2018年12月30日 星期日

My MRT sketch book vol 23

    In the second half of the 2018 , i am fascinated by NBA news on MRT , So my drawing time is reduced. It's not a good news. Hope next year i could get a balance between them .

2018年12月28日 星期五

Creating a sense of magical realism through in-game lighting_透過遊戲打光,創造奇幻現實的場面

Creating a sense of magical realism through in-game lighting


Creating a sense of magical realism through in-game lighting

June 8, 2018 | By Jack Yarwood

More: IndieArt

Lighting is an often underused and underappreciated tool in the game developer’s tool kit.

In addition to its (very good) function of making your game visible and readable by the player, lighting can be manipulated to evoke a specific atmosphere or draw particular attention to a level’s design.

For this reason Midnight Hub, the Malmo-based indie studio behind Lake Ridden, aimed to take full advantage of lighting while working on the puzzle-exploration game.

基於這個原因,Midnight Hub,以Malmo為基底的獨立工作室,Lake Ridden的幕後團隊。目標是以燈光展開全程冒險,在益智探索的遊戲中實現。
Rather than simply using lighting to illuminate a scene, the team wanted to evoke a sense of magical realism, purposefully lighting each scene to accentuate the length and shape of shadows as well as draw the player deeper into the story and its mysterious forest setting.

The premise of Lake Ridden is simple: you play as a girl named Marie who is looking for her younger sister. She’s gone missing while on a camping trip in the woods, and it's up to you to explore your surroundings for clues on how to find her.

Lake Ridden的前提是單純的 : 你扮演一位叫Marie的女孩,要去尋找她的妹妹,她在森林裡露營時失蹤,靠你去探索周遭的線索尋找她的下落。
Playing from a first-person perspective, you're tasked with solving puzzles found throughout the different areas to advance and illuminate light sources, which in turn keep track of where you’ve already been. But, as you explore deeper into the woods, you’ll soon realize that there is more to the environment than first appeared. Something supernatural is afoot.


"You never want to just place a light somewhere [randomly], you want to [say] 'What can we do to make this area interesting with this light?'"

Settling on an art direction 訂定美術方向

One of the biggest problems during the development of Lake Ridden was the amount of time and resources the team had to make the game. While coming up with the art direction, the team were conscious of how time-intensive a realistic aesthetic would be and therefore decided against it, choosing to go with a more stylized look inspired by games like Among the Sleep and Firewatch.

在開發 Lake Ridden時,所遇到的最大問題之一,就是團隊製作遊戲所需大量的時間與資源。面臨美術方向時,團隊意識到時間緊迫的現實美學會是一個方法,因此決定挑戰它,並且選擇更具風格化的外貌,是來自Among the SleepFirewatch的啟發。
“We realized that if we were going to finish this game we should just do somewhat semi-realistic textures, and maybe paint them a little bit, and then do the stylized feeling with the atmosphere, and the fog, and the lighting, and so on,” explains Erik Nilsson, the art director on the game.

「我們了解到如果要完成這個遊戲,應該要做些半寫實的材質,並且也許一些手繪,用些大氣氛圍 霧氣,光線做出風格化。」Erik Nilsson解釋,Lake Ridden的藝術指導。

The look they strived for with the lighting and environmental effects was something they termed “Hollywood realism”, where the contrast between light and shadow is purposefully dramatic or exaggerated to evoke a particular atmosphere. You can see this in the quite pronounced volumetric light shafts in the daytime scenes and in the interior shadows.

他們致力於用光線和環境效果達到所謂的「好萊塢現實主義」的樣貌,燈光與陰影的對比,是具有目的的戲劇效果或誇張地想要喚起特殊氛圍。你可以在白天場景和室內陰暗處看到相當明顯的體積光軸(light shafts

Using reference material for guidance 使用資料素材當作指引

The team looked at tons of reference material to achieve this tone, including real world photography and stills from Hollywood movies such as the cinematography of Andrew Lesnie (The Lord of the Rings) and John Alcott (The Shining).

