正点原子任天堂_什么是任天堂的“ Gigaleak”？-CSDN博客

正点原子任天堂

I remember a weird kind of game that some attendees of the annual E3 expo would play (you know, back when E3 was a thing). They would attempt to quite literally lift the curtains on publisher exhibits before the event officially kicked off. Part of the motivation, I’m sure, was to nab some kind of hot exclusive. Maybe you could reveal some major, previously-unannounced game and get the jump on the publisher. Let’s not forget, though, that most of us in the gaming industry are — by definition — gamers. Passionate gamers, at that. We’re always hungry for any tidbits of information about upcoming releases, especially from franchises we love.

我 记得每年E3世博会的一些参与者都会玩的一种奇怪的游戏(您知道，当E3成为一件事情的时候)。 他们将试图在活动正式开始之前，从字面上揭开出版商展览的帷幕。我敢肯定，部分动机是要抢占某种热门。也许您可以展示一些之前未发布的主要游戏，并获得发行商的青睐。但是，请不要忘记，根据定义，我们游戏行业中的大多数人都是游戏玩家 。热情的游戏玩家。我们总是渴望获得有关即将发布的版本的任何信息，尤其是我们热爱的特许经营权。

Image for post — Everybody wants to see how the sausage is made. Source: Nintendo.

幕后的男人 (Man behind the curtain)

That desire to peek behind the curtain isn’t limited to brand new games, either. As I get older, nostalgia becomes a more prominent dimension in terms of how I engage with and enjoy video games. These two concepts dovetail into something that becomes a central pursuit for many games writers of a certain vintage: we want to keep behind the curtain retrospectively. That is, we want to know how our favourite games were made. This hasn’t always been a straightforward pursuit, either. For years, the only way you’d really glean valuable insights was from direct interviews with game creators. But game creators — understandably — are often highly protective of whatever bits and pieces constitute their secret sauce. After all, the value of a video game, in business terms, is almost entirely reliant on intangible assets like intellectual property. This is why some game creators might be reluctant to pull the curtain back too far. It’s also why large game companies — Nintendo, most infamously — aggressively pursue whatever legal channels are available to them to guard their precious IP. There are many occasions where we might justifiably argue that a company like Nintendo is being too aggressive or drawing too broad a target. But again, remember: their entire business relies almost entirely on intellectual property. While there has always been a desire to protect IP, the emergence of the internet (and the almost-incalculable channels through which IP can be stolen and distributed) has a way of keeping the entire industry on perpetual tenterhooks.

窥视幕帘的愿望也不仅仅限于全新游戏。随着年龄的增长，怀旧成为我与视频游戏互动和享受方式方面更为突出的方面。这两个概念相互融合，成为某些年份的许多游戏作家的核心追求： 我们想 回顾性 地保持身后 。也就是说，我们想知道我们最喜欢的游戏是如何制作的。也不总是一个简单的追求。多年来，您真正要收集有价值的见解的唯一方法是直接采访游戏创作者。但是，可以理解的是，游戏创作者通常会高度保护构成其秘密武器的任何细节。毕竟，就商业而言，视频游戏的价值几乎完全依赖于无形资产，例如知识产权。这就是为什么某些游戏创作者可能不愿意拉开帷幕的原因。这也是为什么大型游戏公司(最臭名昭著的任天堂) 积极寻求可利用的任何合法渠道来保护其宝贵IP的原因。在很多情况下，我们可能有理由争辩说，像任天堂这样的公司过于激进或制定了过于广泛的目标。但是请再次记住：他们的整个业务几乎完全依赖于知识产权。一直以来，人们一直希望保护知识产权，但是互联网的出现(以及几乎无法估量的可以窃取和分发IP的渠道)可以使整个行业永不停息。

I suspect Nintendo could be knocked down with a feather given the recent gigaleak, which is making news all over the internet at the moment.

