[IGN]巨作＋深度翻译《回顾：塞尔达传说：梅祖拉的假面》已修改！
回顾：塞尔达传说：梅祖拉的假面你们是如何理解这款世纪游戏的？ 毋庸置疑，在评论上和商业上，时之笛取得了的很大成功，但是这却造成了N64后期的游戏发售阵容变得疲软无力。任天堂费用了太多的社内核心资源，潜心在一款游戏上。但这就意味着需要取消其他的大型游戏的开发。虽然当时是有一个马里奥的续作在计划之中的，但是任天堂最终还是决定搁置马里奥，取而代之，彻底集中精力计划在N64上在公布一款新的赛尔达续作。
时之笛即将发售前，在一次日本杂志的采访中，塞尔达的开发者Shigeru Miyamoto评论到任天堂正在计划优化和减少以后作品的开发时间。 开发《时之笛》已经证明要比预期的，困难许多而且耗去了太多的NCL开发资源 –-Miyamoto 当时还是他这款非常喜爱的游戏系列的总设计师，当这款《塞尔达》完成后，他把开发团队转而移交给他两个可信任的学生：Eiji Aonuma 和 Yoshiaki Koizumi。这个想法非常容易理解：制作一款全新的塞尔达的精力，可以让许多开发团队像Core或者顽皮狗（Naughty Dog）制作上好几款古墓丽影或者蛊惑狼。而现在通过再次利用原来的引擎，camera，游戏系统，制作一款基于原系统塞尔达的新游戏只需要花去一年的时间而已。
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归功于这一系统，任天堂有着不断的渴望去革命和创造截然不同的游戏经历，但是之前我们所知的游戏-塞尔达传说 gaiden（外传）并没有发售在时之笛的一年后。虽然它非常像他的前作而且用了相同的camera系统，它玩起来也是非常的困难。当它在2000年的十月发售后，梅祖拉的假面---证实自从外传RPG塞尔达2：林克的冒险后，最大的塞尔达系列的外传。
<梅祖拉的假面>的情节确实是一个分支的路线，更像是林克的觉醒。对于很多玩家来说，赛尔达公主并没有在游戏中真正的出现过，而三角力量也又一次地明显的缺席。但是游戏中，主角却有着迥然不同的冒险经历，梅祖拉的假面是在固定的地方度过了所有的游戏流程。同样这个游戏故事就发生时之笛的冒险结束后。
在海格尔大陆，那里有一个不断被上演的传说。一个少年与一个皇室家庭的故事—…一个少年再与邪恶作战并且拯救了海格尔后，远离了那片使他成为传说的大陆。在完成这场战斗的使命后，他又一次的使用了时之笛的力量穿梭于时间，开始了一个新的旅程。这是一次神秘而又独自旅行，去寻找一个心爱的，无法用价值衡量的伙伴。这位知己在他完成了他的英雄使命和成为一段传奇以后离他而去。
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在这次冒险开始之初，我们看到了一个年轻（但是没有精灵的）的林克骑着Epona（估计他是设法说服在lon lon ranch 的友善的朋友送给他这匹年轻的马），这时出现一个奇怪的人攻击了林克，这个两个精灵陪伴着的，戴着面具的小鬼，偷去了林克的任何人都渴望得到的时之笛，然后立马骑着Epona逃走了，并且拖着我们英雄，一直到森林的深处。这个灵感是来源于经典故事，很相似艾丽丝的仙境和The Wizard of Oz。游戏很快就让我们的主角英雄，进入一个平行的世界，这里居住着熟悉而又陌生的面孔。这就是大家所熟知的Termina.
