原文節(jié)選自《馴龍高手設(shè)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(tái)龍崖社社團(tuán)官方賬號(hào)發(fā)布，未經(jīng)授權(quán)禁止轉(zhuǎn)載！

雖然史圖伊克在領(lǐng)導(dǎo)維京人的時(shí)候顯得信心滿滿，但是當(dāng)他在帶他的兒子，小嗝嗝的時(shí)候則完全沒有這種信心。雖然他對(duì)這兩件事都非常用心，但是他的情感能力遠(yuǎn)不如他的肌肉一般強(qiáng)大。

作為部落首領(lǐng)，史圖伊克在電影里面必須要顯得高大，并且遠(yuǎn)比其他維京人更強(qiáng)壯，更有領(lǐng)袖氣質(zhì)。角色設(shè)計(jì)師Nicolas Marvet通過把他整體形象設(shè)計(jì)成這巨大強(qiáng)壯結(jié)實(shí)的樣子來傳達(dá)這一點(diǎn)。他的斗篷進(jìn)一步凸顯了他的身材，甚至他的胡子也有助于塑造他的真正人格，因?yàn)檫@限制了他的行動(dòng)，顯得他沉穩(wěn)堅(jiān)定剛毅。

在角色發(fā)展方面，“我們希望父子關(guān)系成為故事的首要內(nèi)容，所以我們就這么做了。導(dǎo)演迪安·德布洛斯回憶道。從本質(zhì)上講，這是一個(gè)關(guān)于一個(gè)父親對(duì)他的兒子感到失望的故事，而兒子卻并不接受這一事實(shí)。這兩個(gè)人身體和思維上都是截然相反的，在人物設(shè)計(jì)上尤其強(qiáng)調(diào)了這一原則。雖然他們之間的沖突似乎很激烈，但是這其實(shí)給他們之間交流非常尷尬的部分帶來了幽默感。斯圖依克是一位偉大的父親，他關(guān)心他的兒子，擔(dān)心他的安全。在電影的開頭，他對(duì)小嗝嗝非常嚴(yán)厲，這是他這一角色最理想的起點(diǎn)：史圖依克一開始看起來很不講理，而最后敞開心扉露出一些弱點(diǎn)，這樣的發(fā)展會(huì)更令人滿意得多,史圖伊克的設(shè)計(jì)在電影角色中是最宏大的一項(xiàng)工程，因?yàn)樗姆倍嗟拿娌棵l(fā)，尤其是胡子。在完成最初設(shè)計(jì)之后，胡子護(hù)理成了一項(xiàng)漫長(zhǎng)的跨部門挑戰(zhàn)，“建模部門需要提供總體輪廓，綁定部門需要提供動(dòng)畫控制和模擬參數(shù)，然后動(dòng)畫部門需要進(jìn)行動(dòng)作測(cè)試，同時(shí)，表面處理部門會(huì)添加上顏色，文理，和一些微小調(diào)整，最終，光照部門會(huì)把全部整合起來生成測(cè)試圖片?！币曈X特效總監(jiān)Craig Ring解釋說。

讓這事更加復(fù)雜的是3D立體的電影風(fēng)格的最終目標(biāo)，“這也就意味著不光是表層，即使是胡子的內(nèi)層也會(huì)是可見的，所以它也必須始終都正確地運(yùn)動(dòng)?！?/p>

原文：

For all the confidence that Stoick the Vast projects when leading the Vikings, he exhibits the total absence of such assurance when parenting his son, Hiccup. While his heart is in the right place performing both roles, his emotional capacity is not nearly as strong as his brawny muscles.

As the chief of his Viking tribe, Stoick must stand tall and carry an air of strength and authority above and beyond all other human characters in the film. Character Designer Nicolas Marlet conveys this by establishing Stoick's very foundation as a large, hulking square shape. His cape further accentuates this stature, and even his beard helps portray his true personality because it limits his movement, suggesting a steadfast, unwavering fortitude.

In terms of character development, "we wanted the father-and-son relationship to be first and foremost in our story, so that's what we used as the building block of the film," recalls Director Dean DeBlois. In its essence, it is a story about a father who is frustrated with his son and the son being resigned to this fact. The two are intellectual and physical opposites, a tenet highlighted by their contrasting character designs. While this dynamic seems very dramatic, it actually provides humor in moments when the communication is unbelievably awkward between these two. Stoick is a father who genuinely

cares about his son and actually fears for his safety more than anything. He is very hard on Hiccup in the opening of the film, which is the ideal starting place for his character are: if Stoick seems really irrational in the beginning, then when he finally opens up and shows some vulnerability in the end, it is a much more satisfying progression. Stoick's design demonstrates one of the most ambitious undertakings on this cast of characters with his abundance of facial hair, most notably his beard. Once an initial design was established, beard grooming became a lengthy cross-departmental challenge, "where modeling would produce span lines; rigging would provide animation controls and simulation parameters; and then animation would run motion tests.

Meanwhile, surfacing would add color, texture, and small-scale variation and finally, lighting would pull

it all together to render test images," explains Visual Effects Supervisor Craig Ring. What made this effort even more involved was the final goal of3D stereoscopic film delivery, "which meant that even the inside layers of the beard would be visible, so it had to move correctly all the way through, not just on the surface."