隐藏关卡 #5：按下B键触摸草地

罗曼·马尔斯。

Roman Mars.

本·布洛克·约翰逊。

Ben Brock Johnson.

所以，你是一对双胞胎的父亲。

So, you are a father of twins.

我是一对双胞胎的父亲。

I am a father of twins.

我想向你介绍我的一个双胞胎孩子。

I would like to introduce you to one of my twins.

这是我的儿子，他得到了我一直想要的名字，布洛克·约翰逊。

This is my son who got the name I always wanted, Brock Johnson.

你好，罗曼·马尔斯。

Hello, Roman Mars.

哦，你被解雇了。

Oh, you're fired.

这孩子是冲你来的。

This kid's coming for you.

周一早上他就会收到我的辞职信，

He'll have my resignation on his desk on Monday morning,

肯定的。

for sure.

没错。

That's right.

布洛克正在做很多八岁孩子现在都会做的事。

Brock is doing what a lot of eight year olds do these days.

他正在设计一个非常离谱的树屋，而我既没有能力也没有资源去建造它。

He is, designing a very ridiculous tree house that I do not have the ability or the resources to, construct.

他正以最快速度骑自行车，而且刚开始接触电子游戏——这些游戏为他提供了可以探索的多元宇宙。

He is riding his bike as fast as possible, and he is starting to play, just starting to play video games, which offer him this whole universe of different worlds to inhabit.

他和其他八岁孩子一样喜欢砸东西（对我来说45岁也一样爱砸）。

He likes smashing things just as much as the next eight year old or 45 year old in my case.

但你知道吗，当我问他真正喜欢电子游戏的什么时，他不仅仅是为了破坏东西。

But, you know, when I asked him about what he really loves about playing video games, he's not just about smashing things.

他更关注游戏环境。

He's about game environments.

我经常玩冻原生态区，有时也玩森林生态区。

I play a lot of the tundra biome and sometimes the forest biome.

森林生态区？

Forest biome?

对。

Yeah.

你喜欢电子游戏中森林的哪些方面？

What do you like about the forest in video games?

你可以

You can

真正把森林改造成一个漂亮的家，而且那里有非常酷的灌木丛。

really transform the forest into a nice home and there's really cool bushes.

有时候我真的很喜欢那些灌木丛。

Sometimes I really like the bushes.

我总是会想，这丛灌木里会不会藏着什么东西？

I can always be like, is there something tangled up at this bush?

想象可能发生的事情真的很有趣。

And it's really fun to imagine what could happen.

而且有时候真的会发生。

And sometimes it does happen.

你知道吗，我从没听过一个八岁小孩这么频繁地用'生物群落'这个词。

You know, I've never heard an eight year old use the word biome so much.

他就像完全被这个室内儿童游戏里的户外世界迷住了。

Like, he's just really, like, ensorcelled by the outside world inside of his, you know, indoor kids game.

我知道。

I know.

他确实是这样。

He really is.

他第一次说这个词的时候，对我来说就像唱片突然卡住一样震惊。

And the first time he said it, it was a sort of a record scratch for me.

不过不过我能理解为什么。

But but I can see why.

你知道，我们小时候玩的那些游戏，在描绘或捕捉自然环境方面其实非常简陋。

You know, the games that you and I played when we were growing up, right, they're really simplistic in the way that they depict or capture natural environments.

但现在的游戏在渲染像可能缠着东西的灌木丛和树木这类东西上已经做得很好了。

But games now are getting really good at rendering things like bushes that might have something tangled up in them and trees.

它比过去更加真实和身临其境。

It is way more realistic and immersive than it used to be.

这就是我们今天要讨论的内容。

And that's what we're gonna talk about today.

《隐藏关卡》探讨的是电子游戏世界如何改变游戏之外的现实世界。

Is Hidden Levels, how the world of video games is changing the world beyond video games.

《无尽线索》节目组高级制作人迪恩·拉塞尔将为您继续讲述。

Endless Threads, senior producer Dean Russell takes it from here.

糟糕。

Crap.

开始。

Go.

凯西·安从小被培养成你可能会称之为热爱户外运动的孩子，一个千禧年代中期的野孩子，指甲缝里总是沾着泥土，膝盖上总挂着草屑。

Cassie Ann was raised to be what you might call outdoorsy, a wild child of the mid aughts, dirt under fingernails, grass on the knees.

凯西是个无论晴雨都爱往外跑的孩子。

Cassie was a rain or shine kid.

我总是在户外，至少在我能出去的时候，尽管我们这里的冬天有时非常严酷，但这从未阻止过我。

I was outside all the time, at least when I could be because we do have very harsh winters here sometimes, though that never stopped me.

