超級瑪麗馬里奧版下載

Have you ever seen a zoetrope? If today’s sophisticated computer animation is the latest evolution of the form, then the remarkable zoetrope is a crucial ancestor; the transitional form between the drawing and the animation.

等皆你見過 西洋鏡 ？ 如果說當今復雜的計算機動畫是這種形式的最新發展，那么卓越的動物共生體就是至關重要的祖先。 繪圖和動畫之間的過渡形式。

Studio Ghibli zoetrope. Source: Studio Ghibli.Studio Ghibli zoetrope。 資料來源：吉卜力工作室。

First developed in the 1830s and then refined by the 1860s, the zoetrope was an important precursor to film animation. In principle, it isn’t too dissimilar from the humble flip book. The viewer looks at a series of pictures arranged in a sequence, which spin rapidly, causing an illusion of motion. Although the flip book is largely regarded as a children’s novelty item, it is nonetheless an effective — if simple — demonstration of fundamental animation principles. I distinctly remember my mother showing me how to create a flip book when I was little. She simply scrawled some figures on a few sticky notes (still snugly stuck together in a pad) and flipped through them with her thumb. I still remember the sensation of being utterly floored as her little stick figures appeared to spontaneously come alive and begin dancing around before my very eyes.

zootrope最初在1830年代開發，然后在1860年代進行了完善，是電影動畫的重要先驅。 原則上，它與不起眼的翻書沒有太大的不同。 觀看者觀看按順序排列的一系列圖片，這些圖片快速旋轉，從而引起運動的錯覺。 盡管這本翻書在很大程度上被視為兒童的新奇事物，但它仍然是動畫基礎原理的有效(即使簡單)演示。 我清楚地記得母親在我小的時候向我展示了如何制作翻書。 她只是簡單地在一些便簽上劃了一些數字(仍然緊密地粘在墊子上)，然后用拇指翻過它們。 我仍然記得那種感覺，因為她的小棍子形象自發地活著并開始在我眼前開始跳舞。

大師劇院 (MASTERPIECE THEATER)

I suspect many children have experienced a similar revelation. In the case of Yoichi Kotabe, the legendary Japanese animator, it turns out that a very similar experience sparked a life-long love affair with the moving image. In Kotabe’s version of the story, sticky notes were not the medium of choice. His mother instead drew stick figures — who happened to be exercising — on the corners of several pages in one of his school text books. Kotabe was five years old at the time, and could have had no idea that this event would set him on an extraordinary path in later life.

我懷疑許多孩子也經歷過類似的啟示。 對于傳說中的日本動畫師小Yo陽一來說，事實證明，非常相似的經歷激發了人們對動畫影像的終生愛情。 在Kotabe的故事版本中，便箋不是選擇的媒介。 相反，他的母親在他一本學校教科書中幾頁的角落上畫了棒圖-剛好在鍛煉。 Kotabe當時只有五歲，可能不知道這一事件會讓他走上一條非同尋常的道路。

Yoichi Kotabe. Source: NEMOLAND.小部陽一。 資料來源：NEMOLAND。

Born in Taipei in 1936, the memory of his mother’s moving pictures ultimately led to Kotabe studying Japanese-style painting at Tokyo University of the Arts in the late 1950s. Prior to entering university, doodling had been consuming more and more of his time, to the point where his grades were falling. Mid-century Japan was a place where various forms of popular art (manga, for example) were largely disregarded by ‘serious artists’. Jobs for Japanese-style painting were few and far between. Such was his commitment to art that Kotabe ultimately decided to pursue his ambition to become an accomplished painter (like his university instructor, the great Seison Maeda), even if it meant living a poor artist’s life.

1936年生于臺北，母親對電影的記憶最終導致Kobebe在1950年代后期在東京藝術大學學習日式繪畫。 在上大學之前，涂鴉已經消耗了他越來越多的時間，直到他的成績下降。 本世紀中葉，日本是各種地方的大眾藝術 (例如漫畫 )在很大程度上被“嚴肅的藝術家”所忽視的地方。 日式繪畫的工作很少而且相差甚遠。 正是由于他對藝術的承諾，小田幸三最終決定追求成為一名有成就的畫家的雄心壯志(就像他的大學講師， 著名的前田誠一 )，即使這意味著過著貧窮的畫家的生活。

Kotabe’s suspicions about a lack of demand for his skills in the professional world were largely confirmed when he graduated from university. At least for a time, Kotabe faced the reality that “there were no jobs involving drawing pictures”. But it wasn’t long before Toei Animation (then known as Toei Doga Co., Ltd.) began furiously recruiting. They had not long before produced Japan’s very first full-length animated film: Panda and the Magic Serpent, released in 1958. Kotabe — who had grown up loving Disney animation, and believed that Japan could never hope to match up — was thoroughly impressed by the film. It opened his eyes to the possibilities of domestic animation, and he was determined to land a job at Toei.

