2012 Pokémon.com
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
增田顺一
海野隆雄增田顺一与海野隆雄谈《宝可梦 黑2／白2》的续作设计与合众两年变迁。
Contents 本篇 16 章
- P.Com：感谢增田先生和海野先生抽出时间接受我们的采访。请简要介绍一下你们的工作以及日常...
- P.Com：我玩了一点《宝可梦 黑版2》，令人惊讶的是，这些游戏从一开始就与合众地区的前两...
- P.Com：你们开始制作续作时，前两部作品已经开发到什么程度了？
- P.Com：我们来谈谈一个令人兴奋的新功能——宝可梦好莱坞。我玩过一点，它和我在宝可梦游戏...
- P.Com：通过游戏让玩家聚在一起，一直是宝可梦的重要部分。在新作中，你们最期待用哪些新方...
- P.Com：一直以来，似乎都很强调在玩家与游戏角色之间建立强烈的个人羁绊。您为什么觉得这在...
- P.Com：在直接续作这一概念以及处理先前发生的事件方面，记忆链接发挥了多大的作用？
- P.Com：决定制作两款后续作品而不是像《宝可梦 白金》之于《宝可梦 钻石／珍珠》那样只做...
- P.Com：在宝可梦游戏走过的15年里，它们在风格和品质上一直非常稳定。多年来，您对如何制...
- P.Com：游戏在品质上一直保持稳定，同时在剧情和结构上也基本相似。你们是否考虑过让核心系...
- P.Com：很多宝可梦显然受到了现实世界动物和物品的启发。增田先生，我知道您经常旅行。您能...
- P.Com：现在有这么多宝可梦，还有这么多不同的对战方式，比如三打对战和轮转对战，要确保游...
- P.Com：你们团队里这些平衡测试员的战斗水平如何？
- P.Com：众所周知，电子游戏中的设计会引领宝可梦其他方面的发展。增田先生，关于即将推出的...
- P.Com：增田先生，您在Twitter上很活跃，花了很多时间直接与宝可梦粉丝互动。与宝可...
- P.Com：新的宝可梦游戏规模越来越大，宝可梦更多，区域也更广阔。回顾过去，有没有哪一代宝...
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 and what goes into making a Pokémon game is unrivaled. Hear what they have to say about the new Pokémon games and much more.
增田顺一和海野隆雄多年来深度参与了宝可梦电子游戏的开发。他们对宝可梦世界的理解以及制作宝可梦游戏所需的一切，无人能及。来听听他们关于新宝可梦游戏及其他话题的看法。
Pokemon.com
P.Com: 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.
P.Com：感谢增田先生和海野先生抽出时间接受我们的采访。请简要介绍一下你们的工作以及日常都做些什么。
增田顺一
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.
这很难说！嗯，我是GAME FREAK的开发经理。我参与公司的管理。但在更小的层面上，我担任游戏总监，我是音乐作曲人，我还负责开发游戏的许多剧情和更细致的工作。我很少坐在办公桌前——我通常在办公室里跑来跑去，或者参加会议！要做很多不同的事情。
海野隆雄
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.
作为艺术总监，这是我通常的工作，不过在《宝可梦 黑版2》和《宝可梦 白版2》中我担任总监，我参与决定如何创作宝可梦的总体设计方向。我还参与制作2D和3D图形，以及游戏的用户界面。我自己也设计宝可梦。
海野隆雄
As the overall director of Pokémon Black Version 2 and Pokémon White Version 2, I was more involved in the general design of the games and bringing everyone together to develop them.
作为《宝可梦 黑版2》和《宝可梦 白版2》的总监，我更多地参与了游戏的总体设计，并把大家凝聚在一起进行开发。
Pokemon.com
P.Com: 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?
P.Com：我玩了一点《宝可梦 黑版2》，令人惊讶的是，这些游戏从一开始就与合众地区的前两部作品感觉如此不同，从外观到你会遇到的宝可梦都是如此。它们比《宝可梦 绿宝石》相对于《宝可梦 红宝石／蓝宝石》的变化感觉更具原创性。这是开发过程中特别强调的一点吗？
海野隆雄
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.