假面的世界在很多方面都像是海格尔的回忆往事，但是在游戏的光明世界和黑暗世界中，回到过去有着更加危险的前提：这个世界将会在三天后毁灭。如果林克还是原来的样子，这样事情并不算特别糟糕，，但是他的新敌人运用魔法让他变成了一个哭哭啼啼的Deku小孩。 没有了他的剑和盾，唯一的帮助来自他新找到精灵朋友Tatl。于是 开始与Deku状态的林克启程去探索这个陌生的新世界，目的于还原他本来的面貌，以及从命运的毁灭中拯救Termina。
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随着时间的流逝，月亮越来越逼近这个星球。当最后的倒计时开始（4秒），是时候开始担心了
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当然它就开始撞击你了：也许我应该当心更多了，接着它真的撞击你了！
梅祖拉的假面的特色是遗留了旧代的赛尔达的游戏玩法，包括所有的剑术玩法，回旋棒的使用和令人费解的迷题，而这些都是来源于时之笛的3D领域。虽然有和前作差不多的控制方式，但是仅在游戏开始30分钟你就会感觉到梅祖拉的假面是一款非常困难的游戏。首先，它能够让你产生一种危急的感觉，这是在以往的赛尔达作品中所没有表达出来的。就像时之笛，时间的流失是伴随着你探索整个游戏世界的——但是在Termina，每一分钟却都是真实的在计算。 如果你不省下一些时间在第一天，可能太晚完成下个任务。 因此在假面是没有一点时间来休息的。
当过过去了72个小时（游戏时间），这个世界就会因邪恶所毁灭，咧嘴笑着的月亮会撞击这个星球。这是 没有如果，没有但是。好了…当然我们林克有着一个能控制时间的工具：时之笛。但是林克不能跳过时间到未来，他只能随着时间往回退到他第一天的冒险，这意味着从那时候，你可以重新开始一个更有效的方法，安排那些相当多的而且又要必须完成的事情。如果当在这三天中，再没有任何路去探索，你如何才能停止世界走向死亡? 而且如果你所做的一切事情都已经变的没有意义了，你需要穿梭时间回到过去吗？
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梅祖拉的假面迫使你解决这种问题，并且真的是把时间的通道作为一个迷题的元素，就像以前的一些游戏。这是关于在什么时候，你该做什么，和你想从未来带回什么？工具和史前古物器又一次的打开了新的路和选择，但是这也并不是全部关乎于这些道具。非玩家控制的角色不会再只是徘徊在城镇或者呆在他们的房子给你基本的信息。——所有林克所遇见的人们好像有他们自己的生活。这一点不只是关于探索和发现隐藏道具的。这是关于原因和结果。
这款游戏的关键就是Clocktown，一个熙熙攘攘的城镇。它并不是巧合的坐落在地图的中心。它有着高大的钟楼和巨大的月亮悬挂在头顶，它是一个永久的提醒者—时间正在消逝。每一件事情都是围绕着这个时钟——城镇确实把游戏融合在一起，而且让每一个寻找衔接成一个连贯的冒险。Clocktown 商店不会有你所需要的物品，因为它不能在前一天得到递送。而唯一拥有道具的人却被抢劫了。你该做什么呢？当然是防止那个人被抢劫。
这些事情是一定固定的发生在前一晚的吗？ 其实当它发生时，你可以在那个地方，做你实际能做的。像如果你和角色谈话的话，能发现什么事情发生在过去，然后你旅行到过去，改变或者影响不同的故事情节路线。这是非常棒的。为了帮助你明白这一切的意思，林克可以熟悉追踪所有有意义的角色的notebook，它也会给你线索，比如当人物关联到重要事件的发生。只有解决了所有20个主要角色的问题，才是唯一的办法保证得到最好的结局。
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但是此外通过使用时之笛notebook并不是唯一的主要游戏深入方式。面具使用的观念通过早期的游戏已经得以介绍，林克不仅能获得新的能力而且使他自己改变成四种不同的状态。
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每一个新的人物仍然多少有些像林克，但是拥有着一系列新的能力。一些玩家可能会感觉这种变形损害了林克的潇洒形象，但是在关于 Zora林克（右图）在水中快速移动能力或者Goron（左图）的在土地滚动的能力是没有争议的，比起走路和骑马这是更加让人喜欢的探索方式。而且虽然 在游戏开端他的状态是作为惩罚强加给予的，这让Deku林克带有有点不好的名声，但是他的直升飞机的能力不是任何人可以小看的。
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在画面上，梅祖拉的假面整个看上去都像时之笛。虽然游戏甚至要求额外的4兆外加内村来运行，但是很明显，塞尔达的开发引擎，并不是因使用了内存比用fill-rate而得到画面上的突破。 梅祖拉的假面仍然还是运行在低像素（320 x240)低于每秒30帧。不过玩家会注意到同屏幕的人物数量的增长和更加复杂的显示世界。外加的内存主要是用来保存分支游戏的系统资料，和20个关键人物。这是一个事实，在很多方面，梅祖拉的假面在图像上是次于时之笛的，主要是因为一些纹理和颜色方案的选择。但是假面有着的众多的变化性和不同的区域，这些能如此有机的结合在一起，这确实印象深刻的。环绕音频和音效几乎和时之笛一样的出色，甚至黑暗和忧悒的音乐实际上还是更加出色。
