closecaption_tchinese.txt

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{
"#commentary\tf2-Comment000.wav"	"[Gabe Newell] 歡迎進入《絕地要塞 2》的世界。 經過九年的研發後，希望這款遊戲能證明大家的等待是值得的。 如果要聽評論內容，請將準心移到漂浮的評論符號上，然後按下你的使用鍵。 如果要停止評論內容，請將準心移到旋轉的節點上，然後再按一次使用鍵。 某些評論內容可能為了介紹遊戲特點，會暫時控制遊戲。 如果發生這種情況，請再按一次使用鍵，即可停止評論內容。  請您玩過遊戲後，與我分享你的想法。 請寄電子郵件：gaben@valvesoftware.com，我最喜歡的兵種是間諜。 謝謝，玩得愉快！"
"[english]#commentary\tf2-Comment000.wav"	"[Gabe Newell] Welcome to Team Fortress 2. After nine years in development, hopefully it will have been worth the wait. To listen to a commentary node, put your crosshair over the floating commentary symbol and press your use key. To stop a commentary node, put your crosshair over the rotating node and press the use key again. Some commentary nodes may take control of the game in order to show something to you. In these cases, simply press your use key again to stop the commentary.  Please let me know what you think after you have had a chance to play. I can be reached at gaben@valvesoftware.com, and my favorite class is the spy. Thanks, and have fun!"
"#commentary\tf2-Comment001.wav"	"[Jeremy Stone] 在多人遊戲中，玩家的滿足感大都是因為與其他玩家互動而產生。 為了提高玩家的互動性，我們特別設計了一些功能，增進玩家間的關係。 
例如，我們提供殺手的暫停畫面，讓玩家記住敵方特定的麻煩人物。 復仇者的功能也會提醒玩家，哪些特定敵人是比較重要的目標。 玩家如果復仇殺了對方，就有機會取得額外分數，這樣能在遊戲中製造一點負面的強制循環。"
"[english]#commentary\tf2-Comment001.wav"	"[Jeremy Stone] In multiplayer games, the content players consume is largely generated by other players.  To enhance this, we added features designed to promote relationships between players.  
For example, the freeze-cam shot of a player's killer helps the player remember specific, troublesome opponents.  The nemesis feature adds an additional reminder that certain enemies are more significant than others.  It creates a small negative reinforcement loop by giving players an opportunity to score extra points with a revenge kill.
"
"#commentary\tf2-Comment002.wav"	"[Laura Dubuk] 地圖需要不能通行的邊界，但是除非我們將遊戲環境限制到室內空間或陡峭的峽谷，否則我們無法永遠阻擋玩家看到邊遠、無法到達的區域。 在我們更為寫實的遊戲系列中，例如 HL2，這些邊界通常需要虛構及視覺的說明。 但是，在極具風格的《絕地要塞 2》世界中，明顯的人為設計，就是我們的核心設計原則，因此我們可以簡化或完全忽略這些合理的解釋，但是又不會影響玩家的體驗。 例如，遊戲測試發現，這些通往空曠地區的低矮柵欄，成功傳達出一個訊息，就是柵欄以外的區域很無趣，而且無法進入。"
"[english]#commentary\tf2-Comment002.wav"	"[Laura Dubuk] Maps require impassable boundaries, but unless we restrict the environments to either interior spaces or steep canyons, these boundaries can't always block the player's view of the outlying, unreachable area. In our more realistic titles, like HL2, these boundaries often require fictional and visual explanations. In the heavily stylized Team Fortress world, however, conspicuous artificiality is a core design principle and so we can simplify or altogether ignore these explanations without compromising the player experience. Playtesting showed, for instance, that these low fences leading to an empty expanse successfully conveyed the message that the area beyond the fence is uninteresting and out-of-bounds."
"#commentary\tf2-Comment003.wav"	"[Ariel Diaz] 《絕地要塞 2》中每個兵種經過設計，都有獨特的攻擊和防守技能，而各個控制點基本上就是要讓玩家注意到這些核心的攻擊和防守活動。 控制點還能將玩家帶到地圖的其他不同據點。"
"[english]#commentary\tf2-Comment003.wav"	"[Ariel Diaz] Each of the Team Fortress classes was designed to make a unique contribution to attack and defense, and control points are, fundamentally, methods of focusing players' attention on these core offensive and defensive activities. They're also useful for drawing players to different points of the map."
"#commentary\tf2-Comment004.wav"	"[Jeff Lane] 在我們原本的設計中，只要攻擊方離開據點，他們就會失去之前佔領據點的所有進度。 遊戲測試顯示，如果玩家孤單一人靠近敵方控制點，發現該區域有敵人，原始的設計會讓玩家沒有動機嘗試佔領據點。 此外，一旦團隊只剩一個防守點，實力稍強的攻擊團隊通常也無法成功攻下最後一個據點，完成全面佔領狀態，這讓許多遊戲演變成僵局。 我們更改了佔領方式，即使攻擊方離開據點，佔領進度也會保留一陣子，這項改善措施同時解決了原始設計的兩個問題。"
"[english]#commentary\tf2-Comment004.wav"	"[Jeff Lane] In our original design, once attackers were cleared off a point, they lost any progress they'd made toward capturing the point. Playtests revealed that lone players near an enemy control point had no incentive to try to capture it if any enemies were in the area. Furthermore, once a team was reduced to defending a single control point, the stronger attacking team was often unable to successfully assault the final point for the full capture period, which caused too many games to end in a stalemate. We changed the capture mechanic so that capture progress persists for a while even after the attackers are cleared off the point, and this improvement fixed both of the problems with the original design.
"
"#commentary\tf2-Comment005.wav"	"[Jim Hughes] 為了讓玩家享受有趣的導覽決策過程，我們必須根據玩家目前的兵種及地圖狀態，讓地圖的路線有效變化。 水道會提高我們走特定路線的代價，因為游泳的速度比跑步慢。 Spy 通常願意付出這樣的代價，這樣才能不被發現滲入敵方。 Pyro 會避免付出這樣的代價，因為他們無法在水底下使用主要武器。 如果敵方的防守堅強，任何兵種如果想從後方攻擊，走水路就很值回票價。"
"[english]#commentary\tf2-Comment005.wav"	"[Jim Hughes] To give players interesting navigation decisions, routes through a map should vary in effectiveness based on the player's current class and the state of the map. Water lets us increase the cost of taking a particular route, because swimming is slower than running. Spies often accept that cost in order to infiltrate undetected. Pyros avoid it because their primary weapon is useless underwater. If the enemy has a strong defense, the increased cost of the water route becomes a worthwhile tradeoff for any class trying to hit the defenders from behind."
"#commentary\tf2-Comment006.wav"	"[Iikka Keranen] 我們以 1/16 的比率建立 3D 天頂空間 (Skybox)，減少大量空間需要的記憶體。 這代表當火車在天頂空間和玩家間移動時，我們需要一點小聰明才能處理這樣的畫面。 其實每次火車移動都有兩種版本；一個是實際玩家比例，用於實際的遊戲空間，另一個極小的版本則是用於天頂空間。 中央建築每一側的小型修復分水嶺，剛好可以掩飾我們在兩輛火車間交換的位置。"
"[english]#commentary\tf2-Comment006.wav"	"[Iikka Keranen] We build our 3d skyboxes at 1/16th scale to reduce the memory used by the large spaces in them. This means we have to get a little tricky when dealing with trains moving between the skybox and the player space. There are actually two versions of each moving train; A player-scaled one for the actual gameplay space, and a tiny one out in the skybox. The small repair sheds on either side of the middle building disguise the point at which we swap between the two trains."
"#commentary\tf2-Comment007.wav"	"[Andrea Wicklund] 在理想狀態下，每回合結束時，應該有一隊贏家，另一隊是輸家。 僵局基本上就是兩對都失敗。 為了避免僵局，我們的地圖設計考慮到兩個變數：隊伍重生時間以及從重生點到前線的行進時間。 快贏的隊伍重生的時間會快一點，而且重生點會往前移一點，這樣能製造積極的強制循環，提高他們往前推進，贏得勝利的機會。"
"[english]#commentary\tf2-Comment007.wav"	"[Andrea Wicklund] Ideally, matches should end in a victory for one team and a loss for the other. Stalemates are essentially a loss for both teams. To avoid stalemates, our map design considers two key variables: team respawn times and travel time from the respawn point to the frontline. The team that's winning gets slightly faster respawn times and more forward respawn points, a positive reinforcement loop that increases the chances for them to push forward and win the game."
