[Jonathan Blow - Gcores Talk - 2018/05/06] Thanks everybody for coming out. It's great to see so many people here, and I'd like to thank Gcores for inviting me as well. 谢谢大家来到这里。 很高兴有这么多观众，以及我要感谢来自机核的邀请。 My name is Jonathan Blow. I'm a game designer from the USA, and the most recent game that I designed, was this game The Witness, which came out in 2016. 我是 Jonathan Blow。 我是一位美国游戏设计师，我最近设计的游戏，是 2016 年推出的 The Witness。 This game is of course still on sale in 2018 in places like Steam. And we're noticing some very interesting things. For example, we have a lot of players from China who're interested in our game. 当然在 2018 年你仍然可以在 Steam 等地方购买这款游戏。 通过观察游戏的销售数据，我们可以注意到一些非常有趣的事情。 例如，我们有很多对我们的游戏感兴趣的中国玩家。 So this graph here, is a graph of the percentage of our players that come from each country. 所以这张图，是我们的玩家在每个国家的分布。 [chart here] And USA is first, 28%. But China is second, with 15%. That's like more than half the number of people from USA, which is very large and very interesting. 美国玩家的人数排名第一，有 28%。 但紧接着中国玩家人数第二，占 15%。 这相当于美国玩家人数的一半以上，这是非常大的玩家群体，同时也非常值得关注。 Also very interesting is the trend though. Because this game came out in 2016, and we can compare numbers. 另外有一个有趣的趋势。 由于这款游戏在 2016 年推出，我们可以比较一下每年的游戏数据。 And you see here, that back then, China was a much smaller percentage. It was just 4%, it was the 7th country. 你可以看到，那最开始的时候，中国玩家的比例要小得多。 只有 4%，是排名第七的国家。 So in just two years, we've gone from this to this, and that's quite extreme. 所以，在短短两年内，我们已经走到了现在这一步，这个变化相当大的。 So The Witness is not the only game seeing this pattern. Many games in the west, both small independent games, like mine, and bigger AAA games, are seeing the same kind of pattern. 这种玩家群体的变化并不只是出现在 The Witness 上。 许多西方的游戏，包括小型独立游戏，和更大的 AAA 游戏，都能看出相同的模式。 But something strange is it's a little bit different in China here. 但在中国本土，情况有点不同。 Game companies in China are certainly also benefiting from this growth. But it's mostly the big companies that are succeeding, right? The Army-size companies. Smaller independent companies have not been too successful yet. 中国的游戏公司也会从玩家数量的增长中受益。 但是受益最大的还是那些成功的大公司，对吧？ 像军队一样规模的大公司。 目前小型的独立游戏公司还没有比较好的办法的利用这一点。 You might say that this is just the way China is, and it's not going to change. But I think it's likely to change. Because it reminds me of a situation that we had in the West about 10 years ago. 你可能会说这就是中国现状，不会改变。 但我认为这很可能会改变。 因为这让我想起 10 年前，我们西方游戏界经历了相似的情况。 Back then we made independent games. In fact, there were people making independent games as you would consider them today, even in the mid-to-late 1990s. 10 年前我们就已经在做独立游戏。 事实上，即使早在 20 世纪 90 年代中后期，有开发者就已经正在制作像今天一样的独立游戏了。 But not many more people were paying attention to them. For sure, main stream gamers are not playing them. 但没有太多的人关注他们。 显然，主流的游戏玩家并不玩这些独立游戏。 They were just made for small audiences. And then, around 2008 the market conditions changed. And indie games suddenly became popular, and there was a huge explosion. 这些独立游戏只是做给特定的小众玩家群体。 然后，在 2008 年左右，游戏市场有了变化。 独立游戏突然变得流行，并有了爆发性的增长。 [game screenshot here] So starting in 2008, and then though 2009, 2010, and 2011. There was this feedback loop of more and more games that were getting better and better, and getting larger and larger audiences at the same time. 所以从 2008 年开始，经过 2009 年，2010 年和 2011 年。 出现了一个正向循环：越来越多的游戏做的越来越好，并获得越来越多的观众。 Now to make this feedback loop, there were two sides happening. 