牧游社 牧有漢化翻譯

CK3 Dev Diary #84 - Building a Court - A Tale of Code and Art

Carlberg, Lead Artist – CKIII

Hello and welcome to Dev Diary #84, I'm @Carlberg , the 3D environment lead artist and today we will be having a closer look at the development of the Royal Court rooms. This is a feature that we’ve been working hard on and it represents a great new step in bringing this historical era to life. Big thanks to @Alien-47 (code), Stella (3D environment art) and Linus (tech art) who's perspectives they've written down for this Dev diary, drawn from their experiences from both code and art in the making of this feature.

大家好，歡迎來(lái)到第84期開發(fā)日志，我是首席3D環(huán)境美術(shù)設(shè)計(jì)師@Carlberg，今天我們要來(lái)仔細(xì)看看皇家宮廷Royal Court的室內(nèi)場(chǎng)景開發(fā)工作。這是我們一直努力開發(fā)的新特性，它意味著將這段歷史生動(dòng)化的工作邁出了一大步。非常感謝@Alien-47（程序）、Stalla（3D環(huán)境美術(shù)）和Linus（技術(shù)美工），他們?cè)诒鹃_發(fā)日志中寫下了他們的看法，這些看法來(lái)自他們制作這些特性時(shí)寫代碼和做美工的經(jīng)歷。

Heads up! - A lot of the pictures in this post will be of old prototypes and iterations intermixed later with more recent images towards the end. So no need to worry about issues you may spot in the older images.

注意！——本文中許多圖片都是舊版原型，后面會(huì)有一些近期的圖片。所以不用擔(dān)心你在舊圖片中可能會(huì)看到的那些問題。

A new visual feature

新視覺特性

With the new 3D character systems implemented in CK3 we wanted to show the characters of the middle ages in a whole new dynamic way. So as we started laying down the foundations of the Royal Court we also wanted to bring the very courts to life and find continued use for these 3D characters. This new feature was a major step in that direction.

有了CK3中實(shí)裝的3D人物新系統(tǒng)，我們想用一種全新的動(dòng)態(tài)方式來(lái)展現(xiàn)中世紀(jì)人物。因此，當(dāng)我們開始策劃皇家宮廷Royal Court時(shí)，我們想將宮廷做得生動(dòng)有趣，為這些3D人物找到用武之地。這個(gè)新特性朝著這個(gè)方向邁出了重要一步。

The inspiration for the feature was partly scenes that hearken back to throne rooms seen in games of old where we wish they had been livelier, with more interaction and chances for us to impact the people and objects in them. We drew upon these concepts and ideas of our own to weave together a visualization of the courts hosted by the most prominent royal titles.

這個(gè)特性的靈感來(lái)自舊游戲中看到的部分游戲場(chǎng)景，我們希望這些場(chǎng)景更富有生氣，讓我們有更多的互動(dòng)和機(jī)會(huì)去影響其中的角色和物品。我們?nèi)诤狭诉@些概念和自己的想法，將最顯赫的王家宮廷進(jìn)行了可視化構(gòu)建。

The Prototyping

原型設(shè)計(jì)

At the beginning of the court development we knew that we were in for a challenge to stake out a new visual workflow within the engine that previously had not had any instances of contained 3D scenes and shared lighting systems within it. So we decided that to start off we needed a working prototype - laying a foundation and gradually adding more and more graphical features and complexity. Moving forward only when we’re sure the previous step succeeded.

在宮廷開發(fā)之初，我們就知道要在本引擎中建立新的視覺系統(tǒng)相當(dāng)困難，因?yàn)橹斑€沒有任何包括3D場(chǎng)景和光線系統(tǒng)的實(shí)例。所以我們覺得一開始就要做好原型——打好基礎(chǔ)，然后逐漸增加圖形功能、提高復(fù)雜程度。只有前一步成走得扎實(shí)穩(wěn)當(dāng)，才會(huì)走下一步。

A natural starting point of exploration were the characters. We could already show beautiful animated portraits and the courtroom had to be able to show the same people so players could easily recognize their appearance. Could we reuse the same system that assembles characters - show appropriate body, apply transformation to show age, height, weight, apply the same clothing, hair, set the same animation? First step - success. The people in the courtroom look exactly the same as in portraits.

