At the beginning of the 20th century, with the development of industrial technology, new materials, and changing social structures, architectural design gradually moved away from the limitations of traditional historical styles, leading to the emergence of Modern Architecture. Centered around function, structure, and material expression, Modern Architecture transformed the approach to architectural design and further developed into diverse contemporary architectural practices, including Postmodernism, Brutalism, Deconstructivism, and Parametricism. Meanwhile, video games emerged in the second half of the 20th century and gradually developed into a popular cultural medium that combines visual art, narrative, and spatial experience.
However, even today, architectural representation in video games still largely relies on historical architectural symbols and futuristic science-fiction architectural imagination. Although modern and contemporary architecture has appeared in games, most examples remain limited to reproductions of existing architectural types, with few games exploring influential architectural styles and design approaches. This imbalance between spatial languages in video games and the development of real-world architecture became the primary motivation for creating Inferno. Through the combined perspectives of game design and architectural design, this project aims to explore how representative modern and contemporary architectural design approaches can be applied within game environments and how they can contribute to creating unique spatial experiences.
Throughout my years of architectural education and practice, I have continuously pursued architectural forms and spaces that are pure, lightweight, open, and transparent. If summarized in a single word, they could be described as the architecture of “Paradise.” Personally, I have always wanted to use games as a medium to design something completely different from my previous architectural explorations. Therefore, when creating this game, I immediately thought of the opposite of “Paradise” architecture — the architecture of “Hell.” Following this idea of “Hell” architecture, I found The Divine Comedy, a literary work that provides the core framework for this project. Dante’s depiction of the nine circles of Hell provides the structural foundation for the game’s levels, while the unique environments and punishments of each circle offer important references for both level design and architectural design. The game also introduces reflections on war, morality, and humanity through its narrative, reinterpreting the sins and punishments of Hell from a modern perspective.
20世纪初，随着工业技术、新材料和社会结构的变化，建筑设计逐渐摆脱传统历史风格的限制，现代主义建筑开始形成。以功能、结构和材料表达为核心的现代主义改变了建筑设计的方法，并进一步发展出后现代主义、粗野主义、解构主义和参数化主义等多元化的当代建筑实践。与此同时，电子游戏于20世纪后半叶出现并逐渐成为一种结合视觉艺术、叙事与空间体验的流行文化媒介。
然而直到今天，电子游戏中的建筑表现仍主要依赖历史建筑符号和科幻未来建筑想象 。现代与当代建筑虽然有所出现，但大多数都停留在现实建筑类型的复制，极少有游戏会探索其中具有重要影响的设计风格。这种电子游戏空间语言与现实建筑发展的不平衡成为了《地狱》创作的主要契机。我希望结合游戏设计与建筑设计的双重视角，在这个项目中探索那些具有代表性的现代与当代建筑设计风格在游戏环境中的应用，并研究其如何帮助游戏塑造独特的空间体验。
在多年的建筑设计学习和实践中，我一直追求纯净，轻盈，自由和通透的建筑形式和空间，如果要用一个词语概括的话，那便是”天堂“的建筑。对于我个人而言，我迫切地希望能够使用游戏作为媒介，设计一些和以往完全不同的东西，于是在创作这个游戏时，我马上想到了“天堂”建筑的对立面 —”地狱“建筑。顺着“地狱”建筑的思路，我找到了为这个游戏提供核心框架的文学作品《神曲》。但丁在其中描绘的九层地狱，刚好可以作为游戏的关卡构成，同时每一层地狱独特的环境和罪罚，又为关卡的游戏流程和建筑设计提供了重要参考。游戏在剧情上也引入了对于战争，道德和人性的思考，用现代视角重新解读地狱的罪与罚。
Architectural translation is the core approach used in the environmental design of Inferno. The process begins by analyzing the key characteristics of specific characters or locations within The Divine Comedy and related artworks; these abstract concepts are then translated into spaces, atmospheres, lighting conditions, and material expressions that can be experienced by players. Finally, relevant modern and contemporary architectural styles or precedents are referenced to create game environments with a distinctive world-building logic and interactive experience.
