[访谈翻译] Nintendo Power 专访增田顺一与杉森建：《宝可梦 黑·白》设计理念与百余只全新宝可梦
档案记录
- Date
- 2011.03.01
- Source
- Nintendo Power Vol. 265
- People
- 增田顺一, 杉森建
- Game / Work
- 未标注
- Page
- 未标注
- Language
- en
- Status
- published
2011 年《宝可梦 黑·白》海外发售之际，北美权威游戏杂志 Nintendo Power 对游戏总监增田顺一与艺术总监杉森建进行的独家深度访谈。两人深入剖析了为何在通关前彻底封印前四代旧宝可梦、全数采用 156 只全新设计的魄力决断，以及纽约合众大都会与自然交融的设计哲学。
原始资料
任天堂力量专访：增田顺一与杉森建谈《黑·白》的理念重塑与全新合众宝可梦
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
任天堂力量专访：增田顺一与杉森建谈《黑·白》的理念重塑与全新合众宝可梦
培育第五代
Breeding the Fifth
原文
From photocopying a hand-drawn fanzine to conceiving one of the most successful entertainment franchises ever, few companies have experienced as meteoric a rise as Pokemon developer Game Freak. Pokemon art director and Game Freak cofounder Ken Sugimori joins director Junichi Masuda to answer our questions about Pokemon Black Version and Pokemon White Version, the fifth pair of mainline Pokemon role-playing games.
译文
从复印手绘同人志到构思史上最成功的娱乐系列之一，很少有公司能像宝可梦开发商GAME FREAK那样经历飞速崛起。宝可梦艺术总监兼GAME FREAK联合创始人杉森建与总监增田顺一共同回答了我们的问题，内容涉及宝可梦主系列第五对角色扮演游戏《宝可梦 黑／白》。
原文
After years of progressively more exotic titles, is there any special significance to returning to basic colors with black and white?
译文
在多年使用越来越奇特的标题之后，回归黑白这种基础颜色有什么特殊意义吗？
原文
“We choose the titles to express the themes of each game. Like, diamonds are the hardest substance in the world, so that fit the theme of “ultimateness” in Pokemon Diamond and Pearl. This time we’re pursuing a theme of “polarity,” things that are defined by their opposition to each other. Take, for example, angels and demons, or light and shadow—if one didn’t exist, the other would lose all meaning. “White” is a blank slate with potential to become anything, while “black” is complete and unchanging. So our intention actually wasn’t to return to the basics, but to evoke that particular theme.”
译文
我们选择标题是为了表达每款游戏的主题。比如，钻石是世界上最坚硬的物质，所以符合《宝可梦 钻石／珍珠》中“终极”的主题。这次我们追求的是“两极对立”的主题，即事物通过相互对立而定义。例如天使与恶魔、光与影——如果一方不存在，另一方就失去了意义。“白”是一张白纸，具有变成任何事物的潜力，而“黑”则是完整且不变的。所以我们的意图其实不是回归基础，而是唤起那个特定的主题。
原文
Can you give an example of how that theme manifests in the game?
译文
你能举例说明这个主题在游戏中是如何体现的吗？
原文
“The Black Version exclusively features a metropolis called Black City, where the White Version has a very natural area called the White Forest. This contrast between cities and nature is one of the polar elements of the game. People who live in urban areas may long for open spaces and spend their vacations camping in nature, while people who live in rural areas may be intrigued by the idea of visiting a big city. I don’t think we could communicate that idea with just one game; it requires the contrast between the two.”
译文
《黑》版独占了一座名为黑色市的大都市，而《白》版则有一个名为白森林的自然区域。城市与自然的对比是游戏中的对立元素之一。生活在城市里的人可能向往开阔的空间，假期去大自然露营；而生活在乡村的人可能对参观大城市感兴趣。我认为仅凭一款游戏无法传达这个理念，它需要两者之间的对比。
原文
Pokemon Black Version and Pokemon White Version seem to include more new features than previous installments. How does the scale of the project compare to past generations of Pokemon?
