ar crypt下载_下载我们的新2D示例项目：Lost Crypt

ar crypt下载

We put our new 2D tools through their paces to create a 2D side-scroller demo. In this post we show how these integrated 2D tools can help you create high-end visuals with Unity.

我们利用他们的新2D工具开发了2D侧滚动演示。在这篇文章中，我们将展示这些集成的2D工具如何帮助您使用Unity创建高端视觉效果。

演示地址

Highly skilled teams have been making gorgeous 2D games with Unity for years, but we wanted to enable everyone, from individual artists to large teams, to have even more 2D tools available to create great-looking games. And many of them will be production-ready as part of Unity 2019.3, which is currently available in beta.

高水平的团队多年来一直使用Unity制作精美的2D游戏，但我们希望使每个人(从单个艺术家到大型团队)都拥有更多可用的2D工具来创建美观的游戏。其中许多将作为Unity 2019.3的一部分投入生产，目前已在Beta中提供。

We created Lost Crypt using the complete suite of 2D tools. This lively scene features animation, light effects, organic terrain, shaders, and post-processing, all made natively in 2D. It shows how teams and projects of all sizes, targeting any platform, can now get more engaging and beautiful results faster.

我们使用完整的2D工具套件创建了Lost Crypt。这个生动的场景具有动画，灯光效果，有机地形，着色器和后处理功能，所有这些均以2D原始方式制作。它显示了针对任何平台的各种规模的团队和项目现在如何更快地获得更多引人入胜的精美结果。

Lost Crypt should run well on any desktop computer and we have also implemented on-screen controls with the new Input System in case you want to run it on an iOS or Android device. In our tests it ran at 30 fps on common devices like an iPhone 6S.

如果您想在iOS或Android设备上运行它，Lost Crypt可以在任何台式机上正常运行，并且我们还通过新的输入系统实现了屏幕控制。在我们的测试中，它在iPhone 6S等常见设备上以30 fps的速度运行。

Download from Asset Store

从资产商店下载

设置项目 (Setting up the project)

Once you’ve downloaded Lost Crypt from the Asset Store, we recommend that you start with a blank New Project and select 2D, then import the project from My Assets in the Package Manager, or by clicking My Assets on your Asset Store page. The project includes all the 2D packages you need. It will then overwrite the project settings, changing rendering settings to the 2D Renderer within the Universal Render Pipeline.

从资产商店下载“丢失的地穴”后，建议您从空白的“ 新建项目”开始，然后选择“ 2D” ，然后从“包管理器”中的“ 我的资产”中导入该项目，或者单击“资产商店”页面上的“ 我的资产 ”。该项目包括您需要的所有2D软件包。然后它将覆盖项目设置，将渲染设置更改为Universal Render Pipeline中的2D Renderer。

Here you can see Lost Crypt’s render pipeline asset with the Universal Render Pipeline and the 2D Renderer.

在这里，您可以看到带有通用渲染管道和2D渲染器的Lost Crypt渲染管道资源。

Once you import it, you will see the Main Scene. When you click Play you should be able to play normally using the keyboard arrows and spacebar to jump.

导入后，您将看到主场景。单击“ 播放”后，您应该能够使用键盘箭头和空格键跳跃来正常播放。

The scripts and game logic are fairly simple, as the main focus of the demo was to make use of the 2D tools to materialize the demo’s concept art.

脚本和游戏逻辑非常简单，因为该演示的主要重点是利用2D工具来体现该演示的概念艺术。

We’ve broken down the demo into several tasks and picked which 2D tools to leverage for that visual challenge.

我们已将演示分为几个任务，并选择了可用来应对视觉挑战的2D工具。

Original concept art. We made the project in collaboration with B2tGame.

原始概念艺术。我们与B2tGame合作完成了该项目。

角色动画 (Character animation)

The character was designed in Photoshop and imported directly with the 2D PSD Importer. Open the Sara.psb file with the Sprite Editor to see the character setup and rig. If you open the file with Photoshop, you will see how we kept the different parts and layer names intact.

该角色是在Photoshop中设计的，并直接通过2D PSD导入器导入。使用“精灵编辑器”打开Sara.psb文件以查看角色设置和装备。如果使用Photoshop打开文件，您将看到我们如何保持不同的零件和层名称不变。

The PSD Importer allows us to use Photoshop files directly in Unity without having to export separated Sprites and reassemble them later.

PSD导入器允许我们直接在Unity中使用Photoshop文件，而不必导出分离的Sprites并在以后重新组装它们。

One of the features available with the Universal Render Pipeline is the new Sprite-Lit material. Compared to the usual Sprite-Default material, this one allows Sprites to react to 2D lighting conditions.

