좋은 글인데 번역이 잘 안되서(-_-?) 그냥 올립니다.
점심먹어야하는데 벌써 3시...
댓글로 수정이나 추가 번역같은거 올려주시면 수정할께요
원문은 pdf로 첨부했습니다.
Put your money where your mouth is
너의 입이있는곳에 돈을 넣어라
-Ben Mathis
I've always liked the saying, “You can talk the talk, but can you walk the walk?”.
난 이렇게 말하곤 한다. “너는 ‘말하다’를 말할수 있지만 ‘걷다‘를 걸을수 있나?”
I see so many people talking about this or that, but when it comes to putting actions behind their words, they can't be bothered.
(?)
The amount of action you take to bring something about, is directly proportional to your desire for it to exist.
너가 뭔가에대해서 얻고자 행동하는 양만큼, 곧바로 너의 욕구만큼 비례한 사람이된다.
If you take no action, you don't really desire the thing, but instead like the idea of it.
너가 아무런 행동도 하지 않으면, 너는 사실 그것을 원하는게 아니라, 그 생각이 좋은것일뿐다.
I see this situation running rampant in the entertainment industry, specifically in games.
나는 이런 상황이 엔터테인먼트 산업에 유행하는 것을 보았다, 특히 게임산업에서.
The first portion of this paper is addressed to people not yet in the game industry.
이 글의 첫 번째 분분은 아직 게임 산업에 발을 들이지 않은 사람을 위한 것이다.
The second part addresses people currently in the game industry who are unhappy with their current job.
두 번째 부분은 현제 게임산업에 있지만 그들의 직장에대해 안 행복한 사람을 위한 부분이다.
The final part addresses anyone and everyone, professional or amateur, who is unhappy with the current state of the industry.
마지막 부분은 누구나 그리고 모두에게, 전문가든 아마추어든, 지금 산업의 상황에 행복하지 않은 사람을 위한 것이다.
Advice for people trying to land their first job in the game industry
첫 번째 직장으로 게임산업을 생각하고있는 사람들을 위한 조언
If you are a singer, and you desire to move people emotionally with the power and quality of your songs, you won't practice your scales forever.
너가 만약 가수라면, 그리고 너가 사람들의 마음을 니 노래의 파워와 퀄리티로 움직이고 싶다면, 평생 음계를 연습하고만 있지는 않는다.
You won't wait for the Phil Harmonica to call you up and have you perform.
너는 ‘필 하모니카’가 너를 불러서 너가 공연하도록 하게끔 기다리지 않는다.
No! You sing to anyone and everyone, every chance you get.
그렇다! 너는 아무나 그리고 모두에게 노래한다, 기회가 있을때면 언제든지.
For the practice, for the actual chance to move someone, and because you honestly enjoy singing.
(?)
This same situation should be true of someone who wants to work in game development.
이와같은 상황이 게임개발에 일하고 싶어하는 누군가에게는 사실이여야만 한다.
If you want to be an artist, you should be working on your art.
너가 예술가가 되고싶다면, 너는 너의 작업을 해야한다.
If you say you want to be an artist, but never work on your art, you only like the idea of being an artist, not the actual act itself.
만약 너가 예술가가 되고 싶다고 말은 하나, 너의 작업을 하지 않는다면, 너는 예술가가 된다는 것에대한 생각이 좋을 뿐이지, 예술가 자체가 되는 것을 좋아하는 것이 아니다.
The same is true for game design and programming as well.
게임디자인과 프로그래밍에서도 마찬가지다.
I see tons of people studying to work in games.
나는 수많은사람들이 게임산업에서 일하기위해 공부하는 것을 보았다.
When I talk to them, online, in person, in the classroom, they try to convey to me in words how much they want to work in games.
내가 그들에게 말을걸었을 때(온라인이나, 개인적으로나 강의실에서), 그들은 그들이 얼마나 게임산업에서 일하고싶어하는지를 전달하기위해 애쓴다.
