[访谈翻译] Nintendo Power 2009 增田顺一专访：第一至第四世代宝可梦的演进与《白金》

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Interview: Masuda on Developing Gens 1-4 – Lava Cut Content

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访谈：增田谈第1至第4世代开发——熔岩切割内容

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原文

Written by Dr Lava • November 23, 2020

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作者：Dr Lava • 2020年11月23日

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The following interview was published in the April 2009 issue of Nintendo Power magazine, arriving in subscribers’ mailboxes a few weeks before Pokemon Platinum released in the United States. The interviewees are Junichi Masuda, Diamond & Pearl’s director; and Takeshi Kawachimaru, Platinum’s director. Platinum was the first Pokemon game Kawachimaru ever directed, but it was also his last — he served smaller roles in future generations, mostly dealing with online features. So perhaps Game Freak wasn’t satisfied with his performance on Platinum.

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以下访谈刊登于2009年4月号的《Nintendo Power》杂志，在《宝可梦白金》于美国发售前几周送达订阅者邮箱。受访者是《钻石／珍珠》的导演增田顺一，以及《白金》的导演河内丸武志。《白金》是河内丸执导的首款宝可梦游戏，但也是他的最后一部——他在后续世代中担任次要角色，主要处理在线功能。所以或许GAME FREAK对他执导《白金》的表现并不满意。

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The purpose of this interview discussing Platinum’s development, but in the process, Masuda and Kawachimaru ended up discussing the franchise as a whole. Highlights include some glimpses behind-the-scenes, an explanation of the series’ musical inspirations, and how the Distortion World was conceptualized. They also provide some candid replies about the development process… maybe even a little too candid in some instances. For example, Masuda makes it clear his directorial focus is attracting new fans, even if it’s at the expense of satisfying the established fanbase.

译文

本次访谈旨在讨论《白金》的开发，但在过程中，增田和河内丸最终讨论了整个系列。亮点包括一些幕后花絮、系列音乐灵感的解释，以及毁坏的世界是如何构思的。他们还对开发过程提供了一些坦诚的回答……有时甚至可能过于坦诚。例如，增田明确表示，他的导演重点是吸引新粉丝，即使以牺牲满足既有粉丝群体为代价。

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I’ve added some of my own commentary to provide additional information and context — it’ll be clearly labeled so it’s clear who’s saying what. Okay, without further adieu, here’s the interview.

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我添加了一些自己的评论以提供补充信息和背景——这些评论会明确标注，以便清楚谁在说什么。好了，不再多说，以下是访谈内容。

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“How did you get your start working on video games?”

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“你是如何开始从事电子游戏工作的？”

增田顺一受访

9 增田顺一

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“Ever since the time when games were first in arcades, I was interested in video games and their gameplay mechanism. By the time I was in high school, I went to the arcades on a daily basis. At one point I took an ordinary corporate job, but then I was approached by [Pokemon creator Satoshi] Tajiri to create a game called Mendel Palace and became a game music composer. I was 21 years old then. Because I had created games on PCs since high school and was able to understand the joy of game making, I told him, ‘I’ll gladly be taken into your care’ (laughs) and that’s when my hobby turned into a career.”

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“从游戏最早出现在街机厅的时代起，我就对电子游戏及其玩法机制感兴趣。到高中时，我每天都去街机厅。有一段时间我找了一份普通的企业工作，但后来[宝可梦创作者]田尻智找我去制作一款名为《孟德尔宫殿》的游戏，我成为了游戏音乐作曲家。那时我21岁。因为从高中起我就在个人电脑上制作游戏，能够理解制作游戏的乐趣，所以我告诉他：‘我很乐意受您照顾’（笑），从那时起我的爱好变成了职业。”

川知丸武受访

10 川知丸武

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“My background is similar to Masuda’s. I’ve always loved games since I was little and I also started to go to arcades in high school. One big difference from Masuda is that he grew up in an inner-city area of Yokohama, but I grew up in the country side of Kyushu (including Fukuoka and Nagasaki prefectures). I never had a chance to meet any game developers, and I was about ready to give up and took another job that didn’t relate to game development. At that time, there was a convenient online message board called “PC Communication (PC Tsu-shin)”, where I got an opportunity to meet game developers. I saw a posting for a position, so I decided to apply for it as a last chance. I quit the job and moved out to Tokyo and eventually came to work for GAME FREAK, which wasn’t called GAME FREAK at the time. I was 24 years old.”

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“我的背景与增田类似。我从小就喜欢游戏，高中时也开始去街机厅。与增田的一个主要区别是，他在横滨的市中心地区长大，而我则在九州的乡下长大（包括福冈县和长崎县）。我从未有机会见到任何游戏开发者，我几乎准备放弃，并找了一份与游戏开发无关的工作。那时，有一个方便的在线留言板叫‘PC通信’，在那里我得到了结识游戏开发者的机会。我看到一个职位招聘信息，于是决定作为最后的机会申请。我辞掉了工作，搬到东京，最终来到GAME FREAK工作，当时公司还不叫GAME FREAK。那时我24岁。”

Dr Lava 受访

11 Dr Lava

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Dr Lava’s notes: Action-puzzler Mendel Palace was the first game Game Freak ever produced. It released under the title “Quinty” on the Famicom in 1989, then was localized as “Mendel Palace” when it released stateside on the NES one year later. At the time, Game Freak’s core developers were Satoshi Tajiri, the company’s founder; Ken Sugimori, who later became the Pokemon series’ art director; and Junichi Masuda, who composed and programmed for Gen 1, then became the series’ director.

