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en:Space Channel 5 / Space Channel 5 -太空第5频道 - 太空频道5

太空频道5
  • スペースチャンネル5
File:Space Channel 5.PNG
欧洲版盒装封面
常用译名太空第5频道[1]、太空频道5[2]
类型音乐
平台Dreamcast、PlayStation 2、Game Boy Advance
开发商世嘉AM9[a]
发行商
总监汤田高志
制作人水口哲也
设计师吉永匠
编剧吉永匠
程序Hitoshi Nakanishi
美术Yumiko Miyabe
音乐幡谷尚史、东古健一
系列《太空频道5》
模式单人
发行日
1999年12月16日
  • Dreamcast
    • 日本：1999年12月16日
    • 北美：2000年6月6日
    • 欧洲：2000年10月6日
    PlayStation 2
    • 欧洲：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
    • 欧洲：2003年9月23日

《太空频道5》（日语：スペースチャンネル5）是由世嘉开发并发行的音乐游戏。该作初版于1999年在Dreamcast发行，后移植到PlayStation 2和Game Boy Advance。玩家跟随太空记者乌拉拉（英语：Ulala (Space Channel 5)）调查外星人入侵，乌拉拉需配合音乐模仿对手的动作，以击退外星人。

该作由水口哲也构思，他受命创作以女性玩家为受众的游戏。该作开发历时两年，开发团队含资深员工和新人在内约20人。该作由幡谷尚史和东古健一配乐，二人以大乐团音乐为基础创作，如将肯·伍德曼（英语：Ken Woodman）歌曲《Mexican Flyer》用作游戏主题曲等。视觉风格受到1950—1960年代文化、彼得·盖布瑞尔和迈克尔·杰克逊后期音乐的影响，其中杰克逊在游戏客串出场。

该作发行后虽销量低迷，但获媒体肯定。评论员在初版赞扬游戏玩法和艺术指导，而批评流程过短和图形同步问题。PS2版本同样获媒体好评，且因售价低廉而最受推荐。Game Boy Advance版本副标题为“Ulala's Cosmic Attack”，媒体批评该版本有多项影响游玩的缺失。该作此后衍生为系列作品，如续作《太空频道5 Part 2（英语：Space Channel 5: Part 2）》（2002年）、支持虚拟现实装置的《太空频道5VR：开开心心视觉秀（英语：Space Channel 5 VR: Kinda Funky News Flash）》（2020年）等。

游戏系统

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《太空频道5》是一款音乐游戏。该作背景设定于1960年代复古科幻风格的未来世界，并有多家新闻频道激烈竞争。玩家扮演主角“太空频道5”记者乌拉拉（英语：Ulala (Space Channel 5)）。她须在外星种族“茂吕星人[b]”入侵时，一边报导突发事件、击退外星威胁，一边与竞争频道的记者较量[4][5]。此场外星入侵由太空频道5老板布兰克（ブランク）一手策划，目的在推高频道收视率。最终，乌拉拉在其他记者的协助和粉丝支持下击败布兰克[6]。

该作共有四个关卡[7]，关卡中的多边形角色模型和视觉特效为即时运算，并与关卡背景的预渲染MPEG视频同步移动[8]。玩家需操作乌拉拉，重现对方的动作和口令[5][8][9][10]。玩家需配合关卡各阶段播放的音乐依序操作[11]。该作有六个可操作按键，包含十字键四个和动作按钮两个（Dreamcast、Game Boy Advance（GBA）上为A键和B键；PlayStation 2为X键和O键），需要点按动作按钮会出现“chu”的语音[5][11][12]。

各关卡主要分为“舞蹈”和“射击”阶段[11]。乌拉拉在舞蹈阶段须模仿敌人动作并跟着喊出“chu”，重现动作时可提升画面右下角的“评分”（Rating）计量表[11]；在战斗阶段则须开火击倒敌人，并点按另一个动作按钮解救人质[13]。已解救的人质会跟随乌拉拉[8]。头目战会出现以心形图标标示的生命值条，玩家每次失误会扣除一点生命值。生命值全部扣除、评分归零或未达最低需求时，该局游戏即结束并须重玩[5][11]。此外，玩家可使用通关存档重新游玩，进入二周目模式。该模式下游戏会根据当前评分解锁隐藏路线、变化敌人攻击模式等[14]。

