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en:Space Channel 5 / Space Channel 5 -太空第5頻道 - 太空頻道5

太空第5頻道
  • スペースチャンネル5
File:Space Channel 5.PNG
歐洲版盒裝封面
常用譯名太空第5頻道[1]、太空頻道5[2]
類型音樂
平台Dreamcast、PlayStation 2、Game Boy Advance
開發商世嘉AM9[a]
發行商
總監湯田高志
製作人水口哲也
設計師吉永匠
編劇吉永匠
程式Hitoshi Nakanishi
美術Yumiko Miyabe
音樂幡谷尚史、東古健一
系列《太空第5頻道》
模式單人
發行日
1999年12月16日
  • Dreamcast
    • 日本：1999年12月16日
    • 北美：2000年6月6日
    • 歐洲：2000年10月6日
    PlayStation 2
    • 歐洲：2002年3月15日
    • 日本：2002年12月12日
    • 北美：2003年11月18日
    Game Boy Advance
    • 北美：2003年6月3日
    • 歐洲：2003年9月23日

《太空第5頻道》（日語：スペースチャンネル5）是由世嘉開發並發行的音樂遊戲。該作初版於1999年在Dreamcast發行，後移植到PlayStation 2和Game Boy Advance。玩家跟隨太空記者舞菈菈（英語：Ulala (Space Channel 5)）調查外星人入侵，舞菈菈需配合音樂模仿對手的動作，以擊退外星人。

該作由水口哲也構思，他受命創作以女性玩家為受眾的遊戲。該作開發歷時兩年，開發團隊含資深員工和新人在內約20人。該作由幡谷尚史和東古健一配樂，二人以大樂團音樂為基礎創作，如將肯·伍德曼（英語：Ken Woodman）歌曲《Mexican Flyer》用作遊戲主題曲等。視覺風格受到1950—1960年代文化、彼得·蓋布瑞爾和米高·傑克遜後期音樂的影響，其中傑克遜在遊戲客串出場。

該作發行後雖銷量低迷，但獲媒體肯定。評論員在初版讚揚遊戲玩法和藝術指導，而批評流程過短和圖形同步問題。PS2版本同樣獲媒體好評，且因售價低廉而最受推薦。Game Boy Advance版本副標題為「Ulala's Cosmic Attack」，媒體批評該版本有多項影響遊玩的缺失。該作此後衍生為系列作品，如續作《太空第5頻道2（英語：Space Channel 5: Part 2）》（2002年）、支援虛擬現實裝置的《太空第5頻道VR 大概跳一下也是場秀（英語：Space Channel 5 VR: Kinda Funky News Flash）》（2020年）等。

遊戲系統

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《太空第5頻道》是一款音樂遊戲。該作背景設定於1960年代復古科幻風格的未來世界，並有多家新聞頻道激烈競爭。玩家扮演主角「太空第5頻道」記者舞菈菈（英語：Ulala (Space Channel 5)）。她須在外星種族「茂呂星人[b]」入侵時，一邊報導突發事件、擊退外星威脅，一邊與競爭頻道的記者較量[4][5]。此場外星入侵由太空第5頻道老闆布蘭克（ブランク）一手策劃，目的在推高頻道收視率。最終，舞菈菈在其他記者的協助和粉絲支援下擊敗布蘭克[6]。

該作共有四個關卡[7]，關卡中的多邊形角色模型和視覺特效為即時運算，並與關卡背景的預渲染MPEG影片同步移動[8]。玩家需操作舞菈菈，重現對方的動作和口令[5][8][9][10]。玩家需配合關卡各階段播放的音樂依序操作[11]。該作有六個可操作按鍵，包含十字鍵四個和動作按鈕兩個（Dreamcast、Game Boy Advance（GBA）上為A鍵和B鍵；PlayStation 2為X鍵和O鍵），需要點按動作按鈕會出現「chu」的語音[5][11][12]。

各關卡主要分為「舞蹈」和「射擊」階段[11]。舞菈菈在舞蹈階段須模仿敵人動作並跟着喊出「chu」，重現動作時可提升畫面右下角的「評分」（Rating）計量表[11]；在戰鬥階段則須開火擊倒敵人，並點按另一個動作按鈕解救人質[13]。已解救的人質會跟隨舞菈菈[8]。頭目戰會出現以心形圖示標示的生命值條，玩家每次失誤會扣除一點生命值。生命值全部扣除、評分歸零或未達最低需求時，該局遊戲即結束並須重玩[5][11]。此外，玩家可使用通關存檔重新遊玩，進入二周目模式。該模式下遊戲會根據當前評分解鎖隱藏路線、變化敵人攻擊模式等[14]。

製作

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AM Annex（United Game Artists前身）創始人水口哲也

1990年代，在世嘉任職的水口哲也以賽車遊戲出名。當時，世嘉希望他為Dreamcast製作以女性休閒玩家為受眾的遊戲[15][16]。水口不了解此類受眾，因此訪談了多位年輕女性，了解他她們的遊戲喜好。他發現男性玩家傾向追求排名和高分，而女性玩家則偏好益智遊戲[15]。水口結合自身參與夜總會和蘇黎世「Street Parade（英語：Street Parade）」音樂節等活動的經驗，決定創作能吸引遊戲和音樂粉絲的作品，並以瓦西里·康定斯基為靈感，期望誘發玩家的聯覺感官體驗[17]。此外，水口也受1950至60年代的音樂、80年代音樂電視網的彼得·蓋布瑞爾和米高·傑克遜的音樂錄像等作品啟發[18]。遊戲概念於1993年成形，在世嘉管理層的內部規劃和批准後，1998年展開全面製作[19]。

