十字军之王3开发日志#96 | 5/10 伊比利亚的命运3D美工展示

牧游社 牧有汉化翻译

Crusader Kings 3 Dev Diary #96 - Fate of Iberia 3D Art Showcase

egghorse, 3D Art

Hey folks! I'm Lucia, one of the artists on CK3, and I will be your host for today. Together with Nils (@NilsW, 3D Character Art Lead) and Joacim (@Carlberg, 3D Environment Art Lead), we are very excited to walk you through some of the new 3D art that you will soon be seeing all over the Iberian Peninsula and the process behind their creation. This will be a long one, so grab a hot beverage of your choice and enjoy the ride!

大家好！我是Lucia，CK3的美工之一，我将是你们今天的主持人。与Nils（@NLisW，3D角色美工领队）和Joacim（@Carlberg，3D环境美工领队）一起，我们非常兴奋能带你们观赏一下全新的3D美术设计，你将很快看到整个伊比利亚半岛和它背后的创造过程。这将是一个漫长的过程，所以取你所需，尽情享受吧！

Goals

目标

With the Struggle being the main focus of Fate of Iberia, we decided early on that we would put equal attention into the portrayal of both the Muslims and the Christians there. The character art team has brought forth new headgear, clothes and hairstyles for both parties — which you might have seen floating around in the wilds of the web or in the trailer.

由于冲突系统是伊比利亚的命运Fate of Iberia风味包的主要焦点，我们很早就决定，对那里的穆斯林和基督徒的肖像刻画投入同等的关注。角色美工团队为双方带来了新的头饰、衣服和发型——你可能已经在网络上或者在预告片中看到过。

Meanwhile, on the environment art side the focus has been on bringing life to the Iberian map. You might remember a few of the monuments featured in last week's Dev Diary, but this time we will give you a sneak peek into the creation process. Those of you who are looking to add some Iberian flavor to your courtrooms – fear not, we got you covered with several new court artifacts!

与此同时，在环境美工设计方面，我们的重点一直是给伊比利亚的地图带来生机。你可能还记得上周的开发日志中出现的一些奇观，这次我们将让你们对创造过程先睹为快。那些想在你们的宫廷中添加一些伊比利亚风味的人——不用担心，我们给你们准备了一些新的宫廷宝物！

Character Assets

人物素材

Nils: When designing new clothes, headgear and hairstyles, the first step - unsurprisingly - is to decide how they should look. In stark contrast to most historical movies and TV shows, we actually at least try to base them on historical examples. With Fate of Iberia, we were fortunate that there are quite a few good sources available of how people dressed and looked in the Iberian peninsula during this time. So we start by collecting all the reference material we can find, put it in an enormous pile and begin forming an idea of what kind of assets we want to add. In addition to historical accuracy, we also look for things like interesting and unique appearance, how well it would translate to a 3D model (i.e. how much pain it’s going to cause us when making it), and if it fits in with other styles already in the game.

Nils：在设计新衣服、头饰和发型时，第一步自然是决定他们的外观。与大多数历史电影和电视节目形成鲜明对比的是，我们实际上至少是试图以历史事物为基础的。就伊比利亚的命运风味包而言，幸运的是，我们有相当多的资料可以了解当时伊比利亚半岛人们的穿着打扮。所以我们开始收集我们所能找到的所有参考资料，将海量的资料集中起来，在此基础上思考我们想要添加的素材内容。除了考虑历史的准确性，我们还会寻找一些具有有趣和独特外观的事物，思考如何将它转化为3D模型（这便是在创造中最痛苦的过程），以及它是否适合游戏中的其他风格。

As a bonus, a lot of nerd points can be earned during this process. I mean, who isn’t going to be impressed when you start casually throwing around Spanish or Arabic words for obscure medieval clothing items?

