2013年9月29日 星期日

ZUN在「亞特蘭大展覽會」的訪談



對於我來說,神主創作東方已經是一種截然不同意義了。
以前是從玩遊戲的角度去切入東方,現在則是從做遊戲的角度切入。
翻譯了一下這次神主的的訪談,果然神主就是神主。

ZUN, one of the biggest independent game creators in Japan, has made his way to North America for the first time at Anime Weekend Atlanta. On Day 1 of Anime Weekend Atlanta, ZUN held a Q & A panel. The number of attendees were limited and many couldn’t make it. However, if you missed the con or the panel, we at Word of the Nerd Online will give you a summary of the Q & A. Questions that were asked from the members of the audience.

神主,世界最前強大的日本獨立遊戲開發者之一。最近第一次到了北美參加亞特蘭大展覽會。神主舉辦了一個QA座談會。現場觀眾多到擠不進會場…以下略

*Most of the content was abbreviated due to time constraints, so not all questions and answers will be word for word.
因為時間關係很多的部分被簡略,不是所有的對談都是逐字記錄。

Q & A:
Question: How do you decide which Yokai you’ll use in each of your games?
問:你怎麼決定每一部作品中的登場妖怪?
ZUN: It depends on the theme of the game. It also depends on the traits of each of the Yokai and how they’re matched to the theme of the game.
神主:主要是依據遊戲主題決定。妖怪的特性和他們是否能夠和主題契合也是另外的考慮因素。

Q: I heard there was a rumor that the games were going to be sold on Steam. Is that true?
問:有聽說東方系列作將會在STEAM上販售,是真的嗎?
ZUN: Steam is really good. I like it. There is talk about it, but it’s just talk. It would be good if it was, but it’s just a rumor. Nothing has been decided. It’s also really difficult to release. The process would be really complex to complete.
神主:STEAM很好,我很喜歡。是有關於這方面的討論沒錯,不過也就只是聊聊的形式。如果可行的話也不錯,不過這只是單純的謠傳罷了。一切都還沒定案,畢竟在STEAM上架是頗困難且非常複雜的。

Q: How much time do you put into a game?
問:開發一套遊戲要花多久時間?
ZUN: Usually it takes about 4 months. As you know, I make 1 game every year. It takes a lot of time to come up with ideas, and I barely have time to sleep. Every time I’m awake, I’m either working on a game or drinking beer.
神主:大部分花四個月左右。大家也都知道我一年出一部作品,要構思好的主意很花時間,所以我幾乎沒有甚麼時間睡覺。每次醒著的時間都不能浪費,包括做遊戲和喝啤酒。

Q: What is your source of inspiration for making the amazing soundtracks featured in the games?
問:想要做出以音樂為主題特色的靈感由來是什麼?
ZUN: I’m very influenced by video game music. Much of which is usually from the 1980s and 1990s. Those songs are usually instrumentals.
神主:我受到電玩音樂的影響很深。主要是80到90年代的遊戲音樂,這些音樂都是以樂器為主。

Q: Your games are produced from mythology and much of your personal experience. Where do you come up with the ideas to make these fantastical elements?
問:你的遊戲主要內容都是神話故事與個人經驗為主。如此幻想的元素,遊戲靈感主要是從哪邊來的?
ZUN: Much of the storylines are taken from my personal experiences during my childhood or from recent travels. Most of it is all from personal experience.
神主:大部分的故事線是從我個人孩提時代或者是最近的旅行中發生的事。主要還是從我的日常生活得來的。

Q: During your stay in America, have you tried any new interesting beers?
問:在美國的時間,你有嚐試任何新奇有趣的啤酒嗎?
ZUN: I’ve tried many beers. Many interesting beers; however, I learned one thing when I came to America. Meals are too big and beer is too little.
神主:我喝了不少啤酒,不少很有趣的啤酒。不過來美國之後我覺到了一件事:食物總是過多、啤酒總是太少。

Q: Is there anything you can tell us about Satsuki Rin? The character that was cut out from Embodiment of Scarlet Devil?
問:能談談有關於冴月麟的事嗎?東方紅魔鄉中被移出的角色。
ZUN: Ahhh… Well, Embodiment of Scarlet Devil was the 1st for the Windows platform. I wanted her to be a playable character in the game, but due to time constraints I had to cut her out.
神主:恩…紅魔鄉是第一個WIN頻台上的作品,原本是想讓她成為可用角色,不過因為時間問題,只能刪除了。

Q: Would you consider making any more Phantasmagoria games or branch out into different styles of games?
問:你會考慮再製作像是花映塚類型的遊戲嗎?
ZUN: I’d like to, but only if the timing is right or if I feel inspired to.
神主:如果時間允許,也有靈感的話,我會很樂意的。


