譯者按

這是一個(gè)很長、也很久遠(yuǎn)的故事，這篇宣言可算是這個(gè)故事的開頭。

在閱讀和翻譯時(shí)我感到了一種巨大的錯(cuò)位。

兩位藝術(shù)家 Auriea Harvey 與 Micha?l Samyn 近二十年前，在歐洲創(chuàng)建了 Tale of Tales 這個(gè)藝術(shù)游戲工作室，進(jìn)行著探索游戲邊界的實(shí)驗(yàn)與有著明確原則與方向的創(chuàng)作。

這篇宣言中對(duì)于實(shí)時(shí)藝術(shù)與電子游戲的理解與深刻思索直至今天依舊超前，從創(chuàng)作、故事、設(shè)計(jì)到出版發(fā)行均有涉及。

他們批判保守的商業(yè)游戲，并一針見血地指出「很多商業(yè)游戲中的個(gè)別要素通過技藝或精心制作，產(chǎn)生了藝術(shù)效果，但這整個(gè)產(chǎn)品卻并非藝術(shù)?！埂?/p>

他們對(duì)于當(dāng)代藝術(shù)有一種強(qiáng)烈的不滿，「別做現(xiàn)代藝術(shù)！」他們這樣警告道，「做藝術(shù)-游戲，別做游戲-藝術(shù)」，當(dāng)代藝術(shù)在他們眼中刻薄，自以為是，害怕美好，害怕意義，恐懼技術(shù)，為了被寫入館藏而做而非為人們而做，并且最重要的，當(dāng)代藝術(shù)缺乏技藝（artistry），大部分當(dāng)代藝術(shù)做的藝術(shù)游戲糟蹋了這種早已催生了遠(yuǎn)超現(xiàn)代藝術(shù)交流能力邊界藝術(shù)形式的技術(shù)。

而看著這些依舊超前與準(zhǔn)確的思考而不時(shí)激動(dòng)和感慨的我，卻是在近二十年后的今天才因翻譯而閱讀到，并依然覺得這之于國內(nèi)業(yè)界與藝術(shù)界都是從未有過的成熟思考。

更加諷刺的是， Tale of Tales 早在2015年他們兩人的商業(yè)獨(dú)立游戲作品《SUNSET》失敗后憤然關(guān)閉不再制作商業(yè)游戲作品（新的工作室名叫Song of Songs），這個(gè)作為落日間名字來源的游戲作品成了 Tale of Tales 的落日（And the sun sets…）。

我們?cè)谝呀Y(jié)束故事的開端處感慨與追望。

Tale of Tales（Auriea Harvey & Michael Samyn）

http://tale-of-tales.com/about.php?

Tale of Tales 是 Auriea Harvey 和 Michael Samyn 的電子游戲開發(fā)工作室，成立于2003年。我們的目標(biāo)是為計(jì)算機(jī)互動(dòng)娛樂創(chuàng)造優(yōu)雅和情感豐富的藝術(shù)。

作為藝術(shù)家，我們專注于美和喜悅。我們希望為人們創(chuàng)造藝術(shù)。這就是為什么我們?cè)诰W(wǎng)上、便宜地發(fā)布我們的作品。

作為設(shè)計(jì)師，我們希望電子游戲能像其他媒介一樣多樣且富有意義。我們希望創(chuàng)造出對(duì)玩家和非玩家都有吸引力的游玩體驗(yàn)。我們嘗試設(shè)計(jì)表達(dá)式的界面，通過簡單的操控來達(dá)及引人入勝的詩意敘事。

作品有《SUNSET》《The Graveyard》《THE PATH》《FATALE》《BIENT?T L'éTé》《LUXURIA SUPERBIA》等。

Auriea和 Micha?l 都接受過藝術(shù)訓(xùn)練。Auriea (出生于1971) 在紐約的帕森斯學(xué)院學(xué)習(xí)雕塑，Micha?l 在比利時(shí)根特的 Sint Lucas 學(xué)習(xí)平面設(shè)計(jì)。我們從 Windows 3.1 和 Mac System 7 開始使用電腦。我們1999年在網(wǎng)上相遇，作為圍繞著hell.com域名的在線藝術(shù)家集體的成員。從我們相遇的那天起，我們就一直在合作。起初，作為Entropy8Zuper！為客戶設(shè)計(jì)網(wǎng)站和網(wǎng)絡(luò)藝術(shù)作品。然后擴(kuò)展到其他類型的互動(dòng)項(xiàng)目。自2002年以來，我們一直專注于電子游戲。

2015年，我們放棄了商業(yè)生產(chǎn)，轉(zhuǎn)而將我們的生活全然奉獻(xiàn)給繆斯。我們繼續(xù)探索技術(shù)的奧妙，以追求藝術(shù)和美麗的 Song-of-Songs，2019年，我們從美麗的中世紀(jì)城市比利時(shí)根特搬到了永恒輝煌的羅馬。

嚴(yán)格來說，Tale of Tales 只有兩人。但這也是一段合作的歷史。事實(shí)上，可以說我們把每個(gè)電子游戲作為機(jī)會(huì)來接觸我們所欣賞的有才華的人。有時(shí)候這些人是行業(yè)老兵，但他們往往是才華橫溢的藝術(shù)家，我們認(rèn)為他們能為這個(gè)媒介貢獻(xiàn)獨(dú)特的專業(yè)性。

