2018 Pokemon.com
宝可梦 Let's Go 开发者访谈
增田顺一 × 菜花健作
Game Freak 的增田顺一与菜花健作谈 Switch 新作《宝可梦 Let's Go！皮卡丘·Let's Go！伊布》的创作理念。
Contents 本篇 11 章
- 一款新的宝可梦冒险游戏，最初的创作火花通常来自哪里？当你们获得那个火花时，最先着手做的是什么？
- 增田先生，这是你首次为 Nintendo Switch 执导游戏。新硬件带来的哪些机会最让...
- 在这两款游戏中，宝可梦的世界感觉比以往任何时候都更加活跃，给人一种生机勃勃、有呼吸感的场所...
- 每只宝可梦移动和行动的方式都展现出很多个性。在这方面，有没有哪只宝可梦做起来特别有挑战性？...
- 这两款游戏很着重刻画两只主角宝可梦——它们登上了封面，拥有独特的招式，玩家也有新的方式和它...
- 这次回到关都地区和《宝可梦 皮卡丘》的事件，你们如何把握好熟悉感与新鲜感之间的平衡？你们怎...
- 首次将这些经典环境带入三维世界时，遇到了哪些挑战？在新视觉风格下，您觉得哪些地点看起来特别...
- 增田先生，您之前曾在Game Boy Advance上执导了另一对以关都地区为背景的游戏《...
- 距离您上次担任导演——在《宝可梦 X·Y》上——已经五年了。为什么这些游戏是您回归该角色的...
- 您还担任了作曲。您对《宝可梦 Let's Go！皮卡丘》和《宝可梦 Let's Go！伊布...
- 您希望新的宝可梦玩家从这些游戏中获得什么？对于长期粉丝呢？
The first Pokémon RPG adventure for Nintendo Switch, Pokémon: Let’s Go, Pikachu! and Pokémon: Let’s Go, Eevee!, is almost here, and the excitement continues to grow. To learn more about the process that went into the adventure’s creation, we had a chat with two members of GAME FREAK inc.—the developers of the games. Join us as we talk to Junichi Masuda, one of GAME FREAK’s founders and the director of Pokémon: Let’s Go, Pikachu! and Pokémon: Let’s Go, Eevee!, and Kensaku Nabana, the games’ lead environment designer. Both creators were kind enough to share their thoughts on the production of these upcoming titles.
Nintendo Switch 上的首款宝可梦 RPG 冒险游戏《宝可梦 Let’s Go！皮卡丘》和《宝可梦 Let’s Go！伊布》即将发售，玩家的期待也在不断升温。为了解这款冒险游戏的创作过程，我们与 GAME FREAK inc.——这两款游戏的开发者——的两位成员进行了交流。请随我们一起对话增田顺一和 Nabana Kensaku。增田顺一是 GAME FREAK 的创始人之一，也是《宝可梦 Let’s Go！皮卡丘》和《宝可梦 Let’s Go！伊布》的总监；Nabana Kensaku 则是这两款游戏的环境设计主管。两位创作者都慷慨地分享了他们对这两款即将推出的作品的制作想法。
创作灵感
Pokemon.com
Where does the original creative spark for a new Pokémon adventure usually come from? What are the first things you work on when get that spark?
一款新的宝可梦冒险游戏，最初的创作火花通常来自哪里？当你们获得那个火花时，最先着手做的是什么？
增田顺一
I think that no matter who you are, if you are a creative person, a new project begins with the desire to do something specific or figure out the solution to a specific problem. For example, we have Nintendo Switch, which can be used in the living room as a home console. So we have the issue of getting people into the room to play the game. That’s where we started with this project—through that concept.