有时我会直接走出去

Sometimes I would just go out

在雪地里玩到全身湿透。

in the snow and be completely soaked.

凯西和家人住在佛蒙特州的乡村，那是尚普兰湖以东一个美丽的角落，山谷里长满了松树、桦树、橡树和枫树。

Cassie and their family lived in rural Vermont, a beautiful spot East Of Lake Champlain in a valley of pine and birch and oak and maple.

凯西最喜欢的一些事物。

Some of Cassie's favorite things.

参天大树。

Giant trees.

对树木情有独钟。

Big big into trees.

大自然就是一切。

Nature was everything.

一个可以探索的地方。

A place they could explore.

是与朋友相聚的场所，是搭建堡垒和精灵村庄的天地，是自由存在的空间。

It was a place to hang with friends, a place to build forts and fairy villages, a place to be.

在那些年少岁月里，大自然仿佛无边无际。

In those early years of life, nature felt limitless.

这种感觉美妙无比。

It felt good.

直到有一天，这种感觉消失了。

Until one day, it didn't.

那时我大概十岁或十二岁，处于人生的第二个十年初期。

I was like 10 or 12, like somewhere in that early second decade.

当时我正在外面和朋友们玩耍。

And I was out playing with my friends.

我有许多

I had a lot

从小在农场长大的朋友，我们特别喜欢在干草堆里玩耍。

of friends who had like farms growing up and we loved to play in the hay bales.

那天，当凯西玩累了回到屋里时，他们注意到了一些异样。

On that day, when Cassie tired themselves out and came inside, they noticed something.

凯西的皮肤又红又肿，还很痒。

Cassie's skin was red, puffy, itchy.

说实话，这有点吓人。

Honestly, it was a little scary.

我以前从没有过这种反应，也不知道它是怎么来的。

I never had that reaction before, and I don't know where it came from.

所以，他们的妈妈就给我吃了苯海拉明，还涂了些药膏之类的。

And so, like, their their mom was, like, giving me Benadryl and, you know, the the creams and stuff like that.

但情况真的很严重。

But it was it was so bad.

我不得不在睡衣派对中途回家。

I had to go home in the middle of the sleepover.

我当时觉得特别难为情。

And I was, like, I was just so embarrassed.

这种反应是第一次出现。

This reaction was new.

它让人感到不适又困惑。

It felt invasive and confusing.

症状虽然消退了，但他们始终不知道那究竟是什么。

It went away, but they didn't know what it was.

又有一天，卡西去了海滩。

On another day, Cassie went to the beach.

突然间，他们感到非常难受，甚至发烧。

Suddenly, they felt awful, feverish even.

这些症状发作得越来越频繁。

These episodes became more frequent.

很快，皮疹和发烧症状开始出现。

Pretty soon, rashes and fevers developed.

感觉几乎每次他们一出门就会这样。

It felt like almost every time they went outside.

他们看过医生，但医生无法给出一个明确的单一诊断。

They saw doctors who couldn't give a clear singular diagnosis.

他们最终了解到的是：他们对干草过敏，对草过敏，免疫力低下，对阳光的热度极度敏感，或者用某些人的说法——对太阳过敏。

What they did come to know is that they are allergic to hay, allergic to grass, immunocompromised, extremely sensitive to the heat of the sun, or some put it, allergic to the sun.

就好像他们的身体已经决定不再接触户外环境了。

It was like their body had decided enough with the outdoors.

我想，我多少变得有点宅了，这大概也在意料之中吧。

I mean, I just kind of became a little bit of a shut in, I guess, which is sort of expected.

我基本上就是把自己关在房间里。

I just kind of retreated into my room very much so.

而且，如果可能的话我会开着窗户，但我确实不再去户外活动了。

And, you know, I'd have the window open if I could, but I definitely stopped spending time outside.

医生们不知道是什么导致凯西的身体出现这种反应，也不知道她能否康复。

Doctors didn't know what caused Cassie's body to turn on them or if they'd ever get better.

至今仍不清楚原因。

They still don't know.

可以确定的是，凯西这个热爱户外、喜欢亲手摆弄泥土的人，不得不变得更加室内化。

What is clear is that Cassie, someone who loved the outdoors, who thrived with their hands in the dirt, had to become a lot more indoorsy.

但她无法放弃大自然。

But they couldn't give up nature.

她必须找到另一种方式来亲近自然。

They had to find another way to get it.

而对于两千年代的孩子来说，有一个显而易见的选择。

And for a kid in the two thousands, there was one obvious place to turn.

你最喜欢的游戏是什么？

What's your favorite game?

电子游戏吗？

Video game?

《我的世界》。

Minecraft.

抱歉。

Sorry.

我太兴奋了。

I'm really excited there.

凯西简直爱死《我的世界》了。

Cassie freaking loves Minecraft.

