LIKE A
HURRICANE
喜欢 A 飓风

Like a Hurricane: 像飓风一样
An Unofficial Oral History
非官方口述历史
of Street Fighter II 街头霸王 II
Written by Matt Leone 作者：马特-莱昂内
Published by Read-Only Memory
由只读记忆出版
Chapter 01 Street Fighter … 019
第 01 章街头霸王...... 019
Chapter 02 Street Fighter II … 045
第 02 章街头霸王 II ... 045
Chapter 03 Fatal Fury … 091
第 03 章致命的愤怒 ... 091
Chapter 04 Street Fighter II: … 103Champion Edition
第 04 章街头霸王 II：...... 103冠军版
Chapter 05 Street Fighter II Turbo: … 127
第 05 章街头霸王 II Turbo：... 127
Hyper Fighting 超级格斗
Chapter 06 Bringing the games home … 151
Chapter 07 Ebb and flow … 171
第 07 章起伏 ... 171
Chapter 08 Super Street Fighter II … 187
第 08 章超级街头霸王 II ... 187
Chapter 09 Super Street Fighter II Turbo … 207
第 09 章超级街头霸王 II Turbo ... 207
Chapter 10 Darkstalkers … 227
第 10 章黑暗潜行者 ... 227
Chapter 11 X-Men: Children of the Atom … 253
第 11 章 X 战警：原子之子 ... 253
Chapter 12 Street Fighter Alpha … 283
第 12 章街头霸王阿尔法 ... 283
Chapter 13 Street Fighter: The Movie … 309
第 13 章街头霸王电影 ... 309
Chapter 14 Street Fighter EX … 339
第 14 章街头霸王 EX ... 339
Chapter 15 Street Fighter III … 355
第 15 章街头霸王 III ... 355
Chapter 16 Capcom vs. SNK … 385
第 16 章卡普空与 SNK ... 385
Chapter 17 Moving on … 403
第 17 章继续前进 ... 403
Biographies … 417 传记 ... 417
Reporting notes … 465 报告说明...... 465
End matter … 473 结束语 ... 473

FOREWORD 前言

It’s interesting how a simple decision can change your life. In this instance, it wasn’t even my decision; it was my older brother Jeff’s. He was finishing high school, and he’d applied to two colleges, both in California where we lived: the University of California, Berkeley and the University of California, Los Angeles. He’d gotten into both, but since we’d grown up in southern California, he decided to go to UCLA. And that was it: that was the decision that changed my life.
一个简单的决定就能改变你的人生，这很有趣。在这个例子中，这甚至不是我的决定，而是我哥哥杰夫的决定。他高中毕业时申请了两所大学，都在我们居住的加州：加州大学伯克利分校和加州大学洛杉矶分校。他两所大学都被录取了，但因为我们都在南加州长大，所以他决定去加州大学洛杉矶分校。就这样，这个决定改变了我的一生。

I didn’t know it at the time, but back in the '90s, UCLA had one of the best arcades in southern California, called simply the UCLA Gameroom. It was huge, well maintained, and always up to date with the latest games (alongside some classics). As my brother started at UCLA, he regaled me with stories of how he was getting better at games, being able to finish Strider on one credit and Teenage Mutant Ninja Turtles on three.
我当时还不知道，但早在 90 年代，加州大学洛杉矶分校就拥有南加州最好的街机厅之一，简称 "UCLA Gameroom"。它很大，维护得很好，总是有最新的游戏（还有一些经典游戏）。我弟弟刚进加州大学洛杉矶分校的时候，他给我讲了很多他如何在游戏方面渐入佳境的故事，一个学分就能玩完《黾》，三个学分就能玩完《忍者神龟》。

Then everything changed one day when a little game called Street Fighter II showed up at the arcade. My brother called me immediately. ‘It’s crazy, all the CPU characters that you fight in the game, you can use them, too!’ He described the wild yellow monster (to this day I think of Blanka in SFII as more yellow than green), the karate guys, the big Russian wrestler, the Chinese girl, and the stretchy Indian guy who spits fire.
后来有一天，街机厅里出现了一款名为《街头霸王 II》的小游戏，一切都改变了。我哥哥立刻打电话给我。'太疯狂了，游戏中所有与你对战的 CPU 角色，你也可以使用它们！'。他描述了黄色的野生怪物（直到现在，我还觉得《街头霸王 II》中的布兰卡（Blanka）更像黄色而不是绿色）、空手道高手、俄罗斯大摔跤手、中国女孩，以及会喷火的伸展型印度人。

Now granted, at this time - even though I’d seen Super Nintendo games and arcade games looked
当然，在这个时候，尽管我看过超级任天堂游戏和街机游戏，但我还是觉得
even better - the visual that popped into my head was about five years out of date. I remember picturing the NES game Renegade, a pretty janky side-scroller. I had this image of an all-blue subway-esque background with a short pixelated Japanese guy fighting a short pixelated Indian guy on an isometric stage.
更妙的是，我脑海中浮现的画面已经过时五年了。我记得当时我在想象 NES 游戏《叛逆者》（Renegade），这是一款非常乏味的侧滚轮游戏。我脑海中浮现出这样一幅画面：全蓝色的地铁背景上，一个矮小的像素化日本人在一个等距舞台上与一个矮小的像素化印度人对战。

Wrong as that was, my brother’s stories kept piling up. And eventually, on one of his weekend visits home, we decided to look for the game. Now, there weren’t many arcades near where we lived, but there was one called Laser Blast in San Bernardino that we never went into as kids. It was a shady looking joint and our parents never let us go, but we were on a mission and old enough at this point. So we called - they had it. And when we walked in, everything changed for me.
虽然这是错的，但我哥哥的故事却越积越多。最后，在一次他周末回家的时候，我们决定去找这个游戏。现在，我们住的地方附近没有几家游戏厅，但在圣贝纳迪诺有一家叫 "激光爆炸 "的游戏厅，我们小时候从没进去过。那家店看起来很阴暗，我们的父母从来不让我们去，但我们有任务在身，而且已经长大了。于是我们打了电话--他们有。当我们走进去时，我的一切都改变了。

The butterflies were palpable, but could the game live up to my brother’s hype? Well, the original vision in my imagination vanished in the face of what I can only describe as one of the most beautiful videogames of its time. Bright, colourful, detailed fighters were displayed with detailed facial expressions, clearly defined muscles, scars, necklaces made of tiny skulls … and there was a Chinese fighter that, for her time, looked far less sexualized than most. Back then, fighting games always tended to have scantily clad women, like Angel from PitFighter or Poison and Roxie from Final Fight. But I
当时我的心情激动不已，但这款游戏能否达到我哥哥的预期呢？面对这款我只能称之为当时最美电子游戏之一的游戏，我最初的想象荡然无存。明亮、多彩、细致的格斗游戏中的格斗者面部表情细腻、肌肉清晰、伤疤明显、项链由小骷髅组成......还有一位中国格斗者，在那个时代，她看起来比大多数格斗游戏都不那么性感。那时，格斗游戏中总是有衣着暴露的女性，比如《PitFighter》中的 Angel 或《Final Fight》中的 Poison 和 Roxie。但我
digress: the graphics, the characters, the music, the sound effects, the voices … everything fit together so perfectly to bring together a masterpiece of a game unlike anything I had seen before. So yeah. It lived up to the hype.
我想说的是：画面、人物、音乐、音效、配音......一切都如此完美地结合在一起，创造出一款我从未见过的游戏杰作。所以是的。它不负众望。

At the time, we didn’t really think of SFII as a competitive game; we mostly played against the CPU. But that changed pretty quickly, as we became friends with many of the SFII fanatics that frequented Laser Blast. We eventually journeyed to our first tournament at a mini-golf arcade where a friend, my brother, and I took 1st, 2nd, and 3rd place respectively. We thought we were the best. We soon learned how little we actually knew.
当时，我们并没有把《SFII》当作一款竞技游戏，我们主要是与 CPU 对战。但这种情况很快就改变了，因为我们和许多经常光顾 Laser Blast 的 SFII 发烧友成了朋友。我们最终参加了在一家迷你高尔夫游乐场举行的第一次比赛，我和一个朋友、我哥哥分别获得了第一名、第二名和第三名。我们以为自己是最棒的。但很快我们就发现自己知道的太少了。

Eventually, we were visited by two players: Tony Chung and Tomo Ohira (yes, that Tomo, of legendary fame). They were driving around southern California to hand out flyers advertising a tournament they ran at a comic book shop called World’s Finest. And let me tell you, those two destroyed me and everyone else who thought they were the best at our arcade. We took the flyer, and decided to go to their third-ever tournament, as advertised. The comic shop was tiny and barely had room for three cabinets, but people found a way to cram in there. There were so many players and they were all so skilled at the game. It was like those scenes in old James Bond movies where Bond walks into
最后，我们迎来了两位选手：Tony Chung 和 Tomo Ohira（是的，就是那个 Tomo，传说中的名人）。他们开车在南加州四处散发传单，宣传他们在一家名为 "世界之最 "的漫画店举办的比赛。让我告诉你，这两个人把我和所有认为他们是我们商场里最棒的人都打败了。我们拿着传单，决定去参加他们宣传的第三次比赛。漫画店很小，勉强能容下三个柜子，但人们还是想方设法挤进去。参赛选手非常多，而且个个身怀绝技。就像老版詹姆斯-邦德电影里的场景一样，邦德走进了

Q’s laboratory and sees all the ridiculous gadgets on display. My brother and I were amazed as we saw things we never thought were possible.
在阿 Q 的实验室里，我们看到了陈列的各种可笑的小玩意儿。我和弟弟都惊呆了，因为我们看到了从未想过的东西。

That’s when the world opened up and I started to understand what competitive Street Fighter II was all about. From that point on, it became a mad scramble to become one of the best at the game. It wasn’t about being the best at your local arcade anymore. There was a veritable proving ground at World’s Finest in Pico Rivera. Our friends drove there repeatedly, each time bringing back new tricks and strategies.
从那时起，我的世界豁然开朗，我开始了解《街头霸王 II》的竞技魅力所在。从那时起，我开始疯狂地争夺成为游戏高手。这已经不再是在当地街机厅里的佼佼者了。在皮科里维拉的 "世界之最 "有一个名副其实的试炼场。我们的朋友多次驱车前往，每次都能带回新的技巧和策略。

And I just never stopped playing.
我从未停止过演奏。
I still remember the day Champion Edition showed up in southern California. It was at a bowling alley and I was sick that day, home from school. But I forced my weak body out of bed and my brother and I made our way there just to see the game. Everyone we knew from the county we lived in was there. It was the sort of huge meet-up that players today take for granted, and everyone was so giddy with excitement at using the boss characters, at the fact that Ryu and Ken fought differently, at the ability to use the same character against the same character. It was euphoric!
我还记得《冠军版》出现在南加州的那一天。那天我病了，从学校回家。但我还是强撑着虚弱的身体下了床，和哥哥一起赶去现场观看比赛。我们住的县里所有认识的人都去了。那是一种今天的玩家认为理所当然的大型聚会，每个人都为使用老板角色而兴奋不已，为隆和肯的战斗方式不同而兴奋不已，为能够使用相同的角色对抗相同的角色而兴奋不已。这让人兴奋不已！

I would go to visit my brother every year and stay with him for a week during spring break just to play at the UCLA Gameroom, where the skill level was always very high. They had a row dedicated solely
每年春假，我都会去看望哥哥，并在他家住上一周，就为了去加州大学洛杉矶分校的 Gameroom 打球，那里的球技水平总是很高。他们有一排专门
to Street Fighter II head-to-head cabinets. It was the only time, according to the manager of the arcade, that they ever had to collect the quarters out of the machines twice a week. Otherwise, Street Fighter II’s quarter bucket would overflow and the machine would stop working.
到《街头霸王 II》的头对头游戏机。据商场经理说，只有这一次，他们不得不每周两次从机器里收集硬币。否则，《街头霸王 II》的硬币桶就会溢出，机器就会停止工作。

Here’s the thing that people today might not understand: Street Fighter II wasn’t just a popular videogame. It was a cultural phenomenon unlike anything we’d seen since Pac-Man. While games like Super Mario Bros. and The Legend of Zelda had massive fanbases, they were still considered kids’ properties. Videogames still had the stigma of being a waste of time. Adults did not take videogames seriously. But Street Fighter II appealed to everyone.
今天的人们可能不明白：街头霸王2不仅仅是一款流行的电子游戏它是一种文化现象，与《吃豆人》之后的任何游戏都不同。虽然《超级马里奥兄弟》和《塞尔达传说》等游戏拥有庞大的粉丝群，但它们仍然被认为是孩子们的玩具。电子游戏仍然被认为是浪费时间。成年人并不把电子游戏当回事。但《街头霸王 II》吸引了所有人。

And because of its wide appeal, you could find it everywhere: liquor stores, gas stations, pizza joints, VHS rental stores, bowling alleys, etc. Every place you visited, it was like a virtual kumite: the locals there would stare you down to see just how good you were. Because every location had their top players, and pride meant they couldn’t lose to outsiders. I was definitely lucky to be in southern California, where we had a particularly robust scene, but Street Fighter was everywhere. Even people who didn’t know a thing about videogames knew what Street Fighter II was. To this day, when I travel across the country for big Street Fighter tournaments, my rideshare drivers
由于其广泛的吸引力，你可以在任何地方找到它：酒类专卖店、加油站、比萨饼店、录像带出租店、保龄球馆等。每到一个地方，它就像一场虚拟的搏击比赛：当地人会盯着你看，看看你有多厉害。因为每个地方都有自己的顶尖高手，而骄傲意味着他们不能输给外人。我很庆幸自己身处南加州，那里的街机游戏氛围特别浓厚，但《街头霸王》无处不在。即使对电子游戏一无所知的人也知道《街头霸王 II》是什么。时至今日，当我去全国各地参加大型街头霸王比赛时，我的合乘司机
still know exactly what game I mean when I say I’m there for ‘Street Fighter’, with them often mimicking Ryu’s original muffled vocal, ‘Hadouken!’ while putting their hands out in the classic pose.
当我说我是为 "街头霸王 "而来时，他们仍然很清楚我说的是什么游戏，他们经常模仿隆的原声闷哼 "Hadouken！"，同时伸出双手摆出经典姿势。

This wasn’t just a game that changed my life; it was a game that changed many people’s lives. Yoko Shimomura’s music has inspired people to become composers. Akira Yasuda’s art has inspired people to become illustrators. A lot of people I know have gone into game development to make their own fighting games … because of Street Fighter. And millions of fans haven’t stopped playing fighting games, with many still attempting to be the best in the evergrowing competitive scene we now know as the Fighting Game Community.
这款游戏不仅改变了我的生活，还改变了许多人的生活。下村阳子的音乐激励人们成为作曲家。安田彰的艺术激励人们成为插画家。我认识的很多人都因为《街头霸王》而投身游戏开发，制作自己的格斗游戏......。数以百万计的粉丝一直在玩格斗游戏，许多人还在不断壮大的格斗游戏竞技场上力争上游，我们现在称之为格斗游戏社区。

A character yells, ‘Hadouken!’ in the movie Shazam!!, and a Champion Edition cabinet shows up in Captain Marvel, movies that came out nearly 20 years after SFII debuted in arcades. Guile’s theme music became a popular meme decades after its release. Comedian Pete Holmes did a comedy sketch series about Street Fighter II in 2014 for a TBS show. Even when Ryu showed up in Fortnite, the trailer for the reveal used the classic Street Fighter II cabinet instead of referencing any of the myriad sequels that have come out since. Street Fighter II still burns strongly in the hearts of so many people.
电影《沙赞！！》（Shazam！！）中的一个角色大喊 "Hadouken！"，《惊奇队长》（Captain Marvel）中出现了一个冠军版游戏机，这些电影都是在《SFII》首次登陆街机近 20 年后上映的。Guile 的主题音乐在发布几十年后成为了流行的流行歌曲。喜剧演员皮特-霍姆斯（Pete Holmes）在 2014 年为 TBS 的一档节目拍摄了一组关于《街头霸王 II》的喜剧小品。甚至当隆出现在《堡垒之夜》中时，其预告片也使用了经典的《街头霸王 II》游戏机柜，而没有提及之后推出的无数续集。街头霸王 II》依然在许多人心中深深烙印。

Street Fighter II wasn’t just a game. It was a comic book. It was a board game. It was a terrible movie. It was a terrible game based on that terrible movie. It was a toy tie-in with G.I. Joe. It was a cartoon. It was a pinball game. It was a kids’ book based on Where’s Waldo? that, yes, I still own. It marked the start of an entire genre of games and spawned countless rip-offs. But most of all, it was a cultural phenomenon. It defined a period of time so many people from my generation will never forget.
街头霸王 II》不仅仅是一款游戏。它是一本漫画书。它是一个棋盘游戏它是一部糟糕的电影是根据那部烂片改编的烂游戏它是《大兵小将》的配套玩具。这是一部动画片。这是一款弹球游戏这是一本根据《沃尔多在哪里》改编的儿童读物，是的，我现在还拥有这本书。它标志着整个游戏类型的开端，也催生了无数的翻版游戏。但最重要的是，它是一种文化现象。它定义了一个时代，让我们这一代的许多人永生难忘。

That’s what makes the game so special. That’s why a book like this exists. I hope this evokes some nostalgia for you, or gives you a glimpse of what has made Street Fighter II so much more than just a videogame. Enjoy … like I have been for 30 years.
这就是游戏的特别之处。这也是这本书存在的原因。我希望这能唤起你的怀旧之情，或者让你了解到《街头霸王 II》不仅仅是一款电子游戏。请尽情享受......就像我 30 年来一直享受的那样。

CHAPTER 章次

On 12 May 1987, Capcom gathered arcade distributors from across the US at a Philadelphia gym. The company had rented out the Cambria Boxing Club, known for its appearance in Rocky, and staged an exhibition with local boxers, kickboxers, and a ring girl to entertain the crowd of rowdy onlookers. Earlier that day, Capcom had shown their action game Bionic Commando at the airport Marriott, but that wasn’t why everyone was in town.
1987 年 5 月 12 日，卡普空在费城的一家健身房召集了全美的街机经销商。该公司租下了因在《洛奇》中出现而闻名的坎布里亚拳击俱乐部，并与当地拳击手、跆拳道选手和一名擂台女郎一起举办了一场表演赛，以娱乐喧闹的围观人群。当天早些时候，卡普空公司在机场万豪酒店展示了他们的动作游戏《仿生突击队》，但这并不是大家来这里的原因。

At Cambria, Capcom vice-president of sales and marketing Bill Cravens worked the room. A popular figure known for his towering presence and reputation for showmanship, the tuxedo-clad Cravens was gearing up for his big moment. After watching 12 rounds of fights, as reported by industry trade magazine RePlay, Cravens walked over to a brown paper package, tore off the paper, and laid bare why everyone was gathered in a gym.
在坎布里亚，卡普空负责销售和营销的副总裁比尔-克雷文斯（Bill Cravens）在房间里忙前忙后。身着燕尾服的克雷文斯以其高大的形象和善于作秀的名声而广受欢迎，他正在为自己的重要时刻做准备。据行业贸易杂志《RePlay》报道，在观看了 12 回合的格斗比赛后，克雷文斯走到一个牛皮纸包裹前，撕开纸张，道出了大家聚集在健身房的原因。

Beneath the wrappings was Street Fighter, a new competitive fighting game with buttons that looked like punching bags and a boxer bearing a slight resemblance to Mike Tyson. No Rocky Balboa, but Cravens lived in Philadelphia, so he took certain liberties with the venue choice.
包装下面是《街头霸王》（Street Fighter），这是一款新的格斗竞技游戏，游戏中的按钮看起来像沙袋，拳击手与迈克-泰森（Mike Tyson）有几分相似。虽然没有 "洛奇-巴尔博亚"，但克雷文斯住在费城，所以他在场地选择上有一定的自由度。

For Capcom, Street Fighter was an experiment. It wasn’t just a game but an initiative to sell an elaborate, expensive arcade cabinet. Up to that point, Capcom had made their name on software that
对于卡普空来说，《街头霸王》是一次实验。它不仅仅是一款游戏，还是一项销售精致、昂贵的街机柜的举措。在此之前，卡普空公司一直是通过以下软件来为自己正名的
arcade operators could swap into existing cabinets, and Street Fighter was supposed to be the big, flashy example that would convince those operators to pay twice as much for the full thing.
而《街头霸王》应该是一个大而华丽的例子，能说服那些经营者花两倍的价钱购买全套游戏。

As the crowd of distributors watched, they saw a game that fit the sales pitch, with large characters, creative mechanics and custom controls. In 1987, before it picked up the baggage of 30 years of sequels that made it look clumsy in comparison, Street Fighter was cutting edge.
在众多经销商的注视下，他们看到了一款符合销售宣传的游戏，它拥有大型角色、创造性的机制和自定义控制。1987 年，《街头霸王》还没有背上 30 年来续集的包袱，相比之下显得笨拙，但它却是最前沿的游戏。

From the start, Capcom positioned the Street Fighter series to be a breakthrough that would move the company in a new direction. And a few years later, the series did exactly that, just not in the way Capcom intended.
从一开始，卡普空就将 "街头霸王 "系列定位为将公司推向新方向的突破口。几年后，《街头霸王》系列确实做到了这一点，只是与卡普空的初衷大相径庭。

A GAME OF IDEAS 思想的游戏

Thirty-plus years after its release, Street Fighter is a template, a high-level blueprint for what fighting games would become. The game’s legacy has become less about how well it holds up, and more about its mechanics. From the international cast of characters, to the joystick motions that triggered special moves, to Ryu and Ken’s trademark attacks, the game established the formula for competitive fighting games right out of the gate.
在《街头霸王》发布 30 多年后的今天，它已成为格斗游戏的模板和高级蓝图。这款游戏的遗产已不再是它的性能如何，而更多的是它的机制。从角色的国际阵容，到触发特殊动作的摇杆动作，再到隆和肯的标志性攻击，这款游戏一经推出就确立了格斗竞技游戏的模式。

Behind the scenes, it started with someone bored in a meeting.
在幕后，事情的起因是有人在会议上感到无聊。

TAKASHI NISHIYAMA 西山隆

Street Fighter director, Capcom Japan
《街头霸王》总监，日本卡普空
I actually remember it very clearly, even now. One day at Capcom, we had a meeting between the development staff and the sales team, and this particular meeting happened to run very long - I think it was about two hours. Personally, as someone on the development side, I found it very hard to stay interested during these meetings, so I tended to daydream and think about games. And I remember not really paying attention and jotting down some ideas on paper. Then there was just this one moment where the idea for Street Fighter popped into my head, and I drew it out on a piece of paper during the meeting. I was sitting next to [Capcom producer Yoshiki] Okamoto and I asked him what he thought about it, and he said it looked very interesting.
实际上，即使是现在，我也记得非常清楚。有一天，在卡普空，我们的开发人员和销售团队开了个会，这个会开得很长--我想大概有两个小时。就我个人而言，作为开发团队的一员，我发现很难在这些会议上保持兴趣，所以我往往会做白日梦，想着游戏的事情。我记得当时我并没有专心致志，而是在纸上记下了一些想法。有一次，我突然想到了《街头霸王》，并在会议期间把它画在了纸上。我当时坐在（卡普空制作人）冈本良树旁边，我问他怎么看，他说看起来非常有趣。

I guess, concretely speaking, the idea was inspired by
具体来说，我想这个想法的灵感来自于
Spartan

X

[an action game known as Kung-Fu Master
斯巴达

X

[一款名为《功夫大师》的动作游戏
in the US and Europe], which I worked on at Irem. I was thinking about the boss fights in that game, and thought it could be interesting to build a game around those. I think you could say Spartan

X

was the basis of the whole idea for Street Fighter.
在美国和欧洲]，我曾在 Irem 工作过。我一直在思考那款游戏中的 BOSS 战，并认为围绕这些 BOSS 战制作一款游戏可能会很有趣。我想你可以说《斯巴达》

X

是《街头霸王》整个创意的基础。

So yeah, the notes I wrote during that meeting were all very rough, but I used those to put together a design document to convince the higher-ups at Capcom to greenlight the game. And I ended up showing that document to [Hiroshi] Matsumoto, and he’s the one who ended up refining the ideas after that. […] Everything after that was basically all his doing. I oversaw things, but you can say it was really Matsumoto’s game.
是的，我在那次会议上写的笔记都很粗糙，但我用这些笔记整理出了一份设计文件，说服卡普空的高层为这款游戏开绿灯。最后我把那份文件给松本浩看，是他完善了我的想法。[......]之后的一切基本上都是他在做。我监督了一些事情，但可以说这确实是松本的游戏。

\to

HIROSHI MATSUMOTO

\to

松本宏志
Street Fighter planner, Capcom Japan
《街头霸王》策划人，日本卡普空
After Nishiyama came up with the basic concept, I thought about what kinds of characters we should have, what kinds of moves they should have, what kinds of fighting styles they should have. […] At the time, I was very interested in martial arts and - just as a hobby - I had studied and read up on them extensively. So I was excited.
在西山提出基本概念之后，我就开始考虑我们应该有什么样的角色，他们应该有什么样的招式，他们应该有什么样的战斗风格。[......]当时，我对武术非常感兴趣，作为业余爱好，我对武术进行了广泛的研究和阅读。所以我很兴奋。

\to

TAKASHI NISHIYAMA

\to

西山隆志
Street Fighter director, Capcom Japan
《街头霸王》总监，日本卡普空
I think Street Fighter was a bit of a unique game at the time because it had story and character elements to it that weren’t very common in other popular games, like shooters or racing games. And what was interesting about Street Fighter was we had characters with different fighting styles in it. We had boxing, kickboxing, bojutsu, shorinji kempo, etc. If you’re trying to make a competitive fighting game, if you have just two boxers facing up against each other, that might be very simple, right? And not terribly remarkable. But if you pit a boxer, for example, against a kickboxer or someone who knows bojutsu or someone who knows shorinji kempo, you get all these very interesting combinations. So Matsumoto and I ended up coming up with these ideas together, to give the game deeper story and character elements. And I think it became a trend to incorporate these kinds of elements into games. A lot of the characters ended up in multimedia projects like movies and novels, which was great.
我认为《街头霸王》在当时是一款比较独特的游戏，因为它的故事和角色元素在其他流行游戏（如射击游戏或赛车游戏）中并不常见。而《街头霸王》的有趣之处在于，游戏中的角色拥有不同的格斗风格。我们有拳击、跆拳道、柔术、少林寺拳法等。如果你想制作一款竞技格斗游戏，如果只有两个拳击手对决，那可能会很简单，对吧？而且并不引人注目。但如果让拳击手与踢拳手、懂柔术的人或懂少林寺拳法的人对决，就会出现各种非常有趣的组合。因此，松本和我最终一起想出了这些点子，赋予游戏更深层次的故事和角色元素。我认为，将这些元素融入游戏已成为一种趋势。很多角色最终都出现在了电影和小说等多媒体项目中，这非常棒。

The other thing that I really liked about Street Fighter was how we set up the joystick motions and button presses to generate special moves that you couldn’t have done otherwise. I think it was through these ideas that the competitive fighting genre was born.
我非常喜欢《街头霸王》的另一点是，我们是如何设置操纵杆动作和按键来产生特殊动作的，否则你就无法做到这一点。我认为，正是通过这些想法，竞技格斗类型才得以诞生。

DEVELOPMENT CHALLENGES 发展挑战

While Street Fighter established a framework that went on to generate billions of dollars in revenue, it was also a game built on limitations. With twitchy movement, a limited number of playable characters, and special moves that required extreme precision to perform, fights didn’t feel like the gracefully choreographed battles they would become in later instalments.
虽然《街头霸王》建立了一个后来创造了数十亿美元收入的框架，但它也是一款建立在局限性基础上的游戏。由于动作抽搐、可玩角色数量有限、特殊动作需要极高的精准度才能完成，游戏中的打斗并不像后来的游戏那样优雅。

Before Capcom could worry about things
在卡普空开始担心之前
like character balance and deep gameplay mechanics, they had to build the foundation. And what they came up with was a game that showed promise, but one that lacked the level of polish necessary to overwhelm the marketplace.
因此，他们必须打好游戏的基础，如角色平衡和深入的游戏机制。结果，他们得到的是一款有前景的游戏，但却缺乏必要的打磨，无法征服市场。
As Nishiyama and Matsumoto recall, many of the biggest challenges they faced came down to the resources available at the time, and how much of the game Matsumoto had to implement by himself.
据 Nishiyama 和 Matsumoto 回忆，他们面临的最大挑战是当时可用的资源，以及 Matsumoto 必须独自实施的游戏内容。

HIROSHI MATSUMOTO 松本宏
Street Fighter planner, Capcom Japan
《街头霸王》策划人，日本卡普空
The most difficult aspect of making that game, as far as I’m concerned, was the fact that the main programmer wasn’t originally a game programmer. I don’t think he’d come to Capcom as an official employee, but had been dispatched from another company. And he was a systems engineer, not a game programmer, so he had no idea how to make games. So I think the toughest hurdle was trying to communicate with him and trying to teach him how to make games, because no matter how we tried to explain it, he just didn’t seem to understand even the most basic concepts.
在我看来，制作这款游戏最困难的地方在于，主程序员原本并不是游戏程序员。我认为他不是作为正式员工来到卡普空的，而是从其他公司派遣过来的。而且他是一名系统工程师，不是游戏程序员，所以他根本不知道如何制作游戏。所以我觉得最困难的是如何与他沟通，教他如何制作游戏，因为无论我们怎么解释，他似乎都不明白最基本的概念。

I had learned a few things while working on [overhead shooter] Legendary Wings, so it got to the point where I had to do some of his work myself to speed things up. It was just faster for me to do it than for me to teach him how to do it. Today we use programming and tools to animate graphics, but back then, we had to use a table to look up every frame of animation for every character. We used an old Hewlett-Packard computer for that, and it was very tedious work, delineating each frame manually by hand. If you wanted an animation to go from point A to point B , you had to manually enter all that data. And revisions meant doing the same thing all over again.
在制作《传奇之翼》时，我学到了一些东西，所以为了加快进度，我不得不自己完成他的一些工作。我自己做比教他做更快。如今，我们使用编程和工具来制作图形动画，但在当时，我们必须使用表格来查找每个角色的每一帧动画。我们用的是一台老式惠普电脑，手工划定每一帧是非常乏味的工作。如果你想让动画从 A 点到 B 点，就必须手动输入所有数据。而修改意味着要重新做同样的事情。

It wasn’t my job, officially, to do that, but we had no choice. It would have been much faster to just do it all myself.
正式来说，这不是我的工作，但我们别无选择。如果我自己来做，速度会快很多。

TAKASHI NISHIYAMA 西山隆

Street Fighter director, Capcom Japan
《街头霸王》总监，日本卡普空
I think the most regrettable experience of the game was the fact that, you know, we had all these ideas for different playable characters that we wanted to put into the game, but due to budget concerns, scheduling concerns and whatnot, eventually that got whittled down to just having Ryu and Ken in the game. And I would have loved to have more playable characters, but unfortunately we were only able to put in the two of them.
我认为游戏中最令人遗憾的经历是，你知道，我们有很多关于不同可玩角色的想法，我们想把它们放到游戏中，但由于预算、时间安排等方面的原因，最终只在游戏中加入了隆和肯。我很想有更多的可玩角色，但遗憾的是，我们只能在游戏中加入他们两个。

\to

HIROSHI MATSUMOTO

\to

松本宏志
Street Fighter planner, Capcom Japan
《街头霸王》策划人，日本卡普空
Because we only had so much time on our hands - you know, time is not infinite, right? - I couldn’t do everything that I wanted to do. I remember wanting to put a bunch of different characters into the game, but Okamoto would come to me and say, ‘Hey, we don’t have time to put these in, so we have to cut them.’ I thought that was pretty unfortunate.
因为我们只有那么多时间--你知道，时间不是无限的，对吧？- 我不能做所有我想做的事情。我记得我想在游戏中加入很多不同的角色，但冈本会来跟我说：'嘿，我们没有时间加入这些角色，所以我们必须删掉他们。我觉得这很不幸。

Okamoto had actually taken an interest in the Street Fighter project even though he wasn’t directly involved in it. […]
尽管冈本没有直接参与《街头霸王》项目，但他实际上对该项目很感兴趣。[...]

He had been interested enough in Street Fighter that he had been involved in some of the discussions regarding the pressure sensor that we used in the arcade cabinet [which players would hit to generate weak, medium or strong attacks]. I remember one day he wanted to test out how that would work, and we ended up making a prototype of that sensor using a rubber band and a button. And we both ended up testing how the pressure would work by banging it a bunch of times. So we both ended up with scratches on our fists.
他对《街头霸王》非常感兴趣，参与了一些关于街机柜中压力传感器的讨论（玩家点击压力传感器可产生弱、中或强攻击）。我记得有一天，他想测试一下压力传感器的工作原理，最后我们用一根橡皮筋和一个按钮制作了传感器的原型。最后，我们俩通过多次敲击来测试压力如何发挥作用。结果我们的拳头上都留下了划痕。

CAPCOM'S EXPERIMENT 卡普空的实验

As it turned out, the prototype wasn’t the only setup that hurt players’ hands.
结果发现，原型机并不是唯一会伤害玩家手部的设置。

When Street Fighter arrived in arcades, it came in a crescent-shaped ‘deluxe upright’ cabinet with a joystick and two large, pneumatic, pressuresensitive buttons on each side - one for punches and one for kicks. Capcom was attempting to move into the high-end arcade cabinet business, where they could sell a bigger machine with a custom interface for more money, and the gimmick of pressure-sensitive buttons set the game apart from the hundreds of games using standard control setups.
当《街头霸王》出现在街机厅时，它被装在一个月牙形的 "豪华直立式 "机柜里，机柜两侧各有一个操纵杆和两个大型气动压感按钮--一个用于出拳，一个用于踢腿。卡普空当时正试图进军高端街机柜业务，这样他们就能以更高的价格出售带有定制界面的更大机器，而压感按键的噱头也让这款游戏从数百款使用标准控制设置的游戏中脱颖而出。
RePlay magazine called Capcom’s contraption ‘a pricey but extremely inventive item combining interactive video competition with the physical demands of a mole whacker’.
RePlay》杂志称卡普空的这一装置 "价格昂贵，但极富创意，将互动视频竞赛与鼹鼠捶打器的体力要求结合在一起"。

TAKASHI NISHIYAMA 西山隆

Street Fighter director, Capcom Japan
《街头霸王》总监，日本卡普空
Back in the day, I think the biggest arcade cabinet manufacturers were Sega and Namco. Capcom did most of their business selling printed circuit boards that you could plug in to other machines. But Sega and Namco specialized in selling large cabinets, and they made a lot of money doing that. Once Capcom found out, they wanted a piece of the pie, so they wanted to sell their own cabinets.
在过去，我认为最大的街机柜制造商是世嘉（Sega）和南梦宫（Namco）。卡普空的大部分业务是销售可以连接到其他机器的印刷电路板。但世嘉和南梦宫专门销售大型机柜，他们在这方面赚了很多钱。一旦卡普空发现了这一点，他们也想分一杯羹，于是就想卖自己的机箱。

The thing is, though, Capcom didn’t know what they were
但问题是，卡普空并不知道他们在
doing - they didn’t specialize in mechatronics or know how
他们并不擅长机电一体化，也不知道如何
to build those sorts of cabinets. So Capcom thought,
来制作这种机柜。于是卡普空想到了
Maybe we could make a simpler cabinet that we could sell? That’s why we came up with the pneumatic buttons, and the idea tied directly in to how we designed Street Fighter. The idea was
也许我们可以制作一个更简单的游戏机柜来出售？这就是我们想出气动按钮的原因，这个想法与我们设计《街头霸王》的方式直接相关。我们的想法是
that, ideally, the sensor would be able to detect how strongly or how weakly you pressed it, and that would translate into the kinds of moves you’d perform in the game, because a simple arcade stick couldn’t accurately replicate a human’s complex movements, right? We wanted to kind of offset that shortcoming.
因为一根简单的街机摇杆无法准确复制人类的复杂动作，对吗？我们想弥补这一缺陷。

It basically came down to two particular objectives, two missions here. The first was to come up with some kind of an arcade cabinet that the sales department could sell to their customers, and the other was coming up with a way to improve the game and offset the shortcomings of an arcade stick.
这基本上归结为两个特定的目标，两个任务。第一个任务是设计出一种销售部门可以卖给客户的街机柜，另一个任务是想办法改进游戏，弥补街机棒的不足。
But it was very difficult to develop a pressure-sensitive sensor, and that was a technological issue that Capcom never quite ended up overcoming. So we ended up working with Atari, and we worked together to develop the sensor, since they’re the ones who had the knowhow to make that happen.
但开发压力感应传感器非常困难，这是卡普空始终无法克服的技术问题。因此，我们最终与雅达利合作，共同开发传感器，因为他们拥有实现这一目标的专业技术。

\to

ALDO DONNALOIA

\to

ALDO DONNALOIA
Street Fighter Western regional sales manager, Capcom USA
卡普空美国公司《街头霸王》西部地区销售经理
I was the liaison between Atari and our engineering group that came over, so I did some translation for the engineers. And back then, Atari built the highest-quality cabinets, so we went to them to build this cabinet for us. […] You know, it took some time, but both Capcom engineers and Atari figured it out. I do remember it was kind of like a quarter-moon-shaped cabinet. Yeah, it was a fantastic cabinet.
我是雅达利和我们工程小组之间的联络人，所以我为工程师们做了一些翻译工作。在当时，雅达利制造了最高品质的机柜所以我们找他们为我们制造了这个机柜[虽然花了一些时间，但卡普空的工程师和雅达利的工程师都解决了这个问题。我记得那是个四分之一月形的机柜是的，那是个很棒的机柜

\to

ZENJI ISHII

\to

石井善治
Editor-in-chief, Gamest magazine
Gamest 杂志主编
I remember seeing it for the first time and seeing how big the cabinet was, and that it had the pressure-sensitive buttons, and I remember thinking how different and impressive it was from other arcade games at the time.
我记得第一次看到这款游戏时，看到它的机柜有多大，还有压感按键，我还记得当时我在想它与其他街机游戏有多么不同，多么令人印象深刻。

TAKASHI NISHIYAMA 西山隆
Street Fighter director, Capcom Japan
《街头霸王》总监，日本卡普空
The problem was, during location tests, we realized that it was very tiring to hit the sensor over and over. It was basically like exercising. The whole point of monetizing this business was to get people to become repeat customers, where they would put in 100 yen coins over and over again so we could make money. And when you’re getting tired from playing the game, that’s not going to happen.
问题是，在定位测试过程中，我们发现反复撞击传感器非常累人。这基本上就像锻炼身体一样。这项业务的盈利点在于让人们成为回头客，让他们一次又一次地投入 100 日元硬币，这样我们就能赚钱。而当你玩游戏玩累了，这就不可能实现了。

\to

TODD CRAVENS

\to

托德-克莱文斯
Son of Capcom USA vice-president Bill Cravens
卡普空美国公司副总裁比尔-克雷文斯之子
You had to beat the hell out of it. I remember playing it for the first time and being absolutely exhausted. Everyone was kind of like, ‘Oh my goodness. It’s gonna be hard to get the second and third quarter on this.’ […] They were doing a big unveiling of this at a gym in Philadelphia for the US distributors, and they had boxers there who [played the game], and even those guys were tired afterwards.
你必须把它打得落花流水。我还记得第一次玩这款游戏的时候，简直精疲力尽。每个人都有点像，'哦，我的天哪。'要打到第二和第三节可真不容易啊。[......]他们在费城的一家健身房为美国经销商举行了一场盛大的揭幕仪式，他们请来了拳击手（玩游戏），玩完之后连他们自己都累了。

\to

ALDO DONNALOIA

\to

ALDO DONNALOIA
Street Fighter Western regional sales manager, Capcom USA
卡普空美国公司《街头霸王》西部地区销售经理
It just was too radical.
只是太激进了。

JOE MORICI 乔-莫里奇
Street Fighter II console vice-president, Capcom USA
卡普空美国公司《街头霸王 II》游戏机副总裁
I remember when I first saw it - it had those big rubber [pads] that you punch with your fists. That had to come off the market because everybody was getting injured.
我还记得第一次看到它时的情景--它有一个大橡胶[垫]，可以用拳头击打。因为每个人都会受伤，所以它不得不退出市场。

JEFF WALKER 杰夫-沃克

Street Fighter II vice-president of sales and marketing, Capcom USA
卡普空美国公司《街头霸王 II》销售与营销副总裁
What we were hearing was everyone was getting bloody hands, it wasn’t working too well, and yadda yadda yadda.
我们听到的说法是，每个人的手都在流血，效果不太好，等等等等。

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TOMOTAKA SUZUKI

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户田淑子
Street Fighter II series combo video creator
《街头霸王 II》系列连击视频创作者
I hurt my hand a few times. There were times when I had to use my elbow.
我的手受过几次伤。有几次我不得不用手肘。

ZENJI ISHII 石井善治

Editor-in-chief, Gamest magazine
Gamest 杂志主编
There’s a way you have to press the buttons. You shouldn’t slam down on them from high. You have to use your palms to press them gently.
按按钮是有方法的。你不能从高处猛地按下去。你必须用手掌轻轻按下它们。

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TODD CRAVENS

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托德-克莱文斯
Son of Capcom USA vice-president Bill Cravens
卡普空美国公司副总裁比尔-克雷文斯之子
I think one of the other concerns they had was just the hold-up of it, right? You know, you just keep punching something over and over again; how often are you going to have to replace these parts?
我想他们的另一个顾虑是它的滞后性，对吗？你知道，你只是一遍又一遍地打孔，你要多久才能更换这些部件？

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ALDO DONNALOIA

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ALDO DONNALOIA
Street Fighter Western regional sales manager, Capcom USA
卡普空美国公司《街头霸王》西部地区销售经理
I think we were worried about getting sued as well.
我想我们也担心被起诉。

TAKASHI NISHIYAMA 西山隆
Street Fighter director, Capcom Japan
《街头霸王》总监，日本卡普空
We ended up changing the control panel so it would have six buttons instead of the pressure-sensitive sensor. It wasn’t really the sort of success Capcom was looking for.
最后，我们改变了控制面板，让它有六个按钮，而不是压力感应器。这并不是卡普空想要的成功。

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TODD CRAVENS

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托德-克莱文斯
Son of Capcom USA vice-president Bill Cravens
卡普空美国公司副总裁比尔-克雷文斯之子
They were kind of looking around like, 'OK, we think we have a good game here, but the controls are going to have to be modified back more to a more standard type of deal, otherwise no one’s gonna play this game for more than five minutes.
他们环顾四周，好像在说：'好吧，我们认为我们有一款不错的游戏，但游戏的操控方式还得再修改一下，使之更符合标准，否则没人会玩这款游戏超过五分钟。

TAKASHI NISHIYAMA 西山隆
Street Fighter director, Capcom Japan
《街头霸王》总监，日本卡普空
We also ran into a big issue with the six-button layout on the control panel, because most games back then had two buttons and the eight-way directional arcade stick, right? But we wanted to go with six buttons, and we got a lot of pushback from the sales department because they were concerned that people wouldn’t be able to figure out how to play six-button games. But we managed to put in the six buttons in the end, and we ended up getting a lot of positive consumer feedback to that. So we were able to shut the sales department up.
我们在控制面板的六键布局上也遇到了很大的问题，因为当时大多数游戏都有两个按钮和八向方向的街机摇杆，对吧？但我们想用六个按键，销售部门对此表示反对，因为他们担心人们不知道如何玩六个按键的游戏。但我们最终还是采用了六键，并得到了很多消费者的积极反馈。因此，我们得以让销售部门闭嘴。

I was very focused on trying to carefully navigate company politics, working with the sales department to get the game out the way we wanted it to be.
我非常专注于小心谨慎地处理公司政治，与销售部门合作，以我们希望的方式推出游戏。

ALDO DONNALOIA
Street Fighter Western regional sales manager, Capcom USA

We decided to forgo this idea of pneumatic buttons and switched over to the six buttons, and I think we were the first with six buttons. And that’s when Street Fighter began to take off, you know?
我们决定放弃气动按键的想法，改用六按键，我想我们是第一家使用六按键的公司。从那时起，《街头霸王》开始起飞，你知道吗？

A MIXED SUCCESS 成败参半

More than 30 years after the fact, we don’t know exactly how well Street Fighter sold. Capcom hasn’t released official numbers, trade magazines from the 1980s only show operator survey results, and no one we spoke to for this book had specific data. Perhaps more notably, many of those people estimate the numbers differently from one another, and interpret them differently as well.
30 多年过去了，我们并不清楚《街头霸王》的具体销售情况。卡普空公司没有公布官方数据，20 世纪 80 年代的行业杂志只显示了运营商的调查结果，我们为本书采访的任何人都没有具体的数据。也许更值得注意的是，这些人中的许多人对数字的估计各不相同，对数字的解释也不尽相同。

ALDO DONNALOIA
Street Fighter Western regional sales manager, Capcom USA
卡普空美国公司《街头霸王》西部地区销售经理
Nishiyama was a great guy, and this is what he always told me. He said, ‘Hey Aldo, the part of R&D that I engineer, they do not try to hit a home run, you know? I’m happy with a double.’ Whereas the other guy, I think his name was Okamoto. He wanted to hit a home run every time. […] And of course, Nishiyama’s Street Fighter, you know, hit the home run.
西山是个好人，他总是这样对我说。他说，'嘿，阿尔多，我所从事的研发工作，并不追求全垒打，你知道吗？能打出两倍我就很高兴了。而另一个人，我想他叫冈本。他每次都想打出全垒打。[......]当然，西山的《街头霸王》也打出了全垒打。

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TAKASHI NISHIYAMA

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西山隆志
Street Fighter director, Capcom Japan
《街头霸王》总监，日本卡普空
From my perspective, I think the most difficult part of making the game was that we initially came up with a game that was built to sell arcade cabinets, right? And I think that we did fail in that regard.
从我的角度来看，我认为制作这款游戏最困难的部分是，我们最初设计的游戏是为了卖街机柜，对吗？我认为我们在这方面确实失败了。

Thinking about the numbers, though […] I think it was actually a pretty decent hit, so I guess it was a success. Probably more so in the US than in Japan.
不过考虑到数字，[......]我认为它实际上是一部相当不错的作品，所以我想它是成功的。在美国可能比在日本更成功。

HIROSHI MATSUMOTO 松本宏
Street Fighter planner, Capcom Japan
《街头霸王》策划人，日本卡普空
I remember there was this industry newsletter called Game Machine, and around the end of the year, I think president [Kenzo] Tsujimoto
我记得当时有一份名为《游戏机》（Game Machine）的行业时事通讯，大约在年底的时候，我想社长辻本健三（Kenzo Tsujimoto）在一份名为《游戏机》（Game Machine）的行业时事通讯上写道
got a copy and saw Street Fighter’s ranking and was happy with it. It seemed like the game had sold a lot of units.
我买了一份，看到《街头霸王》的排名，很高兴。这款游戏似乎卖出了很多套。
[Ed. note] The deluxe upright version of Street Fighter peaked at #3 on Game Machine’s Upright/Cockpit Videos list in October 1987. A cheaper cocktail table version of the game went to #1 on the Table Videos list in January 1988. Both left their respective charts in mid-1988. These rankings came from opinion polls surveying arcade operators about the earnings of games on location in Japan.
[编者注] 1987 年 10 月，豪华直立版《街头霸王》在 Game Machine 的直立/驾驶舱视频排行榜上名列第三。1988 年 1 月，该游戏的廉价鸡尾酒桌版在桌上视频排行榜上名列第一。这两款游戏都在 1988 年年中退出了各自的排行榜。这些排名来自于对日本街机厅经营者进行的关于游戏收益的民意调查。
In the US, RePlay magazine ran similar operator opinion survey charts. In December 1987, the game peaked at #10 in RePlay’s Upright Videos charts and then gradually fell down the list until it left the top 25 in mid-1989. In the US, these rankings included both the original deluxe upright cabinet and a standard cabinet produced later.
在美国，《RePlay》杂志也推出了类似的运营商意见调查排行榜。1987 年 12 月，该游戏在 RePlay 的直立式视频排行榜上名列第 10 位，随后逐渐下滑，直到 1989 年中期退出前 25 名。在美国，这些排名包括最初的豪华直立式机箱和后来生产的标准机箱。

RYAN CRAVENS 莱恩-克莱文斯
Son of Capcom USA vice-president Bill Cravens
卡普空美国公司副总裁比尔-克雷文斯之子
It was popular, but obviously it wasn’t Street Fighter II.
它很受欢迎，但显然不是《街头霸王 II》。

TODD CRAVENS 托德-克莱文斯
Son of Capcom USA vice-president Bill Cravens
卡普空美国公司副总裁比尔-克雷文斯之子
It was not huge. […] I don’t want to take a stab because I don’t really know, but it was not really a commercial success, I don’t think.
它并不成功。[......]我不想妄下结论，因为我真的不知道，但我认为它在商业上并不成功。

$\to$ JEFF WALKER $\to$ 杰夫-沃克

Street Fighter II vice-president of sales and marketing, Capcom USA
卡普空美国公司《街头霸王 II》销售与营销副总裁
They removed the punch pad, they put buttons on it, but they only sold … I want to guess 2,500 to 3,000 units, period.
他们去掉了打孔垫，在上面装上了按钮，但只卖出了......我猜有 2,500 到 3,000 台。

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TAKASHI NISHIYAMA

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西山隆志
Street Fighter director, Capcom Japan
《街头霸王》总监，日本卡普空
I think we sold around 1,000 cabinets with the pneumatic buttons. […] For the version with the six-button controls, I don’t have the exact numbers. It might have been 50,000 units. But it was definitely in the tens of thousands.
我想我们卖出了大约 1000 个带有气动按钮的柜子。[......至于六按钮控制的版本，我没有确切的数字。可能是 50,000 台。但绝对是数以万计。

