我在想，今后每次失眠，都可以来写一篇东西。

时间快得真是可怕。去年的现在，我刚从东京飞抵伦敦，下飞机后和同去的5个日本同学吃了难以下咽的埃塞俄比亚菜，至今惶惶。对伦敦的印象一直是永远阴沉的天和那层薄雾，现在却又怀念起了。相比于纽约的明媚赤裸，历史带来的阴霾往往藏着更多发现未知的可能性。不过也好，两周前去了心心念念的巴黎，卢森堡公园里读书的氛围与万神殿附近熙熙攘攘的露天咖啡馆，是我见过的城市生活中的最高水准。

玻璃裤衩和CBD总有看腻的那一天。当农业生产，工业制造被机器取代的今天，当产品开发，商业运作被人工智能取代的明天，我们还能干什么。感谢造物主让我们人类成为一种无比复杂，难以彻底解构的形态，我们还能想想我们自身。我们没有能力也不会再需要去做“东西”了，而是去研究人的欲望来为人自身设计感觉，并且构建出直接能创造这种感觉的，人的延伸。因为资源信息流通的发展，我们对于于手中有限的情报与原料的制约越来越小，对于用户需求的分析和深入挖掘，将占据更大的比重。

做什么已经不重要了，因为最后的最后，大家都在做同样一件事。能调动人心才重要。

七月将尽，新家的窗台正对一座郁郁葱葱的小丘，未至拂晓，蝉鸣鸦鸣。

或许是被这岛国炎热冲昏头脑，我发现我身上也成了赴葬礼一般的一身黑西装，与这群密鸦鸦的日本大学生一同去参加什么就职活动，也一路乐呵呵地过关斩将，然后突然莫名其妙被淘汰。

花了近一个月去做了一些自己并不特别热情的事情，想想觉得，有些可笑。

并不是有鞭子抽着，生活才能向前运转，因为最终你会知道，抽你鞭子的人其实是死神。无论是多么崇高迫切的机会，当它无法成为你生活的一部分的话，你便得到的是痛苦。无论是多么卑微可笑的理由，当它浸没于你对生活的热爱的的时候，它就是你需要立即坚持下去去做的事情。

对自我未来安全的考量的确很重要，但我想，只有行驶在自己仔细判断铺就的轨道上，才能看到令人热泪盈眶的风景吧。

我最近脑洞在想，被人遗忘了的记忆，可能会去哪里呢？答案也是差不多是废话，除了可能会被激发的潜意识，99.9%以上就像inside out中落入深渊一样彻底消失。

也不会有在一周之中痛失两位好友所来的打击更大了。
张璐，崔子鸣，如果能看到更多你们生前的思考就好了。祝愿你们能带着一些美好的记忆上路，旅途愉快。

人最恐惧的是被剥夺，但也常常仅因这恐惧而滋生出对事物的珍视。对于生活也是一样。当人在成长之中发现自己的生活正在慢慢被夺走之后，生活也渐渐地变得更加美好起来。

仔细想想，我就是这样一个被恐惧驱动的人：常年习惯于包裹在Avoidance Motivation之中，通过改变环境来强行驱动自己，而并不是掌控自己的生活。嘴上口口声声的目标分解执行常常流于形式，其实自己则是在Deadline中不断挣扎奔波。

好处或许是脸皮变得很厚，Approach Motivation亦可以放在别处，防止在一条路上越走越死。坏处自然是在近几年中浮现了出来——当主业和副业、学习和玩乐的界限越来越模糊，副业渐渐地也成了主业，玩乐也成了学习的一部分，门槛更低的Avoidance Motivation便占了上风，生活也变成完全不可控的过山车，前方的快乐和恐惧开始变得不可知，脑中塞尽担忧。

“一个人若能自信地向他梦想的方向行进，努力经营他所向往的生活，他是可以获得通常还意想不到的成功的。”问题的解决之道，还在于生活本身。Avoidance与Approach本可相辅相成，生活的节奏还是可由人掌握的：首先认清个人生活的本质，从而了解当前任务的优先顺位，合理地将他们拆分为子问题，进行理性的时间评估，最终找到合适的时间和地点解决这些问题。Plan well, 生活可以变得简单再简单，也可以精致更精致。

话说回来，比plan well更重要的还是go out。春假去了趟波士顿，淋着冷雨绕着瓦尔登湖散步。瑟瑟发抖之时，瞥见梭罗木屋迹地，骤然雨停，阳光穿过林间，耀眼光明，湖畔蓝天碧水，清丽可人。Serendipity is everywhere, if you just go out and also plan well.

