牧游社 牧有漢化翻譯

Crusader Kings 3 Dev Diary #96 - Fate of Iberia 3D Art Showcase

egghorse, 3D Art

Hey folks! I'm Lucia, one of the artists on CK3, and I will be your host for today. Together with Nils (@NilsW, 3D Character Art Lead) and Joacim (@Carlberg, 3D Environment Art Lead), we are very excited to walk you through some of the new 3D art that you will soon be seeing all over the Iberian Peninsula and the process behind their creation. This will be a long one, so grab a hot beverage of your choice and enjoy the ride!

大家好！我是Lucia，CK3的美工之一，我將是你們今天的主持人。與Nils（@NLisW，3D角色美工領(lǐng)隊(duì)）和Joacim（@Carlberg，3D環(huán)境美工領(lǐng)隊(duì)）一起，我們非常興奮能帶你們觀賞一下全新的3D美術(shù)設(shè)計(jì)，你將很快看到整個(gè)伊比利亞半島和它背后的創(chuàng)造過程。這將是一個(gè)漫長(zhǎng)的過程，所以取你所需，盡情享受吧！

Goals

目標(biāo)

With the Struggle being the main focus of Fate of Iberia, we decided early on that we would put equal attention into the portrayal of both the Muslims and the Christians there. The character art team has brought forth new headgear, clothes and hairstyles for both parties — which you might have seen floating around in the wilds of the web or in the trailer.

由于沖突系統(tǒng)是伊比利亞的命運(yùn)Fate of Iberia風(fēng)味包的主要焦點(diǎn)，我們很早就決定，對(duì)那里的穆斯林和基督徒的肖像刻畫投入同等的關(guān)注。角色美工團(tuán)隊(duì)為雙方帶來了新的頭飾、衣服和發(fā)型——你可能已經(jīng)在網(wǎng)絡(luò)上或者在預(yù)告片中看到過。

Meanwhile, on the environment art side the focus has been on bringing life to the Iberian map. You might remember a few of the monuments featured in last week's Dev Diary, but this time we will give you a sneak peek into the creation process. Those of you who are looking to add some Iberian flavor to your courtrooms – fear not, we got you covered with several new court artifacts!

與此同時(shí)，在環(huán)境美工設(shè)計(jì)方面，我們的重點(diǎn)一直是給伊比利亞的地圖帶來生機(jī)。你可能還記得上周的開發(fā)日志中出現(xiàn)的一些奇觀，這次我們將讓你們對(duì)創(chuàng)造過程先睹為快。那些想在你們的宮廷中添加一些伊比利亞風(fēng)味的人——不用擔(dān)心，我們給你們準(zhǔn)備了一些新的宮廷寶物！

Character Assets

人物素材

Nils: When designing new clothes, headgear and hairstyles, the first step - unsurprisingly - is to decide how they should look. In stark contrast to most historical movies and TV shows, we actually at least try to base them on historical examples. With Fate of Iberia, we were fortunate that there are quite a few good sources available of how people dressed and looked in the Iberian peninsula during this time. So we start by collecting all the reference material we can find, put it in an enormous pile and begin forming an idea of what kind of assets we want to add. In addition to historical accuracy, we also look for things like interesting and unique appearance, how well it would translate to a 3D model (i.e. how much pain it’s going to cause us when making it), and if it fits in with other styles already in the game.

Nils：在設(shè)計(jì)新衣服、頭飾和發(fā)型時(shí)，第一步自然是決定他們的外觀。與大多數(shù)歷史電影和電視節(jié)目形成鮮明對(duì)比的是，我們實(shí)際上至少是試圖以歷史事物為基礎(chǔ)的。就伊比利亞的命運(yùn)風(fēng)味包而言，幸運(yùn)的是，我們有相當(dāng)多的資料可以了解當(dāng)時(shí)伊比利亞半島人們的穿著打扮。所以我們開始收集我們所能找到的所有參考資料，將海量的資料集中起來，在此基礎(chǔ)上思考我們想要添加的素材內(nèi)容。除了考慮歷史的準(zhǔn)確性，我們還會(huì)尋找一些具有有趣和獨(dú)特外觀的事物，思考如何將它轉(zhuǎn)化為3D模型（這便是在創(chuàng)造中最痛苦的過程），以及它是否適合游戲中的其他風(fēng)格。

As a bonus, a lot of nerd points can be earned during this process. I mean, who isn’t going to be impressed when you start casually throwing around Spanish or Arabic words for obscure medieval clothing items?