作为奖励，在这个过程中可以获得很多知识要点。我的意思是，当你开始随意的使用西班牙语或阿拉伯单词来形容晦涩的中世纪服装时，谁不会对你印象深刻呢？

Let's look at some examples:

让我们来看看一些例子：

Showing reference image, concept art and the finished asset of one of the new Christian outfits. We designed these clothes primarily based on a 12th century manuscript illumination depicting Alfonso II of Aragon. The outfit consists of an undergarment with narrow sleeves called a Brial and a looser outer garment known as a Piel. The latter has decorative trims on sleeves, collar and at the hem of the skirt. Both Brial and Piel were often split in the front and back to better allow for riding.

上图展示了新的基督徒服装的参考图像、概念创作图和最终成品。我们设计这些衣服主要是基于12世纪绘制描绘了阿拉贡阿方索二世的手稿。这套服装包括一件叫做Brial的窄袖子内衣和一件被称为Piel的宽松外衣。后者在袖子、衣领和裙子的下摆上都有装饰性的装饰物。Brial和Piel的前后通常都是分开的，以更方便骑行。

One of the new Muslim outfits. This one was based mainly on an illustration in the 13th century "Codex Rico", a part of the "Cantigas de Santa Maria" - A famous collection of four codices containing medieval poems with musical notation and many detailed illustrations. The image depicts the Almohad caliph Abu Hafs Umar al-Murtada wearing a loose robe known as a Jubba. On the upper sleeves are sewn on "Tiraz" bands, a very popular fashion throughout the medieval Islamic world. The sleeves and neck opening are also decorated with embroidered or brocade trims.

上图是新的穆斯林外观之一。这主要是基于13世纪《里科抄本》中的一幅插图，也是《圣玛利亚颂歌》（一部著名的选集，是四本包含中世纪诗歌、许多音乐符号和许多详细插图的抄本其中之一）的一部分。这张图描绘的是阿尔哈莫德的哈里发——阿布·哈夫斯·乌马尔·穆尔塔达，他穿着一件被称为Jubba的宽松长袍。在袖口处缝着叫做Tiraz的布带。这在中世纪的阿拉伯世界非常流行。袖子和领口的部分也用刺绣或锦缎进行镶边。

This is based on several sources depicting very similar styles of garments. The examples shown here are from an Andalusian manuscript telling the story called "Hadith Bayad wa Riyad" - An Arabic love story and the "Libro de los Juegos" (Book of games) - A 13th century book commissioned by Alfonso X of Castile containing rules for a large number of medieval board games as well as 150 miniature illustrations. As you can see the clothes are quite similar to the male garment above. Female and male fashions at this time generally had more similarities than differences, and sometimes it is even hard to tell whether an illustration portrays a man or a woman.

上图的设计基于复数资料来源，它们描述了非常相似的服装风格。这里展示的例子来源于一本安达卢西亚的故事书手稿《巴亚德和利雅德的故事》（一个阿拉伯爱情故事），以及《游戏之书》（一本13世纪的书，由阿方索十世委托制作，内容包含大量中世纪棋盘类游戏的规则以及150张微型插画）。正如你所看到的，这些衣服和上面的男性服装很相似。这这一时期，女性和男性的服装时尚风格差异不大，甚至有时候我们很难从插图上判断所描绘的是男人还是女人。

This Christian Armor is based on 13th century mural paintings of the Conquest of Majorca by James I of Aragon, presently found in Museu Nacional d'Art de Catalunya in Barcelona. The sword, with leaf shaped pommel and guard decorations, is based on a sword still in existence, allegedly from the 13th century, at the Royal Armory in Madrid. The armor consists of chainmail Hauberk with mittens, chausses (leggings), a surcoat and something called a "Perpunt" - a light gambeson worn on top of the rest of the armor for additional protection. For head protection a chainmail coif and a "Cervellera" helmet is worn. NGL, this must have been a sweaty experience in the Spanish summer!

