How much work does it take to compose these songs, and how many different drafts do you typically go through, before you get to these masterpieces? 你需要花費多少精力來編寫這些曲子，還有 在完成這些傑作之前，你會草擬出多少次不同的稿子呢?
Also, do the songs sometimes influence the direction of the story, versus the other way around? 此外，是否有時歌曲會影響故事的方向，還是說是反過來?
I think, depending on how we use the pieces in the game, when they happen during development, etc., they can certainly have an influence on the story, if not particular story moments. 我認為，取決於我們在遊戲中使用這些作品的方式，以及在開發過程中它們出現的時機等之類，它們當然可以對故事產生影響，即使不是特定的劇情時刻。 ◆ ◇ ◆
☆ Hi -- we just talked to Danny this week. We're still working with NoClip and recording stuff for Developing Hell. 嗨--我們這周才剛剛跟Danny談過。 我們依然與Noclip合作並且在拍攝“開發地獄”的內容。 ◆ ◇ ◆
I like trying to get the 3D characters as close to their 2D art as possible, and I feel like Nyx got pretty close~ 我喜歡嘗試讓3D角色能儘可能的接近他們的2D美術設定，而我覺得Nyx很接近目標了～
Also, she had a lot of really cool design elements that were fun to translate to 3D. 此外，她有很多帥氣的設計元素能夠在轉換成3D時帶來樂趣。 ◆ ◇ ◆
☆ Our plan for the 1.0 of Hades is to complete the four Legendary Aspects we have remaining (for the Rail, Bow, Shield and Fist). 我們對於Hades 1.0的計劃是補完其他四種武器的傳說型態（關於手砲、弓、盾以及拳套） The next Major Update for Hades will include at least one of these. 下一次的Hades主要更新最少會包含其中一個。 ◆ ◇ ◆
★ Hey! 嘿！ Is there any chance of seeing more turnaround models/art of the characters, for the purposes of drawing and cosplay reference? 有任何機會能看到更多角色們的迴轉模組/美術設定嗎，為了繪畫以及Cosplay的參考？
☆ Yes! I’m hoping to keep posting up 3D turnarounds for characters. 肯定有的！我正希望著可以繼續發表角色的3D迴轉設計。 It’s really fun to see everyone’s cosplays and fanart. 能看到大家的Cosplay跟同人創作真的很有趣。 ◆ ◇ ◆
★ In the distant future where this world's coronavirus plotline has concluded, can we hope for a Supergiant in Concert in Europe? 在遙遠的未來，這個世界上的冠狀病毒情節主線已經結束，我們可以希望在歐洲舉辦一個Supergiant的音樂會嗎?
☆ That would certainly be fun, but don’t have plans for anything like that at the moment... 那肯定會很棒，但是目前還沒有類似的計劃... ◆ ◇ ◆
★ 'question for greg: what are your strategies for writing large ensembles, like you do for hades and pyre? 向Greg的提問: 你在撰寫大型企劃的策略是甚麼，像是你為Hades或是Pyre所做的? especially keeping them both distinct and manageable.' 特別是讓它們既獨特又易於管理的方面。
☆ Greg : This sounds clinical, especially since I am talking about characters I dearly love, almost like my children (and I have children as a point of comparison)... 這聽起來很無情，尤其因為我是在談論我所深愛的角色，他們幾乎就像我的孩子一樣（並且我有孩子作為比較點）... but first and foremost it's very important to understand a character's purpose in the world. 但作為首要目標，去了解角色在這世界中的存在用意是非常重要了。
They need to have a specific function in the story, to bring out a dimension of the themes of the story, and show a unique side of the protagonist, and potentially other characters as well. 他們需要在故事中發揮特定的作用，帶出故事主題的面向，並展現主角的獨特一面，甚至是潛在的其他角色。 I maintain a spreadsheet that has everyone in it. 我建立了一個電子資料表，讓每個人都標示在其中。
It lists their narrative function, summarizes stuff like their age and appearance and outlook on life and backstory, and includes sample dialogue as well as a tone reference photo (usually of a celebrity of some sort). 它列出了他們的敘事功能，總結了資料，比方說他們的年齡、外貌、生活觀與背景故事，還包括對話示例作為語氣參考與照片（通常是某方面的知名人士）。
