十字军之王3开发日志#84 | 11/30 打造宫廷：代码与美工之歌
牧游社 牧有汉化翻译
CK3 Dev Diary #84 - Building a Court - A Tale of Code and Art
Carlberg, Lead Artist – CKIII
Hello and welcome to Dev Diary #84, I'm @Carlberg , the 3D environment lead artist and today we will be having a closer look at the development of the Royal Court rooms. This is a feature that we’ve been working hard on and it represents a great new step in bringing this historical era to life. Big thanks to @Alien-47 (code), Stella (3D environment art) and Linus (tech art) who's perspectives they've written down for this Dev diary, drawn from their experiences from both code and art in the making of this feature.
大家好，欢迎来到第84期开发日志，我是首席3D环境美术设计师@Carlberg，今天我们要来仔细看看皇家宫廷Royal Court的室内场景开发工作。这是我们一直努力开发的新特性，它意味着将这段历史生动化的工作迈出了一大步。非常感谢@Alien-47（程序）、Stalla（3D环境美术）和Linus（技术美工），他们在本开发日志中写下了他们的看法，这些看法来自他们制作这些特性时写代码和做美工的经历。
Heads up! - A lot of the pictures in this post will be of old prototypes and iterations intermixed later with more recent images towards the end. So no need to worry about issues you may spot in the older images.
注意！——本文中许多图片都是旧版原型，后面会有一些近期的图片。所以不用担心你在旧图片中可能会看到的那些问题。
A new visual feature
新视觉特性
With the new 3D character systems implemented in CK3 we wanted to show the characters of the middle ages in a whole new dynamic way. So as we started laying down the foundations of the Royal Court we also wanted to bring the very courts to life and find continued use for these 3D characters. This new feature was a major step in that direction.
有了CK3中实装的3D人物新系统，我们想用一种全新的动态方式来展现中世纪人物。因此，当我们开始策划皇家宫廷Royal Court时，我们想将宫廷做得生动有趣，为这些3D人物找到用武之地。这个新特性朝着这个方向迈出了重要一步。
The inspiration for the feature was partly scenes that hearken back to throne rooms seen in games of old where we wish they had been livelier, with more interaction and chances for us to impact the people and objects in them. We drew upon these concepts and ideas of our own to weave together a visualization of the courts hosted by the most prominent royal titles.
这个特性的灵感来自旧游戏中看到的部分游戏场景，我们希望这些场景更富有生气，让我们有更多的互动和机会去影响其中的角色和物品。我们融合了这些概念和自己的想法，将最显赫的王家宫廷进行了可视化构建。
The Prototyping
原型设计
At the beginning of the court development we knew that we were in for a challenge to stake out a new visual workflow within the engine that previously had not had any instances of contained 3D scenes and shared lighting systems within it. So we decided that to start off we needed a working prototype - laying a foundation and gradually adding more and more graphical features and complexity. Moving forward only when we’re sure the previous step succeeded.
在宫廷开发之初，我们就知道要在本引擎中建立新的视觉系统相当困难，因为之前还没有任何包括3D场景和光线系统的实例。所以我们觉得一开始就要做好原型——打好基础，然后逐渐增加图形功能、提高复杂程度。只有前一步成走得扎实稳当，才会走下一步。
A natural starting point of exploration were the characters. We could already show beautiful animated portraits and the courtroom had to be able to show the same people so players could easily recognize their appearance. Could we reuse the same system that assembles characters - show appropriate body, apply transformation to show age, height, weight, apply the same clothing, hair, set the same animation? First step - success. The people in the courtroom look exactly the same as in portraits.
探索的起点自然是人物角色。我们已经可以展现漂亮的动画半身像，宫廷室内的角色也必须做得一样，这样玩家才能一眼认出他们的外表。我们能否再使用与生成角色相同的系统——展示适合的身体，应用变换来显示年龄、身高、体重，应用相同的服饰、发型，设置相同的动画呢？第一步——成功了。宫廷室内的角色看上去和人物半身像完全一样。
Next step, is it possible to show many people at the same time in the same scene? This is quite different from portraits in the interface and events - those always have 1 person per image, even if the UI tries to combine them nicely together. With some optimization the room could now handle about 20 random characters, and even some objects. So the scene finally resembles a courtroom. Although a bit dark.
