吸血鬼词汇_建造一个吸血鬼游乐场-CSDN博客

吸血鬼词汇

It’s no revelation to say that indie developers are taking the gaming industry by storm at the moment. I’m especially proud of the fact that an increasing number of worldwide hits are coming from my humble homeland, Australia. When I get the opportunity to chat with local developers, I find myself in awe of both their ambition and their sheer guts. Anyone who is familiar with game development knows that the process can be extraordinarily time-consuming, expensive, and risky. And yet when I attend events like PAX Rising — the indie-focused showcase at PAX Australia — I find myself immersed in a sea of innovation and creativity. We recently published a piece that discussed the ways in which indie developers are quickly becoming industry thought-leaders, quietly introducing next-gen experiences all over the place. When I’m at PAX Rising, I feel like I could easily stumble upon the next huge idea right before it blows up.

我 T的不启示地说，独立开发者目前正在游戏行业的风暴。我为自己谦虚的家乡澳大利亚越来越多的全球热门歌曲而感到自豪。当我有机会与当地开发商聊天时，我发现自己对他们的野心和胆量都感到敬畏。任何熟悉游戏开发的人都知道，该过程可能非常耗时，昂贵且冒险。然而，当我参加PAX Rising之类的活动时，我发现自己沉浸在创新和创造力的海洋中。我们最近发表了一篇文章，讨论了独立开发人员如何Swift成为行业思想领袖的方式，并在各地悄悄地介绍了下一代体验。当我在PAX Rising上时，我觉得我很容易就在下一个大想法破灭之前就偶然发现了它。

One of the studios I spent time with at last year’s PAX Australia is Screwtape Studios, a Brisbane-based team that should absolutely be on your radar. Like many indie studios, they have a fascinating story. I spoke with Megan Summers, who handles both production and quality assurance at Screwtape.

我在去年的PAX Australia上呆过的工作室之一是Screwtape Studios ，这是一个位于布里斯班的团队，绝对值得您关注。像许多独立工作室一样，他们有一个有趣的故事。我采访了梅根·萨默斯(Megan Summers)，后者在Screwtape负责生产和质量保证。

来自布里斯班的爱 (From Brisbane with love)

Image for post — Brisbane Local Marketing. 布里斯班当地营销部图片。

As I mentioned at the outset, game development can be a risky business. Folks can dedicate their lives to projects over several years, and there’s no guarantee of success. Even if success does come, it doesn’t necessarily guarantee a studio’s longevity. One of Brisbane’s most prominent indie studios — Defiant Development — closed in July last year. The team was particularly known for titles like Hand of Fate, and the studio’s closure was a huge loss for both the Australian and Brisbane game development scene. Both Megan and her business partner, Anthony Wood (Lead Programmer and Creative Director at Screwtape Studios) had worked for Defiant at various points over the years. Although more and more studios are popping up all around Brisbane these days, Megan acknowledged that Queensland-based studios haven’t been as great at collaborating and building a professional community (in contrast, perhaps, to studios based in Victoria).

正如我一开始提到的，游戏开发可能是一项冒险的业务。人们可以将自己的生命奉献给几年的项目，并且无法保证成功。即使成功了，也不一定能保证工作室的寿命。布里斯班最著名的独立工作室之一-Defiant Development-于去年7月关闭。该团队以《命运之手》(Hand of Fate)之类的游戏而闻名，而工作室的关闭对于澳大利亚和布里斯班的游戏开发领域而言都是巨大的损失。梅根(Megan)和她的商业伙伴安东尼·伍德(Anthony Wood)(Scretape Studios的首席程序员兼创意总监)多年来一直在Defiant工作。尽管如今布里斯班各地涌现出越来越多的工作室，但梅根承认，昆士兰州的工作室在协作和建立专业社区方面并不那么出色(与维多利亚州的工作室相反)。

“I started my career in Brisbane at Pandemic. I was there when EA bought them out — and so, I thought my career would be much, much different. When the scene turned indie, Brisbane was very quiet for a while. It’s really heartwarming to see it building back up now. All those developers — there are people who used to work at Pandemic or THQ — who are now coming back to the country to work at indie studios that are building up in Brisbane.”