"#commentary\tf2-Comment008.wav"	"[Dave RIller] 為了配合 Sniper，地圖需要寬廣開闊的空間、較長的視線以及保護的掩護點。  Sniper 的目標需要另一條路線，繞過 Sniper 的視線，但繞路通常要付出額外代價，例如行進時間會變長。  這樣能讓玩家選擇：他們要走比較直接但危險的路線，或者較安全但較慢的路線？  Sniper 的位置通常會有相對的敵方狙擊平台，位於競技場的另一方，讓 Sniper 可以彼此對抗，掩護位於暴露區域的隊友。"
"[english]#commentary\tf2-Comment008.wav"	"[Dave Riller] To accommodate snipers, maps need wide open spaces, long sightlines, and protective cover.  Targets of the Sniper require alternate routes that bypass the Sniper's sightlines, though these usually have an additional cost, such as increased travel time.  This leaves players with a choice:  do they take the more direct, but hazardous route, or the safer yet slower route?  Sniper positions generally also have a corresponding enemy sniper deck, positioned on the other side of the arena, which allows one sniper to counter another, offering cover for teammates in exposed areas."
"#commentary\tf2-Comment009.wav"	"[Bay Raitt] 僵局通常發生在門附近，隊伍在開口兩側通常會有較強的防禦兵力。 為了協助對抗這種情況，我們提供其他的路線，但行進時間會拉長，通常只有敵方在主要路線後方佈下防守重兵時，這種路線才比較有吸引力。 進入敵方據點的入口數量是設計地圖的關鍵，因為敵人從多線進攻時，會很難守住一個區域。 這讓單向出口成為有用的設計工具，因為這能讓我們分離敵方入口點的數量與友方防守路線的數量。"
"[english]#commentary\tf2-Comment009.wav"	"[Bay Raitt] Stalemates generally occur around doors, where teams have a strong defensive presence on either side of the opening. To help counter this, we provide alternate routes with high travel costs that become more attractive only when the enemy has strong defenses behind the main route. The number of enemy entry points into an area is crucial to its design, since it's extremely hard to hold an area when enemies approach from multiple fronts. This makes one way exits a useful design tool, since they let us uncouple the number of enemy entry points from the number of friendly offensive routes."
"#commentary\tf2-Comment010.wav"	"[Jamaal Bradley] 為了遊戲目的，我們有時候需要中和兵種的速度。 例如，這些中央門計時器的設計目的，是為了確保所有兵種可以在行動真正開始時，抵達地圖中段。 遊戲測試顯示，當門開啟時，讓隊伍以小組方式等待，比較有樂趣。 玩家期待戰鬥的心情，加上移動速度極快的火車，讓中間的控制點極具衝突氣氛。"
"[english]#commentary\tf2-Comment010.wav"	"[Jamaal Bradley] For gameplay purposes, we sometimes need to neutralize the speeds of the classes. For instance, these central door timers were created to ensure that all classes could make it to the middle part of the map by the time the action actually starts. Playtesting showed that it was more fun to have the teams waiting as a group as soon as the doors open. The anticipation of battle, combined with the hazardous moving trains, creates a great opening clash for the middle control point."
"#commentary\tf2-Comment011.wav"	"[Matt Boone] 防彈玻璃在強兵防守的區域，例如控制點附近，是實用的設計工具。 這讓進攻隊伍有機會看見敵方的防守兵力及步哨防禦槍的位置，同時讓防守隊伍能清楚看見攻方集合的情況。 如果攻方正在等待 Medic 補充無敵狀態，這樣的設計通常對守方很重要。"
"[english]#commentary\tf2-Comment011.wav"	"[Matt Boone] Bulletproof glass is a useful design tool in strongly defended areas, such as around control points. It gives the offensive team a chance to see enemy defenders and sentrygun positions, while affording the defensive team a good view of the gathering attackers. This is often crucial for the defense if the offense is waiting for a Medic's invulnerability charge."
"#commentary\tf2-Comment012.wav"	"[Matthew Russell] 在攻/守地圖上，僵局通常是因為攻方的隊伍配置不佳，導致他們只能撞牆看著計時器的時間流逝。 為了避免這種情況發生，我們會設法讓可能失敗的狀況，像滾雪球一樣儘快成為真正的輸局。 遊戲一開始的時間很短，只要攻方成功佔領一個點，時間就會增加一點。 這樣一個回合可以盡快結束，並讓遊戲進行時保持高度張力。 回合的時間太長就無法促成我們想要製造的急迫感。"
"[english]#commentary\tf2-Comment012.wav"	"[Matthew Russell] On Attack/Defend maps, stalemates generally involve a weakly positioned attacking team beating its head against the wall as the timer bleeds out. To avoid this, we encourage likely losses to snowball into actual losses as quickly as possible. We start with a short time limit, and then add time whenever the offensive team succeeds in capturing a point. This way the round plays out in as short a time as possible and keeps the tension high throughout. Long round times aren't conducive to the sense of urgency we want to create."
"#commentary\tf2-Comment013.wav"	"[John Cook] 設計可防禦的建築時，高度是一項實用的特徵。 例如，守方必須從各個方位防手佔領據點 B (Cap B) 建築。 建築的高度加上各邊的窗戶，讓建築中的守方利於防守，尤其是從建築內部發射火箭及榴彈。 某些窗戶則使用防彈玻璃，讓他們可以安全看到接近的敵人。"
"[english]#commentary\tf2-Comment013.wav"	"[John Cook] Height is a useful feature when designing defensible buildings. For instance, the Cap B building needs to be defended from all directions. The height, and windows on all sides, give defenders in this building an advantage, when launching rockets & grenades from within. Bulletproof glass in some windows lets them safely view approaching enemies."
"#commentary\tf2-Comment014.wav"	"[Jake Nicholson ] 針對 Soldier，我們特別注意設計空間的高度。 Soldier 通常要從上往下射擊對手，才能發揮火箭最大的擴散傷害。 這裡的屋頂讓他們能有這項優勢。 這邊的屋頂高度，只有士兵利用火箭跳躍才上得來，其他兵種通常無法爬上屋頂。 因為使用火箭跳躍時必須承受擴散傷害，因此 Soldier 必須犧牲一些生命值，換取空間高度的優勢。 利用高度，加上在屋頂上缺乏生命值，讓我們可以保持這項強大優勢，同時又不會破壞地圖平衡，因為 Soldier 需要依賴下方的 Medic 保持他們的生命值。"
"[english]#commentary\tf2-Comment014.wav"	"[Jake Nicholson ] For Soldiers, we design spaces with specific attention to height. Soldiers generally want to be shooting down at opponents to maximize the effect of their rockets' splash damage. The rooftop here gives them that advantage. It can also only be reached with the soldier's rocket jump, making it generally inaccessible to the other classes. Because of the splash damage from a rocket jump, soldiers have to trade health for the height advantage. This tradeoff, coupled with the lack of health on the roof, lets usmake the rooftop a powerful advantage without unbalancing the map, since soldiers will need to rely on medics down below to keep them healthy."
"#commentary\tf2-Comment015.wav"	"[Dave Riller] 為了配合 Scout 兵種，地圖需要開放空間，讓 Scout 能沿著其他兵種無法導航的路徑，進行雙重跳躍。  這一區有各式各樣的屋頂及岩石供 Scout 橫越，同時不會遇到任何非 Scout 的對手。  Scout 通常利用他們的速度優勢撤退並恢復生命值，因此，在這裡我們治療品放在小型的封閉區域，讓他們必須犧牲某種程度的移動自由，強迫他們承擔一些風險。"
"[english]#commentary\tf2-Comment015.wav"	"[Dave Riller] To accommodate the scout class, maps need open spaces that allow scouts to double jump along paths that the other classes can't navigate.  This area features a variety of rooftops and rocks that a scout can traverse while staying above any non-scout opponents.  Scouts often use their speed advantage to retreat and collect health, so here we force them to adopt some risk by placing the health inside a small, enclosed area, where they sacrifice some freedom of movement."
