First, congratulations on finishing releasing all the DLC.
首先，恭喜您完成所有 DLC 的发布。
Yokota and Kusakihara: Thank you.
横田和草木原：谢谢。
Yokota: It finally feels like I have a chance to breathe (laughs).
横田：终于感觉有喘息的机会了（笑）。
Truly amazing work. Were the events of the side story from the final wave of DLC made after the main story had been solidified, or were the two made in parallel?
真正令人惊奇的工作。最后一波DLC中的支线故事的事件是在主线故事固化之后制作的，还是两者并行制作的？
Kusakihara: The actual production began after the main story, but the idea of wanting an underground labyrinth beneath Garreg Mach existed conceptually since the early stages of development. But it ended up being cut due to resource constraints. This side story came to be because when it was time to start planning the DLC, we wanted to try and work with these kinds of omitted elements again. So it wasn’t completely after-the-fact; it’s filled with plans and preparation from the time of original development. The same goes for the protagonist’s mother.
草木原：实际制作是在主线故事之后才开始的，但想要在加尔古·马赫的地下建造一个地下迷宫的想法从开发初期就已经存在了。但最终因资源限制而被砍掉。这个支线故事的出现是因为当开始规划 DLC 时，我们想再次尝试使用这些被省略的元素。所以这并不完全是事后发生的。它充满了从最初开发时起的计划和准备。主角的母亲也是如此。
Yokota: But as for the four students from the fourth house, those we totally came up with later.
横田：但是第四宫的四名学生，完全是我们后来想出来的。
So you started making the bonus characters after development on the DLC began, and then they got their appearances in the main game.
所以在 DLC 开发开始后你就开始制作奖励角色，然后他们就出现在主游戏中了。
Yokota: Yes. As development of the main game was coming to an end, when we asked ourselves, “What should we do for DLC this time?” Mr. Kusakihara brought out his catchphrase: “I’ve come up with an evil idea.”
横田：是的。当主游戏的开发接近尾声时，我们问自己：“这次的DLC应该做什么？”草木原先生说出了他的口头禅：“我想到了一个邪恶的主意。”
Everyone: (laughs)
大家：（笑）
Yokota: So he told us his idea for a fourth house, and I felt it could really make the DLC’s main attraction, the side story, interesting.
横田：所以他告诉我们他对第四个房子的想法，我觉得这确实可以让 DLC 的主要吸引力，即支线故事变得有趣。
I thought you’d collected ideas or found tie-ins for the main story and made the outline for the side story at the same time as the main story.
我以为你已经收集了想法或找到了主线故事的搭配，并在主线故事的同时制定了支线故事的大纲。
Kusakihara: That’s actually not how it went down.
草木原：实际上事情并不是这样的。
Yokota: That’s just because the staff of Koei Tecmo Games (hereafter Koei Tecmo), the people in charge of development, did such a good job of tying everything in.
横田：那是因为Koei Tecmo Games（以下简称Koei Tecmo）的工作人员，即负责开发的人员，把所有的东西都绑在一起做得很好。
Does the side story take place in a parallel world?
支线故事发生在平行世界吗？
Kusakihara: It’s hard to say definitively. It’s not as completely cut off as “parallel” implies, and I personally think that story happened among Yuri and his group. When the protagonist meets the four of them in the main game, they act like they’ve never met before, but I think that even in the main story, they’ve resolved that incident somehow. I think Cindered Shadows’s place is “how that story would have gone if the protagonist had been there.”
草木原：很难明确地说。它并不像“平行”所暗示的那样完全切断，我个人认为这个故事发生在尤里和他的团队之间。当主角在主线游戏中遇到他们四个人时，他们表现得就像以前从未见过一样，但我认为即使在主线故事中，他们也以某种方式解决了该事件。我认为《灰烬之影》的定位是“如果主角在那里，故事将会如何发展”。
How did you choose the characters from the main game who would appear in the side story?
你们是如何选择主游戏中出现在支线故事中的角色的？
Yokota: We started with having all the house leaders together.
横田：我们首先将所有众议院领导人聚集在一起。
Kusakihara: Having the house leaders all fight alongside each other was a core concept of the story, so they were locked in from the very beginning. We’d also go, “Oh, from a strategic point of view, we want someone with this kind of skill,” so we picked one person from each house who really seemed to fit with these specific niches. Also, maybe people who were connected to the students of the fourth house. In particular, Linhardt could butt in and talk about Crests, so we picked him as someone we could easily make talk about important parts of the story. And as for Ashe, we felt he could broaden the story because he could strongly sympathize with the Abyssian lifestyle, for example.
草木原：让家族领袖们并肩作战是故事的核心概念，所以他们从一开始就被锁定了。我们还会说，“哦，从战略角度来看，我们想要拥有这种技能的人”，因此我们从每个学院中挑选了一个真正适合这些特定领域的人。还有，也许是和第四宫的学生有关系的人。特别是，林哈特可以插话并谈论克雷斯特，所以我们选择他作为我们可以轻松谈论故事重要部分的人。至于阿什，我们觉得他可以扩大故事范围，因为他可以强烈同情阿比西亚的生活方式。
So it seems their roles as units were a big factor. Indeed, compared to the main game, Cindered Shadows’s maps have a lot of special rules, and it felt like a challenge. What sorts of things did you take into consideration when making the maps?
所以看来他们作为单位的角色是一个重要因素。确实，与游戏本体相比，《灰影》的地图有很多特殊规则，感觉很有挑战性。您在制作地图时考虑了哪些因素？
Kusakihara: We thought it’d definitely be boring if it played exactly like the main game, so we thought we’d put in some different gameplay. We talked with the development team about how we wanted to make maps with balance closer to shogi problems, like classic Fire Emblem.
草木原：我们认为如果和主游戏一模一样的话肯定会很无聊，所以我们想加入一些不同的游戏玩法。我们与开发团队讨论了如何制作平衡性更接近将棋问题的地图，例如经典的《火焰之纹章》。
Yokota: We considered making it possible to bring stats over from the main game, but then it’d become either too easy or too hard depending on when you played it, so we had it stand alone from the main game. Initially, we were even considering disabling leveling up. Ultimately, though, I think it gives the gameplay more breadth to level up and strengthen your favorite characters.
横田：我们考虑过可以从主游戏中引入统计数据，但是根据你玩游戏的时间，它会变得太容易或太难，所以我们将其与主游戏分开。最初，我们甚至考虑禁用升级。但最终，我认为它为游戏玩法提供了更多的广度来升级和强化你最喜欢的角色。
You can also change classes to a certain extent, but do you have any characters where you’d recommend changing their class for strategic purposes?
你也可以在一定程度上改变职业，但是你有没有推荐出于战略目的而改变职业的角色呢？
Yokota: I think that just comes down to taste (laughs).
横田：我认为这只是口味的问题（笑）。
Kusakihara: We basically designed the levels so that you could beat them with everyone in their default class. It’s random which stats increase, so we made enough wiggle room so you could look at that and say, “Oh, maybe they’d do better in this class.”
草木原：我们基本上设计了这些关卡，以便你可以用默认类别的每个人来击败它们。统计数据的增加是随机的，所以我们留出了足够的回旋余地，这样你就可以看到并说，“哦，也许他们在这门课上会做得更好。”
In the main game, why is it that you gave Yuri and the other DLC characters support conversations with characters who didn’t appear in the side story?
在主游戏中，为什么要让尤里和其他DLC角色与支线故事中没有出现的角色进行对话？
Kusakihara: At the beginning of planning, we came up with many ideas for how to integrate the DLC characters from the side story into the main game. We thought it’d be a waste if it all ended with the side story. You finish playing the side story, and then when you bring them into the main game, they continue to change. We wanted people to enjoy another round of the main game that way.
草木原：在策划之初，我们就如何将支线故事中的DLC角色融入到主游戏中提出了很多想法。我们认为如果一切都以支线故事结束那就太浪费了。你玩完支线故事，然后当你把它们带入主游戏时，它们会继续发生变化。我们希望人们能够以这种方式享受另一轮主游戏。
Yokota: Though we also felt a little bad for the people who’d already played the main game four times (laughs).
横田：不过我们也为那些已经玩了四次正版游戏的人感到有点难过（笑）。
Everyone: (laughs)
大家：（笑）
Kusakihara: Like, one more time, okay? (laughs)
草木原：再一次，好吗？ （笑）
Yokota: Honestly, we were kind of expecting people to play the game once when it first came out, and then another once or twice when the DLC came out. And then quite a few people played multiple routes. I felt a little sorry, but we continued working on the DLC anyway.
横田：老实说，我们希望人们在游戏刚推出时就玩一次，然后在 DLC 推出时再玩一两次。然后不少人玩了多条路线。我感到有点遗憾，但无论如何我们还是继续开发 DLC。
Kusakihara: I think games are for experiencing the worlds and stories that unfold in them as if they were your own. Personally, I’m the kind of person who gets really invested in movies and games… I tried to set up a little prank where you go through the game once, really feel what the world has to offer, then share your experiences with someone else and go, “Wait, we played the same game, so why are we talking about two totally different things?” For instance, I thought it’d be interesting if even if you pick the same house, your stories might differ based on the characters you recruited, or you’d get excited and say, “I didn’t see that scene…” I never thought everyone would play through the game over and over and over (laughs).
草木原：我认为游戏是为了体验其中展开的世界和故事，就好像它们是你自己的一样。就我个人而言，我是那种真正投入电影和游戏的人……我尝试设置一个小恶作剧，让你玩一次游戏，真正感受到世界所提供的东西，然后与其他人分享你的经历然后说，“等等，我们玩的是同一个游戏，那为什么我们要谈论两个完全不同的事情呢？”例如，我认为即使你选择了同一个房子，你的故事可能会根据你招募的角色而有所不同，或者你会很兴奋地说，“我没有看到那个场景……”我觉得这会很有趣。没想到每个人都会一遍又一遍地玩这个游戏（笑）。
Yokota: It could be that even if stuff they’d never heard of came up in those conversations, it didn’t end there, and instead they thought, “I wanna play it again and see it for myself.”
横田：可能即使在这些谈话中出现了他们从未听说过的东西，事情也并没有就此结束，相反，他们想，“我想再玩一次，亲眼看看。”
So, was there anything from a story standpoint that you were particular about due to its nature as a side story?
那么，从故事的角度来看，有什么因为其作为支线故事的性质而特别值得关注的地方吗？
Kusakihara: The cardinals, for example, who were only name-dropped in the main game, but hardly depicted beyond that at all. We wanted to write a story that shines a light on the church.