Q: What is your favorite Jojo line?
問:你最喜歡JOJO的哪一部作品?
ZUN: “Daga Kotowaru” (Translation: But I won’t). A line from Rohan Kishibe, a character from Part 4 of Hirohiko Araki’s manga, Jojo’s Bizarre Adventure.
神主:だが断る! 荒木飛呂彥畫JOJO的奇妙冒險第四部,角色是岸邊露伴。

Q: I heard that in Undefined Fantastic Object, there was going to be a boy character. Are you considering to make any boy characters in the future?
問:聽說在星蓮船中原本預計有男性角色要登場,有打算在未來的作品中加入男性角色嗎?
ZUN: I feel as if boys get in the way of the game. I’d like to make boy characters in another game as long as the game was completely unrelated to Touhou. Boys would just ruin the balance of the series.
神主:我覺得遊戲中出現男性角色會打亂遊戲的調性,我會很樂意製作一個男性角色出現在和東方無關的遊戲中。男性會擾亂東方系列作一直以來的平衡。

Q: What kind of software instruments do you use to make the games?
問:你是用哪種音樂軟體製作音樂的?
ZUN: I use the Roland SD-90. It’s old, but it’s something I still like to use.
神主:我用的是Roland SD-90。很老舊了,不過我還是很喜歡用。

Q: Of all the Touhou fanworks you’ve seen or heard, what are your favorites?
問:在眾多你看過的或是聽說的東方二次創作中,你最喜歡那些?
ZUN: I do look at some fan works, but if I see something really good I get jealous. Also, if I ever did say I favored a fanwork in public, it wouldn’t be fair to the rest.
神主:我的確看過一些東方的二次創作。如果看到有些真的很棒的作品時,我不免會產生忌妒心。而且在公共場合下我說了一些我比較喜歡的作品,對其他的作品來說太不公平了。

Q: Do you ever plan on bringing MIDI files back to the games?
問:有考慮在遊戲中再次推出MIDI版本嗎?
ZUN: MIDI is behind the times now. I originally used them since computers had low specs and the internet was pretty slow, but now everything is better and faster. I use WAV files now since they sound the same. I do not plan on bringing back MIDI files.
神主:MIDI有些過時了。會用MIDI的原因是因為當時的電腦空間很小,網路也很慢,但現在已經進步很多了。我現在都使用WAV,沒打算使用MIDI。

Q: You said in an interview that you would continue making Touhou games even if their popularity were to drop. Do you still hold true to this statement?
問:你曾經在某個會談上說過,就算東方不紅了你也會持續的創作東方,現在依然是這麼想嗎?
ZUN: Honestly, I can’t make anything except Touhou. As long as I’m still moving and I’m fine with it, I’ll continue making Touhou games.
神主:說實話,我現在除了東方以外創作不出任何東西,只要我還有一口氣在,我就會繼續創作東方系列的遊戲。

Q: Are the PC-98 games considered canon compared to the Windows series?
問:PC-98時代的遊戲和WINDOWS時代的系列作有相關聯嗎?
ZUN: There are a few contradictions in the story when putting the PC-98 and Windows games side by side, but I would take reference from the latest games to consider what is canon.
神主:如果把PC-98時代的作品和WIN時代的故事放在一起比較會有些矛盾點,但是我會以最新出的遊戲為系列(世界觀)的基準。


Q: What is your favorite beer?
問:你最喜歡的啤酒是?
ZUN: I get this question a lot. My answer is Kirin.
神主:我常常被問到這個握提,KIRIN。

Q: Moriya Shrine disappeared all of a sudden and were suddenly not involved. Did the events in Hopeless Masquerade have anything to do with it?
問:守矢神社突然間消失了,也不再參與事件了。心綺樓的異變和這個有關係嗎?
ZUN: There’s not really a particular reason. That’s my final answer. It’s not gone. I just haven’t included it recently.
神主:沒甚麼特別的理由,這是我的答案。守矢神社沒有消失,只是我暫時沒有理由讓她們登場罷了。

Q: When you see new fan art, games, or albums, how excited are you to know to see how it got so popular? How it is loved by many people from all over the world.
問:當你看到新的二創作品、遊戲、音樂專輯時,知道東方被這麼多人喜好,其中還包含來自世界各國人,是甚麼樣的感覺?
ZUN: I am very happy. I am absolutely blown away, and I just love that you guys love it.
神主:我非常高興,超級吃驚,而且愛死你們了。

