暴雪《炉石传说》特效美术师Hadidjah Chamberlain（上图左）与Riot Games高级特效美术师Jason Keyser（右）联袂登台，分享了一系列适用于任何类型游戏的美术基本原则。

Hadidjah Chamberlain: Talking to Jason [Keyser] about visual effects, it became clear that our studio relies on a lot of the same principles, a lot of the same values that are at the core of our team, and we hope that those principles and values are broad enough to help a lot of you.

Hadidjah Chamberlain：在与Jason（Keyser）就视觉效果沟通的时候发现，我们的工作室依赖于很多相同的原则，很多同样的价值都是我们团队的核心，我们希望这些原则和价值足够宽泛，能够帮到你们很多人。

Jason Keyser：

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To the question "What does it take to be a VFX Artist?" This problem, we must from two aspects, one is left brain like technical orientation, the other is right brain art content, to become a qualified VFX artist, you need to have two aspects of knowledge.

When we talk about things on the left, it's often what we do as VFX artists: scripts, pipelines, what kind of code works, what features are needed, how do we build it... . It's all about the technical aspects.

对于“要成为VFX美术师需要什么？”这个问题，我们肯定要从两个方面来说，一个是左脑一样的技术向，另外一个是右脑艺术向内容，想要成为一个名合格的VFX 美术师，你需要有两个方面的知识。

当我们提到左边的东西时，往往是我们作为VFX美术师所要做的事情，比如脚本、管线，什么样的代码可行、需要什么功能、我们如何打造它…..一切都和技术方面的问题相关。

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Today, though, we'll focus on the right. Of course, it's not a complete list. There's a lot more you need to know. But we only have time to talk about these things today, these principles are more abstract, they're not that specific, just like the left brain likes logic, you can explain it in words, the right brain likes feeling, it's hard to explain it in words, but let's try it today and see what we can get out of it.

不过今天，我们的分享主要聚焦于右侧，当然，这并不是完整的列表，你需要知道的东西还有很多。不过，我们今天只有时间说这些东西，这些原则更为抽象，它们没那么具体，就像左脑喜欢逻辑，你可以用言语来解释，右脑喜欢感觉，很难用语言说清楚，但我们今天尝试一下，看看可以带来什么。

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Hadidjah Chamberlain: Those are the four principles we're going to talk about. Jason and I are both artists who work closely with designers in different positions, so we believe that especially for VFX artists, gameplay is king. In this context, the following principles need to be adapted to the demands of gameplay.

So, those are all the basic principles we're going to cover today, starting with gameplay.

Hadidjah Chamberlain：这些是我们即将讨论的四个原则，我和Jason都是与不同岗位策划紧密协作的美术师，所以我们相信特别是对于VFX美术师来说，玩法为王。在这种前提下，随后的几个原则都需要适应玩法的需求。

所以，这是我们今天即将谈到的所有基本原则，首先是玩法。

原则1：玩法为王

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Jason Keyser: Gameplay is at the heart of everything we do, and we actually don't think of ourselves as artists first, we're developers first. It's a very different question because, if you think through it, you think about what the game needs, whatever it is, and it brings a whole new perspective.

As a result, you may do some people experience time more than the game, you may pay more attention to explore or building, may focus on the other side of the adventure, perhaps strategy, puzzles, whatever it is, when we say we play, we are talking about the content, is to know your game, experience related to those things.

So, even if you do really high quality art, I don't know what the word is, if it doesn't support gameplay, then it's not important. No matter how beautiful our art is, if it doesn't support gameplay, then we're failing, and if our art takes the player's attention away from the experience we're trying to achieve or spoils it, then we're not there.

Jason Keyser：玩法是我们所做一切事情的核心，实际上，我们并不把自己首先当做一名艺术家，我们首先是开发者。这是个很有区别的问题，因为，如果你通过这个角度思考问题，就会考虑游戏需要什么，不管是什么方面，这就会带来全新的视角。

因此，你们某些人可能做体验的时间比做游戏更多，你们可能更关注探索或者建造，可能聚焦于冒险的其他方面，或许是策略、解谜，不管是什么，当我们说玩法的时候，我们说的就是这些内容，就是玩家了解你的游戏时，体验相关的那些东西。

所以，即便你做了非常高品质美术，我不知道该用什么词汇形容，如果它不支持游戏玩法，那么它就是不重要的。不管我们画的美术作品有多漂亮，只要不能支持玩法，那我们的工作就是失败的，如果我们的美术让玩家的注意力从我们希望达成的体验上离开或者破坏体验，那我们就没有达到目标。

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Hadidjah Chamberlain: Make friends with planners

Our first priority is that all of VFX's art resources have gameplay support, and becoming friends with curators is one of the quickest and easiest ways to do that. Don't just take mission instructions from the curators, don't just hand them over to your VFX colleagues, really talk to them, your curators will know what's important about gameplay, and at any stage of game development, especially online, they'll know how those goals have changed over time.

Game planners love to see what they imagine come true, and VFX is a way to make 5 points of damage an idealized effect. It can be fireballs, gunfire, lightning, so communicating effectively with game planners can give you a lot of information, which can give you a clear goal for your special effects.

Hadidjah Chamberlain：与策划做朋友

我们首要的任务是，VFX所有的美术资源都有玩法支持，与策划成为朋友是最快速、最简单的实现方式之一。不要只是从策划那里拿任务指引，不要只是转手交给VFX同事去完成，要真正地和他们沟通，你的策划会知道游戏玩法最重要的是什么，在游戏研发的任何阶段，尤其是在线游戏，他们会知道这些目标随着时间发生了怎样的变化。

游戏策划喜欢看到他们想象的东西成真，VFX则是让5点伤害成为理想化效果的方式，可以成为火球、枪火、闪电，所以，与游戏策划进行有效沟通可以给你带来大量信息，这可以给你做的特效带来清晰的目标。

Jason Keyser：

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League of Legends is a game with over a hundred characters (also called heroes), each with unique abilities, each requiring 5-10 special effects, and they are all unique.

To play the game, you join 10 characters in the game at the same time, each team has 5 heroes, they compete with each other, and then cast any skill in the game map. So, we need to think about something. First and foremost, we want every player to feel powerful.

For the player, you go into the game and you choose that character and you want to be as strong as that character, so it's a consideration: to feel unique, to feel good, and you want to feel strong, so the effects need to be bright, they need to be cool. So what you want is for the player to feel satisfied when they click the skill button.

You don't want to feel powerless, you don't want random factors to kill your hero, or you don't have time to react to things, so you need gameplay clarity.

《英雄联盟》是一款拥有一百多名角色（也叫英雄）的游戏，每个英雄都有独特的能力，每个都需要5-10个特效，而且它们都是独特的。

玩游戏的时候，你在游戏里同时加入10个角色，每个团队有5个英雄，他们彼此竞争，然后在游戏地图的各个地方释放任意技能。所以，我们需要思考一些东西。首先，我们希望每个玩家都觉得自己强大。

对于玩家来说，你进入游戏选择了那个角色，希望自己能够和那个角色一样强大，所以这是一个考量：感觉独特、感觉很出色，而且你希望自己的感觉是强大的，所以特效需要明亮、需要酷炫。因此，你想要做到的是，当玩家点击了技能按钮之后，他们能得到满足的感觉。

你不希望觉得无能为力，不希望随机的因素把你的英雄杀掉，或者没有时间对一些事情做出反应，所以你需要玩法清晰度。

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We started with a few simple jumps, but that wasn't enough to make a goal that felt powerful, felt wonderful, felt different, so we made some adjustments. The effect on the right looks powerful, but for a game like League of Legends, her footwork doesn't look that obvious.

While AOE damage can be seen, the visuals are misleading, and when Tristana is not doing damage, it doesn't feel like she has much of a presence, so we did another iteration that brought satisfaction, clarity, and a sense of uniqueness and difference.

Here I need to declare that I'm not trying to tell you in your own to do so in the game, if you are doing a game has hundreds of characters, can meet the requirements may be in the top right corner of the effect, if you want to let the role feel strong, may require the effect of the lower left corner, depends entirely on your game what you need.

我们最开始是从一些简单的跳跃开始的，但这并不足以带来感觉强大、感觉精彩、感觉与众不同的目标，所以我们做了一些调整。右边的效果看起来有了强大的感觉，但对于《英雄联盟》这样一款游戏来说，她的脚步特效看起来并不是那么明显。

虽然我们可以看到AOE伤害，但视觉效果是容易误解的，当崔丝塔娜没有造成伤害的时候，玩家们会觉得她没太大的存在感，所以我们又做了一次迭代，这次带来了满足感、清晰度，而且感觉独特和与众不同。

这里我需要声明的是，我不是在告诉你们在自己的游戏里这么做，如果你在做一个拥有上百个角色的游戏，可能右上角的效果就可以满足需求，如果你希望让这个角色的感觉强大，就可能需要左下角的效果，完全取决于你的游戏需要什么。

Hadidjah Chamberlain：

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Hearthstone is a turn-based digital card game where you collect a series of cards with abilities and skills that belong to different clans, and then team them up to compete against others.

Much of Hearthstone's design philosophy is similar to what Jason said. We wanted the gameplay to flow smoothly, to make the skills of each card clearly understood, and to make the game feel engaging and alive through special effects. Since we are a turn-based game, we have added some other conditions.