从数据上看，《我的世界》是世界上最受欢迎的电子游戏。

Minecraft is, by the numbers, the most popular video game in the world.

自2009年推出以来，已售出超过3.5亿份。

Over 350,000,000 copies have been sold since it launched in 2009.

衍生出的杰克·布莱克主演的电影，你可能听说过，今年票房收入近10亿美元。

The spin off Jack Black movie, which you probably heard of, grossed nearly $1,000,000,000 this year.

在这里，你可以实现任何你能想象到的东西。

Anything you can dream about here, you can make.

毫无限制。

Zero limits.

你明白我在说什么。

You know what I'm talking about.

这款游戏是一个由16像素×16像素×16像素方块组成的类似乐高的世界。

The game is a Lego like world of 16 pixel by 16 pixel by 16 pixel blocks.

树木是方块，动物是方块，岩石也都是方块。

The trees are blocks, the animals, the rocks, all blocks.

《我的世界》没有分数，实际上也没有预设目标。

Minecraft has no points, no prescribed goal really.

你用镐子挖矿，徒手砍树获取木材。

You mine with pickaxes and punch trees for lumber.

是啊。

Yeah.

徒手砍树。

Punch trees.

然后你可以选择建造或者不建造。

Then you can build or not.

卡西在游戏中最喜欢的事情之一就是散步。

One of the things Cassie enjoyed most in the game was walking.

在游戏中四处行走探索，因为《我的世界》是一个几乎无限的虚拟世界，有森林、农田、沙漠、海洋、洞穴等等，应有尽有。

Walking around in the game and exploring because Minecraft is a virtually endless world of forests, farmlands, deserts, oceans, caves, you name it.

这成为了卡西通往户外世界的门户。

It became Cassie's portal to the outdoors.

我开始几乎每天都玩这个游戏。

I started playing it, like, pretty much every day.

我和朋友们有个小服务器。

I had my little server with my friends.

每当朋友们玩腻了去玩别的游戏，我就回到单人世界继续建造。

And whenever my friends would kind of burn out from it and play something else, I would just go in my single player world and build.

对我来说，Minecraft的环境是16x16像素这种细节根本不重要。

It kinda never mattered to me that, like, the Minecraft environments were, like, 16 by 16 pixels.

是啊。

Yeah.

随便啦。

Or whatever.

因为在脑海中，我对穿行林间和户外的感觉太熟悉了，这些体验自然融入了游戏世界。

Because in my head, I was like I was so familiar with that feeling of, like, walking through the woods and being outside that it kinda just translated into my experiences in game.

这就像是Minecraft随机生成的地形。

This is, like, Minecraft generated terrain.

这是一个专门饲养牲畜的谷仓。

This is a monitor barn that's specifically for livestock.

是啊。

Yeah.

你还弄了个蝴蝶花园，

And you got, like, a butterfly garden and

这里面有些蝌蚪。

There's some tadpoles in here.

你能看到那个。

You can see that.

更多在水下。

More underwater.

卡西现在22岁了，他们更广为人知的是其游戏ID'嗅探者'。

Cassie is now 22, and they are better known by their Minecraft handle, Snifferish.

'嗅探者'是《我的世界》领域的网红。

Snifferish is a Minecraft influencer.

他们在互联网上很有名。

They are Internet famous.

在TikTok、Twitch和YouTube上，他们拥有约300万粉丝。

Between TikTok, Twitch, and YouTube, they have some 3,000,000 followers.

观众会花数小时观看Snifferish建造最精巧的景观。

People who watch hours long videos of Snifferish building some of the most elaborate landscapes.

我的第一个视频是个农场主题视频。

One of my first videos, it was like a farm video.

我建了个火焰池塘，大家都问什么是火焰池塘？

And I built a a fire pond, and everyone was like, what is a fire pond?

然后我

And I

就说，我搞了个

was like, I got

有些建筑需要耗时数月才能完成。

Some of these builds will take months to make.

我建了这座经典白色农舍，旁边是牲畜专用的谷仓。

I built this very classic white farmhouse, and then this is a monitor barn, which is a barn that's specifically for livestock.

Snifferish甚至被《我的世界》官方委托设计迷你世界。

Snifferish has even been commissioned by the makers of Minecraft to design mini worlds.

天啊。

Oh my gosh.

现在背景里出现了巨大的山脉。

Now we've got giant mountains in the background.

这一切都因为Snifferish——卡茜对游戏虚拟本质的独特理解，这种本质对卡茜和许多人来说感觉相当真实。

All because Snifferish, Cassie, has a unique understanding of the game's virtual nature, a nature that for Cassie and many others feels quite real.