"#commentary\tf2-Comment016.wav"	"[Matt Boone] Spy 是專為想要智取對手的玩家而設計。 如果層次更高，他要在遊戲中滲透敵方隊伍，在偽裝時四處行動，並使用他的背刺技能立即殺掉敵人，尤其是 Sniper、Engineer 及 Medic。 他的隱形能力則是為了在兩種關鍵情況中協助他。 第一種是通過前線；前線的玩家通常會提高警覺，並且很容易懷疑行進方向不對勁的隊友。 第二種情況是，如果他還位於敵人領土，但卻被識破偽裝，要從敵方逃脫時。 他的電子破壞器則能讓他輕鬆解決無人看管的敵方步哨防禦槍，敵方 Engineer 被迫必須看緊他們的建築。"
"[english]#commentary\tf2-Comment016.wav"	"[Matt Boone] The Spy is designed for players who want to outsmart their opponents. At a high level, his gameplay flow is to infiltrate the enemy team, move around while disguised, and use his instant-kill backstab to take out key enemies, usually snipers, engineers, and medics. His invisibility cloak is designed to help him in two key situations. The first is in getting past the frontline, where players are most vigilant against enemies and most suspicious of friends not heading in the right direction. The second is in escaping from enemies who have seen through his disguise while he's in enemy territory. His sapper was designed to allow him to easily take out unattended enemy sentryguns, forcing enemy engineers to keep a close eye on their buildings."
"#commentary\tf2-Comment017.wav"	"[Eric Kirchmer] 要平衡 Engineer 由人工智慧控制的步哨防禦槍的優勢，是《絕地要塞 2》中稍微困難的設計問題之一。 如果防禦槍的威力太大，只有實力最堅強的玩家才能對抗防禦槍。 如果防禦槍的威力太弱，Engineer 沒有機會對抗實力堅強的玩家，這樣一定會讓 Engineer 完全找不到建造防禦槍的理由。 我們的解決方式，就是讓步哨防禦槍只能有兩種反應方式：對於不找掩護的對手，步哨防禦槍可以發揮致命威力，但是如果敵人以掩護方式突然出現，步哨防禦槍則無法聰明地對付敵人。 這樣能強迫 Engineer 使用他們的次要武器技能，彌補步哨防禦槍的邊角弱點，如果敵人試圖衝過步哨防禦槍，則步哨防禦槍會是難以跨越的障礙。"
"[english]#commentary\tf2-Comment017.wav"	"[Eric Kirchmer] Balancing the strength of the Engineer's AI-controlled sentrygun was one of more difficult design problems in Team Fortress 2. If the gun was too powerful, only the most skilled players would be able to counteract it. If the gun was too weak, the Engineer would have no chance against skilled players, effectively eliminating any reason to build it in the first place. Our solution was to make the sentrygun essentially binary in the sense that it's lethal to opponents who don't take cover, but can't intelligently deal with enemies popping in and out of cover. This forces the Engineer to use his own secondary weapons skill to compensate for the sentrygun's corner weakness, while still making the sentrygun a formidable obstacle for any opponent simply attempting to sprint past it."
"#commentary\tf2-Comment018.wav"	"[Andrew Burke] Scout 的設計目的是讓玩家能快速移動，同時追蹤目標。 其他戰鬥兵種依靠的是強大傷害力，但 Scout 則依靠高速移動及雙重跳躍的能力，避開敵人火力。 Scout 的戰鬥風格大多都是根據主要武器機槍設計而成。 機槍能造成大量傷害，但範圍很廣，因此迫使 Scout 要接近敵人才能發揮所有威力，這樣他受傷的風險也很高。 機槍的攻擊速率很慢，讓 Scout 必須暫時停下來才能開火，接著閃躲，然後又暫停，接續這樣的動作，這讓敵人在間隔中有很高的機會可以打中他。 最後，機槍的彈匣小，裝彈的時間慢，這是為了讓 Scout 脫離戰鬥才能新裝子彈，Scout 可以利用速度優勢輕易完成這項工作，也讓受傷的敵人有機會在 Scout 回來前逃走。"
"[english]#commentary\tf2-Comment018.wav"	"[Andrew Burke] The Scout is designed for players who are able to rapidly move around while tracking their target. Where other combat classes rely on high amounts of damage, the Scout relies on his high movement speed and double jump ability to dodge enemy fire. Much of his combat style is crafted through the features of his primary weapon, the scattergun. It does a large amount of damage, but has a wide spread that forces him to get close to the enemy for full effect, where he's also at highest risk of being hurt. It has a slow rate of fire that encourages him to pause to fire, then dodge, then pause, and so on, which gives enemies a higher chance to hit him at intervals. Finally, it holds a small clip and a slow reload time to encourage the Scout to pull out of combat to reload, something which he can do easily with his speed, and gives injured enemies a chance to run before the Scout returns."
"#commentary\tf2-Comment019.wav"	"[Dhabih Eng] Soldier 是核心戰鬥兵種，具備多種移動能力，以及優越的長距離傷害能力。 經過設計，他幾乎能在任何戰鬥情況中如魚得水，而且是長射程反步哨防禦槍的最佳兵種。 他的主要弱點是根據主要武器火箭發射器而設計。 火箭發射器的彈匣小，這讓 Soldier 必須謹慎重新裝填彈藥，而且發射的是相對移動速度慢的發射彈，如果在短射程內遇到能輕易閃躲的敵人，例如 Scout，則火箭發射器幾乎無用武之處。"
"[english]#commentary\tf2-Comment019.wav"	"[Dhabih Eng] The Soldier is a core combat class featuring versatile movement and terrific long range damage capability. He's designed to be comfortable in almost any combat situation, and to be the best long-range anti-sentrygun class. His main weaknesses are designed into his primary weapon, the rocket launcher. It has a small clip size, which forces the Soldier to carefully manage his reloads, and it fires relatively slow-moving projectiles, making it ineffectual beyond short range against any opponent who dodges well, like the Scout."
"#commentary\tf2-Comment020.wav"	"[Charlie Brown] 狙擊槍是另一個傷腦筋的設計問題。 為了符合玩家期待，狙擊槍必須在單發命中頭部時殺掉對手。 另一方面，我們要確保狙擊槍擊中敵人臀部時不會造成一樣高的傷害，因為只要是老經驗的玩家拿著狙擊槍，狙擊槍就變成遊戲中最致命的短程武器，等於讓 Sniper 完全沒有主要弱點。 為了解決這個問題，我們採用了攻擊傷害計量器，這只會在 Sniper 將畫面拉近時才會出現。 這個方法有幾項有利的副作用： 
不拉近畫面或剛拉近畫面時的傷害低，能確保 Sniper 無法臨時輕鬆開火就殺死敵人。 攻擊時間代表 Sniper 可以快速造成低傷害，或以緩慢的間隔時間發出高傷害火力，這讓對手在一起快攻時可以壓制 Sniper。 如果 Sniper 在計時結尾時開火就能造成高傷害，這是對狙擊行為的獎勵，例如位找到不錯的優勢點，謹慎瞄準狙擊敵人。"
"[english]#commentary\tf2-Comment020.wav"	"[Charlie Brown] The sniper rifle was another tricky design problem. To meet players' expectations, a sniper rifle has to be able to kill an opponent with a single shot to the head. On the flip side, we need to ensure it can't be snap fired from the hip with the same effect, because then, in the hands of an experienced player, it also becomes the game's most lethal short range weapon, negating the Sniper's primary weakness. To solve this, we implemented a charging damage meter that only appears when the sniper is zoomed. This solution has several beneficial side effects: 
The low damage both while un-zoomed and at the initial zoom ensures that Snipers can't kill opponents with impromptu snap fire. The charge time means Snipers can deal out low damage shots quickly or highly damaging shots at slow intervals, which allows opponents to overwhelm them with a coordinated rush. The high damage at the end of the charge rewards Sniper-esque behaviors, such as locating a decent vantage point and taking very deliberate shots.
"
"#commentary\tf2-Comment021.wav"	"[Marc Scaparro] Pyro 被設計成最佳短程戰鬥兵種，目的是為鼓勵玩家採用埋伏的遊戲方式。 為了達成這個目標，我們讓 Pyro 在空曠區容易受傷，強迫玩家找尋封閉區域及出入口。 為了增加 Pyro 的短程殺傷力，我們讓火焰噴射器的視覺效果非常顯眼，這樣能協助迷惘的對手找到火焰來源，並毀滅他們。"
"[english]#commentary\tf2-Comment021.wav"	"[Marc Scaparro] The Pyro is designed to be the best short-range combat class, aimed at encouraging players to adopt an ambush style of play. To achieve this, we made the Pyro vulnerable in the open, which forces players to seek out enclosed areas and doorways. To add to the Pyro's short range lethality, we made the flamethrower effects visually noisy, which helps disorient opponents long enough for the flames to finish them off."