上图的基督教铠甲是基于13世纪的壁画，内容是阿拉贡的詹姆斯一世征服马略卡岛。现在可以在位于巴塞罗那的加泰罗尼亚国家艺术博物馆中找到。这把带有树叶形柄座和护卫装饰的剑，是根据马德里皇家军械库现存的一把据说是13世纪打造的剑制作的。盔甲包括附带连指手套的锁子甲、裤子、外套和一种叫做Perpunt的东西——穿在铠甲外面的一层软甲，用于提供额外的保护。为了保护头部，还要穿戴链甲帽和被称为Cervellera的头盔。讲真，在西班牙的夏天，这样的穿着肯定会让人汗流浃背。

This… interesting looking headdress is based on numerous examples from both illustrations and sculptures and must have been considered extremely fashionable at the time. It was probably constructed from strips of ruffled linen or silk wrapped around a light wood base, decorated with embroidered or woven bands and held in place by a "Barbette" (chinstrap). As with most things, the taller the better is the rule here!

上图这个看上去非常有趣的头饰，是基于多个插图和雕像所制作的，当时这个造型想必非常流行。它可能是由有褶边的亚麻布或丝绸包裹在一个轻的木底座上，装饰着刺绣或编织的饰带，并由Barbette（吊带）固定。最重要的一点是，这里的规格是越高越好！

The very badass helmet above might look like some impractical fantasy creation but is in fact based on numerous depictions in the "Cantigas de Santa Maria" illustrations. The conical shaped helmet is decorated with a large gilded metal leaf. A day when the Rule of Cool perfectly aligns with primary sources is a good day, in my book.

上面这个看上去无法无天的头盔可能看起来像是不切实际的幻想物，但事实上这是基于《圣玛丽亚颂歌》中很多插图进行创作的。圆锥形头盔上装饰着一片巨大的镀金金属叶子。当酷酷的设计理念和历史记载内容完美的契合在一起的时候，是多么美好的一天。

If we're really lucky, there might be a suitable extant item that survives to this day, as is the case with this "Capiello" of Fernando de la Cerda, the heir of Alfonso X of Castile (Who seems to - Fernando that is - have had a very CK life and tragically died a father of two at the age of 19). This distinctive cylindrical headgear was hugely popular in 13th century Spain. An extant example like the one shown above is, of course, the ideal type of reference, but unfortunately very few medieval garments have survived in as good condition as this.

如果说我们很幸运，那可能是指当时的某些物品能够保存至今，就像阿方索十世的继承人费尔南多·德·拉·塞达的这顶被称为Capiello的帽子一样。（费尔南多似乎有一个非常CK化的生活，他19岁的时候作为两个孩子的父亲不幸离世）。上图这种独特的圆柱形头饰在13世纪的西班牙非常受欢迎。像上图展示的例子当然是理想的参考类型，但不幸的是，很少有中世纪的服装能如此完好无损的保存下来。

Character Art Process

角色美术工序

So, we've decided what to do, that's all nice and well, but what are the steps involved in actually creating one of these assets? Follow along in this exclusive behind the scenes look at the Character Art workflow! Exciting, right!

好了，现在我们已经决定了该做什么，这自然是极好的，但是在创作这些美术素材时，具体都有哪些步骤呢？跟着我们一起独家探访角色美术的幕后工序吧！真是一颗赛艇啊！

Once we have the finished concept art, we start off in a program called Marvelous Designer to create a 3D version of the garment. This is similar to designing clothes in real life as you work with sewing patterns that are simulated to create a natural fall. Again, whenever possible, we try to base the patterns on surviving examples.

在我们完成概念美术之后，会运行一个叫做“Marvelous Designer”的程序，将这件服装3D化。这个过程就和真实生活中设计衣服一样，使用缝制图案来模仿出自然的效果。再强调一遍，我们会尽可能地基于现实中存在的例子设计图案。

The pattern, created using Marvelous Designer, for one of the new female Christian outfits. This dress, called a Brial, is constructed based on historical patterns from similar garments that have survived to our time.