制作

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

1990年代，在世嘉任职的水口哲也以赛车游戏出名。当时，世嘉希望他为Dreamcast制作以女性休闲玩家为受众的游戏[15][16]。水口不了解此类受众，因此访谈了多位年轻女性，了解他她们的游戏喜好。他发现男性玩家倾向追求排名和高分，而女性玩家则偏好益智游戏[15]。水口结合自身参与夜总会和苏黎世“Street Parade（英语：Street Parade）”音乐节等活动的经验，决定创作能吸引游戏和音乐粉丝的作品，并以瓦西里·康定斯基为灵感，期望诱发玩家的联觉感官体验[17]。此外，水口也受1950至60年代的音乐、80年代音乐电视网的彼得·盖布瑞尔和迈克尔·杰克逊的音乐录影带等作品启发[18]。游戏概念于1993年成形，在世嘉管理层的内部规划和批准后，1998年展开全面制作[19]。

本作由世嘉AM9部门（后更名为 United Game Artists）负责开发。开发团队成员包括来自 Team Andromeda（《铁甲飞龙》开发团队）与《音速小子》系列的资深员工，以及部分完全没有开发经验的新人。游戏开发周期历时近两年。团队规模最初仅有 10 人，随开发进度最终扩张至27人。水口哲也担任本作制作人，汤田高志则同时兼任导演与配角“Fuze”的配音。由于水口早期的作品多为街机开发，本作是他首次参与研发专供家用主机市场的作品。谈及 Dreamcast 主机时，水口指出该主机与过往注重图像的赛车游戏相比，能提供更高品质的音频，因此他希望利用这项新技术将互动性融入配乐之中。在制作过程中，如何平衡游戏玩法与剧情设定曾是一大挑战。

Production was handled by Sega AM9, later known as United Game Artists.[10][20] The team included many staff from Team Andromeda（英语：Sega Sports R&D） (makers of Panzer Dragoon（英语：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]

游戏设计

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水口哲也形容游戏的早期版本“虽然酷，但并不好玩”，当时玩家仅能在播放非互动式视频的同时，单纯随节奏按键。为了提升游戏趣味性，水口从节奏打击乐团 Stomp（破铜烂铁乐团）获得灵感；其中一段由表演者引导观众模仿鼓掌、且节奏难度随之增加的桥段令他印象深刻。水口希望将这种互动模式与剧情及特色音乐结合。起初，开发团队成员难以理解水口的构想，特别是对他想在风格中加入“喜剧”元素感到困惑。为此，水口聘请了一位默剧演员指导团队肢体喜剧表演，全体成员甚至参加了喜剧工作坊，亲自练习默剧与肢体喜剧套路，以加深对游戏风格的理解。此外，游戏中外星人“摩洛星人”（Morolians）之名源自美术设计师茂吕真由美（Mayumi Moro）的姓氏，这起因于团队成员在办公室常以“Moro”称呼她，茂吕本人对此也感到十分有趣。

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于，尽管玩法包含射击元素，但主角舞拉拉（Ulala）从不杀生，这项设定使游戏对各类玩家而言都更平易近人。水口在设计企划书中，将游戏性的本质提炼为“投入与回馈”的循环，并构思如何在游戏中实践。为了确保团队精确掌握“按键节奏、音乐与角色动作一致”的开发核心，他剥离了所有冗余特效，仅保留基础版本供团队集中研发。在动画制作方面，部分动作采用动作捕捉技术，其余则由手工绘制而成。至于游戏中经典的口令“Chu”（啾），则是在配音过程中偶然产生的：原定台词为“Shoot”，但配音员难以用简短有力的单音节发好这个音，最终才简化并演变成现今的口号。

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]

主角舞拉拉的动作捕捉由日本舞者名津那穗子担纲演出。摩洛星人（Morolians）的动作则是由水口哲也在制作初期聘请的默剧演员所编排。在CGI视频背景上即时运算多边形角色模型的构想由汤田提出。开发团队利用 ADX 技术，成功让模型动作与背景视频达成同步。由于游戏中使用了大量的影音串流技术，最终的游戏内容占据了Dreamcast GD-ROM光碟超过 99% 的容量。事后回顾，水口认为采用预先渲染的视频对团队而言是一大挑战。此外，受限于储存空间，部分原定的喜剧片段最终被迫删减。团队曾为本作制作过一个早期的技术展示（tech demo）；在该原型版本中，玩家角色设定为男性，且仅具备最基础的玩法与主题元素。直到后续版本才首度展示了舞拉拉的原型设计。游戏标志性的“复古未来主义”（retro future）视觉美学在该展示阶段便已确立，并贯穿了整个制作过程。角色与美术设计的灵感汇集了整个开发团队的多元品味，涵盖了从《星际大战》、《哆啦A梦》到《蒙提·派森》（Monty Python）等作品；水口本人则特别受到《星际大战》中管弦乐配乐与科幻背景交织出的强烈对比风格所启发。

