[访谈翻译] 《时代周刊》(TIME) 独家专访宝可梦之父田尻智：究极的 Game Freak（町田田园昆虫少年、GB通信线顿悟与无暴力游戏哲学）
1999年11月《时代周刊》在东京世田谷区 Game Freak 办公室对田尻智进行的划时代独家专访。彼时田尻智连续三年保持‘睡12小时、工作24小时’的高强度作息，刚完成《金·银》的最终压盘。访谈中田尻智详述了自己在东京都町田市捕捉昆虫被称作‘昆虫博士’的童年，以及田野水塘被城市推土机铲平的痛心；回忆了 18 岁自制《Game Freak》同人志狂卖上万册的极客岁月；首次披露看到 Game Boy 连接线传递俄罗斯方块数据时，脑海中浮现‘活生生的昆虫在电缆中穿梭交换’的神启瞬间；深刻阐释了‘宝可梦只有昏厥没有死亡’、坚决拒绝血腥暴力的儿童心理守护哲学；并公开了小智（Satoshi）与小茂（Shigeru/宫本茂）的师徒致敬渊源。
田尻智宫本茂蒂姆·拉里默横田孝司宝可梦 红·绿宝可梦 金·银脉冲超人旋转方块
逐段译读
究极的 Game Freak：独家专访宝可梦之父田尻智
The Ultimate Game Freak: An Interview with Satoshi Tajiri
原文
After first coming up with the idea for Pokmon in 1990, Satoshi Tajiri labored for nearly six years over the original game. Now 34, he based it partly on things he remembered as a kid. The careful attention paid off. Pokmon swept Japan and is now doing the same in the U.S. and beyond. Spinoffs include trading cards as closely held as stock options, a TV series and, now, a movie.
译文
1990年，田尻智首次萌生宝可梦的构想，此后近六年，他呕心沥血于最初的游戏。如今他34岁，游戏部分取材于他儿时的记忆。这份精心的投入终获回报：宝可梦席卷日本，如今在美国及更远的地方同样风靡。衍生品包括如同股票期权般被严密保护的集换式卡牌、一部电视动画，以及如今的一部电影。
原文
A person who usually shuns the limelight, Tajiri talked about his labor of love with Larimer and TIME intern Takashi Yokota at the offices of his small company, Game Freak, in Tokyo’s Setagaya neighborhood, a youth-culture hub with several colleges and universities. His company occupies two floors in a nondescript office building. Sandwiched between the Game Freak floors is a “cram school” for junior high school students who are taking extra paid-for lessons in hopes of improving their next entrance exam scores.
译文
田尻智通常回避公众目光，此次在位于东京世田谷区的小公司Game Freak办公室里，与拉里默及《时代》杂志实习生横田隆志畅谈他的挚爱之作。世田谷是青年文化中心，周边有多所大专院校。他的公司占据一栋普通办公楼的两层，而在这两层之间，夹着一所面向初中生的“补习学校”，学生们付费加课，以期提高下次入学考试的成绩。
原文
Tajiri had just finished work on the new series of Pokmon games for Nintendo’s Game Boy, to be released in Japan Nov. 20. He looked tired. His eyes were bloodshot, there were dark circles under his eyes and his hands and lips trembled while he spoke. He looked like he needed a good long sleep.
译文
田尻智刚刚完成了任天堂Game Boy平台新系列宝可梦游戏的开发，该游戏将于11月20日在日本发售。他看上去疲惫不堪：双眼布满血丝，眼袋深重，说话时手和嘴唇微微颤抖。他看起来亟需一场酣畅的长眠。
从昆虫少年到同人志先锋：Game Freak 的黎明与执念
From Bug-Catching Boy to Fanzine Pioneer: The Genesis of Game Freak
原文
Are you O.K.? You look pretty tired.
