I've always wanted to be a cyborg. One of my favorite shows as a kid was "The Six Million Dollar Man," and this is a little bit closer to the 240-dollar man or so, but --
我一直想成为一个半机械人。 我小时候最喜欢的电视剧之一是“无敌金刚”,它的造价是六百万美元。 而这玩意儿的价值挺相近的,大约是240万美元,但是——
(Laughter)
(笑声)
At any rate, I would normally feel very self-conscious and geeky wearing this around, but a few days ago I saw one world-renowned statistician swallowing swords on stage here, so I figure it's OK amongst this group. But that's not what I want to talk about today. I want to talk about toys, and the power that I see inherent in them.
不管怎样。而且我经常会感到拘谨,感觉有点儿怪异 穿着这个走来走去,嗯,但是呢,今天前我看见 一位举世闻名的数据专家在这个舞台上吞剑, 于是我就觉得在这群人里面我还算正常。 但是这不是我今天要谈论的话题。 我想要谈玩具,以及我从玩具中发现的天然的威力。
When I was a kid, I attended Montessori school up to sixth grade in Atlanta, Georgia. And at the time I didn't think much about it, but then later, I realized that that was the high point of my education. From that point on, everything else was pretty much downhill. And it wasn't until later, as I started making games, that -- I really actually think of them more as toys. People call me a game designer, but I really think of these things more as toys. I started getting very interested in Maria Montessori and her methods, and the way she went about things, and the way she thought it very valuable for kids to discover things on their own rather than being taught these things overtly. And she would design these toys, where kids in playing with the toys would come to understand these deep principles of life and nature through play. And since they discovered this, it stuck with them so much more, and also they would experience their own failures. There was a failure-based aspect to learning there. It was very important. And so, the games that I do, I think of really more as modern Montessori toys. And I really kind of want them to be presented in a way to where kids can kind of explore and discover their own principles. So a few years ago,
当我还是个小孩的时候,我在大名鼎鼎的蒙特梭利学校 读到了六年级。那是在佐治亚州亚特兰大。 那时,我并没有觉得有啥了不起。 但是后来,我发现那是我教育生涯中的制高点。 从那以后,一切都江河日下了。 等到后来,当我开始制作电脑游戏,那时我真的—— 我把它们当做是玩具。 人们称我为游戏设计师,但是我却将(我设计的)那些东西当做玩具。 我开始对玛利亚•蒙特梭利和她的教育方法 以及她的处事方式感兴趣。 她很重视让孩子们自己去发现, 而不是直接明白地向他们灌输这些知识。 她会设计一些寓教于乐的玩具, 使孩子们可以一边玩一边懂得一些 有关人生和自然的深刻道理。 因为这些道理是他们自己发现的,所以他们就会牢牢记住它们, 而且他们还会经历失败, 这样他们就会经历挫折教育。这是很重要的。 因此,我觉得我所创作的游戏就是蒙特梭利式的玩具的现代翻版。 并且我真心希望它们能够帮助小孩们 通过自己去探索和发现这个世界的道理。 于是,几年前,我开始对地外文明探索工程
I started getting very interested in the SETI program. And that's the way I work. I get interested in different subjects, I dive in, research them, and then try to figure out how to craft a toy around that, so that other people can experience the same sense of discovery that I did as I was learning that subject. And it led me to astrobiology, the study of possible life in the universe. And then Drake's equation, looking at the probability of life arising on planets, how long it might last, how many planets are out there. And I started looking at how interesting Drake's equation was, because it spanned all these different subjects -- physics, chemistry, sociology, economics, astronomy.
产生了浓厚的兴趣。这是我的一种工作方式, 我对各种领域都有兴趣,我潜入其中, 探索研究它,然后想办法做出一种与之相关的游戏, 这样其他人就能体验到和我在学习这个课题时 所体验过的发现的感觉。 于是我遇到了研究宇宙中可能存在的生命的天体生物学。 然后是德瑞克方程式,大家知道, 它关注的是行星上可能产生生命的概率,可以维持的时间,以及可能有多少行星, 诸如此类 我开始关注这个极其有趣的方程, 因为它涉及了各种不同的学科—— 物理、化学、社会学、经济学、天文学。 另一个很久以来让我印象深刻的是
And another thing that really impressed me a long time ago was "Powers of Ten," Charles and Ray Eames' film. And I started putting those two together and wondering, could I build a toy where kids would trip across all these interesting principles of life, as it exists and as it might go in the future. Things where you might trip across things like the Copernican principle, the Fermi paradox, the anthropic principle, the origin of life.