On the turn-based side, we wanted every turn to bring a sense of ritual, especially random effects, and emotional resonance to the player. On the collection side, we wanted to make each card feel engaging, create value through special effects, and make them feel unique and collectible. We also make a point of celebrating the player's sense of accomplishment, no matter what it is, and seeing it differently from the opponent.

This was a card that was made to clear all the corps small soldiers, and the iterative effect at the top right corner made a distorted feeling; from a gameplay level, the death of all enemy troops on the table could be determined even without this effect. However, the effect on the left side feels evasive, which makes the player feel like they can do better with this card.

《炉石传说》是一款回合制数字卡牌游戏，你收集一系列带有能力和技能的卡牌，它们属于不同军团，然后将这些卡牌组队与其他人竞技。

《炉石传说》的很多设计理念与Jason所说的相似，我们希望玩法流畅，让每张卡牌的技能清晰被玩家理解，通过特效设计，让玩家觉得游戏具有吸引力、而且是活生生的。由于我们是回合制游戏，所以增加了一些其他的条件。

在回合制方面，我们希望每个回合都带来仪式感，尤其是随机效果，给玩家带来情感共鸣。收集层面，我们希望让每张卡牌感觉具有吸引力，通过特效创造价值，让玩家觉得它们是独特的、值得收藏的。而且我们还重视庆祝玩家的成就感，不管是什么成就，而且是和对手看到不一样的效果。

Twisting Nether是一张能够清理所有军团小兵的卡牌，右上角的迭代效果做出了扭曲的感觉，从玩法层面来说，即便没有这个效果也可以确定桌面上所有的敌军死亡。不过，左侧的效果给人的感觉是可以躲避，这会让玩家觉得面对这个卡牌还可以做得更好。

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The bottom left effect goes a step further, covering the entire game board and showing the obvious AOE effect, which is cool, but you don't really know why. It even made the story less important, people didn't know why the regiment was dying, so we changed it again.

In the lower right corner is our release, it achieves all of our goals perfectly, has a noticeable AOE effect, doesn't feel as evasive as the first version, doesn't have as much noise as the second version, and doesn't affect the narrative, showing the death of these legions.

左下角的效果更进一步，它覆盖了整个游戏桌面，展示了很明显的AOE效果，它的效果很酷，但你并不知道为什么这样。这样的设计甚至让剧情因素也变得次要，人们不知道这些军团为什么会死亡，因此，我们再次进行了调整。

右下角是我们的发布版本，它完美实现了我们所有的目标，有很明显的AOE效果，并不像第一个版本那样让人觉得可以躲避，也没有第二个版本的那么多噪音，并且没有影响剧情因素，展示了这些军团的死亡。

原则2：形状与效果范围

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Jason Keyser：

Shape can also affect other aspects, such as theme or element on the basis of communication, the shape is the most closely combining technology and art, it represents a written language, can be immediately identify that don't need to explain too much, don't have to think of things to understand too much technology, such as when you come to the edge of the cliff, a lightning will realize that it is dangerous, If you encounter sharp objects coming towards you, you will feel dangerous and avoid.

形状还会影响其他方面，比如主题或者元素的基础沟通，形状是技术与艺术结合最紧密的方面，它代表了书写语言，可以被立即识别到，不需要太多的解释，也不用太多技术想的东西来理解，比如当你走到一个闪电悬崖边的时候，就会意识到这是危险的，如果碰到尖锐的东西朝着你走来，就会觉得危险而躲开。

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There are a lot of ways you can hint at the theme of the game. On the left is Ash's skill. You see a bright, sharp light coming and you want to dodge it, whereas the effects next to Ash are less dangerous and you feel like you can dodge the light in front of you. In the picture on the right, you might not need a particularly clear shape to show the player what's going on in the whole area.

你有很多方式可以暗示游戏主题，左侧是艾希的技能，你看到闪着光的锐利光线飞过来，就会想要躲避，然而艾希身边的特效却没那么危险，你会觉得前面的光线过后你可以躲开。右边的图中，你可能不需要特别清晰的形状，就能够向玩家展示整个区域到底发生了什么。

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Another in-game example might be Rayona, who casts her abilities with a halo that spreads out around her, and you may subconsciously want to move away from her for fear of hurting yourself. The problem is, we don't know the clear boundaries, where you're going to stand and where you're going to avoid because of this skill, so by using the shape, we can define the scope of the skill and at the same time let the player know the danger.

However, it's not a single shape, it's a combination of factors, and the effects of iteration can show you both how dangerous the skill is and how far away you should stay.

Hadidjah Chamberlain:

Starfall is a choice card, you can choose to deal 5 damage to a unit or 2 AOE damage, however, with the skill Combo of multiple cards, you can get more powerful effects, which can deal more AOE damage for the same cost.

So, when the Combo skill appears, we need to design a special effect for it and show it clearly to the player.

另一个游戏内案例可能是（曙光女神）蕾欧娜，她释放技能的时候身边会有一道光环围绕，并且向周围散开，你可能会下意识想要离开她的周围，因为担心给自己带来伤害。但问题在于，我们不知道清晰的边界，不知道因为她这个技能你要站在哪里、避开哪里，所以通过形状来确定，我们可以确定技能范围，同时能够让玩家知道危险。

不过，这里并不是单个形状，而是多个因素共同生效，迭代之后的效果既可以让你看到技能的危险性，又可以知道应该躲在多远的距离之外。

Hadidjah Chamberlain：

Starfall是一张选择卡，你可以选择对一个单位造成5点伤害，也可以造成2点AOE伤害，不过，通过多张卡的技能combo，你可以得到更强大的效果，能够用同样的代价带来更高的AOE伤害。

所以，当combo技能出现的时候，我们就需要为此专门设计一个特效清晰地向玩家展示。

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Effect of the above as we show the strong effect of missile, it instantly brought damage to all units, but did not present any AOE effects, the missile itself nor reach the goal, because it is larger than any unit, individual feeling should be huge damage, but it actually just met these units, the sense that gives a person is not bring too much damage. Because, in order for all players to understand what's going on, we need to get the AOE effect done.

In the second version, we added the missile AOE effect, where you could see that the missiles dealt damage to all units, but the problem with it was that some missiles didn't touch the units, not all missiles dealt damage, and it felt more like random damage than full screen AOE.

Finally, the AOE effects in the game, we did damage effects for each trajectory, and increased the effect of damage taken by each unit, giving a feeling of full screen damage, which is much better than the previous two versions.

上面这个效果像我们展示了强大的导弹效果，它瞬间给所有单位带来了伤害，但并没有呈现任何AOE效果，导弹本身也没有达到目标，因为它比任何单位都大，个人的感觉应该是巨大伤害，但它实际上只是碰到了这些单位，给人的感觉是没有带来太多的伤害。因为，为了让所有玩家理解发生了什么，我们需要把AOE效果做出来。

第二个版本中，我们加入了导弹AOE特效，能够看到导弹给所有单位带来了伤害，但它的问题在于，一些导弹并没有碰到单位，并不是所有导弹都带来了伤害，给人的感觉更像是随机伤害，而不是全屏AOE效果。

最后是游戏内的AOE特效，我们为每个弹道都做了伤害特效，而且增加了每个单位受到伤害的效果，给人感觉是全屏伤害，比前两个版本好很多。

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Principle 3: Contrast and focus

The point is to let the player know where to focus, whether there is damage or healing nearby, whether there are summoning objects to worry about, and numerical comparisons are a great way to draw attention.

原则3：对比度与焦点

这一点主要是让玩家知道他们应该聚焦于哪里，比如附近是否有伤害或者治疗效果，是否有需要担心的召唤物，数值对比是引起注意力非常好的方式。

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These are some good starting points, however, if nothing happens in these areas, adding numerical differences gives the player more information about where to look and where to avoid.

这是一些非常好的起点，不过，如果这些区域没有任何特效发生，加入了数值差异之后，我们得到了更多的信息，让玩家知道应该注意哪里、躲开哪里。

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You can use it to show a focus in gameplay, but it can also be used to compare damage levels so you know which damage to avoid, and to show where the damage is coming from so you can target them later.

你可以用它来展示一个玩法当中的焦点，不过，它也可以用来对比伤害等级，让你知道哪些伤害是应该躲避的，同时能够展示伤害来源，让你随后可以有针对性的打败他们。

Jason Keyser：

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Even with a single character, you can do damage level effects. Here's a demonstration of a character's skills in League of Legends. We can see which skills are more important from visual brightness, and with a shinier effect, you can tell when he does more damage and when to avoid.

即便是单个角色，你同样可以做出伤害等级效果，这里是《英雄联盟》一个角色的技能展示，我们从视觉亮度就能看出哪一个技能更重要，通过更闪亮的效果，你就可以知道他什么时候带来的伤害更多，哪些时候需要躲开。

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Then there are the damage levels of multiple characters. When you have multiple characters casting skills in the same area, it can be challenging for users to know which skills are more important, such as which skills are most important and which ones can be ignored. As a special effects artist, I know how tempting it is to have multiple cool tricks at once, but when it comes to comparing numbers, you need a lot of precision.

You also need to communicate with the team because, when there's only one skill on the screen, it's isolated from other people's skills, and you can be as cool as possible, but you don't want to do that with multiple characters and multiple skills.

Riot has been fixing some past mistakes, and while there's still a long way to go, we're working on tweaking those numbers.

