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You awaken with a start, the nightmare still fogging your mind with terror. Rain falls through cracks in the ceiling above you. The room is sparse, metallic, desolate. Searching the pockets of your yellow raincoat, you find only a cigarette lighter. Knowing nothing but fear and the need to get away from wherever you are, you push forward. The tiny flame is your only illumination, your only hope for salvation, pushing away the shadows as you creep slowly ahead.

? 歐醒來時開始，噩夢仍與恐怖霧你的頭腦。 雨水從上方的天花板裂縫中掉出來。 房間稀疏，金屬，荒涼。 搜索黃色雨衣的口袋時，您只會發(fā)現(xiàn)點煙器。 除了恐懼之外，一無所知，無論您身在何處，都需要前進(jìn)。 微小的火焰是您唯一的照明，是您拯救的唯一希望，隨著您慢慢向前爬行，推開陰影。

Thus begins Little Nightmares, one of the best small (in playtime, not in stature) adventures on the PS4. You play as Six, the aforementioned yellow-clad character awakening from a nightmare into a world that is, well, still a nightmare. This experience more than anything was what I had in mind when I wrote an ode to short games recently. Even with three levels of DLC released for this game, it still clocks in around 6 or 7 hours total, a perfect run-time for the thrills and chills on offer here. Either before or after reading this article, I implore you to play this game, and you can thank me later.

這樣就開始了Little Nightmares ，這是PS4上最好的小型冒險游戲(在游戲時間，而不是身材)之一。 您扮演的角色是六，前面提到的穿著黃色衣服的角色會從噩夢中醒來，進(jìn)入一個仍然是一場噩夢的世界。 最近寫短歌致詞時，我所想到的就是這種經(jīng)歷。 即使為該游戲發(fā)布了三個級別的DLC，它仍然總共需要大約6或7個小時的時鐘，這對于這里提供的刺激和寒意來說是一個完美的運行時間。 在閱讀本文之前或之后，我懇請您玩此游戲，稍后您可以感謝我。

Created by Swedish development house Tarsier Studios, which had previously made Little Big Planet 3 and Tearaway Unfolded among other work, Little Nightmares released in April of 2017. As of May 2020, the game has been a phenomenal success with more than 2 million copies sold. It’s not difficult to see why, as it is one of the most effective and atmospheric horror titles available for any system.

由瑞典開發(fā)公司Tarsier Studios創(chuàng)建， Little Nightmares之前曾制作過Little Big Planet 3和Tearaway Unfolded等作品，于2017年4月發(fā)行。截至2020年5月，該游戲取得了驚人的成功，售出了200萬本。 不難看出為什么，因為它是可用于任何系統(tǒng)的最有效，最大氣的恐怖片之一。

This will be a spoiler-free look back at the game, as it would be absolutely criminal to ruin anything new players have in store for them. Suffice it to say that Six needs to escape, and everything flows from there. The gameplay revolves around solving environmental puzzles, sneaking past enemies and occasionally running like hell away from them.

回顧一下這款游戲，這將是無懈可擊的，因為毀掉新玩家為他們儲備的任何東西絕對是犯罪的。 只需說六號需要逃脫，一切就從那里流出來就足夠了。 游戲玩法圍繞解決環(huán)境難題，潛行經(jīng)過敵人并偶爾像它們一樣逃離地獄而展開。

Other than the occasional tip to tell you which button press accomplishes a scene-specific action, there is no spoken or printed dialogue, and no direction given to help you out. The puzzles aren’t fiendishly difficult, and while they never feel frustrating, there is a bit of trial and error involved in some of them. The journey and the ending are the struggle, though, as you will feel every emotion Six feels in her attempts to escape. Grab the three DLC packs and you have a wonderful bookend to Six’s journey, with a twist at the very end I didn’t see coming.

