一则国外小新闻翻译（转载请注明个人主页）

乐天灵魂

仔细阅读Crawford这篇2003年的演讲之后，我发现他提出的“数百个动词”用于“社会

交互”，其实在魔兽的战斗系统中间已经实现了，昨天翻译的时候，小弟开始怀疑

Chris Crawford这位大师是不是闭门造车的大师，当然，也可能小弟是抱着游戏传统观

念来看他，每一个革新者都会让你觉得不舒服，因为他在否定传统游戏，并宣称从未接

受/考虑过的全新理论，身为年轻人，我们更应该真诚地去向大师学习：至少，他提出

的那种好莱坞模式（挖掘新人的最佳模式）我们作为年轻人应该了解一下：）

Crawford Lecturing at Stanford, 2003  
//Crawford在2003年在斯坦福大学的演讲



GS: On that note, can you explain the concept of Storytronics? If there is

such a way to give a brief description.
//QS：作为注解，您能否解释一下关于Storytronics的概念呢？如果能用简短的话来
描述的话。

CC: It's interactive storytelling.
//CC：就是交互式故事系统。

GS: And what does that mean to the common person?
///GS：对于一般人来说是什么意思呢？
CC: It's a story you get to participate in as the protagonist. You're the

hero...and you let the story go. It's not at all like a regular story. It's

not as if you're just following the footsteps of the hero in a standard movie.

Interactive storytelling has a more meandering feel to it. You don't charge

down a plot line towards the end, you meander through a social environment.

The key thing is that it's about people, not things. Social interaction, not

mechanical interaction. The primary thing you do an interactive storytelling

is talk to other people. What a concept! Most gamers react to that concept

with some disdain: “all you do is sit around and talk? That’s no fun,” and

it isn’t any fun for many gamers. But that's the kind of thing that most

people spend most of their time doing.
//CC：这意味着你会成为这个故事中的一个主角，并且引导着故事的发展。这一点也不

像一个传统意义上的故事。这不是说你在一个标准电影之中遵照已经设定好的步骤来成

为一个英雄。使用交互式故事系统你有更为随意性的感受。你不需要沿着设置好的路

走，而是从社会环境之中走过。关键是所有相关因素都是人，而不是东西。社会交流，

而不是机械交流。使用交互式故事系统，你所做的第一步就是要和其他的人交谈，这是

怎样的一个概念！大多数玩家会对这个概念嗤之以鼻：“所有的事情就是坐下来说话？

一点意思都没有，”对于很多玩家来说一点也没有趣。但是大多数人在他们一生中间经

历着同种事情。


GS: Now, something like an online game would try to implement some degree of

interaction, but it would always take a backseat to the game itself. What

you're saying is that with Storytronics, this is the reason people are going

to pick up and then get into the experience?

//GS：目前，一些游戏形式比如网络游戏能实现某种程度上的交互，但是这种交互被游戏

本身所限制。你在与故事系统交互，难道这就是人们想要获取的实际应用经验？

CC: Yeah, that's the heart of it, that's the value we are selling. Not the

action, but the interaction with other characters. Most online multiplayer

games, functionally they operate as chat rooms with some structure behind

them. That is, the social interaction all takes place in what is essentially

nothing more than a chat room. And then there's a game interaction going on

outside the chat room, but the two are pretty distant. So if you want to talk

about social interaction, well hell, you're talking about a chat room. We

don't need a game for that.
//CC：是的，你说到了点子上，这就是我们所说的价值。不是动作，而是与其他

玩家之间的交互。大多数在线游戏，在功能上它们就像是具备了某种结构的聊天室一

样。这就使得社会交流本质完全发生在仅仅是一个聊天室里面。虽然聊天室的外部有游

戏交互，但是那离交互性还差得远哪。如果你想要进行社会交流，于是你就提到了一个

聊天室。我们并不需要那种意义上的游戏。

GS: You talk a lot about the idea of the “verb” in the interactive

storytelling experience. Again, for the common person, what would your

explanation be for how that works within Storytronics?

//GS：你说了很多关于“动词”在这个交互式故事讲述系统中的意义。请问，对于

大众来说，“动词”在故事系统之中是如何去工作的，你能解释一下么？

CC: The verb is the core of all interaction. Any piece of software has verbs

in it. The verbs in a word processor are the keys on the keyboard, set the

tab, change font, different color for the font, paragraph size and so on, are

all verbs. You're telling the application “do this” or “do that.” In a

game you have verbs. The classic verbs in a shooter are turn right, turn left,

move forward, move back, and fire. That's five basic verbs, and you'll find

those five basic verbs in every shooter, and then there will be another dozen

ancillary verbs and things like move faster, run, jump, aim high and low, that

kind of thing. But the whole trick in all of these games is to reduce the verb

set. For example one example in the great majority of shooters is the joining

of the verb “pick up” with the verb “go.” In other words, you don't stop

and pick something up, all you do is step over it and that picks it up. Same

thing with a door…you bump into the door and it opens. So the verb “go”

ends up handling an awful lot of other verbs implicitly. So you end up mapping

a lot of verbs into a kind of spatial reasoning, and that in turn keeps the

verb count low and game designers like that, game players like that. The

problem is, with social interaction, you just can't get away with a tiny verb

set, you need hundreds of verbs for social interaction.

//CC：动词是整个交互的核心，每一个软件都存在着动词。在文字处理器中的动词就是

键盘，按上档键，排版，字体的颜色，设置段落等，这些都是动词。在一个游戏中你可

以“做这件事”或者“做那件事”这就是动词。在一个设计游戏中，传统的动词就是转

左或者转右，向前，向后和开火。这是五个基本动词，你在每一个设计游戏中间都会找

到这五个动词，还有其它的一打动词比如加速，跑，跳，向上移动视角和向下移动视

角，这种类似的动词。但是所有这种游戏中的诡计就是为了减少动词的设定。比如在大

量的射击游戏中间，使用动词“到达”取代了“拾取”。也就是说，你不需要停下来捡

起东西，你只需要踏过它就自动捡起了。同样的事情发生在你开门的时候------你冲向

门它就自动打开。所以动词“到达”暗中解决了一大堆其它的动词。于是你用一种空间

的方位实现了很多动作，这使得动词的数目减少?-----游戏设计者喜欢这样。问题就

是，在社会交互中，你不能仅仅使用几个动词来表达，你需要数百个动词来应用于社会

交互。




GS: Would the player be creating content as they went along? Or is it simply

that a much larger verb set would be built in, and if they had an idea to try

something it would be there for them to use?

//GS：玩家会在玩游戏的同时创造故事？或者它仅仅就是一个非常大的动词库，如果玩家
有想要创造的想法，就可以利用动词库实现吗？


CC: That's correct. We can't let the player create his own verbs because the

verbs are the heart of the game. And in a sense they are the rules. However,

we can have... I differentiate between designers (who we call Storybuilders)

and players. The designers create the rules within the systems, and then the

players get the palette of verbs to play with.

//CC： 对。我们不能玩家自定义动词是因为动词就是游戏的核心。在某种意义上动词

就是游戏规则。尽管如此，我们能做一些东西...我认为设计者（我们称之为故事情节

设计师）和玩家是有很大区别的。设计者制作系统中的规则，游戏者支配这些动词来进

行游戏。


GS: Has this idea been implemented yet, or is it merely conceptual?

//GS：这种思想已经被实现了，还是仅仅停留在理论质上？

CC: We're in the fourth generation of the technology. There has never been a

complete demonstration of any of the previous generations. And that's one

reason why people have difficulty understanding what we’re driving at. Right

now, there's nothing you can even sit down and play with (what we call a

Storyworld) that does all the things we want it to do. So a certain skepticism

is justified.

//CC：我们的技术目前发展到了第四代，在这和这在之前的版本中从未有一个完整的展

示。这就是为什么人们难于理解我们正在开发的系统。现在，没有让你能够坐下来玩的

东西（我们称之为虚拟世界），这种虚拟世界能够做我们想要它做的任何事。于是各种

怀疑理所当然地产生了。

GS: So are you on a timetable? Are you working to get a playable model

released, or a demonstration out to the public?