通用渲染管线可用的功能之一是新的Sprite-Lit材料。与通常的Sprite-Default材料相比，此材料可使Sprite对2D光照条件做出React。

We imported the character Normal maps in the Sprite Editor, using the Secondary Textures drop-down menu. You can add Normal and Mask maps to 2D animated characters, regular Sprites, tilemaps, and Sprite shapes.

我们使用“辅助纹理”下拉菜单将角色法线贴图导入了Sprite Editor。您可以将法线贴图和蒙版贴图添加到2D动画角色，常规Sprites，tilemap和Sprite形状中。

The Normal map used for the character indicates which areas of the Sprite should reflect more or less light.

用于角色的法线贴图指示精灵的哪些区域应反射更多或更少的光。

The character has 2D IK solvers in the legs to help the animator focus on positioning the ankle and foot tips correctly, then the legs will follow realistically.

角色的腿中有2D IK解算器，以帮助动画师专注于正确定位脚踝和脚尖，然后腿部将真实地跟随。

We used 2D IK to facilitate the animation process of the legs and feet.

我们使用2D IK来简化腿和脚的动画处理。

Once we rigged the character, we made the different animations with the Animation tool and Animator to control those states. You can see how the tool works in this talk from GDC 2019.

装配角色后，我们将使用“动画”工具和“动画器”制作不同的动画来控制这些状态。您可以在GDC 2019的这次演讲中看到该工具的工作原理。

The character’s ponytail is a different child GameObject and is controlled by 2D Physics. It reacts realistically to movement because every bone of the ponytail has a Hinge Joint 2D component with some restrictions. That allows her hair to move freely without curling too much or overreacting to the character movement.

角色的马尾辫是一个不同的子GameObject，由2D Physics控制。它对运动有真实的React，因为马尾辫的每个骨骼都有铰链2D组件，但有一些限制。这样一来，她的头发就可以自由移动，而不会过度卷曲或对角色移动React过度。

The ponytail uses a 2D physics chain configuration with some weight at the end of the chain.

马尾辫使用2D物理链配置，在链的末端具有一定重量。

日/夜灯周期 (Day/night light cycle)

One of the most powerful possibilities of having dynamic lighting on Sprites is to alter the appearance of the environment. Using the same Sprites, you can change the mood, time of day or darkness of an area, which opens up a wealth of gameplay mechanics from stealth mechanics to lively rich worlds.

在Sprite上使用动态照明的最强大的可能性之一就是改变环境的外观。使用相同的Sprites，您可以更改某个区域的心情，一天中的时间或黑暗，这从隐身机制到活泼丰富的世界，提供了丰富的游戏机制。

2D Lights off and on. The same Sprites can be used to create different weather conditions or mood.

2D指示灯熄灭再打开。相同的Sprite可以用于创建不同的天气条件或心情。

We controlled the lights in the Scene with simple scripts that hold a Color gradient value (light color from daytime to nighttime) and the lights and materials change color following the Time parameter in the parent GameObject. With this kind of setup, you can visually control how different lights blend with each other.

我们使用简单的脚本控制场景中的灯光，这些脚本保存了颜色渐变值(白天到晚上的灯光颜色)，并且灯光和材质根据父GameObject中的“时间”参数更改颜色。通过这种设置，您可以直观地控制不同灯光如何相互融合。

By tinting lights you can make the same Sprites look radically different, which opens up many gameplay and aesthetic options.

通过为灯光着色，可以使相同的Sprite看起来完全不同，从而打开了许多游戏玩法和美学选择。

大型户外纹理地形 (Large outdoor textured terrain)

One of the challenges that developers of 2D games had in the early days was to efficiently create organic terrain like hills, slopes or irregular ground, which was only achievable through carefully crafted tile sheets. Years later, this was easier to achieve using multiple Sprites representing parts of the terrain, but the workflow or performance could be better.

早期2D游戏开发商面临的挑战之一是如何有效地创建丘陵，斜坡或不规则地面等有机地形，这只能通过精心制作的瓷砖来实现。多年后，使用代表地形各部分的多个Sprite可以更轻松地实现此目标，但是工作流程或性能可能会更好。

2D Sprite Shape was used in the ground layers and in one of the Sprite Shape Profiles on the right.

2D Sprite Shape用于地面层和右侧的Sprite Shape Profiles之一。

With 2D Sprite Shape you can generate terrain and colliders similarly to how you would do it in a vector-based drawing application. You can adjust the brushes (Sprite Shape Profiles) and start creating without worrying about having to adjust many Sprites or colliders as you iterate on the environment.

