The Gates of Hell | Rodin MuseumGates of Hell
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　　《Gates of Hell》是一款历史战争的动作射击游戏，Gates of Hell为玩家提供残酷的历史战争和大规模多人战斗，让玩家自身体现了第二次世界大战极为震撼的战斗场面。
Gates of Hell的目标是吸引所有以前的战争游戏迷。此外，高先生有一个更舒适的学习曲线，玩家从其他RTS，瞄准新的RTS游戏，寻求一种新的体验。时间已经到了经验的战斗你一直期望的，有趣的重现，没有细节的忽视。将给予最令人心碎的描写战争的日期。这将是血腥的，它将坚韧不拔，它将战争的原。当你观看和阅读战争电影和书籍时，你会感受到你的感受。加入我们，我们尝试复述了第二次世界大战的故事，从两个角度，对胜利者和失败者。现在，只有一个问题仍然存在…你的忠诚在哪里?
　　在Gates of Hell，玩家将体验二战时的战斗，从北非沙漠到白雪覆盖的山峰俄罗斯。在早期访问，直到完全释放的行动将被包装在东部前线的高清内容的游戏堆积。玩家必须使用自己的技能加上情况来击败敌人或完成任务目标，尽管所有的赔率会出现。天气的任务是狙击敌人一个军官，摧毁了多人游戏模式坦克列或打击人的对手，玩家必须分析他们的情景意识的战斗，利用他们在全国的优势，地形及其。而有些玩家更倾向于直接对抗，如果他们提供更高的火力，其他人可能会选择协调破坏战术。这取决于你使用的历史的技术技能和智胜敌人!
单人和多人的支持，包括合作任务和PVP模式。
　　与检修和优化的多人游戏的历史战役：通用的动态系统允许年设置选项，大量的步兵类型，和新的视觉范围创建历史和战术游戏。
　　模块派/战役系统
　　集成的Steam创意工坊
　　包括编辑修改，任务和沙盒游戏
　　高度精确的人体模型，头饰，和最终的细节标准武器。
　　重改步兵动力学允许激烈的步兵战斗以及提供历史的工具槽/散兵坑/坑/矿山建设依靠步兵能力。
　　智能地形，加上额外的空中和海军飞行/海上模型的各种车辆。
　　增强的图形和调色板的无与伦比的气氛。
　　惊人的音频系统与深入现场录制的声音，混响和回声
　　检查每个武器弹道计算不同的shell类型的渗透与爆炸性的价值观，包括复合轮;以及子弹下落速度：一个完整的弹道系统。
　　大气3D引擎与智能，优化AI和完全动画游戏对象。
　　完全破坏地面层和物品，包括易燃材料，植物燃烧参数，等等。
　　人类对象和车辆部件的损坏/维修制度的现实损害系统(车辆!没有生命槽)。
　　友好引擎平台
　　高清晰度的风景，包括精确的士兵和车辆模型，壮观的FX，和详细的风景。
　　RTS和第三人自上而下(直接控制)射手互换的游戏模式的任何单位，包括车辆和人的实体。
　　完全仿照物理学，包括重力加速度、碰撞系统对弹道的影响，渗透行为规范化，为不同的外壳，等。
　　超过250辆，超过100武器和200人类模型类型发挥。(充分释放名册计划)
　　复杂的AI，可以评估的战斗情况，除非下令举行地面，将前进或后退取决于他们的士气
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战争虽然残酷，但是在游戏中，战争却是不少玩家快乐的来源。策略，血肉，命令，与胜利，这些都是玩家最想要体验的内容。无论是骑马与砍杀，或者是三国群英传，战争带给人高...
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The Gates of Hell, Museo Soumaya, Mexico City
The Gates of Hell (: La Porte de l'Enfer) is a monumental sculptural group work by French artist
that depicts a scene from the , the first section of 's . It stands at 6 metres high, 4 metres wide and 1 metre deep (19.7×13.1×3.3 ft) and contains 180 figures. The figures range from 15 centimetres (6 in) high up to more than one metre (3 ft). Several of the figures were also cast independently by Rodin.
The sculpture was commissioned by the Directorate of Fine Arts in 1880 and was meant to be delivered in 1885. Rodin would continue to work on and off on this project for 37 years, until his death in 1917.
The Directorate asked for an inviting entrance to a planned Decorative Arts Museum with the theme being left to Rodin's selection. Even before this commission, Rodin had developed sketches of some of Dante's characters based on his admiration of 's .
The Decorative Arts Museum was never built. Rodin worked on this project on the ground floor of the H?tel Biron. Near the end of his life, Rodin donated sculptures, drawings and reproduction rights to the French government. In 1919, two years after his death, The H?tel Biron became the Musée Rodin housing a cast of The Gates of Hell and related works.