Kotabe在大學畢業后就對自己在專業領域缺乏技能的懷疑得到了充分證實。 至少有一段時間，Kotabe面臨著一個現實，即“沒有涉及繪畫的工作”。 但是不久之后，都營動畫公司(當時的都營都田制作所有限公司)開始瘋狂招募。 他們不久之前就制作了日本的第一部全長動畫電影：1958年發行的熊貓和魔術蛇 。Kotabe(他從小就喜歡迪士尼動畫，并認為日本永遠也希望與之匹敵)，給他們留下了深刻的印象。這個電影。 它使他對國產動畫的可能性大開眼界，他決心在東映公司找到一份工作。

Panda and the Magic Serpent. Source: Toei Animation.熊貓和魔術蛇。 資料來源：東映動畫。

Kotabe joined Toei at a crucial time for Japanese animation. His contemporaries included legendary animators such as Isao Takahata and Hayao Miyazaki, who both went on to found the groundbreaking Studio Ghibli in 1985.

Kotabe在日本動畫的關鍵時刻加入了Toei。 他的同時代人包括高ao勛(Isao Takahata)和宮崎駿(Hayao Miyazaki)等傳奇動畫師，他們于1985年共同創立了開創性的吉卜力工作室(Studio Ghibli)。

For the first three years of his career, Kotabe assisted other artists and animators. They would produce key frames (the critical frames within a movement sequence), while Kotabe and others would create the movement frames in between. It was a rite of passage for a young animator and an opportunity to learn valuable skills from some of the greatest animation talent in Japan. Throughout the 1960s, Kotabe worked on numerous features at Toei including Little Prince and the Eight Headed Dragon (1963), Little Norse Prince Valiant (1968), and Puss ‘n Boots (1969). He also contributed to two early TV series, Ninja the Wonderboy (1964) and Hustle Punch (1965).

在他職業生涯的前三年中，Kotabe協助了其他藝術家和動畫師。 他們將生成關鍵幀(運動序列中的關鍵幀)，而Kotabe和其他人將在兩者之間創建運動幀。 對于年輕的動畫師來說，這是一次通過的儀式，也是一次向日本一些最偉大的動畫人才學習有價值的技能的機會。 在整個1960年代，Kotabe都在Toei從事過許多創作工作，包括《 小王子與八頭龍》 (1963)，《 小北歐王子瓦利安》 (1968)和《 貓與靴子》 (1969)。 他還為兩個早期的電視連續劇做出了貢獻： 《神童》 ( Ninja the Wonderboy) (1964)和《 喧囂的拳頭》 ( Hustle Punch) (1965)。

Kotabe may have already built a formidable career through much of the 1960s, but he was becoming increasingly disillusioned with Toei.

Kotabe可能已經在1960年代的大部分時間里建立了強大的職業，但他對Toei的幻想越來越幻滅。

“At first, the company had a great deal of creative enthusiasm, but gradually it came to prioritise profits. Rather than producing original works, it started looking for popular manga serials and other materials to adapt. Even my own desire to create something fresh began to disappear.”

“起初，公司具有很大的創造熱情，但是逐漸地，它開始優先考慮利潤。 它不再生產原創作品，而是開始尋找流行的漫畫系列和其他材料來適應。 甚至我自己創造新鮮事物的欲望也開始消失。”

Yoichi Kotabe

小部陽一

This change in culture at Toei had an impact on Kotabe. He increasingly felt that he wasn’t bringing his full self to his projects — that he wasn’t taking creative risks. It was actually Isao Takahata who inspired him to shed that fear, thanks to his film, The Great Adventure of Horus, Prince of the Sun. It was Takahata’s directorial debut and his first major collaboration with Hayao Miyazaki. It was a unique project at the time because it was a marked departure from Toei’s increasing tendency to quickly turn around animated TV series (which typically took 8–10 months), where this project was in development for almost three years.