//GS： 你有时间计划吗？你是否正在做发行的可玩版，或者是能向公众展示的模型？

CC: We have already released what we would call a pre-alpha version of the

development system, called Swat. It doesn't have all the features, so it's

pre-alpha. But we released it so people can start learning the technology,

because the technology is gigantic. Interactive storytelling is very

complicated business. It’s taken me 14 years to develop all these ideas. We

figure we'll have Swat in alpha form in a month or two. I'm going to be moving

on to the engine very soon. The engine is what actually calculates the way a

story develops. The core engine is already in place and in operation. But it

still needs lots and lots of work in the front end, which is called Storytron.

These are three separate programs, and the front end is also operational in

skeletal form. So we've already got proof of concept; all the basic programs

operate in a very dumb way right now.

//CC： 我们已经发行了我们称之为初级内部测试（pre-alpha）的发展中系统版本，叫

做Swat。它并不包括所有的特征，因此它仅仅是初级内部测试版。但是我们发布了它以

便让人们开始学习这门技术，因为这门技术很深奥，交互式故事讲述系统是非常复杂的

东西。我用了十四年来形成所有的想法，我们决定我们会在一个或者两个月之内以内部

测试版的形式发行Swat。我马上就要进行引擎的开发工作，引擎被用来实际计算一个故

事如何发展，核心引擎已经开发出来并且投入使用。但是它在完成为Storytron之前仍

然需要大量的工作。有三个独立的系统，Storytron是整个系统框架中间的一个功能组

件。我们已经得把概念结合实际；所有的基础组件都已经默契地运行。






GS: But they are working? This isn't just brainstorming at this point?

//GS:但是他们已经在工作了么？还是仅仅在发表自己的想法？

CC: No, these aren’t just concepts; these are three working programs at this

point. They're all functional; they really stink, but they’re functional. We

figure that we will have something…we're figuring September or October for

the first time that we will have something that people can actually sit down

and use the whole system as a whole and see what it all means. Even then there

won't be any demo. We figure we won't have good demos until the beginning of

next year.

//CC：不，并不仅仅是概念：而是关于这个问题的三个项目。它们都具有功能性；它们

确实有缺陷，但是它们是具有功能性的。我们认为我们将有一些东西来展示------预期

为九月份或者是十月份进行第一次展示，让人们坐下来完整使用的一些系统并认识到其

中的含义。尽管到时候不会有演示，我们预期在明年初之前不会制作出来好的演示。

GS: Now is this system basically going to be a framework upon anything can be

applied? So a developer could make any sort of program or game from within

these parameters?

//GS：现在这个系统能不能从根本上作为一个框架，在它之上可以实现所有的一切？所

以一个开发者能够在这些参数上面制作出一些项目或者是程序？

CC: Well, they're not games. We call them Storyworlds, because the emphasis is

on drama, and it's so different from games it's kind of misleading to refer to

them with that terminology, because they feel very different from that in

play. They're more deliberate in pace…there's no rush. They use a linguistic

interface, not a spatial interface. So they feel very very different, but yes,

any dramatic social interaction can be addressed by this technology. We are

confident that we can do, say, corporate training products with this that

provide training in working with other people. And of course any kind of story

can be addressed quite readily with this technology.

//CC：嗯，那并不是游戏。我们称呼它们为虚拟世界，因为重点在于表演，这和被误导

当前被称作游戏的东西是完全不同的。因为玩家在玩的时候感受将完全不同。虚拟世界

更加成熟------并不是飞跃。虚拟世界使用语言上的交互界面，而不是空间界面。所以

玩家感受非常之不同，不过，任何一种生动的社会关系都能够被这个技术所展示出来。

我们有信心我们能够做好，让整体产品能够为人们提供工作经验。当然，任何故事都能

被这种技术自然地表现出来。



GS: Now, if a developer was not willing to necessarily produce a Storyworld in

and of itself, do you feel that the technology could be applied to a

traditional game with positive results?

//GS：现在如果一个开发者觉得使用虚拟世界系统本身并非必要，你是否觉得虚拟世界

系统可以对传统游戏产生一个积极的影响呢？

CC: No, I don't think so for several reasons. First, there's a technological

reason. We've been building this thing to be very flexible and very powerful,

but we have not built it as a library. It has no hook that you can just plug

it into another game. It's not that way. More important is the marketing

sense. It's kind of like saying, “can we bundle a novel in the box with a

game?” Yeah, you could, but anybody who buys the game doesn't want to read a

novel. Interactive storytelling appeals to a very different kind of audience.

The kind of people who like games will likely not enjoy interactive

storytelling.

//CC：不，我认为不行因为以下原因。首先，一个技术的原因。我们把这个系统作的

灵活并且功能强大，但我们并没有把它作为一个数据库来设计。这里没有任何你可以

照搬到另一个游戏中的书籍，你无法那样做。更重要的是市场感觉，这是另一种思考：

“我们能否把一个盒子里的小说用一个游戏绑定了？”是的，你可以这么做，但是

每一个买游戏的人并不是想要读一篇小说。交互式故事系统有完全不同的市场，那种

喜欢传统游戏的人很可能并不喜欢交互式故事系统。




GS: Now, as far as the gaming industry: you are a published author on the

subject. I can pretty much tell from what you’ve been saying what you feel

they're doing wrong. Do you feel there's anything they could be doing right?

In keeping with the traditional sense of what a game is, how could games be

better, in your opinion?


欢迎访问my blog:
atian.dpnet.com.cn
本人选择游戏设计作为终生职业，在10年之后，我要加入blizzard设计游戏。
通过漫长的思考设计出伟大的游戏，我想这就是上帝令我存在的意义。
欢迎热爱游戏的朋友们一起来交流，如果你是第一次来到我的blog，推荐你阅读“乐天灵魂的个人简介”。希望我们成为朋友：）

乐天灵魂

乐天灵魂: Re: 一则国外小新闻翻译（转载请注明个人主页）

仔细阅读Crawford这篇2003年的演讲之后，我发现他提出的“数百个动词”用于“社会

交互”，其实在魔兽的...

//GS： 现在，就像游戏产业：你是游戏产业的一位著名发行者。我感到你的谈话内容

中包括了你觉得他们做的都是不对的。你是否觉得他们有些事情做得也是对的？如果保

留对于传统游戏的感受，你认为游戏应该怎样做得更好？

CC: My advice to the gaming industry would be to sincerely copy Hollywood more

closely. The gaming industry really does operate on a model very similar to

Hollywood with one huge exception, and that is that they have no system for

harvesting new concepts. Hollywood knows that it needs new ideas. The games

industry doesn't know. Hollywood goes out of its way to provide itself with a

seed stock of new talent and ideas, the games industry doesn't. Hollywood

spends an enormous amount of money supporting colleges and universities, and

training programs at those settings. The games industry does not. Hollywood

has a system for honoring weird ideas that aren't necessarily commercial. The

games industry really doesn't. That is, Hollywood actually backs these things

up with real money.

//CC：我的建议就是游戏工业应该进一步向好莱坞求教。游戏产业其实已经在模型上和

好莱坞非常接近，但有一点很不同，游戏产业没有接受新的概念的系统。好莱坞一直在

接受新东西，游戏工业却没有这样做。好莱坞花费了大量的金钱和时间来支持大学和学

院，并在这些部门中进行训练项目。游戏工业没有这样做。好莱坞有一个体系来让怪异

和不一般的想法得到施展，游戏工业没有。这就是为什么好莱坞事实上在挣所有人的钱。


There's an awful lot of Hollywood money that goes to supporting oddball ideas,

because Hollywood has learned the hard way that entertainment is a high risk

business that requires innovation. So you spread a lot of money over a large

area and most of it is just dead loss. You'll find one idea out of a hundred

that's worthwhile, and Hollywood has developed a balanced system. They don't

throw money away. They've developed a balanced system that generates enough

creative return for their monetary investment. They look very closely at

books; they use novels as the basis for movies. The games industry doesn't do

that. They support film festivals and a variety of other things that allow

aspiring young talent to get just enough funding to devise an advance. They

have a pyramid system in place to creators, and at the very top are the Steven

Spielbergs and the big expensive blockbusters. But that thing doesn't sit

there in the air; underneath those hundred million dollar movies are layer

after layer after layer of cheaper, more creative, more varied ideas, and

there's money flowing down that. Because they know they need the support. The

creative support of all these new ideas. The games industry doesn't do

anything like that and that's why it has no new ideas. It just keeps recycling

the same old ideas.