團隊觀察素材的色調去建立這類的色調,包括真實世界的攝影相片,和來自好萊塢的劇照,像是攝影師Andrew Lesnie (末戒系列) 和 John Alcott (鬼店)
This helped them decide how to render particular objects in the game’s world and how many highlights an item should have. They then used their own plug-ins to tweak the saturation and balance colors in the environment when tinting the light, giving the day scenes a warmer overall look and a blue tone to the game’s nights.

“I think [more designers] should look a lot at movies,” says Nilsson. “Look how they are lighting things, because nothing is an accident. Everything is planned. If you have a light, try to get the most out of it, because a shadow is great for breaking up a texture and making it look more interesting.” He adds, “You never want to just place a light somewhere [randomly], you want to [say] 'What can we do to make this area interesting with this light?'”

Nilsson 說 :「我認為大多(設計師)應該多看一點電影」看他們怎麼打光,因為沒有燈光是意外的造成的,每件事都是計畫好的。如果你有一盞燈,試著充分利用它,因為陰影非常適合拆散紋理並使其看起來更有趣。“他補充說,”你永遠不想在某個地方[隨機]放置一盞燈,你想[說]'我們能用這個燈,做些什麼來讓這個區域有趣?

Tackling the natural lighting 處理自然採光

You see this approach on display early on in the game, when you come across a campsite bathed in moonlight. This clearly communicates to the player that this is the next area of importance, contrasting significantly against the dark forest environment.

“We wanted to create these light islands, where if you walk through the path, you can almost always tell where you’re going from this light island space up ahead,” Nilsson explains. “It’s like, “Okay, here’s the next breadcrumb.” It should be light enough that you can explore a bit if you want to, but usually it is [only] the important parts that are lit up.”

“我們想建立這些光島,如果你走過這條路,你幾乎可以告訴自己該從這個光島走去你要的位置,”Nilsson解釋。 “就像是,”好吧,這是下一個麵包屑。“它應該足夠亮,如果你願意,你可以探索一下,但通常它[只會]點亮的重要部分。”
This technique is used throughout, such as later when you happen across a stone ruin in the garden swarming with fireflies. Not only is it a functional way of leading the player through a level, it also carries a thematic importance in the plot.

這種技法在整個過程中都會被使用,比如之後當你偶遇螢火蟲叢生花園裡的石頭廢墟時。 它不僅是引導玩家通過關卡的一種功能性方式,而且在情節中也具有主題重要性。
At times the light takes on the form of ghost lights, similar to will-o’-the-wisps from European folklore that were said to lead travelers astray. The game has you follow these moving blue lights throughout a forest to locate certain puzzles in a move that gradually introduces the player to the presence of the more magical elements.


Using light sources as markers 把光源當作標記

It isn’t just natural lighting that is important for the level design however. While exploring the manor and the garden locations, you will also often come across static light sources, including lanterns and candles. These are usually placed close to puzzles, key items, and along paths, and can be lit to keep track of where you’ve already been or to simply illuminate the environment and get a better sense of your surroundings.


"We started out with a flashlight, but it was a lot more fun just to light things [ourselves]...going around with a flashlight everywhere, you’re not only going to destroy the level design, but also the atmosphere."
The decision to add light sources had the benefit of allowing the developer to keep control of the lighting and the mood of each setting, while still giving the player some level of interaction within the scene.

But this wasn’t always the plan.

“We started out with a flashlight, but it was a lot more fun just to light things [ourselves],” explains Nilsson. “If you have a stationary light, you can decide where the light sources are going to be and how things are seen. Whereas going around with a flashlight everywhere, you’re not only going to destroy the level design, but also the atmosphere.”

“我們一開始是使用手電筒,它有趣的點是照亮東西(我們自己),”尼爾森解釋。 “如果你有一個固定的燈,你可以決定光源的位置和物體看起來的樣子。 帶著手電筒到處走,你不僅破壞關卡設計,也破壞氣氛。“
Exploring the environments for the first time in Lake Ridden, these static lights are important for slowly dispelling the mystery of the game’s world, with the player able to gradually reveal a scene through careful exploration and interaction with the objects around them. It heightens the atmosphere and sells you on the idea that you are the first person to visit the setting in a long time.

