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index Combat in Baldur's GateMore Than just Hack and Slash Personal Initiative Round, Speed factors, and Casting times The Attack Roll Critical Hits and Misses Improving the Odds in Combat Dexterity Modifiers for Missile Weapons Missile weapons in combat – Rate of fire Casting SpellsSpell Disruption Saving ThrowsSave vs. Paralyzation, Poison, and Death Magic Save vs. Rod, Staff, or Wand Save vs. Petrification or Polymorph Save vs. Breath Weapon Save vs. Spell Modifying Saving Throws Morale Combat Effects and RecoveryHealing and Hit PointsNatural Healing Magical Healing Raising the Dead Paralysis Poison Combat in Baldur s Gate As discussed above, Baldur’s Gate follows the AD D rule system closely. The main difference lies in the real-time adaptations to the personal initiative rounds. The computer takes care of most of the underlying rules, to allow you to become more immersed in the story and the world of the game. More Than just Hack and Slash As important as fighting is to the AD D game, it isn’t the be-all and end-all of play. It’s just one way for characters to deal with situations. If characters could do nothing but fight, the game would quickly get boring – every encounter would be the same. Because there is more to the game than fighting, we’ll cover much more than simple hack-and-slash combat here. In addition to explaining the basic mechanics of hitting and missing, there are rules for turning undead, special ways to attack and defend, poison, heroic feats, and more. Remember that we follow a modified round based system – as described below. Everyone (characters, NPC’s, monsters) is on their own personal initiative rounds. Any time you want you can pause the game (click on the clock or hit the space bar) and assign commands – then restart the game by unpausing, in the same way. Personal Initiative Round, Speed factors, and Casting times In Baldur’s Gate, to allow for the realtime based combat and movement, each character and monster is on an independent personal initiative round, which is six seconds long. Within the personal initiative round, all of the rules of the AD D game are used, including speed factors for weapons and casting time for spells. For higher level characters who can attack more than once per round with a given weapon, the speed factor of the weapon determines when exactly in the six second round the attacks will occur. Speed factors are numbers between 1 and 10 (indicating 1/10 of a round and 10/10ths of a round respectively for a character that can attack once per round with a weapon). Casting times for priests and wizards are exactly analogous to speed factors of weapons – the casting times are between 1 and 10, and represent how quickly a mage or priest can release a spell (the lower the number, the faster the cast, just as for speed factors). Initiative is determined by a combination of ability, situation, and chance. In Baldur’s Gate initiative is used as a random variation on how quickly characters can initiate their attacks or spells. It adjusts the speed factor of a spell or weapon slightly. Armor Class (AC) is the protective rating of a type of armor. Armor provides protection by reducing the chance that a character is attacked successfully (and suffers damage). Armor does not absorb damage, it prevents it. A fighter in full plate mail may be a slow-moving target, but penetrating his armor to cause any damage is no small task. Armor Class is measured on a scale from 10, the worst (no armor), to less than zero. The lower the number, the better (armor classes less than -10 occur only with very powerful magical armors). Shields and helmets can also improve the AC of a character. Abilities and situations can also affect a character’s Armor Class. High Dexterity gives a bonus to Armor Class, for example. THACO is an acronym for ”To Hit Armor Class 0.” This is the number a character, NPC, or monster needs to attack an Armor Class 0 target successfully. THACO depends on a character’s class and level. The THACO number can be used to calculate the number needed to hit any Armor Class. At the heart of the combat system is the Attack Roll, the die roll that determines whether an attack succeeds or fails. The number a player needs in order to make a successful attack roll is also called the “to hit” number, which is determined by the computer by taking a character’s THACO and adjusting according to the Armor Class of the target. Attack rolls are used for attacks with swords, bows, rocks, and other weapons, as well as blows from fists, and other hand-to-hand attacks. In Baldur’s Gate the ”to hit” roll is done behind the scenes for you – if your character is successful, he hits – if not, he swings and misses. The Attack Roll When an attack is made, the Armor Class of the opponent being attacked is subtracted from the THAC0 of the attacker. The resulting number is the what the attacker must ‘roll’ in order to hit the opponent. This “roll of the die” is done with a d20, or twenty sided die, resulting in a number between 1 and 20. If the attacker rolls the number necessary or higher, then the attack is successful, and damage is done. If the attack is unsuccessful, then the attacker missed completely or was unable to penetrate the opponent’s armor. For example, a 3rd-level fighter fighter has a THAC0 of 18. He is attacking a hobgoblin with an AC of 5. The AC of the hobgoblin is subtracted from the THAC0, giving a “to hit” number of 13. If the fighter rolls a 13 or higher on the twenty-sided die, he hits successfully and does damage. Critical Hits and Misses If a character rolls a ‘natural’ 20 to hit (that is, the attack roll before modifiers are applied is a 20) then a critical hit occurs and damage for that attack will be doubled. A roll of ‘natural’ 1 is considered a critical miss and imposes a time penalty on the character to recover. Regardless of Armor Class, a ‘natural’ 20 always hits, a ‘natural’ 1 always misses. Improving the Odds in Combat In combat, many factors can modify the number a character needs for a successful hit. These variables are reflected in modifiers to the to-hit number or to the attack roll. Strength Modifiers A character’s Strength can modify the die roll, altering both the chance to hit and the damage caused. This modifier is always applied to melees and attacks with hurled missile weapons (a dagger or an axe). Magical items The magical properties of a weapon can also modify combat. Items that impart a bonus to the attack roll or Armor Class are identified by a plus sign. For example, a sword +1 improves a character’s chance to hit by one and inflicts +1 damage if the attack is successful. A suit of chain mail +1 improves the Armor Class of the character by one beyond normal, “non-magical” chain mail (which means you subtract