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重新開始最讓人感覺緊張了。如果你像我一樣，在截止日期的前一天把作業(yè)刪除了，或者如果當(dāng)您在上班路上一小時(shí)了，發(fā)現(xiàn)你把錢包放在家里而且必須回去拿的時(shí)候,如果你在賭場贏了些錢，然后把這些錢都押紅，但結(jié)果都是黑數(shù)。如果你在婚禮前干洗了你最好的襯衫，結(jié)果立刻就把食物掉在上面。如果你在和朋友的辯論中獲勝，然后發(fā)現(xiàn)你們只是回到最初的觀點(diǎn)，重新開始比開始更難。如果你還沒有準(zhǔn)備好，比如你已經(jīng)度過了糟糕的一天，那么你將要經(jīng)歷的事情可能太多了。你可自由來去，我會一直在這。

好的，謝謝你和我一起開始這次旅程。無論你何時(shí)想休息我都會表示理解……你只要找一個(gè)安全的地方停下來，然后退出游戲。不用擔(dān)心，我會一直保存你的進(jìn)度，甚至你的錯(cuò)誤。

這個(gè)游戲意欲向2002年推出的免費(fèi)游戲《迷人遠(yuǎn)足》致敬。它的創(chuàng)作者是當(dāng)時(shí)被稱為B類游戲之父的捷克神秘設(shè)計(jì)師Jazzuo。B類游戲是偶然發(fā)現(xiàn)物品的粗糙集合，設(shè)計(jì)師們非?？焖俣S意地將它們拼湊在一起，這類游戲通常很粗糙，很不友好，以至于沒有很多追隨者。創(chuàng)造它們更多是為了享受創(chuàng)造的過程，而不是為了精雕細(xì)琢。從某種程度上，《迷人遠(yuǎn)足》是一個(gè)B類游戲的完美體現(xiàn)。它幾乎完全是由被發(fā)現(xiàn)的和回收的零件構(gòu)成的，是那個(gè)時(shí)代最不尋常和不受歡迎的游戲之一。游戲里，你的任務(wù)僅僅是利用大錘拽著自己爬上山頂。在數(shù)字世界或現(xiàn)實(shí)生活中，攀巖都具有某種本質(zhì)特性，這賦予了此類游戲獨(dú)特屬性。前進(jìn)的進(jìn)程無法保證;有些懸崖太陡峭或太滑了。因此玩家一直處于墜落懸崖和失去一切的危險(xiǎn)之中。

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??? 無論如何，當(dāng)你開始玩《迷人遠(yuǎn)足》，你會站在一棵樹的旁邊，這棵樹擋住了去往游戲的其余地方的道路。你可能耗費(fèi)一個(gè)小時(shí)才能越過這棵樹。很多人都一直沒有越過它。你戳它，頂它，探索你能觸及到的最遠(yuǎn)范圍和力量的極限，試圖找到越過它的方法。有一種真理叫做不妥協(xié)。電子游戲中的大多數(shù)障礙是假的-一旦你掌握了正確的方法和工具，或者只是耗費(fèi)了足夠的時(shí)間，你完全可以相信自己有能力穿過這些障礙。從這個(gè)意義上說，《迷人遠(yuǎn)足》中的每個(gè)像素化障礙都是真實(shí)的。

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???? 《迷人遠(yuǎn)足》中的障礙是不屈不撓的，這使得游戲變得格外令人沮喪。但是我不確定Jazzuo當(dāng)初是否打算做這樣一個(gè)令人沮喪的游戲——挫折對于攀登來說是必不可少的，而且對于構(gòu)建攀巖游戲的過程來說是真實(shí)的。當(dāng)我在創(chuàng)建這座山時(shí)，發(fā)生了一件有趣的事情：我打算設(shè)置一個(gè)障礙，我要建造它，測試它以及……這通常會變得異常艱難。但是我無法讓它變得容易一點(diǎn)。似乎我無法擺脫新的障礙是我作為一個(gè)玩家的過錯(cuò)，而不是作為一個(gè)創(chuàng)建者的錯(cuò)誤。虛擬山脈在我們不斷攀登的努力下創(chuàng)建出來，就是我們反復(fù)登頂?shù)膰L試將這些山脈變得真實(shí)。