查尔斯•伊默斯和蕾•伊默斯夫妇的影片《十的次方》 当我把这两者合起来看时,我想到 我能不能建造一个玩具,使得小孩们可以 在生命所有的这些有趣的、 经久不变的规则中穿梭? 你可能会遇到 哥白尼定律、费米佯谬 人择原理、生命起源。
And so I'm going to show you a toy today that I've been working on, that I think of more as kind of a philosophy toy. Playing this toy will bring up philosophical questions in you.
而我今天要向大家展示的是我正在创作中的一个玩具, 我觉得它绝对是一个哲学玩具。 当你玩着这个玩具的时候,你就会想到一些哲学的命题。
The game is "Spore." I've been working on it for several years. It's getting pretty close to finished now. It occurs at all these different scales, from very small to very large. I'm going to pop in at the start of the game. And you actually start this game in a drop of water, as a very, very small single-cell creature, and right off the bat you basically just have to live, survive, reproduce. So here we are, at a very microscopic scale, swimming around. And I actually realize that cells don't have eyes, but it helps to make it cute.
这个游戏的名字叫做“孢子”。我为这个游戏努力了好几年了。 创作已经接近尾声。 它有不同的场景规模。 从极其微小到非常宏大。 我将要从最开端来进入这个游戏, 其实是从一滴水里开始这个游戏的, 这时你还是一个很小很小的单细胞生物, 然后马上你需要开始基本的生存、生活、繁衍。 你看,它小极了, 游来游去。我知道事实上细胞生物没有眼睛, 但是眼睛使它看起来更可爱。
The players are going to play through every generation of this species, and as you play the game, the creature is actually growing bit by bit. And as we start growing, the camera will actually start zooming out, and things that you see in the background there will start slowly pulling into the foreground, showing you a little bit of what you'll be interacting with as you grow. So as we eat, the camera starts pulling out, and then we start interacting with larger and larger organisms.
玩家会逐步经历这个物种的每一代进化, 当你玩这个游戏的时候,这个生物就一点一点地长大。 当它开始生长的时候,镜头会变焦 使得你在背景中看到的景物 会慢慢地往前移, 让你知道当它成长的时候会遇到什么。 瞧,当它进食的时候,镜头会拉远,然后我们开始 和越来越大的生物体互动。
We actually play through many generations here, at the cellular scale. I'm going to skip ahead here. At some point we get larger, and we actually get to a macroevolution scale. Now, at this point we're leaving the water, and one thing that's kind of important about this game is that, at every level, the player is designing their creature, and that's a fundamental aspect of this.
我们可以在细胞层面经历好多代。 我要跳过这一级了。当我们变大之后,就会 进入到进化的宏观层面。 在这个界面中,我们离开了水, 这个游戏中很重要的一点是,在每一个级别中, 玩家可以自己设计生物的形态。 这是很基本的。
Now, in the evolution game here, the creature scale, basically you have to eat, survive, and then reproduce. You know, very Darwinian. One thing we noticed with "The Sims," a game I did earlier, is that players love making stuff. When they were able to make stuff in the game, they had a lot of empathy in connection to it. Even if it wasn't as pretty as a professional artist would make for games, it really stuck with them and they really cared about what would happen to it.
那么,在这个进化游戏中,在生物的层面上,你要做的 基本上就是进食、生存、繁殖。这很符合达尔文的理论。 大家在我以前创作的“模拟”系列游戏中已经注意到, 玩家喜欢做东西。 当他们自己可以制作东西时,他们就会对它 产生极大的共情感,哪怕做出来的东西 并不是人们想象的那么美丽——就像专业的艺术家 为游戏设计的那样——但玩家对它们不离不弃, 对它遇到的一切非常关心。 所以现在,我们离开了水。我们可以让这个小家伙——
At this point, we've left the water, and now with this little creature -- we could bring up the volume a little bit -- and now we might try to eat. We might sneak up on this little guy over here maybe, and try and eat him. OK, well, we fight.