两方面因素的共同存在，维持了这个正向循环。 [loud notice interrupt] On the gamer side. Starting in 2008, for the first time, when a large number of gamers saw these examples of smaller games, that with incredible gameplay experiences, that they would really want to play. 首先是玩家的方面。 在 2008 年，大量玩家第一次注意到小型的独立游戏的出色的游戏体验， 这使得他们真的想要去尝试。 [loud notice interrupt #2] Starting in 2008, gamers started to see the smaller games that are good enough. That they could be interested in them legitimately, right? And not just playing them for weird reasons. But like they're real games that they would enjoy. 从 2008 年开始，玩家开始注意到一些高质量的小型独立游戏。 这些游戏有着和主流游戏相似的吸引力，玩家当然感兴趣，对吗？ 而不是因为各种奇怪的理由。 这让独立游戏的玩家可以和玩其他主流游戏一样，享受独立游戏。 And then of course in the subsequent years, as they saw more games, there was more and more evidence of this, and more people became interested in those products just built. 当然，在接下来几年，随着玩家看到的优质独立游戏增多，会有越来越多玩家对独立游戏产生兴趣。 On the developer side, too. This waves of successful games in 2008 showed other developers that, if they spent more time and money making game better, that they could succeed and make that money back. 在开发者方面也是如此。 2008 年的独立游戏浪潮成功的告诉了其他开发者，如果他们更多的投入开发让游戏变得更好，他们是能够成功的收回成本的。 And also as these games got better and better, developers felt challenged to do better than other Developers. 同时随着游戏的质量提升，开发人员也会觉得要比其他开发人员做得更好。 Now I said a while ago that, the market conditions changed in 2008. So I'll just specify what those conditions were. 下面我会具体解释在之前说的 2008 年市场状况发生的变化是什么。 [slide with lists] First of all, we had a big audience, as console and PC games have been getting more and more popular for years. 首先，我们有很大受众，因为有主机游戏和电脑游戏流行多年的积累。 Secondly, all those people had access to fast internet access, so they were able to download games. Or as in previous years, if you wanted to download a game, you had to go to a store. And for developer, getting a game into a store is very hard and very expensive. 其次，所有这些用户都可以访问互联网，能够快速的下载游戏。 而在之前，如果你想获得游戏，你必须去实体店铺。 而对于开发人员来发行游戏到商店是非常困难和昂贵的。 Also at the same time, the supply of AAA games had been decreasing. Because as AAA games got more expensive to make, the big publishers consolidated their funds into making fewer games with higher budgets. 同时，AAA 游戏的供应也在减少。 由于 AAA 游戏的制作成本越来越高，大型出版商会集中资金制作更少的预算更高的游戏。 But this meant that gamers were not getting as many different games as they actually wanted to play. 这意味着玩家无法得到足够数量的他们想玩的游戏。 And they weren't getting much variety as they wanted. Because Publishers were killing off older genres that were less successful. 同时他们也得不到足够多的他们想玩的类别。 因为出版商会取消市场表现不好的游戏类别。 So this left a hole in the market that we the new smaller companies could occupy. 因此游戏市场空缺了一块，我们作为小型的游戏公司可以去填补。 But we couldn't get there automatically. In order to get that, we had to do this fourth item, which is increase the quality, and the sophistication of the games that we were making. So that Gamers would recognize them as things that they wanted to play. 但是这对我们来说也不容易。 为了得到这部分市场，我们必须做到第四个条件，即提高我们制作的游戏质量和精细度。 这样游戏玩家才会将我们的游戏列入他们的愿望单。 So in China, I would bet the conditions are about right for a similar situation to occur. In China there's a bigger audience than we had in the west, and certainly many of those people have good internet. 所以我敢打赌，在中国目前的市场环境下，类似的情况也将发生。 在中国有比我们西方更多的观众，而且其中的大部分也有不错的互联网连接。 And also the AAA games situation is the same, so the main thing that's different is, that the quality in the sophistication of independent games hasn't yet jump forward to occupy that niche. 