Pokémon.com 官方专访增田顺一与海野隆雄：《宝可梦 黑2／白2》双续篇革新、好莱坞之星与合众两年变迁
原始资料
增田顺一（左，制作人兼开发部长）与海野隆雄（右，《宝可梦 黑2／白2》总监兼艺术总监）于新作发售之际接受官方专访。
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
序言：宝可梦背后的创造者们
Introduction: The People behind the Pokémon
原文
The Pokemon.com team sat down with two of the creators of the Pokémon Black Version 2 and Pokémon White Version 2 games. Junichi Masuda and Takao Unno have been deeply involved with the development of Pokémon video games for many years. Their understanding of the Pokémon universe is second to none, and both gentlemen were happy to answer our questions.
译文
Pokémon.com 团队与《宝可梦 黑2／白2》的两位创作者进行了座谈。增田顺一与海野隆雄多年来深度参与宝可梦系列游戏的开发。他们对宝可梦世界的理解无人能及，两位先生也很乐意回答我们的提问。
增田顺一（左，制作人兼开发部长）与海野隆雄（右，《宝可梦 黑2／白2》总监兼艺术总监）于新作发售之际接受官方专访。
第1章：GAME FREAK 的日常职责与《黑2／白2》双续篇立项始末
Chapter 1: Roles at GAME FREAK and the Genesis of Black 2 & White 2
原文
Thanks, Mr. Masuda and Mr. Unno, for spending some time with us. Give us a brief explanation of your jobs and what you do on a daily basis.
译文
非常感谢增田先生与海野先生拨冗接受我们的采访。请二位简要介绍一下各自的工作职责以及日常的工作内容。
原文
That’s difficult! Well, I’m the development manager at GAME FREAK. I’m involved in the management of the company. But on a smaller level, I work as a game director, I’m a music composer, and I develop a lot of the scenarios of the game and more detailed work. I’m not sitting at my desk very often—I’m usually running around the office or I’m participating in meetings! A lot of different things.
译文
这可不好回答！嗯，我是GAME FREAK的开发部长，参与公司的管理工作。但往更具体的层面说，我也担任游戏总监，还负责作曲，并参与大量游戏剧情的编写以及更为细致的工作。我其实不太常坐在自己的工位上——通常都在办公室里跑来跑去，或者在参加会议！做的事情非常杂。
原文
As an art director, which is what I normally do, except for Pokémon Black Version 2 and Pokémon White Version 2 where I am the director, I’m involved in the general design direction for how to create Pokémon. I’m also involved in creating the 2-D and 3-D graphics, as well as the user interface for the games. I also design Pokémon myself.
译文
作为艺术总监——这通常是我的本职工作，只不过在《宝可梦 黑2／白2》中我担任了总监——我负责把控宝可梦创作的整体设计方向。同时，我也参与游戏二维与三维图形的制作，以及用户界面的设计。此外，我自己也会设计宝可梦。
原文
I’ve played a little bit of Pokémon Black Version 2, and it’s surprising how different these games feel from the outset than the first two games in Unova, from the look to the Pokémon you’ll encounter. They feel more original than, say, Pokémon Emerald does from Pokémon Ruby and Sapphire. Was this a particular point of emphasis during development?
译文
我玩了一点《宝可梦 黑2／白2》，令人惊讶的是，这两款游戏从一开始就与合众地区的前两部作品有着截然不同的感受，无论是画面观感还是你会遇到的宝可梦都大不相同。它们给人的感觉比《宝可梦 绿宝石》相较于《宝可梦 红宝石／蓝宝石》的变化更具原创性。这是开发过程中特别强调的一点吗？
原文
It was definitely something we paid attention to during development. When we first decided to make a true sequel to Pokémon Black Version and Pokémon White Version and set it two years later, we had two big concerns.
译文
我们在开发过程中确实非常注意这一点。当初决定为《宝可梦 黑／白》制作一部真正的续作，并将时间设定在两年之后时，我们有两个很大的顾虑。
原文
How far into the development of the first games were you when you started working on the sequels?
译文
在初代两部作品开发进行到何种程度时，你们开始着手制作续作？
原文
In terms of Pokémon Black Version 2 and Pokémon White Version 2, it was actually near the end of the development of the first games when we started talking about what we wanted to do next. It was maybe only three or four months before the actual release of Pokémon Black Version and Pokémon White Version in Japan.