"#commentary\tf2-Comment022.wav"	"[Wade Schin] Demoman 是最多功能的戰鬥兵種，能快速從強力推進攻擊，轉換為防守狀態。 他是遊戲中唯一具備間接火力的兵種，能在角落解決步哨防禦槍，而利用黏性炸彈能進行榴彈跳躍，類似 Soldier 的火箭跳躍技能。 他的黏性炸彈也能防止敵人從出入口移動、掩護撤退行動，即使不在控制點附近，也能防守控制點。"
"[english]#commentary\tf2-Comment022.wav"	"[Wade Schin] The Demoman is the most versatile combat class, capable of rapidly switching from strong offensive pushes to defensive area denial. He has the only indirect fire capability in the game, allowing him to take out sentryguns around the corner, and his sticky bombs give him a grenade jumping ability similar to that of the Soldier's rocket jumps. His sticky bombs can also prevent enemies from moving through doorways, cover a retreat, and defend control points even when the Demoman is somewhere else."
"#commentary\tf2-Comment023.wav"	"[Keith Huggins] Heavy 的轉管機槍火力範圍廣，玩家即使沒有精確瞄準的技能，也能衝進激烈戰鬥區。 為了補償玩家缺乏精確瞄準的能力，我們強化了其他技能的重要性。 例如，開火前的轉動時間，加上 Heavy 開火時速度會降低，強迫玩家要學著預測戰鬥開始及敵人來襲的攻擊時間。"
"[english]#commentary\tf2-Comment023.wav"	"[Keith Huggins] With its wide field of fire, the Heavy's minigun lets players who don't have great twitch-aiming skills still wade into the thick of combat. To make up for this reduction in the value of the player's aiming skill, we amplified the importance of other skills. For instance, the wind-up time before firing and the heavy's reduced speed while firing force players to learn to anticipate both the start of combat and incoming enemy attacks."
"#commentary\tf2-Comment024.wav"	"[John Morello] Medic 是主要的支援兵種。 我們之前設計的支援兵種有很多問題。 之前的支援兵種不太需要技術，因為他們主要待在防禦區的後方，也就是遠離遊戲中最有趣的部分。 最糟糕的是，這代表他們不太有用，因為他們通常不會在最需要治療的玩家附近。 我們設計《絕地要塞 2》的 Medic 解決這些問題，主要是讓他們待在交戰區。 此外，我們設計的醫療槍非常容易使用，因此 Medic 可以專心求生同時治療隊友。 醫療槍幾乎不需要瞄準，讓 Medic 可以專心跟隨他們的醫療目標，也讓醫療目標有強大的動機保護恩人 Medic 的安全。"
"[english]#commentary\tf2-Comment024.wav"	"[John Morello] The Medic is the main support class. Previous support classes we've designed had a variety of problems. They didn't require much skill, because they stayed back in defended areas, which also kept them out of the funnest parts of the game. Worst of all, this meant they weren't even terribly useful because they generally weren't near the players who most needed to be healed. We designed the Team Fortress 2 Medic to solve these problems, primarily by focusing on keeping them right in the thick of battle. Additionally, we designed the medigun to be as easy to use as possible, so that Medics can focus on survival while healing teammates. Virtually no aiming is required, which lets Medics concentrate on following their heal target, who has a huge incentive to keep his Medic benefactor safe."
"#commentary\tf2-Comment025.wav"	"[Aaron Halifax] 我們設計醫療槍的主要目標，是要建立 Medic 與治療目標間的深厚關係。  我們想知道，如果我們專注於建立兩個玩家間的關係，會得到什麼結果，而非只是設法讓大型隊伍團隊合作。  醫療槍的設計能確保 Medic 及他的治療目標意識到彼此的存在，注意他們的生命值及相對位置，並謹慎做出戰略。  我們希望玩家玩家利用技巧讓自己成為良好的治療目標，這樣 Medic 才願意找出並緊跟有作戰技術的目標。  這能協助培養我們追求的關係。"
"[english]#commentary\tf2-Comment025.wav"	"[Aaron Halifax] Our main goal in designing the Medigun was to build a strong relationship between the Medic and his healing target.  We wanted to see what we would get if we focused on creating a tight loop between two players, instead of just thinking about getting the larger team to cooperate.  The Medigun's design ensures that the Medic and his target are extremely conscious of each other, watching their health and relative positions, and making tactical choices carefully.  We wanted there to be skill involved in being a good healing target, so that Medics would seek out and latch onto skilled targets.  This helps foster the relationship we were after."
"#commentary\tf2-Comment026.wav"	"[Jakob Jungels] 無敵狀態能調整多人遊戲的速度，否則會讓多人遊戲的情緒起伏比設計良好的單人遊戲來得少。  進入無敵狀態的 Medic 及隊友進攻時，會讓他們覺得很刺激。  這對防守方而言也是緊急時刻，因為他們必須守住 10 秒，直到無敵狀態消失。  當敵方隊伍躲起來，不願意離開基地時，無敵狀態能協助隊伍推進防禦僵局，加快遊戲步調。  如果沒有守方的小衝突，攻方就比較容易在沒有干擾的情況下補充無敵狀態的能量。  此外，無敵狀態也是 Medic 的大目標，這是進行有效治療後的獎勵。 我們為了鼓勵這種行為模式，Medic 治療受重傷的隊友時，獲得的能量會比治療輕傷的隊友多。"
"[english]#commentary\tf2-Comment026.wav"	"[Jakob Jungels] Invulnerability adds an element of pacing to the multiplayer experience, which otherwise tends to have fewer emotional highs and lows than a well-crafted single player game.  When an invulnerable Medic & his friend come running in, it's an extreme high point for them.  It's also a rush for the defenders, who know they've just got to hold on for 10 seconds until invulnerability fades.  Invulnerability also sharpens pacing by helping a team push through a defensive stalemate, when the enemy team turtles up and refuses to come out of their base.  Without a lack of defensive skirmishers, it's easier for the offense to build up the invulnerability charge without interruption.  In addition, invulnerability is a great goal for the Medic and rewards him for being an effective healer. We encourage the behavior by adding more charge when the Medic is healing injured teammates than when he's healing ones who are already at full health."
"#commentary\tf2-Comment027.wav"	"[Jeff Lane] 多人玩家的社群通常比較偏好小隊地圖，重複進行遊戲。  因此，我們並不製作大量的地圖，因為有很多地圖根本乏人問津，我們選擇製作單一地圖，這張地圖本身具備許多樂趣，會讓玩家一玩再玩也不膩。  在大多數的多人地圖中，你會在地圖結束下載前就知道自己該做什麼。  但在我們的地圖中，我們希望玩家無法預測，即使是最基本的起點也要無法預測，更別提要預測玩家到達該地時要做些什麼。  因此 Hydro 這張地圖是以隨機的方式開始。  我們強調控制持續變換的領域，這代表玩家幾乎不會覺得地圖一再重複。  同時，明確的回合結構能讓隊伍保持專注，並在隊伍取得或失去領土時，能感受到高低起伏的情緒。"
"[english]#commentary\tf2-Comment027.wav"	"[Jeff Lane] Multiplayer communities tend to focus on a small group of maps, playing them over and over again.  Instead of producing a large number of maps, most of which would go un-played, we decided to try and build a single map with more innate replayability than any we'd built before.  With most multiplayer maps, you know what you'll be doing before the map has even finished loading.  In our case, we wanted a map where you couldn't predict even something as basic as your starting point, let alone what you would be doing when you got there.  Hydro therefore begins with a randomized starting state.  The emphasis on control of constantly shifting territories means the map rarely feels repetitive.  Meanwhile, the explicit round structure keeps teams focused, and provides regular highs and lows as the teams gain and lose territory."
"#commentary\tf2-Comment028.wav"	"[Kerry Davis] 遊戲顯示排名統計的方式，通常是比較全球玩家的記錄。  這種統計方式通常只對名列前茅的玩家有意義。  在 TF2 中，我們決定更好的排名統計方式，應該是比較玩家本身之前的成績，將全球比較系統變成個人化的鼓勵系統。 新手玩家在技術未純熟前就能得到鼓勵與認同，知道自己一直在進步。 遊戲老手則能知道自己與上次記錄的差距，這樣能鼓勵他們打破自己的記錄。  個人統計系統同時也是一種認證系統。 玩家如果覺得自己這回合表現不錯，統計系統會跳出，基本上會顯示：「沒錯，剛剛表現良好」。"
"[english]#commentary\tf2-Comment028.wav"	"[Kerry Davis] Games usually approach stats by comparing the player to everyone else in the world.  This is only really of interest to those who are near the top.  With TF2 we decided that a better approach might be to compare stats to the player's previous successes, turning them from a worldwide comparative system into a personalized motivational one. The beginning player gets encouragement and acknowledgement that while they're not highly skilled yet, they're getting better all the time. The veterans get to see when they've managed to come close to their previous record, which encourages them beat that record.  The personal stat system also acts as a validation system. When a player feels like they've had a really good run, the stats system pops up and essentially says, 'You're right, that was a great run.'"