目前的主要重點(diǎn)是重制我們的首版的《The Endless Forest》。進(jìn)展情況可以在開發(fā)日志中看到。我們?nèi)匀环浅g迎大家在籌款頁面上支持此免費(fèi)游戲的開發(fā)和擴(kuò)展。除此以外，我們還在繼續(xù)進(jìn)行「云中教堂項(xiàng)目」（Cathedral-in-the-Clouds）的工作

譯注

The Endless Forest：在聯(lián)網(wǎng)的如田園般的森林中，奇異的鹿與線上的許多朋友在完美的和諧中快樂地玩耍。這里沒有暴力，沒有聊天，沒有任務(wù)，沒有競爭。發(fā)現(xiàn)遠(yuǎn)古的造物，有機(jī)會(huì)見到森林之神，并感受他們的無限神力。

「云中教堂」項(xiàng)目：一個(gè)數(shù)字藝術(shù)項(xiàng)目。一個(gè)不斷擴(kuò)大的虛擬三維景觀集合的虛擬現(xiàn)實(shí)教堂，供人們沉思。許多這些景觀的靈感來自于宗教圖像，但這種體驗(yàn)無需要信仰。并通過各種媒體單獨(dú)免費(fèi)分發(fā)。

2021年發(fā)布的新作品《Compassie》是其中一部分，來自佛蘭芒語中的憐憫一詞，是 VR 之中的哀悼基督像（pietà） http://cathedral-in-the-clouds.net/Compassie/?

*合作的歷史部分原文處感謝了許多和他們合作的藝術(shù)家，可在原鏈接查看

*為這篇文章與這兩位創(chuàng)作者寫的原按已經(jīng)足以單獨(dú)成文，計(jì)劃未來在新欄目 游戲作者AUTEURS 中另外發(fā)布，此處不多贅述，有興趣提前閱讀的朋友可以在愛發(fā)電上讀到草稿。

*因?yàn)镸anifesto宣言的獨(dú)特性質(zhì)，此處翻譯保留原文對(duì)照，并保持原有排版，空行使用「-」進(jìn)行代替。

*翻譯得到原作者 Auriea Harvey 授權(quán)

*封面來自其作品《BIENT?T L'éTé》，gif 圖來自其實(shí)驗(yàn)創(chuàng)作 CNCNTRC，此外他們有我見過寫得最美的作品簡介。

? ? ? ??

? ??

REALTIME ART MANIFESTO 實(shí)時(shí)藝術(shù)宣言

Auriea Harvey & Micha?l SamynDirectors, Tale of Tales, ram@tale-of-tales.com

Gaming realities: the challenge of digital culture 游戲現(xiàn)實(shí): 數(shù)字文化的挑戰(zhàn)

mediaterra festival of Art and Technology 地中海藝術(shù)科技節(jié)

Athens, 2006 雅典 2006

原文鏈接：http://tale-of-tales.com/tales/RAM.html?

翻譯：葉梓濤

Abstract 摘要

Auriea Harvey and Micha?l Samyn are new media artists who have embraced realtime 3D game technology as their artistic medium of choice. Realtime 3D is the most remarkable new creative technology since oil on canvas. It is much too important to be wasted on computer games alone. This manifesto is a call-to-arms for creative people (including, but not limited to, video game designers and fine artists) to embrace this new medium and start realizing its enormous potential. As well as a set of guidelines that express our own ideas and ideals about using the technology.

Auriea Harvey 和 Micha?l Samyn 是新媒體藝術(shù)家，他們選擇將實(shí)時(shí)3D游戲技術(shù)（realtime 3D game technology）作為其藝術(shù)媒介。實(shí)時(shí)3D是自布面油畫以來最值得注意的新創(chuàng)意技術(shù)。它太重要而不能被僅在電腦游戲上浪費(fèi)。本宣言是對(duì)創(chuàng)意人士的呼吁（包括但不限于游戲設(shè)計(jì)師和純藝術(shù)家），期望能一起擁抱這種新的媒介，并開始實(shí)現(xiàn)其非凡的潛力。同樣這宣言也是表達(dá)我們自己對(duì)使用該技術(shù)想法和理想的準(zhǔn)則。

Realtime 3D is a medium for artistic expression. 實(shí)時(shí)3D是一種藝術(shù)表達(dá)的媒介。

Be an author. 成為一名作者。

Create a total experience. 創(chuàng)造一個(gè)完整的體驗(yàn)

Embed the user in the environment. 將用戶嵌入環(huán)境中

Reject dehumanisation: tell stories. 拒絕非人性化：講故事

Interactivity wants to be free. 交互性希望是自由的

Don’t make modern art. 別做現(xiàn)代藝術(shù)

Reject conceptualism. 拒絕觀念主義

Embrace technology. 擁抱技術(shù)

Develop a punk economy. 發(fā)展一種朋克經(jīng)濟(jì)

Keywords? 關(guān)鍵詞

realtime 3d 實(shí)時(shí)3D

computer games 電腦游戲

interactive storytelling 交互敘事

game design 游戲設(shè)計(jì)

artistry 技藝

non-linearity 非線性

REALTIME ART MANIFESTO 實(shí)時(shí)藝術(shù)宣言

1. Realtime 3D is a medium for artistic expression. 實(shí)時(shí)3D是一種藝術(shù)表達(dá)的媒介。

Games are not the only things you can make with realtime 3D technology.