然后是多个角色的伤害层次，当你有多个角色在同一个区域释放技能的时候，让用户了解哪个技能更重要就非常有挑战性，比如哪个技能最重要、哪些技能可以直接忽略。作为一名特效美术师，我知道将多个酷炫技能同时放出来的想法有多么诱人，但当做数值对比的时候，你需要很多精准控制。

这时候你还需要与团队沟通，因为，当屏幕只有一个技能释放的时候，它与其他人的技能是隔绝的，你可以做到尽可能酷炫，但多个角色、多个技能同时出现的时候，你不会想要这么做。

Riot最近在修正一些过去的错误，虽然还有很长的路要走，但我们正在对这些数值进行调整。

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This is the effect of several skills that demonstrate the high priority and importance of team combat, and these ballistics are long enough for the enemy to follow its trajectory to you and defeat you. Basically, it's important to know that the trajectory is coming towards you, so we designed these trajectories to have a high contrast to make them stand out.

这是几个技能的效果，展示了团队战斗中的高优先级、重要性，这些弹道很长，足够让敌人跟着它的轨迹追到你身边打败你。基本来说，知道弹道朝着你走过来是很重要的，所以我们将这些弹道对比度设计的比较高，以便让它们能够脱颖而出。

Hadidjah Chamberlain

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Is this Atiesh card, it is a kind of weapons, but no one put it as a weapon to use, because it has the powerful summons, will trigger a skill to release, on the game board of the journal BFS legend there are a lot of things will attract players, so we need to show it by means of special summoned by the unit and the different unit of the desktop.

The first effect only shows the time relationship between the units and the Atiesh card. However, this version only has the Atiesh and not the summoned units, which gives a less fair feeling. The second version used the same effects on the summoned units as the cards, including the same brightness and contrast, but it still didn't make a level difference and ended up being a noise on the game table because it was easy to distract.

The last one is the release version, which does a good job of showing the relationship between the card and the summoned unit, drawing your attention to the unit while telling the player what to do and what's important.

这是Atiesh卡牌，它是一种武器，但却没有人把它当做武器来用，因为它具备强大的召唤功能，会触发一种技能释放，在《炉石传说》的游戏面板上有很多东西会吸引玩家注意力，所以，我们需要通过特效的方式展示它所召唤的单位与桌面单位的不同。

第一个效果仅展示了单位与Atiesh卡牌的时间关系，然而这个版本只有Atiesh有特效，召唤单位却没有，给人一种不那么公平的感觉。第二个版本在召唤单位使用了与卡牌同样的特效，包括亮度对比度都相同，但依然不能带来等级上的差别，并且最终成为了游戏桌面上的噪点，因为它很容易引开注意力。

最后一个是发布版本，它很好地展示了卡牌与召唤单位的关系，将你的注意力吸引到了单位身上，同时告诉玩家应该做什么、哪些是重要的。

Jason Keyser：

《英雄联盟》当中一个对比度的案例：

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Here's a shot of Lux's big element unleashing a fireball. As mentioned before, this ability needs to make it clear to the player that if hit, it will deal damage. In terms of color, this is fine, but in terms of contrast, it's not that important.

So we made an iterative version (top right), and the skill effect was so bright that it seemed like it was ready for release. However, we started to think about gameplay requirements and decided that the entire skill didn't need to be that bright, that higher contrast wasn't necessarily cooler, and more importantly, that the second version didn't give the player a clear idea of which part of the trajectory to avoid. In the lower-left version, only the front end of the skill is to be avoided, and the rest is just a run track.

这是（光辉女郎）拉克丝大元素使（皮肤）释放火球的画面，与之前所说的一样，这个技能需要让玩家清楚的知道，如果被击中，就会造成伤害。从颜色上来看，这是没有什么问题的，但从对比度方面，这个技能特效显得不是那么重要。

所以我们做了一个迭代版本（右上角），技能效果非常明亮，似乎已经是可以发布的版本。不过，我们开始考虑玩法需求，认为整个技能并不需要那么亮，而且并不是对比度越高就越酷炫，更为重要的是，第二个版本并不能让玩家很清楚地知道应该避开哪一部分弹道。左下角的版本中，只有技能前端是需要避开的，其余部分都只是运行轨迹。

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So we added dark smoke after the trajectory, but kept it transparent enough. I would like to add that for special effects that are closely related to gameplay, it is sometimes valuable to consider the larger picture.

Principle 4: Color and recognition

所以我们在弹道之后增加了暗色的烟雾，但保持了足够透明。我希望补充的是，对于和玩法关系比较密切的特效，有时候从更大的范围考虑是非常有价值的。

原则4：颜色与识别度

Hadidjah Chamberlain：

Just to be clear, color is a big topic, and we don't have time to go over everything today. There are a lot of things you have to think about with colors, basic color theory, saturation, color values, and so on, and if you take everything into account, you'll find that there are a lot of things you need to add to your palette.

先说一句，颜色是个很大的话题，我们今天没有时间把所有东西都说一遍。对于颜色，你需要考虑的有很多，基础色理论、饱和度、色值等等，如果把所有东西考虑进来，你会发现调色板上需要加入很多东西。

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Most of the time, the color palettes we use aren't that complicated, and a simple color palette doesn't mean it's bad. You can always adjust the colors on top of that, like the contrast between the two characters' abilities in League of Legends.

Another factor to consider is context, especially when it comes to special effects. There is very little time to make anything readable, and if something has a cultural or real context, there is not enough time for the player to make a decision in a short period of time.

Sometimes, you can use something that everybody knows, like a flame, and no matter how it's transformed, when people look at it, they think something magical is happening.

大多数时候，我们使用的调色板没有那么复杂，而且简单的调色板并不意味着不好。你始终可以在此基础上调整颜色，比如《英雄联盟》这两个角色释放技能的颜色对比就非常不错。

另一个需要考虑的因素是上下文，尤其是在特效方面，我们很少有时间做可读的东西，如果某些东西带有文化背景或者现实背景，那么在很短的时间里，玩家是没有足够时间做出决策的。

有时候，你可以用所有人都知道的一些东西，比如火焰，不管是经过怎样的变形，当人们看到火苗的时候，总会觉得有些神奇的事情正在发生。

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Some things are tied to the perception of color, for example, the far left is the ripple of a water drop, the gray is likely to be oil, and the red is likely to be blood, so it's important to consider the player's existing perception when designing skill effects. For example, when a green healing ability is cast, players will most likely not dodge it.

有些东西是和颜色认知绑定在一起的，比如最左侧的一看就是水滴的涟漪，偏灰色很可能是油，红色可能是鲜血，因此在设计技能特效的时候，要考虑玩家已经存在的认知。比如一个绿色的治疗技能释放的时候，玩家们大概率不会躲开。

Jason Keyser：

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This is a special image of Lux's big elementals casting different elementals, which got us talking about, what does color really mean, like what does yellow mean? However, it depends on what context you put it in. For example, if the left side is mixed with pink, it gives a sense of sacredness, and if it is mixed with highly saturated red, it gives a sense of tension and crisis, so if we mix the colors differently, they take on a completely different meaning.

这是拉克丝大元素使（皮肤）释放不同元素技能的特效图，这让我们开始探讨，颜色到底意味着什么，比如黄色意味着什么？不过，这要看你将它放在什么环境中，比如左侧与粉色的混合给人一种神圣的感觉，如果与高饱和度的红色融合，会给人一种紧张和危机感，因此，如果我们用不同的方式将颜色混合，它们就有了完全不同的含义。

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Again, this is the color thumbnail of the scene from earlier. Each effect takes one color, but different colors are not enough because the values are too similar. So we need to add more color depth to make the game recognizable, even at a glance, and feel the difference between them.

同样，这是刚才场景的颜色缩略图，每个效果都只取一个颜色，但不同的颜色还不够，因为它们之间的数值太相似了。所以我们需要增加更多的颜色深度以带来辨识度，在游戏里即便是一眼望过去，也能感觉到它们之间的不同。

Hadidjah Chamberlain：

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When it comes to color palette, is on the right side of the hearth legend every professional palette, the above two are warriors and mages palette, physical warrior, with elements, such as dust, metal and blood mage feeling is natural, magic color, such as pink, light blue are mixed together, we can find the color associated with their source of energy.

With color palettes, you can bring recognition to different characters, but there are so many possibilities that we've only just scratched the surface. You can also add team colors, use colors to create different factions, and use colors to set an atmosphere for certain areas.

谈到调色板，右侧是《炉石传说》每个职业的调色板，上面两个是战士与法师的调色板，战士偏物理，带有尘土、金属和鲜血等元素，法师的感觉是非自然的、神奇的颜色，比如粉色、浅蓝色都混合在一起，我们可以发现这些颜色与他们的能量来源有关。

通过调色板，你可以给不同的角色带来辨识度，但这其中的可能性有太多了，我们只是学到了皮毛，你还可以加入团队颜色，用颜色来创作不同的阵营，通过颜色为特定区域设定一个氛围。

Jason Keyser：

In the interest of time, we will briefly show the colors of Yorick's skills. He is a hero from Shadow Island, and their theme is scary and death. His skills are green and blue, which are good for showing his faction, and even his skin is a uniform style.

由于时间的关系，我们这里简单展示一下（牧魂人）约里克的技能特效颜色，他是来自暗影岛的英雄，他们的主题是阴森可怖和死亡，他的技能颜色绿色和蓝色、很好地展示了所属阵营，就连皮肤也都是统一风格。

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The first version used green and gray display skills, and while they might be appropriate in other games, in League of Legends, these colors are not appropriate. So we added more colors, and to our surprise, after adding so many colors, it still looked good.