译文
《宝可梦 黑／白》似乎比前几代包含了更多新功能。与过去的宝可梦世代相比，这个项目的规模如何？
原文
“In terms of development resources, it was certainly the largest game we’ve ever made. We had a staff of 70 people working on it here at Game Freak, and then there’s the Pokemon Global Link team on top of that, which featured dozens of additional developers.” [Pokemon Global Link is a new website that will launch this spring and allow players to link up their game data to experience additional online features. -Ed.]
译文
就开发资源而言，这无疑是我们制作过的最大规模的游戏。我们在GAME FREAK有70名员工参与开发，此外还有宝可梦全球连接团队，该团队还有数十名额外的开发者。”[宝可梦全球连接是一个新网站，将于今年春季上线，允许玩家关联游戏数据以体验额外的在线功能。——编者注]
原文
Dr Lava’s notes: It’s worth noting, in a July 2000 interview with Nintendo Power, Masuda said the team that worked on Gold & Silver was only about 20 developers. Here he says about 70 people worked on Black & White — a substantial increase in manpower between generations 2 and 5.
译文
熔岩博士的注释：值得注意的是，在2000年7月接受《Nintendo Power》采访时，增田表示参与《金／银》开发的团队只有大约20名开发者。而这里他说《黑／白》约有70人参与——从第二世代到第五世代，人力大幅增加。
原文
Can you walk us through the history of the game, and what inspired its new features?
译文
你能带我们回顾一下这款游戏的历史，以及新功能的灵感来源吗？
原文
“The project began about four years ago, but at that point it was just me doing the planning, and a team of around seven programmers who were researching what other sorts of things we could do with the Nintendo DS hardware. As for my role, I had the sense that there were a lot of people who think of Pokemon as being for children, and I wanted to find ways to broaden its appeal. I spent about a year thinking about how to design new aspects that would be perceived as cool and cutting-edge by adults… I decided to make all of the Pokemon completely new, so that everyone would start on the same page, whether they were a longtime fan or completely new to the series. We also added infrared capabilities to make it extremely easy to connect with other players. As I mentioned, by the end of the project, the internal development team had grown to around 70 people.”
译文
这个项目大约四年前启动，但当时只有我负责规划，以及一个约七人的程序员团队在研究我们还能用任天堂DS硬件做些什么。至于我的角色，我感觉到有很多人认为宝可梦是面向儿童的，我想找到方法来扩大它的吸引力。我花了大约一年的时间思考如何设计出能让成年人觉得酷炫和前卫的新元素……我决定让所有宝可梦都是全新的，这样无论是老粉丝还是新玩家，都能站在同一起跑线上。我们还增加了红外线功能，使玩家之间的连接变得极其容易。正如我提到的，到项目结束时，内部开发团队已扩大到约70人。
原文
“This is the second generation of Pokemon games on the Nintendo DS hardware. So from the visual side, we were focusing on the issue of “how do we make a game feel fresh when it’s on familiar hardware?” One of the ways was to use entirely new Pokemon, instead of mixing new and [existing] Pokemon the way we did in previous installments. Creating an entirely new ecosystem of Pokemon allowed us to return to square one in terms of design. So we already have Pokemon based on dogs, and horses, and deer, for example. But now that we’ve discarded our past work, in a sense, we can go back to the animals that have inspired Pokemon and study them with fresh eyes, and create new and different things.”
译文
这是任天堂DS硬件上的第二世代宝可梦游戏。所以从视觉方面，我们关注的问题是“在熟悉的硬件上如何让游戏感觉新鲜？”方法之一就是使用全新的宝可梦，而不是像前几作那样混合新旧宝可梦。创造全新的宝可梦生态系统让我们在设计上回到了原点。例如，我们已经有基于狗、马和鹿的宝可梦。但现在，从某种意义上说，我们已经抛弃了过去的工作，可以重新审视那些启发宝可梦的动物，用全新的眼光研究它们，创造出新的、不同的东西。
原文
Do you feel you were successful in widening the games’ appeal? Do you have a sense of what age groups they have resonated with?