本作由世嘉AM9部門（後更名為 United Game Artists）負責開發。開發團隊成員包括來自 Team Andromeda（《飛龍騎士》開發團隊）與《超音鼠》系列的資深員工，以及部分完全沒有開發經驗的新人。遊戲開發週期歷時近兩年。團隊規模最初僅有 10 人，隨開發進度最終擴張至27人。水口哲也擔任本作製作人，湯田高志則同時兼任導演與配角「Fuze」的配音。由於水口早期的作品多為街機開發，本作是他首次參與研發專供家用主機市場的作品。談及 Dreamcast 主機時，水口指出該主機與過往注重圖像的賽車遊戲相比，能提供更高品質的音頻，因此他希望利用這項新技術將互動性融入配樂之中。在製作過程中，如何平衡遊戲玩法與劇情設定曾是一大挑戰。

Production was handled by Sega AM9, later known as United Game Artists.[10][20] The team included many staff from Team Andromeda（英語：Sega Sports R&D） (makers of Panzer Dragoon（英語：Panzer Dragoon）) and the Sonic the Hedgehog series, and others who were complete newcomers to game development.[7] Development for the game lasted almost two years.[10] Beginning with a small team of ten, it eventually expanded to 27 members as development progressed.[7] Mizuguchi acted as the game's producer, with Takashi Yuda both directing and providing the voice for supporting character Fuze.[21] The game was Mizuguchi's first time working on a game aimed exclusively at the home console market, as his earlier work had first been developed for arcades.[17] Speaking about the Dreamcast, Mizuguchi said that it allowed higher-quality music compared to graphics-focused racing games. He wanted to use the new technology to incorporate interactivity into the score.[16] Production was challenging at times due to the balance of gameplay and scenario.[19]

遊戲設計

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水口哲也形容遊戲的早期版本「雖然酷，但並不好玩」，當時玩家僅能在播放非互動式影片的同時，單純隨節奏按鍵。為了提升遊戲趣味性，水口從節奏敲擊樂團 Stomp（破銅爛鐵樂團）獲得靈感；其中一段由表演者引導觀眾模仿鼓掌、且節奏難度隨之增加的橋段令他印象深刻。水口希望將這種互動模式與劇情及特色音樂結合。起初，開發團隊成員難以理解水口的構想，特別是對他想在風格中加入「喜劇」元素感到困惑。為此，水口聘請了一位默劇演員指導團隊肢體喜劇表演，全體成員甚至參加了喜劇工作坊，親自練習默劇與肢體喜劇套路，以加深對遊戲風格的理解。此外，遊戲中外星人「摩洛星人」（Morolians）之名源自美術設計師茂呂真由美（Mayumi Moro）的姓氏，這起因於團隊成員在辦公室常以「Moro」稱呼她，茂呂本人對此也感到十分有趣。

The earliest versions of the game were described by Mizuguchi as "very cool, but not so fun", as players simply pressed buttons in time to the music while a non-interactive video changed. To make the game more interesting, Mizuguchi drew inspiration from the rhythm troope Stomp; a particular piece which inspired him was a segment where a performer would have the audience copy their clapping, with the rhythm becoming more complex over time. Mizuguchi wanted to incorporate this into the game, combining it with a narrative and distinctive music. The rest of the team found it difficult to understand Mizuguchi's vision as they were confused by his wish for comedy to be a part of the game's style, so he hired a pantomime artist to school the team in physical comedy.[22] The production team also went to a comedy workshop to practise miming and physical comedy routines to further inform their understanding of the game.[23] The name of the game's aliens "Morolians" was a derivation of the surname of artist Mayumi Moro; it came about as the team often used her last name around the office. Moro found its use in the game funny.[24]

本作的一大核心特色在於，儘管玩法包含射擊元素，但主角舞拉拉（Ulala）從不殺生，這項設定使遊戲對各類玩家而言都更平易近人。水口在設計企劃書中，將遊戲性的本質提煉為「投入與回饋」的循環，並構思如何在遊戲中實踐。為了確保團隊精確掌握「按鍵節奏、音樂與角色動作一致」的開發核心，他剝離了所有冗餘特效，僅保留基礎版本供團隊集中研發。在動畫製作方面，部分動作採用動作捕捉技術，其餘則由手工繪製而成。至於遊戲中經典的口令「Chu」（啾），則是在配音過程中偶然產生的：原定台詞為「Shoot」，但配音員難以用簡短有力的單音節發好這個音，最終才簡化並演變成現今的口號。

A key aspect of the game was that while the gameplay involved shooting, Ulala never actually killed anyone, allowing the game to be approachable to a wider range of players.[7] When pitching the gameplay in his design document, Mizuguchi distilled the basic cycle of effort and reward, then came up with a means of realising them in the game. To ensure the team fully understood the gameplay concept of matching button presses to music and character actions, all extraneous effects were stripped away, leaving a basic version the team could focus on.[25] While some animations were created using motion capture, the rest were animated by hand.[24] The vocalization "Chu" emerged during voice recording. The original word was "Shoot", but the actors had difficulty pronouncing it using the necessary single syllable, resulting in the word being contracted and altered into its current form.[19]

