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【Horizon Zero Dawn地平線攻略】無限次快速移動Fast Travel大法｜香港01｜遊戲動漫开发者谈《地平线：零之黎明》的游戏音乐幕后 | [HOST] 游戏邦 PS4《地平線：期待黎明》前導評測，靠劇情殺出春季大作重圍 | 4Gamers
购买 Brothers - A Tale of Two Sons 【Horizon Zero Dawn地平線攻略】無限次快速移動Fast Travel大法开发者谈《地平线：零之黎明》的游戏音乐幕后热血格斗大激战SP运行配置要求是多少 PS4《地平線：期待黎明》前導評測，靠劇情殺出春季大作重圍地平线黎明时分dlc评测_我从第一个玩法中学到的地平线零黎明的提示
Horizon Zero Dawn（from ）体现机械生物的世界是最简单的部分了：冷调的机械感音乐是通过铁和金属类的碰撞产生的脉冲制成的电子合成音来延展体现那像您在单人模式下玩协作游戏那样，同时控制两兄弟。解决谜题，探索各种令人遊戲中雖然完全沒有字幕、對白，但你能透過角色簡單的動作、聲音來瞭解整個故事。” 地平线黎明时分dlc评测Horizon Zero Dawn is the best PlayStation game 称为“故事”的超级简单模式对其进行了更新，该模式使游戏非常容易使用。除了单机模式之外，GTA5也提供在线模式GTA online，但通常需要游戏加速器才能流畅的玩下去。《GTA5》这个游戏的画面《地平线：零之曙光（Horizon: Zero Dawn）》《地平线：零之曙光》（Horizon Zero Dawn）是一款由索尼旗下第一方工作室Guerrilla Games制作的第三人称动作角色扮演游戏，发布于年02月28日。年8月7日故事開始得很簡單，羅斯特撫養了孤兒亞蘿伊，然後鍛鍊她變大，變強。萌萌的養育情感，搭著遊戲剛開始暖和氛圍，讓人分外珍惜這一段相處時光。 Horizon Zero Dawn的畫面不單超靚，而且版圖更比想像中大，時就需要用到遊戲中的Fast Travel「快速移動」功能，以下就簡單講講及其無限使用的方法。地平線：黎明時分是由索尼發行的一款PS4獨占遊戲，故事設定在世界末日來臨之際，西斯，故事背景為《星球大戰前傳3：西斯的復仇》玩家們可以玩到全新的單人模式，图形: nVidia GeForce GT or better / AMD Radeon X / nVidia GeForce GT (Windows ) 【DEV】【傲慢与偏见】地平线零之曙光Horizon Zero Dawn #3

你接下来将要读到的内容将不仅限于探索游戏团队工作室是如何写作和如何决策的，而且会深入研究The Flight是如何用Youtube视频向美术设计师展示他们是如何在游戏中演奏乐器从而演绎出Aloy主题曲背后的故事的。要提醒的是，接下来有轻微剧透。. The Flight:对我们来说，要体现这三大支柱元素在音乐上的不同特色并没有那么难；因为在我们开始工作的第一天Guerilla公司方面就已经把这些特点告诉我们了。我们和Joris的职责就是把这些主题含义通过游戏音乐传达给玩家。我们首先关注的是如何呈递游戏的自然景观——在这个绚丽多彩、广袤无垠的世界里，我们用多种给人以探索之感的音乐来表现出这样的美景。. Guerrilla明确指出，不要让任何音乐类型或音乐风格让背景音乐把部落归类于某一种族，于是我们就试图用不同的方式演奏乐器——用琴拨弹大提琴、用琴弓背弹吉他和钢琴的琴弦以及其他等等新的弹奏方式。. 自然景观这部分其实也可以说是最简单的——通过远程音效素材（distant pads）和实验室声效所营造的悠扬和弦声，其音效效果似乎挺好的。我还创作了一种通过我自己轻吹泰国竹笛发出声音的采样制成的音效素材，所以这个音效基本没有调，不过有好多气音。由于我们把采样音效载到了Kontakt和Omnisphere中，所以我们还可以拿来用作后期音效素材，通过将其解构从而产生更多的音效组合。. The Fight:我们和Lucas在Guerrilla的时候就已经对细节进行了很多讨论，Lucas在乐器法和感触方面已经有很深的理解和看法了。我们讨论了Aloy（游戏女主），她生存的世界以及围绕着她发生的故事线路。由于这个世界被各个种族划分成了不同的地域，我们为每个部落考虑属于他们各自的乐器音效以为他们每个部落烙以不同的音效印记。. Joris de Man：我制作音乐的素材就是由模拟合成器音效、大提琴音、倍低音长笛音、现成音效以及Circle Percussion的音效（剧情声作曲人Niels van der Leest介绍给我们的人）组成的。Julie Elven则是整个音乐团队所欠缺的最后一块拼图，在电子游戏展览会上的预告片音乐展出后反响了得，Julie Elven通过歌唱的声音，以音乐呈现艾洛伊的情绪经历。. Lucas van Tol:在《地平线》早期开发期间，我曾让Niels van der Leest（他是一名专业的敲击乐乐手兼游戏作曲人，我在几个月前见过他）整理一份有关部落乐器的文件。我们清楚的知道自己大概的游戏定位，并掌握了大量游戏部落的信息。通过将这些信息的整合，可以知道各部落会使用哪些材料作为乐器，并且能够知道他们是如何弹奏这些乐器的。. Joris de Man:这两方面的平衡，部分我们是在拥有更多主题深化空间的过场动画中解决的。这里的历史往昔、《地平线：零之黎明》的意义之所在以及Aloy的前世今生都是故事情节中的关键部分，所以这里有我们在音乐上的大量探索机会，而且我对于为此撰写主题意义材料非常累在其中，这里的主旨我可以重复用在不同的场景中。. Lucas van Tol: 真正有效的平衡方式是我们跟我们的配乐创作人进行了大量的交流。我们尽可能地将信心传达给它们，包括整个部落大纲、通关攻略、美工等等。我在游戏开发的办公大楼里是有一桌之位的，我是亲眼看着这款游戏一步步走到今天的。. Joris de Man: 我很幸运，能遇到John Gonazalez（故事主要撰稿人）创作的这样一个绚烂多彩、意义深刻的故事以及故事中这些丰满全面的人物角色。Aloy的内心性格是复杂的，因为她经历了太多不幸；但她那种温柔的力量以及敏感的内心是我在主题曲中想要传达的。. 我们所有人最后都爱上了Julie Elven的声音，她的声音似乎成为了Aloy的伴随旋律，就好像每次Aloy在情感上有所经历的时候Julie都在那里支持着她一样。游戏结尾是我最喜欢的部分，我觉得是因为我体验到Joris和Julie所带领的一段美好旅程在那里落下了帷幕，也因为Aloy的主题曲同那一刻的所有其他旋律都那样美好地结束了。. The Fight：我们很幸运能在如此多样化的项目里创作。在我们开始《地平线：空之黎明》的配乐创作前我们刚为充满黑暗幽闭恐怖气氛的《异形:隔离 Alien:Isolation 》做好配音，但是巧的是两款游戏都是有关女主角独自行走在寻母之路上的故事。. Joris de Man:《地平线》在很多程度上都是非常大的挑战——我们之前有过和Guerrilla游戏工作室在《杀戮地带》系列游戏上的合作经历，这款游戏的配乐必须符合它的激烈游戏玩法，要成为好似一场大型现场交响乐团所演奏出对听众形成听觉冲击的音乐，而这种旋律和声音的强烈是《地平线》遥不可及的。. Lucas van Tol:这是我的第一个作为项目监制的工作——幸运的是我能够得到这个很棒的团队、制作人和Sony的同僚们的鼎力相助。不过我还是有过一些游戏配音经验的——我诶《杀戮地带》2、3和暗影地带都配过乐，所以我对这个流程以及Joris的作品都非常的熟悉。但是我们在《地平线》中想要一些全新的东西。我对于让Joris不得不踏入一个我们从未接触过的领域后会发生的事非常感兴趣。. 其次，我和The Flight组合在一些音乐片段上的合作——我用钢琴弹出的曲子初稿，然后the Flight组合根据它创作个出一首完整的曲子。我觉得能听到我们按照各自不同方式所创作的声音和作品；以及能听出这些声音是如何发挥我们之间不同优势——这是非常有趣的事。. Lucas van Tol:有一点值得注意的趣事就是：我们的作曲家同时也为我们的音乐片段做起了片段捕捉——他们就是Meridian的Joe、Alexis和Niels,就像诺拉节上的牧师和敲鼓三人组一样——我们把音乐集合起来演奏，他们则将捕捉的片段同步进去。. The Flight: 当我们一群人去做音乐时我们总觉得音乐是最棒的。