同时中国可以接触到的 AAA 游戏也变得更加保守，所以剩下的主要问题是，还没有高质量的独立游戏产生并占据这部分市场。 So some people might be thinking, why does any of this matter? I don't care that much about independent games, I just care about big AAA games, where I search an open world, for 200 hours. 当然有些人到现在还是会想，这与我何干？ 我不关心独立游戏，我关注的只有 AAA 级的大型游戏，我只想在这些游戏的开放世界里度过我的 200 小时。 And the answer is because, even if you just care about big games, the truth is, that big games are not super good at being creative, and giving you new ideas and experiences. 即使你只在乎大型游戏，独立游戏仍值得关注，事实上大型游戏并不擅长创新，或是给你新的游戏思路和体验。 Because when a game cost a hundred million dollars to make, usually that money comes from a large institution. And that institution's #1 job is to make sure they don't lose that hundred million dollars. 因为在开发一款耗资上亿美元的游戏是，这些投资通常来自背后的大型投资商。 这些投资商的首要目的就是确保他们不会损失这上亿美元的投入。 And so they have to be very conservative in their decision-making, and do things that they think are probably going to be successful. 所以大型游戏的开发商在做决策时只能尽可能的保守，只做他们认为有把握成功的游戏内容。 And success, or probably successful for a game means, doing something that somebody else has already proved will work, by making game that made a lot of money. And then we do that, by change it a little bit, like with better graphics, or something. 在这种为了提高销售成功几率的压力下，厂商会选择做前人已经证明会有效促进销量的内容和玩法。 然后对这些内容稍加改动，比如提供更好的画面等等。 On the other hand, if a game has a small enough budget, that the money can come from one person or a few people. Those people could easily be motivated by something other than just making money. 另一方面，如果一个游戏的预算足够小，小到一个人或几个人就足以承担时。 这些开发者会比较容易去追求盈利以外的目标。 For example, they could be excited about a new game idea, or a new piece of style. And that gives these games more room to experiment and try new things. 例如，他们可能想尝试新的游戏机制，或是新的风格。 这反倒使得这些小型的游戏有更多的创新空间。 And so together, this makes a system. It's like a conveyor belt, where the new ideas start out in smaller games, they succeed or fail. And then when they succeed, they get picked up, and exploited by the bigger games. 各方面的影响合在一起，构成了一个系统。 它就像一条传送带，新想法从小型游戏中产生，这些游戏或成功，或失败。 当游戏成功时，其中的闪光点会被挑出，被更大型的游戏所采用。 So if you really want bigger games to be good, you care about smaller games being good. 所以如果你真的希望大型的游戏可以变得更丰富好玩，你应该关注小型游戏的发展。 So for examples of how that works, I can show a couple of games here. 我可以举两个游戏的例子来说明这个系统。 [DOTA snapshot] This game, DOTA, it was originally a mod for Warcraft3, and it became very popular. And it spawned this entire field of similar games, some of which were tremendously successful. DOTA 这个游戏最初是 魔兽争霸3 的一个 MOD，它非常受欢迎。 它催生了一个游戏类型，其中一些非常成功。 And the original ideas behind this game, PUBG, were originally tried in an Arma3 mod. And after several iterations now, 2018 will be the year of more PUBG clones than you know what to do with. 而 PUBG 这款游戏背后的核心玩法，最初是在 Arma3 的 MOD 里实现的。 在经历多次迭代直到现在，我相信 2018 年的 PUBG 克隆品会多到数不过来。 And these two examples, they are mods, but it works the same way for full games. 这两个例子举得虽然都是游戏 MOD，但是道理是一样的。 Now when it comes to AAA games, and here I mean games for gamers, and ignoring mobile games, for now. 现在我们来看看 AAA 游戏，我指的是那些做给游戏玩家的正经游戏，暂时先忽略手游。 [crowd cheers] It's true, that wasn't a joke, that's just how it is. 我是认真的，不开玩笑，手游确实就这样。 So most of the successful games are made in a small number of places right now: USA, Canada, Europe, and Japan. 