第一个版本使用了绿色和灰色展示技能，虽然可能在其他游戏里比较适合，但在《英雄联盟》当中，这样的色调并不恰当。所以我们增加了更多的颜色，让我们惊讶的是，增加了这么多颜色之后，看起来效果依然可以。

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The second version doesn't feel quite as spooky, though, and there are a lot of conflicting colors, so the overall effect isn't great. In the lower-left iteration, we both added more colors and made blue and green secondary colors.

不过，第二个版本的感觉没有那么阴森，而且有很多颜色是冲突的，所以它的总体效果并不好。左下角的迭代中，我们既增加了更多的颜色，又让蓝色和绿色成为次要颜色。

Hadidjah Chamberlain：

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Krul is a very important card. We need to make it feel very unique, very powerful and great to play with. We want to achieve these goals with color combinations.

He's a demon, so we added shades of purple and green, and he's a member of Kabal, so red and pink work well, and Kabal is one of the variations of Arcane magic, so we can also add traditional mage colors.

Krul是一张很重要的卡牌，我们需要让它给人的感觉非常独特、非常强大，玩起来非常棒，我们希望通过颜色组合实现这些目标，颜色方面，我们有很多的选择。

他是个恶魔，所以我们增加了紫色和绿色阴影，他是Kabal的一员，所以红色和粉色非常适合，而Kabal又是Arcane魔法的变化形式之一，所以我们还可以加入传统的法师颜色。

The most unique thing about it is the Kabal relationship, which looks good, but there is no real color diversity and no layering. Therefore, we added a lot of colors (upper right corner), although the effect is more cool, but none of the colors consider the existence of other colors, so the feeling is relatively messy.

In the final release, we chose the three colors that best fit Krul's identity, which resulted in better saturation, contrast, more power to his demon attributes, and a better understanding of what happened when they were summoned.

他最独特的地方就是Kabal关系，这个效果看起来还不错，但实际上却没有真正的颜色多元化，让人看不出层次感。所以，我们增加了很多的颜色（右上角），虽然效果更加酷炫，但任何一个颜色都没有考虑其他颜色的存在，所以给人的感觉是比较乱。

最后发布的版本中，我们选择了最符合Krul身份的三个颜色，结果带来了更好地饱和度、对比度，让他的恶魔属性显得更加强大，而且让玩家了解他们召唤的时候到底发生了什么。

原则5：时机把握与威胁等级

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Jason Keyser：

Timing is a very abstract thing that many people can easily understand, but it's hard to put into words.

So, what is timing? Let's start with the 4 PRINCIPLES of ANIMATION (there are 12 of them). These are the only four we have time for today, and I think are the four most appropriate for special effects.

时机是非常抽象的，很多人都能够很容易理解，但却又很难用言语准确形容。

那么，什么是时机？我们先从4个动画原则（共有12个）开始说，我们今天只有时间说这四个，而且我认为是最适合用在特效领域的四个。

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The first is Squash and Stretch. The two ballistics in the picture run at the same speed and produce the same result, but the difference is that the flat ballistics appear to be faster. By squashing, it visually creates a faster sensation.

Anticipation, this is very important for gameplay. You often want to warn the player about what's going to happen, like the blue part, before the explosion, and if you can tell the player about the coming explosion, they can be more prepared for it and the explosion will be more effective.

Slow in and slow out, this can be a great help to gameplay satisfaction, if the effect is understood at a very slow pace at the beginning, the player will be more likely to try it, especially if it is not expected, and the effect is even better if it is slow in and slow out.

Finally, the secondary action. This is similar to slow in and slow out, but the main action is the red and blue front of the trajectory, and the secondary action is the trajectory they leave behind, which is also great for game effects.

首先是挤压和拉伸（Squash & Stretch），图中的两个弹道以同样的速度运行，造成同样的结果，但区别在于，扁平的这个弹道看起来给人的感觉更快一些，通过挤压，它通过视觉的方式造成了更快速的感觉。

预期，这一点对玩法非常重要。你经常想要警告玩家即将发生的事情，比如蓝色部分，在爆炸之前，如果你能够告诉玩家即将到来的爆炸，他们就可以为此做更多的准备，也让爆炸效果更好。

慢进慢出，这一点对玩法满意度可以带来很大帮助，如果一开始就用很慢的速度让玩家理解某个效果，玩家们可能就更愿意尝试，尤其是不能做预期的时候，如果有这种慢进慢出的效果会更好。

最后是次要动作。这一点与慢进慢出有些相似，不过这里的主要动作指的是红色和蓝色前部的弹道，次要动作则是它们留下的运动轨迹，也非常适合游戏特效。

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Then said the timing diagram, X is the position, the Y axis is time, discussion of game time, we hope to use this picture, but we also want to know the time, it is very important also, special effects artists also need to consider scale, we also talk about the color of the time, distortion and rotation, etc., therefore, this topic quickly becomes very complex.

接下来说时机图，X轴是位置，Y轴是时间，讨论游戏时机的时候，我们希望使用这张图，但我们还希望知道时间速度，这也很重要，特效美术师还需要考虑规模化，我们还会谈到时间的颜色、扭曲和旋转等等，因此，这个话题迅速就变得非常复杂。

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For me, it's one thing at a time, and I don't know if it's the same for you, so we need to have a choice, and here we choose intensity change, which means intensity change over time.

对我来说，一次只能解决一件事情，不知道你们是否也这样，所以我们需要有选择，这里我们选择强度变化，指的是不同时间的强度有所变化。

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Hadidjah Chamberlain：

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Speaking of portals, these are the portals that people can collect in Hearthstone, and we wanted them to feel like they were part of a place, but with a unique gameplay. So we want to make artists that are cool and unique, and a lot of that is a big part of timing.

They have a common core locked early on, they all have the same pace of play, they all open up, summon units, and then close them, leaving a lot of room for secondary elements.

谈到传送门，这是《炉石传说》当中人们可以收集到的传送门，我们希望它们带来的感觉是某个地点的一部分，但有着独特的玩法。所以我们希望做出的特效师酷炫而独特的，其中很多大一部分需要通过时机把握来实现。

它们有着很早就锁定的共同核心，而且都有同样的游戏节奏，它们都会打开、召唤单位，然后关闭，这给次要元素留出了很多的空间。

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In the interest of time, I'll quickly talk about Firelands and Moonglade, two portal cards, because they have similar numbers but opposite effects.

By comparing the different time intensities, we can see that the first intensity change feels dull, the second doesn't bring a strong feeling, and the last is the release version, which retains its visual appeal but has better timing.

由于时间关系，我会快速说说Firelands和Moonglade这两张传送门卡牌，因为它们的数字相近，但实际效果却完全相反。

通过不同时间强度的对比，我们可以看到，第一个强度变化给人的感觉很枯燥，第二个没有带来强大的感觉，最后一个是发布版本，它保持了视觉吸引力，但时机把握更好一些。

Firelands Portal has a lot going on, it has four strikes, ballistics, summoning units, and brief openings, we grab your attention with fireballs, bring a powerful feel through the fast pace, and secondary elements like fire, smoke and so on are also very fast; The Moonglade Portal is slower.

Firelands Portal有很多事情发生，它有四次击打、有弹道、召唤单位，还有短暂的开放，我们用火球吸引你们的注意力，通过快节奏带来强大的感觉，火焰、烟雾等次要元素也非常快；Moonglade Portal则强度更慢一些。

Jason Keyser：

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This is one of the best examples of how different timing can make a difference. The two effects use the same color palette, the same shape language, but two completely different abilities. Damage skills are on the left and healing skills are on the right. When you look up into the sky, if something comes down quickly, your subconscious will think that it might cause harm, and you will feel the harm come and go. The healing effect on the right side drops slowly, making people feel that it is a friendly treatment.

In this case you can see that even though the shape language is the same, different timing can tell different stories.

这是不同时机把握带来差异效果最好的案例之一，这两个特效使用了同样的调色板、相同的形状语言，但却是两种完全不同的能力。左侧是伤害技能，右侧是治疗技能。当你向天空仰望的时候，如果有某些东西快速落下来，下意识就会觉得那可能会带来伤害，而且你会感觉到伤害来过、然后消失；右侧的治疗效果缓慢落下，会让人感觉是友方带来的治疗。

这种情况下你们可以看到，即便形状语言相通，但不同的时机把握也会讲述不一样的故事。

Finally an example is the assassin (time) of Ike, can time travel, by time strength contrast figure, we has carried on the three adjustments to the skill, the first is a sensation of skills after release, Ike to stay too long, we need to speed up, because have caused the damage, we need to play games then.

So we doubled the speed, but it still felt a little scary because something wasn't satisfying enough. In the last version we can see that the colors, the timing, everything works together so well that you even want to voice the effect.

最后一个案例是（时间刺客）艾克的大招，能够时间穿梭，通过时间强度对比图来看，我们对这个技能进行了三次调整，第一个给人的感觉是技能释放之后，艾克停留的时间太久，我们需要对它进行加速，因为已经造成了伤害，我们需要接着玩游戏。

所以我们将速度调至两倍，但给人的感觉依然有些提心吊胆，因为有些东西带来的满足感不够。最后一个版本我们可以看到，颜色、时机，一切都配合完美，甚至让你想要给这个效果做配音。

转载自：http://www.gamelook.com.cn/2022/05/484172

暴雪《炉石传说》特效美术师Hadidjah Chamberlain（上图左）与Riot Games高级特效美术师Jason Keyser（右）联袂登台，分享了一系列适用于任何类型游戏的美术基本原则。

Hadidjah Chamberlain: Talking to Jason [Keyser] about visual effects, it became clear that our studio relies on a lot of the same principles, a lot of the same values that are at the core of our team, and we hope that those principles and values are broad enough to help a lot of you.