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PAUL WIEDERAENDERS

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PAUL WIEDERAENDERS
Street Fighter II Midwest regional sales manager, Capcom USA
卡普空美国公司《街头霸王 II》中西部地区销售经理
Well, I mean both [Walker’s and Nishiyama’s] numbers could be correct, although I think the 2,500 is a little low. The original Street Fighter, when it came out in a dedicated game, I’m pretty sure the sales of that were well into 10,000 or 15,000. But the problem was, in those days there was a lot of pirating of boards out of Korea. And so, if you take that into account, there could be 50,000 boards, conceivably, because nobody knew how many pirated boards were being produced and sent into the United States and into Europe and into Australia.
我的意思是，[沃克和西山]的数字都可能是正确的，尽管我认为 2,500 有点低。最初的《街头霸王》以专用游戏的形式推出时，我敢肯定其销量达到了 10,000 或 15,000。但问题是，当时韩国有很多盗版游戏。因此，如果考虑到这一点，可能会有 5 万块板子，可以想象，因为没人知道有多少盗版板子被生产出来，并被送往美国、欧洲和澳大利亚。

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ALDO DONNALOIA

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ALDO DONNALOIA
Street Fighter Western regional sales manager, Capcom USA
卡普空美国公司《街头霸王》西部地区销售经理
They did not sell too many of the quarter-moon cabinets due to people hurting their wrists. I am estimating a couple of hundred units of this type. Once they went to a normal cabinet with six push buttons per joystick, Capcom’s orders started to go up. I am guessing nearly 10,000 units sold.
由于人们的手腕受伤，他们并没有卖出太多的四分月橱柜。我估计这种类型的游戏机只有几百台。一旦他们改用每个操纵杆有六个按钮的普通机柜，卡普空的订单量就开始上升。我估计销量接近 10,000 台。

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BRIAN DUKE

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布莱恩-杜克
Street Fighter II Western regional sales manager, Capcom USA
卡普空美国公司《街头霸王 II》西部地区销售经理
Everyone was talking about the reason why it did not reach the level of success Capcom expected, and the controls were the main problem, I heard. […] It wasn’t until later that customers and players started saying that the six-button [version] worked and earned much better than the units with original pads - and if we had only chosen
每个人都在谈论这款游戏没有达到卡普空预期成功水平的原因，我听说主要问题出在操控上。[......]直到后来，客户和玩家们才开始说，六键[版本]的效果和收益比使用原始手柄的设备要好得多--如果我们当初选择了六键[版本]，那就不会出现这种情况了。
to market it that way from the beginning, Street Fighter probably would have been the number one game of the year.
如果《街头霸王》从一开始就以这种方式进行营销，那么它很可能会成为今年的头号游戏。

There was a lot of interest in a sequel.
人们对续集很感兴趣。

THE EXODUS 出埃及记

Before getting to a sequel, Nishiyama threw a spanner in Capcom’s plans.
在推出续集之前，西山给卡普空的计划添了把乱。

Shortly after Street Fighter’s release, a headhunter approached Nishiyama and convinced him to leave Capcom and join nearby studio SNK. Nishiyama took Matsumoto and most of his team with him, abandoning the Street Fighter IP. The move carried baggage, both because of the scale of the exodus and because the two companies had a history.
街头霸王》发行后不久，一位猎头找到西山，说服他离开卡普空，加入附近的 SNK 工作室。西山带走了松本和他的大部分团队成员，放弃了《街头霸王》IP。这一举动背上了沉重的包袱，既因为出走的规模，也因为两家公司之间的历史渊源。
In the years that followed, word of a rivalry built up around the pair, with both developing similar games and occasionally referencing one another in those games.
在随后的几年里，围绕着这两个人建立起了竞争关系，双方都开发了类似的游戏，并偶尔在这些游戏中互相参考。

While researching this book, we spoke to more than ten former Capcom and SNK employees about the dynamic between the two companies in that era. They all say that development staff on both sides got along well; many of them went to the same schools and arcades, and hung out after work. In at least one case, a developer at SNK married someone who worked at Capcom.
在研究本书的过程中，我们采访了十多位卡普空和 SNK 的前员工，了解了那个时代两家公司之间的动态。他们都说，双方的开发人员相处融洽；他们中的许多人都在同一所学校和同一间游戏厅上学，下班后还一起出去玩。至少有一次，SNK 的开发人员与卡普空的员工结婚了。
As some of them point out, though, that doesn’t mean there weren’t issues at the top.
不过，正如其中一些人所指出的，这并不意味着高层没有问题。
[Ed. note] Capcom declined an interview request with founder Kenzo Tsujimoto for this book. We were unable to locate SNK founder Eikichi Kawasaki.
[编者注] Capcom 拒绝了本书对创始人辻本健三的采访请求。我们无法找到 SNK 创始人川崎英吉。

NORITAKA FUNAMIZU 船水吕孝
Street Fighter II series producer, Capcom Japan
日本卡普空《街头霸王 II》系列制作人
I remember why SNK and Capcom were rivals. It’s because the presidents didn’t get along with each other, Kawasaki and Tsujimoto.
我记得 SNK 和卡普空为什么会成为对手。那是因为川崎和辻本两位社长不和。

TAKASHI NISHIYAMA 西山隆

Street Fighter director, Capcom Japan
《街头霸王》总监，日本卡普空
Yeah, I think there was a rivalry in the 1980s. Capcom’s Tsujimoto and SNK’s Kawasaki originally were friendly with each other, but apparently something happened and they ended up having a falling out. What happened to cause that, I’m not sure myself. I’ve heard a lot of different things from different people, but yeah, something happened.
是的，我认为在 20 世纪 80 年代曾有过竞争。卡普空（Capcom）的辻本（Tsujimoto）和SNK的川崎（Kawasaki）原本关系很好，但显然发生了一些事情，他们最终闹翻了。我自己也不清楚到底发生了什么。我从不同的人那里听到了很多不同的说法，但确实发生了一些事情。

\begin{aligned} HARUMI FUJITA \\ Composer, SNK Japan \end{aligned}

There was a lot of gossip around the office. Kawasaki, actually, his original profession was as a boxer. He’s got this, you know, very tough, intimidating look to him. I remember hearing that he would often complain and badmouth Tsujimoto and Capcom back in those days.
办公室里流言蜚语很多。川崎，实际上，他最初的职业是拳击手。他看起来很凶悍，很有威慑力我记得当时他经常抱怨和说辻本和卡普空的坏话

NORITAKA FUNAMIZU
Street Fighter II series producer, Capcom Japan

I think the bad blood existed even before I joined the company [in 1985]. I remember thinking the game Ikari Warriors may have had something to do with it … hmm … there was a ninja game … actually, I think Harumi Fujita might have been the reason why. I think maybe the two didn’t get along because Capcom headhunted her. The companies were trying to steal employees from one another. That might be the reason why things weren’t so friendly at the beginning.
我认为，在我加入公司（1985 年）之前，这种不和就已经存在了。我记得我当时在想《伊卡丽勇士》（Ikari Warriors）这款游戏可能与此有关......嗯......有一款忍者游戏......实际上，我觉得藤田晴海可能是原因之一。我想，可能是因为卡普空挖走了她，所以两人关系不好。两家公司试图互相挖角。这可能就是一开始双方关系并不融洽的原因。

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HARUMI FUJITA

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藤田晴美
Composer, Capcom Japan 日本卡普空作曲家
Yeah, I think Funamizu is right. It wasn’t just me. It was me and two people who worked on international sales, for the US market. Capcom hired them away from SNK, and the president of SNK at the time got upset about that and actually sued Capcom. The official story - I guess it’s OK to talk about this nowadays - was that we joined Capcom after leaving SNK, but the reality is, we had made our decisions before officially resigning. So yeah, because of the headhunting issue, Capcom and SNK got into a legal battle.
我觉得船水说得对不光是我。是我和两个负责美国市场国际销售的人干的卡普空把他们从SNK雇了过来，SNK当时的社长对此很不高兴，并起诉了卡普空。官方的说法--我想现在谈论这个也没什么问题了--是我们离开 SNK 之后加入了卡普空，但实际上，我们在正式辞职之前就已经做出了决定。是的，因为猎头问题，卡普空和 SNK 打起了官司。

EEd. note] According to Fujita, her hiring came about after she bumped into a friend on a train - the friend happened to work at Capcom and mentioned the company was hiring. Fujita says she doesn’t know the details of the legal claim.
注释］据藤田称，她是在火车上偶遇一位朋友后被录用的--这位朋友碰巧在卡普空工作，并提到公司正在招聘。藤田说，她不知道法律索赔的细节。

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TAKASHI NISHIYAMA

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西山隆志
Street Fighter director, Capcom Japan
《街头霸王》总监，日本卡普空
I remember hearing something about that. There was a rumour floating around about a lawsuit because Capcom headhunted Harumi Ihara, as she was known at the time, away from SNK.
我记得我听说过这件事。当时有传言说，卡普空从 SNK 挖走了伊原春美（当时她的名字叫伊原春美），于是双方打起了官司。

HARUMI FUJITA 藤田晴美

\begin{aligned} HARUMI FUJTA \\ Composer, Capcom Japan \end{aligned}

I didn’t go to court myself. I was asked a lot of questions about how, exactly, Capcom hired me. SNK and Capcom’s legal departments apparently reached a settlement about it at some point, and they decided to keep the details private. So I don’t actually know the specifics of what happened.
我没有亲自出庭。我被问了很多关于卡普空到底是如何雇用我的问题。显然，SNK 和 Capcom 的法律部门在某一时刻就此事达成了和解，他们决定不公开细节。所以我并不知道事情的具体经过。

NORITAKA FUNAMIZU 船水吕孝
Street Fighter II series producer, Capcom Japan
日本卡普空《街头霸王 II》系列制作人
So SNK taking Nishiyama might have been revenge for Capcom taking Fujita, right?
因此，SNK 拿下西山可能是对卡普空拿下藤田的报复，对吗？

HARUMI FUJITA 藤田晴美

Composer, Capcom Japan 日本卡普空作曲家
Yeah, it felt like payback. I mean, some of Capcom’s main people had just gone to SNK, so that was a pretty big incident.
是啊，感觉像是报复。我的意思是，卡普空的一些主要人员刚刚去了SNK，所以这是一个相当大的事件。

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AKIRA YASUDA

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安田明良
Street Fighter II planner, Capcom Japan
《街头霸王 II》策划者，日本卡普空
I think SNK headhunting Nishiyama played a big part in why the two companies were rivals.
我认为，SNK 把西山挖走是两家公司成为竞争对手的重要原因。

DARRYL WILLIAMS
Technical manager, Romstar
技术经理，Romstar
You know, it wasn’t a big rivalry thing, but obviously it was egg on your face if somebody - you know, Japan’s really big on reputation and respect - stole one of your staff.
你知道，这并不是什么大的竞争，但如果有人--你知道，日本非常注重声誉和尊重--偷走了你的员工，这显然会让你脸上无光。

From my understanding, everybody knew who everybody was, the players knew who the players were, so it would have taken someone being aggressive on one side to get an employee from the other side. You know, the employee didn’t just get up and go. Someone would have had to chase him down and make him an offer he couldn’t refuse, long story short. And I think at that time, the offer was, [Nishiyama] gets his own division.
据我所知，每个人都知道谁是谁，球员们也知道谁是球员，所以必须有一方的人咄咄逼人，才能从另一方抓到雇员。要知道，那名员工不是站起来就走的。必须有人追上他，给他一个无法拒绝的条件，长话短说。我想当时的条件是，[西山] 拥有自己的部门。
[Ed. note] Fujita’s and Nishiyama’s groups weren’t the only staff to jump between Capcom and SNK in the 1980s. In one case between those two, SNK hired Capcom USA president Paul Jacobs to run their US office. Jacobs says he left because Capcom
[编者注] 藤田和西山的团队并不是 20 世纪 80 年代在卡普空和 SNK 之间跳槽的唯一员工。有一次，SNK 聘请了卡普空美国公司总裁保罗-雅各布斯（Paul Jacobs）管理他们的美国办事处。雅各布斯说他离开是因为卡普空
wanted him to work exclusively on NES sales and he was ‘a coin-op man at heart’, and that he was aware of certain hires made in Japan, such as Nishiyama, but he wasn’t aware of a rivalry: ‘If that was happening in Japan, it didn’t affect our US operations at SNK.’ Nishiyama says there was no legal action following his departure.
他还说，他知道日本雇用了一些人，比如西山，但他不知道他们之间存在竞争关系："如果日本发生了这种情况，也不会影响我们在美国的 SNK 业务。

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TAKASHI NISHIYAMA 西山隆

Street Fighter director, Capcom Japan
《街头霸王》总监，日本卡普空

I think this is just something that we often see in the videogame industry. I don’t know if anyone was trying to get revenge on anyone else. To go back even earlier, I worked at Irem with Tsujimoto. And apparently some things happened at Irem and Tsujimoto ended up quitting and forming Capcom instead. And Tsujimoto headhunted me from Irem, right? Then afterwards, Kawasaki headhunted me from Capcom to go to SNK. So I think in this industry, not just in Japan but in America as well, I think this kind of thing is just inevitable. You know, people have various reasons for leaving companies and going elsewhere. I don’t think a lot of these things are necessarily motivated by revenge. I think that sounds like a joke Funamizu would make. He wouldn’t really know about this in detail.
我认为这只是电子游戏行业经常发生的事情。我不知道是否有人想报复别人。更早之前，我和辻本一起在 Irem 工作。显然，在 Irem 发生了一些事情，辻本最终辞职并成立了卡普空。然后辻本把我从 Irem 调走了，对吧？之后，川崎又把我从卡普空挖到了 SNK。所以我认为，在这个行业里，不仅是在日本，在美国也一样，我认为这种事情是不可避免的。你知道，人们离开公司去其他地方有各种各样的原因。我不认为很多事情都是出于报复。我觉得这听起来像是船水开的玩笑。他不会真的知道这些细节。

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ZENJI ISHII

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石井善治
Editor, Gamest magazine Gamest 杂志编辑
I remember conducting an interview with Nishiyama, Okamoto, [Ghosts 'n Goblins creator Tokuro] Fujiwara, and the president of Capcom at the time, actually just a little bit before the release of Street Fighter I. […] I remember observing how different Nishiyama, Fujiwara, and Okamoto were, and I could kind of tell that there was this rivalry between the three of them because they all had different approaches to creating games. I was able to feel that just from the interview itself. I don’t know if they’d admit that, but I could feel
我记得在《街头霸王 I》发售前不久，我采访了西山、冈本、藤原德郎以及当时的卡普空总裁。[......]我记得我观察到西山、藤原和冈本是多么的不同，我可以看出他们三人之间存在着竞争关系，因为他们都有不同的游戏创作方法。我从采访本身就能感受到这一点。我不知道他们是否承认这一点，但我能感觉到
it. So when I heard that Nishiyama had left to go to SNK, I felt like maybe it seemed like a natural next step or inevitable, if anything.
它。因此，当我听说西山已经离开去了 SNK，我觉得这似乎是自然而然的下一步，或者说是不可避免的。

\begin{aligned} AKIRA YASUDA \\ Street Fighter II planner, Capcom Japan \end{aligned}

Nishiyama was the oldest planner in Capcom at the time, but Nishiyama’s team hadn’t been able to produce a big hit. Street Fighter did OK; it sold a small amount.
《西山是当时卡普空最年长的策划人，但西山的团队一直未能推出一款大热的游戏。街头霸王》表现尚可，销量不大。

Okamoto liked Nishiyama as a person, but he didn’t like his games, and he would order me and others to fix them. I remember one time when Okamoto asked me in front of everybody to pick apart Nishiyama’s [action game Avengers] and talk about what was wrong with it. Nishiyama’s games weren’t really selling well but Okamoto’s games were. So, yeah. As far as I saw it, Nishiyama had pretty much lost his standing in the company, so it didn’t feel like his team going to SNK was a big surprise.
冈本喜欢西山这个人，但不喜欢他的游戏，他会命令我和其他人修改游戏。我记得有一次，冈本当着所有人的面让我挑出西山的（动作游戏《复仇者联盟》）的毛病。西山的游戏卖得并不好，但冈本的游戏却卖得很好。所以，没错。在我看来，西山在公司的地位已经大不如前，所以他的团队转投 SNK 并不令人感到意外。

TAKASHI NISHIYAMA 西山隆

Street Fighter director, Capcom Japan
《街头霸王》总监，日本卡普空
This is honestly very, very hard to talk about, but to explain why I ended up leaving Capcom, it’s because I didn’t get along with my boss at the time, and I had hit a point where I was wondering if I could continue to stay at the company despite such a situation. I was very close with Tsujimoto, the president, and I’d had a relationship with him ever since I worked at Irem. I was close enough with Tsujimoto to the point where he actually spoke at my wedding. So I had a good relationship with him and I didn’t hate the company. But it was my particular boss who I was unsure if I could get along with. And it just so happened that SNK asked me to join them. So I got the offer and I ended up going there. But there were people that I had worked closely with at Capcom, including Matsumoto. So I ended up basically taking a bunch of them with me.
老实说，这件事非常非常难以启齿，但要解释我最终离开卡普空的原因，那是因为我当时与我的上司相处得并不融洽，我已经到了怀疑自己是否能在这种情况下继续留在公司的地步。我和社长辻本关系很好，从我在伊雷姆工作时起就一直保持着联系。我和辻本的关系非常好，以至于他还在我的婚礼上发表了讲话。所以我和他关系很好，我并不讨厌这家公司。但我不确定能否与我的老板相处融洽。碰巧 SNK 邀请我加入他们。于是我接到了邀请，最终去了那里。但那里有我在卡普空密切合作过的人，包括松本。所以最后我基本上把他们都带去了。

There was a lot of friction between SNK and Capcom at the time, with my quitting and taking employees with me, and then after that, the Neo Geo came out, which caused a lot of problems in the industry. I’m not even sure now if I should be talking about this openly. It’s been a while, so maybe it’s fine.
当时，SNK 和卡普空之间有很多摩擦，我辞职了，还带走了我的员工，之后，Neo Geo 出世了，这给业界带来了很多问题。我现在都不知道是否应该公开谈论这件事。已经过去一段时间了，也许没关系。

I remember Tsujimoto saying, ‘I’m never going to forgive you for quitting.’
我记得辻本说：'我永远不会原谅你的退出。
But I mean now, obviously, we’ve moved past that. Dimps [the studio Nishiyama formed years later] developed Street Fighter IV, and I think we have a very good relationship with Capcom. I also believe Tsujimoto probably knows why I ended up leaving the company, and I think he understands the reasoning behind it. So we get along quite well now.
但我的意思是，现在，我们显然已经摆脱了这种状况。Dimps（西山多年后成立的工作室）开发了《街头霸王 4》，我认为我们与卡普空的关系非常好。我也相信辻本可能知道我最后离开公司的原因，我想他也理解这背后的原因。所以我们现在相处得很好。

CHAPTER 02 第 02 章

STREET FIGHTER II 街头霸王 II

In 1985, artist Akira Yasuda showed up to a Capcom job interview dressed in pyjamas and a tie. He left his portfolio at home, saying fans stole his work because it was too good. Asked why he chose pyjamas, he replied that he wanted to look presentable and that was the only thing he owned with a collar.
1985 年，艺术家安田明（Akira Yasuda）穿着睡衣、打着领带参加了卡普空公司的求职面试。他把自己的作品集留在了家里，说是因为他的作品太好了，所以被粉丝们偷走了。当被问及为何选择睡衣时，他回答说，他想让自己看起来体面些，这是他唯一一件有领子的衣服。

Capcom producer Yoshiki Okamoto sat on the other side of the room, amused by Yasuda’s antics. Okamoto, himself known for outlandish behaviour, liked Yasuda’s work.
卡普空的制片人冈本芳树坐在房间的另一边，被安田的滑稽行为逗乐了。冈本本人就以行为怪异著称，他很喜欢安田的作品。

Yasuda got the job. 安田得到了这份工作。
That same year, Okamoto - who ran one of Capcom’s arcade development teams - brought on Noritaka Funamizu, a designer with an art background who took a high-level view of game production.
同年，冈本--卡普空的一个街机开发团队的负责人--请来了船水 Noritaka，他是一位美术出身的设计师，对游戏制作有着高屋建瓴的见解。

The next year, Okamoto hired Akira Nishitani, a young game designer who had written for the game magazine Beep and understood technical play mechanics on a deeper level than many developers at the time.
第二年，冈本聘请了年轻的游戏设计师西谷明（Akira Nishitani），他曾为游戏杂志《Beep》撰稿，比当时的许多开发人员更深入地了解游戏的技术机制。

Without realizing it, Okamoto was recruiting a team that, in 1990, would oversee one of the biggest games of the decade: Street Fighter II. The Street Fighter franchise would go on to sell more than 45 million units. It would become a cologne. For kids of a certain generation, it was the most important game series in the world.
在不知不觉中，冈本招募了一支团队，这支团队将在 1990 年监督十年中最重要的游戏之一：街头霸王 II》。街头霸王》系列游戏的销量超过了 4500 万套。它将成为古龙水。对于某一代孩子来说，它是世界上最重要的游戏系列。

HOW IT HAPPENED 经过

From a certain perspective, Street Fighter III was inevitable. Despite the exodus of Nishiyama and most of the original Street Fighter development team following its release, talk of a sequel continued to float around Capcom. This manifested in several forms - some of which made it public.
从某种角度来看，《街头霸王 3》的出现是不可避免的。尽管在《街头霸王》发售后，西山和大部分原《街头霸王》开发团队成员都离开了，但关于续集的说法仍在卡普空流传。这种说法有多种形式，其中一些已经公开。
In their September 1988 issue, US arcade industry trade magazine Play Meter ran a ‘Street Fighter II’ logo on their cover, yet didn’t mention the game inside the issue. In 1989, Capcom USA ran a ‘Street Fighter II’ logo in a sales catalog, advertising it as an NES game. That same year, side-scrolling brawler Final Fight appeared at an arcade trade show under the name 'Street Fighter ‘89’ - a title briefly given to the game by Capcom’s sales staff. Then in 1990, Capcom released Street Fighter 2010: The Final Fight - a console action game with loose Street Fighter story connections.
美国街机行业贸易杂志《Play Meter》在其 1988 年 9 月刊的封面上刊登了 "街头霸王 II "的标志，但在该刊中并未提及这款游戏。1989 年，美国卡普空公司（Capcom USA）在销售目录中刊登了 "街头霸王 II "的标志，并将其作为 NES 游戏进行宣传。同年，横版格斗游戏《Final Fight》以 "Street Fighter '89 "的名称出现在街机展上--卡普空的销售人员给这款游戏起了个简短的名字。之后，卡普空于 1990 年推出了《街头霸王 2010》：最终之战》是一款与《街头霸王》故事有松散联系的单机动作游戏。

Intentionally or not, Capcom was priming the market for a proper Street Fighter sequel.
无论有意还是无意，卡普空都是在为推出一部真正的《街头霸王》续集做铺垫。
While all this was happening, Okamoto had continued to build his development staff, pairing up Nishitani and Yasuda to lead projects. In 1987, their side-scrolling shooter called Forgotten Worlds - the first game on Capcom’s custom CPS-1 arcade hardware - earned critical acclaim but underperformed. In 1989, their big follow-up, Final Fight, became one of the most successful games of the era.
在这一切发生的同时，冈本继续组建他的开发团队，让 Nishitani 和 Yasuda 一起领导项目。1987 年，他们开发的侧滚动射击游戏《被遗忘的世界》（Forgotten Worlds）--卡普空定制的 CPS-1 街机硬件上的第一款游戏--赢得了好评，但表现不佳。1989 年，他们的后续大作《Final Fight》成为那个时代最成功的游戏之一。

What happened next is a story that’s up for some debate. We know that Nishitani and Yasuda moved on to head up Street Fighter II. Over the years, though, the key figures involved with the game have told different versions of how the project came about behind the scenes.
接下来发生的故事还有待商榷。我们知道，Nishitani 和 Yasuda 转而负责《街头霸王 II》。不过，多年来，参与游戏制作的关键人物对项目的幕后过程说法不一。

As Nishitani and Funamizu tell it, after the release of the original Street Fighter, Capcom USA’s sales department asked Capcom Japan to develop a sequel. Funamizu remembers the request coming from Bill Cravens specifically, and that Cravens was excited about the potential of a Street Fighter follow-up.
据 Nishitani 和 Funamizu 讲述，在原版《街头霸王》发行后，美国卡普空公司的销售部门要求日本卡普空公司开发续集。船水记得，这个请求是比尔-克雷文斯（Bill Cravens）特别提出来的，克雷文斯对《街头霸王》续作的潜力感到非常兴奋。

Despite the request, Nishitani said in a 2014
尽管提出了请求，但西谷在 2014 年的一份声明中说
Polygon article that the team in Japan saw the success of Technōs’ side-scrolling brawler Double Dragon, so they decided to develop a similar game: Final Fight. Then, he said, after Final Fight came out, Capcom USA asked again for a Street Fighter sequel, and the team in Japan thought the timing seemed right.
Polygon 的文章称，日本团队看到 Technōs 的横版格斗游戏《双龙》取得了成功，因此决定开发一款类似的游戏：最终之战》。他说，《最终格斗》问世后，美国卡普空公司再次要求开发《街头霸王》续作，日本团队认为时机似乎恰到好处。
Okamoto’s version of the story starts similarly to Nishitani’s, with the request for a Street Fighter sequel and Double Dragon’s popularity convincing the team to develop Final Fight instead, though he remembers the request coming from the sales team at Capcom Japan. In the same 2014 Polygon article, he said the idea for Final Fight came after seeing players huddled around Double Dragon arcade cabinets in the US, and that after the team started making the game, his bosses told him he needed to put the Street Fighter name on it or it wouldn’t sell (thus 'Street Fighter ‘89’) - though after taking the game to a convention in Japan and receiving feedback that the name seemed misleading, he went with the name Final Fight instead. Then, following Final Fight’s release and success, Okamoto said the sales team came back with a new request: to make a sequel to Final Fight. He said he again chose not to listen to them, portraying himself as someone who doesn’t like to do what he’s told, and thinking a head-tohead game would solve the economic challenge of trying to get multiple players on an arcade cabinet simultaneously
冈本版本的故事开头与西谷版本类似，《街头霸王》续作的要求和《双龙》的受欢迎程度说服团队开发《最终格斗》，不过他记得这个要求来自卡普空日本公司的销售团队。在 2014 年 Polygon 的同一篇文章中，他说，《最终之战》的创意来自于在美国看到玩家围在《双龙》街机柜前的情景，团队开始制作游戏后，他的老板告诉他，必须冠上《街头霸王》的名字，否则就卖不出去（因此叫《街头霸王'89》）--不过在把游戏带到日本的一次大会上并收到反馈说这个名字似乎有误导性之后，他就改用了《最终之战》这个名字。后来，在《最终格斗》发行并大获成功之后，冈本说销售团队又提出了新的要求：制作《最终格斗》的续集。他说，他再次选择了不听他们的意见，把自己描绘成一个不喜欢听命行事的人，并认为头对头游戏可以解决试图让多个玩家同时在街机柜上玩游戏的经济难题。
without making the game seem like it was cheating players out of their money.
而不会让游戏看起来像是在骗玩家的钱。

Funamizu’s story branches off earlier in the timeline. He says a translation error led to a misunderstanding about what Cravens wanted in a Street Fighter sequel, so Capcom Japan decided to make Final Fight, as it loosely fit under the broader ‘fighting’ umbrella. Then, Funamizu says, after Cravens saw Final Fight, he said that he actually wanted a head-to-head Street Fighter sequel, so Funamizu took that information back to Okamoto, which kicked off the development of Street Fighter II.
船水的故事在时间线的前段有所延伸。他说，一个翻译错误导致了对 Cravens 想要的《街头霸王》续集的误解，因此日本卡普空决定制作《最终格斗》，因为它松散地属于更广泛的 "格斗 "范畴。然后，Funamizu 说，在 Cravens 观看了《Final Fight》之后，他说他实际上想要一部正面交锋的《街头霸王》续集，于是 Funamizu 将这一信息反馈给了 Okamoto，从而启动了《街头霸王 II》的开发。
Yasuda, meanwhile, says he doesn’t think requests from Capcom USA had much to do with it, saying that Final Fight and Street Fighter II came about because of the hardware available at the time. He says that after the original Street Fighter came out, he started putting together a plan for a sequel - coming up with the idea to expand the roster to eight playable characters, but not diving into any proper production work. He adds that he realized the team couldn’t do the game properly at that point because of a memory chip shortage, so they ended up making Final Fight in the interim - and when the shortage lifted, they got around to making Street Fighter II.
安田则表示，他不认为卡普空美国公司的要求与此有关，他说《最终格斗》和《街头霸王 II》的出现是因为当时的硬件条件。他说，在最初的《街头霸王》问世后，他就开始为续集制定计划--提出了将可玩角色名册扩大到 8 个的想法，但并没有投入任何正式的制作工作。他补充说，他意识到当时由于存储芯片短缺，团队无法正常制作这款游戏，因此他们在此期间制作了《终极格斗》，当芯片短缺解除后，他们开始制作《街头霸王 II》。

When asked about these discrepancies, Funamizu says he doesn’t think Okamoto’s story about the request to make ‘Final Fight 2’ is correct, and that Okamoto was going off the same mistranslated information that he was when the team decided to make Final Fight, though he’s open to the possibility that Okamoto heard Cravens’ initial feedback and ignored it. Funamizu defers to Okamoto, though he adds that Okamoto ‘wasn’t
当被问及这些差异时，Funamizu 说他不认为冈本关于要求制作《终极格斗 2》的说法是正确的，冈本是根据他在团队决定制作《终极格斗》时错误翻译的信息，不过他也接受冈本听到 Cravens 最初的反馈意见却置之不理的可能性。Funamizu 听从了 Okamoto 的意见，但他补充说 Okamoto "并不是......"。
always straight with people’, which he says may have been why Cravens told Funamizu and Nishitani about his request for a Street Fighter sequel directly after seeing Final Fight, rather than only telling Okamoto.
他说，这可能就是克雷文斯为什么在看过《终极格斗》后直接告诉 Funamizu 和 Nishitani 他想拍摄《街头霸王》续集的原因，而不是只告诉冈本。
Yasuda says he thinks aspects of all the stories are probably true, adding that he recalls the plan to make Street Fighter

I I

being set in place before the team finished Final Fight, so it wouldn’t have been possible for the team to make a decision based on feedback following Final Fight’s release. Yasuda also notes that Funamizu wasn’t heavily involved in the original Street Fighter II, saying that he worked out of a different building at the time, so he’s sceptical that Funamizu would know the full story - though he speculates that the details of Funamizu’s story are most likely true, just not the primary reason for Capcom making the decisions they did.
Yasuda 说，他认为所有故事的某些方面都可能是真实的，并补充说，他记得制作《街头霸王》

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的计划是在团队完成《最终格斗》之前制定的，因此团队不可能根据《最终格斗》发布后的反馈做出决定。Yasuda 还指出，Funamizu 并没有在很大程度上参与最初的《街头霸王 II》，他说自己当时是在另一栋大楼里工作的，因此他对 Funamizu 是否了解全部故事持怀疑态度--不过他推测 Funamizu 的故事细节很可能是真实的，只是并不是卡普空做出决定的主要原因。

Takashi Nishiyama and Hiroshi Matsumoto, who often spoke to Cravens and worked briefly at Capcom after finishing the original Street Fighter, say they recall Capcom USA giving feedback on what types of games were popular in the West, but they don’t recall any specific conversations requesting a sequel.
西山隆（Takashi Nishiyama）和松本浩（Hiroshi Matsumoto）经常与克雷文斯交谈，他们在完成原版《街头霸王》后曾在卡普空短暂工作过。
Cravens’ son Ryan says he doesn’t know the full story, but recalls hearing that after Street Fighter came out, Bill expected to see a ‘Street Fighter II’ and was surprised to see a side-scrolling beat-'em-up instead. Ryan also says he heard that Bill gave feedback saying Capcom shouldn’t use the Street Fighter brand for Final Fight because the game felt different. Ryan, his brother Todd, and multiple former co-workers of Bill’s say that Capcom USA didn’t typically pitch game ideas to Capcom Japan and that the US office usually only gave notes on localization changes, such as
克雷文斯的儿子瑞安说，他不知道事情的全部经过，但他记得听说《街头霸王》问世后，比尔本以为会看到 "街头霸王 II"，没想到看到的却是一款横版过关游戏。莱恩还说，他听说比尔反馈说卡普空不应该在《最终格斗》中使用《街头霸王》的品牌，因为游戏感觉不同。瑞安、他的兄弟托德和比尔的多位前同事都说，卡普空美国公司通常不会向卡普空日本公司提出游戏创意，美国公司通常只对本地化修改提出意见，例如
censoring an exposed breast in Strider or a pentagram in Magic Sword. But, they say, if there was someone in the US office who would have given that sort of advice, it would have been Bill.
审查《黾》中暴露的乳房或《魔剑》中的五角星。但是，他们说，如果美国办公室里有人会提出这样的建议，那一定是比尔。
[Ed. note] Nishitani, Okamoto and then-Capcom USA president George Nakayama declined to participate in this book, and Capcom declined interviews on behalf of sales staff who may have had input on the decisions. Yasuda also points to former Capcom executive Akio Sakai, who has since passed away, as being a key figure in the decisions. Bill Cravens died in 2007.
[编者注] Nishitani、Okamoto 和时任卡普空美国公司总裁 George Nakayama 拒绝参与本书的撰写，卡普空也拒绝代表可能参与决策的销售人员接受采访。Yasuda 还指出，卡普空前高管酒井明夫（Akio Sakai）是决策的关键人物，但他已经去世。比尔-克雷文斯于 2007 年去世。

So … we don’t really know.
所以......我们真的不知道。
Factor in limited communication between international offices, 30 -year-old memories, the passing of certain key figures and multiple people wanting to take credit, and it all gets a bit jumbled - a theme that comes up many times in this book. When you dig into the making of the game itself, the decisions become a lot more clear.
国际办事处之间的沟通有限、30 年前的记忆、某些关键人物的逝世以及多人想邀功等因素，都让一切变得有点混乱--这也是本书中多次出现的主题。当你深入研究游戏本身的制作过程时，这些决定就会变得更加清晰。

MAKING THE GAME 制作游戏

At a conceptual level, Street Fighter II didn’t stray far from Capcom’s

S F I

template. It pitted two characters against each other in best-of-three matches, featured a cast of fighters from around the world, and again starred Ryu and Ken - each with the same set of special moves.
在概念层面上，《街头霸王 2》并没有脱离卡普空的

S F I

模板。它让两个角色在三局两胜制的比赛中对决，汇集了来自世界各地的格斗家，并再次由隆（Ryu）和肯（Ken）主演--每个角色都有一套相同的特殊招式。

On an execution level, the game marked one of the biggest steps forward a sequel has taken in the game industry. Street Fighter II brought a more detailed art style that highlighted the personality of each character, an exciting and catchy soundtrack, six distinct new playable characters, smoother controls, and an overall pace, feel, and balance that let players feel like their successes were earned and their mistakes were their fault. While Capcom assigned dozens of team members to the project, many give the bulk of the credit to planners Yasuda and Nishitani, who took on the game following their success with Final Fight. Yasuda had seniority and spent much of his time on the game’s visuals, while Nishitani was establishing himself as someone with an eye for precise game mechanics.
在执行层面上，该游戏标志着续集在游戏行业迈出了最大的一步。街头霸王 II》采用了更加细腻的艺术风格，突出了每个角色的个性；配乐令人兴奋、朗朗上口；新增了 6 个独特的可玩角色；操作更加流畅；整体节奏、感觉和平衡性都让玩家感觉成功是自己的功劳，错误是自己的过错。虽然卡普空为该项目指派了数十名团队成员，但许多人认为大部分功劳应归功于策划人安田和西谷，他们在《最终格斗》取得成功后接手了这款游戏。安田的资历较深，他把大部分时间都花在了游戏的视觉效果上，而西谷则把自己打造成了一个精通精确游戏机制的人。

~ ZENJI ISHII
    Editor-in-chief, Gamest magazine

I think to begin, I need to explain a little bit about the history of the arcade game scene in Japan even before Street Fighter I and II came along. I know games like Pac-Man were popular in America, and the same was true in Japan. After Namco released [space shooter] Xevious, the number of fans visiting arcades saw a huge spike.
我想，首先我需要解释一下日本街机游戏的历史，甚至在《街头霸王 I》和《街头霸王 II》出现之前。我知道像《吃豆人》这样的游戏在美国很受欢迎，在日本也是如此。南梦宫（Namco）推出[太空射击游戏]《Xevious》后，前往街机厅的粉丝数量激增。
They would compete with each other for the highest scores, and in a way, you could call it the esports of that generation. This boom
他们互相竞争，争夺最高分，在某种程度上，你可以称之为那一代人的电子竞技。这股热潮
mainly occurred between 1984 and 1991, though it extended a little bit past that too. And it was during those years that a lot of people who began as arcade game fans eventually found their way into videogame development.
主要发生在 1984 年到 1991 年之间，但也有一些延续到了 1984 年之后。正是在那几年里，许多最初只是街机游戏迷的人最终进入了电子游戏开发领域。

For example, you had Nishitani, who now runs Arika, and he made Street Fighter II. Another one would be Satoshi Tajiri from Game Freak, who ended up making Pokémon. There’s many more, but yeah, they all got their start playing at game centres. I was one of them too, but I ended up going in the whole game magazine direction. Nishitani lived in Tokyo and he spent a lot of his time going to arcades there, trying to get high scores. Back then, we called those people ‘scorers’.
例如，西谷（Nishitani）现在是 Arika 的老板，他制作了《街头霸王 II》。另一个是 Game Freak 的田尻聪，他最后制作了《神奇宝贝》。还有很多人，但他们都是从游戏中心开始玩游戏的。我也是其中之一，但我最终还是选择了游戏杂志这个方向。西谷住在东京，他花了很多时间去那里的街机厅，试图获得高分。那时，我们称这些人为 "得分手"。
I’d also like to add that, in Japan at the time, people who went to game centres were seen as delinquents. The laws and regulations on game centres were very strict too. It wasn’t just game centres either; there was a lot of criticism of videogames in general then. People would say that if you played videogames as a kid, you wouldn’t grow up to be a responsible adult. So I think that a lot of the game developers who came up in that era and went on to be game developers, they had to have an especially strong will and love of games given the adverse environment and negativity from society at large.
我还想补充一点，在当时的日本，去游戏中心的人被视为不良少年。游戏中心的法律法规也非常严格。不仅是游戏中心，当时对电子游戏的批评也很普遍。人们会说，如果你小时候玩电子游戏，长大后就不会成为一个负责任的成年人。因此我认为，在那个时代成长起来并继续成为游戏开发者的许多游戏开发者，在当时的不利环境和整个社会的消极影响下，他们必须有特别强烈的意愿和对游戏的热爱。

TAKESHI TEZUKA
X-Men: Children of the Atom planner, Capcom Japan
X战警：原子之子》策划人，日本卡普空
I wasn’t directly involved in any of the Street Fighter games of the 1990s. However, I sat next to Nishitani, so I was able to see what was happening regarding the development of those games.
我并没有直接参与 20 世纪 90 年代《街头霸王》游戏的开发。不过，我坐在西谷的旁边，因此能够看到这些游戏的开发过程。

I think the most amazing or profound thing I could say about observing Street Fighter II’s development at the time was that … basically, the project was spearheaded by two people. There was Akira Nishitani and Akira Yasuda, or Akiman as he’s known. And Nishitani was
我认为，在观察《街头霸王 II》的开发过程中，最令人惊叹或最深刻的事情是......基本上，这个项目是由两个人牵头的。一个是西谷彰，另一个是安田彰，也就是人们常说的 "彰人"。西谷是
the planner and Yasuda was kind of the main lead or the director of the game.
安田是游戏的主要负责人或导演。
[Ed. note] Both appear in the game’s credits as planners.
[编者注]两人都以策划人的身份出现在游戏的字幕中。
And I realized that they were both very talented creators and they were both very skilled and knowledgeable. But what they were particularly good at was their ability to incorporate ideas from all members of the development team. Nishitani sat next to me so I often got to see other staff approach him. They’d bring him their suggestions for new moves, things like that. And the amazing thing was how, in almost every case, he would right there, on the spot say, ‘That sounds cool. Let’s do that!’ It was almost like ‘let’s do that!’ was a personal catchphrase of his or something, the way he was able to so quickly decide on incorporating a new idea. It’s something I’ve always remembered about him, that talent he had for quickly recognizing and including others’ ideas.
我意识到，他们都是非常有才华的创作者，他们都非常熟练，知识渊博。但他们尤其擅长的是将开发团队所有成员的想法融入其中。西谷坐在我旁边，所以我经常看到其他员工来找他。他们会给他带来新动作的建议，诸如此类。令人惊讶的是，几乎每一次，他都会当场说：'这听起来很酷。我们就这么做吧！'就好像'就这么干！'是他的个人口头禅之类的，他能够如此迅速地决定加入一个新想法。这是我一直记得他的地方，他能快速识别并采纳他人想法的天赋。

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YoKO SHIMOMURA

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下村阳子
Street Fighter II composer, Capcom Japan
《街头霸王 II》作曲家，日本卡普空
Nishitani really, really loves games. He’s always thinking about the game he’s making. He’s always tweaking the details and just really seriously thinking about how to make the game better. So when someone’s like that, you might think they have a very narrow vision - just concentrating on the game from his point of view. But it wasn’t like that. When I had a suggestion I thought, ‘Maybe he won’t take me seriously’, or ‘Maybe he’s not going to like this.’ But I just gave it a shot and he would usually say, ‘Yeah that’s a great idea. Let’s do that.’
西谷非常非常热爱游戏。他总是在思考他正在制作的游戏。他总是在调整细节，认真思考如何把游戏做得更好。所以当一个人是这样的时候，你可能会认为他的视野非常狭窄--只是从他的角度专注于游戏。但事实并非如此。当我提出建议时，我想，'也许他不会认真对待我'，或者'也许他不会喜欢这样'。'但我只是试一试，他通常会说，'是啊，这是个好主意。我们就这么做吧。

JAMES GODDARD 詹姆斯-戈达德

Street Fighter II: Champion Edition design support, Capcom USA
街头霸王 II：冠军版设计支持，美国卡普空
Now there’s a very smart, humble guy. He was so talented and he was so quiet. […] He was a planner through and through. And that’s the difference. Game designers in America are idea and story guys sometimes. You know, sometimes mechanical guys. There’s a wide range of what designer means. But a planner is someone who figures out how the fucking shit’s gonna work, and wields all that creative energy and figures out how to make it happen. And Nishitani was the first guy I met that resonated with me as, ‘Hey this is how you do game design.’
这是一个非常聪明、谦逊的人。他才华横溢又沉默寡言[他是一个彻头彻尾的规划者。这就是不同之处美国的游戏设计师有时是创意和故事方面的人有时是机械师设计师的含义很广但策划就是要想出游戏该怎么玩然后发挥所有的创造力想出实现的办法西谷是我遇到的第一个让我产生共鸣的人 "嘿，这就是你做游戏设计的方式
[Ed. note] When asked to give an example of his kitchen sink approach in the 2014 Polygon article, Nishitani pointed to the character Dhalsim, and how his arms and legs initially stretched a short length but after feedback from the team, Nishitani agreed to let them stretch across almost the entire screen. That’s not to say that Nishitani incorporated every idea. Tezuka tells a story about asking Nishitani why he wasn’t using SFI’s pneumatic buttons for SFII - saying, ‘Isn’t that a better idea?’ - and Nishitani laughing at the request. (Though Nishitani said in a 2018 interview for Capcom’s website that the team considered using pneumatic buttons for SFII early in the process.) Also, in the 2014 Polygon article, Okamoto said he proposed giving the game’s only female character, Chun-Li, a shorter life bar because he felt women were weaker than men.
[编者注] 在 2014 年 Polygon 的文章中，当被要求举例说明他的厨房水槽方法时，Nishitani 提到了角色 Dhalsim，以及他的胳膊和腿最初如何伸展到很短的长度，但在团队反馈之后，Nishitani 同意让它们伸展到几乎整个屏幕。这并不是说西谷采纳了所有想法。手冢曾说过这样一个故事：他问西谷为什么不在《SFII》中使用《SFI》的气动按钮--他说："这不是一个更好的主意吗？(不过西谷在 2018 年接受卡普空网站采访时表示，团队在早期就考虑过在《SFII》中使用气动按钮）。此外，在 2014 年 Polygon 的文章中，冈本说他提议给游戏中唯一的女性角色春丽更短的生命条，因为他觉得女性比男性更弱。

KKIRA YASUDA 安田纪良
Street Fighter II planner, Capcom Japan
《街头霸王 II》策划者，日本卡普空
He did say that. Nishitani was the one who turned that request down. I was together with Nishitani on that decision. Yeah, I remember being with Nishitani when we made that decision.
他确实这么说过。是西谷拒绝了他的请求。我和西谷一起做的决定是的，我记得当时我们和西谷一起做了那个决定。

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YOKO SHIMOMURA

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YOKO SHIMOMURA
Street Fighter II composer, Capcom Japan
《街头霸王 II》作曲家，日本卡普空
I had no idea [Okamoto suggested that]. I think that since women live longer maybe their life bars should be longer. [laughs]
我不知道 [冈本这样建议]。我觉得既然女性寿命更长，那么她们的生命条数也应该更长。[笑]
[Ed. note] [编者注]
In the 1980s and 1990s, Capcom’s office culture cultivated behaviour that often crossed the line of what many would consider appropriate. Okamoto, who managed the SFII team, earned a reputation as someone who constantly tried to get a rise out of coworkers, making sexual jokes and playing pranks by, for example, sending out tapes that that were supposedly work-related but contained pornography. Around the office, managers offered harsh criticism and employees worked long hours, sometimes sleeping at the office and washing at a nearby bath house.
在 20 世纪 80 年代和 90 年代，卡普空的办公室文化培养出的行为往往超出了许多人认为适当的界限。冈本（Okamoto）是《SFII》团队的管理者，他经常试图从同事那里获得快感，开一些性玩笑，搞一些恶作剧，比如发送一些所谓与工作有关但包含色情内容的磁带，从而赢得了声誉。在办公室里，经理们提出了严厉的批评，员工们工作时间很长，有时在办公室睡觉，在附近的澡堂洗澡。
In a 2020 YouTube video, Okamoto discussed some of this behaviour, saying he would get mad at Yasuda if Yasuda didn’t come into the office on Sundays, calling himself ‘very strict’ and saying he would ‘crack the whip a lot’ to get employees to work long hours. ‘I thought the company was going to fail unless everyone fought as if their lives depended on it,’ he said.
在 2020 年的一段 YouTube 视频中，冈本谈到了自己的一些行为，他说如果安田周日不进办公室，他就会对安田发火，称自己'非常严格'，并说他会'经常挥舞鞭子'让员工长时间工作。他说："我认为，除非每个人都拼命工作，否则公司就会倒闭。

In that same video, Okamoto told a story about Mahjong Academy, an erotic mahjong game that he assigned Nishitani and Yasuda to work on after hours during the development of Forgotten Worlds. To make the game, Okamoto asked female employees to model swimsuits in erotic poses for reference material, saying his now ex-wife helped with the shoot, and recorded female employees moaning and breathing heavily, while he served as the male voice actor. ‘Basically, total sexual harassment by way of power harassment,’ he said.
在同一段视频中，冈本讲述了一个关于《麻将学院》（Mahjong Academy）的故事，这是一款色情麻将游戏，在《被遗忘的世界》开发期间，他指派西谷（Nishitani）和安田（Yasuda）在下班后制作这款游戏。为了制作这款游戏，冈本要求女员工以情色姿势做泳装模特作为参考素材，并说他现在的前妻帮助拍摄，还录制了女员工的呻吟声和喘粗气的声音，而他则担任男配音演员。他说："基本上，这完全是以权力骚扰的方式进行的性骚扰。

Okamoto frames this discussion as praise for Capcom founder Kenzo Tsujimoto, saying that when Tsujimoto found out about this project, he refused to release it. Capcom ended up selling the game under another company’s brand, in order to protect their reputation, and the game ended up being a hit. Okamoto, who also called himself a ‘slavedriver’ due to the amount of time he asked employees to work, justified the project by saying, ‘I felt if we didn’t do all this, Capcom was going to go bankrupt. I did feel vindicated in that many people told me afterwards, if we hadn’t made this, Capcom would have gone bankrupt.’ In YouTube videos, Okamoto has publicly apologized to his former staff for asking them to work excessive hours in that era.
冈本将这一讨论归结为对卡普空创始人辻本健三的赞美，他说，当辻本健三发现这一项目时，他拒绝发行。为了保护自己的声誉，卡普空最终以另一家公司的品牌出售了这款游戏，而这款游戏最终大受欢迎。冈本还自称为 "slavedriver"，因为他要求员工工作的时间太长，他为这个项目辩解说："我觉得如果我们不做这些，卡普空就会破产。事后很多人告诉我，如果我们不做这个游戏，卡普空就会破产，这让我感到很欣慰。在 YouTube 视频中，冈本公开向他的前员工道歉，因为在那个时代他要求他们超时工作。

Funamizu refers to Capcom at the time as a ‘black company’ - a term used in Japan to refer to a business that doesn’t follow proper labour laws, and commonly used to describe game companies of that era. He says it while laughing, pointing out that he doesn’t mean it as a harsh criticism. Other former staffers we interviewed are split over whether they think the term applies to Capcom, with some pointing to it being a different time and Capcom being a family business that had yet to go public.
船水把当时的卡普空称为 "黑公司"--在日本，这个词指不遵守正当劳动法的企业，通常用来形容那个时代的游戏公司。他边说边笑，指出自己并没有严厉批评的意思。我们采访过的其他前员工对这个词是否适用于卡普空意见不一，有些人认为当时时代不同，而且卡普空是一家尚未上市的家族企业。

THE ACCIDENTAL COMBO 意外组合

As it turned out, the team’s willingness to pull in unexpected ideas led to one of Street Fighter II’s most popular features. To reduce the reliance on luck, the team made it easier for players to perform certain moves, which opened up the game in a way the designers hadn’t intended, allowing players to link together multiple hits before their opponents could react. In short, they invented the combo. Some called it a bug.
事实证明，由于团队愿意引入意想不到的想法，《街头霸王 II》成为了最受欢迎的游戏之一。为了减少对运气的依赖，团队让玩家更容易施展某些招式，从而以一种设计者未曾预料到的方式打开了游戏，让玩家可以在对手反应过来之前连击多次。简而言之，他们发明了连击。有人说这是一个错误。

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SHINICHI UEYAMA

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上山信一
Street Fighter II lead programmer, Capcom Japan
《街头霸王 II》首席程序员，日本卡普空
We had recently made Ghosts ’

n

Goblins. You know how in that game, your character flies backwards when he gets hit? His armour goes flying off, but during that period of time while he’s in the air, he’s invincible. So for Capcom’s games back then, a system where you took damage and then took damage again immediately, without any kind of invincibility frames, that was pretty rare. The first game we implemented that in, where you could damage an enemy right after they’d already taken damage, was Final Fight.
我们最近制作了《幽灵》'

n

《妖精》。你知道在那款游戏中，你的角色被击中后会向后飞吗？他的盔甲会脱落，但在空中的那段时间，他是无敌的。因此，在卡普空当时的游戏中，没有任何无敌状态，而是在受到伤害后立即再次受到伤害的系统是非常罕见的。我们在《最终格斗》中首次采用了这种系统，即在敌人受到伤害后可以立即对其造成伤害。

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NORITAKA FUNAMIZU

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野利高风美津
Street Fighter II series producer, Capcom Japan
日本卡普空《街头霸王 II》系列制作人
Smack, smack, smack, smack, smack, smack. You could really rack up the hits. If you got the input timing right, you could just keep going on and on.
咂咂嘴，咂咂嘴，咂咂嘴，咂咂嘴，咂咂嘴。你真的可以把击打次数累积起来。如果你掌握好了输入时机，你就可以不停地打下去。

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SHINICHI UEYAMA

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上山信一
Street Fighter II lead programmer, Capcom Japan
《街头霸王 II》首席程序员，日本卡普空
Exactly. It was from that game that we got the idea for consecutive hit moves [in Street Fighter II]. After that, special moves got thrown into the mix, and more complex ways to do combos came about.
没错。在《街头霸王 2》中，我们正是从那款游戏中获得了连续技的想法。在那之后，我们又加入了特殊招式，于是就有了更复杂的连击方式。

HIDE 隐藏

Street Fighter II programmer, Capcom Japan
日本卡普空《街头霸王 II》程序员
Early on in development [on Street Fighter II] it became clear that we were being a little too strict and a little too severe with the input methods. So when you did the down, down-forward, forward punch [input to perform a fireball], you had to hit punch at exactly the moment you were hitting right on the joystick or it wouldn’t work. And it was just really hard for people to get their heads around that - it really felt like you were doing it right and it wasn’t working. So we decided to open up that timing a little bit, just by a few frames, so that if you hit that punch button within those few frames you’d be OK and your fireball would work.
在[《街头霸王 II》]的开发初期，我们发现输入方法有些过于严格和苛刻。因此，当你使用 "向下、向下、向前出拳"[输入法来发射火球]时，你必须准确地在操纵杆上击打出拳的瞬间击打出拳，否则就不起作用。人们很难理解这一点，感觉就像你做对了，但却不起作用。因此，我们决定将时机稍微放宽一些，就几格，这样如果你在这几格内按下出拳键，就不会有问题，火球也会起作用。

And as a side-effect of that - so I guess if you wanted to call it a bug, you could, but really it was a side-effect of giving people more time to enter the button - players could perform combos. So if you were doing a crouching kick by holding down, and then pressed right and punch when your character was doing that animation, you could connect those together. It wasn’t intentional to let players combine moves into combos, but it wasn’t a bug in that it was planned to make it easier to do your special moves.
这样做的一个副作用是--如果你想说这是一个 bug，也可以，但实际上这是给人们更多时间输入按键的副作用--玩家可以进行连击。因此，如果你在做蹲踢动作时按住不放，然后在角色做这个动作时按右键并出拳，你就可以把这些动作连起来。让玩家将动作组合成连招并不是有意为之，但这并不是一个错误，因为它是为了让玩家更轻松地使用特殊动作而设计的。

NORITAKA FUNAMIZU
Street Fighter II series producer, Capcom Japan

We wanted to make the moves easier to do, so basically we made it so you could cancel a regular attack in the middle and do a special move. But it turned out that during this time, if you pressed the buttons very fast, it could theoretically register two hits instead of one.
我们想让招式更容易使用，所以基本上我们让你可以在中间取消普通攻击，然后使用特殊招式。但事实证明，在这段时间里，如果你按键的速度非常快，理论上可以击中两次而不是一次。

SHINICHI UEYAMA 上山真一
treet Fighter II lead programmer, Capcom Japan
卡普空（日本）公司《星球大战 2》首席程序员
It was a mistake. 这是个错误。

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SEIJI OKADA

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冈田诚司
Street Fighter II programmer, Capcom Japan
日本卡普空《街头霸王 II》程序员
If I had to say, yeah, it was.
如果让我说，是的，就是这样。

NORITAKA FUNAMIZU 船水吕孝
Street Fighter II series producer, Capcom Japan
日本卡普空《街头霸王 II》系列制作人
But it was interesting, so Nishitani said to leave it in.
但它很有趣，所以西谷说把它保留下来。

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SHINICHI UEYAMA

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上山信一
Street Fighter II lead programmer, Capcom Japan
《街头霸王 II》首席程序员，日本卡普空
It’s hard to say whether it was some brilliant invention or actually a failure. But it was interesting, so we left it in.
很难说这究竟是一项杰出的发明，还是一次失败。但它很有趣，所以我们把它留了下来。

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NORITAKA FUNAMIZU

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野利高风美津
Street Fighter II series producer, Capcom Japan
日本卡普空《街头霸王 II》系列制作人
It was a product of chance. Nishitani decided to leave it in on the mere word of two or three people, and I thought, Wow, this guy. He’s a genius or something. [laughs] […] Normally, you wouldn’t leave something like that in your game, not in that state. A normal person would think, Oh, it’s off. We have to fix it.
这是偶然的产物。西谷仅凭两三个人的一面之词就决定把它留在里面，我当时就想，哇，这家伙。他是个天才什么的[笑] [......]通常情况下，你不会把这样的东西留在你的游戏里，不会在那种状态下。正常人会想，哦，坏了我们得把它修好

SHINICHI UEYAMA 上山真一
Street Fighter II lead programmer, Capcom Japan
《街头霸王 II》首席程序员，日本卡普空
What a normal person saw as something broken, Nishitani saw as something interesting.
在常人看来是坏掉的东西，在西谷看来却是有趣的东西。

ART SHOW 艺术展

As Capcom sorted out plans for Street Fighter II’s gameplay, they also put together a team of artists to design characters and backgrounds under the guidance of planner Yasuda. After the success of Final Fight, Yasuda had built a reputation not only for his illustration work, but for his ability to translate character designs into intricate pixel art - and on Street Fighter II, he continued that work while overseeing the creation of a new group of characters.
在卡普空为《街头霸王 2》的游戏性制定计划的同时，他们还组建了一个美术团队，在安田策划的指导下设计角色和背景。在《最终格斗》大获成功后，安田不仅因其插图作品，还因其将角色设计转化为复杂的像素艺术的能力而声名鹊起，在《街头霸王 II》中，他在继续这项工作的同时，还负责监督一组新角色的创作。

Given the rudimentary tools available at the time, this accounted for Capcom’s biggest expense on the project. But many say the expense paid off.
考虑到当时工具的简陋，这也是卡普空在该项目上最大的一笔开支。但很多人都说，这笔开支得到了回报。

SCOTT SMITH 斯科特-史密斯

Street Fighter II marketing manager, Capcom USA
卡普空美国公司《街头霸王 II》市场经理
It was probably the most beautiful game for its time - the background animations, the character animations …
它可能是当时最漂亮的游戏 - 背景动画、人物动画...