//好莱坞有大量的资金来支持古怪的念头，因为好莱坞已经懂得娱乐业是一个高风险

的，需要不断改革的产业。因此你在一个广泛的领域内投资，大多数投资都打了水漂，

你在数百个游戏中找到一个值得投资的。而好莱坞还形成了一种平衡系统，他们用货币

投资换回足够多的有创意的想法。他们关注书本，他们把小说作为电影的基础，游戏工

业没有那样做。他们举办电影节和非常多的类似东西来让年轻人有机会获得足够的资金

来施展才华。他们建立了一个由游戏开发者的金字塔，塔的顶端就是Steven

Spielbergs（好莱坞著名导演译者注）和一鸣惊人的开发者。这些东西并非毫无意义；

在这些数百万美元拍摄的电影下面，有着一层接一层的更便宜，更有创造性，更加多变

的想法，其中蕴含着无限商机。因为他们知道他们需要有人支持，需要获取创造性的支

持来实现新的想法。游戏工业没有这样做，这就是它没有新的想法诞生的根源。游戏工

业仅仅在围绕着旧想法打转。

GS: One could argue that independent developers are encouraged to make their

games, but you say for some reason, the games they are turning out are the

same old stuff. Is that a trend you see being reversed in any way?

//GS：有人或许会争辩，我们应该鼓励原创游戏开发者来做游戏，但你却在讲述他们

所做的是老的旧游戏。你认为你是否走向了一个相反的方向？

CC: It could be reversed, but it would take real monetary support, such as

Hollywood does provide, and the monetary support would go for people who come

up with innovative new idea. In Hollywood, there are an awful lot of really

bad films that get some kind of funds and an awful lot of really weird films

they get some kind of funds, and the games industry doesn't do anything like

this at all.

//CC：也许相反，但这会带来真实的资金支持，比如好莱坞所做的，给予那些带有革新

想法的人们金钱支持。在好莱坞，有很多糟糕的电影获得一些种类基金支持，大量古怪

的电影也获得了一些资金来支持，游戏工业根本没有这样做。
GS: As far as the books you've written, the tone has definitely changed over

the years from the art of computer game design to speaking on interactive

storytelling. Do you feel this is a shift that may happen in the industry

itself in the future?

//GS：在你的书中，从游戏设计艺术到交互式故事讲述系统论调发生了很大变化。你觉

不觉得游戏工业在将来也会发生一个转变?

CC: I see the games industry itself as pretty much static. That is, when I

look 20 years into the future, I see pretty much the same games industry. Same

players, you know, EA, Microsoft, Sony, and Nintendo. Same basic kinds of

games. Racing cars and slaying dragons and shooting monsters. Much snazzier,

but essentially the same gameplay. But I see that the big difference is that

in 20 years that will be a small subset of a much larger universe of

interactive entertainment.

//CC:我看到了游戏工业本身更加的静止。就是说，当我预测未来二十年的时候，我看

到游戏工业没有什么变化。有些公司，你知道的，比如EA,Microsoft,Sony和任天堂，

一些基本的游戏，赛车和屠龙以及射击怪物更为流行，但却是完全一样的游戏。但是我

认为在二十年之后所发生的巨大变化就是，会有一小部分游戏在大量的交互式娱乐之中

分离出来。


GS: Are there other people taking up the move towards interactive storytelling

versus the traditional game that you know of, or are you pretty much on your

own?

//GS：有没有其他人开始用传统游戏形式设计交互式游戏讲述系统，而不是用电影形式？

你是否知道有别的人，还是只有你一个人在做？

CC: There's an awful lot of energy in this direction. That is, you can trace

the amount of ink spilled on the subject or the number of electrons

transmitted on this topic. It was basically zero in 1992 or so. We got the

first serious thought founded in about 95 and by 2000 there were occasional

references to it. With conferences and such in the last three years or so…the

broad topic of interactive narrative has become almost common. There was a

time when I could keep track of every single conference that in some way

referred to interactive storytelling or interactive narrative or whatever and

I would speak at many of them. Nowadays I’m much pickier because these things

are a dime a dozen.
//CC：在这个方向上面有很大的能量，也就是说，大概从1992年起，在这个话题上你可

以追踪大量的文档或者电子记录。我们95年建立了第一个正式想法，2000年偶尔还参考

这个想法。通过最后三年的讨论------关于交互式讲述的广泛话题成为一个普遍概念。

有时，我能明白每个会议，在某种程度上交互式故事系统或者交互式叙述有关，或者我

可以说出的很多其它的例子。今天我变得更加挑剔因为这些东西是一打一打的。

GS: Do you feel that's a trend toward actual committed development of the

technology or people just paying lip service?

//GS：你觉得这是一个技术实际可行的发展，还仅仅是对人们的敷衍？

CC: No, this is still academic research, and I think it is quite revealing

that much of this research has led to a dead end. That is, you track some of

these academic projects, and they start off with grand and glorious goals and

then three or four years later, the project is dead. And they publish a couple

of papers, but they didn't get anything to work. That's largely because people

have difficulty appreciating the magnitude of the problem. Interactive

storytelling is not something that you can slap together in a year or two.

However, the appreciation of that is developing and people are more seriously

discussing the building blocks of the problem. I know there are a lot of

graduate students all over the world who are seriously attacking some of these

issues, and really do seem to appreciate them. We already have a couple of

academics who are again seriously tackling the issue of interactive

storytelling. So we're definitely in the early stages of solid academic

pursuit. When will this turn into commercial product? Well on that aspect I'm

pretty far ahead of everyone else, but I'm confident that we will see some of

these bright graduate students coming up with really weird ideas and bringing

them to a pre-commercial level within the next five years.
//CC：不，这仅仅是学术性的探讨，我认为这是相当有启迪性的是因为很多类似研究最

终走到了一个死胡同。也就是说，你追踪一些学术性课题，它们开始的时候有大而空的

目标，而三年或者四年之后，课题完蛋了。接着他们发表一些论文，但他们没有做任何

工作。那主要是因为人们在评价问题的复杂性上面有困难。交互式故事讲述不是一年两

年能够拼凑好的。尽管如此，交互式故事讲述正确的评价是它正在起步，人们讨论的是

最底层的问题。我知道全世界有很多刚毕业的学生想要冲击一些理论，我很欣赏这种情

况。我们依旧有几个关于交互式故事讲述的问题，解决之后才能够发行。因此我们毫无

疑问是在兴起早期的基础学术理论。这是否能够转化为商业应用？在哪个方面我研究了

最前沿理论，但是我很确信我们将会看到一些优秀的大学生会提出与众不同的想法，并

且在未来五年之中初步实现商业化。

GS: Are people overall embracing the idea of interactive storytelling? Have

you encountered any resistance to it?
//GS：人们都支持交互式故事讲述的理念吗？你能不能描述一些你所碰到过的阻力？

CC: We've had lots of expressions of interest, and of course those don't mean

anything. My own impression…I've dealt with Hollywood people for 15 years

now. My own impression is that nobody who is already successful is going to be

interested in it, because this is pioneering work and to learn it you have to

unlearn a great deal of what you already know and start over, you have to re-

learn from a completely new angle. Nobody is going to give up what they

already have if what they already have is working for them. We are very

liberally reaching out for the people who are not successful. We want people

with a lean and hungry look to them, who have talent and energy and drive and

feel they're being shut out. Those are the people who will, I think, do

wonderful things with interactive storytelling
//CC：我们有很多对于兴趣的表达，当然那不意味着任何事情。我自己的表达------我

