原文節(jié)選自《馴龍高手設定集》，由龍崖社·龍之書翻譯組漢化整理，本合集僅供Bilibili，愛發(fā)電（最先更新），Lofter平臺龍崖社社團官方賬號發(fā)布，未經(jīng)授權禁止轉(zhuǎn)載！? ? ?

在電影中，武器占道具的很大比例，因為維京人都只關心與龍作戰(zhàn)。這項活動需要一整套盾牌、狼牙棒、斧頭和其他裝備。

“這些維京人不是吹毛求疵的工匠，但他們肯定是熱情的武器制造商。他們的武器是原始的、笨重的，有點像他們的大腦，”制作設計師Kathy Altieri指出。電影中所有的道具看起來都“磨損和污跡斑斑，沒有什么是新的和干凈的，”表面處理主管Sabrina Riegel說。“水桶放在那里長銹，斧子都必須代代相傳，所以隨著時間的推移，把手會變得更黑，因為手上的油和汗水已經(jīng)滲入其中?！?/p>

電影中的所有道具都是特意設計出來的，這些道具有點不同尋常，但是都能看出來是作什么用的。這方面的一個完美例子是斯托克家中的鯊魚地毯，藝術總監(jiān)Pierre Oivier Vincent在四年前的電影開發(fā)過程中提出了這個想法?！边@是對獵人們傳統(tǒng)熊皮地毯的一種扭曲，但它用一點幽默表達了維京人過分熱切的侵略性，”Vincent解釋道。事實上，“只有北歐海盜才會出去打鯊魚的頭，只是為了用它做地毯，”制作設計師Production Designer Kathy Altieri補充道。

在村子里還可以找到許多精細的雕刻品和手工藝品。雖然研究表明，維京人的建筑是最原始和中世紀的，但電影的設計理念需要“以粗略，簡單而又頑強，夸張，異想天開的圖形構建圖像和建筑，從而反映這一文化的頭腦簡單?！敝谱髟O計師Designer?Kathy?Altieri里說。顏色的選擇也比傳統(tǒng)的維京人肖像畫更大膽，但藝術總監(jiān)Pierre Oivier Vincent的靈感來自這樣一個事實：“科學研究表明，在世界上許多偉大的紀念碑上都發(fā)現(xiàn)了顏料，比如帕臺農(nóng)神廟，證明這些建筑在曾經(jīng)比它們在被現(xiàn)代文明了解到的時候更加豐富多彩。”

雖然令人生畏的維京人雕塑和引人注目的掛毯展示了維京人文化的嚴肅遺產(chǎn)，但是米德大廳的這一角卻更多一些幽默：在某個時間，正門內(nèi)矗立著一尊龍雕像，作為一個“收納武器”的站，很像一個超大的針墊。

原文：

Weapons comprise a good percentage of the prop builds in the film, since Vikings are all about battling dragons. This activity requires a whole armory of shields, maces, axes, and other accoutrements.

"These Vikings are not fussy craftsmen, but they are certainly enthusiastic weapons-makers. Their weapons are primitive and chunky, kind of like their brains," notes Production Designer Kathy Altieri. All props in the film appear "scuffed and stained, and nothing is new and clean," says Head of Surfacing Sabrina Riegel. "Water buckets have been sitting around getting rusty, and axes are meant to be handed down from generation to generation, so the handles are darker where hand oils and sweat have stained them over time."

With all of the props in the film, a conscious effort was made to come up with items which were a little unusual but recognizable enough to work in whatever capacity they were intended. A perfect example of this is the shark rug in Stoick's house, an idea that came to Art Director Pierre-Oiivier Vincent over four years earlier in the film's development. "It's a twist on the traditional bearskin rug that hunters would have, but it expresses the overzealous aggression of the Vikings with a little bit of humor," explains Vincent. Indeed, "only a Viking would go out and pound a shark on the head just to make a rug out of it," adds Production Designer Kathy Altieri.

There are also many detailed carvings and artifacts to be found in the village. While research shows that Viking constructs were rudimentary and medieval, the film's design theory called for "imagery and architecture that reflected the intellectual simplicity of the culture through broad, simple shapes that are sturdy, caricatured, and whimsical," says Production Designer Kathy Altieri. Color choices were also a bit more bold than what traditional Viking iconography suggests, but Art Director Pierre-Oiivier Vincent was inspired by the fact that "scientific studies reveal that there are pigments found on many of the great monuments of the world such as the Parthenon, proving that such structures were much more colorful at one time than they are known to be in modern culture."

WHILE THE DAUNTING Viking sculptures and the dramatic tapestries illustrate the serious legacy of the culture, there is room for a bil of humor in Meade Hall: At one time, just inside the main doors a dragon statue stood as a "stow your weapons" station, much like an oversized pincushion.