草木原：例如红衣主教队，他们在主游戏中只被提及了名字，但除此之外几乎没有任何描述。我们想写一个照亮教堂的故事。
Yokota: There were also some Crests we didn’t use in the main game. That really made the story fill out.
横田：还有一些纹章我们在主游戏中没有使用。这确实让故事变得充实。
So you weren’t saving them for the side story?
所以你没有把它们留到支线故事里？
Kusakihara: Personally, I was going to just not release those four Crests. By deliberately putting in pieces that don’t come together, I wanted to make it feel like the world was bigger than it looks… but they came together anyway (laughs).
草木原：就我个人而言，我不会释放这四个徽章。通过故意将不在一起的碎片放在一起，我想让世界感觉比看起来更大……但无论如何它们还是在一起了（笑）。
Everyone: (laughs)
大家：（笑）
Yokota: It’s the sense that not everything is going to become clear in this era.
横田：在这个时代，并不是所有事情都会变得清晰。
Kusakihara: Three Houses’s story is one piece cut out of a long history. We wanted to make it like a Taiga drama in that way.
草木原：《三宫》的故事是从悠久的历史中剪下来的一个片段。我们想让它像大河剧那样。
Yokota: But it turned out Koei Tecmo had programmed effects for those unused Crests from the beginning.
横田：但事实证明光荣特库摩从一开始就为那些未使用的纹章编程了效果。
Kusakihara: They weren’t being used, but the system was already in place, so it got used in the DLC.
草木原：虽然没有被使用，但是系统已经就位了，所以在DLC中使用了。
Going through the side story, all of it made me feel like I wanted to know what happened next. Like once I started, I couldn’t stop… (laughs)
看完支线故事，这一切让我觉得我想知道接下来会发生什么。就像一旦开始，我就无法停止……（笑）
Yokota: That’s because Mr. Kusakihara had that in mind and came up with a story full of twists.
横田：那是因为草木原先生考虑到了这一点，所以想出了一个充满曲折的故事。
Kusakihara: It was originally going to be a little longer, but we adjusted it so it would be finished in just the right length for a side story, and that’s how it got to where it is now.
草木原：本来是要长一点的，但是我们调整了它，使它的长度正好适合外传，所以才变成了现在的样子。
Yokota: It’s full of developments that keep you guessing, like, “I thought the fourth house was a bunch of bad guys at first, but once you talk to them, it turns out they’re pretty nice, but actually…” So I guess you keep wondering what comes next (laugh).
横田：其中充满了让你猜测的发展，比如，“我一开始以为第四宫是一群坏人，但一旦你和他们交谈，结果发现他们非常好，但实际上……”所以我我猜你一直想知道接下来会发生什么（笑）。
It was full of things like, what’s the truth behind that one item, or what’s the protagonist’s mother like, and I wanted to see it all so quickly I finished it in one sitting. And there were some conversations that make you grin if you’ve played all the routes… Were you thinking about things like that when you put them in?
里面充满了诸如某件事情背后的真相是什么，或者主角的母亲是什么样子之类的东西，我想尽快看到这一切，所以我一口气看完了。如果你玩过所有路线，有些对话会让你微笑……当你把它们放进去时，你有想过这样的事情吗？
Kusakihara: I think I was. But the side story is cut off from the main game, and you can even play it directly from the title screen, so we made it stand on its own as a story, even if you haven’t played the main game.
草木原：我想是的。但支线故事与主游戏是分离的，你甚至可以直接从标题屏幕上玩它，所以我们让它作为一个故事独立存在，即使你没有玩过主游戏。
Yokota: It would be mean to make it with the assumption you’ve played all the routes… But if you start with the side story, without playing the main game at all, you don’t know what the church is like, or what kind of person Rhea is, so I think it’s best if you play a few moons of the main story first.
横田：如果你假设你已经玩过所有的路线，那就有点意思了……但是如果你从支线故事开始，根本没有玩过主线游戏，你就不知道教堂是什么样子，或者什么瑞亚是这样的人，所以我认为最好先玩几个主要故事。
Kusakihara: Incidentally, the side story takes place right after you would’ve obtained the Sword of the Creator in the main story, so I think that’s about the right timing to start playing it.
草木原：顺便说一句，支线故事发生在你在主线故事中获得造物主之剑之后，所以我认为这是开始玩它的正确时机。
Yokota: If you beat the side story around then and come back to the main story, the events of Part One get nice and exciting, and you can get a boost in manpower from Yuri and friends, so it’d be nice to play like that. We’ve already played the whole thing, so we can only imagine what it’s like to have the side story sandwiched inside your first playthrough…
横田：如果你在那时通关了支线故事并回到主线故事，第一部分的事件就会变得美好而令人兴奋，并且你可以从尤里和朋友那里得到人力的提升，所以像这样玩会很好那。我们已经玩过整个游戏，所以我们只能想象将支线故事夹在你的第一个游戏中是什么感觉......
So you’re saying people interested in the four bonus characters can experience their first playthrough and the side story in chronological order?
所以你是说对四个额外角色感兴趣的人可以按时间顺序体验他们的第一次游戏和支线故事？
Yokota: Yes, I’d be happy if you enjoyed it!
横田：是的，如果你喜欢的话我会很高兴！
When producing Abyss, were there parts you adjusted based on how users reacted?
在制作《Abyss》时，有没有根据用户的反应进行调整的部分？
Yokota: I think Koei Tecmo added the guard at the entrance to Abyss because of Mister Gatekeeper’s popularity (laughs).
横田：我认为光荣特库摩在深渊入口处增加了守卫，是因为守门人先生的受欢迎程度（笑）。
Kusakihara: We put the underground library in as a place for things we couldn’t fit into the main game, and we put the Wayseer in because a lot of people wanted to see the epilogues for their favorite pairings.
草木原：我们把地下图书馆作为一个存放我们无法融入到主游戏中的东西的地方，我们把Wayseer放进去是因为很多人想看到他们最喜欢的配对的尾声。
Yokota: That said, you can only get one couple together, so it doesn’t work all that freely.
横田：话虽如此，你只能让一对情侣在一起，所以它不能那么自由地工作。
Kusakihara: It’s at the level of ensuring the one pairing you absolutely want locked down. Even so, I feel like that’s already pretty valuable.
草木原：这是为了确保锁定你绝对想要的一对。即便如此，我觉得这已经很有价值了。
What about the DLC and free updates left an impression on you?
DLC 和免费更新给您留下了怎样的印象？
Yokota: The increase in save slots left an impression on me. Koei Tecmo proposed adding them, but when it comes to save data, bugs are a very scary possibility, so we usually try not to add too many. But so many people were doing multiple playthroughs, and I very much understand the feeling of wanting to save your favorite scenes so you can watch them again later, so I was very grateful for Koei Tecmo’s proposal, and we decided to give it a shot. In the end, I’m glad there wasn’t any trouble (laughs).
横田：保存槽位的增加给我留下了深刻的印象。 Koei Tecmo建议添加它们，但是当涉及到保存数据时，错误是一个非常可怕的可能性，所以我们通常尽量不要添加太多。但这么多人都在玩多次，我非常理解想要保存自己最喜欢的场景以便以后再看的感觉，所以我非常感谢光荣特库摩的提议，我们决定尝试一下。最后，我很高兴没有遇到任何麻烦（笑）。
Kusakihara: Memory restrictions used to be tight, so you couldn’t make too many save slots, and partially because we’ve been making games so long, we were being cautious. In the DS era, for example, three was the limit.
草木原：内存限制曾经很严格，所以你不能制作太多的保存槽，部分原因是我们制作游戏太久了，我们很谨慎。例如，在 DS 时代，三个是极限。
Yokota: From my point of view, it was surprising how much the number jumped up all at once.
横田：在我看来，这个数字一下子飙升了这么多，真是令人惊讶。
Kusakihara: The players were all overjoyed, so I’m glad we took up the challenge. It depends on the contents, but next time, I’d want to make as many as we can right from the start (laughs).
草木原：选手们都很高兴，所以我很高兴我们接受了挑战。这取决于内容，但下次我想从一开始就制作尽可能多的东西（笑）。
Why did you decide to make costumes for DLC? And what costumes do you recommend?
你们为什么决定为 DLC 制作服装？您推荐什么服装？
Yokota: We’d decided to make Abyss and the fourth house as DLC, but the longer development takes, the farther you get from the game’s release, so we thought of separate things to release on a constant basis. Among them, extra costumes were relatively easy to make, and we decided they fit the game. As for the costume lineup, we discussed it with the development staff, and I think we got a lot of unique motifs. Like, hey, training clothes wouldn’t be bad (laughs). Also, I like the summer clothes, so I put them on a lot of people. The color scheme changes completely, so sometimes I even put them on the protagonist for a change of pace.
横田：我们决定将《深渊》和《第四宫》制作为 DLC，但开发时间越长，距离游戏发布的时间就越远，所以我们考虑了持续发布不同的内容。其中，额外的服装相对容易制作，我们认为它们适合游戏。至于服装阵容，我们和开发人员讨论过，我认为我们得到了很多独特的主题。就像，嘿，训练服不会太差（笑）。另外，我喜欢夏天的衣服，所以给很多人穿。配色方案完全改变了，所以有时我什至把它们放在主角身上以改变节奏。
Kusakihara: A recommended costume… Hmm… I have memories with each of the costumes…
草木原：推荐的服装……嗯……每件服装都有回忆……
Yokota: You don’t think you’d go with the servant outfits?
横田：你不认为你会选择仆人装吗？
Kusakihara: The servant outfits have subdued designs because they were originally going to be for the knights, but looking at them in a screenshot, I think they look pretty good on anyone. I’m just glad so many people liked them in the end.
草木原：从者服装的设计比较低调，因为它们本来是为骑士设计的，但从截图来看，我认为它们穿在任何人身上都很好。我很高兴最终有这么多人喜欢他们。
Yokota: And the napkin over the arm in the male version is because of your tastes.
横田：男性版本的餐巾放在手臂上是因为你的口味。
Kusakihara: I’ve heard that real butlers wouldn’t necessarily do that, but I just had that image in my head, so I put it in as sort of a symbolic thing. The clothes have a simple silhouette, so I also did it because when you have parts that flutter like that, it looks nicer when you move the character around.
草木原：我听说真正的管家不一定会这么做，但我脑子里只是有这个形象，所以我把它作为一种象征性的东西放进去。衣服有一个简单的轮廓，所以我也这样做了，因为当你有像这样飘动的部分时，当你移动角色时看起来会更好。
This is your first interview about Three Houses in Nintendo Dream, so could you please give a simple explanation of the production of the game, as well as your roles?
