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  • On the outskirt of Sonobe, Kyoto, there was a boy who was so obsessed with his imagination that he often drew weird creatures and told outlandish stories.


  • His parents find him a bit odd, but little did they know that their son would grow up to inspire thousands to create new interactive worlds.


  • That boy was Shigeru Miyamoto, who ended up making the most successful video game franchise of all time, The Mario Game Franchise.


  • Today, Shigeru Miyamoto is regarded as one of the most successful and influential video game designers in history,


  • having created some of the most famous and best-selling game names in history, such as Mario, The Legend of Zelda, Donkey Kong, Star Fox, and Pikmin.


  • But it wasn’t an easy journey for Miyamoto to reach where he is now.


  • He has struggled greatly to reach this point.


  • In fact, he started his career as a plumber's helper and has risen all the way up to becoming the biggest gaming designer of all time.


  • This is the story of Shigeru Miyamoto and his biggest achievement, the Mario Game, how Mario got big, and how Mario changed his life.


  • It's interesting to learn about Shigeru Miyamoto's early life and how it influenced his work as a video game creator.


  • Miyamoto was born on November 16, 1952 in Sonobe, a town in the Kyoto prefecture in Japan.

    宮本在 1952 年 11 月 16 日出生於日本京都園部這座小鎮。

  • Despite his family's moderate means, Miyamoto had a headstart on his profession due to the environment he was raised in.


  • His family did not have a car or a television, so he had to come up with his own forms of entertainment.


  • As a child, Miyamoto enjoyed putting on puppet performances based on his favorite comics and movies.


  • He was always creative, and one of his early concepts was an everyday person tracking down a disturbed gorilla.


  • The idea served as the foundation for his very first video game, Donkey Kong, which centers around the story of rescuing a lady from a giant gorilla.


  • Miyamoto was also very much interested in the natural world, so he went exploring nearby caves and forests.


  • One such visit to a cave had left him with an astounding experience.


  • He felt like he had found something new and accomplished something.


  • This feeling became a driving factor in the creation of one of his all-time favorite games, The Legend of Zelda.


  • While it had begun to diversify into toys and games in the 1960s, Nintendo was still a very tiny Japanese firm that sold playing cards and other novelty items in the 1970s.

    雖然它在 1960 年代已經開始向玩具和遊戲多樣化發展,但任天堂仍然是一間非常小的日本公司,在 1970 年代銷售紙牌和其它新奇物品。

  • Nevertheless, the company had begun to expand into these areas in the 1960s.

    儘管如此,該公司在 1960 年代已經開始向這些領域擴張。

  • Miyamoto's father was able to get an interview with Nintendo CEO Hiroshi Yamauchi by coordinating with a friend they had in common.


  • In 1977, he was given a job as a staff artist in the planning department after presenting the company with some of the toys he had designed.

    1977 年時,他在向該公司展示他設計的一些玩具後,被給予規劃部門中藝術職員的職務。

  • Miyamoto was involved in the production of the artwork for the coin-operated arcade game called Sheriff.

    宮本參與了投幣式電玩 Sheriff 的美術製作。

  • With the launch of Radar Scope in 1980, he initially assisted the firm in the creation of a game.

    隨著 1980 年 Radar Scope 公司的成立,他一開始協助了該公司創造一個遊戲。

  • The game was only moderately successful in Japan, but by 1981, Nintendo's attempts to break it into the video game market in North America had failed,

    這款遊戲在日本只取得了適度的成功,但到了 1981 年,任天堂試圖闖入北美電玩市場的計劃失敗了,

  • leaving them with a large number of unsold units and putting them on the verge of financial collapse.


  • In Japan, the game achieved some success.


  • The decision to create a new arcade game came from Nintendo President Hiroshi Yamauchi, who wanted to use unsold Radar Scope devices.

    創造一個新型電玩的決策來自任天堂總裁山內宏,他想善用未售出的 Radar Scope 設備。

  • He assigned Miyamoto the task of converting because there was no one else available to complete the work.