“我的职业生涯始于大流行的布里斯班。当EA买断它们时，我就在那儿-因此，我认为我的职业将大不相同。当场景变成独立场景时，布里斯班很安静了一段时间。看到它现在重新构建，真是令人心动。所有这些开发人员-曾经在Pandemic或THQ工作的人-现在回到该国在布里斯班建立的独立工作室工作。”

Megan Summers

梅根·萨默斯(Megan Summers)

Our interview had only just begun, and I found myself feeling a sense of great admiration for what Megan and her team have been able to achieve — despite multiple studio closures over the years. It’s gutsy to work on a single game project, but to continue to put your shoulder to the wheel in the face of such uncertainty must take a reservoir of courage that I certainly don’t think I possess. Megan simply shrugged and smiled warmly.

我们的采访才刚刚开始，尽管多年来关闭了多家工作室，但我对梅根和她的团队取得的成就感到非常钦佩。从事单个游戏项目很胆小，但是面对这样的不确定性继续努力，我必须拥有我当然不具备的勇气。梅根只是耸了耸肩，热情地微笑。

“It’s funny. My business partner and I met in acting school. We were both planning at one point to live the life of the struggling artist. I think — no matter how much that struggle is there in indie games — there’s something it gives me that is so much more than acting ever did. And I think it’s the creativity with the technicality put together. It’s that beautiful balance: what makes something fun, but then how [do you] make it as well?”

“这很有趣。我的商业伙伴和我在表演学校见过面。我们俩都计划在某一时刻过着挣扎的艺术家的生活。我认为-无论独立游戏中有多少挣扎-它给我的东西都比演戏更重要。我认为这是结合了技术的创造力。就是这么漂亮的平衡：是什么使某事变得有趣，但是然后你又如何做到呢？”

Megan Summers

梅根·萨默斯(Megan Summers)

Megan acknowledged the importance of Screen Queensland in terms of delivering Screwtape Studios’ latest title — Damsel — in 2019. Had Screwtape not been successful in securing that additional funding, it would have taken them longer to get the game out the door. At the same time, there was a clear sense that state government support is not a given. Megan pointed out the political differences between Queensland and Victoria in the context of arts funding — for Queensland developers, any change in government could potentially mean a radical cut in state support for local game development. The idea that a government can invest in a “safe bet” (i.e. digging something up out of the ground) versus a risky artistic endeavour is a potential cultural and political barrier in the state. There is a sense, in fact, that game developers in Queensland actually need to justify their existence — who they are, what they do, and why they are doing it. Having said that, Megan believes that the state government through Screen Queensland is forming a better understanding of games and their potential. Importantly, Screwtape Studios sees itself as an advocate for the games industry in Queensland — especially given the team members’ extensive experience prior to founding the studio.

梅根(Megan)承认银幕昆士兰州在2019年交付Screwtape Studios的最新头衔Damsel方面的重要性。如果Screwtape没有成功获得额外的资金，那么他们将需要更长的时间才能将游戏推向市场。同时，有一种明显的感觉是州政府没有给予支持。梅根指出，在艺术资助的背景下，昆士兰州和维多利亚州之间存在政治分歧-对于昆士兰州开发商来说，政府的任何变动都可能意味着国家对本地游戏开发的支持将被大幅削减。政府可以投资“安全赌注”(即从地下挖出一些东西)而不是冒险的艺术努力的想法是该州潜在的文化和政治障碍。实际上，从某种意义上说，昆士兰州的游戏开发人员实际上需要证明自己的存在–他们是谁，做什么以及为什么这么做。话虽如此，梅根认为，州政府通过昆士兰银幕正在对游戏及其潜力形成更好的理解。重要的是，Scretape Studios将自己视为昆士兰州游戏产业的拥护者-特别是考虑到团队成员在创建Studio之前的丰富经验。

One of the biggest learnings for the team, especially in terms of funding, was related to the importance of “selling themselves” — the value of marketing and promotion.

团队最大的学习之一，尤其是在资金方面，与“自我销售”的重要性有关-即营销和促销的价值。

“That [marketing] was one of the major things we got funding for. We realised that we needed to not only take a chunk of money and budget it for advertising, but to bring in somebody who actually had that skill. Every hat a developer has to wear [is a] full career. We really needed to bring someone on who is dedicated to those things.”