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（英语：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]

舞拉拉的形象为集体创作的成果，不过其主要设计仍归功于游戏的美术总监宫部由美子。舞拉拉早期的动作设定曾被认为过于“冷酷时髦”，且整体肢体表现略显僵硬。为此，她的设计历经了多次调整，以求能同时吸引重视外型的男性玩家与看重个性的女性玩家。项目中另一位重要的美术人员是负责概念与模型设计的Jake Kazdal。Kazdal表示，舞拉拉的关键设计灵感之一源自 1968年科幻电影《太空英雌巴巴莱拉》（Barbarella）的同名主角。本作的美术风格以此为基础持续演进，开发人员甚至经常对后期部分角色“荒诞至极”的设计感到捧腹大笑。此外，舞拉拉服装选用的亮橘色则是为了呼应Dreamcast的标志，象征世嘉迈向的新方向。

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]

音乐

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《太空频道5号》的配乐由世嘉旗下音乐厂牌 WaveMaster 的幡谷尚史与床井健一共同操刀，幡谷同时兼任音效总监。本作受 1950 与 60 年代大乐团爵士乐（Big band jazz）启发的音乐风格，是开发初期最先敲定的元素之一。幡谷表示，游戏的音乐走向主要归功于水口哲也在整个制作过程中的指导。游戏的曲风会随着关卡推进而改变，后期的关卡甚至融入了科技舞曲（Techno）与出神音乐（Trance）的元素。游戏内的原声带混合了 CD 音质的乐曲与 MIDI 音源采样。据幡谷回忆，音乐开发过程中最艰巨的挑战之一，便是驾驭多样的音乐流派，并设法将所有配乐塞进有限的游戏光碟容量中。配乐作业与游戏本体的开发同步进行，音效团队最初只能仰赖概念美术与开发中的实机画面来创作；到了开发后期，剧情的变更更为团队带来了庞大的额外工作量。最终游戏内收录的音乐总时长估计达 70 分钟。

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]

游戏的主题曲《Mexican Flyer》由肯·伍德曼（英语：Ken Woodman）（Ken Woodman）于 1966 年谱写。当水口哲也为使用此曲而联系伍德曼时，伍德曼对于有人想将这首歌用于电子游戏感到相当惊讶。该曲目在游戏早期的展示视频中首度亮相，也顺势奠定了本作整体的音乐方向。然而，取得该乐曲版权的过程却困难重重，因为这首歌在当时极为冷门，且自当年发行后便再也未被任何媒体使用过。游戏的片尾曲《Pala Paya》则由 WaveMaster 的员工亲自献声演唱。2000 年 2 月 21 日，由 Marvelous Entertainment 发行、VAP 负责经销的游戏原声带专辑正式推出，该专辑共收录 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 推出的合辑《Space Channel 5 20th Anniversary: Gyungyun Selection》中，亦收录了来自《太空频道5号》的经典曲目。

The game's main theme was "Mexican Flyer", composed by Ken Woodman（英语：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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世嘉最初选择不对外宣传本作的配音阵容。游戏中多数角色皆由开发团队的成员亲自配音，这是因为团队希望能完全掌握角色的诠释方式，并且方便随时进行快速的补录作业。主角舞拉拉的日语配音员同样是从世嘉内部员工中挑选出来的。据水口哲也回忆，当时的录音过程极为艰辛，且他对细节的要求极度严苛，甚至让该名女员工当场落泪。记者 James Mielke 后来指出，舞拉拉的配音员实为冈村峰子。冈村日后也证实了此事，并表示她的测试配音（demo voice）在获得媒体的正面评价后，便直接保留至最终版本的游戏中。此外，团队聘请了专业声优速水奖与饭田かえ，分别声演舞拉拉的竞争对手记者“捷豹”（Jaguar）与“布丁”（Pudding），而饭田原本其实是舞拉拉的预定配音人选。舞拉拉的英语配音则由当时知名的电视艺人 Apollo Smile 担纲。

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（英语：Apollo Smile）, then a notable television personality.[26]