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Dr Lava的注释：动作解谜游戏《孟德尔宫殿》是GAME FREAK制作的第一款游戏。它于1989年在FC上以《Quinty》的标题发售，一年后在NES上以《孟德尔宫殿》的标题在北美发行。当时，GAME FREAK的核心开发者是公司创始人田尻智；后来成为宝可梦系列艺术总监的杉森建；以及增田顺一，他为第一世代作曲和编程，后来成为系列导演。

Dr Lava 受访

12 Dr Lava

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Masuda grew up in Yokohama in the Kanto region, but his parents were originally from Kyushu, the real-world inspirations for the Pokemon games’ Kanto and Hoenn regions — which is no coincidence. Likewise, Tajiri grew up in the rural town of Machida, which served as inspiration for Pallet Town.

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增田在关都地区的横滨长大，但他的父母来自九州，九州是宝可梦游戏中关都和丰缘地区的现实灵感来源——这并非巧合。同样，田尻在町田的乡村小镇长大，那里是真新镇的灵感来源。

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“How do people react when they learn that you work on Pokemon games?”

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“当人们得知你们参与制作宝可梦游戏时，有何反应？”

增田顺一受访

14 增田顺一

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“Kids in elementary school think it’s awesome. But middle school and high school students get embarrassed and run away right after shaking my hand (laughs). People close to me tend to say things like ‘Sounds like a lot of work.’ They say they have no idea what I am doing, but that I seem busy.

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“小学生觉得这很了不起。但初中生和高中生会感到尴尬，握完手就立刻跑开（笑）。我身边的人往往会说‘听起来工作量很大’之类的话。他们说不知道我在做什么，但我看起来很忙。”

川知丸武受访

15 川知丸武

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“I’m always surrounded by gamers, so everyone thinks it’s great. They are usually shocked at first because they think Pokemon is kids’ stuff and then they’re impressed afterwards when they realize how successful it is.”

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“我身边总是围绕着游戏玩家，所以大家都觉得这很棒。他们通常一开始很震惊，因为他们认为宝可梦是小孩玩的东西，但后来当他们意识到它有多成功时，又会印象深刻。”

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“How did you come to work on the original Pokemon games, and what was your first reaction when you learned of the Pokemon concepts?”

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“您是如何参与到最初的宝可梦游戏开发中的？当您得知宝可梦的概念时，您的第一反应是什么？”

增田顺一受访

17 增田顺一

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Masuda: “I developed a program we called ‘Sound Driver’ in order to play music and sound in the games, and also oversaw all the Pokemon voices and other sound effects. Soon after, I started to program the actual game as well. As for the concept, Tajiri asked ‘What if you could exchange creatures?’, and it sounded quite exciting. Back in the day, there were only games where you could battle against each other, so the concept of ‘trading’ was intriguing. At the time, trading was done by a link cable. The idea of transferring a creature through the cable cord was exciting, and it’s actually depicted in the game as well.”

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增田顺一：“我开发了一个我们称之为‘声音驱动’的程序，用于在游戏中播放音乐和声音，同时也负责所有宝可梦的叫声和其他音效。不久之后，我也开始编写实际游戏的程序。至于概念，田尻智问‘如果你们能交换生物会怎样？’，这听起来非常令人兴奋。在那个年代，只有玩家之间对战的游戏，所以‘交换’的概念非常吸引人。当时，交换是通过连接线进行的。通过线缆传递生物的想法令人兴奋，这在游戏中也得到了体现。”

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“How did you approach creating music for the series? Did you find that composing for handheld systems was limiting or inspiring?”

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“您是如何为系列创作音乐的？您觉得为掌机作曲是限制还是启发？”

增田顺一受访

19 增田顺一

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Masuda: “For the Kanto region in the original Red & Green, I wanted to leave the Asian feel to it. I’m a Kanto local. I also had classical music in mind. I felt the music should be unique but not too ‘orchestra,’ not too ‘pop,’ not too ‘Asian.’ I wanted to create a new world by incorporating all the elements of all types of music. As far as portable game devices went back then, you could only use three music scales and a sound effect. It was much more challenging — yet gratifying — to compose music. It was also much quicker to come up with music with these limitations (laughs). Now there are 10 types of music scales! When I tried to express the melody I wanted, the music [for a portable game system] couldn’t be composed on an instrument like a piano. I played around with the program in order to add a musical effect to the sound effects — for instance, by removing ‘static,’ I could create a unique sound. For example, I would create a shattering sound and make it sound interesting by repeating it several times, without separating all the instruments. I remembered to always come up with music that’s unique to video games in general. For this reason, there are many video game scores that can’t be written as traditional music notes.”

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增田顺一：“对于最初的《红／绿》中的关都地区，我想保留亚洲的感觉。我是关都本地人。我也考虑了古典音乐。我觉得音乐应该独特，但不要太‘管弦乐’，不要太‘流行’，也不要太‘亚洲’。我想通过融合所有类型音乐的元素来创造一个全新的世界。至于当时的便携式游戏设备，你只能使用三个音阶和一个音效。作曲变得更具挑战性，但也更有成就感。在这些限制下，想出音乐也快得多（笑）。现在有10种音阶！当我试图表达我想要的旋律时，[掌机]的音乐无法用像钢琴这样的乐器来创作。我摆弄程序，以便为音效添加音乐效果——例如，通过去除‘静电’，我可以创造出独特的声音。例如，我会创造一个破碎的声音，并通过重复几次使其听起来有趣，而不分离所有乐器。我始终记得要创作出电子游戏独有的音乐。因此，许多电子游戏配乐无法用传统音符来记录。”

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“What kinds of music do you enjoy listening to or performing, and have any music styles influenced your work on Pokemon?”

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“您喜欢听或演奏哪种音乐？是否有音乐风格影响了您在宝可梦上的工作？”

增田顺一受访

21 增田顺一

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Masuda: “I usually listen to alternative and techno. I’ve been listening to import music — mostly from Europe — since middle school, so I hardly listen to Japanese music. I’m a techno lover at heart. I’m into German ‘drum n bass’ types.”