“(营销)是我们获得资助的主要内容之一。我们意识到，我们不仅需要花费大量资金并将其预算用于广告，还需要招募真正具备该技能的人。开发人员必须戴的每一顶帽子都是完整的职业。我们真的需要请一个致力于这些事情的人来做。”

Megan Summers

梅根·萨默斯(Megan Summers)

Of course, even when you do have that dedicated talent onboard, it’s still difficult to get noticed. It’s a definitely downside of being an indie developer, according to Megan — that is, the need for each person in the team to have to wear so many hats, and to have to fully understand all of the business-related aspects of running a studio. One of the appeals of a bigger, more stable studio, is that folks can specialise in an area without the need to worry about those other elements. Megan hopes that Screwtape Studios will find that balance, and that the Australian industry as a whole will also find it — thanks to larger studios returning to the country. In the meantime, as more and more studios emerge across the country and find commercial success, there’s a growing need for what you might call ancillary development work — this mostly involves studios around the country seeking assistance to port their games from one platform to another. Screwtape Studios is involved in this work, along with others, and it provides welcome business sustainability as these teams build out their dream projects.

当然，即使您确实拥有专门的人才，也仍然很难被人们注意到。根据Megan的说法，这绝对是独立开发者的缺点-也就是说，团队中的每个人都必须戴很多帽子，并且必须完全了解运营工作室的所有与业务相关的方面。更大，更稳定的工作室的吸引力之一是，人们可以专注于某个区域而无需担心其他因素。梅根希望Screwtape Studios能够找到这种平衡，并希望整个澳大利亚的行业也能找到平衡-这要归功于更大的工作室回到了澳大利亚。同时，随着全国各地越来越多的工作室涌现并获得商业成功，人们对所谓的辅助开发工作的需求日益增长-这主要涉及全国各地的工作室寻求帮助以将其游戏从一个平台移植到另一个平台。 Screwtape Studios与其他人一起参与了这项工作，随着这些团队建立自己的梦想项目，它提供了可喜的业务可持续性。

星期六早上卡通 (Saturday morning cartoon)

Screwtape Studios’ latest title is Damsel, a retro-inspired action platformer. Prior to diving into production on this latest game, Screwtape Studios had been working in the mobile space for about four years. But the team began to push at the boundaries of what was possible on mobile — ultimately, the platform began to feel too constrained. It was time to move away from that space and build the PC and console games the team had always dreamed of.

Screwtape Studios的最新头衔是复古风格的动作平台游戏Damsel 。在投入生产这款最新游戏之前，Scretape Studios已经在移动领域工作了大约四年。但是团队开始突破移动设备的极限-最终，该平台开始变得过于受限。现在是时候离开这个领域并构建团队梦dream以求的PC和主机游戏了。

The genesis of the idea is not quite what you might expect. Around five years ago, at Melbourne Games Week, Megan was attending a women in games panel. This was right around the time when a broader conversation around women in games was emerging across the industry. After the panel, Anthony approached Megan with an idea. Although he acknowledged it was valuable to discuss the issues, he felt that the team could say a lot more through their work as game developers. The idea, fundamentally, was to make something female-orientated without being “preachy”. Megan conveyed the importance of creating a game that anyone could play and enjoy in their own way.

这个想法的起源并不是您所期望的。大约五年前，在墨尔本游戏周上，梅根(Megan)参加了一个女性游戏小组。恰逢当时整个行业中出现了有关游戏中女性的广泛话题。小组讨论后，安东尼提出了一个主意。尽管他承认讨论这些问题很有价值，但他认为团队作为游戏开发人员的工作可以说更多话。从根本上说，这个想法是要制造出女性化的东西，而不是“虚伪”。梅根传达了创造一款任何人都能以自己的方式玩耍和享受的游戏的重要性。

At its core, the idea was to start with the games that Megan and Anthony enjoyed growing up. For both of them, the obvious choice was Commander Keen — a game full of fun and whimsy that the pair remembered fondly.

