维多利亚3开发日志#63 | 10/20 音频
牧游社 牧有汉化翻译
Victoria 3 - Dev Diary #63 – Audio
Audiomancer, Head of Audio
Intro
简介
Hi! My name is Franco Freda, and I'm Head of Audio at Paradox Interactive.
嘿! 我是Franco Freda, Paradox Interactive的音效主管。
Today I'm excited to talk to you about Victoria 3 and some of the work we've been doing for the soundscape of our most anticipated title yet!
今天, 我很高兴能和你们谈谈维多利亚3, 以及音效部门为Paradox最令人期待的作品的音效景观所做的一些工作。
As you all know, a video game takes a long time to be made, and it goes through multiple development stages, from pre-production all the way to release. Depending on the scope of the project, it will involve dozens of different disciplines through its pre-release life cycle: Game Design, Programming, 3D Art, 2D Art, QA, and UI/UX… just to name a few.
众所周知，一款游戏的制作需要漫长的周期，它要经历多个开发阶段，从前期制作一直到最终发布。根据项目的范围，它在发布前的生命周期中会涉及几十个不同的学科：游戏设计、编程、3D美工、2D美工、品质控制、用户交互/体验设计……不胜枚举。
There's a general misconception that "Audio comes last", and while this is typically at least partly true, (when it certainly needs to wait for some other assets to be done to add sound to them for instance, or when it comes to the final mix) a project as big and ambitious as Victoria 3 has had several internal "last" stages where systems and content have been considered "done", only to be refined and polished, several times before you get to see it on your game libraries.
大家有一种普遍的误解，即“音频是最后完成的”。虽然这并非完全错误，（例如，音效肯定需要在其它工序完成后，或者在最终混音阶段时才能添加到游戏中），但像维多利亚3这样一个宏伟且雄心勃勃的项目，它会有有数个内部的“最后”阶段，这时意味着系统和内容已经被认为是“完成”，只是需要再完善和打磨几次，你就能在游戏库中看到它了。
For us in the Audio team, this means that we have been constantly evolving our way of approaching all the different aspects of the game several times in the last few years, every time thinking that we had it! Only to realize we could do it better.
对于音效团队来说，这意味着我们在过去的几年里一直在不断地改善手段，来处理游戏的不同方面，每一次我们都已认为大功告成，但总能发现我们还可以做到更好。
This amount of iteration and passion has made it possible to bring you an experience we truly hope you'll enjoy as much as we have while building it.
如此大量的迭代和创作的激情，使我们能够为你带来一种体验，我们真心希望你会像我们在打造它时一样享受这种体验。
Soundtrack
音轨
Paradox Games always have had great soundtracks. We know how much our fans love it, and how much of a central part of "setting the right atmosphere" they play. For Victoria 3 we teamed up with some of our most trusted partners to come up with a soundtrack that truly captures the style and feel of the era.
Paradox的游戏一直都有很棒的音轨。我们音效团队知道我们的粉丝有多么喜欢它，也知道它在“设置正确的气氛”中起着多么重要的作用。对于维多利亚3，我们与一些我们最信任的合作伙伴一道，创作了一个真正捕捉到维多利亚时代风格和感觉的音轨。
I'm talking about Håkan Glänte, Audinity (Yannick Suß and Robin Birner), and our own Andreas Waldetoft. The result is over 2 hours of music that will help you feel right in the middle of the 19th century.
我说的是Håkan Glänte，Audinity（Yannick Suß和Robin Birner)，以及我们自己的Andreas Waldetoft。其成果是超过两个小时的音乐，它将帮助玩家身临其境感受十九世纪。
Some of this music you can already listen to by searching for it on all major digital streaming platforms, such as Spotify, Apple Music, or Youtube.
玩家已经可以在所有的主流数字流媒体平台，例如Spotify、Apple Music和YouTube上搜索到其中的一些音乐。
The rest includes a complete remaster, with new live performance recordings for the Victoria 2 Soundtrack, which will be given for free to all pre-orders as a bonus.
其余部分包括对维多利亚2音轨的完整重制，我们为其进行了新的现场表演录音，这将作为奖励免费提供给所有的预购玩家。
Last but not least and for the first time ever, we are bringing forward a new concept for our Music Manager handling that we call the "Music Density System". The result of this system is a delicate balance between 3 components:
最后但同样重要的是，我们有史以来第一次为我们的音乐管理器带来一个全新概念，我们将其称为“音乐密度系统”。这个系统的结果是三个组成部分之间的微妙平衡：
"Moods" or "underscore", will carry the music feeling for extended periods of time in a more adaptive fashion, with random and unpredictable sections that connect seamlessly and extend the duration of a piece in a less distracting way.
“情绪”或“底纹”，它以一种更令人适应的方式将音乐的感觉带入更长的时间，用随机和不可预测方式对音乐片段进行无缝连接，以一种不那么令人分心的方式延长作品的播放时间。
"Waits" or "silence segments", for the world map to shine through and facilitate focus and concentration while you're strategizing what to do next, and, of course…
“等待”或“沉默片段”，让世界地图闪亮登场，便于玩家在制定下一步战略时集中精力, 当然还有……
"Themes", the most memorable and recognizable music pieces that will accompany you throughout your play-throughs and act as the musical banner for Victoria 3.
“主题”，最令人难忘和最容易辨识的音乐作品，将作为维多利亚3的旗帜性音乐，伴随玩家的整个游戏过程。
Music System Cycle音乐系统循环
Event Pictures
事件图片
Many scenarios that Victoria 3 will offer you to take action on are going to be presented in the form of Event Pictures. Art has done an amazing job in portraying them more alive than ever, with a super cool parallax effect, that gave us an incredible opportunity for sound design.