探索的起點(diǎn)自然是人物角色。我們已經(jīng)可以展現(xiàn)漂亮的動(dòng)畫半身像，宮廷室內(nèi)的角色也必須做得一樣，這樣玩家才能一眼認(rèn)出他們的外表。我們能否再使用與生成角色相同的系統(tǒng)——展示適合的身體，應(yīng)用變換來(lái)顯示年齡、身高、體重，應(yīng)用相同的服飾、發(fā)型，設(shè)置相同的動(dòng)畫呢？第一步——成功了。宮廷室內(nèi)的角色看上去和人物半身像完全一樣。

Next step, is it possible to show many people at the same time in the same scene? This is quite different from portraits in the interface and events - those always have 1 person per image, even if the UI tries to combine them nicely together. With some optimization the room could now handle about 20 random characters, and even some objects. So the scene finally resembles a courtroom. Although a bit dark.

下一步，能不能在同一場(chǎng)景中同時(shí)顯示許多角色？這和界面、事件中的半身像有很大區(qū)別——那些場(chǎng)景每張圖都只有一個(gè)人，哪怕UI努力把他們結(jié)合在一起。經(jīng)過一些優(yōu)化工作，室內(nèi)現(xiàn)在可以顯示大約20個(gè)隨機(jī)人物，甚至還有一些物品。這樣一來(lái)這個(gè)場(chǎng)景終于看起來(lái)像個(gè)宮廷了。就是有點(diǎn)暗。

The scene could now show several people and items in the prototype
該場(chǎng)景可以顯示多個(gè)角色和物品原型。

But what can we do with lights? The ambition for the court scene and requirement for lighting is much higher and more advanced than for regular portraits. We needed more simultaneous light sources. At the same time shadows naturally become much more complicated as well. People and objects can interfere with lights and it needs to be visible. Another issue was making sure characters and objects apply the lighting and shadows in the same way, so it’s easier for artists to manipulate the scene and develop the assets. After a bit of time and several iterations we had upgraded and made many improvements to the lighting system.

但我們能對(duì)光線做什么呢？宮廷場(chǎng)景成品的目標(biāo)所需要的光線，比普通半身像要高得多也先進(jìn)得多。我們需要更多的同步光源。同時(shí)，陰影當(dāng)然也會(huì)變得更加復(fù)雜。角色和物品可能會(huì)干擾光線，這也得體現(xiàn)出來(lái)。另一個(gè)問題是確保角色和物品應(yīng)用光線的方式相同，這樣美工才能更好地編輯場(chǎng)景、開發(fā)物品。經(jīng)過一段時(shí)間的多次迭代，我們對(duì)光線系統(tǒng)進(jìn)行了升級(jí)，做出了許多改進(jìn)。

Lights and shadows in a shared scene — Proof that multiple lights work and blend as intended, if a bit rough still.
共同場(chǎng)景中的光線——實(shí)現(xiàn)多個(gè)光源如預(yù)想一樣交匯，不過還是有點(diǎn)粗糙。

It was roughly at this time we felt we had confidence that the goal was within reach, and all technology was working as we intended. It was also clear that we could afford the desired complexity of the scene from a performance point of view. After all, players should have an enjoyable experience both on the map and in the court. We had built an understanding of how many people the scene could handle efficiently, how many light sources, and how many shadows we could allow (this is one of the most expensive parts).

大概在這個(gè)時(shí)候，我們覺得對(duì)實(shí)現(xiàn)目標(biāo)有了信心，各種技術(shù)都按預(yù)想一樣運(yùn)作。而且很明顯，從性能角度來(lái)說(shuō)，我們完全可以支持這個(gè)場(chǎng)景的復(fù)雜程度。畢竟玩家應(yīng)該在地圖上、宮廷中都擁有愉快的游戲體驗(yàn)。我們已經(jīng)清楚場(chǎng)景可以有效處理多少人、多少光源、多少陰影（這是最不容易的部分之一）。

And so the prototype has been integrated as a proper feature of the game.

就這樣，原型被整合成了游戲的正式特性。

Scene with better lighting, assets, materials, people positions
擁有更佳光線、物品、材質(zhì)、人物站位的場(chǎng)景。

From this point on work on the court room continued with multiple people from different disciplines working very closely together. More and more features waited to be implemented, so you can now see the beautiful results of all this effort.

從這里開始，宮廷開發(fā)工作持續(xù)進(jìn)行，各個(gè)部門的人同心協(xié)力工作。越來(lái)越多的特性等待著實(shí)裝到游戲中，因此你現(xiàn)在能看到這些努力的美好成果。

Concept art and vision

概念藝術(shù)和視覺

Being worked alongside the prototype was the vision we had for the Royal Court-rooms. We began by looking at the four main cultural areas we would be covering in the expansion. The west European, Mediterranean, Middle-eastern and Indian courts. We wanted each of these areas to be distinct, having their own visual style through architecture and lighting so to give their own unique feeling.

