Texture Tips for Production:Creating Tiling Organic Textures with ZBrush & Photoshop by: Bradford Smith 製作貼圖訣竅:使用ZB和PS製作原創連續貼圖 :編Bradford Smith

Texture Tips for Production

Source from : Vertex Book 1

Creating Tiling Organic Textures with ZBrush & Photoshop by: Bradford Smith

_____My goal with this article is to walk you through a bit of my process for creating tiling organic textures with ZBrush and Photoshop, as it evolved throughout the production of the Caravan Level of Uncharted 3: Drakes Deception. I’ll be demonstrating my process through the creation of a rock surface using source material I created, but these techniques can been applied to a variety of other surfaces. The goal here isn’t to sculpt a highly detailed unique rock model; instead we will be looking at creating a library of useful tool and alpha assets and how to use them to quickly assemble a variety of rock textures. While quality is of utmost importance, being able to work fast is critical in order to be able to respond to the changing needs of production. Very late in the development stages of the Caravan level, I decided to re-apply everything I learned during production and completely re-did many of my rock textures, materials and blending in order to get much better visual results. It was a calculated risk that paid off, but I couldn’t have done it without a solid workflow that allowed me to move fast and get predictable results.

       這篇文章的主旨，是指導你利用ZBrush和Photoshop完成原創連續貼圖流程的製作，如開發在秘境3:德瑞克的陰謀裡的大篷車關卡中的料件。我將進行展示我的過程，透過一顆我製作的岩石表面材質，不過這些技巧也可以被運用

在其它各種表面上。目標在這裡不是去雕刻一顆高品質獨特的模型；而是我們在材質庫尋找有用的料件(工具)和Alpha組件，並且如何使用它們去快速組合各種岩石材質。雖然品質極為重要，為了回應產品需求的改變，讓工作快速是關鍵。在開發篷車關卡的非常後期，我決定從新利用我在產品和我重做好幾次所完成的岩石貼圖，材質並且混合他們為了得到更好的視覺成果。這是一個可以承擔的風險，但我不能沒有一個扎實的工作流程，能讓我工作快速和得到預想的結果。

_____Reference: It goes without saying, but good reference is critical. Know which reference to use as well as which reference not to use in order to stay true to the characteristics of the subject. Stay organized and use photo viewers with databases for tagging and rating. When examining a subject or surface, try to simplify it. Similar to the construction of a drawing, break it down into silhouette and broad gestural forms, then into the smaller defining planes and finally the finishing surface details. Try to plan your work based on those assessments, they will help inform the creation of the tools you’ll need and right amount of details that will need to be on them. Usually the models will contain the silhouette and gesture, so the textures will need to compliment them nicely with the appropriate level of detail.Always be aware of scale and distance from viewer as they will play heavy roles in those assessments as well.


_____參考資料:不用多說，好的資料是關鍵。知道那些資料可以用也要知道哪些不能，為了保持主體特徵的真實。保持原貌並且使用照片瀏覽器在資料庫挑選和評等，當檢視一個主體或是表面，試著保持簡單，類似繪畫的結構，剖析它的剪影和邊緣形狀，並且在深入更小的自定區域，然後最後完成表面細節。試著以那些評估去計畫你的工作，他們會幫助告知你將需要的工具製作，和適量的細節將會需要在那些工具上。通常模型包含剪影(輪廓)和姿態，而貼圖將很棒的襯托出他們，運用適當的細節程度。總是要小心"縮放"和"觀眾的距離"如同他們也是在那些評估中扮演重要角色。

_____Tools: I found that my best results came from arranging carefully constructed tools that I could use over and over again to carefully add and subtract as desired. If each tool is sculpted to have distinct looks from at least 4 different views then you can go far with just a few tools. Spend time creating these building blocks and save them to a library. It’s also helpful to poly-paint these tools before creating textures with them in order to get more variation in hue and value into the final product. If you need to just see light and value, you can keep your poly-painting intact by modifying the MatCap to ignore diffuse color by setting Modifier > OverwriteColor to 1.

_____工具:我發現我最棒的結果是來自精心安排的構造工具(Ztool)，我可以一用再用，如需求小心增加或減掉。如果每個Ztool有獨特的外表，至少4個不一樣面向，那你就可以只要用這些Ztool就行。花點時間製作磚牆並把它們變成資料庫。對這些Ztool作poly paint也有幫助，在製作貼圖前，是為了更豐富彩度和明暗度成為最終成品。如果你只是看光和明暗度，你可以保持你的poly-painting 完整，藉由MatCap忽略Diffuse color，可以設Modifier>OverwriteColor設為1。

Modeling & Rendering Form

模型和渲染型式

_____Now that I’m working in Zbrush for most of the texture creation process, my best normal maps came from careful attention to form and value. So being setup in a consistent, predictable manner helps me to achieve consistent results. I personally place much more emphasis on the sculpting of textures, than I do the color. If the form and cast shadow patterns aren’t both interesting and plausible, then it won’t make an interesting normal map and I won’t even start the diffuse color painting process.