译文
你还好吗？你看起来很累。
原文
It’s the way I work. I sleep 12 hours and then work 24 hours. I’ve worked those irregular hours for the past three years. It’s better to stay up day and night to come up with ideas. I usually get inspiration for game designing by working this schedule.
译文
这就是我的工作方式。我睡12个小时，然后工作24个小时。过去三年我一直这样不规律地工作。为了想出点子，最好昼夜颠倒。我通常通过这种作息来获得游戏设计的灵感。
原文
How did you get started designing games?
译文
你是如何开始设计游戏的？
原文
I’m part of the first generation who grew up with manga [comics] and anime [animation], you know, after ‘Godzilla.’ I was absorbed with Ultraman on TV and in manga. The profession of game designer was created really recently. If it didn’t exist, I’d probably be making anime.
译文
我是伴随着漫画和动画长大的第一代人，你知道，就是“哥斯拉”之后的那一代。我沉迷于电视和漫画中的奥特曼。游戏设计师这个职业是最近才出现的。如果这个职业不存在，我大概会去做动画吧。
原文
Do anime and games require a similar creativity?
译文
动画和游戏需要相似的创造力吗？
原文
The technology in making games and in making anime is really similar. There are common concepts.
译文
制作游戏和制作动画的技术确实很相似。它们有共通的概念。
原文
We heard you were a Space Invaders junkie.
译文
我们听说你曾是《太空侵略者》的狂热玩家。
原文
I was really into Space Invaders in about 1978. It got me more and more interested in video games. There wasn’t any media to get information about games, so I came up with Game Freak magazine.
译文
大约在1978年，我迷上了《太空侵略者》。它让我对电子游戏越来越感兴趣。当时没有任何媒体可以获取游戏信息，所以我想出了创办《Game Freak》杂志的主意。
原文
Weren’t you just a teenager?
译文
你那时不还只是个迷你裙吗？
原文
Yeah. It was handwritten. I stapled the pages together. It had techniques on how to win games, secret tips for games like Donkey Kong.
译文
是的。那是手写的。我用订书机把页面装订起来。里面包含如何通关的技巧，以及像《大金刚》这样的游戏的秘密提示。
原文
Did you sell it?
译文
你出售它吗？
原文
The biggest sales were for a special issue on the Zabius game. We sold 10,000 copies. It cost 300 yen each. So when I was 18 I already had a business going. At first I used a photocopy machine–more important than style was selling information. But when sales increased, it was difficult to do it by hand. So I took it to a printer.
译文
销量最高的是关于《扎比乌斯》游戏的特别版。我们卖出了一万份。每份售价300日元。所以当我18岁时，我已经有了自己的事业。起初我用复印机——比风格更重要的是销售信息。但随着销量增加，手工制作变得困难，于是我把印刷交给了印刷厂。
原文
How did you move from publishing to designing games?
译文
你是如何从出版转向设计游戏的？
原文
Pretty soon I had some contributors, and we’d all get together and talk about games. The more I learned about games, the more frustrated I became because the games weren’t very good. I could tell a good game from a bad game. My conclusion was: let’s make our own games.
译文
很快我有了些撰稿人，我们会聚在一起讨论游戏。我对游戏了解得越多，就越感到沮丧，因为当时的游戏并不出色。我能分辨游戏的好坏。我的结论是：让我们自己做游戏吧。
原文
What were you like as a kid?
译文
你小时候是个怎样的孩子？
原文
The place where I grew up [in Machida, a western Tokyo suburb] was still rural back then. There were rice paddies, rivers, forests. It was full of nature. Then development started taking place, and as it grew, all the insects were driven away. I was really interested in collecting insects. [Later, Tajiri’s father tells me the other kids used to call Satoshi “Dr. Bug” as a child.] Every year they would cut down trees and the population of insects would decrease. The change was so dramatic. A fishing pond would become an arcade center.
