Introduction
My name is Kasia Zielińska and I am the Lead Environment Concept Artist at Techland. My team was responsible for designing the visual side of environments in Dying Light 2 Stay Human. We design everything from buildings, interiors, and skylines to small items such as books and posters.
介绍
我的名字是Kasia Zielińska，我是Techland的首席环境概念艺术家。我的团队负责设计《消逝的光2 Stay Human》中环境的视觉方面。我们设计从建筑物，室内和天际线到书籍和海报等小物品的所有内容。

I’ve been involved in the game industry for the past 12 years. I started as a first-year architecture student in a small indie project. So far I was lucky to grow as an artist and lead across a variety of projects – from casual and F2P games, board and card games (Magic: The Gathering, This War Of Mine The Board Game) to AAA titles such as Dying Light 2: Stay Human. It’s been a blast so far!
在过去的12年里，我一直从事游戏行业。我从一个小型独立项目的建筑学一年级学生开始。到目前为止，我很幸运地成长为一名艺术家，并领导了各种项目 - 从休闲和F2P游戏，棋盘和纸牌游戏（Magic：The Gathering，This War Of Mine The Board Game）到AAA级游戏，如Dying Light 2：Stay Human。到目前为止，这是一次爆炸！



Worldbuilding in Dying Light 2
When you start a new project you need to set a high-level idea that will influence every aspect of the game. For Dying Light 2 Stay Human it was the modern dark ages. Modern civilization has fallen after the spread of the Harran virus. You were able to experience what happened in Harran in the first Dying Light game.
《垂死之光2》中的世界建设
当你开始一个新项目时，你需要设定一个高级的想法，这将影响游戏的各个方面。对于《消逝的光芒2》来说，这是现代的黑暗时代。现代文明在哈兰病毒传播后已经衰落。你能够在第一款《消逝的光芒》游戏中体验到哈兰发生的事情。

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After the outbreak people needed to find a new way of living. We were working closely with the Story Team to provide visual solutions fitting this narrative. On the other hand, one of our main visual inspirations for the game was European cities. We looked very closely at their urban structures and architecture. As Concept Artists, we spend countless hours analyzing references. That let us build a strong visual foundation for the project.
疫情爆发后，人们需要找到一种新的生活方式。我们与故事团队密切合作，提供适合这种叙事的视觉解决方案。另一方面，我们游戏的主要视觉灵感之一是欧洲城市。我们非常仔细地观察了他们的城市结构和建筑。作为概念艺术家，我们花了无数个小时来分析参考文献。这让我们为项目奠定了坚实的视觉基础。

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First Steps
There were a few aspects that we kept in mind when designing different districts in Dying Light 2 Stay Human. As I already mentioned, we wanted to create a believable city by following real-life references. Secondly, we wanted to provide a rich parkour experience for players.

Verticality was an important aspect. We knew from the very beginning that different heights of buildings have a big potential for an interesting parkour experience. We also took into consideration everything that we learned from the development of the first game.
第一步
在《消逝的光芒2》中设计不同的区域时，我们牢记了几个方面。正如我已经提到的，我们希望通过遵循现实生活中的参考来创建一个可信的城市。其次，我们希望为玩家提供丰富的跑酷体验。

垂直度是一个重要方面。我们从一开始就知道，不同高度的建筑物有很大的潜力带来有趣的跑酷体验。我们还考虑了从第一款游戏的开发中学到的一切。

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Working With the Game's Story
We believe that creating great games requires teamwork and good communication between different departments. The shorter the distance between the Story Team and artists the better. Keeping documentation up to date is one thing but taking feedback and guidance directly from writers and directors is key. That’s why Concept Artists talk with them on a daily basis. Such conversations help to share feedback both ways, exchange ideas, and keep everyone in the decision loop.
处理游戏的故事
我们相信，创造伟大的游戏需要团队合作和不同部门之间的良好沟通。故事团队和艺术家之间的距离越短越好。保持文档最新是一回事，但直接从编剧和导演那里获得反馈和指导是关键。这就是为什么概念艺术家每天与他们交谈的原因。这样的对话有助于以两种方式分享反馈，交流想法，并使每个人都参与决策循环。