與原型開發(fā)工作一起進(jìn)行的是我們對(duì)皇家宮廷視覺效果的設(shè)計(jì)。我們從將要在拓展包中涵蓋的四個(gè)主要文化區(qū)域開始著手：西歐、地中海、中東和印度的宮廷。通過體現(xiàn)該區(qū)域獨(dú)有的建筑形制和光線氛圍，我們希望每個(gè)區(qū)域的視覺體驗(yàn)都能與眾不同。

Concepts of the different walls aesthetics of the courts, Mediterranean, Western, Middle-East/North Africa and India.
地中海、西歐、中東/北非和印度不同宮廷的墻壁美學(xué)的概念圖。

The west European court draws much of its inspiration from courtly interiors of England, Germany, France and neighboring areas. Darker rooms lit by fiery hearths, candles and chandeliers. In the Mediterranean more inspiration comes from the Byzantine courts and those found in Italy and other heirs of Rome. The rooms hint back at this grander past with larger roofs, domes and columns supporting the walls and arches.

西歐宮廷的設(shè)計(jì)靈感許多來(lái)源于英格蘭、德意志和法蘭西等臨近地區(qū)：熾熱的壁爐、蠟燭和吊燈照亮的昏暗房間。在地中海地區(qū)，我們的設(shè)計(jì)靈感更多來(lái)自拜占庭宮廷以及意大利和其他羅馬帝國(guó)繼承地區(qū)的宮廷。這些房間以更大的屋頂，圓頂?shù)臉?gòu)造、支撐著墻壁和拱門的柱子暗示著恢宏的歷史。

In the Middle-eastern courts we have a wider spread geographically, as these courts draw inspiration and cues from the courts all the way from Arabia to the architecture of Andalusia. In India we encountered an interesting split, as influences in architecture were pushing in from the west while there were still distinctly Indian courts. This was one of the reasons behind adding more court variants so that we could cover more of these visual flairs.

中東的宮廷風(fēng)格的參考則來(lái)自于更廣的地域范圍，這些宮廷的靈感想法來(lái)源從安達(dá)盧西亞一直延伸到阿拉伯半島。在印度，我們?cè)庥隽艘粋€(gè)有趣的風(fēng)格差異，因?yàn)楸藭r(shí)西邊建筑風(fēng)格的影響正在滲入，而當(dāng)?shù)厝杂性S多風(fēng)格差異甚大的印度宮廷。我們?cè)黾痈鄬m廷變體的原因之一，就是可以讓我們覆蓋更多的這樣的視覺風(fēng)格。

Style variation exploration, more on those further down in the Dev Diary.
風(fēng)格變體的探索，更多詳情請(qǐng)關(guān)注開發(fā)日志下文。

Each scene was broken down into components like walls, roofs, floors and key assets like thrones, chandeliers and fireplaces. While these were being designed from a plethora of references gathered from each culture we also created variants in the concepts. This was done both as exploration but also to add variance to the courts so that they don't all look the same all the time. You will most likely have seen some variants of these when we’ve shared screenshots in past dev-diaries.

每一個(gè)場(chǎng)景都被分解成像墻壁、屋頂、地板這樣的組成部分，以及像王座、吊燈和壁爐這樣的關(guān)鍵素材。在設(shè)計(jì)這些東西時(shí)，我們從每種文化中收集了大量的參考資料，并在原始概念上創(chuàng)造了一些變體。這樣做既是為了探索，也是為了給宮廷增加變化，好讓它們不會(huì)千遍一律?？纯次覀冞^去在開發(fā)日志分享的截圖，你將很可能看到這樣的一些變體。

Different courts, different architectural styles, different lighting setups.
不同的宮廷，不同的建筑風(fēng)格，不同的光線設(shè)置。

But the concept art phase did not end after the initial stages however, because once the scenes were being put together we returned to the concepts to try out the different lighting setups to help in the lighting of the rooms, giving our artists more ideas of where to focus the light and accentuate the scene further. Since the lighting system was being built alongside this in the prototype, the concept art took inspiration from contemporary game engines to help guide the prototyping, and not just the visual development.