都營文化的這種變化對Kotabe產生了影響。 他越來越感到自己沒有將自己的全部精力投入到他的項目中-他沒有承擔創造性的風險。 其實，正是由于他的電影《太陽王子荷魯斯大冒險》，高Is Isao激發了他擺脫這種恐懼。 這是高hat導演的處女作，也是他與宮崎駿的首次重大合作。 當時這是一個獨特的項目，因為它與ToeiSwift轉向動畫電視連續劇(通常需要8到10個月)的發展趨勢明顯背離，而該項目的開發已經進行了將近三年。

Nausica? of the Valley of the Wind. Source: Studio Ghibli. 風之谷的風之谷。 資料來源：吉卜力工作室。

As Kotabe’s confidence increased, he decided to leave Toei. He would also soon work on one of Japan’s most famous TV series: Heidi, Girl of the Alps, on which he collaborated with both Takahata and Miyazaki. The series, which aired in 1974, was produced by Zuiyo Eizo (now Nippon Animation). It formed part of the broader World Masterpiece Theater program — a Japanese TV staple that ran from 1969 to 1997 and 2007 to 2009. The concept involved screening an animated adaptation of a piece of classic childrens’ literature each year at 7:30pm on a Sunday. Heidi, Girl of the Alps remains popular in Japan to this day, and has even spawned an official postage stamp. Kotabe continued to collaborate with Takahata and Miyazaki, too. Perhaps the two most notable projects he played a role in were Nausica? of the Valley of the Wind (1984) and Grave of the Fireflies (1988).

隨著Kotabe的信心增強，他決定離開Toei。 他還將很快制作日本最著名的電視連續劇之一： 阿爾卑斯女孩海蒂(Heidi)，并與高hat和宮崎駿合作。 該系列于1974年播出，由Zuiyo Eizo(現為日本動畫)制作。 它構成了更廣泛的世界杰作劇院計劃的一部分- 世界電視巨著的日本電視節目于1969年至1997年以及2007年至2009年播出。該概念涉及每年星期日的晚上7:30放映一部經典兒童文學作品的動畫改編。 。 時至今日，阿爾卑斯山姑娘海蒂(Heidi)在日本仍然很受歡迎，甚至還發行了官方郵票。 Kotabe也繼續與高hat和宮崎駿合作。 他扮演的兩個最著名的項目也許是風之谷的娜烏西卡 (1984)和螢火蟲墳墓 (1988)。

像素之前的畫筆 (PAINTBRUSH BEFORE PIXEL)

Hiroshi Ikeda, born in Tokyo in 1934, is currently a part-time lecturer at Takarazuka University of Art and Design. The fortunate students who attend his classes find themselves in the presence of an impressive figure. Ikeda embodies almost half a century of evolution in the animation world. Like Kotabe, Takahata, and Miyazaki, Ikeda’s career was forged at Toei. He was the writer and director of feature films The Flying Ghost Ship (1969) and Animal Treasure Island (1971), and later undertook a similar role on several prominent TV series. But unlike his three contemporaries, Ikeda’s career took a decisive turn in 1974. He was appointed section chief for Toei’s research and development department.

池田宏志(Hiroshi Ikeda)于1934年出生于東京，目前是寶冢藝術與設計大學的兼職講師。 參加課程的幸運學生會發現自己的身影令人印象深刻。 池田體現了動畫世界近半個世紀的發展。 像Kotabe，Takahata和Miyazaki一樣，池田的職業生涯在Toei進行。 他曾擔任長片《飛鬼船》 (1969年)和《 動物寶藏島》 (1971年)的編劇和導演，后來在多個著名電視連續劇中擔任類似角色。 但是，與他的三個同時代人不同，池田的職業生涯在1974年發生了決定性的轉變。他被任命為東映研究與開發部門的部門主管。

Hiroshi Ikeda in 2015. Source: Japan Media Arts Festival.池田宏志(Hiroshi Ikeda)，2015年。資料來源：日本媒體藝術節。

In roughly a ten year period (between 1974 and 1984), Ikeda oversaw the computerisation of animation production at Toei. Consider, for a moment, the extraordinary skillset this man possessed and brought to bear at a time when the Japanese animation industry was rapidly expanding and computer technology was being more widely leveraged around the world. His experience as a writer and director gave Ikeda a deep understanding of the creative process behind animated films and TV series. His management of Toei’s research and development department put his hands on the strategic reigns of Japan’s largest and most prominent animation studio. Ikeda was a figure who drove the bleeding edge of animation production in Japan for a decade; he was uniquely equipped to thrive at the intersection between traditional animation and modern computer technology.

