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猪儿理想
March 27 加里·吉盖斯Gary Gygax
加里·吉盖斯
Affable avatar of the Dungeons & Dragons fantasy role-playing game which became a worldwide cultural phenomenon
业已成为国际文化现象的奇幻角色扮演游戏《龙与地下城》的前生今世
As the creator of Dungeons & Dragons, Gary Gygax was an idol to millions of geeks around the world. But he was also the visionary inventor of a new type of interactive hobby, the role-playing game, one that sparked a rekindling of interest in the fantasy genre and was a key inspiration for the billion-dollar computer game industry. As such, Gygax’s influence spread beyond the legions of pallid school misfits who knew his name, and came to permeate popular culture as a whole.
作为《龙与地下城》的创始人，加里·吉盖斯是世界数百万游戏迷们的偶像。但他还是新型互动爱好——角色扮演游戏——的梦幻发明者，它重新点燃了人们对奇幻流派的兴趣，成为拥有10亿美元产值的电脑游戏业的主要灵感之源。因此, 吉盖斯的影响超越了广知其名的不思进取的学校后进生，并开始向整个流行文化渗透。
Ernest Gary Gygax was born in Chicago in 1938, and moved to Lake Geneva, Wisconsin, aged 8, where he lived until his death. His father, a Swiss immigrant violinist in the Chicago Symphony Orchestra, introduced him to fantasy novels at a young age.
欧内斯特·加里·吉盖斯于1938年生于芝加哥，8岁时搬到威斯康星州的日内瓦湖居住，直到去世。他的父亲是一名瑞士移民，在芝加哥交响乐团拉小提琴。在加里还小的时候，父亲就将他引入奇幻小说的世界。
Gygax dropped out of high school, although he took anthropology classes at the University of Chicago, and worked as an insurance underwriter in the 1960s. He became an avid fan of traditional board-based war games, particularly medieval battles. The first step towards Dungeons & Dragons came when Gygax introduced fantasy elements from the pulp authors he devoured.
虽然吉盖斯在芝加哥大学攻读过人类学课程，但他却是一名辍过学的高中生， 20世纪60年代，他做了一名保险承保人。他对传统桌面战争游戏极为着迷，尤其是中世纪战争。加里从他大量阅读的通俗小说中引入奇幻元素，迈出了走向《龙与地下城》的第一步。
“The guys were getting a little tired of military miniatures, so one day I put a troll under the bridge, had a giant dragon and all that kind of good stuff,” he said in 1987. “Well, they loved it. They absolutely went crazy for it.”
“人们对军事模型有点厌倦了，一天，我在桥下设置了一只巨兽，增加了一条巨龙以及各种宝物。”他1987年说。“呃，他们非常喜欢。他们彻底疯狂了。”
This evolved into Chainmail, a fantasy war game still played with minature pieces. This was stripped down by Gygax’s fellow gamer, Dave Arneson, into a game where each player was represented by just one piece. The pair then codified this into an early version of Dungeons & Dragons.
这个想法后来演化成了《链甲》——一款仍然使用小型棋子来玩的奇幻战争游戏。吉盖斯的游戏伙伴戴夫·阿尼森将其加以提炼，做成一个游戏，每个玩家由一个棋子来代表。两人后来将这一规则编撰进《龙与地下城》的早期版本。
The game did away with the board, relying only on graph paper, pencils, imagination and many-sided dice. Each player created an avatar from a class — warrior, wizard — and a race — dwarf, goblin, elf — and set off on a fantasy expedition guided by the Dungeon Master and his thick book of rules.
这款游戏取消了桌面，只依靠方格纸、铅笔、想像力和多面骰子。每个玩家从武士、巫师中选择一个职业，从侏儒、妖怪、小精灵中选择一个种族，从而创建出一种身份，在地下城主及其厚厚的规则手册的指导下开始一次奇幻探险。
The goals included finding a hoard of treasure, or defeating an evil magus, and making sure to kill everything along the way. Games could last for several days, and there was no obvious way to win. It seemed an unlikely hit. “People said, ‘What kind of game is this?’ You don’t play against anybody. Nobody wins. It doesn’t end. This is craziness’, ” Gygax said in 1983.