译文
我成长的地方（町田，东京西部郊区）当时还很乡村。那里有稻田、河流、森林，充满自然气息。后来开发开始了，随着发展，所有昆虫都被驱赶走了。我对收集昆虫非常感兴趣。（后来，田尻的父亲告诉我，其他孩子小时候都叫田尻智“虫博士”。）每年他们都会砍伐树木，昆虫的数量就会减少。变化如此巨大。一个钓鱼池变成了街机中心。
原文
You liked bugs?
译文
你喜欢虫？
原文
They fascinated me. For one thing, they kind of moved funny. They were odd. Every time I found a new insect, it was mysterious to me. And the more I searched for insects, the more I found. If I put my hand in the river, I would get a crayfish. If there was a stick over a hole, it would create an air bubble and I’d find insects there. I usually took them home. As I gathered more and more, I’d learn about them, like how some would feed on one another. So I stopped bringing them home. But I liked coming up with new ideas. Like how to catch beetles. In Japan, a lot of kids like to go out and catch beetles by putting honey on a piece of tree bark. My idea was to put a stone under a tree, because they slept during the day and like sleeping under stones. So in the morning I’d go pick up the stone and find them. Tiny discoveries like that made me excited.
译文
它们令我着迷。首先，它们行动起来很有趣，很奇特。每当我发现一种新的昆虫，它对我来说都是神秘的。而且我越是寻找昆虫，找到的就越多。如果我把手伸进河里，就能抓到一只小龙虾。如果洞口上有根棍子，它会产生气泡，我就能在那里找到昆虫。我通常会把它们带回家。随着我收集得越来越多，我会了解它们，比如有些会互相捕食。所以我就不再带它们回家了。但我喜欢想出新的点子，比如如何捕捉甲虫。在日本，很多孩子喜欢出去，通过在树皮上涂上甜甜蜜来捕捉甲虫。我的想法是在树下放一块石头，因为它们白天睡觉，喜欢睡在石头下面。所以早上我会去搬开石头，找到它们。像这样微小的发现让我兴奋不已。
原文
Did you have friends who collected insects?
译文
你有朋友也收集昆虫吗？
原文
Usually all the kids did it the same way, with the honey. N one of my friends would do what I did. I got more insects than anyone.
译文
通常所有孩子都用同样的方法，就是用甜甜蜜。没有一个朋友会像我那样做。我抓到的昆虫比任何人都多。
连接生命的通信线：重在交流与尊重的日式哲学
The Cable That Linked Living Beings: Dialogue Over Competition
原文
So you were collecting Pokmon a long time ago! Did you make the insects fight against each other?
译文
所以你很久以前就在收集宝可梦了！你会让昆虫互相打斗吗？
原文
No, but sometimes they would eat each other.
译文
不，但有时它们会互相吃掉对方。
原文
Did you get the idea for Pokmon from these insects?
译文
你从这些昆虫身上得到了宝可梦的灵感吗？
原文
Yes. Places to catch insects are rare because of urbanization. Kids play inside their homes now, and a lot had forgotten about catching insects. So had I. When I was making games, something clicked and I decided to make a game with that concept. Everything I did as a kid is kind of rolled into one–that’s what Pokmon is. Playing video games, watching TV, Ultraman with his capsule monsters–they all became ingredients for the game.
译文
是的。由于城市化，捕捉昆虫的地方变得稀少。现在的孩子们都在家里玩，很多人已经忘记了捕捉昆虫的乐趣。我也一样。当我制作游戏时，我突然灵光一闪，决定制作一款以那个概念为核心的游戏。我小时候做过的所有事情都融合在了一起——这就是宝可梦。玩电子游戏、看电视、奥特曼和他的胶囊怪兽——这些都成了游戏的素材。
原文
Why did it take so long to finish the game?
译文
为什么完成这款游戏花了那么长时间？
原文
Well, the first game I did all by myself. That was before Pokmon. I didn’t rely on other companies or programmers. I just started by taking apart the Nintendo system to see how it worked. When I was 16, I won a contest Sega was sponsoring for a game idea. It took me two years to learn the programming, and a year to make my first game [called Quinty].