现在和好莱坞的人一起工作了十五年了。我自己的表达就是没有人在成功之后才会对

自己的事业感兴趣，因为事业需要有准备，去学习，并且忘却很多你已经学到的重新开

始，你需要再从一个全新的角度去学习。没有人将会放弃工作中正在起作用的知识。

我们对待没有成功的人依旧很公平，我们希望人们急切地关注这样一些人，他们有才

华，精力充沛并且被排斥在行业之外。这些将会是对交互式故事讲述系统做巨大贡献的

人。


欢迎访问my blog:
atian.dpnet.com.cn
本人选择游戏设计作为终生职业，在10年之后，我要加入blizzard设计游戏。
通过漫长的思考设计出伟大的游戏，我想这就是上帝令我存在的意义。
欢迎热爱游戏的朋友们一起来交流，如果你是第一次来到我的blog，推荐你阅读“乐天灵魂的个人简介”。希望我们成为朋友：）

乐天灵魂

June 16, 2006
//二零零六年六月十六日
Going Mobile: 'Nokia’s New Game Plan'
//手机游戏：“诺基亚最新的游戏计划”
In a previous column, I noted that money can’t buy you love in the mobile games industry.
Many companies, after cooking up a totally unique, can’t-miss angle to unlock the market’s
fabled treasures, have tried to take a shortcut to success by purchasing it outright--with
marketing blitzes, experimental technologies, lavish parties and junkets, grand licensing
and retail deals, imperialistic acquisitions strategies, or any combination thereof--only to
be flummoxed by byzantine structural limitations, buffeted by technical problems, batted
from one mobile carrier to the next, and eventually thrown out on their ear millions of
dollars lighter.
//在早期的专栏中，我说过你不能用手机游戏工业中的钱，随心所欲地购买你想要的东西
。很多公司，在虚构了一个神话之后，并没有找到能释放它所虚构的市场能量的方式。他
们试着用直接购买的方法去找到成功的捷径------用商业闪电战，实验中的技术，奢华的
聚会和野餐，超级许可证和零售生意，帝国购买策略或者是这些东西的一个复合------
这些都会因为其拜占庭（即东罗马帝国式的译者注）式的结构局限性限制而失败，被技术
问题困扰，从一种手机继承给下一代，最终他们赚来的数百万美元打了水漂。


No Easy Route To Success?
//没有成功的捷径么？
It sounds harsh, but this treatment is practically a rite of passage into the mobile
marketplace, where tempting cul-de-sacs outnumber real opportunities by at least an order of
magnitude. Those firms that have the resources to pay the high costs of learning through
experience, and can survive making a few rotten decisions, usually come back into the market
with more realistic expectations; even if quick success remains elusive, they are ready to
do things they know will make money and build market share.
//听起来很粗糙，不过这种情况是在手机市场中运行的方式，手机市场采用很诱人的“尽端路”方式用一
种复杂次序，至少实现了比现实要多的机会。那些拥有来交学费的资源的公司，它们能够在做了一堆糟糕
的决定之后生存，通常再进入市场的时候更加现实；即使成功来临的出乎意料，这些公司懂得去为赚钱和
市场销售来做准备。

Just ask Nokia, whose N-Gage platform was the poster child for unwise expenditure. After a
period of reflection, Nokia has readied a new mobile gaming strategy designed to set the
debacle right and earn back its good name in mobile gaming--and this time, it sounds like it
might be workable.
//比如诺基亚，诺基亚的N-Gage平台是幼稚而不明智的投资。在市场反映出来这一点之后，诺基亚已经准
备好了一个新的手机游戏策略，来修补损失并且赢回它在手机游戏业的好名声------这次，它的计划看起
来更加可信。

Gaming blogs have been choked with N-Gage anecdotes for years, so I’ll limit my
contribution to a single example. One of my former GameSpot colleagues, a longtime video
games journalist and critic, once told me a little story about the N-Gage’s grand debut at
E3 2003. As soon as he saw the original device’s form-factor--the infamous “game taco,”
complete with side-talking functionality!--he turned to another editor and remarked, “well,
that’s that.”
//游戏博客和论坛已经被N-Gage的轶事塞满，这种情况持续了好几年。所以我会把自己的看法浓缩
成一个简单的例子。一个我以前的在Gamespot的同事，他是一个长期的视频游戏记者和评论家，曾经跟我
说过关于2003年E3大展上的N-Gage华丽发行场面的一则小故事。当他看到完全使用了side-talking(和传
统手机不同，使用者只能用N-Gage 的边来接听译者注)技术,导致最后声名狼藉的游戏“taco”的时候--
----他转向另外一位编辑并评论道:“嗯，就是它了。”
He didn’t have to play any actual N-Gage games, or even pick up the device, to know that
the N-Gage was DOA, especially at its $300 price point. Judging by the N-Gage’s anemic
sales numbers and poor retail presence, a lot of other gamers reached the same conclusion.
Making Amends For A Bad Start
//他没有玩过任何真正的N-Gage游戏，或者端详设备，只需要了解N-Gage是否能够生存，尤其是它三百
美元的价格。他是从N-Gage的糟糕的零售销售数字来判断的。其他很多游戏人员得到了同样的结论。
Nokia realized almost immediately that the launch was a catastrophe. It made a superhuman
effort to save the expensive project by quickly reengineering the device, lowering its
price, wooing the games media, and rushing out new titles, but the damage had already been
done. The N-Gage was the laughingstock of the entire video games industry, and before long,
Nokia was having trouble getting any new N-Gage games out the door at all.
//诺基亚很快就意识到了这次发行是一场灾难，它以超人般的意志迅速重新设计并且收回昂贵的项目，

降低价格，和媒体协商更改标题，但是这已经是亡羊补牢了。N-Gage成为了视频游戏工业的笑柄，不久之

后，诺基亚几乎无法推出任何N-Gage游戏了。

By the time the N-Gage finally built up a decent games library, Nokia had spent two full
years throwing good money--bales of it--after bad. At the end of 2005, the head of Nokia’s
Multimedia division finally stated the obvious: Nokia needed to “make some changes.”
So, Nokia has clearly taken its medicine. What’s the new plan? The company started tracing
the outlines at E3 2005, when N-Gage chief Gerard Wiener first introduced a range of
prospective advances that would move the N-Gage platform away from the console space--where
had it utterly failed to compete--in favor of the mobile games space, which is much more
familiar territory to Nokia.
//N-Gage最终建立了一个正式游戏里程碑的时候，诺基亚在发生糟糕的事故的两年之后已经为它投入大笔

的资金。2005年末，诺基亚的多媒体分公司发表了声明：诺基亚需要“做一些改变。”于是，诺基亚作了

改良。新的计划是什么？公司开始回头看2005年E3大展的纲要，那时N-Gage的负责人Gerard Wiener最先

介绍了它预期的好处，让N-Gage平台从主机的控制台空间之中脱颖而出------反而完全地失败了------

有利于手机游戏空间，会让诺基亚获得更多的用户。


Steps To Change For N-Gage
//为N-Gage做出的努力
The first major advance was to start selling N-Gage games via Internet and over-the-air
downloads, allowing Nokia to bypass its thorny retail problem entirely, reduce manufacturing
and distribution costs, and hit impulse buyers at any location. It’s now very clear that
the N-Gage never should have launched without this capability in the first place...but hey,
better late than never!
//最初的主要措施是开始通过网络出售N-Gage游戏，直接下载，这种迂回方式使得诺基亚完全地解决了

它的零售问题，减少了制造和发行业的消耗，并征服了各个地区的购买者。现在很明确了，即N-Gage早

就应该以这种方式来发行------不过，迟到总比不到好！
The second advance was to spread the N-Gage platform across a range of Nokia handsets. This
step would not only produce a larger user base, it would also enable Nokia to reach
different types of customers; a lot of normal people would never touch an N-Gage (in fact,
this is probably a good indicator of normality), but could certainly be talked into buying a
good Nokia smart phone. All of this made plenty of sense, but Wiener was short on details at
the time, and couldn’t tell us when this stuff would actually start to happen.
//第二个措施就是让N-Gage的平台在诺基亚的手机上面得到推广。这一步不仅仅是建立一个广大的用户基

础，这将会让诺基亚去接触不同种类的消费者；许多一般人从不会接触N-Gage（事实上，这是一个正常情

况的表现），但是他们却理所当然地会在谈话中提及购买一款不错的诺基亚手机。所有的这些都在起作用
，但是Wiener很少接触零售，无法告诉我们这种做法何时最终打开了局面。