这是您第一次接受关于《任天堂梦》三屋的采访，您能简单介绍一下游戏的制作过程以及您所扮演的角色吗？
Yokota: This game was developed by Intelligent Systems (hereafter IS), along with Koei Tecmo. There were a lot of companies that assisted with the development, but this is the first game that was developed by IS and a non-Nintendo company. Nintendo’s role didn’t change much from previous titles, looking from above at things like what direction the new FE was going, whether it was interesting gameplay-wise, and we all made adjustments together. And as the director, Mr. Kusakihara created the worldview, the story, and the original character plans that would form the game’s foundation.
横田：这款游戏是由Intelligent Systems（以下简称IS）和光荣特库摩（Koei Tecmo）共同开发的。虽然有很多公司协助开发，但这是第一款由 IS 和非任天堂公司开发的游戏。任天堂的角色和之前的作品没有太大变化，从上面看，比如新的FE走向什么方向，玩法是否有趣，我们都一起调整。作为导演，草木原先生创造了构成游戏基础的世界观、故事和原始角色计划。
Kusakihara: I made one route’s plot first as the foundation for the roots of the worldview and the like, but most of the characters’ original forms were already done. From there, I had the Koei Tecmo team spread out the finer designs. I also looked at the big picture and supervised its “Fire Emblem-ness,” as well as things I wanted to see realized in this work, and I discussed new gameplay elements. Most of the art, music, and sound design was done by IS.
草木原：我首先制作了一条路线的剧情，作为世界观等根源的基础，但大部分角色的原形都已经完成了。从那时起，我让 Koei Tecmo 团队展开了更精细的设计。我还着眼于大局，监督了《火焰之纹章》的风格，以及我希望在这部作品中实现的东西，并讨论了新的游戏元素。大部分美术、音乐和声音设计都是由 IS 完成的。
Yokota: The staff on the IS side was made up of quite a bit fewer people than before. Koei Tecmo was in charge of the programming, the scenario, the monastery and battle gameplay planning, all the planning for difficulty adjustments and network play, 3D models, motion, effects, UI design, graphics production for the event scenes, really the core of the development. Also, the animated movie parts were entrusted to Koei Tecmo, as well as Sanjigen.
横田：IS方面的人员比以前少了很多。光荣特库摩负责程序、场景、寺院和战斗玩法的策划，难度调整和网络对战的所有策划，3D模型，动作，效果，UI设计，事件场景的图形制作，真正的核心的发展。此外，动画电影部分也委托给了光荣特库摩和三地元。
How did you interact with Koei Tecmo during development?
在开发过程中您是如何与 Koei Tecmo 互动的？
Kusakihara: We’d go on a business trip to Yokohama two or three times a month to meet with the development team, and we set up a special chat to field discussions about minute details. We were far apart, but direction was smooth from start to finish.
草木原：我们每个月都会去横滨出差两三次，与开发团队会面，并安排了专门的聊天室，就细节进行现场讨论。我们相隔很远，但从开始到结束的方向都很顺利。
Was this your first experience with directing from off-site?
这是您第一次在场外执导吗？
Kusakihara: From the director’s seat, yes, but I’ve done it from the other side before (laughs).
草木原：从导演的角度来说，是的，但我以前也从另一边做过（笑）。
Yokota: In my case, I let Mr. Kusakihara handle communication until partway through. From around the middle, when the game cycle had been solidified, we went to Yokohama together and crammed everything in, down to the fine details.
横田：就我而言，我让草木原先生负责沟通直到中途。从中间开始，当游戏周期已经确定后，我们一起去了横滨，把所有的事情都塞进去，直到细节。
Was there anything Nintendo asked for that left an impression on you?
任天堂提出的哪些要求给你留下了深刻的印象？
Yokota: They had a lot of requests about the game cycle. Since this game is set at a “school,” they wanted to be really particular about the sense of immersion. I asked Mr. Kusakihara and Koei Tecmo, and we all put it together. A school life in a fantasy world would be full of dreams. It gets bloody later because a war breaks out, but we wanted it to feel happy while you were living at the monastery…
横田：他们对游戏周期有很多要求。由于这款游戏的背景是“学校”，因此他们希望非常注重沉浸感。我问了草木原先生和光荣特库摩，我们都整理了一下。幻想世界里的学校生活一定会充满梦想。后来因为战争爆发而变得血腥，但我们希望你住在修道院时感到快乐......
Everyone: (laughs)
大家：（笑）
Mr. Kusakihara, what did you feel about Nintendo’s requests?
草木原先生，您对任天堂的要求有何感想？
Kusakihara: Living with a bunch of friends in a closed space is definitely appealing. In FE games up until now, new characters could show up as chapters moved on, but Three Houses starts with all of the main characters together from the very beginning, so your feelings for them get deeper. I think that aspect of the composition turned out really well.
草木原：和一群朋友一起生活在封闭的空间里确实很有吸引力。到目前为止，在FE游戏中，新角色可能会随着章节的推进而出现，但《三宫》从一开始就将所有主角都放在一起，所以你对他们的感情会更深。我认为构图的这一方面效果非常好。
Yokota: It was a little nerve-wracking at the beginning, though. Like, will we be okay with this many people right from the get-go?
横田：不过一开始还是有点紧张。比如，我们从一开始就能接受这么多人吗？
Like, what if you can’t remember everyone’s names? (laughs)
比如，如果你记不住每个人的名字怎么办？ （笑）
Yokota: The people who call themselves by their full name are easy to remember, though.
横田：不过，用全名称呼自己的人很容易记住。
Everyone: (laughs)
大家：（笑）
Kusakihara: I figured it’d be fine if people started by remembering the people from their house, then spreading out from there.
草木原：我想，如果人们一开始记住自己家里的人，然后从那里分散开来，那就没问题了。
Regarding the characters of the students from each of the houses, how was that design done?
针对各个学院学生的性格，这个设计是怎么设计的呢？
Kusakihara: We started with the original plans as a base and had the scenario director and the development team go from there. Depending on the character, we had some fairly specific things decided in advance, like Mercedes has such-and-such a household, but she actually has a Crest from a dead family… Stuff like that. And on top of that, Emile is her younger brother… Backstory like that was fleshed out in the process of deepening the scenario, until it got to how it is now.
草木原：我们以最初的计划为基础，然后由剧本导演和开发团队负责。根据角色的不同，我们提前决定了一些相当具体的事情，比如梅赛德斯有这样那样的家庭，但她实际上有一个死去家庭的徽章……诸如此类的东西。而且，埃米尔还是她的弟弟……这样的背景故事是在剧情深入的过程中充实起来的，直到现在的样子。
It felt like there was a trend in character personalities based on their house, like how the Black Eagle House, for example, has a lot of strong-willed people with firm convictions…
感觉好像有一种以他们的家族为基础的性格倾向，比如黑鹰家族，有很多意志坚定、信念坚定的人……
Kusakihara: The trends of each houses’ characters form a microcosm of what the three countries are like. Faerghus is a kingdom of knights, so everyone has a serious side; Adrestia once flourished, but has been gradually losing territory recently, so it’s like it has some particularly annoying nobles from the backdrop of national decline (laughs). Leicester… has some colorful individuals who like to hold people back… That was the general image.
草木原：各家的性格走向是这三个国家的缩影。法尔古斯是一个骑士王国，所以每个人都有严肃的一面；阿德瑞斯提亚曾一度盛极一时，但最近却逐渐失去领土，所以在国家衰落的背景下，似乎出现了一些特别令人讨厌的贵族（笑）。莱斯特……有一些性格鲜明的人，喜欢阻止人们……这是普遍的形象。
Everyone: (laughs)
大家：（笑）
Kusakihara: Leicester’s original concept was “it’s a roundtable republic, but the nobles are all holding each other back, so it lacks in decision-making power.” Those are the keywords it started from, but ultimately, everyone ended up being good kids (laughs). We tried to produce an atmosphere of each country’s national character at the school.
草木原：莱斯特最初的构想是“这是一个圆桌共和国，但贵族们互相牵制，所以缺乏决策权”。这些是它开始的关键词，但最终，每个人都成为了好孩子（笑）。我们努力在学校营造一种具有各国民族特色的氛围。
Yokota: Also, in terms of character designs, I think stuff like hairstyle or hair color is really important. Have two of the same, and they’re harder to remember.
横田：另外，在角色设计方面，我认为发型或发色等东西非常重要。有两个相同的，就更难记住了。
Kusakihara: The impression a character gives can be swayed quite a bit by their hair color, so we talked about it with Ms. Kurahana (Kurahana Chinatsu, in charge of the game’s character design) and decided them really carefully.
草木原：角色给人的印象很大程度上会受到头发颜色的影响，所以我们和仓花女士（仓花千夏，负责游戏角色设计）讨论了这个问题，并非常仔细地决定了它们。
Like how a lot of the members of the knightly and noble country, Faerghus, had hair colors that could actually exist, like blonde?
就像骑士贵族国家法尔古斯的很多人的发色都是金发这样的，是真实存在的？
Kusakihara: There are actually quite a few people with non-realistic hair colors, too (laughs). We decided these things by taking into consideration how they looked lined up with their house, as well as the cast at large, so it was pretty tough work.
草木原：其实也有不少人的发色不真实（笑）。我们决定这些事情时考虑了他们与房子的搭配以及整个演员阵容，所以这是一项非常艰巨的工作。
I thought the Golden Deer were pretty colorful (laughs).
我觉得金鹿的颜色很漂亮（笑）。
Kusakihara: Well, they’re pretty colorful people (laughs). You can play a lot with their designs.
草木原：嗯，他们都是非常丰富多彩的人（笑）。你可以充分利用他们的设计。
Yokota: We had Ms. Kurahana draw Byleth and the house leaders pretty early on as a test, but we ended up deciding, “Yup, this is how they look” in almost one go. We wanted the house leaders to give off a real “noble” feeling, and I think they do that quite well.
横田：我们很早就让仓花女士画了贝莱斯和众议院领袖作为测试，但我们最终几乎一次性决定，“是的，这就是他们的样子”。我们希望众议院领袖能够给人一种真正的“高贵”感觉，我认为他们做得很好。
The game splits into four routes during Part Two, the war phase. What themes did you want to evoke in each of those stories?
游戏在第二部分（战争阶段）分为四个路线。您想在每个故事中唤起什么主题？
Kusakihara: Edelgard’s route’s theme is literally “military rule.” It’s the route where you have your own cause and convictions, and even if people you know stand in your way, you mow ‘em down. In contrast, Dimitri’s route began with the idea to make it “righteous,” the easy approach. It’s just, at the beginning, poor sensitive Dimitri ends up like that because of the circumstances… We sprinkled in juxtapositions like that.