_____現在，我工作中使用ZB，大多是在製作材質的過程中，我最好的Normal map來自小心注意在形態和明暗度。所以開始設定一個一致，可預期的方式，可以幫助我達到一致的結果。我個人會放重心在"貼圖雕刻"比我在色彩上的工更多。如果形態和投影的形式兩者都不有趣和不合理，那它就沒辦法成為一張有意思的Normal Map，而我也不會開始Diffuse Color的繪製。

_____Light: The default light in ZBrush is pretty good for general vertical plane textures as is. However, I find it helpful to preview my work with more defined cast shadows than the default lighting offers; even if my final render is going to have softer shadows for texture construction. It helps me to judge z-depth and a tool’s placement relative to neighboring tools when dropping them to the 2D canvas. Regularly taking a Grabdoc of the alpha is another good way to evaluate and ensure consistent z-depth across the canvas. Attention to z-depth is also an important factor in blending should you use your height map for that.



_____Light : 在ZB的預設光對大多垂直平面貼圖而言已經相當好用。然而，我發現使用更多的自訂義的cast shadows可以幫助我預覽我的工作，更勝於預設光。即使我最後的算圖，為了貼圖結構，會用較柔和的陰影。當我將Ztool拖到2D畫板上，這可以幫我判斷Z-Depth和Ztool的位置與它相關鄰近Ztool。通常採取Alpha裡的Grabdoc功能是另一個好方法去評估和透過畫板確認Z-depth。注意z-depth在混接(Blending)中，也是一個重要因素，你也應該使用你的Height Map在Blending上。



_____For more defined shadows, start by moving the light
just slightly up and reducing the Light > Shadow >
Aperture setting in the light palette.

為了更明確的陰影，藉由輕微提亮燈光，並在燈光面板中，減少Light > Shadow > Aperture (曝光)。

Materials: When I’m modeling in ZBrush I prefer the
WhiteCap White as a neutral sculpting shader. With its
slightly edgy look, I actually find that it keeps me from
making normal maps that are too aggressive and helps
me balance simple, clean forms with smaller superficial
surface details that I can adjust the presence of later. I
also found it to be a useful direct light render pass for texture
construction, so I modified a basic shader to give me
the same visual result yet work with the light palette.

材質 : 當我在ZBrush塑模時，我較喜歡WhiteCap的白色當成一個中性雕刻的shader，因為它的輕微邊緣的外型。事實上，我發現它讓我避免製作Normal Map太過冒險並幫我平衡簡單，乾淨的外形，搭配較小的表面細節，而我可以之後調整目前的狀況。我也發現它成為有用的直線光算圖pass，在貼圖構成裡。所以我修改基本shader，在燈光面板中，讓我有同樣的視覺結果。

Cavity Detection & Classical Value Structure: While the cavity feature is very useful for many things, I prefer a more classical approach to rendering form in my direct pass. I like surface details to be saved for the light-side and shadow details to appear soft. I prefer to set up ZBrush’s cavity controls to lend a bit more detail to the light-side while keeping shadows softer. You can do that by giving your Cavity Radius a negative value, and raising your Cavity Diffuse just a bit. It gives a bit of light edging to the edge intersections of planes that add a nice touch to final diffuse textures. If I need one, I’ll render out hollow cavity passes later and blend these layers together to control light and shadow detail independently in Photoshop.

Cavity 偵測 與 典型明暗結構:當cavity特性對許多製作事情是非常實用時，我傾向用更典型的方法去算外型，在我的direct pass裡。我喜歡表面細節為light-side保存並陰影細節顯示柔順。我傾向設置Zbrush的cavity控制借一些細節到light-side.當保持陰影柔順，你可以給你的cavity radius一個負值，並提高cavity diffuse一點點。這會給一點光邊在平面邊緣交會處，增加一個潤飾在最後Diffuse貼圖上。如果我需要它，我將會算出中空cavity pass之後，再到photoshop裡，混接這些layers，去獨自控制燈和陰影細節。

______Compare a lighter edge focused cavity setting (left), with a darker hollow focused cavity setting (right)

比較一個較亮邊緣強調的cavity設置(左），和較暗中空強調的cavity設置（右）

Texture Construction

貼圖結構

Combined Lighting: Before I start working on my diffuse color map I always get my lighting setup inside of the PSD. I do this so that I can continually check my color map with my texture baked lighting to make sure they don’t fight each other. I generally like to use a few different renders from ZBrush to get my combined lighting in photoshop. I always have an AO render, and I usually choose supplementary renders based on these two goals:

合併lighting : 在我開始製作我的diffuse color貼圖，我總是在psd內，取得我的light setup.

我這麼做，因此我可以繼續檢查我的color map,和我的貼圖烘培燈光，去確定不會互相干擾。我通常使用一些從ZB

算出不一樣的renders,然後到ps合併我的lighting.我總是有一張AO並且我通常選擇補充算圖，在這2個目標上。

1. Something to control detail in the shadow-side.

在陰影裡，有些東西可以控制細節。

2. Something to control detail in the light-side.

在光邊裡，有些東西可以控制細節。

My solution most of the time ends up being one of the Framer materials and a Gummy material; if not a custom material.

