w523352394

[w523352394]

Personal Reflective Article

In the art concept design of the game Shanhaijing, I am committed to creating a visual experience rich in depth and imagination based on the rich mythological background of traditional Chinese culture, combined with modern game aesthetics.

When designing the game concept, I chose the ancient Chinese painting style as the core artistic expression of the game. However, during the drawing process, I also encountered insufficient understanding or misunderstanding of the mythological elements in the Classic of Mountains and Seas, which resulted in drawing characters or scenes that did not conform to the spirit and style of the original, or inaccurately expressed the cultural connotations of the original.

In this process, I once again returned to the research stage and once again gained a sufficiently in-depth understanding and study of the Shanhaijing and its related cultural background. Reading the original text, related studies and commentaries, as well as references and expert opinions, helped to ensure the accuracy and authenticity of the mythological elements.

There are tons of strange creatures and mysterious beasts in Shanhaijing, and I used these as inspiration for the design of characters and monsters in the game. By giving these creatures special abilities and attributes, it enriches the game's combat system and gameplay. Cultural elements are inherited and embodied, and the cultural elements of my hometown are integrated into the game. When drawing characters, you may encounter the problem of inconsistent visual style or incongruity with the overall style of the game. This may affect the coherence of the character image and the visual unity of the game.

This is why I developed and clarified a clear art direction and style guide before I started drawing. Make sure that all drawing styles follow the same visual style and design principles, including uniformity of color, line and scale. During the character design process, after After sketching a draft, I conducted several self-reviews. In terms of art style and visual presentation, whether it is ancient style, fantasy or combined with modernity, it enhances the game's regional characteristics while allowing more players to understand and feel the charm of these cultures.

During the drawing process, I still occasionally encounter technical or tool limitations or adaptation problems. Especially when drawing complex scenes or effects, appropriate technical support and tools may be needed to help accomplish them. Because different tools may have different advantages and scope of application, choosing the right tool can improve the efficiency and quality of the finished product.

Of course, the most important point is time and schedule management. Drawing game art is often a time-consuming and labor-intensive process. If you don't manage your time wisely, or your schedule is too tight, this may affect the quality and final completion of the art. Before I start painting, I make a detailed project plan and schedule.

Make sure that the amount of work and time for each stage is allocated properly so that the task is completed within the budgeted time. I also prioritize and assign tasks appropriately based on the priority and importance of the project. Sometimes it is necessary to be flexible and adapt the workflow to meet new challenges and discoveries.

Drawing the artwork for a game like <Mountain and Sea's Fantasy> is a complex task that requires several considerations. With in-depth research and effective time management, problems that may arise can be effectively resolved to ensure that the game art is of the desired high quality level.

[w523352394]

Analysis of forefront Concept Artist

-11-

《Titan Quest》

Titan Quest is an action role-playing game developed by Iron Lore Entertainment and published by THQ Nordic, first released in 2006. The game's art design concept combines Ancient Greek, Ancient Egyptian, and Oriental cultures to create a game world full of myths, legends, and historical styles.

The game features ancient cultures such as Ancient Greece, Ancient Egypt and the Orient, showing the majesty and mystery of the ancient civilisations through scenery, architecture and character design. Each region has its own unique style and cultural characteristics, making the game world full of historical depth and background.

The maps and environments in the game are beautifully and meticulously designed, reflecting the geographical features and cultural heritage of different regions. From the temple ruins of Greece to the pyramids of Egypt to the ancient temples of the Orient, each location is vividly revealed through terrain, vegetation and architectural elements.

The game is rich in mythological and legendary elements, where players can encounter a variety of legendary gods and goddesses, monsters and heroic characters. These elements not only add to the drama and sense of adventure of the game, but also enrich the mysterious atmosphere of the game world. The game's character and monster designs are full of creativity and imagination.

Different professions and hostile races have their own unique appearance and characteristics, which are presented through detailed modelling and animation, enhancing the game's visual effects and combat experience.

Titan Quest features a high-quality art style and advanced technical realisations, including lighting effects, texture details and animation presentation.

All of this delivers a visually realistic and imaginative game world. Overall, through its deep historical and cultural background, rich mythological elements and exquisite art design, Titan Quest has successfully created an immersive ancient fantasy world and become a popular and respected classic in the action role-playing game field.