Yet when I look at their portfolios it's obvious they don't invest more than a couple hours a week on it.
근데 내가 그들의 포트폴리오를 보면, 그것은 명백하게 그들이 일주일에 한두시간정도 투자한걸로 보여진다.
If you have to wait for someone to pay you to do something, you don't honestly want it.
만약 너가 누군가 너에게 뭔가 하게끔 돈을 줄때까지(대가를 지불할때까지) 기다려야만 한다면, 솔직히 너는 그것을 원하는 것이 아니다.
When I see students that are pumping out a new model and texture every week, regardless of the quality, I see someone who is going to make it in the game industry.
질에 관계없이, 새로운 모델링과 텍스쳐를 매주 뽑아내는 학생을 봤을 때, 나는 그 학생으로부터 게임산업에서 한탕할 사람을 본다.
They are hungry, and have passion.
그들은 굶주렸다. 그리고 열정이 있다.
If they aren't currently good, they will get good, out of sheer tenacity and passion.
만약 그들이 지금 실력이좋지 않다면, 결국 좋아질 것이다, 깎아지른듯한 끈기와 열정으로.
While you are at school, you should spend as much time as possible working on your portfolio.
학교에 있을 때, 너는 최대한 많은시간을 너의 포트폴리오에 쏟아부어라.
You have the rest of your life to relax and have fun, college is the time set aside for preparing for your career.
남은 너의 삶은 느긋하고 즐겁게 보내고, 대학은 너의 업적을 준비하도록 설정된 기간이다.
In an industry as competitive as ours, there is no room for the lazy.
(?)
If you have applied to lots of places, and they have seen your portfolio, and they don't offer you a job, you are not good enough yet.
만약 많은곳에 너가 지원을 했고, 그들이 너의 포트폴리오를 보고 너에게 직장을 주지 않았다면, 너는 아직 실력이 충분하지 않은 것이다.
Sometimes a single place isn't looking, or wants someone with more experience, but with the current state of the game industry, there is always a job for good people.
때때로 어떤곳은 너의 포트폴리오를 쳐다도 안보거나, 더 경험이 많은사람을 찾는다. 그러나 현제 게임산업의 상황을 볼 때, 좋은사람을 위한 자리는 항상 있다.
Many companies will manufacture a position for someone if they are good enough even if they weren't currently looking.
많은 회사들이 현제 필요하지 않은 사람이더라도 충분히 좋은 사람이라면 그사람을 위해 자리를 만들어낸다.
When that happens it is called an opportunity hire.
그런일은 ‘기회고용’이라고 한다.
Some students believe it's because they don't have enough experience.
어떤 학생들은 그들이 별로 경험이 없어서 그렇게 한다고 생각한다.
This is almost never the case.
그런데 대게 그렇지 않다.
The reason companies list experience requirements for job listings, is to discourage the people who know that they currently aren't good from applying.
회사가 그들의 직업모집란에 ‘경험이 있을것‘을 넣는 이유는, 지원할 때 자기 스스로가 현제 별로 잘하지 않는다는 것을 아는 사람들을 기죽이기 위해서다.
No company will see an awesome portfolio, and then decide not to hire you based purely on not having any experience, unless it's for a senior or lead position.
어떤 회사도 엄청나게 끝내주는 보트폴리오를 보게되지 않는다, 그리고 너를 고용하지 않는다 순전히 경험이 없다는 이유로(만약 그 자리가 선임자자리나 리드하는 자리가 아니라면).
Remember you will always have people with experience and shipped titles competing with you for jobs, and they have been paid to work 40-80 hours a week for a while.
기억해라, 너는 경험많은 사람들과 직업을 놓고 경쟁하고 있으며, 그들은 40-80시간동안 일하는 대가로 돈을 받아왓던 사람이라는 것을.
If you are investing only 5-10, you aren't going to be catching up anytime soon.
만약 너가 5-10시간 정도 투자한다면, 너는 그들을 따라잡을수 없다.