现在成功的游戏主要只在少数几个地区制作：美国，加拿大，欧洲和日本。 So there's something that I'm going to call the Voice of Games. Which is something like the general attitude and aesthetic and ideas, that come through from that collection of games, as a whole. 在这里我想提出一个概念：游戏的话语权。 这是对于各类游戏的一个整体评价和审美标准。 And that Voice is created by the ideas of the people living in these countries, that make the successful games. So the Voice is a reflection of the culture, of those country specifically. 游戏的话语权产生于这些地区的成功的游戏制作者。 同时也只会反映这几个特定地区的文化特点和需求。 And so usually, for Chinese ideas, or Chinese aesthetics to get into one of these games. It has to be an echo, like it's really how someone in Europe thinks what a Chinese aesthetics is. It's not really the real thing and you probably recognize it as distorted. 在这样的话语环境下，这些游戏里如果想要加入和中国相关的文化和内容，结果通常是这些地区的人对中国的印象。 对于中国本土的人来说，这些片面的有点变了味的中国文化并不是真正的中国文化。 And so, if you have ideas of what are interesting, that are missing from this voice. The main way for them to get there is through this conveyor belts: starting in the small games, and then succeeding or failing, and then being picked up, when they succeed by the big games. 如果你希望把中国文化的特色带到这些游戏里面，提升中国的游戏话语权，你要做的事情和之前说传送带系统的一样： 把这些元素放进小型游戏里，在市场里成功或失败，直到被这些大型游戏发现并效仿。 And all of that is important. Because video games are the future of human thought. And if you're going to design the future of human thought, it's a good idea to be careful. 这一切都很重要。 因为电子游戏里有人类思考方式的未来。 如果你的游戏设计会影响人类思想的未来，小心点是个好主意。 [crowd applause] When we're designing that thing, make sure to include all the best ideas, from all cultures, about how it should work. 所以在我们进行游戏设计时，我们有义务确保我们的设计应该尽量整合来自所有文化的所有最佳创意。 Now some people might think that, saying that games are the future of human thought is a big statement. So I'll explain why that is. 现在有些人可能会认为，说游戏是人类思想的未来是不是太言过其实了。 所以我来解释一下为什么这一点也不夸张。 Back in the old days, when we wanted to learn something complicated, like how to build a fire. We could do that by watching somebody, who was good at performing that action, and by watching many times, we could learn it. 在远古时期，当我们想要学习一些稍复杂的事情时，以生火为例。 我们可以通过多次观看和模仿擅长生火的人的动作来学会。 This ability to mimic and use tools is something that not many animals had, and it made human beings very powerful in nature. 这种模仿和使用工具的能力并不是很多动物共有的，它使人类在自然界中非常强大。 But there is a limitation to this kind of learning, which is, that in order to watch someone to build a fire, they have to have the wood, and the kindling, and it has to be dry. Because he can't tell you about how to build a fire. Because we haven't invented language yet. 但是这种学习方式存在局限性，为了观看生火的过程，必须有木材，有树枝，必须足够干燥。 因为我们还没有发明语言，会生火的人不能直接告诉你如何操做。 But then eventually we do invent language, and that is a great technological advancement. 但最终我们发明了语言，这是一个伟大的技术进步。 By telling stories, we can talk about things that are far away, or that will happen in future, or that already happened in the past, or things that are completely imaginary. 通过讲述故事，我们可以谈论远处发生的事情，或将来会发生的事情，或者过去已经发生的事情，或者是完全想象的东西。 And then late on, we made another advancement in technology, which is writing. 在这之后，我们又取得了在技术上的进步，这便是文字记录。 With writing, the guy trying to give you the information doesn't have to be there. In fact, he could be dead. And the information that's being provided will stay the same for a long time. it doesn't get distorted by constant retelling. 有了文字，为你提供信息的人不一定要在你身边。 他也可能已经去世了。 文字描述的信息可以长久保存而不会因为不断的转述而变样。 