Q: Which song, that doesn’t have to be you’re favorite, are you most proud of?
問:哪一首音樂是讓你感到最驕傲的?
ZUN: I’ve made a lot of music, hahaha. I don’t have a favorite, per se. If anything, the most recent songs I make tend to be my favorites.
神主:我製作了很多音樂,哈哈哈。我沒有哪一首說是最喜歡的。硬要說的話,我最喜歡的音樂就是我最近做的音樂。

Q: Earlier in the Opening Ceremonies [for Anime Weekend Atlanta] you mentioned that you were going to localize the Touhou games. Is there a set date?
問:早先在開幕式的時候,你有提到打算地區化東方遊戲,有什麼計畫了嗎?
ZUN: Like I said earlier, there aren’t any plans. I’m not opposed to it, but there are no plans to localize them right now. They could or could not be localized. Honestly, I make the games all by myself and I don’t know how to go about localizing them. If anything, I have noticed the English patches.
神主:就想我早先說的,還沒有任何計畫。我不是反對,只是現在沒有地區化的計畫。東方有可能地區化,也有可能沒辦法地區化。說實在,東方只有我一個人在製作,我也不知道該怎麼去做地區化。硬要說的話,可能就考慮英文化吧。



Q: Where do you come up with the insane bullet patterns for the games? I play them a lot and think, “I’m gonna make it! OH NO I’M DEAD!
問:你從哪邊想出這些瘋狂的彈幕模式的?我時常邊玩邊想:我可以的! 喔不,我又掛了。
ZUN: For the difficult modes I visually put them out there and make sure they’re flamboyant. After I make one, I see if I can clear it myself by trying again and again and again. If I don’t clear it I’ll just tone it down a bit.
神主:難度設計上,我是先做出視覺效果,然後把它做得更華麗,之後自己不斷的去嘗試,如果連我自己都沒辦法過的話就把難度往下調。

Q: Are there any characters that hold a special place in your heart?
問:哪個角色在你心中占有獨特的地位嗎?
ZUN: Hakurei Rin.
神主:博麗靈夢

Q: What do you think are the greatest challenges facing Independent game developers now?
問:你覺得獨立製作遊戲者最大的挑戰在甚麼地方。
ZUN: I think that the biggest challenge in general is that most Indie developers don’t learn from the games that came before them.
神主:我覺得現在獨立遊戲製作者普遍遇到最大的問題是,製作者沒有從已經出現的遊戲中學習到東西。

Q: Where do you buy your hats?
問:你在哪邊買帽子?
ZUN: I buy them from a lot of places like normal stores, flea markets, or nearby events. I just look around and buy the ones I like.
神主:我從很多地方買,像是:一般商店、跳蚤市場、拍賣會等,只要看到喜歡的就買下來。

Q: Has there ever been a fan character that you wanted to put in a later game? Possibly Maybell?
問:有想過將二創的角色放入之後的遊戲中嗎? 比如說:メイベル(注:葉庭筆下的自主人偶)
ZUN: Hmm… Well, I don’t really watch a lot of fan works because I don’t want to be influenced by them.
神主:恩..我實在沒有看很多的東方二創作品,因為我不想被這些作品給影響到。

Q: Do you have any advice towards any aspiring game designers?
問:有任何給予想成為遊戲創作者的建議嗎?
ZUN: It’s a simple answer. JUST DO IT.
神主:這個答案很簡單,做就對了。

Q: After seeing how much Touhou means to its fans, how does it influence your workload and your outlook on life?
問:看過東方對於眾多愛好者的意義之後,這對你的工作負擔和人生觀有什麼影響嗎?
ZUN: More than influencing my life, I feel like that the work has become a part of me. It’s all just me.
神主:比起影響我的生活,我更覺得東方已經是我生命中的一部分了。這就是我。

Q: Will you consider bringing back very old characters from the series?
問:有考慮讓舊角色(此指舊五作的角色)再次登場嗎?
ZUN: I won’t say no. There’s your answer.
神主:我不會說不。

Q: Have you ever considered taking some of your musical ideas and take them into orchestras, small bands, group ensembles, and etc?
問:有考慮將你的音樂以其他形式表現嗎,比如說:交響樂、小型樂團、團體合奏之類的?
ZUN: I don’t need to, because I have the fans do it for me.
神主:我不需要這麼做,因為愛好者們會這麼做。

Q: Letty Whiterock never fought at her full power. If she were to show her full strength, how strong would she be?
問:蕾蒂懷特洛克從來沒有全力戰鬥過,如果她全力戰鬥會有多強?
ZUN: There’d have to be a special incident/accident for this to occur.
神主:沒有會發生這種事的可能。