用實(shí)時(shí)3D技術(shù)并非只能做游戲。

And modification of commercial games is not the only option accessible to artists.

對(duì)商業(yè)游戲進(jìn)行修改(mod)并非藝術(shù)家唯一選項(xiàng)。

-

Realtime 3D is the most remarkable new creative technology since oil on canvas.

實(shí)時(shí)3D是布面油畫后最值得注意的新創(chuàng)意技術(shù)。

It is much too important to remain in the hands of toy makers and propaganda machines.

它太重要了，不能只留在玩具制造商或者宣傳機(jī)器手中。

We need to rip the technology out of their greedy claws and put them to shame by producing the most stunning art to grace this planet so far.

我們需要將此技術(shù)從他們貪婪的手中解救，并且創(chuàng)造出令這些人感到羞愧、且迄今為止最令人驚嘆的藝術(shù)

(And claim the name “game” for what we do even if it is inappropriate.)

（并將我們所做的事物稱作「游戲」，即便其并不恰當(dāng)）

-

Real-time 3d interactives can be an art form unto themselves.

實(shí)時(shí)3D交互本身就可成為一種藝術(shù)形式。

2. Be an author. 成為一個(gè)作者。

Do not hide behind the freedom of the user in an interactive environment to ignore your responsibility as a creator.

不要躲避在「交互性環(huán)境中用戶是自由的」借口背后，而忽略了你作為創(chuàng)造者的責(zé)任。

This only ends in confirming cliches.

這樣做的結(jié)果只會(huì)重復(fù)陳詞濫調(diào)。

Do not design in board room meetings or give marketeers creative power.

不要在董事會(huì)議上做設(shè)計(jì)，也不要給市場人員以創(chuàng)造性的權(quán)力。

Your work needs to come from a singular vision and be driven by a personal passion.

你的作品需要來自于一個(gè)獨(dú)異的構(gòu)想，并由個(gè)人的激情驅(qū)動(dòng)。

Do not delegate direction jobs.

不要把指揮權(quán)授于他人。

Be a dictator.

做一個(gè)獨(dú)裁者。

But collaborate with artisans more skilled than you.

但與其他技能比你更好的手藝者合作。

Ignore the critics and the fanboys.

忽視批評(píng)與擁躉。

Make work for your audience instead.

而為你的受眾做作品。

Embrace the ambiguity that the realtime medium excels in.

擁抱實(shí)時(shí)媒體所擅長的多義性。

Leave interpretation open where appropriate but keep the user focused and immersed the worlds that you create.

在適當(dāng)?shù)牡胤搅粝玛U釋的余地，但讓用戶關(guān)注并沉浸在你所創(chuàng)造的世界中。

-

Commercial games are conservative, both in design as in mentality.

商業(yè)游戲是保守的，無論是設(shè)計(jì)還是思維方式上。

They eschew authorship, pretending to offer the player a neutral vessel to take him or her through the virtual world.

他們回避作者性，假裝給玩家提供一個(gè)中立性的容器來帶他（她）穿過虛擬世界。

But the refusal to author results in a mimicking of generally accepted notions, of television and other mass media.

但對(duì)作者身份的拒斥帶來的是對(duì)電視或其他大眾傳媒那些普遍接受觀念的模仿。

Banality.

平庸。

Reject pure commercialism.

拒絕純粹的商業(yè)主義。

Individual elements of many commercial games made with craft and care produce artistic effects but the overall product is not art.

很多商業(yè)游戲中的個(gè)別要素通過技藝或精心制作，產(chǎn)生了藝術(shù)效果，但這整個(gè)產(chǎn)品卻并非藝術(shù)。

Some commercial games have artistic moments, but we need to go further.

一些商業(yè)游戲有藝術(shù)性的時(shí)刻，但我們需更進(jìn)一步。

Step one: drop the requirement of making a game.

第一步：放棄對(duì)「制作一個(gè)游戲」的要求。

The game structure of rules and competition stands in the way of expressiveness.

規(guī)則和競爭的游戲結(jié)構(gòu)阻礙了表達(dá)。

Interactivity wants to be free.

交互性希望是自由的。

-

Gaming stands in the way of playing.

「游戲」阻礙了「玩」的過程

There are so many other ways of interacting in virtual environments.We have only just begun to discover the possibilities.

在虛擬環(huán)境中有很多其他的交互方式。而我們才剛剛開始探索這些可能。

Games are games.

游戲就是游戲

They are ancient forms of play that have their place in our societies.But they are by far not the only things one can do with realtime technologies.

游戲是「玩」的古老形式，在我們的社會(huì)中占有一席之地。但并非實(shí)時(shí)技術(shù)唯一能做的事。

-

Stop making games.

別做「游戲」了，

Be an author.

做個(gè)作者吧。

-

3. Create a total experience. 創(chuàng)造一個(gè)完整的體驗(yàn)。

Do not render!

不要渲染！

-

All elements serve the realisation of the piece as a whole.

所有要素都是作為整體的部分實(shí)現(xiàn)。

Models, textures, sound, interaction, environment, atmosphere,drama, story, programming

模型，材質(zhì)，聲音，交互，環(huán)境，氛圍，戲劇，故事，編程

are all equally important.

都同等重要。

Do not rely on static renderings.

不要依賴靜態(tài)渲染。

Everything happens in real time. The visuals as well as the logic.

