Name: 《超級瑪利歐》成功的關鍵是？讓創作者解釋給你聽 (How the inventor of Mario designs a game)
Uploaded: 2020-02-12T21:01:20.000Z
Duration: 5 min 55 s

情態副詞

If you've played video games any time in the past 30 years, you're probably familiar with his work.

如果你在過去 30 年內有玩過電玩，你應該會滿熟悉他的作品的。

《大金剛 》、《薩爾達傳說》、《星際火狐》。

And then, of course, this guy: "It's a me, Mario!"

還有，當然要提這位：「是我！超級瑪利歐！」

When Miyamoto makes games, he always tries to do things differently than other designers.

當宮本先生製作遊戲，他一直嘗試做跟其他設計師不同的事情。

Here he is back in 1998, explaining why he wasn't focused on online gaming.

回溯到 1998 年，解釋為什麼他沒有專注在做線上遊戲。

(Japanese) It's a trend. And I try to avoid all trends.

(日語) 這是個潮流，而我避免追隨所有潮流。

And why he wasn't adding small in-game purchases to "Mario" for iPhone in 2016.

還有解釋為什麼他沒有在 2016 年釋出的 iPhone 版的《超級瑪利歐》裡加入遊戲內購買功能。

(Japanese) Everyone was saying I had to do it... but I'm the kind of person who doesn't want to be told 'that's the way you do it'.

(日語) 大家都說我一定要這樣做...但我不是那種別人說我該怎麼做，我就怎麼做的人。

Miyamoto has helped define a lot of what makes a video game great.

宮本定義了很多成就一個好的遊戲的元素。

(Japanese) I think that first is that a game needs a sense of accomplishment.

(日語) 首先我認為一個遊戲需要讓玩家有成就感。

(Japanese) And you have to have a sense that you have done something, so that you get the sense of satisfaction of completing something.

(日語) 你需要有種你做了什麼的感覺，然後在完成了什麼之後得到成就感。

In 1981, one of Miyamoto's first assignments at Nintendo was to design a replacement for a game called "Radar Scope".

1981 年，宮本先生在任天堂的一份工作是設計一個可以取代 Radar Scope 的遊戲。

It had performed poorly in the U.S., leaving the company with 2,000 unsold arcade units.

Radar Scope 在美國表現得很不好，公司滯銷了 2000 組街機。

Miyamoto based the story on the love triangle in "Popeye" between a bad guy, a hero, and a damsel in distress.

宮本先生以大力選手中一位壞人、一位英雄和遇難的少女的三角關係做為發想。

But since Nintendo couldn't secure the rights to use those characters, Miyamoto replaced them with a gorilla, a carpenter, and his girlfriend.

但任天堂無法確保他們是否可以合法使用這些角色，因此宮本先生將他們換成一隻猩猩、一位木工和他的女友。

In later games, that carpenter became a plumber.

遊戲到了後來，這個角色變成水管工人。

And his named changed, from Mr. Video, to Jumpman, and then to Mario, after this guy, the landlord of a Nintendo warehouse. near Seattle.

而他的名字也跟著改變，從 Video 先生，到跳躍者，再變成瑪利歐，以西雅圖附近任天堂工廠的房東起名的。

This was one of the first times that a video game's plot and characters were designed before the programming.

這是第一個在遊戲被寫出來之前，遊戲內容與角色就已經被設計好的了。

(Japanese) Well, early on, the people who made video games, they were technologists, they were programmers, they were hardware designers.

(日語) 以前呢，製作遊戲的人是技師、程式設計師與硬體設計師。

(Japanese) But I wasn't. I was a designer, I studied industrial design, I was an artist, I drew pictures.

(日語) 但我不是。我是學習工業相關設計的人，我是一位藝術家，我會畫圖。

(Japanese) And so I think that it was in my generation that people who made video games really became designers rather than technologists.

(日語) 我覺得我生在一個做遊戲的人會變成設計師而非技師的年代。

That change in approach came at a key time for video games.

這樣的改變發生在對於遊戲而言關鍵的時刻。

When "Donkey Kong" was first released in 1981, the video game market in North America was on the verge of collapse.

當《大金剛》在 1981 年推出時，北美的遊戲市場正在崩潰邊緣。

It was saturated with a lot of different consoles, and the boom in home computers made a lot of people question why they would want a separate device just to play games.

北美遊戲市場已因不同種的遊戲機台而飽和，而家用電腦的蓬勃出現讓很多人開始疑惑為什麼要獨立一個裝置來玩遊戲。

But the storytelling in games like "Super Mario Bros" and "The Legend of Zelda"—which you could only play on Nintendo's own hardware—helped set them apart as best-sellers.

但《超級瑪利歐》跟《薩爾達傳說》只能在任天堂自己的機台上玩，幫助他們與一般遊戲市場區隔開來成為銷售冠軍。

(Speaking Japanese) When I approach the design of my games, what I have to think about is how I'm showing a situation to a player, conveying to them what they're supposed to do.

(日語) 當我要開始設計我的遊戲時，我思考的是要如何在遊戲情境中告訴玩家該做什麼。

In "Mario" you keep moving to the right to reach the end goal.