下一步，能不能在同一场景中同时显示许多角色？这和界面、事件中的半身像有很大区别——那些场景每张图都只有一个人，哪怕UI努力把他们结合在一起。经过一些优化工作，室内现在可以显示大约20个随机人物，甚至还有一些物品。这样一来这个场景终于看起来像个宫廷了。就是有点暗。
The scene could now show several people and items in the prototype
该场景可以显示多个角色和物品原型。
But what can we do with lights? The ambition for the court scene and requirement for lighting is much higher and more advanced than for regular portraits. We needed more simultaneous light sources. At the same time shadows naturally become much more complicated as well. People and objects can interfere with lights and it needs to be visible. Another issue was making sure characters and objects apply the lighting and shadows in the same way, so it’s easier for artists to manipulate the scene and develop the assets. After a bit of time and several iterations we had upgraded and made many improvements to the lighting system.
但我们能对光线做什么呢？宫廷场景成品的目标所需要的光线，比普通半身像要高得多也先进得多。我们需要更多的同步光源。同时，阴影当然也会变得更加复杂。角色和物品可能会干扰光线，这也得体现出来。另一个问题是确保角色和物品应用光线的方式相同，这样美工才能更好地编辑场景、开发物品。经过一段时间的多次迭代，我们对光线系统进行了升级，做出了许多改进。
Lights and shadows in a shared scene — Proof that multiple lights work and blend as intended, if a bit rough still.
共同场景中的光线——实现多个光源如预想一样交汇，不过还是有点粗糙。
It was roughly at this time we felt we had confidence that the goal was within reach, and all technology was working as we intended. It was also clear that we could afford the desired complexity of the scene from a performance point of view. After all, players should have an enjoyable experience both on the map and in the court. We had built an understanding of how many people the scene could handle efficiently, how many light sources, and how many shadows we could allow (this is one of the most expensive parts).
大概在这个时候，我们觉得对实现目标有了信心，各种技术都按预想一样运作。而且很明显，从性能角度来说，我们完全可以支持这个场景的复杂程度。毕竟玩家应该在地图上、宫廷中都拥有愉快的游戏体验。我们已经清楚场景可以有效处理多少人、多少光源、多少阴影（这是最不容易的部分之一）。
And so the prototype has been integrated as a proper feature of the game.
就这样，原型被整合成了游戏的正式特性。
Scene with better lighting, assets, materials, people positions
拥有更佳光线、物品、材质、人物站位的场景。
From this point on work on the court room continued with multiple people from different disciplines working very closely together. More and more features waited to be implemented, so you can now see the beautiful results of all this effort.
从这里开始，宫廷开发工作持续进行，各个部门的人同心协力工作。越来越多的特性等待着实装到游戏中，因此你现在能看到这些努力的美好成果。
Concept art and vision
概念艺术和视觉
Being worked alongside the prototype was the vision we had for the Royal Court-rooms. We began by looking at the four main cultural areas we would be covering in the expansion. The west European, Mediterranean, Middle-eastern and Indian courts. We wanted each of these areas to be distinct, having their own visual style through architecture and lighting so to give their own unique feeling.
与原型开发工作一起进行的是我们对皇家宫廷视觉效果的设计。我们从将要在拓展包中涵盖的四个主要文化区域开始着手：西欧、地中海、中东和印度的宫廷。通过体现该区域独有的建筑形制和光线氛围，我们希望每个区域的视觉体验都能与众不同。
Concepts of the different walls aesthetics of the courts, Mediterranean, Western, Middle-East/North Africa and India.
地中海、西欧、中东/北非和印度不同宫廷的墙壁美学的概念图。
The west European court draws much of its inspiration from courtly interiors of England, Germany, France and neighboring areas. Darker rooms lit by fiery hearths, candles and chandeliers. In the Mediterranean more inspiration comes from the Byzantine courts and those found in Italy and other heirs of Rome. The rooms hint back at this grander past with larger roofs, domes and columns supporting the walls and arches.
西欧宫廷的设计灵感许多来源于英格兰、德意志和法兰西等临近地区：炽热的壁炉、蜡烛和吊灯照亮的昏暗房间。在地中海地区，我们的设计灵感更多来自拜占庭宫廷以及意大利和其他罗马帝国继承地区的宫廷。这些房间以更大的屋顶，圆顶的构造、支撑着墙壁和拱门的柱子暗示着恢宏的历史。
In the Middle-eastern courts we have a wider spread geographically, as these courts draw inspiration and cues from the courts all the way from Arabia to the architecture of Andalusia. In India we encountered an interesting split, as influences in architecture were pushing in from the west while there were still distinctly Indian courts. This was one of the reasons behind adding more court variants so that we could cover more of these visual flairs.
