《茶杯頭》（Cuphead），全名《茶杯頭主演：別和惡魔做交易》（Cuphead in: Don't Deal With The Devil），是一款由MDHR工作室開發並發行的跑動射擊獨立視頻遊戲。遊戲在2013年宣佈製作，2017年9月29日發佈於微軟Windows與Xbox One，2018年10月19日發行於MacOS，2019年4月18日發行於任天堂Switch，2020年7月28日發行於PS4。遊戲靈感來源於20世紀30年代，由弗萊舍工作室與迪士尼動畫工作室等製作的「橡膠管」風格動畫片，並試圖模仿其顛覆性與超現實主義的特點。
《茶杯頭》允許一到兩名玩家控制動畫角色茶杯頭與其弟弟馬克杯人，在若干戰鬥中擊敗關卡頭目，從而向魔鬼還債。遊戲以其美術風格與高難度而出名。它在評論界與商業上都取得了成功，贏得了數個獎項，並截至2019年7月已賣出超過400萬份。網飛改編了遊戲，成為動畫系列《茶杯頭秀!》。
情節[]
在虛構的墨池群島中，茶杯頭與弟弟馬克杯人是兩個喜歡玩樂的孩子，他們生活在水壺公公的照看之下。兩兄弟無視公公的警告，進入了魔鬼的賭場，開始玩雙骰遊戲。當他們開始贏到手癢時，魔鬼本人抬高了籌碼。如果茶杯頭和馬克杯人能再贏一局，他們就能得到賭場裏所有的錢；否則，魔鬼將拿走他們的靈魂。利慾薰心的茶杯頭只擲出了蛇眼（兩點），不得不和馬克杯人一起請求寬恕。魔鬼和他們約定好：在第二天午夜之前，從所有逃債人那裏收集到標誌着靈魂歸屬的「靈魂契約」，他便可能讓兩兄弟繼續擁有其靈魂。兩兄弟去找到了水壺公公，後者給了他們一瓶能讓他們從指尖射出子彈的藥劑，以幫助他們冒險，但也警告他們，逃債者會為了阻止他們而千變萬化。
兩兄弟走遍了墨池群島，對戰那些已經把靈魂輸給惡魔的居民，以獲得他們的契約。在進入第二個島時，水壺公公告訴他們要在再次面對魔鬼時「做正確的事」。在獲得所有契約後，他們回到了魔鬼的賭場，但被賭場經理骰子王攔住了去路。骰子王在與魔鬼打的關於茶杯頭與馬克杯人能否完成任務的賭上賭輸了，便強制他們對戰自己的手下，最終面對他自己。兩兄弟打敗骰子王后，魔鬼讓他們交出契約並加入他。決定權來到了玩家這裏。若玩家選是，則魔鬼將茶杯頭與馬克杯人變成了他的惡魔走狗，遊戲結束。若玩家拒絕，魔鬼會對兩兄弟拒絕尊重他們的交易而大發雷霆，並親自對他們動手。茶杯頭與馬克杯人取得了勝利，燒掉了契約，跑回了家。那些前逃債者得知他們無需再畏懼魔鬼，便對兩兄弟表達了最崇高的謝意。
描述[]
全卡通的魔幻奇妙遊戲！
《茶杯頭》是一款經典跑動射擊動作遊戲，以頭目戰為重中之重。以20世紀30年代卡通為靈感，遊戲的視覺效果與音效均以那個時代的工藝精心創作，還有傳統的手繪賽璐珞動畫、水彩背景，以及原創爵士音樂。
以茶杯頭或馬克杯人的身份（單人遊戲或本地聯機）穿過陌生的世界，獲得新武器，學會強力的超級招式，及在努力向魔鬼還債時發現隱藏的秘密！
遊戲性[]
《茶杯頭》的遊戲性基於頻繁的頭目戰，夾雜着一些跑圖關卡。遊戲同樣包含角色扮演要素，以及可選關卡順序。茶杯頭擁有無限條命，死亡後會保留所有裝備。玩家可以使用從跑圖關卡中收集的金幣，從商店裏購買武器與「護符」（特殊能力）。玩家角色有着格擋拍擊這一特殊動作，來與特定的粉色物體互動，達到多種效果；而最重要的效果就是漲一格「必殺計量條」，玩家可以使用它來放出強力攻擊。
完成一個關卡後，玩家會被依據其表現被評級，影響因素包括清關時間、受到傷害量、格擋攻擊數。關卡可以通過一個俯視大地圖進入，地圖本身也有秘密區域。遊戲可以單人選人與本地雙人聯機，使玩家也能玩馬克杯人。
開發[]
《茶杯頭》是MDHR工作室的第一款遊戲，該工作室是一個加拿大獨立遊戲開發工作室，由查德與傑瑞德·摩登豪爾兄弟組成。傑克·克拉克（Jake Clark）負責動畫工作，埃里克·比靈斯利（Eric Billingsley）負責編程。《茶杯頭》的開發工作早在2010年，就由兩兄弟使用Unity引擎開始，並在他們在安大略省的奧克維爾及薩斯喀徹溫省的里賈納的家中各自開發。這款遊戲啟發自弗萊舍與沃爾特·迪斯尼動畫工作室，以及像烏布·伊沃克斯、格里姆·奈特威克（Grim Natwick）、威拉德·鮑斯基（Willard Bowsky）等動畫師的卡通動畫。查德·摩登豪爾稱弗萊舍工作室為自己「藝術風格的北磁極」，並特別努力試圖模仿這些「顛覆性和超現實主義」的元素。