本作最具话题性的客串为麦可·杰克森（Michael Jackson），他在游戏中化身为“太空麦可”（Space Michael）一角。身为世嘉的长期合作伙伴与粉丝，世嘉员工内海州史向杰克森展示了接近完成的游戏版本。杰克森对这款游戏爱不释手，并表达了希望能在游戏中露面的意愿。由于当时距离游戏完工仅剩一个月，水口最初打算婉拒这项请求，但开发团队极度希望能将杰克森加入游戏中。为此，他们将一名被摩洛星人控制的 NPC 替换成以杰克森为原型的 3D 模型，并加入了这位歌手标志性的舞蹈动作。水口原以为杰克森会对这种临时的妥协感到不满，但令他惊讶的是，杰克森十分体谅团队所面临的进度压力，不仅对成果表示认可，甚至还亲自为该角色录制了语音台词。

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]

发行

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1999年9月，《太空频道5号》首度东京电玩展公布。名津那穗子在包含 TGS 展出在内的各项现场宣传活动中，亲自扮演了主角舞拉拉。游戏于1999年12月16日在日本正式发售。世嘉（Sega）通过大量的公众宣传与在东京举办的盛大上市活动，全力为本作的发售造势。官方也为本作推出了多款周边商品。在美国方面，世嘉于加州环球市举办了一场名为“太空频道5号舞拉拉模仿大赛”（Space Channel 5 Ulala-a-like Contest）的活动。参赛者为9至21岁的年轻女性，比拼谁的装扮最神似舞拉拉。参赛者们不仅能见到由女星凯莉·普雷斯顿（Kelly Preston）扮演的舞拉拉，最终的冠军还赢得了500美元奖金与一台 Dreamcast 主机。

Space Channel 5 was first announced at the September 1999 Tokyo Game Show.[41] Nahoko portrayed the character Ulala（英语：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]

游戏的本地化工作由世嘉亲自操刀，团队表示在过程中投入了“极大的谨慎与时间”。其中一项关键任务，便是为舞拉拉寻找最合适的英语配音。在台词的本地化过程中，除了针对不同语言的语感进行细微调整外，各地区版本之间的差异极小。至于游戏音乐本身则几乎没有做任何更动。本作于2000年推向国际市场；北美地区于6月6日发行，欧洲地区则于10月8日发售。

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]

在退出家用主机硬件市场后，世嘉开始将《太空频道5号》系列转移至其他平台上，首波发行的便是 PlayStation 2（PS2）版本。PS2 版于 2002 年 3 月 15 日在欧洲发行，并于同年的 12 月 12 日在日本推出。在北美地区，该 PS2 移植版则与其续作同梱，交由 Agetec 于 11 月 18 日负责发行。在日本，这款 PS2 版本后来变得相当稀有，其二手转售价格也因此居高不下。

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（英语：Space Channel 5: Part 2） and published in the region by Agetec（英语：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，官方也为 Game Boy Advance（GBA）制作了一款名为《太空频道5号：舞拉拉的宇宙攻击》（Space Channel 5: Ulala's Cosmic Attack）的重制版。这是世嘉与 THQ 合作计划的一环，旨在共同开发与发行旗下数款系列作至该平台。此移植版由 Art Co., Ltd 与 THQ 共同开发。受限于 GBA 的硬件性能，游戏经过了重新打造，其配乐也改以 MIDI 音源来呈现，并由 Tsutomu Fuzawa 负责音乐制作。该作于 2003 年作为欧美地区独占游戏发行；北美版于 6 月 17 日发售，欧洲版则于 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]

反应

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Dreamcast版本

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《太空频道5号》在日本首发时销量低迷。在上市首周，本作售出了约4万1000套，库存消化率仅略高于44%。该作最终在日本累计售出超过9万3600套，跻身该地区最畅销的40款Dreamcast游戏之列。在2002年的一场会议中，开发团队宣布本作获得了成功，因为它成功吸引了广大的核心玩家与休闲玩家。然而，水口哲也在2005年的一次访谈中却表示，这款游戏在商业上并不成功。

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]