一切都實(shí)時(shí)發(fā)生。包括視覺和邏輯。

Create multi-sensorial experiences.

創(chuàng)造多感官的體驗(yàn)。

Simulate sensorial sensations for which output hardware does not exist (yet).

「模擬」輸出硬件還（尚未）存在的感官感受。

Make the experience feel real

讓體驗(yàn)感覺真實(shí)

(it does not need to look real).

（而并不需要看起來真實(shí)）

Do not imitate other media but develop an aesthetic style that is unique.

不要模仿其他媒體，而是發(fā)展一種獨(dú)特的美學(xué)風(fēng)格。

Make the activity that the user spends most time doing the most interesting one in the game.

讓用戶花費(fèi)時(shí)間最多的活動(dòng)成為游戲中最有趣的那個(gè)。

It’s not about the individual elements but about the total effect of the environment.

其各部分的總和。

The sum of its parts.

這并不是關(guān)于個(gè)別要素，而是環(huán)境的總體效果。

In the end the work is judged by the quality of authorship

最終，作品的評(píng)判應(yīng)以整體作者性的質(zhì)量

and not by its individual elements.

而非個(gè)別要素。

Models, textures, sound, interaction design, environment design, atmosphere, drama, story, programming.

模型，材質(zhì)，聲音，交互設(shè)計(jì)，環(huán)境，氛圍，戲劇，故事，程序。

Together without hierarchy.

無層次地匯聚。

No element can be singled out. All are equally important.

沒有一個(gè)要素能被分離出來。所有都同等重要。

Create a simulated multi-sensorial experience.

創(chuàng)造一個(gè)模擬的多感官體驗(yàn)。

Not only a picture.

而不只是一張照片。

Or only a game.

或只是一個(gè)游戲。

Or only a soundtrack.

或只是一段音軌。

4. Embed the user in the environment. 將用戶嵌入環(huán)境中

The user is not disembodied in virtual space?

用戶在虛擬空間中不是 非具身的

but takes the body into the experience.?

而是把身體帶入了體驗(yàn)。

The avatar is not a neutral vessel but allows the user to navigate?

化身并非中立的容器，而是使用戶得以探索?

not only through the virtual space?

不僅探索虛擬空間?

but also through the narrative content.?

也包括敘事內(nèi)容

Interaction is the link between the user and the piece.

交互是用戶和作品之間的聯(lián)系。?

Provide for references

提供參照?

(both conceptual and sensorial)

包括概念上和感知上

to connect the user to the environment.

將用戶與環(huán)境連接?

Reject abstraction.

拒絕抽象。?

Make the user feel at home.

讓用戶有家的感覺?

(and then play with his

（按照他?

or her

或她?

expectations

的期望來玩?

-just don’t start with alienation,

只要不從異化/疏離開始。?

the real world is alienationg enough as it is)

現(xiàn)實(shí)世界已經(jīng)足夠異化/疏離了）

Reject the body-mind duality.

拒絕身心的二元對(duì)立?

The user is the center of the experience.

用戶是體驗(yàn)的中心?

Think “architecture”, not “film”.

想想「建筑」，而非「電影」

Interaction is pivotal

交互是關(guān)鍵?

to “put the user in the environment”.

對(duì)于「將用戶放在環(huán)境中」?

The user is not disembodied but is provided with a device

用戶并不是「非具身」的，而是被提供了一個(gè)設(shè)備?

(similar to a diving suit or astronaut’s outfit)

（類似于潛水服或宇航員的裝備）?

which allows him

它允許他?

or her

或她?

to visit a place that would otherwise not be accessible.

來到一個(gè)除此之外無法進(jìn)入的地方?

You bring your body with you to this place,

你帶著你的身體來到這里，?

or at least your memories of it.

或至少是你對(duì)身體的記憶。

Strictly speaking, our output media only allow for the reproduction of visuals and sound .

嚴(yán)格說來，我們的輸出媒體只允許視覺和聲音的再造。?

But real-time interaction and processing can help us to achieve simulation of touch, smell and taste as well, through visuals and sound.

但實(shí)時(shí)交互和處理可以幫助我們通過視覺和聲音也實(shí)現(xiàn)對(duì)觸覺、嗅覺和味覺的模擬。?

In fact, force feedback already provides for a way to communicate with touch.

事實(shí)上，力反饋已提供了一種以觸摸交流的方式。?

And the activity of fingers on the mouse or hands holding a joystick allows for physical communication.

而手指在鼠標(biāo)上或搖桿上的活動(dòng)可以實(shí)現(xiàn)身體的交流。?

Don’t underestimate this connection.

不要低估這種連接。?

From the USB port to the joystick. Through the hand to the nervous system.

從 USB 端口到搖桿。通過手到神經(jīng)系統(tǒng)。?

One network.

是一個(gè)網(wǎng)絡(luò)。

Soon as smell and taste can be reproduced, those media can quickly be incorporated into our technology.

很快，嗅覺和味覺可以被再造，這些媒介可以很快被納入我們的技術(shù)。

The virtual place is not necessarily alien.

虛擬之地并非一定是陌異的。?

On the contrary:

恰恰相反?

It can deal with any subject.

它能夠處理任何主題?

References to the real world

對(duì)現(xiàn)實(shí)世界的參照?