然而，概念藝術(shù)階段并沒有在最初就結(jié)束，因?yàn)橐坏﹫?chǎng)景被組合在一起，我們就要回到概念中嘗試不同的光線設(shè)置，讓我們的設(shè)計(jì)師更好地聚焦光線、突出場(chǎng)景。由于光線系統(tǒng)是在原型設(shè)計(jì)中與概念藝術(shù)同步開發(fā)的，所以概念藝術(shù)會(huì)從當(dāng)前的游戲引擎中汲取靈感，來(lái)幫助指導(dǎo)原型制作，概念藝術(shù)不僅只是視覺開發(fā)。

A room takes shape

一個(gè)房間成形了

When starting the modeling of the actual assets for the throne rooms there were several constraints to keep in mind. We had decided to go with a modular workflow so we could easily swap out wall-types and materials, so the dimensions would have to be consistent and work with the plans and concepts we had decided to pursue. We were also making several visual variants for each culture, which meant that we had to try and keep the details of the walls and materials equally interesting for each different type.

當(dāng)開始為王座廳的實(shí)際素材建模時(shí)，有幾個(gè)限制因素需要牢記。我們決定采用模塊化的工作流程以便更容易更換墻壁類型和材料，所以尺寸必須一致，并與我們決定追求的計(jì)劃和概念相一致。我們還為每種文化制作了幾種視覺變體，這意味著我們必須努力保持各種不同類型的墻壁和材料的細(xì)節(jié)同樣有趣。

Another big limitation was the fact that we had never before made a scene within our engine like this, so that meant that there were a lot of uncertainties when it came to how much we could push the graphics and where the limits were. Since we were also going to have the artifact system we had to make sure we left enough room for the artifacts and banners without having the environment taking too much attention. This became a trial and error phase to find a good baseline for each throne room.

另一個(gè)很大的限制是，我們此前從未在我們的引擎中制作過這樣的場(chǎng)景，所以這意味著我們能帶動(dòng)多少圖像還是個(gè)未知數(shù)，我們也不清楚上限。同時(shí)，我們還有寶物系統(tǒng)，我們必須確保我們?yōu)閷毼锖蛼焯毫舫鲎銐虻目臻g，而不使環(huán)境占據(jù)過多的注意力。這是一個(gè)為每個(gè)王座室找出合適基準(zhǔn)的試錯(cuò)階段。

Early blocking out of the different artifact and furniture slots to be able to see where in the environments we had to make space.
提前安排出不同的寶物和家具槽位，這樣我們就夠看到我們必須騰出空間的地方了。

To create variation we made sure to have the materials contrast with each other while still fitting together aesthetically so no culture would have throne rooms that all felt exactly the same. This along with changing some architectonic aspects helped the scenes be more distinct. We also worked on adding variation to the grandeur levels, here we wanted the difference to show in the cleanliness and brightness of the environment textures, as well as in the richness of detail in the geometry and amount of decorative props.(Visual examples of this are shown in the final chapter)

為了創(chuàng)造變體，我們確保了材料之間特點(diǎn)鮮明，在審美上又能相得益彰，所以沒有一個(gè)文化會(huì)有看起來(lái)完全相同的王座廳。再加上改變建筑形制，這些變化讓場(chǎng)景變得更加獨(dú)特。我們還努力讓顯赫度能帶來(lái)變化，我們希望在環(huán)境紋理的清潔度和亮度、幾何形狀的豐富細(xì)節(jié)、裝飾性道具的數(shù)量等方面的差異能展現(xiàn)出顯赫度的差異（這方面的直觀例子會(huì)在最后一章展示）。

Making sure the different materials work together to create a cohesive feeling for each culture, but still looking different from each other. Example images taken from the MENA culture throne rooms.
確保不同的材料能共同為每種文化創(chuàng)造出整體感，但各種文化看起來(lái)還是不一樣。示例圖片來(lái)自中東以及北非文化的王座廳。

Lighting and FX

光線和FX

A lot of our visual tech usually involves considerations for a top-down map, and since we didn’t have much need for full scale 3D room rendering & lighting in the past, we had to do a lot of rethinking to get this to work - we went from previously having 4 lights, moving up to 20 total light sources and expanding the light types available with new ones like area lights - adding sphere & disc area lights. This helps illuminate areas such as room filling bouncing light (seen to great effect in Mediterranean courts) and helps us with light coming in from the windows and other openings.