one from the character’s AC, changing an AC of 5 to an AC of 4, for example). Cursed items have a negative modifier (a penalty), resulting in a subtraction from the attack roll or an addition to Armor Class. There is no limit to the number of modifiers that can be applied to a single die roll. Nor is there a limit to the positive or negative number (the total of all modifiers) that can be applied to a die roll. Dexterity Modifiers for Missile Weapons Dexterity affects the character’s ability to attack with a missile weapon. Like Strength modifiers, higher Dexterity will increase the chances to hit, lower Dexterity will lessen the chances of attacking effectively. Dexterity only affects the chances to hit and does not affect the amount of damage inflicted by a missile weapon. Missile weapons in combat – Rate of fire Bows, crossbows, and many other missile weapons have different rates of fire (ROF) – the number of missiles they can shoot in a single round. Arrows can be notched and let loose at a rate of up to two shots per round. Some weapons (such as heavy crossbows) take a long time to load and can be fired only once every round. Darts can be hurled at a rate of several per round. Whatever the ROF, multiple missile shots are handled the same way as other multiple attacks for the purposes of determining initiative. The ROF of each missile weapon is listed in the Weapons Tables on page pg 141. Casting Spells Both wizards and priests use the same rules for casting spells. To cast a spell, the character must first have the spell memorized. If it is not memorized, the spell cannot be cast. The caster must be able to speak (not under the effects of a Silence spell or gagged) and have both arms free (not paralyzed, for example). If the spell is targeted on a person, place, or thing, the caster must be able to see the target. It is not enough to cast a Fireball 150 feet ahead into the darkness; the caster must be able to see the point of explosion and the intervening distance. Once the casting has begun, the character must stand still. (If you choose not to have a spell caster cast a spell after you have selected the spell, but before you have selected a target, you can R-click to cancel the spell and it will not be lost from memory.) Spell Disruption If the spellcaster is struck by a weapon or fails to make a saving throw before the spell is cast, the caster’s concentration is disrupted. The spell is lost in a fizzle of useless energy and is wiped clean from the memory of the caster until it can be rememorized. Spellcasters are well advised not to stand at the front of any battle, at least if they want to be able to cast any spells! Saving Throws Saving Throws are measures of a character’s resistance to special types of attacks – poisons, magic, and attacks that affect the whole body or mind of the character. The ability to make successful saving throws improves as the character increases in level. If a saving throw is made this may reduce damage or prevent the effects of a spell or attack entirely. Some spells (e.g. the Protection spells) greatly improve saving throws against different type of attacks. Save vs. Paralyzation, Poison, and Death Magic This is used whenever a character is affected by a paralyzing attack (regardless of source), poison (of any strength), or certain spells and magical items that otherwise kill the character outright (as listed in their descriptions). Save vs. Rod, Staff, or Wand As its name implies, this is used whenever a character is affected by the powers of a rod, staff, or wand, provided another save of higher priority isn’t called for. Save vs. Petrification or Polymorph This is used any time a character is turned to stone (petrified) or polymorphed by a monster, spell, or magical item (other than a wand). Save vs. Breath Weapon A character uses this save when facing monsters with breath weapons, particularly the powerful blast of a dragon. Save vs. Spell This is used whenever a character attempts to resist the effects of a magical attack, either by a spellcaster or from a magical item, provided no other type of saving throw is specified. This save can also be used to resist an attack that defies any other classification. Modifying Saving Throws Saving throws can be modified by magical items, specific rules, and special situations. These modifiers can increase or decrease the chance of a successful saving throw. Magical items like cloaks and rings of protection give bonuses to a character’s saving throw. Magical armor allows a saving throw bonus only when the save is made necessary by something physical, whether normal or magical. Specific spells and magical items have effects, both good and ill, on a character’s saving throws. Some spells force the victim to save with a penalty, which makes even the most innocuous spell quite dangerous. (Specific information can be found in the spell descriptions below.) Morale Each creature has a base morale level that affects whether it fights or runs during a battle. The only character that is unaffected by morale is the first character you create – other characters joining your party have morale dialogue and scripts. Every creature is scripted to react somewhat differently when morale breaks – and often they will break at different levels of morale, or choose different types of attack depending on what the current morale level is (melee if morale is high, ranged attacks if morale is lower, for example). Each creature has a recovery time which indicates how long it takes for that creature’s morale to return to its base level – if someone’s morale fails, it will slowly creep back to the baseline. If someone in your party fails a morale check their selection circle will turn yellow (from green). Morale is positively influenced by having a leader (the topmost character in the portraits) with high Charisma, by the environment that the creature is located in (e.g. kobolds and drow like being underground more than they do wide open spaces outside), by some spells (e.g. Remove Fear), and by the type of enemies that are visible (easy enemies will raise morale). Morale is negatively influenced by factors such as being attacked by powerful magic, by seeing someone in the party killed or knocked unconscious, by losing a lot of hit points, or by spotting a difficult foe. Combat Effects and Recovery Damage, wounds, and death are what can happen to a character when an opponent attacks him successfully. Damage can also occur as a result of poison, fire, falling, acid, and by trying anything even remotely dangerous in the real world. Damage from most attacks is measured in hit points (hp). Each character has a current hit point total and a maximum hit point total. Each time a character is hit, he suffers points of damage. These points are subtracted from the character’s