Doyo.cn. (2021). 泰坦之旅全部支线任务图文（2）_逗游网. [online] Available at: https://m.doyo.cn/article/63063/?p=4 [Accessed 21 Aug. 2024].

Xker.com. (2024). Available at: https://g.xker.com/239921.html [Accessed 21 Aug. 2024].

[w523352394]

Management of the making process -5-

In the last phase, I also encountered various difficulties in the design of game scenes, especially those with special themes and backgrounds such as the “Underwater Dragon Palace” and “Fusang Tree”. For example, in the underwater environment, it is difficult to simulate the propagation and refraction of light, and the limitation of natural light may cause the scene to appear too dark or lack of hierarchy. I tried to add luminous creatures, gems or corals into the scene to increase the variety of light sources and the brightness of the scene. Undersea environments usually contain complex details (e.g. corals, seaweeds, rocks) that need to be fine-tuned in order to render realistic effects. The complex structure of the undersea Dragon Palace may cause players to get lost and difficult to navigate. I designed obvious signs and navigation tips to help players find their way in the complex environment. Environmental design and light effects are utilized to guide the player's vision and movement path. As a huge and ancient tree, the scale and details of the Fusang tree required special design. I needed to visually reflect the mystery and sacredness of the Fusang tree while keeping the scene lively. Use light and shadow effects, halos to enhance the mystery and sacredness of the tree. Utilize light spots, shimmers, and mysterious halos around the trees. The main difficulties encountered when designing the “Underwater Dragon Palace” and “Fusang Tree” scenes included lighting and atmosphere simulation, visual detailing, environmental complexity and player interaction design.

[w523352394]

Major Project: Mountain and Sea's Fantasy

Blog15 : Scene Design for sea scene and a mountain scene

The first one is a dragon palace, I want to reflect the information in this scene is a who under the adventure scene, the player will fight with the enemies under the sea in this scene and find the divine beast Yinglong to get its help. I operated some halo and water plants for visual orientation and highlight.

This is the first conceptual drawing I made, it looked good but because it was looking down on the sea, the whole environment was still quite bright, which made the buildings in the middle of it not look too eye-catching, so I started to work on the design of the underwater palace.

I operated some halo and water plants for visual orientation and highlight to make the palace look more eye-catching.

Experimented with different colors to create different atmospheres

The second one is the Fusang tree, it is the place where the sun rises according to the legend.

In the initial design, I wanted to put all ten suns from ancient mythology on the tree, I use the colour of the leaves to be this pinkish-reddish colour, and also used clouds and foreground to highlight the tree. But in the rendering I felt it was too dense to look comfortable, so I revised the design and added some visual guiding elements to the design of the foreground and mountains.

The Scene is designed as a sacred tree where Bi Fang lives, and the player will come here to defeat Bi Fang to collect fire and then forge weapons.

Experimented with different colors to create different atmospheres

I found that the scene design process is quite different from character and monster design, in that the scene design is somewhat similar to illustration, and also needs to take into account the visual centre, visual guidance, and other elements.

[w523352394]

Management of the making process -4-

In the fourth stage of game design, regarding the design of monsters in the game, I designed three monsters, namely Yinglong, Nine-tailed Fox and Bi Fang. The design of each monster should be refined according to its mythological background, character setting and game mechanics. Yinglong is a dragon creature in Chinese mythology, usually associated with water and wind. The design can refer to its role and abilities in mythology. The Nine-Tailed Fox originates from Chinese and Japanese mythology and is usually a fox demon with nine tails, possessing powerful magical abilities and the ability to change. Bi Fang is a fire bird from Chinese mythology with powerful flame abilities. Because all of these mythological materials are distant from our lives, a lack of clarity in the backstory and setting of the monsters may lead to a lack of depth and appeal in character design and gameplay. Moreover, for monsters from different cultural backgrounds, there may be a lack of cultural understanding, affecting the realism and appeal of the characters. During this process, I conducted multiple rounds of concept art research and design feedback to ensure that the visual design was rich in detail and in line with the characterization. I also had to test the visual effects of the monsters in different game scenarios to make sure they performed well in various environments. In terms of the material research and accumulation part, I still need to do more than enough work in the early stage to ensure that the subsequent design goes smoothly.

[w523352394]

Major Project: Mountain and Sea's Fantasy

Blog14 : Monster Design for Ying long Bi fang and Nine tail fox

This was the stage where I started designing the game's exotic beasts. I didn't have much experience with monster design before, so I thought it was a good learning process.