我的大部分的解決方案，都是在一個 Framer材質和一個Gummy材質下完成，如果沒有自定意的材質球情況下。

Automation : To keep some predictability and consistency to my work, as well as to save time, I set up actions that composite all my layers just the way I want them as determined by a bit of testing. From here I can adjust as needed. It’s definitely worth investigating good automated practices in areas of your workflow through actions and batching. Freeing up tedious tasks

will allow you more time to make creative decisions.In the layer stack below, all of the layer organization, grouping, blend modes, opacity, masks and settings were all done by an action. All I have to do is make sure the above 4 render passes are present and named properly. After it sets me up I can tweak my default settings as needed.

自動化：在我的工作中，保持一些預測性和一致性，也能省下時間，我設置Actions,合成我所有圖層，這樣我可以藉由一些測試決定。從這我可以調整所需，透過action和batch批次在你的工作流程的環節中，這絕對值得投資在好的自動化做法。騰出一些冗長工作可以讓你有更多時間做創意決策。在下面的圖層堆裡，所有的圖層被整合，群組，混合模式，不透明度，遮罩，並設定，過程都在Action中完成。而我必須要做的就是確認上面四種算圖結果和適當的取名。在這流程之後，我可以依需求細修我的預設。

Lighting Notes: Looking at my layer stack on page 101,

there are a few things worth pointing out about this

process and setup:

燈光注意：請看我在101頁的圖層堆，有一些值得提出的過程與設定。

Set Black Point: Determining the blend mode and percentage of each layer was actually pretty easy with a few basics in mind. Lighting passes like the direct and AO I prefer to multiply. When I’m determining the appropriate contribution from each layer I’m paying attention to 3 things: my black level, dark-light relationship and sharpness of detail (in and out of shadow). But probably the most important and first thing I want in place is black level, or my darkest shadow values. I want them dark, but I want padding in the shadow side of the histogram as well. The detail renders are usually blended as soft light and weighted by the direct pass to control light and shadow detail.

設定黑點：在我想法中，用一些基本選項，決定混合模式和每個圖層的百分比，是想當簡單。Lighting pass像是direct 和AO pass我偏好用multiply.當我決定每個圖層適當的作用後，我會注意三件事，我的黑階，暗處與光的關係和細節銳利化（陰影的裡外）。但可能最重要且我會擺在首要的事，就是黑階。或是我最黑的陰影階層，我想要它們變黑，但我也想延伸陰影邊緣。這細節渲染通常和柔光混合並被direct pass 加重，去控制光和陰影的細節。

Placing Local Value: I placed a neutral grey of 128, 128,128 at the bottom of my stack to act as local value in order to make this step simpler. After setting up my passes things have got pretty dark, so I’ll “expose” up a bit by using a curves adjustment layer and dragging the middle of the slider up. My only goal here is to place that local value somewhere in the half-light region of my light-side. Use the Info window in Photoshop to help pinpoint that value. If I do this properly, then my diffuse color only, AO, and lit versions of my textures should in more harmony with each other, anchored by local value placement. It’s good practice to keep a close eye on the Histogram window; when comparing the lit and AO versions, the graphed values of the lit should look like they are relaxing and expanding around the range set by the AO with a trend toward the local value. The graph should not even out and feel like it dove to the left. Doing this will help keep your textures in harmony should they be

used in the same or similar lighting environments.

放置基本灰階 ： 我放置中性灰128 128 128在我的圖疊底層，當作基本灰階，為的讓這步驟簡單。把我的passes設定完，會變得比較暗，所以我用"Curve 調整圖層"曝光，並把它拖到中間。我在這裡的唯一目標，就是把Local value放在我的光緣的半光某處(這邊不是很懂)，使用PS的Info視窗，可以設描點知道灰階。如果我做的適當，之後我的貼圖diffuse color, AO,lit(應該是Light)的版本應該會更和諧，藉由基本灰階為基礎。密切注意Histogram視窗是
不錯的作法;當比較lit和AO版本時，lit的圖像灰階應該會是鬆散並且擴展到AO設置的範圍，透過驅近基本灰階。圖表不應平坦而是往左下降。這麼做可以保持你的貼圖和諧，他們應該要被利用於一樣或類似燈光的環境。

 info window

Histogram window

Compare Local Value (top) with AO Version (middle) with Lit w/o Local Value Placed (bottom top) and w/ Local Value Placed (bottom lower) (註 : w/o= without ； w/ = with )

比較基本灰階（top) 和AO(中間）和Lit 沒有基本灰階(底部上層) 和有基本灰階(底部較低)

基本灰階 Local value

基本灰階帶AO  Local value with AO 

Lit 沒有基本灰階(上層) 和有基本灰階(下層) 

Weighted AO (and other layers): You can always spot an image that has had its AO pass multiplied over the combined lighting. It’s important to remember that the AO is part of the ambient lighting and should be treated as such. A simple example of a typical composite with combined lighting would be: ((Ambient*AO)+Direct)*Diffuse Color. The addition of the direct light greatly reduces the visibility of the ambient occlusion. So, for vertical plane textures I generally like to assume some kind of soft top-down hemispherical light source, and give a bit more light (and detail) to my Y facing texture planes. It keeps things still feeling natural, but makes things pop a bit more as you get more play between light and shadow forms. A simple technique used here is to just weight your AO multiplication by the inverse of your direct.