Sauter On Nokia's Comeback
//诺基亚卷土重来
As it turns out, the target date for Nokia’s triumphant return to mobile gaming is now Q2
2007, at least in North America. So says Gregg Sauter, Director of Games Publishing in Nokia
’s Multimedia Division, who graciously answered my questions concerning Nokia’s new games
strategy in a recent phone interview. According to Sauter, the comeback is staked upon a
Nokia-developed application called Play, an application for the Symbian mobile OS which will
be available any Nokia Series 60 smart phone.
//如果生产出来的话，诺基亚将在Q2（著名手机商）在07年发行手机游戏的时候卷土重来，至少在北美将

获得成功，Gregg Sauter评论道。他是诺基亚多媒体分公司的游戏发行主任，他和蔼地回答了我关于诺基
亚在最近手机展会上的新游戏策略。关于这一点，“卷土重来”会以诺基亚充分应用了的技术（称作Play
）为基础，在Play中Symbian操作系统会应用在的六十种手机上面。


my blog:
atian.dpnet.com.cn

乐天灵魂

这篇短文(今天的是第二部分）是小弟翻译过的最晦涩和长的英文新闻。。虽然中间

有少量记者的幽默，缓解了枯燥的内容~~无奈它讲的是手机游戏，小弟的工作如此，

没有办法啊一定要去了解下@@其中肯定有错误，还请各位指点：）

Through Play, you’ll be able to access all of the functionality presently associated with

Nokia’s mobile multiplayer service, N-Gage Arena, as well as purchase and download new

games and demos. In essence, Play sounds like it will be a downloadable N-Gage dashboard

with some kind of emulator or enabler included. Sauter told me that the hard launch--with

full carrier support, and, presumably, a fresh marketing initiative--will come midway

through next year, but that some of the new platform’s features will be available before

then.
//在玩的时候，你有可能会接触到所有目前和诺基亚的手机多媒体服务有关的功能，N-Gage竞技平台，也

可以下载最新的游戏和展示。基本上，游戏就是一个可以下载的N-Gage界面，里面有一些竞技玩家或者正

式玩家。Sauter告诉我，那艰难的发行过程------所有的载体支持，一个新的主动型的市场大概会在明年

中期出现，但是新平台的一些特性将会在正式发行之前展示出来。


Wherefore N-Gage Branding?
// N-Gage的包装如何？

When asked whether Play will retain the N-Gage’s branding, Sauter was coy. “An

announcement on branding will come over the summer,” he said, adding that “all games will

be certified (by Nokia) as N-Gage games were.” Logically, some kind of rebranding play must

be in the works--Nokia surely wants to escape the millstone that is the N-Gage brand name,

at least when courting new customers.
//当被问及Play是否会沿用N-Gage的包装，Sauter看起来在卖关子。“在夏季之后将会有一个包装广告。

”他说，加上“所有游戏都会被诺基亚包装成N-Gage游戏。”逻辑上，部分重新包装势在必行------诺基

亚想要确保不是仅仅地沿用N-Gage的名字------确保不落窠臼------以吸引新的客户。

At the same time, however, the company won’t want to lose the small but loyal customer base

that’s devoted to the N-Gage and N-Gage Arena during a changeover, so they may maintain an

N-Gage-branded compartment within Play’s architecture. As expected, Sauter also signaled

Play’s move away from retail. “If publishers want to, they can go retail, but we expect

most sales to come over the air or through the Internet,” noted Sauter.
//在同一时间，尽管如此，公司不想失去小部分但是很忠诚的客户基础，那些客户支持N-Gage，对于

N-Gage对战平台他们的态度会有一个转变，所以公司可能在Play的架构中支持N-Gage。像预期中的，

Sauter注明Play不关注细节。“如果发行商想要那么做，他们可以去关注细节，但是我们希望大多数

销售者关注无线通讯或者是网络。”Sauter表示。


On New Game-Oriented Nokia Devices
//诺基亚新的亮点设计

A final interesting tidbit from the interview has to do with Nokia’s gaming device

strategy. Sauter mentioned that Nokia will release new “game optimized devices” that

feature landscape-oriented screens, game controls, and so forth. Also, some of these devices

will sport ATI hardware video acceleration; Sauter confirmed that this will mean the

bifurcation of the platform between accelerated and non-accelerated games, at least

temporarily.
//有一则关于诺基亚游戏设计的小道消息，来自与诺基亚的采访。Sauter提到诺基亚将会发布新的

“游戏最优设计”，这种设计包括最适合先进的的屏幕，游戏控制，等等。同样，这些设计中的一些

将会支持ATI(Aerial Tuning Inductance天线调谐电感译者注)视频硬件加速；Sauter确信这将意味着

在没有使用加速的游戏和使用了加速的游戏上面的平台分割线，最终将被普及。



Although Sauter cautioned against assuming that hardware acceleration will soon reach the

mass market, he went on to say that he expected accelerated devices to become “a more

visible presence” by 2008. As Sauter put it, Nokia “sees a lot of promise” in high-end

devices, since the company’s data indicates that Series 60 device owners purchase five

times more mobile games than other users; Nokia’s gaming content will be priced at a

“premium” level as well, which has excited Nokia’s publishing and carrier partners.

//尽管Sauter着重指出硬件加速马上就会投入广泛的市场应用，他接着说他希望加速设计在2008年

“变成一个更加现实的存在”。当Sauter拿出来它的时候，诺基亚关于高设计质量“看到了许多保证

”，自从公司的数据显示Series 60平台的拥有者平时购买的手机游戏数目是其他用户的五倍还多；

诺基亚的游戏内容也用“奖金”来吸引玩家，这一措施对诺基亚的出版和吸引用户都是有积极作用的。

Conclusion
//总结

It may be hard to believe that Nokia still has publishing partners after the N-Gage

disaster, but there’s one important thing to remember: the N-Gage may have flopped, but

Nokia is still one of the largest corporations in the world. In fact, it ranks two spots

ahead of Coca-Cola on Forbes Magazine’s latest list! Money can’t buy you love, but it’ll

certainly pay for more chances to win the market’s heart. Nokia is older, wiser, and almost

ready for Round 2. In 2007, they are sure to come out punching.

//很难相信诺基亚依然在N-Gage危机之后依然在寻找合伙人发行游戏，但是有一点很重要，我们需要

记住：N-Gage也许失败，但是诺基亚依然是世界上最大公司之一。事实上，财富杂志最新排名中诺基

亚比可口可乐公司排名还要靠前!钱不能给你买来爱，但是它确实能够买到更多的机遇以赢得市场。

诺基亚更加成熟了，明智了，几乎已经准备好了进行第二轮商战。在2007年，他们准备好了放手一搏。

[Steve Palley is the Founder and Lead Analyst of Foci Mobile, a mobile games consulting

firm. He was previously Chief Editor for Mobile Games at GameSpot and Wireless Gaming

Review.]
//[Steve Palley是Foci手机公司的奠基人和领导人，后者是一家手机游戏模范公司。Steve Palley以前
是GameSpot和无线游戏手机游戏栏目回顾的主编辑]

POSTED: 12.48pm PST, 06/16/06 - Steve Palley - LINK
//发表于：零六年六月十六日，下午十二点四十八分---Steve Palley

欢迎访问my blog:
atian.dpnet.com.cn
本人选择游戏设计作为终生职业，在10年之后，我要加入blizzard设计游戏。
通过漫长的思考设计出伟大的游戏，我想这就是上帝令我存在的意义。
欢迎热爱游戏的朋友们一起来交流，如果你是第一次来到我的blog，推荐你阅读“乐天灵魂的个人简介”。希望我们成为朋友：）

乐天灵魂

这一则是6月22日更新,因为
六月22,23,24我都会在火车上,(从大连到上海,中间还要在沈阳拿档案,要

回郑州看看父母),所以这三天小弟会在火车上狂看科幻世界,没有机会上网,

以后周六周日我会把这三天地英文翻译补回来

GameFly U.S. Game Chart Highlights: Week Ending June 16
//GameFly(美国知名电玩游戏租借通路译者注）的游戏图表聚焦：六月十六日，周末
This week's top rental charts from U.S. game rental company GameFly, representing the most requested games for the week ending June 16, highlights the popularity surrounding video game titles that have been already released, as well as those that are yet to debut.
//这个周末游戏租赁公司GameFly提出的最高游戏租赁费用，包括所有的六月十六日之前