其核心思想是从梅根和安东尼喜欢成长的游戏开始。对于他们俩来说，最明显的选择是指挥官基恩(Commander Keen)，这是一款充满乐趣和奇思妙想的游戏，他们俩都深深地记得。

But why the name Damsel? Megan was quick to point out that the name did not come from the “damsel in distress” trope; although of course, it’s almost impossible to say the word without adding “in distress”. The word originally meant young woman, and in creating this game with this title, Screwtape Studios sought to both reclaim the word and develop a “badass character”. Creating Damsel’s movement and abilities was a deliberate exercise of leaning into a character with a “smaller stature” without augmenting her in traditional ways. What this means in practice is, for example, emphasising Damsel’s agility and speed — her ability to get up above her enemies, and to gain height by firing her weapon downwards.

但是，为什么命名为Damsel ？梅根很快指出，这个名字不是来自“遇险的少女”这个词。当然，如果不加上“遇险”一词几乎是不可能的。这个词原本是指年轻女子 ，在创建带有此名称的游戏时，Scretape Studios试图重新使用该词并开发出“坏蛋角色”。创造Damsel的动作和能力是有意的练习，是要以一个“身材较小”的角色为角色，而不用传统方式来增强她的身材。例如，在实践中，这意味着强调Damsel的敏捷性和速度-她能够超越敌人并通过向下发射武器来提高身高。

Screwtape Studios also emphasise story in Damsel, to a degree that I wasn’t expecting of an action-platformer. The story, too, is all about establishing a sense of whimsy, with Megan referencing titles like Commander Keen and even Duke Nukem in terms of the feel they were going for.

Screwtape Studios还强调了Damsel中的故事，在某种程度上我没有想到过动作平台。这个故事也是关于建立一种异想天开的感觉的，梅根根据他们想要的感觉引用了指挥官基恩甚至杜克·努克姆这样的头衔。

“I used to love when you’d leave Commander Keen idle for too long. He’d sit down cross-legged and read his book, looking at you like ‘Come on, why aren’t we playing?’ So, our hostages dance when they are saved — and they’ll dance ‘till the end of the mission. The story itself has a lot of fun in there.”

“我曾经爱过您，让基恩指挥官闲置太久。他盘腿而坐，读他的书，看着你像“来吧，我们为什么不玩？” 因此，我们的人质在获救时会跳舞-直到任务结束时他们才会跳舞。故事本身在那里很有趣。”

Megan Summers

梅根·萨默斯(Megan Summers)

Although Damsel was inspired by the games Megan and Anthony played growing up, it was important for the team not to simply rely on nostalgia. It was more about evoking the emotions they felt playing those classic titles.

尽管Damsel受到了Megan和Anthony成长的游戏的启发，但对于团队而言，重要的是不要仅仅依靠怀旧之情。更多的是唤起他们玩那些经典游戏的感觉。

When I asked Megan what the biggest challenge was as they built Damsel, the answer surprised me: the team had to continually ask themselves when it made sense to stop adding content to the game. “You want your child to be perfect,” said Megan in reference to this dilemma. But finding the moment of release — and acknowledging that Damsel is still a living product, requiring ongoing attention — is critical. It’s important to get the game out into the world to let people start seeing it (and to gain crucial feedback).

当我问梅根(Megan)打造Damsel时最大的挑战是什么时，答案让我感到惊讶：团队不得不不断问自己，何时才有必要停止向游戏中添加内容。梅根在谈到这个难题时说：“你希望你的孩子变得完美。” 但是找到发布的时刻-并确认Damsel仍然是一种有生命的产品，需要持续关注-是至关重要的。将游戏推向世界，让人们开始看到它(并获得重要的反馈)很重要。

So, how does Damsel play?

那么， Damsel如何玩？

Well, before I address that question, I have to start by saying that I’m mighty impressed at the work the team have done to build a context around the game’s action. Here’s a brief synopsis:

好吧，在我解决这个问题之前，我必须首先说，我对团队为围绕游戏动作构建上下文所做的工作印象深刻。这是一个简短的摘要：

Damsel is set in a dark cartoon universe where vampires and humans live in a fairly unstable co-existence. The vampires in the game all work for the multinational company which manufactures the drink Red Mist, the number one selling vampire drink on the planet. Red Mist is a blood analogue that satiates the vampire thirst without a need for human donors.