My first design was the yinglong, also known as the yellow dragon and the old dragon. The original Chinese god of thunder and rain, he appeared as a god of war and was a general beside the Huang Di , and is also the “giant god of foundation of world, creation and destruction” in ancient myths and legends.

He lived in the heavenly world, gave Fu Xi Hetu luoshu【the River Chart and the Inscription of the Luo】, helped Fu Xi create the eight trigrams, and was also the mentor of Yan Di.

Some of my color attempts

Since it's a rain god, all the main colours are blue, but I wanted to enrich the overall image so I added gills, fins and a fish tail to him.

And used some saturated accents of similar colours.

My second design is a nine-tailed fox

The Nine-Tailed Fox is a beast that looks like a fox but has nine tails, and its cry is like a baby's cry.

It coexists peacefully with humans and will provide them with food. Humans who eat the food provided by the Nine-Tailed Fox can be protected from evil spirits, which is a sign of good fortune.

I tried some color schemes that looked demonic to show off the fox's cunning.

But Nine Tails as a symbol of auspiciousness, I used the colour red, which is a Chinese expression of festivity, as the main body.

He also had expressions of cannibalism in legends, so evil eyes and green were added to the fur to increase the demonic colours.

The third design is Bi Fang. It's the omen of fire in ancient Chinese mythology. The name Bi Fang comes from the crackling sound of burning bamboo and wood, and it is the god of fire as well as wood, dwelling in the trees.

It does not eat grains, but devours flames, and Bi Fang's appearance is said to herald a great fire.

When I was designing Bifang, I realised that as a fire god it would also have a lot of red, but I wanted to make it different from the Nine Tailed Fox and the Vermillion Bird.

So I thought about the properties of flames, this is called colour temperature, the higher the temperature, the bluer the colour, the higher, the colour becomes purple. Lower temperature, the colour turns yellow, the lower it goes, it becomes reddish in colour.

So I added a highly saturated blue to the colour design to reflect the high temperature.

I have to say I have some weaknesses in monster design, and I think it's easier to add a variety of elements when designing a character.

You can add elements that you want to reflect from different angles such as hairstyles, clothing, weapons and so on.

But on monsters this is obviously much more difficult for me, I feel like I can think of some special designs to add to the fur and colours, but I don't think it's probably enough to make them look more recognisable.

[w523352394]

Analysis of forefront Concept Artist

-10-

Marco Plouffe

Marco Plouffe is a renowned game art designer with a wealth of experience and influence in the game industry. focusing on storytelling and emotion through art design, Marco Plouffe is adept at conveying the emotion and atmosphere behind the game through colour, light and shadow, detailing, and set design.

His work tends to resonate and connect with players. He tends to create a unique and personalised art style, not sticking to tradition but focusing on creating a unique visual identity and style in the game world while maintaining visual appeal. This uniqueness makes his work more recognisable and competitive in the marketplace As a veteran art designer, he is able to effectively combine technical implementation with creative design.

His work not only pursues visual aesthetics, but also focuses on how to maximise creativity within technical constraints to achieve stunning game graphics. His design philosophy emphasises user experience and game immersion. Through meticulous scene layout, character design and animation effects, he endeavours to ensure that players are fully immersed in the game world, enjoying visual and emotional pleasure and satisfaction.

Due to the diversity of game backgrounds and themes, his design concepts are also often influenced by cultural and historical contexts.

He is adept at utilising and integrating artistic elements from different cultures to bring rich cultural connotations and visual appeal to the game world.Marco Plouffe, as a game art designer, emphasises the combination of creativity, emotional expression and user experience in his design philosophy, and is committed to bringing a unique visual appeal and depth of gaming experience to games through artistic design.

艺为易官方微博 (2020). 加拿大3D概念画师Marco Plouffe，硬核机械怪物角色合集. [online] Weibo.com. Available at: https://weibo.com/ttarticle/p/show?id=2309404574480960717362 [Accessed 21 Aug. 2024].

Zhihu.com. (2024). 完美美术培训菌. [online] Available at: https://zhuanlan.zhihu.com/p/632425936 [Accessed 21 Aug. 2024].