So at first, we used these marks, to start talking about things where we had to be very specific, like laws. 我们最初使用文字记录那些极其具体的事情，比如法律。 And then eventually we developed a much more complicated series of marks, that lets us talk about more complex and more subtle things about the world. 后来随着文字信息量的不断扩充，我们可以用文字描述世界上更复杂，更微妙的事情。 But we also developed a rich tradition of literature at the same time. Because not everything is just work, sometimes there's enjoyment, too. 同时我们也有了丰富的文学作品。因为不是一切都只是工作，有时候也需要乐趣。 And then eventually, we developed many other technologies, one of which is film. And in film, you have traditional story telling techniques available, but also new things. 后来我们又发展得到了各种科技，其中之一是电影。 在电影中，除了传统的故事讲述技巧外，我们又有了新的表达方式。 For example, you have the position of the camera, and the way light falls on the scene, and those things help you to communicate, things that can be very subtle and non-linguistic. So this technology gives us access to a kind of communication, that we didn't have before. 例如，镜头的角度，光线的处理，这些都可以表现那些非常微妙和非语言的想法。 所以电影使我们体验到了一种以前没有过的沟通渠道。 And now, one of the newest technologies is video games. And we all know, that the difference between video games and those older things is that games are interactive. 而现在，电子游戏是最新的技术之一。 我们都知道，游戏和传统的信息表现的最大区别在于游戏是可互动的。 And for the kind of games were talking about today, you're interacting with a computer, that can do many calculations per second. And with those calculations, that computer is creating a system of some kind. 今天我们所说的游戏，指的是我们与这些高速运行的计算机的交互。通过这些复杂的计算，计算机给我们创造了某种系统。 So for example, if you're trying to win at city building game. You might think: I want to build a sports stadium in a certain place in the city. But before you do that, you have to think about a lot of things: how will this affect traffic in the neighborhood near the stadium? how will that affect traffic going to the downtown retail District, which I need to stay profitable to give people jobs, also so that I can tax, so that I can grow my city. 假设我们在玩一个关于城市建设的游戏。 你可能会想：我应该在城市的某个地方建一个体育馆。 但在你这样做之前，你又会考虑很多事情： 场馆附近的交通会受到什么影响？ 市中心的交通会受到什么影响？ 你需要市中心的建筑保持盈利，才能提供工作，税收，才能发展你的模拟城市。 And that's just one line of thought that you can trace, through this complex web of dependencies that comprise this whole system of this game. 然而这只是这个游戏复杂的规则系统的一种分析，你要操心的还有很多种情况。 Now the same thing is true, even in games where you might not think it's so obvious. So to be successful in a game like PUBG, you have to have a very complicated system in your head. For example, where are players likely to be hiding, and how does that change, at the beginning when there's 90 people, versus at the end when there's 10 people? 在那些看起来目的简单直接的游戏里，也存在这样的系统。 为了在 PUBG 这样的游戏中吃鸡，你也在玩一个非常复杂的系统。 例如玩家在地图里的躲避策略在开局 90 人的时候是怎样的，而到了最 10 个人的时候又会怎样变化？ And how much is that going to change, when there's pressure from a circle coming in, versus when everybody safe? Or when is an airdrop coming in, versus when there's nothing going on? 在这个基础上引入缩圈或是空投这些变量后又会有怎样的变化？ And so again, by the time you become good at this game, you become some kind of an expert at a complex web of interrelated facts. 因此话说回来，当你真正做到擅长这些游戏的时候，你也成为了处理某一类复杂网络问题的专家。 In other words, even if you didn't think you were learning anything real, you are becoming good at Systems Thinking. And getting more experience at how complex systems are, how they behave. 