这个用“Marvelous Designer”设计的图案会用于新增的基督教女性服装之一。这件连衣裙叫做“绸长衫Brial”，根据一直流传到今天的相似服装传统图案而设计。

We then add any additional details by 3D modeling in a program like Maya or Zbrush. In this case, the belt and brooch at the neck were added at this stage.

然后，我们在Maya或者Zbrush这些程序里增加细节。在这个例子中，颈部的带子和领针就是在这个阶段加上去的。

The final "High poly" model.

最终的“高模”成品。

This model consists of several million polygons, which is too much to render in the game (if you appreciate frame rates above 0.1 anyway). Therefore, the next step is to create the "low poly" - meaning the model that will actually be exported to the game. We do this by matching the shape of the "high poly" model as closely as possible but with - you guessed it - a much smaller number of polygons (in this case around 4400, which is around 1000 times less than the high poly model!).

这个模型由几百万个多边形组成，游戏里跑不动（除非你能接受每秒0.1帧）。因此，下一步是要制作“低模”——最终被用在游戏里的模型。为此，我们会用数量少得多的多边形去尽可能地匹配“高模”的形状（例如这里是4400个多边形，比高模要少1000倍左右！）。

Showing the "low poly" model being created with the "high poly" model as a guide.

以高模为参照，创建低模。

The details are then transferred from the high to the low resolution mesh using a normal map. We do this in a software called Marmoset Toolbag.

然后我们用法线贴图将细节从高分辨率网格转为低分辨率网格。我们在一个叫“Marmoset Toolbag”的软件中进行这一步。

The models – both low and high –- imported into Marmoset Toolbag for the "baking" step. Coloring is temp.

在“烘焙”步骤中，将高低模导入“Marmoset Toolbag”中。着色是暂时的。

The resulting textures that we get out of Marmoset allow us to display all the fine details from the high poly mesh. From top left they are called Normal map, Curvature map, Ambient Occlusion map and Color ID map. This will all be on the test so you better pay attention.

从Marmoset得到的材质可以让我们展现出高模网格中全部的精美细节。从左上角开始，分别是法线贴图、曲率贴图、环境光遮蔽贴图、颜色ID贴图。这些都是要考的，大家记得做笔记啊。

We create textures in a program called Substance Painter. But because we use dynamic colors and materials in CK3 the textures at this stage are mostly a neutral white – in the game those white areas will make use of dynamic materials.

我们在“Substance Painter”这个软件里做材质。但是因为CK3里的颜色和材料都是动态的，所以这个步骤里的材质基本上都是纯白色——在实际游戏中，白色的部分会用动态的材料填充起来。

Before exporting to the game we need to create something called "blend shapes" - which we use to deform the asset to fit different body types. We also do something called "skin bind" at this stage - which means attaching the clothes to the skeleton that animates the body.

在导出到游戏中之前，我们需要首先做一个叫做“混合形状”的东西——我们用它来将美术素材变形，适应不同的体型。这个阶段我们还要做“蒙皮绑定”——也就是将服装与身体动画的骨骼相连接。

Showing blend shapes before export. From left to right: Average, Overweight, Underweight, Muscular, Old.

导出之前的混合形状。从左至右分别是：平均、超重、过轻、肌肉、老年。

Showing the clothes skinned (attached) to the rig (animation skeleton). The pose is anachronistic.

已绑定（连接）到索具（动画骨骼）上的蒙皮。姿势有点不合时代了。

Finally, we are ready to export the asset and look at it in the game. This involves a considerable amount of scripting work to make sure the game knows how to find the asset and when it should show up, what it should be called, who should wear it and so on.

终于，我们可以导出素材，在游戏里看看成品了。这里还需要写大量的代码，确保游戏知道在哪能找到素材、何时把它显示出来、它叫什么名字、它该给谁去穿等等。

Above you can see the final result with dynamic materials applied. We created new sets of patterns and color combinations for the Iberian assets (of which you can see more examples in the screenshots below).