[w523352394]

Management of the making process -3-

In the process of designing the Huang Di and Chi You, I designed a detailed timetable for each of the two characters, completing the design tasks in phases, including conceptual design, original drawing, animation design, and so on. Specific milestones are set for each stage to ensure that the project advances on time.

I thoroughly researched the dragon culture and related mythological background, as well as the history and legends of the Huang Di, to ensure that the design was in line with the cultural background and had sufficient historical and mythological basis.

I started by exploring different design directions through a large number of sketches to ensure that the design of the Huang Di character was consistent with the overall visual style of the game. Comparisons with other character designs were needed to ensure the uniqueness and recognizability of the Huang Di.

As a historical figure, the HuangDi is an important figure in history and mythology, and the design needs to respect its cultural context but also ensure creative expression.

This required balancing the relationship between historical authenticity and artistic expression in the game. How to perfectly combine the dragon element with the image of Huang Di without losing the traditional dragon cultural symbols, and how to reflect the majesty without being too traditional or stereotypical, was a challenge to both my creativity and technical level.

[w523352394]

Major Project: Mountain and Sea's Fantasy

Blog13 : character chi you and her weapon

Chi You and Yan Di belonged to the same tribe in history, they both have the characteristics of a bull's head and a human body, so in the design I used two different methods to reflect this feature.

And Chi you, as the initiator of war, is also the Chinese god of weaponry and combat.I wanted to embody a stronger sense of wildness and combat power in her, so I still keep the elements of the animal, the bull's horns and the bull's feet directly to her.

I tried to reflect aggression in the colour scheme, so how the red is used in the character was a study for me. Subsequently, considering that because it is the god of the forge, want to not only reflect the strong attack in the character design also want to add the element of fire, so used this fire form of hair design and colour scheme.

There are many weapons of Chi You and I chose the most powerful axe in mythology as my inspiration and incorporated the patterns and colours of ancient Chinese bronzes.

[w523352394]

Major Project: Mountain and Sea's Fantasy

Blog12 : starting design character chi you

I started designing my third character, chi you, by learning about the character's history. He is a tribal leader in Chinese mythology, was once the head of a tribal branch under the banner of Emperor Yan Di, famous for fighting with huang di.

Chi You in the war showed the power, make it become synonymous with war, honored by those who thought the god of war, repudiated by those who thought the head of the scourge.

The age of its activity was roughly the same time as that of yan di and huang di. Chi You tribe lost in the battle of Zhuo Lu to the tribal alliance of huang di and yan di. The tribesmen fled in all directions, and huang di and yan di were jointly called the “Three Ancestors of China”.

Because of its war god traits and love of starting wars, I wanted to design the character in a wild direction, and I thought combining it with some animal traits would be a good choice.

Tried to create a god of war feeling by holding multiple weapons, but the actual design realized that it would make the screen look cluttered and unfocused, so the idea of multiple weapons was abandoned.

After showing the above design to the teacher, the teacher thought that too many animal elements would make it impossible to tell if it was a character or a monster, so he again cut some of the animal elements and redesigned it.

[w523352394]

Major Project: Mountain and Sea's Fantasy

Blog11 : character HUANGDI recent outcome

I'd finalized the rough Yellow Emperor design at the same time I was designing the yandi a few weeks before, so this week I'm building on that and refining it.

Huang Di, its one of the legendary ancestors in ancient China, its image is often come with dragons. The cultural symbol of the dragon has also been associated with Chinese emperors from ancient times to the present. 

Therefore, I added the dragon element and the ability to summon the ying long to the design of the Huang Di, making her more mysterious, powerful, and more authoritative.

Since Yinglong is the dragon in charge of water, I wanted to reflect the water element in the colours. I used blue as the main base and then added some yellow to the body, as yellow represents imperial power in China. I also thought about whether to use a classic colour scheme like red and black, but I felt that blue gave a more harmonious feel.

Here are some of my color attempts

In addition, the Xuan Yuan sword, as a symbolic object of the Huang Di, one of the ten most famous swords in ancient China, is a legendary divine sword for cutting down demons and removing evil spirits. Became one of the indispensable elements in my design.

On the sword ，there's the pattern of ‘Hetu Luoshu’, which is an auspicious omen granted by heaven.

Legend said if a The king governs morally, heaven will grant him the Hetu Luoshu, symbolising that the ruler has the mandate of heaven and has the authority to legitimately govern the world.