主角舞拉拉的動作捕捉由日本舞者名津那穗子擔綱演出。摩洛星人（Morolians）的動作則是由水口哲也在製作初期聘請的默劇演員所編排。在CGI影片背景上即時運算多邊形角色模型的構想由湯田提出。開發團隊利用 ADX 技術，成功讓模型動作與背景影片達成同步。由於遊戲中使用了大量的影音串流技術，最終的遊戲內容佔據了Dreamcast GD-ROM光碟超過 99% 的容量。事後回顧，水口認為採用預先渲染的影片對團隊而言是一大挑戰。此外，受限於儲存空間，部分原定的喜劇片段最終被迫刪減。團隊曾為本作製作過一個早期的技術展示（tech demo）；在該原型版本中，玩家角色設定為男性，且僅具備最基礎的玩法與主題元素。直到後續版本才首度展示了舞拉拉的原型設計。遊戲標誌性的「復古未來主義」（retro future）視覺美學在該展示階段便已確立，並貫穿了整個製作過程。角色與美術設計的靈感匯集了整個開發團隊的多元品味，涵蓋了從《星球大戰》、《多啦A夢》到《蒙提·派森》（Monty Python）等作品；水口本人則特別受到《星球大戰》中管弦樂配樂與科幻背景交織出的強烈對比風格所啟發。

Ulala's motion capture actions were performed by Japanese dancer Nazu Nahoko.[26] The Morolians' movements were scripted by the mime artist Mizuguchi hired to help the team during early production.[25] The idea of streaming polygonal models over CGI movies was suggested by Yuta.[24] They made use of ADX（英語：ADX (file format)） technology to synch the movement of models over the movies. The game content filled just over 99% of the Dreamcast GD-ROM disc.[10] The space usage was attributed by Mizuguchi to the large amount of video and audio streaming used in the game.[24] In hindsight, Mizuguchi cited the use of pre-rendered movies as a challenge to the team.[16] Due to the amount of space used, some planned comedy segments had to be cut.[24] An early tech demo was put together for the game; in this prototype version, the player character was a man, and only the most basic elements of its gameplay and theme were in place. A later version featured a prototype design for Ulala.[27] The game's visual aesthetic of a "retro future" was present in that demo, and stayed throughout production.[28] Influences on the characters and art design came from across the production team, with tastes ranging from Star Wars to Doraemon to Monty Python.[7] Mizuguchi was inspired by the contrasting styles of orchestral music and science fiction setting used in Star Wars.[16]

舞拉拉的形象為集體創作的成果，不過其主要設計仍歸功於遊戲的美術總監宮部由美子。舞拉拉早期的動作設定曾被認為過於「冷酷時髦」，且整體肢體表現略顯僵硬。為此，她的設計歷經了多次調整，以求能同時吸引重視外型的男性玩家與看重個性的女性玩家。專案中另一位重要的美術人員是負責概念與模型設計的Jake Kazdal。Kazdal表示，舞拉拉的關鍵設計靈感之一源自 1968年科幻電影《太空英雌巴巴萊拉》（Barbarella）的同名主角。本作的美術風格以此為基礎持續演進，開發人員甚至經常對後期部分角色「荒誕至極」的設計感到捧腹大笑。此外，舞拉拉服裝選用的亮橘色則是為了呼應Dreamcast的標誌，象徵世嘉邁向的新方向。

The character of Ulala was a collaborative creation, though much of her design was attributed to the game's art director Yumiko Miyabe.[24] Ulala's early actions were deemed too "cool and stylish", and her overall movement too stiff. Her design was also adjusted several times so she would appeal to male gamers (who favored looks) and female gamers (who preferred personality).[23] Another notable artist on the project was Jake Kazdal, who worked as a concept and model artist.[29] Kazdal said that one of Ulala's key design inspirations was the titular lead of the science fiction film Barbarella (1968). The art style continued to evolve from there, with the staff often laughing at the "sheer ridiculousness" of some later characters.[30] Her costume's orange colour was a reference to the Dreamcast logo and signified Sega's new direction.[31]

音樂

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《太空頻道5號》的配樂由世嘉旗下音樂廠牌 WaveMaster 的幡谷尚史與床井健一共同操刀，幡谷同時兼任音效總監。本作受 1950 與 60 年代大樂團爵士樂（Big band jazz）啟發的音樂風格，是開發初期最先敲定的元素之一。幡谷表示，遊戲的音樂走向主要歸功於水口哲也在整個製作過程中的指導。遊戲的曲風會隨着關卡推進而改變，後期的關卡甚至融入了科技舞曲（Techno）與出神音樂（Trance）的元素。遊戲內的原聲大碟混合了 CD 音質的樂曲與 MIDI 音源取樣。據幡谷回憶，音樂開發過程中最艱鉅的挑戰之一，便是駕馭多樣的音樂流派，並設法將所有配樂塞進有限的遊戲光碟容量中。配樂作業與遊戲本體的開發同步進行，音效團隊最初只能仰賴概念美術與開發中的實機畫面來創作；到了開發後期，劇情的變更更為團隊帶來了龐大的額外工作量。最終遊戲內收錄的音樂總時長估計達 70 分鐘。