在大約十年的時間里(1974年至1984年)，池田負責了都營動畫制作的計算機化工作。 考慮一下，在日本動畫產業Swift發展且計算機技術在世界范圍內得到廣泛利用的時代，這個人擁有并發揮了非凡的技能。 他作為作家和導演的經驗使池田對動畫電影和電視劇背后的創作過程有了深刻的了解。 他對Toei研究與開發部門的管理將他的手放在了日本最大，最著名的動畫工作室的戰略統治上。 池田(Ikeda)是一位推動日本動畫制作前沿10年的人物。 他具有獨特的技能，能夠在傳統動畫與現代計算機 技術的交匯中蓬勃發展。

Putting the paintbrush before the pixel. Source: Nintendo.將畫筆放在像素之前。 資料來源：任天堂。

In 1985, Ikeda’s dual backgrounds converged completely when he joined Nintendo. His career at the company began in the Research and Development 4 (R&D4) department, which itself later became known as Entertainment Analysis and Development (EAD). Prior to the creation of R&D4, programmers had largely been responsible for game design at Nintendo. But the breakout success of Donkey Kong (1981) — created by Shigeru Miyamoto, a graphic designer, not a programmer — sparked a quantum shift at the company. Ikeda became general manager of this new department, with Shigeru Miyamoto acting as chief producer.

1985年，池田加入任天堂時的雙重背景完全融合。 他在公司的職業生涯始于研發4(R＆D4)部門，該部門后來被稱為娛樂分析與開發(EAD)。 在創建R＆D4之前，程序員在Nintendo負責游戲設計。 但是由圖形設計師而不是程序員的宮本茂(Shigeru Miyamoto)創造的《大金剛》 ( Donkey Kong ，1981)取得了突破性的成功，引發了公司的一次量子轉變。 池田出任新部門總經理，宮本茂擔任首席制作人。

Punch Out!! art by Takao Kozai. Source: Nintendo.沖出來!! Takao Kozai創作的藝術品。 資料來源：任天堂。

Although Nintendo was not an animation company, and didn’t have significant experience with in-house artists, it was increasingly relying on art and graphic design for its projects. More and more, the company was outsourcing art and graphics work to veteran animators (such as Takao Kozai, another Toei employee, who created the character art for Nintendo’s iconic Punch Out!! arcade game).

盡管任天堂不是一家動畫公司，并且沒有與內部藝術家的豐富經驗，但它越來越依賴美術和圖形設計來進行項目。 該公司越來越多地將藝術和圖形工作外包給資深動畫師(例如Toei的另一位員工Takao Kozai，他為任天堂的標志性Punch Out !!街機游戲創作了角色藝術)。

Ikeda recognised the need for Nintendo to build a strong internal capability around art and animation. A prominent career at Toei had given him impressive contacts to reach out to for help, including one Yoichi Kotabe.

池田意識到任天堂需要圍繞藝術和動畫建立強大的內部能力。 Toei的杰出職業生涯給他留下了令人印象深刻的聯系，包括一名小平洋一(Yoichi Kotabe)尋求幫助。

The timing was perfect. Kotabe had become increasingly disillusioned at Toei. His career, he felt, had stagnated. Immediately after leaving Toei, Kotabe took on various freelance projects — but these were unsatisfying, because he was working on pieces of larger creative works, never seeing an entire project all the way through. After meeting with Ikeda at a coffee shop — and receiving an offer to join Nintendo — Kotabe saw an opportunity to do something genuinely new. Ikeda had pointed out that game creators required more knowledge about animation. Kotabe had almost no experience with video games (having only previously played Space Invaders), and he initially couldn’t understand how his knowledge would apply to the medium. But if Ikeda thought it a good idea, then Kotabe was happy to give it a shot. He figured he’d hang around for a year or two at most.

時機是完美的。 Kotabe在Toei變得越來越幻滅。 他覺得他的事業停滯了。 離開東映后不久，小田部采取了各種兼職項目-但這些都未能如愿，因為他的工作在更大的創意作品件 ，從來沒有看到整個項目全部通過的方式。 在與池田在一家咖啡店會面后，并收到了加入任天堂的邀請后，小田晃二看到了一個做真正新事物的機會。 池田指出，游戲創作者需要更多有關動畫的知識。 Kotabe幾乎沒有視頻游戲的經驗(僅以前玩過《 太空侵略者》 )，他最初不了解他的知識如何應用于媒體。 但是，如果池田認為這是個好主意，那么Kotabe很樂意試一試。 他認為自己最多只能待一兩年。

蘑菇王國之旅 (JOURNEY TO THE MUSHROOM KINGDOM)

It didn’t take long for Yoichi Kotabe to understand why Ikeda had offered him a job at Nintendo. His first introduction to the company was momentous. In an initial meeting with Shigeru Miyamoto, Kotabe was shown Super Mario Bros. It was a revelation. For Kotabe, this project was an example of the bold innovation he had felt was dwindling during his final years at Toei. It also clearly signalled Nintendo’s intentions for video games — Kotabe could see what the developers were trying to achieve, even if they weren’t all the way there yet.