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增田顺一：“我通常听另类音乐和电子乐。从中学开始我就听进口音乐——主要来自欧洲——所以我几乎不听日本音乐。我内心是个电子乐爱好者。我喜欢德国的‘鼓打贝斯’类型。”

川知丸武受访

22 川知丸武

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Kawachimaru: “When I go over to Masuda’s desk, I sometimes can hear ‘ntsk ntsk ntsk…’ [music thumping] from his earphones (laughs). In the office, we share our iTunes music and many songs that Masuda uploads are that kind of music.”

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川内丸：“当我走到增田的办公桌前时，有时能听到他的耳机里传出‘咚咚咚……’（音乐重击声）（笑）。在办公室里，我们共享iTunes音乐，增田上传的许多歌曲都是那种音乐。”

增田顺一受访

23 增田顺一

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Masuda: “And I don’t really play any instruments. I played trombone in high school, but I gave up on piano. It was impossible (laughs). As for the style of music that inspires me, people have told me — and I think they’re right — that Stravinsky is my favorite classical music composer, and then Shostakovich, Hoist, and Ravel. I think some of the sound from these composers can be heard in my music, too. You might especially be able to hear Stravinsky and Hoist in the battle scenes. Adding beats or crashing sounds like Stravinsky and Hoist is difficult for video games, though you can still hear their influence in the rhythm.”

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增田顺一：“而且我并不真正演奏任何乐器。高中时我吹过长号，但我放弃了钢琴。那是不可能的（笑）。至于启发我的音乐风格，人们告诉我——我也认为他们是对的——斯特拉文斯基是我最喜欢的古典音乐作曲家，然后是肖斯塔科维奇、霍尔斯特和拉威尔。我认为这些作曲家的某些声音也能在我的音乐中听到。你尤其可能在战斗场景中听到斯特拉文斯基和霍尔斯特的影响。为电子游戏添加像斯特拉文斯基和霍尔斯特那样的节拍或撞击声是困难的，但你仍然可以在节奏中听到他们的影响。”

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Dr Lava’s notes: Igor Stravinsky was a Russian composer most famous for “The Rite of Spring,” a piece of music so unnerving it caused a riot the first time it was performed, although details of the riot have been in dispute ever since. If you’re fan of classical music, I encourage you to listen to Stravinsky’s compositions — like Masuda said, you can hear its influence on Pokemon’s battle themes. If it wasn’t for Masuda’s love of Stravinsky — who performed and eventually died in New York — Gen 5’s Unova region might not have been based on New York… which would’ve made Unova and its Pokemon completely different. But that’s too long a story to cover here — but if you wanna hear it, check out this video I wrote about the history of Gen 5.

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Dr Lava的注释：伊戈尔·斯特拉文斯基是一位俄罗斯作曲家，最著名的作品是《春之祭》，这首乐曲首次演出时因其令人不安而引发了骚乱，尽管骚乱的细节至今仍有争议。如果你是古典音乐爱好者，我鼓励你听听斯特拉文斯基的作品——正如增田所说，你可以听到它对宝可梦战斗主题的影响。如果不是因为增田对斯特拉文斯基的热爱——斯特拉文斯基曾在纽约演出并最终在纽约去世——第五世代的合众地区可能就不会以纽约为原型……那将会使合众地区和它的宝可梦完全不同。但这是一个太长的故事，无法在这里详述——但如果你想听，可以看看我写的关于第五世代历史的这个视频。

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“Mr Masuda, what was it like to move from music composer to director of Pokemon Diamond & Pokemon Pearl?”

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“增田先生，从音乐作曲家转变为《宝可梦钻石／珍珠》的总监，您感觉如何？”

增田顺一受访

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Masuda: “I became sub-director for Gold & Silver versions, and then director from Crystal version on. My perception completely changed, and I started to think about how to make the game more fun. In addition to that, I started to make more decisions. I started to have more conviction in what I expressed. I’m much more affirmative with what I like now, even though I expressed my opinions when I was only in charge of music (laughs). As far as the development goes, I think about the storyline, music, and the rest individually. I think I’m using different parts of my brain for each element.”

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增田顺一：“我在《金／银》版本中成为副总监，然后从《水晶》版本开始担任总监。我的观念完全改变了，我开始思考如何让游戏更有趣。此外，我开始做出更多决定。我开始对自己表达的内容更有信心。我现在对自己喜欢的东西更加肯定，尽管当我只负责音乐时我也会表达自己的意见（笑）。至于开发方面，我会分别考虑故事情节、音乐和其他部分。我想我在为每个元素使用大脑的不同部分。”

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“What do you feel is the main theme, or ‘spirit,’ of the Pokemon series, and how did you embody this in both your music compositions and as a director?”

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“您认为宝可梦系列的主要主题或‘精神’是什么？您如何在音乐创作和作为总监时体现这一点？”

增田顺一受访

28 增田顺一

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Masuda: “Overall, I wanted to depict an ideal world, which was peaceful with no environmental issues or racism. The relationship between human beings and Pokemon characters is much closer than the owner-pet relationship, which is what I envision to be the ideal relationship. I want everyone to feel something when interacting with this world. In Japan, people sometimes don’t give up their seats for the elderly on a train. I wanted to show a world of kindness. It’s not just about what’s good and what’s bad, I wanted to show that there are even better ways to act than normal. For instance, the Pokemon Celebi is said to only appear when you help nature to flourish in a forest in the Pokemon world. Another example I’ve imagined is despite the normal reputation that electronics like refrigerators and trucks damage the environment or waste energy, these devices would be something closer to nature in the Pokemon world.”

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增田顺一：“总的来说，我想描绘一个理想的世界，一个和平、没有环境问题或种族歧视的世界。人类与宝可梦角色之间的关系比主人与宠物的关系要亲密得多，这正是我设想的理想关系。我希望每个人在与这个世界互动时都能有所感触。在日本，人们有时在火车上不会给老人让座。我想展示一个充满善意的世界。这不仅仅是关于好与坏，我想展示还有比平常更好的行为方式。例如，据说宝可梦时拉比只会在你帮助森林中的自然繁荣时出现。另一个我想象的例子是，尽管电器如冰箱和卡车通常被认为会破坏环境或浪费能源，但在宝可梦世界中，这些设备会更接近自然。”

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“When you first began work on Pokemon Diamond & Pokemon Pearl, what were your main goals? What do you think were the key elements to those games?”