译文
嗯，第一款游戏完全是我自己做的，那是在宝可梦之前。我没有依赖其他公司或程序员。我只是开始拆解任天堂的主机，看看它是如何运作的。16岁时，我赢得了一场世嘉赞助的游戏创意比赛。我花了两年时间学习编程，又花了一年时间制作我的第一款游戏（名为《Quinty》）。
原文
How did you get hooked up with Nintendo?
译文
你是如何与任天堂建立联系的？
原文
I saw Game Boy when it was first released. The idea for Pokmon clicked in my mind. The basic idea for Pokmon seemed a good fit for Game Boy.
译文
我第一次看到 Game Boy 时，脑海中就闪现了宝可梦的构想。宝可梦的基本理念与 Game Boy 似乎十分契合。
原文
Why did Game Boy seem right for Pokmon?
译文
为什么 Game Boy 会适合宝可梦呢？
原文
The communication aspect of Game Boy. It was a profound image to me. It has a communication cable. In Tetris, its first game, the cable transmitted information about moving blocks. That cable really got me interested. I thought of actual living organisms moving back and forth across the cable.
译文
在于 Game Boy 的通信功能。对我而言，那是一个意义深远的形象。它有一条通信线缆。在其首发游戏《俄罗斯方块》中，这条线缆传输着方块移动的数据。正是这条线缆让我产生了浓厚的兴趣。我想到，真实的生物体可以在这条线缆上来回移动。
原文
Wasn’t the cable being used for players to compete with each other? In Pokmon, players are sharing, too, aren’t they?
译文
这条线缆难道不是用于玩家之间相互竞争的吗？在宝可梦中，玩家们也在分享，不是吗？
原文
Yeah, everyone was using it to compete. The idea I had was for information to go back and forth. It wasn’t about competition. Even before Game Boy, there was a communication capability at game arcades–like two race car drivers sitting next to each other to compete. That’s all anyone was doing, using it to compete.
译文
是的，当时每个人都用它来对战。而我的想法是让信息来回传递，这并非关乎竞争。早在 Game Boy 之前，街机厅里就已经有了通信功能——比如两名赛车手并排而坐，相互竞速。但人们所做的仅限于此，即利用它来竞争。
原文
But if you’re not competing, games aren’t all that much fun, are they?
译文
但如果不竞争，游戏岂不是没那么有趣了？
原文
I liked competition too. But I wanted to design a game that involved interactive communication. Remember, there was no Internet then. The concept of the communication cable is really Japanese: one-on-one. It’s like karate–two players compete, they bow to each other. It’s the Japanese concept of respect.
译文
我也喜欢竞争。但我想设计一款包含互动交流的游戏。请记住，当时还没有互联网。通信线缆的概念其实非常日式：一对一。就像空手道——两位选手较量前，会先向对方鞠躬。这是日本人的敬意理念。
原文
Like the ritualistic elements of sumo?
译文
就像相扑中的仪式感吗？
原文
A more casual form of sumo. Over the Internet, communication can be directed to anyone in the world and it’s anonymous. But with a communication cable, it’s one-on-one and the players pick who they play against. It doesn’t really get aggressive. It’s an intricate style of communication. Almost subtle.
译文
更像是相扑的一种随意形式。通过互联网，交流可以面向世界上任何人，而且是匿名的。但使用通信线缆时，则是一对一，并且玩家可以自行选择对手。这种方式不会变得咄咄逼人，而是一种精巧的交流方式，几乎可以说是微妙。
原文
How does that translate to the U.S.?
译文
这种理念如何在美国落地呢？
原文
It’s interesting, because in Japan, everybody goes for Pikachu. In the U.S., the characters Ash [Satoshi in Japan] and Pikachu are grouped together. American kids seem to like that. In America there are more products sold with Ash and Pikachu together, not just Pikachu alone. I think Americans actually understand the concept of Pokmon better than the Japanese. The Japanese focus on Pikachu, but what I think is important is the human aspect–you need Ash.