换句话说，即使你没有从游戏中学到任何具体的东西，你在变得擅长系统思考。 你在积累关于复杂系统的经验，以及这类系统的规律。 Human beings lately really want to learn about systems, but it's hard. 人类发展至今日，这类系统知识变得十分必要，但学习起来很难。 For example, if you wanted to learn economics, which is the study of a big economic system. The best option you have so far is to read a book, that will tell you a lot of facts about the system. 假如你要学习经济学，这是对大型经济体系的研究。 你当前最佳选择是阅读一本书，书中会有很多关于经济系统的知识。 But you don't get to interact with an actual system, you have to use your imagination to make an imaginary system go. And your imagination could be wrong, it could misinterpret, or extrapolate incorrectly what the book says. And also it just takes a really long time to learn in that way. 但是你并不能直接与真实的系统进行交互来验证你的想法，你不得不用你的想象力去制造一个假想的系统。 同时你的假想可能有错，或是有偏差，或是有对书中内容的错误推断。 而且这样的学习通常需要花费很长时间。 Whereas if you're playing a game for hours a day, because you love it. You're interacting directly every minute with a complex system. And you're getting a very intimate feel for how it works. 相反如果你每天进行一个小时的游戏。 在这一个小时里，你会与游戏内的复杂系统直接交互。 同时你也可以更直接的会体会到这些系统的规律。 And this is very important. Because most of the problems that we face today, as human beings, are large complicated really difficult to confront problems, that require high level of Systems Thinking to approach. 这是非常重要的。 因为，作为人类，我们现今面临的大多数是复杂且难以解决的问题，这就需要我们有大量的系统思考经验。 And so, when I'm saying, that games are the future of human thought, this is what I mean. It's one of the next steps in this development of our ability, to think about bigger things, and deeper things, and more complex things. 所以，当我说游戏是人类思想的未来的时候，我的意思是这样。 它是我们思维发展的其中一步，它帮助我们理解更大的问题，更深层的问题，和更复杂的问题。 Okay, so what is all this mean for people's day-to-day life? 好的，那么以上这些对我们每个人的日常生活意味着什么呢？ For example, if you're a game developer, and you said: "okay, how do I make a successful independent game, what do I do?" 例如，游戏开发者可能会问：“我想做一个成功的独立游戏，我该怎么做？” Well step #1 is work hard, and I don't think that's a surprise to anybody, but games are hard to make. 第一步是全心全力的投入，我不认为这出乎每个人的意料，但是游戏制作的确很难。 The programming is difficult, making 3D Graphics is difficult, but actually, I think, most difficult of all is design. 程序编写很困难，3D 图形绘制也很困难，但我认为最难的是机制的设计。 Because, the thing about design is you can't really see it. So it's hard to judge when it is right. From experience we know that it's very hard to make a design, and it's actually very easy to make a bad design. 因为机制是抽象的，不可见的，所以我们很难评判它的好坏。 从以往的经验来看我们也知道机制的设计很难，实际上很容易做出糟糕的设计。 So even though most parts of a game are very hard, I encourage you to put attention there on design. 所以即使游戏制作的过程大部分都非常困难，我鼓励你把注意力集中在机制的设计上。 Step 2 is you have actually give Gamers a reason to want your game. To you it's special, because you made it. But gamer see thousands and thousands of games, and yours is just one of those games. 第二步是给游戏的玩家一个选择这个游戏的理由。 对制作者来说这个游戏当然很特别，因为它是由你制作的。 但玩家面对的是成千上万的游戏，你的游戏只是其中之一。 The big budget games solve this problem by spending a lot of money, to make something impressive, in scale or in visual glitz. 大预算的游戏通过大量的资金投入来制作令人印象深刻的画面，场景规模来解决这个问题。 But small companies can't compete that way. Because we don't have anywhere near as much money as they do, so we have to compete in a different dimension. 但小型的游戏公司无法以这种方式竞争。所以我们要找到堆积工作量之外的方式来吸引玩家。 