游戏目标包括找到潜藏的财宝，或打败邪恶的魔法师，而且一定要杀死路上的一切东西。游戏玩起来需要持续数天，没有显而易见的取胜之道。它似乎不可能受到欢迎。“人们说：‘这是种什么游戏啊？’没有对抗，没有输赢，也没个尽头。这太没谱了。”吉盖斯在1983年说。
Undeterred, in 1973 Gygax and Donald Kaye founded a company, Tactical Studies Rules, to develop the game. Dungeons & Dragons hit the shelves in early 1974. The game sold only 1,000 copies in its first year.
吉盖斯没有退缩，1973年，他和唐纳德·卡伊成立了一家公司，Tactical Studies Rules（TSR），对这个游戏进行开发。1974年初，《龙与地下城》上架销售。第一年，仅卖出1000份。
Gradually though, as teenagers across American met for furtive games in their parents’ basements, D&D became an underground hit. A tournament version, Advanced Dungeons & Dragons, was introduced in 1978, and the game became a phenomenon on college campuses. Gygax began receiving late-night phone calls from players asking for clarification of the rules. Sales of the game reached $8.5 million in 1980 and $29 million by 1985.
但是渐渐地，随着全美国青少年开始聚在父母的地下室里偷偷摸摸地玩起游戏，《龙与地下城》开始地下走红。1978年，一款竞技版《高级龙与地下城》开始推出，并成为大学校园里的大热门。吉盖斯开始收到玩家们深夜打来的电话，要他详解规则。1980年，游戏销售额达到850万美元，1985年，则达到2900万美元。
Many adults, however, were suspicious of the new craze. Religious groups accused the game of spawning satanic cults. Newspapers linked it to a variety of teen murders and suicides. Although he later joked “that really pushed the sales up”, at the time Gygax received death threats and for a while had to employ bodyguards. He always insisted that the claims were absurd, and that D&D was good for imaginative development.
然而，很多成年人对这轮新的狂热表示怀疑。宗教团体指责该游戏导致魔鬼崇拜。报纸则将其与各种青少年谋杀和自杀现象联系起来。虽然他后来开玩笑说“这的确推动了销售额的上升”，但在当时，吉盖斯却收到了死亡的威胁，一度还不得不雇用保镖。他一直坚持认为，这些说法荒唐可笑，《龙与地下城》确实有利于想像力的开发。
Although the furore passed, and a D&D spin-off cartoon became popular, the game itself seemed to have peaked. Gygax lost control of TSR in the mid-80s after a legal tussle. The company was sold in 1997 to Wizards of the Coast, which later became part of Hasbro. There followed a D&D film, with Jeremy Irons, and a computer version of game, both to poor reviews.
虽然这股狂暴攻击过去了，《龙与地下城》的副产品卡通却流行起来，游戏本身似乎步入了鼎盛时期。80年代中期，经过一场法律纠纷之后，吉盖斯失去了对TSR的控制权。公司于1997年被“海岸巫师”收购，海岸巫师后来又加入了孩之宝集团。随后制作了一部由杰瑞米·艾恩斯主演的D&D电影，并推出了一款电脑版游戏，二者评论欠佳。
Gygax moved on to other projects. He developed two more games, Dangerous Journeys and Lejendary Adventures, and wrote a series of fantasy novels. He also remained involved with GenCon, the gaming convention he had started in 1968 and which last year attracted 26,000 devotees. In 2000 he appeared, alongside Al Gore, in a episode of Futurama. He worked consistently until health problems began two years ago, commenting in 2005: “What money I made I gave to charities and needy attorneys, the IRS and my ex-wife.”
