The problem of shaping the entire game is not difficult. After all, Lin Yan had a relatively mature blueprint in his mind at the beginning, so in many places, Lin Yan did not receive any resistance.

Of course, for the entire game, Lin Yan still used some of the previous designs most of the time. After all, the classic level of the previous game is absolutely beyond doubt, so Lin Yan still uses the previous design.

Of course, in Lin Yan's view, the biggest highlight of this game itself is mainly focused on its own design of Chinese elements, which should be regarded as a subversive design.

After all, Burning Game is essentially a local Chinese game production company. If it is to create Japanese-style horror in all aspects, it is actually very inappropriate. Therefore, the combination of China and Japan can still be used to the greatest extent for the majority of players. Accepting the above, in this game, players can fully understand the perfect Japanese horror style, and can also experience the unique Chinese horror mode under the framework of Chinese Feng Shui metaphysics.

This is a very good game experience for players from the opposite island country or for local players, but for players from other places, especially for the European and American Wanjia, this kind of game experience is also a good way to understand Eastern culture. opportunity.

Lin Yan once thought that his work should not only make the players feel good, but also let the players experience the touch in the plot, and even allow the players to learn.

Lin Yanlai is undoubtedly quite rigorous in making games. In the shaping of Japanese big houses, Lin Yan strictly used artifacts to consult a lot of architectural materials, and kept many Japanese architectural traditions to ensure that he was not in the folk culture. There is nothing wrong with it, and Lin Yan also searched for quite a lot of information on interior decoration and other design, especially in some Japanese modern traditions that conducted extremely strict data screening, and even consulted many relevant professionals. Finally, It was only designed, so Lin Yan is confident, at least in many of his own details, no one can single out the fault in this regard.

When it comes to shaping the Chinese scene, the most difficult part is not the overall architectural style or interior decoration. These are actually very simple for Lin Yan. After all, Lin Yan is an authentic Chinese.

What really feels the difficulty lies in the integration of some elements of Feng Shui metaphysics and Qimen Dunjia, which is still relatively difficult for Lin Yan. After all, Feng Shui metaphysics and Qimen Dunjia have been for China since ancient times. For people, it is an absolutely inscrutable knowledge, and it is quite simple and understandable if it is not possible or not well chosen.

So Lin Yan still encountered a lot of resistance in this regard, but in the end Lin Yan still overcame the difficulties in this regard. After all, the artifact itself is still very powerful, and Lin Yan does not understand this even if it is powerful, but Artifacts have powerful information search and learning capabilities. After filtering a large amount of data, the artifacts incorporate these things into the game in the most reasonable way.

Incorporating these things into the game, obviously makes the game itself more compelling. If you make a comparison, players can find that the Chinese mode of the game is significantly higher than the Japanese mode in terms of the content level of the game itself, which is what Lin Yan focused on.

In this game, Lin Yan’s latest design supports multi-player online joint games. Of course, the game between four people is in a confrontation mode.

In the online mode, up to four players are supported to play the game at the same time. They will explore in a random scene. This scene may be any scene in the story line. Four players will be born in the game. In different locations, there is no contact with each other, and there will not be any support actions, and the four players must look for something specified by the system itself in this scene map full of grievances.

Whoever finds this thing first, then the game will end. During the game, the characters that the player can choose are the characters that have already appeared in the game. Not only are they limited to the protagonist, but other supporting actors can also be used. Used in online mode.

For example, True Winter and Crimson’s daughter Shen Yu, the Celestial Sisters’ previous life, the Kurosawa sisters, and other supporting roles such as True Winter, etc. Players will use plenty of space to select characters. Of course, the character of Magic Police is in online mode Among them are not usable.

The weapon used by the player when fighting in the game is still the camera, of course, there is no battery and film restrictions.

In this game, Lin Yan will also launch an eight-player battle mode and teamwork battle mode at the right time, but it takes a while. After all, the main enemy in this game is a variety of resentful spirits, so there are many The shaping of the human model is not easy, and Lin Yan still needs some time to expand his ideas.

But so far, the main structure of the entire game can be considered complete. Of course, the current shaping of this game is not over, but it can already be listed. Later, Lin Yan will release other online game modes of this game in the form of plug-ins.

In the future, Lin Yan will also use the expansion of the expansion to shape the album of the magic police, which will be the fuse that can ignite the popularity of this game in the future.

At the same time, Lin Yan is already intensively preparing for the movie version of this game. On the whole, Lin Yan decided to launch two movies with this game, one is the Japanese version of "Zero Real Red Butterfly" and the other is China The version of "The Ancient House of Zero Sixth" has now begun to choose the director and the main actors, which will take some time.

In terms of directors, Lin Yan will choose the most influential directors of the two countries in horror-themed works as the champion of the two-step works.

However, there are different focuses in the specific casting. As far as the protagonist is concerned, the protagonists in "Zero Real Red Butterfly" are two young girls aged sixteen or seventeen, so Lin Yan mainly uses young actors as The main character, of course, has to have certain acting skills, and other supporting roles are mainly performed by actors who have good acting skills.

In "The Old House of Zero Sixth", because the protagonist is a mature woman, Lin Yan can choose actors with mature acting skills to take on the role, and the old drama bones will be the main cast.

Lin Yan believes that these will be shown to players and audiences in the near future.

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