The music for Space Channel 5 was composed by Naofumi Hataya and Kenichi Tokoi of Sega's music label WaveMaster. Hataya also acted as sound director.[32][33] The musical style, inspired by big band jazz of the 1950s and 60s, was one of the earliest elements to be decided upon.[22][18] Hataya attributed the game's musical direction to Mizuguchi's guidance throughout production.[34] The musical style changed with each stage, with later sections incorporating techno and trance.[7] The in-game soundtrack mixed CD-quality music with midi sound samples.[10] According to Hataya, one of the hardest aspects of music development was the variety of genres and fitting all the score onto the game disc.[34] Music production ran simultaneously with the game's production, with the sound team at first using concept art and in-production gameplay. Late in development, the story caused a lot of additional work for the team. The final total of in-game music was estimated at 70 minutes.[35]

遊戲的主題曲《Mexican Flyer》由肯·伍德曼（英語：Ken Woodman）（Ken Woodman）於 1966 年譜寫。當水口哲也為使用此曲而聯繫伍德曼時，伍德曼對於有人想將這首歌用於電子遊戲感到相當驚訝。該曲目在遊戲早期的展示影片中首度亮相，也順勢奠定了本作整體的音樂方向。然而，取得該樂曲版權的過程卻困難重重，因為這首歌在當時極為冷門，且自當年發行後便再也未被任何媒體使用過。遊戲的片尾曲《Pala Paya》則由 WaveMaster 的員工親自獻聲演唱。2000 年 2 月 21 日，由 Marvelous Entertainment 發行、VAP 負責經銷的遊戲原聲大碟專輯正式推出，該專輯共收錄 22 首曲目，其中包括一首《Mexican Flyer》的混音版本。2019 年 12 月 18 日，由 UMA 推出的合輯《Space Channel 5 20th Anniversary: Gyungyun Selection》中，亦收錄了來自《太空頻道5號》的經典曲目。

The game's main theme was "Mexican Flyer", composed by Ken Woodman（英語：Ken Woodman） in 1966.[22] Mizuguchi approached Woodman about using the theme. Woodman was surprised that someone wanted to use the theme for a video game.[7] The use of "Mexican Flyer" in the game's early presentation video informed the direction of the music.[28] Getting the rights to the track proved difficult, as the track was extremely obscure and had not been used in any media since its release.[18] The ending theme "Pala Paya" used vocals performed by WaveMaster staff.[28] A soundtrack album for the game was published by Marvelous Entertainment and distributed by VAP on February 21, 2000. The album featured 22 tracks, including a remix of "Mexican Flyer".[36] Tracks from Space Channel 5 were included in the compilation album Space Channel 5 20th Anniversary: Gyungyun Selection by UMA on December 18, 2019.[37]

配音

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世嘉最初選擇不對外宣傳本作的配音陣容。遊戲中多數角色皆由開發團隊的成員親自配音，這是因為團隊希望能完全掌握角色的詮釋方式，並且方便隨時進行快速的補錄作業。主角舞拉拉的日語配音員同樣是從世嘉內部員工中挑選出來的。據水口哲也回憶，當時的錄音過程極為艱辛，且他對細節的要求極度嚴苛，甚至讓該名女員工當場落淚。記者 James Mielke 後來指出，舞拉拉的配音員實為岡村峰子。岡村日後也證實了此事，並表示她的測試配音（demo voice）在獲得媒體的正面評價後，便直接保留至最終版本的遊戲中。此外，團隊聘請了專業聲優速水獎與飯田かえ，分別聲演舞拉拉的競爭對手記者「積架」（Jaguar）與「布丁」（Pudding），而飯田原本其實是舞拉拉的預定配音人選。舞拉拉的英語配音則由當時知名的電視藝人 Apollo Smile 擔綱。

Sega chose not to promote the game's voice cast.[26] Most of the voice roles were performed by members of the game's staff.[38] This was due to the team wanting full control of how characters were portrayed, and the need to do quick re-recording sessions. Ulala's Japanese voice actress was similarly pulled from Sega staff. According to Mizuguchi, the recording process was so strenuous, and his demands so exacting that the actress was brought to tears.[18] Journalist James Mielke attributed Ulala's voice to Mineko Okamura.[39] Okamura later confirmed her role, saying her demo voice was kept in the final game after positive feedback from the press. Professionals Show Hayami and Kae Iida were hired for the roles of rival reporters Jaguar and Pudding respectively, with Iida originally being planned for the role of Ulala.[19] Ulala was voiced in English by Apollo Smile（英語：Apollo Smile）, then a notable television personality.[26]

本作最具話題性的客串為麥可·傑克森（Michael Jackson），他在遊戲中化身為「太空麥可」（Space Michael）一角。身為世嘉的長期合作夥伴與粉絲，世嘉員工內海州史向傑克森展示了接近完成的遊戲版本。傑克森對這款遊戲愛不釋手，並表達了希望能在遊戲中露面的意願。由於當時距離遊戲完工僅剩一個月，水口最初打算婉拒這項請求，但開發團隊極度希望能將傑克森加入遊戲中。為此，他們將一名被摩洛星人控制的 NPC 替換成以傑克森為原型的 3D 模型，並加入了這位歌手標誌性的舞蹈動作。水口原以為傑克森會對這種臨時的妥協感到不滿，但令他驚訝的是，傑克森十分體諒團隊所面臨的進度壓力，不僅對成果表示認可，甚至還親自為該角色錄製了語音台詞。