I've had some students ask me how many characters or environment pieces to have in a portfolio before applying places.
나는 이렇게 물어오는 학생을을 보아왔다. “포트폴리오에 얼마나 많은 케릭터들과 배경을 넣어야 지원할만 하죠?”
This is the wrong question to ask.
잘못된 질문이다.
You should keep making assets till you get hired.
고용될때까지 만들어내야 한다.
That's how you know when you are good enough.
그것이 너가 충분한지 안한지 알아내는 방법이다.
When a company is willing to invest the money to hire you, it's a stamp of approval.
회사가 너를고용하는것에 돈을 투자할 의지가 있을때가, (?)
If you haven't gotten hired yet, then keep adding things to your portfolio, and if there is anything old on it that doesn't reflect your current level of ability, then take it off.
너가 아직 고용되지 않았다면, 계속 포트폴리오를 업데이트 해라, 그리고 뭐든지 낡아서 너의 현제 실력을 반영해주지 않는 것이 있다면, 없애라.
This way your portfolio will constantly be improving, and eventually a company will see the level of ability they are looking for and extend you a job.
이렇게하면 너의 포트폴리오는 개선될것이고, 회사는 너의 능력의 레벨을 알게되어 너의 포트폴리오를 들여다보고, 너에게 직장을 줄 것이다.
For the students and amateurs trying to get into the industry, do not complain about the difficulty getting a job.
학생이나 아마추어중에 게임산업에 발을들이고 싶은 사람에게 하고픈말은, 직장구하는게 어렵다고 불평하지 말라는 거다.
It is not difficult to get a job.
어려운 것은 직업을 구하는 것이 아니다.
It's difficult to get a good portfolio.
어려운 것은 좋은 포트폴리오를 구하는 것이다.
People with good portfolios get lots of job offers.
좋은 포트폴리오를 갖은 사람이라면 많은 직업의 기회를 갖을 것이다.
Luckily what is needed to get a portfolio is readily available to all, and that asset is time.
운좋게도 포트폴리오를 만드는데 필요한 것들은 누구나 갖고 있다, 그 자산은 바로 시간이다.
If you aren't willing to invest it and make the sacrifices needed to put time towards your portfolio, don't complain, because it's your own fault.
만약 너가 그걸 투자할 의지가 없고 너의 포트폴리오를 만드는데 그걸 희생할수 없다면, 불평하지마라, 니잘못이다.
Use that energy towards working on the portfolio instead of complaining.
포트폴리오를 만드는데에 에너지를 쏟아라, 불평하고앉아있지 말고.
If your portfolio is currently not good enough, then the more time you spend per week practicing and improving, the less weeks will need to pass before you land that first job.
만약 너의 포트폴리오가 현제 충분히 좋지 않다면, 주당 시간을 더 투자해서 연습하고 발전시켜라, 첫 직장을 구하기 전에 (?)
Advice for people currently working in the game industry, who are unhappy with their current job
현재 게임 산업에서 일하면서 지금 직장에 불행한 사람을 위한 조언
Now for the people currently working in the industry who want a new job, but are having problems getting one.
이번엔 현제 직장은 있는데 새 직장을 얻고싶어하지만, 잘 안되는 사람을 위한 글이다.
So you landed that first job, and all was peaches and cream till the first crunch.
그래 이번엔 너가 그 첫 직장을 얻었고, 모든 것은 첫 번째 위기까지는 복숭아와 크림이였겠지.
Or maybe you didn't mind the crunch but the poor management is driving you nuts.
아니면 그 위기는 별로 신경안쓰는데 가난한 관리직이 너를 미치게 만들지도 모른다.
Maybe you don't like the art style or game content anymore, or the company isn't ever going to ship a title because they can't get their act together.
아니면 너가 아트 스타일이나 게임 컨텐츠를 더 이상 마음에 안들어할지도 모른다, 아니면 회사가 불협화음으로 작업을 더 이상 진행할수 없게됬을지도 모른다.(?)
