位于美國(guó)加利福尼亞州洛杉磯的南加州大學(xué)，擁有著全美乃至世界排名第一的游戲設(shè)計(jì)專業(yè)，在該專業(yè)授課的導(dǎo)師，多數(shù)都來(lái)自游戲?qū)I(yè)資深的從業(yè)者，比如《神秘海域》系列傳奇游戲設(shè)計(jì)師 Richard Lemarchand，便是其中之一。

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Richard Lemarchand曾任頑皮狗前首席游戲策劃，參與過(guò)《神秘海域》前3部的開(kāi)發(fā)，從業(yè)10多年的3A游戲制作經(jīng)歷，讓他積累下了足夠的游戲開(kāi)發(fā)經(jīng)驗(yàn)。而在10年前，他選擇投身于游戲教育行業(yè)，加入南加州大學(xué)游戲設(shè)計(jì)系任職，如今已是電影藝術(shù)學(xué)院互動(dòng)媒體和游戲?qū)I(yè)的副教授。

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在南加州大學(xué)游戲設(shè)計(jì)專業(yè)任職10年后，Richard Lemarchand基于自己的游戲開(kāi)發(fā)制作經(jīng)歷與教學(xué)經(jīng)驗(yàn)，編寫了一本中文譯名為《妙趣橫生的游戲制作之旅》的游戲?qū)I(yè)指導(dǎo)手冊(cè)，來(lái)當(dāng)作授課教材與從業(yè)者指導(dǎo)書。

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恰逢《妙趣橫生的游戲制作之旅》國(guó)內(nèi)發(fā)售之際，游戲日?qǐng)?bào)聯(lián)系邀約到Richard Lemarchand，就本書的一些編寫思路與南加州大學(xué)游戲設(shè)計(jì)專業(yè)的教學(xué)模式進(jìn)行了交流。

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在《妙趣橫生的游戲制作之旅》中，Richard Lemarchand以自身參與《神秘海域》系列作品時(shí)所積累的經(jīng)驗(yàn)出發(fā)，對(duì)當(dāng)下游戲開(kāi)發(fā)環(huán)節(jié)存在項(xiàng)目管理雜亂等問(wèn)題進(jìn)行剖析，將游戲設(shè)計(jì)的創(chuàng)意與有效項(xiàng)目管理聯(lián)系起來(lái)，把項(xiàng)目分為構(gòu)思、預(yù)制作、完整制作和后期制作四個(gè)階段，向讀者傳授如何從頭到尾完成一個(gè)出眾的游戲項(xiàng)目。

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Richard Lemarchand認(rèn)為，預(yù)制作是一個(gè)游戲項(xiàng)目最重要的階段，很多時(shí)候出現(xiàn)項(xiàng)目管理問(wèn)題都是因?yàn)轭A(yù)制作沒(méi)有做好，不過(guò)采訪中他也向游戲日?qǐng)?bào)表示，實(shí)際開(kāi)發(fā)制作并不是死板的盲目遵循制定好的計(jì)劃，應(yīng)該將“將變化視為機(jī)會(huì)，而不是危機(jī)”。

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除了基于《妙趣橫生的游戲制作之旅》這本書談?dòng)螒蛑谱鹘?jīng)驗(yàn)分享外，游戲日?qǐng)?bào)還與Richard Lemarchand交流了一下南加州大學(xué)的教學(xué)模式，包括不同專業(yè)所招收的學(xué)生類型，不同學(xué)歷的教學(xué)內(nèi)容以及國(guó)內(nèi)游戲行業(yè)從業(yè)者，想要去該專業(yè)深造能夠選擇的專業(yè)等等。

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第九屆游戲行業(yè)金口獎(jiǎng)新增面向全球高校游戲制作團(tuán)隊(duì)的【2022年優(yōu)秀未來(lái)游戲制作團(tuán)隊(duì)獎(jiǎng)】，參與獎(jiǎng)項(xiàng)評(píng)選有可能獲得專屬獎(jiǎng)金、國(guó)內(nèi)游戲游戲行業(yè)知名制作人/專家點(diǎn)評(píng)解惑以及游戲公司校招/實(shí)習(xí)直通機(jī)會(huì)，歡迎更多優(yōu)秀高校未來(lái)游戲人攜項(xiàng)目參與報(bào)名，有興趣的可以聯(lián)系游戲日?qǐng)?bào)，加入未來(lái)游戲人社群。

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本期嘉賓為南加州大學(xué)電影藝術(shù)學(xué)院副教授的Richard Lemarchand。