在《超級瑪利歐》中，你要不斷地向右移動抵達終點。

In "Donkey Kong" you keep climbing up to rescue the captured princess.

在《大金剛》中，你要不斷往上爬去拯救被俘虜的公主。

A lot of Miyamoto's genius can be seen in the first level of "Super Mario Bros".

宮本先生的天才之處可以在《超級瑪利歐兄弟》的第一關中觀察到。

This is probably the most iconic level in video game history.

這關應該是在遊戲歷史中最具代表性的一個關卡。

It's designed to naturally teach you the game mechanics while you play.

它設計成可以在玩家遊玩時自然地教你遊戲規則。

If you look at a breakdown, there's a lot of really subtle design work going on here.

如果你拆解成細部來看，會發現其中很多細膩的設計。

Though Mario is usually at the center of the screen, in this first scene he starts at the far left.

雖然瑪利歐大部分時間都在遊戲正中央，在遊戲一開始他是從螢幕最左邊開始的。

All the empty space to the right of him gives you a sense of where to go.

右邊所有空白處讓你有感覺要往哪裡走。

Now this character's look and movement suggest it's harmful.

接下來出現這個角色看起來跟移動的方式感覺都有點危險。

If you run into it, you'll just start the game over without much of a penalty.

如果你撞到他，你只會觸發遊戲結束，但不會有任何懲罰。

Next, you see gold blocks with question marks.

接下來，你看見一個金色有問號的方塊。

These are made to look intriguing, and once you hit one, you're rewarded.

它們看起來很吸引人—只要你成功觸擊到，你會得到獎勵。

That then encourages you to hit the second block, which releases a mushroom.

而這會鼓勵你去觸擊第二個方塊，釋放出蘑菇。

Even if you're scared of what it might be, the positioning of the first obstacle makes it just about guaranteed that you're gonna run into this thing.

即使你會害怕它是什麼，第一個障礙物的配置會保證你成功觸發道具。

And once you do, Mario gets bigger and stronger.

一旦成功，瑪利歐體型變大且變強壯。

And just like that, you've learned all the basic rules in the game without having to read a single word.

同理，你不用去閱讀任何一個字就知道了遊戲的基本規則。

(Japanese) The last is the immersive quality of the game, being able to feel like it's a world you're immersed in, that you've become a hero.

(日語) 最後一件事是遊戲體驗的品質，確保讓玩家確保玩家能夠沈浸式體驗，讓你覺得你成為了英雄。

(Japanese) That you've become brave. Even if you're actually crying.

(日語) 你變勇敢了，即使你其實在哭。

Immersiveness in a video game has a lot to do with the controls—the more precisely you can move your character, the more you feel like you're part of the story.

遊戲的沈浸式體驗跟遊戲操作器有很大的關係—你能越精準地移動遊戲角色，你越覺得自己參與在遊戲中。

And Nintendo has always been a pioneer with controllers.

而任天堂永遠是遊戲操作器的先驅。

It was the first to have the classic setup of the directional pad on the left and buttons on the right.

他們第一個擁有經典配置的操作器——左邊為方向鍵，右邊為按鈕。

The first to have left and right shoulder buttons.

The first to have a 360-degree thumbstick.

And the first to bring motion control to the mass market.

第一個將動態控制帶進大市場中。

But with 2016's "Super Mario Run", Nintendo, for the first time, made a game for a controller it didn't design: the iPhone.

但 2016 年推出的《超級瑪利歐酷跑》是任天堂第一個為不是自己遊戲主機，而是為了 iPhone 設計的遊戲。

(Speaking Japanese) Over time, not as many people have been playing Mario games.

(日語) 隨著時間過去，玩《超級瑪利歐》系列的人已經不如以往了。

(Speaking Japanese) And we ask ourselves: Why have people stopped playing “Mario”?

(日語) 我們問自己：為什麼人們開始不玩《超級瑪利歐》了呢？

(Speaking Japanese) And for people who played early and then stopped playing, oftentimes it's because the controls got too difficult.

(日語) 而之前有在玩但後來沒有繼續玩的人們，時常是因為操作難度太高了。

The Wii U flopped when it came out in 2012, and Nintendo 3DS sales are far below those of its predecessor.

2012 年推出 Ｗii U 時表現滑鐵盧，甚至任天堂 3DS 的銷量也遠不如他的前輩們。

But the number of American gamers playing on mobile phones has doubled to more than 164 million between 2011 and 2015.

但美國玩家在行動裝置上面玩的數量在 2011 到 2015 年之間已經兩倍成長超過 1.64 億。

You can think of “Super Mario Run” as a shift from immersiveness to accessibility.

你可以認為《超級瑪利歐》是一個從沈浸式到可及式的轉變。

(Speaking Japanese) I think the end result is a game anyone can play, for first-time player to the most experienced ones.

(日語) 我認為最終解答是一個任何人都可以玩的遊戲，從初學者到老玩家。

And that's kind of been Miyamoto's design philosophy from the very start: make fun games that everybody can play.

而這也算是宮本先生設計遊戲的初衷：設計任何人都可以玩的遊戲。

(Japanese) These controls direct the characters, the better your eye-hand coordination, the better you do.

(日語) 這些控制鍵控制角色，手眼協調能力越好，你能玩得越好。