作為獎(jiǎng)勵(lì)，在這個(gè)過程中可以獲得很多知識(shí)要點(diǎn)。我的意思是，當(dāng)你開始隨意的使用西班牙語(yǔ)或阿拉伯單詞來形容晦澀的中世紀(jì)服裝時(shí)，誰(shuí)不會(huì)對(duì)你印象深刻呢？

Let's look at some examples:

讓我們來看看一些例子：

Showing reference image, concept art and the finished asset of one of the new Christian outfits. We designed these clothes primarily based on a 12th century manuscript illumination depicting Alfonso II of Aragon. The outfit consists of an undergarment with narrow sleeves called a Brial and a looser outer garment known as a Piel. The latter has decorative trims on sleeves, collar and at the hem of the skirt. Both Brial and Piel were often split in the front and back to better allow for riding.

上圖展示了新的基督徒服裝的參考圖像、概念創(chuàng)作圖和最終成品。我們?cè)O(shè)計(jì)這些衣服主要是基于12世紀(jì)繪制描繪了阿拉貢阿方索二世的手稿。這套服裝包括一件叫做Brial的窄袖子內(nèi)衣和一件被稱為Piel的寬松外衣。后者在袖子、衣領(lǐng)和裙子的下擺上都有裝飾性的裝飾物。Brial和Piel的前后通常都是分開的，以更方便騎行。

One of the new Muslim outfits. This one was based mainly on an illustration in the 13th century "Codex Rico", a part of the "Cantigas de Santa Maria" - A famous collection of four codices containing medieval poems with musical notation and many detailed illustrations. The image depicts the Almohad caliph Abu Hafs Umar al-Murtada wearing a loose robe known as a Jubba. On the upper sleeves are sewn on "Tiraz" bands, a very popular fashion throughout the medieval Islamic world. The sleeves and neck opening are also decorated with embroidered or brocade trims.

上圖是新的穆斯林外觀之一。這主要是基于13世紀(jì)《里科抄本》中的一幅插圖，也是《圣瑪利亞頌歌》（一部著名的選集，是四本包含中世紀(jì)詩(shī)歌、許多音樂符號(hào)和許多詳細(xì)插圖的抄本其中之一）的一部分。這張圖描繪的是阿爾哈莫德的哈里發(fā)——阿布·哈夫斯·烏馬爾·穆爾塔達(dá)，他穿著一件被稱為Jubba的寬松長(zhǎng)袍。在袖口處縫著叫做Tiraz的布帶。這在中世紀(jì)的阿拉伯世界非常流行。袖子和領(lǐng)口的部分也用刺繡或錦緞進(jìn)行鑲邊。

This is based on several sources depicting very similar styles of garments. The examples shown here are from an Andalusian manuscript telling the story called "Hadith Bayad wa Riyad" - An Arabic love story and the "Libro de los Juegos" (Book of games) - A 13th century book commissioned by Alfonso X of Castile containing rules for a large number of medieval board games as well as 150 miniature illustrations. As you can see the clothes are quite similar to the male garment above. Female and male fashions at this time generally had more similarities than differences, and sometimes it is even hard to tell whether an illustration portrays a man or a woman.

