In 1925, John Logie Baird wanted toconvince the public that his latest invention would be a great success.Unfortunately, when he arrived at the London offices of the Daily Express, hissales pitch was quickly dismissed. “For God’s sake, go down to reception andget rid of a lunatic who’s down there,”a news editor reportedly told staff. “He says he’s got amachine for seeing by wireless.”1925年，约翰罗杰贝尔德(JohnLogie Baird)想要让人们坚信，他近期发明者的东西将大获得顺利。失望的是，当他跑去《每日快报》(Daily Express)伦敦办公室促销，却迅速就被去找了。“看在上帝的份上，去前台把那个疯子赶出，”据传一位新闻主编对他的手下们这样说道，“那个人说道他有台能通过无线电波看见画面的机器。

”This illustrates our inability to predictthe appeal of a medium, and particularly the problem of making a judgmentwithout hands-on experience. “Seeing by wireless”sounds impossible —until someone shows you a television set.这件事解释，我们无法预见传播媒介的吸引力，特别是在是我们总爱不经体验就妄下辨别。“用无线电观赏画面”听得上去不可思议——直到某个人让你胆识到电视机。And that is why anyone surprised by thecontinued success of console games, with a revival of market share and analystsforecasting a “golden era” — long after smartphones were supposed to havestolen their business — should try playing a few. Appreciating the differencebetween the experiences makes it easier to see how they can happily co-exist.人们很早已指出智能手机不会偷走主机游戏的做生意，而事实上，不仅主机游戏的市场份额在衰退，分析师们还应验它将步入一个“黄金时代”，那些吃惊于主机游戏长盛不衰的人都应当试着玩游戏一玩游戏。认识到智能手机游戏和主机游戏流露出有所不同的体验，就更容易明白二者为何需要无聊并存。

Of course, we should not underplay theexplosive rise of mobile gaming. A decade ago, playing a game on the go meantbuying a dedicated gadget such as the Nintendo DS or PlayStation Portable. Nowcommuters tap away on their phones at Candy Crush or Clash of Clans, whileanswering emails and checking the weather on the same device.当然，我们不不应忽略移动游戏的快速增长兴起。10年前，想边走边玩游戏，就得卖个像任天堂DS (Nintendo DS)或是索尼PSP (PlayStation Portable)那样的专用设备。

而现在，人们在下班路上不仅能用手机返邮件、坎天气，还能在手机上玩游戏《糖果传奇》(Candy Crush)或《部落战争》(Clash of Clans)。This year, for the first time, mobile gamessales are predicted to be higher than those on consoles and PCs[REVISE EDS:SEPARATELY, NOT COMBINED]. But that is down to the creation of a vast newmarket, not the cannibalisation of an old one. Many of those playing games ontheir commute go home and switch on the Xbox One or PlayStation 4.今年，预计移动游戏的销量将首次打破主机游戏或电脑游戏。但那要归咎于一个极大的新市场被研发出来，而不是移动游戏夺去了主机游戏的市场。

那些在上班路上玩游戏的人，有很多回家后还不会关上微软公司Xbox One或索尼PlayStation 4等游戏机。The two genres are quite distinct. Mobilegames are friendlier — not least because their revenue model depends on playerssticking with them. They are often free to download, making money fromadvertising or in-app purchases. They often tend to focus on repetitive puzzlesor slow-building strategies, which lend themselves to small pockets of time andimprecise, stabby fingers.这两种游戏截然不同。移动游戏比较更加友好关系些——主要因为其盈利模式各不相同玩家的忠心。

移动游戏一般来说是免费iTunes的，其收益源于广告或玩家出售游戏嵌入的应用程序。移动游戏很多都是那种重复性的过关游戏或必须渐渐构筑的进击，人们只要花上些累赘时间动动手所指就能玩游戏。Console games, however, need to justify thepurchase of the machine itself, at about ￡250, and of the game, at ￡30. So theytend to be epic — sweeping plots, gorgeous graphics, storylines that un-foldover many hours. (I have personally saved humanity at least a dozen times, andeach time it looked beautiful.) They often deal with war or its peacetimesubstitute, sport. And they demand precision and dedication, making them almostimpenetrable to anyone who did not start playing as a teen.主机游戏则不然，必须人们考虑到值不值得卖，一台游戏机大约要250英镑，游戏也要30英镑。

这些游戏往往如史诗一般宏大——辽阔的场景地图、华丽的视觉效果、各异的故事主线以致于就耗掉数小时。（我自己就最少解救过人类十几次，而且每次体验都有趣。

）有很多主机游戏都原作为战争场景，或搭配战争在和平时期的分身——体育场景。主机游戏必须精准度和专心度，除非像青少年一样投放，不然基本搞不定它。This brings us back to Baird and his greatinvention. Television did not kill the movie industry; we did not all decidethere was no point going out when we could watch what we wanted at home.Instead, the mediums bifurcated: each focused on content suited to its form.Films, like console games, can do spectacle in a way smaller screens cannot.Captain America is a very different experience from Mad Men. So is Grand TheftAuto from Fruit Ninja.我们走来说贝尔德和他最出色的发明者。

电视的问世并没令其电影业消失；不是所有人都指出，既然在家想要看什么就能看什么就没适当外出了。只是传播媒介分化了：每种媒介只需专心合适其形式的内容。

电影，就只不过主机游戏，需要展现出小屏幕无法展现出的大场面。《美国队长》(Captain America)呈现出的观感就和《广告约人》(Mad Men)截然不同。《侠盗猎车手》(Grand Theft Auto)与《水果忍者》(Fruit Ninja)给人的体验也有所不同。

That also means films and console games areopen to the same criticism: their high production values are a barrier toinnovation because so few companies can invest the tens of millions it takes tomake them. Hollywood is dominated by the Big Six studios, themselves owned byconglomerates, and the top-grossing films of last year — Star Wars Episode VII,Jurassic World and Avengers: Age of Ultron — are all sequels. In games, the2015 US bestseller list was topped by Call of Duty: Black Ops III (a sequel toa spin-off, no less). Minecraft was the only original title in the top 10.那也意味著电影与主机游戏面对某种程度的抨击：二者高昂的制作成本沦为创意的障碍，因为很少有公司能拿走上千万投资来制作电影或研发游戏。好莱坞有六大影业巨擘，各自隶属于综合性企业集团，去年票房显要的电影——《星球大战7》(Star Wars Episode VII)、《侏罗纪世界》(JurassicWorld) 以及《复仇者联盟2：奥创纪元》(Avengers: Age of Ultron) ——皆为续作。至于游戏，2015年全美最畅销的游戏是《愿景恶魔：黑色行动3》(Call of Duty: Black Ops III)（依旧为一个系列的续作）。

名列前10的游戏中只有沙盒游戏Minecraft归属于初创。

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