A notable cameo was Michael Jackson himself, featuring in the game as the character "Space Michael". A long-term collaborator with and fan of Sega, Jackson was shown a near-finished version of the game by Sega staff member Shuji Utsumi. Jackson loved the game and wanted to be featured in it.[22][40] Mizuguchi initially wanted to refuse the request, as the game was only a month away from completion, but the team wanted to include Jackson, so they substituted a Morolian-controlled NPC character for a model based on Jackson and added moves based on the singer's famous dance moves. Initially thinking Jackson would dislike it, Mizuguchi was surprised when Jackson approved, realising the pressures the team were under, and provided voice lines for the character.[38]

發行

[編輯]

1999年9月，《太空頻道5號》首度東京電玩展公佈。名津那穗子在包含 TGS 展出在內的各項現場宣傳活動中，親自扮演了主角舞拉拉。遊戲於1999年12月16日在日本正式發售。世嘉（Sega）通過大量的公眾宣傳與在東京舉辦的盛大上市活動，全力為本作的發售造勢。官方也為本作推出了多款周邊商品。在美國方面，世嘉於加州環球市舉辦了一場名為「太空頻道5號舞拉拉模仿大賽」（Space Channel 5 Ulala-a-like Contest）的活動。參賽者為9至21歲的年輕女性，比拼誰的裝扮最神似舞拉拉。參賽者們不僅能見到由女星凱莉·普雷斯頓（Kelly Preston）扮演的舞拉拉，最終的冠軍還贏得了500美元獎金與一台 Dreamcast 主機。

Space Channel 5 was first announced at the September 1999 Tokyo Game Show.[41] Nahoko portrayed the character Ulala（英語：Ulala (Space Channel 5)） at live promotional events, including its TGS showings.[10][26] The game was released in Japan on December 16, 1999.[42] Sega pushed the game's release with heavy public promotions and an extensive launch event in Tokyo.[10] The game was supported by several pieces of merchandise.[43] In the US, Sega conducted a contest in Universal City, California titled Space Channel 5 Ulala-a-like Contest. The contestants were girls between the ages of 9 and 21 who competed to who could resemble Ulala the best. The contestants were able to meet with Ulala portrayed by Kelly Preston and the winner won $500 and a Dreamcast.[44]

遊戲的本地化工作由世嘉親自操刀，團隊表示在過程中投入了「極大的謹慎與時間」。其中一項關鍵任務，便是為舞拉拉尋找最合適的英語配音。在台詞的本地化過程中，除了針對不同語言的語感進行細微調整外，各地區版本之間的差異極小。至於遊戲音樂本身則幾乎沒有做任何更動。本作於2000年推向國際市場；北美地區於6月6日發行，歐洲地區則於10月8日發售。

The game's localization was handled by Sega, who approached it "with care and time". One of the key elements for the team was finding the right English voice for Ulala.[25] When the dialogue was localized, there was little difference between regions beyond language-specific nuances.[45] The music itself received little to no changes.[34] The game was released internationally in 2000; it was published in North America on June 6, and in Europe on October 8.[42][46][47]

在退出家用主機硬件市場後，世嘉開始將《太空頻道5號》系列轉移至其他平台上，首波發行的便是 PlayStation 2（PS2）版本。PS2 版於 2002 年 3 月 15 日在歐洲發行，並於同年的 12 月 12 日在日本推出。在北美地區，該 PS2 移植版則與其續作同梱，交由 Agetec 於 11 月 18 日負責發行。在日本，這款 PS2 版本後來變得相當稀有，其二手轉售價格也因此居高不下。

Following their exit from the console market, Sega began moving the Space Channel 5 franchise onto other systems, beginning with the PlayStation 2.[48][42] The PS2 version released in Europe on March 15, 2002;[42] and in Japan on December 12 of that year.[49] In North America, the PS2 port was bundled with its sequel（英語：Space Channel 5: Part 2） and published in the region by Agetec（英語：Agetec）.[50][51] This version released in North America on November 18.[52] In Japan, the PS2 version has since become a rarity, fetching high resale prices.[18]

此外，官方也為 Game Boy Advance（GBA）製作了一款名為《太空頻道5號：舞拉拉的宇宙攻擊》（Space Channel 5: Ulala's Cosmic Attack）的重製版。這是世嘉與 THQ 合作計劃的一環，旨在共同開發與發行旗下數款系列作至該平台。此移植版由 Art Co., Ltd 與 THQ 共同開發。受限於 GBA 的硬件效能，遊戲經過了重新打造，其配樂也改以 MIDI 音源來呈現，並由 Tsutomu Fuzawa 負責音樂製作。該作於 2003 年作為歐美地區獨佔遊戲發行；北美版於 6 月 17 日發售，歐洲版則於 9 月 12 日上市。