When Bill Cravens brought the first Street Fighter [II] board back from Japan, nobody knew what it was. […] They installed it in the break room, right? So we had a break room with like, three soda machines, two other machines and then a bunch of arcade games. Final Fight, [puzzle game] Super Buster Bros., [shooter] UN Squadron and I think [action game] Strider. And I think they pulled open the Strider cabinet, drilled some more holes, put up the buttons, and said, ‘This is kind of amazing.’ And people took a look at it, and then all of a sudden people were pounding on the buttons and Chun-Li did her lightning kick and the place was just like, awed. We had never seen animation like that before. It was better than the Final Fight stuff. And then Blanka did his electricity effect and we knew at that point that this was something special.
当比尔-克雷文斯从日本带回第一块街霸[II]板时没人知道那是什么东西[他们把它安装在休息室里，对吧？所以我们的休息室里有三台汽水机两台其他机器还有一堆街机游戏有 "最终决战"、"超级巴斯特兄弟"、"联合国中队"，还有 "黾"。我想他们拉开了 Strider 的机柜，又钻了几个洞，装上按钮，然后说，'这真是太棒了'。人们看了一眼，突然，人们开始敲击按钮，春丽做出了闪电踢的动作，全场都惊呆了。我们从未见过这样的动画效果比 "终极格斗 "还精彩然后布兰卡做出了电击效果那时我们就知道这是个特别的东西

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CHRIS TANG

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CHRIS TANG
Street Fighter II tournament player
《街头霸王 II》锦标赛选手
What I really liked was - and in retrospect, it’s still true today that [the characters’ key frames were iconic]. The poses that they do when they do a Hadouken or Sonic Boom - those are all top of their class. [No game has done better key framing or had more] memorable poses since then. And the way [your attacks flow] when you hit something, it feels very impactful. There’s something very masterful about that first Street Fighter II, especially when it was a little slow, in retrospect.
我真正喜欢的是--现在回想起来，[角色的关键帧是标志性的]这一点依然正确。他们打出 "下段拳 "或 "音爆 "时的姿势--都是同类游戏中的佼佼者。[从那以后，没有一款游戏的关键帧做得比它更好，也没有一款游戏的姿势比它更令人难忘。当你击中某物时，[你的攻击]流畅的方式让人感觉非常有冲击力。第一代《街头霸王 II》有一些非常精湛的地方，尤其是当它速度有点慢的时候，现在回想起来更是如此。
TOM SHIRAIWA 白岩
Street Fighter II trans1ator, Capcom Japan
街头霸王 II Trans1ator，日本卡普空
[Yasuda] is such a talented artist. […] When he designed characters, he [planned out their moves up front] in a way that the animation looked best. […] No other artist could do that. He was a pioneer.
[安田]是一位才华横溢的艺术家。[他在设计角色时，会[事先计划好他们的动作]，让动画看起来效果最好。[......]没有其他艺术家能做到这一点。他是一位先驱。

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JAMES GODDARD

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詹姆斯-戈达德
Street Fighter II: Champion Edition design support, Capcom USA
街头霸王 II：冠军版设计支持，美国卡普空
If you look at some of the fighting games out there that are so-so, they don’t have good colour-form break-up. So when [characters] throw a kick or a punch, it all kind of bleeds together so you don’t track the limbs that well. And this guy was way ahead of his time on all of that.
如果你看看市面上一些一般的格斗游戏，它们的色块分割效果并不好。因此，当（角色）踢出一拳或踢出一脚时，所有的色彩都会融合在一起，让你无法很好地追踪肢体。而这家伙在所有这些方面都走在了时代的前列。

\to \begin{aligned} AKIRA YASUDA \\ Street Fighter II planner, Capcom Japan \end{aligned}

I was extremely satisfied with the animation, because at that time, I was familiar with every last detail of the character art, down to the individual

16 \times 16

sprites. Also, back then at Capcom, more than illustrators or planners, it was pixel artists who were critical. They did animation work too, you see, and it was Capcom’s character animation that really sold the games. So on Street Fighter, I was able to get into the nitty-gritty of every
我对动画制作非常满意，因为当时我熟悉角色美术的每一个细节，甚至是每一个

16 \times 16

精灵。另外，当时在卡普空，比起插画师或策划，像素艺术家才是关键。他们也做动画工作，而卡普空的角色动画才是游戏的真正卖点。所以在《街头霸王》中，我能够深入到每一个细节
little character detail and that made it the most satisfying work I did at Capcom.
这是我在卡普空最满意的作品。
[Ed. note [编者注
Former colleagues describe Yasuda as one of the most talented and dedicated employees at Capcom, and also one of the most atypical, noting that he often slept on the floor at the office and spoke bluntly to co-workers. Publicly, he became known as the designer of Street Fighter’s first female character: Chun-Li.
前同事称安田是卡普空最有才华、最敬业的员工之一，同时也是最不典型的员工之一，指出他经常睡在办公室的地板上，并对同事直言不讳。在公众面前，他因设计了《街头霸王》的第一个女性角色而闻名：春丽。

Of course, while I was designing her, I did think she would be well received. But after 30 years, for people to still be so fond of her … well, naturally that’s going to mean she’s important to me. In regard to how I felt at the time of the development, I think the vibe of the entire game, of all the characters, would have been significantly different if Chun-Li had not been included. You see, in Street Fighter I, the fact that there were only male characters, it makes it this kind of cool, realistic, manly world, you know? But adding a woman increases the ‘entertainment factor’ of the game. So there was a question of which direction the game should go in. Should we continue in the tough-guy aesthetic of the first game without any women? Or should we add a woman, and if so, what kind of moves should she have? I remember being a little worried about all that.
当然，在我设计她的时候，我确实认为她会受到欢迎。但 30 年过去了，人们仍然如此喜爱她......这自然意味着她对我很重要。关于开发时的感受，我认为如果没有春丽的加入，整个游戏和所有角色的氛围都会大不相同。你看，在《街头霸王 I》中，只有男性角色，这让游戏变得很酷、很现实、很男人，你知道吗？但加入一个女性角色会增加游戏的 "娱乐性"。因此，游戏应该朝哪个方向发展成了一个问题。是继续保持第一款游戏的硬汉美学，不加入任何女性？还是应该增加一名女性，如果是的话，她应该有什么样的动作？我记得当时我还有点担心这些问题。

YOKO SHIMOMURA
Street Fighter II composer, Capcom Japan

Chun-Li has big thighs, right? So back in the day, I asked Yasuda, ‘Why does she have such big thighs?’ And he started shouting and went off and was like, ‘I can’t believe you don’t understand the appeal.’ And he started explaining the attraction. And you know, I’m a woman and I asked the question but it kind of got awkward
春丽的大腿很粗，对吧？所以当年我问安田："为什么她的大腿这么粗？'他就开始大喊大叫，然后说，'我真不敢相信你不明白她的魅力。'然后他开始解释这种吸引力。你知道，我是个女人，我问了这个问题，但有点尴尬
when he started explaining his fetishes. I mean, he has really strong feelings toward his creations. There’s a reason for everything being the way that it is. When I heard that, I thought maybe that’s something that everybody thinks, but everybody doesn’t go out telling everybody. But he just told me.
当他开始解释自己的癖好时我是说，他对自己的作品有很强烈的感情每件事都有它存在的理由当我听到这些的时候我想也许每个人都会这么想但每个人都不会告诉别人但他告诉了我

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DAVE WINSTEAD

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戴维-温斯泰德
Technical associate editor, GamePro magazine
GamePro 杂志技术副主编
I think [Chun-Li is both a strong female icon and a sexualized figure]. […] She’s badass and all of her moves are really cool. But then at the same time, she does have a lot of key shots that if you were to freeze on them, you’re like, Oh, they spent a little extra time on that frame.
我认为[春丽既是一个强大的女性偶像，也是一个性感的形象]。[......]她很坏，她的所有动作都很酷。但与此同时，她确实有很多关键镜头，如果你定格在这些镜头上，你会觉得，哦，他们在这一帧上花了额外的时间。
[Ed. note] In the years following Street Fighter II’s release, the series developed a reputation for portraying female characters in an overtly sexual manner a direction initially led by Yasuda, whose work over the years has attracted critics for its erotic elements.
[编者注] 在《街头霸王 II》发售后的几年里，该系列因以明显的性爱方式描绘女性角色而声名鹊起。

AKIRA YASUDA 安田喜良

Street Fighter II planner, Capcom Japan
《街头霸王 II》策划者，日本卡普空
I don’t necessarily see nudity as something scandalous or sexual. I think it’s natural. I do like drawing nude bodies, but it’s always done for a reason. For example, with classical painting, God was depicted as nude, so humans like Mary Magdalene were drawn that way too. Even the paintings in the Sistine Chapel by Michelango feature nudes, right? Manet’s Olympia, too. So to me, it’s just natural … to me, art and the erotic are something inseparable, I guess. If people feel the need to come up with excuses or explanations for the public, that’s all well and good, but personally it’s not something I feel the need to do.
我并不认为裸体是丑闻或性的东西。我认为这很自然。我确实喜欢画裸体，但总是有原因的。例如，在古典绘画中，上帝被描绘成裸体，因此像抹大拉的马利亚这样的人也被画成裸体。就连米开朗基罗在西斯廷教堂的画作中也有裸体，不是吗？马奈的《奥林匹亚》也是。所以对我来说，这很自然......对我来说，艺术和情色是不可分割的东西吧。如果人们觉得有必要为公众找借口或解释，那很好，但我个人觉得没必要这么做。

THEME SONGS 主题曲

Once the team locked in Street Fighter II’s concept and art style, the audio fell to Yoko Shimomura, a composer who joined Capcom in 1988 and had contributed to a variety of projects, including Final Fight, but had yet to make a name for herself. Years later, Shimomura would go on to become one of the most highly regarded composers in the game industry, working on some of its biggest franchises including role-player juggernauts Final Fantasy and Kingdom Hearts. But in her early days at Capcom, she went through a crash course in learning how to compose music for games.
一旦团队锁定了《街头霸王 II》的概念和艺术风格，音效工作就落到了下村阳子（Yoko Shimomura）的肩上。下村阳子于 1988 年加入卡普空，曾参与过包括《最终格斗》（Final Fight）在内的多个项目，但尚未成名。多年后，下村成为游戏行业最受瞩目的作曲家之一，参与了《最终幻想》和《王国之心》等角色扮演游戏巨作的制作。但在卡普空工作的早期，她经历了如何为游戏作曲的速成课程。

\begin{aligned} HARUMI FUJITA \\ Composer, Capcom Japan \end{aligned}

Shimomura ended up joining Capcom quite some time after I started there. She had studied piano in school, but when she joined, she had no composition ability whatsoever. I remember her coming up to me and asking for some advice on how to compose, and I initially told her, ‘Go try make a song and see how you do.’ So she did, and then she had everyone on the team listen to it. They were all quite speechless. The room went kind of silent. The song was terrible, right? And I remember having to say, just to break the silence in that room, ‘Yeah, this isn’t going to work.’ I mean, obviously now she’s a wonderful composer.
下村（Shimomura）在我加入卡普空很久之后才加入的。她在学校学过钢琴，但加入卡普空时，她完全没有作曲能力。我记得她来找我，向我请教如何作曲，我一开始告诉她：'去试着做一首歌，看看你做得怎么样。'于是她做了，然后她让团队里的每个人都听了一遍。他们都哑口无言。房间里鸦雀无声。那首歌很糟糕，对吧？我记得为了打破房间里的沉默，我不得不说：'是的，这行不通。我是说，现在她显然是个出色的作曲家了

Yoko Shimonura 下村阳子

Street Fighter II composer, Capcom Japan
《街头霸王 II》作曲家，日本卡普空
Yeah, I had no idea how to make music when I joined Capcom. I had studied classical music before then, but to be in a company like that, obviously you had to know how to make music that sounded very catchy - using bass and guitar, how to make rock tracks and jazz
是的，我加入卡普空时完全不知道如何制作音乐。在那之前，我学过古典音乐，但要进入这样一家公司，显然你必须知道如何制作听起来朗朗上口的音乐--使用贝斯和吉他，如何制作摇滚乐和爵士乐。
tracks, etc. Because I had studied classical music, I didn’t know much about that. So, yeah. I felt like I joined the company without having the right set of skills needed to do the job.
曲目等。因为我学的是古典音乐，所以对此了解不多。所以，是的。我觉得我加入公司时，并没有掌握工作所需的技能。

HARUMI FUJITA 藤田晴美
Composer, Capcom Japan 日本卡普空作曲家
It was my job to train employees in how to do their job, so I did that, for sure, but I didn’t teach her how to compose. I think she learned that on her own. Shimomura was very lucky, because all the games that she worked on happened to be hits. And slowly but surely, she was able to build up her skills.
我的工作是培训员工如何做好本职工作，所以我肯定做了，但我没有教她如何作曲。我想她是自己学会的。下村非常幸运，因为她参与制作的所有游戏都是热门游戏。慢慢地，她的技巧也得到了提高。

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YOKO SHIMOMURA

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YOKO SHIMOMURA
Street Fighter II composer, Capcom Japan
《街头霸王 II》作曲家，日本卡普空
I think in this job, you constantly have to strive to keep growing, and in those days I think I was able to build up my skills pretty quickly. Of course, back then, I don’t think I really thought about it in that way.
我认为，在这份工作中，你必须不断努力，不断成长，在那些日子里，我认为我能够很快地积累自己的技能。当然，那时我并没有这样想过。
[Ed. note] A couple of years after joining Capcom,
[编者注] 加入卡普空公司几年后、
Shimomura landed on the game that would define her time there, Street Fighter II, heading up the game’s composition and sound effects.
下村参与了《街头霸王 II》这款游戏的制作，并负责游戏的作曲和音效。

When a project came around, Capcom usually looked for people in the sound department who were free at the moment, and I was free. […] There were two or three projects that needed sound composers at that time, and I just happened to pick Street Fighter II.
当有项目时，卡普空通常会在音效部门寻找当时有空的人，而我正好有空。[......]当时有两三个项目需要音效作曲家，我正好选中了《街头霸王 II》。
Sometimes you do have to wonder how things could have turned out, if circumstances were just a little bit different. If we had done this, maybe this project would have turned out that way instead.
有时你不得不想，如果当时的情况稍有不同，结果会怎样。如果我们这样做了，也许这个项目就会变成那样。

When was Street Fighter II made? 1991? And I quit in 1990. […] I did feel [a bit jealous]. Sometimes I feel like if I had stayed at the company, maybe I could have worked on it. […] My son always asks me, he even asks me today like, ‘Why did you quit? You shouldn’t have quit.’
街头霸王 II》是什么时候制作的？1991?我 1990 年就退出了[......]我确实觉得[有点嫉妒]。有时我觉得，如果我当时留在公司，也许我还能参与制作《街头霸王 2》。[......]我儿子总是问我，他今天甚至问我，'你为什么辞职？你不应该辞职。

EEd. note] Fujita clarifies that her son's comments don't specifically relate to Street Fighter II, but to working at Capcom in general.
注释］藤田澄清说，她儿子的评论并不具体涉及《街头霸王 II》，而是与在卡普空的工作有关。

YOKO SHIMOMURA
Street Fighter II composer, Capcom Japan
《街头霸王 II》作曲家，日本卡普空
At first, I was worried if I’d be able to pull the job off right, because it was a fighting game and I wasn’t sure if that would match my style.
起初，我很担心自己能否胜任这份工作，因为这是一款格斗游戏，我不确定这是否符合我的风格。

Before Street Fighter II came along, the sound composition across all Capcom titles had a heavier tone, a cooler tone.
在《街头霸王 II》出现之前，卡普空所有作品的音效构成都是一种更沉重、更冷酷的基调。
But for Street Fighter II, I made it more catchy, and in a certain sense, lighter. I had more fun with the tracks, especially with E. Honda’s theme song. It’s a fun song, not a heavy or serious track. There were people within the company saying, ‘OK, this seems a little off from Capcom’s style,’ but Nishitani said, ‘No, this is fun. This is just what we’re looking for. We should do this.’ So it turned out that the music I wrote for Street Fighter II ended up challenging the previous convention of cool and masculine music that Capcom had - not that I intended that, but that’s how it turned out.
但在《街头霸王 II》中，我让歌曲更加朗朗上口，在某种意义上也更加轻快。我在曲目中加入了更多乐趣，尤其是 E. Honda 的主题曲。这是一首有趣的歌曲，不是一首沉重或严肃的歌曲。公司内部有人说：'好吧，这似乎有点偏离卡普空的风格，'但西谷说：'不，这很有趣。这正是我们想要的。我们应该这样做。因此，我为《街头霸王 II》创作的音乐最终挑战了卡普空之前的酷炫和阳刚的音乐传统--这并不是我的本意，但结果就是这样。
I feel like I was aiming for a kind of pop sound. Maybe Japan has a very different definition of pop than other countries might, but I was aiming for something with a pop or casual feel to the music.
我觉得我的目标是一种流行音乐。也许日本对流行音乐的定义与其他国家大相径庭，但我的目标是让音乐具有流行或休闲的感觉。
theme of a trip around the world.
环球旅行的主题。

Nishitani would come up to me and show me designs of the characters and explain the personalities of the characters and ask me to make theme songs for each character. And then I would look at the backgrounds and the character descriptions and all that, and I noticed that each character had a unique background. And because of that, I suggested making each theme song based on their background country and culture. It was like a brainstorming session he would have his orders and I would come up with ideas.
西谷会走到我面前，向我展示角色的设计图，解释角色的性格，并要求我为每个角色制作主题曲。我看了角色的背景和描述，发现每个角色都有独特的背景。正因为如此，我建议根据每个角色的背景国家和文化来制作主题曲。这就像是一场头脑风暴，他下达指令，我提出想法。
[Ed. note] Other team members participated in that brainstorming as well.
[编者注] 其他团队成员也参与了这次头脑风暴。

I think the wild personalities on the team carried over to how the game was made. Usually on a game, the programmers don’t have a say about the music. But with Street Fighter II, I composed a track that I was thinking, ‘Oh maybe this could be good for Guile’s theme song or Ken’s theme song,’ but I didn’t say anything. I just composed the song and let everybody hear it. And then the programmer who was working on Guile, [Motohide Eshiro], was like, ‘OK I love this song. I like this track a lot, so I’m taking this track for my stage.’ Usually programmers won’t say things like that, so I was surprised. But it turned out that was sort of what I was intending it for in the first place. […] I think I realized I was on the right track when I made Guile’s theme.
我认为团队中狂野的个性会影响到游戏的制作。通常在一款游戏中，程序员对音乐没有发言权。但在《街头霸王 II》中，我创作了一首曲子，当时我在想'哦，也许这首曲子可以作为 Guile 的主题曲或 Ken 的主题曲'，但我什么也没说。但我什么都没说，我只是创作了这首歌，让大家都听到了。然后，负责《Guile》的程序员 [Motohide Eshiro] 就说：'好的，我喜欢这首歌。我非常喜欢这首歌，所以我要把这首歌搬到我的舞台上。通常程序员不会说这样的话，所以我很惊讶。但事实证明，这正是我一开始的初衷。[......]我想当我制作 Guile 的主题时，我意识到我走对了路。

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\begin{aligned} KAZUNORI YAMADA \\ Super Street Fighter II console sound designer, Capcom Japan \end{aligned}

Shimomura left Capcom before I started there, so I just knew her music as a player. But when I first heard her tracks, they blew
我在卡普空工作之前，下村就离开了卡普空，所以我只知道她的音乐。但当我第一次听到她的曲目时，就被震撼了
my mind. The great thing about her work is not that it’s particularly complex, but the way she creates a very catchy tone, kind of like Michael Jackson. In a short segment she’s able to describe a lot. Once you hear a bit of Ken’s theme or Chun-Li’s theme, you instantly feel like you’re in this special place. A lot of people know her for her work on games after she joined Square Enix, but I feel like my favourite work of hers is what she did on Street Fighter II.
我的心灵。她的作品最棒的地方不是它特别复杂，而是她创造了一种非常朗朗上口的语调，有点像迈克尔-杰克逊。在短短的片段中，她能描述很多东西。一旦你听到肯的主题曲或春丽的主题曲，你就会立刻感觉自己置身于这个特别的地方。很多人都知道她在加入 Square Enix 之后为游戏所做的工作，但我觉得我最喜欢她在《街头霸王 II》中所做的工作。

CHRIS TANG
Street Fighter II tournament player
《街头霸王 II》锦标赛选手
That CPS-1 flat-top cabinet that Street Fighter II first came in [in the US] - it had a really nice subwoofer so you could really hear all of the kicks and punches. What I did was I brought my boombox to 7-Eleven and I recorded all the music. I called my friends who were in other parts of the country; I still had friends in Hawaii [where I grew up]. I’d say, ‘Dude, you have to hear this. This is Street Fighter II.’ […] I’d play it over the phone. I was just so proud of how good Street Fighter II sounded. And I still think that the CPS-1 version of it really hits home for me.
街头霸王 2》首次（在美国）推出时使用的 CPS-1 平头机箱--它有一个非常好的低音炮，因此你能真正听到所有的拳打脚踢。我把我的音箱带到 7-Eleven 店，录下了所有的音乐。我打电话给我在美国其他地方的朋友；我在夏威夷（我长大的地方）还有朋友。我说，'伙计，你得听听这个。这是《街头霸王 II》。[...... "我会在电话里播放。街头霸王 II》的音效让我感到非常自豪。我仍然认为 CPS-1 版本的《街头霸王 2》让我印象深刻。

TRANSLATION STRUGGLES 翻译斗争

For the most part, Capcom Japan developed Street Fighter

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's features, characters and mechanics without much influence from Capcom USA. When it came to character names, however, the US office played a bit of a role. When they saw the characters, some in the US office were concerned that the African American boxer was named M. Bison, because the name sounded a lot like ‘Mike Tyson’. The character also looked like Tyson, as it was common practice for the team at Capcom Japan to take inspiration from pop culture when designing characters. So for the Western version of the game, Capcom changed the name, which had a ripple effect and led to three name changes for the game’s boss characters. ‘M. Bison’ became ‘Balrog’, ‘Vega’ became ‘M. Bison’ and ‘Balrog’ became ‘Vega’.
在大多数情况下，日本卡普空开发的《街头霸王》

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的功能、角色和机制没有受到美国卡普空的太大影响。不过，在角色名称方面，美国分公司起了一些作用。当他们看到角色时，美国分公司的一些人担心非裔美国拳击手被命名为 M. Bison，因为这个名字听起来很像 "迈克-泰森"。这个角色看起来也很像泰森，因为日本卡普空的团队在设计角色时通常会从流行文化中汲取灵感。因此，在西方版本的游戏中，卡普空改了这个名字，这产生了连锁反应，导致游戏中的老板角色改了三个名字。'M.Bison "变成了 "Balrog"，"Vega "变成了 "M.Bison "和 "Balrog "变成了 "Vega"。

TOM SHIRAIWA 白岩
Street Fighter II translator, Capcom Japan
《街头霸王 II》翻译，日本卡普空
At that time, there was no localization department. Actually, there was no such word as ‘localization’. It was just ‘translation’. And I was the only one in [the Japan sales] office itself that actually liked arcade games, so I had to take charge in that translation job.
当时还没有本地化部门。事实上，根本就没有 "本地化 "这个词。只是'翻译'。我是（日本销售部）办公室里唯一一个真正喜欢街机游戏的人，所以我必须负责翻译工作。

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SCOTT SMITH

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斯科特-史密斯
Street Fighter II marketing manager, Capcom USA
卡普空美国公司《街头霸王 II》营销经理
There’s always something [that gets lost in translation]. […] But usually we had a reason.
总有一些东西[在翻译中丢失]。[......但通常我们都有理由。

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IAN ROSE

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伊恩-罗斯
General counse1, Capcom USA
美国卡普空总代表1
There was the concern that M. Bison was way too close to Mike Tyson.
有人担心拜辛先生与迈克-泰森（Mike Tyson）的关系过于密切。

SCOTT SMITH 斯科特-史密斯
Street Fighter II marketing manager, Capcom USA
卡普空美国公司《街头霸王 II》市场经理
The concern was Mike Tyson was still big at that time and Nintendo had Punch-Out!!, and so they just didn’t want to get into it.
他们担心的是，当时迈克-泰森（Mike Tyson）仍然很红，任天堂也有《拳皇》，所以他们不想涉足其中。

TOM SHIRAIWA 白岩

Street Fighter II translator, Capcom Japan
《街头霸王 II》翻译，日本卡普空
[Capcom USA executives] believed they could get sued. But at that time, all the name graphics had already been done, so there was no way to create another graphic just to replace it. […] So whatever fit with the character graphics was OK. I mean, it was not the best choice. There was a lot of argument that ‘Vega’ - that doesn’t fit with the character, with the clothes. But there was no other choice. It was a reluctant decision, but getting sued is a much bigger problem.
[卡普空美国公司的高层认为他们可能会被起诉。但在当时，所有的名称图形都已经制作完成，所以不可能再制作一个图形来代替它。[......]所以，只要符合角色图形就可以了。我的意思是，这并不是最好的选择。有很多人认为 "织女星 "与角色和衣服不符。但我们别无选择。这是一个无奈的决定，但被起诉是一个更大的问题。

KATSUYA AKITOMO
Street Fighter II: Champion Edition background artist, Capcom Japan
街头霸王 II：日本卡普空背景艺术家

Also, you know the mid-boss, the third-in-command, called Vega in the United States? Well, Vega is the name of the main boss in Japan, but it’s also the name of a star in the constellation of Cygnus, so it was considered a little too feminine for English speakers. That’s why the guy with the claws is called Balrog in Japan, but they changed it to Vega outside of Japan.
另外，你知道在美国被称作 "织女星 "的三当家，也就是中BOSS吗？在日本，Vega 是主 Boss 的名字，但它也是天鹅座中一颗恒星的名字，所以对于英语使用者来说，Vega 有点过于女性化。这就是为什么在日本，那个长着爪子的家伙被称为 "巴洛克"（Balrog），但在日本以外的地区，他们把它改成了 "织女星"（Vega）。

CHRIS TANG
Street Fighter II tournament player
《街头霸王 II》锦标赛选手
They had to do what they had to do to not get sued, so I’m OK with that. […] I guess it’s just history now and it’s trivia, right?
为了不被起诉，他们不得不这么做所以我没意见[......]我想这已经成为历史，成为琐事，对吗？
[Ed. note] In addition to swapping the three boss names, Capcom made other small localization changes to the game, such as altering the name of Guile’s friend Nash in the backstory. He became Charlie for the Western release.
[编者注]除了调换三个老板的名字外，卡普空还对游戏进行了其他小的本地化改动，例如更改了游戏背景故事中古尔的朋友纳什的名字。在西方版本中，他变成了查理。

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TOM SHIRAIWA

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TOM SHIRAIWA
Street Fighter II translator, Capcom Japan
《街头霸王 II》翻译，日本卡普空
[With Nash changing to Charlie], it once again came from the US. I always did a literal translation of the original Japanese, and of course I translated it as Nash. Then they gave it to someone at Capcom US, and they came back and changed the name. I asked them why, but they said, ‘Nash is not an English name, basically. So we’ve got to change it to something else, otherwise people will not recognize it as a name or maybe they may not have some attachment to this character, and he’s supposed to be a US soldier.’ And they suggested, ‘How about Charlie?’
[随着纳什改为查理，它又一次来自美国。我一直都是按照日语原文直译的，当然就译成了纳什。然后他们把这个名字给了卡普空美国公司的人，他们回来后又改了名字。我问他们为什么，他们说'纳什基本上不是一个英文名字。所以我们得改成别的名字，否则人们会不认识这个名字，或者对这个角色没有感情，而他应该是一名美国士兵。他们建议说，'查理怎么样？

Back then, the developers were not so familiar with overseas projects, so whatever the US [staff] said, the developers felt like they had to do; otherwise the game wouldn’t be accepted overseas. And I kind of believed in that too. But after a few years we started to realize, ‘Hey, this is just their ego.’ […] They wanted to change everything they could [so they could say they played a role in the development]. Even the titles, right? Like [how Capcom changed horror game Biohazard to Resident Evil in the West. After] we learned that, developers actually often refused to listen to their suggestions, or tried to get a second opinion from someone else. But back then on Street Fighter II, whatever Americans said was the absolute truth we had to follow.
那时，开发人员对海外项目还不是很熟悉，所以美国（工作人员）说什么，开发人员就必须做什么，否则游戏在海外就不会被接受。我也相信这一点。但几年后，我们开始意识到，'嘿，这只是他们的自负。[......]他们想改变他们能改变的一切，[这样他们就能说自己在开发过程中发挥了作用]。甚至连标题都是，对吧？就像卡普空把恐怖游戏《生化危机》（Biohazard）在西方改成了《生化危机》（Resident Evil）。在]我们了解到这一点后，开发商实际上经常拒绝听取他们的建议，或者试图从其他人那里获得第二意见。但当时在制作《街头霸王 II》时，美国人说什么就是什么，我们必须绝对服从。

ARCADE SUCCESS

In early 1991, Capcom distributors began to ship Street Fighter

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to arcades around the world. Capcom had put more money into it than any other arcade game to date, and many at the company were hopeful that the approach would pay off, continuing Final Fight’s success. Though things started slower in Japan because players weren’t accustomed to competing with one another, it didn’t take long for the game to gain a following.
1991 年初，卡普空的经销商开始向世界各地的街机厅销售《街头霸王》

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。卡普空在这款游戏上投入的资金比迄今为止任何一款街机游戏都要多，公司的许多人都希望这种做法能够获得成功，延续《最终格斗》的成功。虽然在日本，由于玩家不习惯相互竞争，游戏的发展速度较慢，但没过多久，游戏就获得了追捧。

CHRIS JELINEK 克里斯-耶利内克

G&G Software general manager, Capcom USA
卡普空美国公司 G&G 软件总经理
I remember very distinctly when the Street Fighter II cabinet first arrived [at Capcom USA]. Capcom, at that time, had a lunch room that they used for their game machines, just to have them set up for the employees. They also had sort of a darkened, oversized closet that probably held about ten machines. Maybe eight to ten. […] At the same time Capcom had Final Fight and it also had [action game] Mercs and a few other shoot-em-up type games or [side-scrolling brawlers], but Street Fighter II was just something totally different, you know? It felt different.
我清楚地记得，《街头霸王 II》的游戏机刚送到（美国卡普空公司）时的情景。当时，卡普空有一间午餐室，专门用来摆放游戏机，供员工使用。他们还有一个昏暗的超大壁橱，里面大概有 10 台游戏机。可能有八到十台[......]与此同时，卡普空还有《最终格斗》（Final Fight），还有[动作游戏]《水兵》（Mercs）和其他一些射击类游戏或[横版格斗游戏]，但《街头霸王 2》（Street Fighter II）完全不同，你知道吗？感觉完全不同。

BRIAN DUKE 布里安-杜克
Street Fighter II Western regional sales manager, Capcom USA
卡普空美国公司《街头霸王 II》西部地区销售经理
It was freaking amazing. I mean, when I saw the test one that came into our office, I literally played and played and played that thing all week long. I think I probably spent more time than I did working playing the game.
它简直太神奇了。我是说，当我在办公室看到测试版时，我真的玩了一个星期。我想我花在玩游戏上的时间可能比工作还多。

I remember when we tested it and I went up to the location where we were testing, which was up in Foster City. And if I remember correctly, I think it was a Nickels and Dimes location and we had it there and everybody was standing
我记得我们测试的时候，我去了我们测试的地方，在福斯特市。如果我没记错的话，那应该是一个 "Nickels and Dimes "店，我们把它放在那里，每个人都站在那里。
around watching these people play, and then they found out that we were part of Capcom. Kid goes, ‘Oh, can I play one of your people?’ And [Capcom USA vice-president of sales Bill Cravens] points at me and says, ‘Hey, he’s one of the best.’ And he goes, ‘Oh, great. Can I play you?’ And I went, ‘Oh yeah, sure.’ So I took Chun-Li and he took E. Honda and I remember I got my ass whooped. I could not believe this guy. I mean, every time that I would play against the computer, I’d beat E. Honda. Playing against him - he was one of the kids that had spent hours and hours on it - I didn’t even win one match. And I’m serious, that was the last time I ever played against anybody on any test game, at least in public. I did it all the time [before that]. To be the king of the players at Capcom and then get my ass whooped by some kid at an arcade, I went, you know, ‘I’m getting too old for this stuff.’ But it was huge.
在周围看这些人玩游戏，然后他们发现我们是卡普空的一员。孩子说，'哦，我能和你们的人玩玩吗？卡普空美国销售副总裁比尔-克雷文斯指着我说：'嘿，他是最棒的之一。他说：'哦，太好了。我能和你比赛吗？'我说，'哦，当然可以。于是我带着春丽，他带着本田，我记得我被打得屁滚尿流。我简直不敢相信这家伙。我是说，每次和电脑对战，我都能打败本田E。和他对战--他是花了好几个小时研究电脑的孩子之一--我连一场都没赢。我是认真的，那是我最后一次在测试游戏中与人对战，至少是在公开场合。在那之前，我一直都是这样。作为卡普空的玩家之王，却在街机厅被一个小孩打得屁滚尿流，我就想，"我太老了，不适合玩这种游戏了"。但这是巨大的。
[Before Street Fighter II was released, Cravens] was always talking to me about it. ‘Just wait until that comes. Just wait until we have this one out.’ And I was banking on that and hoping on that, and literally, I think it was a year or a year and a half after I joined, that’s when I saw [Street Fighter II] come to life.
[在《街头霸王 2》上映之前，克雷文总是跟我谈论它。'等着看吧'等我们出了这个再说吧我一直寄希望于此，就在我加入公司一年或一年半之后，我看到了《街头霸王 2》的诞生。

Cravens left Capcom just as Street Fighter II was going on sale. Capcom vice-president of sales and marketing Jeff Walker took over his role, overseeing US sales.
克雷文斯离开卡普空时，《街头霸王 II》刚刚上市。卡普空销售和营销副总裁杰夫-沃克接替了他的职位，负责美国的销售。

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JEFF WALKER

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杰夫-沃克
Street Fighter II vice-president of sa1es and marketing, Capcom USA
卡普空美国公司《街头霸王 II》市场营销副总裁
I got [an early version of Street Fighter II in the US office] and normally […] we would test the game for ideally four weeks before I would go to market with it and pitch it to my distribution network. Well, I only had six days the way it turned out, because of course the board came in late and we had already planned distributor meetings.
我拿到了[《街头霸王 II》在美国办事处的早期版本]，通常[......]我们会在理想情况下对游戏进行四周的测试，然后我才会带着它进入市场，向我的分销网络推介。结果，我只用了 6 天时间，因为董事会当然来晚了，而且我们已经计划好了分销商会议。

So I remember being down in Fort Lauderdale, Florida, and we’re launching the game down there. And I didn’t even have the earnings back yet. I mean, they were coming in - we had one unit in Sunnyvale Golfland; the other one was in Milpitas [both in California]. So I had my testers go out there and I said, ‘Hey man, I’ve gotta have some kind of idea what’s in there.’ So they said, ‘Well we opened the cash box up [on one of them]. We haven’t even hit the weekend yet, just been cruising through the week.’ And … I think it was like

$ 650

that was in there. I go, ‘That’s not bad. That’s not bad.’ So I said, ‘Well, let me just do a little surmising. Eh, it’ll probably end up doing about 800 . That’s a really good report.’ So I’m down in Florida basically telling my distribution network, ‘I think it’s gonna be about an

$ 800

a week game, based on testing in Milpitas.’ And then seven days came up after my distributor meeting, and the thing made $1,300.
我记得当时在佛罗里达州的劳德代尔堡我们在那里推出了游戏那时我还没有赚到钱。我们在桑尼维尔高尔夫乐园（Sunnyvale Golfland）和米尔皮塔斯（Milpitas）（都在加利福尼亚州）都有一个分部。于是我让我的测试人员去那里，我说：'嘿，伙计，我得知道那里有什么。'于是他们说，'好吧，我们打开了钱箱（其中一个）。'我们还没到周末呢，一周都在巡游。'然后......我想好像是

$ 650

在里面。我说，'还不错。还不错。'于是我说，'好吧，让我来推测一下。'"嗯，最后可能会有 800 个...... "我说。'这真是一份不错的报告。所以我在佛罗里达告诉我的分销网络：'根据米尔皮塔斯的测试结果，我认为这款游戏一周的销量会达到

$ 800

。'然后在我的分销商会议结束后的七天里，这款游戏赚了 1300 美元。
So one of the things that we quickly found was, Golfland says, ‘We’re having problems with the players, because everybody’s backed up on the unit. Can we get another one?’ ‘Yes, you can get another one.’ We bring another one out. Now I’m afraid if I put a second one in there I’m gonna cannibalize it. I’m gonna have two doing

$ 600

. Not the case at all. They both do 14. So now we know we’ve got a juggernaut on our hands. Sunnyvale Golfland and Milpitas, I believe at the peak, were probably operating up to 15 units inside there. And you know, the game went through the ceiling.
因此，我们很快就发现，高尔夫乐园说：'我们的播放器出了问题，因为每个人的播放器都有备份。''是的，可以再换一台。我们就又拿了一台出来。现在我担心，如果我再放一台进去，就会把它吃掉。

$ 600

。完全不是这样。它们都是 14。现在我们知道我们手上有一个巨无霸了。桑尼维尔高尔夫乐园和米尔皮塔斯，我相信在最高峰时，里面大概有 15 个单位。你知道的，游戏的销售额突破了天花板。

BRIAN DUKE 布里安-杜克

Street Fighter II Western regional sa1es manager, Capcom USA
卡普空美国公司《街头霸王 II》西部地区经理
The only way that you ever got to a thousand dollars a week earnings in any sort of game that I had been associated with was when you had three- or four-player multiplayer-type games, or ones where [you had a big machine and operators charged] a dollar per game or a dollar fifty per game. […] I remember when we first
在我参与的任何一种游戏中，每周收入达到 1000 美元的唯一途径是三人或四人的多人游戏，或者[你有一台大机器，运营商每局收取]一美元或五十美元的游戏。[......]我记得当我们第一次
started shipping, I had to send people about 10 percent of their order because we just flat out did not have enough to meet the demand.
开始发货时，我不得不把大约 10% 的订单寄给客户，因为我们根本没有足够的货源来满足需求。

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ZENJI ISHII

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石井善治

\begin{aligned} EENJ ITor-in-chief, Gamest magazine \\ Editor \end{aligned}

I think for the first year after Street Fighter II came out, we only had one issue [of Gamest magazine] without much Street Fighter coverage in it, and it turned out that that issue saw a dramatic drop in sales. After that, we realized we had to keep up our Street Fighter coverage to help maintain sales. […] Gamest was monthly so every year, we’d have 12 issues. And when Street Fighter was at its peak, I think two-thirds of those issues had Street Fighter covers. At least two-thirds.
我认为，在《街头霸王 II》问世后的第一年，我们只有一期（《Gamest》杂志）没有过多地报道《街头霸王》，结果那一期的销量急剧下降。从那以后，我们意识到必须继续报道《街头霸王》，以帮助维持销量。[......]《Gamest》是月刊，所以每年我们都会出 12 期。在《街头霸王》最火爆的时候，我想有三分之二的刊物都有《街头霸王》的封面。至少三分之二

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BRIAN DUKE

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布莱恩-杜克
Street Fighter II Western regional sales manager, Capcom USA
卡普空美国公司《街头霸王 II》西部地区销售经理
We sold, if I remember correctly, it was around 20,000 [units of the original Street Fighter II]. […] I remember having orders every month of a thousand standing orders [on the West Coast] and we would only get in 1,200 for the entire US at a time.
如果我没记错的话，我们卖出了大约 20,000 台[原版《街头霸王 II》]。[......]我记得每个月（在西海岸）都有上千份长期订单，而我们一次只能为全美国售出 1200 份。

JEFF WALKER 杰夫-沃克
Street Fighter II vice-president of sales and marketing, Capcom USA
卡普空美国公司《街头霸王 II》销售与营销副总裁
We did - between dedicated and kits - we did about 20-25,000, both with Street Fighter II and [later with the follow-up, Champion Edition].
我们在《街头霸王 II》和[后来的《冠军版》]两款游戏的专用版和套装之间，完成了大约 20,000 至 25,000 件的制作。
[Ed. note] The comments below refer to the success of both Street Fighter II and Champion Edition.
[编者注] 以下评论是指《街头霸王 II》和《冠军版》的成功。

The game just took off. […] Even the LA riots worked out for me because when they were looting the street, they were running down the streets from the 7-Eleven stores with Street Fighter games in their hands. [We got lots of]
游戏就这么火了[......]甚至洛杉矶的暴乱也让我受益匪浅，因为当他们在街上抢劫时，他们手里拿着《街头霸王》游戏，从 7-Eleven 商店跑到街上。[我们得到了很多]
press because there were the cameras going up on these guys running down the street with Street Fighter games.
因为有摄像机拍到这些人拿着街霸游戏在街上跑。

ZENJI ISHII
Editor-in-chief, Gamest magazine

When Street Fighter II came out, there weren’t any other fighting games that could cut into its sales. It had the market to itself for a while, so arcades would have several Street Fighter II machines, if not dozens of them. And then eventually SNK, and Sega with [3D fighting game] Virtua Fighter, entered the market and that sort of created this market where most arcades made the vast majority of their profits on fighting games. Comparatively, other genres did not bring in nearly as much money, and I think that lasted for maybe about ten years after the release of Street Fighter II. This was a point where everybody who visited arcades played fighting games, pretty much.
当《街头霸王 II》问世时，还没有任何其他格斗游戏能打破它的销量。它一度独占市场，所以商场里会有几台甚至几十台《街头霸王 II》。最终，SNK 和世嘉公司的[3D 格斗游戏]《维塔战士》进入了市场，这就形成了一个市场，大多数商场的绝大部分利润都来自格斗游戏。相比之下，其他类型的游戏并没有带来那么多利润，我认为这种情况在《街头霸王 II》发售后大概持续了十年左右。在这一时期，几乎所有到过商场的人都会玩格斗游戏。

JEFF WALKER 杰夫-沃克

Street Fighter II vice-president of sales and marketing, Capcom USA
卡普空美国公司《街头霸王 II》销售与营销副总裁
[When Street Fighter II got big,] I did a couple of semi-controversial things. One of the things was I made all my distributors pay me everything they owed me before I started shipping the game, so we could collect all our money. I thought it was gonna be stupid any other way. […] Normally, you know, they’re supposed to pay in 30 days, but then they pay the hot hand. Whoever’s got the product, they pay them quicker. So I just sat back and said, ‘We’re gonna collect the money.’ So it was really good for Capcom. I also told the distributors, ‘Go collect from your operators. Let’s get some money in for this game.’ So it was one of the first times of really using the product like that to control everybody’s cash and exposure on the deal. […] We ended up doing

$ 78

million dollars-worth of Street Fighter that year, so it was a good thing we did it.
[《街头霸王2》大火时] 我做了几件半争议的事其中一件是我让所有的分销商在我开始发货前把欠我的钱都付了这样我们就能收回所有的钱了我觉得这样做很愚蠢[通常情况下，他们应该在 30 天内付款，但他们会在最短的时间内付款。谁拿到产品，谁就能更快拿到钱所以我就坐下来跟他们说 "我们会把钱收回来的所以这对卡普空来说真的很好。我还告诉分销商，'去向你们的运营商收钱吧。'让我们为这款游戏赚点钱吧。'所以这是第一次真正像这样利用产品来控制每个人的现金和交易的曝光率。[......]那一年，我们的《街头霸王》销量达到了