译文
这很有趣，因为在日本，人人都喜欢皮卡丘。而在美国，小智（日版名为小智）和皮卡丘这两个角色是紧密联系在一起的。美国的孩子似乎喜欢这样。在美国，以小智和皮卡丘一同登场的商品比单独皮卡丘的卖得更多。我认为美国人实际上比日本人更理解宝可梦的概念。日本人只关注皮卡丘，但我认为重要的是人的一面——你需要小智。
原文
Pikachu is sort of marginal in the game. But it’s now the best-known character. How’d that happen?
译文
皮卡丘在游戏中算是边缘角色，但现在却成了最知名的角色。这是怎么发生的？
原文
When they did the anime, they wanted a specific character to focus on. Pikachu was relatively popular compared with the others and potentially both boys and girls would like it. They heard a lot of opinions about this. It wasn’t my idea.
译文
在制作动画时，他们想要一个特定的角色作为焦点。皮卡丘相对其他宝可梦来说比较受欢迎，而且可能男孩女孩都会喜欢。他们听取了很多意见。这不是我的主意。
原文
Do you think the TV show now dictates how people play the game?
译文
你认为电视节目现在是否决定了人们如何玩游戏？
原文
At first, I was a little concerned. It depends on how people are introduced to Pokmon. If they start with the TV show, or with the cards, or the video game, they approach it differently each time.
译文
起初，我有点担心。这取决于人们是如何接触宝可梦的。如果他们是从电视节目、卡牌游戏或电子游戏开始的，每次接触的方式都会不同。
第151只梦幻的神话、宫本茂的师徒情谊与‘宝可梦只有昏厥没有死亡’
The Myth of Mew, Mentorship with Miyamoto, and Fainting Over Dying
原文
Why is Pokmon still so popular?
译文
为什么宝可梦至今仍如此受欢迎？
原文
When you’re a kid and get your first bike, you want to go somewhere you’ve never been before. That’s like Pokmon. Everybody shares the same experience, but everybody wants to take it someplace else. And you can do that.
译文
当你还是个孩子，得到第一辆自行车时，你会想去一个从未去过的地方。宝可梦也是如此。每个人都拥有相同的体验，但每个人都想把它带到别的地方去。而你可以做到。
原文
Are all the goofy-sounding names important for Pokmon’s success?
译文
那些听起来滑稽的名字对宝可梦的成功重要吗？
原文
What’s more important is that the monsters are controllable by the players. It could be the monster within yourself, [representing] fear or anger, for example. And they are put in capsules. Plus, everybody can give them their own names. Pikachu is like the name of the species. But each player can name their own Pikachu. So kids can relate to it more. They get more attached to them that way.
译文
更重要的是这些怪兽能被玩家控制。它们可能是你内心的怪兽，例如代表恐惧或愤怒。而且它们被装在精灵球里。此外，每个人都可以给它们起自己的名字。皮卡丘就像是物种的名字，但每个玩家都可以给自己那只皮卡丘命名。这样孩子们能产生更多共鸣，也更容易产生感情。
原文
Did you name all those beetles and spiders and bugs?
译文
那些甲虫、蜘蛛和虫子都是你命名的吗？
原文
No. I had a cat, though. I wanted to name the frogs, because I watched them grow, but there were too many.
译文
不，不过我养过一只猫。我曾想给那些蝌蚪起名字，因为我看着它们长大，但数量太多了。
原文
Are the Pokmon names related to those insects?
译文
宝可梦的名字与那些昆虫有关吗？
原文
Yeah. Like Nyoromo [Poliwhorl in the U.S.]. It looks like a tadpole. There’s little whirls on it because I remembered that when you pick up a tadpole, you can see its intestines because it’s transparent.