这绝对是我们在开发过程中关注的事情。当我们最初决定制作《宝可梦 黑版》和《宝可梦 白版》的真正续作，并将时间设定在两年后时，我们有两个大的顾虑。
海野隆雄
One, by setting them in the same location it would kind of feel the same to the players who had played the previous games. The other was that as a sequel, it would maybe feel intimidating to new players, and they wouldn’t know what to do. We tried to get around that by giving the game an all-new story, increasing the number of Pokémon you can encounter in the region, introducing new towns, and making the protagonist a completely different character.
其一，把故事设定在同一个地方，对玩过前作的玩家来说会感觉有些雷同。其二，作为续作，它可能会让新玩家感到望而生畏，不知道该怎么玩。我们试图通过给游戏一个全新的故事、增加在该地区可以遇到的宝可梦数量、引入新的城镇，以及让主角成为一个完全不同的角色来解决这个问题。
海野隆雄
Plus, the route through the Unova region is also different. With all that, we think we have created a sense of freshness for both new and old players alike. Pretty much anyone can get in and enjoy the games. We also hope that new players may even become interested in the originals—Pokémon Black Version and Pokémon White Version—after enjoying Pokémon Black Version 2 or Pokémon White Version 2.
此外，穿越合众地区的路线也不同了。有了这些，我们认为我们为新老玩家都创造了新鲜感。几乎任何人都能上手并享受这些游戏。我们也希望新玩家在享受《宝可梦 黑版2》或《宝可梦 白版2》之后，甚至可能对原作——《宝可梦 黑版》和《宝可梦 白版》——产生兴趣。
Pokemon.com
P.Com: How far into the development of the first games were you when you started working on the sequels?
P.Com：你们开始制作续作时，前两部作品已经开发到什么程度了？
增田顺一
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.
就《宝可梦 黑版2／白版2》而言，其实是在初代两作开发接近尾声时，我们才开始讨论接下来想做什么。那大概是在《宝可梦 黑版／白版》于日本正式发售前的三四个月。
增田顺一
By that time our internal staff was able to play the game even though it hadn’t been released yet. They were able to go through the whole scenario and start getting feedback about how the story was good, and they enjoyed characters such as N and Ghetsis. But our staff was very interested in what happened to these characters after the ending.
那时游戏虽然还没发售，但公司内部员工已经能玩到了。他们可以完整走完整个剧情，并开始反馈故事很好，也很喜欢N和盖奇斯这些角色。不过员工们非常在意这些角色在结局之后发生了什么。
增田顺一
From all this feedback, we got the idea that would could expand on the story using those characters, and that’s when the idea of a direct sequel came up. We figured it’d also be a good challenge for us because we had never done a direct sequel before.
从这些反馈中，我们想到可以用这些角色来扩展故事，于是直接制作续作的念头就出现了。我们觉得这对我们来说也是个很好的挑战，因为此前从未做过直接续作。
Pokemon.com
P.Com: 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?
P.Com：我们来谈谈一个令人兴奋的新功能——宝可梦好莱坞。我玩过一点，它和我在宝可梦游戏中的其他体验相当不同。创造这个功能的灵感是什么？
海野隆雄
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.
宝可梦好莱坞背后的主要想法，是真正拓展宝可梦游戏在视觉表现上的可能性。制作游戏时，你必须时刻注意这个宇宙的现实感，确保一切都可信，不会太过离谱。为宝可梦宇宙构建一个可信的现实非常重要。
海野隆雄
But, by making movies with your Pokémon and having them star in movies, you can put them in exciting scenarios that aren’t really possible in the reality of the Pokémon universe, such as battling against a giant UFO, traveling with a magnificent wizard, or battling a giant robot. Having these adventures should be very new and exciting for players.