$ 78

百万美元，所以我们这么做是明智的。

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BRIAN DUKE

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布莱恩-杜克
Street Fighter II Western regional sales manager, Capcom USA
卡普空美国公司《街头霸王 II》西部地区销售经理
I remember one of our distributors even got super, super healthy and super, super big by requiring that any of their customers had to pay cash, had to be current on their account and had to pay up front. So it was just unbelievable that customers would be paying up a

$ 10, 000

$ 20, 000

account to be able to buy a dedicated machine for

$ 2, 500

. And the price went up after a while.
我记得我们的一个分销商甚至通过要求任何客户都必须支付现金、必须是当前账户上的资金，而且必须提前付款，从而获得了超级、超级健康和超级、超级大的发展。因此，客户支付了

$ 10, 000

或

$ 20, 000

账户的钱，就能买到

$ 2, 500

的专用机，这简直令人难以置信。过了一段时间，价格又上涨了。

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IAN ROSE

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伊恩-罗斯
General counsel, Capcom USA
卡普空美国公司法律总顾问
The American sales force, of course, they were kind of freewheeling guys. They were well compensated, but they kind of played by their own rules or by the rules of the industry as they understood it. And you know, [as time went on] there was a tension there [between Capcom USA and Capcom Japan].
当然，美国的销售人员都是自由散漫的家伙。他们得到了丰厚的报酬，但他们还是按照自己的规则或他们所理解的行业规则行事。随着时间的推移，美国卡普空公司和日本卡普空公司之间的关系越来越紧张。

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SCOTT SMITH

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斯科特-史密斯
Street Fighter II marketing manager, Capcom USA
卡普空美国公司《街头霸王 II》营销经理
I mean coin-op, how do you put this? They were kind of the Wild West. The people they worked with - you know, it’s a cash-only business and I’ll just kind of leave it at that.
我是说投币机，怎么说呢？他们就像狂野的西部和他们一起工作的人--你知道，这是一个只收现金的行业，我就不多说了。

JEFF WALKER 杰夫-沃克

Street Fighter II vice-president of sales and marketing, Capcom USA
卡普空美国公司《街头霸王 II》销售与营销副总裁
It was a total Wild, Wild West show. Like nine people ran the whole industry, which at the time was bigger than the consumer [game industry], the record industry and the movie industry combined.
这完全是一场狂野的西部秀。整个行业由 9 个人掌管，在当时比消费者（游戏业）、唱片业和电影业加起来还要大。
[Ed. note] As with many comparisons of this sort, you can slice the numbers in different ways. Walker points to the Street Fighter II series making more than a billion dollars across different parts of the industry.
[编者注]就像许多此类比较一样，你可以用不同的方法对数字进行切分。沃克指出，《街头霸王 II》系列在业界不同领域的收入超过了 10 亿美元。

ArW00D

Street Fighter Alpha 3 public relations manager, Capcom USA
卡普空美国公司《街头霸王阿尔法3》公关经理
It was much more of a cavalier time. The trucking industry was the one shipping all these arcade units, and you had lots of speculation I don’t know if it was speculation - that of course the mob was tied into distribution just like magazines back in the day.
那是一个更加轻率的时代。卡车运输业负责运送所有这些游戏机，你会有很多猜测，我不知道这是不是猜测--当然，黑帮与分销是有联系的，就像当年的杂志一样。

There were rumours that, because the mob was involved in the arcade business, it wasn’t just arcade units that were going along with the units - there was a way to slide up the screen and hide some other shit in there. There was, of course, talk of drugs and […] some of the parties they would talk about […] they were pretty raucous. A lot of alcohol; a lot of other stuff. It was much more kind of a remnant of the that 1980s party scene where everything was good times and you walked in and, you know, [there was] coke on the coffee table. […] I think it was sort of part of the language back then. It was much more of a schmoozy [industry]. Relationships mattered a lot more back then.
有传言说，因为黑帮参与了街机生意，所以不光是街机单元，还有一种方法可以滑动屏幕，把一些其他东西藏在里面。当然，他们还谈论毒品和[......]他们谈论的一些聚会[......]非常喧闹。很多酒，很多其他东西。这更像是 20 世纪 80 年代派对场景的残余，在那里一切都是美好的，你走进去，你知道，茶几上[有]可卡因。[......]我想这也是当时语言的一部分。那时候的[行业]更讲究风花雪月。那时，人际关系更重要。

EFF WALKER 埃夫-沃克

Street Fighter II vice-president of sales and marketing, Capcom USA
卡普空美国公司《街头霸王 II》销售与营销副总裁
It was definitely polar opposite cultures [between Capcom USA and Capcom Japan]. You know, I had a nice big office in Santa Clara, and I got paid a ton, and all my sales guys drove Porsches and Mercedes, and we had unlimited expense accounts; we golfed Pebble Beach every month. It was crazy. I go over to Japan, and my same counterpart is making a fraction of what I’m making and he’s sitting in a cubicle.
美国卡普空公司和日本卡普空公司的文化绝对是截然相反的。你知道，我在圣克拉拉有一间漂亮的大办公室，我的薪水很高，我的销售人员都开着保时捷和奔驰，我们有无限的开支账户；我们每个月都去圆石滩打高尔夫。这太疯狂了。我去了日本，我的同行挣的钱只是我的几分之一，而且他还坐在小隔间里。

BRIAN DUKE 布里安-杜克
treet Fighter II Western regional sales manager, Capcom USA
卡普空美国公司《星球大战 2》西部地区销售经理

It just was phenomenal. It was the best thing that I’ve ever been associated with. […] I made more money that year than I ever have made in my life. […] I remember one year, I made more than
这实在是太棒了。这是我参与过的最好的事情。[那一年我赚的钱比我这辈子赚的都多。[我记得有一年，我赚的钱比
they said the president of the company, George Nakayama [was making]. […] We were on a 2 percent commission [in the US sales department], and very shortly after that year they switched to 1 percent commission, and I continued selling that game for two or three years. It was beautiful. And after the 1 percent they cut out the commission completely.
他们说公司总裁乔治-中山（George Nakayama）[正在制作]。[......][在美国销售部门]我们的佣金是 2%，那年之后不久，他们改成了 1%，我继续卖了两三年那款游戏。那款游戏非常漂亮。1% 之后，他们完全取消了佣金。

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CHRIS KRAMER

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克里斯-克拉默
Street Fighter II series game counse11or, Capcom USA
美国卡普空公司《街头霸王 II》系列游戏顾问11
Capcom in Japan was called the house that 100 yen coins built, right? Because the company’s fortune was started by Street Fighter II.
卡普空在日本被称为 100 日元硬币建造的房子，对吗？因为该公司的财富是由《街头霸王 II》开始的。

SOFTWARE GLITCHES 软件故障

By any metric, Street Fighter II was a success in arcades. And while glitches were common in many games at the time, success meant players discovered more of those glitches - the more people playing, the more they found. The most infamous of these centred on the character Guile. While using him, players could freeze the game, stun their opponent (in a move nicknamed ‘Handcuffs’) and grab their opponent from across the screen (nicknamed the ‘Air Throw’ or ‘Magic Throw’), among other things.
无论用什么标准来衡量，《街头霸王 II》在街机厅都是成功的。虽然在当时的许多游戏中，小故障很常见，但成功意味着玩家发现了更多的小故障--玩的人越多，发现的小故障就越多。其中最臭名昭著的就是角色 Guile。在使用他时，玩家可以冻结游戏、眩晕对手（绰号 "手铐"）和从屏幕对面抓住对手（绰号 "空中投掷 "或 "魔法投掷"），等等。

For some players, these glitches made for fun Easter Eggs. Many at Capcom saw them differently.
对一些玩家来说，这些小故障是有趣的复活节彩蛋。而卡普空公司的许多人却不这么看。

JOE GANIS
Street Fighter II software tester, Capcom USA

Guile had a particular move where he would start a throw animation, and then you would be stuck - your sprites would be basically conjoined for the rest of the match. […] And likewise, he had something called the Air Throw where he would make a throwing motion, and it didn’t matter where you were on the particular playfield - you would just immediately take throw damage and fall directly to the ground. And that was kind of disconcerting.
古烈有一个特别的动作，他会启动一个投掷动画，然后你就会被卡住 - 在比赛的剩余时间里，你的精灵基本上都是连在一起的。[......]同样，他也有一个叫做 "空中投掷 "的动作，在这个动作中，他会做出一个投掷动作，不管你在比赛场地的哪个位置，你都会立即受到投掷伤害并直接摔倒在地。这有点令人不安。

Then there was an even better one where a Guile player, if they knew what they were doing, was able to reset the machine right there on the spot with a particular command setup there between the joysticks and a couple of buttons.
还有一个更好的例子是，如果古尔（Guile）玩家知道自己在做什么，他们就能通过操纵杆和几个按钮之间的特定命令设置，当场重置机器。

ZENJI ISHII 石井善治

Editor-in-chief, Gamest magazine
Gamest 杂志主编
I remember a bug with the Sonic Boom where it basically stopped Guile from attacking. At the time, only players from one arcade knew specifically how to pull it off, and it’s funny because one of
我记得 Sonic Boom 出现过一个 Bug，它基本上阻止了 Guile 的攻击。当时，只有一家街机厅的玩家知道如何解决这个问题。
the writers for Gamest actually went to a part of Japan where a tournament was being held locally, and he was there to report on the tournament. But then when he participated himself, he ended up losing because he encountered that bug and he was unable to fight back.
Gamest 的作者实际上去了日本的一个地方，那里正在举行一场比赛，他在那里报道了比赛的情况。但当他亲自参加时，却因为遇到了那个 bug 而无法反击，最终输掉了比赛。

TOMOTAKA SUZUKI 铃木智孝

Street Fighter II series combo video creator
《街头霸王 II》系列连击视频创作者
I remember hearing about the Magic Throw bug. I think that was discovered in Taiwan, or that’s where I heard it from anyway. […] I thought it was remarkable.
我记得我听说过 "魔法投掷 "的 bug。我想那是在台湾发现的或者说我是从那里听说的[......]我觉得这很了不起。

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ZENJI ISHII

\to

石井善治
Editor-in-chief, Gamest magazine
Gamest 杂志主编
[A video tape from Korea called ‘The Horror of Guile’ showing various glitches] made it over to the editorial department. […] I remember people were trying to figure out what technical aspects were behind a lot of these bugs, but I remember the editorial department - they got the tape and they put it on the TV and everyone was laughing.
[一盘来自韩国的录像带，名为'诡计的恐怖'，展示了各种故障] 被送到了编辑部。[......]我记得当时大家都在试图找出这些漏洞背后的技术问题，但我记得编辑部--他们拿到录像带后把它放到了电视上，所有人都笑了。

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MOTOHIDE ESHIRO

\to

本秀英太郎
Street Fighter II programmer, Capcom Japan
日本卡普空《街头霸王 II》程序员
That was actually my first programming job at Capcom when I joined the company. So the hardest thing was basically everything getting used to the difference between what I learned in school as a programmer and the way you really do things on the ground.
实际上，那是我加入卡普空公司后的第一份编程工作。因此，最困难的事情基本上就是要适应我作为程序员在学校里学到的知识与实际工作中的方法之间的差异。

I’ll tell you the story of when I heard about [Guile’s glitches]. We were having an event where we had invited players and journalists to come play Street Fighter II. It was one of the first times it was even out there - it was just starting to get big - and the higher-ups picked me to play an exhibition match against some users. We were having the staff play against other people. And a journalist - a
我给你讲讲我听说 [Guile 故障] 的故事。当时我们正在举办一个活动，邀请玩家和记者来玩《街头霸王 II》。这是《街头霸王 2》首次亮相 - 它刚刚开始大红大紫 - 高层选中我与一些用户进行一场表演赛。我们让员工与其他人进行比赛。一位记者
game journalist, a Japanese guy - approached me and said, ‘Hey, check this out. I found this crazy Magic Throw with Guile.’ And he showed it to me. When I saw that, the first thing I thought was, I have to quit. I can’t do this any more. I think I’m gonna quit my job. And luckily, Nishitani said, ‘Hey, if you’re gonna let something like that bother you then you can’t make games any more, period. You can’t go to another company and do it either. This is part of the business.’ So he stopped me from making any drastic moves. But yeah, I felt terrible.
游戏记者，一个日本人，找到我说：'嘿，看看这个。我发现了这个疯狂的古烈魔法投掷。他给我看了当我看到这个时，我的第一反应是，我必须退出。我不能再这样下去了我想我要辞职了幸运的是，西谷说：'嘿，如果你想让这样的事情困扰你，那你就不能再做游戏了，就这样。你也不能去其他公司做游戏。这是生意的一部分。所以他阻止了我任何激烈的举动但是，是的，我感觉糟透了。

TAKESHI TEZUKA
Street Fighter II tester, Capcom Japan
日本卡普空《街头霸王 II》测试员
The thing is, back then at Capcom we still didn’t really have an ‘official’ bug checking process for our arcade games, so before we submitted the final ROM to the factory for production, my co-worker and I spent all night playing it and checking it over, just the two of us. And that was actually the very first time we did a proper bug check. […] I mean, before that point, everyone thought it was a really fun game so they played it a lot, so in that sense it had received a lot of play testing. But we were the only two people to check the final ROM, and only for that one long all-nighter.
问题是，当时在卡普空，我们还没有针对街机游戏的 "正式 "错误检查流程，所以在我们将最终 ROM 提交给工厂进行生产之前，我和我的同事花了整整一个晚上的时间来玩和检查它，只有我们两个人。那是我们第一次进行正式的错误检查[我的意思是，在那之前，每个人都认为这是一款非常有趣的游戏，所以他们玩了很多遍，从这个意义上说，它已经接受了很多游戏测试。但只有我们两个人检查了最终的 ROM，而且只检查了一个通宵。

We had no idea the Guile bugs existed until after the game came out.
直到游戏推出后，我们才知道 Guile bug 的存在。

SEIJI OKADA 冈田诚司
Street Fighter II programmer, Capcom Japan
日本卡普空《街头霸王 II》程序员
Those were some wicked bugs. That was 30 years ago, but yeah, I still remember.
那些虫子可真厉害。那是 30 年前的事了，但我还记得。

CHRIS TANG
Street Fighter II tournament player
《街头霸王 II》锦标赛选手
I would always - if it was at the end of the day, I would go to the Street Fighter machine and I would lock the game up. Just because
如果到了下班时间，我总是会打开《街头霸王》游戏机，把游戏锁起来。因为
it’s funny to do that. But I wouldn’t cheat in a fighting game. […] Having bugs in fighting games is just par for the course, and if you have enough people playing a game that intensely, then it’s going to happen.
这样做很有趣但我不会在格斗游戏中作弊[在格斗游戏中出现 BUG 是理所当然的事，如果有足够多的人在如此激烈地玩一款游戏，那么这种事就会发生。

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KEN WILLIAMS

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肯-威廉姆斯
Assistant editor, Electronic Gaming Month1y magazine
《电子游戏月刊》（Electronic Gaming Month1y）杂志助理编辑
There was like an unspoken code when you were playing Street Fighter II games. If you wanted to show off a little bit, ‘OK great, that’s fine. That’s nice. You used a glitch. Congratulations.’ It’s like, ‘Oh, you threw me three times. Oh, congrats. Real skilful there.’ Especially when some of them were almost unblockable. There’s not a lot of skill in it. Anybody can learn to do that. But trying to chain a bunch of combos together - that takes some skill.
在玩《街头霸王 II》游戏时，有一种潜规则。如果你想炫耀一下，"很好，没问题。这很好你用了一个小技巧。恭喜你。就像'哦，你扔了我三次。哦，恭喜你。真有技巧尤其是有些球几乎是无法阻挡的其实没什么技巧可言。谁都能学会但要把一连串的连击串联起来，那就需要一些技巧了。

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SCOTT SMITH

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斯科特-史密斯
Street Fighter II marketing manager, Capcom USA
卡普空美国公司《街头霸王 II》市场经理
In a game of this complexity, things were bound to crop up. […] Obviously you want a product to be perfect, but in the coin-op world there was no way to really do ROM upgrades. […] It’s not like you could have a Wi-Fi enabled arcade cabinet that you could dump a new ROM to very easily. It was just a product of the time. There’s bugs everywhere. It’s just damn hard to fix them when you’ve got a static board.
在如此复杂的游戏中，难免会出现问题。[很显然，你希望产品是完美的，但在投币式游戏机的世界里，没有办法真正实现 ROM 升级。[......]你不可能拥有一个支持 Wi-Fi 的街机柜，可以非常容易地将新的 ROM 移植到上面。这只是那个时代的产物。到处都是 bug。当你有一块静态的电路板时，要修复它们简直难如登天。

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SHINICHI UEYAMA

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上山信一
Street Fighter II lead programmer, Capcom Japan
《街头霸王 II》首席程序员，日本卡普空
As creators, it’s really rough for us, because those are really failures on our part.
作为创作者，这对我们来说真的很艰难，因为这些真的是我们的失败。

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JAMES GODDARD

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詹姆斯-戈达德
Street Fighter II: Champion Edition design support, Capcom USA
街头霸王 II：冠军版设计支持，美国卡普空
It’s more disappointment than anything else. I mean, glitches are gonna happen, but the fact that it was something so nasty
更多的是失望。我的意思是，故障是会发生的，但事实是，它是如此讨厌的东西
that - depending on the rev of the board - that basically that’d be it, quarter over. I mean, the fact that it was ruining players’ experiences and creating drama, that wasn’t necessarily good for Capcom’s reputation with the operators, because that was starting to impact money.
我的意思是，事实上，它破坏了玩家的体验并制造了戏剧性事件，这对卡普空在运营商中的声誉未必是好事，因为这已经开始影响到收入。我的意思是，事实上，它破坏了玩家的体验，制造了戏剧性事件，这对卡普空在运营商中的声誉未必是好事，因为这已经开始影响到资金。

SHENG LONG 盛龙

Around the world, press coverage of Street Fighter II dominated enthusiast magazines, and in the US the game frequently appeared on the covers of GamePro, GameFan and Electronic Gaming Monthly, among others. Generally, the coverage consisted of previews, reviews and strategy guides. But in the April 1992 issue of Electronic Gaming Monthly, the editors put together an April Fool’s joke that went on to become a significant part of Street Fighter history.
在世界各地，《街头霸王 II》的新闻报道占据了爱好者杂志的主要位置，在美国，该游戏经常出现在《GamePro》、《GameFan》和《Electronic Gaming Monthly》等杂志的封面上。一般来说，这些报道包括预览、评论和策略指南。但在 1992 年 4 月的《电子游戏月刊》上，编辑们编了一个愚人节玩笑，这个玩笑后来成为《街头霸王》历史上的重要部分。

KEN WILLIAMS 肯-威廉姆斯
Assistant editor, Electronic Gaming Month1y magazine
《电子游戏月刊》（Electronic Gaming Month1y）杂志助理编辑
At a high level, there was always a bit of a tradition that we had started where we had these little fun things we would do around the office, and this had nothing to do with the April Fool’s joke. A lot of the guys, we would experiment with Photoshop, and as new versions came out and you had new capabilities and things like that, we would try different things and just see how we could shnazz up our layouts and do cutouts and different techniques and stuff. Because there were no guides for this stuff. This was all brand-new, bleeding-edge technology. So we had no internet to look up how-to videos. We had to learn it all ourselves, which was kinda fun. I think [EGM assistant editor Martin Alessi had put together some Easter Eggs that way], and I think it was somewhere in January of that year we had gotten our hands on a JAMMA board for Street Fighter II, which was my favourite game of all time, at the time.
在高层次上，我们一直有一个传统，就是在办公室里做一些有趣的事情，这与愚人节玩笑无关。我们很多人都会用 Photoshop 做实验，随着新版本的推出，你有了新的功能和类似的东西，我们就会尝试不同的东西，看看怎样才能把我们的版面设计得更漂亮，做剪切和不同的技术等等。因为当时没有这方面的指南。这些都是全新的尖端技术。所以我们没有网络来查找操作视频。我们只能自学，这还挺有趣的。我认为[EGM 助理编辑马丁-阿莱西（Martin Alessi）用这种方式整理出了一些复活节彩蛋]，我想是在那年 1 月的某个地方，我们拿到了《街头霸王 II》的 JAMMA 板，这是我当时最喜欢的游戏。

So I got to do the layout off the actual arcade boards, which was amazing to me. I was able to take screens of the actual game, not just some console version. I was just
因此，我可以根据实际的街机电路板进行布局，这对我来说太不可思议了。我能够拍摄真实的游戏画面，而不仅仅是游戏机版本。我只是
taking so many screenshots. I had different angles of different moves, and different animations of the moves
拍了那么多截图。我从不同角度截取了不同的动作，还截取了动作的不同动画效果
and all that, and I got the bright idea. I’m like, You know what? Let me make some fake screenshots, just to have some fun with it. Because I had always laughed about the Sheng Long thing myself, because even I was taken in originally before I knew what ‘Sheng Long’ actually meant. So I was always like, Oh, there’s gotta be some hidden character. I was always fascinated with hidden stuff in the game.
然后我灵机一动我就想，你知道吗？让我做一些假的截图，只是为了好玩。因为我自己一直对 "盛龙 "这件事嗤之以鼻，因为在我知道 "盛龙 "到底是什么意思之前，连我自己都被吸引住了。所以我总是想，哦，肯定有什么隐藏角色。我对游戏中隐藏的东西一直很着迷。
[Ed. note] For the English version of Street Fighter II, Capcom translated a Ryu win quote that was meant to say, ‘You must defeat my Dragon Punch to stand a chance’ as, ‘You must defeat Sheng Long to stand a chance.’ Many players interpreted this as Sheng Long being a secret character in the game, when the term actually referred to a move in the game. Capcom later added to this confusion when they referred to Ryu and Ken as students of ‘Master Sheng Long’ in the Super NES Street Fighter II instruction manual.
[编者注]在《街头霸王 II》的英文版中，卡普空将隆的一句获胜名言翻译成了 "You must defeat my Dragon Punch to stand a chance"，意思是 "你必须打败我的龙拳才有机会"。许多玩家将这句话理解为 "盛龙 "是游戏中的一个秘密角色，而实际上这个词指的是游戏中的一个招式。卡普空后来在超级 NES 版《街头霸王 II》的说明书中将隆和肯称为 "盛龙大师 "的学生，更加剧了这种混淆。
Williams says that part of the reason he was interested in Street Fighter secrets went back to the original Street Fighter, which didn’t spell out its special move commands and came with cabinet artwork showing a flaming jump kick - a move that didn’t exist in the game.
威廉姆斯说，他之所以对《街头霸王》的秘密感兴趣，部分原因要追溯到最初的《街头霸王》，当时的《街头霸王》并没有明确说明其特殊动作指令，而且机柜上的图画显示了火焰跳踢--游戏中并不存在这种动作。

It was all secretive at the time. Not like it is today - everything’s pretty much out in the open. There’s not a whole lot of good secrets out there. There’s some, but back then it was … I just remember when Street Fighter II came out and people had finally figured out all the moves, and they were just wondering, Who’s this Sheng Long they keep talking about?
当时一切都很神秘。现在不同了，一切都很公开。没有什么秘密可言。有一些，但那时候......我只记得《街头霸王 2》问世时，人们终于知道了所有的招式，他们只是在想：他们一直在谈论的盛龙是谁？

So back to the JAMMA board. I have all these screenshots in front of me, of all the different types of match-ups that you could possibly have in the game that I could choose
现在回到 "JAMMA "棋盘。我面前摆着所有这些截图，上面有游戏中可能出现的各种类型的对局，我可以从中做出选择
from. I’m like, Well, what if I made a Sheng Long? What if I made a character? How would he be? He’d obviously have to be a Shotokan character, right?
从我就想，好吧，如果我做一个 "盛龙 "呢？如果我塑造一个人物呢？他会是怎样的人？他显然必须是一个正宗的角色，对吧？
[Ed. note] A Shotokan character being someone who uses Ryu and Ken’s fighting style.
[编者注] 正道人物是指使用隆和健的格斗风格的人。

Because it’s Ryu’s catchphrase, right? It’s gotta be his master or something. Or somebody that it makes sense. When you read it out loud, it sounds like, oh yeah, ‘you have to beat him’, you know, ‘to even stand a chance’. Because you’d think, He’s my master. That was the lore, the mystery. And so I just cobbled some screenshots, cut out a couple of characters in different poses, and slapped 'em on the screen. And I just had one screenshot, and it started to come together. And then I’m like, ‘Hey guys, come over here. Look at this.’ Because we’re all in this big room with these little half-cube things where we had our computers, so it was really easy to pull someone over and say, ‘Hey, come over and look at this.’ This had nothing to do with April Fool’s at the time. It was just having fun with Photoshop and having all these screenshots.
因为这是隆的口头禅，对吧？肯定是他的师父什么的或者说是某个人的口头禅当你大声念出来的时候听起来就像是 "你必须打败他" "才有机会因为你会想，他是我的主人。这就是传说，这就是神秘所以我就拼凑了一些截图剪出几个不同姿势的角色然后把它们贴在屏幕上然后我就有了一张截图，一切就开始了。然后我就想，'嘿，伙计们，过来这里。看看这个'因为我们都在这个大房间里，我们的电脑都是半立方体的，所以拉个人过来说'嘿，过来看看这个'真的很容易。这和当时的愚人节无关。我们只是在用 Photoshop 和这些截图找乐子。
So people would start to input their little ideas. Like, ‘Oh, we could add this; maybe we could add this.’ And like, ‘Yeah, yeah, let’s try this.’ And so I would work it up. And then we got the final screenshot, the one with the flaming Dragon Punch, right? That was the one where we were finally like, ‘Yeah, we like this.’
于是，人们开始提出自己的小想法。比如，'哦，我们可以加这个；也许我们可以加这个。'还有'对，对，我们来试试这个。'然后我就开始做然后我们得到了最终的截图，有火焰龙拳的那张，对吗？那张截图让我们最终决定 "是的，我们喜欢这个

And we’re all like, ‘Hey!’ [EGM editor Ed Semrad] was in this one little office to the side. And then he came out and he’s like, ‘Hey guys, we need to come up with something for our April Fool’s issue.’ And we were just like, ‘Look at this!’ It was really fun, because it was very organic the way that it ended up in the magazine. So we got approval from Ed and [publisher Steve Harris] to work that up a little more.
我们都说：'嘿！'[EGM 编辑 Ed Semrad] 就在边上的一间小办公室里。然后他走出来，说：'嘿，伙计们，我们需要为愚人节特刊想点东西。'我们当时就想，'看看这个！这真的很有趣，因为它很自然地就出现在了杂志上。所以我们得到了埃德和[出版商史蒂夫-哈里斯]的批准，把它做得更好一些。

So I made a couple more screenshots to put into the gag. And then we all kind of put together little tidbits for, how do you get to him, and what happens when he gets on the screen, and all that fun stuff. Then you got the Fuldigen, HA - that was a Martin special.
所以我又做了几张截图放进插科打诨里。然后我们一起整理了一些小花絮，比如你怎么找到他，他出现在屏幕上会发生什么，等等有趣的东西。然后你就有了福尔迪根，HA--那是马丁的特辑。
[Ed. note] [编者注]
A city and state in the article that translated to: ‘Fooled you again, ha.’
文章中的城市和州翻译成："又骗到你了，哈

I liked that one. It was just a lot of fun. That was probably one of my highlights of my time with Sendai Publishing.
我喜欢那部电影。它非常有趣。这可能是我在仙台出版社工作期间的亮点之一。

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DAVE WINSTEAD

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戴维-温斯泰德
Technical associate editor, GamePro magazine
GamePro 杂志技术副主编
I actually believed it a little bit until I talked to James Goddard, because I wasn’t [working at Capcom] yet. He was like, ‘No, that’s bullcrap. There’s no Sheng Long.’ But he goes, ‘It’s funny, though, isn’t it?’
实际上，在我和詹姆斯-戈达德（James Goddard）交谈之前，我还有点相信，因为当时我还没有（在卡普空工作）。他说：'不，那是胡说八道。根本就没有什么盛龙。'但他又说：'这很有趣，不是吗？

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CHRIS TANG

\begin{array}{ll} Street Fighter II tournament player \end{array}

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CHRIS TANG

\begin{matrix} Street Fighter II tournament player \end{matrix}

I knew it was a joke. I guess I knew it was BS. I guess it’s funny. […] My circles? Definitely too obvious.
我知道这是个玩笑。我想我知道这是胡说八道。我想这很有趣[......]我的圈子？太明显了

$\to$ SCOTT SMITH
Street Fighter II marketing manager, Capcom USA
$\to$ 斯科特-史密斯卡普空美国公司《街头霸王 II》市场经理

It caused me and [Capcom USA marketing manager] Joel Pambid untold pain. […] There were four people in marketing. That’s it. And we would answer the phone calls, right? And kids would call up and say, ‘We read this in EGM.’ And it was just a flood of calls. […] It’s the same kind of thing we would get when [fans thought] Guile could put handcuffs on people. You know, ‘I’ve seen that. My friend saw it.’ And it just was a pain in our neck. It was a great joke, but it would have been better if it had happened to somebody else.
这让我和（卡普空美国营销经理）乔尔-潘比德痛苦不堪。[市场部有四个人。就这四个人我们接听电话，对吧？孩子们会打电话来说'我们在《EGM》上看到了这个'，然后电话就蜂拥而至。[......]这就跟[粉丝们认为]Guile 可以给人戴手铐时我们会接到的电话一样。你知道，'我看到了。我朋友看到了这让我们很头疼。这是一个很好的笑话，但如果发生在别人身上就更好了。

CHAPTER 03 第 03 章

FATAL
FURY
致命愤怒

For a brief moment after Capcom released Street Fighter II, they had the fighting game market to themselves. The game caught players and the industry off-guard, so while other studios were eager to hop on the bandwagon, most didn’t have a head-start or existing knowledge of the genre.
卡普空发布《街头霸王 II》后，格斗游戏市场曾一度由他们独占。这款游戏让玩家和业界措手不及，因此，虽然其他工作室也急于加入这一行列，但大多数工作室都没有先发优势，也不了解这一类型的游戏。

Except, of course, for SNK.
当然，SNK 除外。
As Takashi Nishiyama, Hiroshi Matsumoto and the bulk of the Street Fighter I team had settled in at SNK, they too had been planning a Street Fighter follow-up - in their case, a spiritual successor called Fatal Fury. The game starred three original characters - Terry, Joe and Andy - and introduced gameplay features like the ability for players to jump between stage foregrounds and backgrounds. According to Nishiyama, Fatal Fury turned out much like a Street Fighter sequel would have in his hands, had he stayed at Capcom.
当 Takashi Nishiyama、Hiroshi Matsumoto 和《街头霸王 I》团队的大部分成员在 SNK 安家落户后，他们也一直在计划推出《街头霸王》的后续作品，在他们看来，这是一款名为《致命狂怒》的精神继承者。该游戏由泰瑞、乔和安迪三个原创角色主演，并引入了一些游戏功能，如玩家可以在舞台前景和背景之间跳跃。据 Nishiyama 称，如果他留在卡普空，《致命狂怒》的结果很像他手中的《街头霸王》续集。
‘I think if I hadn’t left Capcom, I probably would have made a Street Fighter II,’ he says. ‘The first Street Fighter was a successful project overall for Capcom and I don’t think there would have been a scenario where we didn’t make a Street Fighter II. […] If we’d stuck around, I think we would have ended up making a game that resembled what we ended up making at SNK, which was Fatal Fury.’
他说："我想如果我没有离开卡普空，我可能会制作《街头霸王 2》。第一代《街头霸王》对卡普空来说是一个成功的项目，我认为我们不会不制作《街头霸王 2》。[......]如果我们坚持下去，我认为我们最终会制作一款类似于我们在 SNK 制作的游戏，即《致命狂怒》。

THE RIVALRY 竞争

Between Street Fighter II and Fatal Fury, Capcom and SNK played the first two cards of the fighting game era. Neither was the first of its kind, but the two games broke through to players with bright visuals, flashy special moves and precise gameplay. And they both happened to come from development studios in Osaka.
在《街头霸王 II》和《致命狂怒》之间，卡普空和 SNK 打出了格斗游戏时代的头两张牌。这两款游戏都不是同类游戏中的首款，但却以亮丽的视觉效果、华丽的特殊动作和精准的游戏性征服了玩家。而这两款游戏恰好都出自大阪的开发工作室。

\begin{aligned} ZENJI ISHII \\ Editor-in-chief, Gamest magazine \end{aligned}

Did they have a special relationship or a rivalry? I think you can even go back to the creators at the top. When they were together, I observed that Nishiyama and Okamoto had a sort of rivalry between themselves, going back even before Street Fighter. So I think a lot of that did manifest in Street Fighter II and Fatal Fury. And they were both able to create games that became hits, so I think the dynamic that was going on between the two was quite remarkable, actually. Not just the companies and not just the games, but among the two creators as well.
他们之间有特殊关系还是竞争关系？我认为甚至可以追溯到最开始的创作者。当他们在一起时，我观察到西山和冈本之间有一种竞争关系，甚至可以追溯到《街头霸王》之前。因此，我认为这一点在《街头霸王 II》和《致命狂怒》中得到了很好的体现。他们都能创作出热门游戏，所以我认为两人之间的动态关系是非常了不起的。不仅仅是公司和游戏，还有两位创作者之间的关系。

\to

TOYOHISA TANABE

\to

田边丰三
Art of Fighting pixe1 artist, SNK Japan
格斗艺术 pixe1 艺术家，日本 SNK
It felt like whenever one company would release one game, the other company would release something in response to that. So when Capcom released Final Fight, we came up with [side-scrolling brawler] Burning Fight at SNK. When Street Fighter II came out, we came up with Fatal Fury. So it really felt like there was a sense of a back and forth rivalry between the two companies.
每当一家公司推出一款游戏，另一家公司就会推出相应的游戏。因此，当卡普空推出《最终格斗》时，我们 SNK 就推出了[横版格斗游戏]《燃烧的格斗》。当《街头霸王 II》问世时，我们又推出了《致命狂怒》。因此，两家公司之间真的有一种来回竞争的感觉。
[Ed. note] Fatal Fury shipped to arcades in late 1991, and was one of the first fighting games to catch on in the wake of Capcom’s success. As a result,
[编者注] 《致命狂怒》于 1991 年下半年登陆街机市场，是卡普空成功后首批流行起来的格斗游戏之一。因此
some fans called it a Street Fighter II clone, not knowing that the development team had a history with the genre.
一些粉丝称其为《街头霸王 II》的克隆版，殊不知开发团队与这一类型游戏有着不解之缘。

TAKASHI NISHIYAMA 西山隆
Head of R&D, SNK Japan
日本 SNK 研发负责人
Rather than be mad about it, I just think it was inevitable that people might think that. We were making Fatal Fury at the same time they were making Street Fighter II, and Street Fighter II came out two or three months before us. But, of course, you can’t copy a game in two or three months, right? Plus, we’re the ones who made the first Street Fighter, you know? So even though people were saying that SNK copied Street Fighter, to us it was a meaningless criticism.
与其说我对此感到生气，不如说我觉得人们难免会这么想。我们在制作《致命狂怒》的同时，他们也在制作《街头霸王 II》，而《街头霸王 II》比我们早两三个月问世。当然，你不可能在两三个月内复制一款游戏，对吧？再说，我们才是制作第一款《街头霸王》的人，知道吗？所以，即使人们说 SNK 抄袭了《街头霸王》，对我们来说也是毫无意义的批评。

And, of course, Capcom knew we were the ones making Fatal Fury, so they knew that we weren’t copying them. As for whether player comments had bothered us, though? Not really. I guess it was just background noise for us.
当然，卡普空知道《致命狂怒》是我们制作的，所以他们知道我们没有抄袭他们。至于玩家的评论是否会困扰我们？并没有。我想这对我们来说只是背景噪音。
[Ed. note] While Nishiyama remembers Fatal Fury shipping a few months after Street Fighter II, records put the gap at closer to nine months.
[编者注] 据 Nishiyama 回忆，《致命狂怒》是在《街头霸王 II》几个月后推出的，但根据记录，两者之间的差距接近 9 个月。

A DIFFERENT APPROACH 另辟蹊径

When Fatal Fury showed up in arcades, players criticized it for being similar to Street Fighter II, but loved its stylish art and character design - qualities that SNK ended up relying on for much of their lineup. As the fighting game genre took off, SNK put the majority of their development resources into a roster of competitive franchises, which included Art of Fighting, Samurai Shodown and The King of Fighters. SNK’s games quickly developed a reputation for a sense of style that set them apart.
当《致命狂怒》出现在街机厅时，玩家们批评它与《街头霸王 II》相似，但却喜欢它时尚的美术和角色设计--SNK 的大部分产品最终都采用了这些特质。随着格斗游戏的兴起，SNK 将其大部分开发资源投入到竞技系列游戏中，其中包括《格斗艺术》、《武士 Shodown》和《格斗之王》。SNK 的游戏很快就因其与众不同的风格而声名鹊起。

TAKASHI NISHIYAMA 西山隆
Head of R&D, SNK Japan
日本 SNK 研发负责人
When making Fatal Fury, we focused a lot on the character and story elements - basically what I enjoyed about making Street Fighter.
在制作《致命狂怒》时，我们非常注重角色和故事元素--基本上就是我在制作《街头霸王》时的乐趣所在。

HIROSHI MATSUMOTO 松本宏

Producer, SNK Japan 日本 SNK 制片人
One of the things I was happiest about with Fatal Fury was that it had a more anime-like look to the characters. Usually, if you practise a specific fighting style, you have to wear clothing that kind of fits that. But I think with Fatal Fury, we were able to make it more anime-like in the sense that they could be wearing anything. So I think that was something we were quite happy with.
我对《致命狂怒》最满意的一点是，它的人物造型更像动画片。通常情况下，如果你练习一种特定的格斗风格，你就必须穿上符合这种风格的服装。但我认为，在《致命狂怒》中，我们可以让角色的穿着更像动画片，因为他们可以穿任何衣服。所以我觉得这一点我们非常满意。

I also liked that we were able to put in fighting styles that were very unusual in Japan at the time, styles that only hardcore martial arts fans would know about. One of them was Brazilian capoeira; another was Taekwondo.
我还喜欢我们能够加入当时在日本非常少见的格斗风格，只有铁杆武术迷才知道的风格。其中一种是巴西卡波耶拉；另一种是跆拳道。

TAKASHI NISHIYAMA
Head of R&D, SNK Japan

One the things I enjoyed the most about Fatal Fury was the special
我最喜欢《致命狂怒》的一点是其特别的
moves. The animations and effects that appeared on screen when you were doing them were quite flashy and very anime-like, and I think a lot of anime fans - both in Japan and overseas - really liked that about Fatal Fury, whereas I feel like Street Fighter was a lot more conservative in that regard.
动作。当你做动作时，屏幕上出现的动画和特效相当华丽，非常像动漫，我认为很多动漫迷（包括日本和海外的动漫迷）都非常喜欢《致命狂怒》的这一点，而我觉得《街头霸王》在这方面要保守得多。

\to

ZENJI ISHII

\to

石井善治
Editor-in-chief, Gamest magazine
Gamest 杂志主编
Our Street Fighter II coverage in Gamest at the time was oriented around the fact that it was a competitive game and a lot of people were really into it - and the scene itself was quite interesting, which is why we often covered it from that perspective. On the other hand, our SNK coverage was more focused on the characters themselves, because people were into SNK’s games because of the character designs. I think we realized there were two very different types of fans out there that were reading our content.
我们当时在《Gamest》上对《街头霸王 II》的报道主要围绕着这样一个事实：这是一款竞技游戏，很多人都非常喜欢它--而且游戏场景本身也相当有趣，这就是我们经常从这个角度进行报道的原因。另一方面，我们对 SNK 的报道则更关注角色本身，因为人们喜欢 SNK 的游戏是因为角色设计。我认为，我们意识到有两类截然不同的粉丝在阅读我们的内容。

\to

TOYOHISA TANABE

\to

田边丰三
Art of Fighting pixe1 artist, SNK Japan
格斗艺术 pixe1 艺术家，日本 SNK
At the time, I felt that Capcom’s games placed a great deal of importance on the gameplay - things like the balance and how good they felt to play. Those seemed like Capcom’s main focuses. Gameplay was also important to SNK, of course, but SNK’s big thing was making something entertaining. You saw that in the character designs, the visuals … SNK really focused on those, and on an overall presentation that declared to players, You’re gonna have a good time! For example, in Art of Fighting, the characters were almost comically huge for the time. Then there’s a game like Samurai Shodown, which introduced the world to a fighting game with swords and had this bold, fun Japanese aesthetic to it. I think SNK was especially good at making games like that.
当时，我觉得卡普空的游戏非常重视游戏性，比如平衡性和玩起来的感觉。这些似乎是卡普空的重点。当然，游戏性对 SNK 也很重要，但 SNK 的重中之重是创造娱乐性。你可以从角色设计、视觉效果中看到这一点......SNK 真的很注重这些，并注重整体表现形式，向玩家宣告："你会玩得很开心"！例如，在《格斗艺术》中，人物形象在当时几乎是滑稽可笑的巨大。还有一款游戏，比如《武士 Shodown》，它向世界介绍了一种使用刀剑的格斗游戏，并具有大胆、有趣的日式美学。我认为 SNK 尤其擅长制作这样的游戏。

If I were to compare it to martial arts, in my mind
如果把它比作武术，在我看来
Capcom was like a boxer and SNK was more like a flashy pro wrestler. Boxing has more severe rules - it’s serious
卡普空就像一个拳击手，而 SNK 则更像一个华丽的职业摔跤手。拳击有更严格的规则--它是严肃的
and you’re really trying to knock the other guy out. Pro wrestling is serious too, but a huge part of it is trying to entertain the crowd.
你真的想把对方击倒。职业摔跤也很严肃，但其中很大一部分是为了娱乐观众。

ZENJI ISHII 石井善治

Editor-in-chief, Gamest magazine
Gamest 杂志主编
I think the biggest difference I can observe between SNK and Capcom is that Capcom - the competitive gameplay was part of their focus, but they also designed characters to have more of a worldwide appeal. They didn’t just appeal to Japan but to people overseas as well, whereas I felt like SNK, at the time of Fatal Fury, designed characters that would be well received within Japan, but not necessarily everywhere else. And I think a lot of those differences continue even today. In the case of Capcom, I think they’re one of the rare publishers here in Japan who make characters that target everybody instead of just Japan.
我认为我所能观察到的 SNK 和卡普空之间最大的区别是，卡普空--竞技游戏是他们关注的一部分，但他们也设计了更多具有全球吸引力的角色。他们不仅吸引日本人，也吸引海外人士，而我觉得 SNK 在设计《致命狂怒》时，设计的角色在日本国内很受欢迎，但在其他地方就不一定了。我认为这些差异一直延续到今天。就卡普空而言，我认为他们是日本国内少有的能够制作面向所有人而不仅仅是面向日本的角色的发行商。

COMPETING WITH STREET FIGHTER II
与街头霸王 II 竞争

Fatal Fury was a hit for SNK, leading to numerous sequels and - years later - two of the most critically acclaimed fighting games of all time: Fatal Fury Special and Garou: Mark of the Wolves. Yet for many fans and developers, the biggest challenge the original Fatal Fury faced was trying to compete with a game as ahead of its time as Street Fighter II.
致命狂怒》让 SNK 一炮而红，推出了众多续集，多年后又推出了两款最受好评的格斗游戏：致命狂怒特别版》和《加罗：狼之印记》。然而，对于许多粉丝和开发者来说，最初的《致命狂怒》面临的最大挑战是如何与《街头霸王 II》这样一款领先于时代的游戏竞争。

TAKASHI NISHIYAMA 西山隆
Head of R&D, SNK Japan
日本 SNK 研发负责人
The most difficult aspect of making Fatal Fury was the fact that Street Fighter

I I

came out two to three months before us, and when we saw it for the first time, we were astounded. Seeing the way they’d managed to solve a lot of the issues from the first game, and the visual improvements, we felt very pressured knowing we had to compete with it. In that sense, we knew we had to do something different, something to distinguish our game. Because of the timing, Fatal Fury was going to end up being released in the same window as Street Fighter II, you see. So we figured people would probably say we copied them. We had to find our own niche, and do something that would make us stand out. That was probably the hardest thing.
制作《致命狂怒》最困难的地方在于《街头霸王》

I I

比我们早推出两三个月，当我们第一次看到它时，我们感到非常震惊。看到他们成功地解决了第一款游戏中的很多问题，并在视觉上进行了改进，我们感到非常有压力，因为我们必须与它竞争。从这个意义上说，我们知道我们必须做一些与众不同的事情，让我们的游戏与众不同。由于时间关系，《致命狂怒》最终将与《街头霸王 2》在同一时间发布。所以我们觉得人们可能会说我们抄袭了他们。我们必须找到自己的定位做一些能让我们脱颖而出的东西这可能是最难的一点

\to

STEPHEN FROST

\to

史蒂芬-弗罗斯特
Street Fighter 30th Anniversary Col1ection producer, Digital Eclipse
《街头霸王》30 周年 Col1ection 制作人，Digital Eclipse
Street Fighter II made this giant leap in the responsiveness of the controls and how the characters felt, and it felt more like your movements were in flow with what the characters were doing. It made sense as far as doing a quarter-circle for a fireball and it flowed with the character and things like that. […] Especially early on, the responsiveness of the controls and the fluidity of
《街头霸王 2》在控制的反应速度和角色的感觉上都有了巨大的飞跃，感觉上你的动作与角色的动作更加协调。就像在火球上画四分之一个圆圈一样有意义，而且与角色的动作和其他类似动作都很协调。[尤其是在游戏初期，控制的反应速度和流畅性都让人印象深刻。
the animations [in SNK’s games] weren’t quite up to where Street Fighter II felt and looked.
SNK游戏中的 "动画 "还没有达到《街头霸王2》的感觉和外观。

I think Fatal Fury, in some ways, is almost like this 1.5, right? It’s somewhere between Street Fighter I and Street Fighter II in a lot of ways, and had some improvements and different variations, but you can certainly see the evolution of the team and the controls and how it feels along that path.
我认为《致命狂怒》在某些方面就像是 1.5 版，对吗？它在很多方面都介于《街头霸王 I》和《街头霸王 II》之间，有一些改进和不同的变化，但你肯定能看到团队和操控的演变，以及在这条道路上的感觉。

$\to$ TAKASHI NISHIYAMA
$\to$ 西山隆志

\begin{aligned} Head of R\&D, SNK Japan \\ Hed \end{aligned}

In terms of the more detailed aspects of their game design, in that sense I think Street Fighter II was a superior game to Fatal Fury. Our game was more casual, with simpler controls, which meant it didn’t have as much depth. That lent the game a certain shallowness, and I think Street Fighter II definitely outperformed us there. To put it another way, Street Fighter II was geared more towards hardcore, serious fighting game players, and Fatal Fury was for casual players. That wasn’t necessarily our intention when making it but that’s how it ended up, and it was an area where we saw room for improvement.
在游戏设计的细节方面，我认为《街头霸王 II》比《致命狂怒》更胜一筹。我们的游戏更休闲，操作更简单，这意味着它没有那么多深度。这让游戏显得有些肤浅，而我认为《街头霸王 II》在这方面绝对胜过我们。换一种说法，《街头霸王 II》更多地面向硬核、严肃的格斗游戏玩家，而《致命狂怒》则面向休闲玩家。这不一定是我们制作这款游戏的初衷，但最终结果就是这样，而且我们认为在这方面还有改进的余地。

$\to$ HIROSHI MATSUMOTO
$\to$ 松本宏志

Producer, SNK Japan 日本 SNK 制片人
What I wasn’t satisfied with were the game’s competitive fighting aspects.
我不满意的是游戏的竞技格斗方面。

$\to$ DAVE WINSTEAD $\to$ 戴维-温斯泰德

Technical associate editor, GamePro
GamePro 技术副编辑
I did enjoy [Fatal Fury] a little bit, but I remember selecting Andy and just going,

z i p, z i p, z i p, z i p

in the corner to people, and it was kind of mean. But yeah, I thought the game looked really cool and sounded really cool. I wasn’t a super fan of the gameplay, with popping back and forth in the background, but that changed later. Fatal Fury 2, Special and all [those games] came out and I started
我确实有点喜欢《致命狂怒》，但我记得我选择了安迪，然后就在角落里对别人说："

z i p, z i p, z i p, z i p

"，这有点刻薄。不过，我觉得这款游戏看起来很酷，听起来也很酷。我不太喜欢游戏的玩法，在背景中来回跳动，但后来有所改变。致命狂怒 2》、《Special》和所有这些游戏问世后，我开始
enjoying it a little more. It felt like it was a little more refined, plus you had more than three characters to choose from. And then when it got into Real Bout, it seemed like it just kept getting better and better, right? And sooner or later it turned into Mark of the Wolves, which was one of my all-time favourite Neo Geo games. And the King of Fighters series. I love those, too.
更喜欢它了。感觉它更精致了一些，而且你有三个以上的角色可供选择。然后到了 "真实对决"（Real Bout），它似乎变得越来越好，对吧？迟早会变成《狼之印记》这是我一直以来最喜欢的 Neo Geo 游戏之一还有《格斗之王》系列我也很喜欢