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“当您最初开始制作《宝可梦钻石／珍珠》时，您的主要目标是什么？您认为这些游戏的关键要素是什么？”

增田顺一受访

30 增田顺一

原文

Masuda: “I decided that ‘ultimate’ was the theme in the beginning. I set myself a task to pursue what was the ‘ultimate’ for Pokemon games, and started to act on this theme when making the games. When I asked myself what is ‘ultimate,’ I immediately knew I wanted to improve the level of communication, which is a core element of Pokemon games. In the games, players receive the Pokedex and start collecting Pokemon, which you need to do in order to trade with others. At the time of Ruby & Sapphire, people could trade their Pokemon with someone close by, but not with anyone overseas. I really wanted to do something about this. And that’s why I came up with the Global Trade Station (GTS). That’s what my goal was in the beginning — to create a user network. I want users to be able to connect to the world. That’s the ultimate style of trading for Pokemon. That was the goal. The key element was to create the storyline around the Pokemon in Sinnoh mythology. The relationship between all these Pokemon is the key element. I wanted to express the importance of the balance between substance — Dialga, the ruler of Time, and Palkia, the ruler of Space — and spirit — Uxie, Mesprit, Azelf. If the substance becomes too large, the balance of the spirit collapses. I wanted Dialga and Palkia to become counterparts for a sense of balance. Infinite time and infinite space — that to me is the ‘ultimate.’”

译文

增田顺一：“一开始我就决定‘终极’是主题。我给自己设定了一个任务，去追求宝可梦游戏的‘终极’，并在制作游戏时开始围绕这个主题行动。当我问自己什么是‘终极’时，我立刻知道我想提高交流的水平，这是宝可梦游戏的核心元素。在游戏中，玩家获得宝可梦图鉴并开始收集宝可梦，这是为了与他人交换所必需的。在《红宝石／蓝宝石》时代，人们可以与附近的人交换宝可梦，但不能与海外的人交换。我非常想改变这一点。这就是我提出全球交换站（GTS）的原因。这就是我最初的目标——创建一个用户网络。我希望用户能够连接到世界。那是宝可梦交换的终极形式。那就是目标。关键要素是围绕神奥神话中的宝可梦创造故事情节。所有这些宝可梦之间的关系是关键要素。我想表达物质——时间之王帝牙卢卡和空间之王帕路奇亚——与精神——由克希、艾姆利多和亚克诺姆——之间平衡的重要性。如果物质变得过于庞大，精神的平衡就会崩溃。我希望帝牙卢卡和帕路奇亚成为平衡的对立面。无限的时间和无限的空间——对我来说那就是‘终极’。”

31

原文

“As the series progresses, how do you manage to keep the games accessible to new users while also appealing to core Pokemon fans?”

译文

“随着系列的发展，你们如何让游戏对新玩家保持友好，同时又能吸引核心宝可梦粉丝？”

增田顺一受访

32 增田顺一

原文

Masuda: “As an RPG, the beginning of the game is designed for new users so it’s easy for anyone to understand and play. At the same time, it attracts our core fans because although it may seem random, the battle system has deep elements due to the complex parameters for battling. We care most about the new user. Will they understand how to step out of the house? So, a message appears as you approach the steps, and the shape of the dirt in front of your house is indented to indicate that you are supposed to walk into it. Messages automatically appear as you approach signs. Things that fans are already familiar with can be confusing to the new users, so we need to make sure that the game is inclusive for everyone.”

译文

增田顺一：“作为一款RPG，游戏的开头是为新玩家设计的，让任何人都能轻松理解和游玩。同时，它也能吸引核心粉丝，因为尽管战斗系统看似随机，但由于战斗参数的复杂性，它有着深层的元素。我们最关心的是新玩家。他们能理解如何走出家门吗？所以，当你走近台阶时会出现提示信息，而且你家门前泥土的形状是凹陷的，以表明你应该走进去。当你接近标志时，信息会自动出现。粉丝们已经熟悉的东西可能会让新玩家感到困惑，所以我们需要确保游戏对每个人都有包容性。”

川知丸武受访

33 川知丸武

原文

Kawachimaru: “One of the key ideas that I value is the sense of ‘play control’ in the game. Through the game screens and game buttons, I pay attention to how I can feel that I’m doing something in the Pokemon world. It should be instinctive. It should show how easily you can get into the game. If you’re a huge Pokemon fan, you’ll be willing to get into the world more and more, so I think that’s where the hook is. So for example, when you stored your Pokemon in the PC in the Ruby & Sapphire versions, we wanted to make it so that you could literally pull out your Pokemon and store them in a box, thinking that it would help by visualizing your Pokemon being organized in a box.”

译文

河内丸：“我重视的一个关键理念是游戏中的‘操作感’。通过游戏画面和游戏按钮，我注重如何让我感觉自己正在宝可梦世界中做某件事。这应该是本能的。它应该显示出你进入游戏有多容易。如果你是一个超级宝可梦粉丝，你会越来越愿意进入这个世界，所以我认为这就是吸引人的地方。例如，在红宝石和蓝宝石版本中，当你把宝可梦存放在电脑里时，我们想让你能真正地把宝可梦拿出来并放进盒子里，认为这样通过可视化你的宝可梦被整理在盒子中会有所帮助。”

增田顺一受访

34 增田顺一

原文

Masuda: “I reboot my mind for every single game. I get back in touch with the elementary school student mentality, and I realize I can’t carry on with any complex gameplay anymore. It’s really important to remember how it feels to be a new user.”

