希瑟·吉布森专访（ 2014年）

　　希瑟·吉布森专访
　　Interview with Heather Gibson

　　发布时间: 2014 年 10 月 24 日
　　Published: October 24, 2014

　　作者：Ash
　　Written by:   Ash

　　希瑟·吉布森是初代古墓丽影及其续作的主要关卡设计师之一。她设计了众多关卡，包括劳拉的庄园——希瑟所设计的关卡完整列表见访谈末尾。在这次访谈中，她揭露了一些从未透露过的激动人心的事实！我们非常感谢希瑟抽出宝贵时间回答所有这些问题（我们有很多问题想问）!
　　Heather Gibson was one of the major level designers for the original Tomb Raider and its first sequel. She designed a lot of levels including Lara’s manor – the full list of levels Heather created is below the interview. In this interview she unearths some very exciting facts never told before! We would like to thank Heather for sparing her time to answer all these questions (we had a lot to ask!) 

　　此外，自制关卡编辑器粉丝们——请记好笔记，可能有机会制作温斯顿的模组哦！😛
　　Also, Level Editor fans – take some notes for a possible Winston mod! 😛

　　你是如何最终加入核心设计工作室的？什么时候开始，又是如何开始的？
　　How did you end up working for Core Design? When and how did you start?

　　在被Rare Designs Ltd.裁员后，我加入了核心设计工作室。在Rare工作了近六年之后，我回复了电脑游戏杂志上的一则招聘广告，并立即获得了职位。
　　I arrived at Core after being made redundant by Rare Designs Ltd. I had worked at Rare for nearly six years. I replied to a job advertisement in a computer games magazine and was offered the position straight away.

　　在制作《古墓丽影I》和《古墓丽影II》时，关卡设计的流程是怎样的？
　　What was the process of level design while making Tomb Raider and Tomb Raider II?

　　首先，我们会讨论游戏可能发生的地点——比如埃及。地点的选择必须能激发我们的灵感。我们希望创造出许多具有氛围的场景和区域，这些区域拥有有趣的建筑，提供丰富的解谜机会和探索空间。我们大约每月会举行一次团队会议，讨论各种解谜场景。在这里，我们可以集思广益，直到为该关卡构建出一个包含障碍和解谜的框架。这包括玩家熟悉的通用解谜场景——如推动石块或避开陷阱，以及特定场景下的特殊事件。
　　The first process would be to discuss possible location sets for the game – Egypt for example. Location choice had to inspire us. We wanted to create lots of atmospheric scenes and areas with interesting architecture, which offered lots of puzzle opportunities and areas to explore. We would discuss various puzzle scenarios at team meetings which we help approximately once a month. Here we could brainstorm ideas until we had a framework of objections and puzzles specific to that level. This included generic puzzle scenarios that the gamer became familiar with – such as pushing blocks or avoiding traps and special events specific to a particular setting.

　　然后，我和尼尔会构建关卡、添加纹理和灯光。我们还会邀请托比和音乐师为房间添加敌人触发器、特殊陷阱和音效。
　　Then myself and Neal would build, texture and light our levels. We would also involve Toby and the musicians to add baddie triggers, special traps and sound effects to the rooms.

　　你的纹理素材是从哪里找到的，比如圣方济各堂的地板纹理？
　　Where did you find your textures to use such as the floors in St. Francis Folly?

　　有时找到纹理素材很难，因为我们没有机会亲眼看到这些场景。我负责为游戏创建大多数纹理。我贴图的速度比尼尔快（哈哈），我想他觉得这很无聊。我的大多数纹理素材都是从德比一家廉价书店购买的书籍中找到的。我还通过修改和扭曲互联网上的图像来获取纹理。不过，一些场景纹理确实来自非常奇怪的来源，特别是亚特兰蒂斯。
　　Finding textures was difficult at times as we did not have the opportunity to see these locations in real life. I was responsible for creating most of the textures for the games. I was quicker at tiling than Neal (ha ha) and I think he found it boring. I found most of my textures in books which I purchased from a budget price bookshop in Derby. I also sourced textures by modifying and distorting images found on the internet. Some of the location textures did however come from very strange sources. Particularly Atlantis.