(of nature as well as culture)

（包括自然與文化）

(both conceptual and sensorial)

（包括概念性與感官性的）?

create links between the environment and the user.

在環(huán)境與用戶之間創(chuàng)造連接?

Since interaction is pivotal, these links are crucial.

由于交互是關(guān)鍵，這些連接也至關(guān)重要的。

-

Make it feel real, not necessarily look real.

讓它感覺真實(shí)，而不一定是看起來真實(shí)。

Develop a unique language for the realtime 3D medium and do not fall in MacLuhan’s trap

為實(shí)時(shí)3D媒介發(fā)展一種獨(dú)特的語言，不要落入麥克盧漢的陷阱

(don’t allow any old medium to become the content of the new)

（不要讓任何舊媒介成為新媒介的內(nèi)容）?

Imitate life and not photography, or drawings, or comic strips or even old-school games.

模仿生活，而非攝影，或繪畫，或漫畫，甚至老式的游戲。?

Realism does not equal photo -realism!

現(xiàn)實(shí)主義不等于照片-寫實(shí)主義！?

In a multisensory medium, realism is a multisensory experience:

在一個(gè)多感官的媒介中，現(xiàn)實(shí)主義也是一種多感官的體驗(yàn)：

It has to feel real.

它必須讓人感覺真實(shí)

5. Reject dehumanisation: tell stories. 拒絕非人性化：講故事

Stories ground people in culture,

故事為人們?cè)谖幕刑峁┗祝?/p>

(and remove the alienation that causes aggression)

(并消除導(dǎo)致攻擊性的疏離）?

stimulate their imagination,

激發(fā)他們的想象力

(and therefore improve the capability to change)

（并因此提高改變的能力）?

teach them about themselves

讓他們了解自己?

and connect them with each other.

并使他們相連。?

Stories are a vital element of society.

故事是社會(huì)至關(guān)重要的元素。

Embrace non-linearity.

擁抱非線性?

Let go of the idea of plot.

放棄情節(jié)的想法。?

Realtime is non-linear.

實(shí)時(shí)性是非線性的。?

Tell the story through interaction.

通過交互來講述故事。?

Do not use in-game movies or other non-realtime devices to tell the story.

不要使用游戲中的電影或其他非實(shí)時(shí)的手法來講述故事。?

Do not create a “drama manager”: let go of plot!

不要?jiǎng)?chuàng)建一個(gè)「戲劇管理器」：放開對(duì)情節(jié)的控制！?

Plot is not compatible with realtime.

情節(jié)與實(shí)時(shí)性不相容。

-

Think “poetry”, not “prose”.

想想「詩」，而非「散文」

The ancient Greek philosopher Aristotle recognized six elements in Drama.

古希臘哲學(xué)家亞里士多德認(rèn)識(shí)到戲劇的六要素?

PLOT

情節(jié)?

what happens in a play, the order of events,

戲劇中發(fā)生的事情，以及事件的順序。?

is only one of them.

只是其中之一。?

Next to plot we have

在情節(jié)之外，我們還有?

THEME

主題?

or the main idea in the work

或者說作品主要的想法?

CHARACTER

角色?

or the personality or role played by an actor

或者說由演員所表演的人物或角色?

DICTION

言辭?

the choice and delivery of words

詞語的選擇和傳達(dá)?

MUSIC/RHYTHM

音樂/節(jié)奏?

the sound, rhythm and melody of what is being said

被說出內(nèi)容的聲音、節(jié)奏與旋律。?

SPECTACLE

景觀?

the visual elements of the work.

作品的視覺要素?

All of these can be useful in non-linear realtime experiences. Except plot.

所有的這些都可以在非線性的實(shí)時(shí)體驗(yàn)中發(fā)揮作用，除了情節(jié)。

But the realtime medium offers additional elements that easily augment or replace plot.

但實(shí)時(shí)媒體提供了額外的要素可以很容易地補(bǔ)充或替代情節(jié)?

INTERACTIVITY

交互性?

the direct influence of the viewer on the work

觀者對(duì)于作品的直接影響

IMMERSION

沉浸?

the presence of the viewer in the work

觀者在作品中的在場?

AN AUDIENCE OF ONE

一個(gè)人的觀眾?

every staging of the work is done for an audience of a single person in the privacy of his

作品每次都是為了這單人的觀眾而上演，私密地在他 or her

或者她 home.

的家中。

These new elements add the viewer as an active participant to the experience.

這些新的元素將觀者作為體驗(yàn)的一個(gè)積極參與者。?

This is not a reduction of the idea of story but an enrichment.

這不是對(duì)故事想法的削弱，而是一種豐富。?

Realtime media allow us to tell stories that could not be told before.

實(shí)時(shí)媒體使我們能夠講述過去無法講述的故事。

Many of the mythical fantasies about art can now be made real.

許多關(guān)于藝術(shù)如神話般的幻想現(xiàn)在能成為現(xiàn)實(shí)。?

Now we can step into paintings and become part of them.

現(xiàn)在我們能走進(jìn)畫中，成為它們的一部分。?

Now sculptures can come alive and talk to us.

現(xiàn)在，雕塑能活過來，與我們對(duì)話。?

Now we walk onto the stage and take part in the action.

現(xiàn)在我們走到了舞臺(tái)上，參與到演出中。?

We can live the lives of romance characters.

我們能體驗(yàn)浪漫人物的生活。?