在《地平线：零之黎明》中，在和Joris、Niels以及赞爆了的Guerrilla音频团队的合作中，我感觉非常太奇妙了。我们所有人都为能在这个我们觉得是美丽而真正独特的游戏中创作而感到万分骄傲。. Horizon Zero Dawn is one of the most interesting games of , certainly, and possibly of the last few years. So much went in to establishing the world that Aloy and the Nora inhabit that every single conceivable nuance was crafted with meticulous care and attention. There may be mild spoilers ahead so you have been warned. How did you identify the three pillars of the game to represent musically — machines, tribes, and nature? We focused on the nature of the world first, a beautiful place full of colour and space, you can hear this in a lot of the exploration music. The machines are the dark side and most contact with them is when you are fighting, so we needed this music to have a hi-tech, metallic edge. The tribes were humans, some of them quite primitive and naive, some more advanced. We tried to make their music reflect their level of advancement at the same time as keeping it all quite organic sounding. The juxtaposition of the lush world, hi-tech machines and primitive people is what made this game such an exciting prospect. Joris de Man: This was one of the challenges the composing team faced, and that we spent a fair bit of time figuring out, both musically and sonically. The machine world was the easiest: cold, mechanical textures using circuit bent synths, glitching and stretching, and metallic overtones that were achieved running percussive loops through impulse responses of iron and metal objects being struck. Guerrilla made clear we should steer away from any music or style of playing that would pull it towards any particular ethnicity, so instead we looked at playing instruments in different ways — cellos with plectrums and the back of the bow, bowed guitars and piano strings, that sort of thing. Nature was arguably the easiest — distant pads and ambiences, and wide, spread out chords seemed to work well. I also created a pad sound by sampling myself blowing really softly on a Thai bamboo flute, so that it barely created a pitch, but with lots of air. That was put into Kontakt and Omnisphere so that it could be played as a pad sound and in the latter, granulated to create more textures. Lucas van Tol: Long before we approached Joris and The Flight, a short document was put together. Sort of a recipe list of things that Mathijs de Jonge, our game director, and the sound team wanted to focus on. Part of that list were those three pillars. What that meant exactely, was what we wanted the composers to find out through a music test. Once you found these inspirations, how did this dictate what instruments to use in the score, and at what points? The Flight: We talked in detail to Lucas at Guerrilla, who already had strong ideas about instrumentation and feel. We discussed Aloy, the world she lives in and the story path that she follows. As the world was split into zones for each of the tribes, we thought about what instruments may be found in each of them in order to give each one its own aural stamp. We tried to use existing instruments in different ways, almost imagining how they would have been played by people just rediscovering them. One of our key sounds were bowed resonator guitars layered up with different sizes of harmonicas. Joris de Man: The palette on my music settled on analog synths, cello, contrabass flute, found sound and Circle Percussion, who Niels van der Leest diegetic composer had introduced to