我們大部分的視覺特效服務(wù)于戰(zhàn)略大地圖，畢竟在此之前并沒有渲染絢麗的3D室內(nèi)空間，而現(xiàn)在我們需要重新考慮這項(xiàng)工程了。光源數(shù)量從一開始的4個(gè)一口氣加到了20個(gè)，光線類型也有所拓展，比如球形和環(huán)形光，以模擬環(huán)境光效果。這些均有助于表現(xiàn)環(huán)境照明，包括室內(nèi)反射光（這似乎對(duì)于地中海國(guó)家的宮廷有重要效果），以及展現(xiàn)從窗戶或其他開口進(jìn)入的外部光。

A cozily lit interior.
一個(gè)舒適的室內(nèi)光效圖。

Another technique we used was animated lights. They move a little, flicker in intensity - very useful for making the fireplace feel like it's actually on fire and heating up the room a bit. To sell the atmospheric feeling in the room, we added some transparent particles with a little light fade on the sides of the windows and other select places. Even though it isn't adding to the "real" light of the room, it helps give it that last piece of convincing magic touch. We also used particle systems for effects like the fireplace, candles and torches.

我們使用的另一項(xiàng)技術(shù)是動(dòng)態(tài)光。微微搖曳的光源可以很好的展現(xiàn)爐火，讓它看起來(lái)真的是燃燒著的火焰，溫暖著房間。為了提升室內(nèi)的氛圍，我們還在窗邊等一些選定的地方增加了一些透明粒子特效來(lái)吸收一點(diǎn)點(diǎn)光線。這樣就算沒法在室內(nèi)添加“真實(shí)”光線，也能用這種“魔法”增添上一筆光亮。我們還將粒子系統(tǒng)用在火爐、蠟燭和火炬之類的效果上。

The concept art helped us find the vision of what we wanted to do. Starting with just the room geometries, we used the color hues and general light level from the concepts to create a lit space that felt cohesive, which we then could tweak and modify until they felt comfortable to look at.

概念美工幫助我們找到了我們想要的視覺效果。從王座廳的幾何結(jié)構(gòu)開始，我們利用概念美工中的顏色色調(diào)和通用光線水平來(lái)創(chuàng)造一個(gè)有整體感的照明空間，然后我們對(duì)其進(jìn)行調(diào)整和修改，直到它們覺得看得舒服。

Technical hurdles & Bloopers

技術(shù)難關(guān)和挫折

One of the hurdles throughout the development of the court scene were tools - a means for developers to manipulate the scene contents more efficiently - edit objects, characters, lights, change their positions, add or remove to have a toolset that allows more quick iteration and direct interaction. It took time to develop a solution that made this part of work less tiresome. One of the downsides of not having readily available tools - you have to do those yourself, and sometimes reinvent a wheel multiple times. But we’re lucky to have an internal tools team that came to rescue us, and it improved the processes immensely.

一個(gè)難關(guān)便是宮廷場(chǎng)景研發(fā)過程中的工具，我們需要一個(gè)手段能讓開發(fā)者更加高效地進(jìn)行布景，能用來(lái)編輯物體、角色、光源、移動(dòng)位置、增刪，我們需要一個(gè)能快速迭代和直接交互的工具集合。我們需要花費(fèi)時(shí)間來(lái)設(shè)法使這部分布景工作不那么令人厭煩。沒有預(yù)設(shè)工具的一個(gè)缺點(diǎn)就是——你得自己動(dòng)手重復(fù)畫一個(gè)圓好幾次。不過幸運(yùn)的是，我們有一個(gè)內(nèi)部工具小隊(duì)前來(lái)解救了我們，他們極大地加快了進(jìn)度。

We had plenty of funny bugs over the court of development, resolved by now of course.

我們?cè)趯m廷的搭建過程中還發(fā)現(xiàn)了許多有趣的的bug，當(dāng)然，都已經(jīng)被修復(fù)了。

It's not a cult! — Sometimes visual bugs can be quite fun
這可不是邪教！—有時(shí)候視覺bug真的很有意思。

Baby Bighead bug.
大頭兒子bug。

They say you shouldn't lose your head in court, but this is ridiculous
他們說(shuō)你不應(yīng)該在宮廷丟掉你的腦袋，不過這真是太荒謬了。

Finished courts and courtly variation

完成品的宮廷和宮廷變體

With a working feature, concepts drawn and all the parts built we got to compositing together the scenes. There were a lot of iterative steps working on the textures, lighting and positioning to get all pieces to look their best. The environment team has made a set of three different variations of each cultural court type that each has their own architectural and/or decorative flair and visuals, the scenes differ more in geometry and configuration or the construction materials used. So there may be more windows and ample light, or a fireplace castings its warm light into your court.