草木原：艾黛尔贾特路线的主题就是字面上的“军事统治”。在这条路上，你有自己的事业和信念，即使你认识的人挡了你的路，你也会把他们消灭掉。相比之下，迪米特里的路线始于使其变得“正义”的想法，即简单的方法。只是，一开始，可怜的敏感的迪米特里因为环境而最终变成那样……我们就这样并列在一起。
Everyone: (laughs)
大家：（笑）
Kusakihara: Once he’s fallen, he goes through some twists and turns and awakens to the true king’s path. I wanted to write the righteous route as the conquest route’s opposite [TN: lit. “paradox”]. Claude started with the keyword of “schemer hero,” and I thought he’d weave more plots behind the scenes, and you can’t hate him, but he’s still a bad guy… But as I was writing him, he ended up more of a pure good guy than originally planned (laughs).
草木原：一旦堕落，就会经历一番曲折，觉醒到真正的王道。我想把正义路线写成征服路线的对立面[TN：点亮。 “悖论”]。克劳德以“阴谋英雄”这个关键词开始，我以为他会在幕后编织更多的情节，你不能恨他，但他仍然是一个坏人……但当我写他的时候，他最终更多了比原计划好的一个纯粹的好人（笑）。
Yokota: They each had their general concepts, but we landed on the overarching idea of “split it into two parts and have a war” partially with Fire Emblem Genealogy of the Holy War in mind. We both love Genealogy of the Holy War, and we were excited to see how its nobles’ dazzling aura would turn out in a new game. The theatrical events of the two parts were also done with Genealogy in mind. But it would be boring if they were exactly the same, so I’d decided to propose a route split at the very first planning meeting.
横田：他们每个人都有自己的总体概念，但我们最终确定了“将其分成两部分并进行战争”的总体想法，部分考虑到了《火焰纹章》圣战谱系。我们都喜欢《圣战谱系》，我们很高兴看到它的贵族们的耀眼光环将如何在新游戏中展现出来。这两部分的戏剧事件也是根据家谱来完成的。但如果完全相同的话那就太无聊了，所以我决定在第一次计划会议上提出路线分割的建议。
Kusakihara: By making it a story about noble society, I wanted to paint drama arising from difference in position. With the worldview and backbone well-established and planning out what nobles think and what commoners think, I think I evoked pretty good drama that could only be born from such established foundations.
草木原：通过把它做成一个关于贵族社会的故事，我想描绘出因立场差异而产生的戏剧性。有了既定的世界观和主干，并规划了贵族的想法和平民的想法，我认为我引发了相当好的戏剧，只有在这样的基础上才能诞生。
And, of course, religion comes into the mix.
当然，宗教也参与其中。
Kusakihara: Yes, I did quite a bit of homework on religion.
草木原：是的，我在宗教方面做了很多功课。
Mr. Kusakihara, you already liked fantasy war chronicle stories, and Mr. Yokota, you liked Genealogy-esque worldviews… so it seems your feelings meshed well and produced this game’s world.
草木原先生，你已经喜欢奇幻战争编年史故事了，而横田先生，你喜欢谱系式的世界观……看来你们的感情很好地融合在一起，创造了这个游戏的世界。
Yokota: Yes. So the key points went from the beginning of planning to the very end without wavering, and I feel accomplished in that regard.
横田：是的。所以从开始策划到最后，关键点都没有动摇，我觉得很有成就感。
And of course, that sort of genre was right up Koei Tecmo’s alley.
当然，这种类型正是光荣特库摩的拿手好戏。
Yokota: Yes, they cooked it up in a really great way. Even inside Koei Tecmo, they assembled a team of people who really like Fire Emblem.
横田：是的，他们做得非常好。即使在光荣特库摩内部，他们也组建了一支非常喜欢《火焰之纹章》的团队。
Kusakihara: The team had so much passion. Everyone worked so hard.
草木原：团队充满了热情。每个人都那么努力。
Yokota: In the scenario team’s case, they studied up on the tropes of past works, and the planners and programmers looked at FE’s gameplay and game feel and made proposals like, “That title felt like this, but is it okay for this one to feel like this?” And IS’s programmers would give opinions like, “Okay, go with this,” and it was just really meaningful communication. Sometimes we’d butt heads, though (laughs).
横田：在剧本团队的例子中，他们研究了过去作品的比喻，策划者和程序员研究了FE的游戏玩法和游戏感觉，并提出了诸如“那个标题是这样的，但是这个可以吗？”这样的建议。有这样的感觉吗？” IS 的程序员会给出诸如“好吧，就这样吧”之类的意见，这只是非常有意义的沟通。不过有时我们也会发生冲突（笑）。
Kusakihara: I mean, we butted heads a lot (laughs).
草木原：我的意思是，我们经常发生冲突（笑）。
Everyone likes different things, after all.
毕竟每个人喜欢的东西不一样。
Yokota: And I’d just be like, “Now, now.”
横田：我会说，“现在，现在。”
Everyone: (laughs)
大家：（笑）
Kusakihara: From the basic foundations of our setting, the development team’s passion and emotional investment snowballed and poured in such extensive data, more than we could’ve imagined, and as a result, I think we’ve made a game that’s like a living creature. Even among the development team, I don’t think there’s anyone who understands everything there is to know about the game in a comprehensive way. I’d watch the game as it continued to change during development, and I thought, “This thing has a soul.”
草木原：从我们设定的基本基础开始，开发团队的热情和情感投入如滚雪球般滚雪球般地涌入，倾注了如此广泛的数据，超出了我们的想象，因此，我认为我们制作了一款像生活一样的游戏。生物。即使在开发团队中，我认为也没有人能够全面了解游戏的一切。我看着游戏在开发过程中不断变化，我想，“这个东西有灵魂。”
Speaking of change, it’s also incredible how specific lines can change based on how you’re playing or which supports you’ve unlocked.
说到变化，具体的线路会根据你的游戏方式或你解锁的支持而改变，这也是令人难以置信的。
Kusakihara: Up until now, most FE games’ support conversations don’t really influence anything outside of the conversations themselves, so I talked with the scenario team early on about how I wanted them to make horizontal connections like, “if this kind of topic comes up in this person’s conversation, I want it to affect other people, too.” I think they included that quite well.
草木原：到目前为止，大多数FE游戏的支持对话并没有真正影响对话本身之外的任何事情，所以我很早就与场景团队讨论了我希望他们如何建立横向联系，例如“如果这种话题在这个人的谈话中出现，我希望它也能影响其他人。”我认为他们很好地包含了这一点。
Yokota: They even made it so conversations can still hold up if units die in Classic Mode, and I was like, “Man, they’re doing the hard work” (laughs).
横田：他们甚至做到了这样，如果单位在经典模式下死亡，对话仍然可以进行，我当时想，“伙计，他们正在做艰苦的工作”（笑）。
Kusakihara: They were ready to deal with any situation.
草木原：他们已经做好了应对任何情况的准备。
[Interestingly, the picture’s caption notes how the Ingrid/Dorothea support has a different line if you have Ingrid/Annette at B.]
[有趣的是，图片的标题指出，如果英格丽德/安妮特在 B，那么英格丽德/多萝西娅的支持人员会有不同的路线。]
The dialogue in this work uses some relatively complex words. Why is it that you didn’t just use loan words? For instance, “cheese” is expressed as “kanraku.”
本作品的对话使用了一些相对复杂的词语。为什么你不直接使用外来词？例如，“奶酪”被表达为“kanraku”。
Yokota: That would be because of Mr. Kusakihara’s tastes too.
横田：那也是因为草木原先生的品味。
Kusakihara: I talked about how I wanted to raise the target age a bit this time, and the scenario team put on a historical fiction vibe. Proper nouns and neologisms don’t click very well when you first hear them, so when you put the readings of things like the house names in katakana, it actually feels jarring. I think everything fit in rather well.
草木原：我谈到了这次我想把目标年龄提高一点，剧本团队营造出一种历史小说的氛围。当你第一次听到专有名词和新词时，它们的发音不太好，所以当你把像房子名字这样的东西读成片假名时，实际上会感觉很刺耳。我认为一切都很合适。
Yokota: The house names took some time to remember (laughs). [TN: In Japanese, they’re Adoraa Kurasse, Ruuven Kurasse, and Hirushu Kurasse, none of which are Japanese words.]
横田：房子的名字花了一些时间才记住（笑）。 [TN：在日语中，它们是 Adoraa Kurasse、Ruuven Kurasse 和 Hirushu Kurasse，这些都不是日语单词。]
Kusakihara: The scenario writers who stood in at the voice recordings were really particular about the intonation of all the big words.
草木原：现场录音的编剧们对所有大词的语调都非常讲究。
When Nintendo Dream asked voice actor Mr. Koyasu Takehito [TN: Seteth] about this, he also said he had a lot of retakes related to intonation. The gist was that he was getting a lot of detailed requests about intonation that he wouldn’t usually get, but it turns out that wasn’t limited to just proper nouns here.
当 Nintendo Dream 向配音演员 Koyasu Takehito 先生（TN：Seteth）询问此事时，他也表示他有很多与语调相关的重拍。要点是，他收到了很多他通常不会收到的有关语调的详细要求，但事实证明，这不仅限于专有名词。
Yokota: It must have been tough, since there were a lot of hard-to-read and non-standard kanji. The testers were kind of worried, but I thought the work would have more of an atmosphere that way, so I decided, let’s just go with this.
横田：一定很困难，因为有很多难以阅读和不标准的汉字。测试人员有点担心，但我认为这样作品会更有气氛，所以我决定就这样吧。
Kusakihara: Everyone struggled with the pronunciation of “Shuvarutsaa Adoraa Veia” [TN: Black Eagle Strike Force]. If they came up with “ShuvaruTSUaa Adoraa Beia,” they had to do it again. It’s “tsa,” not “tsua.”
草木原：每个人都为“Shuvarutsaa Adoraa Veia”[TN：黑鹰打击部队]的发音而苦苦挣扎。如果他们想出了“ShuvaruTSUaa Adoraa Beia”，他们就必须再做一次。是“tsa”，不是“tsua”。
Everyone: (laughs)
大家：（笑）
Kusakihara: But Mr. Kimura Subaru, the voice actor for Balthus, read it perfectly in one go. I looked at his history later, and I understood why when I learned that he grew up in Germany.
草木原：但是巴尔蒂斯的声优木村昴先生一口气读完了。后来我看了他的历史，当我得知他在德国长大时，我就明白了为什么。
Yokota: Ooh, that’s an interesting story.
横田：哦，这是一个有趣的故事。
It was a katakana representation of a pronunciation based on his first language, after all.
毕竟，这是基于他的母语的发音的片假名表示。
Yokota: Also, this is a bit of a tangent, but speaking of proper nouns, “Tengoku no Hokudou” [TN: Divine Pulse] made an impression on me. But then, I always thought it was pronounced “tenkoku.”