建筑转译是《地狱》的环境设计中最核心的手段：首先分析特定角色或场所在神曲的文本和相关艺术作品中的核心特质；随后将这些抽象的概念转译成玩家可以感受的空间，氛围，光影或材质；最后参考相关的现代与当代建筑设计风格或者案例，设计具有独特世界观和互动体验的游戏环境。
During the design and development process of the game, a large number of AI-assisted tools were used, significantly improving the efficiency of development. ChatGPT served as the core AI tool, supporting project management, Blueprint development assistance, concept art generation, production of graphic assets, organization of game narratives, and generation of in-game texts. Hunyuan3D and Tripo AI were the primary tools for 3D model generation, while ElevenLabs and Suno were used to generate background music and voice recordings for the game and related videos.
AI tools were integrated into various stages of the game production process. Taking in-game architectural design as an example: after extracting the characteristics of a character or location and creating an initial 3D model, ChatGPT was repeatedly used to generate a large number of concept images based on sketches, model screenshots, and textual descriptions, assisting in design modifications and determining an initial design direction. For more complex designs, Hunyuan3D was then used to quickly generate architectural modules, which were assembled into environments within Unreal Engine, allowing first-person testing to evaluate the actual spatial experience. After testing multiple design options and determining the final architectural form, professional 3D software such as Blender or Rhino was used to create the final models and import them into the engine. At this stage, ChatGPT was again used to generate additional concept images based on screenshots of the in-engine architecture and environment, assisting with decisions regarding material details, lighting, and other visual elements.
AI-assisted tools can not only support technical tasks such as Blueprint editing and concept art creation, but also significantly reduce the development costs of game production. They allow individual developers to become less dependent on existing models, music, and graphic assets, while reducing the need for additional expenses such as voice acting and motion capture as well.
游戏的设计和开发过程中使用了大量的AI辅助工具，显著地提升了游戏的开发速度。其中ChatGPT是项目的核心AI工具，负责项目管理、蓝图辅助开发、生成游戏原画、制作平面美术素材、游戏剧情整理和游戏内文本生成等工作。混元3D和Tripo AI是项目主要的3D模型生成工具，ElevenLabs和Suno负责生成游戏和相关视频的背景音乐与配音。
游戏的AI工具使用嵌入游戏的各个制作环节，以游戏内的建筑设计举例：在我提取角色或场所的特质并创建基础3D模型后，会多次使用ChatGPT基于草图，模型截图和文字生成大量原画来辅助修改设计，并决定一个初步的设计方案。如果这个设计具有一定的复杂度，则会使用混元3D快速生成建筑模块并在虚幻引擎中搭建场景，然后使用第一人称快速验证设计的真实效果。在验证了多个设计方案并确定了最终的建筑形态之后，再使用3D设计软件比如Blender或Rhino完成正式版本的模型并导入引擎。此时再次使用ChatGPT基于引擎内的建筑和场景截图来生成新的原画辅助决定材质和灯光等元素的细节。
AI辅助工具既可以辅助例如蓝图编辑和绘制原画等技术工作，又可以大幅度减少游戏的开发成本，使个人开发者不再依赖现有的模型、音乐或平面资产，也不需要花费例如配音、动作捕捉的额外支出。
— Story Overview 剧情简介
— Divine Comedy 神曲
— First World War 第一次世界大战
— Battle of Verdun 凡尔登战役
— Hell 地狱
— Post-Apocalypse 后启示录
Inferno imagines a world permanently transformed by the opening of the Gate of Hell after the Battle of Verdun during the First World War. After thirteen years of continuous warfare against demons from Hell, most of the world has completely fallen, while the surviving humans remain confined within the last fortified cities. In desperation, humanity sends a final expeditionary force into Hell to search for a way to close the Gate of Hell, only to lose all contact with it six months later. To locate the expedition and restore communications, guilt-ridden prisoners known as "Atoners" are selected for a search mission from which there is no return. The player needs to enter Hell alone as one of these Atoners, follow the traces left by the expedition, and investigate the truth behind its disappearance.