摩登豪爾兄弟在幼時觀看了這些20世紀30年代的卡通片，查德將此描述為完全碰巧之事，因為他們的禮物，VHS錄影帶里有這麼一出。在眾多孩子中，兩兄弟有着共同的美學口味，並都喜歡打遊戲。他們早在2000年就試圖做一個類《茶杯頭》遊戲，但是缺少繼續的工具。2010年，獨立遊戲《超級食肉男孩》的成功激勵着兩兄弟緊隨潮流。茶杯頭的角色原型來自於一部1936年的政治宣傳動畫電影，一個長着茶杯腦袋的角色變形成了一輛坦克。兩兄弟感覺這個變形動畫挺怪的，就模擬重現了這一段。在將茶杯頭選為主角前，兩兄弟設計了約莫150個角色，包括戴帽子的字母K，甚至是盤子頭、叉子頭之類的。
《茶杯頭》使用的動畫技術與20世紀30年代卡通類似。負責畫面設計的查德·摩登豪爾，使用手繪動畫，並使用水彩描繪背景，再用Photoshop上色。而相對於動畫播放時的24幀每秒的電影標準，遊戲需要以每秒60幀運行。查德還將自己對不完美的人形設計作為對像素藝術的完美主義的一種呼應。傑瑞德·摩登豪爾負責遊戲的其它方面，不過他們經常一起討論遊戲設計的方方面面。他們的工作室聘用了一位羅馬尼亞開發者，一位布魯克林的動畫師，和一位安大略的爵士作曲師來協助遊戲工程的進度。他們也使用了類似那個年代的錄製技術。
摩登豪爾兄弟將《茶杯頭》描述為以困難、懷舊為核心的遊戲，重視可玩性大於劇情。《Kill Screen》雜誌將開發者們的行為描述為「着迷於動畫、探究與碰撞箱」等跑動射擊基本元素。在開發過程中，他們複習了很多遊戲性元素的功課，包括站在平台邊緣時的遊戲動作體驗與玩家受傷後應有多長時間硬直等。他們準備了多種遊戲難度，並放棄了老套的救公主劇情，轉為茶杯頭自找麻煩。設計者們還憑藉着滿共36個首領而得到了同一跑動射擊遊戲中最多首領戰的健力士世界紀錄[1]。遊戲的視覺設計與完成，還有有限的遊戲開發人員數量，是攔在MDHR工作室前最大的絆腳石。摩登豪爾兄弟為此不得不付出更多的努力，甚至抵押了房子來換取資金，才得以完成了遊戲的開發。
宣傳與發售[]
在2014年E3的Xbox新聞發佈會上，《茶杯頭》就被展示並得到了觀眾的認可，但由於此時遊戲僅僅完成了約莫40%，故並沒有提供試玩。《茶杯頭》原本是準備通過發佈擴展包的形式增加遊戲內容，每個包包括10到15個首領，並有着類似自《索尼克與納克》後《索尼克》系列的標配首領戰模式，即關卡第一部分+小首領+第二部分+普通首領的模式。
2017年9月29日，茶杯頭於微軟商店和Xbox One上發售，之後又發行了Mac版，預期還會發行Linux版。作為一款Xbox首發的遊戲，茶杯頭支持Xbox Play Anywhere政策。
King Features Syndicate企業擁有《茶杯頭》商品及其他雜項物品的許可權。
遊戲的DLC，其標題為《甜蜜終章（The Delicious Last Course）》，於2019年的E3展上被首次揭曉。然而，為了不給製作團隊過大的壓力並提供更充足的製作時間，該DLC的發售被延期至2020年。
《茶杯頭》的MacOS官方移植版於2018年10月19日發行，並附帶了一個名為《鬆脆的蘋果（Crisp Apples）》的動畫短片。
任天堂Switch移植版於2018年4月18日發售。
2019年6月，特斯拉CEO伊隆·馬斯克宣佈了《茶杯頭》將被移植到由其公司生產的某些車輛上，並向遊戲的開發者表示了感謝。由於汽車的機能限制，玩家只能玩到遊戲的第一個島。
DLC[]
本遊戲的DLC正在計劃發售。
- Cuphead: The Delicious Last Course: The Delicious Last Course features the introduction of two new characters, Ms. Chalice and Chef Saltbaker, new levels, and bosses. It is planned for release on 2020.
音軌[]
主頁面：Cuphead Original Soundtrack
成就[]
主頁面：成就
廢案與重啟案[]
主頁面：Unused and Reworked Content
版本歷史[]
主頁面：List of patches
反響[]
| 反響 | ||||||||||||||||||||||||||||||