我认为，无论你是谁，只要你是一个有创造力的人，一个新项目总是始于想做某件具体的事，或者想解决某个具体的问题。比如说，我们有 Nintendo Switch，它可以在客厅里当作家用主机使用。于是我们就面临一个问题：如何让人们走进房间来玩游戏。这就是这个项目的起点——从这个概念出发。
增田顺一
The ideas of connecting the games to Pokémon GO, of creating the Poké Ball Plus to be able to use it to catch Pokémon, and of two-player multiplayer were ideas we came up with to solve that problem. We had this goal in mind and then thought about what kinds of features to implement that would meet that goal. It’s the same when I create music. I always try to think about who the listener will be and what situation they will be in when listening to the music, and then I make music to fulfill that kind of image in my mind.
把游戏与 Pokémon GO 连接起来、制作精灵球 Plus 以便用它来捕捉宝可梦、以及双人多人游玩，这些都是我们为解决那个问题而想出的点子。我们先有了这个目标，然后思考要实现哪些功能才能达成这个目标。我创作音乐时也是一样。我总是试着去思考听众会是谁、他们在听音乐时会处于什么情境，然后按照脑海中那样的画面来创作音乐。
Pokemon.com
Mr. Masuda, these are the first games you’ve directed for Nintendo Switch. What opportunities afforded by the new hardware were you most intrigued by?
增田先生，这是你首次为 Nintendo Switch 执导游戏。新硬件带来的哪些机会最让你感兴趣？
增田顺一
At first glance, it’s a complicated piece of hardware—you can connect it to the television, you can take it out with you in handheld mode, there’s a touch screen, you can take off the controllers, there are gyro motion controls, and there are a lot of other elements. So in the face of those complications, the approach we took was to look at the ways we could simplify things. We took the idea of using a single controller to play the game to make that all feel less complicated, and that also opened the path to having this kind of local two-player multiplayer where you can share the controllers.
乍看之下，这是一台复杂的硬件——你可以把它连接到电视上，可以以掌机模式带出门，有触摸屏，可以取下手柄，有陀螺仪体感控制，还有很多其他元素。面对这些复杂之处，我们采取的方法是寻找简化事情的方式。我们采用了用单个手柄来玩游戏的想法，让一切感觉不那么复杂，这也为那种可以分享手柄的本地双人多人游玩开辟了道路。
增田顺一
Of course, from a technology perspective, there’s the increased power of the hardware, which really allowed us to have much better visuals than we’ve had before. The communication technology in the system also proved very valuable. For example, we use Bluetooth to allow Trainers to transfer Pokémon from Pokémon GO into Pokémon: Let’s Go, Pikachu! and Pokémon: Let’s Go, Eevee!, which is something we wouldn’t be able to do without that technology. Behind the scenes, it’s kind of a complicated setup, but we always try to make it feel very simple for the player.
当然，从技术角度来看，硬件的性能提升了，这确实让我们能够拥有比以往好得多的画面表现。系统的通信技术也被证明非常有价值。例如，我们使用蓝牙让训练家能够把宝可梦从 Pokémon GO 传送到《宝可梦 Let’s Go！皮卡丘》和《宝可梦 Let’s Go！伊布》中，如果没有这项技术，我们就做不到这一点。在幕后，这套设置其实相当复杂，但我们总是尽量让玩家感觉非常简单。
一个鲜活的世界
Pokemon.com
The world of Pokémon feels more active than ever in these games, giving the sense of a living, breathing place. Was that a priority during development, and if so, why did you feel it was important?
在这两款游戏中，宝可梦的世界感觉比以往任何时候都更加活跃，给人一种生机勃勃、有呼吸感的场所的印象。这是开发过程中的一个优先事项吗？如果是，为什么你觉得它很重要？
增田顺一
Because you don’t battle wild Pokémon in these games, we wanted to come up with ways to encourage people to run in and go find the Pokémon they want to encounter. Having Pokémon appear in the world lets the player see the ones they want to catch and encourages them to do so, but it also makes the world feel, like you say, more alive and richer as a result.
因为在这两款游戏里，你不会和野生宝可梦对战，所以我们想设计出一些方式，鼓励玩家主动跑过去寻找他们想遇到的宝可梦。让宝可梦出现在世界里，玩家就能看到自己想捕捉的宝可梦，这会促使他们去捕捉；但正如你所说，这也让整个世界显得更有生气、更丰富。
Pokemon.com
A lot of personality shines through in the way each Pokémon moves and acts. Were there any Pokémon that proved especially challenging in this regard? And do any Pokémon stand out to you as favorites in the way they animate?