维多利亚3为你奉上的许多场景都会以事件图片的形式呈现。美工做了一些杰出工作，将它们描绘得比以前更生动，有了炫酷的视差效果，也给了我们绝妙的音效设计机会。
For these scenarios, we wanted to shift the player's attention to this little window to the world as much as possible, and this of course starts with the mix, making the rest of the soundscape dynamically reduce their presence, as they are welcomed by a Music Stinger (a short musical segment) that precedes a combination of sounds that are related to the images portrayed within.
对于这些场景，我们想尽可能将玩家的注意力转移到这个通往世界的小窗口上，这当然要从混音开始，让其它声音场景动态的存在感降低，因为有一个“音乐刺针”（一个短音效）为它们开路，而音乐刺针是与描绘图像相关的声音组合的前奏。
Diegetic and Extradiegetic sound elements are combined to give the correct feedback according to the type of event you're presented with, and set up the stage for decision-making!
画面内和画面外的声音结合在一起，根据你所看到的事件类型给予正确反馈，并为决策搭好了舞台。
Anatomy of an Event Picture Audio Trigger事件图片的音频触发器剖析
UI/UX
界面/用户体验
The first consideration to be had when building the UI sounds for a game such as this one is to make sure to approach it from a systemic perspective. This way, all sounds that are produced by the interface should convey certain information to the player as soon as they are heard and hopefully provide some guidance on what to do about them. The most important aspects are urgency, type, and importance.
在为这样的游戏制作UI音效时，首先要考虑从系统角度来看待它。这样一来，所有界面上产生的声音都应该在玩家耳中传达一定信息，并尽量能提供一些如何处理它们的引导。最重要的就是紧急性、类型和重要性。
Another aspect we considered for Victoria 3's UI mix is "Balance", which means positioning the sound based on the area of the screen to which the sounds are being connected.
另一个维多利亚3的UI音效组合要考虑的方面是“平衡”，这意味着要根据声音所连接的屏幕区域来定位声音。
Another aspect of the UI that has been enhanced via Audio has to do with the several VFX elements that are visible on the screen directly on the Map. This also acts as positional audio that captures the player's attention.
还有一个方面是通过音效来增强UI的，与屏幕上直接看到的几个地图视觉特效元素有关。这也能起到吸引玩家注意力的音效定位作用。
Master Ambient System
主环境系统
One of the most significant areas of development for Audio regarding Victoria 3 has to do with our new Master Ambient System. This, in a nutshell, is a scanner system connected to the camera that translates the province data visible below and translates this information into parameters before feeding it to our audio middleware FMOD, so that it can mix the sounds of the terrain in real-time and give the most accurate representation of ambient sounds possible.
维多利亚3音频开发最重要的领域之一，是我们新的主环境系统。简单地说，这是个连接到摄像机的扫描系统，可以转换镜头下可见的地区数据，并将信息转换成参数，再反馈给音频中枢FMOD，这样它就可以实时合成地形的声音，尽可能表现出最准确的环境声音。
This system works in the horizontal axis as well as the vertical axis, blending airy, windy tones when the camera is far away from the ground, as well as ocean sounds, forests, deserts, tundra, etc. when the opposite is true.
这个系统在水平轴和垂直轴上都能运行，当摄像机远离地面时，可以合成空中的风声。反过来也可以合成海洋声、森林、沙漠、苔原等等。
The fact that this system is driven in real-time means that should the province data change for whatever reason by the player's interaction or anything, in particular, this new information will automatically be translated to the system and reflected with accurate sound.
这个系统实际上是实时驱动的，这意味着如果该地区数据因玩家互动或任何事情而发生变化，这些新的信息会自动转换进系统，以准确的声音反映出来。
Logically, the system also recognizes hubs and other layers of information that will, instead of creating an ambient bed, place 3d sound emitters on top of cities, industry hubs, and military structures.
逻辑上说，该系统还能识别中心和其他层次的信息，其并不是创建一个环境场，而是将3D声音发射器放在城市、工业中心和军事单位上面。
Audio Profiles
音频配置
One more thing surrounding the game's mix and also for the first time ever…! As a player, you'll be given the option to fine-tune the mix before the audio’s endpoint, with a few profiles specifically designed by us for the most common scenarios: Headphones, TV, and Night Mode, among others.
关于游戏的合成声音还有一件事，也是开天辟地第一回……！作为玩家，你可以选择在音频终结点之前调整混音，我们为最常见的情况设计了几种模式：耳机、电视和夜间模式等等。
Final Words
结语
This project has been an incredibly fun ride leading up to release and involved many sound designers, audio leads and directors, composers, and producers, who all contributed with their best ideas and skills to create a sound atmosphere that would be worthy of the kind of project this is. Countless work hours, recording, editing and planning, implementing, debugging, and testing. People and locations across multiple countries… all coming together to make this all for you, our fans.
这个项目发布之前经历了非常有趣的历程，涉及到许多声音设计师、音频总监和导演、作曲家以及制作人，他们都拿出最好的想法和技艺来创造声音氛围，以配得上这个项目的档次。录制、编辑规划、实施、调整测试了无数个日夜。各个国家无数城市的人参与其中……共同完成的所有一切都是为了你们，我们的粉丝。
We want to thank you for your support and look forward to hearing your thoughts!
我们要感谢你们的支持，并期待听到你们的想法！
翻译：参商朔望 居里先生
校对：三等文官猹中堂
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本作品英文原文著作权属Paradox interactive AB所有，中文译文著作权属牧有汉化所有。