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Ben Kuchera of Polygon wrote that Cuphead was one of the five most interesting reveals at Microsoft's E3 2014 press conference, even though he knew little about the game apart from its aesthetic. He said it "stood out immediately" and that everyone in the website's press room viscerally reacted to the trailer. Cuphead won the IGN Best Xbox One game at E3 award in 2015, and also won the award for "Best Indie Game" at the Gamescom 2015 Awards. It was also nominated as "Best Independent Game" at the E3 2016 Game Critics Awards.
Cuphead received "generally favorable" reviews, according to review aggregator Metacritic. The game has also been noted for its difficulty by several media outlets. Destructoid's Brett Makedonski welcomed the high difficulty, which he noted as "tough but fair". Based on "exhaustive" pattern recognition, he said it ultimately relied on muscle memory, rather than reaction. He thought structuring the game around boss battles was well executed, and that each boss encounter held "different and special and memorable" traits. Praising the 1930s aesthetics as cohesive, Makedonski found the jazz-based soundtrack to be "similarly fabulous". Despite dying 188 times in his playthrough, Ray Carsillo at EGMNow felt no frustration from the difficulty, but rather motivation to "dig my heels in deeper". Carsillo lauded the "gorgeous" hand-drawn visuals, asserting that the only thing surpassing the artwork was the gameplay, which he said went "beyond pattern recognition". Peter Brown of GameSpot opined that combatting enemies provided a considerably rewarding experience. He described the cartoon aesthetic as charming, adding that it infused "color and expression" to the game. Further, he saw Cuphead as a "true recreation" of hand-drawn cel animation. Brown also relished how quick loading times proved beneficial to trial and error tactics.