横田：另外，虽然这有点离题，但说到专有名词，《天国北道》（TN：神圣脉冲）给我留下了深刻的印象。但后来，我一直以为它发音为“tenkoku”。
Kusakihara: When you make an unfamiliar word, it’s easier to remember if you give it a reading you’re already familiar with, so I made it “tengoku” because it’s how you read “heaven” [TN: Which is written with a different “goku”].
草木原：当你造一个不熟悉的单词时，如果你给它一个你已经熟悉的读法，就更容易记住它，所以我把它写成“tengoku”，因为这是你读“天堂”的方式[TN：这是用不同的方式写的“悟空”]。
Yokota: I think it’s amazing how you’re always so particular about little details like that. As reference materials for development, you even created a whole chronology for Fodlan from the very beginning, beyond just what would get revealed during the story. You’re the kind of amazing guy who’d write about events taking place thousands of years before the era of the main story.
横田：我觉得你总是对这样的小细节如此挑剔，真是令人惊讶。作为开发的参考材料，你甚至从一开始就为 Fodlan 创建了完整的年表，而不仅仅是故事中揭示的内容。你是那种很棒的人，会写主要故事时代之前数千年发生的事件。
Kusakihara: I think there’s a good ten thousand years’ worth in total. Though I’m also the kind of guy who wouldn’t put this chronology out there (laughs).
草木原：我想总共有一万年的价值。不过我也是那种不会把这个年表放在那里的人（笑）。
It’s like you’re telling theorists out there to form theories from the fragmentary information they see in the game and fill in the holes .
这就像你告诉理论家根据他们在游戏中看到的零碎信息形成理论并填补漏洞。
Kusakihara: Yeah. We actually start to forget this stuff, so I think the players might end up knowing more about it than us in the end (laughs).
草木原：是的。我们实际上开始忘记这些东西，所以我认为玩家最终可能会比我们更了解它（笑）。
Yokota: Well, you know, I think that’s understandable (laughs).
横田：嗯，我认为这是可以理解的（笑）。
Did you use real buildings or architectural styles as reference for the monastery’s appearance?
寺院的外观是否参考了真实的建筑或建筑风格？
Kusakihara: We used some World Heritage Sites constructed in the Middle Ages as reference. A lot of French ones. We put a lot of things together, so its final appearance looks pretty different from the things we used as motifs. The original concept for the monastery was a fortress. It’s a monastery in name, but it’s actually a giant fortress built to protect an underground XXXX [Ed.: censored to remove spoilers], so it needed to look like it excelled in defense. It’s different now, but it’s a fortress, so it has thick walls, with student dorms inside… That backstory was there from the beginning. It has places where you can collect and store groundwater, and it has aqueducts to send water all over the premises, as well as a whole slew of other measures that make it so it could independently withstand a siege for months at a time.
草木原：我们参考了一些中世纪建造的世界遗产。法国的很多。我们把很多东西放在一起，所以它的最终外观看起来与我们用作图案的东西非常不同。修道院最初的概念是一座堡垒。名义上是一座修道院，但它实际上是一座巨大的堡垒，旨在保护地下 XXXX [编者：经过审查以删除剧透]，因此它需要看起来具有出色的防御能力。现在不同了，但它是一座堡垒，所以它有厚厚的墙壁，里面有学生宿舍……那个背景故事从一开始就有。它有可以收集和储存地下水的地方，还有可以将水输送到整个场地的渡槽，以及一系列其他措施，使其能够独立承受一次长达数月的围困。
Yokota: In terms of topography, it’s situated on top of a mountain, making it hard to assault.
横田：从地形上来说，它位于山顶，很难攻击。
Why are there so many cats at the monastery?
为什么寺院里有这么多猫？
Kusakihara: Actually, we originally had it in Archbishop Rhea’s profile that she likes small animals. It got cut from the final version, but during development, there was a bath room next to Rhea’s room, and there were little animal ornaments in there, so I think the development staff picked up on that little tidbit… But that said, I never told them to put in that many (laughs).
草木原：实际上，我们最初在雷亚大主教的个人资料中提到她喜欢小动物。它是从最终版本中删掉的，但在开发过程中，Rhea的房间旁边有一个浴室，里面有一些小动物装饰品，所以我认为开发人员注意到了这个小花絮……但话虽如此，我从来没有告诉他们放那么多（笑）。
Yokota: I think it came up that it’s lonely if it’s just people, and that’s why they put the animals in. At first it was just cats everywhere, so they added dogs after the fact, but ultimately the ratio was something like five to one… Sorry, dog lovers. Maybe that world just has a lot of cats.
横田：我认为如果只有人的话会很孤独，这就是为什么他们把动物放进去。一开始到处都是猫，所以他们后来添加了狗，但最终比例大约是五比一……对不起，爱狗人士。也许那个世界只是有很多猫。
Kusakihara: You can see the names of the breeds in bonus updates, but at first, we wanted to give them individual names, like Mittens or Tiny. But there are multiple cats with the same pattern, so we ended up going with breed names. We had development give us ideas for noble-sounding names. The idea for a ranking of dogs and cats people played with also came from Koei Tecmo.
草木原：你可以在奖励更新中看到品种的名称，但一开始，我们想给它们单独的名字，比如 Mittens 或 Tiny。但有多种猫具有相同的图案，所以我们最终选择了品种名称。我们的发展为我们提供了一些听起来高贵的名字的想法。对人们玩过的狗和猫进行排名的想法也来自 Koei Tecmo。
Yokota: The first time I saw the “Meowoof Ranking,” I was surprised at the cuteness (laughs). It’s also interesting how you can hear the barks and meows in order from first place.
横田：我第一次看到“喵呜排行榜”时，就被它的可爱程度震惊了（笑）。同样有趣的是，你可以从第一名开始按顺序听到狗叫声和猫叫声。
How did you come up with the lineup of dishes offered in the dining hall?
您是如何想出餐厅提供的菜肴阵容的？
Kusakihara: The development team was pretty particular. Basically, they used dishes from the Age of Discovery as a model, then added fantasy-like twists. We especially wanted to give some reality to the ingredients and preparation methods, so we deduced what kinds of vegetables you could grow and fish you could catch based on the topography. Faerghus, Leicester, and Adrestia all have wildly different climates and cultures, so we adjusted how nobles and commoners would live, what kinds of food they’d acquire, and even what flavors they’d enjoy alongside each character’s likes and dislikes, and that’s how we formed Fodlan’s worldview. And if they have magic, then maybe they could make this in the greenhouse, or since there’s ice magic, maybe they could make something like ice cream. We thought of all kinds of stuff like that. The monastery is on top of a mountain, so it’s a bit of a cold climate, so I think the greenhouse runs on magic. It’s a world where there’s magic instead of scientific progress, so they’d have to adapt like that.
草木原：开发团队非常特别。基本上，他们以大航海时代的菜肴为模型，然后添加了奇幻般的曲折。我们特别想给食材和制作方法一些现实，所以我们根据地形推断出你可以种植什么蔬菜，可以钓什么鱼。法尔古斯、莱斯特和阿德瑞斯提亚的气候和文化都截然不同，所以我们调整了贵族和平民的生活方式，他们会获得什么样的食物，甚至他们会喜欢什么口味以及每个角色的好恶，这就是我们如何形成 Fodlan 的世界观。如果他们有魔法，那么也许他们可以在温室里制作这个，或者因为有冰魔法，也许他们可以制作冰淇淋之类的东西。我们想到了各种各样类似的事情。修道院在山顶，所以气候有点冷，所以我认为温室是靠魔法运转的。这是一个充满魔法而不是科学进步的世界，所以他们必须这样适应。
What sort of concept was the artwork from the beginning of White Clouds’s moons based on?
白云卫星一开始的艺术创作是基于什么样的概念？
Kusakihara: Just like the big words, the goal was to make it feel historical and war chronicley. We made them with Eastern European art styles in mind. One reason is that I wanted the atmosphere to feel like you’re looking at one page of a long history, and I also wanted to include narration to express the sprawling worldview.
草木原：就像那些大词一样，我们的目标是让它给人一种历史感和战争编年史的感觉。我们根据东欧艺术风格制作它们。原因之一是我希望营造一种氛围，让你感觉自己正在翻阅一段悠久的历史，而且我还想加入旁白来表达广阔的世界观。
Yokota: When you put narration together with illustrations like that, it feels really profound.
横田：像这样把旁白和插图结合起来，感觉真的很深刻。
Kusakihara: First and foremost, I wanted players to empathize with Fodlan’s atmosphere, scents, and seasons from as early a stage as possible. It’s close to the one-off lines Alm and Celica say when you enter dungeons in Fire Emblem Echoes: Shadows of Valentia.
草木原：首先也是最重要的一点，我希望玩家能够从一开始就体会到弗德兰的氛围、气味和季节。这很接近《火焰之纹章回响：瓦伦西亚之影》中阿尔姆和塞莉卡在进入地下城时所说的一次性台词。
Yokota: The illustrations were just still images at first, but towards the end, we talked about how we wanted them to move.
横田：最初的插图只是静止的图像，但到了最后，我们讨论了我们希望它们如何移动。
Kusakihara: It was cutting it close, but the staff really pulled through. By the way, those illustrations were all made by one man, Paulo, who also directed Code Name: S.T.E.A.M. Lincoln vs. Aliens.
草木原：虽然很接近，但工作人员确实挺过来了。顺便说一句，这些插图都是由保罗制作的，他还执导过《代号：STEAM 林肯大战外星人》。
Yokota: They show Fodlan’s unique atmosphere. I really like it.
横田：它们展现了Fodlan独特的氛围。我真的很喜欢它。
Tell us about the image and construction of Fodlan’s three nations.
请您介绍一下弗德兰三个国家的形象和建设。
Kusakihara: We fleshed them out while imagining real countries. The Adrestian Empire is based on Italy, but its name comes from the German family. Faerghus has a more northern image and old Faerghus is based on Gaul, and as the eras flow by, it changes into a Northern European atmosphere, like the Frankish Kingdom. The Leicester nobles draw from the culturally-superior Adrestian and Faerghus styles, coming together in a flashy and gaudy way (laughs). It’s a country that split off from Faerghus, but they look up to the refined Adrestian nobles, so they proactively appropriate their style… That’s the hidden backstory.