Be the poet

成為詩人?

or the muse.

或繆斯。

-

Do not reject storytelling in realtime because it is not straightforward.

不要因?yàn)樗恢苯泳途芙^在實(shí)時(shí)中講故事。?

Realtime media allow us to make ambiguity and imagination active parts of the experience.

實(shí)時(shí)媒體使我們能夠?qū)⒍嗔x性與想象力成為體驗(yàn)的積極部分。?

Embrace the ambiguity:

擁抱多義性：?

it is enriching.

它是充實(shí)的。?

The realtime medium allows for telling stories that cannot be told in any other language.

實(shí)時(shí)媒體允許講述那些用任何其他語言都無法講述的故事。

But realtime is not suitable for linear stories:

但實(shí)時(shí)性不適合線性故事。

Embrace non-linearity!

擁抱非線性!?

Reject plot!

拒絕情節(jié)!

Realtime is a poetic technology.

實(shí)時(shí)是一種詩意的技術(shù)。?

Populate the virtual world with narrative elements that allow the player to make up his or her own story.

在虛擬世界中填充敘事元素，使玩家能夠組織他/她自己的故事。?

Imagination moves the story into the user’s mind.

想象使得故事進(jìn)入用戶腦海。?

It allows the story to penetrate the surface and take its place amongst the user’s thoughts & memories.

它使得故事穿透表面并在用戶的思想和記憶中占有一席之地。

The bulk of your story should be told in realtime, through interaction.

你的故事主體應(yīng)通過交互，在實(shí)時(shí)中被講述。?

Do not use in-game movies or other devices.

不要使用游戲中的電影或其他手法。?

Do not fall back on a machine to create plot on the fly:

不要求助于機(jī)器來隨意創(chuàng)造情節(jié)。

let go of plot,

放開情節(jié)。?

plot is not compatible with realtime.

情節(jié)與實(shí)時(shí)性不相容。

-

Do not squeeze the realtime medium into a linear frame.

不要把實(shí)時(shí)媒介擠壓到一個(gè)線性框架中。?

Stories in games are not impossible or irrelevant, even if “all that matters is gameplay”.

游戲中的故事并非不可能或不相干，即使 「最重要的是玩法」。?

Humans need stories and will find stories in everything.

人類需要故事，并會(huì)在一切中發(fā)現(xiàn)故事?

Use this to your advantage.

讓其成為你的優(yōu)勢(shì)

Yes, “all that matters is gameplay”,

是的，「玩法十分重要」?

if you extend gameplay to mean all interaction in the game.

如果你把玩法的涵義擴(kuò)展到游戲中所有互動(dòng)的話?

Because it is through this interaction that the realtime medium will tell its stories.

因?yàn)檎峭ㄟ^這種交互，實(shí)時(shí)媒介將講述它的故事。

-

The situation is the story.

情境就是故事。?

Choose your characters and environment carefully

精心選擇你的角色與環(huán)境?

so that the situation immediately triggers narrative associations in the mind of the user.

以便情境能夠馬上激起用戶腦中敘事性的聯(lián)想

-

6.Interactivity wants to be free. 交互性希望是自由的

Don’t make games.

不要做游戲。

The rule-based structure and competitive elements in traditional game design stand in the way of expressiveness.

傳統(tǒng)游戲設(shè)計(jì)中基于規(guī)則的結(jié)構(gòu)和競爭要素阻礙了表達(dá)性。?

And often, ironically, rules get in the way of playfulness

而且，具有諷刺意味的，規(guī)則往往阻礙了玩樂。

(playfulness is required for an artistic experience!).

（玩樂對(duì)于一段藝術(shù)體驗(yàn)來說是必要的！）

-

Express yourself through interactivity.

通過交互性來表達(dá)你自己。

Interactivity is the one unique element of the realtime medium.

交互性是實(shí)時(shí)媒介的一個(gè)獨(dú)特元素。?

The one thing that no other medium can do better.

是其他媒介無法做得更好的事情。?

It should be at the center of your creation.

它應(yīng)成為你創(chuàng)作的中心。

Interactivity design rule number one:

交互性設(shè)計(jì)規(guī)則一：?

the thing you do most in the game, should be the thing that is most interesting to do.

你在游戲中做得最多的事，應(yīng)該也是最有趣的那個(gè)。

i.e., If it takes a long time to walk between puzzles, the walk should be more interesting than the puzzles.

也就是說，如果在謎題間的行走需要很長時(shí)間，那行走應(yīng)比謎題更有趣。

7.Don’t make modern art. 別做現(xiàn)代藝術(shù)

Modern art tends to be ironical, cynical, self referential, afraid of beauty, afraid of meaning

現(xiàn)代藝術(shù)往往是諷刺的、憤世嫉俗的、自我指涉的、害怕美好、害怕意義的?

-other than the trendy discourse of the day-,

——除了當(dāng)下的時(shí)髦話語外——?

afraid of technology, anti-artistry.

害怕技術(shù)，反對(duì)技藝?

Furthermore contemporary art is a marginal niche.

此外當(dāng)代藝術(shù)是一個(gè)邊緣化小生態(tài)?

The audience is elsewhere.

觀眾都在其他地方?

Go to them rather then expecting them to come to the museum.

去找他們，而不是盼望著他們來博物館?

Contemporary art is a style, a genre, a format.

當(dāng)代藝術(shù)是一種風(fēng)格，一種類型，一種格式?