  • Gunpei Yokoi, who is Nintendo's chief engineer, was in charge of supervising the project.


  • Miyamoto came up with a wide variety of characters and storylines, but in the end, he decided to focus on a love triangle involving a gorilla, a guy who works as a carpenter, and a lady.


  • Miyamoto had big plans for his new project, but he didn't know enough about programming to do it himself.


  • As a result, he came up with the ideas for the game and then spoke with technologists to see whether or not those notions were really practical.


  • He intended for the figures to be of varying heights, to move and behave in distinctive ways, and to respond in a variety of ways.


  • Yokoi, the project supervisor, on the other hand, thought that Miyamoto's initial concept was too complicated and recommended that seesaws be used to launch the protagonist across the screen.


  • However, this proved to be too difficult to program.


  • After that, Miyamoto thought about using sloped platforms, ladders, and barrels as ways to move an obstacle.


  • The four-person programming team grumbled when he asked that the game have multiple stages because it seemed like he was asking them to essentially make the game repeat.


  • But in the end, the team was able to successfully program the game.


  • But when it was sent to Nintendo of America to be tested, the sales manager there didn't like how different it was from the typical maze and shooter games that were popular at the time.


  • Miyamoto envisioned a video game featuring Popeye, Bluto, and Olive Oyl as a way to boost Nintendo's sales after the bad performance of the Sheriff game.

    宮本設想了一個電玩遊戲,以卜派、布魯托和奧莉薇為主角,在 Sheriff 遊戲業績不佳的狀況下,作為提振任天堂銷量的一種方式。

  • Since he couldn't get permission to use the characters, he made his own version of Gorilla and Lady, and a hero without any name.


  • The name "Mario" was then selected by Nintendo's American president Minoru Arakawa.


  • He came across an individual who was well fit for the Mario character.


  • It was Mario Segale, the landlord of the Nintendo warehouse in America.


  • In order to collect past due rent from Nintendo, Mario Segale showed up at the warehouse during the localization of Donkey Kong for American consumers and met Arakawa.

    為了向任天堂收取過期的租金,瑪利歐・塞蓋爾在 2011 年 12 月 31 日大金剛本地化時期出現在倉庫,並遇到了荒川。

  • Soon, Arakawa and the rest of the team decided to give the player character a new name, Mario.


  • For Miyamoto, who was inspired by the actual world, Mario Segale's profession was in line with the game design,


  • because the first series of Donkey Kong takes place on a building site, in which Mario was made into a carpenter.


  • Since Donkey Kong was so popular, Shigeru Miyamoto decided to create two further installments in the series: Donkey Kong Jr. in 1982 and Donkey Kong 3 in 1983.

    由於大金剛非常受歡迎,宮本茂決定在該系列中再創作兩部作品:1982 年的大金剛 Jr. 和 1983 年的大金剛 3。

  • Donkey Kong was honored with the prize for "Best Single-Player Video Game" and the "Certificate of Merit" as the runner-up for "Coin-Op Game of the Year" at the 1982 Arcade Awards,

    大金剛被授予「最佳單人電玩獎」和 1982 年「年度投幣式電玩」頒獎典禮中,「證書獎」的亞軍,

  • which were presented in January 1983.

    這在 1983 年 1 月被頒布。

  • In the game that came after that one, he gave Mario a sibling named Luigi.


  • He gave the brand-new game the name "Mario Bros."


  • Miyamoto decided to give Mario the appearance of a plumber rather than a carpenter after seeing Mario in Donkey Kong wearing overalls, a hat, and a thick mustache.


  • These modifications were made as a result of Mario's appearance in Donkey Kong.


  • Because of its "labyrinthine underground network of sewage pipes", Miyamoto believed that New York City was the ideal location for the game's action to take place.


  • Super Mario Bros., which was a sequel to Mario Bros., and The Legend of Zelda were both created by Shigeru Miyamoto


  • around the same time that Nintendo released its first home video game console, the Family Computer.