Q: If you could find yourself trapped in a hotspring with two of your favorite characters, who would it be?
問:如果你發現你和另外兩個角色被困在一個溫泉裡面,那會是誰呢?
ZUN: Give me a minute. *Drinks his beer* Marisa definitely and another weird character. Of course beer would have to be involved.
神主:等我一下(喝了一口啤酒),一定是魔里沙和另外一個奇怪的人。當然一定要有啤酒。

Q: Do you have a message to give to the fans?
問:最後有什麼話想對東方的愛好者們說的嗎?
ZUN: I honestly didn’t think that there would be this many people since Touhou isn’t available in North America. I’ve seen a lot of people in Touhou cosplays, but for some reason most of them seem to be men. I’ll be here all day tomorrow and Sunday. I’ll be wandering around so please say hi. In the meantime, I’ll try to learn English.
神主:我真的沒想到在場會有這麼多人,畢竟東方並沒有在北美販售。我有看到很多的東方COSPLAY,但是不知道為什麼大部分都是男性。我明天一整天和星期日都會在這裡。我會到處隨便亂晃,所以記得說嗨。同時我會儘量學一些英文。



2013年9月17日 星期二

舊遊戲的歷程與新遊戲的目標

以下只是一些單純的遊戲製作(注意,不是設計)的心路歷程,

第一款桌上遊戲東方暗影獵人是因為看到在網路上有人拿現有的暗影獵人題材製作,
因此自己也動手來製作一款,PHOTOSHOP也是在那個時候為了製作去學的。

第二款桌上遊戲東方信仰大作戰是因為秉持著全角色登場的概念,
找了能夠在遊戲中會出現大量獨特牌型的遊戲,剛好找到了銀河競逐,
所以就拿了這一款來模仿製作。
為了簡化規則還特地的整理了所有的卡牌,把所有能力列表之後簡化,
EXCEL表使用也是在那個時候突飛猛進的。
雖然說做好了最後分享還是失敗,畢竟整體還是過於複雜。

第三款的東方醉符宴,也就是現在市面上能夠看到的,算是一個怨念作品,
為了不只是山寨抄襲,當初花了一個禮拜每天14小時製作雛形,又花了半年做最終版。
也因為這個關係,我踏入了電子遊戲開發的領域。

勾玉忍者在我加入猴子靈藥的時候,就已經是幾乎成型的作品了,
當時主要的事情都是數學上的問題:
武器勾玉的售價、攻擊、敵人的攻擊、血量、速度、每一關卡的出兵組合等等,
EXCEL表在這個時候給了我很大的幫助,因為這些東西只要用一個東西去做基準就好,
"時間",所有的數值都是和時間綁定的,希望玩家持續玩多久、卡關卡多久之類的。
PHOTOSHOP則是在美術的部分幫忙併圖,讓美術能夠多點時間在設計圖面。
三個月後1.0版釋出,又過了一年2.0版本完成,不同的程度幾乎可以直接做2代了。

最近為了新的作品則是幾乎傷透了腦筋,依照討論的結果必須有以下幾點:
1.客群鎖定的是以前會花大量時間玩遊戲,但是現在沒那麼多時間玩遊戲的核心玩家。
2.一開始遊戲就必須是免費下載,所以必須把金流的部分與遊戲本體結合好。
3.遊戲依然必須符合我們獨立製作者的精神:具有特色的獨立原創遊戲。
4.這是個瞬息萬變的遊戲市場,製作時間必須縮短再縮短,半年是一個基本目標。
說起來當然是很簡單,但是做下去會是一個非常大的挑戰。

讓猴子靈藥團隊繼勾玉忍者之後再來挑戰看看吧。


2013年9月5日 星期四

與音樂人的聚餐

在遊戲的本質中,除了企劃、美術、程式之外,
不得不提的就是音樂音效的部分。
在和幫勾玉忍者製作音樂的旭章及馬克吃晚餐後,
才算是完整和勾玉忍者的所有製作者認識了。

音樂人真的是很有魅力的一群人,
相較於程式、美術、企劃來說,音樂給人有種更自由的感覺,
比起收益來說,他們更注重的是做的曲子本身能被多少人聽到。
不知怎麼著讓我想到神主這樣為了能夠讓大家聽到他的音樂,而去制做遊戲。
勾玉忍者在改版加入魔王戰和開頭動畫的時候,
幾天的時間BGM就完成了,而且還很搭,這是讓我最佩服音樂的地方。

修過了一點程式設計,大概了解程式的運作方式。
後來在補習班學電腦繪圖,大概了解美術的製作流程。
唯有音樂這個部分,我在怎麼樣也無法開始去了解怎麼去製作的吧...

另外還聽到了某國產OLG大作的八卦,
光是這個就能夠配上好幾碗白飯了。