以上，就是填充上动态材料后的最终成品。我们为伊比利亚的美术素材创作了新系列的图案和颜色组合（在下面的截屏中可以看到更多范例）。

After all that is done and looking good we can move on to working through the never-ending list of clipping bugs that arise when combining these assets with each other…

该做的都做了，看起来也不错，于是我们就得接着进行无尽的bug修复工作，因为把美术素材放在一起时又会产生新的bug。

And that's all there is to it! As you can see, very quick and easy.

以上就是全过程了！你看，又快又简单对吧！

Iberian Army Units

伊比利亚陆军单位

With Fate of Iberia, we're adding two new sets of army units representing the Christian and Muslim styles, to be used by Iberian heritage culture. Of course, each model represents a specific tier of army quality so we need to keep this in mind when designing their appearance. Generally, the first tier is supposed to represent something like a drafted peasant, the second tier a professional soldier, and the third tier a knight or equivalent.

在伊比利亚的命运中，我们会新增两套陆军单位（兵模），分别代表基督徒和穆斯林风格，伊比利亚传承的文化都可以使用。当然了，每个模型都代表着一档的军队质量，这一点是我们在设计外观时需要一直惦记着的。总体上来看，第一档代表的是农民征召兵、第二档是职业士兵、第三档代表的是骑士级别的战士。

Below you can see the concept art and 3D models for all 3 Tiers of the Christian Unit. The Tier 1 model was mainly based on manuscript illustrations depicting commoners and peasants. As you can see, he is not wearing any armor at all. The simple armor of Tier 2 consists of a gameson and a steel helmet. Lastly, we have the Tier 3 unit model — its design is similar to the one used for the new Christian armor that characters can equip, and was based on the 13th century mural paintings of the Conquest of Majorca of James I of Aragon, currently found in Museu Nacional d'Art de Catalunya in Barcelona.

以下是基督组三档单位的概念美术和3D模型。第一档模型主要是以描绘平民和农民的手稿为基础绘制而成。可见，他没有穿着任何的装甲。第二档穿着简单的装甲，包括一件软甲、一顶钢盔。最后一个是第三档的模型——这个设计与角色可装备的新增基督教式铠甲相似，基于13世纪的壁画《阿拉贡的海梅一世征服马略卡》（现藏于巴塞罗那的加泰罗尼亚国家艺术博物馆）创作。

Much like its Christian counterpart, the design of the Tier 1 Muslim unit represents an unarmored soldier wearing the same kind of clothes as a civllian. Tier 2 is also dressed similarly to the Christian Tier 2, with a gambeson and a helmet. Finally, the design for Tier 3 represents a more heavily armored warrior, with a hooded chainmail hauberk and helmet with noseguard.

与基督教组的很相似，穆斯林组的第一档单位也没有装甲，穿着和平民同一种的衣服。第二档也与基督教的差不多，软甲+头盔。但是第三档的设计代表的是更加重装的战士，穿着带兜帽的链甲，头顶带护鼻的头盔。

Now, over to my eminent colleague Joacim for a look at the environment art side of things.

现在我把话筒交给同事Joacim，请他带大家看看环境相关的美工。

Ships

船舶

Joacim: With the focus on Iberia and the intermingling and conflicts of the Mediterranean and middle eastern cultures, we've now added new ship type visuals for both the Mediterranean cultures, as well as those of the mena region. This should mean a lot less cogs sailing around the Mediterranean (spare the odd invasion, crusade or viking raid).

Joacim：因为重点是伊比利亚，以及地中海、中东诸文化的交融和冲突，我们新增了新种类的船只模型，地中海文化和中东、北非地区都有份。这样的话，以后地中海里就不会有那么多柯克船开来开去了（少数情况下的入侵、十字军、维京人劫掠除外）。

Holdings

地产

For the Iberian peninsula we looked at creating a style of holding that represented the region and makes it stand apart from the Mediterranean, Western and MENA styles. Since Iberia was such a mix of cultures and architectural styles mingled between the cultures and religious influences, we've created a style that works for the area as a whole. Below you can see screenshots of the two Iberian cities together with four new castle models.

