Talk about some design tips in game space design from the Chinese statue space

The following article comes from LIN Food Shop, the author LIN Food Shop

To share a design analysis about the space type in the scene design, it is difficult to explain the space from a single frame. The most intuitive experience is to go to the scene by yourself, or you can feel the changes in the space in some games. Starting from the statue space is also because the characteristics of this type of space are very obvious. If you have seen Buddha statues, you should be able to feel the sense of space relatively quickly.

What is the feeling of the statue:

Big and infinite, what kind of things make people think big?

Its own scale is not for human use. Think of the colonnade of Greek temples, and Western temples without exception are pursuing higher and greater technical scope. There is actually a contradiction here, that is, humans can make it. The things are limited. Some of the statues, in pursuit of greater size, broke through the technological limits of the time by transforming natural objects and cooperating with nature to a certain extent. They are cliff-wall cave-like statues.

How does the Buddha statue space help reflect the size of the Buddha statue itself?

Angle and field of view control: By controlling the movable ground in front of the image, you can control your field of view and angle. The advantage of controlling the angle of view through space is that you do not feel forced to control, and everything is naturally guided to the past. The viewing angle control of spaces such as Buddha statues is extremely close, and you can only look up, but cannot see the whole picture.

The second is incompleteness. Through occlusion or control of the field of view, you can only see what you see in a corner, even if it is limited, but through occlusion to make you unable to see the whole picture, you can make it appear infinite.

Dule Temple Guanyin Pavilion

The Guanyin Pavilion makes the space in front of the Bodhisattva very compact, and there is part of the corridor at the upper part that is blocked. You can’t see the whole picture of the Buddha in most of the space at the bottom. You must be very close to the Bodhisattva to get to the Bodhisattva. The whole picture, but when the distance gets closer, the person’s perspective will change. You must raise the perspective very high to see the head of the bodhisattva. The most ideal perspective in the image space is the upward perspective. The perspective allows things to look very large. .

View the entire Buddha statue from the bottom of Guanyin Pavilion

Leshan Giant Buddha

The spatial characteristics of outdoor statues are no different from indoors. The occlusion of the cliffs on both sides almost completely restricts you to observe the Buddha statue from other perspectives. You can only see the front of the Buddha statue from a specified angle, and it is located at the intersection of three rivers. Except for a little open space in front of the Buddha statue to observe the Buddha statue, there is almost no other ground for you to see the Buddha statue.

View of Leshan Giant Buddha from the bottom

Bodhisattva Valley of the Wolf

What is worth mentioning about Bodhisattva Valley is that he controls the spatial scale at the bottom of the entire valley very tightly. From the bottom, there are only few games that can control the spatial scale so accurately, and you can hardly observe it from any angle. The whole picture of the several bodhisattvas at the bottom of the valley is the second point mentioned above.

There is also a wolf with a very delicate design, which is the design of the hook point, which is the path of vertical movement and the guiding route of the field of view. How you want to go is determined by the hook point, which can be determined to a certain extent. The upper control of your field of vision, this means that the control of the angle and field of vision mentioned above is the ultimate goal. The ground in front of the Buddha statue is just a means.

Longmen Grottoes

The Longmen Grottoes are different from the previous examples. The site he chose is on the mountainside, and there is also a very small space in front of him. Going up the stairs, these statues have the characteristic of making the station in front of the statue through various restrictions. On the ground, through the wall restrictions (Dule Temple Guanyin Pavilion), through the river surface restrictions (Leshan Giant Buddha), through the vertical restrictions (Longmen Grottoes), a good statue space will limit your viewing angle of the statue.

Replace the castle tower with the Buddha statue of the Longmen Grottoes. These two spaces are actually very close. This type of space makes things look special or ritual, and the camera is controlled. I am in the article on the sense of distance and the dragon battle. This part has been explained in detail here, so I won’t repeat it here.

The spatial characteristics of Tianmen Mountain, the real genius who will build stairs in this place~

For real scenes, the terrain cannot be designed and can only be selected, while the game scene can be designed from scratch. This involves the purpose of terrain design and why the terrain is designed in this way. The impact of this terrain on the composition of the scene can be regarded as the composition of the scene. A beginning of the article.

This is actually a supplement to the lofty part of the three-distance theory in the Chinese landscape painting article~

Those interested can read the following article

Sekiro (sekiro) game scene design guide, inspired by ancient literati and landscape painting

Cover: Qinjiayan Giant Buddha in Zizhong, Sichuan


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