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

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

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。