Now you want to switch to a new company where things will possibly be better, but no one seems to want to hire you. The audacity!
이제 너는 뭔가 더 나은 회사로 바꾸기를 원한다, 그러나 아무도 너를 고용하길 원치 않는 것 같아 보인다. 뻔뻔!(?)
This portion is very similar to the advice given the students.
이 부분은 학생들에게 줬던 조언과 매우 유사하다.
If you have been applying around to many places, and no on is biting, the most likely reason is that your portfolio is not good enough.
만약 너가 많은곳에 지원을 했고, 아무도 니 미끼를 물지 않는다면, 대부분의 이유는 니 포트폴리오가 구려서다.
The second most likely reason is that it doesn't contain recent enough work.
두 번째 그럴싸한 이유는 최근의 작업을 많이 포함하지 않고 있어서다.
It might be really good work, but it's pixel art and you are applying for a character modeler position, or it's low poly and the company wants high poly normal mapped assets because they are doing a next generation game.
너의 작업이 굉장이 좋은 작업물일수도 있지만, 그것이 픽셀아트 작업한거를 가지고 케릭터 모델러 자리에 지원하고 있다면, 아니면 로폴 작업한걸갖고 하이폴리곤에 노말맵처리된걸 원하는 회사에 지원하고 있는 꼴이라면...
This also really falls under the portfolio not being good enough, this time not in the sense of quality, but in content.
이건 포트폴리오 질이 좋고나쁘고를 떠나서 이번엔 내용물의 문제이다.
What does this mean for you? You need to be working on your portfolio.
이게 너에게 의미하는 바가 뭐냐? 너는 니 포폴작업을 해야한다는 것이다.
The best approach in my opinion is to always be working on personal projects.
내생각에 최고의 접근법은 항상 개인프로젝트를 하라는 거다.
That way you always have work that is not covered by NDA that you can show a potential new employer.
그렇게 하면 너는 항상 NDA로 뒤덮히지 않은, 너가 중요한 다른 고용주에게 보여줄 수 있는 작업물을 갖을수 있다.
This way you can work on a new technology you might not have available in your current game.
이 방법으로 너는 너의 현재 게임에 허용되지 않은 새로운 기술들을갖고 작업할수 있다.
Also if you want to work on a more cartoony game, and your current employer makes dark realistic stuff, you can work on a portfolio that would be relevant to the places you actually want to work.
그리고 만약 너가 좀더 만화같은 게임을 제작하는 일을 하고싶은데, 너의 현제 고용주가 어두침침하고 리얼한 게임 프로젝트를 진행중이라면, 너는 니 포트폴리오에는 니가 실제로 일하고 싶어하는것에대한 작업을 할 수 있다.
Even if you aren't looking for a new job it's a good idea to always have a personal project on the burner.
만약 너가 새 직장을 찾는게 아니더라도 항상 개인적인 프로젝트를 하는 것은 좋은생각이다.
This way if you do change your mind about your current job, you can start applying right away.
그러면 너가 만약 니 직장에서 마음이 바뀌었을 때, 바로 이력서를 돌릴 수 있다.
The added benefit is that the extra time spent practicing will most likely result in improvements in your speed and abilities, which can result in raises and promotions at your job, as well as basic respect and clout for being on the ball.
또다른 좋은점으로는 남은 시간을 연습하는데 쏟는 것은 대부분 너의 기술과 속도를 높여주게 되고, 그러면 그 결과로 너의 직장에서 승진과 월급인상 이 될 것이다(물론 기본적인 존중과 영향력이 주어질 것이다, 공이 된다는 것에 대해(?)).
If you aren't willing to work on something constantly, expect to really have to pour on the extra hours on your folio when you do decide to switch companies.
만약 너가 어떤것에대해 꾸준히 일할 의지가 없다면, 너가 회사바꾸려고 맘먹었을 때, 넌 추가의 시간을 너의 포폴에 쏟아부어야할 것이다.