\to

JAMES GODDARD

\to

詹姆斯-戈达德
Street Fighter II: Champion Edition design support, Capcom USA
街头霸王 II：冠军版设计支持，美国卡普空
I love those games. I love Fatal Fury. I love Art of Fighting. I love King of Fighters. I love all those games, and back in those days when they came out, they were amazing. They were the quality competitors to Street Fighter. Obviously, Mortal Kombat [from Midway] - clearly quality, right? And then there was Fighter’s History [from Data East], which was, you know, interesting […] it was a legitimate fighting game, but it just didn’t really have the depth. And then Fatal Fury was a real fighting game in that it had the depth and there was a lot of nuance. For me though, as a player, I always struggled with the SNK controls back in those days.
我喜欢这些游戏。我喜欢《致命狂怒》。我喜欢《格斗艺术》。我喜欢《格斗之王》我喜欢所有这些游戏，在它们问世的那些日子里，它们都非常出色。它们是《街头霸王》的优质竞争对手。显然，《真人快打》（来自 Midway）--显然是高质量的，对吗？然后是[Data East]的《拳皇历史》（Fighter's History），这款游戏很有意思[......]它是一款正统的格斗游戏，但就是没有深度。而《致命狂怒》是一款真正的格斗游戏，它有深度，有很多细微之处。不过对我来说，作为一名玩家，我一直都很难适应当时 SNK 的操控方式。
[Fatal Fury] had a lot of swag, right? It was just different than Street Fighter. Instead of being like these tropes from different locations around the world, it was like, dude with his hat backwards. So it is a trope but it’s a trucker guy who happens to be really handsome with abs and blond hair.
[致命狂怒]有很多标志，对吧？它和《街头霸王》不同它不像那些来自世界各地的传统角色，而是一个反戴着帽子的家伙。所以它是一个套路，但它是一个卡车司机，碰巧还很帅，有腹肌和金发。
I just thought the game had a lot of swag, I guess is the way to say it. It’s not the way I thought of it then, but if I reflect on it now, yeah. It just had attitude.
我只是觉得这款游戏很有魅力，我想这是一种说法。这不是我当时的想法，但现在回想起来，是的。它就是有态度。

ZENJI ISHII 石井善治
Editor-in-chief, Gamest magazine
Gamest 杂志主编
From my perspective, while Street Fighter started the series and Street Fighter II is technically its sequel, it felt very much like Street Fighter II was its own separate game. Street Fighter created the basic form, but to players at the time and hardcore arcade
在我看来，虽然《街头霸王》是该系列的开山之作，而《街头霸王 II》在技术上也是其续作，但《街头霸王 II》给人的感觉就像是一款独立的游戏。街头霸王》创造了基本的游戏形式，但对于当时的玩家和铁杆街机玩家来说，《街头霸王 II》并不是一个独立的游戏。
enthusiasts, they really felt like Nishitani and Capcom had created something unique with Street Fighter II. Nishitani created one of the first versus fighting games that really felt complete, so Street Fighter II had a very special presence that few other games had.
他们真的觉得西谷和卡普空在《街头霸王 II》中创造了独一无二的东西。西谷创造了第一款真正让人感觉完整的对战格斗游戏，因此《街头霸王 II》具有其他游戏少有的特殊魅力。

But, of course, if it weren’t for Nishiyama and his contributions to Street Fighter I, Street Fighter II probably would not have existed. And because he made a hit game with Street Fighter I, Nishiyama was able to go to SNK and he ended up making fighting games that people adored. Street Fighter II was a great game, not just overall but even if you get down to the nitty-gritty details of how the game was made, everything just came together so well and it was really difficult for any other game to match what Street Fighter II had done. But in terms of the companies out there at the time who were trying to make their own competitive fighting games, I think SNK definitely held its own. Sega and Konami tried to develop their own fighting games in order to get into the market, but they were not successful. So I think SNK did really well for itself back then.
当然，如果没有西山和他对《街头霸王 I》的贡献，《街头霸王 II》可能就不会出现。因为他制作的《街头霸王 I》一炮而红，西山得以转投 SNK，并最终制作出了深受人们喜爱的格斗游戏。街头霸王 II》是一款伟大的游戏，不仅是整体上，即使是在游戏制作的细节上，一切都非常完美，很难有其他游戏能与《街头霸王 II》相媲美。但就当时那些试图制作自己的竞技格斗游戏的公司而言，我认为 SNK 绝对有自己的优势。世嘉（Sega）和科乐美（Konami）都试图开发自己的格斗游戏，以打入市场，但都没有成功。因此，我认为 SNK 当时的表现非常出色。

CHAPTER 章次

STREET
FIGHTER II: CHAMPION EDITION
街道战斗机 II：冠军版

Following Street Fighter II’s success, Capcom didn’t wait another four years to keep the series going. Instead, they took an incremental approach, building on the game’s popularity with a simple follow-up just over a year later.
在《街头霸王 II》大获成功之后，卡普空并没有再等四年来继续推出该系列。相反，他们采取了循序渐进的方式，在游戏大受欢迎的基础上，仅在一年多后就推出了简单的后续版本。

Champion Edition didn’t overhaul any gameplay systems or add much content, but it introduced two often-requested changes - it let players select the four boss characters, and it let them use the same character as their opponent. For fans at the time, those two changes felt monumental. Players were so hungry for more that they were thrilled with whatever they could get. And the game ended up outperforming Street Fighter II.
冠军版》并没有彻底改变任何游戏系统，也没有增加太多内容，但它引入了两个玩家经常要求的改动--让玩家可以选择四个老板角色，以及让玩家可以使用与对手相同的角色。对于当时的粉丝来说，这两项改动给他们带来了巨大的震撼。玩家们渴望得到更多，以至于他们对所能得到的一切都感到兴奋不已。这款游戏的表现最终超过了《街头霸王 II》。

THE GAME THAT DESIGNED ITSELF
自己设计的游戏

A basic concept on the surface, Champion Edition was, essentially, a response to player criticisms. Adding mirror matches and playable bosses was the sort of idea that would pop up in arcades, on school playgrounds and in game magazine reader mail sections.
从表面上看，"冠军版 "只是一个基本概念，本质上是对玩家批评意见的回应。增加镜像比赛和可玩的 BOSS 是在商场、学校操场和游戏杂志读者来信栏目中出现的创意。

Tracking down how it happened internally gets a bit more complicated.
追查内部原因则变得复杂一些。
As is a bit of a trend through this book, the stories told by Capcom USA staff don’t always match the stories told by Capcom Japan staff. In the case of Champion Edition, we’ve also come across multiple stories of how people on the US side remember it happening. The first of these comes from James Goddard and Jeff Walker, who worked closely together and generally tell the same version of what happened.
正如本书的趋势一样，卡普空美国员工讲述的故事并不总是与卡普空日本员工讲述的故事一致。在《冠军版》一书中，我们还看到了多个关于美国方面的人如何回忆《冠军版》的故事。其中第一种说法来自詹姆斯-戈达德（James Goddard）和杰夫-沃克（Jeff Walker），他们曾密切合作，对事情经过的说法大致相同。

JAMES GODDARD 詹姆斯-戈达德

Street Fighter II: Champion Edition design support, Capcom USA
街头霸王 II：冠军版设计支持，美国卡普空
We were shot down the first time we pitched Champ Edition. [The team in Japan] said, ‘Why would anyone want to play the same character, and why would anyone want to play the bosses? We don’t think that will be popular here.’ And that was because they weren’t playing head-to-head hardcore. Oh sure, they had tournaments, but it was not their culture. It was not like our culture where it was like, ‘Man, I’m so tired of your Guile.’
我们第一次推出《冠军版》时就被否决了。[日本团队]说，'为什么会有人想玩同一个角色，为什么会有人想玩老板？我们认为这在这里不会受欢迎。'那是因为他们没有玩正面硬核游戏。当然，他们有锦标赛，但这不是他们的文化。这和我们的文化不一样，我们的文化是'伙计，我已经厌倦了你的古烈'。

Whenever I’d travel, instead of going out to strip clubs with the sales guys, I would actually go find a local arcade where Street Fighter was happening and I would talk to people. Because there was no internet back then. And I specifically got the same kind of thing from players, which was they wanted to play the bosses.
每次出差，我都不会和销售人员一起去脱衣舞俱乐部，而是去当地有《街头霸王》游戏的街机厅和人们聊天。因为那时还没有互联网。我从玩家那里特别得到了同样的信息，那就是他们想打BOSS。

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JEFF WALKER

\to

杰夫-沃克
SFII: CE vice-president of sales and marketing, Capcom USA
SFII：CE 美国卡普空销售与营销副总裁
I was never a gamer gamer. I was just a marketing and sales guy, so James was basically the guy who was giving me the feedback and information for me to go back to Japan and tell them what was going on.
我从来不是游戏玩家。我只是一个市场和销售人员，所以詹姆斯基本上就是那个给我反馈和信息的人，让我回到日本告诉他们发生了什么。

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JAMES GODDARD

\to

詹姆斯-戈达德
Street Fighter II: Champion Edition design support, Capcom USA
街头霸王 II：冠军版设计支持，美国卡普空
I came in and said, ‘Look, they’ve shut this down. They think this is a stupid idea. I know it will make money.’
我进来说，'听着，他们已经把这个项目关闭了。他们认为这是一个愚蠢的想法。我知道这能赚钱。

\to

JEFF WALKER

\to

杰夫-沃克
SFI: CE vice-president of sales and marketing, Capcom USA
SFI：美国卡普空销售与市场营销部 CE 副总裁
Well, it came Halloween time, and [I went to Golfland with James Goddard and] I see this phenomenon going on, and that is all the players are dressed up like the characters. And I’m going, 'Holy shit. And all these really young Asian girls dressed up like Chun-Li, and I’m going, ‘Wow.’ And then I see this other thing that really racked my brain. They were getting mad because one player was Chun-Li on a game, while the other player wanted to be Chun-Li and had to go to another game.
万圣节到了，[我和詹姆斯-戈达德（James Goddard）一起去了趟高尔夫乐园，]我看到了一个现象，那就是所有的玩家都打扮成了角色的样子。我就想，'我的天啊。所有这些非常年轻的亚洲女孩都打扮得像春丽，我就想，'哇。然后我又看到了另一件让我绞尽脑汁的事。她们很生气，因为一个玩家在游戏中扮演春丽，而另一个玩家想扮演春丽，不得不去参加另一场游戏。

So I called [Capcom founder Kenzo] Tsujimoto up and I said, ‘I know this is a long shot, but I believe we can run this thing again.’ And he goes, ‘What are you talking about?’ I said, ‘Well, there’s a real easy formula. We need to allow two players to be the same character. Let’s come up with a game.’ I came up with the name Championship Edition [sic]. ‘Let’s add a few new players, and let’s let them play against each other.’ And Tsujimoto said, ‘Are you sure?’ […] And I said to Tsujimoto, ‘It’s way too soon to get off this game.’
于是我打电话给（卡普空创始人）辻本健三，我说：'我知道这是个漫长的过程，但我相信我们可以再做一次。'他问'你在说什么？ '我说'有一个非常简单的公式。我们需要允许两名玩家扮演同一个角色。我们来想一个游戏吧。'我想出了'冠军版'这个名字。'让我们增加一些新玩家，让他们互相对战。辻本说：'你确定吗？ '[......]我对辻本说：'现在放弃这个游戏还为时过早。
So he flew in and he said, ‘I want to see your distributors guarantee me that they’ll buy at least a thousand of them to get me to cover the
于是他飞过来，说：'我想看到你们的经销商向我保证，他们至少会购买 1000 台，让我来支付这笔费用。
development costs.’ This was back in the day. I can’t believe that he would be talking that way [these days]. So he flew out there and I brought my six biggest distributors in, and Peter Betti from Betson Enterprises was the biggest distributor. [Tsujimoto] said, ‘We want to see how many of you guys will take it. So first we want to see if we can get a thousand games out of this unit to pay for it up front.’ So he goes around the room. […] He goes to Peter Betti, ‘All right, Peter, how many do you want?’ [Betti] goes, ‘A thousand. I’ll pay you cash now. Let’s get going.’ [laughs] So anyway, just in that meeting alone those guys had committed to another 5,000 units.
开发成本。这是当年的事了。我不相信他现在还会这么说。于是他飞到那里，我把我最大的六个分销商都找来了，贝森企业的彼得-贝蒂是最大的分销商。[辻本]说，'我们想看看你们有多少人愿意接受。所以首先我们想看看能不能从这台设备中获得一千场游戏的预付款。于是他在房间里转了一圈。[他对彼得-贝蒂说：'好吧，彼得，你想要多少？我现在就付现金我们走吧[笑] 总之，就在那次会议上那些家伙就承诺再出 5000 套。

PETER BETT 彼得-贝特

President, Betson Pacific
贝特森太平洋公司总裁
They asked us, ‘If we did a Street Fighter II: Champion Edition, would [you] be willing to buy any of them?’ I was there with my sales manager John Lotz, and we looked at each other and we went, ‘Yeah, we’ll take all of them.’
他们问我们：'如果我们推出《街头霸王 II》冠军版，你们愿意购买吗？冠军版，你们愿意买其中的任何一款吗？我当时和我的销售经理约翰-洛茨（John Lotz）在那里，我们互相看了看，然后说：'是的，我们全部都要。

[Ed. note] Walker doesn't recall pitching the game twice, but gives Goddard credit for the idea, adding that Goddard would often talk to [Capcom department head Yoshiki] Okamoto and the development group. 'Of course, I don't have to talk to or deal with any of those guys,' he says. 'I have a direct line right to Tsujimoto.
[编者注]沃克并不记得自己曾两次提出过这款游戏，但他将这一想法归功于戈达德，并补充说戈达德经常与[卡普空部门主管 Yoshiki] Okamoto 和开发小组进行交流。他说："当然，我不需要和这些人交谈或打交道。我可以直接与辻本联系。Bert Kitade, a vice-president of Capcom USA who ran their arcade operations business as Street Fighter II took off, remembers the situation differently. After reading the above comments from Walker in the 2014 Polygon story that served as the basis for this book, Kitade reached out to give his version of the story.
卡普空美国公司的副总裁伯特-基塔德（Bert Kitade）在《街头霸王 2》兴起时负责街机厅运营业务，他对当时的情况有不同的记忆。在阅读了沃克在 2014 年 Polygon 报道中的上述评论（该报道是本书的基础）后，Kitade 主动联系了沃克，提供了他的故事版本。

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BERT KITADE

\to

伯特-基塔德
Head of operations, Capcom USA
美国卡普空运营主管
Oh my god. That’s the one I’m mad at. Because that’s the one - Jeff Walker and I don’t know who else went there, and that was around [the] November timeframe, we went to Japan and we’re sitting there with Okamoto, and Jeff goes, ‘We need another Street Fighter,’ and on and on. He goes on and on about having another Street Fighter. But I have a computer background in addition to an accounting background [so I knew how much work that would take] … and Okamoto kept saying, ‘No. No. No.’ He kept shaking his head.
我的天啊这就是我生气的地方。杰夫-沃克（Jeff Walker）和我不知道还有谁去了那里，大概是在 11 月左右，我们去了日本，和冈本坐在一起，杰夫说'我们需要另一款《街头霸王》'。他一直说要再做一款《街头霸王》。但我除了有会计背景外，还有计算机背景，[所以我知道这需要做多少工作]......冈本一直说，'不，不，不。他不停地摇头。

I mean, Jeff was saying he wanted to do all these new things with it. I said, ‘Jeff, he’s not going to finish it.’ I said,
我是说，杰夫说他想用它做所有这些新东西。我说，"杰夫，他不会完成它的我说
‘It’d take too long to develop something like that. You’re talking two years.’ I said, ‘We need something now.’ And I told Okamoto, ‘You know what? Why don’t you bring the boss men down so [players] could play [as those characters]. That’s all you’ve got to do, and it picks off all these other problems you have.’ And I had a list because I had the arcades, so I’d go to arcades all the time. Maybe once a month, I’d fly down to San Diego and spend time in the arcades. I wouldn’t even tell the general manager I’d be down there. I’d go there and just spend time in the arcades by myself, and people started noticing. The kids started to know who I was [and tell me what they wanted in the game]. ‘Hey, fix this. Go to do that, and do this.’ So I wrote all this stuff down and I gave Okamoto all the things - and he probably knew most of them anyway, the problems that they had. But the big thing was I told him, ‘Just get something quick. It doesn’t have to be a big change because you’ve got all the programming already for the [bosses]. How much more work would it be just to pull [them] down in [and let players use them]?’
'开发这样的东西需要太长时间。你说的是两年。'我说，'我们现在就需要这样的东西。'我对冈本说：'你知道吗？'然后我告诉冈本：'你知道吗？你为什么不把老板们带下来，让 [玩家] 可以扮演 [那些角色]。这就是你要做的，而且还能解决你的其他问题。我有一份清单，因为我有商场，所以我经常去商场。也许每个月，我都会飞去圣地亚哥，在街机厅里消磨时间。我甚至不会告诉总经理我会去那里。我就一个人在商场里消磨时间，然后人们就开始注意到我了。孩子们开始知道我是谁，并告诉我他们想要什么游戏。嘿，修好这个。去做那个，做这个。所以我把这些东西都写了下来，然后把所有的事情都告诉了冈本--反正他可能也知道其中的大部分问题。但最重要的是，我告诉他：'只要尽快找到一些东西。不一定要做大的改动，因为你已经为（老板）准备好了所有的程序。如果只是把[它们]拉下来[让玩家使用]，那还需要多少工作？

And that was in November and then we just left. That was it. And game companies in Japan, they don’t like suggestions sometimes. But what ended up happening was, probably [around] February [… Capcom USA president
那是在 11 月，然后我们就离开了。就这样日本的游戏公司有时不喜欢别人的建议。但最后的结果是，大概在 2 月左右[......卡普空美国公司总裁

George Nakayama] called me and Jeff into the meeting room. He said, ‘You know what? We got a new game.’ I said, ‘What the hell?’ He goes, ‘It’s Street Fighter. We don’t have quite the name. We think it’s Champion Street Fighter.’ I go, ‘Oh, gosh.’ He kind of explained it to me. I go, ‘God damn, that’s the same thing I told Okamoto I wanted done.’ And he goes, ‘That’s probably the only thing you can do in such a short period of time, right?’ He only had like, three months. That was the [quickest thing he could do].
乔治-中山]把我和杰夫叫到会议室。他说：'你们知道吗？我们有新游戏了。'我说，'什么玩意儿？'他说，'是《街头霸王》。我们还不知道名字。我们觉得是《冠军街霸》。我说，'哦，天哪。他给我解释了一下。我说：'该死的，我跟冈本说的也是这个名字。'他说，'这可能是你在这么短的时间内唯一能做的事了，对吧？他只有三个月的时间。这是他能做的[最快的事情]。
And then George said Japan wanted us to take 5,000 games at the time, before year-end, because our year-end was March 31st. They were thinking of giving us 5,000 so that they could make their number. And he said 5,000. I said, ‘OK.’ George looked at Jeff. ‘How many can you sell?’ And I said, ‘I’ll take them all.’
然后乔治说，当时日本希望我们在年底前拿下 5000 场比赛，因为我们的年底是 3 月 31 日。他们想给我们5000场比赛这样他们就能凑够数目了他说是 5000 场。我说 "好吧乔治看着杰夫你能卖多少？'我说，'我全要了。
[Our route business was] in charge of several thousand games. So I said, ‘We’ll take them all.’ Whatever it was, we’ll take, you know. Jeff goes, ‘I’ve got to have some. You can have half.’ 2,500 [to him]; 2,500 to me. I said that was fine. So Jeff went back. That’s when Jeff had the meeting with the distributors and asked Betson and all those guys how many they wanted. And that’s when Betson came back and said [they’d] take all of them.
[我们的航线业务]负责几千场比赛。所以我说，'我们全要了。不管是什么，我们都要，你知道的。杰夫说，'我要一些。你可以拿一半。他拿 2500，我拿 2500。我说没问题。于是杰夫回去了。就在那时，杰夫与分销商们开了个会，问贝特森和那些人他们想要多少。这时贝特森回来了，说[他们]要全部。
[Then] March came around and George says, they’re not going to send us that many. They are going to give 2,000. So we did it. I said, ‘Well, OK, I’ll take them all.’ And then Jeff goes, ‘Oh, no, no. We agreed with half and half.’ So he took 1,000 and I took 1,000. And that’s when we went out and put the game out into the market.
[然后到了三月，乔治说，他们不会给我们那么多。他们会给我们2000个于是我们照做了我说，'好吧，好吧，我全要了。'然后杰夫说，'哦，不，不。我们说好对半分的。于是他拿了1000，我拿了1000。就这样我们把游戏推向了市场

the route business with operations manager Satinder Bhutani].’
与运营经理萨廷德-布塔尼（Satinder Bhutani）一起负责航线业务]。
Elsewhere on the Capcom USA side, coin-op regional sales manager Brian Duke remembers Walker playing a big role in getting Champion Edition off the ground, while console vice-president Joe Morici remembers Goddard pushing hard to make the game happen - and says he thinks the idea was an easy sell, since the team in Japan was already considering making the game.
在卡普空美国公司方面，投币式游戏机区域销售经理布莱恩-杜克（Brian Duke）记得沃克在促成《冠军版》的开发过程中发挥了重要作用，而游戏机副总裁乔-莫里奇（Joe Morici）则记得戈达德曾极力促成这款游戏的开发--他认为这个想法很容易实现，因为日本的团队已经在考虑制作这款游戏了。

On the Japan side, Noritaka Funamizu and Akira Yasuda both remember the idea coming about from Gamest magazine, Japan’s biggest arcade game publication at the time.
日本方面，Noritaka Funamizu 和 Akira Yasuda 都记得这个想法来自当时日本最大的街机游戏出版物《Gamest》杂志。

NORITAKA FUNAMIZU 船水吕孝
Street Fighter II series producer, Capcom Japan
日本卡普空《街头霸王 II》系列制作人
It was created as a response to user demand, as well as something Gamest recommended we do.
这既是对用户需求的回应，也是 Gamest 建议我们做的事情。

AKIRA YASUDA 安田喜良
Street Fighter II: Champion Edition planner, Capcom Japan
《街头霸王 II》（Street Fighter II：冠军版策划者，日本卡普空
From what I remember, Okamoto came up with the idea by talking to Gamest about it. But I mean, I would imagine it’s possible that somebody from Capcom USA told him to make it as well. […] I don’t have any evidence proving it one way or another. I mean, I think with Street Fighter II: Champion Edition, there were probably 10,000 or more people, tons of people, that wanted to have the characters that weren’t playable in the original version, so it was a common idea. This was a time when, you know, each game that came out after would have more and more characters. I mean, Street Fighter I had one or two characters. Final Fight had three characters. So Street Fighter II was just kind of a natural progression of that.
在我的印象中，冈本是通过与 Gamest 讨论才想到这个点子的。但我的意思是，我觉得也有可能是美国卡普空的某个人让他做的。[我没有任何证据可以证明这一点。我的意思是，我认为《街头霸王 2：冠军版》的时候，可能有 1 万或更多的人，成吨的人，想要原版中不能玩的角色，所以这是一个共同的想法。当时，每款游戏都会有越来越多的角色。我的意思是，《街头霸王 I》有一两个角色。最终决战》有三个角色所以《街头霸王 2》就是在这种情况下的自然发展。

ZENJI ISHII 石井善治
Editor-in-chief, Gamest magazine
Gamest 杂志主编
Honestly, I don’t really remember [if we had a direct influence on Capcom making Champion Edition], but it wouldn’t have been unusual for us to run a feature suggesting something like that in Gamest. We did, also, sometimes give direct feedback to developers on what we thought a game needed. This was before the era of PCs and email, so we wrote our suggestions down on paper and sent those over. I don’t know to what extent they considered our feedback, or whether any of our ideas were actually implemented, but one example would be Ryu’s Shoryuken … and actually, his Hurricane Kick too. For both of those, we suggested that the invincibility time should be longer, otherwise Ryu would end up feeling too weak.
老实说，我不太记得[我们是否对卡普空制作《冠军版》产生了直接影响]，但我们在《Gamest》上发表类似的专题建议并不罕见。我们有时也会直接向开发商反馈我们认为游戏需要的东西。那时候还没有个人电脑和电子邮件，所以我们会把建议写在纸上，然后发送过去。我不知道他们在多大程度上考虑了我们的反馈意见，也不知道我们的想法是否真的得到了实施，但其中一个例子就是隆的升龙拳......实际上还有他的飓风踢。我们建议这两个动作的无敌时间应该更长一些，否则隆会感觉太弱。

Gamest did sell extremely well. Also, in the summer of 1991 when Street Fighter II came out, we held a national tournament, at a time when most game centres weren’t doing that. Several hundred people participated. Partly due to the success of that tournament, we realized as magazine editors that regular coverage of fighting game tournament events would encourage players to become more invested in Street Fighter II. Up to then, you see, there hadn’t been a fighting game tournament ‘culture’ in Japan.
Gamest 确实卖得非常好。此外，1991 年夏天《街头霸王 II》上市时，我们举办了一次全国锦标赛，当时大多数游戏中心还没有这样做。有几百人参加了比赛。由于这次比赛的成功，我们作为杂志编辑意识到，定期报道格斗游戏比赛活动将鼓励玩家更多地投入到《街头霸王 II》中。在此之前，日本还没有格斗游戏锦标赛的 "文化"。
[Ed. note] Asked about Goddard, Walker and Kitade’s involvement in the ideas for Champion Edition and Street Fighter II Turbo: Hyper Fighting, Okamoto posted on Twitter in 2021 that his memories of the situation are ‘a little vague’ and that Capcom Japan highly valued the feedback they got from Capcom USA as they didn’t have a strong understanding of the American market. ‘However, as to their claims that “I made that” or “It was my idea” … well, I don’t think they were that closely connected [to
[编者注] 2021 年，当被问及戈达德、沃克和 Kitade 参与《冠军版》和《街头霸王 II Turbo：超格斗》的创意时，冈本在 Twitter 上表示，他对当时情况的记忆 "有点模糊"，并表示日本卡普空非常重视从美国卡普空获得的反馈意见，因为他们对美国市场并不十分了解。不过，至于他们声称 "这是我做的 "或 "这是我的主意"......我不认为他们（与卡普空美国公司）有那么紧密的联系。
the development process]. A hit game has many developers; a game that flops has only a few.’
开发过程]。一款热门游戏有很多开发人员，而一款失败的游戏却只有几个开发人员。
In a follow-up message, Okamoto wrote that many people pitched ideas to Capcom Japan’s research and development group, so he’s open to the possibility that much of what Goddard, Walker, and Kitade say is true, but he believes Nishitani should get the credit for the project because he took those ideas and distilled them into the final game.
冈本在后续信息中写道，很多人都向卡普空日本公司的研发小组提出了想法，因此他愿意相信戈达德、沃克和 Kitade 所说的很多话都是真的，但他认为西谷应该获得该项目的荣誉，因为他采纳了这些想法并将其提炼成了最终的游戏。

Asked about the possibility that multiple people could have suggested the idea for Champion Edition, or that each of the above stories could have happened but might not have been the trigger to put the game in development, Goddard, Funamizu and Walker stick to their stories.
当被问及是否有可能是多人提出了《冠军版》的创意，或者上述每个故事都有可能发生，但可能并不是游戏开发的导火索时，戈达德、船水和沃克坚持自己的说法。

\ JEFF WALKER

SFII: CE vice-president of sales and marketing, Capcom US

Well, I’ll say this. If I didn’t sign off on it, it was never even going to Japan. […] And there was also a certain level of animosity, first of all. When I was there, the Japanese guys didn’t have the balls to complain about me or anybody else like that. They just shut their mouth and did what they did. But as the younger guys came in, they were starting to feel like the US was getting too much credit for stuff. […] Everyone wants to take claim of it, and again, it was very simple. If it wasn’t for Peter Betti, James Goddard and me, there was no game. Period.
好吧，我这么说吧。如果我不同意，它根本就不会去日本[......]首先，我们之间还存在着某种程度的敌意。我在那里的时候，日本人没有胆量抱怨我或其他人。他们只是闭上嘴，做他们该做的事。但随着年轻人的加入，他们开始觉得美国的功劳太大了。[......]每个人都想从中获益，而这一切又非常简单。如果没有彼得-贝蒂、詹姆斯-戈达德和我，就没有这场比赛。句号

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NORITAKA FUNAMIZU

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野利高风水
Street Fighter II series producer, Capcom Japan
日本卡普空《街头霸王 II》系列制作人
Well, it’s true that we had all sorts of meetings with distributors for every region. Japan, America, Europe, Asia and so forth. And in these meetings, we would decide together with the distributor for that region how much they wanted to order and whatnot. But I don’t think that’s how Champion Edition ended up getting made.
的确，我们与每个地区的经销商都开过各种会议。日本、美国、欧洲、亚洲等等。在这些会议上，我们会与该地区的经销商一起决定他们想要订购多少数量的产品，等等。但我不认为《冠军版》最终是这样制作出来的。

JAMES GODDARD 詹姆斯-戈达德

Street Fighter II: Champion Edition design support, Capcom USA
街头霸王 II：冠军版设计支持，美国卡普空
I’ve been working really hard to be humble over the years and, especially the last two decades, really just changed how I approach things. And to a fault, I’ve been a little quiet on some of the Street Fighter stuff, but looking back at it, on this one, no. Champ Edition was the players’ idea. I was the conduit for that and I pitched it. I was told, ‘No, it was dumb’ - because this is how we talked back then. ‘No one wants to play the same characters. And sure, play the bosses, but it’s not that important and we’re doing really well with Street Fighter II.’ Jeff made it happen from there and I’m sure a bunch of executives, they all got together. […] It gets a little fuzzier as I try to be generous, but it’s not as simple as it’s just my idea. It was the players’ idea. If I hadn’t passed that on, the voices were loud enough that eventually it would have been heard anyway, but I was definitely the starting point for it. Jeff made it happen from there.
这些年来，我一直在努力做到谦虚，尤其是在过去的二十年里，我真的改变了处理事情的方式。说来也是，我在一些《街头霸王》的事情上有些沉默，但回过头来看，这次没有。冠军版》是玩家们的想法。我是这个想法的传播者，我提出了这个想法。我被告知，'不，这太蠢了'--因为我们当时就是这么说话的。没有人愿意玩同样的角色。当然，也可以玩老板，但这并不重要，而且我们的《街头霸王 2》做得很好。'杰夫从那时起就开始做了我肯定还有很多高管他们都聚到了一起[......]我想说得宽宏大量一点，但事情并不像我的想法那么简单。这是球员们的主意。如果我没有把这个想法传达给大家，大家的声音足够大，最终还是会被听到，但我绝对是它的起点。杰夫从那时起促成了这件事。

I understand a lot of people probably had the same kind of idea there, if they were listening to the players. It was obvious, but obviously Jeff backs up my part of the story, and I don’t know all that was happening in Japan, other than the initial response was ‘no’.
我知道，如果他们听了球员们的话，可能很多人都有同样的想法。这很明显，但杰夫显然支持我的说法，我不知道日本发生的一切，只知道最初的反应是 "不"。

BIGGER THAN SFII 大于 sfii

Champion Edition shipped in March 1992, just over a year after Street Fighter II, and marked the peak of the series’ early 1990s popularity. In interviews, sources have given different numbers, though everyone we asked recalls Champion Edition outselling the original SFII - especially in Japan, as competitive play started to catch on.
冠军版》于 1992 年 3 月发售，比《街头霸王 II》晚了一年多，标志着该系列在 20 世纪 90 年代初达到了流行的顶峰。在采访中，消息来源给出了不同的数字，但我们询问的每个人都回忆说《冠军版》的销量超过了原版《街头霸王 II》，尤其是在日本，因为竞技游戏开始流行起来。

Akira Yasuda puts SFII at 50-55,000 units and CE at 75,000 , but doesn’t specify whether those are domestic or worldwide numbers. Jeff Walker estimates that Capcom USA sold 20-25,000 of both games, which matches an April 1993 RePlay magazine report that put

S F I I

at 21,000 and

C E

at 24,000. And in an interview for the March 2002 issue of Edge magazine, Funamizu put

C E

at 140,000 worldwide, though speaking for this book, he says he doesn’t recall those specific numbers at this point.
Akira Yasuda 认为《SFII》的销量为 50,000 至 55,000 件，《CE》为 75,000 件，但没有说明是国内还是全球销量。杰夫-沃克（Jeff Walker）估计，卡普空美国公司两款游戏的销量均为 20,000 至 25,000 件，这与 1993 年 4 月《RePlay》杂志报道的

S F I I

销量为 21,000 件和

C E

销量为 24,000 件相吻合。在接受《Edge》杂志 2002 年 3 月刊采访时，Funamizu 认为

C E

在全球的销量为 140,000 台，但就本书而言，他表示目前不记得这些具体数字。

JAMES GODDARD 詹姆斯-戈达德
Street Fighter II: Champion Edition design support, Capcom USA
街头霸王 II：冠军版设计支持，美国卡普空
Street Fighter II was really a unique thing, and the view of it was, in Japan, more of an action game because of the way it was set up. It was one credit [and then people stopped]. In America, and a lot of the other countries, it was like total kung-fu schools. Everybody was going around and playing each other head-to-head. It was all about that. That’s why we had four, five, six machines on locations, earning a thousand dollars each a week or more.
《街头霸王 II》确实是一款独特的游戏，在日本，由于其设定方式，它更像是一款动作游戏。它只需要一个信用点，[然后人们就停止了]。而在美国和许多其他国家，它就像一个武术学校。每个人都围在一起，正面对决。就是这样。这就是为什么我们在各地有四、五、六台机器，每台机器一周能赚一千美元甚至更多。

And so when Champ came out, it solved that problem because not only could you play as the same character now - so now there was no barrier of, I’m going to wait to play because you’ve got Guile and you’re on a 20-game winning
《冠军》的出现解决了这一问题，因为你现在不仅可以扮演同一个角色，而且没有了 "我要等着玩，因为你有古烈，而且你赢了 20 场比赛 "的障碍。
streak, and forget that shit - there were no barriers to who you could play, and you could play the bosses. The game was way better balanced, except for Bison.
潸然泪下，忘掉那些狗屁--你可以玩谁，你可以玩老板，没有任何障碍。游戏的平衡性更好了，除了拜辛。
Then here’s the key thing. In Japan, there was a story, because I played Zenji Ishii, who was the editor of Gamest magazine, and one of the strongest players in Japan. I think he’d won a tournament. And he played me at an arcade show and I just kept changing characters, and he was Guile and Ryu, and I went

50 / 50

with him. I’ll say him being on American sticks and buttons probably added to that. And then he was like, ‘How is this even possible?’ You know, through the translator. And he wanted to know if I was one of the best players in America, and I said, ‘I don’t even make the top 10 in local tournaments,’ and he was blown away. And we talked about the fact that we played head-to-head [in the US].
关键就在这里。在日本，有一个故事，因为我和石井善治下棋他是《Gamest》杂志的编辑也是日本最强的棋手之一我想他赢过一次比赛他在一次街机表演中和我对战，我不停地变换角色，他是 Guile，我是 Ryu，我和他打成了

50 / 50

。我得说他用的是美式摇杆和按键，这可能也是原因之一。然后他就说：'这怎么可能？你知道，通过翻译。他想知道我是否是美国最好的选手之一，我说'我在本地比赛中连前十都进不了'，他听后大吃一惊。我们还谈到了我们（在美国）正面交锋的事实。

So fast-forward, he writes an article about it, and then during Champ Edition, he talked specifically about [the cultural difference]. I think there’s a quote with me saying, ‘You’ll never beat us if you don’t start playing head-to-head.’ We did one thing in development that was key. On the Japanese board, we made it so that if you pressed the second player [start] button, it flashed a message that said, ‘I welcome any player’ in Japanese. And Gamest started selling that stronger, talking about, ‘Hey, we’ve got to just play each other.’ And then they figured out the back-to-back cabinet thing [where players could play against one another without having to see each other], and so I think that had a big impact for their market.
于是快进，他写了一篇关于此事的文章，然后在《冠军版》中，他特别谈到了[文化差异]。我想有一句话是我说的，'如果你们不开始正面交锋，就永远打不过我们'。我们在开发过程中做了一件非常关键的事情。在日文版上，我们做了这样的设计：如果您按下第二个玩家[开始]按钮，它就会闪烁一条信息，用日语写着 "我欢迎任何玩家"。Gamest 开始大力推销，说'嘿，我们得互相比赛'。然后他们又想出了背靠背机箱的办法（玩家可以在不见面的情况下互相对战），所以我认为这对他们的市场产生了很大的影响。

ZENJI ISHII 石井善治

Editor-in-chief, Gamest magazine
Gamest 杂志主编
If you look at it through today’s lens, I would say it’s a little bit different and that’s because of the way Japanese society was at the time. Before Street Fighter II, there was no competitive gaming culture, right? The game made competitive play more and more popular, but the problem was, it was often still hard to find
如果用今天的眼光来看，我会说这有点不同，这是因为日本社会当时的状况。在《街头霸王 II》之前，还没有竞技游戏文化，对吧？这款游戏让竞技游戏变得越来越流行，但问题是，通常还是很难找到
people to play with. I remember one time when one of the stores that Gamest was operating decided to host a Street Fighter II tournament. I think it was intended for maybe 8 to 16 participants, but then we ended up getting 100 people to come and participate. So we realized that Street Fighter II tournaments had to take place fairly often in order to maximize their potential, so that’s how tournaments were held nationally.
人一起玩。我记得有一次，Gamest 运营的一家商店决定举办一场街头霸王 II 比赛。我想，当时的目标是 8 到 16 人参加，但最后有 100 人参加了比赛。因此我们意识到，《街头霸王 II》锦标赛必须经常举办，才能最大限度地发挥其潜力，所以锦标赛就这样在全国范围内举办了起来。

We realized through that experience that writing articles about the competitive landscape was what generated the most interest - both in terms of selling the magazine, and also in the game itself. So there was kind of a dynamic two-way relationship there, where if you don’t figure out how to make the game exciting for people, then you won’t sell enough magazines. But in order to make the game exciting, you have to make sure that your magazines have the appropriate content that will get people excited for that game. So our thought process was always, How can we make Street Fighter interesting for people? That’s something we always thought about. It just turned out that the competitive gaming scene had a lot to do with why people were interested in it.
通过这些经验，我们意识到，撰写关于竞争格局的文章最能引起人们的兴趣--无论是在杂志销售方面，还是在游戏本身方面。因此，这是一种动态的双向关系，如果你不想方设法让人们对游戏产生兴趣，那么你就无法卖出足够多的杂志。但为了让游戏令人兴奋，你必须确保杂志有适当的内容，让人们对游戏感到兴奋。因此，我们一直在思考：如何才能让《街头霸王》让人们感兴趣？这是我们一直在思考的问题。事实证明，人们之所以对《街头霸王》感兴趣，与竞技游戏场景有很大关系。

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NORITAKA FUNAMIZU

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野利高风水
Street Fighter II series producer, Capcom Japan
日本卡普空《街头霸王 II》系列制作人

I think Champion Edition was more successful because the player-versus-player competitive aspect of the original Street Fighter II was somewhat limited. Both players couldn’t choose the same character, for example. That became possible in Champion Edition. Also, there was this new cabinet design - which I think was created by someone who worked at a game centre, actually - where the two players were facing each other, but you couldn’t see the other player directly, and that setup was very popular in Japan at the time. The other reason was just timing. We had very fortuitous timing, which really allowed for Champion Edition to be extremely successful.
我认为《冠军版》之所以更成功，是因为原版《街头霸王 II》的玩家对玩家竞技方面受到了一定限制。例如，两位玩家不能选择相同的角色。在《冠军版》中，这成为可能。此外，还有一种新的游戏机柜设计--我认为是由在游戏中心工作的人创造的--在这种设计中，两名玩家面对面，但你无法直接看到另一名玩家，这种设置当时在日本非常流行。另一个原因是时机。我们拥有非常偶然的时机，这让《冠军版》获得了极大的成功。

AMES GODDARD 阿姆斯-戈达德

Street Fighter II: Champion Edition design support, Capcom USA
街头霸王 II：冠军版设计支持，美国卡普空
When Champ Edition showed up on test, I got in a lot of trouble for that. We had advertised that it was coming, and so it threw the test off in [certain people’s minds]. But what it actually did was we had to have a sign-up sheet. We actually had a monitor up on top with a […] breakout box that a guy had made, so people could see. And there were 80 people stacked in Sunnyvale Golfland and the sign-up list was hours long. You had to wait for your turn to rotate in and so they were pissed because that just ruined the natural test that it would have been. But it also spread a huge word of mouth from that. I mean, it was crazy how many people were there, and it just clogged the whole arcade and we only had one machine, so that was a big thing.
当 "冠军版 "出现在测试中时，我因此惹上了很多麻烦。我们曾做过广告，说它即将到来，所以在 [某些人的心目中] 它使测试失常了。但实际上，我们必须有一张报名表。实际上，我们在上面安装了一个显示器，上面有一个人做的[......]分线盒，这样人们就能看到了。桑尼维尔高尔夫乐园里堆了 80 人，报名表一排就是几个小时。你必须等着轮到你，所以他们很生气，因为这破坏了本来应该进行的自然测试。但也因此传出了巨大的口碑。我的意思是，现场人山人海的场面太疯狂了整个商场都堵塞了，而我们只有一台机器，所以这是件大事。

I got in trouble for that. This is why they accuse me of stuff, you know? But I was all about getting people to be there. Word would have spread within a day anyway, but man, that was something else. That whole weekend that was there, it was a non-stop line, open to close, of a hundred people waiting to play.
我因此惹上了麻烦这就是他们指责我的原因，你知道吗？但我就是想让大家都到场反正一天之内消息就会传开但那是另一回事整个周末，从开门到关门，都有上百人排着队等着演出。

JEFF WALKER 杰夫-沃克
SFII: CE vice-president of sales and marketing, Capcom USA
SFII：CE 美国卡普空销售与营销副总裁
One of the things I tried to do, which was controversial … When Championship Edition [sic] came out, I said, ‘We’ve gotta stop having the operators getting 25 cent starts and 25 cents to continue. This is a game that they should be getting 50 cents to start and 25 to continue.’ So I did something - I locked the operators out of being able to lower the start play to 25 cents, so everyone had to be at 50 . And took a ton of shit from that in the marketplace, and had to eventually go back in and do a chip change to allow everybody to do that
我曾试图做的一件事引起了争议......当《冠军版》问世时，我说：'我们必须停止让运营商获得 25 美分的开始费和 25 美分的继续费。这是一款他们应该得到 50 美分启动费和 25 美分继续费的游戏。于是我做了一件事--我锁定了经营者，让他们不能把开始游戏的钱降到 25 美分，所以每个人都必须是 50 美分。这在市场上引起了轩然大波，最终我不得不回到游戏中，更换筹码，让每个人都能这样做

My thing was, I just knew at that stage that it was a juggernaut that was not gonna happen that often, that
我的想法是，在那个阶段，我就知道这是一个不会经常出现的巨无霸，而且
everybody - everybody from the arcade to the operator to the distributor to Capcom - needed to really monetize that game. So I tried to do everything in my power.
每个人--从游戏厅到运营商到经销商再到卡普空--都需要真正实现游戏的货币化。所以我想尽一切办法。

JAMES GODDARD 詹姆斯-戈达德
Street Fighter II: Champion Edition design support, Capcom USA
街头霸王 II：冠军版设计支持，美国卡普空
By the time it came out, we had so much momentum. […] I’m getting phone calls all day long from kids calling in, and operators calling in trying to find out more about it, and we’re sending them the tournament rules and we’re encouraging them to stack up machines and do tournaments. And I don’t know. If it was easy to capture the magic of what was happening in a bottle, then anybody could make that shit, you know? But I mean, truly everything worked out just right for it and that’s why it surpassed [the original SFII in sales]. It was a great game. I mean, it really catered to what the players wanted.
当它问世时，我们的势头已经很猛了。[......]我整天都在接到孩子们打来的电话，还有经营者打来的电话，试图了解更多关于它的信息，我们给他们寄去了比赛规则，鼓励他们堆砌机器，举办比赛。我不知道如果能轻易捕捉到瓶子里的魔力那谁都能做出这种东西，你知道吗？但我的意思是，确实一切都恰到好处，这就是为什么它的销量超过了[原版 SFII]。这是一款伟大的游戏。我是说，它真正迎合了玩家的需求。

You hear the stories about how pushy I was. It wasn’t just because I was a hardcore player. It was about what the players wanted. I travelled the country and I knew what the players wanted over here. They knew what the players hopefully wanted over there. They wanted to see the multiplayer finally succeed, and Champ Edition just hands down was exactly what the players wanted.
你听说过我有多爱出风头吧。这不仅仅是因为我是个铁杆玩家。而是球员们想要什么。我走遍全国，我知道这里的球员想要什么。他们知道那边的玩家希望得到什么。他们希望看到多人游戏最终取得成功而《冠军版》恰恰满足了玩家们的愿望
That was very important, and I think that’s why this thing really took off. It was like a hurricane of perfect stuff. That’s the dumbest quote ever right there.
这一点非常重要，我想这也是这部电影真正起飞的原因。它就像一场完美的飓风这是有史以来最蠢的一句话了

DEFENDING AGAINST COUNTERFEITERS
防伪

One side-effect of Street Fighter’s early 1990s success was it led to a sea of unofficial arcade boards. Counterfeiters poked a hole in the financial model of the coin-op industry, where games sell with high margins to offset low sales numbers, and sold games for less than their official prices - and in greater quantities than Capcom was able to manufacture. At the time, Capcom ran ads in trade magazines calling the copies ‘illegal to make, illegal to sell, illegal to operate’.
《街头霸王》在 20 世纪 90 年代初取得成功的一个副作用是，它导致了非官方街机板的泛滥。在投币式游戏机行业中，游戏的销售以高利润抵消低销量，造假者戳穿了这一金融模式，以低于官方价格的价格出售游戏，而且数量超过了卡普空公司的制造能力。当时，卡普空在行业杂志上刊登广告，称这些复制品 "非法制造、非法销售、非法经营"。

IAN ROSE 伊恩-罗斯

General counse1, Capcom USA
美国卡普空总代表1
I joined Capcom in 1992. […] They’d come to the conclusion that they were at the point now where they could save some money by bringing the legal function in-house.
我于 1992 年加入卡普空。[......]他们得出的结论是，现在已经到了可以通过将法律职能引入公司内部来节省开支的时候了。

One of my big challenges in that period was to try to […]
在此期间，我面临的一大挑战就是如何 [...]
make it harder for the pirates, the copycats, to succeed. And it was an interesting thing, because it’s not piracy as we think of it these days with mostly pure digital assets. Instead, these were people who were coming up with pirated versions of the game on a piece of hardware - you know, a printed circuit board that had to be in some ways designed from scratch. So it was kind of a worldwide phenomenon that, as the game became as successful as it was in the arcades in the first instance, it became something that developed on an international level as we understood it, by folks in different countries playing a role in the design and manufacturing and distribution of these counterfeit Street Fighter II boards.
让盗版者和山寨者更难得逞。这是件有趣的事，因为这并不是我们现在所认为的盗版，主要是纯数字资产的盗版。相反，这些人是在硬件上制作盗版游戏--你知道，印刷电路板在某些方面必须从零开始设计。因此，这是一种世界性的现象，随着这款游戏在街机厅的成功，它在国际层面上也得到了发展，正如我们所理解的那样，不同国家的人都在设计、制造和销售这些仿冒的《街头霸王2》电路板。

In a year, let’s say, or in a several-month period in the early days of the Street Fighter II arcade game release, we might have sold 25,000 units, for example. And we had
比如说，在《街头霸王 II》街机游戏发售初期的一年或几个月时间里，我们可能卖出了 25000 套。而我们
reports and estimates of maybe several times that number of counterfeit versions out there in the marketplace.
据报道和估计，市场上的仿冒品数量可能是这个数字的几倍。

\to

NORITAKA FUNAMIZU

\to

野利高风美津
Street Fighter II series producer, Capcom Japan
日本卡普空《街头霸王 II》系列制作人
There was the legal aspect to it, but I think the problem was more that the bootlegs proliferated in certain areas before we had good distribution agreements in place. Taiwan was one such area, and there were parts of mainland China like that too.
这有法律方面的原因，但我认为问题更多在于，在我们达成良好的分销协议之前，盗版就已经在某些地区泛滥成灾了。台湾就是这样一个地区，中国大陆也有部分地区是这样。

One thing I heard was that there was a company based in Nagoya that was involved in making pirated versions of Street Fighter II for the Taiwanese market. They would supposedly reward their employees with stacks of 10,000yen bills if they met certain production targets. I heard they had three people there doing that, and that every hour they’d be getting 10,000-yen bills for each board they copied. So they were really incentivized to violate the copyright protection and produce these bootlegs.
我听说名古屋有一家公司专门为台湾市场制作盗版的《街头霸王 II》。据说，如果员工达到了一定的生产指标，他们就会奖励员工一沓沓 1 万日元的钞票。我听说他们有三个人在那里做这个工作，每复制一块板子，他们每小时就能拿到 1 万日元的钞票。因此，他们确实有动力去违反版权保护，制作这些盗版。

\to

BERT KITADE

\to

伯特-基塔德
Head of operations, Capcom USA
美国卡普空运营主管
[George Nakayama and I] went down to Mexico City and took a look at [various counterfeit copies]. We talked to a lawyer down there about what we could do with the counterfeits, and we went to a couple of the arcades down there. […] It’s kind of funny because [for a few years before Street Fighter II hit] nobody would even think of wanting to copy arcade videogames, because they really didn’t make that much money.
[乔治-中山和我]去了趟墨西哥城，看了看[各种仿冒品]。我们和那里的一位律师讨论了如何处理这些仿冒品，还去了那里的几家游戏厅。[......]这很有趣，因为[在《街头霸王 2》上市前的几年里]，根本没有人想过要仿制街机电子游戏，因为它们真的赚不了多少钱。

\to

SATINDER BHUTANI

\to

萨廷德-布塔尼
Operations manager, Capcom USA
美国卡普空运营经理
I had a friend who was a very good technician […] and he took me to Tijuana, in Mexico. Would you believe there was a small shed [filled with fake Street Fighter arcade marquees]? We had to walk
我有一个技术很好的朋友[......]，他带我去了墨西哥的提华纳。你能相信那里有一个小棚子吗？我们不得不步行
down [narrow streets to find it because you couldn’t drive there] and he showed me Street Fighter marquees. There must have been a hundred different versions of marquees. Some with half-naked women on the sides [or however] people would like to have it designed. They were all being made for spurious Street Fighter games. As for the knowledge I was given, if I remember correctly, there were five copies to every one Street Fighter sold by Capcom.
他给我看了《街头霸王》的招牌。他给我看了《街头霸王》的帐篷，肯定有上百种不同的帐篷。有的两侧还有半裸的女人，[或者]人们想怎么设计就怎么设计。它们都是为虚假的《街头霸王》游戏制作的。至于我所了解到的情况，如果我没记错的话，卡普空每卖出一台《街头霸王》，就有五台拷贝。

\begin{aligned} IAN ROSE \\ General counse1, Capcom USA \end{aligned}

The rumours were - the kind of the gossip in the industry - that at a given time at the height of the popularity of the coin-op game, it might have been something like a ten-to-one ratio, counterfeit to real, or maybe higher. It was at least five or ten to one, and it may have been significantly higher than that.
业内有传言说，在投币游戏最流行的时候，假币和真币的比例可能是十比一，或者更高。至少是五比一或十比一，可能比这高得多。