译文

增田顺一：“我每制作一款游戏都会重置我的思维。我重新回到小学生的心理状态，我意识到我不能再承受任何复杂的游戏玩法了。记住作为新玩家的感觉非常重要。”

35

原文

“Thanks to the Wi-Fi capabilities introduced in Pokemon Diamond & Pokemon Pearl, an amazing community has sprung up around those games. Has anything surprised you with regards to how players use the online functionality?”

译文

“得益于《宝可梦钻石／珍珠》中引入的Wi-Fi功能，围绕这些游戏涌现出了一个惊人的社区。关于玩家如何使用在线功能，有什么让你们感到惊讶的吗？”

增田顺一受访

36 增田顺一

原文

Masuda: “The result is as we planned.”

译文

增田顺一：“结果正如我们所计划的那样。”

川知丸武受访

37 川知丸武

原文

Kawachimaru: “As we expected (laughs).”

译文

河内丸：“正如我们所预料的那样（笑）。”

增田顺一受访

38 增田顺一

原文

Masuda: “You know the GTS site? I thought it was incredible when I saw people in Finland and Northern Europe trading Pokemon on the site. If you go to Europe, you may not see people actually playing the game in the public. But on the internet, you know for sure that people in Europe are actually interacting and exchanging Pokemon. I find that awesome. That’s why I really want it to evolve more. I will make it happen (laughs)!”

译文

增田顺一：“你知道GTS网站吗？当我看到芬兰和北欧的人们在网站上交易宝可梦时，我觉得这太不可思议了。如果你去欧洲，你可能不会看到人们在公共场合实际玩游戏。但在互联网上，你确知欧洲的人们实际上在互动和交换宝可梦。我觉得这很棒。这就是为什么我真的希望它能进一步发展。我会让它实现的（笑）！”

川知丸武受访

39 川知丸武

原文

Kawachimaru: “I think things are going in the direction I want them to.”

译文

河内丸：“我认为事情正朝着我想要的方向发展。”

增田顺一受访

40 增田顺一

原文

Masuda: “I was really worried whether people were actually going to use it.”

译文

增田顺一：“我真的很担心人们是否真的会使用它。”

川知丸武受访

41 川知丸武

原文

Kawachimaru: “Posting Pokemon for free [on the GTS] was a risky concept. At first we thought we should give out something in return for posting. It turns out we didn’t even have to bother, as a lot of people ended up posting their Pokemon on the GTS. I was pleasantly surprised by that.”

译文

河内丸：“在GTS上免费发布宝可梦是一个有风险的概念。起初我们认为应该为发布提供一些回报。结果我们根本不必费心，因为很多人最终都在GTS上发布了他们的宝可梦。对此我感到惊喜。”

42

原文

“Do you ever have time to compete online yourself? If so, which Pokemon do you use?”

译文

“你们自己有时间在线对战吗？如果有，你们使用哪些宝可梦？”

增田顺一受访

43 增田顺一

原文

Masuda: “Yes, I have. With Dialga or Palkia just like everyone else. I think I had the three starter Pokemon. I can’t remember the opponent’s name unfortunately. Mostly, I battle while developing the game.”

译文

增田顺一：“是的，我有。和其他人一样使用帝牙卢卡或帕路奇亚。我想我有三只初始宝可梦。不幸的是，我记不起对手的名字了。大多数时候，我在开发游戏的同时进行对战。”

川知丸武受访

44 川知丸武

原文

Kawachimaru: “I too play a lot during the game development.”

译文

河内丸：“我在游戏开发期间也玩很多。”

增田顺一受访

45 增田顺一

原文

Masuda: “I’m fully focused when I’m battling. After that, I go back to my natural state and feel at ease.”

译文

增田顺一：“对战时我会全神贯注。之后，我回到自然状态，感到放松。”

川知丸武受访

46 川知丸武

原文

“I play with my colleagues mostly since I battle like crazy while we are developing.”

译文

“我主要和同事们一起玩，因为我们在开发过程中会疯狂对战。”

47

原文

“Pokemon Platinum appears to add some significant new features. What new aspects of the game do you think are the most exciting?”

译文

“《宝可梦白金》似乎增加了一些重要的新功能。您认为游戏中最令人兴奋的新内容是什么？”

川知丸武受访

48 川知丸武

原文

“What’s most exciting is the new Battle Video feature. This is a function I personally wanted. I’ve always wanted to know how other people play the games, because my blood burns with excitement when I watch that. Other than that, the Battle Frontier, which was also in Emerald, is something I focused on. It’s significant in that two players can play at the facilities. The Pokemon series has been around for more than 10 years, so the first generation of fans is starting to become parents. It’s becoming common for parents to play Pokemon with their children, so we included the feature for children and their fathers or mothers to pair up and challenge the Battle Frontier as a team. When I actually tested it out, it was a lot more entertaining than I thought… There are so many other elements I want to talk about (laughs). The Distortion World was tough to create. It’s visually radical, too.”

译文

“最令人兴奋的是新的对战视频功能。这是我个人一直想要的功能。我一直想知道别人是怎么玩这个游戏的，因为看到那些会让我热血沸腾。除此之外，我也很关注对战开拓区，它在《绿宝石》中也出现过。它的重要意义在于两名玩家可以在这些设施中一起游戏。宝可梦系列已经存在超过10年，所以第一代粉丝开始成为父母。父母和孩子一起玩宝可梦变得越来越普遍，因此我们加入了让父母和孩子组队挑战对战开拓区的功能。当我实际测试时，发现它比我想象的要有趣得多……还有很多其他元素我想谈（笑）。毁坏的世界很难创造，它在视觉上也很前卫。”

49

原文

“Are there new battle aspects to Pokemon Platinum that top competitive players should be sure to take note of?”