我确信电子游戏能激发人们对自然的兴趣，因为他们看到了从未体验过的自然景观，这几乎会让人想去亲身体验。

I know for a fact that video games make people interested in nature because they're seeing nature that they've never experienced before, and it's making them almost wanna go experience it.

反过来，你也知道，有些人本来就对自然感兴趣，因此才会接触电子游戏。

And then in turn, you know, you have people who are already interested in nature and therefore get into video games because of that.

电子游戏可以说是自然的对立面。

Video games are arguably the antithesis of nature.

高度构建的世界，人造的，非有机的。

Highly constructed worlds, synthetic, inorganic.

如果你是在电子游戏陪伴下长大的，可能记得大人总叫你关掉游戏机，出去接触大自然。

If you grew up gaming, you may recall grown ups telling you to shut down the console, go outside and touch some grass.

不过如今，亲近自然不一定非要去户外。

These days though, touching grass isn't something you have to do outside.

随着游戏产业成长为价值2000亿美元的庞大市场，屏幕与土壤之间的界限已变得模糊。

As gaming has grown into a $200,000,000,000 industry, the boundary between screen and soil has muddied.

新技术和新型游戏方式让玩家们前所未有地接近真实自然的体验。

New technologies and types of play are getting gamers ever closer to the experience of real nature.

然而，在一个奇特的反馈循环中，这些原本用于模拟自然的科技和游戏方式，如今正以可能比我们所有人更持久的方式改变着现实世界。

And yet, in a kind of weird feedback loop, those same technologies and types of play meant to simulate nature are now changing the real thing in ways that could outlast us all.

自游戏史开端以来，虚拟自然扮演了诸多角色，服务于多种目的，并以多种形式呈现。

Since the start of gaming history, virtual nature has played many roles, served many purposes, and been represented in many ways.

1962年的一款圆形屏幕电脑游戏《太空战争》，或许是最早带有所谓'自然'元素的游戏。

Space War, a 1962 game on a circular screen computer, was maybe the first with, quote, unquote, nature.

太空，也就是黑色背景上的白色圆点。

Space, aka white dots on a black backdrop.

随着游戏的发展，虚拟自然也在不断进化。

When games advanced, virtual nature also evolved.

正如游戏行业一贯的趋势，通常都是朝着更高的拟真度和精确度推进。

As always with the industry, it's usually a push toward more verisimilitude and toward more accuracy.

阿伦达·常是加州大学圣巴巴拉分校的教授，同时也是一名游戏玩家。

Allenda Chang is a professor at UC Santa Barbara and a gamer.

阿伦达研究电子游戏生态学，并就此撰写过专著。

Alenda studies video game ecology, wrote a book on it.

为什么学术界要研究游戏中的生态？

Why would an academic study ecology in games?

对很多人来说，这就是他们每天或每周接触自然环境的剂量，或者说至少是自然环境的一种再现形式。

For a lot of people, that is their daily dosage or whatever their weekly dosage of encounter with the natural environment, right, or at least the representation of a natural environment.

确实如此。

Yeah.

我这周没去远足，但我去过海拉鲁的山脉。

I haven't been hiking this week, but I have been to the mountains of Hyrule.

所以，你知道的，就是这么回事。

So, you know, there's that.

哦，

Oh,

太棒了。

excellent.

我统治着王国，塞尔达。

I rule kingdom, Zelda.

她懂的。

She gets it.

《塞尔达传说》作为任天堂长期运营的系列作品，拥有数十款游戏，实际上很好地展示了自然元素在游戏发展史中的演变过程。

The Legend of Zelda, Nintendo's long running franchise with dozens of games, is actually a good example of how nature has evolved throughout gaming history.

任天堂以及《塞尔达传说》系列本身，在游戏中对自然景观的呈现方面始终处于领先地位。

There is something about Nintendo and also the Zelda franchise itself that has always been at the forefront of natural representation in games.

你可以

You can

可以将电子游戏中自然元素的演变划分为三个重要时代，对应三部重要的塞尔达作品。

think of video game nature's evolution in three big eras, three big Zeldas.

让我们从第一个时代开始。

Let's start with era one.

首部塞尔达游戏于1986年问世。

The first Zelda game comes out in 1986.

它是二维的八位机游戏。

It's two dimensional, eight bit.

你扮演林克——这位尖耳朵的勇士在海拉尔魔法世界中，要从一个不穿裤子的邪恶猪怪手中拯救塞尔达公主。

You play as Link, a pointy eared warrior saving princess Zelda from a pantsless evil hog monster in the magical world of Hyrule.

林克是个扁平像素化角色，在同样由像素简单构成的湖泊与洞穴间移动。

Link is a flat pixelated figure moving over flat pixelated approximations of lakes and caves.