I describe the tonality of the character. 我描繪了角色的調性。
I like to think in terms of spectrums, the tonal range of the work. 我喜歡從頻譜的角度思考作品的音調範圍。 Hades ranges from silly to serious. Hades的範圍從滑稽、憨傻的跨到嚴肅而沉重。 Where, approximately, does a character sit on that spectrum? 角色在該頻譜上大約位於哪裡？ Do they occupy a unique place on it? 他們在這之上佔有獨特的位置嗎？
When it comes to writing the characters, it feels more archaeological, like I am their emissary. 當涉及到人物寫作時，那讓我感覺有著更多的考古學意義，就像是我是他們的使者。 What would they say and do in this situation? 在這種情況下，他們會說什麼，會做什麼？
Strangely it tends to feel like it isn't up to me, and the answers often come naturally if I deeply understand the character. 奇怪的是，這往往感覺不是由我來決定，如果我對角色有深刻的了解，答案通常就自然而然地產生了。
The writing itself is often challenging, requiring time and iteration. 寫作本身往往是具有挑戰性的，它需要時間和反覆修正。 But helping bring our characters to life is one of my favorite things in the world. 但是，幫助我們的角色擁有生命是我在世界上最喜歡的事情之一。 ◆ ◇ ◆
★ Which song in the history of Supergiant has been the most challenging to make, or been through the most revisions? 在Supergiant的歷史中，哪首歌製作難度最大，或修改次數最多？
☆Darren : I think maybe The Spine, from Transistor, was a tough one for me, in that it was the very first song I wrote for Transistor, so I was still struggling to find the sound of the game, and figure out what Red’s creative voice would be. 我認為也許Transistor的The Spine對我來說很艱難的一個例子，因為那是我為Transistor寫的第一首歌，我仍然在艱難奮鬥的尋找遊戲它的聲音，並弄清楚Red的創造性聲音會是什麼樣子的。
★ What's possibly the most complex 3D model or animation was done ever for Supergiant games, which game and why? 對於Supergiant遊戲，最複雜的3D模型或動畫可能是什麼？是哪一個遊戲以及為什麼？
☆ One of the original intentions behind the "Budget Cuts" Pact Options was to try and add 'mirror builds' without making that mandatory. “削減預算”契約選項背後的初衷之一是嘗試增加“鏡子型態”並且不是強制執行的選項。
So the idea for this set of upgrades was actually spurred by trying to address feedback on the Pact Option(which originally defaulted to on in Hell Mode). 因此，通過嘗試解決契約選項（最初在地獄模式下默認為on）的反饋來激發這項升級的想法。
Some of our favorite games offer compelling binary choices (Civilization Revolution's unit upgrade system was an inspiration for Bastion's version of this). 我們最喜歡的一些遊戲提供了令人信服的二進制選擇（《文明帝國》的單元升級系統是《Bastion》這款遊戲的靈感來源）。
With these, we want them to be primarily driven by player taste and expression. 有了這些，我們希望它們主要由玩家的好惡和表現來驅動。 We've been happy with the response so far. 到目前為止，我們對反響感到滿意。
While trying to address the Budget Cutsfeedback, the feedback on Darkness, and also add more player expressiveness, we found ourselves wanting to pursue the Mirror Talents system 在嘗試解決“預算削減”反饋，關於“黑暗水晶”的反饋以及增加更多玩家表現張力的同時，我們發現我們自己所想要追求的是“鏡像天賦”系統 ◆ ◇ ◆
下收翻譯
★代表Q
☆代表A
提問者跟回答者之後會儘量補充上去
★ Trowa_B:
Music question!
音樂提問!
Supergiant has knocked it out of the park with thematic vocal themes such as'Build That Wall', 'Mother, I'm Here", and 'Good Riddance'.
Supergiant 在主題性的人聲背景音樂上有著傑出的表現，像是 'Build That Wall'、'Mother, I'm Here"以及'Good Riddance'。
你需要花費多少精力來編寫這些曲子，還有 在完成這些傑作之前，你會草擬出多少次不同的稿子呢?