译文

“《宝可梦白金》中有哪些新的对战要素是顶级对战玩家需要注意的？”

川知丸武受访

50 川知丸武

原文

“You now can challenge the Battle Frontier and try to achieve new heights. The Battle Frontier was in Emerald but this one is different with new rules. I want everyone to play Platinum and try to break the Battle Tower record. I think Battle Frontier is the final destination after all. “

译文

“现在你可以挑战对战开拓区，并尝试达到新的高度。对战开拓区在《绿宝石》中就有，但这次不同，有新的规则。我希望大家玩《白金》并尝试打破对战塔的记录。我认为对战开拓区毕竟是最终的目标。”

51

原文

“Did you have the ideas for Pokemon Platinum in mind while working on Pokemon Diamond & Pokemon Pearl, or did they come about later?”

译文

“在开发《宝可梦钻石》和《宝可梦珍珠》时，您是否已经有了《宝可梦白金》的想法，还是后来才想到的？”

增田顺一受访

52 增田顺一

原文

“While developing Diamond & Pearl, Giratina originally embodied the idea of an ‘antiworld,’ which is a paradox of Time and Space. It exists in relation to Dialga and Palkia. That’s what I had in mind when I was developing Diamond & Pearl.”

译文

“在开发《钻石》和《珍珠》时，骑拉帝纳最初体现了‘反世界’的概念，这是时间与空间的悖论。它与帝牙卢卡和帕路奇亚相关联。这就是我在开发《钻石》和《珍珠》时的想法。”

川知丸武受访

53 川知丸武

原文

“I was not aware of any of that during the Diamond & Pearl’s development. Masuda told me about it when we started developing Platinum. So it was after Diamond & Pearl for me (laughs). I normally receive key terms from Masuda in the first stage of development, but there were many random terms like ‘antimatter’ and ‘e=mc2,’ ‘Reversed Mt. Fuji’ (‘Sakasa Fuji’) and so on. He explained that ‘Sakasa Fuji’ is the reflection of Mt Fuji on the lake, and it’s the antimatter world. It was challenging to put that concept into the game, so we did extensive research. I didn’t know what exactly ‘antimatter’ was either. I personally think I comprehend it well, but I wonder….

译文

“在开发《钻石》和《珍珠》时，我并不知道这些。增田是在我们开始开发《白金》时告诉我的。所以对我来说是在《钻石》和《珍珠》之后（笑）。我通常在开发的第一阶段从增田那里收到关键词，但当时有很多随机的词，比如‘反物质’、‘e=mc2’、‘逆富士’（Sakasa Fuji）等等。他解释说‘逆富士’是富士山在湖面上的倒影，那就是反物质世界。把这个概念融入游戏很有挑战性，所以我们做了大量研究。我当时也不知道‘反物质’到底是什么。我个人认为我理解得很好，但我想……”。

增田顺一受访

54 增田顺一

原文

“Yes. It exists but it actually doesn’t. It doesn’t exist but it does. That sort of thing. The mountain exists on the lake through human eyes, but it’s only a reflection and doesn’t exist. It’s a diverse world. You see it only because you are looking at it with your eyes. I’m impressed [with Kawachimaru] for being able to take ingredients that were not substantial and incorporate them into Platinum.”

译文

“是的。它存在但实际上并不存在。它不存在但又存在。就是那种感觉。山在人的眼中存在于湖面上，但那只是倒影，并不真实存在。这是一个多样化的世界。你之所以能看到它，只是因为你在用眼睛看。我很佩服（川丸）能够把那些不实质的元素融入《白金》中。”

55

原文

“With so many passionate fans to please with each new installment, does the development team feel a lot of pressure when working on new Pokemon titles?”

译文

“每一部新作都要取悦这么多热情的粉丝，开发团队在制作新的宝可梦游戏时是否会感到很大的压力？”

增田顺一受访

56 增田顺一

原文

“I personally didn’t feel any pressure at the time of Ruby & Sapphire. I did with Platinum though. During the Ruby & Sapphire period, Pokemon’s popularity had slowed down a little, and people were concerned. I wanted to prove them wrong. Then Ruby & Sapphire were a success so there were higher expectations for Platinum. I can only focus on the quality of each individual game and be content with what we accomplish, but you also can’t avoid the question about the sales numbers. As a developer, I want more people to play the game, but the more games that are sold, the more concerned I become about whether everyone is playing the game without any problems. I do wonder if the new users will play a Pokemon game, or if they’ll buy another game. I don’t feel as pressured about the existing fans — I feel as though I simply hand them what we just came up with for them to check out (laughs).”

译文

“我个人在《红宝石》和《蓝宝石》时期没有感到任何压力，但《白金》时感到了。在《红宝石》和《蓝宝石》时期，宝可梦的人气有所下滑，人们都很担心。我想证明他们是错的。然后《红宝石》和《蓝宝石》成功了，所以对《白金》的期望更高。我只能专注于每款游戏的质量，并对我们取得的成就感到满足，但你也无法回避销量的问题。作为开发者，我希望更多人玩这款游戏，但游戏卖得越多，我就越担心每个人是否都能顺利游玩。我确实会想新玩家是否会玩宝可梦游戏，或者他们会买别的游戏。对于现有粉丝，我并不感到太大压力——我觉得我只是把我们新想出来的东西交给他们去检验（笑）。”

川知丸武受访

57 川知丸武

原文

“I actually didn’t feel pressured at all about creating Platinum or how it would be received. But as I mentioned earlier, I was concerned about whether or not GTS would take off and be utilized. I was confident with what we created but there would have been no point to have GTS unless people actually participated and posted Pokemon. I handle anything related to communication, so the Mystery Gift that was distributed a few months after the release was another pressure I felt. I was uncertain until I confirmed that it was a success. Rather than feeling obligated to entertain people, I was presenting ideas like, ‘wouldn’t it be fun if we make it this way?’ I have to be confident in my ideas and that’s why I didn’t feel as pressured.”