上圖的設(shè)計(jì)基于復(fù)數(shù)資料來源，它們描述了非常相似的服裝風(fēng)格。這里展示的例子來源于一本安達(dá)盧西亞的故事書手稿《巴亞德和利雅德的故事》（一個(gè)阿拉伯愛情故事），以及《游戲之書》（一本13世紀(jì)的書，由阿方索十世委托制作，內(nèi)容包含大量中世紀(jì)棋盤類游戲的規(guī)則以及150張微型插畫）。正如你所看到的，這些衣服和上面的男性服裝很相似。這這一時(shí)期，女性和男性的服裝時(shí)尚風(fēng)格差異不大，甚至有時(shí)候我們很難從插圖上判斷所描繪的是男人還是女人。

This Christian Armor is based on 13th century mural paintings of the Conquest of Majorca by James I of Aragon, presently found in Museu Nacional d'Art de Catalunya in Barcelona. The sword, with leaf shaped pommel and guard decorations, is based on a sword still in existence, allegedly from the 13th century, at the Royal Armory in Madrid. The armor consists of chainmail Hauberk with mittens, chausses (leggings), a surcoat and something called a "Perpunt" - a light gambeson worn on top of the rest of the armor for additional protection. For head protection a chainmail coif and a "Cervellera" helmet is worn. NGL, this must have been a sweaty experience in the Spanish summer!

上圖的基督教鎧甲是基于13世紀(jì)的壁畫，內(nèi)容是阿拉貢的詹姆斯一世征服馬略卡島。現(xiàn)在可以在位于巴塞羅那的加泰羅尼亞國(guó)家藝術(shù)博物館中找到。這把帶有樹葉形柄座和護(hù)衛(wèi)裝飾的劍，是根據(jù)馬德里皇家軍械庫(kù)現(xiàn)存的一把據(jù)說是13世紀(jì)打造的劍制作的。盔甲包括附帶連指手套的鎖子甲、褲子、外套和一種叫做Perpunt的東西——穿在鎧甲外面的一層軟甲，用于提供額外的保護(hù)。為了保護(hù)頭部，還要穿戴鏈甲帽和被稱為Cervellera的頭盔。講真，在西班牙的夏天，這樣的穿著肯定會(huì)讓人汗流浹背。

This… interesting looking headdress is based on numerous examples from both illustrations and sculptures and must have been considered extremely fashionable at the time. It was probably constructed from strips of ruffled linen or silk wrapped around a light wood base, decorated with embroidered or woven bands and held in place by a "Barbette" (chinstrap). As with most things, the taller the better is the rule here!

上圖這個(gè)看上去非常有趣的頭飾，是基于多個(gè)插圖和雕像所制作的，當(dāng)時(shí)這個(gè)造型想必非常流行。它可能是由有褶邊的亞麻布或絲綢包裹在一個(gè)輕的木底座上，裝飾著刺繡或編織的飾帶，并由Barbette（吊帶）固定。最重要的一點(diǎn)是，這里的規(guī)格是越高越好！

The very badass helmet above might look like some impractical fantasy creation but is in fact based on numerous depictions in the "Cantigas de Santa Maria" illustrations. The conical shaped helmet is decorated with a large gilded metal leaf. A day when the Rule of Cool perfectly aligns with primary sources is a good day, in my book.

上面這個(gè)看上去無法無天的頭盔可能看起來像是不切實(shí)際的幻想物，但事實(shí)上這是基于《圣瑪麗亞頌歌》中很多插圖進(jìn)行創(chuàng)作的。圓錐形頭盔上裝飾著一片巨大的鍍金金屬葉子。當(dāng)酷酷的設(shè)計(jì)理念和歷史記載內(nèi)容完美的契合在一起的時(shí)候，是多么美好的一天。

If we're really lucky, there might be a suitable extant item that survives to this day, as is the case with this "Capiello" of Fernando de la Cerda, the heir of Alfonso X of Castile (Who seems to - Fernando that is - have had a very CK life and tragically died a father of two at the age of 19). This distinctive cylindrical headgear was hugely popular in 13th century Spain. An extant example like the one shown above is, of course, the ideal type of reference, but unfortunately very few medieval garments have survived in as good condition as this.

如果說我們很幸運(yùn)，那可能是指當(dāng)時(shí)的某些物品能夠保存至今，就像阿方索十世的繼承人費(fèi)爾南多·德·拉·塞達(dá)的這頂被稱為Capiello的帽子一樣。（費(fèi)爾南多似乎有一個(gè)非常CK化的生活，他19歲的時(shí)候作為兩個(gè)孩子的父親不幸離世）。上圖這種獨(dú)特的圓柱形頭飾在13世紀(jì)的西班牙非常受歡迎。像上圖展示的例子當(dāng)然是理想的參考類型，但不幸的是，很少有中世紀(jì)的服裝能如此完好無損的保存下來。

Character Art Process

角色美術(shù)工序

So, we've decided what to do, that's all nice and well, but what are the steps involved in actually creating one of these assets? Follow along in this exclusive behind the scenes look at the Character Art workflow! Exciting, right!