但是，让你的宝可梦拍摄电影并担任主角，就能把它们置于宝可梦宇宙现实中不太可能出现的刺激场景中，比如与巨大的UFO战斗、与一位了不起的巫师同行，或者对抗巨型机器人。这些冒险对玩家来说应该非常新鲜和刺激。
海野隆雄
Another exciting part of Pokéstar Studios is that you follow a script but battle using actual gameplay elements. And by following the script, you learn a lot of basic elements of Pokémon battling in general from making these movies.
宝可梦好莱坞另一个令人兴奋的地方是，你要按照剧本来，但战斗使用的是实际游戏机制。而通过遵循剧本，你能从拍摄这些电影中学到很多宝可梦对战的基本要素。
Pokemon.com
P.Com: 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?
P.Com：通过游戏让玩家聚在一起，一直是宝可梦的重要部分。在新作中，你们最期待用哪些新方式连接玩家？
海野隆雄
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.
最大的功能之一是欢乐祭任务，最多可有100名玩家同时游玩。一名玩家可以发起欢乐祭任务，附近任何正在游玩的玩家都会收到参加邀请。
海野隆雄
Funfest Missions are always cooperative, with everyone trying to complete the same goal. It might be collecting Berries or searching for a specific Pokémon. By hitting these goals, everyone gets points, which will then earn you items that could be very helpful during gameplay.
欢乐祭任务始终是合作性的，所有人一起努力完成同一个目标。可能是采集树果，也可能是寻找特定的宝可梦。达成这些目标后，每个人都能获得点数，进而换取在游戏过程中非常有用的道具。
Pokemon.com
P.Com: 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?
P.Com：一直以来，似乎都很强调在玩家与游戏角色之间建立强烈的个人羁绊。您为什么觉得这在宝可梦游戏中很重要？
海野隆雄
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.
如您所知，游戏中的主角从不说话。这样设计是为了让玩家尽可能感觉自己是那个角色。通过这样做，我们也希望玩家能更好地与他们遇到的宝可梦，以及在游戏内遇到的人建立羁绊。
Pokemon.com
P.Com: How big a role does the Memory Link play with this notion of a direct sequel and managing what happened earlier?
P.Com：在直接续作这一概念以及处理先前发生的事件方面，记忆链接发挥了多大的作用？
海野隆雄
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.
记忆链接的想法是让玩过第一作的玩家能在或许更深的层次上享受故事，有机会看到合众地区如何变化，以及人们——他们的想法和感受——如何变化。记忆链接其实是给第一作玩家的一份“礼物”。
Pokemon.com
P.Com: 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?
P.Com：决定制作两款后续作品而不是像《宝可梦 白金》之于《宝可梦 钻石／珍珠》那样只做一款，背后的原因是什么？
增田顺一
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.
至于为什么通常只做一款——那通常是因为我们想专注于某个方面。比如在《宝可梦 白金》中，我们的目标是真正聚焦于对战，所以确实只需要一个版本。
增田顺一
In the new games, before we even had an idea for the story, we came up with the Key System. We didn’t have enough time to get it into Pokémon Black Version and Pokémon White Version. One aspect of the Key System is that when someone completes his or her game, they’ll get a key that they can give to someone else which can adjust the difficulty of his or her game. The idea is that if one player has siblings or friends, he or she can help them. Since that concept really needs two games, that was really when we made the decision.
在新作中，我们甚至在构思故事之前就想出了钥匙系统。当时我们没有足够时间把它加入《宝可梦 黑／白》。钥匙系统的一个方面是，当某人完成自己的游戏后，会得到一把钥匙，可以交给别人，用来调整对方游戏的难度。这个想法是，如果玩家有兄弟姐妹或朋友，就能帮助他们。由于这个概念确实需要两款游戏，那时我们就做出了决定。
增田顺一
Also, since these games are true sequels, it felt like a much more natural progression from the first two games.
另外，由于这些游戏是真正的续作，感觉从前两作发展过来要自然得多。
Pokemon.com
P.Com: 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?
P.Com：在宝可梦游戏走过的15年里，它们在风格和品质上一直非常稳定。多年来，您对如何制作游戏有什么理念吗？
增田顺一
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.