少女生活在一个黑暗的卡通宇宙中，吸血鬼和人类生活在一个相当不稳定的环境中。游戏中的吸血鬼都为制造Red Mist饮料的跨国公司工作，Red Mist是地球上排名第一的吸血鬼饮料销售商。红雾(Red Mist)是一种血液类似物，可满足吸血鬼的渴求，而无需人类供体。

Prompted by a tip-off that the makers of Red Mist may have a “secret menu” containing drinks with real human blood destined for the highest bidders, Damsel, an agent for the Department of Sanguinarian Affairs (DSA) is called in to investigate, and if required, put a stop to any illegal activity.

提示称，红雾的制造商可能有一个“秘密菜单”，其中包含有标有最高出价的真实人类血液的饮料，Sanguinarian事务部(DSA)的经纪人Damsel被要求调查，并在必要时制止任何非法活动。

Screwtape Studios

Screwtape Studios

Each of the three main characters — Damsel, Swan, and Die-Ode — are lovingly crafted, and you’ll get to know them well by the end of the game, thanks to the beautifully-produced comic book story sequences that appear prior to each mission.

三个主要角色-Damsel，Swan和Die-Ode中的每个角色都是精心制作的，由于制作精美的漫画故事序列出现在游戏结束之前，您将在游戏结束时熟悉它们。每个任务。

Each mission has particular win and fail conditions. For example, you might be tasked with acquiring a certain number of a particular item (e.g. collect 12 skulls), but you’ll also need to avoid killing hostages. In some cases, you’ll need to either free hostages or disarm bombs, which prompts a brief mini-game. I think Screwtape have focused on the right components here, though — these objectives are really just an excuse to gracefully leap around each level causing all sorts of colourful mayhem. Damsel controls tightly and precisely, and her ability to fire in all directions — while moving — leads to some spectacular plays. And although the affair kicks off at a pace that enables you to get to grips with the basic mechanics, you’ll soon find yourself diving through increasingly complex and demanding challenges. I’ve been playing the game on Switch, and I think it’s actually perfect for that platform, because you can easily play a level or two and take a break; everything is broken up into digestible pieces.

每个任务都有特定的成败条件。例如，您可能要负责获取一定数量的特定物品(例如，收集12个头骨)，但是您还需要避免杀死人质。在某些情况下，您将需要释放人质或缴械炸弹，这会引发一个简短的迷你游戏。我认为Screwtape在这里专注于正确的组件-这些目标实际上只是一个借口，可以在每个级别上优雅地跳跃，从而引起各种五颜六色的混乱。少女控制严密而精确，她在移动时向各个方向射击的能力使比赛变得更加壮观。尽管这件事以使您能够掌握基本原理的步伐拉开序幕，但您很快就会发现自己正陷入日益复杂和严峻的挑战中。我一直在Switch上玩游戏，并且我认为它实际上非常适合该平台，因为您可以轻松地玩一两个关卡并休息一下。一切都分解成易消化的碎片。

In my view, Damsel really nails two aspects in particular: the controls and the art design.

在我看来， Damsel确实特别强调了两个方面：控件和艺术设计。

It’s clear that Damsel could easily be a Saturday morning cartoon, just as Megan suggested. The colour palette actually conjures to mind images of Darkwing Duck for me — Damsel feels like it could easily be a long-forgotten Disney TV series I grew up with. There are also a ton of little in-jokes and references strewn throughout the world; keep an eye out for these, they’ll definitely bring a smile to your face.

很明显，正如梅根(Megan) 所言，《 少女时代》很容易成为星期六早上的卡通片。对于我来说，调色板实际上会让人联想到Darkwing Duck的图像-Damsel觉得这很容易成为我长大的，被人们遗忘已久的迪士尼电视连续剧。全世界还散布着很多笑话和参考资料。请留意这些，它们一定会带给您微笑。

As I write this, Damsel is available for Nintendo Switch, Xbox One, and PC. Hopefully it’ll make its way to PlayStation 4 as well before too long. Thanks so much to Megan Summers, Anthony Wood, and the entire Screwtape Studios team for taking the time out to chat to me and showcase the game at PAX.

在我撰写本文时， Damsel可用于Nintendo Switch，Xbox One和PC。希望不久之后它也会进入PlayStation 4。非常感谢Megan Summers，Anthony Wood和整个Screwtape Studios团队抽出宝贵时间与我聊天并在PAX上展示了游戏。