除了偶爾提示您哪個按鍵可以完成特定于場景的操作外，沒有任何口頭或書面對話，也沒有提供指導(dǎo)來幫助您。 這些難題并不難解決，盡管它們從未感到沮喪，但其中有些涉及反復(fù)試驗。 然而，旅程和結(jié)局是艱辛的奮斗，因為您會感受到六人試圖逃脫的每一種情感。 抓住這三個DLC包，您將對Six的旅程有一個美好的書擋，但最后卻發(fā)現(xiàn)我沒想到會有所改變。

The first thing you notice about the game is its scale, and how small you feel. The environments are simply massive compared to Six, and the game does a fantastic job of conveying that stark contrast. Chairs and tables tower over her, to the point where just getting up to a stool takes a monumental jump. The vertical nature of each screen means Six will often scale chests of drawers or stacks of boxes to get on top of tables, then to high shelves where important items or collectibles are stowed.

您注意到游戲的第一件事是它的規(guī)模，以及感覺如何。 與“六”相比，環(huán)境簡直是巨大的，并且游戲在傳達(dá)這種鮮明對比方面做得非常出色。 椅子和桌子高高地聳在她身上，以至于只要站起來凳子都會產(chǎn)生巨大的跳躍。 每個屏幕的垂直性質(zhì)意味著六個通常會稱重抽屜柜或成堆的箱子，放在桌子上，然后到高架上，上面存放重要物品或收藏品。

Little Nightmares is quite literally dripping in atmospheric details, and they do more than anything to set the scene and deliver the horror. Water drips down every wall and puddles on every floor. When Six runs through those puddles, or the occasional spot of blood, she leaves tiny footprints in every direction she runs. Late in the game, you know you are in the presence of an enemy when Six’s breath results in icy clouds in front of her. When she has her lighter out, she shields the flame with her hand while running to keep it from blowing out. The darkness and gloom is less of a detail and more of a theme in the game, pervasive and disturbing in every room you visit.

《小惡夢》確實滴入了大氣中的細(xì)節(jié)，它們在設(shè)置場景和傳達(dá)恐怖方面做得比什么都重要。 水從每一滴墻壁上滴下來，在每層地板上都水坑洼洼。 當(dāng)六個人穿過那些水坑或偶爾的血跡時，她在奔跑的各個方向上留下了微小的足跡。 在游戲后期，當(dāng)六人的呼吸在她面前結(jié)冰時，您會知道您正在敵人面前。 當(dāng)她把打火機拿出來時，她用手遮擋火焰，以免熄滅。 黑暗和陰暗在游戲中不再是一個細(xì)節(jié)，而是一個主題，在您訪問的每個房間中無處不在。

The soundscape provides the backdrop for every horrific happening throughout the game, and truly must be heard to be believed. Chairs scrape across metal floors, causing the player the flinch at the thought of attracting unwanted attention. As Six approaches enemies to sneak past them, her heartbeat speeds up to a fever pitch, represented to the player by the thrumming of the DualShock controller’s force-feedback. When enemies attack or chase Six, the pace of the music accelerates and the blood-curdling screech of violin notes, familiar to all horror fans, are never far away.

音景為整個游戲中發(fā)生的每一次恐怖事件提供了背景，必須讓人們真正相信它。 椅子在金屬地板上刮擦，導(dǎo)致玩家退縮以引起不必要的注意。 當(dāng)“六人”接近敵人潛行時，她的心跳加快，直到發(fā)燒音調(diào)為止，DualShock控制器的力反饋震撼了玩家。 當(dāng)敵人攻擊或追趕六號琴時，音樂的節(jié)奏會加快，所有恐怖迷們都熟悉的小提琴音符的鮮血凝結(jié)的刺耳聲永遠(yuǎn)不會消失。

The graphical style of the game, both the levels and the characters, does more than anything to set the tone for the game. Hunger is a main theme, and the enemy characters are almost all grotesquely proportioned people with terrifying visages, seen gorging themselves throughout the game. Massive animal carcasses and hunks of food, which all look quite disturbing in proportions and conditions, are central to the setting of most levels. Some characters wear what appear to be Kabuki masks with twisted features, while others resemble obese versions of horror favorite Leatherface.