current hit point total. When this reaches 0, the character is dead. If one of your characters suffers massive damage, he or she will be forever dead, beyond hope of resurrection. Healing and Hit Points Once a character is wounded, the player should naturally want to get him healed. Characters can heal either by natural or magical means. Natural healing is slow, but it’s available to all characters, regardless of class. Magical healing may or may not be available, depending on the presence (or absence) of spellcasters or magical devices. The only limit to the amount of damage a character can recover through healing is the maximum hit points the character has. (Note some necromantic spells can improve maximum hit points, but only for a limited period of time.) Natural Healing Characters heal naturally at a rate of several hit points per period (eight hours) of rest. Rest is defined as low activity. If a character rests in a comfortable room in an inn, he or she will recover progressively more hit points the better the room – but of course this costs more. Camping in the wilds will allow for memorization of spells, but will not allow many hit points to be regained. Resting is only possible when there are no enemies within visible range of your party – if there are, you must move away, or make them your friends (Charm, dialogue, etc.) before you can rest. Some creatures may attack your party while resting; if this happens, you will not heal or memorize spells. Magical Healing Healing spells, potions, and magical devices can speed the process of healing considerably. The specifics of such magical healing methods are described in the spell descriptions below. By using these methods, wounds close instantly and vigor is restored. The effects are immediate. Magical healing is particularly useful in the midst of combat or in preparation for a dangerous encounter. Remember, however that the characters’ opponents are just as likely to have access to magical healing as the characters – an evil high priest is likely to carry healing spells to bestow on his own followers and guards. Healing occurs to the maximum hit point total for a given character only, never beyond this. Raising the Dead Curative and healing spells have no effect on a dead character – he can only be returned to life with a Raise Dead or Resurrection spell (or a device that accomplishes one of these effects). A newly raised character will be quite weak (one hit point) and will require additional healing to be effective in combat. Paralysis A character or creature affected by paralysis becomes totally immobile for the duration of the spell’s effect. The victim can breathe, think, see, and hear, but he is unable to speak or move in any manner. Poison A character or creature that is attacked with a poisoned weapon or by a venomous creature must make a saving throw vs poison. Depending on the type of poison, this saving throw will either negate the effects of the poison or lessen them. Poisons are usually deadly within hours, so finding quick treatment is recommended.
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The purpose of this section is to give people an outline of things that they should do in order to create a multiplayer map and get it working properly. Step 1 Create map geometry in Radiant The first step is to create some sort of map geometry for the gameplay to take place in. The more details you have sorted out about what you re making before you open Radiant, the better. Know the locale, the theme, and the kind of gameplay flow that you want. Iteration is key to making a good MP map, but having a good plan beforehand will save you lots of time in the long haul. Use this Radiant Basics tutorial to get you started with the map creation. 第１ステップは起きるべきゲームプレイのためのある種のマップジオメトリを作るはずです。あなたがあなたがあなたの前に何をしているかについて分類したディテールが明るくて、もっと良く開けるさらに多く。現場、主題とあなたが欲する種類のゲームプレイフローを知ってください。繰返しは良いＭＰマップを作ることへの鍵です、しかしあらかじめ良い計画を持っていることはあなたにとってロングホールでのたくさんの時間を節約するでしょう。 この明るい基礎学習をマップ生成であなたが始められるようにするために使ってください。 Radiant Basics Step 2 Set up the map for MP Once you have geo to a playable state, you re going to want to set it up for gameplay ASAP. Don t focus on detailing geo out before the gameplay is exactly as you want it. This MP Mapping tutorial describes how to implement the items from this section. あなたがプレーすることができる状態に geo を持っている途端に、あなたはゲームプレイ陸軍科学顧問団に適格でそれを設定することを望もうとしています。あなたがそれを欲するように、ゲームプレイが正確にである前に、外に geo を詳述することに焦点をあてないでください。 このＭＰマッピング学習はどれほどこの項からインプリメント、アイテム、までか記述します。 MP Mapping The following is required to set up a MP map s gameplay 次のことがＭＰの上にマップのゲームプレイを設定することを必要とされます： Place a global_intermission entity (Spectator location during scoreboard) Set up Free-For-All Set up Team Deathmatch Set up Domination Set up Sabotage Set up Search and Destroy Set up Headquarters Set up Old-School Mode Create a Radar map image (Required for UAV and air strikes) Set up helicopter paths (Required for helicopter strikes) Step 3 Add reflection probes At least one reflection probe is necessary to prevent the compiled map from being tinted red. More are recommended for accurate reflections in-game. The following section talks about reflection probes more in-depth. 少なくとも１本の反射プローブが編集されたマップが赤く色づけられるのを阻止するために必要です。さらに多くがゲーム内正確な反射のために推薦されています。次の項はいっそう深く反射プローブについて話をします。 Reflection Probes Step 4 Create a load screen A custom load screen isn t necessary for operation of the map, but the alternative is for the ugly default texture to show whenever your custom map is loaded. To avoid that, follow this tutorial on load screen creation. カスタムロードスクリーンがマップのオペレーションに必要ではありません、しかし、あなたのカスタムマップがロードされるときはいつでも、選択肢は見せるべき醜いデフォルトテクスチャのためです。それを避けるために、フォローがこの学習後にスクリーン生成をロードします。 Making a custom MP load screen Step 5 Create .GSC (Game script files) The level.gsc is needed in order for MP maps to run properly. Other .gsc files can also be added to control various other things. This section covers the various .gsc files used for multiplayer maps. level.gsc はＭＰマップが適切に走るために必要とされます。他の .gsc ファイルはさまざまな他のことをコントロールするために同じく加えられることができます。この項はマルチプレ-ヤーマップのために使われた種々の .gsc ファイルをカバーします。 MP Game Script Files Step 6 Create .CSV (Zone files) Zone Files load items into memory that the map requires, like sounds, effects, script files, images, etc. This section covers how to set up the .csv files used for multiplayer maps. 区間ファイルはマップが音、効果、スクリプトファイル、イメージ、などのように、必要とするメモリの中にアイテムをロードします。この項はどのように .csv の上にマルチプレ-ヤーマップのために使われたファイルを設定するべきかを取り扱います。 MP Zone Files Step 7 Compile and run map Once everything above is done, you simply need to compile the map and you re set for some multiplayer action in your own custom map! Check out the following tutorial on compiling maps in order to do this. 上のすべてがされる、あなたがただマップを編集する必要がある、そしてあなたが設定される途端にあなた自身のカスタムマップで若干のマルチプレ-ヤーの行動のためですか！ これをするためにコンパイルマップの上に次の学習をチェックしてください。 Compile Tools Step 8 (optional) Add a .vision file Coming soon. (Original "http //www.infinityward.com/wiki/index.php?title=MP_Map_Checklist") 名前 すべて読む