A remake for the Game Boy Advance titled Space Channel 5: Ulala's Cosmic Attack was also produced.[53][54] This formed part of Sega's partnership with THQ to co-develop and co-publish several of their franchises to the platform.[55] The port was co-developed by Art Co., Ltd and THQ.[3][56] The game was re-created within the GBA hardware, with its music rendered using a MIDI score.[57] The music was handled by Tsutomu Fuzawa.[56] The game was released as a Western exclusive in 2003; it was published on June 17 in North America and September 12 in Europe.[54][58]

反應

[編輯]

Dreamcast版本

[編輯]

《太空頻道5號》在日本首發時銷量低迷。在上市首週，本作售出了約4萬1000套，庫存消化率僅略高於44%。該作最終在日本累計售出超過9萬3600套，躋身該地區最暢銷的40款Dreamcast遊戲之列。在2002年的一場會議中，開發團隊宣布本作獲得了成功，因為它成功吸引了廣大的核心玩家與休閒玩家。然而，水口哲也在2005年的一次訪談中卻表示，這款遊戲在商業上並不成功。

Upon its debut in Japan, the game met with low sales.[90] During its first week, it sold through just over 44% of its stock with over 41,000 units. It eventually sold over 93,600 units in Japan, being among the region's top 40 best-selling Dreamcast titles.[91] At a 2002 conference, the game was declared a success by its staff, finding a wide audience among both hardcore and casual gamers.[23] In contrast during a 2005 interview, Mizuguchi said that the game was not a commercial success.[16]

根據電子遊戲評分匯總網站GameRankings的數據，本作的Dreamcast版本基於34篇評論獲得了84%的平均分數。日本遊戲雜誌《Fami通》為本作打出了29分（滿分40分）。《電腦與電子遊戲》的編輯Pat Garratt給予本作滿分評價，稱其為一款獨一無二的遊戲，更是每位Dreamcast玩家的必玩之作。《電子遊戲月刊》的三位評論員讚賞了本作的配樂與美術設計，但指出了遊戲流程過短以及偶爾出現的影音不同步問題。《GamePro》將本作的玩法與風格與《動感小子》（PaRappa the Rapper）及《龍穴歷險記》相提並論並給予好評，推薦其為一段簡短而愉快的體驗，但同時也提到遊戲缺乏額外的附加內容。GameSpot的Jeff Gerstmann認為，《太空頻道5號》憑藉其非傳統的美術風格與音樂便值得一試，但他主要的批評在於玩法過於重複，且缺乏可解鎖的隱藏要素。

According to video game review aggregator GameRankings, the Dreamcast version earned a score of 84% based on 34 reviews.[85] Japanese gaming magazine Famitsu gave the game a score of 29 points out of 40.[62] Pat Garratt of Computer and Video Games gave the game a perfect score, calling it a unique game and "absolute must for every DC owner".[59] The three reviewers for Electronic Gaming Monthly lauded the soundtrack and art design, but noted issues with its short length and occasional syncing issues.[60] GamePro positively compared the gameplay and style to PaRappa the Rapper（英語：PaRappa the Rapper） and Dragon's Lair, recommending it as a short and enjoyable experience while noting a lack of extras.[66] GameSpot's Jeff Gerstmann（英語：Jeff Gerstmann） said Space Channel 5 was worth playing for its unconventional art style and music, with his main complaints being repetitive gameplay and lack of unlockables.[69]

GameSpy 稱本作是「名副其實的藝術品」，讚賞了遊戲的世界觀與配樂，並認為該作是世嘉製作實力的最佳證明；但他們也指出遊戲的一大缺點在於玩法過於單調，且缺乏故事模式之外的附加功能。[71] IGN 對日本原版與歐美發行版皆給予了近乎滿分的評價，稱讚了遊戲的呈現手法，但同時批評了流程過短與節拍判定時機的問題。[76][77] 《今日美國》（USA Today）表示這款遊戲「充滿了純粹的樂趣，而《太空頻道5號》以動人的樂曲完美兌現了這一點。」[83] 《娛樂周刊》（Entertainment Weekly）評論道：「各個年齡層的玩家無疑都會想幫助舞拉拉找回她的節奏——更別提誰不想入手一雙她腳上那樣的靴子了。」[82] 《Next Generation》的編輯 Greg Orlando 則形容本作「美麗卻又太過短暫」。[79]

GameSpy called the game "a work of art in every sense of the word", praising the world and music and calling the game a testament to Sega's production skills; their one major problem was the simplistic gameplay style and lack of features beyond the campaign.[71] IGN gave both the Japanese original and the Western release near-perfect scores, praising the presentation while criticizing the short length and timing issues.[76][77] USA Today said the game was "all about fun, and [Space Channel 5] delivers with a song."[83] Entertainment Weekly said that "gamers of all ages undoubtedly will want to help Ulala（英語：Ulala (Space Channel 5)） get her groove back — if not get their hands on a pair of those boots."[82] Next Generation's Greg Orlando called the game "Beautiful and all-too-short".[79]

《太空頻道5號》在1999年的日本遊戲大獎中入圍了四項大獎。此外，本作也在2001年的互動藝術與科學學院（Academy of Interactive Arts & Sciences）頒獎典禮上，獲得了「動畫」與「主機創新」類別的提名。2002年，《太空頻道5號》與世嘉 AM9 開發團隊入圍了英國電影和電視藝術學院獎（BAFTA）的「最佳音效」類別，但最終不敵《路易吉洋樓》（Luigi's Mansion）。