你看过任天堂的最新简报了吗？

Did you see the latest Nintendo newsletter?

哇哦。

Woah.

画面真不错。

Nice graphics.

我也想玩那款游戏。

I'd like to get my hands on that game.

从角色到所有元素都严格限定在方形或矩形格子里，你懂的。

Everything down to the character itself occupies a very discrete square or rectangle, you know.

比如森林场景，所有树木都一模一样，像网格般整齐排列，岩石之类的也是如此。

So all the if it's a forest, all the trees are the same and they're sort of replicated in a grid, right, or rocks and things.

你能感受到开发者精心布置的景观感，就像舞台布景一样。

And so you get the sense that it was, like, all very carefully placed and scenic in the sense of, like, scenery.

和当时大多数游戏一样，自然元素只是作为背景存在。

As with most games then, nature is little more than background, a placement.

接下来是第二阶段。

So, era two.

快进十年到游戏3D化时期，包括塞尔达在内的游戏开始将自然环境作为核心玩法。

Skip ahead a decade to gaming's three d period when games, including Zelda, start centering nature in their gameplay.

1998年，《塞尔达传说：时之笛》的3D版本问世。

It's 1998, Zelda's three d Ocarina of Time.

像素被大型、色彩鲜艳的多边形（通常是三角形）取代，它们像折纸一样拼接成森林世界。

Pixels are replaced by large, brightly colored polygons, triangles typically, that snap together to create an origami like forest world.

在《时之笛》中，你依然身处海拉鲁，依然在与怪物战斗。

In Ocarina of Time, you're still in Hyrule, still fighting monsters.

此时，自然已不仅仅是背景。

At this time, nature is not just background.

自然成为了游戏的关键组成部分。

Nature is a key part of the game.

为了实现目标并推进剧情，你需要与自然互动。

To accomplish your goals and progress, you need to interact with him.

林克会游泳、搬石头、与会说话的树交谈，这一切都是为了阻止反派将绿色的海拉鲁推向毁灭。

Link swims, he lifts rocks, He chats up a talking tree, all to prevent the bad guy from plunging green Hyrule into ruin.

如果你

If you

如果你回头看看《时之笛》的游戏实况，会发现这种能让玩家以非常具身化和立体方式穿越世界的视觉体验。

go back and look at footage from playthroughs of Ocarina of Time, you see the sort of vision of being able to traverse the world in a very embodied and three-dimensional way.

《时之笛》与《最终幻想7》《小龙斯派罗》这类3D游戏一脉相承，它们赋予了自然环境更进化的角色。

Ocarina of Time fit into a breed of three d games, Final Fantasy seven, Spyro the Dragon, which gave nature a more evolved role.

但与接下来的发展相比，这些都算不了什么。

But that was nothing compared to what came next.

一种真正模糊虚拟与现实自然界限的全新游戏类型即将出现。

A new type of game, one that would truly blur the lines between virtual and real nature.

第三纪元——主导现代游戏开发的开放世界时代。

Era three, an era that dominates modern gaming, open world.

开放世界是这类游戏的代名词，意味着玩家可以无拘无束地穿越这些虚拟空间。

Open world is this moniker that gets attached to games, meaning you as a player can traverse these virtual spaces without the impression of having limits.

在开放世界游戏中，自然既不仅是背景布景，也不仅是达成目的的手段。

In open world games, nature is neither just a place setting nor a means to an end.

它们通过看似无边的景观营造沉浸感，其非线性玩法常将体验自然本身作为游戏目标。

They are immersive with seemingly boundless landscapes, and their gameplay is often nonlinear, where experiencing nature can be a goal in its own right.

思考生态与游戏的关系，我认为这是一个巨大的进步，因为现在你可以讲述这样的故事：玩家能够在一个完全沉浸式的游戏环境中自由探索。

Thinking about ecology and games, I I think it's a huge it's a huge development because you can now tell stories where you can, by all appearances, wander around a fully realized immersive game environment.

真正庞大的开放世界游戏开始出现在九十年代和二十一世纪初。

Truly giant open world games started popping up in the nineties and early aughts.

《无尽的任务》和《魔兽世界》。

EverQuest and World of Warcraft.

而到了2017年，你猜对了，就是《塞尔达传说》。

And by 2017, you guessed it, Zelda.

《塞尔达传说：荒野之息》确实狂野。

Zelda Breath of the Wild is wild.

林克不再是由大块多边形组成的角色，而是一个细节极其丰富的金发少年，发丝会在风中飘扬。

Link is no longer a composite of large polygons, but a hyper detailed teenager with flaxen hair that whips in the wind.

他/你被抛入一个广阔的世界，可以奔跑数小时而不会碰壁。

He slash you are dropped into an enormous world where you can run for hours without hitting a wall.