好了，現(xiàn)在我們已經(jīng)決定了該做什么，這自然是極好的，但是在創(chuàng)作這些美術(shù)素材時(shí)，具體都有哪些步驟呢？跟著我們一起獨(dú)家探訪角色美術(shù)的幕后工序吧！真是一顆賽艇??！

Once we have the finished concept art, we start off in a program called Marvelous Designer to create a 3D version of the garment. This is similar to designing clothes in real life as you work with sewing patterns that are simulated to create a natural fall. Again, whenever possible, we try to base the patterns on surviving examples.

在我們完成概念美術(shù)之后，會(huì)運(yùn)行一個(gè)叫做“Marvelous Designer”的程序，將這件服裝3D化。這個(gè)過程就和真實(shí)生活中設(shè)計(jì)衣服一樣，使用縫制圖案來模仿出自然的效果。再?gòu)?qiáng)調(diào)一遍，我們會(huì)盡可能地基于現(xiàn)實(shí)中存在的例子設(shè)計(jì)圖案。

The pattern, created using Marvelous Designer, for one of the new female Christian outfits. This dress, called a Brial, is constructed based on historical patterns from similar garments that have survived to our time.

這個(gè)用“Marvelous Designer”設(shè)計(jì)的圖案會(huì)用于新增的基督教女性服裝之一。這件連衣裙叫做“綢長(zhǎng)衫Brial”，根據(jù)一直流傳到今天的相似服裝傳統(tǒng)圖案而設(shè)計(jì)。

We then add any additional details by 3D modeling in a program like Maya or Zbrush. In this case, the belt and brooch at the neck were added at this stage.

然后，我們?cè)贛aya或者Zbrush這些程序里增加細(xì)節(jié)。在這個(gè)例子中，頸部的帶子和領(lǐng)針就是在這個(gè)階段加上去的。

The final "High poly" model.

最終的“高?！背善?。

This model consists of several million polygons, which is too much to render in the game (if you appreciate frame rates above 0.1 anyway). Therefore, the next step is to create the "low poly" - meaning the model that will actually be exported to the game. We do this by matching the shape of the "high poly" model as closely as possible but with - you guessed it - a much smaller number of polygons (in this case around 4400, which is around 1000 times less than the high poly model!).

這個(gè)模型由幾百萬個(gè)多邊形組成，游戲里跑不動(dòng)（除非你能接受每秒0.1幀）。因此，下一步是要制作“低模”——最終被用在游戲里的模型。為此，我們會(huì)用數(shù)量少得多的多邊形去盡可能地匹配“高?！钡男螤睿ɡ邕@里是4400個(gè)多邊形，比高模要少1000倍左右?。?。

Showing the "low poly" model being created with the "high poly" model as a guide.

以高模為參照，創(chuàng)建低模。

The details are then transferred from the high to the low resolution mesh using a normal map. We do this in a software called Marmoset Toolbag.

然后我們用法線貼圖將細(xì)節(jié)從高分辨率網(wǎng)格轉(zhuǎn)為低分辨率網(wǎng)格。我們?cè)谝粋€(gè)叫“Marmoset Toolbag”的軟件中進(jìn)行這一步。

The models – both low and high –- imported into Marmoset Toolbag for the "baking" step. Coloring is temp.

在“烘焙”步驟中，將高低模導(dǎo)入“Marmoset Toolbag”中。著色是暫時(shí)的。

The resulting textures that we get out of Marmoset allow us to display all the fine details from the high poly mesh. From top left they are called Normal map, Curvature map, Ambient Occlusion map and Color ID map. This will all be on the test so you better pay attention.