吉盖斯继续着手其它项目。他又开发出两款游戏《危险的旅程》和《Lejendary Adventures》，并创作了一系列奇幻小说。他还仍然负责自己于1968年创立的“金康”（GenCon）游戏展览大会。去年，该展会吸引了26000名游戏迷。2000年，他和阿尔·戈尔一起出演了一集《飞出个未来》。他马不停蹄地工作着，直到两年前身体开始出现问题，他2005年说：“我挣的钱都捐给了慈善机构、贫困律师、IRS公司和我的前妻。”
Although D&D struggled as computer games chipped away at role-playing’s fanbase, it proved a huge influence on the emerging gaming industry, and generations of hugely popular games like Everquest, Halo and World of Warcraft owe a debt to Gygax’s original. Even though he never made one himself, Gygax was named 17th most influential person in computer game history by Gamespy.com. In their book of the rise of the computer game, Dungeons & Dreamers, John Borland and Brad King credit Gygax as an inspiration: “Scratch almost any game developer who worked from the late 1970s until today and you’re likely to find a vein of role-playing experience.”
在电脑游戏蚕食角色扮演游戏迷的过程中，虽然《龙与地下城》进行了一番挣扎，但它证明了自己对新兴游戏业的巨大影响，历代人气颇高的游戏，像《无尽的任务》、《光晕》和《魔兽争霸》，都受益于吉盖斯的原作。虽然他没有亲自做过电脑游戏，但吉盖斯被Gamespy.com列为电脑游戏史上第17位最具影响力的人物。约翰·勃朗德和布拉德·金在其合著的《地下城与梦想者——电脑游戏的崛起》一书中，将吉盖斯奉为灵感之源：“刮开20世纪70年代末期到今天几乎所有游戏开发商的表面，你很容易发现角色扮演游戏的血脉。”
Gygax himself though, was no fan of online gaming, which he said destroyed the social bonding of D&D. “The game offers camaraderie, imagination, socialisation,” he said in 2005. “Computer games can be so isolating. They’re not anything like sitting in a group and laughing, telling stories. You can’t share a bag of Cheetos online.”
吉盖斯本人并不是网上游戏的爱好者，他认为网上游戏毁坏了《龙与地下城》的社会联系。“游戏培养了同志友谊、想象力和社会化，”他2005年说。“电脑游戏可以如此孤立。它们根本就不是大家坐在一起，嘻嘻哈哈，讲述故事。你无法在网上一起分享一包奇多。”
As the generation that grew up with D&D came of age, the fantasy aesthetic that Gygax popularised spread through film, television and graphics, with many of the writers of his youth enjoying a renaissance. His world of wizards, elfs and unending quest became part of popular culture, and contributed to the receptive climate for the Harry Potter novels and the Lord of the Rings films.
随着与《龙与地下城》一起长大的一代步入成年，吉盖斯推广的奇幻美学扩展至了电影、电视和造型艺术，他年轻时代的众多作家享受到一股复兴之风。巫师、小精灵和无尽的探险，他所创造的这个世界成为流行文化的一部分，促进了人们对小说《哈利波特》和电影《指环王》的接受。
“The story of the hero being called forth, usually unwillingly, and adventuring and undergoing a change has been with us probably since stories were told round campfires,” he said in 2005. But although many detected the influence of Tolkien in D&D, Gygax told Gamespy.com that he was never a fan: “I yawned through the books. I found them very droll and very dull. I still don’t give hoot about Hobbits.”
“可能从围坐营火听故事的时候起，召唤英雄——虽然通常是不情愿的——冒险以及经历变化的故事就和我们如影相随，”他2005年说。但是，虽然很多人注意到托尔金对《龙与地下城》的影响，但吉盖斯告诉Gamespy.com自己不是他的粉丝 ：“看这些书我会打呵欠。我觉得很滑稽，很无聊。我对霍比特人根本不感兴趣。”
He is survived by his wife, Gail, and six children.
他身后留下了妻子盖尔和六个孩子。
Gary Gygax, co-creator of Dungeons & Dragons, was born on July 27, 1938. He died after a long illness on March 4, 2008, aged 69.