游戲的圖形風(fēng)格，包括關(guān)卡和角色，都可以為游戲設(shè)定基調(diào)。 饑餓是主要主題，敵人的角色幾乎全都是怪怪的人，他們的面容令人恐懼，在整個游戲過程中，他們都陷入困境。 大規(guī)模的動物尸體和大塊的食物，在比例和條件上都顯得相當(dāng)令人不安，它們對于大多數(shù)級別的設(shè)置至關(guān)重要。 一些角色戴著看起來像是帶有扭曲特征的歌舞uki面具，而另一些角色則類似于恐怖的最受歡迎的萊瑟菲斯的肥胖版本。

The levels are works of art in themselves, both small and enormous. Whether it is a tiny crawlspace or a giant mansion, the levels have incredible details, down to the nails in the rotten wood floorboards. The darkness and gloom are practically part of the level, so pervasive and ever-present are they. The items that populate the levels are so realistic and well-crafted, they pop off the screen in an almost 3D manner. Lights swing realistically with the swaying of the room, and shadows dance along the walls and floors, inducing fear and relief in equal measure depending on where the light lands.

這些關(guān)卡本身就是藝術(shù)品，大小不一。 無論是很小的爬行空間還是巨大的豪宅，這些樓層都有令人難以置信的細(xì)節(jié)，甚至是爛木地板上的釘子。 黑暗和陰暗實際上是關(guān)卡的一部分，所以它們無處不在且永遠(yuǎn)存在。 填充關(guān)卡的項目是如此逼真且精心制作，它們以幾乎3D的方式從屏幕彈出。 光線隨著房間的擺動而真實地擺動，陰影沿著墻壁和地板跳動，這取決于光線的落地，相等程度地引起恐懼和緩解。

Last, and most important, is the environmental storytelling that makes this game really remarkable. With the lack of spoken and written dialogue, the environment tells the entire story. Every corner of every room tells a bit of the tale and gives clues to what is really happening in this frightening place.

最后，也是最重要的是使這個游戲真正與眾不同的環(huán)境故事。 由于缺乏口頭和書面對話，環(huán)境講述了整個故事。 每個房間的每個角落都講述了一個故事，并提供了有關(guān)這個可怕地方實際發(fā)生情況的線索。

Bloody handprints on a door frame are found at the end of a bloody trail across the floor. A bed folds out from the wall, frighteningly complete with straps and buckles laid across it’s width. It is clear that children are involved in some way with the horror, as many rooms sport crayon drawings, toys and child-sized beds or even cribs. One particularly haunting room was filled with nothing but shoes, evoking images of a similar room at the Holocaust Museum, as Six trudges through their midst toward the next challenge. You could spend multiple hours beyond playing the game, just looking at the details in each room.

在地板上流血痕跡的末端發(fā)現(xiàn)了門框上的流血手印。 一張床從墻壁上折疊起來，令人恐懼地完成，在其整個寬度上都配有皮帶和帶扣。 顯然，孩子們在某種程度上參與了恐怖活動，因為許多房間都擺著蠟筆畫，玩具和兒童大小的床甚至是嬰兒床。 一間特別令人難以忘懷的房間里只剩下鞋子，喚起了大屠殺博物館中類似房間的畫面，六名苦苦跋涉的人艱難地邁向下一個挑戰(zhàn)。 您可以在玩游戲之外花費多個小時，僅查看每個房間的細(xì)節(jié)即可。

The developers have discussed the game’s inspirations, which include Studio Ghibli animated classics, and stated that they feel it is a darker take on their Little Big Planet works from earlier years. I was also reminded of Inside, the wonderfully atmospheric platformer from Danish studio Playdead, in both the game’s feel and mechanics. Whatever the inspiration, or your reason to play it, give Little Nightmares a try before the sequel comes out later this year. You may not sleep too well once you’re done, but you’ll be glad you took the journey.

開發(fā)人員討論了游戲的靈感 ，包括吉卜力工作室的動畫經(jīng)典作品，并表示，他們覺得與《 Little Big Planet》早期作品相比，這是一個黑暗的想法。 還使我想起了丹麥工作室Playdead出色的大氣平臺游戲《 Inside》 ，無論是游戲的手感還是機制。 無論靈感是什么，或者是您使用它的理由，都可以在今年下半年續(xù)集問世之前嘗試一下Little Nightmares 。 完成后，您可能不會睡得很好，但是您會很高興踏上旅途。

翻譯自: https://medium.com/super-jump/revisiting-little-nightmares-6b66383591ee

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