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Colisee de Quebec, Quebec, Canada, January 5, 1998 ■A Wild Hoarse in Quebec (2CD) Montserrat Records BRCD 1916/1917 Madison Square Garden, New York City, New York, January 14, 1998 ■Back to the Garden (2CD) VGP-165 Madison Square Garden, New York City, New York, January 16, 1998 ■Welcome to the Madison Square Garden VIP Loungr (2CD) VGP-166 Madison Square Garden, New York City, New York, January 17, 1998 ■Sweet Home New York City (2CD) Crystal Cat Records CC 450-51 ■Divorcee in New York City (2CD) VGP-167 ■M.S.G. III Remastered (2CDR) Sister Morphine Records MORPH 08 Aloha Stadium, Honolulu, Hawaii, January 23, 1998 ■Inside the Rainbow (2CD) VGP-182 ■Live at Aloha Stadium, Honolulu, Hawaii, January 23, 1998. (2CD) SRS Records Aloha Stadium, Honolulu, Hawaii, January 24, 1998 ■Hawaiian Holiday 1998 (2CD) VGP-168 ■Live at Aloha Stadium, Honolulu, Hawaii, January 24, 1998. (2CD) SRS Records Rose Garden, Portland, Oregon, January 30, 1998 ■Already Over Me (2CD) VGP-197 Rose Garden, Portland, Oregon, January 31, 1998 ■Bridges to Oregon (2CD) VGP-171 ■Live at Rose Garden, Portland, Oregon, January 31, 1998. (2CD) SRS Records Qualcomm Stadium, San Diego, California, February 3, 1998 (Soundboard Recording) ■Stoned in San Diego 1998 (2CD) VGP-170 1st-issue ■Stoned in San Diego 1998 (2CD) VGP-170 2nd-issue ■San Diego 98 (2CD) Dandelion DL 020/21 ■Second Year in Babylon (2CD) BABY 98A/B ■Thiefs in the Night (2CD) RS-002/3 ■California Dreaming (2CD) Hollywood Nights HN003/004 ■Radio San Diego 98.3 FM (2CDR) Sister Morphine Records MORPH 03 ■The Rolling Stones Concert Special (3CD) Westwood One Entertainment Compaq Center A.K.A., The Summit, Houston, Texas, February 12, 1998 ■Texan Troubadours (2CD) VGP-181 The Joint, Hard Rock, Las Vegas, Nevada, February 15, 1998 ■Where s the Joint? (2CD) VGP-185 Tokyo Dome, Tokyo, Japan, March 12, 1998 ■Far East 98 (12CD/disc 1, 2) VGP-176 ■Bridges to Babylon Japan Tour 1998 / Bitch (2CD) 0312-1/2 Tokyo Dome, Tokyo, Japan, March 14, 1998 ■Far East 98 (12CD/disc 3, 4) VGP-176 ■Bridges to Babylon Japan Tour 1998 / Star Fucker (2CD) 0314-1/2 ■Saturday Night Star Fucker (2CDR) no credit Tokyo Dome, Tokyo, Japan, March 16, 1998 ■Far East 98 (12CD/disc 5, 6) VGP-176 ■Bridges to Babylon Japan Tour 1998 / Shine A Light (2CD) 0316-1/2 Tokyo Dome, Tokyo, Japan, March 17, 1998 ■Far East 98 (12CD/disc 7, 8) VGP-176 ■Bridges to Babylon Japan Tour 1998 / Memory Motel (2CD) 0317-1/2 Osaka Dome, Osaka, Japan, March 20, 1998 ■Far East 98 (12CD/disc 9, 10) VGP-176 ■Bridges to Babylon Japan Tour 1998 / Time is on My Side (2CD) 0320-1/2 ■Time is on West Side (2CDR) no credit Osaka Dome, Osaka, Japan, March 21, 1998 ■Far East 98 (12CD/disc 11, 12) VGP-176 ■Bridges to Babylon Japan Tour 1998 / I Just Want to Make Love to You (2CD) 0321-1/2 Compilation■...You Get the Best of Me (2CD) RR 013/14 River Plate Stadium, Buenos Aires, Argentina, March 30, 1998 (Soundboard Recording) ■Bridges to Argentina (2CD) DR 25766-2/25767-2 ■Argentina 98 (2CD) Arts Entertainement A 19710612-05 E ■1998 Nervous Breakdown (1CD) VGP-177 Samba Park, Rio de Janeiro, Brazil, April 11, 1998 (Soundboard Recording)■Rio 98 (2CD) RR 017/18 ■Real Stereo / Rio de Janeiro (2CD) Stones of Fire SOF 9006 ■Old Friends from Rio (2CD) VGP-180 ■Stoned in Rio de Janeiro (2CDR) Sister Morphine Records MORPH 02 ■Bob Dylan Los Rolling Stones (2CD) VGP-198 ■They ll Stone You in Rio de Janero, Too (2CDR) Sister Morphine Records MORPH 02-S Molson Center, Montreal, Quebec, Canada, April 19, 1998 ■Spring Time in Montreal (2CD) Montserrat Records BRCD 1919/20 Molson Center, Montreal, Quebec, Canada, April 20, 1998 ■Having a Swell Time in Montreal (2CD) Montserrat Records BRCD1921/22 United Center, Chicago, Illinois, April 23, 1998 ■Keef in the Night (2CDR) Coast 2 Coast C2C 02 Skydome, Toronto, Ontario, Canada, April 26, 1998 ■Love in Vain in Toronto (2CDR) Coast 2 Coast C2C 03 Zeppelinfeld, Nuernberg, Germany, June 13, 1998 ■Ribs to Winkles (2CD) Dandelion DL 048/49 ■Welcomeback Keef! (2CD) VGP-184 ■Started Up... at Last! (2CDR) Memory Motel Records MM-06 Festival Site, Werchter, Belgium, June 21, 1998 ■Gold n Glory (2CD) Dandelion DL 050/051 Rheinstadion, Dusseldolf, Germany, June 24, 1998 ■Ich Mochte Euch Bis Nach Koln Holen (2CD) VGP-216 Expo Gelaende, Hannover, Germany, June 26, 1998 ■Hannover 98 (2CD) RR 020/21 ■One Day in June 1998 (2CD) VGP-189 Amsterdam Arena, Amsterdam, Netherlands, June 29, 1998 ■Came to Rock the Arena (2CD) VGP-191 Amsterdam Arena, Amsterdam, Netherlands, July 1, 1998 ■Babylon Four on the Floor (2CD) VGP-192 Amsterdam Arena, Amsterdam, Netherlands, July 2, 1998 ■Check Out What s Rolling (2CD) VGP-193 Amsterdam Arena, Amsterdam, Netherlands, July 5, 1998 ■Rock n Roll Avalanche (2CD) VGP-194 Amsterdam Arena, Amsterdam, Netherlands, July 6, 1998 ■The Best Fight in Amsterdam (2CD) VGP-195 ■It s Only Live (2CD) Optimum 24/25 ■Five Nights in Amsterdam Arena (3CD) no credit Flugfeld Wiener, Neustadt, Austria, July 11, 1998 ■Bridges to Vienna (2CD) no credit ■Has Anybody Seen Us? (2CD) TMQ 11798 Puerto de Malaga, Malaga, Spain, July 16, 1998 ■Spain 98 (2CD) RR 022/23 Balaidos, Vigo, Spain, July 18, 1998 ■Vigo (2CD) VGP-196 Olympic Stadion, Barcelona, Spain, July 20, 1998 ■Bridges to Barcelona (2CD) no credit Stade de France, Paris, France, July 25, 1998 (Soundboard Recording) ■Paris 98 (2CD) RS 98 ■Mick s Birthday Party at World s Champion Stadium (2CD) VGP-200 ■Champions Du Monde (2CD) THF-001 Parkstadion, Gelsenkirchen, Germany, July 27, 1998 ■Out of Control (2CD) no credit Olympic Stadium, Helsinki, Finland, August 5, 1998 ■Bridges to Northern Lights 1998 (2CD) Idol Mind Production IMP-N-011 Luzhniki Stadium, Moscow, August 11, 1998 ■Live in Moscow, Luzhniki Stadium, August 11, 1998. (2CD) SRS Records Slaski Stadium, Chorzow, Poland, August 14, 1998 (Soundboard Recording) ■Poland 1998 (2CD) RSP 001/2 ■Chorzow 1998 (2CD) VGP-201 Prague Sport Hall, Prague, Czech Republic, August 22, 1998 ■Praha 1988 (2CD) Dandelion DL 052/53 ■Prague 22.08.98 (Matrix) (2CD) no credit Olympia Stadion, Berlin, Germany, August 26, 1998 ■Still Younger than the Queen (2CD) VGP-207 Festwiese, Leipzig, Germany, August 28, 1998 ■Willkommen in Leipzig (2CD) VGP-208 ■Leipzig 1998 (2CD) RSL 001/2 ■Hours in the Hairdresser s Gone to Rain (2CDR) Coast 2 Coast C2C 08 Trabrennbahn Bahrenfeld, Hamburg, Germany, August 30, 1998 ■Welcome to the Rolling Stones (2CD) VGP-209 ■Bridges to Bahrenfeld (2CD) RS 3008981-2 Weserstadion, Bremen, Germany, September 2, 1998 (Soundboard Recording)■You Got Me Rocking (2CD) Dandelion DL 054/55 ■Die Bremer Stadmusikanten (2CD) VGP-202 ■Bremen 1998 (2CD) 090298 ■Rockin the House Down in Bremen (2CDR) Sister Morphine Records MORPH 05 ■Bridges to Bremen (2CD) RS 0209981-2 ■More Bad Security (1CD) Red Devil RED010 Globen, Stockholm, Sweden, September 8, 1998 ■Sweet Home Stockholm (2CD) Crystal Cat Records CC 467-68 Waldbuhne, Berlin, Germany, September 10, 1998 ■Babylonian Knights (2CD) Dandelion DL 070/71 ■Circus at Waldbuhne (2CD) VGP-210 Maimarkt, Mannheim, Germany, September 12, 1998 ■The Rolling Stones Over Germany (2CD) VGP-213 Olympic Stadium, Athens, Greece, September 16, 1998 ■Greek Me Up All Night (1CD) Risk Disc 002 Ali Sami Yen Stadium, Istanbul, Turkey, September 19, 1998 (Soundboard Recording) ■Wild Turkey (1CD/12 Tracks) VGP-341 Compilation ■Web Choices (1CD) LC 9713 ■Amsterdam Arena 1998 (3CDR) Dandelion DL 056/058, June 29, July 1, 2, 5, 6, 1998 BACK / NEXT