加里·吉盖斯，《龙与地下城》的合作创始人，生于1938年7月27日。因长期患病于2008年3月4日去世，终年69岁。
选自The Times Mar.6,2008
March 20 年度计划进程评估08年一季度快过去了，对照年度计划做一次检查评估，以推动进程： 1、出一到两本书。——第一本书3月底交稿，年内出版问题不大。希望第二本能坚持，但要看情况。 2、趁年轻，赶紧学配音，争取有所收获。——培训班本周开课，6月之前结束，收获大小目前尚难确定。力争能开拓新局面。
3、继续做好翻译，为《英语文摘》的读者服好务，敢于向新领域发展。——进入08年，已经翻译了3篇文章，其中一篇涉及电脑游戏领域。难度在加大，体会在加深~~~
4、继续钻研电影电视艺术，与业务相结合，力争有结果。——已阅读《电影电视剪辑学》；正酝酿剧本，期待年内能尝试拍摄短片一部；与业务尚未结合，有待努力……
5、继续提高业务能力，理论与实践大步前进，争取在数码影像技术上能取得大的收获。——动作不大，需要努力……
6、买房。——钱已备。
7、挣钱，争取有所突破，上一个台阶。（外加要债）——正在进行中……
8、提高生活质量，锻炼身体，塑形塑质。——胳膊上的肌肉已有变化，争取在夏天来临之前有明显变化……
9、加强阅读，感悟生活，勤于写作，发表像样的文章。——正在酝酿之中……
10、吃好玩好~~~——已经有所改善，期待更大改善~~~~ 评估结论： 1、总的来看，一季度开了一个好头，10项计划大部分进展良好，有的已经取得阶段性成果。 2、要戒骄戒躁；针对拖后腿的方面，要积极查找问题根源，拿出整改措施，力争二季度赶上。 3、对这两点一定要重视。 哈哈~~~继续努力啊！！ March 16 摄影已死？Is Photography Dead? By Peter Plagens 摄影已死？ How is that even remotely possible? The medium certainly looks alive, well and, if anything, overpopulated. There are hordes of photographers out there, working with back-to-basics pinhole cameras and pixeled images measured in gigabytes, with street photography taken by cell phones and massive photo "shoots" whose crews, complexity and expense resemble those of movie sets. Step into almost any serious art gallery in Chelsea, Santa Monica or Mayfair and you're likely to be greeted with breathtaking large-format color photographs, such as Andreas Gefeller's overhead views of parking lots digitally montaged from thousands of individual shots or Didier Massard's completely "fabricated photographs" of phantasmagoric landscapes. And the establishment's seal of approval for photography has been renewed in two current museum exhibitions. In "Depth of Field"— the first installation in the new contemporary-photography galleries at the Metropolitan Museum of Art in New York, on display through March 23—the fare includes Thomas Struth's hyperdetailed chromogenic print of the interior of San Zaccaria in Venice and Adam Fuss's exposure of a piece of photo paper floating in water to a simultaneous splash and strobe. 在位于华盛顿美国国家美术馆，“美国快照艺术展，1888—1978”（12月31日结束）展出了普通美国人用布朗尼相机和傻瓜照相机拍出的惊人效果。 Yet wandering the galleries of these two shows, you can't help but wonder if the entire medium hasn't fractured itself beyond all recognition. Sculpture did the same thing a while back, so that now "sculpture" can indicate a hole in the ground as readily as a bronze statue. Digitalization has made much of art photography's vast variety possible. But it's also a major reason that, 25 years after the technology exploded what photography could do and be, the medium seems to have lost its soul. Film photography's artistic cachet was always that no matter how much darkroom fiddling someone added to a photograph, the picture was, at its core, a record of something real that occurred in front of the camera. A digital photograph, on the other hand, can be a Photoshop fairy tale, containing only a tiny trace of a small fragment of reality. By now, we've witnessed all the magical morphing and seen all the clever tricks that have turned so many photographers—formerly bearers of truth—into conjurers of fiction. It's hard to say "gee whiz" anymore. 