加重AO（和其他圖層）：你總是可以發現一張圖總有它自己的AO pass疊加在合併的光上。很重要要記得AO是環境光的一部分，並且應該被這樣使用。一個典型合成的簡單例子，用lighting合併：((Ambient*AO)+Direct)*Diffuse Color，此外，Direct light會大幅降低AO的可視性。所以，對垂直平面貼圖，我通常會假設某種半球型光源，並給一些光在我的Y軸貼圖平面，它可以讓他保持自然，但會讓它有些明顯，當你操作光和陰影外型時。一個很簡單的技巧在這被利用，就是加重你的AO疊加，藉由反轉你的光。

______Compare non-weighted AO (left) and weighted AO (right); both with and without shadow pass.

比較沒有AO加重(左邊)和加重AO(右邊) : 兩邊都沒有使用shadow pass

Quick Diffuse Color Tips : Because I’m usually focused on creating interesting forms for normal maps, I don’t spend a lot of time working on a color map until I’ve checked out the normals in game and am happy with the sculpt. So in order to drop something in game fast I have a few go to techniques for quickly getting diffuse color and specular maps done for normal map evaluation.

快速漫反射色彩技巧:因為我通常著重在為Normal Map製作有趣的形狀，我沒有花很多時間在Color Map上，除非等到我在遊戲完成normal和高興得完成雕刻後。所以為了讓遊戲的某事快速，我有一些技術可以從normal map 進化，可以很快的得到漫反射色彩和specular map。

Depth & Crevice Color Layers : If I haven’t poly-painted the texture in ZBrush, I’ll usually quickly build up layers of solid color mixed with layers of pre-made tiling texture. I usually have sampled colors picked from reference that I’ll quickly build up through height map and AO masks. It allows me to work fast and iterate on the local color and texture detail.

深度和裂縫色彩圖層 : 如果我沒有在ZB裡使用Poly-painted畫貼圖，我通常會快速建立純色圖層，去混和預先做好的連續貼圖，我通常會在參考資料上取色，我就可以快速透過Height map和AO mask建立，這允許我快速工作並重複利用在基本色彩和貼圖細節。

Detail Masks : A lot of times I’ll use whatever I already have handy like my AO render or the green channel of my normal map to mask detail. These can be used alone or combined in order to mask texture layers for grunge or sand buildup. A variation on ZBrush’s Outline material is good mask for quickly overlaying some edge detail.

細節的Masks : 我時常使用到，不管我已經有方便的AO或我的normal map的綠通道，去mask細節。這些可以被單獨使用或合併為的是mask材質圖層，做出髒污或砂礫的準備。在ZBrush的Outline材質的變化，是很棒的mask，拿來快速疊加一些邊緣細節。

Using Materials to Capture Color Information: Getting color layers from custom materials can save a lot of painting time, and quickly achieve things that would be hard to paint. For example, a modified Gradient Map material can be used to get horizontal striations across the forms of the rock face. The Fiber material is also great for moss and grass. For larger grasses, the material can be modified through ZBrush’s shader layers to render custom normal maps and mattes as well.

使用Material去獲得色彩訊息 : 從訂製的materials得到色彩圖層可以省下很多繪製時間，並且快速達到的東西，很難被塗改。例如，一個被編輯的Gradient Map material可以被利用通過岩石表面的形，得到水平條紋，Fiber material 對青苔與草來說是很棒的。對大量草地，這個material可以透過ZBrush's shader layer被編輯，也能去算出客製normal maps 和matte。

Color Correction: I often don’t get the color and value contrast set just right in these stacks to start, so I’ll always put some color correction toward the top of the layer stack. I prefer a single curves adjustment layer and like to adjust per channel to get subtle color shifts throughout the luminance range. It’s a lot faster than re-tweaking individual layers again. Even better, if I have a set of PSDs that are just variations on the same surface type, I can quickly update them all by simply updating my color correction if I need to; which I can also batch!

色彩校色 : 我通常不會只讓我的色彩和灰階對比在這些圖層中放置就開始，所以我總是擺一些色彩校色在所有圖層的最上方。我偏好一個curve adjustment layer並調整每一個通道，得到輕微的色彩變化遍及整個光罩區域，這比微調每一個單一圖層快上許多。更好的是，如果我有一組PSDs，只要換掉同樣外表的種類即可，我可以快速更新他們，藉由我的CC(如果我需要)，而我還能打包!

The combined AO and green channel mask for sand and result (top); The custom ZBrush Outline mask and detail overlay result (bottom)

把AO和綠通道mask(沙粒)結合，合成結果(上方) ；客製ZB Outline mask和細節疊加結果(下方)

A modified version of the GradientMap material and a custom texture were used to create a mask for horizontal striations that follow the forms of the rock face. Custom Fiber materials were used to render passes for grassy top planes.