让我们不要忘记梅祖拉的假面回复了如此优秀的游戏主题，关于宝贵的至关紧要的时间。 当你走出这个城市，还原林克的最初的模样才变得有意义，而值得怀念的拯救塞尔达主题再次开始邀请你去探险在一片蔓延的土地。由于加入了道尔贝降噪系统（Dolby-certified pro-logic surround sound separation[一种能从录音或声音信号中消除噪音的电子装置的商标名），你得到了一个这同时代，在声音设计方面非常先进的游戏
日版与美版
自从公布美版假面要比日版的晚些时间发售,任天堂就利用这段时间开始修改游戏中的错误和增加了一些大的改动:中断存档. 穆吉特拉假面游戏中最令人恼人的一个设定就是玩家不能及时的储存游戏进度，除非扭曲时间回到第一天，重新开始安排城镇的冒险.但对于美版, 任天堂虽然把可供存储的档案数减少到了2个,但是却增加可以在城堡的门口储存进度的设定. 这是最理想的地方,穆吉特拉地假面允许了玩家在任何地点，任何时间作出"中断存档"(可以保存迄今为止你经历的游戏环境的进度),
但是这种存储方式所需要的存储空间是一个缺点，因为对于当时游戏的静态存储器芯片来说是一个相当庞大的数字. 假如当时任天堂曾经计划过从新审视《梅祖拉的假面》或者任天堂计划以相似的结构制作一款新的游戏的话,那么一个更直接的存储系统是很必要的.
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尽管有很多游戏评论家称赞它得创新, 而然有部分玩家也对繁琐得存档系统和复杂的游戏结构表示不满. 许多玩家反馈表明，不少人还抱怨成年林克出场时间太少, 关于成人林克有一个争议的话题，大家所知道的在最后结局，成人林克的出场(居然被糟糕的翻译成了"粗暴的拥有神性的林克"Fierce Deity Link")真的就从一定程度上弥补了成人林克的缺席？ 唉, 我感觉被解封的林克最终形态令游戏的最终boss战过于简单,所以梅祖拉的假面的战斗成就感，没有达到几款前作的高度.但是简单的战斗对这个从另一个方面来看很出色——让动作苦手都能容易上手的——游戏。
穆吉特拉的假面在N64的生命圈里出现太晚是一个遗憾.这点是无庸置疑的.不过那些真正花时间去体验这个精品的人会发现这是一款有深度而且令人满意的游戏并且比其他"相同制作引擎"的游戏好的多,像古墓丽影(Tomb Raider)就只是简单的增加了几个新场景和新动作.
你需要再次回味这个游戏吗?
答案是肯定的. 就像时之笛,当你用宽频电视玩穆吉特拉的假面的低像素图像 时(320x240 加上反锯齿，毕竟不是一个好主意)你会感觉这个游戏看上去明显过时了,不过如果你想玩一款跟传统游戏模式完全不同的赛尔达的话, ,穆吉特拉的假面确实是一款伟大的游戏. 尽管有些诟病,比若说再引发事件时会出现一些逻辑失误,一些贴图错误,还丧失了一些能把游戏跟最终boss卡农连接到一起的机会, 如果你还没有玩过这款游戏，你肯定应该去尝试. 同样, 如果你已经通关很多年了，它也值得你在回味一下。
reference:翻译自IGN
Tuesday, August 08, 2006
http://blogs.ign.com/Hyrule-Times/2006/08/08/27491/
感谢原文作者的精彩文章， 以及感谢Kevin君和apple的大力支持！
这篇文章翻译难度中等，不同于新闻的简单明了。 此文更像有文学方面的色彩。原文作者运用了很多好词，和俚语给翻译带来了很多困难。 听取了网友的意见，做了一些改正，对几处不通的地方进行了口语话的修改。
本人目前在悉尼读书，主要是出于自己的个人爱好（赛尔达的fan）以及强化我英语能力，出此目的，我用了很多的精力翻译。 可惜我专业方面的缺乏，文中所遗留的英语主要是一些名字和地名以及 专门术语，也希望各位高手能给予一点帮助。
谢谢各位朋友的阅读，请希望给予翻译的一点支持，谢谢大家！
[ 本帖最后由 记事 于 2006-8-19 14:39 编辑 ] 原文参考
Retrospective: The Legend of Zelda: Majora's Mask
How do you follow up the game of the century? Ocarina of Time was a critical and commercial success, but it also made the rest of the N64's unreleased lineup look far less exciting. Nintendo had spent most of its in-house resources on one single game, which meant starting from scratch on any other major game developments. Though a Mario follow-up starring both Mario brothers was in the planning stages, Nintendo ultimately decided to table the game and instead focus squarely on a second Zelda game for N64.
