!"他們可能實際上不太在乎, 動畫師可能不在意一個區域長的是什 麼樣子, 但我必須非常對他們作的事情無比挑剔, 以至於我會對他們一直叨叨絮絮, 有關於 我們哪裡有問題. 所以, 這就像是創造一個教育流程, 每個人都在裡面, 而且這的確是個很 酷的溝通事務. 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. 我喜歡高潮起伏, 但是, 你有時會陷入麻煩中. 當你想要從一個遊戲轉到另一個, 不斷重複 的創意會議, 以及有關星海爭霸的會議, 你的腦中有關於主題的龐大構想, 當你走進去時, "各位, 我有關於魔獸爭霸的一些想法等等等等等", 結果他們說"喔啊, 老兄,這聽起來就像 ... 魔獸爭霸裡可沒有雷射槍!", "哦, 這就對了!" 所以, 有時候你真的必須轉換心情. 你 的離合器就快要炸了, 但是我很投入其中, 這幾年來我也習慣了. 我可以在不同的思想中工 作並且保持狀態, 從一個美術層面到一個概念層面, 保持老邁腦袋運作. 其實能在每個地方 騷擾員工也挺酷的. 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? 有時候, 你會集中心思在一個單一想法, 一天就過去了,甚至是額外的工作時間, 的確是有 點乏味. 在這個情況下, 我的工作變的比較有條理. 我想這讓我保持正常, 你知道我的意思 吧? 這讓我保持每銳 - 至少我是這麼希望. 我的協力人員可能不是這麼想, 因為我的記憶 力實在是太差了 - 我應該沒有短期記憶區塊. 我們剛剛在講啥? [ 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? 這倒是. 我想把主題轉換一點到遊戲故事線上. 我們就來談談星海爭霸, 他那特殊的故事線 你是怎麼想出來的? 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, 這挺有趣. 許多人不知道其實我們是在 - 我和 Nick Carpenter, 動畫導演, 我 們一直在研發部門, Blizz的, 當許多年前我們還是非常年輕的頑童時. 當時我們推出了魔 獸爭霸二, Nick 和我在外面投身於一個動作射擊遊戲, 與其中的科幻小說概念. 裡面衍生 出很多古怪的東西, 如太空吸血鬼, 屬於他們的部落, 以及他相當酷的科幻小說設定. 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. 在那個時候, 一個分開的研發團隊, 或者是說當時主要的研發團隊正在研發科幻小說的即時 戰略. 我們已經搞定了魔獸爭霸二, 現在我們有興趣嘗試下一個有著科幻外觀的即時戰略. 早期的想法是"那好吧, 我們把他融合起來, 我們可以做出像-太空-吸血鬼-部落-之類的東 西而且還是即時-戰略." 我們談論這主意了很久, 最終成為一股動力讓我們來作科幻小說背 景的遊戲. 小組這樣回應"那, 把他簡化一點吧好吧. 人們, 他們知道太空船. 他們能理解 詭異的, 蜘蛛般的外星人. 他們能想像心靈腦波的外星人, 好嗎? 所以我們只要去蕪存菁, 留下科幻小說最經典的核心. 我們就該從這裡著手." 所以我們把原來策劃中的世界觀全扔 了, 才慢慢有現在星海爭霸的雛型. 他是從這裡開始的, 先建立一個世界, 開始有坦克和戰 鬥機, 以及一些看來很酷的外星人, 最終才有了這樣的設定. 這傢伙是誰? 這載具哪來的? 誰是這個駕駛? 我想星海爭霸的設定的確是從很概念的階段就成型的. 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. 講的精準一點, 這並不算是故事線. 事件的線性流程, 聯邦的推翻, 凱瑞根, 雷納, 神族, 他們家鄉的毀壞. 這麼多東西一開始並不是很明朗. 我們只是想要儘量擴充這個科幻背景的 宇宙, 並且讓人們認為的確很合理. 直到我們開始建構單人戰役時, James 和我才開始設計 許多驚奇之處有關於這個遊戲宇宙是怎麼形成的, 以及兩個重要的時間點: 聯邦的崩壞與翁 行星入侵. 蠻有趣的, 許多小小構想剛開始並未出現: 直到我們構築第一章單人戰役一半之 前, 凱瑞根這整個角色完全不存在. 