来美一个月整。对于一个常年蛰伏于大城市的寄生虫来说，纽约的灯红酒绿和平易近人令人舒心。尤其是在莫名其妙的地方偶然碰见高中同学的时候。这也是课业最繁重的一学期，选了门号称Pratt最难的Digital Ideation，教授在课上毫不停顿地打上三个小时的嘴炮之后，丢下三四个软件让你慢慢领悟，作业是在下周之前，完成75个模型。

不过事情也没那么糟糕，半路出家学设计的这半年里，渐渐地，按部就班的工作流程代替了不安和焦虑，无视愚蠢的攻讦嘲讽代替了争吵和委屈。人生可以经常变得十分惨淡，但人生也在于让这份惨淡的困境慢慢变好。

人们对于大城市的热爱在于它们的丰富多彩，对于产品和故事也是一样，它需要一种Richness去给人以Engagement，使人们可以从内心出发，去投入，去喜爱。同样，即使是有简洁观感的事物，也代表着一种结构化的Richness。越是使用少量的元素去构成，其中结构性的考量就越是表现突出，其间的设计思考投入，其间的Well-consideration也就越赤裸地呈现于世人。永远不是为了简洁而简洁，也不是为了丰富而丰富，一切的一切，都是出于对于现实的思考深度。

生活也是一样，平淡的生活方式是为了在某一方面追求极致，丰富的生活则是为了带来更多对生活本质的思考。随着阅历的增长，生活是越来越难以掌控的，在创造Richness的同时，也就越来越要求自身对各种周遭事物进行隔离。Simplicity与Richness，便是生活中的这样一对动态平衡。单纯追求Simplicity，机械化的不断重复令人麻木；单纯追求Richness，光怪陆离的生活方式则令人迷离。所以重要的还是，对自身生活方式结构的深度思考和设计。

在这样一个零下17度又令人尴尬的日子，就让我瑟瑟发抖的双手胡乱打点字吧。我觉得还不错。

距上篇日志已是一年多。离开上海之后，一年东京，半年伦敦，纽约的生活也是一周有余。在这个从微博的140字陷入到朋友圈的15个字的年代，一篇像校内日志一样的文字对于自己来说也成了奢侈品。方才打了一个小时篮球，一小时网球，于是筋疲力竭，才想起这里。好在网站不会积灰，只要续费。

就像大家所说的那样，这些年我一点变化也没有。没错，安适的生活并没有增加我的深度，或者是，人在高中之后已经定了形，人生的奋斗价值取向也大多来自童年的阴影。

之前给日本的教授们扯了一些在皇家艺术学院悟到的设计方法论，也曾自信满满，觉得自己是个半吊子的designer了。现在想想还是缺了最重要的东西。在这世界上无数穷工极巧的项目，最后不过成了一滩垃圾。我也做过很多垃圾。但我想说的是，对于一个人来说的话，时间会变得越来越重要，所以在条件允许的任何情况下，请一定不要去浪费任何一秒，去做自己不太想做的事情。随时随地知道自己想要什么，这个不容易，但一定要坚持下去，去创造条件，让自己没有后悔的余地。

In 2008, single-player based PC games which can be played without internet were enjoying their last glories. SPORE, Red Alert 3 and Crysis received a lot of attentions. I was crazy about these games as a 2nd year high school student. Although all of these 3 games included some online features, more or less, after 2008, PC games can be hardly played without internet. The complexity of games also reached its peak that year. There were not many PC games as complex as SPORE after 2008. From 2008 to 2014, the systems of games have been easier and easier, to following the tendency of mobile platforms, graphic designs, and also people’s wants.

In the past 6 years, some unexpected successes happened in the gaming industry. Angry Birds, a mobile game based on an old flash web game of Armor Games became the most popular game in the world, and things were becoming more weird when the Flappy Bird got an even bigger hit on SNSs. Some critics may think Ingress by Google will become a big success with the coherence of gamification and LBS, but the fact is its target users become more and more narrow and finally only geeks left in this game. In contrast, one MMORPG still gets its position on the top 5 revenue ranking of online games in the world just after its 10th anniversary. Its title is Maplestory.

As an early player of Maplestory, I didn’t find any changes or enhancements of the graphical design or the system in Maplestory during the past 10 years. This is because this Family Computer style side-scrolling MMORPG can never become outdated. The cute characters and easy controlling system have attracted many female players, achieving a gender balance for this game to continuously harvest new players.