的游戏，聚焦于已经最流行的视频游戏，以及初次登场的游戏。
For the fourth week in a row, the week's top title on the all platform chart was Eidos' Hitman: Blood Money, followed by Take-Two's upcoming Xbox 360 first-person shooter Prey and Sega's action shooter Chromehounds. The same trio of titles also topped the list of the week's most requested Xbox 360 titles.
//整个第四周都在所有的平台图表上出现的游戏名字是《终极刺客：血钱》，紧跟其后的
是Take-Two（游戏厂商译者注）即将发行的Xbox 360第一人称射击Prey和Sega公司的动作

射击游戏《合金猎犬》。这个星期，大多数名列前茅的Xbox360游戏都是这三个大公司合
作的。

乐天灵魂

这一则是小弟在五月二十五日初次尝试翻译的时候写的,就当作23日地更新把
[English articles]NPD: PC Game Revenues $1.4 Billion In 2005 [ 2006-5-25 10:32:57 |  乐天灵魂 ]  

  
NPD: PC Game Revenues $1.4 Billion In 2005
Retail analysts the NPD Group, which tracks U.S. video game retail statistics, has announced the results of its surveys on combined PC retail and digital spending. The survey, using 60,000 respondents, revealed that that PC games had $1.4 billion in revenue in North America in 2005, with online subscriptions to PC games and gaming web sites $344 million of that total.

Interestingly, previous data from NPD had shown $953 million in PC retail sales in 2005, a 14 percent decrease compared to the $1.1 billion generated in 2004, showing that the U.S. PC physical retail market continues to decline in favor of increased digital download/subscription revenue.

When split out, some of the most interesting statistics were as follows: pay for single game subscription titles (such as the major MMOs) has $292 million revenue in 2005, with about 1.4 million paid subscribers, and pay-to-play casual gaming subscription sites saw $52 million revenue in 2005, with about 1.05 million paid subscribers.

The NPD also note that the ratio of female to male online gaming subscribers varied greatly when comparing game-specific to casual gaming, with only 29 percent of females being game-specific subscribers versus 49 percent found to be casual game subscribers. Age is also an important factor, with 87% of casual game players being 25 or older, while 55% of game-specific subscribers are 34 or younger

“While The NPD Group’s retail tracking service shows what appears to be a decline in PC game sales, critical developments in the PC games industry, specifically the Internet, is fundamentally changing the PC software industry,” said NPD analyst Anita Frazier. “With the increase in high speed Internet access, not only are users purchasing their games online, they are also willingly paying additional recurring fees over and above the price of the game to subscribe to services that let them play with others online.”



寝室有个英文好的同学热情的给我讲了这篇文章的大意，之后我总结如下

：

       NPD公司对游戏销售零售业的销售状况进行调查。他们一共使用了6万问卷，

表明pc游戏在北美2005年销售的14亿美元中，网络游戏占其中的3.44亿美元。

     有趣的是，NPD以前的数据表明，2005年的9.53亿零售业，是比2004年的11亿

减少了百分之十四。表明美国pc游戏零售市场的衰退是对网络游戏增长有利的。

分开来看，一些最有意思的统计如下：2005年为游戏付费总收入2.92亿美元，

在1.4亿的一般玩家上有2.92亿美元的收入，1百万正式玩家上有5千二百万的收

入。
      NPD公司同时指出从专业玩家到休闲玩家，男女在线游戏玩家的比率变化很大，

仅有百分之二十九的女性成为游戏专业玩家，而百分之四十九成为休闲玩家。年龄

也是一个很重要的因素，百分之八十七的休闲玩家在二十五岁以上，百分之五十五

的专业玩家在34岁以下。

     “当NPD的零售业调查报告表明PC游戏的零售业有所衰退的时候，PC游戏工业正

在发生急速的变化，尤其是因特网，根本性的改变了PC软件工业。”NPD的分析师

Anita Frazier说。“随着英特网途径高速的变化，用户不只是在线购买游戏的使

用权，他们也想要购买附加的可以在网络对战中间使用的服务。



欢迎访问my blog:
atian.dpnet.com.cn
本人选择游戏设计作为终生职业，在10年之后，我要加入blizzard设计游戏。
通过漫长的思考设计出伟大的游戏，我想这就是上帝令我存在的意义。
欢迎热爱游戏的朋友们一起来交流，如果你是第一次来到我的blog，推荐你阅读“乐天灵魂的个人简介”。希望我们成为朋友：）

乐天灵魂

这是决定在blog上面开english articles栏目的文章,一个月以前.当作六月24日更新吧,25日小弟应该就在上海上网了,呵呵@@

[English articles]english articles 中唯一一篇非英文的文章：） [ 2006-5-22 10:01:43 |  乐天灵魂 ]  

  
           游戏策划，是一个比较新的行业。国外翻译过来的书，有的翻译得很好，如我手上

Tracy Fullerton等著的 《游戏设计工作坊》

        Chris Crawford著《游戏设计理论》

             这2本书从语言上给人感觉还不错。

              但还是赶不上中国人写的书给人感觉那么流畅，叶思义等编著的《游戏设计全方

位学习》，我几乎是一口气读完三分之一@@

             有的书翻译得生涩一些，有些比较好的书，甚至他们还没有来得及翻译。乐天决定

从今天开始，每天争取转载/简评一篇英文短文章，大家一起看着他能不能坚持下来哦：）

           等短评写得多了，我会做一个全面的介绍。

          欢迎爱好游戏或者爱好英语的朋友一起来交流：）

乐天灵魂

~~这是六月22日的更新，小弟在沈阳逗留，买到了直接回家的
车票，由于办档案未遂，没想到还有点闲工夫可以来上网。
在这个阴暗的车站地下网吧，我付出了三块钱的存包费和两元
/小时的高额上网费用（针对于没有维护过的慢电脑），不过这让
我感到远离了炎热，冷漠的现实，进入了美妙的网络，小弟在网上，
就像鱼儿跳到了水里@@
现在是五点三十分，小弟7点火车，吃饭去了~~祝各位也胃口好：）


June 21, 2006
//2006年，六月二十一日

2007 Independent Games Festival Site Launched
//2007年独立游戏节地址敲定
The organizers of the Independent Games Festival (part of the CMP Game Group, as is Gamasutra) have announced the launch of the official 2007 IGF website, with all-new info on the 9th Annual Festival.
//独立游戏节的组织者（Gamasutra作为组织指挥中的一员）声明了2007年IGF官方主页

更新了第九届一年一度的游戏节各种新信息。



In a post on the official site, the organizers have explained the changes for this year, as follows:
//在官方主页上，组织者如下说明了今年所有的变化：

"- the IGF Main Competition, a resounding success in 2006, has received a few minor tweaks (slight category name changes, a demo is mandatory to enter the Audience Award if a finalist), but continues with the $20,000 Seumas McNally Grand Prize, and multiple $2,500 awards for innovative design, audio, technical prowess, art, and best web game. We're really looking forward to entries, and the deadline this year is September 8, 2006 at 11:59pm PDT.
//“IGF(Independent Games Festival独立游戏节译者注)，在2006年赢得了赞扬和成

功，出现了一些不协调音（名字轻微地改变的话，展示在决赛中必须经过观众票选），

但是继续赢得20000美元的IGF大奖，和2500美金的创新设计综合奖金，音频，技术影

响，艺术和最佳网游。我们真正地期待加入竞争，今年报名的最后期限是2006年九月八

日晚11：59之前（美国太平洋时间）
- the IGF Mod Competition, a big hit in its first year, is going even more freeform this year, and allowing mods from any game to compete - from Thief to Half-Life 2 to Oblivion to The Sims and beyond, all mods are eligible. From the entrants, we will pick Best Singleplayer FPS Mod, Best Multiplayer FPS Mod, Best RPG Mod, and Best 'Other' Mod finalists (each a $500 prize), and those winners will show at the 2007 GDC, competing for an overall $5,000 Best Mod prize. Deadline for entrants is October 13, 2006 at 11:59pm PDT.
//独立游戏节修改竞赛，在第一年就带了了很大的冲击，今年更加具有自由度。允许修

改任何游戏来参赛------从神偷到半条命2，到上古卷轴IV：遗忘之都，模拟人生等

等，所有的修改都是允许的。从最新参赛的作者，我们可以发掘出最好的单人第一人称

射击游戏修改者，最佳的联机第一人称射击游戏修改者，最好的角色扮演修改者，和最

好的“其他类”入围决赛的修改者（每个人500美元奖金），那些优胜者将会在2007年

GDC（The Game Developers Conference游戏开发者大会）中展示他们的作品，竞逐最

终的5000美元最佳修改奖。报名的最后期限是2006十月十三日晚11：59之前（美国太平洋时间）.

