[访谈翻译] Game Informer 专访增田顺一与井部真那：宝可梦 15 年的过去、现在与未来
档案记录
- Date
- 2011.03.07
- Source
- Game Informer (March 2011 Feature)
- People
- 增田顺一, 井部真那
- Game / Work
- 未标注
- Page
- 未标注
- Language
- en
- Status
- published
2011 年 3 月《宝可梦 黑·白》美版首发之际，Game Informer 专访 Game Freak 制作人增田顺一与新世代设计师井部真那。增田顺一全面回顾了宝可梦 15 年历程：同人志时期的 Game Freak 缘起、通信电缆对玩家现实社交的革命、早期开发时曾构想的无缝超大地图（Open World 雏形）、初代没有进化与属性时的‘胶囊怪兽’设定，以及坚持宝可梦正统作为便携式掌机、而非主机 RPG 的设计哲学；井部真那则分享了儿时玩初代到成年后参与黑白 17 人设计团队并亲手创造比克提尼的感动。
原始资料
![[访谈翻译] Game Informer 专访增田顺一与井部真那：宝可梦 15 年的过去、现在与未来](/assets/img/interviews/2011-03-07-interview-gameinformer-masuda-past-present-future/reshiram.png)
图像作为阅读入口保留；正文仍以可检索、可对照的文字档案为主。
逐段译读
原文
This week marks the long-awaited release of the fifth-generation of Pokémon titles, Black and White. Game Freak producer, Junichi Masuda, and the graphic designer who created many of the game’s 150 new Pokémon, Mana Ibe, tell us about the past, present, and future of the long-running franchise. Did you know the traditional routes found in Pokémon games were initially created as a workaround for cartridge limitations? Did you know that Pokémon originally didn’t evolve? If it weren’t for the lengthy six-year development cycle of the original games, these series staples would not have existed. Read on to learn more franchise secrets.
译文
本周，备受期待的第五世代宝可梦游戏《黑／白》终于发售。GAME FREAK的制作人增田顺一，以及设计了游戏中150只新宝可梦中许多只的图形设计师井部真那，向我们讲述了这一长寿系列游戏的过去、现在和未来。你知道吗？宝可梦游戏中传统的道路设计最初是为了规避卡带容量限制而创造的。你知道吗？宝可梦最初并不会进化。如果没有初代游戏长达六年的开发周期，这些系列特色就不会存在。继续阅读，了解更多系列秘闻。
原文
Game Freak’s beginnings
译文
GAME FREAK的起源
原文
First it was a gathering of people who knew each other who really liked games, “game freaks” if you will, kind of like indie developers. We all got together with Satoshi Tajiri and decided to make an indie game at the time for the Famicom, Quinty (Mendel Palace in North America). After creating that game and nearing the end of its completion, we decided to come together and form the company Game Freak. From here on out, Game Freak’s philosophy is to challenge new things, challenge ourselves, and make games that make people happy, games that people can play over and over for a long time, and have a smile on their face when they play it.
译文
最初，这是一群彼此相识、真正热爱游戏的人聚集在一起，你可以称他们为“游戏怪人”，有点像独立开发者。我们和田尻智一起，决定当时为红白机开发一款独立游戏《Quinty》（北美版名为《Mendel Palace》）。在完成这款游戏、接近尾声时，我们决定正式组建公司，命名为GAME FREAK。从那时起，GAME FREAK的理念就是挑战新事物、挑战自我，制作能让人快乐、能让人反复游玩很长时间并面带微笑的游戏。
原文
Pokémon began as a vehicle for communication
译文
宝可梦始于一种交流媒介
原文
At the time the Game Boy had just come out and it had the Game Link Cable that allowed communication between two Game Boys. Tajiri came up with the idea that he really wanted to find a way to use that link cable so players could trade. At the time the idea for Pokémon still wasn’t right there. The starting point of creating Pokémon came from the idea of finding a way of communicating to trade.
译文
当时Game Boy刚刚问世，它配有游戏连接线，可以让两台Game Boy之间进行通信。田尻智想到，他非常想找到一种利用那条连接线让玩家能够交换的方法。当时，宝可梦的构想还没有完全成形。创造宝可梦的起点，源于寻找一种通过通信进行交换的方式。
原文
The six-year development cycle
译文
六年的开发周期
原文
The development processes for the first two games was very long – it was a six-year development span – and at first obviously with the Game Boy the cartridges didn’t have much memory at all, as a result of that, we had to program it in a way for the data to be as small as possible.
译文
最初两款游戏的开发过程非常漫长，历时六年。起初，由于Game Boy卡带的存储容量非常有限，我们不得不以尽可能压缩数据的方式进行编程。
原文
Pokémon open world game?