译文
您觉得在扩大游戏吸引力方面成功了吗？您了解这些游戏引起了哪些年龄段的共鸣吗？
原文
“For Black and White in Japan, the majority of the players have been high-school and college students, but we expect the proportion of younger players to increase over the holidays.” [This interview took place just prior to the holidays. -Ed.] “Generally, the older players are more familiar with the series while the younger players are new to it. However, we believe most of the older players are “lapsed” Pokemon fans. Maybe they played Red and Blue Versions when they were younger, but have not necessarily been playing it consecutively since.”
译文
“在日本的《黑／白》玩家中，大多数是高中生和大学生，但我们预计在假期期间，更年轻玩家的比例会增加。”【本访谈在假期前进行。——编者注】“一般来说，年长玩家对系列更熟悉，而年轻玩家则是新接触。然而，我们认为大多数年长玩家是‘流失’的宝可梦粉丝。也许他们年轻时玩过《红／绿》，但之后并不一定持续游玩。”
原文
Does that represent a change from previous generations?
译文
这是否代表了与前几代相比的变化？
原文
“Having so many older players return is a big change from previous generations.”
译文
“有这么多老玩家回归，是前几代没有的重大变化。”
原文
Why do you think that is?
译文
您认为原因是什么？
原文
“From the very beginning of development, we tried to see the series through the eyes of older players who had “graduated” from the series. Does it seem too cute? Is the writing off-putting? Is it too childish? We wanted to change these things to make it more appealing to older players. For example, in Japan the text had been written without using kanji characters to make it easier for young children to read. So we added an option to have the game display kanji to make it more appealing to adults. We also wrote a story that we thought would be a little more interesting for an older audience.”
译文
“从开发之初，我们就试图从那些‘毕业’的老玩家的视角来看待这个系列。它看起来太可爱了吗？文字是否令人反感？是否太幼稚？我们想改变这些，使其对老玩家更具吸引力。例如，在日本，文本一直不使用汉字，以便幼儿阅读。所以我们增加了显示汉字的选项，以吸引成年人。我们还编写了一个我们认为对年长观众更有趣的故事。”
原文
“As I mentioned earlier, we also added all sorts of cutting-edge communication features. Part of the reason for this was to make it easier for adults to communicate with other players. Younger kids are playing together all the time, but older players are a little shyer about such things. So we added infrared technology that makes it easier and more intuitive to link up with other players, and added the Internet functionality so that players don’t even need to see each other in order to trade [or battle] Pokemon.”
译文
“正如我之前提到的，我们还添加了各种尖端的通信功能。部分原因是为了让成年人更容易与其他玩家交流。小孩子总是聚在一起玩，但年长玩家对此有点害羞。所以我们增加了红外技术，使连接其他玩家更容易、更直观，并增加了互联网功能，这样玩家甚至不需要见面就能交换或对战宝可梦。”
原文
Dr Lava’s notes: Although Black & White were the first Pokemon games to offer trading and battling over wifi, Gen 2 was actually the first time Pokemon fans got the chance to go online. The Japanese version of Crystal was compatible with an accessory called the Mobile Adapter GB, which allowed a Gameboy to connect to a cellphone. You could then trade, battle, download mini-games, and even access the famous Celebi event via the Mobile System GB. Unfortunately, the service was never made available outside of Japan.
译文
Dr Lava 注：尽管《黑／白》是第一款提供通过 Wi-Fi 交换和对战的宝可梦游戏，但第二世代实际上是宝可梦粉丝首次有机会上网。日版《水晶》兼容一种名为“Mobile Adapter GB”的配件，它允许 Game Boy 连接到手机。然后你可以交换、对战、下载小游戏，甚至通过 Mobile System GB 访问著名的时拉比事件。不幸的是，该服务从未在日本以外提供。
原文
To hear more about the Mobile System GB, check out my video about Gen 2’s cut content — which also covers Japan-exclusive content.
