|發表於 Posted at: Sat Feb 23, 2008 3:37 am 文章主題 Post Subject: SWH網站與初代Vader官方道具服製作師Brian Muir訪談中譯
Interview with Brian Muir
In order to try and make this site as informative as possible, I've taken the opportunity of interviewing some of the original artisans, prop makers and technicians who worked on the original Trilogy in the 70's and 80's. Elsewhere you will see my interview with John Mollo, the Oscar-winning costumer Designer for Star Wars and Ghandi, but here are a couple of interviews with Brian Muir, the first by Sithlord just last year. Brian Muir was the artist who among other things sculpted the original Darth Vader back in 1976 from Ralph McQuarries concept art. In addition he worked on C-3PO with Liz Moore and the Stormtrooper Armour. Note that Brian unfortunately did not have any mementos from his work on ANH, so this is mainly text-only.
為了使本站更具情報性，我取得了與部分經典70與80年代星戰電影的原創藝術家、道具師和技師訪談的機會，在本站的其他頁面你可以看到我與John Mollo的訪談，星際大戰與甘地的奧斯卡服裝設計獎得主，但這裡有另一半和Brian Muir的訪談，首先由去年西斯羅德的採訪開始，Brian Muir是在1976年根據Ralph McQuarries的概念畫雕塑出世間第一個Darth Vader的藝術家，另外他還與Liz Moore共同製作了C-3PO與Stormtrooper的裝甲。但很不幸的Brian並沒有保留任何他在ANH電影工作的紀念品，所以這只是純文字記錄。
A Conversation with a Movie Sculptor: Brian Muir By SithLord (pseudonym)
與電影雕塑師的對談:Brian Muir 西斯羅德採訪(筆名)
Darth Vader has endured as a villainous focal point for the Star Wars saga from its inception. Based on George Lucas' concept of the dark villain, artist and designer Ralph McQuarrie gave us our first glimpse of Darth Vader in what are now famous sketches and paintings. Those images made it possible for George Lucas to successfully promote his ideas to 20th Century Fox in 1975. Production and principal photography was to take place at Elstree Studios in England in 1976. Production designer John Barry and costume designer John Mollo were responsible for creating a suit for Darth Vader based on the McQuarrie concept that could be worn by actor David Prowse. However, the helmet and armor for Vader would require an experienced fabrication team including a sculptor who could successfully translate the two dimensional images of Vader into a three dimensional, physical reality. As there was only a single accredited sculptor in England at the time, that task fell quite by chance to a young sculptor by the name of Brian Muir. Brian Muir sculpted the helmet and armor for Darth Vader, giving life in three dimensions to the villain conceptualized by Ralph McQuarrie. Mr. Muir's portfolio spans over 38 years and includes such films as The Prince and the Pauper, The Martian Chronicles, Star Wars: A New Hope, Alien (working alongside H. R. Giger), Superman the Movie, the Indiana Jones trilogy, no less than eight James Bond films, Clash of the Titans (working with stop-motion animation giant Ray Harryhausen), Harry Potter and the Prizoner of Azkaban, Harry Potter and the Order of the Phoenix, Star Wars: The Phantom Menace, Lost in Space, Alexander the Great, Cutthroat Island, both of the Laura Croft: Tomb Raider films, and the list goes on. I caught up with this pleasant and unassuming sculptor in his native England and found out more about his little known role in bringing Darth Vader to life.
