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So, I'm making fun of it, but we discussed this for so many days.
好吧，我在嘲笑它，但是我们讨论这件事有许多天了。
You have no idea.
你一点主意也没有。
And to this day, I am ambivalent,
至今我仍然在矛盾着。
but when you have instead games like Flow, there's no doubt.
但是当你有替代的游戏像《浮游世界》，当然毫无疑问。
It's like, it's about serenity and it's about sublime.
它有点像是关于宁静和崇高的。
It's about experiencing what it means to be a sea creature.
它是关于体验变成海洋生物意味着什么。
Then we have a few also side-scrollers -- classical ones.
我们也有少量像《横向卷轴》等的经典游戏。
So it's quite a hefty collection.
这的确是一个巨大的收藏。
And right now, we started with the first 14,
现在，让我们从最初的14个开始，
but we have several that are coming up,
我们还有数个即将收购的游戏，
and the reason why we haven't acquired them yet is because you don't acquire just the game.
为什么我们还没有收购它们呢？因为你不会只收购游戏，
You acquire the relationship with the company.
你还收购与公司之间的关系。
What we want, what we aspire to, is the code.
我们想要，渴望得到的是代码。
It's very hard to get, of course.
当然，这是很难得到的。
But that's what would enable us to preserve the video games for a really long time,
不过这也使我们能够在一段很长的时间里保存游戏。
and that's what museums do.
这也是博物馆所做的。
They also preserve artifacts for posterity.
当然他们也为后人保存文物。
In absence of the code, because, you know,
因为，你们知道，如果没有代码，
video game companies are not very forthcoming in some cases,
电子游戏公司在某些情况下不是很愿意，
in absence of that, we acquire the relationship with the company.
在没有代码的情况下，我们收购与公司的关系。
We're going to stay with them forever.
我们将永远和它们在一起，
They're not going to get rid of us.
他们不会摆脱我们。
And one day, we'll get that code.
总有一天，我们会得到那个代码。
But I want to explain to you the criteria that we chose for interaction design. Aesthetics are really important.
但是我想向你们解释我们选择交互设计的准则，美学是非常重要的。
And I'm showing you Core War here,
在这儿我想向你们展示《磁芯大战》，
which is an early game that takes advantage aesthetically of the limitations of the processor.
它是一种早期的游戏，从美学上利用处理器的局限性。
So the kind of interferences that you see here that look like beautiful barriers in the game
你在这里看到的这种干扰，看起来像游戏中的美丽屏障，
are actually a consequence of the processor's limitedness,
事实上是处理器局限性的后果，
which is fantastic. So aesthetics is always important.
真是很奇妙。所以美学始终是非常重要的。
And so is space, the spatial aspect of games.
游戏的空间方面也是如此。
You know, I feel that the best video games are the ones that have really savvy architects
我觉得最好的电子游戏是那些在幕后由真正资深的设计师制作的。
that are behind them, and if they're not architects,
如果他们不是受过良好训练的架构师，
bona fide trained in architecture, they have that feeling.
他们就不会有这种感觉。
But the spatial evolution in video games is extremely important.
但空间演变在电子游戏中是极其重要的。
Time. The way we experience time in video games,
时间，我们在电子游戏中度过时间的方式，
as in other forms of interaction design, is really quite amazing.
像在其它形式的交互设计中一样，确实是令人惊叹的。
It can be real time or it can be the time within the game,
它可以是真实的时间，也可以是游戏中的时间。
as is in Animal Crossing, where seasons follow each other at their own pace.
例如在《动物之森》中，季节以各自的节奏更替。
So time, space, aesthetics, and then, most important, behavior.
所以时间，空间，美学，然后，最重要的行为。
The real core issue of interaction design is behavior.
交互设计的真正的核心问题是行为。
Designers that deal with interaction design behaviors
设计师们处理交互设计行为。
that go to influence the rest of our lives.
这些行为去影响我们生活的其它部分。
They're not just limited to our interaction with the screen.
它们并不局限于我们与屏幕的互动。
In this case, I'm showing you Marble Madness, which is a beautiful game
在这个例子中，我将给你们展示《疯狂石头》。这是一个美丽的游戏。
in which the controller is a big sphere that vibrates with you,
控制者是一个大球体和你一起颤动，
so you have a sphere that's moving in this landscape,
所以在这种风景下你有一个运动的球体。
and the sphere, the controller itself, gives you a sense of the movement.
这个球体，控制者本身，给了你运动的感觉。
In a way, you can see how video games are the purest aspect of interaction design
某种程度上，你可以看到电子游戏怎样是最纯净的交互设计方面，
and are very useful to explain what interaction is.
以及在解释交互设计是什么时是如此的有用。
We don't want to show the video games
我们不想使用一些设备来展示电子游戏，
with the paraphernalia. No arcade nostalgia.
没有怀旧街机游戏。
If anything, we want to show the code,
如果可以的话，我们想展示代码。
and here you see Ben Fry's distellamap of Pac-Man, of the Pac-Man code.
这里你看到Ben Fry的《小精灵》游戏的操作代码与图形的混合。