借助2D Sprite Shape，您可以生成地形和对撞机，类似于在基于矢量的绘图应用程序中生成地形和对撞机的方式。您可以调整画笔(“精灵形状轮廓”)并开始创建，而不必担心在环境中迭代时必须调整许多“精灵”或“碰撞器”。

Lost Crypt also uses some of the Sprite Shape extras like the NodeAttach script to attach elements to the spline, so they follow the spline. In this demo, the rocks use this script and the ConformingSpline in the flowers layer to follow the shape of the grass spline. You can use this feature for gameplay or for decorative elements like we did in the foreground grass layer.

丢失的地穴还使用某些Sprite Shape附加功能(如NodeAttach脚本)将元素附加到样条线，因此它们遵循样条线。在此演示中，岩石使用此脚本和花层中的ConformingSpline跟随草样条的形状。您可以将此功能用于游戏或装饰元素，就像我们在前景草层中所做的那样。

使用基于网格的布局构建地穴 (Building the crypt with a grid-based layout)

Tilemaps is probably one of the most essential 2D tools, not only to save memory space with small chunks of graphics that can be “tile-able” and repeatable, but because it’s also crucial for level design.

Tilemaps可能是最重要的2D工具之一，不仅可以使用可“平铺”且可重复的小块图形来节省内存空间，而且因为它对于关卡设计也至关重要。

Here you can see the tile sheet and the Normal maps sheet used in the demo.

在这里，您可以看到演示中使用的平铺表和法线贴图。

In Lost Crypt, we used the 2D Tilemap Editor (available via Package Manager) to recreate the crypt interior where it uses some additional Tilemap extra tools (available on GitHub) to make the level-design process more efficient. For example, we used Rule Tile, a tile type that allows you to paint tiles like they were brushes. It automatically selects the right tile based on the neighbouring tiles or ends.

在Lost Crypt中，我们使用了2D Tilemap编辑器(可通过Package Manager获得)来重新创建隐窝内部，并在其中使用了一些额外的Tilemap额外工具(可在GitHub上获得 )，以使关卡设计过程更加高效。例如，我们使用Rule Tile ，这是一种瓦片类型，可让您像刷一样绘制瓦片。它会根据相邻的图块或端点自动选择合适的图块。

To improve our workflow, we used Rule Tiles in the crypt from the 2D extras (GitHub).

为了改善我们的工作流程，我们在2D Extras( GitHub )的地下室中使用了Rule Tiles。

射击效果 (Fire effects)

Some common elements in games are fire effects, so we added one in Lost Crypt. We started by creating some GameObject torches using the Particle System and Shader Graph for 2D and used the Sprite-Lit Master node for the output shader. We made the fire animation in a traditional Sprite sheet that the Particle System uses to play the animation.

游戏中一些常见的元素是火焰效果，因此我们在“失落的墓穴”中添加了一个元素。我们首先使用2D粒子系统和着色器图创建一些GameObject火炬，然后将Sprite-Lit Master节点用于输出着色器。我们在传统的Sprite工作表中制作了Fire动画，粒子系统使用它来播放动画。

We used an animated 2D shader and particles to create a fire effect.

我们使用了动画2D着色器和粒子来创建射击效果。

The shader we made for the flame utilizes an HDR tint color to increase the intensity of the glowing around the object using the Volume post-processing. The parent GameObject contains some sparks particles and some lights that illuminate the alcove.

我们为火焰制作的着色器使用“体积”后处理功能，利用HDR色调来增加对象周围发光的强度。父级GameObject包含一些火花粒子和一些照亮壁co的灯光。

水反射 (Water reflection)

Another common use case for shaders are reflections and refractions (e.g., water, ice, mirrors or monitors that display another area of the level) are quite common in games.

着色器的另一个常见用例是反射和折射(例如，水，冰，反射镜或显示关卡另一区域的监视器)在游戏中非常常见。

By changing different parameters in the water shader, you can achieve very different effects.

通过在水着色器中更改不同的参数，可以获得非常不同的效果。

We achieved the water effect in the crypt entirely with Shader Graph. We exposed several parameters (like water color, waves speed, and distortion, ripple effect, etc.), which allowed us to adjust the final appearance in the Scene. In order to project a mirrored image of the environment, we added an additional camera that would output the image in a texture to be read by the Shader Graph. Additionally, we added a pass of post-processing bloom to make the water caustics glow, which gives the water surface a nice effect.