In an interview with a Japanese magazine just before the release of Ocarina of Time, Zelda creator Shigeru Miyamoto commented that Nintendo was planning to shift gears and cut down on development time with future titles. Ocarina of Time had proven more difficult to develop than expected and drained much of NCL's development resources -- for the Zelda sequel, Miyamoto relinquished the reigns of his much-beloved series and handed the title over to two trusted disciples: Eiji Aonuma and Yoshiaki Koizumi. The idea was simple: make a new Zelda game in much the way that companies like Core or Naughty Dog could crank out multiple Tomb Raider or Crash Bandicoot games for the same console. By recycling the same game engine, camera and gameplay system, creating a new Zelda title should only take about a year, right?
Chalk it up to Nintendo's relentless desire to innovate and create new gameplay experiences, but the game originally known as Legend of Zelda: Gaiden (Sidestory) did not get released a year after Ocarina of Time. And though it looked a lot like its predecessor and used the same camera system, it played very differently as well. When it released in October 2000, Mujura no Kamen (Majora's Mask) would turn out to be the biggest departure from the Zelda series since the sidescrolling RPG gameplay of Zelda II: Link's Adventure.
The story of Majora's Mask is truly a side story, much like Link's Awakening. For starters, Zelda never "really" appears in the game and the Triforce is conspicuously absent once again. But unlike the Game Boy adventure, Majora's Mask got a firm place in the overall Zelda timeline. The game picks up right where Ocarina of Time left off:
In the land of Hyrule, there echoes a legend. A legend held dearly by the Royal Family that tells of a boy… A boy who, after battling evil and saving Hyrule, crept away from that land that had made him a legend. Done with the battles he once waged across time, he embarked on a journey. A secret and personally journey. A journey in search of a beloved and invaluable friend. A friend with whom he parted ways when he finally fulfilled his heroic destiny and took his place among legends.
The beginning of the adventure sees a young (but fairy-less) Link riding on Epona (he presumably managed to convince the good folks at Lon Lon Ranch to part with the young horse) when a strange creature accompanied by two fairies attacks him. The mask-wearing imp steals Link's coveted Ocarina and flees on Epona, dragging our hero along deep into the forest. Inspired by classic stories like Through the Looking Glass/Alice in Wonderland or The Wizard of Oz, Majora's Mask soon sends our hero into a parallel world populated by familiar and strange faces alike. Known as Termina, Majora's Mask's world is reminiscent of Hyrule in many ways, but the light world/dark world setup introduced by A Link to the Past is replaced with a much more threatening premise: the world ends after just three days. This wouldn't be so bad if Link was his own self, but his new adversary managed to turn him into a wimpy Deku child. Without his sword and shield, and only helped by his new-found fairy friend, Tatl, Deku Link sets out to explore this strange new world, turn back into his Hylian form, and save Termina from certain destruction.
As time elapses, the moon comes closer and closer to the planet. When the final countdown begins (4), it's time to start worrying.
Then it hits you: perhaps I should've hurried a bit more. And then it really hits you!
Majora's Mask features vintage Legend of Zelda gameplay, including all the swordplay, boomerang throwing and clever puzzles introduced into the 3D realm by Ocarina of Time. But as much as the control resembles the predecessor, 30 minutes into the game you realize that Majora's Mask is a very different experience. First, there is a sense of urgency that wasn't present in any of the previous Zelda games. Like in Ocarina of Time, time passes as you explore the overworld -- but each minute truly counts in Termina. If you don't save someone on the first day, it may be too late on the next. There are no time-outs in Majora's Mask. After 72 (game time) hours, the world ends because an evil, grinning moon crashes into the planet. No ifs and buts. Okay… There is of course Link's compact time machine: the Ocarina. But Link can't jump back and forth to any moment in time. He can only jump backwards to the first day of his adventure, which means pretty much everything he accomplished since then is effectively reset. How do you stop the world from ending when there is no way to explore everything in three days and if all you do becomes meaningless anyway the moment you travel back in time?