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Old Villedor, the first district that you encounter as a player, is a great example of that. We used many processes and ideas that we established working on them in other areas later. From the story and visual points of view, we had to answer many questions: What people would do when the world they knew fell down? How would they defend their lives? Or fulfill their basic needs, produce food, communicate? Is there a place for anything else in this world beyond survival? On top of that – how does it all work with parkour gameplay and where’s the line between realism and stylization?
老维勒多，你作为球员遇到的第一个地区，就是一个很好的例子。我们使用了许多流程和想法，这些流程和想法后来在其他领域进行了研究。从故事和视觉的角度来看，我们必须回答许多问题：当人们所知道的世界崩溃时，他们会怎么做？他们将如何捍卫自己的生命？还是满足他们的基本需求，生产食物，沟通？除了生存之外，这个世界上还有什么地方可以容纳吗？最重要的是 - 这一切如何与跑酷游戏玩法一起工作，现实主义和风格化之间的界限在哪里？

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Rooftops became the new ground and place where people seek shelter and safety. One of my favorite examples where the story meets environment design is man-made rooftop settlements. To give the feeling of actual living people these structures had to first and foremost be tender to fulfill basic human needs. That’s why there are farms, small fields, and bakeries to produce food.
屋顶成为人们寻求庇护和安全的新场所和场所。我最喜欢的故事与环境设计相遇的例子之一是人造屋顶定居点。为了给实际活着的人带来感觉，这些结构首先必须温柔地满足人类的基本需求。这就是为什么有农场，小田地和面包店来生产食物。

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Another aspect is the makeshift approach to their construction. Resources in this world are limited and sometimes people have to use objects in an unexpected way. The old laundry basket may turn out to be a great pot or a base for a lamp. Pieces of tarp billboard can be used to build a tent to provide shelter. There are many many examples such as these in Dying Light 2 Stay Human.
另一个方面是临时的建造方法。这个世界的资源是有限的，有时人们不得不以意想不到的方式使用对象。旧的洗衣篮可能变成一个大锅或一盏灯的底座。防水布广告牌的碎片可以用来搭建帐篷以提供庇护所。在《消逝的光芒2》中有很多很多这样的例子。

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Designing Skyscrapers
Central Loop is a very different district in terms of architecture and pre-apo function. It's a modern area full of offices, shops, and apartments. From an urban design point of view, we needed to design believable city structures. We have people with an architecture background on the team to keep an eye on it. It’s the first layer of design that helps players understand the space they’re surrounded by on a subconscious level. I also have to mention that we put a lot of effort to provide clear points of interest on the skyline for the same reason.
设计摩天大楼
中央环路在建筑和前置功能方面是一个非常不同的地区。这是一个充满办公室，商店和公寓的现代区域。从城市设计的角度来看，我们需要设计可信的城市结构。我们有具有架构背景的团队来关注它。这是第一层设计，帮助玩家在潜意识层面上了解他们被包围的空间。我还必须提到，出于同样的原因，我们付出了很多努力在天际线上提供清晰的兴趣点。

The second layer, that comes along with the first one, is level design work. Every building that you see in the game was created in cooperation with the Level Design Team to make sure climbing and running on the rooftops is fun and satisfying. It was a big challenge for the Concept Art Team to design buildings that not only follow the art direction but also stick to very strict dimensions that comes with parkour. Doing it for huge skyscrapers is another level of difficulty. We often had to visually justify parkour helpers placed in unexpected (at the first glance) places.
第二层，与第一层一起，是关卡设计工作。你在游戏中看到的每座建筑都是与关卡设计团队合作创建的，以确保在屋顶上攀爬和奔跑既有趣又令人满意。对于概念艺术团队来说，设计不仅遵循艺术方向，而且要坚持跑酷带来的非常严格的尺寸的建筑，这是一个巨大的挑战。为大型摩天大楼做这件事是另一个难度。我们经常不得不在视觉上证明将跑酷助手放在意想不到的（乍一看）地方是合理的。