译文
宝可梦开放世界游戏？
原文
In the beginning we really wanted to make a really big world, a really big field, kind of seamless, but because of the hardware limitations we had to connect these various maps with routes and it’s become a tradition that we still use in the games up until now. It wasn’t originally planned, but because of the hardware limitations we had to implement that.
译文
最初，我们确实想打造一个无缝连接的巨大世界和广阔场地，但由于硬件限制，我们不得不通过道路将各个地图连接起来，这成为了至今仍在游戏中沿用的传统。这并非最初的设计，而是受硬件限制所迫。
原文
No evolution, types at outset
译文
最初没有进化、没有属性
原文
During original concept, there was no concept of evolution for Pokémon to evolve and get stronger, and have their design and appearance totally change. That’s obviously an important part of the Pokémon series, one of the characteristics that wouldn’t have come if the development process wasn’t so long.
译文
在最初的概念中，并没有宝可梦通过进化变得更强大、外观完全改变的设计。这显然是宝可梦系列的重要组成部分，如果没有如此漫长的开发过程，这一特性可能不会出现。
原文
Also, stuff like individual types was something that came up later in development that really added a lot of strategic importance to battles, and the reason a lot of this was gradually added on when development went on was because the Game Boy cartridge’s memory continued to expand over its lifetime. This allowed Game Freak to increase the amount of Pokémon in the game and add the Pokédex because at that point we had so many Pokémon we wanted something that players could use to look at detailed information for each Pokémon.
译文
此外，诸如属性等设定是在开发后期才加入的，它们为对战增添了重要的策略性。许多内容之所以能随着开发逐步添加，是因为Game Boy卡带的存储容量在其生命周期内不断提升。这使得GAME FREAK能够增加游戏中的宝可梦数量，并加入宝可梦图鉴，因为当时宝可梦数量众多，我们希望玩家能通过图鉴查看每只宝可梦的详细信息。
原文
One of the original names [for the games] was “Capsule Monsters” because they go in capsules, but decided later on to go with Pocket Monsters or “Pokémon.”
译文
游戏最初的名称之一是“胶囊怪兽”，因为它们装在胶囊里，但后来决定采用“口袋怪兽”或“宝可梦”。
原文
From Red and Blue to Black and White
译文
从《红／蓝》到《黑／白》
原文
It was actually the themes behind the games that decided the titles [for Black and White]. One of the themes is to really express two polar opposites. For example, you have the big city in one field, and then you have the countryside in the other field. The theme of the polar opposites is what brought us to think of black and white.
译文
实际上，是游戏背后的主题决定了《黑／白》的标题。主题之一是要表现两个截然相反的对立面。例如，一边是大城市，另一边是乡村。这种对立主题让我们想到了黑与白。
原文
Pokémon RPG not designed for console
译文
宝可梦RPG并非为家用游戏机设计
原文
Portability is really important for the Pokémon series. For example, in Pokémon Black and Pokémon White versions we have the new C-Gear that appears on the bottom screen that has a lot of communication features. When it’s on it’s always communicating information with players nearby, for instance, at a place where a lot of people get together or at a friend’s house. Turn it on and if other players are nearby you can find out what they’re up to, whether they’re catching Pokémon or in a battle with trainers. It’s this concept of always playing and communicating with nearby players that has always been important to the Pokémon.
译文
便携性对宝可梦系列非常重要。例如，在《宝可梦 黑／白》中，我们引入了新的Ｃ装置，它出现在下屏幕，具有许多通信功能。开启后，它会持续与附近的玩家交换信息，比如在人群聚集的地方或朋友家。打开它，如果附近有其他玩家，你就能知道他们在做什么，是在捕捉宝可梦还是与训练家对战。这种始终与附近玩家一起游玩和交流的概念，对宝可梦来说一直很重要。
原文
Aside from that, to be able to communicate with players who are really far away or can’t be in the same area, in Pokémon Black version or Pokémon White version we are introducing the Pokémon Global Link (PGL) that allows players to communicate data from their DS to their computers, go on the Pokémon Global Link website, and view rankings for battles or communicate with players that are really far away. I look forward to seeing how well this does, especially in the United States, as a lot more people use the internet off their computers.Designing 150 new Pokémon
译文
除此之外，为了能与远方或无法身处同一地区的玩家交流，在《宝可梦 黑／白》中，我们引入了宝可梦全球连接（PGL），玩家可以将DS上的数据传输到电脑，访问宝可梦全球连接网站，查看对战排名或与远方玩家交流。我期待这一功能的表现，尤其是在美国，因为更多人通过电脑上网。设计150只新宝可梦
![[访谈翻译] Game Informer 专访增田顺一与井部真那：宝可梦 15 年的过去、现在与未来](/assets/img/interviews/2011-03-07-interview-gameinformer-masuda-past-present-future/victini.png)
原文
There were about 17 designers for Black and White project at Game Freak and one of the ways we make sure we don’t have too much overlap with any of the previous Pokémon is if we have a new design, we’ll take a silhouette of it, just the outline of it, and color the rest of it in black, and make sure the shape of it doesn’t overlap with previous Pokémon designs, and make sure it still looks original. We also do that with the color palette, color combinations, and make sure that there aren’t any Pokémon in the older games that share that exact same color palette as the new ones. Some of the directions we got from planners was to not be restricted or bound by old designs, for example, just because there might be one type of Pokémon existing in the old games, doesn’t mean you can’t make a similar type of Pokémon in a different light.