首次在Lake Ridden中探索環境,這些靜態燈對於慢慢消除遊戲世界的神秘感非常重要,玩家可以透過仔細探索和與周圍物體的互動來逐漸顯露場景。 它增強了氣氛,讓你覺得長久以來,你是第一個參觀環境的人。

Dynamic over baked lighting 動態烘培照明

It should be mentioned, though, that the Midnight Hub’s approach to lighting wasn’t without its technical problems. The game was supposed to be lit using baked lighting, which is often a low-cost approach as light and shadows are pre-computed using lightmaps. However, Unity’s lighting system seemed unsuited to the large open environment of the game, meaning they couldn’t get the shadow baking to work properly. It would either be of a low quality or crash the game.

有件事應該要被提及,Midnight Hub的照明方法並非沒有技術問題。 該遊戲應該使用烘焙照明,這通常是一種低成本的方法,因為使用光照貼圖預先計算了光線和陰影。 然而,Unity的照明系統似乎不適合大型開放環境的遊戲,這意味著它們無法讓陰影烘焙正常工作。 它要嘛質量低,要嘛讓遊戲當機。

The compromise was using dynamic lighting instead. Although, allowing players to light up individual light sources around the world proved taxing on the game’s performance. Johan Bernhardsson, the project director, therefore had to rewrite his own personalized lighting system, to ensure that light and shadows would turn off at a certain distance. This helped maintain performance and ensured that the gameplay didn’t slow down to a crawl if the player lit all the available light sources in a level.

折衷方案是使用動態照明替代。 儘管如此,讓玩家照亮世界的獨立光源,已證明會耗損遊戲效能。 因此,專案總監Johan Bernhardsson不得不改寫自己的客製化照明系統,以確保光線和陰影在一定距離內關閉。 這有助於保持性能並確保如果玩家點亮關卡中所有可用的光源,遊玩體驗不會變慢到爬行速度。
“The main reason [we did this] was because the original lights that are in Unity are pretty good if you want to bake everything, but since we had an open-world area we had some real big problems getting the baking to work,” explains Nilsson. “It just didn’t like the scale of the game. We tried to do real-time outside and baking inside and that didn’t work either.”

“我們這樣做的主要原因是因為你想烘焙所有東西,Unity中的內建燈光非常好,但由於我們有一個開放的世界區域,我們有一些真正的大問題讓烘焙工作,” 尼爾森解釋道。 “它只是不喜歡比賽的規模。 我們試圖在室外進行實時烘烤,但這也沒有用。“
Lake Ridden demonstrates just how effective a tool lighting can be. It is not only used to sell the player on the supernatural nature of the game, but to carefully lead the player through the world. I ask Nilsson how challenging it was to get the lighting right for the game.

Lake Ridden 展示一個運用燈光的效果會是怎樣呈現。它不只被利用賣給玩家,讓他們在一個超自然的游戲裡,也小心地讓玩家探索整個世界。我問Nilsson,正確燈光對這款游戲是多麼挑戰的事。
“We have internal jokes about how much of a pain in the ass the fog and the light has been,” says Nilsson. “I think we have like learned of what not to do for the next project, but yeah, it has been a big thing to get right because it does so much for the atmosphere to get those two things right.” He highlights having to use their own dynamic lighting as one of the biggest lessons they learned. “It’s definitely been a real uphill struggle.”

Nilsson説 : 我們內部有個笑話有關,到底在霧跟光有多令人討厭,我認為我們已經了解了下一個項目不該做的事情,但是,正確的做法是一件很重要的事情,因為它讓氣氛變得如此之大,以至於讓這兩件事情變得正確。”他強調必須使用 他們自己的動態照明是他們學到的最重要的教訓之一。 “這絕對是一場真正艱難的奮戰。”