我们可以把音量调大一点——让它吃东西, 我们可以悄悄接近这个小东西,然后吃掉它。 好,我们干一架。
(Creatures grunting)
OK, we got him. Now we get a meal. So really, at this part of the game, what we're doing is we're running around and surviving, and also getting to the next generation, because we're going to play through every generation of this creature. We can mate, so I'm going to see if one of these creatures wants to mate with me. Yeah.
嗯,我们打败了它。现在我们开吃。 所以在游戏的这个部分,我们就是在 游荡和生存,并且制造下一代, 因为我们要经历这个生物的每一代。 我们可以交配,所以我要看看 这个同类是不是愿意和我交配。嗯。
(Creatures grunting)
我们并不想重复人类实际的进化过程,
We didn't want to replay actual evolution with humans and all that, because it's almost more interesting to look at alternate possibilities in evolution. Evolution is usually presented as this one path that we took through, but really it represents this huge set of possibilities. Now, once we mate, we click on the egg. And this is where the game starts getting interesting, because one of the things we really focused on here was giving the players very high-leverage tools, so that for very little effort, the player can make something very cool. And it involves a lot of intelligence on the tool side.
因为看看别的可能 也许更加有趣。 我们经历的进化过程有时候显得像是唯一的方式 但是进化其实有很多的可能方式 我们一旦交配之后,就可以点这个蛋。 这样游戏就变得很有趣了, 因为我们的重点工作致意就是让玩家 利用事半功倍的工具,简单而巧妙地 做出很酷的事情。工具栏中包含了很多的智慧。 基本上,这就是编辑工具,我们可以用它设计
But basically, this is the editor where we're going to design the next generation. So it has a little spine. I can move around, I can extend. I can also inflate or deflate it with the mouse wheel, so you sculpt it like clay. We have parts here that I can put on or pull off. The idea is that the player can basically design anything they can think of in this editor, and we'll basically bring it to life. So I might put some limbs on the character here. I'll inflate them kind of large. And in this case I might decide I'm going to put -- I'll put mouths on the limbs.
我们的生物的下一代。它有一个小脊柱, 它可以移动,可以延伸。 我也可以用这个鼠标操纵的转盘来使它膨胀或者紧缩,这样你就可以塑造它的形状, 就像捏橡皮泥一样。这儿我们有零件,你可以添加或者拆减。 我们的理念是,玩家可以用这个编辑工具设计 任何他们想设计的东西,然后让它有了生命。 比如,我可以在这个家伙身上装一些肢体。 我要把它们胀大。 这儿我打算—— 我打算在它的肢体上加几个嘴巴。
So pretty much players are encouraged to be very creative in the game. Here, I'll give it one eye in the middle, maybe scale it up a bit. Point it down. And I'll also give it a few legs. So in some sense we want this to feel like an amplifier for the player's imagination, so that with a very small number of clicks a player can create something that they didn't really think was possible before. This is almost like designing something like Maya -- that an eight-year-old can use. But really the goal here was, within about a minute, I wanted somebody to replicate what typically takes a pictorial artist several weeks to create. OK, now I'll put some hands on it. OK, so here I've basically thrown together a little creature. Let me give it a little weapon on the tail here, so it can fight. OK, so that's the complete model. Now we can actually go to the painting phase.
所以这个游戏鼓励玩家尽可能地发挥他们的创意。 这里,我要在中间安一只眼睛,放大,视线向下一点。 我还要给它装几条腿。 所以我们想要这个游戏 能够放飞玩家的想象, 这样玩家只要轻点鼠标,就能创造 他们以前想也不敢想的东西。 你瞧,这就像是一款 八岁的小孩都能使用的玛雅设计软件。 我们真实的意图是,让玩家可以在一分钟之内, 制作出一个平面设计师一般需要几周来创作的东西。 好,现在我要为它加上几只手。 嗯,这样我就拼装好了一个小生物。 我接着在它的尾巴上添一个小武器,这样它就能战斗了。 好啦,大功告成。然后我们就可以为它涂色了。 在这个阶段,程序实际上对这个生物的拓扑有自己的理解。
At this phase, the program has some understanding of the topology of this creature. It knows where the backbone is, where the spine, the limbs are, how stripes should run, how it should be shaded. And so we're procedurally generating the texture map, something a texture artist would take many days to work on. And then we can test it out, and see how it would move around. And so at this point the computer is procedurally animating this creature. It's looking at whatever I've designed. It will actually bring it to life. And I can see how it might dance.