而如果你真的遇到墙壁，还可以攀爬它。

And if you hit a wall, you can climb it.

我不仅被游戏环境的美所震撼，更被非人类环境的生动性和自主性所折服。

I was completely blown away by not only the beauty of the game environments, but also in terms of liveliness and agency of the nonhuman environment.

你知道吗，在《荒野之息》中，下雨时攀爬会更困难，这太神奇了。

So, you know, the fact that in Breath of the Wild, when it rains, you have more trouble climbing things was amazing.

我兴奋极了。

I was thrilled.

海拉鲁的环境——沙漠、冻原、平原——它们简直就是完整的生态系统。

The Hyrule environments, deserts, tundras, plains, they are practically ecosystems.

它们的组成部分会与你和其他元素互动。

Their components interact with you and each other.

你可以驯服野马、采集蘑菇或者什么都不做，而世界依然运转如常。

You can tame a wild horse or collect mushrooms or do nothing, and the world keeps turning.

河水奔流，雨水打湿岩石，熊猎捕鹿群，树木燃烧倒下，一切都在自主发生。

Rivers flow, rain slicks rocks, bears hunt deer, trees burn and fall, all on their own.

《荒野之息》是那种你可以放下控制器离开，而游戏世界仍会继续运转的游戏。

Breath of the Wild is one of those games where you can put the controller down and you can walk away and things will continue to happen.

你也可以选择留下来，就像你说的那样，真正享受一处风景优美的观景点，或是欣赏一场即将来临的风暴，又或者，你知道的，比如一群野马经过的景象。

And you can also stay, like you're saying, and just really enjoy a scenic overlook or a storm coming in or or, you know, like a a herd of wild horses coming by.

对吧？

Right?

所以我认为这增强了游戏的现实感，同时也提高了玩家的风险意识，因为你在某种程度上变得更加脆弱。

So I think that increases the sense of realism and also the sense of stakes for players because you are more vulnerable in some way.

你成为了那个环境的一部分，这种体验在早期的游戏中是不曾有过的。

You're you're part of that environment in a in a in a way that didn't happen with earlier games.

《塞尔达传说：荒野之息》就是一个例子。

Breath of the Wild is one example.

但如今，我们正处在一个开放世界游戏的黄金时代。

But today, we're living in a golden age of open world games.

《荒野大镖客2》、《上古卷轴5：天际》、《刺客信条》、《猎人：荒野的召唤》、《无人深空》、《对马岛之魂》。

Red Dead Redemption two, Skyrim, Assassin's Creed, The Hunter, Call of the Wild, No Man's Sky, Ghost of Tsushima.

人们玩这些游戏的方式各不相同。

People play these games differently.

有些人专注于主要目标。

Some focus on the main objective.

有些人四处游荡，真的只为拍摄蝴蝶的照片。

Some bounce around taking screenshots of butterflies, really.

因为如今的游戏比以往任何时候都更接近真实的大自然体验。

Because today's games are closer than ever to a true nature experience.

当然，真实的大自然体验对不同的人意味着不同的东西。

Of course, true nature experience means different things to different people.

我不知道。

I don't know.

只是四处走走真的很有趣。

It's just it was so fun to walk around.

我喜欢在游戏中漫步。

I love walking around a game.

我就是喜欢，嗯，随便走走。

I love just, like, taking a little stroll.

卡西，这个痴迷嗅探的家伙，喜欢《我的世界》并不是因为它看起来真实。

Cassie, snifferish, loves Minecraft not because it looks realistic.

我是说，这游戏全是方块构成的。

I mean, it's all blocks.

太阳以直角放射光芒。

The sun radiates at right angles.

但《我的世界》中的自然，尽管由方块组成，确实给人真实感。

But Minecraft's nature, despite its blockiness, does feel real.

《我的世界》真实感的部分来源于其多样性。

Part of Minecraft's realism is its diversity.

游戏中有超过60种不同的环境或生物群落，每种都有独特的植物、动物和地貌。

The game has over 60 different environments or biomes, each with their own plants, animals, and landscapes.

玩家可以接触到一种并非就在家门口的自然景观。

Players can access a kind of nature that is not right out their front door.

在典型的温带森林长大，能接触到那些我绝对接触不到的其他生物群落，比如海滩之类的。

Growing up in, like, the classic temperate forest, having access to those other biomes that I definitely don't have access to, like beaches even.

我住在一个内陆州。

I'm in a landlocked state.

我见不到海滩。

I don't see beaches.

就像

Like

是啊。

Yeah.

这挺有意思的。

It's it's interesting.

而且，某种程度上它让我可以在海滩上建房子。

And, also, it kind of lets me and I can build my house on a beach.

我能在雨林里盖房子吗？

I can I can build my house in a rainforest?