我們知道我們的鬼子以及有關她的笑話: 我不確定這是 不是普遍認知, 但在那時終極動員令有個角色叫做譚雅. 她是屬於刺客那種, 迷人又可惡的 角色. 所以有天我們討論怎麼把鬼子放到地圖上時, 就出現"哈哈, 真有趣啊, 整隊的溜冰 者因為 痛呀.哈汀 以及 南西.凱瑞根而瓦解了~", "哈哈, 真有趣啊, 我們將要在這地圖上 作一個我們的超級刺客, 叫做凱瑞根." 她本來是個不受重視的角色, 直到我們去討論她之 後開始有了個性, 我們也一直反覆檢視她; 她有許多的吸引力, 創造了她的確很酷, 在雷納 與曼斯克之間有著三角關係張力, 這塑造了凱瑞根這個角色. 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? 最終, 我們也很晚才決定遊戲中她會被背叛並且成為刀鋒之後. 刀鋒之後從來都不是個一開 始就有的主意; 的確是因為該出現了所以就有這個角色, 就是那個戰役的最後張力. 另一項 證據則是很多玩家喜歡的角色是在一開始設計與發行時大不相同的. 你會想說, 看看星海爭 霸, 有著核心概念但是後來有著自己的方針. 我想這就是我們說故事強的地方; 當你在計劃 進行一半跳出一個想法, 我們會試著跳過某些想法, 並且把它織進去核心劇情, 讓它看起來 就像是一開始就設計好的. 這也是一個小技巧: 我們能不能很快加進突然的想法, 並且真的 讓它們感覺很連貫? [ 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. 沒錯, 故事已經發展的比你們當初設定的還要強大了. 這真的很神奇. 我想這跟其他公司的 處理手法也很不一樣. 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. 我想電玩遊戲的故事敘說是一們很大的學問, 你知道, 這就像是寫一篇電影劇本或是漫畫的 背景故事. 這基本上是依賴在演員 - 不好意思, 作家必須很清楚地表達出大綱, 然後你開 始建立起遊戲的要素細節, 包括最上層的劇情, 或是角色. 我很確定電影會這樣作. 你開始 先有劇本. 漫畫, 也是從腳本做起. 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, 當我們構思電玩遊戲的故事, 一般來說, 都是從一鍋翻騰的想法開始的. 有時候會想 的很廣, 有時候卻不是. 但隨著團隊變動, 專業的團隊進來如設計師, 作家以及美術人員等 各種人員開始討論這個滾燙的想法時, 就又多一點鑄造出整個概念. 這想法會越來越清晰. 人們比較喜歡回應角色或是故事主軸. 就像是, 你知道, 這個主意很酷, 但事並不有趣. 它 很明顯搞不起來; 它不符合遊戲主旨; 或是, 有個人會說"嘿, 凱瑞根這個角色怎樣?" 我們 會說"喔啊, 我們絕對應該用它! 我有一個瘋狂的點子, 我們把她變成異形!" 所以你永遠不 知道這些想法啥時跑出來, 所以秘訣是放松, 給你自己多一點喘息空間, 你可以去用這些想 法. 你可以不用改變大方向也能去嘗試. 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. 人們總是擔心Blizz, 遊戲總是要經過好一段時間以後才會出來. 遊戲還沒好之前是死也不 出來. 這很明顯地是個優點. 但同樣地, 我們孕育遊戲的時程也會拉長, 我們一直在討論這 些東西, 我們也很需要一些喘息的空間來讓我們好好咀嚼這些創意, 甚至是別的公司的構想 , 而且是在這麼趕的研發行程之內, 我們很可能無法追上的程度. 人們可能沒有真正去考量 到他們想出來的點子是否實用, 或是會偏離主題. 我這裡談的有關自由這一點, 就是這麼多 年來我們總能去好好地鑽研並且深究重要的事務. [ 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? 所以你是怎麼看星海爭霸二的故事, 在這麼你發展出星海爭霸原本故事這麼多年之後? 裡面 有許多突發奇想的元素並且把他們加到故事裡嗎? 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. 星海爭霸二的故事, 你知道是很有趣的. 我不會說我們開始是失敗的. 