Darth Vader在星戰傳奇的開端便以壞蛋的形象凝聚世人目光，基於喬治盧卡斯對黑暗惡徒的概念，藝術設計師Ralph McQuarrie給了我們當今聞名全球的Darth Vader最初形象的素描與畫作，這些圖像讓盧卡斯在1975年成功的向廿一世紀福斯電影公司展示他的構想，拍攝和定裝在1976年的英格蘭Elstree片廠展開，設計總監John Barry和服裝設計John Mollo負責根據 McQuarrie的概念畫製作整套可以供演員Dave Browse穿著的Darth Vader戲服。然而，Vader的頭盔與護甲需要一組有經驗的工作小組包含雕塑師才能成功的將平面的概念圖畫轉變成立體的三度空間實體，而那時在英格蘭只有一名受雇的雕塑師，因此這個工作就命運般的落到了弟兄做Brian Muir的年輕雕塑師身上。Brian Muir雕塑了Darth Vader的頭盔與護甲，將Ralph McQuarrie的惡徒概念造型帶入了活生生的三度立體空間。Muir先生的工作履歷包含了橫跨38年間的電影像是王子與乞丐、戰神聖經、星際大戰第四集、異形第一集(與H.R.Giger共事)、超人、印第安那瓊斯系列、不少於八部的詹姆斯龐德OO七電影，泰坦墜毀(與逐格拍攝動畫巨人Ray Harryhausen共事)、哈利波特與阿茲卡班的逃犯、哈利波特鳳凰會的密令、星際大戰威脅潛伏、LIS太空號、亞歷山大大帝、割喉島、兩部古墓奇兵蘿拉電影，還有後續長長的名單。我抓住機會與這位不愛出風頭且令人相處愉快的雕塑師在他的母國英格蘭進行訪談，並挖掘更多關於他讓Darth Vader注入生命的不為人知角色。
When were you first approached to work on Star Wars and what were you working on at the time?
Actually I had a break from the film industry, I had been working on churches, houses of parliament, and I had work unveiled by the Queen, the Queen Mother, that sort of thing. I had a phone call out of the blue by the old chap that I had been trained under, and he said that there was a film called "Star Wars" at Elstree Film Studios, and asked if I was interested in starting on it. Liz Moore [the sculptress who created C-3PO] was already working on it, and I really fancied going back into the film industry. So I said yes, I would start, and I began work on the production in January of 1976.
You are known for sculpting the helmet and armor for Darth Vader; what was the process in bringing Darth Vader to life in three dimensions?
眾所周知你雕塑了Darth vader的頭盔與護甲，將Darth Vader帶進活生生的三度空間的過程是如何?
I actually got a small sketch from John Mollo down in the wardrobe department and from that design, I sculpted Darth Vader in clay onto a plaster head of Dave Prowse. We had a certain amount of thickness we could use in clay, so that his appearance was as threatening as possible, while I still had to make sure that it would all fit afterwards. The mask was done separately, so the mask was then molded and cast. I then had a cast in plaster of the mask and on top of that I sculpted the helmet in clay. The helmet was then molded using the plaster head as a molding ground [base] knowing full well that it would then fit back onto the mask. Once the plasterers had molded the mask and helmet, they were actually cast out in fiberglass with color in the resin so they were black, then maybe they were painted as well.
我其實只從服裝部門的John Mollo那拿到一小張素描，根據那個設計我用黏土在Dave Browse石膏頭像上雕塑了Darth Vader面具。我們用了儘可能大量厚度的黏土來儘量讓他的出現帶來視覺壓迫感，但我同時還必須確保之後各部位的吻合。分開製作好的黏土面具另外翻模用石膏灌注出石膏的面具頭像，之後再用黏土在石膏面具頭像上雕塑出頭頂圓盔。石膏面具的頭部就等於模具的底部，這樣製作出的頭盔戴上實際完成的面具時就能完全吻合，石膏師在黏土完成的面具和頭盔取模後，就能以石膏模來生產玻璃纖維的成品，玻璃纖維內含染色的樹脂所以看起來會是黑的，不過他們之後可能還會再上漆。
How about the armor?
The shoulder armor and leg armor were actually sculpted on a plaster figure of Dave Prowse using sketches I had from John Mollo. Because whatever I sculpted in clay, the body becomes a molding ground so that the return of the clay when they mold it would always be cast out so that the armor would definitely fit back onto Dave Prowse perfectly. They would actually put foam into the back of the armor anyway.
肩甲與護脛是根據John Mollo的素描在Dave Browse的石膏像上雕塑的，因為無論我如何雕塑，石膏像都是模具的底部所以完成的護甲將會完美的吻合Dave Browse的身體，這樣他們可以任意的在護甲背面裝上海綿護墊，
How long did it take you to sculpt the Darth Vader helmet?
By helmet you mean mask and helmet? I think it was roughly from memory around about two weeks.
So it might have been one week on the mask and one week on the helmet?
No, it probably would have been a bit more on the mask, I was doing seven day weeks so it probably would have been about 9 days on the mask and probably about 4 on the helmet.
Were you rushed?