译文

“实际上，我在制作《白金》或担心它如何被接受时完全没有压力。但正如我之前提到的，我担心GTS（全球贸易系统）能否成功并得到利用。我对我们创造的内容有信心，但除非人们真正参与并上传宝可梦，否则GTS就没有意义。我负责所有与通信相关的内容，所以发售几个月后配信的不可思议的礼物也是我感受到的另一个压力。直到我确认它成功之前，我一直不确定。与其说我有义务去娱乐人们，不如说我是在提出想法，比如‘如果我们这样做会不会很有趣？’我必须对自己的想法有信心，这就是为什么我没有感到太大压力。”

增田顺一受访

58 增田顺一

原文

“I occasionally hear film directors say that their fear is that no one will be in line on opening day. I relate to that, and I get concerned if there will be a line on the release date. It’s the same for every title release. Basically a million people start to debug the game once it gets sold, so we need to make sure to be ready for any bugs that will be found by the users. I also want to further understand the US and European users, and make it more entertaining for them.”

译文

“我偶尔听到电影导演说，他们害怕首映日没有人排队。我对此感同身受，我会担心发售日是否会有人排队。每款游戏发售都是如此。基本上，游戏一旦售出，就会有上百万人开始调试游戏，所以我们需要准备好应对用户发现的任何漏洞。我还想进一步了解美国和欧洲的用户，并为他们制作更有趣的内容。”

Doctor Lava 受访

59 Doctor Lava

原文

Doctor Lava’s notes: Masuda’s controversial strategy of focusing on attracting new fans at the expense of series veterans hasn’t earned him a lot of love in recent years. Dissatisfaction with Masuda’s directorship gradually increased over the generations, finally coming to a head in the Let’s Go Pikachu era. Many longtime fans weren’t happy that so many classic features were cut from Let’s Go — for example, the lack of a breeding mechanic. One month before the games’ release, Masuda addressed the controversy by saying: “I know that a lot of people and fans have spent a lot of time hatching eggs, they’ve hatched… a lot of eggs, but we want them to kind of discover new ways to enjoy Pokémon games, you know I’d be really sad to think that for them, Pokémon is hatching eggs, so with this one we’re trying to show them a different side of the game.” Fans slammed Masuda for his perceived condescension and being “out of touch” — that was the point when backlash reached its climax, and two weeks later Masuda announced he’d no longer serve as the series’ director. Nowadays he’s much less hands-on with the franchise, serving instead as one of several producers.

译文

Doctor Lava 的注释：增田的争议性策略——以牺牲系列老玩家为代价来吸引新粉丝——近年来并没有为他赢得多少好感。随着世代更迭，对增田担任总监的不满逐渐增加，最终在《Let’s Go 皮卡丘》时代达到顶点。许多老玩家对《Let’s Go》中删除了大量经典功能感到不满，例如缺乏孵蛋机制。在游戏发售前一个月，增田回应了这一争议，他说：“我知道很多人和粉丝花了很多时间孵蛋，他们孵了很多……很多蛋，但我们希望他们能发现享受宝可梦游戏的新方式，你知道，如果对他们来说宝可梦就是孵蛋，我会很伤心，所以这一作我们试图向他们展示游戏的不同一面。”粉丝们抨击增田，认为他居高临下且“脱离实际”——那是反对声浪达到顶点的时刻，两周后增田宣布他不再担任该系列的总监。如今他不再那么深入参与这个系列，而是担任几位制作人之一。

60

原文

“Do you have a favorite Pokemon?”

译文

“您有最喜欢的宝可梦吗？”

增田顺一受访

61 增田顺一

原文

Pichu. It’s the Pokemon Ken Sugimori came up with when we were trying to figure out who would be the ‘next’ Pikachu, so the character was strategically thought out. It clicked in my mind when Pichu was created and we strategically came up with the idea of the Pichu Bros.

译文

皮丘。这是我们在思考谁会成为“下一个”皮卡丘时，由杉森建构思出来的宝可梦，所以这个角色是经过深思熟虑的。当皮丘被创造出来时，我灵光一闪，然后我们战略性地想出了皮丘兄弟的点子。

川知丸武受访

62 川知丸武

原文

You also like hot new singers who can’t sing well but are overly promoted on TV.

译文

你也喜欢那些唱功不佳但在电视上被过度宣传的热门新歌手。

增田顺一受访

63 增田顺一

原文

Yes I do (laughs). The singer actually has to sing badly. I like artists with marketing strategies.

译文

是的，我喜欢（笑）。歌手实际上必须唱得不好。我喜欢有营销策略的艺人。

Dr Lava 的注释受访

64 Dr Lava 的注释

原文

The idea of “the next Pikachu” obviously continued into future generations — Plusle, Minun, Pachirisu, Emolga, etc. Interestingly, Game Freak almost made White Pichu a special event Pokemon for HeartGold & SoulSilver, but ended up replacing it with Spiky-eared Pichu. You can read that full story here .

译文

“下一个皮卡丘”的想法显然延续到了未来的世代——正电拍拍、负电拍拍、帕奇利兹、电飞鼠等等。有趣的是，GAME FREAK 差点让白色皮丘成为《心金／魂银》的特殊活动宝可梦，但最终用刺刺耳皮丘取而代之。你可以在这里阅读完整故事。

川知丸武受访

65 川知丸武

原文

I like Bulbasaur. Before I started to work for GAME FREAK, I purchased Pokemon Green Version and I chose it as my starter. It was love at first sight. It’s four-legged and stubby. It’s the same for dogs. I like Corgis because of their stubby legs.

译文

我喜欢妙蛙种子。在我开始为 GAME FREAK 工作之前，我购买了《宝可梦绿》并选择了它作为我的初始宝可梦。那是一见钟情。它四条腿，矮胖矮胖的。狗也一样。我喜欢柯基犬，因为它们腿短。

66

原文

With any Pokemon game, I imagine that creating new Pokemon character designs must be a long and challenging process. What qualities do the developers look for in new Pokemon while narrowing down the final roster?

