摘 要

现今，一些游戏美术领域的学习者和游戏行业的从业者执着于形而上学，却忽略了对新思维的理解和接受，对层级思维的了解和应用不足。为此，笔者对层级思维的含义进行简析，指出其迭代的特性，并进一步延伸出它在游戏美术领域的含义。通过分析国际优秀游戏的角色设计元素、场景内容的调度安排和关卡设计的思路，分析三维模型的雕刻思路，从美术设计方面和技术方面具体说明该理念在游戏设计与制作中应用的重要性；再结合毕业设计，举例说明层级思维在人物设计和场景合成中的应用情况，并说明如何运用层级思维解决遇到的问题；最后反思在毕业设计中对层级思维的应用还需要改进的方面。望以此推广层级思维，使之得到更多的实际应用。

关键词：游戏美术；层级思维；游戏设计与制作；迭代

Abstract

The purpose and significance of the study, the description of the research background; the meaning of the level of thinking to analyze, pointed out its iterative characteristics, and further extend its meaning in the field of game art; by analyzing the international excellent game character design elements, The content of the scene scheduling and checkpoint design ideas, analysis of three-dimensional model of carving ideas, from the art design and technical aspects of the concept of design and production in the design of the importance of the application; combined with graduation design, for example, Design and scene synthesis, and how to use the level of thinking to solve the problems encountered; reflection in the graduation design needs to improve the area.

Key Words：Game art；Level thinking；Game design and production；Iteration

目 录

第1章 绪论 ...........................................................................................................................1

1.1 研究的目的及意义 ......................................................................................................1

1.2 研究背景 ...........................................................................................................................1

第2章 层级思维的概述 ......................................................................................................2

2.1 层级思维的含义 .............................................................................................................2

2.2 在游戏美术领域的含义....................................................................................................2

第3章 层级思维对游戏设计与制作的重要性.........................................................................3

3.1 美术设计方面....................................................................................................................3

3.1.1在角色设计中丰富层次..........................................................................................3

3.1.1.1叠压..............................................................................................................4

3.1.1.2绑缚与连接..................................................................................................4

3.1.1.3穿插..............................................................................................................4

3.1.1.4破形..............................................................................................................4

3.1.2在场景和关卡设计中逐层深入..............................................................................4

3.1.2.1横向排列、纵向安插和贯穿连接..............................................................5

3.1.2.2场景过渡——从现实的自然带和植被分布中寻找灵感..........................5

3.1.2.3从难到易的关卡设计和张弛有度的氛围安排..........................................6

3.2技术方面............................................................................................................................7

3.2.1从骨骼至表皮的雕刻..............................................................................................7

3.2.1.1把握大型......................................................................................................7

3.2.1.2深化骨点......................................................................................................7

3.2.1.3强化次级结构..............................................................................................8

3.2.1.4优化横截面..................................................................................................8

3.2.1.5增加质感细节..............................................................................................8

第4章 在毕业设计中的实际应用与思考.................................................................................10

4.1 层级思维的实际应用.......................................................................................................10

4.1.1在角色设计中的应用................................................................................................10

4.1.2在场景合成中的应用...............................................................................................10

4.2遇到的问题和解决方法...................................................................................................11

4.3毕设制作后的思考...........................................................................................................12

4.3.1在角色设计中的应用...............................................................................................12

4.3.2在场景合成中的应用...............................................................................................12

第5章 结语.................................................................................................................................14

参考文献.......................................................................................................................................15

致谢...............................................................................................................................................16

第一章 绪论

1.1 研究的目的、意义