草木原：我们一边想象真实的国家一边充实它们。阿德瑞斯提亚帝国以意大利为基础，但其名字却来自日耳曼家族。法尔古斯有着更北方的形象，老法尔古斯以高卢为蓝本，随着时代的流逝，它变成了北欧的氛围，就像法兰克王国一样。莱斯特贵族们借鉴了文化优越的阿德瑞斯提安和法尔古斯风格，以一种浮华和俗丽的方式聚集在一起（笑）。这是一个从法尔古斯分裂出来的国家，但他们仰慕优雅的阿德瑞斯提亚贵族，所以他们主动采用他们的风格……这就是隐藏的背景故事。
Yokota: There’s parasols and stuff on the Derdriu map, so it’s a little fashionable. I’d even make sure, like, “Mr. Kusakihara, is this okay?” And he’d say, “Yep.”
横田：Derdriu地图上有遮阳伞之类的东西，所以有点时尚。我什至会确保，比如，“先生。”草木原，这样可以吗？」他会说：“是的。”
Kusakihara: I don’t not feel like it might be a little too flashy, but it’s interesting, so it’s within acceptable range, probably (laughs). We’ve actually included phrases that show the color of each country in the BGM, so I think it might be fun to listen for that.
草木原：我不觉得它有点太华而不实了，但它很有趣，所以它可能在可接受的范围内（笑）。实际上，我们在 BGM 中加入了显示每个国家颜色的短语，所以我认为听它可能会很有趣。
“Fire Emblems” so far have mostly been actual items like shields and medallions, so why was it “a power you inherit by blood” this time?
到目前为止，《火焰纹章》大多都是盾牌、勋章等实物，为什么这次却是“血脉传承的力量”呢？
Kusakihara: As you said, the “Fire Emblem” hasn’t had its form locked down between the games. Right now, I think the “Fire Emblem” is less of a thing with a form, and more of a symbol of everyone’s power coming together. In fact, personally, I’d define the “Fire Emblem” in this work as not the Crest passed down by blood, but the flag bearing that Crest.
草木原：正如你所说，《火焰之纹章》在游戏之间并没有固定其形式。现在，我认为《火焰纹章》不再是一个形式上的东西，而更多的是一个大家力量汇聚在一起的象征。事实上，就我个人而言，我在这部作品中将“火焰之纹章”定义为不是血缘传承的纹章，而是带有该纹章的旗帜。
Yokota: The protagonist’s flag, that you see in Silver Snow and the like.
横田：主角的旗帜，你在《银雪》之类的作品中看到的。
Kusakihara: Everyone believes in the protagonist, comes together, pools their strength, and charges into battle. I think the Fire Emblem is the kind of emblem that can rally people together and inspire them to put their lives on the line. By the way, the backstory that nobles have Crests, and then the protagonist has the Crest of Flames was an idea that came as a set. Genealogy of the Holy War has powers that only people of chosen bloodlines can inherit, but it’s important worldwide, and yet there’s plenty of people of other bloodlines… That’s how it was depicted, and that’s what we tried to do this time, too, leading to the Crests we have now. They worked pretty well in that regard, and I think they helped us depict various people’s drama more deeply.
草木原：大家都相信主角，团结起来，集中力量，冲锋陷阵。我认为火焰纹章是一种能够将人们团结在一起并激励他们冒着生命危险的徽章。顺便说一句，贵族拥有纹章，然后主角拥有火焰纹章的背景故事是一个整体的想法。圣战家谱拥有只有特定血统的人才能继承的力量，但它在全世界都很重要，而且还有很多其他血统的人……这就是它的描述方式，这也是我们这次试图做的，领导到我们现在拥有的波峰。他们在这方面做得很好，我认为他们帮助我们更深入地描绘了不同人物的戏剧。
Most of the series until now has used an entire continent for its setting, but why is it not a continent this time?
到目前为止，该系列大部分都使用整个大陆作为背景，但为什么这次不是一个大陆呢？
Kusakihara: Because I think “continent” is a way of thinking that became normal in our world after the Age of Discovery. For instance, if you’re trying to think about Japan as a country, you have to look at it from the outside. Among people living during the Warring States period, there wasn’t much recognition of Japan as a country, but rather much smaller places like Kishuu or Echigo, prefecture-scale in modern terms, were thought of as “countries.” Fodlan is an isolated society and doesn’t have much of an outsider’s perspective, so I was thorough about making sure to never call it a continent. Even Fodlan has ways to fly through the air, like pegasi, so I thought it’d be relatively easy to draw a map, and names like “Fodlan’s Teeth” and “Fodlan’s Throat” were called that because Fodlan’s map looked like a dragon’s head.
草木原：因为我认为“大陆”是大航海时代之后在我们的世界中变得常态的一种思维方式。例如，如果你试图将日本视为一个国家，你必须从外部来看待它。生活在战国时期的人们并没有多少人承认日本是一个国家，而是将纪州或越后等小得多的地方（现代意义上的县级）视为“国家”。弗德兰是一个孤立的社会，没有太多局外人的视角，所以我彻底确保永远不会称其为大陆。甚至弗德兰也有像飞马一样在空中飞行的方法，所以我认为绘制地图会相对容易，并被称为“弗德兰的牙齿”和“弗德兰的喉咙”之类的名字，因为弗德兰的地图看起来像龙头。
Are there world connections between this and other titles in the series?
本作与该系列中的其他作品之间是否存在世界联系？
Kusakihara: Not as far as I can tell. If there are still secrets hidden in Archanea, then maybe something could come of that… In exploration and quests, there are items reminiscent of past titles, but those are just thoughtful little bits of fun put in by the Koei Tecmo development team. There are also names like the “Oghma Mountains,” but rather than past FE titles, the underlying Celtic mythology was the motif. The mythology-based names went to regions and cities instead of characters this time, but it happened that way as a result of going for a certain sense of realism.
草木原：据我所知还没有。如果 Archanea 中仍然隐藏着秘密，那么也许会发生一些事情……在探索和任务中，有些物品让人想起过去的游戏，但这些只是 Koei Tecmo 开发团队精心设计的一点点乐趣。还有像“欧格玛山脉”这样的名字，但主题不是过去的 FE 标题，而是潜在的凯尔特神话。这次以神话为基础的名字不再是人物而是地区和城市，但这是为了追求某种现实感而发生的。
Getting around to closing out the interview, Mr. Yokota, please give us your impression of Three Houses as an installment in the Fire Emblem series.
采访即将结束，横田先生，请告诉我们您对《火焰之纹章》系列中的《三宫》的印象。
Yokota: Simulation RPGs always come off as being hard, so there was a concept of wanting to widen the scope by making the “raising” elements more of a role-playing game. The scope got wider and wider, but I wanted to keep the thrill of simulation RPGs’ difficulty somewhere. That’s the sort of thing I wanted to try since the beginning of planning, and I got to, and I felt a certain pushback. The unit growth system has changed quite a bit from previous titles, so I was pretty worried people would think, “I don’t get it, it’s too hard,” but it seems that most people enjoyed it, so I’m glad it all worked out.
横田：模拟角色扮演游戏总是给人一种很难的感觉，所以有一个想法是希望通过让“饲养”元素更像角色扮演游戏来扩大范围。范围变得越来越广，但我想把模拟角色扮演游戏的难度带来的快感保留在某个地方。这就是我从计划之初就想尝试的事情，我做到了，但我感到了一定的阻力。单位成长系统与之前的游戏相比发生了很大的变化，所以我很担心人们会想，“我不明白，这太难了”，但似乎大多数人都喜欢它，所以我很高兴一切顺利。
Kusakihara: From the IS side, too, there were a lot of challenges this time. The development approach was one of them, and despite the total change, we still had to make something that looked like Fire Emblem. I always think it’s bad to fixate on conceptualizing Fire Emblem into a narrow range, and I wanted to show IS’s younger generation, “Even if we go this far, it’ll still be Fire Emblem.”
草木原：从IS方面来说，这次也遇到了很多挑战。开发方法就是其中之一，尽管发生了彻底的变化，我们仍然必须制作一些看起来像《火焰纹章》的东西。我一直认为把《火焰纹章》的概念局限于一个狭窄的范围是不好的，我想向IS的年轻一代展示，“即使我们走到了这一步，它仍然是《火焰纹章》。”
Will the outlook continue to snowball after this?
此后前景会继续滚雪球吗？
Yokota: I’d really like it to, but… (bitter smile). The DLC’s all been released and it’s really all over now, so now it’s more like, “We’ve done it all.”
横田：我真的很想这么做，但是……（苦笑）。 DLC 已经全部发布，现在真的一切都结束了，所以现在更像是，“我们已经完成了这一切。”
So Hilda’s brother won’t be joining us.
所以希尔达的兄弟不会加入我们。
Yokota: That’s right (laughs). Whatever kind of person he is, he only exists inside Mr. Kusakihara.
横田：是的（笑）。不管他是什么样的人，他都只存在于草木原先生的内心。
Kusakihara: Holst and Glenn are like Detective Colombo’s wife, where you don’t know if they’re there or not, but they keep coming up in conversations… Just like with the Crests, I wanted to show that the world is bigger than just the parts you see in the game. As a result, I think people have gotten a feel for what the world of Fodlan is like.
草木原：霍尔斯特和格伦就像科伦坡侦探的妻子，你不知道他们是否在那里，但他们不断出现在谈话中......就像克雷斯特一样，我想表明世界不仅仅是你在游戏中看到的部分。结果，我认为人们已经感受到了 Fodlan 的世界是什么样的。
Yokota: Looking back, I think it’s amazing we made such a huge game in that amount of time. I really can’t thank IS and Koei Tecmo enough.
横田：回想起来，我认为我们在这么长的时间内制作了如此庞大的游戏真是太棒了。我真的非常感谢IS和Koei Tecmo。
At Nintendo Dream, we’ve been writing about Three Houses ever since it came out, and it really feels like a game you can enjoy for a long time. I think many fans are still busy enjoying it, so is there anything you two felt when making this game or seeing fans playing it that you’d like to put in a message for them?
在《Nintendo Dream》中，自从《三宫》问世以来，我们就一直在撰写有关它的文章，感觉它确实是一款可以玩很长时间的游戏。我想很多粉丝还在忙着享受它，那么你们两个在制作这款游戏或看到粉丝玩这款游戏时有什么感受想对他们说的话吗？
Kusakihara: Social media makes it easy to see feedback nowadays, and I felt that everyone enjoyed this game far more than we ever could have expected. First and foremost, I want to say thank you for loving this game so much. Truly, it looks like you’re finding so many ways to have fun with it… Looking at screenshots on the internet, I’m constantly surprised at the ways people are enjoying the game (laughs). Earlier, I said the game was “like a living creature,” but the expanse of Three Houses’s world has already exceeded our estimation of it, feeling like it’s starting to leave our hands, which is a bit lonely… But I believe from the bottom of my heart that we’ve made something truly great here, and if I were to wish one thing, I’d hope it continues to be loved for a long time to come.