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Gameplay
As I already mentioned, our concept art team works closely with level designers. We participate in their creative process literally from the gray box phase. When designing buildings and other environmental assets we were provided with prototypes with set dimensions that needed visual solutions. These prototypes were tested gameplay-wise before we got them.
游戏玩法
正如我已经提到的，我们的概念美术团队与关卡设计师密切合作。我们从灰盒阶段开始参与他们的创作过程。在设计建筑物和其他环境资产时，我们获得了具有固定尺寸的原型，需要视觉解决方案。这些原型在我们获得它们之前已经过游戏测试。

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That may sound simple but in fact, it required a lot of cooperation between people to build a world that feels and plays so well. It’s not only about having ledges to climb but also a specific rhythm of them and a clear visual representation of the environment.
这听起来可能很简单，但实际上，它需要人与人之间的大量合作，才能建立一个感觉和发挥得如此出色的世界。这不仅是关于有壁架可以攀登，而且还要有它们的特定节奏和环境的清晰视觉表现。

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Favorite Regions and Places
It’s really hard to point out just a few things. We poured our hearts into this game and I’m super proud of everything we made. If I had to choose one element, I would like to talk about something that’s not so obvious at the first glance – murals.
最喜欢的地区和地点
真的很难指出几件事。我们全心全意地投入到这场比赛中，我为我们所做的一切感到超级自豪。如果我必须选择一个元素，我想谈谈乍一看不那么明显的东西 - 壁画。

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You can see them across different places in Villedor. We had full artistic freedom and coming up with ideas for them was super fun. Some of them criticize modern society, others illustrate our own pets or are winks to the first game. There’s a lot to explore if you look closely. Moreover, figuring out how weathered spray paint can be translated into a digital medium was a satisfying process.
您可以在维勒多尔的不同地方看到它们。我们有充分的艺术自由，为他们提出想法非常有趣。他们中的一些人批评现代社会，另一些人则说明了我们自己的宠物，或者是第一场比赛的眨眼。如果你仔细观察，有很多东西可以探索。此外，弄清楚如何将风化喷漆转化为数字介质是一个令人满意的过程。

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We also came up with three different art collectives that were responsible for making them in Villedor. You can see small tags on murals that tell you which group created it. One of the groups was named after our Environment Concept Art Team and is called “Szybko Betonki”. It’s the internal nickname of the team in Techland.
我们还想出了三个不同的艺术团体，负责在维勒多制作它们。您可以在壁画上看到小标签，告诉您是哪个小组创建的。其中一个小组以我们的环境概念艺术团队命名，被称为“Szybko Betonki”。这是Techland团队的里面昵称。

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Dark Zones
Every Dark Zone in the game has a very specific mood. They are full of infected during the day but almost empty during the night. Going there comes with a challenge but also the possibility of great reward.
暗区
游戏中的每个黑暗区域都有非常特定的情绪。它们在白天充满感染，但在夜间几乎空无一人。去那里伴随着挑战，但也有可能获得丰厚的回报。

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From the art side, we wanted to convey this feeling of danger and mystery. While designing assets and interiors we knew that there won’t be any natural light. The biggest challenge was to make sure that the player would understand the space with only a flashlight in hand. We also decided to use small light points to help with navigation.
从艺术方面，我们想传达这种危险和神秘的感觉。在设计资产和室内设计时，我们知道不会有任何自然光。最大的挑战是确保玩家只手电筒就能理解这个空间。我们还决定使用小光点来帮助导航。