每只宝可梦移动和行动的方式都展现出很多个性。在这方面，有没有哪只宝可梦做起来特别有挑战性？在动作表现上，有没有哪只宝可梦是你个人特别喜欢的？
增田顺一
There are two parts to how we gave the Pokémon’s movements and actions a lot of personality. There are, of course, the animations that each Pokémon has, but there are also the patterns in which they move. That was something I came up with near the end of last year. I developed a basic set of rules for how all the Pokémon should move, such as how many steps they should take before they stop and let out a cry or what their behavior pattern is for when they move again.
我们赋予宝可梦动作和行动个性，分为两个部分。当然，每只宝可梦都有各自的动画，但除此之外还有它们移动的模式。这是我去年年底想出来的。我为所有宝可梦该怎么移动制定了一套基本规则，比如它们走多少步之后会停下来叫一声，以及再次移动时的行为模式是什么。
增田顺一
Once I handed this set of rules over to the programmers, they added their takes on how the individual Pokémon would move for an extra layer of personality. One of the things that was memorable to me was watching one of our movement programmers. He was referring to a video of rabbits walking around when he was creating the movement for Nidoran, which ended up influencing how that Pokémon moves. I wound up really liking Nidoran’s final animation.
我把这套规则交给程序员之后，他们又加入了自己的想法，决定每只宝可梦具体怎么移动，从而多了一层个性。让我印象深刻的一件事，是看我们一位负责移动的程序员工作。他在制作尼多兰的移动时，参考了一段兔子走动的视频，这最终影响了那只宝可梦的移动方式。我最后非常喜欢尼多兰的成品动画。
Pokemon.com
There’s a lot of focus on the two main Pokémon in these games—they’re featured on the cover, they boast unique moves, and players have new ways to interact with them. Is this bond between Trainer and first Pokémon something you’ve always wanted to emphasize more?
这两款游戏很着重刻画两只主角宝可梦——它们登上了封面，拥有独特的招式，玩家也有新的方式和它们互动。训练家和第一只宝可梦之间的这种羁绊，是你一直想更多强调的东西吗？
增田顺一
It was something we definitely aimed for in these games—to really increase that ability to form a bond with your partner Pokémon even more than you have been able to in the past. Not only can the Trainer do things to feel they’re getting closer to their Pokémon, but the Pikachu and Eevee partner Pokémon in the games do things to make them feel closer to the Trainer. It’s kind of a back-and-forth relationship.
这确实是我们在这些游戏里明确追求的目标——真正增强与搭档宝可梦建立羁绊的能力，比过去能做到的更进一步。不仅训练家可以做一些事，让自己感觉和宝可梦更亲近；游戏里的皮卡丘和伊布搭档也会做一些事，让它们感觉和训练家更亲近。这算是一种双向的关系。
重回过去
Pokemon.com
With this return to the Kanto region and the events of Pokémon Yellow: Special Pikachu Edition, how do you strike the right balance between familiarity and newness? How do you decide which details to change and which to keep the same?
这次回到关都地区和《宝可梦 皮卡丘》的事件，你们如何把握好熟悉感与新鲜感之间的平衡？你们怎么决定哪些细节要改、哪些要保持不变？
增田顺一
Our approach to development of these games was to appeal to a broad audience. One of the big reasons for that is there are a lot of younger players who maybe didn’t have their own smartphones and couldn’t join in on the Pokémon GO boom. Because of this, Pokémon: Let’s Go, Pikachu! and Pokémon: Let’s Go, Eevee! might be their first time playing a Pokémon video game.