（圣方济各堂，古墓丽影。1996年）
(Saint Francis Folly, Tomb Raider. 1996)

　　根据其他官方访谈，克劳馥庄园的设计灵感来自凯德尔斯顿庄园，但在游戏中看起来并不像。康普顿·温亚特庄园看起来更像，尤其是在选择“劳拉的家”选项的全动态视频中。作为关卡设计师，克劳馥庄园的设计灵感是什么？
　　According to other official interviews it is stated that Croft Manor was inspired by Kedleston Hall while it doesn’t look like it while playing. The Compton Wynyates looks more similar especially during the FMV upon selecting the “Lara’s Home “option. As the level designer what was the official inspiration for the design of Croft Manor?

　　劳拉家的建筑风格大致基于英国众多乡村庄园的建筑风格。很容易辨认出这是一座英国时期的房产，但并非基于任何特定的房屋，尤其是凯德尔斯顿庄园。
　　The architecture of Lara’s house was loosely based on the architecture found in many country manor’s which are in abundance in the UK. Easily recognisable as an English, period property but not based on any particular house, especially not Kedleston Hall.

　　在克劳馥庄园里，墙上的画作素材来源是什么？具体是哪些画作？
　　In Croft Manor what was your source of the paintings that are on the walls? What ones were they?

　　天哪，我忘了从哪里找到的了……可能还是我的老套路……一些破旧的老书。
　　Goodness I forget where I got those from…probably my usual source…some tatty old book.

　　在《古墓丽影I》和《古墓丽影II》的克劳馥庄园中，有许多关闭的门。是否有计划以后使用它们？
　　In Croft Manor in Tomb Raider and Tomb Raider II there are many closed doors. Were there plans to use them later?

　　在庄园里没有计划使用那些门。它们只是为了让房子感觉更真实而放置的。在《古墓丽影II》中，地下室的黄金宝藏和迷宫以及门触发器是后来才想到的。但其他秘密房间并没有被认为是必要的，因为这座房子主要是劳拉的训练区，不会对她造成威胁。
　　There wasn’t any plans to use the doors in the manor no. They were placed just to make the house feel realistic. The basement gold stash was an afterthought in TRll with the maze and door trigger. But no other secret rooms where deemed necessary as the house was primarily a training area that didn’t kill Lara.

　　在庄园里，原本计划了什么内容但后来被删除了？
　　Was there anything removed from the manor that was originally planned?

　　不，我认为没有删除任何东西，尽管我在最后一刻添加了一个立体声系统，只是因为这样很有趣，而且房子里没有什么可以互动的东西。
　　No I don’t think anything was removed although I did add a stereo system at the last moment just because it was fun and the house didn’t have a lot of things to interact with.

　　《古墓丽影II》中的管家角色有什么用途？
　　What was the purpose for the butler in Tomb Raider II?

　　起初，我们为劳拉创造了一个典型的上流社会乡村住宅。我们想表明她的血统来自一个古老的贵族家庭。在历史上，有一段时间，英国富裕的庄园会雇佣管家和仆人。我们想营造一种印象，即劳拉来自一个历史悠久且地位显赫的庄园和家庭，管家这一角色增强了这种印象。
　　To begin with we created a stereotypical Upper Class Country home for Lara. We wanted to indicate her lineage as part of an old aristocratic family. There was a time in history when it was accepted that wealthy estates in Britain hired staff such as Butlers and servants. We wanted to create the impression that Lara was from an old established estate and family, the Butler added credence to this.

（温斯顿，《古墓丽影II》。1997年）
(Winston, Tomb Raider II. 1997)

　　你们是否预料到玩家会把管家放进冰柜里？这是你和团队的想法，还是对粉丝们的行为感到惊讶？
　　Were you expecting players to put the butler in the freezer?  Was this something you and the team thought of or were surprised by the fans actions?

　　我建造冰柜的时候，并没有想到玩家会做的第一件事就是把管家锁在里面。如果我知道这一点，我可能会围绕它设计一些有趣的游戏玩法。我可以要求首席动画师为管家添加一些额外的动画帧，并提议……如果管家在冰柜里待上几分钟，他的行走动画可以被打断，纹理会发生变化，角色位置会被冻结。然后玩家可以推着这个固态的管家在房子里走，并等待他解冻。这个想法已经让我想到了另一个主意……如果他被冻在一个坚固的冰块里，他就可以被用来解决一个专门的谜题，玩家可以将冰块放置在特定位置，以获得通往高门或阳台的通道。或者是我现在很傻？
　　I didn’t think when I built the freezer that the first thing players would do would lock the butler inside. If I had known this I would probably have created a funny bit of gameplay around it. I could have asked the Lead animator to add a few extra animation frames to the Butler with the proposal that…if left in the freezer for a few minutes the butlers walk animation could be interrupted with a texture change and frozen character position. Then the player could have pushed the solid butler around the house and waited till he had thawed. That idea already gives me another idea… If he had frozen inside a solid ice block he could have been used to solve a dedicated puzzle where the player could position the ice block specifically to gain access to a high door or balcony. Or am I being silly now?