鉴于最近的gigaleak消息，我怀疑任天堂可能会被打倒。

So, what is the fabled gigaleak? It emerged — perhaps unsurprisingly — on the 4chan message board in late July. Users began posting a bunch of material from Super NES and Nintendo 64 games. The material in question is wide-ranging, but it largely consisted of all sorts of assets from multiple games including early work-in-progress designs and components from projects that never saw the light of day. Some of the material confirms long-held suspicions (for example, a model of Luigi was found in the source code for Super Mario 64 — he was rumoured to have been planned for the game but ultimately dropped from the final release). Other material includes sprite artwork from a cancelled remake of Zelda II: The Adventure of Link.

那么，传说中的gigaleak是什么？ 7月下旬，它出现在4chan留言板上-也许并不奇怪。用户开始发布Super NES和Nintendo 64游戏的大量材料。所涉及的材料范围广泛，但主要包括来自多个游戏的各种资产，包括早期在制品设计和从未见过的项目中的组件。一些材料证实了长期以来的怀疑(例如，在超级马里奥64的源代码中发现了Luigi模型-据传他曾为这款游戏计划，但最终从最终版本中删除了)。其他材料包括取消Zelda II：Link历险记重制而成的子画面艺术品。

It’s a treasure trove of information. In the short time it has been online, huge numbers of enthusiasts have poured through it to extract all the juicy details. And it’s absolutely been confirmed to be genuine, thanks in part to tweets from folks like Dylan Cuthbert, who worked on Star Fox and Star Fox 2 for SNES.

这是信息的宝库。在短时间内它在线上，大量的爱好者涌入它以提取所有多汁的细节。绝对可以肯定它是真实的，部分是由于像Dylan Cuthbert这样的人发的推文，他们曾为SNES制作过Star Fox和Star Fox 2 。

失去的回忆 (Lost memories)

There is a sense in which the leak might seem harmless at first. And there is a line of argument — for which I have some sympathy — that much of this material arguably belongs in some kind of video game museum. Given the nature of digital assets (that they are, well…digital), it’s frighteningly easy to imagine a scenario where huge amounts of culturally-important work is entirely lost forever. It’s happened multiple times in the past, actually. Square Enix, for example, admitted to “losing” the source code for several iconic games. As time goes by, and the game industry grows and becomes a more established pillar of pop culture and human creative achievement, there is growing concern about game preservation. Losing the source code for, say, Super Mario Bros. is absolutely the equivalent of losing the original animation cells for Steamboat Willie. The time it has taken for society to arrive at this recognition has unfortunately created a vacuum where many important works of art and culture have been lost, never to be recovered.

从某种意义上说，泄漏乍一看似乎是无害的。有一种论点(我对此表示同情)，其中大部分材料可以说属于某种电子游戏博物馆。鉴于数字资产的性质(即他们，嗯...... 数字 )，这是可怕的容易想象那里的文化，重要工作巨额完全永远失去了一个场景。实际上，它过去曾发生过多次。例如，Square Enix承认“丢失”了一些标志性游戏的源代码。随着时间的流逝，游戏产业的发展并成为流行文化和人类创造成就的更加成熟的Struts，人们越来越关注游戏保存。例如，丢失超级马里奥兄弟 ( Super Mario Bros. )的源代码绝对等同于丢失Steamboat Willie的原始动画单元。不幸的是，社会花了很多时间才能获得这种认可，这造成了真空，许多重要的艺术和文化作品丢失了，无法复原。

This situation should provoke companies like Nintendo, Square Enix, Sega and many others to seriously consider their obligations around the preservation of digital artefacts. I think the argument could be made that although these materials are owned by said publishers, there is a growing public interest in preserving and protecting artefact that are of great historical and artistic importance.