Majora's Mask masterfully tackles this question and really uses the passage of time as a puzzle element like few games before it. It's about when you do what, and what you bring back from the future. Tools and artifacts once again open up new ways and options, but it's not all about items, either. Non-player characters no longer just hang around town or stay in their houses giving you basic clues -- all the people Link bumps into seem to have a life of their own. It's not just about exploring and finding hidden items anymore. It's about cause and effect.
At the heart of the game is Clocktown, a bustling town that's not by accident located at the center of the map. With its large clocktower and the large moon hanging overhead, it serves as a constant reminder that time is running out. Everything revolves around the clock -- and it's this town that really brings the game together and turns different quests into one coherent adventure. The Clocktown store doesn't have the item you need because it didn't get delivered on the previous day. The person who had the item got robbed. What do you do? Prevent the person from getting robbed, of course. Something happened to the farm last night? Do what you can to actually be there when it happens. As you talk to characters, you find out what happened in the past, and then you travel to the past to alter or influence the different storylines. It's brilliant. To help you make sense of it all, Link can get his hands on a notebook that tracks all the meaningful characters and gives you clues as to when character-related key events take place. The interaction with the Terminians isn't even necessarily part of the overall main adventure, but solving all 20 main characters' problems is the only way to guarantee the best ending.
But the addition of the notebook isn't the only major upgrade over Ocarina of Time. Using the masks concept introduced in the previous game, Link is not only able to gain new abilities but also transform himself into four new forms:
Each new character still looks somewhat like Link, but comes with a set of new abilities. Some people may feel that the transformations take away from Link's character, but there's no arguing that zipping through the waters as Zora Link (right) or rolling around the landscape as a Goron (left) isn't a much more enjoyable way to explore than walking or riding on horseback. And though Deku Link got a bit of a bad rep as his form is imposed on Link as a punishment at the outset, his helicopter ability isn't anything to scoff at.
Graphically, Majora's Mask looks a whole lot like Ocarina of Time. Even though the game requires the 4MB Expansion Pak to run, it's obvious that the Zelda engine wasn't so much limited by RAM than by fill-rate. Majora's Mask still runs in low-res (320x240) at sub-30 frames per second, but returning players will notice an increase of on-screen characters and a more complex overworld. But it looks like the added RAM is mostly used to keep track of the branching game system and the 20 key characters. As a matter of fact, in many respects Majora's Mask is graphically inferior to Ocarina of Time, mostly because of some odd texture and color scheme choices. But there is just so much diversity and the different areas blend together so organically, one can't help but be impressed. The ambient audio and sound effects are just as good as in Ocarina of Time, but the dark and moody music is actually even better. And let's not forget that Majora's Mask brings back the beloved Overworld Theme at a crucial moment in time. Turning back into Link's original form becomes all the more meaningful when you step out of the city and the memorably Zelda theme kicks in and invites you to explore the sprawling landscapes. Add to that Dolby-certified Pro-Logic surround sound separation, and you've got a game that was very much ahead of its time in terms of sound design.
Japan versus US
Since the US version of Majora's Mask was released later than the Japanese one, Nintendo had time to fix some bugs and make on major addition: the interrupt save. One of the most annoying things about Majora's Mask was the inability to save your progress without warping back in time and resetting the dungeons. For the US version, Nintendo reduced the number of available save slots to two, but added the ability to save your progress at a dungeon entrance. Ideally, Majora's Mask would let you do an "interrupt save" anywhere and anytime (while keeping the changes you made to your environment so far), but the save space required for such a feature would have been too large for the game's S-RAM chip. If Nintendo ever plans to revisit Majora's Mask -- or if it plans to create a game with a similar structure -- a more intuitive save system is a must.
Although most critics lauded the game for its originality, a few gamers reacted unfavorably to the game's convoluted save system and complicated structure. Many returning players also complained about the lack of grown-up Link -- although one could argue that the inclusion of what's commonly known as Oni Link (horribly translated as "Fierce Deity Link") at least somewhat makes up for the omission. Alas, unlocking Link's final form makes the last boss battle way too easy, so the sense of accomplishment for beating Majora's Mask isn't as high as in previous Zelda games. But the easy battle detracts very little from what's otherwise a fantastic -- and commonly underrated -- game. Majora's Mask came out too late in the N64's lifecycle. There is no doubt about that. But anyone who actually invested the time into playing through this little gem will have found a deep and rewarding game that's a far cry from other "same engine" games like Tomb Raider that simply add new environments and a few new moves.
Should you go back and play it?