　　在《古墓丽影II》中制作庄园相比于古墓丽影有多大的挑战性？这个关卡是从头开始制作的，还是在旧场景的基础上扩建的？
　　How challenging was it to make the manor in Tomb Raider II vs. Tomb Raider?  Was the level made from scratch or was it built and expanded upon the old set?

克劳馥庄园的迷宫和金库（《古墓丽影 II》）
Labyrinth and vault in the Croft Manor (Tomb Raider II)

　　庄园这个关卡在创建时相对容易，而且在第二款游戏中，它确实是在旧场景的基础上进行了扩建。庄园设计中唯一需要特别关注的部分是训练场，因为这部分的布局需要针对劳拉的体能特点进行精心设计。我与托比紧密合作，以确保这部分内容的实现。
　　The Manor was a relatively easy level to create and yes it was expanded on in the second game. The only part of the design of the manor that needed special attention was the training course. I worked closely with Toby on this area as the layout was specific to Lara’s athletic abilities

　　在古墓丽影中，劳拉骑的诺顿街头斗士摩托车据传是根据某位开发者的摩托车设计的，这是真的吗？还是因为它是英国品牌而被选中的？
　　Lara rides a Norton StreetFighter bike in Tomb Raider during an FMV. It was rumoured it was designed off of one of the developers bikes. Is this true or was it chosen because it was British?

　　你认出摩托车的型号真是厉害！我自己可能都认不出来。我认为这并非基于任何开发者的摩托车设计。不过，我们的停车场里确实有几辆不错的摩托车！我记得艾德里安·史密斯有一辆很棒的阿普利亚，尼尔后来也买了一辆杜卡迪。但说实话，我不知道这款摩托车的选择来源。全动态视频艺术家与主要游戏设计师是分开工作的，他们可能根据自己的喜好选择了这款摩托车模型。
　　Well done for recognising the model of bike! I wouldn’t have had a clue!  I don’t think it was based on any of the developer’s bikes. However there were a couple of nice bikes in our carpark! I remember a very nice Aprilla that Adrian Smith owned, and Neal eventually purchased a Ducati but honestly? I don’t know where the choice of bike came from. The FMV artists worked separately from the main game designers and they would have made a choice on the model.

（劳拉骑着她的诺顿街头战士）
(Lara on her Norton StreetFighter)

　　蒂霍坎、夸洛佩克和纳特拉这些名字是从哪里来的？
　　Where did the names of Tihocan, Qualopec, and Natla come from?

　　在游戏开发过程中，我们有多位编剧参与，但他们都受到托比·加德的指导。我再次猜测，这些名字可能是来自编剧或者托比本人。由于时间久远，具体来源可能已难以考证。
　　We had several writers during the games development but all were guided by Toby Gard. Again I am speculating but I think those names came from either the script writers or Toby himself.

　　在《古墓丽影II》中引入车辆后，关卡设计相比古墓丽影有哪些变化？
　　How did level design change with the expansion of having vehicles in Tomb Raider II vs. Tomb Raider?