Hadidjah Chamberlain：在与Jason（Keyser）就视觉效果沟通的时候发现，我们的工作室依赖于很多相同的原则，很多同样的价值都是我们团队的核心，我们希望这些原则和价值足够宽泛，能够帮到你们很多人。

Jason Keyser：

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To the question "What does it take to be a VFX Artist?" This problem, we must from two aspects, one is left brain like technical orientation, the other is right brain art content, to become a qualified VFX artist, you need to have two aspects of knowledge.

When we talk about things on the left, it's often what we do as VFX artists: scripts, pipelines, what kind of code works, what features are needed, how do we build it... . It's all about the technical aspects.

对于“要成为VFX美术师需要什么？”这个问题，我们肯定要从两个方面来说，一个是左脑一样的技术向，另外一个是右脑艺术向内容，想要成为一个名合格的VFX 美术师，你需要有两个方面的知识。

当我们提到左边的东西时，往往是我们作为VFX美术师所要做的事情，比如脚本、管线，什么样的代码可行、需要什么功能、我们如何打造它…..一切都和技术方面的问题相关。

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Today, though, we'll focus on the right. Of course, it's not a complete list. There's a lot more you need to know. But we only have time to talk about these things today, these principles are more abstract, they're not that specific, just like the left brain likes logic, you can explain it in words, the right brain likes feeling, it's hard to explain it in words, but let's try it today and see what we can get out of it.

不过今天，我们的分享主要聚焦于右侧，当然，这并不是完整的列表，你需要知道的东西还有很多。不过，我们今天只有时间说这些东西，这些原则更为抽象，它们没那么具体，就像左脑喜欢逻辑，你可以用言语来解释，右脑喜欢感觉，很难用语言说清楚，但我们今天尝试一下，看看可以带来什么。

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Hadidjah Chamberlain: Those are the four principles we're going to talk about. Jason and I are both artists who work closely with designers in different positions, so we believe that especially for VFX artists, gameplay is king. In this context, the following principles need to be adapted to the demands of gameplay.

So, those are all the basic principles we're going to cover today, starting with gameplay.

Hadidjah Chamberlain：这些是我们即将讨论的四个原则，我和Jason都是与不同岗位策划紧密协作的美术师，所以我们相信特别是对于VFX美术师来说，玩法为王。在这种前提下，随后的几个原则都需要适应玩法的需求。

所以，这是我们今天即将谈到的所有基本原则，首先是玩法。

原则1：玩法为王

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Jason Keyser: Gameplay is at the heart of everything we do, and we actually don't think of ourselves as artists first, we're developers first. It's a very different question because, if you think through it, you think about what the game needs, whatever it is, and it brings a whole new perspective.

As a result, you may do some people experience time more than the game, you may pay more attention to explore or building, may focus on the other side of the adventure, perhaps strategy, puzzles, whatever it is, when we say we play, we are talking about the content, is to know your game, experience related to those things.

So, even if you do really high quality art, I don't know what the word is, if it doesn't support gameplay, then it's not important. No matter how beautiful our art is, if it doesn't support gameplay, then we're failing, and if our art takes the player's attention away from the experience we're trying to achieve or spoils it, then we're not there.

Jason Keyser：玩法是我们所做一切事情的核心，实际上，我们并不把自己首先当做一名艺术家，我们首先是开发者。这是个很有区别的问题，因为，如果你通过这个角度思考问题，就会考虑游戏需要什么，不管是什么方面，这就会带来全新的视角。

因此，你们某些人可能做体验的时间比做游戏更多，你们可能更关注探索或者建造，可能聚焦于冒险的其他方面，或许是策略、解谜，不管是什么，当我们说玩法的时候，我们说的就是这些内容，就是玩家了解你的游戏时，体验相关的那些东西。

所以，即便你做了非常高品质美术，我不知道该用什么词汇形容，如果它不支持游戏玩法，那么它就是不重要的。不管我们画的美术作品有多漂亮，只要不能支持玩法，那我们的工作就是失败的，如果我们的美术让玩家的注意力从我们希望达成的体验上离开或者破坏体验，那我们就没有达到目标。

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Hadidjah Chamberlain: Make friends with planners

Our first priority is that all of VFX's art resources have gameplay support, and becoming friends with curators is one of the quickest and easiest ways to do that. Don't just take mission instructions from the curators, don't just hand them over to your VFX colleagues, really talk to them, your curators will know what's important about gameplay, and at any stage of game development, especially online, they'll know how those goals have changed over time.

Game planners love to see what they imagine come true, and VFX is a way to make 5 points of damage an idealized effect. It can be fireballs, gunfire, lightning, so communicating effectively with game planners can give you a lot of information, which can give you a clear goal for your special effects.

Hadidjah Chamberlain：与策划做朋友

我们首要的任务是，VFX所有的美术资源都有玩法支持，与策划成为朋友是最快速、最简单的实现方式之一。不要只是从策划那里拿任务指引，不要只是转手交给VFX同事去完成，要真正地和他们沟通，你的策划会知道游戏玩法最重要的是什么，在游戏研发的任何阶段，尤其是在线游戏，他们会知道这些目标随着时间发生了怎样的变化。

游戏策划喜欢看到他们想象的东西成真，VFX则是让5点伤害成为理想化效果的方式，可以成为火球、枪火、闪电，所以，与游戏策划进行有效沟通可以给你带来大量信息，这可以给你做的特效带来清晰的目标。

Jason Keyser：

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League of Legends is a game with over a hundred characters (also called heroes), each with unique abilities, each requiring 5-10 special effects, and they are all unique.

To play the game, you join 10 characters in the game at the same time, each team has 5 heroes, they compete with each other, and then cast any skill in the game map. So, we need to think about something. First and foremost, we want every player to feel powerful.

For the player, you go into the game and you choose that character and you want to be as strong as that character, so it's a consideration: to feel unique, to feel good, and you want to feel strong, so the effects need to be bright, they need to be cool. So what you want is for the player to feel satisfied when they click the skill button.

You don't want to feel powerless, you don't want random factors to kill your hero, or you don't have time to react to things, so you need gameplay clarity.

《英雄联盟》是一款拥有一百多名角色（也叫英雄）的游戏，每个英雄都有独特的能力，每个都需要5-10个特效，而且它们都是独特的。

玩游戏的时候，你在游戏里同时加入10个角色，每个团队有5个英雄，他们彼此竞争，然后在游戏地图的各个地方释放任意技能。所以，我们需要思考一些东西。首先，我们希望每个玩家都觉得自己强大。

对于玩家来说，你进入游戏选择了那个角色，希望自己能够和那个角色一样强大，所以这是一个考量：感觉独特、感觉很出色，而且你希望自己的感觉是强大的，所以特效需要明亮、需要酷炫。因此，你想要做到的是，当玩家点击了技能按钮之后，他们能得到满足的感觉。

你不希望觉得无能为力，不希望随机的因素把你的英雄杀掉，或者没有时间对一些事情做出反应，所以你需要玩法清晰度。

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We started with a few simple jumps, but that wasn't enough to make a goal that felt powerful, felt wonderful, felt different, so we made some adjustments. The effect on the right looks powerful, but for a game like League of Legends, her footwork doesn't look that obvious.

While AOE damage can be seen, the visuals are misleading, and when Tristana is not doing damage, it doesn't feel like she has much of a presence, so we did another iteration that brought satisfaction, clarity, and a sense of uniqueness and difference.

Here I need to declare that I'm not trying to tell you in your own to do so in the game, if you are doing a game has hundreds of characters, can meet the requirements may be in the top right corner of the effect, if you want to let the role feel strong, may require the effect of the lower left corner, depends entirely on your game what you need.

我们最开始是从一些简单的跳跃开始的，但这并不足以带来感觉强大、感觉精彩、感觉与众不同的目标，所以我们做了一些调整。右边的效果看起来有了强大的感觉，但对于《英雄联盟》这样一款游戏来说，她的脚步特效看起来并不是那么明显。

虽然我们可以看到AOE伤害，但视觉效果是容易误解的，当崔丝塔娜没有造成伤害的时候，玩家们会觉得她没太大的存在感，所以我们又做了一次迭代，这次带来了满足感、清晰度，而且感觉独特和与众不同。

这里我需要声明的是，我不是在告诉你们在自己的游戏里这么做，如果你在做一个拥有上百个角色的游戏，可能右上角的效果就可以满足需求，如果你希望让这个角色的感觉强大，就可能需要左下角的效果，完全取决于你的游戏需要什么。

Hadidjah Chamberlain：

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Hearthstone is a turn-based digital card game where you collect a series of cards with abilities and skills that belong to different clans, and then team them up to compete against others.

Much of Hearthstone's design philosophy is similar to what Jason said. We wanted the gameplay to flow smoothly, to make the skills of each card clearly understood, and to make the game feel engaging and alive through special effects. Since we are a turn-based game, we have added some other conditions.