我们使用Shader Graph在地穴中完全实现了水的效果。我们公开了几个参数(例如水彩，波速和失真，波纹效果等)，这些参数使我们可以调整场景中的最终外观。为了投影环境的镜像图像，我们添加了一个额外的摄像头，该摄像头将以纹理生成图像以供Shader Graph读取。此外，我们添加了一段后期处理水华，以使水腐蚀液发光，从而使水面具有良好的效果。

We used groups and clear labels in the graph to make the shader logic easier to follow.

我们在图形中使用了组和清除标签，以使着色器逻辑更易于遵循。

风动画和混合样式 (Wind animation and blend styles)

Sprite Shape, 2D Lights, and Shader Graph help bring lush foliage and grass to life in Lost Crypt.

Sprite Shape，2D灯光和Shader Graph有助于在Lost Crypt中使茂密的树叶和草栩栩如生。

One way we animated the environment was to make the tree branches sway in the wind. To achieve this effect, we decided to have just one shader for each tree’s foliage Prefab – that would create variety and avoid repetition.

使环境充满生气的一种方法是使树枝在风中摇曳。为了达到这种效果，我们决定为每棵树的叶子预制件只有一个着色器-这样可以创造出多样性并避免重复。

In the Sprite window we added the Normal and Mask maps to be used by Shader Graph.

在Sprite窗口中，我们添加了Shader Graph使用的Normal和Mask贴图。

On the Vegetation Wind-Lit graph, you can see how we created two effects. One is the animation or sway effect, which we created by displacing the Vertex position following a few parameters that modify a noise pattern. The second effect uses the G or green channel to adjust the tone of the rim light around the foliage.

在植被风向图上，您可以看到我们如何创建两种效果。一种是动画效果或摇摆效果，我们是通过遵循一些修改噪声图案的参数来移动顶点位置来创建的。第二个效果是使用G或绿色通道来调整树叶周围边缘光的色调。

On the right, notice how we changed the rim color using the Mask map G channel in the shader.

在右侧，请注意我们如何使用着色器中的“蒙版贴图G”通道更改边框颜色。

Light Blend Styles are a collection of properties in the 2D Renderer that describe how lights should affect Sprites. For example, you can create a blend style that will only affect a particular channel. When you add a light in the scene that uses that blend style, it will only affect the areas of the Sprite that the Mask map channel information dictates.

灯光混合样式是2D渲染器中属性的集合，这些属性描述灯光应如何影响精灵。例如，您可以创建仅会影响特定频道的混合样式。在使用该混合样式的场景中添加灯光时，它将仅影响“蒙版”贴图通道信息指示的Sprite区域。

In the example below, the parametric light uses our Direct Lighting blend style, which only affects the areas indicated in the R channel of that Sprite’s Mask map.

在下面的示例中，参量光源使用我们的直接照明混合样式，该样式仅影响该Sprite's Mask贴图的R通道中指示的区域。

Here you can see Light Blend Styles in the 2D Renderer on the left, and a 2D Light using a blend style on the right.

在这里，您可以在左侧的2D渲染器中看到“灯光混合样式”，在右侧可以看到使用混合样式的2D灯光。

电影和颗粒 (Cinematic and particles)

Lost Crypt has a short cinematic when our adventurer grabs the magic wand in the crypt. To make the moment a bit more special, we changed the mood of the environment and spawn particles at the right time with Timeline, since we want to observe the change to nighttime. To follow the particles flying into the woods, we switched Cinemachine cameras by also having an animation track blending camera.

当我们的冒险家抓住地穴中的魔杖时，失落的地穴电影就很短。为了使这一时刻更加特别，我们更改了环境的气氛，并在适当的时间使用“时间轴”生成了粒子，因为我们希望观察到夜间的变化。为了跟踪飞入树林中的粒子，我们还通过设置动画轨道混合摄像机来切换Cinemachine摄像机。

We used Timeline to create a cinematic moment by coordinating camera, audio, and visual work.

我们使用时间轴通过协调摄像头，音频和视觉作品来创建电影般的时刻。

The glowing ring that appears when you grab the wand uses of Sprite-type lights. The ring graphic simply expands and fades, creating an aura that lights up the environment.

抓住魔杖使用Sprite型灯时出现的发光环。环形图形会简单地扩展和褪色，从而创建照亮环境的光环。

We achieved the particle glow effect mostly with the Bloom effect in Volume post-processing. Also, the material/shader for the particles and trail uses an HDR color to define how much intensity the post-processing effect should apply to this object.

我们在体积后处理中主要通过布卢姆效应实现了粒子发光效果。同样，粒子和轨迹的材质/着色器使用HDR颜色定义后处理效果应应用于此对象的强度。

The particles use the Random Seed feature to always animate in the same way.