Kobebe Yoichi很快就了解了池田為何向他提供了在任天堂的工作。 他對公司的第一次介紹很重要。 在與宮本茂(Shigeru Miyamoto)的初次會面中，向小田秀(Kotabe)展示了超級馬里奧兄弟(Super Mario Bros)。這是一個啟示。 對于Kotabe來說，這個項目是他在都營工作的最后幾年中感到逐漸減少的大膽創新的一個例子。 這也清楚地表明了任天堂的視頻游戲意圖-Kotabe可以看到開發人員正在努力實現的目標，即使它們還沒有完全實現。

“When I first saw all the movements Mario was performing in Super Mario Bros., I thought that video games were now doing what the original animation industry was forgetting.”

“當我第一次看到Mario在《超級馬里奧兄弟》中所做的所有動作時，我認為視頻游戲現在正在做原始動畫業所忘記的事情。”

Yoichi Kotabe

小部陽一

Mario’s walking animation from Super Mario Bros. Source: Pixilart.超級馬里奧兄弟出品的馬里奧的行走動畫。資料來源：Pixilart。

It’s easy to look back on history and to retrospectively divine some grand prescience — but Kotabe’s start at Nintendo was more awkward than anything else. It was as though the they had acquired a powerful weapon, but didn’t quite know how to wield it. Early on, Kotabe would arrive at the company’s enormous Kyoto office building and spend the day doodling whatever came to mind — he was a man without a project.

回顧歷史并回顧一些偉大的先知很容易-但是Kotabe在任天堂的起步比其他任何事情都更加尷尬。 好像他們已經獲得了強大的武器，但并不十分了解如何運用它。 早些時候，Kotabe會來到公司巨大的京都辦公大樓，花一整天的時間涂鴉想念的一切-他是一個沒有項目的人。

Not only that, but much of the work Kotabe produced early on was impractical. For example, one of his early pieces was an animation of Luigi spinning around in circles. Miyamoto rejected the idea simply because it used too many frames — it simply wasn’t possible to use it in a game. Kotabe and Miyamoto worked together to find a happy medium between Kotabe’s original animation and the technological limitations of game technology at the time. The first of Kotabe’s work that was actually used was the animated flying carpet in Super Mario Bros. 2 (and even that required several iterations; Kotabe had to reduce the number of total frames and then tailor the animation so that it would smoothly repeat in an ongoing cycle).

不僅如此，Kotabe早期所做的許多工作都是不切實際的。 例如，他的早期作品之一是Luigi繞圈旋轉的動畫。 宮本之所以拒絕這個想法，僅僅是因為它使用了太多的幀-在游戲中根本不可能使用它。 Kotabe和Miyamoto共同努力，在Kotabe的原始動畫與當時游戲技術的局限性之間找到了一個快樂的中介。 Kotabe實際使用的第一部作品是《 Super Mario Bros. 2》中的動畫飛毯(甚至需要多次迭代； Kotabe必須減少總幀數，然后定制動畫，以便在動畫中平滑地重復播放)。持續的周期)。

Cover art for Super Mario Bros. by Shigeru Miyamoto. Source: Nintendo.宮本茂的《超級馬里奧兄弟》封面藝術。 資料來源：任天堂。

By the mid-1980s, Mario had already become Nintendo’s star mascot. He had existed as a character in some form, though, since Donkey Kong in 1981. Mario was Shigeru Miyamoto’s creation, and Miyamoto had produced many sketches of him — sketches that would be touched up and finalised by another artist. Miyamoto had intended to follow the same process for the cover art of Super Mario Bros., but he ran out of time, and produced the finalised artwork himself. It wasn’t a sustainable way to operate in the longer term, especially if Nintendo wanted to broaden the Mario palette and introduce both new characters and moves to the franchise.