译文
要了解更多关于 Mobile System GB 的信息，请观看我关于第二世代被删除内容的视频——其中也包含日本独占内容。
原文
The look of the Pokemon themselves also seems to have evolved quite a bit since the early games of the series. What inspired those changes?
译文
宝可梦本身的外观似乎自系列早期游戏以来也发生了很大变化。是什么启发了这些变化？
原文
“Mr. Masuda asked us to play up the ‘coolness’ of the Pokemon in Black and White. So we’re using a lot more sharp and angular lines, rather than more rounded ones. But a lot of it is just that we have different character designers working on the different generations of games. I think the group that worked on Black and White gravitated more toward ‘cool’ designs.”
译文
“增田先生要求我们突出《黑／白》中宝可梦的‘酷’感。所以我们使用了更多锐利和棱角分明的线条，而不是更圆润的线条。但很大程度上是因为不同世代游戏有不同的角色设计师。我认为负责《黑／白》的团队更倾向于‘酷’的设计。”
原文
“Advances in the hardware have also impacted the style of Pokemon over the years. Higher-resolution platforms have allowed for more detailed designs.”
译文
“多年来，硬件的进步也影响了宝可梦的风格。更高分辨率的平台允许更精细的设计。”
原文
What is the process for designing new Pokemon? How do you decide which ones make the cut?
译文
设计新宝可梦的过程是怎样的？你们如何决定哪些宝可梦能够入选？
原文
“We probably design around three times more Pokemon than we intend to actually use in the game. The way it works is, each designer brings in rough sketches of their designs. I meet with them individually to discuss certain features of their designs, and they bring them back with the revisions. If the Pokemon makes the cut, I will draw its official art.”
译文
“我们设计的宝可梦数量大概是实际在游戏中使用的三倍左右。具体流程是，每位设计师带来他们的设计草图。我会与他们单独会面，讨论设计中的某些特征，然后他们带回修改稿。如果宝可梦最终入选，我会绘制它的官方艺术图。”
原文
“In terms of how we decide which ones make the cut…hmmm. Well, in the games, Pokemon serve two roles. They fight for you, but they’re also your companions. So a Pokemon needs to seem ferocious enough to be potent in combat, while also looking endearing enough that you’d want it as a friend. It can’t be too ferocious. It’s difficult to strike that balance, so that’s probably the biggest criteria we’re looking for. Another is simply suiting the needs of the game: we know we’ll need a certain amount of Water-type Pokemon, and a certain amount of Flying-type Pokemon, and so on. If the designers submit too many birds, then some of them have to be cut, even if they’re great designs.”
译文
“至于如何决定哪些入选……嗯。在游戏中，宝可梦扮演两个角色。它们为你战斗，但也是你的伙伴。所以宝可梦需要看起来足够凶猛以在战斗中强大，同时也要看起来足够可爱让你想把它当作朋友。它不能太凶猛。要取得这种平衡很难，所以这可能是我们最看重的标准。另一个标准就是单纯地满足游戏需求：我们知道我们需要一定数量的水属性宝可梦、一定数量的飞行属性宝可梦等等。如果设计师提交了太多鸟类，那么即使设计很棒，有些也不得不被砍掉。”
原文
Dr Lava’s notes: That’s quite a revelation — only a third of the Pokemon designed in Gen 5 made it into the final product. Since the Unovadex was made up of 156 new Pokemon, it sounds like Sugimori’s team must have submitted 400-500 designs for his approval. That sounds similar to what Sugimori said in a July 2000 interview in Nintendo Power: “We came up with several hundred new Pokémon [for Gen 2], but most of them got cut during development.”
译文
Dr Lava的注释：这真是个大爆料——第五世代设计的宝可梦中只有三分之一进入了最终成品。由于合众图鉴包含156只新宝可梦，听起来杉森建的团队一定提交了400到500个设计供他审批。这与杉森建在2000年7月《Nintendo Power》采访中所说的相似：“我们为第二世代想出了几百只新宝可梦，但大多数在开发过程中被砍掉了。”
原文
In a series of 2011 interviews with Nintendo Dream magazine — the Japanese equivalent of Nintendo Power — Ken Sugimori described quite a few Pokemon scrapped during Gen 5’s development. I’ve summarized and analyzed those interviews’ highlights in this video.