根据电子游戏评分汇总网站GameRankings的数据，本作的Dreamcast版本基于34篇评论获得了84%的平均分数。日本游戏杂志《Fami通》为本作打出了29分（满分40分）。《电脑与电子游戏》的编辑Pat Garratt给予本作满分评价，称其为一款独一无二的游戏，更是每位Dreamcast玩家的必玩之作。《电子游戏月刊》的三位评论员赞赏了本作的配乐与美术设计，但指出了游戏流程过短以及偶尔出现的影音不同步问题。《GamePro》将本作的玩法与风格与《动感小子》（PaRappa the Rapper）及《龙穴历险记》相提并论并给予好评，推荐其为一段简短而愉快的体验，但同时也提到游戏缺乏额外的附加内容。GameSpot的Jeff Gerstmann认为，《太空频道5号》凭借其非传统的美术风格与音乐便值得一试，但他主要的批评在于玩法过于重复，且缺乏可解锁的隐藏要素。

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（英语：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（英语：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 称本作是“名副其实的艺术品”，赞赏了游戏的世界观与配乐，并认为该作是世嘉制作实力的最佳证明；但他们也指出游戏的一大缺点在于玩法过于单调，且缺乏故事模式之外的附加功能。[71] IGN 对日本原版与欧美发行版皆给予了近乎满分的评价，称赞了游戏的呈现手法，但同时批评了流程过短与节拍判定时机的问题。[76][77] 《今日美国》（USA Today）表示这款游戏“充满了纯粹的乐趣，而《太空频道5号》以动人的乐曲完美兑现了这一点。”[83] 《娱乐周刊》（Entertainment Weekly）评论道：“各个年龄层的玩家无疑都会想帮助舞拉拉找回她的节奏——更别提谁不想入手一双她脚上那样的靴子了。”[82] 《Next Generation》的编辑 Greg Orlando 则形容本作“美丽却又太过短暂”。[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（英语：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]

《太空频道5号》在1999年的日本游戏大奖中入围了四项大奖。此外，本作也在2001年的互动艺术与科学学院（Academy of Interactive Arts & Sciences）颁奖典礼上，获得了“动画”与“主机创新”类别的提名。2002年，《太空频道5号》与世嘉 AM9 开发团队入围了英国电影和电视艺术学院奖（BAFTA）的“最佳音效”类别，但最终不敌《路易吉洋楼》（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（英语：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（英语：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 与 IGN 等多家游戏网站的周年回顾及 Dreamcast 最爱游戏名单中，《太空频道5号》凭借其游戏设计与美术风格，被公认为该主机上最独特的作品之一。在一篇探讨水口哲也与 United Game Artists 团队开发历程的文章中，1UP.com 将本作视为 Dreamcast 主机上的“一大亮点”，并形容其为一款“前所未见”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

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PlayStation 2 的移植版同样获得了正面的回响。根据评分汇总网站 GameRankings 的数据，北美发行版基于 7 篇评论获得了 79% 的分数；而 Metacritic 则基于 16 篇评论给出了 79 分（满分 100 分），整体评价为“普遍好评”。《电子游戏月刊》表示，音乐与独特风格的结合赋予了本作“一种极具感染力且令人上瘾的特质”。《GamePro》将该特别版合集誉为“绝对是 PS2 上继《VR战士4：进化版》之后最超值的选择”。《Game Informer》则称此次发行是“一个极佳的合集，其蕴含的价值与强烈风格胜过市面上多数的节奏游戏”。GameSpot 的 Brad Shoemaker 认为，这款合集以低廉的价格同时收录了原版与续作，是一次非常出色的发行。

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

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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]

后续

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续作

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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（英语：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（英语：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（英语：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]

其他媒体和客串

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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（英语：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（英语：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（英语：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（英语：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（英语：Samba de Amigo）,[130] and a playable unit in the crossover strategy game Project X Zone and its sequel（英语：Project X Zone 2）.[131][132]

诉讼

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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（英语：Deee-Lite） vocalist Kierin Magenta Kirby（英语：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（英语：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（英语：Samba de Amigo）, used in a section of the game where the Ulala character appears.[136]

注释

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

参考资料

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  1. ^ 『太空第5頻道2』發售日確認. 巴哈姆特电玩资讯站. 2001-11-30 [2026-02-23] （中文（台湾））. 
  2. ^ 2.0 2.1 《太空频道 5》系列开发者访谈：被茂吕星人支配着的舞者们. 篝火营地. 2020-03-11 [2026-02-23] （中文（中国大陆））. 
  3. ^ 3.0 3.1 Harris, Craig. Space Channel 5 – The Sega music game's going GBA, and we've got the first screens. IGN. 2003-01-23 [2019-09-28]. （原始内容存档于2005-02-13）. 
  4. ^ スペースチャンネル5. United Game Artists. [2019-09-22]. （原始内容存档于2002-08-09） （日语）. 
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