译文
是的。比如蚊香蝌蚪（在美国叫 Poliwhirl）。它看起来像蝌蚪。它身上有小小的漩涡，因为我记得当你拿起蝌蚪时，因为它是透明的，你能看到它的肠子。
原文
Do the names mean anything or are they just gibberish?
译文
这些名字有什么含义吗，还是只是胡编乱造？
原文
They all have meaning. Like Nyarth. It’s from a Japanese proverb about a cat with money on his head that doesn’t know it’s there. It’s about understanding the value of money. I don’t think they have that concept in the U.S., so the name is different. And Pikachu. ‘Pika’ is the sound Japanese say an electric spark makes. And ‘chu’ is the sound a mouse makes. So Pikachu is like an electric mouse.
译文
它们都有含义。比如喵喵（Nyarth）。它源自日本谚语，讲一只头上顶着钱却不知道的猫，寓意理解金钱的价值。我认为美国没有这个概念，所以名字不同。还有皮卡丘。’皮卡’是日语中电火花的声响，’丘’是老鼠的叫声。所以皮卡丘就像一只电老鼠。
原文
None of the monsters is really evil. So how do you know if one of them is with you or against you?
译文
这些怪物中没有一个是真正邪恶的。那么你怎么知道它们是与你是敌是友呢？
原文
Think of it like this. If a horse runs over you and you die, then the horse is bad. But if you’re riding the horse, the horse is your ally. So, if you have a monster in your collection, then it’s considered good. But if not, it’s still not considered bad, because it could be your friend one day.
译文
可以这样想：如果一匹马踩死你，那它就是坏的。但如果你骑着它，它就是你的伙伴。所以，如果你收服了一只宝可梦，它就视为善。如果没有，它也不被视为恶，因为有一天它可能成为你的朋友。
原文
What’s the story with Mew? Some kind of a secret character?
译文
梦幻是怎么回事？某种秘密角色吗？
原文
Yes, this was done on purpose. Mew was not originally included in the games for people to acquire. You had to get it from interacting with Game Freak or Nintendo. There were 150 characters, and Mew was number 151. You can’t ever get a Mew without trading for it. It created a myth about the game, that there was an invisible character out there. Someone gives me Mew, then I give Mew to you, then you pass it on. Introducing a new character like that created a lot of rumors and myths about the game. It kept the interest alive.
译文
是的，这是有意为之。梦幻最初并未设计为玩家可在游戏中正常获得。你必须通过与 Game Freak 或任天堂互动才能得到它。游戏中有150只宝可梦，而梦幻是第151只。不通过交换，你永远无法得到梦幻。这为游戏创造了一个传说，即存在一个看不见的角色。有人给我梦幻，我再给你，你再传下去。以这种方式引入新角色，制造了许多关于游戏的传闻和神话，保持了玩家的兴趣。
原文
The main human guy is named Satoshi. That’s your name. Is he your alter ego?
译文
主角名叫小智（Satoshi），那是你的名字。他是你的化身吗？
原文
Basically, he’s me when I was a kid.
译文
基本上，他就是我小时候的写照。
原文
His main rival is named Shigeru. That’s the first name of Miyamoto, the famous game designer at Nintendo who did Donkey Kong, Super Mario Bros. Do you consider him your rival?
译文
他的主要劲敌名叫小茂，这正是任天堂著名游戏设计师宫本茂的名字，他创作了《大金刚》和《超级马里奥兄弟》。您将他视为自己的劲敌吗？
原文
No! I really look up to Miyamoto-san. In the TV series, Shigeru is Satoshi’s master. In the game, they are rivals. Shigeru is always a little bit ahead of Satoshi.
译文
不！我非常敬仰宫本先生。在动画中，小茂是小智的师傅；在游戏中，他们是劲敌。小茂总是比小智领先一步。
原文
Does Satoshi ever catch up with Shigeru?
译文
小智有没有追上小茂的时候？
原文
No! Never!