Then you will need to generate enough work to have a current portfolio in a relatively short period of time.
그러면 상대적으로 짧은 시간에 현재 수준에 맞ㅇ는 포트폴리오를 제작 해야하만 한다.
Rather than a few extra hours a week, you have to put in a few extra hours a day. It's still doable though.
주당 약간의 시간을 투자하는것보다, 하루에 약간의 시간씩을 투자해라. (?)
For the current professionals that want to switch jobs but can't seem to generate any companies interest, do not complain about the difficulty getting a new job. It is not difficult to land a better job. It's difficult to keep a current, relevant, quality portfolio. People with good up-to-date portfolios get lots of job offers. Luckily what is needed to keep up a quality portfolio is readily available to all, and that asset is time. If you aren't willing to invest it and make the sacrifices needed to put time towards your portfolio, don't complain, because it's your own fault. Use that energy towards working on the portfolio instead of complaining. If your portfolio is currently not good enough, then the more time you spend per week practicing and improving, the less weeks will need to pass before you can land a new and better job.
Advice for people who are unhappy with the current state of the industry.
This final portion is for people who don't like the games the industry is currently putting out. Whether it's your disappointment with the art styles chosen, the game play mechanics, the level design, or the quality level of the finished product, this portion is for you.
You feel that the art is all the same, that no one makes original game play, derivation and copying is the name of the game.
모든 예술이 거기서 거기고, 누구도 오리지널 게임을 만들지 않고, 조금바꾸고 붙여넣는 것이 게임이라는 느낌이 들것이다.
You feel that companies are so concerned with the bottom dollar that they do not care a single iota about the product's quality level, so games are shipped out earlier and earlier, with more bugs and less substantial features than ever before.
회사가 돈에만 관심이 있어서 자잘한 제품의 퀄리티는 신경을 안써가지고, 게임은 점검 빨리 배출되어 예전보다 더많은 버그와 더 적은 기능을 갖게 되었다는 느낌이 들것이다.
You think that new ideas and original game design is left by the wayside in order to make way for sequels, sports franchises and blatant ripoffs of other successful titles.
Well I happen to agree with you, but my thoughts on the situation are as follows.
My thinking for people in this situation (and myself) is very similar to my prior two points.
If you care enough about the situation, you would do something about it other than talking.
만약 이런상황이 신경쓰인다면, 그것에대해 뭔가 해라. 말로만 그러지말고.
There exists a variety of editors, training material, and support forums on the internet and in bookstores to undertake some form of game creation. If art is the area you would like to see something new, then come up with a visual style you like and start replacing assets in an existing game that you enjoy. If you think that the current level design in games is poorly thought out with no real planning put into the players emotional state as they proceed throughout the level, then take an existing game you enjoy that comes with an editor, and figure out how to implement your own levels. If you think current game design is repetitive and boring, and you yearn for something interesting and original, then start reading up on game design and theory.
Get a game with an open ended editor with heavy documentation and existing assets (UnrealEd, Quake3, Halflife2, Neverwinter Nights, Game Maker) and learn simple scripting and work on altering up the game design. You might not be able to make that jazzercise franchise simulator you've been dreaming of yet, but you can certainly practice learning what is fun, and how to revise and polish your ideas. If you are able to achieve some level of success at this personal endeavor, you have greatly increased your chances at commercial success where you might be able to make your dream game. Having replaced all the art assets in a game with a visually cohesive art style of your own choosing would look really good on an application to be an art director. An entire games worth of level design with quality pacing and player involvement will be extremely attractive to a company when you apply for position as a level designer. If you were to take a game editor and alter the game play mechanics, or even create your own entire game design, even using all of the games existing assets, would be convincing when applying for a game designer position. If you are already an existing employee in one of these fields but you don't get the control you want, you can get a lot further towards your goal of having that control by showing your company the type of quality product you can produce when you call the shots. In short, show some initiative.