"#commentary\tf2-Comment029.wav"	"[Andrea Wicklund] 遊戲的美術設計方向能提供越多易懂的視覺呈現，就不需要花太多功夫解釋遊戲元素。 TF2 的最早版本採用非常寫實的美術設計方向。 隨著時間演進，我們發現這會造成許多問題。  我們很難以滿意的方式呈現玩家兵種的差異。  只要武器不使用子彈發射，就很難以視覺化呈現。  我們的地圖與真實世界不符，因為真實世界中不會有敵對的陣營在距離彼此五十呎的地方建設基地。  此外，遊戲的視覺呈現也與我們的其他遊戲沒有明顯差異。  但是風格化的世界就不會有這些問題：將魁武的 Heavy 擺在穿細條紋的 Spy 旁，玩家就能瞭解兩種兵種的生命數值差異，以及大異其趣的操作風格。  測試玩家一看到漂浮的紅色加號流向目標時，就能輕易瞭解這是 Medic 的治療光束。  虛構的風格能輕易解釋為什麼隊伍的基地距離這麼接近。  最後，TF2 的畫面很容易辨識，沒人會把 TF2 和我們其他的遊戲搞混。"
"[english]#commentary\tf2-Comment029.wav"	"[Andrea Wicklund] The more your art direction can use well-understood visual representations, the less work you have to do to explain your game elements. The earliest version of TF2 had a heavily realistic art direction. As time went on, we found this was causing us a lot of issues.  The differences between our player classes were hard to expose satisfactorily.  Weapons firing anything other than bullets were hard to visualize.  Our maps didn't make a lot of sense in the real world, where two opposing forces rarely build bases within fifty feet of one another.  In addition, the game wasn't visually distinct from our other products.  A stylized world had none of these problems:  Put the massive Heavy next to the pinstripe-suited Spy, and players understand both the numerical health differences between the classes and their very different gameplay styles.  The medic's healing beam was easily understood by playtesters when they saw the floating red plus symbols streaming into the target.  A stylized fiction can easily explain why the team's bases are built right next to each other.  Finally, a TF2 screenshot is easily recognizable, ensuring that no one will confuse it with another of our games."
"#commentary\tf2-Comment030.wav"	"[Moby Francke] 決定採用風格化的美術方向後，我們實驗了很多種風格，最後才決定採用 J.C. Leyendecker 的風格，J.C. 是二十世紀初期大受歡迎的插畫家。 Leyendecker 呈現衣物及材料的手法，提供我們絕佳的範例，不僅能添加角色細節，同時又能保持簡潔、銳利的輪廓形狀，這是辨認兵種特色的關鍵。 我們使用一般地圖製造衣物的縐折，這在近看時能提供良好的細節層次，又不會降低吸引玩家看見極重要武器的色彩明度。"
"[english]#commentary\tf2-Comment030.wav"	"[Moby Francke] Having decided on a stylized art direction, we experimented with a variety of styles before settling on the example of J.C. Leyendecker, an enormously popular illustrator of the early 1900s. Leyendecker's rendering of clothing and material provided a great example of how to add detail to a character while keeping the clean, sharp silhouette shapes that were key to our class identification. We used normal maps to craft folds of clothing, which provided a fine level of detail when seen up close, without detracting from color values meant to draw the player's eyes to the all-important weaponry."
"#commentary\tf2-Comment031.wav"	"[Ariel Diaz] 多人遊戲中，角色是美術設計的重頭戲，因此我們耗費最多心力設計角色。  我們針對角色模型研發了讀取式階級，玩家只要看到模型，就能讀取所需的資訊。  我們的階級如下：首先，他們在哪一隊，其次，他們玩什麼兵種，第三，他們使用哪種武器。  我們讓每一隊都採用獨特的整體色彩，處理可讀取的團隊資訊，紅隊採用暖色系，藍隊則採用冷色系。  兵種的可讀取資訊則以角色的輪廓處理。 距離較遠與光線亮度不一時，獨特的輪廓及動畫形狀，比模型上再多的其他視覺細節更加容易辨識。 最後，我們特別強調武器的質感。 能吸引玩家目光、對比最強的區域，全都在角色模型的胸口附近，也就是他們持武器的地方。 此外，從角色雙腳附近的暗色，到胸口附近明亮區域的微妙變化，也能協助玩家注意武器。"
"[english]#commentary\tf2-Comment031.wav"	"[Ariel Diaz] Characters are the most important piece of art in a multiplayer game, so that is where we spent most of our effort.  We developed a read hierarchy for player models, prioritizing the information that players needed to be able to read merely by looking at the model.  Our hierarchy was this: first, what team they're on, second, what class they're playing, and third, what weapon they're wielding.  Team readability was addressed by adopting an overall color palette for each team, picking warm colors for Red and cool colors for Blu.  Class readability was addressed through the character's silhouette. Unique silhouette and animation shapes are more identifiable at far distances, and across a broader range of light levels, than any amount of other visual detail on the model. Finally, the weapon was highlighted through the textures. The areas of highest contrast, which attracts player's eyes, are all focused around the chest area of our character models, right where they hold their weapon. In addition, the subtle gradient from darkness around the character's feet, to the bright areas around the chest, also helps draw the player's eyes to the weapons."
"#commentary\tf2-Comment032.wav"	"[Charlie Brown] 玩家的兵種是 TF2 遊戲的骨幹。 有很多原因可以說明兵種為何是實用的設計工具。 兵種是一種隱性的體驗，遊戲中的各個兵種都有相對的獨特性。 厭倦一種兵種的玩家，可以轉換成其他兵種，獲得全新體驗。 兵種能讓我們滿足玩家對不同技能與希望的需求。 新手或老手都能同享遊戲的樂趣。 謹慎思考的玩家、注重策略的防守玩家，以及追求刺激成癮、熱愛強大火力的玩家，都能找到適合自己的兵種。 《絕地要塞 2》的兵種設計讓我們能在遊戲中提供大量的玩家技能，同時讓單一玩家的決策權保持在可控制的範圍內。"
"[english]#commentary\tf2-Comment032.wav"	"[Charlie Brown] Player classes form the backbone of TF2's gameplay. There are a bunch of reasons why they're a useful design tool. A class is a bottled up experience, designed to be unique relative to the other classes in the game. A player who is getting tired of one class can switch to another class and get a fresh experience. They allow us to cater to players with a variety of different skills and desires. Beginning and advanced players can have fun together. Cautious cerebral thinkers, strategic defenders, and twitch firing adrenaline junkies can all find their niche. Team Fortress 2's Class design decisions enable us to have a larger number of player abilities in the game, while still keeping a single player's decisions down to a manageable level."