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【Tags Miku Poki tW K】 Original Music title ココロト English music title With The Heart Romaji music title Kokoroto Music Lyrics written, Voice edited by ぽき (Poki) Music arranged by ぽき (Poki) Singer(s) 初音ミク (Hatsune Miku) Click here for the original Japanese Lyrics Romaji lyrics (transliterated by motokokusanagi2009)： anata no oto ga uso ni nattemo tonari ni oite kanaderu oto ga ima o tokashite usure saseru kara imi dake kotoba dake sore dake datta nara anata no omowaku mo mujaki ni utaetarō koe sae neiro sae ubaware nakattara setsunano melody ni futari o kasanetarō netsuki no warui omoide tachi de anata o tsukutte kawaranu mama de ano hi no mama de iki o tometa nda shizukani shizukani kazukare nai yōni kasukani kasukani furueta kokoro dake imi dake kotoba dake sore dake datta nara anata no omowaku mo mujaki ni utaetarō koe sae neiro sae ubaware nakattara setsunano melody ni futari dake []
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【Tags 40meterP Gumi Y tS tT】 Original Music Title ヤクソクの種 Seeds of Promises (Yakusoku no Tane) Music Lyrics written, Voice edited by 40㍍P (40meterP) Music arranged by 40㍍P (40meterP) Singer Gumi (Megpoid) Click here for the Japanese Lyrics English Lyrics (translated by animeyay)： In a faraway place where not even light can reach, there were some nameless flowers. I heard that they would bloom into beautiful flowers whenever a promise was fulfilled. The seeds of words ride on the wind to this place, and grow into green sprouts again this year. The flowers bloom extravagantly without being loved by anyone. Your tears will probably become raindrops and embrace those flowers. Their meager wish believes that they will eventually bloom grandly far and wide. I entrusted my words to the starless sky "Someday I will go meet you." That promise, covered in wounds, sends its seed into the wind, which disappears into the sky. In a faraway place where not even light can reach, there were some nameless flowers. I heard that they would wilt and perish away whenever a promise was broken. Those flowers, having withered, become the wind and return to the people who originally gave the words, so that those promises would not end up being forgotten completely someday. Your smile will probably become the sun and shine over those flowers. Their meager wish believes that they will eventually bloom grandly far and wide. The words that I entrusted to the starless sky were still inflicting pain upon me even now. That promise, covered in wounds, sends its seed towards me. I entrusted my words to the starless sky and made a vow to my heart. That promise, covered in wounds, sends its seed into the wind, which disappears into the sky. In a faraway place where not even light can reach, there were some nameless flowers. I heard that they would bloom into beautiful flowers whenever a promise was fulfilled. Romaji lyrics (transliterated by animeyay)： hikari mo todokanai tooi basho ni namae sae shiranai hana ga arimashita dareka ga yakusoku o mamoru tabi ni kirei na hana o sakaseru to kikimashita kotoba no tane ga soyokaze ni notte kotoshi mo kono basho de aoku mebukimasu utsukushiku sakihokoru sono hana wa dare ni aisareru koto naku anata no namida wa ame ni natte sono hana o tsutsunde kureru deshou chiisana negai wa haruka tooku sakihokoru toki o shinjite hoshi no nai sora ni kotoba o azuketa "itsuka boku ga mukae ni yuku yo" to kizu dareke no sono yakusoku no tane wa kaze ni fukarete sora e kiesatte yuku hikari mo todokanai tooi basho ni namae sae shiranai hana ga arimashita dareka ga yakusoku o yaburu tabi ni kareochite kiete shimau to kikimashita kareochita sono mi wa kaze ni natte kotoba o unda hito no moto e kaerimasu musunda yakusoku ga itsu no hi ni mo wasurerarete shimawanu you ni anata no egao wa taiyou ni nari sono hana o terashite kureru deshou chiisana negai wa haruka tooku sakihokoru toki o shinjite hoshi no nai sora ni azuketa kotoba wa ima mo boku o kurushimasete ita kizu darake no sono yokusoku no tane wa itsuka boku no moto e to hoshi no nai sora ni kotoba o azuketa boku wa boku no kokoro ni chikatta kizu darake no sono yakusoku no tane wa kaze ni fukarete sora e kiesatte yuku hikari mo todokanai tooi basho ni namae sae shiranai hana ga arimashita dareka ga yakusoku o mamoru tabi ni kirei na hana o sakaseru to kikimashita [40m-P, 40mP, 40meter-P, K, 40meterP]
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Entrevista com produtor (ou quase) de Apollo Justice Ace Attorney http //hadouken.wordpress.com/2008/02/28/entrevista-com-produtor-ou-quase-de-apollo-justice-ace-attorney/ ブラジルのゲームサイトの方が、カプコンUSAマーケティングマネージャーのColin Ferris氏へのインタビューを行い、ポルトガル語に翻訳したもの。（ブラジルはポルトガル語圏） ポルトガル語翻訳http //translation.infoseek.co.jp/?ac=Web lng=pt こちらで機械翻訳したものを若干修正。 （ポルトガル語が解る方の訂正募集） Hadouken Por que vocês decidiram trocar o personagemprincipal da série Ace Attorney? Como os fãs vêmreagindo a esta mudança?Hadouken： なぜ、Ace Attorneyシリーズの主役を変えることに決めましたか？ Colin Ferris O universo da série Ace Attorney é tão rico em personagens que quisemos dar aos gamers a oportunidades de ver este mundo por um diferente par de olhos. Até agora, as reações têm sido fantásticas. Os fãs estão adorando Apollo Justice e como ele vai tropeçando pelo caminho na estréia como novato. Até me perguntaram se a Capcom lançaria um programa de treinamento vocal “Chords of Steel”![NE O mesmo usado pelo protagonista no game]Colin Ferris：Ace Attorneyシリーズの世界は、我々が1対の異なる目についてこの世界を参照する機会にゲーマーに与えたかったように、キャラクターが豊富です。今まで、ファンの反応は素晴らしかったです。ファンはApollo Justiceを崇拝しています、そして、彼の様に、それは初心者として初日に道のためにつまずきに行っています。カプコンが声の「鋼のような感情」を訓練するプログラムを開くならば彼らが私に聞くまで！ Hadouken Uma grande característica dos casos de Phoenix Wright era o auxílio espiritual das integrantes da família Fey. Que elementos de jogabilidade e narrativa foram implementados para compensar a ausência desta ajuda do outro mundo?Hadouken： Phoenix Wrightのケースの大きな特徴は、Fey（綾里）一族のメンバーの精神的な助けでした。 jogabilidade要素と物語が補償するために組み込んだものは、他の世界のこの援助の欠如でしたか？ Colin Apollo Justice possui habilidades únicas para compensar a falta de ajuda spiritual que existe nos jogos passado. Não apenas sua assistente, Trucy, usa mágicas para distrair o tribunal quando necessário, Apollo tem truques novos nas mangas. Ele pode notar sutis detalhes de linguagem corporal, como no pôquer, que lhe permitem saber quando alguém está mentindo.Colin Ferris： Apollo Justiceは、ゲームの中に存在する援助霊力の不足に補償する能力だけを備えています。彼はアシスタントに汗をかかせません、Trucy、magicsは必要に応じて裁判所を散らします、Apolloには新しいトリックがあります。彼は、ポーカーの場合のように、誰かが存在しているとき、あなた/彼らが彼/彼女を知らせておく微妙な詳細に気がつくことができます。 Hadouken Devo confessar ver Ema Skye em Apollo Justice foi uma grande surpresa. Quando ela foi criada para o caso especial no remake para DS do primeiro Ace Attorney já estava planejado que ela iria aparecer em Apollo Justice?Hadouken： Apollo JusticeでEma Skyeを見ることは、大きな思いもかけないことでした。彼女はApollo Justiceの中に現れることがすでに計画されていましたか？ Colin Conforme o universo Ace Attorney cresce, não queremos esquecer dos personagens do passado. Só porque ele não está no último Ace Attorney quer dizer que não aparecerá no futuro. Quanto a Ema, nós adoramos ela e ficamos muito felizes em trazê-la de volta com um papel maior em Apollo Justice.Colin： Ace Attorneyシリーズの世界が成長しましたが、我々は過去のキャラクターを忘れたくありません。我々は彼女を敬慕しました、そして、我々はApollo Justiceの中により大きな成長とともに彼女を連れてくる際に非常に幸せでした。 Hadouken Apesar de o hardware Nintendo DS ser amplamente superior ao do Game Boy Advance – para o qual foi lançada originalmente a primeira trilogia Ace Attorney no Japão – Apollo Justice não apresenta um grande salto qualitativo em termos de gráficos e som? Por quê?Hadouken：完全に優れているニンテンドーDSというハードウェアにもかかわらず、ゲームボーイアドバンスのシリーズに比べてなぜApollo Justiceは、グラフと音に関して大きな質的な進化を提示しませんか？ Colin Ace Attorney tem um visual e ambientação únicas que não desejamos mudar. Tendo dito isto, há diversas mudanças sutis que são novidades. Desde as recriações 3D das cenas de crime até os novos instrumentos legistas que deve-se aprender a usar, nós focamos em expandir a jogabilidade para combinar com as características únicas que o DS oferece. Meu pessoal favorito é quando as pessoas me olham estranho no trem quando grito “Objection!” para o meu Nintendo DS.Colin： Ace Attorneyは、我々が変わって欲しくなかった観察とambienta oだけを持っています。これを言って、革新であるいくつかの微妙な変化が、あります。 犯行現場の3Dからそれが利用する博識な方法でなければならない新しい器具法律専門家まで、我々はDSが提供する唯一の特徴と組み合わさるためにjogabilidadeを拡大する際に焦点に集まりました。 Hadouken Como foi o processo de localização de Apollo Justice? Houve algum termo ou diálogo específico que foi difícil de adaptar?Hadouken： 翻訳は大変でしたか？ いくらかの語または特定の対話がありました、何が適応させるのが難しかったです？ Colin O time de localização de Apollo Justice é excelente. Tendo trabalhado em diversos jogos japoneses no passado, digo honestamente que eles são a melhor equipe com quem já trabalhei.Colin： Apollo Justiceの翻訳のチームは、素晴らしいです。 過去にいくつかの日本のゲームにおいて働いて、私は彼らが私がすでに働いた最高のチームであると正直に言います。 Hadouken Falando sobre o futuro a produtora Minae Matsukawa já confirmou que vem aí um quinto episódio da série Ace Attorney. Poderia nos dizer algo sobre ele?Hadouken： 将来について、松川美苗プロデューサーは、すでに、Ace Attorneyの5回目のエピソードに近付くことを確認しました。 そのことについてコメントできますか？ Colin Eu gostaria de poder lhe contar todas as coisas excitantes que temos planejadas para a próxima incursão da série, mas você terá de esperar. Temos grandes surpresas guardadas para os fãs.Colin： 彼女に我々がシリーズの次の流入のために漂っていたという刺激的なことの全てを話したいです、しかし、あなたは待たなければなりません。 我々は、大きな思いもかけないことをファンのためにとっておいておきます。 Hadouken Qual s possibilidade de vermos um game da série Ace Attorney no Wii? Adoraríamos usar o Wiimote para apontar o dedo na cara de promotores e gritar “Objection!” para nossas TVs.Hadouken： 我々はWiiでAce Attorneyシリーズを見ることができますか？ 我々は、コントローラーで指さして、「異議あり！」を叫ぶ事ができますか？ Colin Por ora, não temos planos de levar Ace Attorney para nenhum outro sistema. Sentimos que o DS é a casa perfeita para a série.Colin： 今のところ、我々には他のどのシステムのためにもAce Attorneyを移植する計画がありません。 我々は、DSがシリーズのための完全なプラットフォームであるのを感じました。 Hadouken Alguma chance de vermos um lançamento ocidental da Gyakuten Saiban Encyclopedia que veio na Edição Especial de Gyakuten Saiban 4 no Japão?Hadouken： 我々は日本にGyakuten Saiban 4の限定版に入っていたGyakuten Saiban Encyclopedia（逆転裁判辞典）の邦訳を得ることはできますか？ Colin Estamos pesquisando maneiras de lançá-la fora do Japão. Contudo, no momento não há nenhum plano definitivo para a enciclopédia digital.Colin： 我々は、日本から輸出する方法を研究しています。 Hadouken Qual seu personagem favorito da série? Por quê?Hadouken： あなたが好きなシリーズのキャラクターは？ Colin Sou um grande fã de Winston Payne, muito por conta de seus cortes de cabelo. Eu adoro ver os diferentes estilos que a equipe cria para ele em cada nova versão.Colin： 私は、Winston Payne（亜内）の大ファンです。 私は、チームが各々の新しいバージョンで彼のために作成する異なるヘアスタイルを見るためにあがめます。 Hadouken Apesar de os jogos terem muito texto em inglês, há muitos fãs da série Ace Attorney. Poderia mandar um recado – ou uma objeção – para eles?Hadouken： 彼らが英語でテキストのたいへんするゲームにもかかわらず、Ace Attorneyシリーズの多くのファンがいます。 彼/彼女は、メッセージを注文することができますか？ Colin Gostaria de agradecer pessoalmente a todos os fãs por gostarem de nosso jogo. Enquanto fãs como vocês estiverem comprando, continuaremos a fazê-los. Espero que vocês se divirtam tanto jogando Apollo Justice Ace Attorney quanto nós tivemos em produzir o game.Colin： 個人的には全く、彼/彼女は感謝したいと思います。ファンの、彼らは我々のゲームが好きです。あなたのようなファンが買い続けている間、我々は彼らをまね続けます。 私は、あなたがそれほどApollo Justiceと対戦して楽しむことを望みます。 ▲ページ上へ▲
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Ace Attorney Investigations Miles Edgeworth Preview for the Nintendo DS from 1UP.comhttp //www.1up.com/do/previewPage?cId=3177783 p=39 sec=PREVIEWS 02/02/2010 1UP Mr. Eshiro, you re the producer on Ace Attorney Investigations, but could you tell us a little more about your role in the game s development?1UP：江城さんは逆転検事のプロデューサーですが、もうちょっとこのゲームでの役割について教えてください。Motohide Eshiro I started as co-producer on the second and third Ace Attorney games, but this is my first time in the series as full producer. Mostly, I look over the overall product schedule and budget. I make sure everything s coming in on time -- things like that.江城元秀：逆転裁判との関わりは、DS版逆転裁判2と3の共同プロデューサーとしての役割が始まりですが、これはプロデューサーとしての初めての仕事でもありました。大まかには、私は全てのスケジュールと予算・経費を統括します。全てが予定通りに動くかを確認します。Another big part of my job is focusing on the overall quality of the game. While the director focuses on specific aspects -- fine-tuning the small details -- my job is more to look at the big picture. To make sure that everything fits in well with whole concept. I look at it like the average user and ask myself, Will the player enjoy this? 他の大きな仕事としては、ゲームの全ての質に焦点を当てています。ディレクターがある局面――細かい部分の微調整――に集中している時、私の仕事は全体を見ることです。全ての事象が、全体と調和しているかの確認です。私は1ユーザーとしてゲームを見て、私自身に確認します。「プレイヤーはこれを楽しいと思うだろうか？」And of course, doing promotion for the game, like traveling abroad to give interviews.そしてもちろん、ゲームの宣伝もします。海外に出向いてインタビューを受けたり。1UP Your current position sounds very different from your previous role as director on Shadow of Rome and Onimusha...1UP：あなたの現在の仕事は、以前のSHADOW OF ROMEや鬼武者のディレクターとしての役割とずいぶん異なるようですが。