Think!

想想吧！

Do not fear beauty.

別害怕美。?

Do not fear pleasure.

別害怕愉悅

-

Make art-games, not game-art.

做藝術(shù)-游戲，別做游戲-藝術(shù)?

Game art is just modern art

游戲藝術(shù)只是現(xiàn)代藝術(shù)?

-ironical, cynical, afraid of beauty, afraid of meaning.

諷刺、憤世嫉俗、害怕美好、害怕意義。

It abuses a technology that has already spawned an art form capable of communicating far beyond the reach of modern art.

它糟蹋了一種早已催生了遠(yuǎn)超現(xiàn)代藝術(shù)交流能力邊界的藝術(shù)形式的技術(shù)，?

Made by artists far superior in artistry and skills.

而這由那些在技藝與能力上遠(yuǎn)遠(yuǎn)勝出的的藝術(shù)家制作。

Game art is slave art.

游戲-藝術(shù)是奴隸的藝術(shù)

-

Realtime media are craving your input, your visions.

實(shí)時(shí)媒體正期望你的投入，你的愿景。?

Real people are starving for meaningful experiences.

真實(shí)的人正渴望充滿意義的體驗(yàn)。?

And what’s more:

而且，更重要的是。

-

Society needs you.

社會(huì)需要你

-

Contemporary civilisations are declining at an unsurpassed rate.

當(dāng)代文明正飛速衰落。?

Fundamentalism.

原教旨主義。?

Fascism.

法西斯主義。?

Populism.

民粹主義。?

War.

戰(zhàn)爭。?

Pollution.

污染。?

The world is collapsing while the Artists twiddle their thumbs in the museums.

世界在崩塌，而「藝術(shù)家」們卻在博物館里無所事事。

Step into the world.

踏入世界中?

Into the private worlds of individuals.

進(jìn)入到個(gè)體的私人世界?

Share your vision.

分享你的愿景

Connect.

連接?

Connect.

連接?

Communicate.

溝通

8. Reject conceptualism. 拒絕觀念主義

Make art for people,

為人們制作藝術(shù)?

not for documentation.

而不是為了被收錄記載?

Make art to experience

為了體驗(yàn)而制作藝術(shù)?

and not to read about.

而不是為了被閱讀?

Use the language of your medium to communicate all there is to know.

使用你媒介的語言來溝通一切需要了解的東西。?

The user should never be required to read a description or a manual.

用戶不應(yīng)被要求閱讀說明或指南。

Don’t parody things that are better than you.

不要戲仿那些比你做得更好的東西。

Parodies of commercial games are ridiculous if their technology, craft and artistry do not match up with the original.

如果商業(yè)游戲的戲仿者的技術(shù)、工藝和技藝不能與原作相提并論，那十分可笑的。

Don’t settle yourself in the position of the underdog: surpass them!

不要把自己放置在弱者的位置上：超越他們！?

Go over their heads!

讓他們難以理解！?

Dominate them!

影響他們！?

Show them how it’s done!

向他們展示應(yīng)如何做到！

Put the artistry back in Art.

讓技藝回歸藝術(shù)?

Reject conceptualism.

拒絕觀念主義?

Make art for people, not for documentation.

為人們做藝術(shù)，而不是為了被收錄記載?

Make art to experience and not art to read about.

為了體驗(yàn)而不是閱讀制作藝術(shù)

Use the language of your work to communicate its content.

用你作品的語言來傳達(dá)其內(nèi)容。

-

The audience should never be required to read the description.

觀眾不應(yīng)被要求去閱讀描述。?

The work should communicate all that is required to understand it.

作品應(yīng)傳達(dá)它所需被理解的一切。

-

9. Embrace technology. 擁抱技術(shù)

Don’t be afraid of technology,

別害怕技術(shù)?

and least of all, don’t make art about this fear.

尤其別做關(guān)于這種恐懼感的藝術(shù)?

It’s futile.

這是徒勞的?

Technology is not nature. Technology is not god.

技術(shù)不是自然。技術(shù)不是神?

It’s a thing.

它就是個(gè)東西?

Made for people by people.

由人制造給人?

Grab it. Use it.

抓住它。使用它。

-

Software is infinitely reproducible and easy to distribute.

軟件可以無限復(fù)制且容易進(jìn)行分發(fā)?

Reject the notion of scarcity.

拒絕稀缺性的概念。?

Embrace the abundance that the digital allows for.

擁抱數(shù)字帶來的豐饒?

The uniqueness of realtime is in the experience.

實(shí)時(shí)的獨(dú)特性就在于體驗(yàn)。

-

Cut out the middle man: deliver your productions directly to the users.

去掉中間人：將你的作品直接交付給用戶?

Do not depend on galleries, museums, festivals or publishers.

不要依賴畫廊、博物館、藝術(shù)節(jié)或發(fā)行商

-

Technology-based art should not be about technology:

基于技術(shù)的藝術(shù)不應(yīng)是關(guān)于技術(shù)?

it should be about life, death and the human condition.

它應(yīng)該是關(guān)于生命、死亡和人的境況。

-

Embrace technology, make it yours!

擁抱技術(shù)，讓它成為你的！

Use machines to make art for humans, not vice versa.

用機(jī)器為人類創(chuàng)造藝術(shù)，而不是相反。

Make software!

制作軟件！?