If you were to try to raise capital for a start up company I think you owe it to both your investors and any employees you hire to have already done this. Practice makes perfect and there is very little chance you are going to get a game design correct your first attempt. It is equally unlikely you will be able to make an appealing and cohesive art style if you have never done so before. Likewise again on level design. If you've never attempted it at the level you wish to be involved, you have very limited likelihood of success. Matthew 25:21 comes to mind, “Well done my good and faithful servant. You have been faithful with the small things, and now I will entrust you with greater things.” By showing initiative in your area of supposed passion, you will go a long way into convincing others.
As a small aside, if you have never been involved in the game creation process before, do not try to be the driving force behind a game development studio. Idea men are useless in a small company, and I don't think I'm being unfair by saying your ideas are most likely bad if you are unable to contribute to the development process in some way besides managerial skills. Let me put it another way. The actual game design is the hardest part of the game development process to get correct. It is far harder than learning a 3d program, a painting program, a map editor, a programming language, or even the theories of fine art. If you cannot manage to learn, to a proficient level, one of these easier tasks, you are guaranteed to fail at creating an immersive, quality, interactive experience. That point bears repeating again in a different structure. You have no place in a small game studio if you lack the ability to contribute in at least one area of actual asset creation be it code, art, or level design. Even if you are the driving financial force, you are still not qualified to make design decisions. Going even beyond this previous point, I don't think anyone should attempt a startup until they have at least one shipped title either on a commercial level or a personal level. You owe it to yourself, your employees, your financial backing, and the chances of your games success to at least see how game development is currently attempted. Yes there is quite a bit wrong in the modern development process, but there is also several decades of experience in place that you can learn from, even if it's only what to avoid.
If you are waiting for someone to pay you to innovate or create a new spin on game design, you will be in for a long wait, and a lot of disappointment. Even a single game green lit by a CEO that fails on the store shelves can cost them their job. I know if I was the CEO I would only green light projects that were seeming surefire hits. Which is of course what they do, and why we see the games we see. Someone has to pay for the game, and if you really want to carry out your particular vision of a successful game, it has to be you. I'm not talking about dollars, I'm talking about elbow grease. It's incredibly hard to get someone to finance your game design if you have zero experience in a design and managerial position, and even harder if your idea deviates from the current fare of game design and art style. This makes it necessary for you to pursue something more modest as your first foray, and if successful will pave the way to something more substantial.
There is most likely a good reason that games like the one you are envisioning are not in existence. It's most likely that they are not really a good idea. The next most likely idea is that it won't be a sure fire hit, and an extension of that, that it would not be profitable enough to make it worth the funding (to a publisher who needs to give their management six and seven figure salaries). However there is a chance that it could be a very good, and original idea that people would enjoy. If you truly believe this, than you should pursue bringing it to life with whatever means you have at your disposal. If you are Will Wright, that might mean a staff of 100 people and a fifty million dollar budget. If you are an amateur or even a low level professional, the most likely asset you have is time and energy. You might be able to coerce people into helping you, but most likely you will have only yourself either till the completion of your idea, or until enough is finished to entice help from others. This means a lot of late nights, a lot of learning new skills you might not love or be as proficient at as your main skill. It means foregoing a lot of the activities you currently engage in when you come home from work or class. You don't have to become a hermit that works an additional eight hours a day after work is done, consisting on nothing but ramen, water, and the socializing you get during the lunch hour during the day, but it might mean creating space in your current agenda for the project you have in mind.