Yes. Like Ocarina of Time, Majora's Mask looks very dated when played back on large-screen TVs due to its low-res graphics (320x240 with anti-aliasing was not a good idea after all!), but if you want to play a Zelda game that breaks away from the traditional mold, there is no way around it: Majora's Mask is a truly great game. While there are some problems, such as logical lapses with the events, some technical glitches, and some missed opportunities when it comes to tying the story into the greater Zelda canon, you should definitely try it, if you haven't played it yet. It's also worth giving another look to if you finished it years ago.
[ 本帖最后由 记事 于 2006-8-17 08:22 编辑 ] 2楼好长的E文啊！！辛苦辛苦 很好，但个别的地方应该以通顺为主，我似乎看到了一些不通的地方。
文章总体是非常不错的，尤其是一般人很少接触到这部作品。 谢谢几位的支持， 我翻译这个，是因为， 假面确实是一款好游戏。 文章分析的很全面。
我的翻译是有些问题，这是我第一次做翻译，两种语言之间的转换比我想象的困难许多！
各位朋友 ，如果发现那些 有不通顺的地方，绝对欢迎指出，我会尽快修改的！ 已经通过的人报到，当时印象最深的就是崖壁迷宫中需要用到变身加分身演奏的那个迷题，当然同时有3个朋友在玩，但因为都不懂日文所以卡在哪谁也不知道怎么过，最后终于由我这个游戏狂人揭开了迷底，那个成就感强的没话说，再次巩固了自己在朋友中的游戏实力的地位。 我个人认为是超越时之笛的作品（或许是我时之笛爆机次数过多了），而这作我只爆了一次
如果Wii上有下载的话，我会再挑战一次 谢谢大家支持, 这个算是我的处女作把哈哈 ,只是帮着记事兄做了后面一部分翻译.后期整理都是他自己弄的,应该会有不足,以后回努力的 最新的修改 returning player 。 经过思考认为是， 玩家的反馈。已经做出修改。
请高手指点！ 辛苦了,虽然对ＺＥＬＤＡ不怎么了解,不过还是很期待NDS上的ＺＥＬＤＡ 时之笛为什莫没有翻译下去呢~ 翻译得很不错,希望以后能见到更多LZ大作! 我有种感觉：不是楼主的英文不好，而是楼主的汉语还欠火候。 。。。。呵呵 ，有些地方， 我承认的确是 ，语句不通。
应为毕竟这是两种完全不同的语言。 翻译过的朋友都知道。
很多时候确实是要，加入中文独有的词语。 这就要求很高文学水平。
我翻译的时候，主要还是直接翻译的。我的汉语确实不够火候。谢谢指点。 谢谢支持 已经作几处进行了修改。 这样的帖子应该加分呢~~
另外指出一个小错误，“Then it hits you: perhaps I should've hurried a bit more. And then it really hits you! ”红色部分翻错了~
提个意见，记事你翻得不确定的地方，可以用其他颜色标示（如灰色），那么一般读者就知道你哪里翻译得不确定，而有能力的会员，又能快速地有针对性地给你提出意见。 很支持楼主 同时发表下自己的观点
翻译是特别累不用说 尤其翻译后期 脑子里一团糨糊 眼睛看着句子就是没法进脑子 这样翻译成的中文实在非常晦涩 个人经验是可以先大概的翻译下 然后休息几个小时（最好是睡觉） 然后再抛下英文 单独对成文进行初期润色 旨在疏通语句 修改错别字 不通之处参考原文 完成初期润色后就可以进行后期润色了 这时理应对原文有了上当深刻的了解了 下面进行的是在把握文章脉络的情况下对全文进行梳理 例如改变句式以使上下通顺 通过对上下文的理解修改之前的不当之除 重复的词语尽量少用 这样翻译出了的文章即使文风非常淳朴 却也会很有味道了
感觉楼主在润色上确实有欠缺 错别字不少 还有语句不通顺的地方 有些地方过于拘泥于英语句式
例如＂在海格尔大陆，那里有一个不断被上演的传说。＂ 这一看就是直译过来的 我感觉改成这样才比较有中国特色＂在海格尔大陆有一个不断被上演的传说：＂ 很多地方不一定要用原文句式的 这点很重要
在下其实也是才疏学浅 说这些个人经验旨在抛砖引玉 加强交流 喜欢翻译英文的同志可以加我的ＱＱ３４２４７０７２或是ＭＳＮsfd_1987@hotmail.com 我们可以交个朋友
[ 本帖最后由 sfd1987 于 2006-8-21 23:21 编辑 ]
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