一個GradientMap(色階貼圖) material編輯版本和客製材質被利用製作一張水平條紋的MASK，跟隨著岩石表面的外型。(上方)

客製化的Fiber materials被利用算出在岩石上的草。(下方)

The uncorrected colors (left) and corrected colors using curves (right)

左邊是未校色的，右邊是使用curve校色的。

Quick Specular Tip : A simple thing to do in order to get a fast specular map is to use the Channel Mixer Adjust Layer. Set it to gray and move the sliders to get the best balance of even lighting and detail contrast. The best part is that it’s non-destructive and keeps doing its thing; so if I have it inside of a group above my color group, then every time I update my diffuse map to check it in game, I can quickly re-export an up to date, matching specular mask. For textures with a wider color gamut that need finer tuning, another useful tool is the Black & White Adjust Layer. These two adjustment layers can easily get you 75% of the way there.

快速反光技巧 : 為得到一張快速specular map，一件簡單的事要做，就是使用Channel Mixer Adjust Layer.設定它灰色，並移動把條，讓平均光線和細節對比得到最好的平衡，最棒的事，它非破壞性的，並且可以保持它的物件。

所以它在我的我的色彩群組的上層群組，然後我每次只要更新diffuse map就可以在遊戲內觀察，我可以很快重新輸出，符合specular mask。對廣色域的貼圖需要微調，其他實用的Black & White adjust layer，這兩種adjustment layer可以輕鬆讓你在此有75%的使用。

About Me

After graduating with a BFA in Computer Animation from Ringling

College of Art & Design, I was hired at Electronic Arts Tiburon

where I worked for six and half years and became the Senior Lead

Environment Artist. I joined the talented team at Naughty Dog

as a Texture Artist in the middle of Uncharted 3 development,

where I focused on the development and production of the Caravan

level.

有關作者

主修 Computer Animation，畢業於Ringling College of Art & Design，曾經在EA工作六年半，變成資深場景美術組長。我在頑皮狗曾參與有才華的團隊，擔任材質藝術家，在秘境探險3的中期。我著重在研發和製作Caravan關卡。

My MRT sketch book vol 13

I catch a cold !!! Why the weather always changes strongly in Taipei. This really piss me off. OK,

My virus data updates again. I have to see a doctor~~~~

Traversal Level Design Principles _ 穿越關卡設計原則

原文出處 :  

Traversal Level Design Principles
by Travis Hoffstetter 

The following blog post, unless otherwise noted, was written by a member of Gamasutra’s community.
The thoughts and opinions expressed are those of the writer and not Gamasutra or its parent company.

---

In 2010 I started at Crystal Dynamics to work on the 2013 Tomb Raider reboot.  Within my first two weeks, I was entered into a “Thunderdome” exercise in which I had two days to revamp a traversal level, competing against a senior level designer who had worked on Assassin’s Creed 2.  A winner would be chosen after the time expired and that level used in the game. 

在2010，我開始在Crystal Dynamics上班，製作2013古墓奇兵:重啟。剛開始的兩個禮拜，我進入一個 “Thunderdome” 活動，我有2天時間去翻新一個穿越關卡，去和一位做過刺客教條2的資深關卡設計師做挑戰。贏家在時間屆滿之後被選出，並且在遊戲裡使用他的關卡設計。

Prior, I had never designed a level for a game using more than a simple jump mechanic where the player could only land on their feet.  You can probably guess that I lost, but what started was my education into the intricacies of laying out levels that use complex player traversal mechanics.

在此之前，我從來沒有為遊戲設計過，使用超過一個單純跳躍方式(玩家只能用腳著地)的關卡。你可能猜想我輸了，但這開啟我的訓練，進入設計關卡的錯綜複雜，使用複雜的玩家穿越方式。

For the purposes of this article I define Traversal Gameplay as any gameplay where the player is actively moving around a space.  Stepping up / down, hurdling, mantling, climbing and swinging are all examples of traversal gameplay (but there are lots more!).  Before we dive into talking about principles, we need to identify the types of traversal level design which these principles apply to.  Then I will dive into the meat and potatoes of this article.

為了這篇文章的目的，我定義Traversal Gameplay為:在任何遊玩，玩家是積極地移動整個空間，走上/走下，跨欄，覆蓋披風，攀爬和游泳都是Traversal Gameplay(但還有更多!)  在我們更深入討論原則之前，我們需要認定穿越關卡設計的種類，是使用這些原則。然後我將深入這篇文章的肉和馬領薯(應該是重點的比喻)

Types of Traversal Level Design

穿越關卡設計的種類

Linear – Setups where there is only one main path.  These can be action moments, story moments or just a simple down beat in the level intensity ramp.  Think Nathan Drake climbing up a cargo net hanging behind a plane in Uncharted 3 or climbing up a radio tower in Far Cry 3 or 4. 

線性 - 場景設置只有在一條主要路徑上，這些在關卡強度坡道(一款遊戲的興趣曲線)上，可以是活動的過程，故事過程或只是一個簡單下擊。試想Nathan Drake(秘境探險主角)在秘境探險3中，爬上掛在飛機後面的貨櫃網上，或是在極地戰壕3或4中爬上無線電發射台。

Open – Setups that have multiple branching paths.  Open setups allow the player to choose one of many branching routes to get to the objective.  Examples include hubs in Tomb Raider or any of the big cities in the Assassin’s Creed Series.