從Marmoset得到的材質(zhì)可以讓我們展現(xiàn)出高模網(wǎng)格中全部的精美細(xì)節(jié)。從左上角開始，分別是法線貼圖、曲率貼圖、環(huán)境光遮蔽貼圖、顏色I(xiàn)D貼圖。這些都是要考的，大家記得做筆記啊。

We create textures in a program called Substance Painter. But because we use dynamic colors and materials in CK3 the textures at this stage are mostly a neutral white – in the game those white areas will make use of dynamic materials.

我們?cè)凇癝ubstance Painter”這個(gè)軟件里做材質(zhì)。但是因?yàn)镃K3里的顏色和材料都是動(dòng)態(tài)的，所以這個(gè)步驟里的材質(zhì)基本上都是純白色——在實(shí)際游戲中，白色的部分會(huì)用動(dòng)態(tài)的材料填充起來。

Before exporting to the game we need to create something called "blend shapes" - which we use to deform the asset to fit different body types. We also do something called "skin bind" at this stage - which means attaching the clothes to the skeleton that animates the body.

在導(dǎo)出到游戲中之前，我們需要首先做一個(gè)叫做“混合形狀”的東西——我們用它來將美術(shù)素材變形，適應(yīng)不同的體型。這個(gè)階段我們還要做“蒙皮綁定”——也就是將服裝與身體動(dòng)畫的骨骼相連接。

Showing blend shapes before export. From left to right: Average, Overweight, Underweight, Muscular, Old.

導(dǎo)出之前的混合形狀。從左至右分別是：平均、超重、過輕、肌肉、老年。

Showing the clothes skinned (attached) to the rig (animation skeleton). The pose is anachronistic.

已綁定（連接）到索具（動(dòng)畫骨骼）上的蒙皮。姿勢(shì)有點(diǎn)不合時(shí)代了。

Finally, we are ready to export the asset and look at it in the game. This involves a considerable amount of scripting work to make sure the game knows how to find the asset and when it should show up, what it should be called, who should wear it and so on.

終于，我們可以導(dǎo)出素材，在游戲里看看成品了。這里還需要寫大量的代碼，確保游戲知道在哪能找到素材、何時(shí)把它顯示出來、它叫什么名字、它該給誰(shuí)去穿等等。

Above you can see the final result with dynamic materials applied. We created new sets of patterns and color combinations for the Iberian assets (of which you can see more examples in the screenshots below).

以上，就是填充上動(dòng)態(tài)材料后的最終成品。我們?yōu)橐帘壤麃喌拿佬g(shù)素材創(chuàng)作了新系列的圖案和顏色組合（在下面的截屏中可以看到更多范例）。

After all that is done and looking good we can move on to working through the never-ending list of clipping bugs that arise when combining these assets with each other…

該做的都做了，看起來也不錯(cuò)，于是我們就得接著進(jìn)行無盡的bug修復(fù)工作，因?yàn)榘衙佬g(shù)素材放在一起時(shí)又會(huì)產(chǎn)生新的bug。

And that's all there is to it! As you can see, very quick and easy.

以上就是全過程了！你看，又快又簡(jiǎn)單對(duì)吧！

Iberian Army Units

伊比利亞陸軍單位

With Fate of Iberia, we're adding two new sets of army units representing the Christian and Muslim styles, to be used by Iberian heritage culture. Of course, each model represents a specific tier of army quality so we need to keep this in mind when designing their appearance. Generally, the first tier is supposed to represent something like a drafted peasant, the second tier a professional soldier, and the third tier a knight or equivalent.

在伊比利亞的命運(yùn)中，我們會(huì)新增兩套陸軍單位（兵模），分別代表基督徒和穆斯林風(fēng)格，伊比利亞傳承的文化都可以使用。當(dāng)然了，每個(gè)模型都代表著一檔的軍隊(duì)質(zhì)量，這一點(diǎn)是我們?cè)谠O(shè)計(jì)外觀時(shí)需要一直惦記著的?？傮w上來看，第一檔代表的是農(nóng)民征召兵、第二檔是職業(yè)士兵、第三檔代表的是騎士級(jí)別的戰(zhàn)士。

Below you can see the concept art and 3D models for all 3 Tiers of the Christian Unit. The Tier 1 model was mainly based on manuscript illustrations depicting commoners and peasants. As you can see, he is not wearing any armor at all. The simple armor of Tier 2 consists of a gameson and a steel helmet. Lastly, we have the Tier 3 unit model — its design is similar to the one used for the new Christian armor that characters can equip, and was based on the 13th century mural paintings of the Conquest of Majorca of James I of Aragon, currently found in Museu Nacional d'Art de Catalunya in Barcelona.