译文
就《宝可梦 黑2／白2》而言，其实早在《宝可梦 黑／白》开发接近尾声时，我们就已经开始讨论下一步想做什么了。那大概是在《宝可梦 黑／白》于日本正式发售前的三四个月左右。
第2章：突破表现力边界的“宝莱坞”与百人同乐的“节庆任务”
Chapter 2: Pokéstar Studios and 100-Player Funfest Missions
暗黑酋雷姆（Black Kyurem）：海野隆雄率领的美术团队在续作中展现的突破性力量与机械合体美学。
原文
Let’s talk about one new exciting feature, Pokéstar Studios. I’ve played it a little bit and it’s quite different from other experiences I’ve had in a Pokémon game. What was the inspiration for creating this feature?
译文
我们来谈谈一项激动人心的新功能——宝可坞。我稍微玩了一下，发现它与我在《宝可梦》游戏中的其他体验相当不同。创造这一功能的灵感来自何处？
原文
The main idea behind Pokéstar Studios was to really expand on the expressive visual opportunities of the Pokémon games. Whenever you’re making the game you have to keep track of the reality of the universe and make sure that everything is believable and isn’t something that’s too crazy. Creating a believable reality for the Pokémon universe is very important.
译文
宝可坞（Pokéstar Studios）背后的主要理念，是真正拓展宝可梦游戏在视觉表现上的可能性。在制作游戏时，你必须始终把握这个宇宙的现实感，确保一切都令人信服，而不是太过天马行空。为宝可梦宇宙构建一个可信的现实，这一点非常重要。
原文
Bringing players together through the games has always been an important part of Pokémon. What new ways are you most excited for to connect players in the new games?
译文
通过游戏将玩家紧密相连，始终是宝可梦系列的重要内核。在本次新作中，最令你们感到兴奋的、能够连接玩家的新方式是什么？
原文
One of the biggest features is the Funfest Missions, where up to 100 players can play together simultaneously. One player can start a Funfest Mission, and anyone in the area who is playing will get an invitation to participate.
译文
其中最大的特色之一便是节庆任务（Funfest Missions），最多可支持100名玩家同时游玩。一名玩家可以发起节庆任务，身处该区域内的任何玩家都会收到参与邀请。
原文
It has always seemed like there is an emphasis to create a strong personal bond between the player and the in-game character. Why do you feel that is important with Pokémon games?
译文
一直以来，似乎都很强调在玩家与游戏内角色之间建立起强烈的个人羁绊。你们为何认为这对宝可梦游戏而言十分重要？
原文
As you know, the protagonist in the game never speaks. The idea is to make it feel like the player is that character as much as possible. By doing this we’re also hoping that the player has a better bond with the Pokémon they encounter, as well as the people they meet inside the game.
译文
如各位所知，游戏中的主角从不开口说话。这样设计的用意，是尽可能让玩家感受到自己就是那个角色。与此同时，我们也希望玩家能因此与游戏中邂逅的宝可梦，以及在游戏里遇见的人们，建立起更深的羁绊。
原文
How big a role does the Memory Link play with this notion of a direct sequel and managing what happened earlier?
译文
在“直接续作”这一概念以及如何处理前作剧情的考量中，回忆连线（Memory Link）扮演了多重要的角色？
原文
The idea of the Memory Link was to allow players who had played the first games to enjoy the story on perhaps a deeper level, with the chance to see how the Unova region has changed, as well as how the people—their ideas and feelings—have changed. The Memory Link is really sort of a “present” to the players of the first games.
译文
回忆连线的初衷，是让玩过前作的玩家能够以更深入的方式体验故事，有机会看到合众地区发生了怎样的变化，以及人们——他们的想法与情感——又经历了怎样的变迁。回忆连线可以说是献给前作玩家的一份“礼物”。
第3章：为何不是单版本“灰”而是双续作？回忆连线与两年的合众变迁
Chapter 3: Why Two Sequels Instead of Grey? Memory Link and Continuity
焰白酋雷姆（White Kyurem）：作为真正延续《黑／白》两条不同剧情线的象征。
原文
What was behind the decision to create two follow-up games as opposed to a single game, as Pokémon Platinum was to Pokémon Diamond and Pokémon Pearl?
译文
决定制作两款续作、而非像《宝可梦 白金》之于《宝可梦 钻石／珍珠》那样只推出一款单一强化版，这背后的考量是什么？
原文
In terms of why it’s usually one—that’s usually because we want to specialize in something. Like in Pokémon Platinum, our goal was to really focus on battling, so we really needed one version.