艺术与真实曾是挚友。现代主义出现之前，西方艺术中最受推崇之处是模拟——绘画和雕塑的对象与现实生活的实物极其相像。1839年 威廉 · 亨利 ·福克斯 · 塔尔博特 用一张负片冲印出第一批照相图片，他 立刻将这个以模拟见长的新媒介视为一种艺术形式。塔尔博特 只是想 能够 “ 画 ” 得比手更为精确。事实上，他把自己第一本画册称为《自然的画笔》。在此后的至少一个世纪里，任何 自 称为艺术的照片 的DNA中都在一定程度上带有 塔尔博特 《 敞开 的 门 》 （1844年） 的染色体 ， 在这张照片上， 一把树枝做成的扫帚 非常艺术 地倚在黑 洞洞 的门口。当然，伟大的摄影师 绝非 像法庭速记员记录证词一样 ，只是不加选择 地纪录所见事实。他们认真选择拍摄对象，精心构图，赋予画面以“艺术”之感。19世纪后期， “ 绘画派 ” 摄影师运用柔焦、 多齿相纸、棕褐色调、多底合成，甚至 划刻底片，来让照片看上去更像一幅画。
March 14 英国摄影师拍摄的阿富汗战争照片荣获大奖British photographer takes top award with Afghan war image By Hannah Strange 英国摄影师拍摄的阿富汗战争照片荣获大奖
一名英国摄影师摘取了闻名的世界新闻摄影比赛最高奖，其照片展现的是一名美军士兵与阿富汗与武装人员激战后，精疲力竭地瘫倒着的情景。
Tim Hetherington’s picture of a US soldier resting in a bunker after an intense fire-fight was lauded by judges in Amsterdam, who said it was an image which communicated "the exhaustion of a nation." 蒂姆·赫瑟林顿拍摄的这幅美军士兵在猛烈交火后在掩体内休息的照片在阿姆斯特丹受到评委们的好评，他们认为，这幅照片体现了“一个国家的疲惫”。
The award, which Mr Hetherington, 37, won while working for Vanity Fair magazine, is considered one of the greatest distinctions a photojournalist can achieve. 现年37岁的赫瑟林顿供职于《名利场》杂志，他所荣获的这一奖项被认为是摄影记者所能获得的最高殊荣之一。
The winning photograph depicts the soldier collapsing against a bunker wall, one hand held to his eyes and the other clutching his helmet. The bunker is named "Restrepo" after a soldier from his platoon who was recently killed by insurgents. 在这张获奖照片上，这名士兵
瘫倚
着掩体墙壁，一只手捂着眼睛，另一只手紧握着钢盔。掩体名为“雷斯特雷波”，是以他所在排的一名士兵命名的，该士兵于最近被叛乱分子打死。
It was taken on September 16, 2007, in the Korengal Valley, a strategic passage considered one of the most dangerous pieces of terrain for US forces in the world. With Taleban and al-Qaeda fighters fighting for control of the valley, it has seen some of the deadliest battles in the country, including the downing of a US helicopter in 2005 that killed all 16 commandos on board. 这幅照片拍摄于2007年9月16日的科伦加尔山谷。该山谷属于战略通道，被认为是美军在这个世界上碰到的最为危险的地区之一。由于塔利班和“基地”组织成员争夺该山谷的控制权，这里已经发生了数次阿富汗境内最血腥的战斗，包括2005年一架美军直升机在这里坠毁，机上16名突击队员全部丧生。 “This image shows the exhaustion of a man and the exhaustion of a nation,” Gary Knight, the jury chairman, said in a statement. “We’re all connected to this. It is a picture of a man at the end of a line.” “这张照片体现了一个男人的疲惫和一个国家的疲惫，”评审团主席加里·奈特在声明中说。“我们都与之有关。这是一张无法再忍受下去了的男人的照片。”
Mary Anne Golon, a fellow juror, commented: "I use all my energy to have people notice bad things. There's a human quality to this picture. It says that conflict is the basis of this man's life." 评委玛丽·安·戈伦评论说：“我用尽全力使人们注意到那些不好的事情。这张照片具有一种人文特质。
它表明，冲突成了这个男人生活的主要内容。”
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