以下是基督組三檔單位的概念美術(shù)和3D模型。第一檔模型主要是以描繪平民和農(nóng)民的手稿為基礎(chǔ)繪制而成?？梢?，他沒有穿著任何的裝甲。第二檔穿著簡(jiǎn)單的裝甲，包括一件軟甲、一頂鋼盔。最后一個(gè)是第三檔的模型——這個(gè)設(shè)計(jì)與角色可裝備的新增基督教式鎧甲相似，基于13世紀(jì)的壁畫《阿拉貢的海梅一世征服馬略卡》（現(xiàn)藏于巴塞羅那的加泰羅尼亞國(guó)家藝術(shù)博物館）創(chuàng)作。

Much like its Christian counterpart, the design of the Tier 1 Muslim unit represents an unarmored soldier wearing the same kind of clothes as a civllian. Tier 2 is also dressed similarly to the Christian Tier 2, with a gambeson and a helmet. Finally, the design for Tier 3 represents a more heavily armored warrior, with a hooded chainmail hauberk and helmet with noseguard.

與基督教組的很相似，穆斯林組的第一檔單位也沒有裝甲，穿著和平民同一種的衣服。第二檔也與基督教的差不多，軟甲+頭盔。但是第三檔的設(shè)計(jì)代表的是更加重裝的戰(zhàn)士，穿著帶兜帽的鏈甲，頭頂帶護(hù)鼻的頭盔。

Now, over to my eminent colleague Joacim for a look at the environment art side of things.

現(xiàn)在我把話筒交給同事Joacim，請(qǐng)他帶大家看看環(huán)境相關(guān)的美工。

Ships

船舶

Joacim: With the focus on Iberia and the intermingling and conflicts of the Mediterranean and middle eastern cultures, we've now added new ship type visuals for both the Mediterranean cultures, as well as those of the mena region. This should mean a lot less cogs sailing around the Mediterranean (spare the odd invasion, crusade or viking raid).

Joacim：因?yàn)橹攸c(diǎn)是伊比利亞，以及地中海、中東諸文化的交融和沖突，我們新增了新種類的船只模型，地中海文化和中東、北非地區(qū)都有份。這樣的話，以后地中海里就不會(huì)有那么多柯克船開來開去了（少數(shù)情況下的入侵、十字軍、維京人劫掠除外）。

Holdings

地產(chǎn)

For the Iberian peninsula we looked at creating a style of holding that represented the region and makes it stand apart from the Mediterranean, Western and MENA styles. Since Iberia was such a mix of cultures and architectural styles mingled between the cultures and religious influences, we've created a style that works for the area as a whole. Below you can see screenshots of the two Iberian cities together with four new castle models.

對(duì)于伊比利亞半島，我們著眼于創(chuàng)作一種代表該地區(qū)的地產(chǎn)風(fēng)格，并使其與地中海、西方和中東北非風(fēng)格有所區(qū)別。由于伊比利亞是文化建筑風(fēng)格混雜的地方，在文化和宗教影響下，我們創(chuàng)作了一種適合該地區(qū)整體的風(fēng)格。下面你可以看到兩個(gè)伊比利亞城市截圖，還有四個(gè)新城堡建模。

Here we have the new church and Mosque temple holdings.

我們這里有新的教堂、清真寺地產(chǎn)。

Lastly, the models for new walls can be seen in the screenshot below:

最后，以下截圖中可以看到新城墻建模：

Monuments

奇觀

All over the landscape you'll now find multiple different kinds of monuments. Some magnificent works that have stood since the age of Rome, others that have been erected since, and some that are yet to be initiated by your architects.