这是个很难回答的问题。显然我们始终注重品质。每当制作游戏时，我们都会专注于初次游玩的玩家在玩的时候会怎么想。这些初次游玩的玩家会随着时间而变化。如今孩子们有电脑和互联网。这类技术对他们来说司空见惯，几乎是理所当然的，而以前并非如此。所以我们始终关注新的受众。
增田顺一
Also, in regard to graphics and animation, there’s sort of a universal sense of what’s comfortable… what’s natural to everyone across the world. We want to make the game feel comfortable for everyone in the world, no matter where they live. We make sure that everyone in the staff is aware of this and that we’re all on the same page—that’s important to the design.
另外，在画面和动画方面，世界上存在着一种普遍意义上的舒适感……对全世界所有人来说都很自然的东西。我们希望让游戏对世界上任何人来说都感到舒适，无论他们住在哪里。我们确保所有员工都意识到这一点，并且大家达成共识——这对设计来说很重要。
Pokemon.com
P.Com: 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?
P.Com：游戏在品质上一直保持稳定，同时在剧情和结构上也基本相似。你们是否考虑过让核心系列走向不同的方向，也许改变剧情的展开方式？
增田顺一
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.
我们当然以前也想过这些事。比如，改变故事中道馆的数量，或者让初始宝可梦的选择变成五只而不是三只，或者让初始宝可梦有钢属性或毒属性这样的不同属性。
增田顺一
But every time we make a new game, we try to start fresh and think about what’s necessary to make a really good game. And whenever we reconstruct it in that way, we find out that it’s often the same elements that make the most sense, that are easiest to understand.
但每次做新游戏时，我们都会尝试从零开始，思考怎样才能做出一款真正优秀的游戏。每当我们以这种方式重新构建时，往往会发现最合理的、最容易理解的还是同样的那些要素。
增田顺一
For example, having three starter Pokémon of three types that work in a kind of rock-paper-scissors relationship is very easy to understand for players. So, very often—even though we’re rebuilding it every time—the games end up having similar construction.
比如，三只不同属性的初始宝可梦形成一种类似石头剪刀布的关系，这对玩家来说非常容易理解。所以，尽管我们每次都在重新构建，游戏最终往往还是会有相似的结构。
Pokemon.com
P.Com: 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?
P.Com：很多宝可梦显然受到了现实世界动物和物品的启发。增田先生，我知道您经常旅行。您能否说，您去过的一些地方直接启发了游戏中的地点，就像宝可梦本身受到启发那样？
增田顺一
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.
至少在设定方面，每当决定一个主题时，我们就会开始考虑具体的地点。例如，在《宝可梦 黑版》和《宝可梦 白版》中，总体主题是曼哈顿和纽约市。更笼统地说，我试着从一切事物中获取灵感，通过注意和观察我所去之处差异。我试着把日常生活中的所有经历都融入到我的创作中，所以很难指出某一件具体的事。
Pokemon.com
P.Com: 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?
P.Com：现在有这么多宝可梦，还有这么多不同的对战方式，比如三打对战和轮转对战，要确保游戏平衡性的测试一定非常困难。这类游戏的玩法测试是如何进行的，比如确保没有宝可梦或招式过于强大？
增田顺一
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.
在GAME FREAK的员工中，我们有一个小组一直在检查每只宝可梦，并确定它们会有什么样的参数。他们专注于每只宝可梦的细节。这个小组不断进行对战，测试新招式以及它们之间的相互作用。他们的重点是确保一切平衡。
增田顺一
But obviously you can’t predict everything. By going to events such as the World Championships and watching the players there, a lot of unexpected things come up. We pay attention to the trends of the competitive players and see what is strong, and work those ideas back into the next games later on. It makes live events very exciting for us to watch.
但显然你无法预测一切。通过参加世界锦标赛等活动并观看那里的玩家，会出现很多意想不到的情况。我们关注竞技玩家的趋势，看看什么是强大的，并把这些想法在之后的下一款游戏中加以运用。这让我们观看现场活动时非常兴奋。
Pokemon.com
P.Com: How good at battling are these balance testers on your team?