Software is infinitely reproducable

軟件是無限可復(fù)制的

(there is no original; uniqueness is not required

（沒有原件；不需要獨(dú)一性?

-the uniqueness is in the experience)

獨(dú)一的是體驗(yàn)）

Distribution of software is easy through the internet or portable data containers

軟件的分發(fā)很容易通過互聯(lián)網(wǎng)或移動(dòng)數(shù)據(jù)存儲(chǔ)器進(jìn)行

(no elitism; no museums, galleries, or festivals; from creator to audience without mediation -and from the audience back to the creator, through the same distribution media)

(沒有精英主義；沒有博物館、畫廊或節(jié)日；從創(chuàng)造者到受眾，以及從觀眾到創(chuàng)造者沒有中介，都通過同樣的分發(fā)媒介。）

-

10. Develop a punk economy. 發(fā)展一種朋克經(jīng)濟(jì)

Don’t shy away from competition with commercial developers.

不要回避與商業(yè)開發(fā)者的競爭。?

Your work offers something that theirs does not:

你的作品提供了他們所沒有的東西：?

originality of design,

設(shè)計(jì)的獨(dú)創(chuàng)性，?

depth of content,

內(nèi)容的深度，?

alternative aesthetics.

另類美學(xué)?

Don’t worry about the polish too much.

別太擔(dān)心打磨度的問題?

Get the big picture right.

把握好大局

-

“Reduce the volume, Increase the quality and density”?

「降低體量，提高質(zhì)量與密度」

(Fumito Ueda)

（上田文人）

Make short and intense games:

制作短而強(qiáng)力的游戲?

think haiku, not epic.

想想俳句，而非史詩?

Think poetry, not prose.

想想詩歌，而非散文

Embrace punk aesthetics.

擁抱朋克美學(xué)

-

But don’t become too dependent on government or industry funding:

不要過于依賴于政府或行業(yè)資金?

it is unreliable.

它是不可靠的?

Sell your work directly to your audience.

將你的作品直接賣給你的受眾?

And use alternative distribution methods that do not require enormous sales figures to break even.

并使用不需要巨大的銷售量就能實(shí)現(xiàn)收支平衡的其他經(jīng)銷方式。

-

Consider self-publishing and digital distribution.

考慮自出版與數(shù)字分發(fā)。?

Avoid retail and traditional games publishers.

避免零售和傳統(tǒng)游戲發(fā)行商。?

Together they take so great a cut

他們共同拿走了如此大的份額?

that it requires you to sell hundreds of thousands of copies to make your production investment back.

以至于你需要賣出幾十萬份拷貝才能賺回你的開發(fā)投入。

Do not allow institutional or economic control of your intellectual property, ideas, technology and inventions .

不要讓制度性或利益控制你的知識(shí)產(chǎn)權(quán)、想法、技術(shù)與發(fā)明。

Don’t depend on government support or the arts world exclusively.

不要僅依賴于政府支持或藝術(shù)界。?

Sell your games!

賣你的游戲！?

Communicate with your audience directly:

與你的受眾直接溝通：?

cut out the middle man.

去掉中間人。?

Let the audience support your work.

讓受眾支持你的工作

-

Communicate.

溝通。

References 參考

Aristotle’s Six Elements of Drama 亞里士多德的戲劇六要素 http://www.kyshakes.org/Resources/Aristotle.html

Fumito Ueda & Kenji Kaido: Game Design Methods of ICO 上田文人&海道賢仁，ICO的游戲設(shè)計(jì)法 http://tale-of-tales.com/tales/ueda/

Realtime Art Manifesto presentation slides. 實(shí)時(shí)藝術(shù)宣言的幻燈片? http://tale-of-tales.com/tales/RAM_files/ToT-RAM_presentation.zip?

?

日 | 落譯介計(jì)劃是媒體實(shí)驗(yàn)室落日間對(duì)一些有助于思考游戲/電子游戲的外文文本翻譯和推薦/索引計(jì)劃。（點(diǎn)擊原文或查看網(wǎng)站xpaidia.com/sunset-project/）

*更新：新推薦了郭娟譯文：Adam Jasper 哈倫·法羅基最后的項(xiàng)目 The Last Project of Harun Farocki (2017)《游戲手冊(cè)》耿游子民譯文：Olli Sotamaa 作為人工制品的電子游戲 Artifact (2013) TaoistPunk 譯文：Espen Aarseth 一種游戲敘事理論 A Narrative Theory of Games (2012) 與 Ella Hoeppner 規(guī)劃擾亂 Plan Disruption (2017)

落日間是一個(gè)探索「何為游戲」與「游戲何為」的媒體實(shí)驗(yàn)室。

感謝朋友們：@小雨 @阿偉 @11 @昕仔 @某小熊貓貓 @少楠 @Bob傅豐元 @小河shan @希辰Xichen @小樂 @DC @Bynn @webber @紳士凱布雷克 @侯晨鐘 @Minke @Roam @兜&敏 @KIDD @菲茲 @喵嗚 @李喆 @特特 @Skellig @阿和 @某大王akak1dD @solsticestone @魚片與花卷 @Stoney @樹袋熊 @MrNewton @鴨脖拉罕 @松果 @五香丸子@紀(jì)華裕 @李朵拉@WhiteO2 的在愛發(fā)電的大力贊助及所有關(guān)注者的支持?。海?/p>