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??? 你是用自己的想法在構(gòu)建電子游戲的世界。這就像速凝水泥。你把想法塑成可以創(chuàng)造出的某種形狀，在塑形的過程中,它們開始變硬、成型，直到不能改變，就像巖石一樣。那時(shí)，你不能改變世界——除非把它分解成碎片，用新的想法重新開始塑造。

??? 多年以來，人們一直在預(yù)測，游戲很快會由預(yù)制的物品制成，在商店里購買，并被組裝成一個(gè)世界。大多數(shù)情況下，這并沒有發(fā)生，因?yàn)樯痰曛械奈锲肥菑U物。我并不是指它們看起來很糟糕，或者它們制作得很糟糕，雖然其中很多是這樣的。我的意思是說在某種方式下它們是廢物，比如把食物放入水槽，它就變成垃圾。在某種情況下，事物用作消耗，時(shí)間一過，它們就變成垃圾。在技術(shù)的背景下，這些轉(zhuǎn)變轉(zhuǎn)瞬即逝。

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隨著時(shí)間的推移，我們向被稱為互聯(lián)網(wǎng)的巨大數(shù)字垃圾填埋場傾倒了越來越多的垃圾?，F(xiàn)在，無論是在數(shù)量還是重量上，這個(gè)垃圾填埋場里的東西遠(yuǎn)遠(yuǎn)超過了那些新鮮的、未被污染的和未被利用的東西。當(dāng)我們周圍的一切都是文化垃圾時(shí)，垃圾成為了新的媒介，成為了數(shù)字時(shí)代的通用語言。你用垃圾創(chuàng)建文化，也只能有垃圾文化: B類游戲、B類電影、B類音樂、B類哲學(xué)。也許這就是數(shù)字文化。一個(gè)巨大的垃圾山，也是創(chuàng)造力源泉的灰堆。這個(gè)垃圾填埋場，擁有著我們所能想到的所有東西，巨大，無窮，無序。

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???? 還有一些早餐的3D模型，X時(shí)代人的同人小說，掃描的雜志，綠色屏幕Shia leBoeuf, 視頻里的禁煙場景，F(xiàn)acebook的逼真馬蠅，沒牌子的廣告，Kanye的即時(shí)攝影，Taylor Swift插件，Epic Eail上的車禍照片，俄國行車記錄儀視頻，關(guān)于Mc Ribs的討論。遺棄的，被遺忘的,不能循環(huán)易用的，混亂的，腐爛的，無權(quán)力的。一切只新鮮了大約六秒鐘，直到一些新的東西到來，我們刷新。堅(jiān)持了多年的東西成堆的消失，過時(shí)了，看不見了。在這種情況下，做出友好的內(nèi)容是很吸引人的……這很溫和，讓你通過它生產(chǎn)，但不賺錢。為什么要高要求做事，如果事情只是在垃圾場堆積，陸續(xù)增加無用的東西？

當(dāng)游戲新出，他們想從你身上得到很多東西。威嚇你,嘲弄你，打亂和延誤你的安排。玩家們過去很堅(jiān)忍。現(xiàn)在都堅(jiān)持不住了，他們想快速燒掉它，快速彌補(bǔ)變幻無常的性格。有些把戲符合不良的品格。但那不是你，你是一個(gè)雜技演員。你可以吞下一個(gè)棒球棍。

??? 現(xiàn)在我知道，你很有可能是Youtube或Twitch上觀看這個(gè)節(jié)目，而一些有著10億訪問量的家伙正在看你。就像一只小鳥被喂食著已咀嚼了的食物。 這也是文化。但是你玩這個(gè)的幾率很小，我的意思是:垃圾是可用完即丟的，但也許是不必要與之接觸的，這是怎樣的感覺?你有壓力么？我猜你不討厭它，如果你走得遠(yuǎn)了，感覺沮喪，那它是被低估了。橘子是一種甘甜的，多汁的水果，外面包裹著苦澀的皮。這不是我對于挑戰(zhàn)的感覺。我只想要苦澀。它的咖啡，它的葡萄柚，它的甘草。