《地狱》虚构了一个在第一次世界大战的凡尔登战役后由于地狱之门开启而彻底改变的世界。在人类持续不断地和来自地狱的恶魔战斗13年后，大部分土地完全沦陷，残存人类据守在仅存的堡垒城市中。在绝望之际，人类派出最后一支远征军深入地狱寻找关闭地狱之门的方法，却在半年后和远征军彻底失去联系。为了搜寻远征军并恢复通信，身处囚笼之中，背负罪责的“赎罪者“被选中参与这场有去无回的搜索任务。玩家作为赎罪者中的一员，将独自进入地狱，追随远征军留下的痕迹并调查他们失联的真相。
— Design Theme 设计主线
— Core Gameplay 核心玩法
— Game Mechanics 游戏机制
— Level Design 关卡设计
Inferno is developed in a realistic visual style and presented from a first-person perspective, using restrained interactions and interface design to create a highly immersive spatial experience. During the game, players piece together clues by collecting objects and texts left behind by the expeditionary force, gradually learning about the world of Hell. The game also includes common survival horror elements such as combat, puzzle-solving, and resource management, accompanied by extensive fragmented narrative texts. Its level structure and progression draw from Dante's Inferno, giving each circle of Hell a distinctive design and spatial narrative based on sin and punishment.
《地狱》采用写实风格的第一人称视角开发，搭配克制的交互和界面来创造极致的沉浸式空间体验。在游戏中，玩家将会通过收集远征军遗留下的物品和文本来拼凑线索，并逐渐了解地狱世界。本作也包含了生存恐怖游戏中常见的战斗，解密，资源管理等要素，并搭配了大量的碎片化叙事文本。游戏的关卡和流程参考了但丁的神曲地狱篇，使每一层地狱都有其基于罪与罚的独特设计和空间叙事。
— Concept Art 原画设计
— Environment Art 环境美术
— Game Animation 游戏动画
— UI/UX Design 视觉设计
The art direction of Inferno focuses on designing and creating distinctive hell spaces that differ from those commonly seen in films and games. Rather than relying on conventional visions of Hell constructed from fire, lava, bones, and Gothic architecture, the game combines a diverse range of contemporary architectural languages with historical styles from different periods to create environments with sharply contrasting identities. Dante's Inferno is an important reference for the environmental design; his descriptions of the nine distinct circles of Hell, together with the sins and punishments associated with each one, form the core of the game's approach to designing hell space.
《地狱》的美术重点是设计和创造与传统影视游戏中不同的独特地狱空间。有别于常见的火焰，岩浆，骸骨和哥特式建筑所构建的传统地狱环境，本作尝试通过结合多元化的当代建筑设计语言和不同时代的历史建筑风格，创造出风格迥异的地狱空间。但丁的《神曲·地狱篇》是本作环境设计的重要参考，其中但丁对于九层风格迥异的地狱的文字描写和不同地狱所对应的罪责和惩罚更是本作设计地狱空间的核心。
Explore More 探索更多
— Combat System 战斗系统
— Inventory System 背包系统
— Interaction System 交互系统
Programming for Inferno is implemented through Unreal Engine Blueprints, with the mechanics simplified where necessary to remain within the limits of solo development. With the exception of the monsters' AI system, all gameplay Blueprints were independently written by the developer with the assistance of AI (ChatGPT). The core programming includes combat, inventory, and interaction systems. The combat system covers firearm shooting, melee attacks, and player health. The inventory system manages texts, items, ammunition, and puzzle objects. The interaction system includes interaction, collection, reading, puzzle-solving, and save-game functions.
《地狱》的程序编写通过虚幻引擎的蓝图实现，机制上在个人开发的能力范围内进行了简化。除怪物的AI系统外，所有程序蓝图全部由个人在AI（ChatGPT）的辅助下独立编写完成。游戏的核心程序包含了战斗系统，装备系统和交互系统。其中战斗系统包含了枪械射击，近战砍杀和血量系统。装备系统包含了文本，道具，弹药和解谜物品。交互系统包含了互动，收集，阅读，解谜和保存进度功能。
The Gate of Hell is both the opening level and the tutorial level, with an estimated playtime of ten minutes. Its progression corresponds to the opening chapters of The Divine Comedy, in which Dante gets lost in a forest, is attacked by wild beasts, encounters Virgil, and eventually reaches the Gate of Hell. At the beginning of the level, the player is chased by a beast and falls into the canyon where the Gate is located. As the player moves forward, they must search for usable equipment and supplies, as well as texts left behind by the expeditionary force. Along the way, the player reaches a small chapel symbolising Virgil and obtains a compass that points them in the correct direction. At the end of the level, the player enters the Gate of Hell and proceeds towards the boundary of Hell - the River Acheron.