它知道哪里是后背, 哪里是脊柱,哪里是肢体。 它知道条纹应该如何分布,如何造型, 于是我们就顺理成章地得到了这个纹理图。 这样的作品交给一个纹理艺术家来做可能需要很多天。 我们完成这一项之后,就可以测试一下,让它四处走动一下。 这时,电脑就会自动地控制这个生物的移动。 电脑听命于我的设计,然后让它动起来。 瞧瞧,我让它跳舞。
(Laughter)
(笑声)
How it might show emotions, how it might fight. So it's acting with its two mouths there. I can even have it pose for a photo. Snap a little photo of it.
让它表达情感,让它打斗。 让让它的两个嘴巴动起来。 我甚至能让它摆姿势拍照——拍个照。
(Laughter)
笑声
So then I bring this back into the game. It's born, and I play the next generation of my creature through evolution. Now again, the empathy that the players have when they create the content is tremendous. When players create content in this game, it's automatically sent up to a server and then redistributed to all the other players transparently. So in fact, as I'm interacting in this world with other creatures, these creatures are transparently coming from other players as they play. So the process of playing the game is a process of building up this huge database of content. And pretty much everything you're going to see in this game, there's an editor for that the player can create, up through civilization. This is my baby. When I eat, I'll actually start growing.
我把它放回游戏中来,它出生了。 然后我开始玩我的生物进化后的下一代。 同样的,玩家们创作生物时的强烈的共情感又来了。 当一个玩家在游戏中创作一个内容时, 它自动被传送到服务器, 然后重新分配到所有其他玩家的系统中。 因此,其实在这个世界里同我互动的其他生物, 是直接由其他的玩家创造的。 所以玩游戏的过程就是在建立一个巨大的内容数据库。 几乎所有你在游戏中看到的一切, 都有相应的编辑工具, 是的,贯穿整个文明。这是我的宝贝儿。 当我吃东西的时候,我就在长大。这是它的下一代。
This is the next generation. But I'm going to skip ahead here. Normally what would happen is these creatures would work their way up, eventually become intelligent. I'd start dealing with tribes, cities and civilizations of them over time. I'm going to skip way ahead to the space phase. Eventually they would go out into space, and start colonizing and exploring the universe. Now, really, in some sense, I want the players to be building this world in their imagination, and then extracting it from them with the least amount of pain.
我要跳过这步了。接着,一般来说,这些生物就会 日臻完美,最后变得拥有智慧。 随着时间流逝,我开始处理部落、城市和不同的文明的问题。 我要跳过这些步骤,直接跳到太空阶段。 最终它们会进入太空,开始在宇宙中殖民和探索。 我希望玩家能够用他们的想象创造世界。 然后用最简单的方式 从中取其精华。
So that's kind of what these tools are about. How do we make the gameplay, you know, basically the player's imagination amplifier? And how do we make these tools, these editors, something that are just as fun as the game itself? So this is the planet that we've been playing on up to this point in the game. So far the entire game has been played on the surface of this little world here.
这就是这些工具的意义,这就是我们如何用这个游戏, 放飞玩家的想象, 我们如何让这些工具,这些编辑工具变得 和游戏本身一样好玩。 这就是我们在玩游戏时所在的星球。 目前这整个游戏就是在这个小世界的表面玩的。 现在我们是在玩一个小小的星球玩具,
At this point we're actually dealing with a very little toy planet. Almost, again, like the Montessori toy idea. What happens if you give somebody a toy planet, and let them play with a lot of dynamics on it? What could they discover? What might they learn on this? This world was actually extracted from the player's imagination. So, this is the planet that the player evolved on. Things like the buildings, the vehicles, the architecture, civilizations were all designed by the player up to this point. So here's a little city with some of our guys walking around in it. And most games put the player in the role of Luke Skywalker, this protagonist playing through this story. This is more about putting the player in the role of George Lucas. I want them, after they've played this game, to have extracted an entire world that they're now interacting with.
同样几乎就像是蒙特梭利玩具那样。 你知道,当你给人一个星球玩具, 让他们可以随意摆弄时, 他们会发现什么?他们会从中学到什么? 这个世界事实上是来源于玩家的想象, 是玩家的生息之地, 所以所有的房屋建筑、交通工具、所有文明 目前为止都是由玩家来设计的。 所以这里是一个小城市,有几个咱们的人行走其中。 在大多数的游戏中,玩家都是像卢克•天行者这样的 故事主角。 然而这个游戏却是让玩家来扮演 导演乔治•卢卡斯的角色。 我希望他们玩了这个游戏之后, 能够创作出一个完整的世界,与之互动。
As we pull down here, we still have a whole set of creatures living on the surface of the planet. All these different dynamics going on here. I can look over here, and this is a little simplified food web that's going on with the creatures. I can open this up and then scan what exists on the surface.