Space Channel 5 was nominated for awards in four categories at the 1999 Japan Game Awards.[42] It was also nominated in the "Animation（英語：D.I.C.E. Award for Outstanding Achievement in Animation）" and "Console Innovation" categories at the Academy of Interactive Arts & Sciences' awards ceremony in 2001（英語：4th Annual Interactive Achievement Awards）.[92] Space Channel 5 and Sega AM9 were nominated at the 2002 BAFTA Awards in the "Best Audio" category, losing to Luigi's Mansion.[93]

在包含 Gamasutra 與 IGN 等多家遊戲網站的週年回顧及 Dreamcast 最愛遊戲名單中，《太空頻道5號》憑藉其遊戲設計與美術風格，被公認為該主機上最獨特的作品之一。在一篇探討水口哲也與 United Game Artists 團隊開發歷程的文章中，1UP.com 將本作視為 Dreamcast 主機上的「一大亮點」，並形容其為一款「前所未見」的作品。[22]

In anniversary retrospectives and lists of favorite Dreamcast titles from multiple websites including Gamasutra and IGN, Space Channel 5 has been remembered as one of the most unique titles on the system for its gameplay design and art direction.[c] 1UP.com, in an article about Mizuguchi's work with United Game Artists, "highlight" on the Dreamcast and described as "unlike anything before it."[22]

PS2版本

[編輯]

PlayStation 2 的移植版同樣獲得了正面的迴響。根據評分匯總網站 GameRankings 的數據，北美發行版基於 7 篇評論獲得了 79% 的分數；而 Metacritic 則基於 16 篇評論給出了 79 分（滿分 100 分），整體評價為「普遍好評」。《電子遊戲月刊》表示，音樂與獨特風格的結合賦予了本作「一種極具感染力且令人上癮的特質」。《GamePro》將該特別版合集譽為「絕對是 PS2 上繼《VR快打4：進化版》之後最超值的選擇」。《Game Informer》則稱此次發行是「一個極佳的合集，其蘊含的價值與強烈風格勝過市面上多數的節奏遊戲」。GameSpot 的 Brad Shoemaker 認為，這款合集以低廉的價格同時收錄了原版與續作，是一次非常出色的發行。

The PlayStation 2 port was met with a similarly positive response. GameRankings gave the North American release a score of 79% based on 7 reviews;[87] and Metacritic gave it a score of 79 out of a possible 100 from 16 reviews, indicating a "generally favorable" reception.[89] Electronic Gaming Monthly said that the mixture of music and unique style gave the game "an infectious, addictive quality".[61] GamePro called the Special Edition package "easily the best bargain for the PS2 this side of [Virtua Fighter 4: Evolution]".[68] Game Informer called the release "a great package crammed with more value and personality than most rhythm games".[65] Brad Shoemaker of GameSpot felt it was a great release due to its low price and having both the original and its sequel.[9]

GameSpy's Christian Nutt lauded the music and its lead character, in addition to the low price for the double game pack, but faulted its length and issues with the localization.[73] GameZone recommended the package for fans of Dance Dance Revolution, and said gamers outside its target audience should try it due to its quality and enjoyability.[75] Douglass Perry of IGN, comparing the game to its sequel that formed part of the package, felt that the first was the inferior game due to lacking the later additions and polishing.[78] Paul Fitzpatrick of Official U.S. PlayStation Magazine felt that the original game's flaws were only exacerbated when contrasted with its sequel.[81] Paul Fitzpatrick of PlayStation Official Magazine – UK enjoyed the soundtrack and lauded its sense of style, but criticized its length.[5]

GBA版本

[編輯]

By contrast, the Game Boy Advance port received a Metacritic score of 55 out of 100 based on 15 reviews, indicating "mixed or average" reception.[88] GamePro was surprised that the game worked on the portable console, praising the efforts of the team while being unable to recommend it to buyers.[67] For Frank Provo of GameSpot, the biggest problem was the unresponsive controls, as otherwise, the game was a laudable conversion of the game for the GBA.[70] GameSpy's Steve Steinberg was very critical, calling the game "a barely playable disappointment" despite liking the soundtrack.[72] GameZone said that the difficulties with controlling Ulala and presentation made the game suitable only for hardcore series fans.[74] Craig Harris, writing for IGN, said that while the gameplay was intact, the other elements were undermined by the technical constraints of the console.[12] The Village Voice gave the port a good score, saying that the game's core remained intact and enjoyable despite low graphical quality and control issues.[84] Game Informer was also positive, saying that there could be no better version of Space Channel 5 on the platform.[64] Nintendo Power gave praise to the control responses, but called the graphics "colorful but sparse".[80]

後續

[編輯]

續作

[編輯]

A sequel to Space Channel 5 was planned from an early stage, but production was put on hold until Western sales figures came in.[90] The sequel, Space Channel 5: Part 2（英語：Space Channel 5: Part 2）, was announced in October 2001.[100] It received a simultaneous release on Dreamcast and PS2 in January 2002 in Japan.[42] The PS2 version was released in mainland Europe the following year.[42] In North America, the game was released as part of Space Channel 5: Special Edition by Agetec.[50][51] It was the last game produced by United Game Artists prior to Sega's internal restructuring in 2003.[101] Part 2 was later given a high-definition port to Microsoft Windows, Xbox 360, and PlayStation 3. It was released first as part of the Dreamcast Collection（英語：Dreamcast Collection） in February 2011, then as a standalone digital release in October of the same year.[102][103][104]