地狱之门是游戏的起始关卡同时也是教学关卡，游戏流程10分钟左右。这个关卡的流程对应了《神曲》开头但丁在森林中迷路，被野兽袭击，与维吉尔相遇并最终到达地狱之门的章节。玩家在开始时就因为被野兽追逐而跌落地狱之门所处的峡谷之中，之后则需要在前行中搜寻可用的装备和物资以及远征军遗留下的文本。在途中玩家会到达象征维吉尔的小教堂并获得指引方向的指南针。最终在关卡的结尾，玩家会进入地狱之门，前往地狱的边界—冥河。
River Acheron is a short transitional level. After passing through the Gate of Hell in the opening level, the player reaches the riverbank and must search for the Charon’s obol to cross the river. Once it has been found, the player can summon a coffin at the pier, which symbolises Charon and carries them across the river into the next level. This progression corresponds to the chapter in The Divine Comedy where Dante passes through the Gate of Hell, reaches the River Acheron, and crosses it aboard Charon's boat on his way to Limbo.
冥河是一个较短的过渡关卡，玩家在穿越起始关卡的地狱之门之后就会到达冥河岸边，在搜寻到渡河的船费之后，就可以在码头召来象征卡戎的棺材渡河，进入下一关卡。游戏流程对应了《神曲》中但丁穿越地狱之门来到冥河，乘着卡戎的船渡过冥河前往灵薄狱的情节。
03. LIMBO 灵薄狱
Limbo is the first circle of Hell that the player enters. According to Dante's description in The Divine Comedy, it is a quiet and peaceful space. Although the souls there committed no serious sins, they can never enter Heaven because they were either unbaptised or born before Christ. These souls endure an eternity of hopeless longing in Limbo, passing their time in sorrowful sighs. In this level, the player explores a castle inspired by both the architecture of Santiago Calatrava and the text of The Divine Comedy, while collecting information about Hell.
灵薄狱是玩家进入游戏后的第一层地狱关卡。根据但丁在《神曲》中的描述，灵薄狱的空间宁静平和，其中的灵魂虽然没有犯下过恶劣的罪行，但是却因为未受洗礼或生于基督之前，永远无法进入天堂。这些灵魂在灵薄狱中永远承受着无希望的渴望，在沉郁的叹息中度日。在这一关卡中，玩家将会探索受到圣地亚哥·卡拉特拉瓦的建筑设计和《神曲》文字双重启发的城堡建筑并收集有关地狱的情报。
Details In Progress 详解制作中
Lust is the game's second circle of Hell. In The Divine Comedy, it is dark without light, filled with an eternally howling black hurricane and violent noise. Its sinners were controlled by blind desire during life and indulged in sensual pleasure; after death, their souls are torn by relentless winds and forced to drift without rest for eternity. The spatial design of Lust is inspired by the architectural language of Deconstructivist master Frank Gehry, translating Dante's description into a game environment of floating, distorted, and fluid architectural spaces. While remaining alert to the Lust Demons that roam the level, the player must collect clues, solve puzzles, and follow in the footsteps of the expeditionary force to find a route into the next circle of Hell.
色欲之狱是本作的第二层地狱关卡。在神曲中，色欲之狱昏暗无光，伴随着永恒呼啸、狂暴喧嚣的黑暗飓风。其中的罪人生前被盲目的情欲操纵，沉迷于感官的快乐，死后的灵魂被无休止的狂风撕扯，永远飘荡无休。色欲之狱的空间设计灵感来源于解构主义大师弗兰克·盖里的独特的建筑设计语言，将《神曲》中描绘的色欲之狱转译成漂浮，扭曲，流动的游戏建筑空间。玩家需要在提防游荡的色欲恶魔的同时收集线索并解开谜题，跟随远征军的脚步寻找进入下一层地狱的方法。