译文

对于任何宝可梦游戏，我想创造新的宝可梦角色设计一定是一个漫长而充满挑战的过程。在筛选最终阵容时，开发者们会看重新宝可梦的哪些特质？

增田顺一受访

67 增田顺一

原文

I look at the type of the character and its overall characteristics — what its appeal is, if it’s an endearing character…. I obviously check the features but I feel the ones that convey their habitat and lifestyle are the most appealing. I think it’s important that you get a good idea of what type of Pokemon they are without looking them up in the Pokedex. None of the characters initially have names so it’s important to be very descriptive to visualize what they are. So with Pikachu it would be, ‘it’s yellow, it has a tail in a shape of lightning bolt, and it’s an electric mouse,’ so it’s easy to assume that it will have Electric-type moves; it probably gets struck by lightning. I think about where they live and what they eat. I focus on whether or not the character evokes its lifestyle. If it has a mouth, it probably eats, if it has eyes, it can look at something, if it has a nose, it can smell things. I believe it is important to be able to conjure up an image of creatures that are very close to real ones.

译文

我会看角色的属性和整体特征——它的吸引力在哪里，是否是一个可爱的角色……我显然会检查外观，但我认为那些能传达其栖息地和生活方式的设计最具吸引力。我认为重要的是，你不需要查阅图鉴就能很好地了解它们是什么类型的宝可梦。所有角色最初都没有名字，所以用非常描述性的语言来形象化它们是很重要的。比如皮卡丘，就是“它黄色的，尾巴像闪电，是电老鼠”，所以很容易推测它会有电属性的招式；它可能被闪电击中。我会思考它们住在哪里，吃什么。我专注于角色是否能唤起它的生活方式。如果它有嘴，它可能会吃东西；如果它有眼睛，它能看东西；如果它有鼻子，它能闻东西。我相信能够构想出非常接近真实生物的影像很重要。

68

原文

Why do you think that the Pokemon series continues to receive so much fan support and enthusiasm after more than a decade since its introduction?

译文

您认为为什么宝可梦系列在推出十多年后仍然获得如此多的粉丝支持和热情？

川知丸武受访

69 川知丸武

原文

Perhaps because there is no other game to replace it. There are many games that are similar, but as far as Pokemon goes, I think there is no other game that could replace it — there is something about a Pokemon game that uniquely identifies it as a Pokemon game.

译文

也许是因为没有其他游戏可以取代它。有很多类似的游戏，但就宝可梦而言，我认为没有其他游戏可以取代它——宝可梦游戏中有某种东西使其独一无二地成为宝可梦游戏。

增田顺一受访

70 增田顺一

原文

Because we are so dedicated in developing the game, it’s quite deep. And because it’s deep, you can look at it in different ways with different perspectives. All the elements, including Pokedex descriptions and Pokemon types, continue to be interesting and fun. Other than that, perhaps it’s because you can battle and trade with the next version that comes out that makes it so appealing. They are all connected. For instance you can bring your Pokemon from Diamond & Pearl to Platinum, or you could insert the Ruby & Sapphire cartridges at the dual slot of the DS. I think that type of mechanism is what’s appealing.

译文

因为我们非常专注于开发游戏，所以它相当有深度。正因为有深度，你可以从不同的角度、以不同的视角来看待它。所有元素，包括图鉴描述和宝可梦属性，都持续有趣和好玩。除此之外，也许是因为你可以与下一个版本进行对战和交换，这使它如此吸引人。它们都是相连的。例如，你可以将宝可梦从《钻石／珍珠》带到《白金》，或者你可以将《红宝石／蓝宝石》卡带插入 DS 的双插槽中。我认为这种机制正是其魅力所在。

71

原文

In general terms, what do you think will be the key to ensuring that the Pokemon series continues to excite and engage its millions of fans for years to come?

译文

总的来说，您认为确保宝可梦系列在未来几年继续让数百万粉丝兴奋和投入的关键是什么？

增田顺一受访

72 增田顺一

原文

I think it’s the core element of Pokemon, which is trading and bringing your Pokemon from previous games to each new one. The feeling of connecting different ‘generations’ and ‘expansions’ — namely compatibility with previous games — is important.

译文

我认为是宝可梦的核心元素，即交换以及将你之前的游戏中的宝可梦带到每一个新游戏中。连接不同“世代”和“扩展”的感觉——即与之前游戏的兼容性——很重要。

川知丸武受访

73 川知丸武

原文

Also, interactions between players using Pokemon as a medium. There was trading [through a link cable] in the beginning, and now we can trade with a Wi-Fi Connection. How much we evolve this trading method is the key.

译文

此外，还有以宝可梦为媒介的玩家之间的互动。最初有（通过连接线的）交换，现在我们可以通过 Wi-Fi 连接进行交换。我们如何发展这种交换方式是关键。

74

原文

Finally, is there anything else that you would like to say to our readers about Pokemon Platinum?

译文

最后，关于《宝可梦白金》，您还有什么想对我们的读者说的吗？

增田顺一受访

75 增田顺一

原文

It’s got all the core elements of the Pokemon games — we want everyone to experience an excitement that you never have before.

译文

它包含了宝可梦游戏的所有核心元素——我们希望每个人都能体验到前所未有的兴奋。

川知丸武受访

76 川知丸武

原文

Check out the new functionality to play with your friends.

译文

看看这个与朋友一起玩的新功能。

77

原文

Closing Comments

译文

结束语

78

原文

And that concludes this developer interview. If you’d like to read more Pokemon interviews preserved on this site, visit the homepage or check out a few suggested interviews linked below. And if you’d like a daily dose of Pokemon history in bite-sized chunks, follow me on Twitter or Instagram . Thanks for reading.

译文

本次开发者访谈到此结束。如果你想在本站阅读更多宝可梦访谈，请访问主页或查看下方推荐的一些访谈。如果你想每天获取一些短小精悍的宝可梦历史，请在 Twitter 或 Instagram 上关注我。感谢阅读。

79

原文

[访谈翻译] Nintendo Power 2009 增田顺一专访：第一至第四世代宝可梦的演进与《白金》

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