我们开发这两款游戏的思路是面向广泛的受众。其中一个重要原因是，有很多年纪较小的玩家可能没有自己的智能手机，没能赶上《Pokémon GO》的热潮。因此，《宝可梦 Let’s Go！皮卡丘》和《宝可梦 Let’s Go！伊布》可能是他们第一次玩宝可梦电子游戏。
增田顺一
So I wanted to use Pokémon Yellow: Special Pikachu Edition as a base to introduce the original 151 Pokémon to them—to have them experience catching and training Pokémon, which are core gameplay elements of the Pokémon series. Now, there are a lot of features that were added in later Pokémon games, such as Eggs, Abilities, and held items, that didn’t exist at the time of Pokémon Yellow: Special Pikachu Edition. However, we want kids today to experience something similar to what kids enjoyed 20 years ago. Of course, there are aspects, such as link battling and trading, where we updated the feel to be something more appropriate to modern tastes.
所以我想以《宝可梦 皮卡丘》为基础，向他们介绍最初的151只宝可梦——让他们体验捕捉和培育宝可梦，这是宝可梦系列的核心玩法。当然，后来的宝可梦游戏加入了很多功能，比如蛋、特性和携带物品，这些在《宝可梦 皮卡丘》时期还不存在。但我们希望今天的孩子能体验到和20年前的孩子所享受的类似的东西。当然，有些方面，比如联机对战和交换，我们更新了手感，使其更符合现代的喜好。
Pokemon.com
What were some of the challenges in bringing these classic environments into a three-dimensional world for the first time? Which locales do you think look especially good or interesting in this new visual style?
首次将这些经典环境带入三维世界时，遇到了哪些挑战？在新视觉风格下，您觉得哪些地点看起来特别出色或有趣？
菜花健作
One of the most difficult aspects of updating all the environments and maps for the new hardware and graphic style was that we wanted to keep it nostalgic for fans of the originals while also making it something that looks very inviting and appealing for younger kids. It should always be very clear where you can go, where you can’t go, where Pokémon would appear, and where they wouldn’t appear.
为新硬件和图形风格更新所有环境和地图时，最困难的方面之一是我们希望保留原版粉丝的怀旧感，同时让它看起来对年幼的孩子非常有吸引力和吸引力。应该始终非常清楚哪里可以去，哪里不能去，宝可梦会出现在哪里，不会出现在哪里。
菜花健作
I think there was a lot of simplicity in those older pixel graphics, which made things like that obvious to the player. The graphics helped communicate things to the player, so you’ll see there are quite a few things that we left mostly unchanged. We updated the way you can move around, but we made it very clear where you can go and where you can’t go and where you might find Pokémon.
我认为那些旧的像素图形中有很多简单性，使这些事情对玩家来说显而易见。图形有助于向玩家传达信息，所以你会看到有很多东西我们基本保持不变。我们更新了移动方式，但我们非常清楚地表明哪里可以去，哪里不能去，以及可能在哪里找到宝可梦。
菜花健作
In terms of locales that I think look especially good or interesting, one thing that we did this time around was go back and update all the towns. We redesigned them, pretty much, giving all the towns their own personalities. I think players will have a lot of fun discovering how the locations have changed.
就我认为看起来特别出色或有趣的地点而言，这次我们做的一件事是回去更新所有城镇。我们几乎重新设计了它们，赋予所有城镇自己的个性。我认为玩家会发现这些地点如何变化而获得很多乐趣。
Pokemon.com
Mr. Masuda, you previously directed another pair of games set in the Kanto region with Pokémon FireRed and Pokémon LeafGreen on the Game Boy Advance. What lessons did you learn from that experience that you were able to bring to these games? And what different goals did you have in mind for the Pokémon: Let’s Go, Pikachu! and Pokémon: Let’s Go, Eevee! video games?
增田先生，您之前曾在Game Boy Advance上执导了另一对以关都地区为背景的游戏《宝可梦 火红·叶绿》。您从那次经历中学到了哪些教训，能够带到这些游戏中？对于《宝可梦 Let’s Go！皮卡丘·Let’s Go！伊布》这些游戏，您有什么不同的目标？
增田顺一
The base concept behind Pokémon FireRed and Pokémon LeafGreen was very different from what we are going for with Pokémon: Let’s Go, Pikachu! and Pokémon: Let’s Go, Eevee! Back then, the primary focus was to creates games that could connect with Pokémon Ruby and Pokémon Sapphire, which were the other titles available on the Game Boy Advance. This time around, we’re defining what the modern living-room Pokémon RPG experience might be when you play on a home console on a big-screen TV. We’re starting from very different places, and as a result, I think you’ll see the direction is quite different.