[w523352394]

Analysis of forefront Concept Artist

-9-

《Black Book》

"Black Book" is a role-playing game developed by RussianPixel and published by HypeTrain Digital. The game combines Slavic folklore and historical settings with card battles and adventure elements to create a game world full of dark fantasy and mysterious atmosphere.

Card battles, RPG growth, light Rogue mechanics, and the ghostly lore of the 19th century Russian countryside form the main tone of The Black Book. The game combines real-life history with fictional folklore to tell the story of a series of strange and bizarre events that took place in the countryside near Cherdan, in the northern part of Russia's Perm Krai, during the time of the Tsar's rule.

The game's art style is heavily influenced by Slavic folk art and includes intricate patterns, lines, and decorations, elements that often appear in the game's character designs, architectural styles, and environmental settings. Black Book features a beautifully hand-drawn art style, a style that not only adds to the visual appeal of the game, but also brings a unique graphic texture and emotional expression.

The game's screen tones are mostly dark, creating a mysterious, gloomy and tense atmosphere. This colour palette echoes the theme of the game, deepening the player's understanding and feeling of the esoteric and mysterious nature of the game world. As a game that combines elements of Slavic mythology and dark fantasy, Black Book vividly expresses a variety of supernatural phenomena and mysterious powers through its art design.

These include monsters, magical effects, and demonic spirits, whose visual presentation enhances the game's fantasy and drama. The game pays attention to details in character design and environment depiction, and each scene is meticulously designed to showcase the unique charm and complexity of Slavic culture.

Players can feel the visual and emotional impact of every tiny element in the game. Overall, through its unique art design concept, Black Book successfully blends Slavic culture, mysterious themes and card battle mechanics to create a charming and deep game world that attracts the attention and love of players.

爱玩游戏的石头 (2023). black book. [online] Bilibili.com. Available at: https://www.bilibili.com/video/BV13X4y1W7ma/?spm_id_from=333.337.search-card.all.click&vd_source=fecbff9dcf852fe2a6e14b74469b28b7 [Accessed 21 Aug. 2024].

[w523352394]

Analysis of forefront Concept Artist

-8-

《Assassin's Creed: Syndicate》

The art design concept for Assassin's Creed: Syndicate focuses on recreating 19th century London during the Industrial Revolution. The game seeks to recreate Victorian London in a playable open world. Buildings, streets, clothing and transport have all been researched and recreated in detail in an attempt to be as authentic as possible to the look and lifestyle of the time.

London's architecture has been designed to reflect the industrial revolution character of the time and includes areas as diverse as factories, docks, rich neighbourhoods and slums. Each area has its own unique architectural style and atmosphere. The costumes and appearance of the characters in the game are also designed to reflect the fashion and social classes of the late 19th century.

The costumes, hairstyles and decorations of the main characters and NPCs have been carefully designed to enhance the sense of history and visual appeal. The game creates the atmosphere of 19th century London through the use of appropriate colour tones and lighting effects. The colours and lighting vary from time period to time period and area to area, reflecting the changing seasons and dynamic nature of the city at the time.

The game also showcases the technological advances brought about by the Industrial Revolution of the time, such as electrical lighting and steam locomotives, which have been skilfully integrated into the game's world to add realism and depth to the game. Assassin's Creed: Lords successfully recreates the look and atmosphere of 19th-century London through its elaborate art style, allowing players to immerse themselves in that historically fascinating era.

GameWalk梦中游 (2024). Assassin’s Creed: Syndicate. [online] Bilibili.com. Available at: https://www.bilibili.com/video/BV1j1421k74F/ [Accessed 21 Aug. 2024].

游戏之美 (2024). Ubisoft’s 2015 game Assassin’s Creed: Lords releases patch to fix PS5 display issues. [online] Baidu.com. Available at: https://baijiahao.baidu.com/s?id=1758811485187496550&wfr=spider&for=pc [Accessed 21 Aug. 2024].

热推

0 热度

[w523352394]

Management of the making process -2-

In the 2nd stage of the project plan, I went through the story content of Shanhaijing and combined it with the character design of Yan Di.

I searched a lot of Chinese mythological information on the internet and finally tried to give the Miao elements and the concept of the five poisonous insects to the designed character.

In this process, I found that it is still very difficult to perfectly integrate these elements into the character design, it has to maintain an overall coordination, and then highlight the characteristics embodied by the character, so I will pay more attention to the categorization and integration of information in the process of the project.