中东的宫廷风格的参考则来自于更广的地域范围，这些宫廷的灵感想法来源从安达卢西亚一直延伸到阿拉伯半岛。在印度，我们遭遇了一个有趣的风格差异，因为彼时西边建筑风格的影响正在渗入，而当地仍有许多风格差异甚大的印度宫廷。我们增加更多宫廷变体的原因之一，就是可以让我们覆盖更多的这样的视觉风格。
Style variation exploration, more on those further down in the Dev Diary.
风格变体的探索，更多详情请关注开发日志下文。
Each scene was broken down into components like walls, roofs, floors and key assets like thrones, chandeliers and fireplaces. While these were being designed from a plethora of references gathered from each culture we also created variants in the concepts. This was done both as exploration but also to add variance to the courts so that they don't all look the same all the time. You will most likely have seen some variants of these when we’ve shared screenshots in past dev-diaries.
每一个场景都被分解成像墙壁、屋顶、地板这样的组成部分，以及像王座、吊灯和壁炉这样的关键素材。在设计这些东西时，我们从每种文化中收集了大量的参考资料，并在原始概念上创造了一些变体。这样做既是为了探索，也是为了给宫廷增加变化，好让它们不会千遍一律。看看我们过去在开发日志分享的截图，你将很可能看到这样的一些变体。
Different courts, different architectural styles, different lighting setups.
不同的宫廷，不同的建筑风格，不同的光线设置。
But the concept art phase did not end after the initial stages however, because once the scenes were being put together we returned to the concepts to try out the different lighting setups to help in the lighting of the rooms, giving our artists more ideas of where to focus the light and accentuate the scene further. Since the lighting system was being built alongside this in the prototype, the concept art took inspiration from contemporary game engines to help guide the prototyping, and not just the visual development.
然而，概念艺术阶段并没有在最初就结束，因为一旦场景被组合在一起，我们就要回到概念中尝试不同的光线设置，让我们的设计师更好地聚焦光线、突出场景。由于光线系统是在原型设计中与概念艺术同步开发的，所以概念艺术会从当前的游戏引擎中汲取灵感，来帮助指导原型制作，概念艺术不仅只是视觉开发。
A room takes shape
一个房间成形了
When starting the modeling of the actual assets for the throne rooms there were several constraints to keep in mind. We had decided to go with a modular workflow so we could easily swap out wall-types and materials, so the dimensions would have to be consistent and work with the plans and concepts we had decided to pursue. We were also making several visual variants for each culture, which meant that we had to try and keep the details of the walls and materials equally interesting for each different type.
当开始为王座厅的实际素材建模时，有几个限制因素需要牢记。我们决定采用模块化的工作流程以便更容易更换墙壁类型和材料，所以尺寸必须一致，并与我们决定追求的计划和概念相一致。我们还为每种文化制作了几种视觉变体，这意味着我们必须努力保持各种不同类型的墙壁和材料的细节同样有趣。
Another big limitation was the fact that we had never before made a scene within our engine like this, so that meant that there were a lot of uncertainties when it came to how much we could push the graphics and where the limits were. Since we were also going to have the artifact system we had to make sure we left enough room for the artifacts and banners without having the environment taking too much attention. This became a trial and error phase to find a good baseline for each throne room.
另一个很大的限制是，我们此前从未在我们的引擎中制作过这样的场景，所以这意味着我们能带动多少图像还是个未知数，我们也不清楚上限。同时，我们还有宝物系统，我们必须确保我们为宝物和挂毯留出足够的空间，而不使环境占据过多的注意力。这是一个为每个王座室找出合适基准的试错阶段。
Early blocking out of the different artifact and furniture slots to be able to see where in the environments we had to make space.