译文
没有！从来没有！
原文
Have you caught up with Miyamoto-san?
译文
那您追上宫本先生了吗？
原文
I think very highly of him. I’d memorize each piece of advice he gave.
译文
我非常敬重他，他给我的每一条建议我都铭记于心。
原文
But Pokmon is more popular than anything Miyamoto-san has done. Hasn’t the student passed the teacher?
译文
但是《宝可梦》比宫本先生所做的任何作品都更受欢迎。难道不是徒弟已经超越师傅了吗？
原文
No, because Pokmon was made with Miyamoto-san’s advice. Since I was a teenager, playing Donkey Kong, he’s always been my role model. He’s a mentor for my heart.
译文
不，因为《宝可梦》是在宫本先生的建议下诞生的。从我少年时代玩《大金刚》起，他就一直是我的榜样，是我心灵的导师。
原文
You know what Miyamoto-san said? He said, half-jokingly, that Pokmon wouldn’t stay popular forever because he was developing a new version of Mario Bros.
译文
您知道宫本先生说了什么吗？他半开玩笑地说，《宝可梦》不会永远流行，因为他正在开发新版的《马里奥兄弟》。
原文
Is that what he said?
译文
他是这么说的吗？
原文
Did the Nintendo people expect Pokmon to be such a big hit?
译文
任天堂的人当初预料到《宝可梦》会如此大获成功吗？
原文
Not at first. They didn’t expect much from the game. Game Boy’s popularity was declining. Just when I finished the game and took it to Nintendo, I felt like a baseball player who slides into second base even though you know you’re going to be out–but then it turns out you are safe.
译文
起初并没有。他们对这款游戏期望不高。当时 Game Boy 的热度正在衰退。当我完成游戏并将其呈交给任天堂时，我感觉自己就像一名棒球手，明知会被封杀却仍奋力滑向二垒——结果却意外安全上垒。
原文
You really thought Nintendo would reject it?
译文
你真的认为任天堂会拒绝它吗？
原文
Always. I was told they couldn’t really understand the concept of the game.
译文
一直如此。有人告诉我，他们其实无法真正理解这款游戏的概念。
原文
A lot of people blame violence in video games for violent things young people do, especially in the U.S. Do you feel guilty about that?
译文
许多人将青少年的暴力行为归咎于电子游戏中的暴力内容，尤其是在美国。对此你会感到愧疚吗？
原文
In Japan, violence in games is pretty much self-regulated. In the 1980s, there was a game called Bullfighter where the matador stabbed the bull and red blood squirted out. The day after it was released, they changed the blood to green. There’s more violence in games in the U.S., in things like Mortal Kombat, where they rip out hearts and cut off heads. Japanese people wouldn’t come up with ideas of blood splattering all over. Japanese focus more on the intricacies of the actions, the motion.
译文
在日本，游戏中的暴力内容基本上是自我约束的。上世纪80年代，有一款名为《斗牛士》的游戏，斗牛士刺中公牛后喷出红色血液。发售次日，他们就把血改成了绿色。美国的游戏暴力程度更高，比如《真人快打》中，有掏心、斩首等场面。日本人不会想到让血液四溅的点子。日本人更注重动作的精细与动态的微妙。
原文
The TV people in the U.S. were worried about violence in Pokmon. Can you believe that?
译文
美国的电视从业者曾担心《宝可梦》中的暴力内容。你相信吗？
原文
I’m very careful about violence in games. I’m not interested in creating violent effects.
译文
我对游戏中的暴力内容非常慎重。我对制造暴力效果毫无兴趣。
原文
It seems like role-playing games are more popular in Japan than the U.S. Why’s that?
译文
角色扮演游戏在日本似乎比在美国更受欢迎。这是为什么呢？
原文
Well, one reason is that back when we had arcade games only, they cost 100 yen for one game. I think in the U.S. it was always [much cheaper at] 25 cents. So 20 years ago we thought it was very expensive, but when role-playing games were introduced in Japan, it was revolutionary because once you bought the software, no matter how many times you played, it was free.