No, I wasn't terribly rushed. I know I wasn't long on it. I did the droid heads fairly quick, as they were about 3 or 4 days each. I spent quite a bit of time on stuff like cleaning up afterwards. The stormtroopers took quite a fair time, because they included legs, chest, back, arms, everything really so that was a fair bit of time, and then carving them in the plaster again. So it was all the processes at the time but the actual sculpting periods weren't that long. But I'm recognized in this country as being fairly quick anyway. We re-created two sets of the Planet of the Apes set, that originally took a year to produce in the USA, in about six days in polystyrene.
Was there anything apart from the John Mollo sketch that inspired you when you were sculpting the helmet of Darth Vader?
有沒有John Mollo的素描以外的東西提供你雕塑Darth Vader頭盔的靈感呢?
Really it was taking what I had there which wasn't much really and developing it, and in the developing of it into three dimensions, there were just things that happened, as strange as that may sound. From my past experience of sculpting on various things, form comes easily from my mind, as I see things very easily in three dimensions. So that using the basis which wasn't much really, just an outline drawing from John Mollo that wasn't very big, I took that and developed it into the form of Darth Vader.
說真的當時我只用了那裡所提供的未完成資料，在將其轉化為三度立體空間的過程中，有些事就是會自然出現，也許聽起來很奇怪，從我過去雕塑各種事物的經驗，形狀很容易從我心中冒出來，因為我很容易判斷物體實際在三度空間中的形狀，所以只需要依據John Mollo的那張不很大的手繪線條圖中提供的不甚具體的要素，我就能用來發展出Darth Vader的形狀。
Did you receive any feedback from George Lucas on your final design?
I can't remember getting any feedback from George Lucas, no. He must have been happy with it though because he did come up a couple of times, and seemed happy with what was going on. Whether he had a lot of other things to worry about, maybe Darth Vader wasn't at the top of his list at the time, but the [production] designer [John Barry] whose main responsibility was to get it looking right, was happy as well. It was him that suggested putting the tear ducts in [under Darth Vader's eyes] and one or two small alterations. I definitely remember John Barry suggesting that detail under the eyes in order to break up that area a little bit. I had very few changes to make on it, really. I seem to remember there was one or two little things said about the tusks, maybe I brought them out slightly further. What changes were made were made in the clay. Just slight things but nothing major. He was quite happy with the way the head went. On the suit of armor I think John Barry had more to say about that, whether a line needed moving over, or formed it slightly heavier. He seemed to have more involvement on the actual suit than the helmet. He seemed to be happy from the word go about how it was going. John Barry was the production designer and he had the overall say on everything design-wise, the sets, the suits, everything.
我想不起有任何來自喬治盧卡斯的回應，不，他一定是對此相當高興，因為他的確跑上來看了好幾次，而且對於進展似乎很滿意，無論他是否還有多少其他事要擔心，也許Darth Vader並非他的工作清單上的首要事務，但製作部門的總監John Barry也對進展的順利感到同樣滿意，就是他提出建議要在Vader眼睛下方的區域加上凹槽狀的淚管構造來提高該區域的造型密度，我對此幾乎沒有做任何更動，真的。我似乎記得他還說了一兩件小事關於三角嘴部左右下方的銀色金屬零件(俗稱獠牙)，可能我那時把獠牙裝的稍為太凸出，我們這些修正都是在黏土階段進行，都是些小事而非整體的造型大變動，他對於頭部的逐漸成形感到很高興。但身體部分的戲服我想 John Barry還有很多話想說，不管是造型線條需要移動，還是形狀要改得稍微更加沉重。和頭盔相比對戲服他似乎還有很多想改進的意見，從他問到進展如何的態度就知道他似乎很滿意。John Barry是製作設計部門的總監，他對所有工作都必須參與意見或提供修正建議，從場景佈置到戲服，所有東西。
Did you see the finished Darth Vader suit or were you able to go on set?
I did go on set and see it but one moves onto the next project. After Darth Vader I did the droids so I was very involved up in the art department. You get there in the morning and you sculpt away and the day goes by and, really, you don't tend to go down on set to watch filming. And if you were seen on set watching the filming they wanted to know what you were doing down there, [laughs] and would say "why aren't you up in the art department doing what you are being paid to do?"
Were you pleased with how the costume designers completed the "look" of Darth Vader?
I was, yes. I think the cloak was a master-stroke, and I think the whole suit came together very well. I was pleased with the overall look of it.
