[访谈翻译] Pokemon Peer 官方专访：杉森建、大村祐介、井部真那与田上怜子谈《黑·白》设计秘辛
档案记录
- Date
- 2010.09.10
- Source
- Pokemon Peer Official Mook / Pokebeach Archive
- People
- 杉森建, 大村祐介, 井部真那, 田上怜子
- Game / Work
- 未标注
- Page
- 未标注
- Language
- en
- Status
- published
2010 年 9 月宝可梦官方特刊《Pokemon Peer》深度专访 Game Freak 设计核心团队：艺术总监杉森建、角色与御三家设计师大村祐介、比克提尼设计师井部真那、藤藤蛇与虫宝包设计师田上怜子。访谈首次公开了第五世代 17 人设计团队每人设计约 10 只宝可梦的工作机制、从零开始捕捉活体生物动作的动物园/水族馆采风经历、比克提尼苹果兔造型的诞生、藤藤蛇融合贵族审美与蛇类异质感的平衡，以及水水獭和风武士风格的演进历程。
原始资料
![[访谈翻译] Pokemon Peer 官方专访：杉森建、大村祐介、井部真那与田上怜子谈《黑·白》设计秘辛](/assets/img/interviews/2010-09-10-interview-pokemon-peer-sugimori-ohmori-designers/victini.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
Today we’re meeting with all of the graphic designers, who can be considered the parents of Pokemon. To start, please tell us how you are involved with the Pocket Monsters series.
译文
今天我们采访的是所有图形设计师，他们可以说是宝可梦的父母。首先，请告诉我们你们是如何参与《宝可梦》系列的。
原文
I’m in charge as the 2D art director. The GM of design. I supervise the dot art (sprite graphics displayed on the game screen). I’ve been involved with the Pocket Monsters series since its inception, so I also supervised the design of the original human and Pokemon characters. This time I was slightly less involved, but I did work on the hero and Pokemon designs.
译文
我担任2D美术总监，是设计方面的总负责人。我监督点阵图（游戏画面中显示的精灵图形）。我从《宝可梦》系列诞生之初就参与其中，所以也监督了最初的人类和宝可梦角色的设计。这次我参与得稍微少一些，但确实参与了主角和宝可梦的设计。
原文
I’m in charge of 2D graphics. I started with Pocket Monsters Diamond and Pearl, and this time I worked on the designs of the human characters and Pokemon such as Mijumaru.
译文
我负责2D图形。我从《宝可梦 钻石／珍珠》开始参与，这次负责了人类角色和诸如水水獭等宝可梦的设计。
原文
Ibe and Tagami came on board at Game Freak when we were working on Pocket Monsters Platinum. This is the first time they’ve made a game from scratch.
译文
井部和田上是在我们开发《宝可梦 白金》时加入Game Freak的。这是他们第一次从零开始制作游戏。
原文
Right. The Pokemon I was in charge of designing was Victini. Aside from that, I designed about 10 other Pokemon.
译文
是的。我负责设计的宝可梦是比克提尼。除此之外，我还设计了大约10只其他宝可梦。
原文
I designed Tsutaaja. After that, the Little Pigeon Pokemon Mamepato, and a Bug-type Pokemon called Kurumiru, for example. I worked on about 10 Pokemon.
译文
我设计了藤藤蛇。之后，例如小鸽子宝可梦豆豆鸽，以及虫属性的虫宝包。我设计了大约10只宝可梦。
原文
Between the 4 of you are everything from veterans to newcomers, but how many designers worked on Pocket Monsters Black and White in total?
译文
你们四位中既有老手也有新人，那么总共有多少设计师参与了《宝可梦 黑／白》的开发？
原文
There were 17 people total. Each person designed about 10 Pokemon. [Note: 17x10 = 170!]
译文
总共有17个人。每个人设计了大约10只宝可梦。[注：17x10 = 170！]
原文
This time all of the Pokemon are new. When did you start designing the Pokemon?
译文
这次所有的宝可梦都是全新的。你们是从什么时候开始设计这些宝可梦的？
原文
Around the Spring of 2008.
译文
大约在2008年春天。
原文
We were developing it at the same time as Pocket Monsters Platinum and Pocket Monsters Heart Gold and Soul Silver. In this game, since old Pokemon do not appear, and a new world is the stage, we needed to create an ecosystem purely for the newly-designed Pokemon. Up until now, we designed with the philosophy that, “a mouse-like Pokemon already exists, so let’s make other Pokemon”—but this time they were all new. So, once again we designed a mouse-like Pokemon, a dog-like Pokemon, etc. from scratch.
译文
我们是在开发《宝可梦 白金》和《宝可梦 心金/魂银》的同时进行开发的。在这款游戏中，由于旧宝可梦不会出现，舞台是一个新世界，我们需要为全新设计的宝可梦创造一个纯粹的生态系统。到目前为止，我们一直秉持着“已经有类似老鼠的宝可梦了，所以让我们制作其他宝可梦”的理念来设计——但这次它们全都是新的。所以，我们再次从零开始设计了类似老鼠的宝可梦、类似狗的宝可梦等等。
原文
Then, you started from nothing in the true sense of the word. What kind of Pokemon did you think of?
