How Everything connects the arts of animation and game design(聯合美術、動畫於一身的遊戲設計)翻譯練習2

     In the early days, animation was about making things come to life. It could be a coat hanger, a tail of an animal, or something’s mustache, or a building….[Everything] was a similar version of that with objects, and with the world itself, with the whole universe.
- Everything developer David OReilly

      早期，動畫只是讓東西更接近生命，它可以是一個衣架、一隻動物的尾巴、或者是某種動物的鬍子、或一棟建築物...在整個宇宙中，這世界本身"所有的一切"都只是相似類似的版本。
-一切事物  開發者  大衛 歐羅利

     David OReilly’s Everything, a followup to his 2014 game Mountain, is an unconventional open-world game that doesn’t rely on quests, or other familiar design tropes to get players to navigate the world.Instead, it builds a game world that exists from the largest to smallest most possible levels and encourages players to become every object in those environments, which range from planets to lions to buildings to cells to one-dimensional objects.

     大衛 歐羅利的"一切事物"，之後，在2014他所製作的遊戲"山"，是一個前衛的開放世界遊戲，不依賴遊戲任務或者是玩家所熟悉的遊戲設計、像是讓玩家可以在這世界中航行。相反的，他建造了一個從最大到最小的遊戲世界中，可能存在的遊戲難度，並鼓勵玩家在環境中成為任何一樣東西。它的範圍從一顆星球、獅子、建築物、細胞、到一維的物體。


It’s not a game with a “win state” per se, and it doesn’t encourage any competition or conflict, but as OReilly explained to us today on the Gamasutra Twitch channel, there was a lot of thought put into the game’s seemingly undriven nature. For one, OReilly says the game largely became possible after experimenting in different game engines and realizing it was possible to bring any object fo life.

    遊戲本身並不強調"贏"，而且並不鼓勵競爭或衝突，但是OReilly 今天在 Gamasutra Twitch遊戲頻道解釋，他放入很多想法到遊戲中，雖然那似乎是很不起眼的自然。另一方面，OReilly說在很多不同的遊戲引擎中實驗，讓他了解這個遊戲是很有可能實現的，他是可能帶來各種東西生命的。


“I got really excited about every object in the universe being a playable character,”
OReilly told us. “That led to thinking about groups of things, and how everything is a member of a group, living or dead.”OReilly also felt like there was a link between this kind of experimentation and works created in the early days of animation, when 2D animators worked to bring all kind of objects to life, even ones that had no life at all.

"我知道，在宇宙中，任何一種東西都有可能變成玩家可玩的角色，很令人興奮"OReilly告訴我們""這給了一些我一些想法關於群體和東西之間的關係，和所有的東西是如何從一個成員變成群體的，活者或是死亡"OReilly也覺得，這樣的實驗和早期的製作動畫工作室有關聯的，當2D動畫師致力於給某樣東西帶來生命，甚至那東西根本沒有生命。


     For more insight from OReilly on the development of Everything, including how the game’s “cheap” movement animations for animals are actually very complex, and how he compares his work in 3D animation versus game development, be sure to watch the full video seen above.
     And if you enjoyed this conversation, you can follow the Gamasutra Twitch channel for more developer interviews, editor roundtables and gameplay commentary.

     為了更加的觀察OReilly所發展的一切，包含讓遊戲中的動物，動作動畫更加的"容易"，實際上是非常的複雜的，他如何比較他3D的工作和遊戲開發，一定要看上面完整的影片。
    如果你喜歡這個對話，你可以追蹤Gamasutra Twitch中更多發開發者訪談，編輯editor roundtables和遊戲評論



文章來源:
http://www.gamasutra.com/view/news/296606/How_Everything_connects_the_arts_of_animation_and_game_design.php

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補充:
David OReilly的山"MOUNTAIN"


這個遊戲蠻治癒的
基本上就是一個以"視覺"為主的遊戲，
遊戲機制很簡潔，
節奏相對比較緩慢，
我相信對於某些習慣節奏快的玩家，
會帶來很不同的遊戲體驗喔!