(我要讓你待一會兒)

好像我們現(xiàn)在離得更近了：創(chuàng)造者和攀登者，設(shè)計(jì)師和使用者，你本可以拒絕，但是你沒有，你身上有東西被隱藏起來了，那選擇繼續(xù)。

這對我來說意義重大，你已經(jīng)來到這里，忍耐了這么多，所有的俏皮話和遲鈍，所有的失敗，這些你都原諒了我，你給了我國王般的恩賜。

我們有同樣的品味，你和我，這不是野心。它與野心相反。這是一個(gè)體會失敗的殘酷任務(wù)，如果你贏了，你會感覺糟糕。所以我為你放進(jìn)了這條蛇。

你有想過你是誰嗎?是在鍋里的男人，第歐根尼?你是他的手嗎?你是錘子的頂端嗎?我想不是-你的手移動，錘子并不會一起移動，男人以及男人的手也沒有移動。在這里你是他的意愿。他的目的。向上攀爬途中體現(xiàn)的決心。

現(xiàn)在，你已經(jīng)征服了冰崖，教堂和住宅，客廳和工廠，游樂場和建筑工地，花崗巖和湖邊，你學(xué)會了徒步旅行?，F(xiàn)在只能往上走。一會兒，我會閉嘴，但讓我說，我很高興你來了。

我把這個(gè)游戲獻(xiàn)給你，你已經(jīng)付出很多了。我用我所有的愛把它獻(xiàn)給你。

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壞結(jié)局：你有這么近，但這是過去的修補(bǔ)。你有壞的結(jié)局。

There's no feeling more intence than starting over. If you've deleted your homework the day before it was due, as I have. Or if you left your wallet at home and you have to go back, after spending an hour in the commute, if you won some money at the casino and then put all your winnings on red, and it came up black, if you got you best shirt dry-cleaned before a wedding and then immediately dropped food on it. If you won an argument with a friend and then later discovered that just retuned to their original view.Starting over is harder than starting up. If you're not ready for that,like if you've already had a bad day, then what you're about to go through might be too much.Feel free to go away and come back. I'll be here.

Alright, thanks for coming with me on this trip.I'll understand if you have to take a break at any point...Just find a safe place to stop,and quit the game. Don't worry, I'll save your progress, always.Even your mistakes.

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This game is a homage to a free game that came out in 2002, titled"sexy hiking”. The author of the game was Jazzuo, a mysterious Czech designer who was known at the time as the father of B-games. B-Games are rough assemblages of found objects.Designers slap them together very quickly and freely, and they're often too rough and unfriendly to gain much of a following.They're built more for the joy of building them than as polished products.In a certain way Sexy Hiking is the perfect embodiment of a B-game. It's built almost entirely out of found and recycled parts, and it's one of the most unusual and unfriendly games of its time.In it, your task is simply to drag yourself up a mountain with a hammer. The act of climbing, in the digital world or in real life, has certain essential properties that give the game it's flavor. No amount of forward progress is guaranteed; some cliffs are too sheer or too slippery. And the player is constantly, unremittingly in danger of falling and losing everything.

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Anyway when you start Sexy Hiking, you're standing next to a tree, which blocks the way to the entire rest of the game. It might take you an hour to get over the tree.A lot of people never got pass it. You prod and poke at it, exploring the limits of your reach and strength, trying to find a way up. There's a sense of truth in that lack of compromise. Most obstacles in videogames are fake-you can be completely confident in your ability to get through them, once you have the correct method or the correct equipment, or just by spending enough time. In that sense, every pixellated obstacle in Sexy Hiking is real.

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The obstacles in Sexy Hiking are unyielding, and that makes the game uniquely frustrating. But I’m not sure Jazzuo intended to make a frustrating game – the frustration is just essential to the act of climbing and it’s authentic to the process of building a game about climbing.A funny thing happened to me as I was building this mountain: I’d have an idea for an obstacle, and I’d build it, test it, and… it would usually turn out to be unreasonably hard. But I couldn’t bring myself to make it easier.It already felt like my inability to get past the new obstacle was my fault as a player, rather than as the builder. Imaginary mountains build themselves from our efforts to climb them, and it’s our repeated attempts to reach the summit that turns those mountains into something real.