ME Yeah, Ace Attorney is a very different type of game, but I really wasn t thinking of it as something completely different. During my school days, I used to play a lot of PC-based text adventures. I really loved those back then, and I ve always been a huge fan of adventure games.江城：ええ、逆転裁判はゲームとしては異なるタイプですが、私は完全に異なるものとは思っていません。私は学生時代、PCでテキストアドベンチャーを多くプレイしたものです。私はそういうゲームが好きで、アドベンチャーゲームの大ファンでした。When I was a director, I was able to make action games like Onimusha and Shadow of Rome, but I just didn t have the opportunity to make my own adventure game. But when I switched roles to producer on Ace Attorney, I finally got the chance to make the types of games I loved playing when I was younger.私はディレクターとして、アクションゲームの鬼武者とSHADOW OF ROMEを制作しましたが、アドベンチャーゲームを創る機会はありませんでした。しかし逆転裁判のプロデューサーになって、とうとうアドベンチャーゲームの制作に関われることになったのです。1UP Do you think your time working with such action heavy games has changed the way you approached Ace Attorney Investigations?1UP：そのようなアクションゲームの仕事を制作していた時から比べ、逆転検事へのアプローチには変化がありましたか？ME Definitely, there s been some influence. Of course, in text-based games there s always some level of interactivity. But working in action games, I had firsthand experience in how to lay out a scene. For example, if you ve got a character moving somewhere, the background has to scroll and move smoothly.江城：確かに、少しは影響がありました、もちろん、テキストベースのゲームでは、常にそれなりの会話があります。しかしアクションゲームの制作では、私はシーン毎のレイアウトをどうするかといったことを経験しました。例えば、キャラクターをどこかに動かす時、背景はなめらかにスクロールしなければなりません。I think I was able to transfer some of that experience into Ace Attorney Investigations. When you move Edgeworth around, you re not going to run into weird scrolling issues; you re not going to see awkward movements, or things like that, and I attribute that to my action game experience.そういった経験を、逆転検事に生かすことができたと思います。あなたがプレイした時、御剣を動かしても妙なスクロールを見たり、ぎこちない動きを見たりすることはないでしょう。そういったことは、アクションゲームの制作による経験からだと考えています。1UP Speaking of adventure games, over the past few years in America, we ve seen a bit of a revival of that genre with games like Sam Max and Monkey Island. Do those come to Japan at all?1UP：アドベンチャーゲームについてですが、アメリカでは過去、Sam MaxやMonkey Islandのようなゲームがリバイバルしています。日本ではどうですか？ME I don t think they do. But when I think about PC adventure games, I think about the really old titles. Of course, Myst was a popular title everywhere, but I really enjoyed Mystery House. I can t think of other specific titles right at the moment, but just really old games, or games like Portopia, which never came out outside Japan. I really haven t tried out any recent adventure games. Even in Japan, they ve never remade some of my favorite titles, like Snatcher.江城：日本ではなかったと思います。しかし、私がPCのアドベンチャーゲームについて考える時、私は本当に古いタイトルについて思いを巡らせます。もちろん、Mystは有名ですが、私はMystery Houseが楽しかった。他の具体的なタイトルは思い出せないけれど、日本以外では発売されなかったポートピア連続殺人事件が好きです。私は最近のアドベンチャーゲームはプレイしていません。日本でさえ、スナッチャーのような私の好きなゲームのいくつかはリメイクされていません。With Mystery House, that was a game I played when I was still in college -- but it only came out in English. I didn t immediately understand half of what was written; maybe just a word like take, and then I d have to look up the rest to understand what I was able to take. So I d play along with a dictionary; it was almost like studying, but a lot more fun.Mystery Houseは、私が大学生のころにプレイしたゲームでした――しかし英語版しかありませんでした。私は書いてあることの半分も理解できませんでした。「take」というワードがあっても、何が取得できるのか、調べなくてはなりませんでした。そのため、私は辞書を片手にプレイしていました、それはまるで勉強みたいでしたが、楽しみでもありました。But Portopia is a game that s really stuck with me over the years. Are you ok with spoilers?しかし、ポートピア連続殺人事件は長年楽しく遊べたゲームです。ネタバレは大丈夫？1UP I think the game s old enough that that s ok.1UP：昔のゲームだから大丈夫。ME Well, the detective that you work with, the big twist at the end is that he s the criminal. You re supposed to be working closely with this guy, and you don t find out till much later that he s actually the one behind it all. And that highlights one of the most important aspects of adventure and text games for me the turnaround point.江城：じゃあ‥‥一緒に行動する刑事が犯人という、ものすごい結末なんです。彼とずっと一緒に行動していくんですが、最後の最後にならないと真相はわかりません。テキストアドベンチャーゲームにおいて最も重要なことのひとつ、転換点を私に見せてくれたのです。In the Ace Attorney series you always have these surprising twists, sometimes two or three times in one case. You just never know what to expect. That s what keeps adventure games interesting for me.逆転シリーズにおいては、1つの事件の中で、2つや3つのこういった驚くべき逆転劇を見ることになります。そしてあなたは何が起こるか全く解らない。それが私にとって、アドベンチャーゲームの面白さです。1UP It s obviously a very different type of game, but another popular adventure game I m sure you ve spent some time with is Professor Layton.1UP：明らかに異なるタイプのゲームですが、もうひとつの有名なアドベンチャーゲームとしてレイトン教授があります。ME Yeah, I played the very first one. And, you re probably aware that the puzzles themselves are based on a much older book series in Japan called Mental Gymnastics. I never found just doing the puzzles themselves all that engaging, but I m just amazed that they were able to fit them into this story and make it interesting. It s good that it brings these types of puzzles to a wider audience.江城：ええ、第1作目はプレイしました。そして、パズル自体は思考型パズルと日本で呼ばれているものに似ていることにおそらく気がついたでしょう。私はパズル自体にはさほど興味がありませんでしたが、それをストーリーにうまく組み込んで面白くしていることに驚きました。多くの人々にこの種のパズルを体験してもらうことは良いことです。1UP Obviously, he s in the title, so Miles Edgeworth is this game s central character. After bringing in a new protagonist for the previous game, Apollo Justice, what made you decide to bring back this character as opposed to using someone new?1UP：タイトル（Ace Attorney Investigations Miles Edgeworth）通り、御剣怜侍がこのゲームの主役であることは明白です。前作で新主人公（王泥喜）を登場させたのに、他のキャラクターに戻すことを決めたのは？ME Well, we wanted to make a new game with new skills like logic and deduction, things like that. But we took a look at the character rankings in Japan and, next to Phoenix Wright, the next most popular character was Edgeworth. He s really quite popular, and so we thought that made him a good choice as the central character for this game.江城：私たちは論理と推論に基づく新しいゲームを創りたかったのです。日本での人気キャラクターを見ると、成歩堂の次に最も人気があるのは御剣でした。彼は本当に人気があります。そのため、このゲームでは、彼を主役にするのが良いと考えました。1UP Was there anything you and the team wanted to do with the game that you just weren t able to, because of time constraints or other technical hurdles?1UP：時間的制約や、技術的な問題で、あなたや開発チームができなかったことは？ME Actually, one of the things that the director and I had talked about was the Little Thief system. We d wanted to add a lot more features -- to make a bit more in-depth. But we just ran out of time and weren t able to integrate it as fully as we d wanted to. It s little more simplistic than we d originally envisioned, but that was just a problem with time.江城：実は、ディレクターと私が話し合っていたものの1つに、「ちょっとした泥棒システム」がありました。私たちはもっと多くの特徴を加えたかったのです――徹底的に。しかし、開発期間の問題で、完全にそれらを作ることができませんでした。元々私たちが想像していたものより多少安易ではありませんが、結局は時間の問題でした。1UP Is there anything you feel you ve learned from Ace Attorney Investigations that you ve been able to apply to your current project, Okamiden?1UP：逆転検事から学んだことが、あなたの今のプロジェクトである大神伝に生かされていますか？ME Well, I m also the producer on Okamiden, so the role itself is very similar. Ace Attorney was my first solo job as a producer, so a lot about learning games promotion, the timing of releasing information, keeping players interested. Various things like that about how to promote a game.