開放 - 場景設置有多重分支路徑。開放場景允許玩家選擇需多分支路徑之一，而取得目標。舉例包含在Tomb Raider 的核心或任何在刺客教條系列的大城市。

Enemy Encounter Traversal – Either an open or linear traversal path that has enemies in it.  When enemies are present, you need to adhere to a few extra rules to make sure their behaviors play out correctly and the space allows for smooth fluid engagements.  Think of bounty hunts or assassinations in the Assassin’s Creed Series or any of the Tomb Raider and Uncharted levels that use lots of verticality and combat.

遇敵穿越 - 不論是開放還是線性穿越路徑，都會有敵人在裡面。當敵人出現，你需要採取一些額外的角色，確定他們的行為正確地撥放，並且空間允許可以順暢的流動交戰。試想賞金獵人或在刺客教條系列的暗殺或任何蘿拉和秘境關卡，都使用很多戰鬥。

General Principles

Principles that can apply to any of the three above types.  My focus is on third person and first person games, some of these may not apply to side scrolling games.

一般原則

原則可以應用在以上三種任一。我重心放在第三和第一人稱遊戲，它們有些可能無法用在捲軸遊戲。

1. Utilize 3D Space

1.運用3D空間

When I lost in the Thunderdome exercise, my big mistake was only making a path the player could climb up, down, left and right.  Great traversal setups let the player move around a space, inside the space, on top of the space and even under it. 

當我輸了Thunderdome 比賽時，我最大的錯誤就是只做一個路徑，讓玩家可以爬上爬下，往左往右。好的穿越場景設定可以讓玩家移動整個空間，空間裡面，空間上方，甚至空間下方。

Think of a cabin in the woods.  For it to be “great” to traverse around, you need to be able to climb the outside walls, into the cabin, out of the cabin, onto the cabin roof and even under the cabin through the crawlspace. 

試想森林小屋，它是"最好的"穿越四周的場所，你需要可以爬上外面的牆，進去屋子，離開屋子，到屋子屋頂，甚至屋子下穿過地下室。

Utilizing all the space makes the setup feel more natural, encourages choice and promotes replayability.  Even if a path is linear utilizing the 3D space will freshen up the gameplay path and make it feel more exciting.

使用所有的空間讓場景攝置更自然，促使選擇並提升重複可玩性。即使路徑是線性，使用3D空間將煥然一新遊戲路徑並讓它感覺更刺激。

2. Variety is the Spice of Life          

多樣化是生活的香料

Most games with traversal these days have a lot of traversal mechanics: ledge climbing, hand hold climbing, drain pipe climbing, pole swings, etc, etc.  The last thing you want to do is use the same move over and over again when there is such a large bucket of moves to choose from.  A general rule is to never use the same traversal mechanics more than two or three times in a row.  Please note, this is a general rule.  Certain mechanics like monkey bars are fine to use more than that because the move is so quick.  When in doubt, feel it out through play testing.

大部分有穿越的遊戲，這陣子有很多穿越機關:框台攀爬，手握攀爬，排水管攀爬，條柱擺盪式等等。最後一件你想做的事，就是當可以從一大桶的動作可以選擇時，一而再，再而三使用同樣的移動。有一條通則:絕不使用同樣的穿越力學，超過2到3次在同一條路徑上。請筆記，這是一條通則，某些機械力學像是單槓不錯使用，因為移動快速，如果有疑問，透過遊戲測試去感受它的效果。

Another general rule is to not go in the same direction for too long.  Another way to think of it: “Is the player pressing the same inputs over and over again in my level?”  An example of this is a ledge the player is shimmying along.  A designer could0 layout a long straight ledge that takes thirty seconds to scoot down, like in the below drawing.

另一個通則就是不要往同一個方向太久，換個方式想:"玩家是否正在我的關卡，不停地按同一個輸出(指令)?"這種例子就是玩家沿著框台擺盪。設計師可以布局一個很長的框台，花費30秒快速著地，像是下面的草稿

That can be very dull.  Spice it up by breaking the ledge and making the player go up or down to continue.  For example, in the drawing below, we can break the ledge and insert climbing between ledges and handholds as well up and down movement.  By taking one action and breaking it into six different actions, you get a more varied and fun feeling to the path.

這會很無趣，讓它變的刺激，可以藉由破壞框台和讓玩家往上或下持續運行。例如:下面草稿，我們可以破壞框台並置入爬行在框台和手握攀爬之間，也可以上下移動。藉由一個行動過程，並且分出六種不一樣行動，你會在這條路徑上，得到多變和樂趣。

Open setups can have long straight paths because they are architecturally necessary.  For example, Assassin’s Creed has them all over the place, but it works because the player can break out of them at almost any time.  This can be seen in the image below, where the player is not locked into a long straight path while shimmying along the roof.

開放場景設置可以有一條直線路徑，因為他們是建築結構上的必要。例如，刺客教條讓它們遍佈整個地方，但它還是有效，因為玩家可以隨時中斷路徑。這可以從下方圖片看出，當沿著屋簷擺盪時，玩家不會被鎖住在單一路徑上。

3. No Vague Traversal Geometry

3.沒有含糊不清的穿越幾何體

If the player can climb on it or perform any other traversal move, it needs to be crystal clear that it is a traversal path.  If it looks like you can traverse something, players will try.  If they think they can traverse and cannot, then they will get frustrated.  This usually becomes a problem when a level goes from being block mesh to being arted.  Keep an eye out for it yourself and in play testing.

