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电子游戏战斗动作设计的5个简单步骤

发布时间:2014-01-21 17:38:31 Tags:,,,,

作者:JOE Q

设计战斗现在已经成为我每周的必需工作了,我想是时候坐下来提炼这一过程了。以下就是相关举例步骤。

第一,我要先确定战斗的关键要点。战斗的主要目的是什么?它是重量级还是轻量级的战斗?它是连环或系列战斗的一部分吗?先前的姿势重要否?战斗应该持续多久?

*假如我们植入的是一个在空中的武士战斗。它是一次性的攻击,但需要从基本的战斗姿势开始。这种战斗应该呈现出强大之感。

其次,我们将其交付给动画人员!以上步骤的重要之处就在于要事先知道这个战斗要传递的主要内容。动画人员会在此加上自己的创意,并需要知道该记住哪些内容。我试图自己捣鼓了一番,但总发现最终无法弄清其中的主要元素。因此小道具在此可派上大用场。

*临时武器是出色的道具。一把nerf剑,一根PVC塑料管,或者舞剑道的剑都很适合这种战斗。最重要的是传达上述注释中的内容。所以我就在动画师面前比划着的时候,重复强调最关键的词:有力、切断以及从基本战斗姿态开始。当我们传达这部分内容时,要将道具交到动画师手上!这样他更容易想象出战斗情况。有些动画师则喜欢首先画出姿态。

第三,我们只需要动画师制作出三个姿态。这就是所谓的pose-to-pose动画。现在我们可不想浪费大家的时间。动画师现在应该合理利用时间,将3个姿态输入屏幕以便其他人进行评价。即所谓的“预期”、“实现”和“动作跟随”。在战斗游戏术语中,这就是“绕臂挥拍”、“击中帧”以及“还原”。这一步骤可以让大家快速认同移动框架。

Haohmaru(from fightersusa.com)

Haohmaru(from fightersusa.com)

*在我们的例子中,我们设计的是来自《Samurai Shodown》的Haohmaru A+B攻击方式。以下就是我们所得的姿态:

*绕臂挥拍/预期

windup(from practicalgamedesign)

windup(from practicalgamedesign)

*击中帧/实现

connect(from practicalgamedesign)

connect(from practicalgamedesign)

*还原/动作跟随

recovery(from practicalgamedesign)

recovery(from practicalgamedesign)

第四,我们要将这些姿态插入游戏中,连接损坏碰撞,必要的输入序列,调整每个姿态的时间,这样我们就可以得到一个基本的动作时间轴。之后就可以将时间轴报告给动画师,以便他运用到每个帧的动画之间。我们还可以告诉动画师其中的不妥之处。设计师是否拥有调整攻击动画时间的工具,或者相关知识和权限,这一点十分重要。毕竟,你有责任让游戏正确呈现玩法,不是吗?

*在我们的例子中,我们将令其合理地设置损害,向敌人进行准确的反击,之后我们会调整姿态间的时机,直到它准确为止。只要我们设置好时间,我们就可以向动画师汇报类假于“击中帧应该在第14帧,还原应该在第34帧结束。”

第五,动画师会以我们设置的准则做出很棒的效果。他会将其插入游戏,让我们试玩,并最后一次调整时间。

*我们可能会注意到动画完成了,我们最初设定的时间并不可行,因为动画已经完全是关键帧了。此时我们会微调时间,以便它看起来和玩起来都一样良好。这样我们就完成了!

原文发表于2010年6月27日,所涉事件及数据以当时为准。(本文为游戏邦/gamerboom.com编译,拒绝任何不保留版权的转载,如需转载请联系:游戏邦

Five simple steps to designing melee attacks

Joe Q

Designing melee attacks has been part of my weekly routine for a while now, and I think it’s time I sit down and distill the process. Here are the steps, along with an example.

First, I sit down and identify the key points of the attack. What is the primary purpose? Is it a heavy or light attack? Is it part of a chain or series? Does the previous pose matter? How long should it be?

So let’s say that we’re implementing an overhead katana attack. It’s a one-off attack, but it needs to come from the base-combat pose. This attack should appear powerful, as if the character is slicing through a tameshigiri

Second, we get it to the animators! The important part of the above step is to know ahead of time what the main thing is that needs to be communicated with this attack. The animator will inevitably put his own creativity into this, and needs to know what to keep in mind. I try to act out a couple swings myself, but always try to end with “the main thing is ____”. Props are great for this part.

Makeshift weapons are great props. A nerf sword, piece of PVC pipe, or practice kendo sword works great for this attack. The most important part is to convey the notes we made above. So as I practice a couple swings in front of the animator, I repeat the words that matter most: Powerful, slicing, and from the base-combat pose. As soon as we get that part communicated, get that prop in the animator’s hand! He’s much better at imagining this stuff than you. Let him work it out. Some animators like to draw the poses out first too.

Third, we have the animators only work on three poses. This is called pose-to-pose animation. What we want to do here is not waste anyone’s time. The animator’s best use of time right now is getting 3 poses on screen for you and anyone else to critique. The Anticipation, Actualization, and Follow-Through. In fighting game terms, this is the Wind-up, Hit Frame, and Recovery. Eric Williams has a great blog post about this. This lets everyone agree quickly on the framework of the move.

In our example, we happen to be designing Haohmaru’s A+B attack from Samurai Shodown. Here are the poses we end up with:

Wind-Up/Anticipation

wind up

Hit Frame/Actualization

hit frame

Recovery/Follow Through

recovery

Fourth, we plug these poses into the game, hook up damage collision, the necessary input sequence, and then scale the timing for each pose so that we get a basic timeline for the motion. We then report the timeline to the animator in terms of something he can use when he animates the in-between frames. We might also report if anything isn’t quite right, like if the sword is going over a short enemy’s head. It’s very important that the designer has the tools, or the knowledge and authority to tweak and tune the timing of attack animations. After all, you’re responsible for making the game play correctly, right?

So using our example, we’ll set it up so that it does damage appropriately, causes the right hit react on enemies, and then we’ll adjust the timing between the poses until it plays about right. Once we’re set on the timing, we’ll report back the animator with something like this: “Hit Frame should be at frame 14, and recovery should end at frame 34″.

Fifth, the animator makes everything look awesome using the guidelines we’ve set. He plugs it into the game, and we play with it and scale the timing one last time.

We might notice that once the animation is complete that our original timing doesn’t work as well now that the animation is fully key framed. We fine tune the timing this time so that it looks and plays as good as possible. And we’re done!

These images were taken from Fighters Generation. It’s a great resource when you need ideas.(source:practicalgamedesign


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