And refer to the core of the character design of games, and strive to integrate the various types of elements as completely and harmoniously as possible and reflect the characteristics of the character to present and express the charisma of the character.

I will try to integrate all kinds of elements as completely and harmoniously as possible, and reflect the charm that the character wants to present and express.

However, due to the lack of comprehensive understanding of Chinese mythology at this stage, the process of determining the character's elements took a relatively long time, which delayed the progress of the project a little bit, showing that I need to continuously enrich my own knowledge accumulation in order to do a good job in design.

[w523352394]

Major Project: Mountain and Sea's Fantasy

Blog10 : character YANDI weapon design process

My design for Yandi’s weapon is called baicao cane, because the character itself is already full of poisonous elements, so when designing the weapon I wanted to balance it with more medicinal and agricultural elements.I also preferred to use contrasting colours in the colour scheme.

I chose to use the element of wheat to emphasize the earthy vibe and it's own completely makes the staff look very natural.

This weapon was made after she tasted thousands of herbs and stones to test their medicinal properties or toxicity, and thus was poisoned to the brink of death no less than a hundred times. Later, she used a thousand poisons and medicines to refine this staff, which became a superb weapon that could both cure serious illnesses and poison people to death.

Pinterest. (2024). White background, Wheat, Borders for paper. [online] Available at: https://www.pinterest.com/pin/20758848274718764/ [Accessed 21 Aug. 2024].

[w523352394]

Major Project: Mountain and Sea's Fantasy

Blog 9: character YANDI final piece finished

The design of the character yandi and her weapon is completed at this stage. I finished the basic draft of yandi's design a couple weeks ago, and in this week I finished her final piece.

Here are some of my different color schemes

I was torn between using an overall colour scheme that was more down-earth or the more toxic colours that are currently in the design.

While the natural and green colours of the earth are also very beautiful, I felt that again they were rather mediocre in terms of reflecting cultural identity, so I chose purple as the main base.

[w523352394]

Analysis of forefront Concept Artist

-7-

《Jade Empire》

Set in ancient Chinese mythology, Jade Empire puts players in the role of Spirit Monks, one of the last of their kind, as they set out to rescue their mentor and fight back against the forces of an evil and corrupt emperor. Jade Empire's setting, environments, story, colour palette and character designs are based on different dynasties in Chinese history. Jade Empire is set in an oriental-style fantasy world filled with elements of Chinese and other East Asian cultures.

This unique setting caused the game to attract considerable attention and discussion at the time. The game's world setting and art style are heavily influenced by traditional oriental cultures, particularly the art, architecture, and traditional clothing of China and other East Asian regions. This style gives the game's scenes and characters a unique oriental flavour that distinguishes it from traditional Western fantasy games.

Each environmental scene in the game has been carefully designed to reflect the subtlety and delicacy of Eastern culture. From palaces and temples to valleys and forests, each place is full of unique flavour and visual appeal, helping to immerse the player in the world of the game. The game's character designs, as well as their costumes and weaponry, incorporate traditional Eastern aesthetics and fantasy elements.

The appearance and styling of the characters not only conform to the game's setting, but also show personalisation and emotional expression through meticulous drawing and dynamic effects. Since martial arts are an important combat element in the game, martial arts movement design is particularly important. Through accurate motion capture and animation design, Jade Empire presents smooth and realistic martial arts movements, enhancing the visual impact and immersion of the battles.

The use of colours in the game is very elaborate, enhancing the visual effects of the game scenes and characters through contrasting colour combinations. Lighting and shadows are also handled with considerable finesse, creating realistic and dramatic effects in different scenes. Through its unique oriental fantasy art design, Jade Empire successfully integrates traditional culture with the game world, bringing players a visually stunning and culturally fascinating game experience with visual impact and cultural charm.

3dm (2016). 神作归来！中国武侠风RPG《翡翠帝国》将登陆iOS_3DM单机. [online] 3dmgame.com. Available at: https://www.3dmgame.com/news/201608/3585607.html [Accessed 21 Aug. 2024].

indienova 烽火连城 (2022). 翡翠帝国 - Jade Empire | indienova GameDB 游戏库. [online] Indienova.com. Available at: https://ld0.indienova.com/game/jade-empire [Accessed 21 Aug. 2024].