到1980年代中期，馬里奧已經成為任天堂的明星吉祥物。 不過，自1981年大金剛以來，他就以某種形式存在。作為馬里奧是宮本茂的創作，宮本制作了許多他的素描，這些素描將由另一位畫家修飾和定稿。 宮本原本打算對《 超級馬里奧兄弟》的封面藝術采用相同的方法，但是他用光了時間，親自制作了最終作品。 從長遠來看，這不是一種可持續的經營方式，特別是如果任天堂想要擴大馬里奧的陣容并引入新角色和加盟特許經營的話。

Kotabe’s illustrations of Mario and Peach. Source: Nintendo.Kotabe的Mario和Peach插圖。 資料來源：任天堂。

Kotabe approached the project with all the seriousness of a major feature film. He extensively interviewed Miyamoto; peppering him with all sorts of questions in order to understand his vision for the characters. It wasn’t just a question of what the characters looked like, either. Kotabe wanted to understand their personalities (Peach needed to be “stubborn, but charming”, recalls Kotabe). Kotabe played a pivotal role in expanding the Mario universe through his collaboration with Miyamoto. Bowser is a great example. Miyamoto’s original design (as seen above on the cover art for Super Mario Bros.) was more “ox-like” than anything else; in fact, he had a turtle’s body and an ox’s head. Miyamoto regarded the design as “incomprehensible”. Given that Bowser was in the “koopa” family, it made sense to make him more turtle-like. Both Miyamoto and Kotabe iterated on the design until they came to the final (current) version of the character.

Kotabe認真考慮了主要故事片的拍攝。 他廣泛采訪了宮本； 向他提出各種問題，以了解他對角色的看法。 也不只是字符看起來是什么問題。 Kotabe想了解他們的個性(Kotabe回憶說，桃子必須“固執，但迷人”)。 Kotabe通過與Miyamoto的合作在擴展Mario宇宙中發揮了關鍵作用。 鮑澤就是一個很好的例子。 宮本的原始設計(如上超級馬里奧兄弟的封面所示)比其他任何東西都更像“牛”。 實際上，他有烏龜的身體和牛的頭。 宮本認為設計是“難以理解的”。 考慮到鮑澤(Bowser)屬于“ koopa”家族，因此使他更像烏龜似的。 Miyamoto和Kotabe都反復進行設計，直到他們到達了該角色的最終版本(當前)。

Kotabe’s illustration of Bowser. Source: Nintendo.Kotabe的Bowser插圖。 資料來源：任天堂。

Kotabe’s role at Nintendo grew well beyond his character design collaborations with Miyamoto. It is not unreasonable to say that he became a champion of animation at the company, as well as a trusted advisor to Miyamoto. In fact, Miyamoto consulted Kotabe on numerous important decisions including recruitment. Kotabe joined Miyamoto to interview a young artist known as Yoshiaki Koizumi (who I called “Nintendo’s other Miyamoto” in his SUPERJUMP profile).

Kotabe在任天堂的角色遠遠超出了他與宮本的角色設計合作。 可以說，他成為了公司的動畫冠軍，也是宮本的值得信賴的顧問。 實際上，宮本聰就包括招募在內的許多重要決定咨詢了Kotabe。 Kotabe與宮本聰一起采訪了一位年輕的藝術家小泉 佳 昭 (我在他的SUPERJUMP個人資料中稱其為“任天堂的另一本宮本聰” )。

Kotabe’s illustration for Super Mario Bros. 3. Source: Nintendo.Kotabe為《超級馬里奧兄弟》制作的插圖。3.資料來源：任天堂。

To be more specific, Koizumi was an animator by trade. When Kotabe asked him “If you’re so good at animation, why do you want to join the video game industry?”, Koizumi nervously ran through his pet theories about animation. Fortunately, he didn’t actually know he was sitting in front of Shigeru Miyamoto and Yoichi Kotabe — he now admits that he shudders when recalling that interview.

更具體地說，小泉是貿易動畫師。 當Kotabe問他“如果您太擅長動畫，為什么要加入視頻游戲行業？”時，小泉不安地跑遍了他關于動畫的寵物理論。 幸運的是，他實際上并不知道自己正坐在宮本茂和小部陽一的面前-他現在承認回憶起采訪時感到不寒而栗。

Yoshiaki Koizumi. Source: Polygon/Nintendo.小泉佳昭 資料來源：多邊形/任天堂。

Koizumi went on to become a key figure at Nintendo, but early in his career there, he was mostly responsible for illustration tasks. Kotabe ensured that key principles he’d learned while working at Toei were carried over to the team at Nintendo. So, for example, when it came time to illustrate the go karts in Super Mario Kart, Kotabe took Koizumi out on a field trip to see real go karts in action. One of the key lessons here was “see the real thing and take it inside yourself” — simply viewing reference images wasn’t enough.

