[访谈翻译] Eurogamer 独家专访：增田顺一与杉森建谈《宝可梦 黑·白》幕后心智（纽约曼哈顿采风、156只全新宝可梦大换血的决断与成熟叙事）
2011年3月欧洲发售前夕，Eurogamer 资深编辑 Wesley Yin-Poole 罕见面对面对话增田顺一与杉森建两位灵魂人物。增田详述《黑·白》打破常规的‘全图鉴大洗牌’策略——通关前彻底封印历代旧宝可梦，全部采用 156 只全新设计的宝可梦，让即便玩了15年的核心玩家也重回初玩《红·绿》时的未知探索感；杉森建深刻阐释‘宝可梦既是对战对手也是灵魂伴侣’的共情设计哲学，拒绝纯粹可怖与凶恶；增田首度披露《黑·白》是全系列第一次不以矿物颜色而是直接以‘剧情与世界观的哲学极值（真实与理想、黑与白）’命名的作品；并解密彻底重构跨国本地化组织架构，首次实现日语直接翻译法/德/意/西语，使欧洲发售日历史性反超北美；最后分享了井部真那针对女性受众设计、为玩家带来必胜信念的比克提尼诞生秘闻。
增田顺一杉森建韦斯利·尹-普尔井部真那
逐段译读
合众黎明的幕后心智：独家专访增田顺一与杉森建（156只全新宝可梦、黑白对立叙事与全球直译变革）
The Brains Behind Pokémon Black and White: An Interview with Junichi Masuda and Ken Sugimori
原文
It is one of the best-selling game franchises in human history, a Nintendo behemoth with truly global appeal. And yet we know so little about the minds that power Pokémon. They come from Japan, of course, but, more specifically, they come from a Japanese game developer called Game Freak – someone European journalists are rarely allowed to speak with in person. Ahead of the European launch of Pokémon Black and Pokémon White, director Junichi Masuda and legendary art director Ken Sugimori sat down to reveal the creative philosophy driving this monumental overhaul.
译文
这是人类历史上最畅销的游戏系列之一，一个真正具有全球吸引力的任天堂巨头。然而，我们对驱动宝可梦的头脑知之甚少。他们当然来自日本，但更具体地说，他们来自一家名为 Game Freak 的日本游戏开发商——欧洲记者很少有机会与其面对面交流。在《宝可梦 黑》和《宝可梦 白》欧洲发售前夕，总监增田顺一和传奇艺术总监杉森建坐下来，揭示了推动这次重大革新的创作理念。
重归纯白的空白画布战略：156只全新宝可梦重塑‘未知探索感’
The Strategy of Blank Canvas: 156 Brand New Pokémon and Recreating the Wonder of Red & Blue
原文
When approaching Black and White, did you feel the need to reinvent Pokémon from the ground up?
译文
在着手《黑》与《白》时，您是否觉得有必要从零开始彻底重塑宝可梦？
原文
When I create new videogames, I consider not just adapting the last element. First, I look again at all the elements, because if you just adapt, it becomes more complex and loses the essence. We employed the same strategy as we did with Red and Blue. We delivered all new Pokémon for this new series. Players won’t know which is strong, what type it is, recreating the wonder of discovery.
译文
当我创作新游戏时，我不仅仅考虑沿用上一作元素。首先，我会重新审视所有元素，因为如果只是沿用，游戏会变得复杂并失去本质。我们采用了与《红》和《绿》相同的策略。我们为这个新系列带来了全新的宝可梦。玩家将不知道哪只宝可梦强大，它是什么属性，从而重现发现的惊奇感。
原文
Can you explain the strategic design behind Triple Battles and Rotation Battles?
译文
您能解释一下三打对战和轮盘对战背后的策略设计吗？
原文
We’ve introduced two battle systems. One is triple battle, the second is rotation battle. Triple battle inherited the mechanical rules from double battle. Both sides put out three Pokémon. The positioning is important because the Pokémon on the left is unable to target the Pokémon on the far right. It becomes positional tactics. With rotation battles, both sides put out three Pokémon, but each turn you can only choose one Pokémon to battle against the other. This involves predicting your opponent’s psychological choices. You don’t know until you make the move and the rotation what the opponent is going to do.
译文
我们引入了两种对战系统。一种是三打对战，另一种是轮盘对战。三打对战继承了双打对战的机制规则。双方各派出三只宝可梦。位置很重要，因为最左边的宝可梦无法攻击最右边的宝可梦。这变成了位置战术。而轮盘对战，双方各派出三只宝可梦，但每回合你只能选择一只宝可梦与对方对战。这涉及预测对手的心理选择。在做出行动和轮转之前，你无法知道对手会做什么。
玩法先行与杉森建的宝可梦共情美学：拒绝纯粹的冷酷与可怖
Game Design Order & Ken Sugimori's Philosophy of Creature Empathy
原文
What is the creative order when conceptualizing a new generation? Do you begin by drawing the Pokémon first?
译文
在构思新世代时，创作顺序是怎样的？您是否先开始绘制宝可梦？
原文
At first I think of ideas about what kind of play I can include. I consider playing content at first, and then what kind of world will support it. Which region? What town should be built? Once those are fixed I can start to think, ‘This gym should have this type of trainer, so we should have this type of Pokémon.’ You might think we always start to think from the Pokémon first, but actually we don’t. We design the play, the world, and then the monsters.