提前安排出不同的宝物和家具槽位，这样我们就够看到我们必须腾出空间的地方了。
To create variation we made sure to have the materials contrast with each other while still fitting together aesthetically so no culture would have throne rooms that all felt exactly the same. This along with changing some architectonic aspects helped the scenes be more distinct. We also worked on adding variation to the grandeur levels, here we wanted the difference to show in the cleanliness and brightness of the environment textures, as well as in the richness of detail in the geometry and amount of decorative props.(Visual examples of this are shown in the final chapter)
为了创造变体，我们确保了材料之间特点鲜明，在审美上又能相得益彰，所以没有一个文化会有看起来完全相同的王座厅。再加上改变建筑形制，这些变化让场景变得更加独特。我们还努力让显赫度能带来变化，我们希望在环境纹理的清洁度和亮度、几何形状的丰富细节、装饰性道具的数量等方面的差异能展现出显赫度的差异（这方面的直观例子会在最后一章展示）。
Making sure the different materials work together to create a cohesive feeling for each culture, but still looking different from each other. Example images taken from the MENA culture throne rooms.
确保不同的材料能共同为每种文化创造出整体感，但各种文化看起来还是不一样。示例图片来自中东以及北非文化的王座厅。
Lighting and FX
光线和FX
A lot of our visual tech usually involves considerations for a top-down map, and since we didn’t have much need for full scale 3D room rendering & lighting in the past, we had to do a lot of rethinking to get this to work - we went from previously having 4 lights, moving up to 20 total light sources and expanding the light types available with new ones like area lights - adding sphere & disc area lights. This helps illuminate areas such as room filling bouncing light (seen to great effect in Mediterranean courts) and helps us with light coming in from the windows and other openings.
我们大部分的视觉特效服务于战略大地图，毕竟在此之前并没有渲染绚丽的3D室内空间，而现在我们需要重新考虑这项工程了。光源数量从一开始的4个一口气加到了20个，光线类型也有所拓展，比如球形和环形光，以模拟环境光效果。这些均有助于表现环境照明，包括室内反射光（这似乎对于地中海国家的宫廷有重要效果），以及展现从窗户或其他开口进入的外部光。
A cozily lit interior.
一个舒适的室内光效图。
Another technique we used was animated lights. They move a little, flicker in intensity - very useful for making the fireplace feel like it's actually on fire and heating up the room a bit. To sell the atmospheric feeling in the room, we added some transparent particles with a little light fade on the sides of the windows and other select places. Even though it isn't adding to the "real" light of the room, it helps give it that last piece of convincing magic touch. We also used particle systems for effects like the fireplace, candles and torches.
我们使用的另一项技术是动态光。微微摇曳的光源可以很好的展现炉火，让它看起来真的是燃烧着的火焰，温暖着房间。为了提升室内的氛围，我们还在窗边等一些选定的地方增加了一些透明粒子特效来吸收一点点光线。这样就算没法在室内添加“真实”光线，也能用这种“魔法”增添上一笔光亮。我们还将粒子系统用在火炉、蜡烛和火炬之类的效果上。
The concept art helped us find the vision of what we wanted to do. Starting with just the room geometries, we used the color hues and general light level from the concepts to create a lit space that felt cohesive, which we then could tweak and modify until they felt comfortable to look at.
概念美工帮助我们找到了我们想要的视觉效果。从王座厅的几何结构开始，我们利用概念美工中的颜色色调和通用光线水平来创造一个有整体感的照明空间，然后我们对其进行调整和修改，直到它们觉得看得舒服。
Technical hurdles & Bloopers
技术难关和挫折
One of the hurdles throughout the development of the court scene were tools - a means for developers to manipulate the scene contents more efficiently - edit objects, characters, lights, change their positions, add or remove to have a toolset that allows more quick iteration and direct interaction. It took time to develop a solution that made this part of work less tiresome. One of the downsides of not having readily available tools - you have to do those yourself, and sometimes reinvent a wheel multiple times. But we’re lucky to have an internal tools team that came to rescue us, and it improved the processes immensely.
一个难关便是宫廷场景研发过程中的工具，我们需要一个手段能让开发者更加高效地进行布景，能用来编辑物体、角色、光源、移动位置、增删，我们需要一个能快速迭代和直接交互的工具集合。我们需要花费时间来设法使这部分布景工作不那么令人厌烦。没有预设工具的一个缺点就是——你得自己动手重复画一个圆好几次。不过幸运的是，我们有一个内部工具小队前来解救了我们，他们极大地加快了进度。
We had plenty of funny bugs over the court of development, resolved by now of course.