在整個(gè)地圖中，你可以發(fā)現(xiàn)多種不同類型的奇觀。一些宏偉作品早在羅馬時(shí)代就已經(jīng)存在，還有一些是后來建造，還有一些有待于大家的建筑師創(chuàng)作。

Roman Walls of Lugo

盧戈的羅馬城墻

These walls in Galicia were built sometime around 263 and 276 A.D. to protect Lugo, or Lucus Augusti as it was known to the Romans.

加利西亞的這些城墻大約建造于公元263-276年間，用于拱衛(wèi)盧戈，也就是羅馬人所稱的盧克斯·奧古斯狄。

Just like with units, we try to hold off from investing too much of our polygon budget into the 3D models for holdings and monuments. Below you can see a screenshot of the low poly model for the Roman Walls of Lugo. Positioning map assets correctly in Maya is an essential step, to prevent them looking out of place once they are actually in the game.

就像單位一樣，我們盡量不將過多的多邊形圖像預(yù)算投入到領(lǐng)地和紀(jì)念碑的3D模型當(dāng)中。下面你可以看到盧戈的羅馬城墻的低清多邊形模型截圖。在Maya中正確定位地圖資源分配是個(gè)重要步驟，以免它們?cè)谟螒蛑袑?shí)際出現(xiàn)時(shí)面目全非。

Mosque of Cordoba

科爾瓦多清真寺

The great Mosque of Cordoba is claimed to have been built on the site of a Visigothic basilica, and is one of the oldest structures still standing from the Muslim era of Al-Andalus.

科爾瓦多的大清真寺?lián)f是在西哥特式大教堂的遺址上建造的，是安達(dá)盧西亞的穆斯林時(shí)代現(xiàn)存最古老的建筑之一。

The Alhambra

阿爾罕布拉宮

One of the distinct monuments of Iberia from the base game that has now gotten some visuals. A fortress palace whose construction began in 1238 historically. Will you begin the construction early to show off your splendor?

原版游戲中伊比利亞的獨(dú)特奇觀之一，現(xiàn)在已經(jīng)有了部分視覺效果。這是一座歷史上始建于1238年的要塞式宮殿。你會(huì)為了宣示輝煌而提前開始建造它嗎？

Santiago de Compostela

圣地亞哥·德·孔波斯特拉主教座堂

The Cathedral (construction historically began in 1075) was built in the Romanesque style. While the modern day cathedral has seen its facade rebuilt and modernized over the centuries, we've recreated this original look of the cathedral for this era.

這座大教堂（歷史上始建于1075年）以羅馬式風(fēng)格建造。雖然現(xiàn)代大教堂外墻經(jīng)過了千百年重建和現(xiàn)代化，但我們?yōu)檫@個(gè)時(shí)代重現(xiàn)了大教堂的原始風(fēng)貌。

Artifacts

寶物

If you have the Royal Court expansion, you will also be finding some of these new artifacts having unique visuals when presented in your court. But worry not, artifacts are also available as trinkets if you don't have the Royal Court to display them in.

如果你有皇家宮廷Royal Court擴(kuò)展包，同樣會(huì)發(fā)現(xiàn)一些新寶物在宮廷展示中有獨(dú)特視覺效果。但不用擔(dān)心，即使你沒有皇家宮廷可供展示，寶物也可以作為小飾品。

Aquamanile

水罐

Don't let the animal shape of this bronze craft fool you! It's actually an ewer for dispensing water which was generally used for washing your hands.

不要被這個(gè)青銅工藝品的動(dòng)物外形所迷惑！這其實(shí)是個(gè)用來倒水的水罐，一般用于洗手。

Armillary Sphere

渾天儀

To determine the path, journey and position of celestial objects, scholars would have these spheres created to better understand the skies and stars above them.

為了確定天體的路徑、軌跡和位置，學(xué)者們會(huì)讓人制作這些球體，以便于更好地了解頭頂?shù)奶炜招浅健?/p>

After reference gathering (sometimes accompanied by concept art, sometimes not), a low poly blockout is created for artifacts. Below you can see the blockout model for the Armillary Sphere, with a basemesh of a CK3 character next to it, for scale.