《宝可梦 火红·叶绿》背后的基本概念与我们为《宝可梦 Let’s Go！皮卡丘·Let’s Go！伊布》所追求的目标非常不同。当时，主要焦点是创建能够与《宝可梦 红宝石·蓝宝石》连接的游戏，那是Game Boy Advance上的其他作品。这一次，我们正在定义当你在家用主机上在大屏幕上玩时，现代客厅宝可梦RPG体验可能是什么样子。我们从非常不同的地方开始，因此，我认为你会看到方向相当不同。
增田顺一
At the same time, probably because of the popularity of Pokémon the Series, I think most Pokémon fans prefer the less scary, kind of cuter, and more inviting look that the animated series provides. So the feel of the world changed to be a little less scary, and the Pokémon started to look less monsterlike and more like the impression that people get from Pokémon today. We’re taking those ideas and continuing to implement them in these new games.
同时，可能因为宝可梦动画系列的流行，我认为大多数宝可梦粉丝更喜欢动画系列提供的较少恐怖、更可爱、更吸引人的外观。所以世界的感觉变得不那么恐怖，宝可梦开始看起来不那么像怪物，而更像人们今天对宝可梦的印象。我们正在采纳这些想法，并在这些新游戏中继续实施它们。
幕后
Pokemon.com
It’s been five years since you last served as director—on Pokémon X and Pokémon Y. Why were these the right games for you to return to that role?
距离您上次担任导演——在《宝可梦 X·Y》上——已经五年了。为什么这些游戏是您回归该角色的合适游戏？
增田顺一
I was the one who worked on the base game concept document for Pokémon GO, and even in that original concept, I had the idea of introducing new Pokémon through the mobile game. I wanted to realize that goal by creating games that could connect with Pokémon GO and feel somewhat similar to it without feeling like we were copying it. Given my involvement in Pokémon GO’s development, I felt that I was probably the best person to direct these games.
我是为《Pokémon GO》编写基础游戏概念文档的人，即使在那个原始概念中，我也有通过手机游戏引入新宝可梦的想法。我想通过创建能够与《Pokémon GO》连接并感觉有些相似而不觉得我们在抄袭它的游戏来实现这个目标。鉴于我参与了《Pokémon GO》的开发，我觉得我可能是执导这些游戏的最佳人选。
增田顺一
It was also interesting to work with Nintendo Switch. There’s a lot of technology packed into the hardware that we were all trying to discover at GAME FREAK. For example, developing the Poké Ball Plus and working with Bluetooth to facilitate the connection with Pokémon GO were both very interesting things that I had a chance to work on as the director this time.
与Nintendo Switch合作也很有趣。硬件中集成了大量技术，我们在GAME FREAK都试图去探索。例如，开发精灵球 Plus 并利用蓝牙来实现与Pokémon GO的连接，都是这次我作为总监有机会参与的非常有趣的事情。
增田顺一
But at the same time, it’s important to have the younger generation at GAME FREAK take over the development of Pokémon as a series. I do believe this will probably be, in terms of the main Pokémon RPGs, the last time that I work as the director.
但与此同时，让GAME FREAK的年轻一代接手宝可梦系列的发展也很重要。我确实认为，就宝可梦主系列RPG而言，这很可能是我最后一次担任总监。
Pokemon.com
You also served as the composer. What was your approach to enhancing/remixing the soundtrack for the Pokémon: Let’s Go, Pikachu! and Pokémon: Let’s Go, Eevee! video games?