Through me the way into the suffering city,
Through me the way to the eternal pain,
Through me the way that runs among the lost.
Justice urged
My Maker was Divine authority,
The highest Wisdom, and the primal Love.
Before me nothing but eternal things
Were made, and I endure eternally.
Abandon every hope, who enter here.
Rodin conceived that people would walk toward the work, perhaps up a flight of stairs, and be overwhelmed frontally by the massive gates, contemplating the experience of hell that Dante describes in his Inferno. Rodin thought particularly of Dante's warning over the entrance of the Inferno, "Abandon every hope, who enter here."
A work of the scope of The Gates of Hell had not been attempted before, but inspiration came from 's
at the , ; the 15th century bronze doors depict figures from the . Another source of inspiration was some of those combine both high and low . Rodin was also inspired by Michelangelo's fresco , Delacroix's painting , Balzac's collection
and Baudelaire's poems .
In an article by Serge Basset printed in Le Matin in 1890, Rodin said: "For a whole year I lived with Dante, with him alone, drawing the circles of his inferno. At the end of this year, I realized that while my drawing rendered my vision of Dante, they had become too remote from reality. So I started all over again, working from nature, with my models."[]
Variations of ''The Gates of Hell''
The Kunsthaus Zürich in .
The Thinker in the Gates at the Musée Rodin
Detail, upper left-hand door
The original sculptures were enlarged and became works of art of their own.
(Le Penseur), also called The Poet, is located above the door panels. One interpretation suggests that it might represent Dante looking down to the characters in the Inferno. Another interpretation is that the Thinker is Rodin himself meditating about his composition. Others believe that the figure may be Adam, contemplating the destruction brought upon mankind because of his sin.
(Le Baiser) was originally in The Gate along with other figures of Paolo and . Rodin wanted to represent their initial joy as well as their final damnation. He removed the figure that became known as
because it seemed to conflict with the other suffering figures.
Ugolino and His Children (Ugolin et ses enfants) depicts , who according to the story, ate the corpses of his children after they died by starvation (Dante, , Canto XXXIII). The Ugolino group was cast as a separate bronze in 1882.
(Les Trois Ombres) was originally 98 cm high. The over-life size group was initially made of three independent figures in 1899. Later on, Rodin replaced one hand in the figures to fuse them together, in the same form as the smaller version. The figures originally pointed to the phrase "Lasciate ogne speranza, voi ch'intrate" ("Abandon all hope, ye who enter here") from Canto III of the .
Fleeting Love (Fugit Amor) is located on the right door pane, it is one of several figures of lovers that represent Paolo and . The male figure is also called The Prodigal.
is shown on the left door pane. Paolo tries to reach Francesca, who seems to slip away.
appears on the rightmost part of the , shown as an enlarged figure in 1896.
The Old Courtesan is a bronze cast from 1910 of an aged, naked female body. The sculpture is also called She Who Was Once the Helmet-Maker's Beautiful Wife (Celle qui fut la belle heaulmière). This title is taken from a poem by .
is based on the figure at the top of the left pilaster. Around 1881 Rodin enlarged her and gave her a stone.
I Am Beautiful (Je suis belle), cast in 1882, is among the second set of figures on the extreme right portion of the door.
(L'?ternel printemps) was cast in 1884. It exists in several separate versions, both in marble and in bronze.
Adam and Eve. Rodin asked the directorate for additional funds for the independent sculptures of Adam and
that were meant to frame The Gates of Hell. However, Rodin found he could not get Eve's figure right. Consequently, several figures of Eve were made, none of which were used, and all of them were later sold.
Smaller models for the work include .
The plaster original was restored in 1917 and is displayed at the
in . A series of plaster casts illustrating the development of the work is on view at the
in . Also in 1917, a model was used to make the original three bronze casts:
Subsequent bronzes have been distributed by the Musée Rodin to a number of locations, including:
The Plateau, ,
Elsen, Albert E. (1963). Rodin. New York: Museum of Modern Art. p. 35.
Fisher, Paul Zelanski, Mary Pat (2011). The Art of Seeing (8th ed.). Upper Saddle River, NJ: Prentice Hall. pp. 73–4.  .
Le Normand-Romain, Antoinette (1999). Rodin:The Gates of Hell. Paris: .  .
. Musée Rodin 2012.
. The National Museum of Western Art 2012.
Chevillot, C Marraud, Hélè Pinet, Hélè
(transl.) (November 2014). Rodin: The Laboratory of Creation. Dijon: ?ditions Faton.  .
Le Normand-Romain, Antoinette (September 2014). Rodin. New York: Abbeville.  .
Wikimedia Commons has media related to .
, a tool for exploring The Gates of Hell by the Musée Rodin
, a full text exhibition catalog from The Metropolitan Museum of Art, which contains material on The Gates of Hell
at , Object Number 1985.86, bronze cast No. 5.
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