对于伊比利亚半岛，我们着眼于创作一种代表该地区的地产风格，并使其与地中海、西方和中东北非风格有所区别。由于伊比利亚是文化建筑风格混杂的地方，在文化和宗教影响下，我们创作了一种适合该地区整体的风格。下面你可以看到两个伊比利亚城市截图，还有四个新城堡建模。

Here we have the new church and Mosque temple holdings.

我们这里有新的教堂、清真寺地产。

Lastly, the models for new walls can be seen in the screenshot below:

最后，以下截图中可以看到新城墙建模：

Monuments

奇观

All over the landscape you'll now find multiple different kinds of monuments. Some magnificent works that have stood since the age of Rome, others that have been erected since, and some that are yet to be initiated by your architects.

在整个地图中，你可以发现多种不同类型的奇观。一些宏伟作品早在罗马时代就已经存在，还有一些是后来建造，还有一些有待于大家的建筑师创作。

Roman Walls of Lugo

卢戈的罗马城墙

These walls in Galicia were built sometime around 263 and 276 A.D. to protect Lugo, or Lucus Augusti as it was known to the Romans.

加利西亚的这些城墙大约建造于公元263-276年间，用于拱卫卢戈，也就是罗马人所称的卢克斯·奥古斯狄。

Just like with units, we try to hold off from investing too much of our polygon budget into the 3D models for holdings and monuments. Below you can see a screenshot of the low poly model for the Roman Walls of Lugo. Positioning map assets correctly in Maya is an essential step, to prevent them looking out of place once they are actually in the game.

就像单位一样，我们尽量不将过多的多边形图像预算投入到领地和纪念碑的3D模型当中。下面你可以看到卢戈的罗马城墙的低清多边形模型截图。在Maya中正确定位地图资源分配是个重要步骤，以免它们在游戏中实际出现时面目全非。

Mosque of Cordoba

科尔瓦多清真寺

The great Mosque of Cordoba is claimed to have been built on the site of a Visigothic basilica, and is one of the oldest structures still standing from the Muslim era of Al-Andalus.

科尔瓦多的大清真寺据说是在西哥特式大教堂的遗址上建造的，是安达卢西亚的穆斯林时代现存最古老的建筑之一。

The Alhambra

阿尔罕布拉宫

One of the distinct monuments of Iberia from the base game that has now gotten some visuals. A fortress palace whose construction began in 1238 historically. Will you begin the construction early to show off your splendor?

原版游戏中伊比利亚的独特奇观之一，现在已经有了部分视觉效果。这是一座历史上始建于1238年的要塞式宫殿。你会为了宣示辉煌而提前开始建造它吗？

Santiago de Compostela

圣地亚哥·德·孔波斯特拉主教座堂

The Cathedral (construction historically began in 1075) was built in the Romanesque style. While the modern day cathedral has seen its facade rebuilt and modernized over the centuries, we've recreated this original look of the cathedral for this era.

这座大教堂（历史上始建于1075年）以罗马式风格建造。虽然现代大教堂外墙经过了千百年重建和现代化，但我们为这个时代重现了大教堂的原始风貌。

Artifacts

宝物

If you have the Royal Court expansion, you will also be finding some of these new artifacts having unique visuals when presented in your court. But worry not, artifacts are also available as trinkets if you don't have the Royal Court to display them in.

如果你有皇家宫廷Royal Court扩展包，同样会发现一些新宝物在宫廷展示中有独特视觉效果。但不用担心，即使你没有皇家宫廷可供展示，宝物也可以作为小饰品。

Aquamanile

水罐

Don't let the animal shape of this bronze craft fool you! It's actually an ewer for dispensing water which was generally used for washing your hands.