"#commentary\tf2-Comment033.wav"	"[Robin Walker] 我們在 1999 年的 E3 遊戲大展首度展示 TF2，現在已經 2007 年了。 為什麼花了這麼長的時間？  簡單的答案就是，要花這麼多心力，才能達成我們滿意的成果。  而詳細的答案則需要讓大家看看我們的研發過程。  研發過程的核心就是假設我們事先並不知道怎樣的遊戲設計才有趣。  我們知道過去有趣的部分。  但如果我們有三個想法，我們無法肯定哪一個最有趣。  因此，我們專注於研發可重複的過程，找出最有趣的創意。  這是根據不斷重試的循環，盡可能讓許多玩家試玩遊戲，觀察他們的反應並做出評估。  在開發 TF2 的過程中，我們試過許多許多特色，只有幾個用在最後成品中，其他大部分都被刪除了。  例如，最初版本的 TF2 中，我們試圖以指揮官的概念製作遊戲，有一位單人玩家可以看到戰場的即時戰略視野。  他要負責建立團隊結構，並提供統一的團隊策略。  但這牽涉到艱鉅的設計挑戰。  例如，我們要如何設計一款遊戲，讓指揮官能享受樂趣，同時又能確保戰場上的其他玩家也覺得有趣？  我們要如何確保玩家和指揮官都重視彼此的付出？  萬一指揮官很糟糕，或者情況相反，如果你是傑出的指揮官，但隊員卻很糟糕，我們又要如何確保遊戲仍然有趣？  我們花了許多個月解決諸如此類的問題，可是從未找到滿意的答案。  此外，我們的遊戲變得太過複雜，因為我們試圖加重戰略層次，才能確保一開始就加入指揮官是有意義的。  最後，我們還是痛下決心刪除指揮官，繼續發展遊戲。"
"[english]#commentary\tf2-Comment033.wav"	"[Robin Walker] We first showed TF2 at E3 in 1999, and here we are in 2007. So what took us so long?  The short answer is that it took us this long to make something we were happy with.  The long answer requires a look at our development process.  At its core is the assumption that we don't really know ahead of time what will be fun.  We know what has been fun in the past.  But if we've got 3 ideas on the table, we can't say for sure which one will be the most fun.  So, we've focused on developing a repeatable process that will find out.  It's based on a cycle of constant iteration, where evaluation is done by watching as many people play the game as possible.  In developing TF2, we tried out many, many features-a few of which made it to the final product, but most of which were cut.  For example, our initial versions of TF2 were focused on trying to build a game around the concept of a commander, a single player who had a real-time-strategy view of the battlefield.  He was responsible for building structures and providing a unifying strategy for the team.  But there were significant design challenges involved.  For instance, how do we design the game such that the commander can have fun, and at same time ensure that the players down on the ground can have fun?  How do we ensure that the players & the commander value the output of the other?  How do we ensure that the game is still fun if you have a terrible commander, or conversely, if you're a great commander with a terrible team?  We spent many months working on these and other issues, and never reached a point where we were satisfied.  In addition, our game had become overly complex, due to our attempts to add a strategy layer deep enough to warrant the addition of the commander in the first place.  In the end, we made the hard decision to remove him from the game and moved on."
"#commentary\tf2-Comment034.wav"	"[Kelly Thornton] 我們為了強調遊戲節奏，因此爆擊成為主要的特色之一。 我們根據玩家最近的表現增加爆擊率，試圖以爆擊系統稍微影響遊戲的高低起伏。 總之，你表現越好，則你保持優越成績的可能性越大。 這能協助製造少見的高潮，單一玩家可能橫衝直撞，快速連殺 3 到 4 個對手。"
"[english]#commentary\tf2-Comment034.wav"	"[Kelly Thornton] Critical hits are one of the features that resulted from our focus on pacing. The critical hit system attempts to slightly influence the highs and lows of the game, by increasing the chance of a critical hit based upon the player's recent performance. In summary, the better you're doing, the more likely you'll continue to do well. This helps create those rare high moments, where a single player goes on a rampage and gets 3 or 4 kills in rapid succession."
"#commentary\tf2-Comment035.wav"	"[Adrian Finol] 《絕地要塞 經典版》與《絕地要塞 2》之間主要的改變之一，就是丟擲式的手榴彈被移除了。 
大部分的兵種可以攜帶標準手榴彈加上與兵種更加相關的次要手榴彈。 《絕地要塞 2》重視獨特的兵種角色，讓我們注意到比起某些主要武器，標準手榴彈更加能影響戰鬥過程。 這樣會導致兵種的戰鬥風格太過類似，這不是我們想要的效果。 此外，當我們回頭看《絕地要塞經典版》某些地圖僵局，會發現原因通常是大量的手榴彈轟炸。 有兩種狀況特別麻煩：一種是玩家重複透過出入口丟手榴彈，希望能打中可能經過的敵人；另一種情況則是快死的玩家會快速丟出所有的手榴彈，希望死時也能帶走一個敵人。 刪除標準手榴彈後，遊戲馬上就變得更有趣了，尤其是搞不清楚自己怎麼死的新手，並不知道滾過腳邊的手榴彈會爆炸。 我們檢驗兵種特定的手榴彈後，發現了類似的問題。 我們從遊戲測試中移除手榴彈，結果讓遊戲變得更有趣。 我們決定移除手榴彈後，分析了每個兵種，看看這個決策會讓每個兵種失去哪些能力。 如果我們發現兵種喪失的能力，會導致他們無法做出某些有趣的決定，而這些決定與特殊的手榴彈類型相關，我們就會加入其他能力作為彌補。"
"[english]#commentary\tf2-Comment035.wav"	"[Adrian Finol] One of the main changes between Team Fortress Classic and Team Fortress 2 was the removal of thrown grenades. 
Most classes could carry a standard hand grenade along with a secondary grenade, tied more closely to the class.  Team Fortress 2's focus on unique class roles led us to notice that the standard hand grenade was a more powerful combat decider than some of the primary weapons.  This made the classes more similar in combat-not a desired effect.  In addition, when we looked at some of Team Fortress Classic's map stalemates, they often resulted from large amounts of grenade spam. Two cases were particularly problematic:  That of players throwing grenades repeatedly through doorways, hoping to kill any enemies who might be there, and players on the verge of death throwing all their grenades in rapid succession, hoping to get a kill after they die.  Removing standard hand grenades made the game more fun almost immediately, especially for new players who were often confused as to why they died, when a grenade went off at their feet. When we examined the class-specific grenades, we found similar problems.  Eliminating them from playtests gave us yet another boost in making the game more fun.  Once we'd decided on removal, we analyzed each class to see what capabilities might have been lost as a result of the decision.  In some cases we added other capabilities, where we felt a class had lost the ability to make some interesting decisions, related to its special grenade type.
"
"#commentary\tf2-Comment036.wav"	"[Hamish McKenzie] 在遊戲研發的晚期，遊戲的其他部分都快完成了，我們發現還有時間可以做些額外的動畫。  當時我們有許多想法，包括武器特定的嘲笑動畫。  評估遊戲特徵時，我們會看這個特徵能與多少特徵連結，而嘲笑的特徵明顯勝出。  這項特徵與殺手的暫停畫面相輔相成，能增加復仇者與受害者間的敵對關係。  我們還能藉此展示新的臉部動畫技術，讓玩家從各種角度檢驗這項技術。 最後，TF2 的角色各有其獨特的性格，透過動畫及聲音表情嘲笑敵人，是顯示角色性格的最佳方式。"
"[english]#commentary\tf2-Comment036.wav"	"[Hamish McKenzie] Late in the project, while other parts of the game were being finished up, we found ourselves with some time left over for extra animation.  There were several ideas on the table, including weapon-specific taunt animations.  When evaluating a feature, we look at how many other features it connects to, and taunts were the clear winner.  They play well with the killer freeze-cam, adding to the relationship between the nemesis and his victim.  They gave us a highly visible place to show off our new facial animation technology, allowing the player to examine it from all angles. Finally, TF2's characters have a lot of personality, and taunts were the perfect way to show that personality through animation and voice acting."
"#commentary\tf2-Comment037.wav"	"[Eric Smith] 我們在《戰慄時空 2》中研發了所謂「回應規則」，這套系統能讓我們微調角色說台詞的方式，以回應無法完全預測的遊戲事件。 在《絕地要塞 2》中，我們首次將「回應規則」應用到多人環境中。 「回應規則」系統的運作方式，是在簡單的文字檔案中，列出說話的概念；如果遊戲中的事件，符合文字檔案中定義的規則或狀況，遊戲程式便會讓角色嘗試說話。 例如，玩家重新填裝武器彈藥時，程式會發出訊號，告訴「回應規則」系統現在適合讓角色說出與填裝彈藥相關的台詞。 「回應規則」系統會檢查遊戲世界的狀態，並將狀態與一套的規則比較，決定當時的說話概念最適合採用哪一句台詞。 如果玩家的生命值過低，他所說的裝彈藥台詞，可能會和生命值全滿時的台詞不同。 如果他在過去的 20 秒內殺死兩個以上的敵人，他可能又會說出特別的台詞，如果他在水中，可能又會換另一組台詞，以此類推。 將對話及規則保存在腳本檔案中，讓遊戲的作者不需任何程式支援，就能將台詞加入遊戲中。"
"[english]#commentary\tf2-Comment037.wav"	"[Eric Smith] For Half-Life 2 we developed something called Response Rules, a system that lets us fine-tune the way characters speak lines of dialog in response to game events that are not completely predictable.  In Team Fortress 2, we extended Response Rules to the multiplayer environment for the first time.  The Response Rule system works by listing speech concepts in a simple text file; the game code then makes characters attempt to speak when the rules or conditions defined in the text file are met in the game. For instance, when a player reloads his weapon, this signals the Response Rule system that now would be an appropriate time to speak a line about reloading. The Response Rule system checks the state of the world, and matches it to a set of rules that determine the best line of dialog to use for that speech concept.  If the player's health is low, he may speak a different reloading line than if he is completely healthy.  He could play a special line if he has killed more than two enemies in the last 20 seconds, another set of lines if he's underwater, and so on.  Keeping dialog and rules in script files gives the game's writers the ability to add speech to the game without needing any code support.