On the turn-based side, we wanted every turn to bring a sense of ritual, especially random effects, and emotional resonance to the player. On the collection side, we wanted to make each card feel engaging, create value through special effects, and make them feel unique and collectible. We also make a point of celebrating the player's sense of accomplishment, no matter what it is, and seeing it differently from the opponent.

This was a card that was made to clear all the corps small soldiers, and the iterative effect at the top right corner made a distorted feeling; from a gameplay level, the death of all enemy troops on the table could be determined even without this effect. However, the effect on the left side feels evasive, which makes the player feel like they can do better with this card.

《炉石传说》是一款回合制数字卡牌游戏，你收集一系列带有能力和技能的卡牌，它们属于不同军团，然后将这些卡牌组队与其他人竞技。

《炉石传说》的很多设计理念与Jason所说的相似，我们希望玩法流畅，让每张卡牌的技能清晰被玩家理解，通过特效设计，让玩家觉得游戏具有吸引力、而且是活生生的。由于我们是回合制游戏，所以增加了一些其他的条件。

在回合制方面，我们希望每个回合都带来仪式感，尤其是随机效果，给玩家带来情感共鸣。收集层面，我们希望让每张卡牌感觉具有吸引力，通过特效创造价值，让玩家觉得它们是独特的、值得收藏的。而且我们还重视庆祝玩家的成就感，不管是什么成就，而且是和对手看到不一样的效果。

Twisting Nether是一张能够清理所有军团小兵的卡牌，右上角的迭代效果做出了扭曲的感觉，从玩法层面来说，即便没有这个效果也可以确定桌面上所有的敌军死亡。不过，左侧的效果给人的感觉是可以躲避，这会让玩家觉得面对这个卡牌还可以做得更好。

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The bottom left effect goes a step further, covering the entire game board and showing the obvious AOE effect, which is cool, but you don't really know why. It even made the story less important, people didn't know why the regiment was dying, so we changed it again.

In the lower right corner is our release, it achieves all of our goals perfectly, has a noticeable AOE effect, doesn't feel as evasive as the first version, doesn't have as much noise as the second version, and doesn't affect the narrative, showing the death of these legions.

左下角的效果更进一步，它覆盖了整个游戏桌面，展示了很明显的AOE效果，它的效果很酷，但你并不知道为什么这样。这样的设计甚至让剧情因素也变得次要，人们不知道这些军团为什么会死亡，因此，我们再次进行了调整。

右下角是我们的发布版本，它完美实现了我们所有的目标，有很明显的AOE效果，并不像第一个版本那样让人觉得可以躲避，也没有第二个版本的那么多噪音，并且没有影响剧情因素，展示了这些军团的死亡。

原则2：形状与效果范围

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Jason Keyser：

Shape can also affect other aspects, such as theme or element on the basis of communication, the shape is the most closely combining technology and art, it represents a written language, can be immediately identify that don't need to explain too much, don't have to think of things to understand too much technology, such as when you come to the edge of the cliff, a lightning will realize that it is dangerous, If you encounter sharp objects coming towards you, you will feel dangerous and avoid.

形状还会影响其他方面，比如主题或者元素的基础沟通，形状是技术与艺术结合最紧密的方面，它代表了书写语言，可以被立即识别到，不需要太多的解释，也不用太多技术想的东西来理解，比如当你走到一个闪电悬崖边的时候，就会意识到这是危险的，如果碰到尖锐的东西朝着你走来，就会觉得危险而躲开。

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There are a lot of ways you can hint at the theme of the game. On the left is Ash's skill. You see a bright, sharp light coming and you want to dodge it, whereas the effects next to Ash are less dangerous and you feel like you can dodge the light in front of you. In the picture on the right, you might not need a particularly clear shape to show the player what's going on in the whole area.

你有很多方式可以暗示游戏主题，左侧是艾希的技能，你看到闪着光的锐利光线飞过来，就会想要躲避，然而艾希身边的特效却没那么危险，你会觉得前面的光线过后你可以躲开。右边的图中，你可能不需要特别清晰的形状，就能够向玩家展示整个区域到底发生了什么。

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Another in-game example might be Rayona, who casts her abilities with a halo that spreads out around her, and you may subconsciously want to move away from her for fear of hurting yourself. The problem is, we don't know the clear boundaries, where you're going to stand and where you're going to avoid because of this skill, so by using the shape, we can define the scope of the skill and at the same time let the player know the danger.

However, it's not a single shape, it's a combination of factors, and the effects of iteration can show you both how dangerous the skill is and how far away you should stay.

Hadidjah Chamberlain:

Starfall is a choice card, you can choose to deal 5 damage to a unit or 2 AOE damage, however, with the skill Combo of multiple cards, you can get more powerful effects, which can deal more AOE damage for the same cost.

So, when the Combo skill appears, we need to design a special effect for it and show it clearly to the player.

另一个游戏内案例可能是（曙光女神）蕾欧娜，她释放技能的时候身边会有一道光环围绕，并且向周围散开，你可能会下意识想要离开她的周围，因为担心给自己带来伤害。但问题在于，我们不知道清晰的边界，不知道因为她这个技能你要站在哪里、避开哪里，所以通过形状来确定，我们可以确定技能范围，同时能够让玩家知道危险。

不过，这里并不是单个形状，而是多个因素共同生效，迭代之后的效果既可以让你看到技能的危险性，又可以知道应该躲在多远的距离之外。

Hadidjah Chamberlain：

Starfall是一张选择卡，你可以选择对一个单位造成5点伤害，也可以造成2点AOE伤害，不过，通过多张卡的技能combo，你可以得到更强大的效果，能够用同样的代价带来更高的AOE伤害。

所以，当combo技能出现的时候，我们就需要为此专门设计一个特效清晰地向玩家展示。

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Effect of the above as we show the strong effect of missile, it instantly brought damage to all units, but did not present any AOE effects, the missile itself nor reach the goal, because it is larger than any unit, individual feeling should be huge damage, but it actually just met these units, the sense that gives a person is not bring too much damage. Because, in order for all players to understand what's going on, we need to get the AOE effect done.

In the second version, we added the missile AOE effect, where you could see that the missiles dealt damage to all units, but the problem with it was that some missiles didn't touch the units, not all missiles dealt damage, and it felt more like random damage than full screen AOE.

Finally, the AOE effects in the game, we did damage effects for each trajectory, and increased the effect of damage taken by each unit, giving a feeling of full screen damage, which is much better than the previous two versions.

上面这个效果像我们展示了强大的导弹效果，它瞬间给所有单位带来了伤害，但并没有呈现任何AOE效果，导弹本身也没有达到目标，因为它比任何单位都大，个人的感觉应该是巨大伤害，但它实际上只是碰到了这些单位，给人的感觉是没有带来太多的伤害。因为，为了让所有玩家理解发生了什么，我们需要把AOE效果做出来。

第二个版本中，我们加入了导弹AOE特效，能够看到导弹给所有单位带来了伤害，但它的问题在于，一些导弹并没有碰到单位，并不是所有导弹都带来了伤害，给人的感觉更像是随机伤害，而不是全屏AOE效果。

最后是游戏内的AOE特效，我们为每个弹道都做了伤害特效，而且增加了每个单位受到伤害的效果，给人感觉是全屏伤害，比前两个版本好很多。

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Principle 3: Contrast and focus

The point is to let the player know where to focus, whether there is damage or healing nearby, whether there are summoning objects to worry about, and numerical comparisons are a great way to draw attention.

原则3：对比度与焦点

这一点主要是让玩家知道他们应该聚焦于哪里，比如附近是否有伤害或者治疗效果，是否有需要担心的召唤物，数值对比是引起注意力非常好的方式。

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These are some good starting points, however, if nothing happens in these areas, adding numerical differences gives the player more information about where to look and where to avoid.

这是一些非常好的起点，不过，如果这些区域没有任何特效发生，加入了数值差异之后，我们得到了更多的信息，让玩家知道应该注意哪里、躲开哪里。

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You can use it to show a focus in gameplay, but it can also be used to compare damage levels so you know which damage to avoid, and to show where the damage is coming from so you can target them later.

你可以用它来展示一个玩法当中的焦点，不过，它也可以用来对比伤害等级，让你知道哪些伤害是应该躲避的，同时能够展示伤害来源，让你随后可以有针对性的打败他们。

Jason Keyser：

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Even with a single character, you can do damage level effects. Here's a demonstration of a character's skills in League of Legends. We can see which skills are more important from visual brightness, and with a shinier effect, you can tell when he does more damage and when to avoid.

即便是单个角色，你同样可以做出伤害等级效果，这里是《英雄联盟》一个角色的技能展示，我们从视觉亮度就能看出哪一个技能更重要，通过更闪亮的效果，你就可以知道他什么时候带来的伤害更多，哪些时候需要躲开。

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Then there are the damage levels of multiple characters. When you have multiple characters casting skills in the same area, it can be challenging for users to know which skills are more important, such as which skills are most important and which ones can be ignored. As a special effects artist, I know how tempting it is to have multiple cool tricks at once, but when it comes to comparing numbers, you need a lot of precision.

You also need to communicate with the team because, when there's only one skill on the screen, it's isolated from other people's skills, and you can be as cool as possible, but you don't want to do that with multiple characters and multiple skills.

Riot has been fixing some past mistakes, and while there's still a long way to go, we're working on tweaking those numbers.