- the IGF Student Showcase, which continues to be one of the most hotly contested parts of the Festival, continues to honor the ten Student Showcase Winners with $500 travel stipends and an opportunity to show their game at GDC 2007. But we're also adding a $2,500 Best Student Game award, honoring the absolute best student game submitted to the IGF this year. Deadline for entrants this year is November 10, 2006 at 11.59pm PDT.
//独立游戏节学生展示，这继续成为节日的最为热门的竞争部分之一，十个优胜学生作

品将会有500美元的车费和一个在独立游戏开发者大会2007年的大会上展示的机会。但

是我们也增加了一个2500美元的最佳学生游戏奖金，奖励独立游戏节今年最终的冠军，

报名截止于2006年11月10日晚11：59之前（美国太平洋时间）.

In addition to all this, we're pleased to announce that all Independent Games Festival finalists will also be playable in the IGF Pavilion at GDC from March 7-9, 2007, alongside an IGF/indie gaming-themed day of lectures and roundtables on March 6, new for 2007 to help coalesce the IGF community - more information on this will be released at a later date."
//除了这些之外，我们很高兴宣布所有独立游戏节的参赛选手依旧可以参加2007年三月

7~9日独立游戏开发者大会举办的独立游戏节露营，来组成独立游戏公社------更多的

信息会在稍后发布。”


Gamasutra will continue to cover the IGF, including an official press release calling for entries and further information on the indie-themed panels at next year's GDC, over the next few weeks.
//Gamasutra将会继续报道独立游戏节，在未来的几周内，还包括一个官方的核心报道

和对明年的独立游戏开发者大会进一步的独家采访模式。


POSTED: 05.49PM PST, 06/22/06 - Simon Carless - LINK
发表于：06年六月二十二日，下午五点四十九分-Simon Carless

乐天灵魂

6月23日更新
这则新闻中一再提到了Microsoft Live，似乎是一种微软的平台，有人给小弟解释

一下吗？@@

June 20, 2006
//2006年六月二十日

Q&A: Capcom Mobile On The Wright Stuff
//提问与回答：Capcom公司（以制作着名的《街头霸王》系列而着称的Capcom译者注）和

Wright Stuff公司（某经纪公司译者注）的合并
In the first of a series of Q&As with Japanese-headquartered game publishers

making the plunge into the U.S. mobile game biz, we had a chance to talk to

Midori Yuasa, General Manager and Senior Vice President for Capcom

Entertainment's mobile division, about the company's history and plans.
//发行商领导是日本人，但是这样的游戏却打进了美国的手机游戏商业，最初的一系列

问题是关于他们的。我们得到了和Midori Yuasa谈话的机会，他是Capcom娱乐公司手机部

门的主要管理者和资深副总裁。我们询问他关于公司的历史和计划。



Yuasa illuminated on Capcom's general mobile strategy, the recent acquisition

of Canadian cellphone developer Cosmic Infinity, her thoughts on Microsoft Live

Anywhere, and why we'll be seeing U.S.-developed cellphone versions of Super

Puzzle Fighter 2: Network Battle, Phoenix Wright: Ace Attorney and Lost Planet

debuting later this year.
//Yuasa指明了Capcom的主要手机发展方针，最近的对Cosmic Infinity手机开发公司的收

购，她的关于Microsoft Live(微软将Windows Live和Microsoft Office Live统称为

Microsoft Live Platform 译者注)的思考，还有为何我们将会看到美国版的开发手机游戏

版本的超级方块战士2：网络战争， 王牌律师和失落的星球将会在今年年末初次发行。

Gamasutra: Can you tell me a bit about your company’s history in mobile, and

why you decided to enter the mobile arena?
//Gamasutra:你能告诉我关于你的公司手机的历史，还有你为什么决定进入手机这块领域
呢？

MY: Capcom has been publishing mobile games in Japan for more than 5 years.

Last year the company made the decision to leverage this capability in the U.S.

market, so in November we launched the Mobile & Interactive Media division. We

felt that the U.S. market had matured and handsets had advanced to the point

where we could bring realistic translations of popular Capcom brands to market,

without having to have quality suffer.
//MY:Capcom已经在日本发行了五年多的手机游戏了。去年公司决心打入美国市场，所以

在十一月我们组建了手机交互式媒体部门。我们感到美国市场成熟了，手机市场进一步

需要我们带来流行的Capcom品牌的真正解释，没有质量问题。
GS: How does the U.S. market differ from Japan and other Asian markets? What

are some of the difficulties in entering the market?
//GS:从日本市场和其它的亚洲市场到美国市场的转变是如何进行的？是否在进入市场

的时候存在一些困难？

MY: There are several differences between the two markets -- the most

significant being that in Japan there is a more unified platform for

development. In the States we need to port a game for almost every possible

handset and carrier combination. This adds another layer of complexity and cost

to the development process.
//MY:在两个市场之间有很多的不同------最为明显的就是在日本，有一个统一的开发

平台。在美国我们需要为一个游戏实现每一个可能的手机接口和运行结合。这又增加了

开发过程中的一层复杂度和开销。
Another major difference is that in the States distribution is handled almost

exclusively through the carriers, while in most of the rest of the world there

are additional off portal distribution methods available. It therefore becomes

critical in the States to leverage strong brands to assist in garnering

mindshare and good positioning with the carriers.
//另一个主要的不同在于，在美国分配几乎所有的手机运行都是独立的，而世界的其它大

多数地方却不需要额外的分配接口可行方法。因此在美国很迫切地需要一个有影响力的品

牌来协助资源共享和更好地处理运行问题。


GS: Where do you see the mobile gaming industry in five years?
//GS:你认为最近五年的手机游戏工业将走向何方？

MY: Clearly, advances in technology will play a major role. As handsets become

more advanced, we’ll see better looking games and more networked head-to-head

and MMO titles appearing in the space. Also, as Capcom’s roots are in the

console industry, we anticipate more gameplay integration and marketing

synergies between console and mobile platforms.
//MY:很明显,技术的发展将是关键。当手机更加先进的时候，我们将会看到游戏会变得

更好，更多的网络上的白刃战和多人在线标题将会出现。同样，主机游戏作为Capcom的

根基，我们期望更多的综合手机和主机平台的游戏展示和市场协调。



GS: What do you feel are your strongest mobile titles for ’06? What do you

feel are your most powerful franchises?
//GS:你感到你的最棒的06年手机名字是什么？你感到你最为有力的特权是什么？

MY: Capcom is a company that is known for its franchises and it’s difficult to

identify which would be our most powerful ? how can one choose between Mega

Man, Ghost ‘n Goblins, Street Fighter and Resident Evil, to name but a few?
As for our strongest titles for ’06 we’ve already launched Mega Man, Ghost ‘

n Goblins, and Resident Evil: The Missions to critical and commercial success.