现在当我摧毁这里的时候,在这个星球上其实还居住着 一系列的生物,所以发生着一系列动态的变化。 我可以从这里俯视。这里的生物有一个简化了的 小食物链。 我可以打开这个,浏览哪些生物存在于这个表面, 了解其中生物的多样性。
You get some sense of the diversity of creatures that were brought in. Some of these were created by the player, others by other players, automatically sent over here. But there's a very simple calculation of what's required, how many plants are required for the herbivores to live, how many herbivores for the carnivores to eat, etc., that you have to balance actively. Also with this phase, we're getting more and more God-like powers for the player, and you can experiment with this planet as a toy. So I can come in and I can do things, and just treat this planet as a lump of clay. We have very simple weather systems, simple geology. For instance, I could open one of my tools here and then carve out rivers. So this whole thing is kind of like a big lump of clay, a sculpture. I can also play with the dynamics in this world over time.
其中有些时由玩家自己创作的, 有的是由其他玩家创造的,自动分配到这里来的。 但是这里面也要求一些简单的计算, 比如为了草食动物的存活,需要多少植物, 为了我肉食动物的存活,需要多少草食动物, 你需要实现一个动态的平衡。 同样,在这个阶段,我们给了玩家更多的造物的权利, 你可以用这个玩具星球来实现。 我可以进入其中,可以摆弄它,可以把这个星球当做一块橡皮泥。 这里我们有一个简单的天气系统, 很简单的地理状况。比如,我可以在这里使用一个工具, 比如,开凿河流。 这整个星球就像是一块巨大的橡皮泥,一个雕塑。 我还可以不断控制这个世界的动态变化。
So one of the things I can do is start pumping more CO2 gases into the atmosphere, and so that's what I'm doing here. There's actually a little readout down there of our planetary atmosphere, pressure and temperature. So as I start pumping in more atmosphere, we're going to start pushing up the greenhouse gases here and if you'll start noticing, we start seeing the ocean levels rise over time. And our cities are going to be at risk too, because a lot of these are coastal cities. You can see the ocean levels are rising now and as they encroach upon the cities, I'll start losing cities here.
因此,我可以往大气中倾倒更多二氧化碳, 就像这样。 这下面有一些关于我们这个星球的大气环境的指数, 包括气压,温度。 所以当我开始增加气体时, 我们就会提高温室气体的含量, 如果你注意看的话,就会发现海平面上升了。 而我们的城市就会有危险,因为许多城市就在海岸边。 你可以看见海平面正在上升,海水在侵蚀城市, 这里我失掉了不少城市。 所以我希望玩家能够试验和探索,
So basically, I want the players to be able to experiment and explore a huge amount of failure space. So there goes one city. Now, over time, this is going to heat up the planet. So at first what we're going to see is a global ocean rise here on this little toy planet, but then over time -- I can speed it up -- we'll see the heat impact of that as well.
了解各种太空中的失败——你看,一个城市毁灭了。 渐渐地,星球的温度提高了。 在这个小小玩具星球上,我们首先会遇到的 就是全球海平面上升。 逐渐地——我可以加快点速度—— 我们也可以看见升温带来的影响。
Not only will it get hotter, but at some point it's going to get so hot the oceans will evaporate. They'll go up, and then they'll evaporate, and that'll be my planet. So basically, what we're getting here is the sequel to "An Inconvenient Truth," in about two minutes, and that actually brings up an interesting point about games. Now here, our entire oceans are evaporating off the surface, and as it keeps getting hotter, at some point the entire planet is going to melt down. Here it goes.