译文
之所以通常只推出一部，是因为我们想要专注于某个特定的方向。比如在《宝可梦 白金》中，我们的目标就是真正聚焦于对战，所以确实只需要一部就够了。
第4章：坚守十五年的品质哲学、五只御三家的脑洞与对战平衡组
Chapter 4: Fifteen Years of Design Philosophy and Battle Balance Testing
原文
In the 15 years that Pokémon games have been around, they have been remarkably consistent in their style and quality. Do you have a philosophy for how you produce games over the years?
译文
在宝可梦游戏走过的这15年间，其风格与品质始终保持着惊人的一致性。多年来，你们是否有一套制作游戏的哲学？
原文
That’s a difficult question. Obviously our focus is always on quality. Whenever we make a game, we concentrate on what first-time players will think when they play it. Those first-time players, they change as time goes on. Nowadays kids have computers and the Internet. That kind of technology is commonplace, and sort of a given for them, where that wasn’t really the case before. So we’re always focusing on that new audience.
译文
这是个很难回答的问题。显然，我们始终将重心放在品质上。每当我们制作一款游戏时，都会专注于初次接触的玩家在游玩时会作何感想。而这些初次接触的玩家，随着时间推移也在不断变化。如今的孩子们拥有电脑和互联网，这类技术对他们而言已是司空见惯、理所当然的存在，而从前却并非如此。所以我们始终在关注着新的受众群体。
原文
As much as the games have been consistent in quality, they have also been fundamentally similar in plot and structure. Do you ever consider taking the core games in a different direction, and maybe changing up how the plot unfolds?
译文
尽管系列游戏在品质上始终保持一贯水准，但在剧情与结构上却也一直大同小异。你们是否曾考虑过让核心系列走向不同的方向，或许改变一下剧情的展开方式？
原文
We’ve obviously thought about those things before. For example, changing the number of Gyms that appear in the story, or maybe making the selection of starter Pokémon be five instead of three, or having different types such as Steel-type or Poison-type starter Pokémon.
译文
我们当然以前就考虑过这些事。比如，改变剧情中道馆的数量，或者把初始宝可梦的选择从三只改成五只，又或者让初始宝可梦变成钢属性或毒属性之类的不同属性。
原文
Many of the Pokémon are obviously inspired by real-world animals and objects. Mr. Masuda, I know that you travel quite a bit. Can you say that there are places you’ve been that directly inspire locations in the game in the same way as Pokémon themselves?
译文
许多宝可梦的灵感显然来自现实世界中的动物与器物。增田先生，我知道您经常四处旅行。能否说，您去过的一些地方，也像宝可梦本身那样，直接为游戏中的地点提供了灵感呢？
原文
In regards to setting, at least, whenever a theme is decided we’ll start thinking about specific locations. For example, in Pokémon Black Version and Pokémon White Version the general theme is Manhattan and New York City. In more general terms, I try to be inspired by everything, by noticing and observing differences in the places I go. I try to take all my experiences from day-to-day life and put them into what I create, so it’s hard to pinpoint one exact thing.
译文
就设定而言，至少每当主题确定之后，我们便会开始考虑具体的地点。例如，《宝可梦 黑／白》的整体主题就是曼哈顿与纽约市。更笼统地说，我会试着从一切事物中汲取灵感，去留意并观察我所到之处的种种差异。我会试着把日常生活中积累的所有体验都融入自己所创作的内容之中，因此很难 pinpoint 某一件确切的事物。
原文
There are so many Pokémon now, as well as so many different ways to battle, such as Triple Battles and Rotation Battles, the testing to ensure gameplay balance must be incredibly difficult. How does gameplay testing work for these kinds of games, such as making sure no Pokémon or moves are too powerful?
译文
如今宝可梦的数量已如此庞大，对战方式也层出不穷，比如三打对战、轮盘对战等，要确保游戏平衡性的测试想必极为艰难。对于这类作品，游戏测试具体是如何进行的？比如怎样确保没有哪只宝可梦或哪个招式过于强势？
原文
On the GAME FREAK staff, we have a group that is constantly examining each Pokémon and figuring out what kind of parameters they would have. They’re focusing on the fine details of each Pokémon. This group is constantly battling to test out new moves and how they interact with each other. And their focus is to make sure everything is balanced.