然后是多个角色的伤害层次，当你有多个角色在同一个区域释放技能的时候，让用户了解哪个技能更重要就非常有挑战性，比如哪个技能最重要、哪些技能可以直接忽略。作为一名特效美术师，我知道将多个酷炫技能同时放出来的想法有多么诱人，但当做数值对比的时候，你需要很多精准控制。

这时候你还需要与团队沟通，因为，当屏幕只有一个技能释放的时候，它与其他人的技能是隔绝的，你可以做到尽可能酷炫，但多个角色、多个技能同时出现的时候，你不会想要这么做。

Riot最近在修正一些过去的错误，虽然还有很长的路要走，但我们正在对这些数值进行调整。

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This is the effect of several skills that demonstrate the high priority and importance of team combat, and these ballistics are long enough for the enemy to follow its trajectory to you and defeat you. Basically, it's important to know that the trajectory is coming towards you, so we designed these trajectories to have a high contrast to make them stand out.

这是几个技能的效果，展示了团队战斗中的高优先级、重要性，这些弹道很长，足够让敌人跟着它的轨迹追到你身边打败你。基本来说，知道弹道朝着你走过来是很重要的，所以我们将这些弹道对比度设计的比较高，以便让它们能够脱颖而出。

Hadidjah Chamberlain

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Is this Atiesh card, it is a kind of weapons, but no one put it as a weapon to use, because it has the powerful summons, will trigger a skill to release, on the game board of the journal BFS legend there are a lot of things will attract players, so we need to show it by means of special summoned by the unit and the different unit of the desktop.

The first effect only shows the time relationship between the units and the Atiesh card. However, this version only has the Atiesh and not the summoned units, which gives a less fair feeling. The second version used the same effects on the summoned units as the cards, including the same brightness and contrast, but it still didn't make a level difference and ended up being a noise on the game table because it was easy to distract.

The last one is the release version, which does a good job of showing the relationship between the card and the summoned unit, drawing your attention to the unit while telling the player what to do and what's important.

这是Atiesh卡牌，它是一种武器，但却没有人把它当做武器来用，因为它具备强大的召唤功能，会触发一种技能释放，在《炉石传说》的游戏面板上有很多东西会吸引玩家注意力，所以，我们需要通过特效的方式展示它所召唤的单位与桌面单位的不同。

第一个效果仅展示了单位与Atiesh卡牌的时间关系，然而这个版本只有Atiesh有特效，召唤单位却没有，给人一种不那么公平的感觉。第二个版本在召唤单位使用了与卡牌同样的特效，包括亮度对比度都相同，但依然不能带来等级上的差别，并且最终成为了游戏桌面上的噪点，因为它很容易引开注意力。

最后一个是发布版本，它很好地展示了卡牌与召唤单位的关系，将你的注意力吸引到了单位身上，同时告诉玩家应该做什么、哪些是重要的。

Jason Keyser：

《英雄联盟》当中一个对比度的案例：

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Here's a shot of Lux's big element unleashing a fireball. As mentioned before, this ability needs to make it clear to the player that if hit, it will deal damage. In terms of color, this is fine, but in terms of contrast, it's not that important.

So we made an iterative version (top right), and the skill effect was so bright that it seemed like it was ready for release. However, we started to think about gameplay requirements and decided that the entire skill didn't need to be that bright, that higher contrast wasn't necessarily cooler, and more importantly, that the second version didn't give the player a clear idea of which part of the trajectory to avoid. In the lower-left version, only the front end of the skill is to be avoided, and the rest is just a run track.

这是（光辉女郎）拉克丝大元素使（皮肤）释放火球的画面，与之前所说的一样，这个技能需要让玩家清楚的知道，如果被击中，就会造成伤害。从颜色上来看，这是没有什么问题的，但从对比度方面，这个技能特效显得不是那么重要。

所以我们做了一个迭代版本（右上角），技能效果非常明亮，似乎已经是可以发布的版本。不过，我们开始考虑玩法需求，认为整个技能并不需要那么亮，而且并不是对比度越高就越酷炫，更为重要的是，第二个版本并不能让玩家很清楚地知道应该避开哪一部分弹道。左下角的版本中，只有技能前端是需要避开的，其余部分都只是运行轨迹。

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So we added dark smoke after the trajectory, but kept it transparent enough. I would like to add that for special effects that are closely related to gameplay, it is sometimes valuable to consider the larger picture.

Principle 4: Color and recognition

所以我们在弹道之后增加了暗色的烟雾，但保持了足够透明。我希望补充的是，对于和玩法关系比较密切的特效，有时候从更大的范围考虑是非常有价值的。

原则4：颜色与识别度

Hadidjah Chamberlain：

Just to be clear, color is a big topic, and we don't have time to go over everything today. There are a lot of things you have to think about with colors, basic color theory, saturation, color values, and so on, and if you take everything into account, you'll find that there are a lot of things you need to add to your palette.

先说一句，颜色是个很大的话题，我们今天没有时间把所有东西都说一遍。对于颜色，你需要考虑的有很多，基础色理论、饱和度、色值等等，如果把所有东西考虑进来，你会发现调色板上需要加入很多东西。

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Most of the time, the color palettes we use aren't that complicated, and a simple color palette doesn't mean it's bad. You can always adjust the colors on top of that, like the contrast between the two characters' abilities in League of Legends.

Another factor to consider is context, especially when it comes to special effects. There is very little time to make anything readable, and if something has a cultural or real context, there is not enough time for the player to make a decision in a short period of time.

Sometimes, you can use something that everybody knows, like a flame, and no matter how it's transformed, when people look at it, they think something magical is happening.

大多数时候，我们使用的调色板没有那么复杂，而且简单的调色板并不意味着不好。你始终可以在此基础上调整颜色，比如《英雄联盟》这两个角色释放技能的颜色对比就非常不错。

另一个需要考虑的因素是上下文，尤其是在特效方面，我们很少有时间做可读的东西，如果某些东西带有文化背景或者现实背景，那么在很短的时间里，玩家是没有足够时间做出决策的。

有时候，你可以用所有人都知道的一些东西，比如火焰，不管是经过怎样的变形，当人们看到火苗的时候，总会觉得有些神奇的事情正在发生。

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Some things are tied to the perception of color, for example, the far left is the ripple of a water drop, the gray is likely to be oil, and the red is likely to be blood, so it's important to consider the player's existing perception when designing skill effects. For example, when a green healing ability is cast, players will most likely not dodge it.

有些东西是和颜色认知绑定在一起的，比如最左侧的一看就是水滴的涟漪，偏灰色很可能是油，红色可能是鲜血，因此在设计技能特效的时候，要考虑玩家已经存在的认知。比如一个绿色的治疗技能释放的时候，玩家们大概率不会躲开。

Jason Keyser：

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This is a special image of Lux's big elementals casting different elementals, which got us talking about, what does color really mean, like what does yellow mean? However, it depends on what context you put it in. For example, if the left side is mixed with pink, it gives a sense of sacredness, and if it is mixed with highly saturated red, it gives a sense of tension and crisis, so if we mix the colors differently, they take on a completely different meaning.

这是拉克丝大元素使（皮肤）释放不同元素技能的特效图，这让我们开始探讨，颜色到底意味着什么，比如黄色意味着什么？不过，这要看你将它放在什么环境中，比如左侧与粉色的混合给人一种神圣的感觉，如果与高饱和度的红色融合，会给人一种紧张和危机感，因此，如果我们用不同的方式将颜色混合，它们就有了完全不同的含义。

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Again, this is the color thumbnail of the scene from earlier. Each effect takes one color, but different colors are not enough because the values are too similar. So we need to add more color depth to make the game recognizable, even at a glance, and feel the difference between them.

同样，这是刚才场景的颜色缩略图，每个效果都只取一个颜色，但不同的颜色还不够，因为它们之间的数值太相似了。所以我们需要增加更多的颜色深度以带来辨识度，在游戏里即便是一眼望过去，也能感觉到它们之间的不同。

Hadidjah Chamberlain：

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When it comes to color palette, is on the right side of the hearth legend every professional palette, the above two are warriors and mages palette, physical warrior, with elements, such as dust, metal and blood mage feeling is natural, magic color, such as pink, light blue are mixed together, we can find the color associated with their source of energy.

With color palettes, you can bring recognition to different characters, but there are so many possibilities that we've only just scratched the surface. You can also add team colors, use colors to create different factions, and use colors to set an atmosphere for certain areas.

谈到调色板，右侧是《炉石传说》每个职业的调色板，上面两个是战士与法师的调色板，战士偏物理，带有尘土、金属和鲜血等元素，法师的感觉是非自然的、神奇的颜色，比如粉色、浅蓝色都混合在一起，我们可以发现这些颜色与他们的能量来源有关。

通过调色板，你可以给不同的角色带来辨识度，但这其中的可能性有太多了，我们只是学到了皮毛，你还可以加入团队颜色，用颜色来创作不同的阵营，通过颜色为特定区域设定一个氛围。

Jason Keyser：

In the interest of time, we will briefly show the colors of Yorick's skills. He is a hero from Shadow Island, and their theme is scary and death. His skills are green and blue, which are good for showing his faction, and even his skin is a uniform style.

由于时间的关系，我们这里简单展示一下（牧魂人）约里克的技能特效颜色，他是来自暗影岛的英雄，他们的主题是阴森可怖和死亡，他的技能颜色绿色和蓝色、很好地展示了所属阵营，就连皮肤也都是统一风格。

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The first version used green and gray display skills, and while they might be appropriate in other games, in League of Legends, these colors are not appropriate. So we added more colors, and to our surprise, after adding so many colors, it still looked good.