"
"#commentary\tf2-Comment038.wav"	"[Moby Francke] 早期我們討論如何呈現角色的風格時，決定要採用插畫式或風格畫的外觀，不要過度強調 Toon Shader 技術所造成的卡通感覺。 我們希望描影的線條能比此類遊戲的一般呈現方式來得柔和。  因此，我們使用 2D 質感定義角色上的光線，而在光線與陰暗的交界處，我們添加一點溫暖的色調，讓轉換處有色彩的爆發力。 一旦我們完成正確的光影模型，我們為角色加入邊緣線，這樣角色的輪廓邊緣就有加強的效果，讓角色在 3D 世界中更為顯眼。"
"[english]#commentary\tf2-Comment038.wav"	"[Moby Francke] In our early discussions of rendering styles for the characters, we decided we wanted them to have a look that was illustrative or stylized, without going to the extremes of most toon shaders. We wanted softer lines for shading than was typical for this sort of rendering.  So, we used a 2-D texture to define the lighting on the characters, and at the point where light and dark meet, we added a hint of warmth to give it that burst of color at the transition. Once we had achieved the right shading model, we added a rim-term to the characters, so they would have a nice highlight around the edges of their silhouettes, which helps them to stand out from the surrounding 3d world."
"#commentary\tf2-Comment039.wav"	"[Dhabih Eng] 粒子系統的挑戰，就是要建立有趣又帶有視覺刺激的效果，但是又不能「秀過頭」，這樣玩家會無法瞭解效果在遊戲中的意義。  在一般的競賽中，畫面上同時有許多效果，最大的危險就是畫面過於雜亂。  因此，我們修飾效果，讓畫面更加簡潔。  我們要讓玩家能更輕鬆看到遊戲中最重要的部分，而主要是美學考量的視覺設計則不要那麼明顯。  "
"[english]#commentary\tf2-Comment039.wav"	"[Dhabih Eng] The challenge of the particle system was to create effects that were fun and visually exciting, without being so 'over the top' that no one could read their meaning in the game.  In a typical match, there are so many effects onscreen at the same time, that the biggest danger is visual clutter.  Therefore, the effects were refined to be cleaner and simpler.  Those that were most important for gameplay were made easier to see, while those that were mainly eye-candy were allowed to fall into the background.  "
"#commentary\tf2-Comment040.wav"	"[Robin Walker] 遊戲中有九種兵種，加上許多武器及特殊能力，我們最大的挑戰之一，就是要將這些元素都呈現給玩家，但又不能過頭，導致玩家不知所措。  即使是基本資訊的精選清單也夠嚇人了，包括地圖目標、隊友的行蹤、誰用什麼武器攻擊他們等等。  我們沒有方法能以畫面呈現這些資訊，因此我們首先要列出優先順序，並且找出每位玩家在享受遊戲樂趣時，必須知道的基本資訊。  他們玩遊戲時能取得的資訊，例如地圖佈局，是次要的資訊，但像 Medic 的無敵能量這種資訊，若我們不提供，玩家就完全看不到了。  我們試圖盡量避免將 2D 元素加入 HUD，因為我們希望玩家看見的是 3D 世界，而非抽象的圖畫。  例如，玩家永遠能看見自己團隊中的 Spy 長什麼樣子，但他們也需要知道當我方的 Spy 偽裝時，在敵人的眼中是什麼模樣。  我們試過粗糙的方法，就是在 Spy 頭上放一個圖示，代表 Spy 目前的偽裝。  結果我們發現測試玩家很難理解這個圖示。   為了解決這個問題，我們嘗試將剪下的紙面具放在 Spy 臉上，這樣不只符合遊戲的幽默風格，而且玩家只要看一眼 Spy 的模型，馬上就能取得所有相關資訊，這樣能讓他們專注於角色及遊戲的行動。  我們也因此上了一課，瞭解如果我們堅守設計原則，最後通常能協助我們想出更好的解決方案，這比取巧走捷徑的效果好多了。"
"[english]#commentary\tf2-Comment040.wav"	"[Robin Walker] With nine classes of characters, and so many weapons and unique abilities, one of our biggest challenges was exposing all these combinations to players without overwhelming them.  Even the shortlist of essential information is intimidating, including map goals, the whereabouts of their friends, who's shooting them with what weapon, and so on.  We didn't have any way to make all of this information visual, so first we had to prioritize and come up with an essential list of things every player needed to know in order to just have fun.  Information they could learn by playing the game-such as map layout-was of secondary importance; but there was also information, such as the Medic's invulnerability charge, that would be completely invisible unless we exposed it.  We tried to avoid attaching 2D elements to the HUD as much as possible, since we wanted players to be looking at the 3D world we'd built rather than some abstract representation.  For example, players always see their own team's spies as a spy, but they need to know how the spy is disguised to the other team.  We tried a quick hack where we put an icon representing the spy's current disguise floating above his head.  The icon proved baffling to playtesters.   When we tackled the problem by putting cut-out paper masks on the spy, it not only fit the humorous style of the game, but it let players get all pertinent information directly from a quick look at the spy's model, thus keeping them focused on the characters and on the action of the game.  We took this as a lesson, in how holding ourselves to a strong design principle can often force us to come up with better solutions, than if we'd taken the easy route."
"#commentary\tf2-Comment041.wav"	"[Jason Mitchell] 為了讓角色的描影風格，能與影響我們遊戲美術設計方向一致，即二十世紀早期商業插畫風格，我們改變了角色身上擴散的照明變化。 這裡我們能看到 Soldier 以插畫的描影風格出現在《絕地要塞 2》中。 Soldier 由旁邊房間的光線照亮時，注意他的光線與暗影側邊之間的緊密轉換。 我們在這裡使用傳統光線 [將 r_identitylightwarp 設定為 1]，角色的明暗似乎太過柔和，與我們的插畫風格不符。 利用插圖式照明模型 [將 r_identitylightwarp 設定為 0]，遊戲中照亮角色的方式比較符合整體的美術風格。  插圖描影的另一個層面，就是打亮邊緣強調角色輪廓，讓角色不會與背景混在一起。 如果沒有邊緣的照明方式 [將 r_rimlight to 設定為 0]，角色會融入背景中。 加上邊緣照明後，[將 r_rimlight 設定為 1]，角色能在背景的其他部分突顯出來，比較符合《絕地要塞 2》的美術風格。"
"[english]#commentary\tf2-Comment041.wav"	"[Jason Mitchell] To achieve a style of character shading which is consistent with the early 20th Century commercial illustrations that influenced our art direction, we alter the diffuse lighting on characters. Here, we can see the Soldier as he appears in Team Fortress 2, using our illustrative shading style. Note the tight transition between the light and dark sides of the Soldier as he is lit by the light in the next room. Using traditional lighting as seen here, the character lighting appears too soft and does not fit our illustrative style. With the illustrative lighting model, our characters are lit in a way which better fits our overall art style.  Another facet of illustrative shading is the use of rim highlights to accentuate the silhouettes of characters to keep them from blending into the scenery. Without the rim lighting, the character blends into the background. With the rimlighting, characters are visible against the rest of the scene and better fit the art style of Team Fortress 2."