BERT KITADE 伯特-基塔代
Head of operations, Capcom USA
美国卡普空运营主管
There were rumours about how people got software and all that stuff to copy it, and some of it had to be kind of true, but that was never proven. […] The coin-op games industry itself is a very back-alley type industry because it’s made up of - it’s all coins, right? [With an all-cash business], things go any which way. When videogames got into the home entertainment, it became more of a legitimate industry, but until that time, George and all these guys, Tsujimoto, would always tell me how to watch out for operators.
有传言说人们是如何得到软件和其他东西来复制它的有些传言可能是真的，但从未被证实过[......]投币游戏行业本身就是一个非常落后的行业，因为它是由硬币组成的，对吧？[全现金经营]，一切都会随波逐流。但在那之前，乔治和辻本等人总是告诉我如何提防经营者。

BRIAN DUKE 布里安-杜克

Street Fighter II: CE Western regional sales manager, Capcom USA
街头霸王 II：CE 美国卡普空西部地区销售经理
There were rumours left and right about a lot of different companies in our industry at that time. The Yakuza being involved; the Mafia being involved here. We heard that some companies that wanted to get into the gaming thing with slot machines were prohibited with the ownership that they currently had, and stuff like that. So I mean,
当时，关于我们行业中许多不同公司的传言此起彼伏。山口组参与其中，黑手党也参与其中。我们还听说，有些公司想涉足老虎机博彩业，但他们目前拥有的所有权被禁止了，诸如此类。所以我的意思是
it was never the cleanest industry, but I’ll tell you, it was one hell of a lot of fun.
它从来都不是最干净的行业，但我要告诉你，它非常有趣。
[Ed. note] In addition to dealing with counterfeit copies, the US coin-op industry of the early 1990s went through extensive debates over the legality of ‘parallel boards’, imported arcade games from Japan that US distributors could sell at lower prices than local versions. Around the same time, Capcom ran into issues with hackers adding chips to legitimate boards to alter games in different ways. For Rose on the legal side, most of his work targeted direct copies, which drew a clearer line over what was legal.
[编者注]除了对付仿冒品，20 世纪 90 年代初的美国投币业还经历了关于 "平行板 "合法性的广泛争论。"平行板 "是从日本进口的街机游戏，美国经销商可以以低于本地版本的价格出售。大约在同一时期，卡普空也遇到了黑客在合法游戏板上添加芯片，以不同方式改变游戏的问题。对于法律方面的罗斯来说，他的大部分工作都是针对直接拷贝的，这就为什么是合法划出了更清晰的界限。

$\to$ IAN ROSE $\to$ 伊恩-罗斯

General counse1, Capcom USA
美国卡普空总代表1
We tried to get law enforcement involved [in tracking down counterfeit copies] where we could, both here and internationally. We hired law firms that could help us file lawsuits against those that we, through investigation, found to be distributing the games.
无论在国内还是在国际上，我们都尽可能让执法部门参与[追查仿冒品]。我们聘请了律师事务所，帮助我们对那些我们通过调查发现在销售游戏的人提起诉讼。

We had some successes. […] I remember that we had, for example, in Taiwan - which was probably where a lot of the hardware was originating - we had a law firm help us with the Taiwan police to go after a group over there that [was] at least a source on some level of the pirated boards. And obviously we were on the US side. We had our parent company in Japan. But I came into Capcom as legal counsel on the US side before they had much of a legal department in Japan, at least with real lawyers. So we ended up running a lot of this anti-piracy programme from the US, and even in Taiwan we were the ones working with our lawyers and the police over there. We sent one of our technical people over. There was a raid and a litigation and so on that, at least temporarily, put those folks out of business.
我们取得了一些成功。[......]我记得，例如在台湾--可能是很多硬件的原产地--我们曾请一家律师事务所帮助我们与台湾警方合作，追捕那里的一个组织，该组织至少是盗版电路板的某种程度的来源。显然，我们是站在美国一边的。我们的母公司在日本。但在卡普空在日本设立法律部门（至少是真正的律师部门）之前，我是作为美国方面的法律顾问进入卡普空的。因此，我们在美国开展了很多反盗版项目，甚至在台湾，我们也与当地的律师和警方合作。我们派了一名技术人员过去。我们进行了一次突袭和诉讼，至少暂时让那些人破产了。

And we did similar raids on the US side. We had everybody from the local police to the FBI to customs people involved at different times in doing raids or interceding shipments of games coming in through the border.
我们在美国一侧也进行了类似的突击检查。从当地警察到联邦调查局，再到海关人员，我们都在不同时期参与了突袭行动，或阻止游戏从边境运入。
There was kind of a high-class problem, but a real problem, of limited supply. The demand was such that we couldn’t keep up. And so that of course drove the counterfeit sales, and it meant that we had issues with how many we could sell.
这是一个高级问题，但也是一个真正的问题，那就是供应有限。需求量大到我们跟不上。当然，这也推动了假冒伪劣产品的销售，这意味着我们在销售数量上遇到了问题。

\to

BRIAN DUKE

\to

布莱恩-杜克
Street Fighter II: CE Western regional sales manager, Capcom USA
街头霸王 II：CE 美国卡普空西部地区销售经理
I was turning away orders because we just couldn’t place them. We couldn’t get enough product.
我拒绝了很多订单，因为我们根本无法下单。我们拿不到足够的产品。
[Ed. note] Capcom initiated a handful of lawsuits against companies manufacturing and selling counterfeit Street Fighter games. In August 1993, for instance, Capcom won a lawsuit against a Korean company called Cointek, which a New Jersey court ordered to pay

$ 90, 613

to Capcom and

$ 55, 000

to the government, according to RePlay.
[编者注] 卡普空对制造和销售假冒《街头霸王》游戏的公司提起了一系列诉讼。例如，据 RePlay 报道，1993 年 8 月，卡普空赢得了对一家名为 Cointek 的韩国公司的诉讼，新泽西州法院命令该公司向卡普空支付

$ 90, 613

，并向政府支付

$ 55, 000

。

IAN ROSE 伊恩-罗斯

General counse1, Capcom USA
美国卡普空总代表1
[At one point when dealing with a law firm and the police in Taiwan, Capcom USA sent technician Y. Ming Chiu overseas to] verify what was counterfeit and what wasn’t. And he described one occasion where he’d gone to court to testify, and then that evening, everybody had gone out to dinner or was hanging around a bar and this is not unusual even in the US - and the defence attorneys and the prosecutors were kind of talking together. But he says that on one of those occasions, he was approached by somebody who said, ‘Hey, if you back off your testimony and just make it muddy, we’ll pay you some money.’ It was some tens of thousands of dollars
[在与台湾的一家律师事务所和警方交涉时，美国卡普空公司曾派技术人员 Y. Ming Chiu 出国]核实哪些是假冒产品，哪些不是。Ming Chiu 海外]核实哪些是假冒产品，哪些不是。据他描述，有一次他出庭作证，当天晚上，所有人都出去吃饭或在酒吧闲逛，即使在美国这也并不罕见，辩护律师和检察官在一起交谈。但他说，其中有一次，有人找到他说：'嘿，如果你放弃证词，把事情弄得一团糟，我们会给你一些钱。'钱大约有几万美元
or whatever that they were willing to pay him. […] Clearly, there was a lot at stake for those guys who were manufacturing those boards.
或者他们愿意付给他的任何报酬[很显然，这对那些生产电路板的人来说关系重大。
[Ultimately, I’m not sure whether our effort] was productive or not. […] It was like Whac-A-Mole. You felt like it had to be done, but you knew you had no chance of being completely successful, or even significantly successful. There was such a profit incentive in doing the counterfeit stuff, and [it was] so hard to catch any big chunk of it. And you know, I remember having that discussion internally of [whether it was worth the effort]. […] We probably one year spent upward of a couple million dollars in legal fees - and maybe that included some of the Data East litigation; that was also very expensive. […] But it was a high-class problem, because the company was doing very well despite those problems.
[最终，我不确定我们的努力] 是否有成效。[......]这就像打地鼠。你觉得必须这样做，但你知道你没有机会完全成功，甚至没有机会取得重大成功。做假货有这么大的利益驱动，而且很难抓到大块的假货。你知道，我记得内部曾讨论过[这样做是否值得]。[......]我们大概有一年花了几百万美元的律师费--可能还包括一些 Data East 的诉讼，那也是非常昂贵的。[......]但这是一个高级问题，因为尽管存在这些问题，公司的业绩还是非常好。

CHAPTER 05 第 05 章

STREET FIGHTER II TURB0: HYPER FIGHTING
街头霸王 2：超格斗

As Capcom dealt with counterfeit copies, they also stumbled onto a related problem: third-party upgrade kits.
在卡普空处理仿冒品的同时，他们还偶然发现了一个相关问题：第三方升级套件。

Often referred to as ‘speed-up kits’, jump kits’ or ‘enhancement kits’, these chips weren’t sanctioned by Capcom yet turned official Street Fighter boards into variants such as Accelerator Pt. II and Rainbow Edition, offering mid-air fireballs, the ability to change characters on the fly, and perhaps most notably, a faster overall speed.
这些芯片通常被称为 "加速套件"、"跳跃套件 "或 "增强套件"，它们并没有得到卡普空的认可，但却将官方的《街头霸王》板卡变成了《加速器第二版》和《彩虹版》等变体，提供了中空火球、即时更换角色的能力，也许最显著的是更快的整体速度。

As a concept, this was nothing new - upgrade kits were common in the 1980s and even led to one of the industry’s biggest hits: Ms. Pac-Man. But for a company that had just set a precedent with a limited follow-up of its own in Champion Edition, this posed a problem. Not only was Capcom not making money on these kits, but some players liked them better than the real thing.
作为一个概念，这并不是什么新鲜事--在 20 世纪 80 年代，升级套件很常见，甚至还带来了业界最热门的游戏之一：吃豆人女士》。但对于一家刚刚开创先例，推出限量版《冠军版》的公司来说，这就带来了一个问题。卡普空不仅没有从这些套装中赚到钱，而且有些玩家还喜欢它们胜过真品。

Capcom had little choice but to keep up.
卡普空别无选择，只能跟上。

THIRD-PARTY UPGRADE KITS 第三方升级套件

Once the third-party kits showed up, it didn’t take long for them to spread to arcades around the world. Thanks to the amusement industry’s loosely regulated distribution network, the kits moved far and fast, offering a new twist on the industry’s most popular game.
第三方工具包一经出现，很快就传遍了世界各地的商场。得益于娱乐业管理松散的分销网络，这些游戏套件传播得又远又快，为娱乐业最受欢迎的游戏提供了新的玩法。
‘For a while there, I felt like everybody and their mother was selling some sort of different Street Fighter kit,’ says Todd Cravens - whose father Bill sold these kits, among other things, after leaving Capcom.
托德-克雷文斯（Todd Cravens）说："有一段时间，我觉得每个人和他们的母亲都在卖某种不同的《街头霸王》套装。
When news of the kits hit those who worked on and played Street Fighter, reactions varied.
当这些套件的消息传到《街头霸王》的工作人员和玩家耳中时，他们的反应各不相同。

\to

ZENJI ISHII

\to

石井善治

\begin{aligned} ZENJI ISHII \\ Editor-in-chief, Gamest magazine \end{aligned}

Well, I laughed at first. I thought it was interesting in the context of how far people could go and what strange things people were capable of when they went and hacked into the game. Of course, there was no way this version of the game was ever going to make it onto the competitive scene, so in that sense there was very little for us to talk about in the magazine. It was definitely an illegal or an unauthorized version of the game.
一开始我也笑了。我觉得这很有趣，因为当人们黑进游戏时，他们能做到什么程度，能做出什么奇怪的事情。当然，这个版本的游戏是不可能进入竞技场的，所以从这个意义上说，我们在杂志上几乎没什么可谈的。这绝对是一个非法或未经授权的游戏版本。

\to

JAMES GODDARD

\to

詹姆斯-戈达德
Street Fighter II: Champion Edition design support, Capcom USA
街头霸王 II：冠军版设计支持，美国卡普空
It all happened pretty fast. I know that my bosses definitely got calls from operators saying, ‘Hey, how do I get one of these things?’ And it’s like, ‘What are you talking about?’ So there was initially that. I vaguely remember there being some kind of a discussion about it. Like, ‘Hey, have you heard anything about this?’ ‘No.’ And then within days, [I found one].
一切都发生得很快。我知道我的老板们肯定接到了接线员的电话，说'嘿，我怎么才能弄到这些东西？你在说什么？'最初就是这样。我依稀记得，当时有人讨论过这个问题。比如，'嘿，你听说过这件事吗？ ''没有。然后没过几天，[我就找到了一个]。

\to

NORITAKA FUNAMIZU

\to

野利高风水
Street Fighter II series producer, Capcom Japan
日本卡普空《街头霸王 II》系列制作人
I remember seeing [one of the third-party kits] and wondering, Wow, they really like the game enough to do this? I was just wondering, How did they do that? How did they reverse engineer the game and figure out how it worked? You should probably ask Ueyama about this as well.
我记得我看到[其中一个第三方套件]时还在想，哇，他们真的喜欢这款游戏，以至于这样做？我只是想知道，他们是怎么做到的？他们是如何对游戏进行逆向工程并找出其工作原理的？你或许也应该问问上山。

$\to$ TAKESHI TEZUKA
$\to$ 户冢武史

X-Men: Children of the Atom planner, Capcom Japan
X战警：原子之子》策划人，日本卡普空
You should probably ask Ueyama about that. I remember him being quite upset about that game.
你也许应该问问上山。我记得他对那场比赛相当不满。

\to

SHINICHI UEYAMA

\to

上山信一
Street Fighter II: Champion Edition 1ead programmer, Capcom Japan
街头霸王 II：冠军版 1ead 程序员，日本卡普空
Well, I didn’t feel sad or angry, in particular, at the beginning. I was like, Oh, they seem to have worked hard and oh, you can do this? Interesting. But then the problem was when it started becoming bigger and bigger, then that’s when I started to feel like, OK, well this is probably not good.
一开始，我并没有感到特别悲伤或愤怒。我当时想，哦，他们似乎很努力，哦，你能做到吗？很有意思但问题是，当它开始变得越来越大时，我就开始觉得，好吧，这可能不太好。

\to

JAMES GODDARD

\to

詹姆斯-戈达德
Street Fighter II: Champion Edition design support, Capcom USA
街头霸王 II：冠军版设计支持，美国卡普空
What I remember about it is the fact that there was so much buzz then among the players. ‘Oh, is there a special version? What is this? How can you do fireballs in the air?’ […] That shit was like, 25 to 30 percent faster [than Champion Edition]. It was almost unplayable. But boy, people were having a blast.
我记得的是，当时在球员中引起了很大的反响。'哦，有特别版本吗？这是什么？你怎么能在空中发射火球？'[......]那玩意[比冠军版]快了 25% 到 30%。几乎没法玩。但是人们玩得很开心
[Ed. note] While operators bought anything Street Fighterrelated they could get their hands on, and lots of players loved the third-party kits, the upgrades quickly revealed one of the key lessons of game design: if the game’s not balanced, the appeal doesn’t last.
[编者注] 虽然运营商们购买了一切与《街头霸王》有关的东西，很多玩家也喜欢第三方套件，但升级很快就揭示了游戏设计的一个关键教训：如果游戏不平衡，吸引力就不会持久。

OMOTAKA SUZUKI 大本聪

Street Fighter II series combo video creator
《街头霸王 II》系列连击视频创作者
I mean, I wasn’t really interested in [Rainbow Edition] because it wasn’t an authentic original Street Fighter II. I think they went too far with all the modifications they made. I think there’s more meaning and significance in playing the original arcade board than there is in playing anything else.
我的意思是，我对（彩虹版）并不感兴趣，因为它不是原汁原味的《街头霸王 II》。我认为他们的修改太过分了。我觉得玩原版街机比玩其他任何游戏都更有意义。

\begin{aligned} CHRIS TANG \\ Street Fighter II tournament player \end{aligned}

It’s not legitimate. You have a couple of guys that want to throw down at Street Fighter, they should be able to throw down with consistent, proper rules.
这不合法。如果有几个人想在《街头霸王》中大打出手，他们应该能够按照统一的、适当的规则进行比赛。

TOMOTAKA SUZUKI 铃木智孝
Street Fighter II series combo video creato
《街头霸王 II》系列连击视频制作
Even if we say ‘Rainbow Edition’, I believe there are like 30 or 40 different variants of it. Plus, it’s not an authentic version. It’s an illegal version of the game, and I don’t think that’s a good thing. If I were to record Rainbow Edition videos myself, I feel like it would hurt the value of the videos that l’d made before that.
即使是 "彩虹版"，我相信也有三四十种不同的版本。而且，这不是正版。这是游戏的非法版本，我认为这不是一件好事。如果我自己录制 "彩虹版 "视频，我觉得这会损害我之前录制的视频的价值。
treet Fighter II: Champion Edition design support, Capcom USA
卡普空美国公司冠军版设计支持，美国卡普空

At the time, [I] had my head all around balance and the importance of [being] fair and making sure the game was awesome and fun. [So] I was more annoyed by what I was seeing, but at the same time, I was little geeked out by some of the dumb shit with Guile’s Sonic Boom being a boomerang and doing a Spinning Piledriver from the air. Hell yeah. Let’s go.
当时，[我]满脑子都是平衡和[公平]的重要性，以及确保游戏的精彩和乐趣。[所以]我对我所看到的东西比较恼火，但与此同时，我也被一些蠢事弄得有点瞠目结舌，比如圭尔的音爆是回旋镖，还能从空中来个旋转劈叉。好极了我们走吧

For some reason, when Rainbow Edition came out, [Accelerator Pt. II]
不知何故，当彩虹版问世时，[加速器 Pt.］
came out, and Fighter’s History and those games came out - those are all very, very cheap games, and for some reason, we all found fun in that. Like, who could out-cheat or who could out-do things better.
这些都是非常非常廉价的游戏，出于某种原因，我们都从中找到了乐趣。比如说，谁能赢过谁，谁能把事情做得更好。

\to

JAMES CHEN

\to

JAMES CHEN
Street Fighter series commentator
《街头霸王》系列解说员
I played Rainbow Edition when it was popular […] because Champion Edition was so busted and not even competitive at the time. I mean, it was just all Bison, right? So when Rainbow Edition came out, I know a lot of people played it because it was novel. It was goofy, but at least it was something new.
在彩虹版流行的时候，我玩过它[......]因为冠军版当时太烂了，甚至没有竞争力。我的意思是，当时只有拜辛，对吧？所以当彩虹版出来的时候，我知道很多人都在玩，因为它很新颖。虽然很蠢，但至少有新意。

\to

JAMES GODDARD

\to

詹姆斯-戈达德
Street Fighter II: Champion Edition design support, Capcom USA
街头霸王 II：冠军版设计支持，美国卡普空
[The big problem was] the fallout with the operators, the operators just going, ‘Hey, we don’t want [Champion Edition] anymore.’ They were buying these

$ 200

, or whatever they were, Taiwanese aftermarket ROM upgrades, and the amount of chaos that was causing just took a while to really sink in. We knew it was trouble, [but it took time to see] how scary that threat was.
[最大的问题是]与运营商之间的冲突，运营商说：'嘿，我们不再需要[冠军版]了。他们购买了这些

$ 200

，不管它们是什么，台湾售后市场的 ROM 升级，而这所造成的混乱需要一段时间才能真正沉淀下来。我们知道这是个麻烦，[但需要时间来了解]这种威胁有多可怕。

AN OFFICIAL RESPONSE 正式答复

Due to the popularity of the various upgrade kits, it was only a matter of time before Capcom came up with one of their own. The game they ended up developing, Street Fighter II Turbo: Hyper Fighting, featured a faster speed, a handful of new special moves and character balance changes.
由于各种升级包大受欢迎，卡普空迟早会推出自己的升级包。他们最终开发的这款游戏名为《街头霸王 II 涡轮增压：超级格斗》（Street Fighter II Turbo: Hyper Fighting），其特点是速度更快、增加了一些新的特殊招式并改变了角色的平衡性。

As for how Hyper Fighting came about, again, different versions of the story exist.
至于《超级格斗》是如何诞生的，同样存在不同版本的说法。

JAMES GODDARD 詹姆斯-戈达德

Street Fighter II Turbo: Hyper Fighting design support, Capcom USA
《街头霸王 II Turbo：超级格斗》设计支持，卡普空美国公司
Rainbow Edition came out, the Taiwanese ROM upgrade with all the crazy fireballs in the air and the helicopter kicks working in the air - just everything broken. Super fast, super broken. We start hearing how these things are getting installed and operators are earning money off of them, but we’re not getting any of the action. So I go down to - I don’t know, Galaxy Arcade? I think it was in San Jose. I go and I take a look at this Rainbow Edition and I spend a good four hours playing it, looking at it and going, ‘Man, this is just garbage.’ On one hand, it’s kind of like, ‘Woo - look at these crazy-ass fireballs in the air.’ And on the other hand, it’s just like, ‘But it’s so unbalanced.’
彩虹版问世，台湾 ROM 升级，空中出现疯狂的火球，直升机在空中飞踢--一切都坏了。超快，超破。我们开始听说这些东西是如何被安装的，运营商如何从中赚钱，但我们却没有任何收获。所以我去了银河商场？我想是在圣何塞。我去看了看这个彩虹版，然后花了四个小时玩了起来，看着看着就想，'天啊，这简直就是垃圾'。一方面，它有点像'哇--看看空中这些疯狂的火球'。'而另一方面，又觉得'但它太不平衡了'。

I come back, and I spend the next few hours writing [a letter] to Japan saying Rainbow Edition is utter shit, utter garbage, there is no threat here, it is completely unbalanced and it’s a fad. Because as a player, emotionally, that’s how I felt. However, before I sent that fax off, I went into the cafeteria to play Champ Edition. I sit down to play [against my co-worker Joel Pambid], and the weirdest thing happens. He picks Guile; I pick Zangief. I go to play, and oh my god, the game felt like it was underwater. […] I had
回来后，我花了几个小时给日本写了一封信，信中说《彩虹版》是一坨屎，是垃圾，没有任何威胁，完全不平衡，是一种时尚。因为作为玩家，从情感上讲，我就是这么想的。然而，在我发出那份传真之前，我去食堂玩了《冠军版》。我坐下来 [与我的同事乔尔-潘比德] 对战，最奇怪的事情发生了。他选了古烈，我选了赞吉夫。我上场一看，天哪，比赛就像在水下进行一样。[...]我有
just spent the last four to six hours playing Rainbow Edition at 25 percent speed increase, so Champ Edition felt like shit. It was so slow. For the next two hours, I could not shake that. And it threw my timing off. […] It was just kind of this oh-my-god moment where I went, ‘The real threat of Rainbow Edition is not all the fireballs in the air and the craziness. The threat is the speed is addicting, and it changes everything.’
我刚刚花了四到六个小时玩彩虹版，速度提高了 25%，所以冠军版感觉糟透了。速度太慢了。接下来的两个小时，我都无法摆脱这种感觉。这让我无法掌握时间[......]就在那一刻，我觉得'彩虹版的真正威胁并不在于空中的火球和疯狂。威胁在于速度会让人上瘾，它会改变一切。

So I scrapped my report. I was there until three in the morning writing what my initial takeaway was, and then how much my motor skills were affected in just four to six hours of playing. […] I got the fax out saying, ‘Look, we need to do our own ROM upgrade to compete against these guys. We can kill them if it’s balanced - it’s spectacular but it’s balanced. We can absolutely kill these illegals, but it has to be competitively priced, and it has to be just balanced to the next level. We have tons of feedback of what’s wrong with Champ Edition on a tournament level. We could put in a bunch of stuff. It’d be awesome.’
于是我放弃了我的报告。我在那里一直写到凌晨三点，写下了我最初的收获，以及在短短四到六个小时的游戏中，我的运动技能受到了多大的影响。[......]我发传真说，'听着，我们需要升级我们自己的 ROM，才能与这些家伙竞争。只要平衡，我们就能干掉他们--虽然很壮观，但很平衡。我们绝对可以干掉这些非法分子，但价格必须有竞争力，而且必须平衡到更高水平。我们收到了大量关于《冠军版》在比赛层面的问题的反馈。我们可以加入很多东西。那会很棒
And I send that over. They were really worried about it, so they said, ‘OK, fine.’ […] Everybody agreed, ‘OK, we’ll give it a shot.’
我就把它寄过去了。他们真的很担心所以说 "好吧'[......]大家都同意，'好吧，我们就试试看。
[Ed. note] Similar to the situation with Champion Edition, Funamizu - who oversaw Hyper Fighting’s development as Akira Nishitani moved on to other projects - doesn’t recall it starting with a proposal from Goddard. In this case, he points to a general feeling around the office that Capcom had to do something to hold off the third-party kits, and a specific request from Capcom founder Kenzo Tsujimoto. And as it turned out, Funamizu says, this happened after Capcom had started development on a different Street Fighter sequel.
[编者注]与《冠军版》的情况类似，随着西谷彰（Akira Nishitani）转投其他项目，负责监督《超能格斗》开发的船水（Funamizu）也不记得是从戈达德（Goddard）的提议开始的。在这种情况下，他指出办公室里的人普遍认为卡普空必须采取一些措施来阻止第三方套件的出现，而卡普空创始人辻本健三（Kenzo Tsujimoto）也提出了具体要求。结果，Funamizu 说，这发生在卡普空开始开发另一款《街头霸王》续集之后。

NORITAKA FUNAMIZU 船水吕孝
Street Fighter II Turbo: Hyper Fighting producer, Capcom Japan
《街头霸王 II Turbo：超级格斗》制作人，日本卡普空
Champion Edition sold very well, so naturally that meant we were going to have to make a sequel
《冠军版》卖得很好，这自然意味着我们必须制作续集

At that time, what we had really wanted to make was a fighting game that was perfectly balanced. We also wanted to add new characters, though at that point, nothing else had been firmly decided. Those ideas eventually went on to become Super Street Fighter II, but while we were working on it, the [upgrade kits] showed up. In most countries, there are copyright laws where if you release your new product first, it gains copyright protection there. So Capcom was worried that if they didn’t create something right away, they wouldn’t be able to stop these copies from being produced. We were then asked to create something right away, as quickly as possible. And unfortunately that meant working through Christmas and New Year’s.
当时，我们真正想做的是一款完美平衡的格斗游戏。我们还想添加新的角色，尽管当时还没有确定其他任何东西。这些想法最终成为了《超级街头霸王 II》，但就在我们制作这款游戏的时候，[升级套件]出现了。在大多数国家，都有版权法，如果先发布新产品，就能获得版权保护。因此，卡普空担心，如果他们不立即制作一些东西，就无法阻止这些复制品的生产。于是，我们被要求立即制作出一些东西，越快越好。不幸的是，这意味着要在圣诞节和新年期间工作。
We ended up making that game in like, three months. We fasttracked it to get it done very quickly.
最后我们大概用了三个月就完成了那款游戏。我们快马加鞭，很快就完成了。

\to

SHINICHI UEYama

\to

上山信一
Street Fighter II Turbo: Hyper Fighting lead programmer, Capcom Japan
《街头霸王 II Turbo：超级格斗》首席程序员，日本卡普空
This is all just what I’ve heard, and I have to stress that I don’t know if it’s true or not. It might not be. But apparently, at that time, Capcom learned that pirated versions of its games were proliferating in countries outside of Japan, and the president, Kenzo Tsujimoto, learned the severity of the situation when he met with operators in America. There were fears that if this persisted, the market itself would collapse - that if bootleggers started profiting from these games, it would end up harming the quality of the gameplay and the entire industry. What I heard is that Capcom decided to release its own ‘copy’ of Rainbow Edition to stop that.
这都是我听说的，我必须强调，我不知道是真是假。也许不是。但显然，当时卡普空得知其游戏的盗版在日本以外的国家泛滥成灾，总裁辻本健三在与美国运营商会面时了解到了情况的严重性。有人担心，如果这种情况持续下去，市场本身就会崩溃--如果盗版商开始从这些游戏中获利，最终会损害游戏的质量和整个行业。我听说卡普空决定推出自己的《彩虹版》"复制品 "来阻止这种情况。

NORITAKA FUNAMIZU 船水吕孝
Street Fighter II Turbo: Hyper Fighting producer, Capcom Japan
《街头霸王 II Turbo：超级格斗》制作人，日本卡普空
Right. […] That’s what we’ve heard, that it was Kenzo’s decision.
对[我们听说这是 Kenzo 的决定。

\to

SHINICHI UEYAMA

\to

上山信一
Street Fighter II Turbo: Hyper Fighting lead programmer, Capcom Japan
《街头霸王 II Turbo：超级格斗》首席程序员，日本卡普空
Word came down to my boss, [Capcom executive Takashi] Aoki. He brought a bootleg version over to my desk and [asked me to make something similar to it]. Later he told me to write ‘TURBO’ in big red letters there in the centre. I said, ‘OK, you got it.’ So Chun-Li got a new move, we changed the background colors, we put the ‘TURBO’ text on the title screen, and James provided some ideas too, like Dhalsim’s teleporting.
我的老板（卡普空公司高管 Takashi）青木听到了这个消息。他把一个盗版拿到我的办公桌上，[让我做一个类似的东西]。后来，他让我在中间用红色大字写上'TURBO'。我说：'好的，你来吧。于是春丽有了新动作，我们改变了背景颜色，在标题屏幕上写上了'TURBO'，詹姆斯也提供了一些想法，比如达尔西姆的瞬移。
[Ed. note] Funamizu says that department head Yoshiki Okamoto made the final call on whether to move forward with the game. Okamoto, as part of the same Twitter reply mentioned in chapter four, said his memories are foggy and Capcom Japan took the feedback it got from Capcom USA seriously, but he doesn’t think that Capcom USA team members were close enough to the development process to take credit for the ideas behind Champion Edition and Hyper Fighting. We were unable to reach Aoki for this book.
[编者注]船水说，部门主管冈本芳树（Yoshiki Okamoto）最终决定是否继续开发这款游戏。冈本在第四章提到的同一条 Twitter 回复中说，他的记忆模糊了，日本卡普空认真对待了美国卡普空的反馈意见，但他不认为美国卡普空团队成员足够接近开发过程，可以将《冠军版》和《超能格斗》背后的创意归功于他们。我们无法就本书联系到青木。

DEVELOPMENT DEBATES 发展辩论

While Goddard and Funamizu have different recollections of Hyper Fighting’s origins, they both recall Goddard working with the team to help balance the game - and running into disagreements over the game’s speed in the process. The third-party kits had shown the appeal of characters flying across the screen, but they hadn’t convinced everyone at Capcom that the game could be balanced and competitive at that pace.
虽然 Goddard 和 Funamizu 对《超能格斗》的起源有不同的回忆，但他们都记得 Goddard 曾与团队合作帮助平衡游戏，并在此过程中就游戏速度问题产生了分歧。第三方工具包展示了角色在屏幕上飞舞的魅力，但他们并没有说服卡普空的所有人，让他们相信游戏可以在这种速度下保持平衡和竞争力。

JAMES GODDARD 詹姆斯-戈达德

Street Fighter II Turbo: Hyper Fighting design support, Capcom USA
《街头霸王 II Turbo：超级格斗》设计支持，卡普空美国公司
The Japanese were like, ‘This is crap. We don’t want to speed it up. We do not want to speed this up.’ And so anyway, because the business guys were all involved, they agreed to bring it to the - I think it was the AMOA [Amusement & Music Operators Association] show. Because it was all about the same timing. So they took a version of the game to the AMOA show with Chun-Li throwing a fireball and at 5 percent faster, and we got hammered at the show. Hammered by the operators basically saying, ‘Fuck you guys. We’ll buy the illegal one for

$ 150

$ 200

rather than this piece of crap here.’ And so Mr Tsujimoto, who was the head of all of Capcom, had heard about this and that the numbers were not looking good coming out of the show, so they came to me and said - he’s
日本人就说，'这是垃圾。我们不想加快速度。我们不想加快速度。因此，无论如何，因为商业人士都参与其中，他们同意把它带到--我想是 AMOA（娱乐和音乐经营者协会）的展会上。因为时间都差不多。于是，他们把游戏的一个版本带到了 AMOA 展会上，春丽扔出了一个火球，而且速度快了 5%。我们在展会上受到了打击，运营商基本上都在说'去你们的'。我们要买非法的

$ 150

或

$ 200

，而不是这个垃圾。辻本先生是卡普空公司的负责人，他听说了这件事，也听说了展会上的数据并不乐观，所以他们来找我说--他是卡普空公司的创始人。
like, ‘You will design this … and you have until tomorrow.’ So I spent all night with my apprentice, Joe. We sat together, designed the whole thing out, a whole bunch of changes [such as making it 15 percent faster instead of 5 percent], and then we pitched them. And there was a lot of resistance. They flew me over to Japan a week later for two and a half weeks to do the development and sit with the Japanese to make it happen.
比如说，'你来设计这个......明天之前你必须完成'。于是，我和我的学徒乔花了整整一个晚上。我们坐在一起，设计了整个东西，做了一大堆改动（比如把速度从 5% 提高到 15%），然后我们向他们提出了建议。结果遇到了很多阻力。一周后，他们让我飞到日本，花了两个半星期的时间进行开发，并与日本人坐在一起，使之成为现实。

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JOE GANIS

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乔-加尼斯
Street Fighter II Turbo: Hyper Fighting software tester, Capcom USA
《街头霸王 II Turbo：超级格斗》软件测试员，卡普空美国公司
Basically, James came up to me one day and said, ‘Joe, Japan think they’re gonna do some more stuff on Street Fighter. What’s on your mind?’ So I took a yellow pad and I wrote down everything I thought of, and thought of a bunch of counter-play elements [to give players more options against projectile attacks like fireballs], and gave that to James. And he said he’d take it to Japan and he did.
基本上，有一天詹姆斯走过来对我说：'乔，日本方面认为他们会在《街头霸王》上做更多的东西。你有什么想法？于是我拿了一张黄纸，写下了我想到的所有东西，并想出了一系列反击元素（让玩家在面对火球等弹射攻击时有更多选择），然后把这些东西交给了詹姆斯。他说他会把这个想法带到日本去，他做到了。

~ TOM SHIRAIWA

Street Fighter II series translator, Capcom Japan

We had a lot - a lot - of arguments. Whenever James came over to Japan and had a meeting with the team, it was always a very exciting meeting. People would get so excited that they’d yell at each other.
我们有过很多很多的争论。每当詹姆斯来到日本，与球队开会时，总是非常激动人心。大家都会兴奋得大喊大叫。
ALEX JIMENEZ 亚历克斯-希门尼斯
Super Street Fighter II design support, Capcom USA
《超级街头霸王 II》设计支持，卡普空美国公司

James is so over the top, it’s ridiculous. […] He’s one of these Big Lebowski-type guys - loud, crazy, really enthusiastic, energetic. […] They used to call him E. Honda because he was so pushy.
詹姆斯太夸张了，太可笑了。[他是那种 "大李博斯基 "式的人--大声、疯狂、热情、精力充沛。[......]他们习惯叫他 E. Honda，因为他太爱出风头了。

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TOM SHIRAIWA

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TOM SHIRAIWA
Street Fighter II series translator, Capcom Japan
《街头霸王 II》系列翻译，日本卡普空

James was somewhat pushy at that time, and when he saw some issue with the game he’d always request to fix that as soon as possible. But sometimes the team had [other] issues to deal with. They couldn’t think about the US market only. They’d sometimes get contradictory feedback from other markets, like the Asian and European markets. So there were many reasons why they couldn’t make changes, but still James was saying, ‘This change has to be made.’
詹姆斯当时有些爱出风头，当他看到游戏出现问题时，总是要求尽快解决。但有时团队也有其他问题要处理。他们不能只考虑美国市场。他们有时会从亚洲和欧洲等其他市场得到相互矛盾的反馈。因此，有很多原因导致他们无法做出改变，但詹姆斯还是说：'必须做出这样的改变。

JAMES GODDARD 詹姆斯-戈达德

Street Fighter II Turbo: Hyper Fighting design support, Capcom USA
《街头霸王 II 涡轮增压：超级格斗》设计支持，卡普空美国公司
Tom was there for all the crazy shit. Dude was like, ‘Just let it go.’
汤姆见证了所有疯狂的事情。老兄说，"顺其自然吧。
He had to deal with a very riled-up version of me. […] I was way over the top once upon a time.
他不得不面对一个暴躁的我[......]我曾经也很过分。

ALEX JIMENEZ 亚历克斯-希门尼斯

Super Street Fighter II design support, Capcom USA
《超级街头霸王 II》设计支持，卡普空美国公司
[Tom] was awesome. He went to bat for us many times. We had all these crazy ideas, and he always had this kind of resolve: ‘Oh, why do you do this to me?’ He was a good guy and stood up for us.
[汤姆]太棒了。他多次为我们出谋划策我们有很多疯狂的想法他总是很坚定地说"哦，你为什么要这样对我？"他是个好人，为我们挺身而出。

TOM SHIRAIWA 白岩
Street Fighter II series translator, Capcom Japan
《街头霸王 II》系列翻译，日本卡普空
The most challenging part was, you know, whatever James said, the team said, ‘Isn’t it just your personal opinion? Is this what all American people [think], like an average opinion from the American players? How can you prove that?’ That was always the most challenging thing to prove to them. And then because James was a very hardcore Street Fighter II player himself, there were some characters he particularly liked. So he was more into Zangief balancing, sometimes [trying to make him stronger]. When the team sees that, then James’ report doesn’t sound credible anymore. So I always tried to make sure that his reports sounded fair to everybody.
最具挑战性的部分是，无论詹姆斯说什么，队员们都会说：'这不只是你的个人观点吗？这是不是所有美国人的[想法]，比如美国球员的平均看法？你怎么能证明这一点？'向他们证明这一点总是最具挑战性的事情。然后，因为詹姆斯本身就是《街头霸王 II》的铁杆玩家，所以他特别喜欢一些角色。所以他更喜欢平衡赞吉夫，有时[试图让他变得更强]。当团队看到这一点时，詹姆斯的报告就不再可信了。所以我一直努力确保他的报告对每个人都是公平的。

JAMES GODDARD 詹姆斯-戈达德

Street Fighter II Turbo: Hyper Fighting design support, Capcom USA
《街头霸王 II Turbo：超级格斗》设计支持，卡普空美国公司
A big nightmare fight happened over there, over the fact that basically no one wanted to make it faster, and unfortunately the market spoke. My mentor Akira Nishitani was very disappointed with the fact that I wanted to make it faster. He no longer was my mentor after that. Because he had down, to the milliseconds, how people could respond to seeing a fireball [by jumping over it, and then how the other player could counter with an] uppercut. And this
在那里发生了一场噩梦般的争吵，因为基本上没有人想让它更快，不幸的是，市场说话了。我的导师西谷彰（Akira Nishitani）对我想让速度更快这一事实感到非常失望。从那以后，他就不再是我的导师了。因为他把人们看到火球后的反应时间精确到了毫秒，[跳过火球，然后对方可以用]上勾拳进行反击。而这
was breaking all of that research he did. And I just showed him, at the end of the day, you speed it up 15 percent, people will adapt and they’ll be able to see it. So that created a bit of a falling out. […] On Hyper Fighting, [Nishitani] washed his hands of it.
他所做的所有研究都被打破了。我只是告诉他，到最后，你把速度提高 15%，人们就会适应，就能看到了。于是双方就闹翻了。[......]关于《超级格斗》，[西谷]已经洗手不干了。
[Ed. note] [编者注]
014 Polygon article, Nishitani said he didn’t move on because of differences of opinion over Hyper Fighting, but because Capcom’s beat-'em-up Aliens vs. Predator needed help. He added that he felt Hyper Fighting was 'a bit fast’ for his tastes, but he wasn’t opposed to that decision - instead, he thought the speed made the game more about predicting attacks rather than responding to them, which required tuning it differently.
014 Polygon 的文章中，Nishitani 说他并不是因为对《Hyper Fighting》的意见分歧而转行，而是因为卡普空的beat-'em-up 《Aliens vs. Predator》需要帮助。他补充说，他觉得《超级格斗》对他的口味来说 "有点快"，但他并不反对这个决定--相反，他认为这种速度让游戏更注重预测攻击而不是应对攻击，这就需要对游戏进行不同的调整。

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JOE GANIS

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乔-加尼斯
Street Fighter II Turbo: Hyper Fighting software tester, Capcom USA
《街头霸王 II Turbo：超级格斗》软件测试员，卡普空美国公司
I think Japan was feeling that it was moving too quickly, and I was definitely [Goddard’s] back-up on that; I was like, ‘This Turbo stuff is so much improved over the standard version. The gameplay is faster; the movement is just as precise as it was before but you have to be able to process things so much quicker.’ And of course you’d also spend more money because Turbo fights [ended] a little bit quicker.
我认为日本方面觉得游戏进行得太快了，而我绝对是（戈达德）的后盾；我当时想，'Turbo 的东西比标准版改进太多了'。游戏速度更快了，动作和以前一样精确，但你处理事情的速度必须更快。当然，你也会花更多的钱，因为 Turbo 战斗结束得更快一些。

\to

TOM SHIRAIWA

\to

TOM SHIRAIWA
Street Fighter II series translator, Capcom Japan
《街头霸王 II》系列翻译，日本卡普空
The team [in Japan] never believed making it twice as fast would make for reasonable gameplay. ‘It will end up losing all the strategies.’ But actually trying [the third-party] versions told them it could be fun. That helped them to be convinced there was a need for this. And of course, we did not want some pirates to take away our potential profits.
日本]团队从不相信把速度提高一倍会带来合理的游戏性。'最终会失去所有的策略。但实际尝试过 [第三方] 版本后，他们发现这很有趣。这让他们相信有必要这样做。当然，我们也不希望一些盗版者夺走我们的潜在利润。

NORITAKA FUNAMIZU 船水吕孝
Street Fighter II Turbo: Hyper Fighting producer, Capcom Japan
《街头霸王 II Turbo：超级格斗》制作人，日本卡普空
We ran into a lot of challenges on Hyper Fighting. The animation skipping frames …
我们在《超级格斗》中遇到了很多挑战。动画跳帧...

SHINICHI UEYAMA 上山真一
Street Fighter II Turbo: Hyper Fighting lead programmer, Capcom Japan
《街头霸王 II Turbo：超级格斗》首席程序员，日本卡普空
Yeah, the animation was an issue. […] Because we sped up the game, sometimes, say you had a three-frame animation, the first and third frames would show, but the second would drop out.
是啊动画是个问题[......]因为我们加快了游戏速度，有时候，比如你有一个三帧动画，第一帧和第三帧会显示出来，但第二帧就会掉出来。

NORITAKA FUNAMIZU 船水吕孝
Street Fighter II Turbo: Hyper Fighting producer, Capcom Japan
《街头霸王 II Turbo：超级格斗》制作人，日本卡普空
Finding just the right speed at which that problem wouldn’t occur was a real pain. Honestly, there were a lot of things that didn’t fit right, or would get de-synced, when we raised the speed of the game. That was something James didn’t understand. He wanted us to make it go even faster, and we had to keep telling him that would break the game.
要找到一个合适的速度来避免出现这种问题，确实是一件非常痛苦的事情。老实说，当我们提高游戏速度时，有很多东西都不合适，或者会出现不同步的情况。詹姆斯对此并不理解。他希望我们让游戏速度更快，而我们不得不不断告诉他这样会破坏游戏。

SHINICHI UEYAM 上山信一

Street Fighter II Turbo: Hyper Fighting 1ead programmer, Capcom Japan
街头霸王 II Turbo：超级格斗 1ead 程序员，日本卡普空
One time, I actually showed James how the game would look if we programmed it at the speed he wanted. I said, ‘No one’s going to be able to play this!’ James might have been able to enjoy it that way, but we didn’t think anyone else would, especially newcomers to the game. I explained it to him as plainly as I could, but I remember he didn’t like hearing that. [laughs]
有一次，我向詹姆斯展示了如果我们按照他想要的速度编程，游戏会是什么样子。我说：'没人会玩这个的！'詹姆斯可能会喜欢这种方式，但我们认为其他人不会，尤其是新手。詹姆斯可能会喜欢这种方式，但我们认为其他人不会喜欢，尤其是游戏新手。我尽可能简单明了地向他解释，但我记得他并不喜欢听我这么说。[笑]
[Ed. note [编者注
Goddard says the speed debates came to a head after Capcom agreed to put two versions of the game on test to see which players liked better one with the changes he wanted, and one with the changes Funamizu wanted.
戈达德说，在卡普空同意对游戏进行两个版本的测试，看看玩家更喜欢哪个版本后，速度问题的争论才有了结果。

JAMES GODDARD 詹姆斯-戈达德

Street Fighter II Turbo: Hyper Fighting design support, Capcom USA
《街头霸王 II Turbo：超级格斗》设计支持，卡普空美国公司
Funamizu liked to let people know they were wrong and remind them of their place. [We spent] two hours going to this arcade that was way outside of the main test sites in Osaka to ensure the changes I had designed would be safely tested without word getting out, and he’s riding me off and on about how I should be prepared to be embarrassed and how it’s going to be a failure and, you know, ‘Don’t take it too hard.’ We get there and there’s just fifty kids around this machine, freaking the fuck out. So that was the moment that my career went woo in the business and went sideways at Capcom, because it was a big thing to go from knowing what USA players wanted after the Rainbow bootleg hit, to ‘Oh shit. Wait, what’s happening? Even in Japan, people like this shit.’
船水喜欢让别人知道他们错了，并提醒他们注意自己的位置。[我们花了两个小时去大阪主要测试地点之外的一家商场，以确保我设计的改动能在不走漏风声的情况下安全地进行测试，他不停地跟我说，我应该做好出丑的准备，这将是一次失败，你知道的，'别太在意'。我们到了那里，50个孩子围着这台机器，吓得屁滚尿流。就在那一刻，我在卡普空的职业生涯发生了转折，因为从《彩虹》盗版热卖后知道美国玩家想要什么，到 "哦，该死。等等，发生了什么？即使在日本，人们也喜欢这玩意儿。
[I remember] literally walking up the steps - still getting prodded to be ready for disappointment and even better: design humiliation - when some guy that was part of the staff came running down the steps and met us, and said some shit really excitedly to the translator. Funamizu’s face dropped and the translator looked at me and said, ‘Well, you’re going to be happy but this is not good.’
[我记得]我真的走上了台阶--还在被催促着做好失望的准备，更妙的是：设计上的羞辱--这时，一个工作人员跑下台阶，迎面走来，非常兴奋地对翻译说了一些屁话。船水的脸垮了下来，翻译看着我说："好吧，你会很高兴的，但这并不好。
It’s a success. And because I was called out and challenged on the design changes for this test, the guy started losing face and that was really something not intended or even something I could understand was going to happen.
这是一次成功。因为我在这次测试的设计变更上受到了批评和质疑，这家伙开始丢面子，而这确实不是我的本意，甚至我都不知道会发生什么。

Unfortunately, it did not stop there. We go to America with my version of Street Fighter II: Hyper Fighting, and he brings his version. We tested an A/B test, side-by-side. Mine out-earned his, three to one, because mine was what the players wanted. The other version was much slower, had different balance tweaks and commands like press down and three buttons to do a teleport with Dhalsim; press this way and three buttons to teleport, and other
不幸的是，事情并没有到此为止。我们带着我的版本的《街头霸王 II：超能格斗》去美国，他带着他的版本。我们并肩进行了 A/B 测试。我的版本以三比一的优势战胜了他的版本，因为我的版本才是玩家想要的。另一个版本的速度要慢得多，平衡性调整和指令也不一样，比如按下三个按钮就可以用达尔西姆进行瞬移；按这边再按三个按钮就可以进行瞬移，还有其他一些指令。
changes that just did not resonate with the hardcore players at that location. Believe me, I know the guy’s super talented and he was way bigger than I was in Capcom, but putting it side-by-side like that […] made it a direct challenge and he lost again - and so did I, career-wise, from that.
但这一变化并没有引起现场铁杆玩家的共鸣。相信我，我知道这家伙才华横溢，而且他在卡普空的地位比我高得多，但就这样并肩作战[......]让比赛变成了直接挑战，结果他又输了--从职业生涯来看，我也输了。
In clear hindsight, [we didn’t intend to make him to look bad. Capcom USA] wanted the version. We had Rainbow Editions running wild and [Funamizu] got stuck with me as the co-lead when Tsujimoto authorized the creation of Hyper and they sent me - with my ass on the line for it - to go make it happen. That put us on a collision course and his disadvantage was he was not deeply connected to Street Fighter II and Champion Edition’s player base, and I was, so it became a thing. Here’s this pushy kid from America, you know? He’s not even a designer. He’s like, an apprentice. He’s barely learning. He’s influencing all of our games. […] You know, Who is this guy? So he wanted to put me in my place, and this was famously told to me by [a different translator]: ‘At some point, you’ve just got to let it go.’ It was wise advice, but I couldn’t let it go. It was about our players. It was about the game. So this might be why Funamizu doesn’t want to give me any credit, and that’s fine. I’ve always danced around some of the stuff I’ve shared today, however it is important to share the kinds of hurdles we as designers may face and [how we] sometimes end up in a tough choice between choosing career path or passion. None of us wanted to change Champion Edition this way, but Rainbow Edition bootlegs forced our hands, and in the chaos some of us clashed hard.
事后看来，[我们并不想让他难堪。卡普空美国公司]想要这个版本。辻本授权制作《Hyper》时，[船水]和我一起担任联合负责人，他们派我冒着生命危险去实现《Hyper》。他的劣势在于，他与《街头霸王 2》和《冠军版》的玩家基础联系不深，而我则很深，所以这就成了一件事。这个来自美国的孩子很爱出风头，你知道吗？他甚至不是设计师他只是个学徒他几乎没怎么学他影响了我们所有的游戏[你知道，这家伙是谁吗？所以他想让我摆正位置，[另一位翻译]曾对我说过一句名言：'在某些时候，你必须放手去做'。'这是个明智的建议，但我不能让它过去。这是关于我们的球员。这是关于比赛的。这可能就是为什么船水不想给我任何荣誉，这很好。我一直都在回避我今天分享的一些东西，但分享我们作为设计师可能会面临的障碍，以及[我们]有时是如何在选择职业道路还是选择激情之间做出艰难抉择的，这一点很重要。我们都不想以这种方式改变《冠军版》，但《彩虹版》的盗版迫使我们不得不这样做，在混乱中，我们中的一些人发生了激烈的冲突。