　　在《古墓丽影II》中引入车辆为游戏带来了新颖的元素，但同时也给我和尼尔带来了一些挑战。有时，在我们开始构建关卡时，车辆还没有完全成型，这使得关卡设计变得有些棘手。我不确定我们是否真正充分利用了车辆的优势。由于游戏开发时间非常紧张，我们几乎没有时间进行充分的试玩和调整，就不得不开始构建关卡。我们深知游戏必须在一年内完成。一旦车辆功能完善，我们就会对关卡进行了一些修改，但整个过程都非常紧张。不过，这绝对是值得的。在《古墓丽影II》中，首席程序员加文·拉默里在威尼斯的“运河竞速”关卡中发挥了重要作用，他负责构建了这个与时间赛跑的快艇关卡。我负责了这个区域的纹理，但由于时间紧迫，我没有机会亲自构建它。不过，在加文完成布局后，我成功地将一个关于桥梁的想法融入了场景中，那就是快艇撞破桥上窗户的场景。然而，这并没有完全达到我设想的“詹姆斯·邦德”式的动作场面效果，我原本希望能添加更多这样的区域。
　　Having the vehicles gave the second game something different and new but posed a few challenges for myself and Neal. Sometimes we didn’t have the vehicles in a final form when we began building the levels which made them a bit tricky to build. I’m not sure if we really used the vehicles to their full advantage. The game schedule was so tight that we just had to start building levels with little time to play and perfect them. We were aware that the game had to be ready within the year. We did modify levels once we had vehicles up and running but it was all very hectic. It was definitely worth doing though. Gavin Rummery the lead programmer in TRII had an input in building the ‘canal run’ for the speedboat, against the clock, in Venice. I textured this area but just didn’t have time to build it. I did however manage to pop a bridge idea I had into the scene after Gav had finished the layout. It was the area where the boat crashes through the windows above the bridge…however it never really was the ‘James Bond’ action scene I had imagined and I would have liked to have added many more areas like this.

　　您设计了古墓丽影的第一个关卡“洞穴”，这是每个玩家开始游戏的地方，劳拉的旅行向导被狼杀死，她突然独自踏上探索之旅。这个关卡开启了游戏玩法，吸引玩家继续游戏，并为整个游戏定下了基调。这是一个巨大的责任，因为只有玩家对第一个关卡满意，他们才会继续玩下去。您是如何设计这个关卡的？团队为何信任您来承担这一重任？
　　You designed “Caves”, the first level of Tomb Raider.This is where everyone starts the game with Lara’s travel guide murdered by wolves and she is suddenly on her own to explore. This level opens up the game play, grips the gamer to keep playing, and sets the tone for the game. This is a huge responsibility because only if the gamer is happy with the first level they will continue to play the game. How did you go about designing this level? Did you have prior experience that made the team trust you with this responsibility?

　　我认为团队信任我，但他们也知道如果需要，他们会随时支持我。我自信地投入到关卡设计中。在构建游戏的第一个关卡时，我并没有感到任何压力，因为我不知道最终会有数百万人玩这个游戏。如果我知道游戏会如此成功，我可能会更加紧张。我非常享受设计这个关卡的过程。我们用来创建环境的房间编辑器有一些限制，但我巧妙地利用了这些限制。洞穴系统意味着玩家不会质疑天空和景观的缺失，因为用当时的引擎很难制作出这些元素。我本想打开村庄区域的屋顶，但当时技术条件不允许。不过，我仍然尽力在有限的条件下创造出一个引人入胜的关卡。
　　I like to think that the team trusted me but always knew they were there to support me if I needed them. I approached the level design confidently.  I didn’t feel any pressure about building the first level of the game as I had no idea that millions of people would eventually play it. If I had known what a success the game would become then I may have been more nervous. I enjoyed designing this level very much. The Room Editor that we used to create the environments had limitations which I used to my advantage. The cave system meant that players didn’t question the lack of sky and landscape which was difficult to produce with this engine. I would have liked to have opened up the roof of the village areas but that was not possible at the time.

　　关卡开发的过程是怎样的？设计的灵感来自哪里？
　　What was the process for developing a level? Where did you take inspiration from with the design itself?

　　首先，我们会选择一个我们感兴趣的地点。然后，我们会围绕这些地点的有趣区域发展想法。在团队会议上，我们会讨论谜题的设计思路，然后我和尼尔会开始构建关卡，用纹理创建和装饰场景。我们会触发地图，添加敌人、灯光、音效等元素，然后将关卡输出以供测试。
　　Firstly we would choose a location that interested us. Then we could develop ideas around interesting areas of those locations. We would discuss puzzle ideas at our team meetings then myself and Neal would begin building the levels, create and decorate the scene with textures. Trigger the maps and include baddies, lights sound effects etc. then output the level for testing.

　　您负责设计了各种各样的旅行地点，既有虚构的也有真实的。您是如何让威尼斯感觉像是威尼斯，希腊感觉像是希腊的？您是如何保持与这些地点的共鸣，以便相应地设计它们的？
　　You were responsible for a wide variety of travel locations, fictitious and real. How did you keep Venice feeling like Venice?Greece feeling like Greece? What kept you in tune with that location to design it accordingly?