第一个版本使用了绿色和灰色展示技能，虽然可能在其他游戏里比较适合，但在《英雄联盟》当中，这样的色调并不恰当。所以我们增加了更多的颜色，让我们惊讶的是，增加了这么多颜色之后，看起来效果依然可以。

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The second version doesn't feel quite as spooky, though, and there are a lot of conflicting colors, so the overall effect isn't great. In the lower-left iteration, we both added more colors and made blue and green secondary colors.

不过，第二个版本的感觉没有那么阴森，而且有很多颜色是冲突的，所以它的总体效果并不好。左下角的迭代中，我们既增加了更多的颜色，又让蓝色和绿色成为次要颜色。

Hadidjah Chamberlain：

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Krul is a very important card. We need to make it feel very unique, very powerful and great to play with. We want to achieve these goals with color combinations.

He's a demon, so we added shades of purple and green, and he's a member of Kabal, so red and pink work well, and Kabal is one of the variations of Arcane magic, so we can also add traditional mage colors.

Krul是一张很重要的卡牌，我们需要让它给人的感觉非常独特、非常强大，玩起来非常棒，我们希望通过颜色组合实现这些目标，颜色方面，我们有很多的选择。

他是个恶魔，所以我们增加了紫色和绿色阴影，他是Kabal的一员，所以红色和粉色非常适合，而Kabal又是Arcane魔法的变化形式之一，所以我们还可以加入传统的法师颜色。

The most unique thing about it is the Kabal relationship, which looks good, but there is no real color diversity and no layering. Therefore, we added a lot of colors (upper right corner), although the effect is more cool, but none of the colors consider the existence of other colors, so the feeling is relatively messy.

In the final release, we chose the three colors that best fit Krul's identity, which resulted in better saturation, contrast, more power to his demon attributes, and a better understanding of what happened when they were summoned.

他最独特的地方就是Kabal关系，这个效果看起来还不错，但实际上却没有真正的颜色多元化，让人看不出层次感。所以，我们增加了很多的颜色（右上角），虽然效果更加酷炫，但任何一个颜色都没有考虑其他颜色的存在，所以给人的感觉是比较乱。

最后发布的版本中，我们选择了最符合Krul身份的三个颜色，结果带来了更好地饱和度、对比度，让他的恶魔属性显得更加强大，而且让玩家了解他们召唤的时候到底发生了什么。

原则5：时机把握与威胁等级

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Jason Keyser：

Timing is a very abstract thing that many people can easily understand, but it's hard to put into words.

So, what is timing? Let's start with the 4 PRINCIPLES of ANIMATION (there are 12 of them). These are the only four we have time for today, and I think are the four most appropriate for special effects.

时机是非常抽象的，很多人都能够很容易理解，但却又很难用言语准确形容。

那么，什么是时机？我们先从4个动画原则（共有12个）开始说，我们今天只有时间说这四个，而且我认为是最适合用在特效领域的四个。

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The first is Squash and Stretch. The two ballistics in the picture run at the same speed and produce the same result, but the difference is that the flat ballistics appear to be faster. By squashing, it visually creates a faster sensation.

Anticipation, this is very important for gameplay. You often want to warn the player about what's going to happen, like the blue part, before the explosion, and if you can tell the player about the coming explosion, they can be more prepared for it and the explosion will be more effective.

Slow in and slow out, this can be a great help to gameplay satisfaction, if the effect is understood at a very slow pace at the beginning, the player will be more likely to try it, especially if it is not expected, and the effect is even better if it is slow in and slow out.

Finally, the secondary action. This is similar to slow in and slow out, but the main action is the red and blue front of the trajectory, and the secondary action is the trajectory they leave behind, which is also great for game effects.

首先是挤压和拉伸（Squash & Stretch），图中的两个弹道以同样的速度运行，造成同样的结果，但区别在于，扁平的这个弹道看起来给人的感觉更快一些，通过挤压，它通过视觉的方式造成了更快速的感觉。

预期，这一点对玩法非常重要。你经常想要警告玩家即将发生的事情，比如蓝色部分，在爆炸之前，如果你能够告诉玩家即将到来的爆炸，他们就可以为此做更多的准备，也让爆炸效果更好。

慢进慢出，这一点对玩法满意度可以带来很大帮助，如果一开始就用很慢的速度让玩家理解某个效果，玩家们可能就更愿意尝试，尤其是不能做预期的时候，如果有这种慢进慢出的效果会更好。

最后是次要动作。这一点与慢进慢出有些相似，不过这里的主要动作指的是红色和蓝色前部的弹道，次要动作则是它们留下的运动轨迹，也非常适合游戏特效。

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Then said the timing diagram, X is the position, the Y axis is time, discussion of game time, we hope to use this picture, but we also want to know the time, it is very important also, special effects artists also need to consider scale, we also talk about the color of the time, distortion and rotation, etc., therefore, this topic quickly becomes very complex.

接下来说时机图，X轴是位置，Y轴是时间，讨论游戏时机的时候，我们希望使用这张图，但我们还希望知道时间速度，这也很重要，特效美术师还需要考虑规模化，我们还会谈到时间的颜色、扭曲和旋转等等，因此，这个话题迅速就变得非常复杂。

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For me, it's one thing at a time, and I don't know if it's the same for you, so we need to have a choice, and here we choose intensity change, which means intensity change over time.

对我来说，一次只能解决一件事情，不知道你们是否也这样，所以我们需要有选择，这里我们选择强度变化，指的是不同时间的强度有所变化。

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Hadidjah Chamberlain：

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Speaking of portals, these are the portals that people can collect in Hearthstone, and we wanted them to feel like they were part of a place, but with a unique gameplay. So we want to make artists that are cool and unique, and a lot of that is a big part of timing.

They have a common core locked early on, they all have the same pace of play, they all open up, summon units, and then close them, leaving a lot of room for secondary elements.

谈到传送门，这是《炉石传说》当中人们可以收集到的传送门，我们希望它们带来的感觉是某个地点的一部分，但有着独特的玩法。所以我们希望做出的特效师酷炫而独特的，其中很多大一部分需要通过时机把握来实现。

它们有着很早就锁定的共同核心，而且都有同样的游戏节奏，它们都会打开、召唤单位，然后关闭，这给次要元素留出了很多的空间。

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In the interest of time, I'll quickly talk about Firelands and Moonglade, two portal cards, because they have similar numbers but opposite effects.

By comparing the different time intensities, we can see that the first intensity change feels dull, the second doesn't bring a strong feeling, and the last is the release version, which retains its visual appeal but has better timing.

由于时间关系，我会快速说说Firelands和Moonglade这两张传送门卡牌，因为它们的数字相近，但实际效果却完全相反。

通过不同时间强度的对比，我们可以看到，第一个强度变化给人的感觉很枯燥，第二个没有带来强大的感觉，最后一个是发布版本，它保持了视觉吸引力，但时机把握更好一些。

Firelands Portal has a lot going on, it has four strikes, ballistics, summoning units, and brief openings, we grab your attention with fireballs, bring a powerful feel through the fast pace, and secondary elements like fire, smoke and so on are also very fast; The Moonglade Portal is slower.

Firelands Portal有很多事情发生，它有四次击打、有弹道、召唤单位，还有短暂的开放，我们用火球吸引你们的注意力，通过快节奏带来强大的感觉，火焰、烟雾等次要元素也非常快；Moonglade Portal则强度更慢一些。

Jason Keyser：

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This is one of the best examples of how different timing can make a difference. The two effects use the same color palette, the same shape language, but two completely different abilities. Damage skills are on the left and healing skills are on the right. When you look up into the sky, if something comes down quickly, your subconscious will think that it might cause harm, and you will feel the harm come and go. The healing effect on the right side drops slowly, making people feel that it is a friendly treatment.

In this case you can see that even though the shape language is the same, different timing can tell different stories.

这是不同时机把握带来差异效果最好的案例之一，这两个特效使用了同样的调色板、相同的形状语言，但却是两种完全不同的能力。左侧是伤害技能，右侧是治疗技能。当你向天空仰望的时候，如果有某些东西快速落下来，下意识就会觉得那可能会带来伤害，而且你会感觉到伤害来过、然后消失；右侧的治疗效果缓慢落下，会让人感觉是友方带来的治疗。

这种情况下你们可以看到，即便形状语言相通，但不同的时机把握也会讲述不一样的故事。

Finally an example is the assassin (time) of Ike, can time travel, by time strength contrast figure, we has carried on the three adjustments to the skill, the first is a sensation of skills after release, Ike to stay too long, we need to speed up, because have caused the damage, we need to play games then.

So we doubled the speed, but it still felt a little scary because something wasn't satisfying enough. In the last version we can see that the colors, the timing, everything works together so well that you even want to voice the effect.

最后一个案例是（时间刺客）艾克的大招，能够时间穿梭，通过时间强度对比图来看，我们对这个技能进行了三次调整，第一个给人的感觉是技能释放之后，艾克停留的时间太久，我们需要对它进行加速，因为已经造成了伤害，我们需要接着玩游戏。

所以我们将速度调至两倍，但给人的感觉依然有些提心吊胆，因为有些东西带来的满足感不够。最后一个版本我们可以看到，颜色、时机，一切都配合完美，甚至让你想要给这个效果做配音。

转载自：http://www.gamelook.com.cn/2022/05/484172