Ultimately, after that

A / B

test, everyone realized this was really going to be a good upgrade to the game. We worked together and really polished it, put more time into it than originally planned - less than one month became six-to-eight weeks - to give the players worldwide an amazing game.
最终，在

A / B

测试之后，每个人都意识到这将是对游戏的一次很好的升级。我们齐心协力，精益求精，投入了比原计划更多的时间--不到一个月的时间变成了六到八周--为全球玩家带来了一款令人惊叹的游戏。

\to

NORITAKA FUNAMIZU

\to

野利高风美津
Street Fighter II Turbo: Hyper Fighting producer, Capcom Japan
《街头霸王 II Turbo：超级格斗》制作人，日本卡普空
It’s very possible that there were two versions of the game tested. I do not remember that particular point very clearly, but it’s possible. If I’m understanding correctly, James says that the version that he wanted to do was the one that got better received and therefore, Capcom went with it. I don’t think that’s true because I was the one who made those decisions back in the day. I really don’t remember, sorry.
很有可能测试的游戏有两个版本。我记得不是很清楚，但这是有可能的。如果我没理解错的话，詹姆斯说他想做的那个版本反响更好，所以卡普空就选择了它。我不认为这是真的，因为当年是我做的这些决定。我真的不记得了，抱歉。

If we’re talking about Hyper Fighting, I think the biggest difference ended up being the game speed. James thought the game should be even faster, but we had received a lot of feedback from Japanese players that it shouldn’t be that fast. So I think that’s probably why we ended up doing tests, to gather more feedback on that point.
如果说到《超级格斗》，我认为最大的不同是游戏速度。詹姆斯认为游戏速度应该更快，但我们收到了很多日本玩家的反馈，认为游戏速度不应该那么快。所以我想这可能就是我们最终进行测试的原因，以收集更多关于这一点的反馈。
The way I remember him then, was that he was this non-Japanese person, this foreigner who came into the company, and in Japan many people don’t look well on those who are outspoken and freely give their own opinions. I fully intended to have a good working relationship with him, though.
我当时对他的印象是，他是一个非日本人，一个来到公司的外国人，而在日本，很多人并不看好那些直言不讳、随意发表自己意见的人。不过，我完全想和他建立良好的工作关系。

In terms of trying to verify what he actually did, from my viewpoint, he worked with the Japanese staff in order to develop the game. I also felt like, at the time, having a person like James on the team was kind of a status symbol for us. At the end of the day, I think he probably remembers the things he did himself, whereas I can’t remember specifically what he did.
就核实他的实际工作而言，在我看来，他与日本员工合作开发了这款游戏。我还觉得，在当时，有詹姆斯这样的人加入团队对我们来说是一种身份的象征。最后，我想他可能还记得他自己做的事情，而我却记不清他具体做了什么。
I did feel like perspectives were just naturally going to be a little different between the Japan side and the US side, and that’s actually why I took a lot of the US side’s opinions very seriously. Capcom tried as much as possible to listen to what James and others said. Nowadays you can just talk to anybody on the team directly, right? But back in the day there were more go-betweens, specific people who communicated with the overseas departments, and that was
我确实觉得日本方面和美国方面的观点自然会有些不同，这也是我非常重视美国方面很多意见的原因。卡普空尽可能听取詹姆斯和其他人的意见。如今，你可以直接与团队中的任何人交谈，对吧？但在过去，有更多的中间人、特定的人负责与海外部门沟通，那就是
how information got to me, which probably had an influence on the level of communication we were able to have.
信息是如何到达我手中的，这可能会影响到我们之间的交流水平。
[Ed. note] Multiple people speaking for this book have pointed to limited communication between Capcom USA and Capcom Japan at the time, saying that misunderstandings didn’t just happen, but were common.
[编者注]多位为本书撰稿的人士指出，当时美国卡普空公司和日本卡普空公司之间的沟通有限，误解并非偶然发生，而是普遍现象。

HYPER FIGHTING'S SUCCESS 超级战斗的成功

Hyper Fighting hit arcades in December 1992, marking the third of Capcom’s Street Fighter CPS-1 games. It was immediately popular, being cheap enough (around $200) that many arcade operators bought in, though the low price of an upgrade kit meant Capcom didn’t see the same sort of financial upsides as they had with Champion Edition - at least, until they released a console version the following year.
超级格斗》于 1992 年 12 月登陆街机厅，是卡普空推出的第三款街霸 CPS-1 游戏。尽管升级套件的低廉价格意味着卡普空并没有看到与《冠军版》相同的经济效益，但这款游戏还是立即受到了欢迎，因为它的价格足够便宜（约 200 美元），许多街机运营商都购买了这款游戏。

In fact, in a 2021 YouTube video, Okamoto said that Capcom didn’t factor shipping costs into their Hyper Fighting kit sales in America, which he said led to Capcom taking a loss on the project. Okamoto blames this on a Capcom USA president he refers to as " N -san," which may refer to George Nakayama, who Okamoto says was opposed to the release of Hyper Fighting from the beginning. Okamoto says the shipping mistake frustrated staff at Capcom Japan, who felt like their effort had been wasted.
事实上，在 2021 年的一段 YouTube 视频中，Okamoto 说卡普空在美国销售《超能格斗》套装时没有考虑运费因素，他说这导致卡普空在该项目上出现亏损。冈本将此归咎于卡普空美国公司的一位总裁，他将其称为 "N -san"，这可能是指乔治-中山（George Nakayama），冈本说他从一开始就反对发行《超能格斗》。冈本说，这次发货失误让日本卡普空的员工感到沮丧，他们觉得自己的努力白费了。
Still, many on both sides consider the game a success, and the game’s faster speed appealed to a large number of players. In their April 1993 issue, RePlay magazine reported that, a few months in, Capcom USA had sold 11,000 arcade upgrade kits, and 2,000 additional Champion Edition boards with Hyper Fighting pre-installed.
尽管如此，双方的许多人都认为这款游戏是成功的，游戏更快的速度吸引了大量玩家。据《RePlay》杂志 1993 年 4 月刊报道，几个月来，美国卡普空公司已售出 11,000 套街机升级套件，以及 2,000 块预装了《超级格斗》的冠军版游戏板。

JAMES GODDARD 詹姆斯-戈达德
Street Fighter II Turbo: Hyper Fighting design support, Capcom USA
《街头霸王 II Turbo：超级格斗》设计支持，卡普空美国公司
Hyper Fighting ended up being so strong that, not only do we sell tens of thousands of the ROM upgrades, we sold well over 5,000 [more Champion Edition boards]. We just sold more, and then
《超级格斗》的销量如此之高，以至于我们不仅卖出了数以万计的 ROM 升级版，还卖出了 5000 多块[冠军版]。我们只是卖出了更多，然后
that thing took off like crazy. Sold how many? Four or five million Super Nintendo [cartridges] worldwide? I mean, the player demand just kind of made [the unofficial kit] problem go away.
那东西卖疯了卖了多少？全球四五百万个超级任天堂（卡带）？我的意思是，玩家的需求让[非官方套件]问题消失了。

I know there’s versions [of the unofficial kits] out there.
我知道外面有一些[非官方套件]的版本。
Some arcades probably held onto them as a cool thing, but when your customers are coming in and going, ‘I don’t want that. I want this’, then they go buy the real thing.
一些商场可能会把它们当作很酷的东西，但当你的顾客走进来并说 "我不想要那个，我想要这个 "时，他们就会去买真东西。我想要这个 "时，他们就会去买真货。
We got really lucky. We were really lucky that worked.
我们真的很幸运。我们真的很幸运，它成功了。

$\to$ NORITAKA FUNAMIZU
$\to$ 野利高风美津

Street Fighter II Turbo: Hyper Fighting producer, Capcom Japan
《街头霸王 II Turbo：超级格斗》制作人，日本卡普空
As for what I think went well, basically just increasing the game speed … and as you know, there was that pesky illegal version going around, so I was happy we were able to release our own proper, official sped-up version.
至于我认为进展顺利的方面，基本上就是提高游戏速度......大家都知道，当时有一个令人讨厌的非法版本在流传，所以我很高兴我们能推出自己的正式加速版本。

$\to$ JAMES GODDARD $\to$ 詹姆斯-戈达德

Street Fighter II Turbo: Hyper Fighting design support, Capcom USA
《街头霸王 II Turbo：超级格斗》设计支持，美国卡普空
To this day, I can’t go back and play original Street Fighter II or Champion Edition worth a shit because I’m just used to the faster stuff, right? And I’m sure some people reading that [who I used to play] would go, ‘You never could play it worth a shit anyway.’
时至今日，我已经无法再玩最初的《街头霸王 II》或《冠军版》了，因为我已经习惯了更快的游戏，对吧？我相信有些人读到这篇报道（我曾经玩过）会说，'反正你也玩不出什么名堂'。

\to

NORITAKA FUNAMIZU

\to

野利高风美津
Street Fighter II Turbo: Hyper Fighting producer, Capcom Japan
《街头霸王 II Turbo：超级格斗》制作人，日本卡普空
I would say with Hyper Fighting, we were very successful in suppressing or reducing the impact of the pirated version. We were able to convey the message that this is our game, right? This is the real thing. And I think the game was very successful for that reason.
我认为，在《超级格斗》中，我们非常成功地抑制或减少了盗版的影响。我们能够传达这样的信息：这是我们的游戏，对吗？这才是真正的游戏。我认为这款游戏因此非常成功。

\to

CHRIS TANG

\to

CHRIS TANG
Street Fighter II Turbo: Hyper Fighting tournament player
《街头霸王 II Turbo：超级格斗》锦标赛选手
In a sense, I’m thankful to Rainbow Edition existing to facilitate
从某种意义上说，我感谢《彩虹版》的存在，为我们提供了便利。
the need for Turbo: Hyper Fighting, and then James and Dave [Winstead, who also worked on Hyper Fighting at Capcom USA] got to do their thing and we had what I feel is the most balanced version of the game.
然后詹姆斯和戴夫（温斯蒂德，他也曾在美国卡普空公司参与过《超能格斗》的制作）就可以各展所长了，我们就有了我认为最平衡的游戏版本。

\to

JAMES CHEN

\to

JAMES CHEN
Street Fighter series commentator
《街头霸王》系列解说员

When they made Hyper Fighting and Hyper Fighting was so good, that just made everybody stop [playing unofficial versions] instantly. So, in making Hyper Fighting, they did a good job. They did exactly what they needed to do, right? Which was to counteract the Rainbow Edition.
他们制作了《超级格斗》，而且《超级格斗》非常出色，这让所有人都立刻停止了（玩非官方版本）。因此，在制作《超级格斗》时，他们做得很好。他们做了他们需要做的事情，对吗？这就是为了对抗彩虹版。

\to

CHRIS TANG

\to

CHRIS TANG

\begin{aligned} CHRIS TANG \\ Street Fighter II Turbo: Hyper Fighting tournament player \end{aligned}

Turbo: Hyper Fighting is kind of like my high point for all fighting games. That was the game that everybody in the world played the most when there were only a few fighting games around. And I don’t know if it’s ever going to get as good as that again.
《涡轮：超格斗》是我对所有格斗游戏的最高评价。在格斗游戏屈指可数的时候，它是世界上所有人玩得最多的游戏。我不知道以后还能不能再有这么好的游戏。

CHAPTER 06 第 06 章

BRINGING THE GAMES HOME 将比赛带回家

As with most popular arcade games of the 1990s, it was only a matter of time before Street Fighter II made its way to home consoles.
与 20 世纪 90 年代大多数流行的街机游戏一样，《街头霸王 II》进入家用游戏机市场也只是时间问题。

While Capcom had released the original Street Fighter on consoles years earlier, most notably in the form of a TurboGrafx-CD release under the name Fighting Street, at that point the series didn’t have the sort of clout to make a major impact on the market. But after Street Fighter II took off in arcades, suddenly Street Fighter wasn’t just another brand to sell on consoles, but a brand that could sell consoles.
虽然卡普空早在几年前就在游戏机上推出了最初的《街头霸王》，其中最著名的是以 "格斗街 "为名推出的 TurboGrafx-CD 版本，但在当时，该系列还不具备在市场上产生重大影响的影响力。但在《街头霸王 II》在街机厅掀起热潮后，《街头霸王》突然不再是另一个可以在游戏机上销售的品牌，而是一个可以销售游戏机的品牌。

THE SUPER NES DEBUT 超级 NES 首次亮相

Given Capcom’s publishing history and existing relationship with Nintendo, few were surprised when Capcom announced Street Fighter II’s first console destination: the Super Nintendo Entertainment System (known as the Super Famicom in Japan).
鉴于卡普空的出版历史以及与任天堂的现有关系，当卡普空宣布《街头霸王 II》的首个游戏机目标：超级任天堂娱乐系统（日本称超级 Famicom）时，几乎没有人感到惊讶。

Like most Nintendo consoles, the system built its reputation on Nintendo’s in-house software, with critically acclaimed games like Super Mario World and The Legend of Zelda: A Link to the Past leading the way. Yet for a short period of time in mid-1992 - just a few months after Champion Edition hit arcades - Street Fighter II disrupted that balance and became the system’s breakout hit.
与大多数任天堂游戏机一样，该系统的声誉建立在任天堂内部软件的基础上，《超级马里奥世界》和《塞尔达传说：前世今生》等游戏广受好评。然而，在 1992 年年中的一段短时间内，也就是《冠军版》登陆商场几个月后，《街头霸王 II》打破了这一平衡，成为该系统的爆款游戏。

JOHN GILLIN 约翰-吉林

Street Fighter II SNES director of marketing, Capcom USA
卡普空美国公司《街头霸王 II》SNES 市场总监
In the summer of 1992, the Super Nintendo system had come out, but they had a very, very thin library. As has always been Nintendo’s case, they’ll come out with a very good starting library that they develop internally, but very, very little of anything from third parties at that point. And Nintendo was getting beaten by the Sega Genesis.
1992 年夏天，超级任天堂系统问世，但他们的游戏库非常非常薄。任天堂的一贯作风是，他们会在内部开发出一个非常不错的游戏库，但在那个时候，来自第三方的游戏却非常非常少。任天堂被世嘉《创世纪》打败了。

SCOTT SMITH 斯科特-史密斯
Street Fighter II SNES marketing manager, Capcom USA
卡普空美国公司《街头霸王 II》SNES 市场经理
The SNES sold well initially, but in the US the Genesis had really found a foothold with Sonic and the whole ‘blast processing’ [marketing], and so it was not a slam dunk for Nintendo anymore. […] When we came out with Street Fighter [II], suddenly that evaporated. It was, ‘If you want Street Fighter, you have to have Super Nintendo.’ It was the only game in town.
SNES 最初卖得很好，但在美国，Genesis 已经凭借《索尼克》和整个 "爆炸处理"[营销]真正站稳了脚跟，因此它不再是任天堂的大赢家。[......]当我们推出《街头霸王 II》时，这种情况突然消失了。当时的情况是，'如果你想要《街头霸王》，就必须拥有超级任天堂'。那是城里唯一的游戏。

\to

JOHN GILLIN

\to

约翰-吉林
Street Fighter II SNES director of marketing, Capcom USA
卡普空美国公司《街头霸王 II》SNES 市场总监
[Nintendo] really put some pressure on Capcom and said, ‘We want to have Street Fighter II come out on the console as quickly as possible.’
[任天堂]确实给卡普空施加了一些压力，并说：'我们希望《街头霸王 II》能尽快在游戏机上推出。

\to

SCOTT SMITH

\to

斯科特-史密斯

\begin{aligned} SCOTT SMITH \\ Street Fighter II SNES marketing manager, Capcom USA \end{aligned}

Things happened very quickly. […] I mean, I think when we did the Super Nintendo version of Street Fighter II, basically Nintendo stopped manufacturing [other games] in Japan and held everything up so they could make Street Fighter II.
事情发生得非常快。[......]我的意思是，当我们制作超级任天堂版的《街头霸王 II》时，任天堂基本上停止了在日本生产[其他游戏]，并搁置了一切，以便制作《街头霸王 II》。

TATSUYA MINAMI
Street Fighter II series console planner, Capcom Japan

The thing that really sticks out in my mind is how crazy the schedules were. […] I wasn’t involved directly in the first Super NES port, but then I came in afterwards and led the Turbo, Genesis and PC Engine ports. […] All of those were super tight schedules. I remember just having tons of people, comparatively, on these projects.
让我印象最深刻的是那些疯狂的日程安排。[......我没有直接参与第一个超级 NES 移植，但后来我参与了 Turbo、Genesis 和 PC 引擎的移植。[......]所有这些工作的时间安排都非常紧凑。我记得当时有很多人参与这些项目。

\to

KAZUNORI YAMADA

\to

山田卡祖诺里
Super Street Fighter II SNES sound designer, Capcom Japan
日本卡普空《超级街头霸王 II》SNES 音效设计师
The biggest challenge was trying to cram the games into the limited hardware capacity. […] The Super NES had limited capacity. So if there was a sound like ‘aaahhh’ - a long sound - we couldn’t fit the full voice in, so instead we made a small ‘ah’ sound and repeated it as ‘ah’, ‘ah’, ‘ah’, ‘ah’. That made it sound like the full voice, but saved on space. We had to come up with tricks like that to be able to fit all the audio in. […] I was involved in some of the later ports, but [sound designer Tatsuya] Nishimura, who was there before me, implemented that to save space on the Super NES.
最大的挑战是如何在有限的硬件容量中塞进游戏。[超级 NES 的容量有限。因此，如果有一个声音像 "啊啊"--一个很长的声音--我们就无法把完整的声音放进去，所以我们做了一个很小的 "啊 "音，然后以 "啊"、"啊"、"啊"、"啊 "的形式重复。这样听起来就像完整的声音，而且节省了空间。我们必须想出这样的办法，才能把所有音频都放进去。[......]我参与了后来的一些移植工作，但在我之前的音效设计师西村达也采用了这种方法，以节省超级 NES 的空间。

YOKO SHIMOMURA
Street Fighter II arcade composer, Capcom Japan
日本卡普空《街头霸王 II》街机作曲家
Basically, it came down to reducing the number of elements in each song so they would fit the new hardware requirements. And the sounds that were available on the console were different as well, so I had to talk to a specialist at Capcom who was in charge of the Super NES sound in order to find out how we could take the original arcade tracks and scale them down a bit so they would work on the new hardware. I didn’t actually compose the console version tracks myself, but I remember having discussions about them and trying to figure out a way to maintain the original feel of the arcade tracks for the console ports.
基本上，我们需要减少每首歌曲中的元素数量，使其符合新的硬件要求。而且游戏机上的音效也不一样，所以我不得不与卡普空负责超级 NES 音效的一位专家进行沟通，以找出如何将原始街机音轨缩小一些，使其能在新硬件上运行。实际上，游戏机版本的音轨并不是我自己创作的，但我记得我和他们进行了讨论，并试图找出一种方法，在游戏机移植版中保持街机音轨的原始感觉。

TATSUYA MINAMI 榻榻米

Street Fighter II series console planner, Capcom Japan
《街头霸王 II》系列游戏机策划，日本卡普空
I also remember all the programmers working super hard during the day, and then telling them that they had to go to sleep. One of the things that I remember very distinctly is the [quality assurance] teams would come in in the morning. And so when the programmers would go to sleep, we’d have to take all of the data that we’d been working on, burn it to EPROMs, take those, do checksums on them, and then manually push them into the circuit boards and make tons of sets of these so the QA teams could check the game starting in the morning.
我还记得所有的程序员白天都工作得非常辛苦，然后告诉他们必须睡觉了。我记得很清楚的一件事是，[质量保证]团队会在早上来。因此，当程序员们入睡后，我们就得把所有的工作数据刻录到 EPROM 上，再把这些数据做校验，然后手动把它们推到电路板上，并制作大量的这些数据，这样质量保证团队就能在早上开始检查游戏了。

That work would go on all night, and there would often be times when we’d be working until four or five in the morning, just making the actual prototype ROMs for these guys to be able to start the checks. Right now if I tried to do it, I’d probably double myself over and pass out, but back then, once we’d finished that, we’d go out, have a couple of beers, and then go to bed and come back in the morning.
这项工作会持续整晚，有时我们会工作到凌晨四五点，为这些人制作实际的 ROM 原型，以便开始检查。现在如果我想做的话，我可能会两眼一翻，晕倒过去，但在当时，一旦我们做完这些，我们就会出去，喝几杯啤酒，然后上床睡觉，早上再回来。

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SEIJI OKADA

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冈田诚司
Street Fighter II SNES programmer, Capcom Japan
日本卡普空《街头霸王 II》SNES 程序员
I remember just going in to work every morning and working until the wee hours of the night. There was no ‘tagging in’ - you had to work morning through night! […] We couldn’t just take the arcade data over and move it over. All of that had to be reprogrammed to run on the Super NES.
我记得每天早上上班，一直工作到深夜。没有'挂牌上岗'--你必须从早到晚工作！[......]我们不能只是把街机数据搬过来。所有这些都必须重新编程才能在超级 NES 上运行。

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SCOTT SMITH

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斯科特-史密斯
Street Fighter II SNES marketing manager, Capcom USA
卡普空美国公司《街头霸王 II》SNES 市场经理
I personally think that Street Fighter II had a lot to do with the success of the Super Nintendo in the United States. I think without it, without that key game, [Nintendo] would have had a much harder time selling units up against the Genesis and Sonic at that point in time.
我个人认为，《街头霸王 II》与超级任天堂在美国的成功有很大关系。我认为，如果没有《街头霸王 II》，如果没有这款关键游戏，[任天堂]就很难在那个时候与《创世纪》和《索尼克》相抗衡。

THE GENESIS/MEGA DRIVE PORT
创世纪/巨型驱动器端口

While Street Fighter II gave Nintendo an edge against Sega, Sega executives continually pursued Capcom, wanting the game on their system as well. Given Nintendo’s longstanding relationship with Capcom, that wasn’t an easy sell - Capcom was one of the first third-party companies licensed to produce games for Nintendo hardware, and the two companies had close ties. But for some at Capcom, the game’s sales potential on the Genesis was worth rocking the boat.
虽然《街头霸王 II》让任天堂在与世嘉的竞争中占得先机，但世嘉的高管们仍不断追求卡普空，希望这款游戏也能登陆他们的系统。考虑到任天堂与卡普空的长期合作关系，这并不是一件容易的事--卡普空是首批被授权为任天堂硬件制作游戏的第三方公司之一，两家公司关系密切。但对卡普空的一些人来说，这款游戏在《创世纪》上的销售潜力值得他们一试。

IAN ROSE 伊恩-罗斯

General counse1, Capcom USA
美国卡普空总代表1
There was a very close relationship, or a reasonably close relationship, between Capcom and Nintendo. […] I remember [Capcom founder Kenzo] Tsujimoto came over with his entourage, and on our way to CES [in 1992] a few of us went up to Seattle and paid a visit to Nintendo, and spent a couple of days with Nintendo. […] We spent time at [Nintendo of America president Minoru Arakawa’s] house; we went out to dinner with him and the whole thing. And it was those relationships and how important they were, I think, that drove a lot of the business connections and decisions.
卡普空和任天堂之间的关系非常密切，或者说相当密切。[......]我记得[卡普空创始人]辻本健三（Kenzo Tsujimoto）带着他的随行人员过来，在[1992 年]前往 CES 的途中，我们几个人去了西雅图，拜访了任天堂，并与任天堂共度了几天。[......]我们在[任天堂美国公司总裁荒川实]的家里待了一段时间，还和他一起出去吃了晚饭，整个过程都很愉快。我认为，正是这些关系以及它们的重要性，推动了很多业务联系和决策。

LAURIE THORNTON
Street Fighter II series pub1ic relations manager, Capcom USA

Everyone knew that Capcom was Nintendo’s darling. The relationships back in Japan were very tight. I recall needing to withhold info about our specific launch plans and platform details while lots of negotiating was taking place behind closed doors.
每个人都知道，卡普空是任天堂的宠儿。在日本，双方的关系非常紧密。我记得当时需要隐瞒有关我们的具体发布计划和平台细节的信息，而很多谈判都是关起门来进行的。

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SCOTT SMITH

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斯科特-史密斯
Street Fighter II series marketing manager, Capcom USA
卡普空美国公司《街头霸王 II》系列营销经理
What I remember is people from Sega coming down to meet with Joe [Morici], and I remember our trip. I went with Joe up to the Redwood Shores Marine World Parkway offices of Sega there and met with the vice-president of Sega. […] They obviously wanted the game. Pretty darn badly, because they owned the US market until Street Fighter [II] appeared.
我记得世嘉公司的人来见乔（莫里奇），我还记得我们的行程。我和乔一起去了世嘉的红木海岸海洋世界公园路办公室和世嘉的副总裁见了面[他们显然很想要这款游戏。他们非常想要这款游戏，因为在《街头霸王 II》出现之前，美国市场一直是他们的天下。

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JOE MORICI

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乔-莫里奇
Street Fighter II series senior vice-president, Capcom USA
卡普空美国公司《街头霸王 II》系列高级副总裁
I would like to believe I was pretty instrumental in getting [Capcom Japan] to start to support the Genesis system. I kept pushing that. I would go to Japan every month. […] Capcom had a company house. We’d meet all the time and go down there and discuss what was going on.
我相信我在促使 [Capcom Japan] 开始支持 Genesis 系统方面发挥了相当大的作用。我一直在推动这件事。我每个月都会去日本[卡普空有一个公司之家。我们经常在那里开会，讨论正在发生的事情。

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NORITAKA FUNAMIZU

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野利高风美津
Street Fighter II series producer, Capcom Japan
日本卡普空《街头霸王 II》系列制作人
I think [Capcom Japan console division head Tokuro] Fujiwara spoke with Sega, and he found out that they were making a sixbutton control pad for the system. I think that’s how that version ended up getting made.
我认为（卡普空日本游戏机部门主管藤原德郎）与世嘉进行了交谈，他发现世嘉正在为该系统制作六键控制板。我想这就是那个版本最终被制作出来的原因。

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JOHN GILLIN

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约翰-吉林
Street Fighter II series director of marketing, Capcom USA
卡普空美国公司《街头霸王 II》系列营销总监
Over in Japan, the Sega executives were courting the Capcom executives […] there was some drama that went on over there […] it was difficult. But in the end, Capcom agreed to create a Street Fighter version for the Sega Genesis. And I heard that made the folks at Nintendo none too happy.
在日本，世嘉公司的高管正在追求卡普空公司的高管[......]那边发生了一些戏剧性的事情[......]这很困难。但最终，卡普空同意为世嘉《创世纪》制作《街头霸王》版本。我听说这让任天堂的人很不高兴。

SCOTT SMITH 斯科特-史密斯

Street Fighter II series marketing manager, Capcom USA
卡普空美国公司《街头霸王 II》系列营销经理
Finally we got the OK from Japan like, ‘Yes, they will devote resources to the Genesis.’ And we did a press conference after much back and forth, with Sega at the Sofitel [hotel in Redwood City, CA]. We had a breakfast for the press and whatnot and announced the partnership between Capcom and Sega. Although I think the art had [Capcom action star] Mega Man shaking Sonic’s hand, obviously the first game was going to be Street Fighter II: Champion Edition.
最后我们得到了日本方面的同意，'是的，他们会为《创世纪》投入资源'。经过反复磋商，我们与世嘉在索菲特酒店（加利福尼亚州红木城）召开了新闻发布会。我们为媒体和其他人士准备了早餐，并宣布了卡普空与世嘉之间的合作关系。虽然我认为宣传画上[卡普空动作明星]洛克人在与索尼克握手，但很明显，第一款游戏将是《街头霸王 II》：冠军版》。

TATSUYA MINAMI 榻榻米

Street Fighter II series console planner, Capcom Japan
《街头霸王 II》系列游戏机策划，日本卡普空
I remember it being like early multiplatform development [with contracts and negotiations that were uncommon at the time], because there were agreements with the hardware manufacturers. So if you put it out on Nintendo here, then you had to get it out on the Genesis and PC Engine by this time period or we’d be breaking contracts, etc.
我记得这就像是早期的多平台开发[合同和谈判在当时并不常见]，因为与硬件制造商之间有协议。因此，如果你在任天堂上推出了这款游戏，那么你就必须在这个时间段内在《创世纪》和 PC 引擎上推出这款游戏，否则我们就会毁约，等等。

JOE MORICI 乔-莫里奇

Street Fighter II series senior vice-president, Capcom USA
卡普空美国公司《街头霸王 II》系列高级副总裁
[Capcom Japan was] having an outside house program [the Genesis version]. They weren’t doing it in-house. It was probably in the spring of that year they had a version of Street Fighter: Champion Edition that they wanted me to look at. And they weren’t happy with the quality of the game in Japan. […]
[卡普空日本公司]让外部公司来制作[创世纪版本]。他们没有在公司内部制作。大概是在那年春天，他们有一个版本的《街头霸王》：冠军版》，他们想让我看看。他们对日本的游戏质量并不满意。[...]

I played it. I thought, It’s strong enough to release. And I said, ‘If we don’t release it, and we release it against Mortal Kombat in the fall, [we’re going to be in trouble]. You guys don’t understand what the power of Mortal Kombat is. They’re out-spending us, out-marketing us with a much different game than Street Fighter. It’s not really cartoon characters like Street Fighter; it’s more realistic. We should
我弹了一下。我想，它足够强大，可以发行。我说：'如果我们不发行它，而在秋季发行它来对抗《真人快打》，[我们就会有麻烦]。你们不了解《真人快打》的实力。他们花的钱比我们多，营销手段也比我们强，而且他们的游戏和《街头霸王》大不相同。它不像《街头霸王》那样有卡通人物，而是更加真实。我们应该
release the game now. We’ll have four months ahead of Mortal Kombat. We’ll get to market first. We’ll kill them.’ Well, they chose to wait, to go directly against Mortal Kombat. I think we released [the games] within a week of each other.
现在就发布游戏我们比《真人快打》早四个月发布我们会抢先上市我们会干掉他们好吧，他们选择了等待，选择了直接对抗《真人快打》。我想我们在一周之内就发布了[游戏]。
A lot of the orders I had were pending […] I think I had orders for two million units, a huge amount of product that was coming on the boat. And once it gets made, you can’t cancel the order. It’s on its way; it’s coming. So at that point, I said, ‘Well, I think we’re making the wrong decision.’ They disagreed with me. I said, ‘I still think we’re making the wrong decision.’
我有很多订单还没有完成[......]我想我有 200 万台的订单，大量的产品即将上船。一旦生产出来，你就不能取消订单。它已经在路上了，就快到了。所以当时我说，'我认为我们的决定是错误的。他们不同意。我说，'我仍然认为我们的决定是错误的。
[Ed. note] [编者注]
When Capcom delayed the game, they brought its development in-house at Capcom Japan, increasing the cartridge’s memory in the process. The result was a smoother-playing game, and a game that arrived not only two weeks after Mortal Kombat, but two months after the Super NES follow-up, Street Fighter II Turbo.
当卡普空推迟游戏开发时，他们将开发工作交给了日本卡普空公司（Capcom Japan），并在此过程中增加了游戏盒的内存。结果，游戏的运行更加流畅，不仅比《真人快打》晚两周上市，而且比超级 NES 的后续游戏《街头霸王 II Turbo》晚两个月上市。

The game sold well. It didn’t sell as well as we anticipated because we released it head-to-head against Mortal Kombat. They had Mortal Monday. They were really, really a good marketing firm; I’ve got to give them credit for that. The gameplay itself wasn’t, I don’t think, as good as Street Fighter, but it had great marketing.
游戏卖得不错。它的销量不如我们预期的好，因为我们发布的时候是和 "真人快打 "正面交锋的。他们有《真人星期一》。他们真的是一家非常非常优秀的营销公司，我必须为他们点赞。我认为游戏本身不如《街头霸王》，但它的市场营销做得很好。
[Ed. note] [编者注]
When discussing Acclaim’s marketing for the console versions of Mortal Kombat, Morici recalls a story of friendly rivalry.
在谈到 Acclaim 公司对《真人快打》游戏机版本的营销时，莫里奇回忆起了一个友好竞争的故事。

A good friend of mine, Rob Holmes, was the president of Acclaim at the time - friendly competitors; it was really a different marketplace than it is today.
我的一位好朋友罗布-霍姆斯（Rob Holmes）当时是 Acclaim 公司的总裁--他们是友好的竞争对手；当时的市场环境确实与今天不同。

I don’t remember if you ever saw that TV spot with Mortal Kombat and Street Fighter. I did a TV spot which typically you don’t do - you don’t really name your competitor point blank. But if you remember that spot, one of the security guards was going into a toy store. […] So what happens is, you see a wall of videogames and it starts to morph, and then Blanka’s hand comes out and reaches over and grabs the Mortal Kombat game on the shelf and then takes it and crumples it and throws it on the ground.
我不记得你是否看过《真人快打》和《街头霸王》的电视广告。我做了一个电视广告，通常情况下你不会这样做--你不会直接说出竞争对手的名字。但如果你还记得那个广告，其中一个保安正走进一家玩具店。[然后，布兰卡的手伸了出来，抓住了架子上的《真人快打》游戏，然后把它揉成一团，扔到了地上。
So I get a call from Rob Holmes at Acclaim. He goes, ‘You’re such an asshole.’ Jokingly. So I think, ‘OK, fine, yeah, whatever.’ I said, ‘Look, it was obvious that [Mortal Kombat was our] competition for Street Fighter. We might as well just address this and see what we can do.’
于是我接到了Acclaim公司罗伯-霍姆斯的电话。他说 "你真是个混蛋开玩笑的于是我想，'好吧，好吧，随便你。我说，'听着，很明显《真人快打》是我们《街头霸王》的竞争对手。我们不妨正视这个问题，看看我们能做些什么。

So what happens is we had a Street Fighter comic book. And I never saw it. There [was] a very limited number of them. But have you looked at all the advertising in the Street Fighter comic book? It was all Mortal Kombat. I still have it somewhere here, somewhere buried. I have a framed [Street Fighter] comic book with a letter from Rob Holmes saying, ‘Serves you right. I took all the advertising out in your comic book with Mortal Kombat.’
所以我们出了一本《街头霸王》漫画书我从来没看过数量非常有限。但你看过《街头霸王》漫画书里的广告吗？全是真人快打我还保存着这本漫画书，就埋在这里的某个地方。我有一本裱好的[街头霸王]漫画书，上面有一封罗伯-霍姆斯的信，信中说：'活该。我把你漫画书里所有的广告都删掉了，改成了《真人快打》。

THE WESTERN CONSOLE BOX ART
西方游戏机包装盒艺术

For Street Fighter II’s console releases, Capcom USA’s marketing department followed the trend of the time by creating their own box art rather than using the art done in Japan - so instead of getting Capcom Japan illustrator Akira Yasuda’s Street Fighter II key art, for instance, Western fans got art from US-based illustrator Mick McGinty. The results led to strong opinions on both sides.
在《街头霸王 II》主机版本的发行过程中，卡普空美国公司的市场部紧跟当时的潮流，自己制作了包装盒封面，而不是使用日本的封面--例如，西方粉丝们得到的不是卡普空日本公司插画家安田明（Akira Yasuda）的《街头霸王 II》钥匙封面，而是美国插画家米克-麦金蒂（Mick McGinty）的封面。结果导致双方都有强烈的意见。

JOE MORICI
Street Fighter II series senior vice-president, Capcom USA

[It was always difficult] to get assets [from Japan] to be able to market [games] properly. We did a lot of our own artwork here, because at a certain point the Japanese had enough trust in me specifically to let me do what I thought was appropriate for artwork and for graphics and things like that. So we just went ahead and did our own thing over here, and a lot of times Japan adopted our style.
[要从（日本）获得资产，以便能够适当地营销（游戏），[总是很困难]。我们在这里做了很多自己的美工，因为到了一定程度，日本人特别信任我，让我做我认为合适的美工、图形和类似的东西。所以我们就在这里做我们自己的事情，很多时候日本也采用了我们的风格。

~ JOHN GILLIN

Street Fighter II series director of marketing, Capcom USA

When I arrived, here I am coming into a new industry, and there had already been some relationships that had been built between Capcom and its vendors and all that. And I was introduced to this really easygoing, laid-back guy named Denny [Moore], who had been doing work on other packaging for them - things like Mega Man, stuff like that. […] When he [saw] Street Fighter, he had a couple of artists that he worked with that he really felt could capture the spirit of the franchise. So he went and talked to the artist who in fact did know about Street Fighter, played himself. And I remember whenever he would come back with the pencil sketches of what they were thinking about, I would say, ‘God that looks great.’ I mean, I loved their work. I thought they did such a great job.
当我来到这里时，我进入了一个新的行业，卡普空和供应商之间已经建立了一些关系。我被介绍给了一个非常随和、悠闲的人，他叫丹尼-摩尔（Denny Moore），一直在为卡普空做其他包装工作--比如《洛克人》之类的。[......]当他[看到]《街头霸王》时，他有几个合作过的艺术家，他真的觉得他们能捕捉到《街头霸王》的精神。于是他就去和那位艺术家聊了聊，事实上，他也知道《街头霸王》，他自己也玩过《街头霸王》。我记得每当他带着铅笔草图回来时，我都会说："天哪，看起来太棒了。我喜欢他们的作品我觉得他们做得很棒

CHRIS TANG
Street Fighter II series tournament player
《街头霸王 II》系列锦标赛选手
I just remember my first reaction to it was - you know, I was used to being disgusted seeing US versions of games. […] I just had a really low opinion of all of the US box art at the time. And, yeah. Street Fighter

I I

was just par for the course.
《我只记得我对它的第一反应是 - 你知道，我已经习惯了看到美国版游戏就恶心。[当时我对所有美国版游戏的封面都不屑一顾还有，是的。街头霸王》

I I

也是如此。

MICK MCGINTY 米克-麦金蒂
Street Fighter II series package illustrator, US and EU versions
《街头霸王 II》系列软件包插图，美国版和欧盟版
Well, it was totally by chance. I was freelancing starting around 1983 … and one of my first and best clients was a guy named Denny Moore.
这完全是个偶然。1983 年左右，我开始从事自由职业......我的第一个也是最好的一个客户是一个叫丹尼-摩尔（Denny Moore）的人。
[The first Super NES cover] was a real simple project where Denny said, ‘Hey I’ve got this game.’ And at this time, I mean, I don’t think Denny knew how big of an impact Street Fighter was gonna have. He just said, ‘Hey I’ve got this company, Capcom … and they’ve got this game called Street Fighter. Here’s some screen grabs.’ And all I got from Denny and from the company was someone took Polaroids of some screens.
[第一个超级 NES 封面]是一个非常简单的项目，丹尼说，'嘿，我有这个游戏了'。当时，我觉得丹尼还不知道《街头霸王》会产生多大的影响。他只是说，'嘿，我有一家卡普空公司......他们有一款游戏叫《街头霸王》。这是一些截图我从丹尼和公司那里得到的只是有人拍了一些屏幕的照片
I wasn’t a real realistic painter, but I could do this exaggerated realism. I could kind of give an American slant to the characters and the things they were trying to accomplish with that game. Because I think the first thing they realized was that they weren’t going to be able to sell these games very well if they had the original Japanese art - which at the time, I didn’t like. Anything I saw, it was just too foreign to me at the time. But now, 20 or 30 years later, I really love their work. It’s just nice, edgy, colourful, action-filled - it’s just cool stuff. And I think the American buying public, they don’t have a problem with it now.
我不是一个真正的现实主义画家，但我能画出这种夸张的现实主义。我可以给游戏中的人物和他们想要完成的事情赋予美国式的色彩。因为我认为，他们首先意识到，如果采用日本原版美术，这些游戏的销量就不会很好，而当时我并不喜欢日本原版美术。我看到的任何东西，当时对我来说都太陌生了。但现在，二三十年过去了，我真的很喜欢他们的作品。他们的作品好看、前卫、色彩丰富、充满动作感，简直是酷毙了。我想美国的买家现在也不会有什么问题。

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AKIRA YASUDA

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安田明良
Street Fighter II package illustrator, Japanese version
《街头霸王 II》包装插图，日文版
When we were making Final Fight, I was told that my art wouldn’t be well received in America, so around that point I gave up trying to get my art released in the US. I remember [Capcom Japan department head Yoshiki] Okamoto complaining about the fact that they wouldn’t use my art in the overseas versions, but nothing really changed.
在制作《终极之战》时，我被告知我的美术设计在美国不会受到欢迎，所以在那之后我就放弃了让我的美术设计在美国发行的努力。我记得 [Capcom 日本部门主管 Yoshiki] Okamoto 抱怨过他们不会在海外版本中使用我的美术设计，但这并没有改变什么。

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JOHN GILLIN

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约翰-吉林
Street Fighter II series director of marketing, Capcom USA
卡普空美国公司《街头霸王 II》系列营销总监
[There] was a very long and ongoing debate about positioning and product. There’s a lot to be said obviously with the Japanese heritage to the games and the fact that they were created in Japan. And my personal feeling is that there is a dedicated die-hard group of gamers who appreciate that heritage and certainly like to see that reflected in any marketing materials that they see or are directed towards them, and I appreciate that. But at the same time, the cold reality of business is that we have to sell as many units as we can, and therefore we want to make the product appeal to as wide an audience as possible. And I think by really making it look more Japanese in its look and feel, we might have alienated some of our more mainstream American consumers.
[关于定位和产品的争论持续了很长时间。很明显，日本游戏的传统以及它们在日本诞生的事实有很多值得一说的地方。我个人的感觉是，有一群忠实的游戏玩家非常欣赏这种传统，他们当然希望看到这种传统能反映在他们看到的或针对他们的任何营销材料中，我对此表示赞赏。但与此同时，残酷的商业现实是，我们必须尽可能多地销售产品，因此我们希望产品能吸引尽可能多的受众。我认为，如果真的让产品的外观和感觉看起来更像日本产品，我们可能会疏远一些更主流的美国消费者。

We really didn’t have time to do a lot of exploratory packaging alternatives. And so we ran to market. We got that in. And then, you know, once you get that then you’ve got kind of a look and feel, and you want to try to reinforce that look and feel. […] So I was happy with the artwork. That did well. I know that we did take some flack - you know, this was long before Twitter and Facebook and these kinds of forums where people could voice their opinions. But we thought we did a really good job with it, given what our challenges were.
我们确实没有时间去做大量的包装替代品探索。于是，我们奔向市场。我们得到了它。然后，你知道，一旦你得到了它你就有了一种外观和感觉你想尝试强化这种外观和感觉[所以我对作品很满意做得不错我知道我们确实受到了一些批评--要知道，那是在推特和脸书这些人们可以发表意见的论坛出现之前很久的事了。但我们认为，考虑到我们所面临的挑战，我们做得非常好。

JAMES GODDARD 詹姆斯-戈达德
Street Fighter II series design support, Capcom USA
《街头霸王 II》系列设计支持，卡普空美国公司
Not one of my best shining moments, but I remember walking into Joe Morici’s office. […] I came in, and remember I’m a young guy but shit, I’m doing well at Capcom and heavily involved in the Street Fighter community and the success of things like Hyper Fighting. So I go in, and the Hyper Fighting [Super NES box] art was the last straw for me. I came in and I said, ‘Joe, is there any way we can consider using some of the Japanese art because it’s just more popular with the players and these guys don’t even look like the characters?’ You know, I had to have this nice conversation with him because he was a bigwig and I was still young. And eventually he gave me the whole, ‘This is what we’re doing’, right? ‘This is what we’re doing and there’s a reason why.’ Marketing really believed that they were right.
这不是我最闪耀的时刻但我记得我走进乔-莫里奇的办公室[......]我走进去，记得我是个年轻人，但该死的是，我在卡普空干得不错，而且还积极参与了《街头霸王》社区的活动，《超级格斗》等游戏也取得了成功。所以我进去了，《超级格斗》[超级 NES 盒] 的封面设计是我的最后一根稻草。我进来后说：'乔，我们能不能考虑使用一些日本的美术设计，因为日本的美术设计更受玩家欢迎，而这些人看起来甚至都不像日本的角色？'你知道，我必须和他好好谈谈，因为他是个大人物，而我还很年轻。最后他告诉我，'这就是我们要做的'，对吗？这就是我们在做的事情，这是有原因的。市场营销部真的相信他们是对的。

That said, you know, the art was horrible. It didn’t look like the characters, and there was really no reason not to use the Japanese artwork. It wouldn’t have made a difference either way, really, on the sales. You know, the game was popular. It would have just been better fan service to use more appropriate artwork. […] As I’ve grown up, I’ve always felt bad about [it] - I could have handled that better. But it’s one of those things where, at the same time, I was passionate about it. I actually told him, ‘This art looks terrible.’ He stopped talking to me after that.
话虽如此，但你知道，这幅画实在太糟糕了。它看起来与角色不符，而且真的没有理由不使用日本的插图。不管怎样，这都不会影响销量。要知道，这款游戏很受欢迎。如果能使用更合适的图样，就能更好地为粉丝服务了。[......]随着我的成长，我一直为此感到难过--我本可以处理得更好的。但与此同时，我也对此充满热情。实际上，我告诉他，'这幅画看起来糟透了。从那以后，他就不再理我了。

JOE MORICI 乔-莫里奇
Street Fighter II series senior vice-president, Capcom USA
卡普空美国公司《街头霸王 II》系列高级副总裁
He had a lot to say to me, but a lot of the stuff I didn’t agree with so I just didn’t go forward with it. […] I was the head of the department at the time and running sales and marketing and I chose to go with what I thought was a better route.
他对我说了很多，但很多内容我都不同意，所以我就没有继续做下去。[......]我当时是部门主管，负责销售和市场营销，我选择了我认为更好的途径。
[Ed. note] In the years since Street Fighter II’s release, Yasuda’s key art has taken on something of an iconic status, establishing a style copied by other fighting game developers and frequently being used as inspiration for Street Fighter-related projects - in Japan and the US.
[编者注] 自《街头霸王 II》发售以来，安田的主要艺术作品已经具有了某种标志性的地位，确立了被其他格斗游戏开发商效仿的风格，并经常被用作日本和美国与《街头霸王》相关项目的灵感来源。

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SCOTT SMITH

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斯科特-史密斯
Street Fighter II series marketing manager, Capcom USA
卡普空美国公司《街头霸王 II》系列营销经理
It’s easy to look back on these things with hindsight. You know, anime did not have anywhere near the acceptance [it’s earned as time has gone on]. So we were always creating box art - whether it was Mega Man or Street Fighter - we were always creating art that would sell the game in the US.
事后回顾这些事情很容易。要知道，当时的动漫还没有像现在这样被广泛接受。因此，我们一直在创作包装盒艺术--无论是《洛克人》还是《街头霸王》--我们一直在创作能让游戏在美国大卖的艺术。

CONSOLE SUCCESS 游戏成功

Despite challenges posed by console manufacturers, competitors like Mortal Kombat and packaging debates, Capcom’s initial run of Street Fighter II home ports proved phenomenally successful.
尽管面临着游戏机制造商、《真人快打》等竞争对手的挑战以及包装方面的争论，卡普空最初推出的《街头霸王 II》家用移植版还是取得了巨大成功。

According to worldwide Capcom investor relations data, the Super NES port of Street Fighter II sold 6.3 million copies, the Super NES port of Street Fighter II Turbo sold 4.1 million and the Genesis port, Street Fighter II: Special Champion Edition, sold 1.65 million. While those numbers have since been eclipsed by games in the Resident Evil and Monster Hunter series, when the Super NES version of Street Fighter II hit, it was far and away the most successful console game Capcom had released.
根据卡普空投资者关系全球数据，《街头霸王 II》的超级 NES 版销量为 630 万份，《街头霸王 II Turbo》的超级 NES 版销量为 410 万份，Genesis 版《街头霸王 II》的销量为 165 万份：特别冠军版》的销量为 165 万份。虽然这些数字后来被《生化危机》和《怪物猎人》系列游戏所超越，但当超级 NES 版《街头霸王 II》上市时，它是卡普空推出的最成功的主机游戏。

JOE MORICI 乔-莫里奇

Street Fighter II series senior vice-president, Capcom USA
卡普空美国公司《街头霸王 II》系列高级副总裁
[It was] definitely hundreds of millions of dollars we were doing. We were doing two or three hundred million dollars in sales, something like that.
[我们当时的销售额绝对是数亿美元。我们的销售额达到了两三亿美元，差不多就是这样。

PAUL WIEDERAENDERS 保罗-维德兰德斯

SFII series coin-op Midwest regional sales manager, Capcom USA
卡普空美国公司 SFII 系列投币游戏中西部地区销售经理
It became a cult type of a game. It did well in the arcades, and then the home sales just skyrocketed.
它成了一款受人追捧的游戏。它在街机厅的表现很好，然后在家用机上的销量直线上升。

SEIJI OKADA 冈田诚司
Street Fighter II series programmer, Capcom Japan
日本卡普空《街头霸王 II》系列程序员
I mean, I wasn’t particularly proud of [the original Super NES port]. But it was heartwarming to know that something I made sold that well.
我的意思是，我对（最初的超级 NES 移植版）并不感到特别自豪。但知道我做的东西卖得那么好，我还是很欣慰的。

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JOHN GILLIN

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约翰-吉林
Street Fighter II series director of marketing, Capcom USA
卡普空美国公司《街头霸王 II》系列营销总监
It’s funny, nowadays it’s nothing - you look at what Grand Theft Auto

V

[sold 20 -plus years later] and that’s a drop in the pan - but back then it […] really helped revolutionize the industry.
有趣的是，如今这算不了什么--你看看《侠盗猎车手》

V

[20 多年后]的销量，那不过是杯水车薪--但在当时，它[......]确实推动了整个行业的变革。

SCOTT SMITH 斯科特-史密斯
Street Fighter II series marketing manager, Capcom USA
卡普空美国公司《街头霸王 II》系列营销经理
[For the first game] we didn’t do any print advertising at all. We didn’t need to because we were on the cover of every magazine.
[对于第一款游戏，我们根本没有做任何平面广告。我们不需要，因为我们上了每本杂志的封面。

LAURIE THORNTON 劳丽-桑顿
Street Fighter II series pub1ic relations manager, Capcom USA
卡普空美国公司《街头霸王 II》系列公共关系经理
Street Fighter II was one of the biggest drivers of console sales. Capcom was the tail wagging the dog.
《街头霸王 II》是游戏机销量的最大推动力之一。卡普空是摇尾巴的狗。