粒子使用“随机种子”功能始终以相同的方式进行动画处理。

动画食尸鬼 (Animated ghouls)

Look closely at the woods – you can see some spectral creatures in there. To do that, we created a shader that could be used for other ghosts. They are transparent but a fresnel effect adds some shine in the edges of the Sprite making them wobble like floating creatures.

仔细观察树林-您可以在其中看到一些光谱生物。为此，我们创建了可用于其他鬼影的着色器。它们是透明的，但是菲涅耳效果在Sprite的边缘增加了一些光泽，使其像漂浮的生物一样摇摆。

One interesting effect in the shader is the tracking of the wand GameObject transform position. For example, when the wand is close to the ghouls they become brighter. In order to achieve that, we attached a small script to the wand that updates its position in the material shader.

着色器中一个有趣的效果是对魔杖GameObject变换位置的跟踪。例如，当魔杖靠近食尸鬼时，它们会变亮。为了实现这一目标，我们在魔杖上附加了一个小脚本，以更新其在材质着色器中的位置。

By exposing values in the shaders, you can adjust visuals based on gameplay mechanics.

通过在着色器中显示值，您可以根据游戏机制调整视觉效果。

The ghouls also have a small animation that swaps from one graphic to another. In order to do that, we created a Mask map with different graphics in each channel: R with one visual, G with the alternate visual, and B for the fresnel effect.

食尸鬼还有一个小动画，可以从一个图形切换到另一个图形。为此，我们在每个通道中创建了一个具有不同图形的“蒙版”贴图：R具有一个视觉效果，G具有替代视觉效果，B代表菲涅尔效果。

Here you can see the ghoul when the wand position is far from it, and the Mask map is on the right.

在此处，您可以在魔杖位置远离食尸鬼时看到食尸鬼，而“蒙版”贴图在右侧。

批量后处理 (Volume post-processing)

For a final layer of polish, we added some post-processing effects included in the Universal Render Pipeline. For example, we created an empty GameObject and attached the Volume component to it. In Lost Crypt we use bloom, white balance, and vignette, but there are many other effects that can be used in 2D projects like motion blur, color correction of film grain effects.

对于最后的抛光层，我们添加了Universal Render Pipeline中包含的一些后处理效果。例如，我们创建了一个空的GameObject并将Volume组件附加到该对象。在“失落的墓穴”中，我们使用水华，白平衡和晕影，但还有许多其他效果可用于2D项目中，例如运动模糊，胶片颗粒效果的色彩校正。

Here are the Volume post-processing settings in Lost Crypt.

这是“丢失的地穴”中的“音量后处理”设置。

结语 (Wrap-up)

We hope the Lost Crypt demo will help you understand how you can use our integrated suite of 2D tools for similar use cases. If you have any questions about the Lost Crypt, you can reach us on the forum.

我们希望Lost Crypt演示将帮助您了解如何将我们的2D工具集成套件用于类似的用例。如果您对失落的墓穴有任何疑问，可以在论坛上与我们联系。

If you have specific questions about our 2D tools, check out the dedicated threads in the 2D section of the forum and under Beta & Experimental features.

如果您对我们的2D工具有特定疑问，请在论坛的2D部分以及Beta和实验性功能下查看专用主题。

The project also includes a tutorial window that will help you navigate through the different features used in Lost Crypt.

该项目还包括一个教程窗口，该窗口将帮助您浏览Lost Crypt中使用的不同功能。

加入我们，参加1月9日美国东部时间上午10:00(欧洲中部时间4:00 pm)的“失落地穴”网络研讨会 (Join us for a Lost Crypt webinar on January 9 at 10:00 am EST (4:00 pm CET))

Want to go behind the scenes with Lost Crypt in real-time? Sign up for our lively webinar where Global Content Evangelist Andy Touch will explain how we used 2D lights, shaders, and post-processing in Lost Crypt. The 2D team from R&D will also join us to answer your questions about the suite of 2D tools or the project itself.

想要实时使用“迷失地穴”在幕后吗？注册参加我们热闹的网络研讨会，全球内容传播者Andy Touch将解释我们如何在Lost Crypt中使用2D光源，着色器和后处理。研发部门的2D团队也将与我们一起回答您有关2D工具套件或项目本身的问题。

寄存器

There’s a limited number of spaces, so make sure you register soon and add a reminder in your calendar.

空格数量有限，因此请确保您尽快注册并在日历中添加提醒。

翻译自: https://blogs.unity3d.com/2019/12/18/download-our-new-2d-sample-project-lost-crypt/

ar crypt下载