And the one that always work for me is to make something special. You have to give people something, that they're never going to get from a game that cost a hundred million dollars. Well, that's not the only way to do it, but it's what I should try to do. But you have to do something. 对我个人来说，我总是会去做其他游戏没有尝试过的概念。 你需要给玩家一些他们永远没法在上亿美元的游戏中体验到的东西。 当然，我的方法并不是唯一的方法，但作为独立游戏开发者，你必须做出点什么。 And the 3rd is to help each other out. 第三点是开发者的互相帮助。 Back in the 1990s and early 2000, in the USA, when games were becoming very hard to make, because they had gone 3D, and we didn't know how to do 3D yet. We were lucky to have adopted a really great attitude about communicating with each other. 早在 20 世纪 90 年代和 2000 年初的美国，那时制作独立游戏很困难，因为大型游戏已经完成 3D 化了，我们还不知道怎么做 3D。 幸运的是我们保持着很好的相互沟通分享的态度。 Somebody would go to a conference and say: "I worked very hard to figure out this exact sequence of machine language instructions, that'll put graphics on screen the most efficiently." 那时会有人在展会上说：“我终于搞定了在屏幕上高效渲染图形的这些机器语言该怎么写” And even though we were competitors, we would share that information with each other. Because we just like each other, and we wanted to help. 即使我们互相是竞争对手，我们仍然会选择共享这些知识。因为我们每个独立开发者都需要得到各方面的帮助。 We go home from the conference, and spend a few weeks figuring out this new piece of technology, and then over the next months we would pass it and get better. 在游戏展会结束后，我们会在几个星期里搞明白这些新技术，然后在接下来的几个月里，我们会把对这些技术研究成果分享给其他人。 By the next year, we would show up at the conference much stronger, and ready to do bigger things. 到了下一年，展会上的我们会更加强大，并且能够完成更大的项目。 So later on, when the market for independent games is developed, you can compete rough, like try to punch each other out. 所以在将来，独立游戏市场真正成熟时，我们可以放开进行竞争。 But for now, cooperation and letting everybody off, is probably the best strategy. 但在当下，合作互助，可能是独立游戏最好的发展策略。 [MGSV meme here] Ok, so that's for developers. What about for gamers, what if you just play games? 好的，以上都是关于开发者的。 那么对于只希望享受游戏的玩家来说，需要做什么？ I would say first of all, understand that games are important: even if you're having fun while playing them, that doesn't mean that they're meaningless. 首先我会说，玩家应该认识到游戏很重要： 即使你玩的时候非常放松，并不意味着进行游戏是没有意义的。 And you know, that if people try to tell you that you are wasting your time, don't listen to them. Because it's not true, unless it's a mobile game. 而且如果有人试图告诉你，你正在浪费你的时间，不要相信他们。 因为这不是真的，除非你玩的是一款手机游戏。 Because of the game, you are developing this ability of Systems Thinking, and that is very important. 正是因为游戏，你的系统思考能力得到了开发，这非常重要。 And, I think, very specific to China is that, this is a time of very rapid expansion, and so your choices will have a lot of influence. 而且我相信中国的游戏市场正处在一个迅速扩张的时期，所以作为玩家，你对游戏内容的选择会对这个市场有很大的影响力。 There are a lot of people getting into gaming right now, and when they try to find out about what they should be interested in. They're going to learn from you, the people who already know what to be interested in. And what this means, is that your personal tastes, and your personal opinions, will spread very easily, and that gives you a great deal of power and influence. 现在越来越多的人开始接触游戏，当他们在寻找他们可能感兴趣的游戏时。 他们会求助于你，因为你作为玩家已经了解了很多的游戏类型。 而这意味着，你的个人游戏品味和你个人对游戏意见，会更容易被新玩家传播，这也给了你很大的权力和影响力。 But just when you have influence like that, it's a good idea to be careful. And make sure that, what you're spreading is really the best thing. 但在我们持有对游戏发展的影响力的同时，我们也应当小心谨慎。 确保我们传播思想的有助于游戏文化更好的发展。 And that's all I have to say for the main presentation. Thank you for your time. 以上就是我的演讲内容。 感谢您的时间。 [Jonathan Blow - Gcores Talk - 2018/05/06]