如果玩家可以爬上它或執行任何穿越動作，它需要是淺顯易懂的，而它就是一條穿越路徑。如果它是看起來你可以試著穿越，玩家會嘗試。如果他們認為他們可以穿越但是不能，之後他們會感覺困惑。這通常會變成麻煩，當關卡從一開始的一堆網狀物到被美術改造，你自己要保持注意並在遊玩中測試。

Take a look at how other games deal with this.  Last of us uses the color yellow and in their traversal primitives to draw the player along.

看看其他遊戲如何處理這件事，最後生存者使用黃色並且在他們穿越的原始環境，伴隨玩家繪製。

Uncharted places special blocks for handhold climbing that are different than the wall they are placed upon so they stand out.  Look at how the red handholds pop against the blueish grey wall.

秘境探險為手握攀點爬行，放置特別的磚塊，這和他們放置在牆壁不一樣，他們比較突出。看這紅色的手握攀點如何突出於藍灰色的牆。

Most of the climbable ledges in Tomb Raider have an element of white in them for the same reasons.

同要道理，大部分在古墓奇兵可攀的框台，會有白色物體在上面。

4. Forbidden is Desirable

禁止通行是令人渴望的

The coolest places to traverse are the places we fear to be in real life.  That’s one reason why climbing on tall buildings is fun in the many games that have that type of experience now.  When you need to spice up your level, add a dangerous feeling place for the player to go.  You don’t have to add extra gameplay for it to be special, just the feeling of being in that place will be meaningful and fun for the player.

最棒的穿越地點，就是我們在現實中懼怕的地方。這就是一個理由，為什麼爬到高建築上，在現在許多有這種經驗遊戲中是件有趣的事。當你要調味你的關卡，增加危險感的地方，讓玩家前進。你不必增加額外的遊戲體驗，讓它不一樣，只需感受在那個地方，就會對玩家有意思和有趣。

For example, in Batman Arkham Knight there is a level where the player must glide on top of a zeppelin.  I spent ten minutes just walking around on top of the zeppelin, looking around and soaking in how cool it was to be a dangerous place with an awesome view.  For me, it was one of the coolest moments in a game filled with awesome traversal moments and all I did was one glide move and then walk around.

例如，在阿卡漢騎士裡，有一關，玩家必須滑行置飛空艇。我花了10分鐘，只是在飛空艇上走走，看看四周並且沉浸在這酷到不行的危險地方，還擁有驚艷美景。對我而言，在這遊戲中，這是一個很酷的時刻之一，充斥許多經驗的穿越體驗，而我要做的只是滑行並四處走動!

Another similar example is the Synchronization Viewpoints in the Assassin’s Creed series.  You do the same traversal moves as you do elsewhere in the city, but it feels great because you travel up so high.

另一個類似的例子就是在刺客教條裡的同步視點，你同樣做穿越的動作，如同你在城市其他地方所做的，但這感覺很棒，因為你是在穿越到最高點。

Naughty Dog is the king of these with examples like the train hanging over a cliff, hanging behind an air plane, climbing along moving trucks and trains.  All of these are spectacular because they put you in a place you fear in real life.

頑皮狗是這類型的箇中高手，像是火車懸掛在懸崖，懸掛在飛機後面，攀爬在移動中的火車和貨車。這全都是驚人之舉，因為他們把你置於在現實中你恐懼的地方。

5. When in doubt, Move it About

當有疑問，去移動試試。

Adding movement is a great way to make an aspect of your traversal more exciting.  Something static in the environment can become fun moments with just a little bit of movement.  Uncharted 3 had a cool example with two chandeliers the player swings back and forth on in the Chateau level.

增加運動是讓你穿越方面更刺激的好方法，有些靜物在環境中，可以變得有趣片刻，只需一些運動。秘境探險3有一個
很酷的例子，在酒莊關卡中，有2個吊燈，玩家要向前向後擺盪。

Assassin’s Creed Syndicate added a super fun element when they allowed the player to climb on moving horse-drawn carriages.  The movement took what could have a been a simple set piece and turned it into an exciting adventure.

刺客教條:梟雄增加一個超級有趣的物件，當他們允許玩家可以爬上移動中的馬車，這個行為採取可能只是單純的動作組合，而後轉變成一個刺激的冒險。

6. 180 Degree Turns are bad. 

6.180度轉向是不適當

When the player gets to the next step in a traversal path, try really hard not to have them turn 180 degrees around to continue along the path.  It is not intuitive for the player’s next path to be directly behind them, a lot of players look 180 degrees in front of them for the next path.  Also, the 180 degree turn usualluy must be done in a small space in these cases, when a larger space is needed for the turn to feel fluid and smooth.  For example in the drawing below, if the player jumps up to a ledge, pulling himself up, do not make him turn all the way around to make the next jump.