While concepts existed for a third game in the series and pitches were made for the Wii and Kinect, the team felt they had exhausted their ideas, and Sega showed little interest in a new entry.[31] At one time, Mizuguchi and Q Entertainment were in discussions with Sega about reviving the series for HD consoles.[18] A new virtual reality project was eventually greenlit by Sega. The project was developed by Grounding Inc., a game company founded by former Sega developers including Okamura, who pitched the concept to Sega.[31][105][106] Beginning in 2016 as an experimental collaboration with Sega and KDDI titled Space Channel 5 VR: Ukiuki Viewing Show, the project saw a strong fan response for a full game.[106][107] Titled Space Channel 5 VR: Kinda Funky News Flash（英語：Space Channel 5 VR: Kinda Funky News Flash）, the player takes the role of novice reporters assisting Ulala during a new invasion report.[106][108] Originally scheduled for release on PlayStation VR, SteamVR, HTC Vive and Oculus Quest during December 2019,[109][110] the game was delayed into the following year to improve its quality.[110] All versions were released between February and November 2020.[d]

其他媒體和客串

[編輯]

Ulala was falsely reported as being used in a collaboration between MTV and Sega to present the "Best Video" award at the MTV Video Music Award ceremony in 2000. Ulala's appearance at the event was also used to promote SegaNet（英語：SegaNet） during its Dreamcast debut.[115][116] This stems from a misunderstanding of a quote form Peter Moore: "...we did a massive promo with them (MTV) where Ulala actually introduced the best dance video at the Video Music Awards..."[117] A CGI television adaptation of Space Channel 5 was originally planned from SuperMega Media. In addition, Ulala was to have featured on the MTV program slot as an announcer.[23][118] These MTV collaborations were cancelled mid-production.[23] A film adaptation of the series was announced in August 2022. A collaboration between Sega and Erik Feig（英語：Erik Feig）'s Picturestart company, the script is being co-written by Barry Battles and Nir Paniry.[119][120]

Sega's Sonic Team studio also created a mobile application called Ulala's Channel J[e] for Japanese Vodafone devices in July 2001. The application consisted of several minigames, most themed after the series and specifically Space Channel 5: Part 2. Some featured 3D graphics that required higher-specification devices to play. Themed mobile wallpapers and jingles were also included for download.[121][122][123] The game shut down in September 2005, with some of its content merged into the Sonic Cafe mobile service.[122]

In 2001, Palisades Toys（英語：Palisades Toys） produced themed merchandise; these included a lunch box, and figures of game characters including boss characters Evila, Pudding, the Morolians, and several variants of Ulala.[124] Japanese action figure company Figma produced two Ulala figures based on her main looks from Space Channel 5 and its sequel in 2017.[125] United Game Artists' next game Rez featured the Morolian character as a secret playable character.[18] Ulala was featured as a secret character in racing game Sonic Riders（英語：Sonic Riders）,[126] a playable character in multiple entries in the Sega All-Stars series (alongside Pudding and Blib),[127][128][129] part of a themed stage in the Wii re-release of the rhythm game Samba de Amigo（英語：Samba de Amigo）,[130] and a playable unit in the crossover strategy game Project X Zone and its sequel（英語：Project X Zone 2）.[131][132]

訴訟

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Keirin Magenta Kirby of Deee-Lite
Ulala on the cover of Space Channel 5
Kierin Magenta Kirby on the left, and Ulala on the right

In 2003, Space Channel 5 and its protagonist Ulala were the subject of a lawsuit against Sega from Deee-Lite（英語：Deee-Lite） vocalist Kierin Magenta Kirby（英語：Lady Miss Kier）.[18][133] In July 2000, a Sega affiliate contacted Kirby to determine if she was interested in promoting the game in England, utilizing the 1990 Deee-Lite song "Groove Is in the Heart（英語：Groove Is in the Heart）"; Kirby rejected the offer. Kirby alleged that the "Ulala" character was an unauthorized misappropriation of her likeness. During the lawsuit, Sega showed that the game and character had been created and released in Japan between 1997 and 1999. The judge ruled that regardless of when the "Ulala" character was created, the character did not have a close enough resemblance to Kirby to deem misappropriation of likeness. Kirby was obliged to pay Sega's legal fees of $608,000 (reduced from $763,000 on request).[134][135] "Groove Is in the Heart" was later licensed for use in Sega's 2008 Wii port of Samba de Amigo（英語：Samba de Amigo）, used in a section of the game where the Ulala character appears.[136]

註釋

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  1. ^ Game Boy Advance版本由Art Co., Ltd開發[3]。
  2. ^ 譯名出自篝火營地[2]。
  3. ^ [94][95][96][97][98][99]
  4. ^ [111][112][113][114]
  5. ^ （うららのチャンネルJ）

參考資料

[編輯]
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外部連結

[編輯]

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取自 "https://zh.wikipedia.org/w/index.php?title=User:Azusa1226/donut&oldid=91676850"