译文
在2011年与《Nintendo Dream》杂志（日本版《Nintendo Power》）的一系列采访中，杉森建描述了第五世代开发期间被废弃的不少宝可梦。我在这个视频中总结并分析了这些采访的亮点。
原文
But I suppose this raises the question — what should be classified as a “lost Pokemon”? I think we all agree the unused sprites in Gold & Silver’s 1997 demo are lost Pokemon. So is it when Sugimori approves a monster, then it’s discarded later in development? Is it only after it’s given a sprite, or that sprite is programmed into some sort of demo or beta build? That’s a question that deserves its own article, and at the end of the day, probably comes down to your own opinion.
译文
但我想这引出了一个问题——什么应该被归类为“失落的宝可梦”？我想我们都同意《金／银》1997年演示中未使用的精灵图是失落的宝可梦。那么，是当杉森建批准一只宝可梦，但后来在开发中被丢弃时算吗？还是只有在它被赋予精灵图，或者该精灵图被编程到某个演示或测试版本中才算？这个问题值得单独写一篇文章，而归根结底，可能取决于你自己的看法。
原文
As Sugimori alluded to in his above quote, at this point he’d been the artist responsible for every Pokemon’s official artwork since Gen 1. It seems this finalized art is only drafted after a Pokemon’s made the final cut and has its sprite programmed into the game. That’s why in earlier generations, Pokemon sprites sometimes don’t perfectly match their official art. Because Sugimori made some revisions to those designs while drafting their official artwork — after the sprite was already finalized. You can see a couple examples pictured above.
译文
正如杉森建在上面的引文中提到的，从第一世代起，他就一直是负责每只宝可梦官方艺术图的画师。似乎这些最终艺术图是在宝可梦最终入选并将其精灵图编程到游戏之后才绘制的。这就是为什么在早期世代中，宝可梦的精灵图有时与官方艺术图不完全匹配。因为杉森建在绘制官方艺术图时对设计做了一些修改——而那时精灵图已经定稿了。你可以在上面看到几个例子。
原文
With the ever-growing size of the Pokemon roster, it must have required an incredible amount of work to animate and rebalance over 600 Pokemon.
译文
随着宝可梦阵容的不断壮大，为超过600只宝可梦制作动画和重新平衡一定需要大量的工作。
原文
“It certainly did! We have a whole team that just worked on game balance and updating the parameters of all the Pokemon. But in the end, we can never compete with the effort the players put into coming up with new combat strategies. We’re always surprised at which Pokemon end up being used in high-level play, such as the Pokemon World Championships.”
译文
“确实如此！我们有一个专门的团队负责游戏平衡和更新所有宝可梦的参数。但最终，我们永远无法与玩家在制定新战斗策略上付出的努力相比。我们总是惊讶于哪些宝可梦最终在高水平对战中（如宝可梦世界锦标赛）被使用。”
原文
And you don’t ever think, “let’s make our lives easier by cutting the least popular Pokemon out of the franchise”?
译文
你们有没有想过，“通过砍掉最不受欢迎的宝可梦来让我们的工作更轻松”？
原文
“[Laughs] I think one of the joys of Pokemon is being able to use your favorite Pokemon from the Blue and Red Versions all the way through to the newest iterations. So no, I don’t think we can do that.”
译文
“[笑] 我认为宝可梦的乐趣之一就是能够使用你最喜欢的宝可梦，从《蓝／红》版本一直到最新的作品。所以不，我认为我们不能那样做。”
原文
Dr Lava’s notes: Considering the backlash following Game Freak’s announcement that only about half the Pokedex was going to make its way into Sword & Shield, I think it’s safe to assume a good chunk of the Pokemon fanbase agrees with this 2010 Masuda quote. Pokemon is a very nostalgic franchise for many of its fans, and having some of their favorite Pokemon cut from Gen 8 rubbed a lot of them the wrong way.