草木原：现在社交媒体很容易看到反馈，我觉得每个人都比我们预想的更喜欢这个游戏。首先，我想说感谢您如此喜爱这个游戏。确实，看起来你找到了很多方法来享受它的乐趣……看着互联网上的屏幕截图，我总是对人们享受游戏的方式感到惊讶（笑）。之前我说这个游戏“就像一个活物”，但《三宫》的世界之广阔已经超出了我们的想象，感觉它开始脱离我们的双手，有点孤独……但我从内心深处相信我发自内心地认为，我们在这里创造了真正伟大的东西，如果我想要一件事，我希望它在未来很长一段时间内继续受到喜爱。
Yokota: Naturally, there are some characters who shoot up in popularity compared to others, but it feels like all the characters are loved all over. A lot of characters pushed us out of our comfort zone, so I’m really grateful… but at the same time, wow, it’s crazy how popular Dimitri is (laughs).
横田：当然，有些角色比其他角色更受欢迎，但感觉所有角色都受到大家的喜爱。很多角色把我们推出了舒适区，所以我真的很感激……但与此同时，哇，迪米特里如此受欢迎真是太疯狂了（笑）。
Kusakihara: Even in just Nintendo Dream, Dimitri’s popularity is incredible (laughs).
草木原：即使只是在《Nintendo Dream》中，迪米特里的受欢迎程度也令人难以置信（笑）。
Yokota: I’m incredibly relieved the house leaders are all popular in their own way. It’d be lonely to hear, “I don’t really like this house leader.” This goes for Dimitri too, but Claude and Edelgard each have their own charm. To anyone out there intimidated by the size of the game, even a single route gives you a complete story, so we’d love it if you just started with a single playthrough. For people who’ve played the main game but not the DLC, the addition of new characters means the game gets more interesting with new interactions, so I’d be happy if you took this opportunity to play it. To people who’ve already done four, five, or even more playthroughs, thank you so much! That’s my message (laughs). I hope you continue to enjoy Three Houses.
横田：众议院领袖都以自己的方式受到欢迎，这让我感到非常欣慰。听到“我不太喜欢这位众议院领袖”会很孤独。迪米特里也是如此，但克劳德和艾黛尔贾特各有各的魅力。对于那些被游戏规模吓倒的人来说，即使是一条路线也能给你一个完整的故事，所以如果你只是从一个游戏开始，我们会很高兴。对于玩过主游戏但没有玩过 DLC 的人来说，新角色的添加意味着游戏会通过新的交互变得更加有趣，所以如果您能借此机会玩一下，我会很高兴。对于已经通关四遍、五遍甚至更多遍的玩家，非常感谢！这就是我的信息（笑）。希望大家继续喜欢《三宫》。
Which route specifically did you make as the foundation for the worldview at the beginning?
一开始你具体把哪条路线作为世界观的基础呢？
Kusakihara: Part One and the Empire route of Part Two… or the “church route,” as players call it, Silver Snow. In the process, you make an enemy out of your house leader, Edelgard… I’d decided on that flow from the beginning. From there, each route’s story and the nitty-gritty of each house leader were opened up by the scenario team at Koei Tecmo. Your house leader leaves you, so I imagined the Black Eagles as the hardest route.
草木原：第一部分和第二部分的帝国路线……或者玩家所说的“教堂路线”，银雪。在这个过程中，你与家族领袖艾黛尔贾特为敌……我从一开始就决定了这个流程。从那时起，Koei Tecmo 的场景团队揭示了每条路线的故事和每位领导者的具体情况。你的家族领袖离开了你，所以我想象黑鹰是最艰难的路线。
Yokota: We talked about this, like, isn’t it bad if you lose the unit you were training as your main force?
横田：我们讨论过这个问题，如果你失去了作为主力训练的部队，不是很糟糕吗？
Kusakihara: Personally, I think a creator needs a certain kind of cruelty. Without it, you have a sort of pre-established harmony, or like, the reader sees things coming too easily. And developments you can predict perfectly aren’t too appealing. So as blunt as I put it, sure enough, a lot of people in development wanted to take Edelgard’s side. I originally planned to make the route where you follow Edelgard, Crimson Flower, the so-called “conquest route,” harder to get to.
草木原：我个人认为创作者需要某种程度的残酷。没有它，你就会有一种预先建立的和谐，或者读者会认为事情来得太容易了。而你可以完美预测的事态发展并不太有吸引力。诚然，正如我所说，开发中的很多人都想站在艾黛尔贾特一边。本来我是打算让艾黛尔贾特、红花的路线，也就是所谓的“征服路线”变得更难走。
Yokota: Apologies, Mr. Kusakihara, but I took Koei Tecmo’s side in the battle against you (laughs). About the branching event during exploration, there originally wasn’t even a hint. Even now, if you never explore once during the Pegasus Moon of Part One, you can’t go to the conquest route. That said, everyone generally goes exploring at the beginning of the month, so it’s fairly hard to miss.
横田：抱歉，草木原先生，在与你的战斗中我站在光荣特库摩一边（笑）。关于探索过程中的分支事件，原本连一丝暗示都没有。即使是现在，如果你在第一部分的飞马座月亮期间从未探索过一次，你就无法走征服路线。也就是说，每个人通常都会在月初去探索，所以很难错过。
Kusakihara: Personally, I think it’s three times easier to reach than I would’ve wanted, but oh well.
草木原：就我个人而言，我认为它比我想要的要容易三倍，但是哦，好吧。
Yokota: And if you ask me, it’s much better this way (laughs). If the story of the Black Eagles was just the route you wrote at the beginning, you might have faced a lot more opposition, but with so many branching elements this time, I thought the “unpredictable elements” you had in mind would be interesting, and here we have it. I feel like we made it without straying too much from the beginning of planning to the end.
横田：如果你问我的话，我会说这样更好（笑）。如果黑鹰的故事只是你一开始写的路线，你可能会面临更多的反对，但这次有这么多分支元素，我认为你心目中的“不可预测的元素”会很有趣，现在我们有了它。我觉得我们从计划开始到结束都没有偏离太多目标。
Tell us the process or trigger for making the protagonist lacking in expressions.
告诉我们导致主角缺乏表情的过程或者触发点。
Kusakihara: The root of it was the desire to make it easier for the player to self-insert, and at first, I wasn’t thinking of much else. This was the players’ starting point for interacting with the world, so I figured having the protagonist keep talking about things the player didn’t know would make it harder to self-insert, and I made it such that the protagonist doesn’t know much and has to learn from other people. So it’s initially a trait born from a game composition standpoint, but by explaining about the protagonist’s Crest and origins, I think we tied it into the story well.
草木原：其根源是希望让玩家更容易自行插入，一开始我并没有考虑太多其他事情。这是玩家与世界互动的起点，所以我认为让主角不断谈论玩家不知道的事情会让自己更难插入，所以我把它弄得主角不知道还需要向其他人学习很多东西。所以它最初是从游戏构成的角度诞生的一个特征，但通过解释主角的纹章和起源，我认为我们很好地将它与故事联系起来。
Tell us how Edelgard and the Empire got to the position they’re in now.
告诉我们艾黛尔贾特和帝国是如何走到现在这个位置的。
Kusakihara: I think most of the characters walking the path of conquest up until now have been men. I also think villains are often men… I wanted to do something unexpected, or make it harder to predict future events, so that role went to a woman this time.
草木原：我认为迄今为止走在征服之路上的角色大部分都是男性。我还认为反派通常是男性……我想做一些意想不到的事情，或者让预测未来事件变得更加困难，所以这次这个角色由女性担任。
Yokota: There’s a contrast between her strong side, pushing through with her conquest, and her adorable side, and I think she turned out to be a good character. Also, sure enough, we left in the longstanding series trope of “empire = bad guys.” With the name “empire,” I feel like there really is this vague image of “probably evil.” Regarding the story, it started with the element of “let’s make it Romance of the Three Kingdoms,” but we also wanted to have a school life. That meant it would have to be temporarily peaceful, and from there, we needed something to spark a war. To that end, something needed to be the bad guy… or rather, shoulder a role close to that, or the story wouldn’t work, so we had the Empire support us in that way.
横田：她坚强的一面和她可爱的一面形成鲜明对比，我认为她是一个很好的角色。而且，果然，我们留下了长期存在的系列比喻“帝国=坏人”。 “帝国”这个名字，我感觉确实有一种“可能邪恶”的模糊形象。故事方面，是从“三国演义”的元素开始的，但我们也想要有学校生活。这意味着它必须暂时和平，从那时起，我们需要一些东西来引发战争。为此，需要有某个东西成为坏人……或者更确切地说，承担一个接近坏人的角色，否则故事就行不通，所以我们让帝国以这种方式支持我们。
Kusakihara: Most recent FEs start right before a war breaks out, but with this one, we intentionally pushed the time the war begins back.
草木原：最近的 FE 都是在战争爆发前开始的，但在这次，我们故意推迟了战争开始的时间。
Around what time did Edelgard undergo the blood experiments? And why did you give her the Crest of Flames, like the protagonist?
艾黛尔贾特大约在什么时候进行了血液实验？还有为什么你要像主角一样给她烈焰纹章？
Kusakihara: I can’t really specify, other than sometime between when she parted with Dimitri as a child and the beginning of the game. But Edelgard is referred to as Agartha’s greatest creation, so it was carried out after the techniques were established, and by that meaning, I think it was after Lysithea’s experiments. And as for why she has the Crest of Flames, that’s because Edelgard was written to be an equal rival to the protagonist from the beginning. I thought there could be some interesting gimmicks, like if Edelgard is there when the protagonist stops time, she could interfere, or maybe you can’t use Divine Pulse in the final battle… but we didn’t get to depict that much.
草木原：我真的不能具体说明，除了她小时候与迪米特里分开和游戏开始之间的某个时间。但艾黛尔贾特被称为阿加莎最伟大的创造，所以它是在技术确立之后进行的，从这个意义上说，我认为它是在莉西西亚的实验之后进行的。至于为什么拥有火焰纹章，那是因为艾黛尔贾特从一开始就被设定为与主角平等的对手。我认为可能会有一些有趣的噱头，比如当主角停止时间时艾黛尔贾特在场，她可能会干涉，或者也许你不能在最后的战斗中使用神圣脉冲……但我们没有描述那么多。
Yokota: Wow (laughs).
横田：哇（笑）。
Kusakihara: The gimmicks went away, but by giving her the same Crest, you can feel a commonality between her and the protagonist, and I think it deepens the drama.
