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.

他的父母覺得他有點怪，但他們不知道的是，他們的兒子成長後會激發數萬人創造新的互動世界。

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

這個男孩就是宮本茂，他最終創作了史上最成功的系列電玩：瑪利歐系列遊戲。

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

今日，宮本茂被視為史上最成功並最具影響力的遊戲設計師之一，

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.

他創造了一些最著名且最暢銷的遊戲，如瑪利歐、薩爾達傳說、大金剛、星際火狐和皮克敏。

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

但對宮本來說，達到現在的地位並不是輕鬆的旅程。

He has struggled greatly to reach this point.

他為達到這個位置做了很多努力。

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.

事實上，他的職業生涯是從水管工助手開始，並一路晉升成為有史以來最大咖的遊戲設計師。

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

這是宮本茂和他最大成就瑪利歐遊戲的故事、瑪利歐如何走紅，以及瑪利歐怎麼改變了他的人生。

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

了解宮本茂的早期生活以及它如何影響他身為電玩創作者的工作是很有趣的。

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.

儘管他出自小康家族，但宮本卻因為生長環境在職涯上取得先機。

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

他的家人沒有汽車或電視，所以他不得不自己想出各種形式的娛樂活動。

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

孩提時期的宮本喜歡根據他最喜歡的漫畫和電影進行木偶表演。

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

他總是很有創意，而他早期的概念之一是一名普通人追蹤一隻不安的大猩猩。

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.

這個想法成為他的第一個電玩大金剛的基礎，該遊戲故事重心是從一隻大猩猩手中救出一名女士。

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

宮本對自然界也非常感興趣，所以他會去探索鄰近的洞穴和森林。

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

一次這樣的洞穴之旅給了他驚人的經歷。

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

他覺得自己找到了新東西並成就了什麼。

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

這種感覺成為創造他史上最受歡迎遊戲之一薩爾達傳說的推手。

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.

宮本的父親得以透過與任天堂執行長山內宏的共同好友關係取得採訪機會。

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.

給他們留下了大量未售出機器，讓他們處於財務崩潰邊緣。

In Japan, the game achieved some success.

該遊戲在日本取得了一些成功。

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.

他把轉換的任務交付給宮本，因為沒有其他人可以完成這個工作。

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

任天堂的總工程師橫井群平負責監督該項目。

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.

宮本想出了各式各樣的角色和故事情節，但最後，他決定側重於涉及一隻大猩猩、一個做木匠的人和一位女士的三角戀。

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

宮本對他的新項目有遠大計劃，但他對寫程式沒有足夠認識，不能自己做。

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.

於是他想出了遊戲相關點子，然後與技術專家進行了交流，探討這些概念是否真的實用。

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.

他打算讓這些角色有不同的身高、以獨特方式移動和行事，並以各種方式作出回應。

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.

另一方面，項目主管橫井認為宮本的最初概念太過複雜，並建議他利用蹺蹺板做發射動作，將主角送到螢幕另一邊。

However, this proved to be too difficult to program.

然而，這被證明太過難以編程。

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

在那之後，宮本想到利用斜面平臺、梯子和桶子作為移動障礙的方法。

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.

當他要求遊戲有多關卡時，四人編程小組怨聲載道，因為他似乎基本上是在要求他們使遊戲重複。

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

但最終，該團隊得以成功地進行遊戲編程。

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.

但當它被送到美國任天堂進行測試時，當地銷售經理並不喜歡它與當時流行的典型迷宮和射擊遊戲大有不同。

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.

由於他無法獲得使用這些角色的許可，他製作了自己版本的大猩猩和女士以及一個無名英雄。

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

瑪利歐這個名字之後是由任天堂的美國總裁荒川實選中。

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

他遇到了一個很適合瑪利歐這個角色的人。

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

那個人是瑪利歐・塞蓋爾，任天堂在美國倉庫的房東。

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.

很快地，荒川和團隊其他成員決定給玩家角色起一個新名字：瑪利歐。

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

對於受到現實世界啟發的宮本來說，瑪利歐・塞蓋爾的職業符合與遊戲設計，

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

因為大金剛的第一個系列發生在一個建築工地上，在其中，瑪利歐被打造成一名木匠。

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.

在那之後的遊戲中，他給了瑪利歐一個名為路易吉的弟弟。

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

他也給了遊戲全新的名稱「瑪利歐兄弟」。

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.

宮本決定讓瑪利歐水電工的外貌，而不是木匠，因為他看到了大金剛中，瑪利歐穿著工作服、戴著帽子、留著濃密鬍子的樣貌。

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

這些修改可歸因於瑪利歐在大金剛遊戲中的出現。

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.

由於其「迷宮般的地下汙水管網」，宮本認為紐約市是遊戲行動發生的理想地點。

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

瑪利歐兄弟的續集超級瑪利歐兄弟和薩爾達傳說都是宮本茂創作的，

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.

這些遊戲被認為是電玩史上整體最重要的遊戲之一。

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.

與當時大多數遊戲不同的是，宮本決定更加強調實際的遊戲性，而不是取得高分。

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.

另一方面，宮本在瑪利歐遊戲中使用非線性遊戲手法，需要玩家用批判性思維來解決各種難題和挑戰。

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.

宮本設計遊戲的目標是，讓玩家可以透過參與這類遊戲感覺到自己能夠完成一些有意義的事。

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

為了實現這個目標，有兩件事需要做：

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

第一、向玩家說明他們應該採取什麼行動，

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

以及第二、完全讓玩家參與遊戲，毫無障礙地保持完全沉浸。

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

欺騙從玩家開始遊戲時就開始了。

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.

瑪利歐出現在螢幕左側而不是在他慣常的中間位置並非偶然。

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

玩家們透過畫面上右邊的空白區域，被鼓勵開始往那個方向走。

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

他們幾乎在開始移動時就遇見栗寶寶。

Friend or foe?

是敵是友？

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

新玩家很有可能完全不知道。

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.

這一開始可能看似一個糟糕的決定，但其目的是為了教育玩家要儘快地了解世間的危險。

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

如果瑪利歐不小心碰到了這頑皮的栗寶寶，他不會有太糟糕的下場。

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.

玩家只會被送回關卡的開頭，但此時，他們應該對自己該儘量避免做什麼有更多的了解。

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.

他們下次可能會跳躍過栗寶寶以擺脫它，或者他們可能會跳到它的頭上，把它殺死。

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.

無論如何，關卡設計的目標已經達成，亦即教育玩家如何在不發一言的情況下，辨識並消滅對手。

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

此外，瑪利歐主要的跳躍能力已被呈現為玩遊戲的主要機制。

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

宮本透過這個方式強調遊戲的最後潤色如何能夠產生巨大影響。

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,

任天堂遊戲透過擁抱新科技、挑戰極限並專注於新鮮感和辨識度保持了它們在電玩早期的誘惑力，

rather than what is fashionable and lucrative.

而不是考量流行或可獲利的因素。

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

身為電玩設計師和創造者，宮本在遊戲產業具有極具影響力的職涯。

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.

他的創作在日本電玩產業發展中發揮了重要作用，讓他成為該領域的真正先鋒。

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.

這是一個關於宮本茂這個人的故事，他被視為全球遊戲代表之父，而他童年大部分時間都是在想象中度過，最終卻永遠改變了電玩的面貌。

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如果你喜歡這部影片，別忘了訂閱頻道、幫影片點讚，我們下次發布影片時見。