译文
在GAME FREAK，负责《黑／白》项目的设计师大约有17人。我们确保新宝可梦不与以往任何宝可梦过于重叠的方法之一是，对于新设计，我们会先制作其剪影，只保留轮廓，其余部分涂黑，确保其形状不与之前的宝可梦设计重叠，并确保它看起来仍然具有原创性。我们还会对配色方案和颜色组合进行同样的检查，确保旧游戏中的任何宝可梦都没有与新的宝可梦完全相同的配色。策划人员给我们的指导方向之一是不要被旧设计所限制或束缚，例如，仅仅因为旧游戏中存在某种类型的宝可梦，并不意味着你不能以不同的角度来制作类似类型的宝可梦。
原文
Finding inspiration in real-life animals, objects
译文
从现实生活中的动物和物品中寻找灵感
原文
I’ll sometimes go to the zoo and look at various animals or animals outside and study their behavior. I also get inspiration from inanimate objects as well, such as an umbrella. If you combined an umbrella with an animal, how would they use that umbrella? How would you combine that to make an interesting creature?
译文
我有时会去动物园观察各种动物，或者观察户外的动物，研究它们的行为。我也会从无生命的物体中获取灵感，比如雨伞。如果你把雨伞和动物结合起来，它们会如何使用那把伞？你会如何组合它们来创造出一个有趣的生物呢？
原文
Never running out of ideas
译文
创意永不枯竭
原文
Video games haven’t been around as long as other media. In the past I was worried that once I turn 50 would I still be able to come up with new ideas? But then I look at other creators in the industry who are older like Shigeru Miyamoto, who keeps coming up with new ideas. I’m relieved to see that because even if you keep getting older you keep coming up with original ideas. There’s still a lot of stuff that hasn’t been done. In the past it was sometimes said in Japan that people over 30 wouldn’t be able to use computers because they just get too old for them, but nowadays you have grandparents, people at work in their 50s using computers. There’s still a lot of room for innovation and I hope to keep making games as I grow older. I’m always thinking about new ideas and trying to find ways to realize those ideas, and I feel confident going forward that I’m going to find ways to innovate the series and just games in general.Future of the franchise
译文
电子游戏的历史不如其他媒体那么悠久。过去我曾担心，等我到了50岁，还能不能想出新的点子？但后来我看看业界中一些比我年长的创作者，比如宫本茂先生，他一直在不断提出新创意。看到这些，我感到欣慰，因为即使年龄增长，你依然能产生原创的想法。还有很多事情尚未尝试过。过去在日本有时会有人说，超过30岁的人就学不会用电脑了，因为他们年纪太大了，但现在，祖父母辈的人、50多岁的职场人士都在使用电脑。创新空间依然很大，我希望随着年岁增长，能继续制作游戏。我一直在思考新点子，并努力寻找实现这些想法的方法，并且我对未来充满信心，相信我会找到创新这个系列乃至整个游戏领域的方法。系列的未来
原文
Often I’ll think about what computers are going to be like 10 years from now. In movies you’ll see representations of the future. You’ll see transparent floating computer devices in the air, touch and pull screens on a transparent screen. It’s just something like in a dream. I hope that the Pokémon series can turn into something that we would dream of now in the future.
译文
我经常思考10年后电脑会是什么样子。在电影中，你会看到对未来的描绘。你会看到空中漂浮的透明电脑设备，在透明屏幕上触摸和拖拽。这就像梦境中的事物。我希望宝可梦系列能够成为我们现在所梦想的东西，在未来成为现实。
原文
I played the original Red and Blue games years ago, I was a kid back then, and I’m really impressed that Pokémon is still accepted by society and still popular among people. I never even imagined that I’d work at Game Freak. The ones that come out now are made by people of my generation, obviously the older people make them as well. The new games are matching this generation and I expect that they’re going to continue to evolve with new generations.
译文
多年前我玩过最初的《红》和《蓝》游戏，那时我还是个孩子，宝可梦至今仍被社会接受并受到人们的喜爱，这让我印象深刻。我从未想过自己会在GAME FREAK工作。现在推出的游戏是由我这一代的人制作的，当然老一辈的人也在参与制作。新游戏与这一代人相契合，我期待它们能随着新一代人的成长而继续进化。