Introduction
My name is Kasia Zielińska and I am the Lead Environment Concept Artist at Techland. My team was responsible for designing the visual side of environments in Dying Light 2 Stay Human. We design everything from buildings, interiors, and skylines to small items such as books and posters.
介绍
我的名字是Kasia Zielińska，我是Techland的首席环境概念艺术家。我的团队负责设计《消逝的光2 Stay Human》中环境的视觉方面。我们设计从建筑物，室内和天际线到书籍和海报等小物品的所有内容。

I’ve been involved in the game industry for the past 12 years. I started as a first-year architecture student in a small indie project. So far I was lucky to grow as an artist and lead across a variety of projects – from casual and F2P games, board and card games (Magic: The Gathering, This War Of Mine The Board Game) to AAA titles such as Dying Light 2: Stay Human. It’s been a blast so far!
在过去的12年里，我一直从事游戏行业。我从一个小型独立项目的建筑学一年级学生开始。到目前为止，我很幸运地成长为一名艺术家，并领导了各种项目 - 从休闲和F2P游戏，棋盘和纸牌游戏（Magic：The Gathering，This War Of Mine The Board Game）到AAA级游戏，如Dying Light 2：Stay Human。到目前为止，这是一次爆炸！



Worldbuilding in Dying Light 2
When you start a new project you need to set a high-level idea that will influence every aspect of the game. For Dying Light 2 Stay Human it was the modern dark ages. Modern civilization has fallen after the spread of the Harran virus. You were able to experience what happened in Harran in the first Dying Light game.
《垂死之光2》中的世界建设
当你开始一个新项目时，你需要设定一个高级的想法，这将影响游戏的各个方面。对于《消逝的光芒2》来说，这是现代的黑暗时代。现代文明在哈兰病毒传播后已经衰落。你能够在第一款《消逝的光芒》游戏中体验到哈兰发生的事情。

更多精彩图片 请登录

After the outbreak people needed to find a new way of living. We were working closely with the Story Team to provide visual solutions fitting this narrative. On the other hand, one of our main visual inspirations for the game was European cities. We looked very closely at their urban structures and architecture. As Concept Artists, we spend countless hours analyzing references. That let us build a strong visual foundation for the project.
疫情爆发后，人们需要找到一种新的生活方式。我们与故事团队密切合作，提供适合这种叙事的视觉解决方案。另一方面，我们游戏的主要视觉灵感之一是欧洲城市。我们非常仔细地观察了他们的城市结构和建筑。作为概念艺术家，我们花了无数个小时来分析参考文献。这让我们为项目奠定了坚实的视觉基础。

更多精彩图片 请登录

更多精彩图片 请登录

First Steps
There were a few aspects that we kept in mind when designing different districts in Dying Light 2 Stay Human. As I already mentioned, we wanted to create a believable city by following real-life references. Secondly, we wanted to provide a rich parkour experience for players.

Verticality was an important aspect. We knew from the very beginning that different heights of buildings have a big potential for an interesting parkour experience. We also took into consideration everything that we learned from the development of the first game.
第一步
在《消逝的光芒2》中设计不同的区域时，我们牢记了几个方面。正如我已经提到的，我们希望通过遵循现实生活中的参考来创建一个可信的城市。其次，我们希望为玩家提供丰富的跑酷体验。

垂直度是一个重要方面。我们从一开始就知道，不同高度的建筑物有很大的潜力带来有趣的跑酷体验。我们还考虑了从第一款游戏的开发中学到的一切。

更多精彩图片 请登录

Working With the Game's Story
We believe that creating great games requires teamwork and good communication between different departments. The shorter the distance between the Story Team and artists the better. Keeping documentation up to date is one thing but taking feedback and guidance directly from writers and directors is key. That’s why Concept Artists talk with them on a daily basis. Such conversations help to share feedback both ways, exchange ideas, and keep everyone in the decision loop.
处理游戏的故事
我们相信，创造伟大的游戏需要团队合作和不同部门之间的良好沟通。故事团队和艺术家之间的距离越短越好。保持文档最新是一回事，但直接从编剧和导演那里获得反馈和指导是关键。这就是为什么概念艺术家每天与他们交谈的原因。这样的对话有助于以两种方式分享反馈，交流想法，并使每个人都参与决策循环。