它不仅仅会变得更热, 甚至在某种情况下,热到连海洋都蒸发了。 所以海洋先上升,然后蒸发,这就是我的星球。 我们正在经历的可能是 《难以忽视的真相》的两分钟的续集, 这让游戏变得很有趣。 现在我们所有的海洋正在从表面开始蒸发。 随着温度越来越高,整个星球可能会在某一刻融化掉。 你看。
So we're not only simulating biological dynamics -- food webs and all that -- but also geologic, you know, on a very simple core scale. And what's interesting to me about games is that I think we can take a lot of long-term dynamics and compress them into very short-term experiences. Because it's so hard for people to think 50 or 100 years out, but when you can give them a toy, and they can experience these long-term dynamics in just a few minutes, I think it's an entirely different point of view, where we're actually using the game to remap our intuition. It's almost in the same way that a telescope or microscope recalibrates your eyesight; I think computer simulations can recalibrate your instinct across vast scales of both space and time.
所以我们不仅仅是在模拟生物的变化——像食物链等—— 还有简单的核心层面的地理变化。 对我来说,游戏的有趣之处有时 在于我们可以将一些长期的变化 压缩成短期的经历。 把五十甚至一百年内发生的事情想清楚实在太难了, 但是如果你能给他们一个玩具,让他们在几分钟之内 去经历这些长期的变化, 我认为就是一种全然不同的观点了,我们可以呈现, 用游戏去再现我们的直觉。 就像是望远镜或者显微镜 重新校准了你的视力,我觉得电脑模拟可以 大规模地跨越空间和时间校准你的直觉。 我们把视线从融化了的行星里拉远,来到我们的小小太阳系。
So here's our little solar system, as we pull away from our melted planet here. We actually have a couple of other planets in this solar system. Let's fly to another one. We're going to have this unlimited number of worlds you can explore here. As we move into the future, and we start going out into space and doing stuff, we're drawing a lot from things like science fiction. And all my favorite science fiction movies I want to play out here as different dynamics.
原来在这个太阳系里,我们其实还有好多其他的行星。 让我们跳到另外一个上来。 其实,我们将会有无限多的世界 供你去探险。现在我们进入未来, 我们可以开始进入这个空间做点事情, 我们描绘出许多科幻小说里的东西。 都是我喜欢的科幻电影里的。 我想在这里制造一些不同的变化。 这个星球上其实有一些生物。
This planet actually has some life on it. Here it is, some indigenous life down here. One of the tools I can eventually earn for my UFO is a monolith that I can drop down.
看,有些土生土长的生物。 现在我终于可以从我的飞行器上扔下一个 巨大的石碑。
(Laughter)
(笑声)
Now, as you can see, these guys are actually starting to go up and bow to it, and over time, once they touch it, they will become intelligent. So I can actually pick a species on a planet and then make them sentient. Now they've actually gone to tribal dynamics. And now, because I'm actually the one here, I can get out of the UFO and walk up, and they should be worshipping me at this point as a god. At first they're a little freaked out. OK, well maybe they're not worshipping me.
现在你可以看见,这些生物开始走过来 向它鞠躬,渐渐地,一旦它们碰到它,它们就会变得有智慧。 所以我可以挑一种生物,使它们变得有知觉。 瞧,现在它们开始组成部落。 所以现在,因为我是唯一的操纵者,只要我愿意,我就可以从飞行器里出来, 走近它们,然后它们现在应该会把我当做上帝来崇拜。 (笑声) 一开始,它们有点吓坏了。 好吧,它们可能没有崇拜我。
(Laughter)
(笑声)
I think I'll leave before they get hostile.
我想我应该在它们对我产生敌意前离开。
But we basically want a diversity of activities the players can play through this. I want to be able to play "The Day the Earth Stood Still," "2001: A Space Odyssey," "Star Trek," "War Of the Worlds." Now, as we pull away from this world -- we're going to keep pulling away from the star now. One of the things that always frustrated me about astronomy when I was a kid is how it was always presented so two-dimensionally and so static. As we pull away from the star here, we're actually going now out into interstellar space, and we're getting a sense of the space around our home star.
我们希望玩家可以经历不同的活动。 我希望这个游戏能变成 《地球停转之日》、《2001太空漫游》 《星际迷航》、《世界之战》。 现在,我们将视线从这个世界里移出来——我们从这个星球移出来了—— 天文学中有一点曾让儿时的我时常感到困扰: 为什么它总是二维的、静态的呢? 当我们从行星中移开视线,我们就进入了 星际空间。 我们对家园行星周边的空间有了直观感觉。 现在我真正想做的就是让大家看看这个,
What I really wanted to do is to present this, basically, as wonderfully 3D as it is actually is. And also show the dynamics, and a lot of the interesting objects that you might find, like, in the Hubble, at pretty much realistic frequencies and scales. So most people have no idea of the difference between an emission nebula and a planetary nebula. But these are the things that we can put in this little galaxy here. So we're flying over here to what looks like a black hole. I want to basically have the entire zoo of Hubble objects that people can interact with and play with, again, as toys.