Also, do the songs sometimes influence the direction of the story, versus the other way around?
此外，是否有時歌曲會影響故事的方向，還是說是反過來?
Thanks!
感恩
Thank you!
謝謝你!
These songs sometimes take a while to compose, but it really depends on the particular piece.
這些歌曲有時需要花點時間完成，但這真的要看個別的情況。
′Good Riddance′ was relatively quick compared to some of the others.
′Good Riddance′與其它的作品相比，完成的速度快上許多。
我會說大概需要兩次起草來寫歌詞，但有時第一次的就很接近完稿了。
我認為，取決於我們在遊戲中使用這些作品的方式，以及在開發過程中它們出現的時機等之類，它們當然可以對故事產生影響，即使不是特定的劇情時刻。
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'Hi, Supergiant Games
Will one more part of Noclip's "Hades Developing Hell"?
嗨，Supergaint Games
會有新一期的Noclip“Hades開發地獄”影片嗎？
Maybe on Hades full release, would be wonderful get full picture of game development.'
當Hades完整釋出時，能看到開發過程全景將會非常棒。
Hi -- we just talked to Danny this week.
We're still working with NoClip and recording stuff for Developing Hell.
嗨--我們這周才剛剛跟Danny談過。
我們依然與Noclip合作並且在拍攝“開發地獄”的內容。
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Paige, who's been your favorite character to model so far and why?
Paige，從以前到現在，誰是你塑造的角色中最喜歡的？，為什麼呢？
☆Paige：
My favorite character to model so far has been Nyx!
我到目前塑造的角色中最喜愛的是Nyx!
我喜歡嘗試讓3D角色能儘可能的接近他們的2D美術設定，而我覺得Nyx很接近目標了～
Also, she had a lot of really cool design elements that were fun to translate to 3D.
此外，她有很多帥氣的設計元素能夠在轉換成3D時帶來樂趣。
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'are there any ideas for new weapons or hidden aspects for those?
有任何關於新武器或是武器的隱藏型態的想法嗎？
Like more than 1 per weapon'
像是每種武器超過一種以上？
Our plan for the 1.0 of Hades is to complete the four Legendary Aspects we have remaining (for the Rail, Bow, Shield and Fist).
我們對於Hades 1.0的計劃是補完其他四種武器的傳說型態（關於手砲、弓、盾以及拳套）
The next Major Update for Hades will include at least one of these.
下一次的Hades主要更新最少會包含其中一個。
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Hey!
嘿！
Is there any chance of seeing more turnaround models/art of the characters, for the purposes of drawing and cosplay reference?
有任何機會能看到更多角色們的迴轉模組/美術設定嗎，為了繪畫以及Cosplay的參考？
Yes! I’m hoping to keep posting up 3D turnarounds for characters.
肯定有的！我正希望著可以繼續發表角色的3D迴轉設計。
It’s really fun to see everyone’s cosplays and fanart.
能看到大家的Cosplay跟同人創作真的很有趣。
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In the distant future where this world's coronavirus plotline has concluded, can we hope for a Supergiant in Concert in Europe?
在遙遠的未來，這個世界上的冠狀病毒情節主線已經結束，我們可以希望在歐洲舉辦一個Supergiant的音樂會嗎?
☆
That would certainly be fun, but don’t have plans for anything like that at the moment...
那肯定會很棒，但是目前還沒有類似的計劃...
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'question for greg: what are your strategies for writing large ensembles, like you do for hades and pyre?
向Greg的提問: 你在撰寫大型企劃的策略是甚麼，像是你為Hades或是Pyre所做的?
especially keeping them both distinct and manageable.'
特別是讓它們既獨特又易於管理的方面。
This sounds clinical, especially since I am talking about characters I dearly love, almost like my children (and I have children as a point of comparison)...
這聽起來很無情，尤其因為我是在談論我所深愛的角色，他們幾乎就像我的孩子一樣（並且我有孩子作為比較點）...
but first and foremost it's very important to understand a character's purpose in the world.