　　互联网、书籍和照片是我们唯一的资源。我们本想去实地考察，但很遗憾没有这个机会。我们尽量通过收集到的资料来还原每个地点的特色，让玩家在游戏中能够感受到真实或虚构世界的氛围。
　　The internet, books and photographs were our only source. We would have liked to go out to locations but we didn’t get that opportunity.

　　关于第一款游戏，有说法认为劳拉的敌人主要是动物和生物，因为杀死人类被认为是“残忍”的。然而，在《古墓丽影II》中，特别是在威尼斯的场景中，这一设定被打破了。是什么导致了这一变化？
　　In regards to the first game it was stated that Lara’s enemies are primarily animals and creatures since killing humans was considered “cruel”. This however was thrown out the window in Tomb Raider II with the primary enemies (especially in the Venice locations). What made this change?　

　　我们希望在第二款游戏中加入一些新鲜感，因此引入了更多的人类目标，以暴力的黑帮分子为主，而不是无辜的路人。不过，从游戏的角度来看，我一直很喜欢动物目标，尤其喜欢翻滚并射击狼。
　　We wanted to add a freshness to the second game so introduced more human targets in the form of violent gangsters rather than innocent bystanders. I always enjoyed the animal targets from a gaming point of view though. Particularly the wolfs which I enjoyed tumbling over and shooting.

　　在印经院中，僧侣们通常对你是和平的，除非你向他们开枪。他们才会攻击你。否则，他们只会保护你并消灭坏人。这个独特的概念是如何形成的？
　　In the Barkhang Monastery the monks are peaceful to you unless you shoot them.Only then do they attack you.Otherwise they only protect you and take out the baddies.How was this unique concept established?　

　　在设计阶段的一次团队会议上，我们讨论了寺院关卡要有点与众不同。玩家总是以可以射击任何事物的态度来对待每个地点。然而，我们相信劳拉是有良知的，她可能不应该随意射击和平的僧侣。但我们仍然希望他们在关卡中出现，因此妥协的结果是，他们只有在受到攻击时才会反击。我认为这是我们为数不多地明确规定了劳拉可以杀死哪些敌人的界限之一。
　　We discussed doing something a little different with the monastery level in a team meeting, at the design stage. Players have always approached each location with the attitude that they could shoot anything. However we did believe that Lara had a conscience and probably shouldn’t go in shooting peaceful monks. We still wanted them in the level so the compromise was that they only fired back if attacked. I think this was one of the few times we drew the line at what Lara was encouraged to kill.

（《古墓丽影 II》中印经院的僧侣）
(monks in Barkhang Monastery, Tomb Raider II)

　　在古墓丽影的“失落山谷”关卡中，我们突然遇到了恐龙，包括一只巨大的霸王龙。这个想法是怎么来的？
　　In Tomb Raider level “Lost Valley” we suddenly come across dinosaurs including a huge T-Rex.  How did this idea come about?　

　　有些想法，比如让霸王龙成为敌人，都是因为托比想增加一些乐趣。我们没有把自己过于限制在现实中。
　　Some of the ideas such as having a T-Rex as an enemy were included because Toby wanted to have fun. We didn’t restrict ourselves with too much reality.

　　在《古墓丽影I》和《古墓丽影II》中，都有一些比大部分游戏内容都更加狂野的关卡。这些场景在性质上是有机的，地点是真实的。在古墓丽影中，尼尔开发了亚特兰蒂斯的关卡。这个概念是如何产生的？
　　In both Tomb Raider and Tomb Raider II there are levels that are wilder in concept after playing a majority of a believable game.The settings are organic in nature and locations are real. In Tomb Raider Neal developed the Atlantis levels. How was this concept created?

　　是的，亚特兰蒂斯的关卡不是变得狂野就是变得有些奇怪，这可能与纹理有关。尼尔没有时间为这个关卡制作自己的纹理，所以我为他提供了。当时我正在寻找更奇怪的纹理来源，有一天加文带着一本医学界使用的人体解剖学书来了。这对我来说简直是完美的，我可以以此为基础制作一些非常令人不安和超现实的纹理。
　　Yes didn’t Atlantis turn out wild or possibly weird? That might have been partly due to the textures. Neal didn’t have time to do his textures for this level so I supplied them for him. I was looking into more bizarre sources for my texture library when Gavin arrived one day with a human anatomy book used by the medical profession. Perfect for me to use as a basis for some very unnerving and surreal textures.