译文
Dr Lava的注释：考虑到GAME FREAK宣布只有大约一半的图鉴宝可梦会出现在《剑／盾》中后引发的强烈反对，我认为可以肯定地说，相当一部分宝可梦粉丝同意增田顺一2010年的这段话。宝可梦对许多粉丝来说是一个非常怀旧的系列，而一些他们最喜欢的宝可梦被从第八世代中移除，这让很多人感到不满。
原文
This website is about documenting lost Pokemon history, not badmouthing Game Freak developers… But with that said, I think it’s unfortunate that Game Freak forgot in 2019 what Masuda knew so well in 2010. The whole crapstorm could have been avoided.
译文
这个网站旨在记录失落的宝可梦历史，并非诋毁GAME FREAK的开发人员……但话虽如此，我认为遗憾的是，GAME FREAK在2019年忘记了增田顺一在2010年深谙的道理。那场轩然大波本可以避免。
原文
After setting the previous games in a Japan-flavored world, why did you decide on a more Western setting for Pokemon Black Version and Pokemon White Version?
译文
在将前作设定于充满日本风情的世界之后，为什么决定在《宝可梦 黑/白》中采用更偏向西方的设定？
原文
“In Black and White, we decided to use New York City’s Manhattan as a motif. I visited New York for the launch of Pokemon Diamond and Pearl, and spent a lot of time wandering around. I was impressed with how many different nationalities of people lived there, and the individual communities with their special events and street festivals. It had such an international feel…like a world without borders. It seemed like it would be an ideal setting for a video game, and that inspired me to give it a try.”
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“在《黑/白》中，我们决定以纽约市的曼哈顿为原型。我曾为《宝可梦 钻石/珍珠》的发售访问纽约，并花了很多时间四处漫步。那里居住着许多不同国籍的人，各个社区有各自特别的活动和街头节日，这给我留下了深刻印象。那种国际化的感觉……就像一个没有国界的世界。它似乎是一个理想的游戏设定，这启发了我去尝试。”
原文
What inspired the addition of seasons?
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是什么启发了季节系统的加入？
原文
In Pokemon Black and White, the season changes every month. We wanted to introduce an element that would bring some more gradual change to the game. Like, if you look at a plant every day, you don’t notice anything changed. But if you look at it after a month, you’ll clearly notice that it’s grown, or dried out, or its flowers are blooming, or whatever. We wanted players to experience something like that. So if a player puts down the game in December, maybe they’ll be curious about what might have changed, and be motivated to pick it up again in January. The seasons allow us to provide interesting new discoveries for the player over a period of months. For example, the coloring of the Pokemon Deerling changes every season.
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在《宝可梦 黑/白》中，季节每月变化。我们想引入一个能为游戏带来更渐进变化的元素。比如，如果你每天都看一株植物，你不会注意到任何变化；但如果你一个月后再看，你会清楚地发现它长大了、枯萎了、开花了等等。我们希望玩家能体验到类似的感觉。所以，如果玩家在十二月放下游戏，也许他们会好奇发生了什么变化，从而有动力在一月再次拿起游戏。季节让我们能够在数月内为玩家提供有趣的发现。例如，宝可梦四季鹿的配色会随季节变化。
原文
Dr Lava’s notes: In a 2011 Japanese interview, Ken Sugimori further discussed Gen 5’s implementation of the seasons mechanic. He says “…having seasons affect every Pokemon would be too difficult, so we decided to use it on just one or two.” Those two Pokemon of course are Deerling and Sawsbuck.
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Dr Lava的注释：在2011年的一次日本访谈中，杉森建进一步讨论了第五世代季节机制的实现。他说：“……让季节影响所有宝可梦太难了，所以我们决定只影响一两种。”这两种宝可梦当然就是四季鹿和萌芽鹿。
原文
In the months since the Japanese release of Pokemon Black Version and Pokemon White Version, what aspect of the fan reaction have you found most surprising?