译文
嗯，其中一个原因是，在只有街机游戏的时代，玩一次要花100日元。我记得在美国，通常只要25美分，便宜得多。所以20年前我们觉得街机很贵，但当角色扮演游戏在日本问世时，那是一场革命，因为只要你买了软件，无论玩多少次都是免费的。
原文
So Japanese game designers aren’t making violent games?
译文
那么，日本游戏设计师是不做暴力游戏吗？
原文
No, they make them. But only to sell in the U.S.
译文
不，他们也做。但只是为了在美国销售。
原文
Still, American kids like Pokmon, even without the blood.
译文
尽管如此，美国孩子还是喜欢宝可梦，即使没有血腥场面。
原文
I was really careful in making monsters faint rather than die. I think that young people playing games have an abnormal concept about dying. They start to lose and say, “I’m dying.” It’s not right for kids to think about a concept of death that way. They need to treat death with more respect.
译文
我非常谨慎地让宝可梦“濒死”而不是“死亡”。我认为，玩游戏的年轻人对死亡有一种异常的概念。他们开始输的时候会说“我要死了”。让孩子们以那种方式思考死亡的概念是不对的。他们需要以更尊重的态度对待死亡。
原文
Well, there’s a preacher in the U.S. who says Pikachu is the devil.
译文
嗯，美国有位牧师说皮卡丘是魔鬼。
原文
I never heard of that! [Laughs] I heard there was a guy who criticized [kid’s book character] Harry Potter because of the magic. But I saw the author, and she seemed really nice. The critic seemed like a grouchy mean guy.
译文
我从没听说过！[笑] 我听说有人批评《哈利·波特》里的魔法。但我见过那位作者，她看起来真的很和善。而那个批评者倒像是个脾气暴躁的刻薄家伙。
原文
What do you think about that weird incident in Japan in 1997, when 700 kids had seizures while watching Pikachu’s blinking lights on the Pokmon TV show?
译文
你怎么看待1997年日本发生的那起奇怪事件？当时有700名儿童在观看宝可梦电视节目中皮卡丘闪烁的灯光时引发了癫痫。
原文
When I was a kid, I was taught to sit far away from the TV while watching. Then TVs got bigger. That was O.K. in the U.S., because you have big rooms. But in Japan, the rooms are small. So people got in the habit of watching TV close to the screen.
译文
我小时候，大人教导我看电视时要坐得远一些。后来电视变大了。在美国这没问题，因为房间很大。但在日本，房间很小，所以人们养成了靠近屏幕看电视的习惯。
原文
Is it a good idea for kids to spend so much time playing Pokmon?
译文
孩子们花这么多时间玩宝可梦，这是好事吗？
原文
I think a lot about kids and what they need and want to make their lives better. You know, the cram school industry started when I was young. There was so little time to play. During school breaks, we’d run to the arcade to play games. Right now, there isn’t much time for kids to relax. So I thought of games that could help kids fill in those five- or 10-minute gaps.
译文
我时常思考孩子们需要什么、想要什么，才能让他们的生活变得更好。你知道吗，补习班行业在我小时候就兴起了。那时玩耍的时间少得可怜。每逢课间休息，我们就会跑去游戏厅玩。如今，孩子们能放松的时间也不多。所以我想到了制作一些游戏，能帮助孩子们填补那些五分钟或十分钟的空隙。
Archive record 档案信息
- Date
- 1999.11.22
- Source
- The Ultimate Game Freak: An Interview with Satoshi Tajiri
- People
- 时代周刊, 田尻智
- Game / Work
- 宝可梦 红·绿、宝可梦 金·银、脉冲超人、旋转方块、太空格斗/太空侵略者、铁板阵
- Page
- 未标注
- Language
- en
- Status
- published