It’s the time to make a brief summary and think about the game 6 years later. Firstly, what is the game which most people would like to download and start to play after 6 years? Although the performance of the mobile devices are becoming higher, the tendency for the complexity of the games is seems like in a different way. The one-touch principle for mobile games will be continued since there are more commuters in the cities thanks to the expansion of cities in the developing countries. In other hand, the graphic design of the games should be cute and make people feel relaxed. This would become more attractive to the increasing number of office workers and female players, resulting a more balanced game community within these games. Secondly, what is the game which people would like to be engaged in? The rise of Clan Rush created another chance for mobile games, that is creativity. With the creation in the game, players can be more engaged in games and devote more time and money to the game, making the update of these games faster because of the sufficient income. As well as the recently popular multi-platform card game HearthStone by Blizzard, which requires a lot of the editing process for the decks you use during the game. This game encourages players to form communities online or offline to do the research on the decks and the strategies. The randomization of the card game also makes each game a different game, and the instability of winning or losing like gambling, making the players would like to play this game once and once.

So, my expectations for the games in 2020 will be like this:

• Cute characters and easy controlling at first, but with the time the players participated in the game increases, the game is requiring more creativity from the players to do more things for themselves in the game.
• Always new experiences will be brought to players in the same game, when more gambling and randomization aspects will be added into the game.
• The SAO-style (Virtual reality with helmets) games will begin to get into the market, but it can hardly get its first audience.
• The World of Warcraft style MMORPG will quit the market, at least it will lose more than half of its customers.

时隔7年，又一次来到成田机场，还是对日本的秩序感感到震惊。

当同行的欧洲人同学说受不了日本如此干净的街道，然后随手把喝完的易拉罐放进电器店门口放雨伞袋收纳处的时候，我大概就明白了东京不如上海国际化的原因了。

各处的标识的统一与体贴性也令人着迷，相较北美来说，在历史上的日本就是一个充满着设计感的地方。

如果说欧美的文明程度代表了一种友善，日本的所有国民则向更高的一步迈进：这是一个人人都为他人、为社会着想的国度，每一个个体倾其所能，为整个社会以最高效率进行运转做出贡献。

It is not over-civilization. It is using the least resources to make the most contribution to the human society.

Entitled as “Empire Made Me”, the book tries to position the “international citizens” under the framework of the British Empire, through illustrating the whole life story of a British Shanghai policeman: Richard Maurice Tinkler.

Similar to other colonies of the empire, there is a social hierarchy of three groups of people existed in Shanghai during its semi-colony era: the elite colonists, the average colonists, and the locals. The book concentrates on the middle ones, the insignificant Britons who have moved to Shanghai to seek chances and serve for the empire. In fact, as the members of the colonists, they stood on the top of the local Chinese residences and could enjoy the convenience of rickshaws and Chinese servants. However, the British community of Shanghai reproduced a domestic hierarchical society via clubs and lodges, which has made them less privileged and even restrained in many aspects such as love affairs and marriage. From Tinkler’s story, we know that they lost their ties with their motherland since they had found new places for themselves under the concept of the empire, while they could never become “Shanghaineses”, but the “Shanghailanders”.

As ordinary servants of the British Empire like policemen, these “international citizens” play essential roles for the solidity of the ruling system of the empire’s territories. They had to be involved in the local politics, between Bolshevik from workers, nationalism (or anti-imperialism) from students and their imperialism. At the same time, when it comes to the cultural issue, American values were impacting this “colony” and, making a lot of changes. They have devoted themselves to the great causes, but harvested death, failure and forgetting, while the empire was being cutting off from British society, becoming an “embarrassment” in the end. However, it is the empire that firstly built an internationalized world, whose memories are shared and cherished by the Britain families today. In other words, empire not only made Tinkler, but also the author Bickers, as well as all Britain citizens and, even the world citizens today.

4 stars.