不要被这个青铜工艺品的动物外形所迷惑！这其实是个用来倒水的水罐，一般用于洗手。

Armillary Sphere

浑天仪

To determine the path, journey and position of celestial objects, scholars would have these spheres created to better understand the skies and stars above them.

为了确定天体的路径、轨迹和位置，学者们会让人制作这些球体，以便于更好地了解头顶的天空星辰。

After reference gathering (sometimes accompanied by concept art, sometimes not), a low poly blockout is created for artifacts. Below you can see the blockout model for the Armillary Sphere, with a basemesh of a CK3 character next to it, for scale.

收集了参考资料后（有的带着概念图，有的没有），我们为宝物创建了一个“低模”预览图。下面你可以看到浑天仪的模型，旁边有个CK3人物蒙版作为比例尺。

It's important to make sure that the silhouette and the shapes appear distinct and are readable from a distance, since Artifacts are seen from a certain distance by the player in the courtroom.

重要的是轮廓和形状要确保看上去明显，而且从远处就能看清，因为宝物是玩家在宫廷中从一定距离外看到的。

High poly details are added in Zbrush, after which a game-ready low poly model is created in Maya or Blender:

在Zbrush中添加“高模”细节，然后在Maya或Blender中创建一个可用于游戏内的“低模”模型：

Votive Crown

还愿王冠

A votive crown is one not meant for wearing, instead it is a religious offering, made for display and to be suspended at altars or shrines. Just like a regular crown they consist of fine craftsmanship, precious metals and stones. Most of the surviving examples of these today come from 7th century Visigothic Iberia.

还愿王冠不用于佩戴，而是一种宗教供品，悬挂在祭坛或神龛上用于展示。像普通王冠一样，它们工艺精细，由贵金属和宝石组成。今天这些留存的样品大多来自7世纪的西哥特式伊比利亚地区。

Tizona

提泽纳

One of the two swords of the famous El Cid, the other being the sword known as Colada. Its design is based on the museum displayed sword claimed to be the famous blade.

著名的熙德双剑之一，另一口剑被称为科拉达。其设计基于博物馆展出的号称名剑的展品。

Chessboard

棋盘

In Iberia, games of skill and tactics were highly praised, and multiple types of chess can be acquired to show your strategically inclined mind.

在伊比利亚，技巧和战术的游戏广受赞誉，可以获得多种类型的象棋来显示你的战略思想。

Bell of Santiago

圣地亚哥之钟

This grand bell (which you might remember being featured in a previous Dev Diary), if recaptured and recast, can be put in your court to display that feat.

这口大钟（你可能还记得在之前开发日志中提到过）如果能夺回并重铸，可以放在宫廷中展示这一壮举。

Closing Comments and Upcoming Livestream

结语和现场直播预告

We hope that this sneak peek has got you excited for Fate of Iberia and we can’t wait for you to get your hands on the full experience on May 31st!

我们希望这次预告能让你对伊比利亚的命运Fate of Iberia感兴趣，我们已经迫不及待想在5月31日让您获得完整体验。

For those of you who are interested in seeing more of the behind the scenes process of creating 2D and 3D assets for CK3, we have some good news. On May 18th, 14:30 - 16:00 we will host an art livestream with several artists from the team. We will walk you through the pipeline without holding back on the technical details, so if that‘’s something for you, be sure not to miss it! The livestream will air on the ParadoxInteractive Twitch channel, at

对那些想看到更多CK3项目2D、3D素材制作幕后过程的人，我们还有好消息。5月18日14:30-16:00，我们将和团队中几位美术一起举办一场美术直播。我们将在不保留技术细节的情况下向您直播介绍，所以如果喜欢一定不要错过。该直播将在ParadoxInteractive Twitch频道播出，网址为

twitch.tv/paradoxinteractive

As always, we look forward to your thoughts and we will stick around in the thread for a few hours to answer any questions.

和往常一样，我们期待您的看法，我们将在直播中停留几个小时，回答各种问题。

翻译：Arcanunu 一个幽灵 居里先生

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