有些主題你必須要一 開始就確定好. 在那個階段, 有些主題就被放棄了. 有些主線變得更加明朗. 最終, 我們有 一堆劇情討論串接在上一款遊戲後面. 很明顯地, 我們有大量關於凱瑞根接掌異形的討論串 . 她正在做啥? 她的老朋友曼斯克和雷納怎麼了? 他們現在在哪? 他們未來的角色定位又是 甚麼? 我們要怎麼解決神族文明中光明與暗影聖堂武士的分歧? 這問題能解決嗎? 以及最後 , 最神秘的問題在於: 為什麼要這樣做? 為什麼是這時候? 神族與異形被一個更古老的種族 所創造出來, 如同設定裡的 - 那他們是誰? 以及最終, 這些事件是被安排與設計好的嗎? 這只是偶然的戰爭, 或者有更大的計劃在其後運作? 這些就是我們一開始就碰到的事情. 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. 我們有許多年都在思考這些問題, 並且在正式啟動研發計劃前仔細地考慮. 當我們開始一段 時間, 我們真的重寫我們的敘事流程與動畫流程, 這讓這款遊戲比前一款更戲劇化: 我們有 一堆遊戲中劇情以及故事模式部份, 去年BlizzCon有展出來過. 所以這將是一次無與倫比的 經驗, 能更接近這個遊戲宇宙. 這是不再是一個會說話的人像, 對著準備室裡的每個人喃喃 自語. 你這次真的會深陷於故事的張力與劇情. 這些角色, 包括美術層面, 對白語音以及其 他所有的東西, 都讓你覺得更真實, 比我們以前作的都還要好. 看著他們塑造這些事物, 並 且看著他們成型, 就已經是莫大的回報, 遠遠超出幾年前我所期望的. 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. 你可能覺得或是期望, 希望故事是由一個單一作家完成的, 但是這麼多年的躊躇以來, 一直 都是有團隊在負責. 包括新人如 Andy Chambers 或是老骨頭如 Nick Carpenter, 我想我們 正在進行工作生涯中最棒的作品. 這很有趣, 我好像說了好幾次. 魔獸世界變成了Blizz遊 戲的骨幹, 雖然我只是開玩笑的說, 但也很多年了. 這遊戲是如此龐大, 需要我們之間極可 觀的創意交流. 即使是其他遊戲還在研發, 也就是星海爭霸二. 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. 但是現在, 可以這麼說, 星海爭霸二, 我們可以越來越集中在上面, 完成我們有史以來最好 的作品. 終於我可以說這個故事是我想跟大家分享的. 裡面有很多心血. 裡面很具深度, 以 及, 超乎所有之上, 他將是個讓人無可挑剔的戰爭遊戲. 他就是這麼迷人. 看著他成型實在 是非常, 非常地具有成就敢. 想起Blizz去年的時候還到處都是魔獸世界 - 可別誤會了, 我 喜歡魔獸世界. 但是我們可不是只有魔獸世界, 我想世界會看到, 當我們端出星海爭霸二時 , 大家就知道我們其實並沒閒著. [ 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? 當然每個人都很興奮. 我們轉換跑道到魔獸爭霸三. 一個即時戰略遊戲, 魔獸爭霸三, 是怎 麼轉到大型多人線上遊戲, 魔獸世界的? 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. 我想是在有一天結束時, 你還記得我們同時研發這兩個遊戲. 我當時是首席作家, 魔獸世界 的創意總監 - 抱歉, 是魔獸爭霸三. 一樣的事情; 兩個遊戲, 當我們在開發魔獸爭霸三時, 有個聲音傳下來"嘿, 你看看, 我們應該試試看大型多人線上角色扮演的玩意. 我們應該來 作魔獸世界" 好的, 我們在差不多的時間點上, 也作出魔獸世界的基礎概念. 我知道魔獸爭 霸三的故事, 我知道新的大陸是甚麼, 我知道哪些文化會加進來, 最終成為棋盤上的棋子. 也包括寒冰霸權的故事. 所以當我們在研發魔獸世界時, 我們知道每樣東西, 我們知道該拓 展哪些主題, 我們可能根據魔獸爭霸三給你的印象去構築這個世界. 當你有了這些基礎: 我 們可以運用地圖, 想法以及美術作品, 這些是基礎的美術方向, 來大肆擴建我們的設定. 