I understand you did some work on the sculpture of C-3PO, can you tell us a little bit about your contribution to the look of C-3PO?
C-3PO was as you well know sculpted by Liz Moore. Liz left the picture probably about four weeks after I started. What I did in plaster I carved the whole of the suit up to sharpen it up so all of the edges were clean. I made some alterations around the back of the front mask where the joint line is. I sculpted the hands on Tony Daniels. And that's about it, really. It was probably only a week's work, with just slight alterations. The main contribution was really sharpening it up so that it was absolutely pristine. The slight alterations didn't really come to that much, but they were done and I did them and as I say the only new contribution were the hands. It was very strange because normally they would mold Tony Daniel's hands and give me a cast of his hands, and I would sculpt it on them. But because it was a last minute thing, Tony actually came up to the workshop and I actually sculpted them on his hands. Whether he would remember that or not I don't know, but it happened. It's not something that happens every day to you is it, that someone sculpts something on your hands.
I remember you mentioning that the sharpening that you did was to make C-3PO's look more like metal?
Yes, to make it more like metal whereby actually all the corners were absolutely sharper. You can carve plaster with wood carving chisels and that is what I actually did. Wood carving chisels are extremely sharp and you can create very sharp edges with them by cutting it extremely cleanly.
Did you sculpt any other Star Wars characters? If so can you tell us a little bit about them?
Well, when I started off on the picture, the first thing I did was sculpted the body armor for all of the stormtroopers. That was everything on the stormtroopers apart from the helmet, really. It was the same process with that, but we didn't actually do it on an actor. We got an average-sized person and molded that and I sculpted everything on a figure. That was then molded and cast in plaster and carved up to be sharp. After sculpting Darth Vader I went on to do the two droid's heads based on sketches by John Mollo. [note: Protocol droid RA-7 seen in the sandcrawler and Death Star, and secretary droid CZ-1 seen in the sand crawler and at Mos Eisley when Luke sells his landspeeder]. I was told at the time they were just for the [trash] compactor.
嗯...當我做完那些圖片的工作，第一件事我作的是雕塑stormtrooper的裝甲原型，那包括了頭盔以外的所有部份。這也是同樣的製程，但我們並沒有實際的演員體型可供參考，我得到的是一個標準平均體格的人形複製品，我就在那上面進行了所有的作業，並同樣翻模後修飾邊緣。在結束Darth Vader的工作之後我負責雕塑兩個以John Mollo素描為造型的機器人頭部[採訪者註:禮儀機器人RA-7，出現在爪娃人的沙漠履帶車以及死星場景中，還有助理機器人CZ-1同樣出現在沙漠履帶車中以及Mos Eisley港Luke賣車的場景]。我聽說那時其他人正在進行垃圾壓縮間的場景製作。
How long did you work on the Star Wars production?
It worked out to be about 5 months in the end, 20 weeks. But I worked at one point 76 days without a day off. So I was putting in a lot of hours within that 5 months and that's probably why I turned so much work out in that period.
What was your impression of the production when you were working, and were you told very much about the plot of the film?
I personally was told nothing about the plot whatsoever, really, other than the very basics, that it was based on a fairy tale, on King Arthur. Really not too much at all; we were kept in the dark to a point.
Did you get a chance to meet Ralph McQuarrie, the conceptual artist that defined the original look of Darth Vader?
你有機會與Ralph McQuarrie碰面嗎?就是那位定義了原創Darth Vader外觀的概念藝術畫家。
I can't remember meeting him to be honest with you. He might have come in because he did the conceptual work on it but I can't remember meeting him.
Did you get to keep anything from the Star Wars production?
No not a single thing. The only thing I did get is the folio given to crew members autographed with thanks from George Lucas and Gary Kurtz.
一件也沒留，唯一我確實拿到的是對開的全體員工團體照，上面有George Lucas和Gary Kurtz的感謝詞。
When did you see the finished version of Star Wars in theaters?
I actually went to the crew showing which is normally about a week before the premiere showing of Star Wars, they call it a preview over here.
And what was your impression?
I thought it was fantastic. It was before its time, really. We had never seen anything, I mean CGI or computer work, like that before. Immediately when the large spaceship came over everyone just started clapping. This is the crew that worked on it, and we all thought it was going to be a load of nonsense, but then immediately we thought it was a fantastic film. At the end of the film itself it got a standing ovation which is unheard of in crew showings really because to a point you take it all for granted.