當一個玩家在穿越路徑上，要接著下一步，真的試著努力不要讓他們在持續的沿著路徑上，轉向180度。對玩家的下個遊玩路徑是直接背對玩家，是不直覺的，許多玩家回頭180度看他們前方的下條路徑。並且，180度轉向通常在一些專案上，是用在小空間裡，當一個大空間是需要轉向，要感覺流動和順暢。例如下面草圖，如果玩家跳到一個框台，拉自己上去，不要讓他自己轉向去做下一步地跳躍。

7. Leave Room for the Camera

留些空間給攝影機

The camera lets the player see all the cool traversal moves the player is doing.  Problems with the camera mostly occur in third person games because the camera is on a track behind the player.  Because the camera follows behind the player, it can knock into geometry in the environment.  When that happens the camera can jerk or pop.  Notice in the image below from Shadows of Mordor how there is lots of room for the camera to move around the player as they travel along the ropes, allowing for smooth camera movement.

攝影機讓玩家可以看到，所有玩家正在做的酷炫穿越動作。攝影機的問題，大多發生在第三人稱遊戲上，因為攝影機是在玩家後面的軌跡上。因為攝影機要跟隨玩家，它會撞入環境中的幾何體。當這發生，攝影機會抖動或彈開。注意下面中土世界:暗影魔多，有多少空間給攝影機在玩家附近移動，當他們沿著繩索穿越，允許攝影機平順的移動。

Special Enemy Encounter Principals

特殊敵人相遇的原則

These are specific to when there are enemies in the traversal level.

這些特定於當有敵人在穿越關卡中

1. Quick Paths are Good

1.快速路徑是好事

When the player gets attacked by enemies, they need fast traversal escape routes to allow them to get to get out of harm’s way.  A fast route would be a traversal path that the player may maneuver through quickly.  If all you have are long traversal routes that leave the player exposed, then players will get frustrated because you are leaving them open to attack for too long. 

當玩家被敵人攻擊，他們需要快速穿越逃跑路線，讓他們遠離傷害。一條捷徑會是一條玩家可以演練快速通過的穿越路徑。如果你只有長程穿越路徑，會讓玩家曝光，然後玩家會沮喪，因為你留下他們開放而攻擊太久。

Not all your paths need to be quick, but enough so that when the player assesses (makes their combat plan), they can easily find a quick way out.  The Shanty Town level in Tomb Raider 9 is a good example of lots of quick traversal routes to get the player out of danger.

並不是所有的路徑要快速，但要足夠，因此當玩家評估(製作他們的戰鬥計畫)他們可以容易找到快速通關的方法。在古墓奇兵9的The Shanty Town 關卡就是一個有許多快速穿越路徑的例子，讓玩家離開危險。

2. Allow Enemy Attacks Everywhere

2.讓敵人從任何地方攻擊

Sometimes when a level is created or enemies added to an existing level, the layout may have places where the player cannot get attacked.  This is bad not only because it makes the enemy AI look unintelligent, but also because it can break the 4^th wall for the player.  Also, the player does not have to move, breaking the basic combat loop of assess -> move -> attack.  That breaks the intensity of the encounter.

有時候，一個關卡被創建或增加敵人到一個現有的關卡，布局一些也許需要讓玩家不會被攻擊到的地方，這不止不合適，因為這會讓敵人AI看起來沒有智商，也因為對玩家而言，這會破壞第4道牆(玩家會因此跳出遊玩體驗)。再者，玩家不需要移動，破壞了基本戰鬥循環 偵查->移動->攻擊。這破壞了遇敵密度。

A flushing behavior can be anything that harms the player and forces the player to move.  The easiest solution in most cases is to modify the layout just enough so the enemy can throw aㄒ or perform a flushing behavior to get the player out of the safe spot and back into battle.  In Tomb Raider 9 I inherited a level with raised platforms certain enemies could not climb up and I didn’t have art cycles to change it.  If that certain enemy type was the last type alive, things could get wonky because the enemy did not have a behavior to force the player off the platform.

一個清場動作可以是任何事件，危害玩家並強迫玩家移動。大部分最簡單的方案就是修改布局，只足夠敵人可以丟擲手榴彈或執行清場動作，讓玩家離開安全點或回到戰鬥。在古墓奇兵9我承繼一個關卡，有上升平台而某些敵人無法爬上來，並且我沒有(美術時間，不知道怎麼翻)去改變它。如果某些敵人種類是最後一種生存下來的，事情可能會不穩，因為敵人沒有一種行為迫使玩家離開平台。

Rules are Meant to Be Broken

規則意旨在被打破

Please keep in mind that these are all general rules and that special case situations or mechanics can change that.  For example, The glide and grapple combination in the Batman series is one of the most fun traversal combinations ever made and feels great to repeat often. 

這些通則請牢記在心，並且特殊例子的情況或機關是可以改變通則。例如，在蝙蝠俠系列裡，滑行並鈎抓的組合，是目前最有趣的穿越組合之一，而且感受極好而經常重複遊玩。

The same can be said of web swinging in Spider Man. 

同樣道理，在蜘蛛人中的蜘蛛網擺盪。

These principles may apply to most of your game’s traversal mechanics, but always feel through your layout and watch play testers to decide when something is a special case scenario.  Thanks for reading!

 這些通則也許大多可以利用在你的遊戲穿越機關中，不過要時常透過你的布局去感受，並觀察遊戲測試員，當在特殊場景裡做的決定。感謝閱讀。

SWD 25th anniversary

This video for SWD 25th anniversary.

What a long story .~~~