您还担任了作曲。您对《宝可梦 Let’s Go！皮卡丘》和《宝可梦 Let’s Go！伊布》的配乐进行增强/重混时，采用了什么方法？
增田顺一
When first approaching the idea of remixing or rearranging the music that I had originally created for Pokémon Red and Pokémon Green, I knew that I would need someone who really understood how I made that music and who is also very familiar with Pokémon. Also, due to the sheer number of songs, I would need someone who could handle that workload and would be able to rearrange the tracks in a classical music style without making huge, sweeping changes.
最初考虑重混或重新编曲我原本为《宝可梦 红》和《宝可梦 绿》创作的音乐时，我知道我需要一个真正理解我如何创作那些音乐、并且非常熟悉宝可梦的人。此外，由于歌曲数量庞大，我需要一个能够处理这种工作量、并且能够以古典音乐风格重新编曲而不做巨大改动的人。
增田顺一
The person who I got to handle this was Shota Kageyama. He’s a musician who’s worked on Pokémon games in the past at GAME FREAK. He’s really good at making dramatic music, and he’s also very consistent and fast in delivering his work. I talked with him, and we came up with a style of music that we felt would be most appropriate for these games.
我找来负责这件事的人是景山将太。他是一位音乐家，过去曾在GAME FREAK参与过宝可梦游戏。他非常擅长制作戏剧性的音乐，而且交付作品非常稳定且快速。我和他谈了谈，我们共同确定了一种我们认为最适合这些游戏的音乐风格。
增田顺一
Again, with the concept of a Pokémon RPG in the modern living room, the music is always going to be on—you’re probably not going to turn off the sound like you might on a handheld system. Because the music will be heard throughout the room, everyone will be able to hear it. So we wanted something that would feel kind and inviting—something that everyone in the household would be comfortable hearing.
再次强调，以现代客厅中的宝可梦RPG为概念，音乐会一直开着——你可能不会像在掌机上那样关掉声音。因为音乐会在整个房间内被听到，每个人都能听到。所以我们想要一种感觉亲切、有吸引力的东西——一种家里每个人听着都舒服的东西。
增田顺一
We’ve used various music styles in the past, such as heavy metal or techno, and those are obviously things that certain people really like. At the same time, however, those styles can be divisive or intimidating to others. With that in mind, we wanted the music to feel inclusive, and I think Mr. Kageyama did a great job in achieving that.
我们过去使用过各种音乐风格，比如重金属或电子乐，这些显然是某些人非常喜欢的。但与此同时，这些风格也可能对其他人造成分歧或令人望而生畏。考虑到这一点，我们希望音乐让人感到包容，我认为景山先生在这方面做得很好。
增田顺一
One of the more interesting things that Mr. Kageyama did comes in the form of how he respected the original music while injecting his own variations on the themes. Most of the songs use the same key and tempo as the original versions, and he keeps things very similar for the first pass of the tune. After the initial loop happens, though, Mr. Kageyama’s arrangement kicks in, allowing his own style to come through. I think it’ll be very interesting for fans of the original soundtrack to listen to how it’s changed.
景山先生做的比较有趣的事情之一，体现在他尊重原曲的同时，又在主题上加入了自己的变奏。大多数歌曲使用与原版相同的调性和速度，他在第一遍旋律时保持非常相似。但在最初的循环之后，景山先生的编曲就介入进来，让他自己的风格得以展现。我认为对于原声带的粉丝来说，听听它如何变化会非常有趣。
临别寄语
Pokemon.com
What do you hope new Pokémon players get out of these games? How about longtime fans?
您希望新的宝可梦玩家从这些游戏中获得什么？对于长期粉丝呢？
增田顺一
It’s kind of the same for both audiences, really, but this is the first time that a Pokémon RPG is going to be in the living room on a modern home console. That’s really the focus of how we approached the development. I think seeing the Pokémon in HD visuals on a big-screen TV is going to be a lot of fun for traditional fans as well as new players.