你懂吧？

You know?

在现实生活中我可做不到这些。

I can't do that in real life.

《我的世界》的真实感还体现在其规模上。

The realism in Minecraft is also in its scale.

如果说《塞尔达》让人感觉无边无际，《我的世界》才是真正的无穷无尽。

If Zelda feels endless, Minecraft is endless.

你可以每天醒来就往东走，只要愿意就永远不必停下脚步。

You can wake up every day, walk east, and never stop if you want.

真有人这么干过。

Some guy actually did that.

他坚持了58天才主动退出游戏——因为游戏本身根本不会阻止他。

He made it fifty eight days before he chose to stop the game because the game wasn't going to stop him.

开放世界的这些特性：多样性与规模感，那种永远走不到头、景色永不重复的体验，都得益于一种叫'程序化生成'的技术。

These features of open worlds, their diversity and scale, the way you can walk forever and never see the same scene twice, that experience is possible because of something called procedural generation.

程序化生成是一种通过算法而非人工方式来创造自然景观的技术。

Procedural generation is a technique that creates nature algorithmically, not manually.

你不需要亲手放置游戏里的每一棵树。

You don't place every tree in the game.

你只需给计算机设定规则，计算机会自动为你生成场景。

You give the computer rules, and the computer populates the scene for you.

这是艾格尼丝·拉尔森告诉我的。

This is something Agnes Larsson told me.

她是《我的世界》开发商Mojang的游戏总监。

She's game director at Mojang, maker of Minecraft.

手工设计一个无限世界的每个部分是不可能的。

It's not possible to design each part of an endless world by hand.

程序化生成技术让我们能创造出包含不同生物群落、不同建筑模块的世界。

Procedural generation is the reason to why we can create this world with different biomes, different kind of building blocks.

这里有海洋。

There are oceans.

我们创造大陆。

We create continents.

程序化生成技术起源于七十年代末，用于创建基础但半随机化的网格状环境。

Procedural generation came out of the late seventies as a way of creating rudimentary but semi randomized grid like environments.

如今，Minecraft开发者只需向游戏软件输入世界规则——比如红树林的生长区域或不同气候带的生物分布——软件就会自动执行生成。

Nowadays, Minecraft developers tell the game software the rules of the world, like where mangrove trees grow or which creatures live in which climates, and the software executes.

每个元素的设计都很简单，视觉效果简单，操作机制也简单。

Each thing is simple by design and the the visuals are simple and and and the the mechanics are simple.

这意味着它们能以近乎无限的方式组合出复杂的形态。

And that means that it can kinda be combined in an endless amount, of complex ways.

Minecraft游戏设计中的程序规则就如同自然法则。

The procedural rules in Minecraft's game design are akin to the laws of nature.

与自然界一样，神奇之处在于那些意料之外的组合。

Just as with nature, the magic is in the unexpected combinations.

即使是作为Minecraft开发者，艾格尼丝也曾被某些自然生成的景观真正震撼到——因为这些并非出自她的设计。

Even as a Minecraft developer, Agnes has been genuinely surprised by some landscapes because she didn't invent them.

至少不完全是。

Not exactly.

我

I

记得走进这个地方时，看到一座大山，山顶上生成了一个湖泊，形成了一道巨大的瀑布。

remember walking into this location that it was a a big mountain, and then there was a huge waterfall because a a lake had generated on top of the mountain.

而我们恰好又生成了一个繁茂的洞穴生态群系。

And then we also happened to generate a lush cave biome.

瀑布流入了从洞穴两侧垂下的藤蔓中。

So the waterfall went into these vines that came down from, like, the sides of the caves.

这场景非常震撼，因为形成了强烈的对比。

And it was just very dramatic because there was so much contrast.

正如玩家和开发者告诉我的，正是对自然的追求激发了程序生成等技术。

As gamers and developers told me, it is the pursuit of nature that inspired technologies like procedural generation.

这也推动了新一代图形技术的发展。

It also fueled a new wave of graphics.

如果你很久没看过全新视频游戏的画面，

Graphics that if you haven't seen a brand new video game in a while,

快去看看，简直太疯狂了。

go look because it's crazy.

《最后生还者2》在很大程度上达到了近乎照片级的真实感，同时又带有一丝风格化的处理。

The Last of Us two, a lot of it is borderline photorealism with a with a dash of style.

杰里米·赫胥黎是一位环境美术师。

Jeremy Huxley is an environmental artist.

他曾参与制作多部以画面著称的游戏，包括《神秘海域4》。

He's worked on games heralded for their looks, including Uncharted four.

还有改编成HBO剧集的《最后生还者2》，在这部真菌引发丧尸末日的游戏中。

And The Last of Us part two, the game turned HBO series where fungi calls the zombie apocalypse.