但作為首要目標，去了解角色在這世界中的存在用意是非常重要了。
他們需要在故事中發揮特定的作用，帶出故事主題的面向，並展現主角的獨特一面，甚至是潛在的其他角色。
I maintain a spreadsheet that has everyone in it.
我建立了一個電子資料表，讓每個人都標示在其中。
它列出了他們的敘事功能，總結了資料，比方說他們的年齡、外貌、生活觀與背景故事，還包括對話示例作為語氣參考與照片（通常是某方面的知名人士）。
我描繪了角色的調性。
I like to think in terms of spectrums, the tonal range of the work.
我喜歡從頻譜的角度思考作品的音調範圍。
Hades ranges from silly to serious.
Hades的範圍從滑稽、憨傻的跨到嚴肅而沉重。
Where, approximately, does a character sit on that spectrum?
角色在該頻譜上大約位於哪裡？
Do they occupy a unique place on it?
他們在這之上佔有獨特的位置嗎？
當涉及到人物寫作時，那讓我感覺有著更多的考古學意義，就像是我是他們的使者。
What would they say and do in this situation?
在這種情況下，他們會說什麼，會做什麼？
奇怪的是，這往往感覺不是由我來決定，如果我對角色有深刻的了解，答案通常就自然而然地產生了。
寫作本身往往是具有挑戰性的，它需要時間和反覆修正。
But helping bring our characters to life is one of my favorite things in the world.
但是，幫助我們的角色擁有生命是我在世界上最喜歡的事情之一。
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Which song in the history of Supergiant has been the most challenging to make, or been through the most revisions?
在Supergiant的歷史中，哪首歌製作難度最大，或修改次數最多？
I think maybe The Spine, from Transistor, was a tough one for me, in that it was the very first song I wrote for Transistor, so I was still struggling to find the sound of the game, and figure out what Red’s creative voice would be.
我認為也許Transistor的The Spine對我來說很艱難的一個例子，因為那是我為Transistor寫的第一首歌，我仍然在艱難奮鬥的尋找遊戲它的聲音，並弄清楚Red的創造性聲音會是什麼樣子的。
在經歷最終的最終版本之前，經歷了幾次非常不同的反覆修改。
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What's possibly the most complex 3D model or animation was done ever for Supergiant games, which game and why?
對於Supergiant遊戲，最複雜的3D模型或動畫可能是什麼？是哪一個遊戲以及為什麼？
I’ve only worked on Hades, but Cerberus was definitely one of the tougher characters to model and rig.
我只從事過Hades的工作，但Cerberus絕對是建模和裝備方面更艱難的角色之一。
How does 3-headed dog anatomy work? It’s a mystery...
三頭犬的解剖學結構是如何運作的？ 這是一個謎團...
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'How did you come up with the amazing switch-a-roo type upgrades for the Mirror of Night?'
你是如何想到黑夜之鏡令人驚奇的開關式升級的？
One of the original intentions behind the "Budget Cuts" Pact Options was to try and add 'mirror builds' without making that mandatory.
“削減預算”契約選項背後的初衷之一是嘗試增加“鏡子型態”並且不是強制執行的選項。
因此，通過嘗試解決契約選項（最初在地獄模式下默認為on）的反饋來激發這項升級的想法。
我們嘗試了幾種可能性，最後得出結論，我們應該添加可供人們選擇的選項。
我們最喜歡的一些遊戲提供了令人信服的二進制選擇（《文明帝國》的單元升級系統是《Bastion》這款遊戲的靈感來源）。
一旦我們開始思考鏡子的“第二面向”，這些想法就自然而然地出現了。
有了這些，我們希望它們主要由玩家的好惡和表現來驅動。
We've been happy with the response so far.
到目前為止，我們對反響感到滿意。
這也是一個很好的例子，說明受社群反饋啟發的變化並非總是以預期的方式結束。
在嘗試解決“預算削減”反饋，關於“黑暗水晶”的反饋以及增加更多玩家表現張力的同時，我們發現我們自己所想要追求的是“鏡像天賦”系統
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