We also anticipate great things for Super Puzzle Fighter 2: Network Battle,

Phoenix Wright: Ace Attorney, and Who Wants to Be a Millionaire for the latter

half of the year.
//MY:Capcom是一个以个性著称的公司，很难说我们最强的地方是哪里------你如何从洛克

人,魔界村，街头霸王和生化危机等等游戏中间选择一个最好的？关于我们最有力的06游

戏，我们已经发行了洛克人，魔界村，和生化危机：任务来获得评论和商业成功。我们依

旧期待更好的超级方块战士2：网络战争，逆转裁判：新生的逆转，和下半年发行的百万

富翁。

GS: Are you planning on any new IP for the Western audience specifically or are

you relying on your existing franchises or pick up more Western licenses?
//GS:你是在计划一些为西方顾客特别设计的网络协议吗？或者你在依赖你的特权，或者

得到更多的西方人的许可？

MY: While they’re based on existing IP, Super Puzzle Fighter 2: Network

Battle, Phoenix Wright: Ace Attorney and Lost Planet for mobile are all being

developed by our U.S. development team for this market. Also, with our

acquisition of Cosmic Infinity, we have several games based off of original IP

and well-known entertainment IP in the pipeline.
//MY:不，我们基于已经存在的网络协议。超级方块战士2：网络战争，逆转裁判：新生的

逆转和失落的行星都已经被我们的美国开发小组专门开发了适合这个市场的版本。同样，

在我们的子公司Cosmic Infinity中，用这种途径，我们有些游戏不基于原始网络协议和知

名的娱乐网络协议。





GS: What are your thoughts on Microsoft Live Anywhere?
//GS:你们有关于Microsoft's Live anywhere 平台的思考么？

MY: We’re very excited about this technology and are looking forward to its

implementation. As mentioned above, we already see many possible synergies

between our console and mobile operations. Microsoft’s Live Anywhere appears

to be an ideal platform to help us better realize some of those design

considerations.
//MY:我们对这个技术非常感兴趣，并且在寻找它的实现方法。像以上提到的，我们已经

看到了很多跨手机和主机平台的综合游戏。Microsoft Live's Live Anywhere看起来像是

一个理想的平台，来帮助我们更好地理解一些设计上面的问题。

GS: What are your thoughts on recent mobile mergers and acquisitions?
//GS：你关于最近的手机公司合并怎么看？

MY: Speaking for Capcom, our recent acquisition of Cosmic Infinity puts us into

a very unique position in the market place as it affords us a leadership

position in both casual games through Cosmic Infinity, as well as more

traditional arcade and hardcore games via Capcom’s existing franchises. We

will also be able to take advantage of Cosmic’s production expertise to ensure

an efficient development cycle.
//MY:站在Capcom公司的立场上，我们最近和Cosmic Infinity公司的合并让我们在市场上

处于了一个非常特别的位置，因为Comsimic Infinity在休闲游戏领先，Capcom则更多地

在传统街机和硬件为主的游戏上面领先。我们将会吸收Cosmic的制造专业经验来打造

更有效率的开发流程。
GS: Is there a viable hardcore market for mobile?
//GS:已经有了一个可行的手机内核生产线了么？

MY: We feel that mobile gaming can appeal to both hardcore and casual players

and have divided our portfolio accordingly. Mobile may not be someone’s

primary medium for playing games, but we see it as a viable more-convenient

alternative to handheld gaming systems ? particularly as handset technology

improves.
//MY:我们觉得手机游戏适用硬件核心玩家和休闲玩家。我们以此划分部门，手机可能

不会作为有些人玩游戏的首选，但是我们看到它比手掌游戏机更加便利------尤其是

当手机技术发展了的时候。

GS: As a percentage, how much of your overall production is geared towards

mobile development?
//GS:用百分比来描述，你对手机开发贡献有多大？
MY: As we are a publicly-traded company, I’m not at liberty to discuss a

specific percentage, however I can clearly state that Capcom is dedicated to

the mobile space as evidenced by our recent acquisition of Cosmic Infinity.
//MY:由于我们是一个公开交易的公司，我不能评价讨论百分比的问题，尽管我能够

清晰地表达，Capcom投入手机行业已经被我们最近与Cosmic Infinity公司的合并所证

明了。

GS: What are you looking forward to in mobile gaming within the next year?
//GS:你会在下一年之内期待手机游戏吗？


MY: This is a very exciting time for our company, and we are looking to expand

our business in the coming year and capture and maintain a slot as one of the

top five U.S. mobile game publishers.
//MY:这是一个我们公司非常兴奋的时刻，我们在未来的一年之内扩展我们的商业，将

进入并且保持作为美国手机游戏发行商的前五名。

POSTED: 05.51AM PST, 06/23/06 - Quang Hong - LINK
//发表于：06年6月23日，早上5点51分-Quang Hong
--
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本人选择游戏设计作为终生职业，在10年之后，我要加入blizzard设计游戏。
通过漫长的思考设计出伟大的游戏，我想这就是上帝令我存在的意义。
欢迎热爱游戏的朋友们一起来交流，如果你是第一次来到我的blog，推荐你阅读“乐天灵魂的个人简介”。希望我们成为朋友：）

乐天灵魂

episodic content在倒数第二段中间的意思是什么？小弟翻译成了故事内容，但是

有点拿不准@@

June 23, 2006

//2006年六月二十三日

Steam Stats Surprise Over Episodic Content

//穿越故事内容的统计数据震惊了我们

Representatives from developer Valve have released detailed statistics obtained from the

reporting mechanism for digital download service Steam, relating to the recent release of

Half-Life 2: Episode One.

//Valve(某游戏厂商)的开发者代表发表了数字下载服务装置的细节统计数据流，是关于最近发表的

游戏：半条命2：第一章。

The average total playtime for the game, which is also available through normal retail
channels via Electronic Arts, is 2 hours and 48 minutes, with the average session time given
as 37 minutes and the average completion time 4 hours and 56 minutes. The stats also show
almost 75% of players choosing to use the medium difficult level, with 19% playing on easy
and the rest on hard.

//这个游戏平均的最高游戏时间，即零售的游戏电子艺术效果普通可用时间，是两小时四十八分钟。

平均的开始时间是37分钟，平均的完成时间是四小时五十六分钟。数据表明大概百分之七十五的玩家

会选择使用困难难度来玩，只有百分之十九选择容易难度，剩下的用极难难度。

To even Valve’s apparent surprise, the statistics show that only 22.87% of people who
downloaded Half-Life 2: Episode One actually played through the whole game. Since the
episodic content can be beaten in little more than four or five hours, Valve have suggested
this could in fact be due to a bug in how the data is collected, commenting:

//甚至让Valve公司明显地吃了一惊得就是，数据表明，在下在半条命：第一章的人中，仅仅有百分

之22.87的人最终完成了整个游戏。最终故事内容能在四小时多点或者五小时内被展示。Valve表明这种

情况在事实上是一个数据收集的bug造成的，注释如下：

"Our data suggests that only half of the players that reach the final map have completed the
game. This leads us to believe that either players are quitting before they see the credits,
or there is a bug in how we collect this data.

//“我们的数据表明，在达到最后一张地图的人之中，只有一半完成了游戏。这使得我们相信，要么是

玩家在看到他们想要的故事内容的时候就退出了，要么就是我们在收集这类数据上面出现了失误。


Overall, 753,713 sessions of the game were logged as of press time, with 68.83 percent of
users enabling the resource-heavy HDR (high dynamic range) lighting feature. If accurate,
these statistics paint a useful picture of the types of users and the nature of their play
pattern for episodic content. Similar statistics are expected to be released for Half-Life
2: Episode Two, due this autumn.

//全面地讲，这个游戏被753713条建议认为是赶时间的作品，因为有百分之68.83的用户使用了高动态光

照渲染来照亮环境。如果这正确的话，这些统计勾画出了如下有用画面：这一类用户和他们寻求故事内容

的游戏模式的画面。相似的统计会被用在半条命2：第二章，预计这个秋天发行。

POSTED: 05.42AM PST, 06/24/06 - David Jenkins - LINK

//发表于：06年六月二十四日，上午五点四十二分--David Jenkins
--
欢迎访问my blog:
atian.dpnet.com.cn
本人选择游戏设计作为终生职业，在10年之后，我要加入blizzard设计游戏。
通过漫长的思考设计出伟大的游戏，我想这就是上帝令我存在的意义。
欢迎热爱游戏的朋友们一起来交流，如果你是第一次来到我的blog，推荐你阅读“乐天灵魂的个人简介”。希望我们成为朋友：）