谨此纪念曾经那个生机勃勃的百度贴吧及中文互联网。

THE STANLEY PARABLE
史丹利的寓言
Author Commentary
作者评论
November 10, 2011
2011年11月10日
--------------------------------------------------------
PLEASE PLAY THE GAME BEFORE READING FURTHER!
（加粗）继续阅读之前请先玩游戏！（加粗结束）
There are many themes and ideas at work in this game, on which I wanted to share my thoughts.
Keep in mind that this is only MY interpretation of the game, I welcome and would love to
hear your own. Please feel free to send me your reactions and interpretations of the game,
whatever unique experience that you had playing it. I can be reached at dwreden@gmail.com.
You can also follow development of my current and future work at http://cakebread427.wordpress.com/wp-admin/post-new.php
游戏中有不少主题和想法，我想就此分享一些观点。
记住，这不过是（加粗）我自己（加粗结束）对这个游戏的诠释。我十分欢迎也乐意
听到你的看法。请尽管把你们对游戏的反应与诠释发给我，
无论你在玩的过程中的体验有多独特。通过dwreden@gmail.com可以联系上我。
你也可以到http://cakebread427.wordpress.com/wp-admin/post-new.php持续关注我现在于未来作品的进展。
That said, here are a few thoughts from the author, in no particular order:
讲到这里，以下是作者的一些想法，顺序不分先后：

-The idea of branching storylines is not new in video games, but what I wanted to create that
I had never seen before was a game where the multiple branching paths actually *depend* on one
another for meaning. Not just that each ending exists in its own parallel universe, but that
each somehow occupies the same space as all the others, layered on top of one another. To me
it's the juxtaposition of these many storylines that makes the game as a whole interesting,
not simply the experience of any one of them.
就电子游戏来说，分叉故事情节这个想法已经不算新颖了，但是我想要创作一种
我从来没见过的游戏——其中，不同的路线确确实实依赖彼此才有
意义。不只是说每一个结局都在自己的平行宇宙中存在，而且
每个结局都以某种方式占据与其余所有结局相同的空间，并彼此层叠。对我来说，
正是这种将不同的故事线并置的手法，才让游戏成为浑然一体的有趣体验，
而不仅限于这些故事线之一。

-There are 6 total endings. It's also worth noting that only one ending actually contains
the game's full credits (though only for things that apply to that specific playthrough),
and only one ending says "The End".
总共有6个结局。值得注意的是，其中只有一个结局确实有
游戏完整的制作人员和鸣谢名单（虽然只包括那一个结局的致谢），
也只有一个结局写着“剧终”。

-Players' experiences are often dependent on the order in which they play the endings. For
example, a friend of mine first played the ending where you engage the generator and a timer
starts, reminding you that you're in a video game. He then played the ending where Stanley goes
crazy and Mariella finds his dead body. He empathized with her, feeling that because of the finite
nature of the game, he only had a brief moment to look into the person's life before it was taken
away. This really depressed him because he had just been reminded that all this was just inside a
stupid game that he didn't control. Obviously that's the kind of thing I can't really design
from the outset, but my goal was always to create endings that were evocative enough that that
kind of emotion was theoretically possible for players to experience.
玩家的体验常常取决于他们玩到不同结局的顺序。例
如，我的一个朋友一开始玩到的结局是，你遇到发电机、提醒你身处于游戏中的
计时器启动。接着，他打出的结局是史丹利
疯掉了，Mariella找到史丹利的尸体。他与Mariella共情了，觉得由于
游戏本质上是有尽头的，他只能在非常短的一刻一窥角色的人生，紧接着
就被带走了。这让他十分沮丧，因为这让他想起来这一切只发生在
一个他控制不了的蠢游戏中罢了。很显然，这种事情从一开始就
不归我设计，但我创作的目标一贯都是让这些结局足够动人，
让玩家理论上可以体验到这样的情绪。

-When you take the blue door, the narrator sends you off to another level. This is the first
level of Half Life 2, it is literally an entirely different map. I had to manually go through
and gut the entire level of NPCs and other various things. But then later in that map you're
returned to the office, which was a problem because I couldn't exactly have the game reload
the original map, so I had to recreate the entire office within the new Half Life 2 map.
当你走蓝门时，旁白会把你带到另一个关卡。这是Half Life 2
的第一关，字面意思上的完全不同的地图。我不得不手动检查
并把整个关卡的NPC和其它的一些东西剔除掉。但之后那个地图里你就会
被送回原地图，所以我得在新的Half Life 2地图中重置整个办公室。

-Almost everyone on their first playthrough takes the left door. Of those players who take
the left door, almost everyone on their first playthrough actually chooses to engage the generator.
For some reason right at that moment a rebellious gene kicks in. The second most popular choice
is to disobey all the way to the end.
几乎所有人第一次通关都会走左边的门。走左门的玩家
之中，几乎所有人第一次玩都会选择激活发电机。
出于一些原因，就在那一刻反叛的基因起了效。第二多的选择
是一路不服从直到最后。

-I tried for the longest time to convey to players that the red valve next to the generator
indicated that it would disable the generator, and green indicated it would activate the generator.
I wanted to do it without explicitly putting the words "enable generator" on the screen, so I
tried to 'educate' players, hoping they would infer the meaning of the valves. No one ever got
it. Finally in desperation I slapped a big decal on there that said "ENABLE GENERATOR" and
"DISABLE GENERATOR." Problem immediately solved. Thank god I broke down and just told people
what the hell to do instead of trying to be all implicit and sneaky about it, the clear and
simple solution is almost always the best one.
我曾经花了非常长的时间努力向玩家传达说，紧靠着发电机的红色阀门表明
这个阀门会关闭发电机，而绿色阀门则会激活之。
我之前想在不明确把“启动发电机”这几个字放到屏幕上的前提下做到这一点，所以
我试着“教育”玩家，希望他们能推断出阀门的含义。没人看懂。
最后实在无可奈何，我把大大的写着“启动发电机”和“关闭发电机”
的贴画甩到游戏上。问题立马解决了。谢天谢地我崩溃了直接告诉别人
该做什么鬼而不是努力保持含蓄，神神叨叨的——简单
明了的解法几乎总是最优解。