译文
首先，我会思考可以包含什么样的玩法。我先考虑游戏内容，然后考虑什么样的世界能支撑它。哪个地区？应该建造什么样的城镇？一旦这些确定下来，我就可以开始想：“这个道馆应该有这种类型的训练家，所以我们应该有这种类型的宝可梦。”您可能认为我们总是先从宝可梦开始思考，但实际上并非如此。我们先设计玩法、世界，然后是怪物。
原文
Ken Sugimori, as the art director, what are the core design tenets when crafting brand new monsters?
译文
杉森建先生，作为艺术总监，在创作全新怪物时，核心设计原则是什么？
原文
All Pokémon shouldn’t be just cold or frightening. What we consider first is players have some connectivity, a close feeling, a sense that this creature could be a genuine friend. For example, if some Pokémon have really big mouths, that could be scary. But if the shape of the body is rounded or charming, that balances it. We also consider battle balance. We need a specific number of electric, water, or fire types. What is different from other videogames is that Pokémon could be your opponent, or Pokémon could be your partner. That duality is the design core.
译文
所有宝可梦都不应只是冷酷或吓人的。我们首先考虑的是玩家能与之产生联系，有一种亲近感，感觉这个生物可以成为真正的朋友。例如，如果某些宝可梦嘴巴很大，那可能会吓人。但如果身体形状圆润或可爱，就能平衡这一点。我们还会考虑对战平衡。我们需要特定数量的电、水或火属性。与其他电子游戏不同的是，宝可梦既可以是你的对手，也可以是你的伙伴。这种二元性是设计的核心。
剧本哲学定名‘黑·白’、欧洲多语言直译体系改革与比克提尼诞生
Naming by Scenario, European Direct Localization, and Victini
原文
How do you determine names for 156 brand new Pokémon?
译文
你们如何为156只全新宝可梦确定名字？
原文
There are two different ways of approaching it. One is, sometimes our planning team already has the setting for the Pokémon, so they make a request of the designer team with a temporary name. Another approach is, designers come up with Pokémon ideas with their own draft names. Most of the time we have about five candidate names for one Pokémon. But then there’s the legal trademark process in Japan and internationally to ensure the names can be used without conflict.
译文
有两种不同的处理方式。一种是，有时我们的企划团队已经为宝可梦设定了背景，所以他们带着临时名称向设计团队提出请求。另一种方式是，设计师提出宝可梦创意并附上自己的暂定名。大多数情况下，一只宝可梦我们会有大约五个候选名称。但之后还有日本和国际上的法律商标流程，以确保名称可以无冲突地使用。
原文
Where did the title ‘Pokémon Black’ and ‘Pokémon White’ come from?
译文
《宝可梦 黑》和《宝可梦 白》的标题从何而来？
原文
This time, for Black and White, the main concept was extremes in the scenario. Black and White represents extremes, different perspectives, polar opposites, Truth and Ideals. This was the first time in Pokémon history where the title was chosen based on the narrative scenario and philosophical worldview, rather than minerals or colors.
译文
这次，对于《黑》和《白》，主要概念是剧情中的极端对立。黑与白代表极端、不同的视角、两极对立、真实与理想。这是宝可梦历史上第一次根据叙事剧情和哲学世界观来选择标题，而不是基于矿物或颜色。
原文
Why is the European launch happening so much closer to Japan this time, even arriving before North America?
译文
为什么这次欧洲发售时间与日本如此接近，甚至早于北美？
原文
For Black and White we totally changed the scheme of the organization. This time we translated directly from Japanese to European languages! Previously, localization went from Japanese to English, and then English to other European languages. Direct Japanese-to-European translation made the launch timing much closer. We want players worldwide to experience the narrative simultaneously.
译文
对于《黑》和《白》，我们彻底改变了组织架构。这次我们直接从日语翻译成欧洲语言！以前，本地化是从日语到英语，然后从英语到其他欧洲语言。日语到欧洲语言的直接翻译使得发售时间更加接近。我们希望世界各地的玩家能同时体验剧情。
原文
Finally, among all the 156 new creatures, which is your personal favorite?
译文
最后，在所有156只新宝可梦中，您个人最喜欢哪一只？
原文
I like Victini the best. Victini was designed by Miss Mana Ibe. The idea is that it’s the Victory Pokémon, guiding players to victory. When I requested Miss Ibe design it, I specifically asked for a Pokémon that would be exceptionally appealing to women as well. I love that concept.
译文
我最喜欢比克提尼。比克提尼是由伊部真奈小姐设计的。它的理念是作为胜利宝可梦，引导玩家走向胜利。当我请伊部小姐设计它时，我特别要求设计一只对女性也极具吸引力的宝可梦。我喜欢这个概念。
Archive record 档案信息
- Date
- 2011.03.01
- Source
- The brains behind Pokemon Black and White
- People
- Eurogamer, 增田顺一, 杉森建
- Game / Work
- 未标注
- Page
- 未标注
- Language
- en
- Status
- published