P.Com：你们团队里这些平衡测试员的战斗水平如何？
海野隆雄
I always lose when I play them!
我跟他们打总是输！
增田顺一
We have tournaments inside the company, and those guys are very strong.
我们在公司内部会举办比赛，那些家伙非常强。
Pokemon.com
P.Com: 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?
P.Com：众所周知，电子游戏中的设计会引领宝可梦其他方面的发展。增田先生，关于即将推出的动画和宝可梦集换式卡牌游戏的计划，您多久会被咨询一次？
增田顺一
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.
宝可梦的各个领域之间显然会有交流。比如，在策划新电影或动画系列时，我会参加会议，讨论将要呈现的内容。至于宝可梦集换式卡牌游戏，机制和平衡我们交给他们自己决定。但我们的一些员工，包括这里的海野先生，会为一些卡牌图像提供插画。
Pokemon.com
P.Com: 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?
P.Com：增田先生，您在Twitter上很活跃，花了很多时间直接与宝可梦粉丝互动。与宝可梦粉丝进行这种交流对您来说意味着什么？
增田顺一
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.
起初我有点害怕在社交媒体上抛头露面。我担心会收到很多我无法回答的开发问题，或者人们会对我非常挑剔。但自从去年开始用Twitter以来，到目前为止人们都非常友善。他们当然会分享自己的看法，那里也有很好的讨论。对我来说，发布活动和签名会的消息很有用，能让更多人到场。另外，因为宝可梦进入世界各地的途径实在太多，我无法完全掌握。我能看到自己不知道的新宝可梦产品，或者听到海外粉丝谈论宝可梦。
增田顺一
One thing I really like is when I get tweets in other languages from places like Finland or Argentina or Italy. I won’t be able to understand what is written there, so I’ll use an automatic translator to find out what they’re saying. It’s so nice and gratifying to see people all over the world enjoy Pokémon.
我特别喜欢的一件事是，收到来自芬兰、阿根廷或意大利等地的其他语言的推文。我看不懂写的是什么，所以会用自动翻译来了解他们在说什么。看到全世界的人都在享受宝可梦，真是太好了，让人很满足。
Pokemon.com
P.Com: 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?
P.Com：新的宝可梦游戏规模越来越大，宝可梦更多，区域也更广阔。回顾过去，有没有哪一代宝可梦是您特别喜欢的？
增田顺一
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.
嗯。说到最难忘的，我得说是《宝可梦 红》和《宝可梦 蓝》。开发那些游戏花了六年时间，当时还是黑白画面，必须用连接线连接Game Boy硬件。从零开始创造一切的过程非常难忘。
增田顺一
The focus back then was really on trading. So everything was designed around that aspect. For example, the Pokédex was added so people could keep track of what Pokémon they had with trading in mind. Even giving them moves was done in an effort to add value to each Pokémon so people would want to trade them. But really the whole process of creating a game from scratch was very memorable for me.
当时重点确实在交换上。所以一切都是围绕这个方面来设计的。比如，加入宝可梦图鉴 App 是为了让人们能记录自己拥有哪些宝可梦，同时考虑到交换。甚至给它们招式也是为了增加每只宝可梦的价值，让人们愿意去交换它们。但真正让我难忘的，还是从零开始制作一款游戏的整个过程。
Index 本篇提到
- 人
- N盖奇斯
- 地点
- 芬兰阿根廷合众地区曼哈顿纽约市意大利
- 为这篇提供背景社长问《宝可梦 黑2·白2》第1章：为何打破传统做正统数字续篇（“两部续篇”与“两年之后”）同为增田、海野谈打破惯例做编号续篇与两年后设定
- 后来回应了这篇增田顺一谈首款编号续作增田谈首款编号续作由来，补充本篇续作决策
- 为这篇提供背景只有《2》才能做到的冒险同刊访谈谈首次编号续作与双版本原因