这种情况应该挑起像任天堂，史克威尔艾尼克斯，世嘉和许多其他公司认真考虑各地的数字文物的保护的义务。我认为可以提出这样的论点，即尽管这些材料归所述出版商所有，但在保存和保护具有重大历史和艺术意义的手Craft.io品方面，公众的兴趣与日俱增。

However, much as many of us would like to see video game developers and publishers approach their classic works in this way, the theft and distribution of intellectual property is highly dubious and obviously illegal. The illegality of the act doesn’t necessarily make it ethically or morally bad (I’d argue that plenty of things have been illegal at some stage, but this was entirely separate from their real ethical or moral implications). But there is a question of ethics here. Among the fascinating game-related content included in the leak are private communications between staff discussing all manner of sordid topics (including pornography in at least one case, and other deeply personal matters in other cases). You can debate all day long whether or not these communications were appropriate (especially at work), but that misses the point by a wide margin — the participants in the conversations certainly expected that they were private at the time. And as is usually the case with leaks like this, snippets of communication are being distributed entirely without context. Creators may also understandably feel uncomfortable with various works-in-progress or shelved ideas being distributed (again, with no context). I know I probably wouldn’t want first drafts of many of my articles being published everywhere without my knowledge or consent.

但是，正如我们许多人希望看到视频游戏开发商和发行商以这种方式来处理他们的经典作品一样，盗窃和分配知识产权的行为非常可疑，而且显然是非法的。该行为的违法行为并不一定会使它在道德或道德上变坏(我认为在某个阶段很多事情都是违法的，但这完全不同于其实际的道德或道义含义)。但是这里有一个道德问题。漏洞中包含的与游戏有关的有趣内容中，工作人员之间的私人通信讨论了各种肮脏的话题(至少在一种情况下包括色情，在其他情况下包括其他涉及个人的深切问题)。您可以整天辩论这些通信是否适当(尤其是在工作中)，但这大大地忽略了这一点-对话的参与者当然希望他们当时是私人的。像这样的泄漏通常是这样，通信的片段完全是在没有上下文的情况下分发的。可以理解的是，创作者可能会对各种正在进行的作品或搁置的想法散布感到不自在(再次，没有上下文)。我知道我可能不希望在我不知情或未同意的情况下，将我的许多文章的初稿发布到任何地方。

前方的石路 (Rocky road ahead)

Nintendo haven’t officially responded to the leak at this stage. But whatever their response (or not) in the short term, I really wonder what impact this leak will have in the longer term.

任天堂在这一阶段还没有对泄漏事件做出正式回应。但是，不管他们短期内的React如何(或没有React)，我真的很想知道从长远来看这种泄漏会产生什么影响。

For example, as someone who works in the gaming media, I am very familiar with the increasing sensitivity around leaks and the negative consequences this has on journalists. It’s becoming more and more difficult to review games now because publishers are placing substantially more onerous embargo requirements on writers and publications. The embargo conditions around The Last of Us Part II — while understandable in terms of spoilers — were ultimately a real problem for many writers. And when something is a problem for a writer, it invariably becomes a problem for the gaming audiences who read these publications. There are also escalating contractual penalties involved when writers violate embargo conditions, accidentally or otherwise.

例如，作为从事游戏媒体工作的人，我对泄漏的敏感性日益提高以及对记者的负面影响非常熟悉。现在，评论游戏变得越来越困难，因为发行商对作家和出版物提出了更为严格的禁运要求。《 我们最后的回忆》第二部分周围的禁运条件(虽然可以用剧透来理解)对许多作家而言最终是一个真正的问题。当作家遇到问题时，对于阅读这些出版物的游戏受众来说，它总是会成为问题。当作家无意中或以其他方式违反禁运条件时，还会涉及不断增加的合同处罚。

I mention this because the gigaleak — while interesting for enthusiasts and useful for gaming historians — is very likely to lead to dramatically increased opacity on the part of many game developers and publishers. It’s ironically less likely to lead to constructive and collaborative efforts to preserve gaming history in sustainable ways. That may be, by far, its most worrying effect.

我之所以这样说，是因为gigaleak(对于发烧友来说很有趣，对游戏历史学家很有用)，但很可能导致许多游戏开发者和发行商的不透明性急剧增加。具有讽刺意味的是，它不太可能导致建设性和协作性的努力，以可持续的方式保存游戏历史。到目前为止，这可能是最令人担忧的结果。

Note: In case you are wondering, none of the art assets used in this article come from the “gigaleak”. They are all publicly-available assets supplied by Nintendo.

注意：如果您想知道，本文中使用的所有美术资产都不来自“怪胎”。 它们都是任天堂提供的公开可用资产。