译文
那么，你们真的是从零开始的。你们当时想到了什么样的宝可梦？
原文
At first I told the designers, “You can draw freely; draw things you like.” Gradually, the number of Pokemon was decided, and the instructions became more concrete, such as, “We don’t have enough of this Type, can you try to draw some?” By the end they were directly ordered, “Draw this Pokemon!”
译文
起初我告诉设计师们：“你们可以自由绘制；画你们喜欢的东西。”渐渐地，宝可梦的数量被确定下来，指示也变得更加具体，比如：“这个属性不够，你能试着画一些吗？”到最后，他们直接接到命令：“画这只宝可梦！”
原文
I like dogs, so I submitted a dog-like Pokemon.
译文
我喜欢狗，所以我提交了一只类似狗的宝可梦。
原文
Right. She likes dogs. The Pokemon designs are a collection of the individual designers’ emotional attachments. That’s why I originally said, “Why don’t you draw the things you like?”
译文
对，她喜欢狗。宝可梦的设计是每位设计师个人情感寄托的集合。所以我最初才说：“你们为什么不画自己喜欢的东西呢？”
原文
In my case, it’s bugs. There really is an insect that wads up leaves, called an Otoshibumi. I thought that behavior was fascinating, so I tried to design a Pokemon based on it.
译文
就我而言，是虫子。确实有一种昆虫会把叶子卷起来，叫做“坠文”。我觉得那种行为很有趣，所以试着设计了一只基于它的宝可梦。
原文
I looked at the lineup of Pokemon that everyone had submitted to me, and designed whatever was missing. Piplup from Pocket Monsters Diamond and Pearl was embraced, and this time I was once again designing Water-type Pokemon. Not to suggest that Water-types are my specialty.
译文
我看了大家提交给我的宝可梦阵容，然后设计了缺失的部分。《宝可梦 钻石／珍珠》中的波加曼广受好评，这次我又设计了水属性的宝可梦。这并不是说水属性是我的专长。
原文
Mr. Oumura was Mijumaru, Mr. Tagami was Tsutaaja. You designed the 3 Starter Pokemon.
译文
大村先生设计了水水獭，田上先生设计了藤藤蛇。你们设计了这三只初始宝可梦。
原文
The 3 Starter Pokemon and the Legendary Pokemon were a lot of trouble.
译文
三只初始宝可梦和传说中的宝可梦费了不少功夫。
原文
A lot of trouble. I think of Tsutaaja all the time.
译文
确实费了不少功夫。我一直在想藤藤蛇。
原文
Of course, it was determined that the 3 Starters would be Grass, Fire, and Water-type Pokemon. We’ll combine the shared horror of our experiences up until now. The Water-type and dog weren’t cute, the Grass-type and ??? looked scary [note: we’ll fix this sentence later]. (laughs). This time, a designer who isn’t here presented the Fire-type as a pig, and Mr. Tagami presented the Grass-type Pokemon as a snake. I decided it was an interesting combination.
译文
当然，三只初始宝可梦被确定为草、火、水属性。我们将结合至今为止的共同恐怖经历。水属性和狗不可爱，草属性和？？？看起来很吓人（笑）。这次，一位不在场的设计师把火属性设计成了猪，田上先生把草属性设计成了蛇。我觉得这是个有趣的组合。
![[访谈翻译] Pokemon Peer 官方专访：杉森建、大村祐介、井部真那与田上怜子谈《黑·白》设计秘辛](/assets/img/interviews/2010-09-10-interview-pokemon-peer-sugimori-ohmori-designers/snivy.png)
![[访谈翻译] Pokemon Peer 官方专访：杉森建、大村祐介、井部真那与田上怜子谈《黑·白》设计秘辛](/assets/img/interviews/2010-09-10-interview-pokemon-peer-sugimori-ohmori-designers/oshawott.png)
原文
I was reading a picture book and it said, “There are snakes that look like vines.” I said, “That’s it!” (laughs) It was a hint at an idea.
译文
我在读一本图画书，上面写着“有看起来像藤蔓的蛇”。我说：“就是它了！”（笑）这给了我一个灵感。
原文
I told him that snakes are discomforting. “When you see the line entering its stomach, it’s creepy.”
译文
我告诉他蛇会让人感到不适。“当你看到线条进入它的胃时，会觉得很恐怖。”
原文
But being discomforting is a snake’s most important trait. I was conscious of that with Tsutaaja as well.
译文
但令人不适正是蛇最重要的特征。我在设计藤藤蛇时也意识到了这一点。
原文
Since it was discomforting, if we took that away, it would become a character without any personality.
译文
既然它让人不适，如果我们去掉这一点，它就会变成一个没有个性的角色。
原文
You combined the elements of the Grass-type and the snake to create a Pokemon.