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, 魔獸世界的決定版已經定型: 就像是要重新介紹你這個設定, 這個世界本來沒有很 令人印象深刻的年代史的. 就像是, 我想, 當我們埋首於 Ahn'Qiraj 修正檔時, Ahn'Qiraj 就這麼現身, 無論你在聯盟或是部落, 你會覺得: 突然之間, 哦! 這有個事件正在發生! 整 個世界很明顯地都為了這個插曲事件改變了. 當不斷地推出更新檔, 以及燃燒的遠征中, 我 們開始回到比較向直線的故事流程. 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. 燃燒的遠征是個決定性的章節, 在遊戲裡大約設定是一年左右. 是的, 你可以追溯所有的事 件並且完整歷練. 巫妖王之怒則又是另一個章節, 下一個我們提供的重要事件會繼續推動整 個連續情節, 讓我覺得魔獸世界只不過是其中一個環節. 我想我們的確有承接魔獸爭霸三的 故事, 但並不是像魔獸爭霸資料片一樣那麼大幅度改變故事情節. 我不確定這時不是有回答 到你的問題. [ 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, 深度探討巫妖王之怒, 這是個甚麼樣的故事 - 在魔獸爭霸三裡已經有敘 述過的部分 - 在巫妖王之怒會怎樣呈現? 另外尚未公布的, 巫妖王之怒的開放式結局? 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, 我的想法是這樣的 - 幾乎所有的事情都跟巫妖王之怒有關連 - 他的規模龐大, 在概 念上, 就像是說 - 如果你從概念上來檢視燃燒的遠征: 你即將前往外域. 在那廣大的宇宙 中很明顯地好壞兩方面在爭鬥. 那裡也有為何半獸人要前往艾澤拉斯與其宿命. 我們得要去 看這些事件的起源. 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. 燃燒的遠征中灼炎軍團: 在概念上更為龐大, 不是嗎? 有些爭論它實在是太大了. 豺狼人跟 狗頭人根本沒人想理. 突然間, 你就在外域跟天使們開打了. 在巫妖王之怒裡面, 你兩者都 會碰的到. 我們將回到艾澤拉斯的地理環境, 也會有一點跟豺狼人與狗頭人國度的交鋒 - 嗯, 我可不敢保證你在諾森德會不會看到他們 - 傳統的奇幻故事還是挺有趣的. 但同時間 , 我們也大量推動整個設定情節. 我們將會作出泰坦以及世界創造起源的情節, 艾澤拉斯在 世界創造之初的角色. 會甚麼是這個星球? 為什麼這個星球會是所有故事的中心? 整個矮人 的故事線將會直達他們的起源, 以及他們是怎麼跟這個世界的創造扯上關係. 我們有許多新 的地貌, 有關於魔法之戰以及翱翔天空之龍的起源 - 他們在世界裡扮演甚麼樣的角色? 他 們現在正在做甚麼? 這個部分的歷史, 有一大堆相關, 廣大的主題來呈現 - 不只是從全面 角度重新審視聯盟與部落, 也要來評估" 他們這些日子幹了些甚麼?", 在遊戲第一年中完成 這麼多的事件並且達到一個高潮總結 - 我還不確定有哪些 - Ahn'Qiraj, 黑翼巢穴, Naxxramas, 這些我們在修正檔中釋出的大型副本, 我認為是遊戲第一年中發生的事件. 還 有關於燃燒的遠征: 兩個聯盟都送出遠征隊抵達這個燃燒, 不友善世界並且投身其中劇情. 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. 在這些事情發生後, 產生出甚麼樣的衝突與摩擦? 新的發現又是甚麼? 關於外域 Mag'har的 探索: 對於部落有甚麼影響? 索爾終於找到他的 - 他的目標在哪? 諾森德的劇情, 巫妖王 之怒對於聯盟中各勢力的影響, 現在這些劇情將會帶來新的緊張情勢, 也許反應在高階領導 層裡面. 有些新的角色也會上到前線, 有可能, 也可能不會為兩方的派系帶來影響. 不過這 些東西都是美好的 - 大家都知道死亡騎士們, 但你知道, 我們才在某天開完一個會議, 有 關他們在遊戲中的角色, 以及強大的 Mograine 和 Ashbringe r的故事線, 以及其他瘟疫之 地的副本: 這些事件的關鍵是甚麼? 他們該怎麼呈現? 故事很多地方都有隱晦或是缺陷之處 , 但諾森德將會彌補成為一個完整的劇情, 也就是巫妖王之怒將會圓滿詮釋整個故事. 