    大約與任天堂發佈其第一款家用電玩 Family Computer 控制器的時間同期。

  • These games are considered to be among the most significant in the history of the video games as a whole.


  • In contrast to the majority of games available at the time, Miyamoto made the decision to place a greater emphasis on the actual gameplay rather than the achievement of high scores.


  • Miyamoto, on the other hand, used non-linear gameplay in the Mario games, which required the players to use critical thinking to solve a variety of conundrums and challenges.


  • Miyamoto's goal in designing his games was to give players the feeling that they could accomplish something meaningful via their participation in such games.


  • In order to accomplish this goal, there are two things that need to be done:


  • One, explaining to the player what actions they should take,


  • and two, including the player fully in the game; accessible while maintaining a total immersion.


  • The deception starts as soon as the player starts the game.


  • It was no accident that Mario was shown on the left side of the screen rather than in his customary location in the middle of the display.


  • Players were encouraged to start going that way by the wide area that is located to their right.


  • They run into a Goomba almost as soon as they start moving.


  • Friend or foe?


  • It's possible that new gamers won't know.


  • This may seem like a terrible decision at first, but its purpose is really to educate players about the dangers that are out there as quickly as possible.


  • There is really little consequence for Mario if he accidentally runs into this naughty little Goomba.


  • The players are just sent back to the beginning of the level, but by this point, they should have a better understanding of what they should try to avoid doing.


  • They will probably either leap over the Goomba to get away from it the next time, or they may leap upon its head to kill it.


  • In any case, the objective of the level's design has been met, which was to educate players on how to recognize and eliminate adversaries without uttering a single word.


  • In addition, jumping, the primary ability of Mario, has been presented as the primary gameplay mechanism of the game.


  • In this way, Miyamoto has highlighted how the finishing touches on a game can make a huge impact.


  • Nintendo games have maintained the same allure they had in the early days of video games by embracing new technology, pushing limits, and focusing on what is fresh and distinctive,


  • rather than what is fashionable and lucrative.


  • Miyamoto, as a video game designer and creator, has had an incredibly influential career in the gaming industry.


  • In fact, he has been recognized for his contributions by numerous organizations, including "Time Magazine", which included him in their "60 Years of Asian Heroes" issue in 2006.

    事實上,他的貢獻已經得到了許多組織的認可,包括《時代雜誌》,該雜誌在 2006 年將他列入「亞洲英雄 60 年」期刊。

  • He was voted one of Time's 100 Most Important People in both 2007 and 2008, receiving the most votes overall in 2008.

    他在 2007 年和 2008 年都被選為《時代》百位最重要人物,並在 2008 年獲得最多總票數。

  • Additionally, he was awarded the Lifetime Achievement Award at the Game Developers Choice Awards in 2007,

    此外,他還被授予 2007 年遊戲開發者選擇獎的終身成就獎,

  • with the organizers highlighting his contributions to the industry from the birth of Super Mario Bros. and The Legend of Zelda for the Nintendo DS and Wii platforms.

    組織者透過他在任天堂 DS 以及 Wii 平台推出的超級瑪利歐兄弟以及薩爾達傳說強調了他對行業的貢獻。

  • In 2019, Miyamoto was also awarded the Japan Prize for the Person of Cultural Merit, which was the first time someone from the video game industry had ever received such an honor.

    2019 年時,宮本還被授予日本文化功勳人物獎,這是電玩業界首次有人獲得如此殊榮。

  • His work has played a significant role in the development of Japan's video game industry, making him a true pioneer in the field.


  • This is a story of a man called Shigeru Miyamoto, regarded as the father of a global gaming icon, who spent most of his childhood with his imagination and ended up changing the gaming landscape forever.


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On the outskirt of Sonobe, Kyoto, there was a boy who was so obsessed with his imagination that he often drew weird creatures and told outlandish stories.


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