"#commentary\tf2-Comment042.wav"	"[Alden Kroll] 二次元的 HUD 要素造成特殊的美術問題，因為無論玩家使用哪一種解析度，畫面都必須清晰銳利。 根據目前高解析度寬螢幕的普及度，這需要大量的記憶體處理質感，而且還要花很多功夫預測不同的顯示解析度設定。 TF2 的問題更是棘手，因為我們希望在 HUD 中包含大量平滑線條的元素。 我們研發了新的 Shader 系統，描繪線條與色彩明顯的影像。  這套系統讓我們能以固定解析度製作影像，即使按比例放大到極高的解析度，也能呈現平滑的輪廓。 這套填色系統也能處理輪廓及陰影，而且能應用到 3D 空間的世界元素，例如號誌。  "
"[english]#commentary\tf2-Comment042.wav"	"[Alden Kroll] Two-dimensional HUD elements present a particular art problem, because they have to look good and sharp no matter what resolution the user is running their game at. Given today's availability of high resolution wide-screen displays, this can require a lot of texture memory and a lot of work anticipating different display resolutions. The problem for TF2 was even more daunting because of our desire to include a lot of smooth curved elements in our HUD. We developed a new shader system for drawing 'line art' images.  The system allows us to create images at a fixed resolution that produced smooth silhouettes even when scaled up to a very high resolution. This shader system also handles outlining and drop-shadows, and can be applied in the 3D space to world elements such as signs.  "
"#commentary\tf2-Comment043.wav"	"[Chris Green] 我們希望《絕地要塞 2》具備許多特殊粒子效果，來提升多樣的武器及兵種技能。 在 Source 引擎的前版中，所有例子效果都需要由程式設計人員撰寫的自訂程式。 在《絕地要塞 2》中，我們建立一套系統，讓設計師能快速建立新的粒子系統，並重複修改目前的粒子系統，而不需要程式設計人員協助。 遊戲中的編輯器讓設計師能編輯粒子系統的定義，並立即檢視遊戲中的效果。  編輯器也能讓美術設計師連結模組效果「建築方塊」，建立複雜的視覺效果。 針對粒子系統本身，我們將許多系統計算移到圖形加速器，這讓我們增加畫面上的粒子，又不會降低畫面速率。"
"[english]#commentary\tf2-Comment043.wav"	"[Chris Green] We intended Team Fortress 2 to feature many special particle effects to enhance the wide variety of weapons and class abilities. In previous versions of the Source engine, all particle effects required that custom code be written by the programmers. For Team Fortress 2, we created a system where designers can rapidly create new particle systems and iteratively refine existing ones, without programmer involvement. An in-game editor allows designers to edit the definitions of particle systems and immediately preview effects in the game itself.  The editor also allows artists to connect modular effect 'building blocks' to create complex visual effects. As for the particle system itself, we have offloaded many of the system calculations to the graphics accelerator, which allows us to increase the number of particles onscreen without reducing the framerate."
"#commentary\tf2-Comment044.wav"	"[Eric Kirchmer] 在我們掌握遊戲世界及角色的美術設計方向後，我們接著將注意力放到武器及道具上。 雖然這些東西都有現實根據，但我們通常會大幅改變它們。 例如，Soldier 的火箭發射器符合架在肩膀上的火箭發射器的模型，但是一個彈匣有四發火箭。 為了讓這樣的設計合理化，並強調風格化的間諜虛構故事，我們將外觀設計成能自訂的硬體，每個角色都能根據自己的需求修改武器，加以個人化。 為了符合遊戲的工業主題，我們參考了六零年代的產品設計原則來設計主要武器，然後參考樂器來設計次要武器及混戰武器，因為這樣能強化次要武器與每個角色性格間的關聯。"
"[english]#commentary\tf2-Comment044.wav"	"[Eric Kirchmer] Once we had a handle on the art direction for our world and characters, we turned our attention to the weapons and gadgets. While these objects have some grounding in reality, they usually diverge in significant ways. For instance, the soldier's rocket launcher fits the general mold of a shoulder mounted rocket launcher, but somehow manages to hold four rockets in a clip. To justify this, and play up our stylized Spy-tech fiction, we designed the weapons to look like customized pieces of hardware, personalized and modified by each character to suit his own ends. In keeping with the industrial theme of the game, we looked to 60's era product design principles for the primary weapons, then focused on musical instruments for secondary and melee weapons, thinking these would reinforce the connection between the secondary items and each character's personality."
"#commentary\tf2-Comment045.wav"	"[Jim Hughes] 設計高水準的戰鬥區時，我們試著避免過於複雜混亂的場面。  複雜的安排方式會讓玩家感到困惑，讓他們難以追蹤敵人，並干擾他們戰鬥時的移動及瞄準能力。 房間的大小無法容內在裡面戰鬥的玩家人數時，通常會讓戰鬥情況變得最混亂。  在地圖的最後區域，我們希望玩家能在取得決定性的勝利前，先自由進行激烈的戰鬥。  為了達成這個目標，我們建立了開闊的空間，加上幾個入口，並提供多種高度，讓玩家能以多種方式進攻及防守。 我們不採用電梯或階梯，而是採用斜坡，因為這樣玩家隨時都能自由移動，不會受到限制。  根據遊戲測試，我們大幅改變了房間尺寸、掩護元素和入口的大小，這樣能確保戰鬥區域可以容納許多玩家。  "
"[english]#commentary\tf2-Comment045.wav"	"[Jim Hughes] When designing areas for high levels of combat, we try to avoid complexity and chaos.  Complex geometry confuses players, making it hard for them to track enemies, and interfering with their movement and aiming during combat. The most chaotic combat tends to occur when the size of the room fails to support the number of players fighting in it.  In this final area of the map, we wanted a freeform battle to rage for some time before anyone could achieve a decisive victory.  To achieve this, we built a wide open area with several entrances, and gave players a variety of attack and defense options at various heights. Rather than depend on elevators and ladders, we relied on ramps, since these allow freedom of movement at all times instead of confining players.  Through playtesting we made many changes to the dimensions of the room, the size of cover elements, and the size of the entrances, thus ensuring the area could accommodate a battle of many players.  "
"#commentary\tf2-Comment046.wav"	"[Aaron Barber] Hydro 不像 TF 中的地圖有漸進的藍色及紅色側邊，例如 2fort 以及 Well，TF2 中的隊伍能擁有 Hydro 的四個主要競技場。 我們需要整體的主題合理化一些結構，例如岩牆及隧道，但是同時要保持中性的色彩組合。 我們選擇沙漠主題，以紅棕色岩石、冷調藍天及中性淺色系的色調，配合周遭環境。 不同區域的色彩有些許不同但仍可以彼此搭配。"
"[english]#commentary\tf2-Comment046.wav"	"[Aaron Barber] Unlike maps in TF such as 2fort and Well, which have progressively blue and red sides, Hydro's four main arenas can be owned by one team or the other. We needed an overall theme that justified structures like rock walls and tunnels, but which also had a neutral color scheme. We chose a desert theme with a palette of reddish-brown rock, cool blue sky and neutral light colors that complement the surrounding area. The colors of the seperate areas vary slightly but still key together.
"
"#commentary\tf2-Comment047.wav"	"[Chet Faliszek] 《絕地要塞 2》的配音員 Ellen McLain 聲音具有罕見的特色，是唯一可以替 Orange box 裡所有產品配音的配音員。  我們請 Ellen 為她在《絕地要塞 2》的角色，以不同方式唸出相同的台詞，讓她即興表現不同的個性。  在第五次試讀時，她表現了我們想要的感覺。 她所詮釋的邪惡巨頭統治者沮喪且帶點怒氣，讓玩家能夠清楚地知道，在《絕地要塞》裡，平手不代表大家都是贏家，而是大家都是輸家。"
"[english]#commentary\tf2-Comment047.wav"	"[Chet Faliszek] The announcer for Team Fortress 2, Ellen McLain, has the rare distinction of being the only voice actor to perform in all the products in the Orange box.  For her role in Team Fortress 2, we had Ellen try various reads on the same lines letting her ad-lib different personalities.  On the 5th try, she came up with the winner. Her disappointed and slightly angry evil overlord clearly lets you know, in the world of Team Fortress a tie does not mean everyone wins, but that everyone loses."
"#commentary\tf2-Comment048.wav"	"[Laura Dubuk] 這個區域造成棘手的問題。 因為競技場主要在室內，我們不能針對基本結構作大幅改變，因此我們著重於謹慎處理室內空間的形狀，使其盡量逼真。 建築本身是個方塊，有大型的長方形窗戶，與中央的圓形 (發電機) 產生對比。 為了製造深度及視差，我們添加了線性元素，例如軌道及纜線。 我們利用地板上的陰影及光線的明暗對比，加上走道來建立有趣的明暗格局。 這些元素結合在一起後，能讓玩家注意到旗子--旗子一定得是競技場的焦點。"
"[english]#commentary\tf2-Comment048.wav"	"[Laura Dubuk] This area presented a difficult problem. Since the arena is primarily an interior, there wasn't much we could do to alter its basic structure, so we concentrated on careful management of the interior shapes to create an iconic space. The building is essentially a box with big rectangular windows, contrasted by round elements (generators) in the center. To create depth and parallax, we added linear elements such as railings and cables. We used contrasting values of dark and light on the floor, with walkways to create an interesting value pattern. All these elements work together to draw the player's eye to the flag--which must always be the focal point of the arena."
}
}