所以 , 對我而言來架構這些設定是相當有趣的. 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. 如果我們每個月要出一本漫畫書, 很明顯地, 我們必須趕著上工; 但我們的資料片, 他們並 不需要每個月都出來. 他們是一部部的插曲, 最終, 把這些設定推到檯面真的很棒, 開始讓 這些角色與歷史環節呈現在最前端, 魔獸世界故事的擁護者可以真正感受到深陷其中的滋味 , 每樣東西都是互有因果跟令人深思的, 我們是這麼希望的. [ 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? 相當地好. 我想大部分人現在都迫切渴望有關巫妖王之怒的任何事物. 我們最後一個問題: 原罪之戰三部曲中的事件, 是怎麼融入暗黑破壞神的世界? 他們為什麼這麼重要? 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. 在最一開始, 整個故事還沒起頭, 不像現在已經上架了, 我們跟我們的合作夥伴, 口袋書出 版商, 大概是在一年前有談到" 嘿, 我們來幫每個系列作個三部曲; 包括星海, 魔獸, 以及 暗黑破壞神都要." 所以, 在魔獸爭霸理, 我們作了遠古之戰系列, 絕對是艾澤拉斯第一次 的戰爭衝突, 也為所有事件的起源在那個年代設定好了舞台. 星海爭霸也是, 在暗影聖堂三 部曲裡(譯著: 封面很醜的那三本, 不是中文版這三本), 即使那只是主角在想像 中體驗過去的歷史, 所編造出來的故事, 他仍然能讓你了解有關神族的神話, 以及當時回響 劇烈的事件, 來構築星海爭霸二的舞台. 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. 就原罪之戰來說, 我們一點也不想要搞"時光旅行"或是"角色在腦海中回想歷史"之類的 - 是更直接來檢視遠古的事件 - 我想洩漏這些我會有點麻煩, 這故事是發生在暗黑破壞神1的 千年之前, 以及實際上, 原罪之戰也給你一個暗黑破壞神世界的縮影, 也讓你知道這些事件 與角色, 你在目前遊戲中碰到的人他們是怎麼出現的. Karune: Well, I think that's all the questions that we have for today so thanks a lot, Chris, for joining us. 好的, 我想這就是我們今天要問的所有問題了, 非常感謝你, Chris, 感謝你來參加. Chris Metzen: Certainly. Thanks a lot! 也謝謝你! ----------------------------------------------------------- e04...好長 Kendai -- → powerpoint:這次 我真的是龜懶趴火 → powerpoint:整個都是火!!!!!!!!!!!!!!!!!!!!!! → powerpoint:fire!!!!!!!!!!!!!!!!!!!!!!!! → powerpoint:die!!!!!!!!!!!!!!!!!!!!!!! 推 Mink0417:fire!!!!!!!!!!!!! die!!!!!!!!!!!!!!!!!!!!! -- ※ 發信站: 批踢踢實業坊(ptt.cc) ◆ From: 155.98.81.57
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03/03 11:59, , 1F
我的簽名檔 XDDD
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刀鋒之'後'= =?后 推這篇
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03/03 15:06, , 3F
我光看就花了很久的時間...真的服了你了
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機車啦kendai~~~
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