译文
你们将草属性和蛇的元素结合起来创造了一只宝可梦。
原文
Next we needed to give it a personality. It will be boring if all 3 Starters have the same personality, so we pick a direction for the personality, such as Naughty or Gentle. This time, the pig Pokemon was Naughty, and it had a reckless feel. Tsutaaja was aristocratic….for example like “The Rose of Versailles”. (laughs)
译文
接下来我们需要赋予它个性。如果三只初始宝可梦都有相同的个性会很无聊，所以我们会为个性选择一个方向，比如顽皮或温顺。这次，猪宝可梦是顽皮的，有种鲁莽的感觉。藤藤蛇则是贵族气质的……比如像《凡尔赛玫瑰》那样。（笑）
原文
I created an image like something out of an art museum. Like the Hermitage Museum in Russia. (laughs)
译文
我创造了一个像艺术博物馆里出来的形象。比如俄罗斯的冬宫博物馆。（笑）
原文
译文
这次，水属性是最棘手的。
原文
译文
我说：“水属性用海獭怎么样？”但如果海獭进化，它会变成什么？我在这里卡住了。最后我说，如果海獭要进化，它会变成完全不同的东西。[注：几天前传闻的水水獭的第三阶段进化看起来和水水獭完全不同。]
原文
译文
因为我们打算让这三只初始宝可梦在整个游戏中陪伴主角，所以我们希望它们有令人惊讶的进化。我们不断添加转折，让第三阶段的进化形态具有冲击力。
原文
译文
另外，这次我们想让三只初始宝可梦分别代表日本、西方和中国的意象。我们说藤藤蛇代表西方意象，暖暖猪代表中国，水水獭代表日本。我们讨论过：“海獭不能成为武士吗？”
原文
译文
哈哈哈。
原文
译文
我有点担心，所以去水族馆看海獭。碰巧看到了海狮表演，我注意到海狮非常强壮。我想，啊，我试着把海狮和海獭结合起来。我想到了它们用肚子上的贝壳像剑一样战斗的想法，水水獭和它的[下一个]进化就完成了。
原文
译文
为了设计宝可梦，你甚至去了水族馆。你经常外出考察吗？
原文
At the beginning of development, the entire team went to the zoo. In this case it was the Tama Zoo that we visited. We each went our own way to watch the animals. The mole exhibit was really interesting. Tubes were connected through the ceiling, and the moles ran through them at incredible speeds. I was shocked.
译文
在开发初期，整个团队去了动物园。这次我们去的是多摩动物园。我们各自分头去观察动物。鼹鼠展区非常有趣。管子连接在天花板上，鼹鼠在管子里以惊人的速度奔跑。我很震惊。
原文
Usually I look at picture books and nature programs on television. When I heard about Mr. Oomura’s trip to the aquarium, I also went to the zoo to observe the snakes. But I watched the snakes for about 30 minutes, and they didn’t move at all. (laughs)
译文
通常我会看图画书和电视上的自然节目。当我听说大村先生去了水族馆，我也去了动物园观察蛇。但我看了大约30分钟，它们一动也不动。（笑）
原文
I also went to zoos and pet shops where I could actually touch the animals. I checked where the joints met and watched how the birds folded their wings. (laughs)
译文
我也去了动物园和宠物店，在那里我可以实际触摸动物。我检查了关节的连接处，观察了鸟类如何折叠翅膀。（笑）
原文
That’s interesting. What ended up being your best reference?
译文
真有趣。最终对你们来说最好的参考是什么？
原文
Actually observing living animals, of course. As the game’s development grew more hectic we couldn’t go out to research, but we’d come to understand how the animals moved, captured prey, etc., and that made drawing easier.
译文
当然是实际观察活的动物。随着游戏开发变得越来越繁忙，我们无法外出调研，但我们已经了解了动物如何移动、捕猎等，这让绘画变得更容易。
原文
When the development was hectic, I would reference the people walking around town. People’s hairstyles and so on. It was interesting. (laughs)
译文
当开发繁忙时，我会参考镇上行走的人们。人们的发型等等。这很有趣。（笑）
原文
It’s as they said. Many different things went into the Pokemon. For example, with the Fire-type Pokemon, the pipes from furnaces and ironworks went into the shape of the body and the markings. By tying different images together, new designs were born… [the rest of this interview will be translated and posted later].
译文
正如他们所说。宝可梦融入了许多不同的元素。例如，对于火属性的宝可梦，熔炉和铁厂的管道融入了身体形状和花纹。通过将不同的形象联系在一起，新的设计诞生了……【本访谈的其余部分将在稍后翻译并发布】。
![[访谈翻译] Pokemon Peer 官方专访：杉森建、大村祐介、井部真那与田上怜子谈《黑·白》设计秘辛](/assets/img/interviews/2010-09-10-interview-pokemon-peer-sugimori-ohmori-designers/sewaddle.png)