us. We knew where our game would be set approximately, and we had a bit of information about our tribes. By combining that information, you could thus extract what kind of materials tribes would have to their disposal and how they would play that. For instance, the Nora have very basic musical knowledge, so their music had to be relatively simple. The Carja were much more sophisticated so we could put entire choir pieces there, for instance. How did you balance this? Joris de Man: Part of this was handled in the cutscenes, where there was much more room for thematic development. But the balance between action and more ambient scoring during the game was also largely dictated by the various regions and the type of encounters. Lucas did an excellent job describing the various regions to us, the tribes that inhabited them and how they differed. Some tribes had not yet gotten into metal forging, and so focused on leather and wood, whereas others were more advanced, so the music needed to reflect that. Lucas van Tol: What worked really well is that we talked a lot with all our composers. We sent over as much information as we could. Entire tribe guides, playthroughs, artwork… I have a desk in the building where the game is actually developed. I see the game slowly coming together. So a big part of the supervision role is to make sure they get as much information as possible. To feel as much as a part of our team as we can. The more the composers understand the game and the story, the more easily they can play with that and find the nuances in that. And from my side, I knew how and where I wanted to script the music in and how its transitions should work. The Flight: The main thing for us was keeping a sense of loneliness. Aloy is alone on a quest to discover her mother and her origins. This game is not just a story game though, there is a lot of action too, and thus a lot of more uptempo music. We just needed to make sure that the two sides worked together to create a coherent sonic experience. How did you approach composing for her character? Joris de Man: I was lucky that John Gonzalez, the lead writer, created such a wonderfully rich and deep story, with well-rounded characters. Aloy is a complex character, who meets much adversity throughout her story arc; but she has this gentle strength and sensitivity that I wanted to portray in the theme. The main theme was originally created for the first E3 trailer, and so to work to picture it needed to build to a crescendo…but Guerrilla soon realised that it would work well as a main menu theme also. For the longest time it was considered placeholder, with me potentially writing something else for the main menu, but seeing how people responded to it and how well it set the tone, it would have been foolish to try and replace it. It was so different, and so outspoken. That was a big learning moment for me. Make something that intuitively you think works, and that is what Joris did. Any time something emotional happens to Aloy, Julie will be there to support her. The epilogue track is one of my favorites, and I really think it is because Joris and Julie have taken you on a journey that concludes there. How do you feel this has differed from your previous work in approaching scoring the game? The Flight: We are lucky to have worked on such varied projects. Before we started Horizon Zero Dawn we had just completed the score for Alien: Isolation, which is dark, claustrophobic and pretty terrifying, but also coincidentally a story about a lone woman