Lucas Sullivan at GamesRadar+ wrote that Cuphead "stands tall among the best 2D shooters of all time", and agreed the gameplay challenges demanded patient pattern recognition to be accomplished, from which he said players would be rewarded "tenfold". Sullivan called the animation adorable, noting the wealth of detail present in the watercolor backdrops, and said it worked well with the gameplay. Like Carsillo, Sullivan claimed never to be frustrated with the difficulty. Giant Bomb's Ben Pack remarked that playing the game yielded one of his most enjoyable experiences with video games, citing the combination of "brutal" platforming and an "exceptionally well realized" art style. Writing for IGN, Joe Skrebels declared every scene a "masterwork" and commended the sound work, calling it an "ideal match" to the aesthetics. Platforming battles were seen as the most imaginative part of the game, and having no health bars for enemies its "smartest" and "most devilish" addition. Like Brown and Sullivan, Skrebels found the battles to be rewarding as well as "one of Cuphead's greatest strengths". Chris Schilling of PC Gamer expressed approval of the controls, saying that their "reliable jump and dash" led to more "nimble and responsive" handling. Disagreeing with Makedonski, Schilling explained that certain random elements meant "you can't simply learn patterns by rote and rely entirely on muscle memory". Chris Plante at Polygon commented that, at its best, the game serves to educate the player in strategy through trial and error. He enjoyed the parrying system more so than the various attacks, as it proved to be a "crucial" and "relatively forgiving" mechanic. Colm Ahern of VideoGamer.com wrote in his verdict, "Cuphead will best most games in how it looks and sounds, and defeating that boss that you once deemed unbeatable is glorious".
Conversely, Makedonski said the "eight-direction firing radius" was his least favorite system in the game, calling it "clunky and awkward". Even though Brown saw "the fear of the unexpected" as part of what made Cuphead thrilling, he disparaged the game's failure to identify progress and capability. Skrebels thought that the "run 'n' gun, left-to-right platforming" lacked inventiveness, while also subjecting the "parry system" and control scheme to criticism. Plante complained that the final bosses made Cuphead's greatest features less effective, and mentioned that the difficulty "eventually goes too far". Ahern agreed with Plante in his reproval of the final bosses, also saying that the challenge was "a step too far".
Unwinnable writer Yussef Cole wrote an essay titled "Cuphead and the Racist Spectre of Fleischer Animation", in which he thought that by using the rubber hose animation style, Studio MDHR also brought up the "bigotry and prejudice" which had a strong influence on early animation, thinking that Studio MDHR ignored the context and history of the aesthetic it "so faithfully" replicated. Cole identifies that much of the imagery that Studio MDHR took from the Fleischer style effectively carried the racial stereotypes of the 1930s Harlem and minstrel shows that the animation style was built on. Chad and Jared Moldenhauer had stated prior to release that they wanted to make an animation style that harkened back to 1930s cartoons without getting ties to racism or minstrel shows in them. Maja Moldenhauer further stated that all they wanted from the Fleischers was the animation style and visuals, and that anything else happening "in that era we're not versed in it". In response to Cole's essay, Brandon Orselli of Niche Gamer defended the game as a tribute to that art style, writing that it was not meant to deliver narratives, or "go anywhere beyond where it needs to go in terms of its basic and child-like storytelling". Mike Mood, the creator of the episodic horror survival game "Bendy and the Ink Machine," which also uses rubber hose animation, has discussed wanting to make a cross over with Cuphead.
In the two first weeks of release, Cuphead sold over one million copies worldwide, which had risen to three million by August 2018.