一直觉得电影《小时代》是个接地气的作品。在人物设置上，杨幂、顾富、南美和唐屌的四人组很有代入感，虽然大部分女孩不会比顾富更富，比南美更美，或自认为比唐屌更屌，但她们身边总少不了这三类人。杨幂还有个男友叫简溪，洗剪吹的简，洗剪吹的溪，原来出演过《火力少年王》，所以他的画风并不太对，却也是电影院中她们身边的男生或是现任男友的写照。

在主线剧情里，虽然杨幂和《穿普拉达的女魔头》中的安妮海瑟薇一样，都神奇地通过了杂志社的面试、受够了上司的疯狂驱使、然后被相处多年的土鳖男友抛弃时，邂逅了富帅作家。《小时代》却是青出于蓝的，尤其是将两部影片放在一起观赏的时候，才能更深刻地划清它所表现的中国梦与美国梦的界限。这正是郭先生的高明之处。《普拉达》所展现的美国梦中，上司永远没有Plan B，富帅作家也没有郭敬明那么萌，就连影片的色调也是灰暗压抑。而《小时代》的中国梦则美好得多，上司永远都有Plan B，杨幂总能很快在绝望中找到希望而人生辉煌。封面上的作家陈学东一副郭敬明似的酷炫造型，轻松俘获万千少女的心。影片中男神的卖肉搅基，闺蜜的NTR修罗场，以及大量美图秀秀滤镜效果的来回切换，都体现了新时代年轻人对美的向往和追求。

最后杨幂的抉择更体现了中国梦对比美国梦的优势所在，《普拉达》中的安妮海瑟薇最终放弃了自己的华服宴饮、美好前途、还有富帅作家，选择入职三流小报，与烧菜师傅男友过上两地分居的生活。而《小时代》中，因简溪的劈腿和离去，牢牢占据道德优势的杨幂，理所应当地享受到了豪宅和美男。美国梦是人民幸福，而中国梦的定义则是国家富强、民族振兴、人民幸福。可以看出三者重要性依次递减。只有理解到了“漫天飘洒的宇宙尘埃和星河光尘，我们是比这些还要渺小的存在”，理解到个人在国家机器前的无力，才能领会在中国梦中，你只有服从、顺应和挣扎才能获得的幸福，“你要等！”

反观《普拉达》的美国梦，失算后大谈等待和希望的Nigel却加深了这个角色的悲剧性，富帅作家在巴黎所说的华美词句，也被安妮海瑟薇讥讽为是事先准备好的、只是用来把妹的归档文件，这可与崇光说完那两段话的待遇大相径庭。安妮海瑟薇义无反顾的辞职将美国梦的个人英雄主义发挥到了极致，而“我们依然在大大的绝望里小小地努力着”，这“大大的绝望”则便是中国梦集体主义的可爱之处了。这也是为什么王蒙说《小时代》是个主旋律的片子。

在梦境中，人脑部分的逻辑回路会被切断，以避免对细节的实证威胁到了梦境的真实性。但与此同时，梦境中的人物、场景、桥段又是基于现实的。RUNWAY杂志编辑部的故事框架，碎片化的魔都场景，加上郭敬明苦心经营的个人形象，在不断的交替重组中，共同编织了这出美丽的中国梦。在这部电影中，郭敬明冒着被口诛笔伐的危险，苦心地通过人物的瞬间移动，豪华荒诞的大学寝室，甚至是杨幂手中，那张不知道密码也能使用的魔幻信用卡来试图不断提醒观众这一切都是主人公杨幂的一场梦境。作为一个比《Inception》真实得多的梦境，我们需要通过第一部中幻灯片般的随机桥段，来组成第二部中相对连贯的情节。整个故事的框架是首尾呼应的。相信到第四部时最终的那场胶州路大火的作用，正如杨幂床头设置的那个闹钟一样，是为了提醒你们，你们既是梦中的小小星辰，你们也是现实中在魔都挤着地铁，一捏而死的蝼蚁。

郭敬明的中国梦，不是趋附权势哄抬垄断资源的梦，也不是借助大墙的淫威肆意复制国外产品的梦。大BOSS说，中国梦和美国梦是相通的。郭敬明将优质素材吸收，从而进行二次创新，这和“中国梦”概念的形成也是一致的。“读书人的事，能算偷么？”况且，从《幻城》到《爵迹》，这一路走来，原创成分越来越多，借鉴的方式也从单纯的拷贝上升到了道的层面。相比更无下限百分百复制的《爱情公寓》之流，它又显得进步不少。

《小时代》从小说到电影化的过程，正是一个成功的创业者从凤凰男逐步迈入真正的上层社会，并进行资源的有效利用的过程。相信当年小四创作整个《小时代》的初衷，就来自于在《普拉达》中对海瑟薇的那番评价：You can see beyond what people want and what they need, and you can choose for yourself. You chose to get ahead. You want this life, those choices are necessary.

小时代电影系列，建议分类：主旋律、理论宣传教育。4星推荐。