searching for her mother. Whilst working on Horizon Zero Dawn we also scored a Channel 4 documentary series about children with mental health disorders. Though these are all very different projects, in the end we are just writing music, we still usually sit down, pick up an instrument and start playing. It required a very different approach, and I had to allow myself to write simple, effective themes and background music that had a very different pace and intensity. Lucas van Tol: This was my first project supervising the music — luckily I had a lot of help from the sound team and our producers, and people within Sony. However, I did integrate the music for Killzone 2, 3 and Shadow Fall, so I was pretty familiar with the process and Joris his work. But we wanted something completely new here. I was interested in seeing what would happen if we would force Joris to go into a direction he had never been in, at least not for Guerrilla, to see what would happen. A couple of things happened. He nailed the style, but he also accidently provided a solution for the huge amount of music content we wanted to have. His initial pieces were very rich, very full. I soon realized that although it was beautiful, it would be too much to hear all the time. So instead I asked for all the stems of the songs, and we started to create more content out of these stems. Often we would find entirely different sounding songs by choosing the right stems. As a bonus, we now had a musical soundscape that could take the spotlight or kind of linger somewhere in the background. There suddenly was a natural flow that worked really well. It became clear, once the scene was storyboarded and put into an early animatic, that the pace and vibe was quite different, but thematically there were a few bits in there I thought worked well. Secondly, The Flight and I collaborated on a few pieces, which started as a piano sketch from myself that the Flight worked into a full production. I thought it was really interesting to hear our different approaches to sound and production and how it played to our different strengths. Lucas van Tol: A fun thing to note is that our composers also did the motion capture for our diegetic music vignettes. The three musicians in Meridian are Joe, Alexis and Niels, as are the priests and the drumming trio at the Nora festival. We played the music on set and they synced their mocap to it. We originally were confronted with three concept art pieces of instruments. We had no idea what they would sound like or how they would be played. They did an excellent job, the video was both entertaining and informing, and from that point on we knew we were dealing with a Kuna Bass, a Braumdrum and an Iron Pendulum. 在游戏业单有热爱＋资源＋人才，并不意味着产品能够成功（多个案例）昨天有同十三篇系列：king的历史转折点，wooga的瓶颈，supercell的营收结构第一篇游戏邦半年报告：游戏研发和运营系统产业分析——PDF下载第一部分：游戏开发游戏邦在: 杂志专栏:. 首页资讯频道原创频道数据频道每日观察访谈频道调查分析微博观点公司数据库 Talk Time. 数据入口: Facebook Myspace Orkut 人人网腾讯朋友 QQ空间 App Store Android WP7 Ovi商店更多. 资讯频道正文. 开发者谈《地平线：零之黎明》的游戏音乐幕后发布时间： Tags：地平线：零之黎明 , 游戏配乐 , 游戏音效. Horizon Zero Dawn（from gamasutra. 分享到： QQ空间新浪微博开心网人人网. 原创频道行业报告. 在游戏业单有热爱＋资源＋人才，并不意味着能够成在游戏业单有热爱＋资源＋人才，并不意味着产品能够成功（多个案例）昨天有同十三篇系列：king转折点，wooga瓶颈，supercell营十三篇系列：king的历史转折点，wooga的瓶颈，supercell的营收结构第一篇游戏邦成立以来部分游戏设计观点回顾（五万字长文年底，游戏邦从数据分析的角度解析了当时手机游戏和社交游戏的发展状况游戏邦半年报告：游戏研发和运营系统产业分析游戏邦半年报告：游戏研发和运营系统产业分析——PDF下载第一部分：游戏开发 AndroLib Facebook Mixi Odnoklassniki OpenFeint Orkut 新浪微博 WP7 Ovi商店联通沃商城苹果App Store Lokalisten 天翼空间黑莓App World 移动MM商城. 关于我们版权信息翻译计划联系我们.
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