For the people that want to see original game design, fresh art styles, and quality games, do not complain about the lack of said games. It is not the industries fault it has been constructed as a commercial enterprise first and foremost, and original inventive games are risky from a financial standpoint. It is not difficult to work on original, fresh, quality, artistic games. It's difficult to get paid by someone else to do so. Those few people who do, have shown initiative and prior success by working hard for the privileged. People who have made good quality games in the past get opportunities to do so again, and opportunities to take their ideas even further. Luckily what is needed to create or be involved in a quality, original game is readily available to all, and that asset is time, and energy. If you aren't willing to invest that time and energy and make the sacrifices needed to work on a fresh game mechanic, an original artistic style, or immersive level design and pacing, don't complain, because it's your own fault. Use that energy towards working on that type of game in your free time instead of complaining. If you currently cannot coerce others to assist you, or convince someone to lend financial backing, then the more time you spend per week working towards your goals on your own, the less weeks will need to pass before you can see your game completed or manage another attempt in a more official capacity.
My closing comments are a wrap up of all the points above, as I believe they are highly related. Everyone has the same number of hours in the day as Albert Einstein and Madam Curie. Those people who make significant contributions to the world, whether they be of science, philanthropy, or even entertainment, are people with a driving ambition. Those people who don't wait on an established entity to back and fund their visions, they instead dig in and work towards those goals they believe worthwhile. They put their confidence in the value of their idea higher than their level of personal desire for casual apathy. They are the walkers, not the talkers. They are the movers and the shakers. Most importantly, they are the types of people that make memorable games.
There are normally two things you can have in life, the first is a steady secure job with an established company. It brings with it the security of a paycheck, and in the case of games, a high likelihood of your product shipping, plenty of staff to work on all the areas of production, and benefits. The second thing you can have is total pursuance of your ideals. Most of the time there is an absence of security, as you are having to fund it yourself, there is no guarantee of completion, you and anyone else involved will most likely have to wear a variety of hats, and there is a very low chance your product will see widespread success. I believe there is a way to balance the two, but it will involve a lot of personal sacrifice and effort. Gallons of elbow grease, a potentially stunted social life, low television absorption and immense personal growth into new areas of game development are all required, but the end result is that you can see something you are proud of brought to life. For those now that complain without putting in effort to change things, it makes another saying come to mind “put up or shut up”.
Finally, I blame the current state of the industry on the lot of us.
There are a lot of people who have ideas for what they think would make a good game, almost everyone wants to be a driving force in a games development.
좋은 게임을 만들 수 있을거라는 생각을 하고있는 수많은 사람들이 있다, 거의 모두가 게임 제작을 하고싶은 욕구가 있다.
Yet every person interested in game design, rather than work on something on their own, instead dream in their head of the day when they work at some company that will allow all their dreams to come true.
모든 사람이 게임 디자인에 관심이 있는데도 불구하고, 그들의 것을 만드는 작업을 하기보다, 그들의 꿈을 모두 이루어줄 회사에서 일할 날만늘 머릿속에 꿈꾼다.
I believe that if every person who wanted to design games was working on a personal game, yes we would see a lot more crappy attempts, but with them would come those rare gems, those people who really were visionary and had a smashing idea for a successful and memorable interactive experience.
나는 만약 게임디자인을 하고싶어하는 모든 사람이 개인 게임제작을 하게 되면 , 물론 허접스런 시도도 많이 볼수 있겠지만, 거기에는 레어한 보석들도 나올 것이다, 그중에 성공적이고 인상적인 경험을 제공하는 굉장한 아이디어를 생각해내는 공상가가 있을것이라고 생각한다.
It's my hope that at least one of these types of people reads this paper and uses it as the motivation to raise their fist to the establishment and strike out on their personal vision, in whatever means they can, and bring to the world a fresh original art style, inventive characters, well-paced, emotionally involving level design, or a quality memorable game.
나는 한명이라도 그런 타입의 사람이 이 글을 읽고 자극을 받아 주먹을 치켜올려 그들의 비젼을 확립하고 발견하여, 어떤방법으로든 그들이 해내서, 세상에 신선하고 오리지널한 아트 스타일을, 독창적인 케릭터들을, 잘 진행되고 감정이 녹아있는 레벨 디자인을, 아니면 수준높은 인상적인 게임을 선보이길 바란다.