（为什么度娘就是不让我把十楼补上……因为觉得我发帖频率过高吗orz）
（不过作者都说没有特定顺序了，凑合看看啰）
-In the boss's office, try waiting around a little while before touching the keypad. The narrator
will express his desire to keep the story moving at a reasonable pace.
在老板办公室，在触摸键盘之前试试稍微等一下。旁白
会表达他想让故事以合理步调前进的愿望。

-The game's multiple endings often seem to disagree about the nature of this world. For example,
one will say that everything here existed just in the head of a crazy person, another will say that
you're really just in a video game, and another will imply that it's possible to 'escape.' I
deliberately wanted players to have to grapple with a contradiction. After all, video games are a
kind of contradiction; you can play in a fantasy world where you appear to be in control while at
the same time your 'real world' life might be full of limitations and practicalities. When you
start asking what life is all about, you immediately start getting contradictory answers, and I
wanted my players to have to deal with that on their own, to come up with an answer that maybe
even I hadn't thought of. Yes, the game seems to be telling you over and over that you're not in
control. But if you as a player can step back and interpret that experience, to make sense of it
in your own unique way, then you've demonstrated that you really are in control. As long as you
continue to play the game you'll get an unsatisfactory answer. Step away and think for yourself,
and maybe you'll come up with something no one's ever thought of before.
对于这个世界的本质，游戏的多个结局给出的解释貌似常常彼此矛盾。举个例子，
有一个结局说这里的一切不过只存在于一个疯子的脑中，另一个则是说
你实际上只是在一个电子游戏中罢了，而另一个结局则暗示“逃脱”并不可能。我
有意让玩家尽力解决矛盾。毕竟到头来电子游戏就是
一种矛盾；你能在一个看似由你控制的幻想世界中游玩，而同
时你的“现实”生活可能充满着限制与可为。当你
开始探求生活的意义时，你便立即开始得到自相矛盾的答案，而我
想要让我的玩家们必须自己面对这些，去想到一个也许我自己
都没想到的答案。没错，游戏看起来反复不断地告诉你你并没有
控制权。但如果你作为玩家可以退后一步解释那个体验，去以自己独有的方式
理解它，那你就证明了这一切都尽在自己掌控之中。只要你
继续玩下去你便会得到一个并不让人满意的答案。换个角度自己思考一番，
或许你便能想到些前人完全没想到的什么东西。

-This is also why the ending where you follow all the narrator's orders is intentionally so
unsatisfying. I wanted players to hate that ending because of how expected and unrevealing it is.
Of course it's unsatisfying, you did everything that you were told to. Where's the joy in that?
这也是为什么遵守旁白所有指示得到的结局如此刻意地
不让人满意。我希望玩家们出于那个结局的不出所料和毫无启迪而讨厌它。
那个结局当然不能让人满意，别人让你做什么你可就做了什么。那有什么意思？

-The Chinese Room's Dear Esther and Robert Yang's Radiator HL2 mods were both inspirational in
creating this game. I remember playing Radiator, deathly afraid that Robert Yang was going to come
out with an episode that was exactly what I had been working on, except better.
在游戏创作过程中，HL2模组The Chinese Room的《亲爱的艾斯特》和杨若波（Robert Yang）的《散热器》
都很有启发性。我记得玩《散热器》的时候怕死了杨若波会创作出
与我当时创作中的作品一模一样的一集，而他做得会比我更好。

-Obviously this is a game about video games. It's about our limited perception of what story is
in a video game, and how that story can become completely different when we question video gaming
tropes that we now take for granted. From an outside perspective, it might appear humorous that
someone could die over and over and over in a game and yet still complete the mission. Yet we suspend
our disbelief because we want the experience the game is trying to deliver. With the Stanley Parable,
I wanted to make something where actually questioning video game tropes was the experience itself.
That made it tough when I showed it to my parents, who have never played games. They didn't quite
get what was going on...
显然这是个关于电子游戏的游戏。这个游戏大概就是我们对电子游戏
中的故事的狭隘理解，以及对于当我们质疑当下理所应当的电子游戏套路时
故事会发生怎样截然不同的改变的狭隘诠释。游戏中的人物可以
死了一次又一次但仍然完成得了任务，从外人的视角看来也许相当幽默。
但是我们搁置了怀疑，因为我们希望得到游戏努力提供的体验。在《史丹利的寓言》中，
我希望做的是，质疑电子游戏套路本身即是玩家的体验。
这在我把作品给我爸妈（从来没玩过游戏）看的时候十分棘手。他们不太
清楚发生了什么……

-Isn't Kevan Brighting, who does the narration, fantastic? I got his sample from a voice casting
site and immediately knew he was perfect. I sent him an email with the script saying I was interested
in hiring him. He responded with a 30 minute recording of all the dialog in the game. 1 take.
难道Kevan Brighting——是他给旁白配的音——不棒吗？我从一个配音网站上
得到了他的配音片段，当下我就知道他是最棒的。我给他发了一封电子邮件，附带剧本，写着我
有兴趣雇他。他回复了一个三十分钟的录音，囊括了游戏中的全部台词。一次过。