我没有被感染。

I'm not infected.

我是免疫的。

I'm immune.

是啊。

Yeah.

我很幸运能加入真菌团队，主要负责材质方面的工作。

I was lucky enough to get to work on the fungus team, and I was, focused on materials.

所以我做了很多关于雪、岩石之类的内容。

So I would do a lot of the snow and rocks and stuff like that.

《最后生还者2》和《神秘海域4》都是线性游戏，技术上不算开放世界。

The Last of Us two and Uncharted four are linear games, technically not open world.

但它们构建的世界非常庞大，而且因为杰瑞米这样的人，这些世界看起来真实得难以置信。

But they are large worlds, and they look unbelievably believable because of people like Jeremy.

他的工作是研究自然，并通过融合艺术与技术来模拟自然。

His job is to study nature and blend art and tech to mimic it.

实际上，我们在为《神秘海域4》开发技术时，比如对树叶半透明效果的工作原理还不够了解。

Actually, when we were developing the tech for Uncharted four, we didn't fully understand, for example, like, how translucency worked on leaves.

于是我们直接出去采集了一堆树叶，用动画制作常用的灯箱照射它们，观察光线反应。

So we literally went out, gathered a bunch, and then we took a light box that you would use for, like, animating, cast light through them to kinda see how it reacted.

我们做了大量记录，最终成功模拟出了这种效果。

And we took a lot of notes there, and then we were able to sort of simulate that.

设计游戏环境时，你会使用一个资源库，里面有树木、岩石等素材。

When you're designing a game environment, you use a library of assets, trees, rocks.

你可以从头开始设计它们，这个过程叫做雕刻建模，这正是杰瑞米的专长。

You can design them from scratch, a process called sculpting, which is Jeremy's forte.

但你也可以在资源库中填充真实的树木和岩石——这些是通过现实扫描进入虚拟世界的。

But you can also fill that library with real trees and real rocks scanned from life into the virtual world.

这种还原度达到了极高的水准。

The fidelity level is extremely high.

现在你完全可以创造出逼真效果，因为可以直接外出扫描现实中的自然景物。

You can literally just create realism now because you can go out and scan, nature these days.

扫描技术顾名思义，但要做到极致精细。

Scanning is what it sounds like, but on a meticulous level.

专业人员会带着手持光扫描仪或激光扫描仪深入野外，或者使用专业摄像设备从各个角度对单个物体拍摄数千张照片。

Professionals go into the wild with handheld light or laser scanners, or they use intense camera equipment to take thousands of photos of a single object from every conceivable angle.

这些数据随后会被上传到游戏引擎——即制作游戏的专用软件中。

That data is then uploaded to a game engine, software used to make games.

这意味着你在游戏中撞到的某棵树，可能实际上是一棵活树的数字幽灵。

This means that some tree you bump into in the game may actually be the digital ghost of a living tree.

游戏引擎随后会让这棵树活起来，在微风中摇曳，在阳光下闪烁。

Game engines then make the tree come to life, to blow in the breeze and shimmer in the sun.

我目前使用的是虚幻引擎5。

What I'm using currently is Unreal Engine five.

我们拥有惊人的处理能力。

We have insane amounts of processing power.

你可以使用海量的几何体。

You can use tons of geometry.

你刚才说，材质对光线的反应非常自然。

Materials react naturally to light, you were saying.

就连《我的世界》也在做类似的事情。

Even Minecraft is doing a similar thing.

这类技术实现起来确实很困难，但能拥有这种能力真的非常强大。

This sort of stuff is really difficult to do, but it's really powerful that we have this sort of thing.

因此，程序化生成创造出一个充满活力且无限延伸的游戏世界。

So procedural generation creates a game world that feels dynamic and infinite.

扫描技术让游戏世界呈现出真实自然般的美感。

Scans make the world beautiful in a way that real nature is beautiful.

然后游戏引擎赋予它生命活力。

And then game engines animate it into being.

二者结合，使得电子游戏中的自然景观几乎能以假乱真。

Together, they make the nature in video games feel very close to the real thing.

但这种动态关系是双向的——如今某些源自游戏的技术正被用于改造现实生物世界以及人类在其中的定位。

But that dynamic also works in reverse because today, some of the technologies born from gaming are now being used to manipulate the real living world and our place in it.

稍后我们会详细探讨这点。

More on that in a minute.

从很多方面来说，大自然启发游戏产业是合乎情理的。

In a lot of ways, it makes sense that nature has inspired the games industry.

游戏是商业艺术，而自远古人类在洞穴墙壁上画出野猪起，艺术就一直在模仿自然。

Games are commercial art, and art has been emulating nature since someone drew a pig on a cave wall.