小泉繼續成為任天堂的關鍵人物，但在他的職業生涯初期，他主要負責插圖任務。 Kotabe確保將他在Toei工作時所學的關鍵原則延續到任天堂的團隊中。 因此，例如，當需要在《 超級馬里奧賽車》中闡釋卡丁車的時候 ，小田邊帶小泉參加了一次實地考察，以觀看真正的卡丁車的實際應用。 這里的關鍵課程之一是“看真實的東西并將其帶入自己的內心” —僅查看參考圖像是不夠的。

新尺寸 (NEW DIMENSIONS)

Animation expertise became increasingly important to Nintendo as restrictions around game creation began to fall away. Where Kotabe and his colleagues had been highly constrained when designing animation on the 8-bit Famicom (Nintendo Entertainment System in the West), they had greater freedom on its successor, the Super Famicom (SNES in the West). The broader canvas was enabled through significantly more powerful hardware and greater available memory. This meant it was possible to introduce more frames in an animation, more colours, and more complex sprites.

隨著對游戲創作的限制逐漸消失，動畫專業知識對任天堂變得越來越重要。 在Kotabe和他的同事在8位Famicom(西方的Nintendo娛樂系統)上設計動畫時，他們受到極大的限制，而他們的后繼者Super Famicom(西方的SNES)則擁有更大的自由度。 通過更強大的硬件和更大的可用內存來啟用更廣泛的畫布。 這意味著可以在動畫中引入更多幀，更多顏色和更復雜的精靈。

But the true value of professional animators became most evident when video games moved into the third dimension. Super Mario 64 — Nintendo’s flagship title for the new Nintendo 64 console, which launched in Japan in 1996 — put the entire team’s skills to the test in ways they could never have predicted only a few years earlier.

但是，當視頻游戲進入三維領域時，專業??動畫師的真正價值就變得最為明顯。 Super Mario 64是任天堂于1996年在日本推出的新Nintendo 64控制臺的旗艦產品，它以一種幾年前才無法預料的方式，對整個團隊的技能進行了測試。

Super Mario 64 introduced new design challenges. Source: Rebloggy/Nintendo.Super Mario 64引入了新的設計挑戰。 資料來源：Rebloggy /任天堂。

The introduction of 3D graphics to video games challenged Kotabe’s preconceptions. He assumed that the move to 3D would naturally mean the adoption of more realistic graphics and even motion capture. He was surprised when Miyamoto rejected the idea; certain forms of movement worked well for animated TV and movies, but they didn’t translate well to video games due to the unique properties that interactivity introduced to the experience. Take the example of Link from The Legend of Zelda. Imagine that Link’s sword is sheathed. An enemy jumps out at you, so you press the attack button — expecting Link to immediately bring his sword down on the enemy’s head. If this scenario were happening in real life, you’d press the button, then wait for Link to pull the sword out of the sheath, hold it up in the air, and then bring it down to strike the enemy. Miyamoto quickly recognised that this kind of approach to “realistic” animation could never work for video games because it would be extraordinarily frustrating for the player, who expected the game to respond immediately to their input.

將3D圖形引入視頻游戲對Kotabe的成見提出了挑戰。 他認為向3D過渡自然意味著將采用更逼真的圖形甚至是運動捕捉。 當宮本拒絕這個想法時，他感到驚訝。 某些運動形式對于動畫電視和電影效果很好，但由于交互性給體驗帶來的獨特屬性，它們不能很好地轉換為視頻游戲。 以《 塞爾達傳說》中的鏈接為例。 想象一下，林克的劍被包裹住了。 敵人會向您跳來，因此您按下攻擊按鈕-希望Link立即將其劍落在敵人的頭上。 如果這種情況在現實生活中發生，請按一下按鈕，然后等待 Link將劍從護套中拔出，將其高舉在空中， 然后將其放下以打擊敵人。 宮本很快意識到，這種“逼真的”動畫方法對電子游戲永遠是行不通的，因為這會使想讓游戲立即響應其輸入內容的玩家感到沮喪。

“I wasn’t rejecting realistic movement. I was giving priority to how it felt to play the game rather than to smooth movement. And when showing the movement was an important element, we emphasized on the smooth movements. I recall there were times, when I talked quite fervently about these.”

“我并沒有拒絕現實的運動。 我優先考慮玩游戲而不是平穩運動。 當展示機芯是一個重要元素時，我們強調了平穩的機芯。 我記得有些時候，我非常熱切地談論過這些。”

Shigeru Miyamoto

宮本茂

Super Mario 64 box art (US). Source: NY Daily News/Nintendo.超級馬里奧64盒裝藝術(美國)。 資料來源：紐約每日新聞/任天堂。

Kotabe provided invaluable input as Nintendo began converting more and more franchises into 3D. One of the biggest challenges was 3D modelling; it required dramatically different skills when compared to the 2D sprite-based work from previous generations of games. One of Kotabe’s key skills from his animation background was the ability to “imagine the parts you can’t see as you draw”. This translated directly into 3D models, where it was necessary to consider which pieces needed to be chiselled away before you could actually see the end result. As well, Kotabe had a tendency to draw scenes with camera perspective in mind.

