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This article is reproduced from the public name: Thepoly
Hello . Hello everyone
Today I will give you a miscellaneous article about the design of the Master's game and these
I am Cai Zhen
Master is a kung fu game based on the Chinese white eyebrow boxing method that was released at Epic in February this year, and everyone should have heard about it.
After nearly two months of intermittent "suffering", I recently finally learned how to punch, thus unlocking the entire game scene of Master. In addition to experiencing Master's authentic "White Brow Fist Method", I have always liked Master's scene and level design, as well as the design philosophy behind it, so after passing the level, I decided to re-enter the second week, but this time not for revenge, just to take photos and punch cards.
After this photography trip, the feeling is: these French masters have not only made sufficient efforts in the fighting style of boxing, but also their scene design, and even the narrative design behind it, the design philosophy can also be described as a thorough paper back, and the Chinese style is just right. This time, I will share with you some of my feelings.
In the final level, the battle with Master Yang is set in the style of the Chinese architect I.M. Pei.
1
Scene design where virtual and real blends
Unlike most of the current AAA game scenes that are realistic and depict the details, Master has adopted stylization, lowpoly's more "freehand" art style. Relatively speaking, it saves some labor such as carving high molds, but puts forward higher requirements for the originality and artistry of material editing.
Using a freehand art style to describe the real scene of China's market is the first layer of virtual and real fusion.
In addition to the martial arts scene where the plot begins, master has a total of five levels, namely factory, nightclub, art museum, high-end office building and mountain sanatorium. These five scenes and their summaries cover the different life scenes in Chinese cities from civilians to the rich, and it can be seen that the main creative team has really done their homework on Chinese urban life.
Session 1: Ichijing Street in the Factory District
The first scene of a Hong Kong residential building in a factory
Session 4 The President's Office in the Office Building
In addition, in addition to the real city scene, the first four scenes are superimposed with a fantasy theme with Chinese style "augmented reality": for example, the factory scene transforms into a bamboo forest of Crouching Tiger, Hidden Dragon during the final boss war, while the nightclub scene switches to a Huipai village in the fire many times during the entire march.
These fantasy themes are superimposed elements on top of real city scenes, and sometimes appear scattered throughout the scene in the form of level elements and props. For example, the bamboo forest element in the first game appeared in the residential battle in the previous section with the "bamboo scaffolding" with Hong Kong characteristics. At the same time, the bamboo element is also scattered throughout the scene in the form of "bamboo sticks" as battle weapons.
The first workshop is the bamboo scaffolding of the factory residential building
Sometimes it's a completely different scene in the form of level teleportation. For example, in the first boss battle, the first stage is a battle in a factory scene, and when the second stage of the fight enters, the map instantly switches to a bamboo forest.
The first factory scene in the first phase of the factory boss battle
The first bamboo forest scene in the second phase of the Factory Boss Battle
In the second scene, on a circular stream, players will pass through the same floor plan streets and lobbies twice, the first time in the form of nightclubs and DJ dance floors, and the second time in a martial arts hall in a fire. There is no excessive text plot here, but the player can make up for it himself: originally this was supposed to be a martial arts hall opened by the master, but it was later set on fire by these unfilial children and changed to a nightclub. So when the protagonist comes to take revenge on the boss, the scene in his mind returns to the night of the fire.
The second session was changed to a street for nightclubs
The second scene is the same angle, the same Block Out layout in the fire of the martial arts
Second DJ dance floor
The second scene is the same Block out layout, which becomes a martial arts hall in the fire
The second nightclub scene is interspersed with scenes of Huipai villages on fire
The second nightclub scene is interspersed with scenes of Huipai villages on fire
A similar technique appears in the fourth field, but the method is slightly different, and the second game is switched by using a similar montage to create a flashback effect.
The fourth scene is to closely focus on the "elevator" in the tower as the core concept, and switch between this virtual reality. During the battle, the player needs to use the elevator several times, sometimes normally, and sometimes in close combat in the elevator shaft like the 007 movie. During the fight, the elevator kept falling, and eventually fell into a bottomless underground cave.
Session 4 Super High-rise Office Building The ceiling design of the lobby at the opening scene reflects the space design concept of "tall tower"
The fourth scene is the elevator melee battle, the elevator that keeps falling
The fourth battle ended, and the elevator also fell into the underground cave
2
Incorporate art into the game scene
All about Karry, my personal favorite is the third scene, the art museum scene, from which I can also see the good artistic taste of the master's team.
In this "game art museum", not only is the exhibition design professional, but many abstract immersive scenes are based on the style of contemporary art masters such as James Turrell and Olafur Eliasson, and at the same time have a very overall consideration of the game narrative and gameplay. Breath taking.
Its professionalism and meticulousness make people wonder if any artist in the design team took the opportunity to realize his artistic dream of doing an exhibition in a large art museum.
Pay attention to spotlights on the ceiling, downlights, monitoring probes.
The artistic use of The Decal element in the scene
Art illustration in the Style of Andy Warhol
3
There is a similar architectural design
In addition to the team's penchant for art, the architectural and interior design in Master's game scenes is also professional.
The original references to several of these scenes are also from masterpieces of modern architectural history, such as the spiral layout of the art museum, which clearly refers to Wright's Guggenheim Museum in New York, and the interior of the final Boss Battle is more or less based on I.M. Pei's design language.
The final duel scene with Brother Yang
The lobby of the Suzhou Museum, designed by I.M. Pei
Gallery lobby
Wright's design of the lobby of the Guggenheim Museum in New York
As a French design team, it is reasonable to design in place for example, in the nightclub scene, but what surprised me most was that in the last mountain sanatorium scene, they adopted the "new Chinese" design style that is most commonly used in the design of high-end hotels and nursing homes in China, and they learned a lot. It shows that the team did respect and immerse themselves in the study of Chinese culture as they said.
The entrance designed by the Master
The entrance designed by the Master
Master designed a new Chinese-style hotel interior
Master designed a new Chinese-style hotel interior
Master designed a new Chinese-style hotel interior
Master designed a new Chinese-style hotel interior
Session 5 Sanatorium New Chinese Hotel Interior
Session 5 Sanatorium New Chinese Hotel Interior
Master designed a new Chinese-style hotel interior
4
The Philosophy of Master and Aging
Marx Weber once predicted that due to the continuous upgrading of new technologies in modern society, the latecomers who master the latest technology will continue to surpass their predecessors, and the value of experience and experience in traditional society will be hollowed out, and getting older no longer means becoming wiser, but means becoming obsolete and decaying, and the world will no longer have a well-respected "master".
The setting that moves me the most in the master is about the years, and the setting of age, in the continuous defeat, the player continues to grow older, corresponding to the aging of the face and the decline of physical strength, but also accompanied by the improvement of attack power, and most importantly, the player in the failure of time and again, gradually grew up, they mastered this set of "white eyebrow boxing", this is not by the game's numerical design stacked up "experience points", but the real players understand the "experience points" of the game play.
Becoming old does not necessarily mean becoming a useless old scoundrel like Su Daqiang, and getting old can also mean becoming a real "master".
This is undoubtedly the spiritual belief of the Chinese tradition, thanks to the French sloclap team for teaching me this. The real way to cherish tradition is not to put it in a museum for offering, but to live in the inheritance and use, and to find new meaning in the new medium of the new era. I hope that the next time the Chinese story is told well, it is a Chinese team.
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