更多精彩图片 请登录

Old Villedor, the first district that you encounter as a player, is a great example of that. We used many processes and ideas that we established working on them in other areas later. From the story and visual points of view, we had to answer many questions: What people would do when the world they knew fell down? How would they defend their lives? Or fulfill their basic needs, produce food, communicate? Is there a place for anything else in this world beyond survival? On top of that – how does it all work with parkour gameplay and where’s the line between realism and stylization?
老维勒多，你作为球员遇到的第一个地区，就是一个很好的例子。我们使用了许多流程和想法，这些流程和想法后来在其他领域进行了研究。从故事和视觉的角度来看，我们必须回答许多问题：当人们所知道的世界崩溃时，他们会怎么做？他们将如何捍卫自己的生命？还是满足他们的基本需求，生产食物，沟通？除了生存之外，这个世界上还有什么地方可以容纳吗？最重要的是 - 这一切如何与跑酷游戏玩法一起工作，现实主义和风格化之间的界限在哪里？

更多精彩图片 请登录

Rooftops became the new ground and place where people seek shelter and safety. One of my favorite examples where the story meets environment design is man-made rooftop settlements. To give the feeling of actual living people these structures had to first and foremost be tender to fulfill basic human needs. That’s why there are farms, small fields, and bakeries to produce food.
屋顶成为人们寻求庇护和安全的新场所和场所。我最喜欢的故事与环境设计相遇的例子之一是人造屋顶定居点。为了给实际活着的人带来感觉，这些结构首先必须温柔地满足人类的基本需求。这就是为什么有农场，小田地和面包店来生产食物。

更多精彩图片 请登录

Another aspect is the makeshift approach to their construction. Resources in this world are limited and sometimes people have to use objects in an unexpected way. The old laundry basket may turn out to be a great pot or a base for a lamp. Pieces of tarp billboard can be used to build a tent to provide shelter. There are many many examples such as these in Dying Light 2 Stay Human.
另一个方面是临时的建造方法。这个世界的资源是有限的，有时人们不得不以意想不到的方式使用对象。旧的洗衣篮可能变成一个大锅或一盏灯的底座。防水布广告牌的碎片可以用来搭建帐篷以提供庇护所。在《消逝的光芒2》中有很多很多这样的例子。

更多精彩图片 请登录

Designing Skyscrapers
Central Loop is a very different district in terms of architecture and pre-apo function. It's a modern area full of offices, shops, and apartments. From an urban design point of view, we needed to design believable city structures. We have people with an architecture background on the team to keep an eye on it. It’s the first layer of design that helps players understand the space they’re surrounded by on a subconscious level. I also have to mention that we put a lot of effort to provide clear points of interest on the skyline for the same reason.
设计摩天大楼
中央环路在建筑和前置功能方面是一个非常不同的地区。这是一个充满办公室，商店和公寓的现代区域。从城市设计的角度来看，我们需要设计可信的城市结构。我们有具有架构背景的团队来关注它。这是第一层设计，帮助玩家在潜意识层面上了解他们被包围的空间。我还必须提到，出于同样的原因，我们付出了很多努力在天际线上提供清晰的兴趣点。

The second layer, that comes along with the first one, is level design work. Every building that you see in the game was created in cooperation with the Level Design Team to make sure climbing and running on the rooftops is fun and satisfying. It was a big challenge for the Concept Art Team to design buildings that not only follow the art direction but also stick to very strict dimensions that comes with parkour. Doing it for huge skyscrapers is another level of difficulty. We often had to visually justify parkour helpers placed in unexpected (at the first glance) places.
第二层，与第一层一起，是关卡设计工作。你在游戏中看到的每座建筑都是与关卡设计团队合作创建的，以确保在屋顶上攀爬和奔跑既有趣又令人满意。对于概念艺术团队来说，设计不仅遵循艺术方向，而且要坚持跑酷带来的非常严格的尺寸的建筑，这是一个巨大的挑战。为大型摩天大楼做这件事是另一个难度。我们经常不得不在视觉上证明将跑酷助手放在意想不到的（乍一看）地方是合理的。