收集了參考資料后（有的帶著概念圖，有的沒有），我們?yōu)閷毼飫?chuàng)建了一個(gè)“低?！鳖A(yù)覽圖。下面你可以看到渾天儀的模型，旁邊有個(gè)CK3人物蒙版作為比例尺。

It's important to make sure that the silhouette and the shapes appear distinct and are readable from a distance, since Artifacts are seen from a certain distance by the player in the courtroom.

重要的是輪廓和形狀要確?？瓷先ッ黠@，而且從遠(yuǎn)處就能看清，因?yàn)閷毼锸峭婕以趯m廷中從一定距離外看到的。

High poly details are added in Zbrush, after which a game-ready low poly model is created in Maya or Blender:

在Zbrush中添加“高模”細(xì)節(jié)，然后在Maya或Blender中創(chuàng)建一個(gè)可用于游戲內(nèi)的“低?！蹦Ｐ停?/p>

Votive Crown

還愿王冠

A votive crown is one not meant for wearing, instead it is a religious offering, made for display and to be suspended at altars or shrines. Just like a regular crown they consist of fine craftsmanship, precious metals and stones. Most of the surviving examples of these today come from 7th century Visigothic Iberia.

還愿王冠不用于佩戴，而是一種宗教供品，懸掛在祭壇或神龕上用于展示。像普通王冠一樣，它們工藝精細(xì)，由貴金屬和寶石組成。今天這些留存的樣品大多來自7世紀(jì)的西哥特式伊比利亞地區(qū)。

Tizona

提澤納

One of the two swords of the famous El Cid, the other being the sword known as Colada. Its design is based on the museum displayed sword claimed to be the famous blade.

著名的熙德雙劍之一，另一口劍被稱為科拉達(dá)。其設(shè)計(jì)基于博物館展出的號(hào)稱名劍的展品。

Chessboard

棋盤

In Iberia, games of skill and tactics were highly praised, and multiple types of chess can be acquired to show your strategically inclined mind.

在伊比利亞，技巧和戰(zhàn)術(shù)的游戲廣受贊譽(yù)，可以獲得多種類型的象棋來顯示你的戰(zhàn)略思想。

Bell of Santiago

圣地亞哥之鐘

This grand bell (which you might remember being featured in a previous Dev Diary), if recaptured and recast, can be put in your court to display that feat.

這口大鐘（你可能還記得在之前開發(fā)日志中提到過）如果能奪回并重鑄，可以放在宮廷中展示這一壯舉。

Closing Comments and Upcoming Livestream

結(jié)語(yǔ)和現(xiàn)場(chǎng)直播預(yù)告

We hope that this sneak peek has got you excited for Fate of Iberia and we can’t wait for you to get your hands on the full experience on May 31st!

我們希望這次預(yù)告能讓你對(duì)伊比利亞的命運(yùn)Fate of Iberia感興趣，我們已經(jīng)迫不及待想在5月31日讓您獲得完整體驗(yàn)。

For those of you who are interested in seeing more of the behind the scenes process of creating 2D and 3D assets for CK3, we have some good news. On May 18th, 14:30 - 16:00 we will host an art livestream with several artists from the team. We will walk you through the pipeline without holding back on the technical details, so if that‘’s something for you, be sure not to miss it! The livestream will air on the ParadoxInteractive Twitch channel, at

對(duì)那些想看到更多CK3項(xiàng)目2D、3D素材制作幕后過程的人，我們還有好消息。5月18日14:30-16:00，我們將和團(tuán)隊(duì)中幾位美術(shù)一起舉辦一場(chǎng)美術(shù)直播。我們將在不保留技術(shù)細(xì)節(jié)的情況下向您直播介紹，所以如果喜歡一定不要錯(cuò)過。該直播將在ParadoxInteractive Twitch頻道播出，網(wǎng)址為

twitch.tv/paradoxinteractive

As always, we look forward to your thoughts and we will stick around in the thread for a few hours to answer any questions.

和往常一樣，我們期待您的看法，我們將在直播中停留幾個(gè)小時(shí)，回答各種問題。

翻譯：Arcanunu 一個(gè)幽靈 居里先生

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