　　您亲自负责了一个创意关卡“浮空之岛”。由于这个关卡没有真实的参考资料，您是如何设计的？您是如何为这个虚构世界选择布局和纹理的？
　　You were responsible for a creative level yourself, “Floating Islands”. How did you design this since there would be no real resource material? How did you choose layouts and textures for this imaginary world?

　　正如我之前解释的，我对之前使用的纹理创建方式感到厌倦，因此在亚特兰蒂斯和浮空之岛的纹理上变得更加大胆。浮空之岛的灵感来源于我在纪录片频道上看到的一个关于中国神话的节目。在中国的一个地区，由于特定的天气模式，会产生浮空之岛的光学错觉。中国人相信这些海市蜃楼是死后皇帝在天上的真实岛屿。
　　As I explained earlier I was getting bored of the format I was using to create my textures so became more adventurous with both the Atlantis textures and my Floating Islands. The inspiration behind the Floating Islands came from a programme I had seen on the Documentary Channel about Chinese myths. In a region in China an optical illusion of floating islands is created by particular weather patterns. The Chinese believed that these mirages were real islands in the sky belonging to the Emperors of the afterlife.

　　颜色和纹理的灵感来自玉石和龙火，玉石岛屿具有自发光纹理，赋予它们一种神奇的品质。
　　Jade and dragon fire inspired the colour palette and the Jade islands have a self-illuminating texture which gave them a magical quality.

　　在《古墓丽影官方档案》一书中，有一张机械恐龙的图片。这是否是一个真正打算加入游戏的概念图，还是印刷错误？
　　In the book the “Official Tomb Raider Files” there is a picture of a robotic dinosaur.Was this an actual concept that was going to make it into the game or was this a misprint?　

　　我认为这可能是印刷错误，但你永远不知道托比接下来会加入什么，所以它完全有可能是一个潜在的敌人。
　　I think it might have been a misprint but you never know what Toby was going to put in next so it could well have been a possible enemy.

（古墓丽影官方档案。神秘的机械恐龙和培根劳拉）
(The Official Tomb Raider Files. Mysterious robotic dinosaur and Bacon Lara)

　　在古墓丽影测试版中，与最终发布的游戏有很多不同之处。劳拉原本有辫子，戴着太阳镜，并且可以同时瞄准多个目标。还有哪些动作、概念和设计在最终发布时被放弃了？
　　In Tomb Raider Beta Version there were many differences to the released game. She had her braid, sunglasses on, and could aim at multiple targets.What other actions, concepts, and designs were dropped from the release?

　　劳拉的辫子原本是有动画的，一个程序员花了很多时间来编写代码，让辫子看起来自然且智能地摆动，但最终发现这是一种不必要的奢侈。辫子需要自己的检测和碰撞代码，并且使用了大量的多边形来创建。这意味着主游戏图形将不得不受到限制。由于显示限制，为了保留辫子，我们将不得不牺牲游戏中其他部分的细节。这种牺牲并不值得。至于能够同时瞄准多个目标，我认为这会让劳拉看起来有些混乱。我们只有很短的时间来开发古墓丽影，所以我们必须切实考虑我们能够实现的目标。这意味着一旦游戏开发开始，就几乎不会放弃什么。
　　Lara’s braided hair was originally animated and one programmer dedicated a lot of time to code a natural and intelligent swish to the hair but it was eventually realised that this was an unnecessary indulgence. It required its own detection and collision code and used a lot of polygons to create. This meant that the main game graphics would have had to be restrained. Display limitations would have meant that to keep the braid we would have had to sacrifice detail from other parts of the game. It wasn’t worth the sacrifice. As far being able to aim at multiple targets I think Lara started to look a bit tangled up. We only had a short time to develop Tomb Raider so we had to be practical about what we could achieve. This meant that very little was dropped once the game development began.

威尼斯，《古墓丽影II》
The Venice, Tomb Raider II

　　我们尝试给《古墓丽影II》编写多个剧本，甚至我也写了一个。虽然未被采用但我并不介意，因为有人告诉我它读起来像一部浪漫小说，我觉得这个评论很有趣。
　　There were several script writing attempts going on and even I wrote a script for Tomb Raider II that was not used in the game. It didn’t offend me as I was told it read like a romantic novel, and I found that comment amusing.

　　在《古墓丽影II》的“威尼斯”关卡中，建筑物反映了该地点的真实结构。作为“威尼斯”关卡的设计师，您使用了哪些资源来创建环境？您有机会亲自去拍照吗？
　　Venice” in Tomb Raider II has buildings that mirror real structures from that location. As the level designer of “Venice” what resourced did you use to create the environment?Did you have the opportunity to go and take your own photos?