更多精彩图片 请登录

Gameplay
As I already mentioned, our concept art team works closely with level designers. We participate in their creative process literally from the gray box phase. When designing buildings and other environmental assets we were provided with prototypes with set dimensions that needed visual solutions. These prototypes were tested gameplay-wise before we got them.
游戏玩法
正如我已经提到的，我们的概念美术团队与关卡设计师密切合作。我们从灰盒阶段开始参与他们的创作过程。在设计建筑物和其他环境资产时，我们获得了具有固定尺寸的原型，需要视觉解决方案。这些原型在我们获得它们之前已经过游戏测试。

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That may sound simple but in fact, it required a lot of cooperation between people to build a world that feels and plays so well. It’s not only about having ledges to climb but also a specific rhythm of them and a clear visual representation of the environment.
这听起来可能很简单，但实际上，它需要人与人之间的大量合作，才能建立一个感觉和发挥得如此出色的世界。这不仅是关于有壁架可以攀登，而且还要有它们的特定节奏和环境的清晰视觉表现。

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Favorite Regions and Places
It’s really hard to point out just a few things. We poured our hearts into this game and I’m super proud of everything we made. If I had to choose one element, I would like to talk about something that’s not so obvious at the first glance – murals.
最喜欢的地区和地点
真的很难指出几件事。我们全心全意地投入到这场比赛中，我为我们所做的一切感到超级自豪。如果我必须选择一个元素，我想谈谈乍一看不那么明显的东西 - 壁画。

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You can see them across different places in Villedor. We had full artistic freedom and coming up with ideas for them was super fun. Some of them criticize modern society, others illustrate our own pets or are winks to the first game. There’s a lot to explore if you look closely. Moreover, figuring out how weathered spray paint can be translated into a digital medium was a satisfying process.
您可以在维勒多尔的不同地方看到它们。我们有充分的艺术自由，为他们提出想法非常有趣。他们中的一些人批评现代社会，另一些人则说明了我们自己的宠物，或者是第一场比赛的眨眼。如果你仔细观察，有很多东西可以探索。此外，弄清楚如何将风化喷漆转化为数字介质是一个令人满意的过程。

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We also came up with three different art collectives that were responsible for making them in Villedor. You can see small tags on murals that tell you which group created it. One of the groups was named after our Environment Concept Art Team and is called “Szybko Betonki”. It’s the internal nickname of the team in Techland.
我们还想出了三个不同的艺术团体，负责在维勒多制作它们。您可以在壁画上看到小标签，告诉您是哪个小组创建的。其中一个小组以我们的环境概念艺术团队命名，被称为“Szybko Betonki”。这是Techland团队的里面昵称。

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Dark Zones
Every Dark Zone in the game has a very specific mood. They are full of infected during the day but almost empty during the night. Going there comes with a challenge but also the possibility of great reward.
暗区
游戏中的每个黑暗区域都有非常特定的情绪。它们在白天充满感染，但在夜间几乎空无一人。去那里伴随着挑战，但也有可能获得丰厚的回报。

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From the art side, we wanted to convey this feeling of danger and mystery. While designing assets and interiors we knew that there won’t be any natural light. The biggest challenge was to make sure that the player would understand the space with only a flashlight in hand. We also decided to use small light points to help with navigation.
从艺术方面，我们想传达这种危险和神秘的感觉。在设计资产和室内设计时，我们知道不会有任何自然光。最大的挑战是确保玩家只手电筒就能理解这个空间。我们还决定使用小光点来帮助导航。