译文
在GAME FREAK的开发团队中，我们有一个专门小组始终在对每一只宝可梦进行细致检验，研究它们应当具备怎样的参数。他们关注的是每只宝可梦身上的细微之处。这个小组不断通过对战来测试新招式，以及招式之间的相互作用。他们的核心目标，就是确保一切都处于平衡之中。
原文
How good at battling are these balance testers on your team?
译文
你们团队中这些平衡测试员的战斗水平如何？
原文
I always lose when I play them!
译文
我跟他们对战的时候总是输！
原文
We have tournaments inside the company, and those guys are very strong.
译文
我们公司内部也会举办锦标赛，那些家伙实力非常强。
原文
It’s pretty well understood that designs in the video game lead the other aspects of Pokémon. Mr. Masuda, how often do you get consulted for upcoming animation and Pokémon TCG plans?
译文
众所周知，电子游戏中的设计会引领宝可梦其他领域的发展。增田先生，在动画和宝可梦集换式卡牌游戏的未来规划方面，您多久会被征询一次意见？
原文
There’s obviously talk between the different elements of Pokémon. For example, when the new movies or animation series are being planned, I participate in the meetings and discuss what’s going to be featured. In terms of the Pokémon TCG, we leave the mechanics and the balance up to them. But some of our staff, including Mr. Unno here, contributes illustrations for some of the card images.
译文
宝可梦各领域之间显然存在着沟通交流。例如，在策划新的电影或动画系列时，我会参加相关会议，讨论将要呈现的内容。至于宝可梦集换式卡牌游戏，机制与平衡方面我们交由他们自行负责。不过我们的一些员工——包括在座的海野先生——会为部分卡牌绘制插画。
第5章：推特直接对话玩家的收获与回眸初代六年的原点
Chapter 5: Twitter Direct Engagement and Looking Back to Red & Blue
原文
Mr. Masuda, you are active on Twitter, and you spend a lot of time interacting directly with Pokémon fans. What does it mean to you to have that kind of communication with Pokémon fans?
译文
增田先生，您在Twitter上非常活跃，花了很多时间直接与宝可梦粉丝互动。对您而言，能与宝可梦粉丝进行这样的交流意味着什么？
原文
At first I was kind of scared of putting myself out there on social media. I was worried I’d get a lot of development questions I couldn’t answer, or that people would be very critical of me. But since I began on Twitter last year, so far people have been very kind. They share their opinions, obviously, and there’s good discussion that goes on there. It’s been useful for me to get the word out about events and signings, and it gets even more people to show up. Also, because there are just so many different avenues for Pokémon to get into the world, I can’t really grasp it all. I get to see a new Pokémon product I didn’t know about, or I get to hear from fans overseas talking about Pokémon.
译文
一开始，我其实有点害怕在社交媒体上抛头露面。我担心会收到一大堆自己答不上来的开发问题，也担心会被人狠狠批评。但自从去年开始用推特以来，大家一直对我非常友善。当然，他们会分享自己的看法，也会展开很好的讨论。对我来说，用推特来宣传活动和签名会很有帮助，也能让更多人到场。另外，宝可梦走向世界的渠道实在太多，我并不能全部掌握。通过推特，我能看到自己此前不知道的新宝可梦产品，也能听到海外粉丝谈论宝可梦。
原文
New Pokémon games are getting much bigger, with more Pokémon and more expansive areas. Looking back, is there a generation of Pokémon that you are particularly fond of?
译文
新作宝可梦游戏的规模正变得越来越大，宝可梦数量更多，区域也更加广阔。回顾过去，有没有哪一代宝可梦是你们格外钟爱的？
原文
Hmm. In terms of the most memorable, I’d have to say Pokémon Red and Blue. Developing those games took six years, and back then it was in black-and-white graphics and you had to use link cables to connect the Game Boy hardware. Just that process of creating everything from scratch was very memorable.
译文
嗯。要说最难忘的，还得是《宝可梦 红／绿》。那两款游戏的开发花了六年时间，当时还是黑白画面，必须用连接线来连接Game Boy主机。从零开始创造一切的那个过程，实在令人难忘。
Archive record 档案信息
- Date
- 2012.10.01
- Source
- The People behind the Pokémon: Junichi Masuda and Takao Unno Interview
- People
- Pokemon.com, 增田顺一, 海野隆雄
- Game / Work
- 未标注
- Page
- 未标注
- Language
- en
- Status
- published