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SCOTT SMITH

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斯科特-史密斯
SCOTT SMITH 斯科特-史密斯
Street Fighter II series marketing manager, Capcom USA
卡普空美国公司《街头霸王 II》系列营销经理
Remember those ads where they’d throw the television - you know, ‘On Sunday, hey, pick up this TV for $500 at Best Buy’ or whatnot, and they would plaster a screenshot on there of a TV show so it’s not a blank screen? We had them put Street Fighter on there. It would appear in the weirdest places. […] And then it took off from there, and then it just never ended, because suddenly people wanted to do licensing. You know, ‘Oh, we want to do a cartoon series.’ ‘Oh, people want to license the characters, and we don’t have a licensing division. How do we do this?’
还记得那些电视广告吗？"周日，在百思买以 500 美元的价格购买这台电视 "之类的广告，他们会在电视上贴上电视节目的截图，这样就不会是空白屏幕了。我们让他们把《街头霸王》放上去。它会出现在最奇怪的地方[...... "然后就这样开始了，然后就没完没了了，因为突然有人想做授权。"哦，我们想做一个卡通系列''哦，人们想授权这些角色，而我们没有授权部门。我们该怎么办？

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LAURIE THORNTON

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劳丽-托恩顿
Street Fighter II series public relations manager, Capcom USA
卡普空美国公司《街头霸王 II》系列公关经理
Our president in Japan, a very wealthy man, had a penchant for car racing, so on a personal whim in 1992, he sponsored a driver from Japan who made it to the Indy 500 time trials with a tricked-out Capcom Street Fighter II car. I was assigned
我们在日本的总裁是一位非常富有的人，他对赛车情有独钟，因此在 1992 年，他突发奇想，赞助了一位来自日本的车手，这位车手驾驶着一辆经过改装的 Capcom 街霸 II 赛车参加了印地 500 计时赛。我被指派
to this ‘special project’, handling the PR and promo support, while trying to tie Indy car racing to fighting games, with little opportunity to conduct interviews since neither our president nor the driver spoke English.
他负责这个 "特别项目 "的公关和宣传支持，同时试图将印地赛车与格斗游戏联系起来，但由于我们的总裁和车手都不会说英语，所以几乎没有机会进行采访。

Even though our involvement was not the brand brainchild of our head of marketing, the car and our presence garnered some tremendous buzz. Fortunately, this happened without our having to discuss the backstory on how and why we participated, which was anything but strategic. However, it was an early signal of a game property beginning to cross over into very broad consumer consciousness as millions of Indy viewers connected the dots and knew that Street Fighter was a videogame with presence at a marquee sporting event.
尽管我们的参与并不是我们营销主管的品牌创意，但这辆车和我们的出现还是引起了巨大的反响。幸运的是，我们无需讨论如何参与以及为何参与的背景故事，因为这完全不是战略性的。不过，这是一个早期信号，表明游戏财产开始进入广泛的消费者意识，因为数以百万计的印第赛观众将这些点联系起来，知道《街头霸王》是一款在大型体育赛事中出现的电子游戏。

CHAPTER
07
章次 07

EBB AND FLOW EBB 和流动

With Street Fighter II out on consoles, Capcom was on top of the world. Champion Edition and Hyper Fighting were still earning well in arcades, and Capcom was pulling in record-breaking numbers in almost every division - from sales to licensing to operations. Still, that success brought certain challenges in its wake.
随着《街头霸王 II》在游戏机上的推出，卡普空站在了世界之巅。冠军版》和《超能格斗》在街机厅的收入依然很高，卡普空从销售、授权到运营等几乎每个部门都取得了破纪录的成绩。然而，成功也带来了一些挑战。

CONTENT CONTROVERSY 内容争议

As one side-effect of the series being popular, millions of fans took time to study it and analyse what they were seeing. As with the discovery (and popularity) of glitches in the original arcade SFII release, more eyeballs meant more criticism, and sometimes players - and their parents and reporters - came across scenes they deemed inappropriate.
作为该系列受欢迎的副作用之一，数百万粉丝花时间研究和分析他们所看到的内容。就像最初的街机版《SFII》中的漏洞被发现（和流行）一样，更多的眼球意味着更多的批评，有时玩家--以及他们的父母和记者--会看到他们认为不合适的场景。

LAURIE THORNTON 劳丽-桑顿

Street Fighter II series public relations manager, Capcom USA
卡普空美国公司《街头霸王 II》系列公关经理
Late one Friday, I got a voicemail message from a TV station in some obscure small town I’d never even heard of at the time. The reporter wanted to know if I could confirm or deny the following: a Street Fighter fan had claimed that in a nanosecond frame of gameplay, popular sumo wrestler E. Honda’s mawashi [loincloth] flew open, thus ‘exposing him’, if only briefly. As proof, she also mentioned that the consumer had a videotape of the footage in question. Among her other questions: did Capcom condone the integration of illicit content in its games?
一个星期五的深夜，我收到了一条语音邮件，来自某个我当时甚至从未听说过的不起眼小镇的电视台。记者想知道我是否能证实或否认以下事实：一位《街头霸王》粉丝声称，在游戏的一纳秒帧中，人气相扑手 E. Honda 的 mawashi（腰带）飞开，从而 "暴露 "了他，即使只是短暂的暴露。作为证据，她还提到消费者有一盘相关录像带。她提出的其他问题包括：卡普空公司是否纵容在其游戏中加入非法内容？

I’d have dismissed this immediately except, like a bad urban myth, I’d heard that for their own amusement, developers in Japan had actually done similar things in other games - snuck in ‘questionable content’ as their own inside joke. Could my developers have done such a thing and gotten away with it? Could I confirm or deny this? At first, I wasn’t so sure. I asked the reporter to get the videotape to me for our own review, which ended up never materializing, and immediately asked my testing team and some of my marketing pals to help me investigate further over that weekend. We never found any evidence of an E. Honda flashing, but those who helped me ‘research’ it were never 100 percent positive either.
我本想立即否定这一点，但我听说日本的开发商为了自娱自乐，在其他游戏中也做过类似的事情--把 "有问题的内容 "作为他们自己的内部笑话。我的开发人员会不会做了这样的事，并且逃脱了惩罚？我能证实或否认这一点吗？起初，我并不确定。我让记者把录像带拿给我，让我们自己审查，但最终也没有实现，于是我立即让我的测试团队和一些营销伙伴在那个周末帮我进一步调查。我们从未发现本田 E.闪烁的任何证据，但那些帮我 "研究 "的人也从未百分百肯定过。

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JUSTIN BERENBAUM

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JUSTIN BERENBAUM
Street Fighter II series customer service manager, Capcom USA
卡普空美国公司街头霸王 II 系列客户服务经理
Every once in a while, we’d get a crazy call about somebody complaining about something. I remember one vividly because I ended up getting a call from the archdiocese of … I forget what city. So one of the reps gets a call and he’s talking to this person for a couple of minutes and he looks over - because most of us were in the same gigantic office - and he shakes his head. He just mouths ‘help’. He just didn’t know what to do. So I told him to put the person on hold. I always talked to my reps first to get the story from them, because I’d never believe what customers had to say initially, because they would make stuff up.
每隔一段时间，我们就会接到一个疯狂的电话，说有人在抱怨什么。我对其中一次记忆犹新，因为我最后接到了一个来自......我忘了是哪个城市的大主教区的电话。其中一个代表接到一个电话，他和这个人谈了几分钟，然后他看了看--因为我们大多数人都在同一个巨大的办公室里--然后他摇了摇头。他只是嘴里说着'救命'。他不知道该怎么办。于是我告诉他让对方稍等。我总是先和我的代表交谈，从他们那里了解情况，因为我从来不相信客户最初说的话，因为他们会胡编乱造。

He gave me [an explanation]: ‘I’ve got somebody who claims to be from the archdiocese and somebody’s mom complaining about something in a Street Fighter game. Can you help me out?’ So I took the call and it seemed legit. It was some bishop from the archdiocese - I wish I remembered what town it was, or what city - on the phone with a mother who was pretty upset and irate that evidently her son had slow-motion video recorded himself playing one of the Street Fighter games, and evidently, when Chun-Li did one of her flips […] an artist missed a pixel or two and so it made it look like Chun-Li was naked and didn’t have any underwear on. And so the mom was irate. The [bishop] was threatening to talk to the congresspeople and all this stuff.
他给了我[一个解释]：'有人自称是大主教区的人，还有人的妈妈在抱怨《街头霸王》游戏里的一些东西。你能帮帮我吗？于是我接了电话，看起来是合法的。电话那头是一位来自大主教区的主教--我希望我还记得是哪个城市的主教--和一位母亲通了电话，这位母亲非常沮丧和愤怒，因为很明显，她的儿子用慢动作录制了自己玩《街头霸王》游戏的视频，很明显，当春丽做空翻动作时，[......]美工漏掉了一两个像素，所以看起来就像是春丽没穿内衣，一丝不挂。于是妈妈很生气。主教]威胁要和国会议员谈谈，诸如此类。
I literally kept them on the phone while we got a build of the game, and I had one of the other guys drop all the calls and start playing through it, and then I actually gave them my direct line number. I’m like, ‘Look, we need to investigate this. I’m not going to comment until I know, but I can’t imagine us doing anything like that on purpose,’ blah, blah, blah. But of course, they were not happy about it. I’m like, ‘Let me do this. Can I please go try to find this?’ And I called them back an hour later. […] You know, we played it.
在我们制作游戏的过程中，我让他们不停地打电话，我让另外一个人放下所有电话，开始玩游戏，然后我真的给了他们我的直线电话号码。我就说，'听着，我们需要调查这件事。在我知道之前，我不会发表任何评论，但我无法想象我们会故意这么做，'等等等等。当然，他们对此并不满意。我就说，'让我来吧。我能去找找这个吗？一小时后我又给他们打了电话[......]你知道，我们演奏了它。

We recorded it. We did it in slow motion. And it was one of those things we were actually able to replicate, but it really was somebody just missed colouring in a sprite or two.
我们录了音。我们做了慢动作这是我们能够复制的东西之一但其实是有人漏掉了一两个精灵的颜色

The funniest thing is then we had this conversation internally about, ‘Why is this kid purposely recording and slow-motioning Chun-Li flipping upside down?’ So we were thinking that, but we had to get back - I had to get back [to them] and actually had to write out kind of what I was going to say. I had to involve PR because we didn’t want it to just turn into a disaster. And I had to explain it all, but imagine explaining to some 60- or 70 -year-old bishop and an irate mom how games are made and how pixels are done and how it’s done in Japan and all of that, and explaining how you see during 99.8 percent of this move, she actually is covered up where you can’t see anything.
最有趣的是，我们当时在内部讨论：'为什么这孩子要故意录制春丽倒立的慢动作？我们也是这么想的，但我们必须回去--我必须回去[给他们]，而且必须把我要说的话写出来。我必须让公关参与进来，因为我们不想让它变成一场灾难。我不得不解释这一切，但想象一下，向一些六七十岁的主教和一位愤怒的母亲解释游戏是如何制作的，像素是如何做的，在日本是如何做的，以及解释你如何看到在 99.8% 的移动过程中，她实际上是被遮住的，你什么都看不到。
So it took a while, and I ended up having to [smooth things over. But then] how do I say this? They weren’t happy, but then I think the mother started getting really pissed off at little Johnny. Because she started realizing that, OK, this may or may not be true, but the fact that her son was doing this kind of thing meant like… what else is he doing?
所以花了点时间，最后我不得不[打圆场。但后来]我该怎么说呢？他们并不高兴，但我觉得这位母亲开始对小强尼非常生气。因为她开始意识到，好吧，这可能是真的，也可能是假的，但她儿子做这种事意味着......他还能做什么？

It was just one of those really funny stories that you [mostly] forget about when you run customer support because you get so many crazy calls, but that’s one of those ones that, even 20 some years later, just sticks with me and I still tell people about.
这只是其中一个非常有趣的故事，当你负责客户支持时，你会[大多]忘记这个故事，因为你会接到很多疯狂的电话，但这是其中的一个故事，即使在 20 多年后的今天，我仍然记忆犹新，我仍然会告诉别人这个故事。

\to

JOHN GILLIN

\to

约翰-吉林
Street Fighter II series director of marketing, Capcom USA
卡普空美国公司《街头霸王 II》系列营销总监
I got a letter from a father who was very, very upset with the game. And it turns out that one of those cutscenes at the beginning depicts two guys that are fighting. They’re fist fighting; they’re facing off against each other. There’s a white guy and a black guy. They’re the two that are fighting. And you look at the crowd surrounding them - the crowd is all cheering and, you know, the bloodlust is running thick. And you realize that the entire crowd surrounding these two is white. So you have all these white people, and there’s this white guy facing off against this sole black guy and the white guy takes a swing and catches the black guy right on the chin, and the black guy goes down and everybody’s cheering.
我收到一位父亲的来信，他对游戏非常非常不满。原来，游戏开头的一个场景描绘了两个人在打架。他们在拳打脚踢，互相对峙。一个是白人，一个是黑人。就是这两个人在打架。你看他们周围的人群--人群都在欢呼雀跃，你知道，嗜血的气息正在弥漫。你会发现，围着这两个人的全是白人。所以你看到了所有的白人白人对阵唯一的黑人白人挥拳击中了黑人的下巴黑人倒地，所有人都在欢呼

And the letter I received was from an African American gentleman who was distressed at the racial overtones of that. And it was funny, because I had never really noticed that, but upon looking at it, it was like, ‘Wow.’ And the Japanese culture is a little bit different than ours as far as our history and all that, and the sensitivity to those kinds of issues. And so I immediately wrote him back and told him I was very sorry about that, that that was something I would raise with our headquarters. And I did. And you know, by that point in time, the game had already been out in the market for a while and there was no way to change it. […] Whether it was intentional or not, I don’t know. But it was interesting.
我收到的信是一位非裔美国人写给我的，他对信中的种族色彩感到痛心。这很有趣，因为我从来没有真正注意到这一点，但当我看到这封信时，就觉得'哇'。就我们的历史和对这些问题的敏感度而言，日本文化与我们的文化有些不同。于是，我立即给他回了信，告诉他我对此感到非常抱歉，我会向我们的总部反映此事。我照做了。要知道，在那个时候，游戏已经在市场上销售了一段时间，根本无法改变。[我不知道这是不是有意为之。但这很有趣

$\to$ SCOTT SMITH $\to$ 斯科特-史密斯

Street Fighter II series marketing manager, Capcom USA
卡普空美国公司《街头霸王 II》系列营销经理
There were a number of little changes on the Super NES side that we had to go through [prior to the game’s release], where you had frames of animation that were taken out [like with] the guy in the background [of Blanka’s stage] that Nintendo thought was masturbating. … There’s a guy kind of cheering and moving his
在超级 NES 方面，我们不得不在[游戏发布前]进行一些小改动，你会发现有一些动画帧被删掉了，[比如][布兰卡的舞台]背景中的那个人，任天堂认为他在自慰。......有一个人在欢呼并移动他的
arm up and down, and it was a little jerky, you know? You have to remember how squeaky-clean Nintendo was in those days. […] I’m sure Japan kind of rolled their eyes at that one, but they did what they had to do to clip some of these frames out.
手臂上下摆动，有点生涩，你知道吗？你得记得任天堂那时候有多清廉[我相信日本人看到这一幕肯定会翻白眼，但他们还是做了该做的事，剪辑出了一些画面。

\to

JUSTIN BERENBAUM

\to

JUSTIN BERENBAUM
Street Fighter II series customer service manager, Capcom USA
卡普空美国公司街头霸王 II 系列客户服务经理
We actually got in trouble on something [around the same time on Capcom’s role-playing game] Breath of Fire 2. There was a scene when you were a female character when you went in to talk to this priest and he has you kneel before him and bow your head. It really looks like the character’s giving him a blowjob, to the point where you’re pretty sure the person intended it. Although it was plausible deniability.
实际上，[在卡普空的角色扮演游戏]《火之气息 2》中，我们也遇到过麻烦。有一个场景，当你作为一个女性角色去和一个牧师交谈时，他让你跪在他面前低头。这看起来真的就像是角色在给他吹箫，以至于你很确定对方是有意为之。虽然这是似是而非的推诿

\to

NORITAKA FUNAMIZU

\to

野利高风美津
Street Fighter II series producer, Capcom Japan
日本卡普空《街头霸王 II》系列制作人
Anything in the backgrounds of games that was inappropriate probably came down to the fact that the company didn’t check those things carefully back then, I think. Our scheduling back then made it very difficult to perform proper checks as well. Back in the day, in order to create the mask ROMs for games so they could be mass produced, you needed to submit the data as early as a year in advance, given the way the schedules worked back then. There were many times when we checked the data after we’d already released the game.
我认为，游戏背景中任何不恰当的内容都可能是由于公司当时没有仔细检查这些内容。我们当时的日程安排也很难进行适当的检查。在当时，为了制作游戏的掩膜 ROM 以便批量生产，你需要提前一年提交数据，因为那时的日程安排是这样的。有很多次，我们都是在游戏发布之后才检查数据的。

$\to$ SCOTT SMITH $\to$ 斯科特-史密斯

Street Fighter II series marketing manager, Capcom USA
卡普空美国公司《街头霸王 II》系列营销经理
It wasn’t too long after Street Fighter and Mortal Kombat and this growth of the fighting game genre that the [Entertainment Software Rating Board] came into being. Obviously it stems more from Mortal Kombat - my guess - than Street Fighter. But because Street Fighter was the first and it was head-to-head fighting and people
在《街头霸王》和《真人快打》以及格斗游戏类型的发展之后不久，[娱乐软件分级委员会]应运而生。显然，它更多地源于《真人快打》--我的猜测--而不是《街头霸王》。但因为《街头霸王》是第一款正面交锋的格斗游戏，而且人们
[were] punching and children [were playing], the pressure and the controversy

[.

] s t a r t e d t o r e a r i t s h e a d .

[被]拳打脚踢，孩子们[在玩耍]，压力和争议

[.

。

] s t a r t e d t o r e a r i t s h e a d .

[Ed. note] The ESRB formed in 1994 to create standardized ratings for games, such as ’ M for Mature’, following a US Senate hearing calling out titles like Mortal Kombat by name.
[编者注] ESRB 成立于 1994 年，目的是在美国参议院听证会上点名批评《真人快打》等游戏之后，为游戏设立标准分级，如 "M 代表成熟"。

CAPCOM USA VS DATA EAST CORP.

In addition to concerns over content, Capcom ran into challenges with competitors encroaching on their territory with similar-looking fighting games. To a degree, Capcom couldn’t control the situation, as clones were an established part of the business. Yet in one case, they decided to take action.
除了对内容的担忧，卡普空还遇到了竞争对手以外观相似的格斗游戏蚕食其领地的挑战。在某种程度上，卡普空无法控制局面，因为克隆已经成为业务的一部分。然而，有一次，他们决定采取行动。

At the same time Capcom was gearing up to release Street Fighter II: Special Champion Edition on Genesis, they were also putting together a lawsuit to take on one of their competitors. As games like Fatal Fury and Mortal Kombat had taken off, the industry had flooded the market with Street Fighter clones, most of which borrowed heavily from Capcom’s playbook. With Fighter’s History from Data East, though, some at Capcom claimed it hit too close to home. In September 1993, Capcom filed suit alleging copyright infringement.
就在卡普空准备在 Genesis 上推出《街头霸王 II》（Street Fighter II：特别冠军版》的同时，卡普空也在准备起诉他们的竞争对手之一。随着《致命狂怒》（Fatal Fury）和《真人快打》（Mortal Kombat）等游戏的兴起，市场上充斥着《街头霸王》的克隆游戏，其中大部分都大量借鉴了卡普空的玩法。然而，卡普空公司的一些人认为，《街头霸王》的历史来自东方数据公司（Data East）。1993 年 9 月，卡普空提起诉讼，指控其侵犯版权。

IAN ROSE 伊恩-罗斯

General counse1, Capcom USA
美国卡普空总代表1
There were a number of games in the marketplace that were arguably copycat versions of Street Fighter II. And of course, I don’t think Street Fighter II could have claimed to have completely originated the fighting game per se, but there were a couple of games, and Fighter’s History was one of them, that had a lot of very close copying of the joystick movements that translated into character movements and so on. So I think the chairman, [Kenzo] Tsujimoto, was the one who ultimately decided that the company needed to go after somebody to kind of make an example and deter further copying.
市场上有许多游戏可以说是《街头霸王 II》的山寨版。当然，我并不认为《街头霸王 II》完全开创了格斗游戏本身，但也有几款游戏，《格斗家的历史》就是其中之一，在手柄动作转化为角色动作等方面进行了大量非常接近的模仿。因此，我认为董事长 [Kenzo] Tsujimoto 是最终决定公司需要追究某人的人，以儆效尤，阻止进一步的抄袭行为。

\to

CHRIS TANG

\to

CHRIS TANG
Game designer, Atari Games
雅达利游戏公司游戏设计师
People were afraid of getting sued by Capcom if you tried to make a fighting game especially. But, I mean, that one was more egregious. It was a lot closer than anything that I had worked on or had seen other companies do.
如果你想制作格斗游戏，人们会特别害怕被卡普空起诉。但是，我的意思是，那款游戏更加恶劣。它比我参与过或见过的其他公司所做的任何事都要严重得多。

\to

ALEX JIMENEZ

\to

亚历克斯-希门尼斯
Street Fighter II series design support, Capcom USA
《街头霸王 II》系列设计支持，卡普空美国公司
We were called to write expert testimony on it. We did our research for it and we were told to do a running comparison between the two games. […] We looked at the games and said, ‘Yeah, if imitation is the sincerest form of flattery, they are flattering us to death here.’
我们被要求就此撰写专家证词。我们为此做了研究，并被要求对两款游戏进行对比。[......]我们看了这两款游戏后说：'是啊，如果模仿是最真诚的奉承，那么他们在这里把我们奉承死了。

\begin{aligned} CHRIS TANG \\ Game designer, Atari Games \end{aligned}

It was actually a competent rip-off. It was way better than the stuff that I was working on at Atari at the time. And I thought it had really funny voices. ‘Piss, piss, piss off.’
它实际上是一个合格的翻版。比我当时在雅达利做的东西强多了我觉得它的声音很有趣"小便小便滚开

\to

JAMES GODDARD

\to

詹姆斯-戈达德
Street Fighter II series design support, Capcom USA
《街头霸王 II》系列设计支持，卡普空美国公司
I looked at it - we had the board. Played it. Dave and I sat down and we just really looked into it, really looked at the comparisons, and my opinion was that sure, they ripped off a bunch of stuff. But ‘rip-off’ is a strong word there. It’s what a lot of people do. It was inspired by [Street Fighter] and knocked some stuff off from it. I mean, the fact that the same command inputs did similar-looking moves was the only thing, right? […] Was the idea of a fireball patentable? The motion? A charge for a Sonic Boom? Or is this now just technique, like ducking or jumping? Can you really patent any of that stuff? And so I didn’t like where it was going. I gave my opinion. It was like, ‘This game is not going to steal money from us. Mortal Kombat
我看了看--我们有棋盘。玩过了戴夫和我坐下来，仔细研究，认真比较，我的看法是，他们肯定抄袭了很多东西。但 "抄袭 "这个词用得太重了很多人都是这么做的。它的灵感来源于《街头霸王》，并从其中剽窃了一些东西。我的意思是，相同的指令输入能做出相似的动作，这就是唯一的原因，对吗？[......]火球的创意可以申请专利吗？动作？音爆的冲锋？还是现在这只是技术，就像躲避或跳跃？这些东西真的能申请专利吗？所以我不喜欢它的发展方向我发表了自己的意见就像'这款游戏不会从我们这里偷钱'一样。真人快打
is a thing, you know? This game is not going to hurt us. I don’t see what the big deal is. It’s a cool game, but it’s not a Street Fighter killer. Let’s just keep making better [games]’ - I mean, we were already making better shit - ‘and continuing to make money.’ […] So I didn’t really want anything to do with the trial. I made that clear. I didn’t want anything to do with it because I didn’t fundamentally agree. So being the good boss that I was, I assigned Dave Winstead to it, which we joke about to this day. So he went in and tried to document everything, and he didn’t agree either, but he documented everything. […] He even got stuck testifying. What a nightmare.
是一件事，你知道吗？这场比赛不会伤害我们。我不明白这有什么大不了的这是一款很酷的游戏，但它不是《街头霸王》的杀手。我们还是继续做更好的游戏吧"--我的意思是，我们已经在做更好的游戏了--"继续赚钱"。[所以我真的不想和试验扯上任何关系。我说得很清楚我不想和审判扯上任何关系因为我从根本上就不同意所以作为一个好老板我指派戴夫-温斯蒂德去做这件事我们至今还为此开玩笑他进去后试图记录一切他也不同意，但他记录了一切[......]他甚至被困在了作证的地方。真是一场噩梦

DAVE WINSTEAD 戴夫-温斯泰德

Street Fighter II series design support, Capcom USA
《街头霸王 II》系列设计支持，卡普空美国公司
Nowadays, there are so many more Street Fighter-like games and no one would care. […] But back then, they got really mad. Japan got really mad and they wanted us [to help with the case]. We didn’t care. I’ll be honest. In the US, we were like, ‘Whatever. Fighter’s History? Who’s going to play that?’
如今，类似《街头霸王》的游戏层出不穷没人会在乎这些[......]但在当时，他们真的很生气。日本非常生气，他们希望我们（帮助处理此案）。我们根本不在乎老实说在美国，我们就像'无所谓'。战斗机的历史？谁会玩这个？

$\to$ JAMES GODDARD $\to$ 詹姆斯-戈达德

Street Fighter II series design support, Capcom USA
《街头霸王 II》系列设计支持，卡普空美国公司
Data East sounded to me like more of a political thing, and I have to imagine that there was some kind of rivalry that was deep-rooted and long in Japan between people, and that was probably the main motivator. […] When we wrote our recommendation that there wasn’t anything there, they [still] wanted to pursue it. So it is what it is.
在我看来，"东方数据 "更像是一件政治性的事情，我不得不想象，在日本，人们之间存在着某种根深蒂固、由来已久的竞争关系，这可能是主要的动因。[......]当我们在建议书中写明那里没有任何东西时，他们[仍然]想要继续下去。所以，事情就是这样。

DAVE WINSTEAD
Street Fighter II series design support, Capcom USA

It was an interesting experience […] I had to sit there, crossreferencing their combos versus our combos, showing [the court] exactly what it looked like. We also had video that was shown above the bench there, and it was really weird. It was a really weird day.
这是一次有趣的经历[......]我不得不坐在那里，对照他们的组合和我们的组合，向[球场]展示他们的组合到底是什么样的。我们还在替补席上方播放视频，感觉非常怪异。这真是奇怪的一天。

\to

SHINICHI UEYAMA

\to

上山信一
Street Fighter II series lead programmer, Capcom Japan
日本卡普空《街头霸王 II》系列首席程序员
Originally, I got a request from Capcom’s legal department to analyse the similarities between the two games’ coding.
最初，卡普空的法律部门要求我分析两款游戏编码的相似性。

\to

NORITAKA FUNAMIZU

\to

野利高风美津
Street Fighter II series producer, Capcom Japan
日本卡普空《街头霸王 II》系列制作人
But [Ueyama] was so busy, I didn’t really want him to do that. So I said, ‘just don’t do it’, right?
但是 [Ueyama] 太忙了，我真的不想让他这么做。所以我说，'就别做了'，对吗？

\to

SHINICHI UEYAMA

\to

上山信一
Street Fighter II series lead programmer, Capcom Japa
《街头霸王 II》系列首席程序员，日本卡普空a
But then, of my own volition, I ended up doing it anyway. [laughs] […] I apologize that this is a little technical, but I did look at the code, and the hardware was completely different, so if you compared the specific programming it was entirely different - however, if you only looked at the algorithms and the flow of the programming, it looked extremely similar. […] I was expecting Capcom to win if they analysed the code closely.
但后来，出于我自己的意愿，我还是做了。[笑][......]很抱歉，这有点技术性，但我确实看了代码，硬件完全不同，所以如果比较具体的编程，那是完全不同的--不过，如果只看算法和编程流程，那看起来非常相似。[......]如果仔细分析代码，我以为卡普空会赢。

\to

IAN ROSE

\to

伊恩-罗斯
General counse1, Capcom USA
美国卡普空总代表1

This was during a legal era when there were a number of copyright so-called ‘look and feel’ cases. […] And this was kind of a defining era in terms of what the courts were going to uphold as copyright infringement.
在那个法律时代，出现了许多所谓 "外观和感觉 "的版权案件。[......]就法院将支持哪些侵权行为而言，这是一个决定性的时代。

\to

CLAUDE STER

\to

克劳德-施特尔
Trial counse1 representing Data East
代表东方数据公司的试用国家1
The videogame industry was actually very, very young, and one of the questions was what represents protectable expression when you have a young industry.
电子游戏产业实际上非常非常年轻，其中一个问题是，当你拥有一个年轻的产业时，什么是可保护的表达。

If you look at Fighter’s History compared to Street Fighter, there are certain obvious similarities. There’s a colourful
与《街头霸王》相比，《拳皇》的历史有一些明显的相似之处。有丰富多彩的
background and the fight takes place in a centre circle, the fighters square off, they’re in an arcade game. […] And so one of the questions was, ‘Well gosh, is that really all unique to Capcom? Is that really something that they had created, and that they had all the copyrights to?’ The problem was that in a developing industry - we see this now today - if you start giving that sort of protection to the first entrant into a market, that entrant has got the opportunity to become a monopolist. […] We very much saw the case as a case that ultimately put front and centre the question of could a person own a genre? […] Could somebody come up with a new idea, a new way of doing something, and then ace everyone out from being able to compete in that field without coming up with a completely different look?
战斗发生在一个中心圆里格斗者们一决胜负他们就像在玩街机游戏一样[......]所以其中一个问题是，'天哪，这真的都是卡普空独有的吗？这真的是他们创造并拥有所有版权的东西吗？'问题是，在一个发展中的行业里--我们现在就看到了这一点--如果你开始给市场的第一个进入者提供这种保护，那么这个进入者就有机会成为垄断者。[......]我们认为，这个案例最终将一个人能否拥有一个流派的问题摆到了前台和中心位置。[......]是否有人可以提出一个新的想法、一种新的做事方式，然后在没有完全不同的外观的情况下，将所有人都排除在该领域的竞争之外？

\begin{aligned} IAN ROSE \\ General counse1, Capcom USA \end{aligned}

There wasn’t anything like it. There wasn’t any other big lawsuit like that that Capcom filed during that period on that kind of basis.
没有类似的诉讼在此期间，卡普空也没有提出过类似的大型诉讼。

CLAUDE STERN
    Trial counse1 representing Data East

I think [Data East was] very nervous. There was some terrible evidence. I mean, the fact of the matter is the Data East artists were copying Street Fighter. The ultimate work wasn’t a slavish copy - a pixel-by-pixel copy - but they had evidence that we were copying things. And our response was, well, what we were copying wasn’t protectable. So for example, we might make a copy of one of their images, but then we’d change the image, change the background, change the fighter’s stance, change the type of kick. But even then, there was a lot of similarity in the kicks and the moves. But of course our response was, ‘Well wait a minute. Those are conventional moves within the martial arts field. You can’t own that.’
我认为[东方数据]非常紧张。有一些可怕的证据。我的意思是，事实是 Data East 的艺术家们在抄袭《街头霸王》。最终的作品并不是完全照搬--逐个像素地复制--但他们有证据表明我们在抄袭。而我们的回应是，我们抄袭的东西不受保护。因此，举例来说，我们可能会复制他们的一张图片，但我们会改变图片，改变背景，改变拳手的姿势，改变踢腿的类型。但即便如此，踢法和动作还是有很多相似之处。当然，我们的反应是，'等一下。这些都是武术领域的传统动作。你们不能拥有它。

Capcom was taking a position … saying, ‘Well look, the look and feel of Street Fighter and Fighter’s History
卡普空的立场是......说，'听着，《街头霸王》和《霸王的历史》的外观和感觉
are virtually identical, so therefore there should be infringement.’ Our position was, ‘Well no, actually … Capcom, look, two fighters, they’re in a ring. That’s a convention. […] We need to be able to look at the work not as a unique artistic work, but rather as an embodiment of a variety of conventions that had been adopted over time.’ Ultimately, that’s what the court found. If you look at these works and you remove the conventional features, there’s not a hell of a lot left.
几乎完全相同，因此应该构成侵权。我们的立场是：'不，实际上......卡普空，你看，两个格斗家，他们在一个擂台上。这是惯例。[......]我们不能把该作品看作是一个独特的艺术作品，而应看作是长期以来各种约定俗成的体现。最终，法院认定了这一点。如果把这些作品中的常规特征去掉，剩下的东西就不多了。

\to

IAN ROSE

\to

伊恩-罗斯
General counse1, Capcom USA
美国卡普空总代表1
One of the big reasons that Capcom didn’t get more traction was the courts had already given weak protection to these kinds of cases, or almost no protection [in other industries]. […] The case settled, mostly because we weren’t getting the traction we wanted with the courts, and we walked away.
卡普空没有得到更多关注的一个重要原因是，法院对这类案件的保护力度已经很弱，或者说几乎没有保护（在其他行业）。[......]这个案子不了了之，主要是因为我们在法庭上没有得到我们想要的牵引力，所以我们放弃了。

\to

JAMES GODDARD

\to

詹姆斯-戈达德
Street Fighter II series design support, Capcom USA
《街头霸王 II》系列设计支持，卡普空美国公司
It’s just as well they didn’t win because look at all the wonderful stuff that’s come since then. If they had won that precedent, would we be where we are with fighting games right now? I don’t know.
他们没赢也就罢了，因为看看自那以后出现的所有精彩游戏。如果他们赢得了那个先例，我们现在的格斗游戏会是这样吗？我不知道。

CHAPTER 08 第 08 章

SUPER STREET FIGHTER II 超级街头霸王 II

Super Street Fighter II wasn’t supposed to be the fourth Street Fighter II game.
超级街头霸王 II》不应该是《街头霸王 II》的第四款游戏。

After finishing Champion Edition in early 1992, Capcom started putting together plans for a follow-up. It would feature new characters. It would be the first game on the company’s new CPS-2 arcade hardware. It would be Noritaka Funamizu’s chance to lead a Street Fighter game, as Akira Nishitani moved on to other things.
1992 年初完成《冠军版》后，卡普空开始制定后续计划。该游戏将采用新的角色。这将是公司新推出的 CPS-2 街机硬件上的第一款游戏。由于西谷彰（Akira Nishitani）转行做了其他工作，船水宪孝（Noritaka Funamizu）将有机会领导一款《街头霸王》游戏。

When Capcom scrambled to develop Hyper Fighting in late 1992, though, it threw plans off schedule.
不过，当卡普空在 1992 年底争相开发《超级格斗》时，计划被打乱了。

Capcom kept developing Super Street
卡普空继续开发《超级街霸》
Fighter II, but ended up releasing it nine months after Hyper Fighting. And suddenly, their big follow-up was no longer the third Street Fighter II game, but the fourth - and it arrived to a different set of expectations.
街头霸王 II》，但最终却在《超能格斗》发布 9 个月后才发布。突然之间，他们的后续大作不再是第三款《街头霸王 II》游戏，而是第四款，而且人们对它的期待也不同了。

It also didn’t help that - from the outset Super SFII was handicapped by Capcom’s need to use up a surplus of ROM chips featuring old visual and audio data, limiting how far the development team could push new entries in the series forward.
卡普空公司从一开始就需要用掉过剩的 ROM 芯片，这些芯片包含了旧的视觉和音频数据，这也限制了开发团队对系列新作的开发。
‘I don’t want to say too much, but it was a miscalculation on the part of the sales team,’ says Funamizu, noting that this was an ongoing problem following Street Fighter II’s early success. ‘They saw how many boards we were selling and from that
我不想说得太多，但这是销售团队的误判，"Funamizu 说，"这是《街头霸王 II》早期成功后一直存在的问题。他们看到我们卖出了很多游戏板，因此
they overestimated how many ROM chips to order, resulting in a big excess stock. That’s how Super Street Fighter II started, with them asking us to do something about this. [Capcom Japan department head Yoshiki] Okamoto got really angry, too, because if they continued to make their stock orders in this way, it would mean we’d never break free of this cycle, because with every new game we made they’d just order more.’
《他们高估了需要订购的 ROM 芯片数量，导致大量库存过剩。超级街头霸王 II》就是这样开始的，他们要求我们对此做些什么。[卡普空日本部门主管 Yoshiki] Okamoto 也非常生气，因为如果他们继续以这种方式订购存货，就意味着我们永远无法摆脱这种循环，因为我们每制作一款新游戏，他们就会订购更多。

From the speed to the competition to the desire from players for something new, a lot can change in nine months.
从速度到竞争，再到球员对新事物的渴望，九个月的时间可以改变很多。

A SLOWER GAME 较慢的游戏

Hitting arcades in late 1993, Super Street Fighter II released with some big additions. It was the first game since the original Street Fighter II to add new fighters, and the first to take a notable visual step forward. For many players, though, what stood out most was the speed. After spending nine months adjusting to the faster pace of Hyper Fighting, they found it hard to go back to something slow.
1993 年底，《超级街头霸王 II》在街机厅发售，并增加了一些重要内容。这是自最初的《街头霸王 II》以来第一款增加新格斗家的游戏，也是第一款在视觉上向前迈出显著一步的游戏。不过，对许多玩家来说，最引人注目的还是游戏的速度。在花了九个月的时间适应了《超级格斗》的快节奏后，他们发现很难再回到慢节奏的游戏中。

JAMES GODDARD 詹姆斯-戈达德

Super Street Fighter II design support, Capcom USA
《超级街头霸王 II》设计支持，卡普空美国公司
As Super [started development], it was great. They were making four new characters. [They were originally going to have two versions of Fei Long, and I suggested swapping one for a new character and pitched Dee Jay] based on Billy Blanks from [martial arts movie] King of the Kickboxers. And we were looking at balance stuff and it was kind of secret. Mostly, they wanted to work out the characters first … and then Hyper Fighting happened in the middle of that.
超级[开始开发]时，情况非常好。他们制作了四个新角色。[他们原本打算有两个版本的飞龙，我建议把其中一个换成新角色，并建议迪杰]以[武侠电影]《拳皇》中的比利-布兰克斯为原型。我们当时正在研究平衡的问题，这有点秘密。主要是他们想先确定角色......然后《超能格斗》就在这中间诞生了。

So we end up doing all this Hyper Fighting stuff, and development [on Super Street Fighter II] is still going on in the background. And at that point, because Hyper Fighting had changed the landscape during development of Super Street Fighter, of course the assumption would be we’d pull some of that over and build upon it.
所以我们最终做了所有这些《超级格斗》的东西，而[《超级街头霸王 II》]的开发仍在后台进行。当时，由于《超级街霸》的开发过程中，《超级格斗》已经改变了格局，我们当然会把其中的一些东西搬过来，并在此基础上继续开发。
I remember flying out there. In fact, it was Dave Winstead’s first trip to Japan with me. We go sit down and look at Super Street Fighter and see all the stuff that we’ve been talking about for a long time. And Super Street Fighter was a bit of a nightmare, because there were so many things that happened on that game. One is they made it slow. I’m told, just before I sit down, ‘Hey, you’re going to be a bit shocked at this, so don’t complain because there’s a lot of changes that you are not going to be happy with.’
我记得我是飞去那里的。事实上，那是戴夫-温斯蒂德第一次和我一起去日本。我们坐下来看《超级街头霸王》看到了所有我们讨论了很久的东西《超级街头霸王》有点像一场噩梦因为那款游戏发生了很多事情其一，他们把游戏做得很慢。就在我坐下来之前，有人告诉我：'嘿，你会对这个有点震惊，所以不要抱怨，因为有很多改动是你不会满意的。

That’s how it started. So we sit down and look at it. Of course, I’m excited to see all the characters. It’s slow, and Dee Jay played more like Guile [than I had pitched him]. That was not really the idea at the time, but it made sense why it went that way. But Super Street Fighter just had a lot of problems, and it really didn’t play right. It didn’t play right because it was slow. It didn’t play right because it was missing the spark that Hyper had caused, and so it wasn’t acknowledging what was happening in the market on several levels.
事情就是这样开始的。所以我们就坐下来看。当然，看到所有的角色我都很兴奋。影片节奏很慢，迪杰扮演的角色更像古尔（Guile）[而不是我给他的设定]。当时我的想法并不是这样的，但这样做也是有道理的。但《超级街头霸王》有很多问题，玩起来真的很不顺手。玩起来不顺手是因为它太慢了。它玩得不好是因为它缺少了 Hyper 所带来的火花，所以它在多个层面上都没有承认市场上正在发生的事情。

DAVE WINSTEAD 戴夫-温斯泰德
Super Street Fighter II design support, Capcom USA
《超级街头霸王 II》设计支持，卡普空美国公司
Funamizu, who was the head of the project for Super Street Fighter, really liked it slower. I think he was more with the Japanese side that liked it slower, and [our Capcom Japan liaison Tom Shiraiwa] kept saying, ‘It had to be that way; it had to be that way.’ That’s all he kept saying on the phone. And I think that that was him saying Funamizu was calling the shots. He had like, Nishitani clout, right? And Funamizu had done some cool games in the past, and went on to do some good games later, so I have nothing against Funamizu whatsoever. But at that time, I was a little angry. But at the same time, they’d look at us like, Oh, here come some Americans. The game is made in Japan. These guys, what do they know?
船水是《超级街头霸王》项目的负责人，他非常喜欢慢一点。我认为他更倾向于日本方面，喜欢慢一点，[我们的卡普空日本联络人 Tom Shiraiwa]一直在说，'必须这样，必须这样'。他在电话里一直这么说。我认为他是在说船水在发号施令。他有西谷的影响力，对吧？船水过去也做过一些很酷的游戏后来也做了一些不错的游戏所以我对船水没有任何意见但当时我有点生气。但与此同时，他们看我们的眼神就像在说：哦，来了几个美国人。游戏是在日本制作的这些家伙懂什么？

Funamizu actually told us that we ruined Street Fighter with Hyper Fighting, [saying] the fast speed made it unfair for people that didn’t have better reflexes and all that kind of stuff. So they wanted to move it back down, and I kind of see their point. I see their point. [But] back then, I was furious. Like, ‘What are you talking about? We’ve got to go faster and faster.’ So they just basically told us that that’s just the way it’s going to be. ‘It’s going to be slow. Sorry, it has to be that way.’
实际上，船水告诉我们，我们用《超格斗》毁了《街头霸王》，[说]速度太快对反应能力不够好的人不公平，诸如此类。所以他们想把速度降下来，我有点明白他们的意思了。我明白他们的意思[但]当时我很生气你在说什么？我们得越开越快'。'所以他们基本上就是告诉我们事情就是这样的'会很慢。'对不起，只能这样了。

[Ed. note] Walker disputes Kitade’s account, saying, ‘He wasn’t even part of the process. He came in very late in the game as the financial guy, to bring some social order to my sales guys, and he was [running
[编者注]沃克对基塔德的说法提出质疑，他说："他根本没有参与这个过程。他很晚才以财务人员的身份出现，为我的销售人员带来了一些社会秩序，而他却在[运作]。
$\to$ STEPHEN FROST $\to$ 史蒂芬-弗罗斯特
Street Fighter 30th Anniversary Col1ection producer, Digital Ec1ipse
《街头霸王》30 周年庆典 Col1ection 制作者，数字 Ec1ipse
[Ed. note] Some of the criticism directed at the game came from scenes that more clearly depicted what customers were complaining about.
[编者注]一些针对该游戏的批评来自于一些场景，这些场景更清晰地描绘了客户所抱怨的内容。

LIKE A HURRICANE 喜欢 A 飓风

FOREWORD 前言

CHAPTER 章 次

A GAME OF IDEAS 思想的游戏

TAKASHI NISHIYAMA 西山隆

DEVELOPMENT CHALLENGES 发展挑战

TAKASHI NISHIYAMA 西山隆

CAPCOM'S EXPERIMENT 卡普空的实验

TAKASHI NISHIYAMA 西山隆

JEFF WALKER 杰夫-沃克

ZENJI ISHII 石井善治

A MIXED SUCCESS 成败参半

→ → rarrquad\rightarrow \quad JEFF WALKER → → rarrquad\rightarrow \quad 杰夫-沃克

THE EXODUS 出埃及记

TAKASHI NISHIYAMA 西山隆

HARUMI FUJITA 藤田晴美

TAKASHI NISHIYAMA 西山隆

CHAPTER 02 第 02 章

STREET FIGHTER II 街头霸王 II

HOW IT HAPPENED 经过

MAKING THE GAME 制作游戏

JAMES GODDARD 詹姆斯-戈达德

THE ACCIDENTAL COMBO 意外组合

HIDE 隐藏

ART SHOW 艺术展

SCOTT SMITH 斯科特-史密斯

AKIRA YASUDA 安田 喜良

THEME SONGS 主题曲

Yoko Shimonura 下村阳子

EEd. note] Fujita clarifies that her son's comments don't specifically relate to Street Fighter II, but to working at Capcom in general.注释］藤田澄清说，她儿子的评论并不具体涉及《街头霸王 II》，而是与在卡普空的工作有关。

TRANSLATION STRUGGLES 翻译斗争

TOM SHIRAIWA 白岩

ARCADE SUCCESS

CHRIS JELINEK 克里斯-耶利内克

BRIAN DUKE 布里安-杜克

JEFF WALKER 杰夫-沃克

JEFF WALKER 杰夫-沃克

ArW00D

EFF WALKER 埃夫-沃克

SOFTWARE GLITCHES 软件故障

ZENJI ISHII 石井善治

TOMOTAKA SUZUKI 铃木智孝

SHENG LONG 盛龙

→ → rarrquad\rightarrow \quad SCOTT SMITH Street Fighter II marketing manager, Capcom USA → → rarrquad\rightarrow \quad 斯科特-史密斯 卡普空美国公司《街头霸王 II》市场经理

CHAPTER 03 第 03 章

FATAL FURY致命 愤怒

THE RIVALRY 竞争

A DIFFERENT APPROACH 另辟蹊径

HIROSHI MATSUMOTO 松本 宏

ZENJI ISHII 石井善治

COMPETING WITH STREET FIGHTER II与街头霸王 II 竞争

→ → rarrquad\rightarrow \quad TAKASHI NISHIYAMA → → rarrquad\rightarrow \quad 西山隆志

→ → rarrquad\rightarrow \quad HIROSHI MATSUMOTO → → rarrquad\rightarrow \quad 松本 宏志

→ → rarrquad\rightarrow \quad DAVE WINSTEAD → → rarrquad\rightarrow \quad 戴维-温斯泰德

CHAPTER 章 次

STREET FIGHTER II: CHAMPION EDITION 街道 战斗机 II：冠军版

THE GAME THAT DESIGNED ITSELF自己设计的游戏

JAMES GODDARD 詹姆斯-戈达德

PETER BETT 彼得-贝特

JAMES GODDARD 詹姆斯-戈达德

BIGGER THAN SFII 大于 sfii

ZENJI ISHII 石井善治

AMES GODDARD 阿姆斯-戈达德

DEFENDING AGAINST COUNTERFEITERS防伪

IAN ROSE 伊恩-罗斯

BRIAN DUKE 布里安-杜克

→ → rarrquad\rightarrow \quad IAN ROSE → → rarrquad\rightarrow \quad 伊恩-罗斯

IAN ROSE 伊恩-罗斯

CHAPTER 05 第 05 章

STREET FIGHTER II TURB0: HYPER FIGHTING街头霸王 2：超格斗

THIRD-PARTY UPGRADE KITS 第三方升级套件

→ → rarrquad\rightarrow \quad TAKESHI TEZUKA → → rarrquad\rightarrow \quad 户冢武史

OMOTAKA SUZUKI 大本聪

AN OFFICIAL RESPONSE 正式答复

JAMES GODDARD 詹姆斯-戈达德

DEVELOPMENT DEBATES 发展辩论

JAMES GODDARD 詹姆斯-戈达德

JAMES GODDARD 詹姆斯-戈达德

ALEX JIMENEZ 亚历克斯-希门尼斯

JAMES GODDARD 詹姆斯-戈达德

LIKE A
HURRICANE
喜欢 A 飓风

CHAPTER 章次

$\to$ JEFF WALKER $\to$ 杰夫-沃克

AKIRA YASUDA 安田喜良

EEd. note] Fujita clarifies that her son's comments don't specifically relate to Street Fighter II, but to working at Capcom in general.
注释］藤田澄清说，她儿子的评论并不具体涉及《街头霸王 II》，而是与在卡普空的工作有关。

$\to$ SCOTT SMITH
Street Fighter II marketing manager, Capcom USA
$\to$ 斯科特-史密斯卡普空美国公司《街头霸王 II》市场经理

FATAL
FURY
致命愤怒

HIROSHI MATSUMOTO 松本宏

COMPETING WITH STREET FIGHTER II
与街头霸王 II 竞争

$\to$ TAKASHI NISHIYAMA
$\to$ 西山隆志

$\to$ HIROSHI MATSUMOTO
$\to$ 松本宏志

$\to$ DAVE WINSTEAD $\to$ 戴维-温斯泰德

CHAPTER 章次

STREET
FIGHTER II: CHAMPION EDITION
街道战斗机 II：冠军版

THE GAME THAT DESIGNED ITSELF
自己设计的游戏

DEFENDING AGAINST COUNTERFEITERS
防伪

$\to$ IAN ROSE $\to$ 伊恩-罗斯

STREET FIGHTER II TURB0: HYPER FIGHTING
街头霸王 2：超格斗

$\to$ TAKESHI TEZUKA
$\to$ 户冢武史

$\to$ NORITAKA FUNAMIZU
$\to$ 野利高风美津

$\to$ JAMES GODDARD $\to$ 詹姆斯-戈达德

THE GENESIS/MEGA DRIVE PORT
创世纪/巨型驱动器端口

THE WESTERN CONSOLE BOX ART
西方游戏机包装盒艺术

CHAPTER
07
章次 07

$\to$ SCOTT SMITH $\to$ 斯科特-史密斯

$\to$ SCOTT SMITH $\to$ 斯科特-史密斯

$\to$ JAMES GODDARD $\to$ 詹姆斯-戈达德