草木原：噱头消失了，但通过给她相同的纹章，你可以感受到她和主角之间的共同点，我认为这加深了戏剧性。
Tell us how Dimitri ended up with an eyepatch five years later.
告诉我们五年后迪米特里是如何戴上眼罩的。
Kusakihara: We actually didn’t give him the eyepatch at first. When we got Ms. Kurahana’s design artwork, I said, “Can we give him an eyepatch?” And that was the trigger. The basis of the time skip designs was to have a wide range of changes across the characters as a whole. Everyone changes in their own way, so how have they lived during these five years… I wanted that to bleed into their appearance. And Dimitri’s eyepatch was an idea that came from those thoughts. So only when you follow Edelgard in Crimson Flower does he not have the eyepatch. It shows that he hasn’t gone through things as horrible as what happens in the other routes. The eyepatch is a symbol of his hardship.
草木原：其实一开始我们并没有给他戴眼罩。当我们拿到仓花女士的设计作品时，我说：“我们可以给他一个眼罩吗？”这就是触发因素。时间跳跃设计的基础是对整个角色进行广泛的变化。每个人都有自己的变化，这五年他们过得怎么样……我希望这能渗透到他们的外表中。而迪米特里的眼罩就是从这些想法中产生的。所以只有当你跟随《红花》中的艾黛尔贾特时，他才没有眼罩。这表明他并没有经历过像其他路线中所发生的那样可怕的事情。眼罩是他苦难的象征。
In Cindered Shadows, Claude says something interesting about his name. Is it a pseudonym?
在《灰烬之影》中，克劳德说了一些关于他名字的有趣事情。是化名吗？
Kusakihara: As you guessed, Claude’s name is fake… His real name is Khalid [TN: Kariido]. I wanted to say this somewhere. But I never really had the chance, and here we are now (laughs). For a while, actually, there was a scene where Nader calls him Khalid, but it didn’t really stick the landing, so it got cut.
草木原：正如你所猜到的，克劳德的名字是假的……他的真名是哈立德[TN：Kariido]。我想在某个地方说这句话。但我从来没有真正的机会，而我们现在就在这里（笑）。事实上，有一段时间，有一场纳德称他为哈立德的场景，但它并没有真正落地，所以被剪掉了。
Yokota: I wonder why Claude chose “Claude” as his name. [Ed.: A character with the same name appears in Genealogy of the Holy War.]
横田：我想知道克劳德为什么选择“克劳德”作为他的名字。 [编辑：同名角色出现在《圣战家谱》中。]
Kusakihara: Higuchi pointed that out too, but it was always going to be a pseudonym, so I wasn’t worried about the overlap. And I planned on revealing his real name in the game… But, well, we already have characters with name overlaps, like Grey [TN: “Asugi” in the Fates localization] or Kamui [TN: “Corrin” in the Fates localization], so it’s fine. His real name’s Khalid!
草木原：樋口也指出了这一点，但它总是化名，所以我并不担心重叠。我计划在游戏中透露他的真名……但是，好吧，我们已经有了名字重叠的角色，比如格雷 [TN：命运本地化中的“Asugi”] 或 Kamui [TN：命运本地化中的“Corrin”] ，所以没关系。他的真名是哈立德！
Yokota: They’re both cool names. I feel like Claude changed the least in his time skip appearance. The facial hair is a bit of an adventurous element… but when we first got his time skip design, I thought he really got a boost to his shadiness (laughs). But he was a really good guy.
横田：这两个名字都很酷。我觉得克劳德在时间跳跃外观上变化最小。面部毛发有点冒险元素……但是当我们第一次得到他的时间跳跃设计时，我认为他的阴暗程度确实得到了提升（笑）。但他真的是一个好人。
In his support conversations with the protagonist, Claude calls himself “the scraps of a royal family,” but does he have real siblings in Almyra?
在与主角的支持对话中，克劳德称自己为“王室残骸”，但他在阿尔米拉有真正的兄弟姐妹吗？
Kusakihara: He probably does. He probably has a lot of siblings under different mothers, and his origin is one of being picked on by people around him. In an environment with many rivals, he had to think fast and really use his noggin, making him the Claude we know now, and that ties into his ambitions. The theme of the Claude story is figuring out how to fight the way of thinking that makes you try to get rid of foreign elements, and the environment forming its roots is in his homeland. Among the scenario team, they referenced Yang Wen-li, from Legend of the Galactic Heroes, and Rajendra, from The Heroic Legend of Arslan, and it’s like they put the two together. He’d beg for his life if things got bad, and he’s clear on the idea that surviving counts as a victory. So it’s very Claude-ish that he survives on every route.
草木原：大概是吧。他可能有很多不同母亲的兄弟姐妹，他的出身之一就是被周围的人欺负。在竞争对手众多的环境中，他必须快速思考并真正发挥自己的头脑，使他成为我们现在所知道的克劳德，这与他的野心息息相关。克劳德故事的主题是弄清楚如何对抗让你试图摆脱外来因素的思维方式，而形成其根源的环境是在他的祖国。剧本团队中，他们参考了《银河英雄传说》中的杨威利和《亚尔斯兰英雄传》中的拉金德拉，就像把两者放在一起一样。如果事情变得糟糕，他会乞求饶命，而且他很清楚，活下来就是胜利。所以他在每条路线上都幸存下来，这非常像克劳德。
Yokota: His exchange with Hilda during the Derdriu battle of the conquest route really made an impression on me. “Why didn’t you run…”
横田：他在征服路线德鲁战役中与希尔达的交流给我留下了深刻的印象。 “你怎么不跑……”
Kusakihara: Yeah. I think he holds a different value system than the people of Fodlan.
草木原：是的。我认为他持有与弗德兰人不同的价值体系。
Why does Sothis look like a little girl? And why was Rhea so obsessed with reviving her?
为什么索蒂斯看起来像个小女孩？为什么瑞亚如此着迷于复活她？
Kusakihara: Because the Sothis inside the protagonist is in an incomplete state. She doesn’t remember what she looks like, and she hasn’t completely healed, so that form is like a point in the middle of the process. She looks very different from the Sothis in Rhea’s memories, so when the protagonist says, “I see a girl,” and Rhea looks puzzled, it’s showing that contrast. In her complete form, she looks like an adult woman, like you’d see in the ceiling painting.
草木原：因为主角体内的Sothis处于不完整的状态。她不记得自己长什么样子，而且她还没有完全痊愈，所以那个形态就像是这个过程中的一个点。她看起来和瑞亚记忆中的索蒂斯很不一样，所以当主角说“我看到一个女孩”而瑞亚一脸困惑时，就表现出了这种反差。在她的完整形态中，她看起来像一个成年女性，就像你在天花板画中看到的那样。
Yokota: I looked it up and found adult Sothis’s design artwork, but why did you have it made?
横田：我查了一下，发现了成人Sothis的设计图，但是为什么要制作它呢？
Kusakihara: Actually, in the images at the beginning of the game, there’s a cut of Sothis looking down from a high place, so I needed the artwork for that. And as for Rhea’s obsession, there’s actually a lot of parts that weren’t depicted in the story. To Rhea, Sothis was like a mother, as well as a creator, so she has more of a real goal than just wanting to see her mother, and that’s what props Rhea up mentally.
草木原：实际上，在游戏开始的图像中，有一个索蒂斯从高处往下看的镜头，所以我需要它的艺术作品。至于雷亚的痴迷，其实还有很多故事中没有描述的部分。对于瑞亚来说，索蒂斯就像一位母亲，也是一位创造者，所以她有更多真正的目标，而不仅仅是想见到她的母亲，这就是在精神上支撑瑞亚的原因。
Why did Nemesis attack Zanado?
涅墨西斯为何攻击扎纳多？
Kusakihara: In that world, the Nabateans, the people who could turn into dragons, were scattered across Fodlan and ruled over the land as both dragons and gods, but the Agarthans… the so-called people who slither in the dark, hated the Nabateans and planned the attack to challenge the status quo. They made plans to teach humanity how to make powerful weapons out of the Nabateans’ corpses, and the human Nemesis carried it out. As for how it turned out for the humans and their new power… They sought power, killed dragons larger than themselves, stripped them of raw materials, and created stronger weapons… is how it goes. And that’s how Fodlan’s Ten Elites came to be. And then Seiros raised an army and subjugated Nemesis and the Ten Elites, and later, as the victor, Seiros rewrote history, making it the current history of the Church of Seiros. Basically, we emphasized that history is really just the domain of the victors. That’s why, over the entirety of this work, there are so many people who lie about history, and even the accounts of the books in the library can’t be trusted at all.
草木原：在那个世界里，能够变成龙的纳巴泰人分散在弗多兰各地，以龙和神的身份统治着这片土地，但阿加森人……所谓的在黑暗中滑行的人们，憎恨纳巴泰人。并策划这次袭击来挑战现状。他们制定了计划，教人类如何用纳巴泰人的尸体制造强大的武器，而人类复仇女神执行了这个计划。至于人类和他们的新力量的结果如何……他们寻求力量，杀死比自己更大的龙，剥夺它们的原材料，并创造出更强大的武器……就是这样。这就是弗德兰十大精英的由来。然后塞罗什率领军队，征服了涅墨西斯和十大精英，后来塞罗什作为胜利者改写了历史，成为塞罗什教会现在的历史。基本上，我们强调历史实际上只是胜利者的领域。所以，在整部作品中，有那么多人对历史撒谎，甚至连图书馆里的书的记载都根本不可信。
Why did Seiros (Rhea) leave Nemesis and Fodlan’s Ten Elites as heroes in history?
为什么赛罗丝（瑞亚）将涅墨西斯和弗多兰十大精英留下为历史英雄？
Kusakihara: Because from the human side, Nemesis and the Ten Elites were thought of as heroes. When you’re ruling over humanity, you can’t exactly create a history that completely ignores humanity’s feelings. So the idea is she held them up as heroes while rewriting other parts to be more convenient for her. However, when Seiros and friends tampered with history, they weren’t doing it for the sake of ruling over humanity, but rather for the purpose of minimizing war as much as possible and making it easier to preserve harmony. Like you see in the underground library, they even suppressed the advancement of civilization when it was getting too fast. There’s a reason for that too… but that’s a secret (laughs).
草木原：因为从人类的角度来看，涅墨西斯和十大精英被认为是英雄。当你统治人类时，你不可能创造出完全无视人类感受的历史。所以她的想法是，她将他们奉为英雄，同时重写其他部分，以便对她来说更方便。然而，塞罗斯等人篡改历史，并不是为了统治人类，而是为了尽可能减少战争，更容易维护和谐。就像你在地下图书馆看到的那样，当文明进步太快时，他们甚至会压制。这也是有原因的……不过那是个秘密（笑）。