隨著任天堂開始將越來越多的特許經營權轉換為3D，Kotabe提供了寶貴的信息。 最大的挑戰之一是3D建模。 與前幾代游戲基于2D精靈的作品相比，它需要的技能截然不同。 Kotabe從動畫背景中獲得的關鍵技能之一就是“想象繪制時看不到的部分”的能力。 這可以直接轉換為3D模型，在此之前，有必要考慮一下哪些碎片需要鑿掉才能真正看到最終結果。 同樣，Kotabe也傾向于在考慮攝像機視角的情況下繪制場景。

“I think Kotabe-san has a camera in his head. What surprised me the most when he first drew a picture for me was that each picture reflected a camera position.”

“我認為Kotabe-san的頭上有一個攝像頭。 當他第一次為我繪制圖片時，令我最驚訝的是每張圖片都反映了相機的位置。”

Shigeru Miyamoto

宮本茂

Over time, Kotabe’s focus shifted to the Pokémon franchise. He assisted the team to translate all 151 Pokémon into 3D for Pokémon Stadium (1998) and Pokémon Snap (1999). Even after leaving Nintendo in 2007, Kotabe continued to play a supervisory role for the Pokémon franchise (including ongoing involvement with its feature films and TV series).

隨著時間的流逝，Kotabe的工作重點轉移到了Pokémon系列上 。 他協助團隊將所有151個Pokémon轉換為3D模型，分別用于《 PokémonStadium》 (1998年)和《 PokémonSnap》 (1999年)。 即使在2007年離開任天堂后，Kotabe仍繼續擔任《神奇寶貝》系列的監督角色(包括持續參與其故事片和電視連續劇)。

超越任天堂 (BEYOND NINTENDO)

Yoichi Kotabe hasn’t rested on his laurels since leaving Nintendo. Aside from his continuing involvement with Pokémon, Kotabe has chaired the jury of the Hida International Animation Festival of Folktales and Fables (a contest aimed at discovering new art talent from around the world), and also acted as a lecturer at the Toei Animation Institute.

自從任天堂離開后，小田洋一從未有過任何成就。 除了繼續參與《神奇寶貝》之外，Kotabe還主持了飛International國際民間傳說和寓言藝術節 (旨在發現來自世界各地的新藝術才華的比賽)的評審團，并在東映動畫學院擔任講師。

Kotabe’s illustration of Mario and friends. Source: Nintendo.Kotabe對Mario和朋友的插圖。 資料來源：任天堂。

It is difficult to imagine a Nintendo — and perhaps even a Japanese animation industry — without Yoichi Kotabe. We can not see the world that may have existed, but can only reflect on the events as they really unfolded. It’s clear that Kotabe is not only a legendary animator, but also a man who deserves credit for helping Nintendo to advance the art and science of video games. Like many millions of people around the world, I didn’t just grow up with Nintendo: I grew up with Mario. He was an important part of my childhood, he helped to mend a fractured relationship with my father, and he influenced my future career direction. For these reasons, I want to thank Kotabe-san from the bottom of my heart for the significant role he played breathing life into Mario and friends. I am forever grateful, Kotabe-san.

沒有小田陽一，很難想象一個任天堂甚至日本的動畫產業。 我們看不到可能存在的世界，而只能反思事件的真實發展。 顯然，Kotabe不僅是一位傳奇的動畫師，而且還是一位因協助任天堂推動視頻游戲的藝術和科學而受到贊譽的人。 就像世界上數以百萬計的人一樣，我不僅與任天堂一起長大，還與馬里奧一起長大 。 他是我童年的重要組成部分，他幫助與父親的關系破裂，并影響了我未來的職業方向。 由于這些原因，我要衷心感謝Kotabe-san發揮的重要作用，他為Mario和朋友們注入了生命。 Kotabe-san，我永遠感激不盡。

Special thanks to: Japan Media Arts Festival, Anido, Toei Animation, Nintendo, Polygon, Rebloggy, Pixilart, NY Daily News. Cover art by Yoichi Kotabe.特別鳴謝：日本媒體藝術節，Anido，Toei動畫，任天堂，Polygon，Rebloggy，Pixilart，紐約每日新聞。 小田洋一的封面藝術。

翻譯自: https://medium.com/super-jump/bringing-super-mario-to-life-49b85c3b7f01

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