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When you’re building a videogame world you’re building with ideas, and that can be like working with quick-set cement. You mold your ideas into certain shape that can be played with, and in the process of playing with them they begin to harden and set until they are immutable, like rock. At that point you can’t change the world-not without breaking it into pieces and starting fresh with new ideas.

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For years now people have been predicting that games would soon be made of prefabricated objects bought in a store and assembled into a world.For the most part, that hasn’t happened, because the objects in the stories are trash. I don’t mean they look bad or they’re badly made, although a lot of them are. I mean they’re trash in the way that food becomes trash as soon as you put it in the sink. Things are made to be consumed in a certain context, and once the moment is gone they transform into garbage. In the context of technology those moments pass by in seconds.

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Over time we’ve poured more and more refuse into this vast digital landfill we call the internet. It now vastly outnumbers and outweighs the things that are fresh and untainted and unused.When everything around us is cultural trash, trash becomes the new medium, the lingua franca of the digital age.You can build culture out of trash, but only trash culture: B-games, B-movies, B-music, B-philosoply.Maybe this is what this digital culture is. A monstrous mountain of trash, the ash-heap of creativity’s fountain.A landfill with every-thing we ever thought of in it. Grand, infinite, and unsorted.

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There’s 3D models of breakfast, gen-xers’ fanfic novels, scanned magazines, green-screen Shia leBoeuf, banned snuff scenes on liveleak, facebook’s got lifelike bots, with unbranded adverts, and candid shots of kanye, and taylor swift mashups, car crash epic fall gifs, Russian dash cam vids, discussious of McRibs,discarded, forgotten, unrecycled,muddled,rotten,and untitled. Everything’s fresh for about six seconds until some newer thing beckons and we hit refresh.And there’s years of persevering.Disappearing into the pile.Out of style.Out of sight. In this context it’s tempting to make friendly content. That’s gentle, that lets you churn through it but not earn it.Why make something demanding, if it just get piled up in the landfill. Filed in with the bland things?

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When games were new, they wanted a lot from you. Daunting you, taunting you, resetting and delaying you.Players played stoically. Now everyone’s turned off by that, they want to burn through it quickly, a quick fix for the fickle, some tricks for the clicks of the feckless. But that’s not you, you’re an acrobat. You could swallow a baseball bat.

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Now I know, most likely you’re watching this on Youtube or Twitch, while some dude with 10 million views does it for you. Like a baby bird being fed chewed-up food. That’s culture too. But on the off-chance you’re playing this, what I’m saying is : Trash is disposble but maybe it doesn’t have to be approachable, what’s the feeling like? Are you stressed, I guess you don’t hate it if you got this far feeling frustrated.It’s underrated. An orange is sweet juicy fruit, locked inside a bitter peel. That’s not how I feel about a challenge. I only want the bitterness. It’s coffee, it’s grapefruit, its licorice.

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(I am going to let you be for a little bit)

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It feels like we're closer now: composer and climber, designer and user. You could have refused but you didn't.There was something in you that was hidden. That chose continue.

It means a lot to me.That you've come this far. Endured this much.Every wisecrack,every insensitivty.Every setback you’ve forgiven me.Is a kingly gift you’ve given me.

We have the same taste, you and I.It's not ambition.It‘s ambition’s opposite.An obdurate mission to taste defeat .You’ll feel bad if you win.So I put this snake in for you.

Have you thought about who you are in this? Are you the man in the pot, Diogenes? Are you his hand? Are you the top of the hammer? I think not – Where your hand moves, the hammer may not follow,nor the man,nor the man’s hand. In this you are his WILL.His intent.The embodied resolve in his uphill ascent.

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Now you’ve conquered the ice cliff, the platfroms the church and the rectory.The living room and the factory.The playground and the construction site.The granite rocks and the lakeside. You’ve learned to hike. There’s no way left to go but up. And in a moment I’ll shut up, but let me say, I’m glad you came.

I dedicate this game to you, the one who came this far. I give it to you with all my love.

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壞結(jié)局：You got so close,but this is past mending.You got the bad ending