我们在宫廷的搭建过程中还发现了许多有趣的的bug，当然，都已经被修复了。
It's not a cult! — Sometimes visual bugs can be quite fun
这可不是邪教！—有时候视觉bug真的很有意思。
Baby Bighead bug.
大头儿子bug。
They say you shouldn't lose your head in court, but this is ridiculous
他们说你不应该在宫廷丢掉你的脑袋，不过这真是太荒谬了。
Finished courts and courtly variation
完成品的宫廷和宫廷变体
With a working feature, concepts drawn and all the parts built we got to compositing together the scenes. There were a lot of iterative steps working on the textures, lighting and positioning to get all pieces to look their best. The environment team has made a set of three different variations of each cultural court type that each has their own architectural and/or decorative flair and visuals, the scenes differ more in geometry and configuration or the construction materials used. So there may be more windows and ample light, or a fireplace castings its warm light into your court.
万事俱备，只需要把人物和场景拼在一起就好了。这里需要很多迭代步骤，纹理、光线、位置都需要调至最好。环境团队已经设置了三种不同的宫廷变体，以适应不同的文化组，分别有自己的建筑、装饰、视觉风格，场景的不同主要体现在布局规划、建筑材料上。于是你的宫廷可能会有更多的开窗和充足的光线，或是一个伴有着温暖火星的壁炉。
The western European inspired courts, with stone and plastered walls.
西欧的上流宫廷，有着涂灰的石质墙壁。
The Mediterranean courts, drawing inspiration from the Roman past as well as the melding of surrounding cultures.
地中海宫廷，从古罗马风格中获取灵感，并融合了周边的文化。
The Middle Eastern courts, drawn on from architecture found in Arabia to Al-Andalus.
中东宫廷利用了从阿拉伯到安达卢西亚不同的建筑样式。
The courts of India, greatly varying interiors.
印度宫廷，内部充满多样特性。
Grandeur variants was a further change we added later in the development cycle, which helps give a little extra flavor to the progress of your court's grandeur. Lower court grandeur has less fancy details and furniture extras in the court than the higher level which sports more of them. The surfaces of the room have also been made to look more worn and less taken care of at a lower grandeur level, compared to the high grandeur which look their grandest.
显赫度的宫廷外观变体是我们在开发后期进一步增加的，它能带来一些小小的特色来体现你目前的显赫度进度。低显赫度的宫廷会比高显赫度的少一些装饰细节和家具，表面看起来也会比高显赫度的宫廷更破旧，感觉更不常打理。
The Pomeranian kings court has seen better days, its painted plastered walls worn and peeling, the floor tiling tired, scraped and just slightly dirty. Little decorations or extra furniture have been afforded the kings halls.
波美拉尼亚国王宫廷已经破败，涂灰的墙体有磨损和剥落，地砖有破旧、划痕、刚刚好的落灰。国王的大厅曾购置了一些装饰和额外的家具。
After much investment in upping the level of grandeur, the court's floors are fresh and polished, extra candles and seats added to the court, and a long finely woven rug lines the path up to the throne.在花大价钱投资提升显赫度后，宫廷的地板会被擦拭翻新，还会添加额外的蜡烛和座位，以及一条长长的精致针织毯铺在通向王座的路上。
Wrapping up
收尾
And with that we’ve come the full way from inception all the way to the finished scenes. We’ve been continuously tweaking and polishing stuff like camera angles, lighting and textures, and we do hope this is a great foundation for a feature that we can grow over time.
现在我们已经做完了从最初到现在完工场景的工作。我们仍会持续微调和翻新一些细节，比如摄像机角度、照明、纹理。我们由衷地希望这会成为之后很多工作的基石。
So a big thanks from the court and environment team for checking into this Dev Diary, which will be the last one of the year, but fret not! We will still be bringing you weekly teasers all the way through December to the start of next year.
非常感谢宫廷和环境团队参与了本篇开发日志，同时这也会是今年的最后一篇了。不过不用担心，我们仍然会带给你们每周预告，直到明年来临。
These teasers will be smaller in scale and focus on some minor features and things we still want to show off, so keep your eyes out for it next week.
这些预告会短小一点，但集中于某个我们想展示的小型特性或物件。擦亮你们的眼睛等着吧，下周见。
翻译：居里先生 索 三里之尘
校对：三等文官猹中堂
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