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在《宝可梦 黑/白》日本发售后的几个月里，粉丝反应的哪一方面最让你感到惊讶？
原文
The biggest surprise was definitely the level of interest in Pokemon Global Link. [Laughs] There isn’t as much Wi-Fi access in Japan as there is in America, so we never imagined that it would prove so popular [in Japan]. We had over a million people register — nearly one in four people who bought the game — and it overwhelmed our servers. We had to significantly increase their capacity almost immediately.
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最大的惊喜绝对是玩家对宝可梦全球链接的兴趣。[笑] 日本的Wi-Fi普及率不如美国，所以我们从未想到它会如此受欢迎[在日本]。有超过一百万人注册——几乎是购买游戏人数的四分之一——这压垮了我们的服务器。我们几乎立即大幅增加了服务器容量。
原文
One last question: before the Pokemon series, Game Freak was famous for making great side-scrolling action games. Do you plan to return to that genre one day?
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最后一个问题：在宝可梦系列之前，GAME FREAK以制作出色的横版动作游戏而闻名。你们有计划某天回归那个类型吗？
原文
Yes. [Smiles]
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是的。[微笑]
原文
We felt that way before, so we made Drill Dozer.
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我们以前就有这种想法，所以我们制作了《钻地小子》。
原文
I’m surprised you haven’t done a side-scrolling Pokemon game yet.
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我很惊讶你们还没有做过横版滚动的宝可梦游戏。
原文
If we hear from our fans that they would want one, we would love to do it.
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如果我们听到粉丝们想要一个，我们会很乐意去做。
原文
And that wraps up this March 2011 interview. By the way, Drill Dozer was a GBA action platformer directed by Ken Sugimori and produced by Junichi Masuda. It released in 2005 and received an average review score of 8/10. If you’d like to read more Pokemon interviews, check out this website’s homepage.
译文
这样就结束了这次2011年3月的访谈。顺便提一下，《钻孔钻机》是一款GBA动作平台游戏，由杉森建执导，增田顺一制作。它于2005年发售，平均评测得分为8/10。如果你想阅读更多宝可梦访谈，请查看本网站首页。
原文
I owe a special thanks to Megmar, who scanned this issue of Nintendo for me so I could transcribe it. And as always, I’d like to show my appreciation to my Patreon supporters who help finance this website and my YouTube channel:
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我特别感谢Megmar，他为我扫描了这本任天堂杂志，使我能够转录它。一如既往，我想向我的Patreon支持者表示感谢，他们资助了这个网站和我的YouTube频道：
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• Platinum Supporters: Boreas Bear, Reoko, Stuart Radley, HabaneroPeppers
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• 白金支持者：Boreas Bear、Reoko、Stuart Radley、HabaneroPeppers
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• Gold Supporters: Afevis, Besipeitl, Brad Benson, KissShot
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• 黄金支持者：Afevis、Besipeitl、Brad Benson、KissShot
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• Silver Supporters: Austin Elliot, Ben Lander, Cody Renton, Dan Attra, Dominik Bender, Elvin Alfonso, Evan Miller, FifthDream, HelpMePlease, Jacky H, Jade M, Jason White, Joey Keilholz, Jonathan Henn, Klotzzilla, Leo Espinoza, Maximilian Kwiatkowski, Nathan Labourdette, Patrick Hood, Paper Wings, Robert Oberlies, Shelby, Slugabed, Znub
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• 白银支持者：Austin Elliot、Ben Lander、Cody Renton、Dan Attra、Dominik Bender、Elvin Alfonso、Evan Miller、FifthDream、HelpMePlease、Jacky H、Jade M、Jason White、Joey Keilholz、Jonathan Henn、Klotzzilla、Leo Espinoza、Maximilian Kwiatkowski、Nathan Labourdette、Patrick Hood、Paper Wings、Robert Oberlies、Shelby、Slugabed、Znub
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• How a 1997 Sugimori Drawing Ended Up Becoming 3 Pokemon
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• 1997年杉森建的一幅画如何最终成为3只宝可梦
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• Gorochu: Developer Translations and the 2019 Leak
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