What was your reaction when you first saw Darth Vader appear on the screen?
你第一次在大銀幕上見到 Darth Vader有什麼反應?
My reaction was seeing my creation come to life on the screen. It was fantastic to see it.
When Darth Vader first uttered his words to Princess Leia, what did you think of the voice behind the mask you created? Was it the kind of voice you expected to hear?
Well to be quite honest with you I was expecting to hear Dave Prowse' voice. When I didn't, to be honest, I thought the voice [of James Earl Jones] was very good. I was expecting to hear Dave Prowse because we all knew that he was in the suit, but it obviously wasn't his voice from the get go. But it worked quite well.
嗯...老實說我本來以為會聽到Dave Browse的聲音，但我沒有，坦白講，我認為那個聲音真是太棒了[採訪者註:James Earl Jones的聲音]。我會認為該是Dave Browse的聲音是因為我們都知道面具後的人是他，但電影中聽到的聲音絕對不是，但真的相當適合。
What did you think of Darth Vader re-appearing in The Empire Strikes Back and Return of the Jedi?
你對Darth Vader再次現身於ESB與 ROTJ有什麼想法?
Seeing the character again in the films, I thought it was fine. It was something that I had created, and the more he was in the films, the better it was. It was seeing your creation carry on.
Did you contribute any work to any of the Star Wars prequel movies?
Just on the first one [The Phantom Menace], I did the landing gear for Queen Amidala's ship.
Were you pleased to see Darth Vader appear once again recently on the big screen in Revenge of the Sith?
Again, it's a character that's become so popular over the years. It gives you a thrill to know that you've actually created something that's become such a big thing throughout the world. A sculptor is someone who creates, so you like to know that people have appreciated the work you've done.
The Darth Vader helmet for Revenge of the Sith was modified a bit from your original sculpture. What did you think of the new look of the Darth Vader helmet?
Darth Vader的頭盔在ROTS中從你的原型做了某種程度的修正，你對新的Darth Vader頭盔外觀有什麼想法?
I thought it was pretty good actually, not that I've studied it too much. They've cleaned it up slightly from the original. It looked fine.
My four year old niece knew about Darth Vader before she even saw Star Wars, what do you think about the longevity of the appeal of Darth Vader to fans of all ages?
我四歲的姪女還沒看過星戰電影就認識Darth Vader，你對Darth Vader長期以來受到各年齡層影迷的擁戴有什麼想法?
I think it will stand in time for many years to come. We are 30 years on now, so I could see it going on and on. With the way it's going with the internet, conventions, the fan base just seems to be growing and growing. I do see it as an ongoing thing. Who can put how many years on something like that, but it is a growing trend and let's hope it carries on. Having done thousands of bits of work of varying degrees from trees and rocks to architectural work to creatures like the space jockey [Alien 1979] and big figures, really it was just another job. But with the fact that it will be remembered, I am quite proud having done it.
StarWarsHelmets.com Interview with
Brian Muir - 22nd May 2005
Brian Muir worked for Elstree Studios Art Department back in the seventies having joined them as an apprentice. His involvement with the Star Wars project was mainly on the Darth Vader character, but also to a lesser extent on C-3PO, working under the overall guidance of the principal costume designer for the movie, John Mollo. Elstree's Art Department was also responsible for some of the props, vehicles and sets used, with work commencing I THINK in January 1976.
Brian Muir在70年代回到Elstree片廠製作部門以學徒身分加入他們並在此工作。他對星戰電影的參與工作主要是在Darth Vader這個角色，但也有少許延伸在C-3PO，他在電影服裝設計部門總監John Mollo的指導下工作，Elstree美術部門同時也負責部分道具、交通工具與場景佈置，我想工作是在1976年一月展開。
1) Brian sculpted the Darth Vader helmet and armor working to designs provided by John Mollo (and therefore one would assume Ralph McQuarrie). The photo below from John Mollo's art books shows the RMcQuarrie design, augmented by some additional highlights from Mollo (including an unused wing section)
1)Brian根據John Mollo(然而很多人會誤以為是Ralph McQuarrie)提供的設計進行Darth Vader的頭盔與護甲雕塑作業。下面的圖片是出自John Mollo的素描本，展現出RMcQuarrie的設計，增加了一些來自Mollo的額外輪廓(包括一組未採用的翼片)
2)In order that the Vader helmet would fit the actor wearing it, they took a life cast off Dave Prowse and Brian sculpted the helmet and hard costume pieces around his physical dimensions (which BTW thanks to Hal9000 were; Height: 6'7", Weight: 273lbs, Chest: 50", Waist: 38", Hips: 45", Neck: 18.5", Biceps: 18")
3) Using Clay, Brian then sculpted around this "head cast" and produced the Darth Vader face we all know and love. He sculpted the dome as a separate piece and also the upper chest armour, leg shins etc.