獎賞[]
Entertainment Weekly placed Cuphead fifth on the list of its "Best Games of 2017", while GamesRadar ranked it ninth on their list of the 25 Best Games of 2017", and Polygon ranked it 14th on their list of the "50 best games of 2017". In Game Informer's Reader's Choice Best of 2017 Awards, the game won the "Best Microsoft Game" and "Best Co-op Multiplayer" categories, while it came in third place for "Best Action Game". The website also gave it the awards for "Best Microsoft Exclusive" in their "Best of 2017 Awards", and for "Best Bosses" in their 2017 Action Game of the Year Awards. EGMNow ranked the game at #2 on their list of the 25 best games of 2017, while Ben "Yahtzee" Croshaw of Zero Punctuation ranked it third on his list of the Best Games of 2017. The Verge named it one of their 15 best video games of 2017.
Cuphead was nominated for "Breakout Game of the Year" in PC Gamer's 2017 Game of the Year Awards, and won the award for "Best Xbox One Game" in Destructoid's Game of the Year Awards 2017. It also won the award for "Best Xbox One Game" and "Best Art Direction" in IGN's Best of 2017 Awards, whereas its other nominations were for "Game of the Year", "Best PC Game", "Best Platformer", "Best Original Music", and "Best Multiplayer". The game also won the award for "Best Looking Game" and "Best Style", in addition to being runner-up for "Best Shopkeeper" for the character Porkrind, "Best Music", "Best Debut", and "Game of the Year" at Giant Bomb's Game of the Year 2017 Awards.
其它媒體[]
商品[]
主頁面：Merchandise
樂譜[]
主頁面：Cuphead Sheet Music
書籍[]
小說系列[]
主頁面：Cuphead (novel series)
藝術集[]
主頁面：The Art of Cuphead
電視劇集[]
主頁面：The Cuphead Show!
In July 2019, Netflix announced The Cuphead Show!, an animated series based on the game. It will feature adventures of Cuphead and Mugman across Inkwell Isle, exploring areas and characters beyond those in the video game. While the series will be targeted for children, StudioMDHR also antipicated that they will include humor and gags for adult audience appreciation. The series will be animated, but will not be as meticulously done as the video game using traditional pen-and-paper methods, as it would take far too long to complete, but will still feature hand-drawn characters and movement but with aid of a digital medium. Chad and Jared Moldenhauer from StudioMDHR will be executive producers along with CJ Kettler from King Features Syndicate. Dave Wasson and Cosmo Segurson will co-executive produce, while Clay Morrow and Adam Paloian will be supervising directors.
畫廊[]
Logo[]
相關圖片[]
壁紙[]
其它[]
截屏[]
標題畫面[]
2015年E3[]
成品[]
包裝盒/封面圖[]
廣告[]
其它[]
音效[]
| 描述 | 音頻 |
| 原版導入音樂（含歌詞） | |
| 導入音樂純鋼琴伴奏 | |
| 壞結局後被倒過來演奏的導入音樂 | |
| 在盜版中帶着骰子王笑聲的倒奏變種 | |
| 在2015年E3演示版與2016年E3演示版中使用的導入曲，在成品遊戲中沒有使用 |
冷知識[]
- 《茶杯頭》最初的情節與最終版本區別很大。被砍掉的概念情節包括茶杯頭使用最後的十分錢進入了一場錦標賽，需要打敗8個頭目以獲勝，而可選擇的武器也較少。
- 這個版本的信息很少，只能從遊戲文件、早期採訪與預告片中獲得。
- 早期預告圖中，康乃馨·卡格尼位於屏幕左邊，並且默認動畫會做出「正面上我啊」的動作。
- 偉大的古比會在教程結束後立刻與茶杯頭對戰。
- 在遊戲文件與早期宣傳片中可找到許多未使用的武器。
- 早期演示版中，敵人在被攻擊時會閃爍紅色。
- 這點很有可能因為照顧光敏性癲癇患者而改掉了。
- 這個版本的信息很少，只能從遊戲文件、早期採訪與預告片中獲得。