对两类玩家来说其实差不多，但这是宝可梦 RPG 首次登上现代家用主机、进入客厅。这正是我们开发时的核心考量。我认为，在大屏幕电视上看到高清画面的宝可梦，无论对老玩家还是新玩家来说都会非常有趣。
增田顺一
The other big thing in these games is, obviously, pretending to throw a Poké Ball to catch Pokémon using either the Poké Ball Plus or a Joy-Con. It’s similar to the Pokémon GO style of catching, but we’ve evolved it to be an even more immersive experience. It lets you feel like you’re a Trainer really catching Pokémon in the games. I think that’s going to be a lot of fun for all players. My hope is that everyone will enjoy it—not just by themselves, but also with their friends or family joining in on the fun with the two-player gameplay.
这两款游戏的另一个重点，显然是使用精灵球 Plus 或 Joy-Con 做出投掷精灵球的动作来捕捉宝可梦。它与 Pokémon GO 的捕捉方式相似，但我们将其进化成了更具沉浸感的体验。它让你感觉自己就像是一名训练家，真的在游戏中捕捉宝可梦。我认为所有玩家都会觉得这很有趣。我希望大家都能享受其中——不只是自己玩，也能和朋友或家人一起加入双人游玩的乐趣。
菜花健作
As a fan of the original Pokémon RPGs, I want first-time players to get to know the setting and world of Pokémon and what it’s like to be a Pokémon Trainer. I want them to go out and catch, train, and battle Pokémon—to enjoy all the different elements of the Pokémon RPGs.
作为原版宝可梦 RPG 的粉丝，我希望初次接触的玩家能了解宝可梦的设定和世界，以及成为宝可梦训练家是什么感觉。我希望他们去捕捉、培育和对战宝可梦——享受宝可梦 RPG 的各种不同要素。
菜花健作
For the longtime fans like myself, there’s obviously the goal of completing the Pokédex. This time, the way you catch the original 151 Pokémon is very different from how it was in the past, so I think it’ll be quite a challenge. The experience also feels very fresh because the technique of catching Pokémon is different in these games.
对于像我这样的老玩家来说，目标显然是完成宝可梦图鉴 App。这一次，捕捉最初的 151 种宝可梦的方式与过去大不相同，所以我认为这会相当有挑战性。由于这些游戏中捕捉宝可梦的技巧不同，体验也感觉非常新鲜。
菜花健作
Other than that, we have some interesting content for longtime fans who are more interested in battling. After you finish the main story, there are Master Trainers that exist throughout the Kanto region. There’s one for each of the different species of Pokémon—and each is the master of that Pokémon. That’s what they call themselves. They’ve raised their Pokémon to be extremely strong, and you can go out and challenge them.
除此之外，我们还为更热衷于对战的老玩家准备了一些有趣的内容。完成主线故事后，关都地区各地存在着大师训练家。每种宝可梦都有一位大师——每位都是那种宝可梦的大师。他们自称如此。他们把自己的宝可梦培育得极其强大，你可以去挑战他们。
菜花健作
For example, if you find a Charmander Master, you challenge that Master Trainer with a Charmander of your own. To defeat that Charmander Master, you need a deep knowledge of how the Pokémon battle system works and you need to have a strong Pokémon. If you do manage to defeat them, you claim the title of Charmander Master for yourself. You can then travel throughout the Kanto region to collect all these different Master Trainer titles.
例如，如果你找到一位小火龙大师，你就用自己的小火龙挑战那位大师训练家。要击败那位小火龙大师，你需要深入了解宝可梦对战系统的运作方式，还需要有一只强大的宝可梦。如果你成功击败他们，就能为自己赢得小火龙大师的称号。然后你可以走遍关都地区，收集所有这些不同的大师训练家称号。
菜花健作
We would like to thank Mr. Masuda and Mr. Nabana for taking the time to chat with us about their latest games. If you want to learn even more about Pokémon: Let’s Go, Pikachu! and Pokémon: Let’s Go, Eevee!, please visit the official website!
我们要感谢增田先生和菜花先生抽出时间与我们聊他们的最新游戏。如果你想了解更多关于《宝可梦 Let’s Go！皮卡丘》和《宝可梦 Let’s Go！伊布》的信息，请访问官方网站！