　　不幸的是，我们没有时间去世界各地收集纹理。而且，我也不确定杰里米是否会相信我们能够远离酒吧。
　　We didn’t have time to travel the world sourcing the textures unfortunately. Besides I’m not sure Jeremy would have trusted us to stay out of the bars!

　　希瑟设计的关卡列表
　　List of levels that Heather designed

　　主要由希瑟·吉布森（我自己）和尼尔·博伊德在构建关卡，除了少数几个，比如埃及关卡“司祭盎圣域”，这是托比·加德在《古墓丽影I》中创建的，以及《古墓丽影II》中的中国关卡“西安庙宇”是由理查德·莫顿构建。首先，我将列出关卡及其设计师。然后，我将更详细地解释关卡的创建过程。
　　Primarily Heather Gibson (myself) and Neal Boyde built the levels with the exception of a few. Namely an Egypt level – Sanctuary of the Scion, which Toby Gard created in TRl and a China level – Temple of Xian in TRll which Richard Morton built. Firstly I will give you a list of the levels and the designer who created them. Then I will explain in a bit more detail how the levels were created.

　　《古墓丽影I》关卡
　　Tomb Raider l Levels

　　《古墓丽影II》关卡
　　Tomb Raider ll Levels

　　在《古墓丽影I》和《古墓丽影II》中，我们的第一步是从世界各地挑选我们感兴趣的历史地点。然后，大约每个月，我、尼尔·博伊德、加文·拉默里以及托比·加德或斯图尔特·阿特金斯会聚在一起讨论关卡的想法。如果团队中其他成员有时间，他们偶尔也会加入会议。我们会尝试为关卡构思一个大致的主题，然后在我或尼尔开始构建地图时进一步扩展这个主题。例如，在“圣方济各堂”关卡中，我们决定劳拉应该探索并发现四个与希腊神话相关的主要房间。可以将诸如“托尔之锤”这样的谜题融入这个关卡中。然而，我和尼尔会根据这些想法构建地图，包括陷阱、门、墙壁边缘、跳板、敌人和坏人。我们在创建关卡布局时享有自由。
　　On both TRl and TRII the first part of the process was picking historical locations from around the world which interested us. Then approximately once a month myself, Neal Boyde, Gavin Rummery and either Toby Gard or Stewart Atkins would meet to discuss level ideas.  Occasionally a few other members of the team might join in on this meeting if they had time. We would try to come up with a general main idea for a level and then I or Neal would expand on this when we began building the map.  For instance in St Francis Folly we decided that Lara should explore and discover four main rooms each linked to Greek mythology.  Puzzles such as Thor’s hammer could be incorporated into this level.  However I and Neal would then build a map around these ideas with traps and doors, ledges and jumps, doors and Baddies.  We had the freedom to create the level layout as we wished.

　　我几乎为所有关卡创建了纹理，除了尼尔的海洋关卡，那是他自己完成的。托比·加德想要在《古墓丽影I》中制作一个关卡，于是创作了“司祭盎圣域”。理查德·莫顿对参与未来的古墓丽影游戏感兴趣，因此在《古墓丽影II》期间，我教他如何使用房间编辑器，他创作了“西安庙宇”。
　　I created the textures for almost all of the levels with the exception of Neal’s Marine levels which he did himself.  Toby Gard wanted to have a play at doing one of the levels in Tomb Raider l and created the Sanctuary of the Scion.  Richard Morton was interested in working on future Tomb Raider games so during Tomb Raider ll I trained him how to use the Room Editor and he created the Temple of Xian.

尼尔·博伊德、杰森·高斯林、加文·罗默里、希瑟·吉布森、保罗·道格拉斯和托比·加德，核心设计工作室核心成员。
Neal Boyd, Jason Gosling, Gavin Rummery, Heather Gibson, Paul Douglas and Toby Gard. Core Design.

　　Ashka/Fiend for Lara Croft in Russia.

　　部分核心设计工作室档案
　　Part of the Core Design Archives

　　点击阅读本文的俄语版本。
　　Read this article in Russian

　　特别感谢塔蒂亚娜·莱茨尔和安迪·桑德姆。
　　Special thanks to Tatiana Leitzel and Andy Sandham. 

——原文网址：https://www.tomb-of-ash.com/interview-with-heather-gibson/