萬(wàn)事俱備，只需要把人物和場(chǎng)景拼在一起就好了。這里需要很多迭代步驟，紋理、光線、位置都需要調(diào)至最好。環(huán)境團(tuán)隊(duì)已經(jīng)設(shè)置了三種不同的宮廷變體，以適應(yīng)不同的文化組，分別有自己的建筑、裝飾、視覺風(fēng)格，場(chǎng)景的不同主要體現(xiàn)在布局規(guī)劃、建筑材料上。于是你的宮廷可能會(huì)有更多的開窗和充足的光線，或是一個(gè)伴有著溫暖火星的壁爐。

The western European inspired courts, with stone and plastered walls.
西歐的上流宮廷，有著涂灰的石質(zhì)墻壁。

The Mediterranean courts, drawing inspiration from the Roman past as well as the melding of surrounding cultures.
地中海宮廷，從古羅馬風(fēng)格中獲取靈感，并融合了周邊的文化。

The Middle Eastern courts, drawn on from architecture found in Arabia to Al-Andalus.
中東宮廷利用了從阿拉伯到安達(dá)盧西亞不同的建筑樣式。

The courts of India, greatly varying interiors.
印度宮廷，內(nèi)部充滿多樣特性。

Grandeur variants was a further change we added later in the development cycle, which helps give a little extra flavor to the progress of your court's grandeur. Lower court grandeur has less fancy details and furniture extras in the court than the higher level which sports more of them. The surfaces of the room have also been made to look more worn and less taken care of at a lower grandeur level, compared to the high grandeur which look their grandest.

顯赫度的宮廷外觀變體是我們?cè)陂_發(fā)后期進(jìn)一步增加的，它能帶來(lái)一些小小的特色來(lái)體現(xiàn)你目前的顯赫度進(jìn)度。低顯赫度的宮廷會(huì)比高顯赫度的少一些裝飾細(xì)節(jié)和家具，表面看起來(lái)也會(huì)比高顯赫度的宮廷更破舊，感覺更不常打理。

The Pomeranian kings court has seen better days, its painted plastered walls worn and peeling, the floor tiling tired, scraped and just slightly dirty. Little decorations or extra furniture have been afforded the kings halls.
波美拉尼亞國(guó)王宮廷已經(jīng)破敗，涂灰的墻體有磨損和剝落，地磚有破舊、劃痕、剛剛好的落灰。國(guó)王的大廳曾購(gòu)置了一些裝飾和額外的家具。

After much investment in upping the level of grandeur, the court's floors are fresh and polished, extra candles and seats added to the court, and a long finely woven rug lines the path up to the throne.

在花大價(jià)錢投資提升顯赫度后，宮廷的地板會(huì)被擦拭翻新，還會(huì)添加額外的蠟燭和座位，以及一條長(zhǎng)長(zhǎng)的精致針織毯鋪在通向王座的路上。

Wrapping up

收尾

And with that we’ve come the full way from inception all the way to the finished scenes. We’ve been continuously tweaking and polishing stuff like camera angles, lighting and textures, and we do hope this is a great foundation for a feature that we can grow over time.

現(xiàn)在我們已經(jīng)做完了從最初到現(xiàn)在完工場(chǎng)景的工作。我們?nèi)詴?huì)持續(xù)微調(diào)和翻新一些細(xì)節(jié)，比如攝像機(jī)角度、照明、紋理。我們由衷地希望這會(huì)成為之后很多工作的基石。

So a big thanks from the court and environment team for checking into this Dev Diary, which will be the last one of the year, but fret not! We will still be bringing you weekly teasers all the way through December to the start of next year.

非常感謝宮廷和環(huán)境團(tuán)隊(duì)參與了本篇開發(fā)日志，同時(shí)這也會(huì)是今年的最后一篇了。不過不用擔(dān)心，我們?nèi)匀粫?huì)帶給你們每周預(yù)告，直到明年來(lái)臨。

These teasers will be smaller in scale and focus on some minor features and things we still want to show off, so keep your eyes out for it next week.

這些預(yù)告會(huì)短小一點(diǎn)，但集中于某個(gè)我們想展示的小型特性或物件。擦亮你們的眼睛等著吧，下周見。

翻譯：居里先生 索 三里之塵

校對(duì)：三等文官猹中堂

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