4) Moulds were made of the clay face, dome and armour allowing the Fiberglass cast helmets to be produced. This work was completed by the Elstree Plasterer’s and Brian agreed with John Mollo's figures, believing they produced “two or three” finished helmets, adding “they worked more on one helmet so it was really comfortable for Dave to wear” suggesting that the majority of filming was done with just a single helmet.
4)模具是取自粘土製的臉、頭頂圓盔和護甲來成形，以便生產玻璃纖維的成品。這個工作是由Elstree片廠的石膏師完成，Brian同意john Mollo的見解，相信他們要生產兩到三頂完成品的頭盔，接受了"他們做了不只一頂的頭盔所以Dave Browse戴起來會相當舒適"的建議，但主要的影片拍攝卻只用到了一頂頭盔。
5) Though not deeply involved in the fiberglass work, he thought the moulds would have been made from a “type of silicone with a fiberglass case to keep it rigid”. The casts themselves were made of Fiberglass although interestingly he thought they would have used a Black gelcoat “which would have meant that they wouldn’t have had to paint the helmet but would have buffed it up instead”. This could possibly explain the unique finish of the ANH helmet dome since it may not have actually been painted.
6) He wasn’t aware of the 2-tone paint scheme (or rather the grey highlighting) – although this is not anything unusual given the stage in the design process he worked. Ed - it further suggests in my mind that the grey/black colour scheme only came about after the helmet was used on-set, in the same way as the TIE Helmets which left Shepperton Design Studios all-black, yet were painted with the "Widows Tears" highlights on-screen.
7) The original clay sculpt was – wait for it – thrown in the bin, as per normal practice. He doesn’t know what happened to the moulds and assumed that Lucas took them back with him to the States.
8) Brian also worked on the C-3PO costume. The original sculpt was done by Liz Moore, again out of clay. Brian was required to take Liz’s initial sculpt and split it up into sections and then add the detailing. He added that there was a lot of “engineering” work required on it such that it could be worn as well as the additional detailing”. He said that some of this was done in association with another 3rd party company, possibly Norank.
9) Brian also worked on The Phantom Menace filmed at Leavesdon Studios in the late nineties fabricating the large spacecraft leg (Amidala’s Naboo Cruiser?). He had bid to produce a number of vehicles/sets/props etc. but was only successful on the Ship leg.
I'm looking to hopefully meet up with Brian again as was clearly a major influence on probably THE most famous screen villain. Keep checking back!
As an interesting side issue, its recently emerged that one of the early Prototype Vader designs by Ralph McQuarrie was later used as the basis of the CZ-3 Jawa Sandcrawler Droid (also seen in Mos Eisley). As with the Vader, this was sculpted by Brian Muir and was created like the Death Star Droid to merely fulfil a background role in the movie.
基於興趣，最近想到Ralph McQuarrie的其中一種早期的Vader原始造型後來被用在機器人CZ-3身上（出現於爪娃人沙漠履帶車與Mos Eisley港）。與Vader相同，他是由BrianMuir所雕塑且被用於像死星機器人那樣用來當作填充畫面背景的角色。
Below a better shot of the CZ-3 Droid.
Looking at the chest section it could also be that this was also part of the original Vader concept. The rest of the costume looks very similar to C-3PO i.e. a collaboration between Liz Moore and Brian Muir.
觀察軀幹的部位這可能也是Vader原始概念造型的一部份。剩下其他部位的戲服看起來很像是C-3PO，一個Liz Moore與Brian Muir的混血產物
and below as seen in Mos Eisley (he also cropped up in RotJ in Jabba's Palace).
aloneliu 在 Thu Oct 20, 2011 7:14 am 作了第 6 次修改
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