江城：大神伝ではまたプロデューサーなので、役割そのものはとても似ています。逆転裁判は私の最初のソロでのプロデューサー活動で、ゲームのプロモーション、発売情報のタイミング、プレイヤーに興味をもってもらうことなど、様々なことを学びました。But a real learning moment came when we put together the first build of Investigations. We went around showing the game to the company, and we actually got a lot of negative reactions. So, we had to go back to the drawing board and do a lot of rethinking, redesigning, reconceptualizing.しかし、捜査方法の最初の構築をした時が、本当に学べた瞬間でした。私たちが会社にゲームを見せても、ネガティブな反応ばかりでした。私たちは制作に戻らなければならず、再考し、設計し直し、コンセプトを見直さなければなりませんでした。Talking with the director, we had to think about who Edgeworth is as a character. We realized that he s actually very logical. Originally the game was simply about visiting crime scenes and investigating, but when we instituted the Logic mechanic, that changed how the game plays completely.ディレクターと、御剣というキャラについて話し合いました。私たちは、彼が非常に論理的であると考えました。当初、ゲームは単に犯行現場を訪れ、調査するだけでした。しかし、ロジックシステムを考え出した時、ゲームの方向性は変わりました。1UP Did you ever consider brining the series over to another platform besides DS?1UP：シリーズをDS以外で発売することについては？ME From the beginning, we knew this would be a DS game. The previous games were all on DS, and there s just a natural flow to continue with DS. We never really considered trying it on any other system.江城：最初から、DSのゲームを創ることを考えていました。前作までは全てDSだったので、それが自然な流れでした。私たちは他のハードでの発売を全く考えませんでした。1UP Have you felt limited at all by the DS? With Nintendo iterating on its handheld so frequently, is there any functionality that you wish it would add to the system that you think would be great to use in a game?1UP：DSによって制限されることはありませんでしたか？ 任天堂はしばしば携帯ゲーム機を出していますが、ゲームに使うためのシステムを加えて欲しいと思うことは？ME I m really not the type of person to think, Oh, I wish they had this, I wish they had that. I look at it realistically, I look at the specs. Then I think, What can we do with this? What kind of fun game can we create to take advantage of this machine the most? 江城：私は「これがあればいいのに、あれがあればいいのに」というタイプではありません。スペックを見て、考えます。「これをどうできるだろうか？ このハードでどんな楽しいゲームを作れるだろうか？」I guess it goes back to my roots as a programmer, but I really would just want the system to have more memory, maybe a better video card. Stuff like that. Something so we can make the best looking game possible. It s not the most wishful thinking perhaps, but that s the way I look at it.私は、それがプログラマーとしての私のルーツに戻ると思います。ただ、より多くの容量、良いビデオカードがあれば良いとは思います。より良いものを作るために。1UP Going back to your roots, you ve held so many different positions in the industry, are there any moments in particular that stand out for you? What roles did you most enjoy?1UP：ゲーム業界で色々と異なるポジションを体験してきて、特に卓越していることは？ どんな仕事が楽しかったですか？ME Starting out as a programmer for Capcom, it really was fun to be able to realize a planner s vision. A planner would come up to me and say, Here are the game s rules, or, Here are the designs. And it would be up to me to put it together and make it appear on the screen. That was really great, to immediately see these ideas take fruit and know that you re the one who brought these ideas to life.江城：カプコンではプログラマーとしてスタートして、それにはプランナーとしての展望を認識できる楽しさがありました。プランナーは「これがゲームのルールだ」とか、「これがデザインだ」と言ってきます。それらをまとめるのは私次第で、ディスプレイに映し出すことができます。それは面白いことでした。As a director, it s tough to be head of a team because you then take on responsibility for everything that the team does and all the decisions. If you decide to take the game in one direction instead of another, you have to live with those consequences. It s heavy and hard, but it s also good because you have a lot more influence over the game; you can put in things you want to put in. Of course it s not 100% about what you want. It s also about listening to the ideas and opinions of your team and being able to take all those ideas and make it into one solid game. Having everything come together, the realization of those things makes it all worth it.ディレクターとしては、チームの全ての責任と決定を引き受けるので、大変なことです。もしゲームの方向性を変えるなら、その結果に耐えなくてはなりません。それは重く、厳しいです。しかし、それはまた、ゲームに良い影響を与えることにもなります。もちろん、期待していたことの100％がかなうわけではないのですが。それはまた、チームの考えや意見を聞いて、決定し、ひとつの凄いゲームが出来ることでもあります。これらの実現は素晴らしい価値があります。Being a producer is a double-edged sword. It s hard, but it s a very enjoyable at the same time. You get to stand in a different position from the director, and you get to watch a game grow from the first drafts to the very end. It s interesting to be able to manage and oversee everything in that respect. And being able to promote the game, getting out to the various media outlets is a lot of fun too. Learning how to excite people about your particular title. It s trying, but very compelling at the same time.プロデューサーであることは、諸刃の剣です。大変でもあり、楽しくもあります。ディレクターとは異なる立ち位置になり、ゲームが最初の草案から、完成まで成長していくのを見ていくことになります。その点で、全てを管理し、監督していくことは面白いです。そして、ゲームの広告や、色々なメディアに出演することは、楽しみでもあります。自分の作っているものを人々に喜んでもらう方法を学ぶこと。それは挑戦的で、同時に魅力的でもあります。1UP I know you don t control marketing in America directly, but the Ace Attorney series in particular has always had wonderful pre-order bonueses for Japan in the past. But when those same games come Stateside, it s usually without as much fanfare and with just the standalone software. Since you ve been working on the past few titles directly, how do you think the company s approach has changed with each title?1UP：私はあなたがアメリカで直接販売管理をしないということは知っていますが、逆転シリーズは過去、日本で素晴らしい予約特典がありました。しかしアメリカではそれがありません。過去直接少しのタイトルに関わり、あなたは、会社がどのように各ゲームの広告方法を変更したのだと思いますか？ME We ve definitely made some changes in how we promote things overseas versus in Japan. For example, in Japan we focus mainly on interviews with the regular press outlets like Famitsu. But in the West, we ve found going directly to the community has been very important. For Ace Attorney, we recently did a live Q A over the Capcom UStream page. It s something that s always changing, and we definitely don t have the perfect formula right now, but we re always listening to the community.江城：確かに、私たちが日本で発売したものを海外で宣伝する場合、多少方法が変わりました。例えば、日本では、宣伝するには私たちはファミ通のようなプレスの発表で、主にインタビューに集中しています。しかし海外では、私たちは、直接コミュニティで呼びかけることが重要であることがわかりました。逆転シリーズのために、私たちはカプコンのUStreamでQ Aをライブで行いました。常に色々なことが変化しています。今私たちは完全な方法というものを持ちませんが、常にコミュニティを開いています。1UP Do you think there are any particular differences between fans of the Ace Attorney series in the East and the West?1UP：日本と海外では、ファンに違いがあると思いますか？ME Actually, I went to ComicCon last year, and it was really great to see so many of our American fans in person. I don t think there s a difference between the two, or between any other countries in that respect; everyone who enjoys the games seems to enjoy them for the same reasons.江城：去年ComicConに行って、直接アメリカのファンに会えたことは、とても素晴らしいことでした。私は、国の間で違いがあるとは思いません。誰もが、同じ理由でゲームを楽しんでいるのです。1UP Well, thank you so much for taking the time to come out and talk with us. We know a lot of fans out there are eagerly awaiting the next game s release later this month.1UP：ありがとうございました。海外ファンは、今月の発売を熱心に待っています。ME Thank you very much.江城：ありがとう。 ▲ページ上へ▲