这和它的实际存在一样的立体。 不仅如此,还有一些变化, 你还会发现许多有趣的物体,比如哈勃望远镜。 这和实际的频率和规模几乎是一样的。 大多数人都分不清 发射星云和环状星云之间的区别。 但是我们可以把这些放进这个小星系里。 我们可以飞到这里看看黑洞。 我想要将哈勃望远镜能看到的一切展示给人们, 让他们可以与之互动,当做玩具来玩。 这是一个黑洞,我们可不想离它太近。
So here's a little black hole that we probably don't want to get too close to. But we also have stars and things as well. If we pull all the way back, we start seeing the entire galaxy here, kind of slowly in motion. Typically, when people present galaxies, it's always beautiful photos, but they're always static. And when you bring it forward in time and start animating it, it's amazing what a galaxy would look like fast forwarded.
我们还有星星和其他的东西。 如果我们继续将视线移远,我们可以看见这一整个星系, 缓缓移动。普遍来说,当人们展现星系的时候, 总是用美丽却静态的照片。 当你让它随着时间动起来, 加快它的运转速度, 它看起来就会十分惊艳。
This would be about a million years a second, because you have about one supernova every century. And so you'd have this wonderful sparkling thing, with the disk slowly rotating, and this is roughly what it would look like. Part of this is about bringing the beauty of the natural world to somebody in a very imaginative way, so that they can start calibrating their instinct across these vast scales of space and time.
这大约是每秒一百万年, 因为大概每个世纪会出现一颗超新星。 这样你就会看见如此美丽而闪耀的物体缓慢旋转, 这就是它大概的样子。 这个游戏的目的之一就是用一种充满想象的方式, 让人们看见自然世界的美,让他们开始大规模地跨越空间和时间, 重构自己的直觉。 一个天主教徒有一天问我游戏的玩家会变成怎样的上帝。
Chris was wondering what kind of gods the players would become. Because if you think about it, you're going to have 15-year-olds, 20-year-olds flying around this universe. They might be a nurturing god. They might be bootstrapping life on planets, trying to terraform and spread civilization. You might be a vengeful god, conquesting, because you actually can do that, you can attack other intelligent races. You might be a networking god, building alliances, or just curious, going around and wanting to explore as much as you possibly can.
你想想,十五岁、二十岁的年轻人 将会飞入这个宇宙。 他们会成为一个一个无微不至的上帝。也许会成为星球上自力更生的生命, 努力地占领地盘,散布文明。 你可能会成为一个复仇心切的上帝,四处侵略征服, 你真的可以,你能闯进别的智慧的种族攻击他们。 你可能会成为一个左右逢源的上帝,建立盟友, 你也可以这么做。或者你只是出于好奇, 尽你所能,四处游历。
But basically, the reason why I make toys like this is because I think if there's one difference I could possibly make in the world, that I would choose to make, it's that I would like to somehow give people just a little bit better calibration on long-term thinking. Because I think most of the problems that our world is facing right now are the result of short-term thinking, and the fact that it is so hard for us to think 50, 100, or 1,000 years out. And I think by giving kids toys like this and letting them replay dynamics, very long-term dynamics over the short term, and getting some sense of what we're doing now, what it's going to be like in 100 years, I think probably is the most effective thing I can be doing to help the world. And so that's why I think that toys can change the world.
我想要创作这个玩具的原因, 是我觉得我可能可以、也想要,为这个世界带来的变化 就是,我想要让人们能更好地 从长远看问题。 因为我觉得我们的世界现在所面临的诸多问题 大多归咎于人们目光短浅。 让我们去畅想五十年、一百年甚至一千年以后的变化实在太难。 而我认为给孩子们一个这样的玩具, 让他们重现动态变化, 用很短的时间看长期的变化, 让他们了解我们现在在做的事情,了解一百年后会发生的事情, 就是我现在能为帮助这个世界所做的 最有效率的事。 这就是为什么,我自认为,玩具可以改变世界。
Thank you.
谢谢。