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具體采訪內(nèi)容整理如下（附英文原版）：

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游戲日?qǐng)?bào)：感謝接受游戲日?qǐng)?bào)采訪，您是處于怎樣的想法，選擇去撰寫《妙趣橫生的游戲制作之旅》這本書，從開(kāi)始撰寫到最終完成花了多長(zhǎng)時(shí)間？

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Richard Lemarchand：我之所以選擇寫《妙趣橫生的游戲制作之旅》這本書，是因?yàn)樵谖业穆殬I(yè)生涯中，從才華橫溢的同事和導(dǎo)師那里收集了很多關(guān)于游戲設(shè)計(jì)和項(xiàng)目管理的知識(shí)。這些知識(shí)雖然被部分開(kāi)發(fā)人員所熟知，但并沒(méi)有被廣泛傳播，也沒(méi)有全部寫在同一本書上。

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我在頑皮狗和水晶動(dòng)力等工作室擔(dān)任 3A 游戲首席設(shè)計(jì)師已有 20 年，我現(xiàn)在在洛杉磯南加州大學(xué)任教，過(guò)去的10年里，我為了在中級(jí)設(shè)計(jì)和制作課程之中去教授這些方法與知識(shí)，開(kāi)發(fā)了許多材料。

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因此我想要一本專為這些課程的教科書，這些課程也可以是在職業(yè)生涯的每個(gè)階段為開(kāi)發(fā)人員提供指導(dǎo)的專業(yè)手冊(cè)，最簡(jiǎn)單的方法便是由我自己來(lái)寫這本書！?我預(yù)感這種類型的書籍需求會(huì)非常大，而我的直覺(jué)似乎是正確的，對(duì)這本書收到的所有積極反饋意見(jiàn)感到非常榮幸和欣慰。

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由于我對(duì)整個(gè)主題類型的項(xiàng)目非常熟悉，基于自己在游戲行業(yè)和學(xué)術(shù)界的這兩份事業(yè)，整本書的創(chuàng)作對(duì)我而言算是順手拈來(lái)，從編寫第一章大綱到完成最終草案，只花了大約18個(gè)月的時(shí)間。

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游戲日?qǐng)?bào)：書中您將游戲制作分為四個(gè)階段，其中預(yù)制作是項(xiàng)目中最重要的階段，那么是否所有的游戲都有必要去進(jìn)行預(yù)制作？

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Richard Lemarchand：對(duì)，相信對(duì)于每款游戲而言，有一個(gè)執(zhí)行良好的預(yù)制作非常重要。正如我的朋友兼導(dǎo)師馬克·塞爾尼（Mark Cerny）在2002年“DICE峰會(huì)”上所說(shuō)的那樣，頑皮狗和Insomniac等工作室使用的游戲設(shè)計(jì)和制作的方法模型：我相信，毫不夸張的說(shuō)，游戲開(kāi)發(fā)中有80%的的錯(cuò)誤是在預(yù)制作過(guò)程中已完成或未完成的事情直接導(dǎo)致的結(jié)果。

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游戲開(kāi)發(fā)人員通常會(huì)遇到許多與游戲邊界相關(guān)的問(wèn)題，在他們?cè)囍?gòu)建游戲整體架構(gòu)時(shí)，幾乎所有開(kāi)發(fā)人員們都會(huì)面臨著一個(gè)相同問(wèn)題——那就是這個(gè)項(xiàng)目難度的可操控性，所以要在發(fā)行前有足夠的時(shí)間和預(yù)算，來(lái)合理的去創(chuàng)造和打磨游戲。

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然而，當(dāng)我們首次使用預(yù)制作，來(lái)通過(guò)創(chuàng)建一個(gè)“垂直切片”揭示游戲核心設(shè)計(jì)時(shí)，這些問(wèn)題就消失了。然后，我們可以以一個(gè)稱為“游戲設(shè)計(jì)宏觀方案”的簡(jiǎn)短、有效的游戲設(shè)計(jì)文檔的形式，為我們的游戲創(chuàng)建一個(gè)計(jì)劃，它可以用于安排游戲的制作流程。這些技巧在我的書中都有詳細(xì)描述。

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游戲日?qǐng)?bào)：當(dāng)游戲開(kāi)發(fā)過(guò)程中，如果遇到突發(fā)事件打亂了預(yù)制作階段的“游戲設(shè)計(jì)宏觀方案”，該怎樣去調(diào)整？

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Richard Lemarchand：這是一個(gè)好問(wèn)題，實(shí)際上大家都能預(yù)料到，幾乎每個(gè)項(xiàng)目都會(huì)有意外的事情發(fā)生，這些事情通常會(huì)擾亂或破壞原有的計(jì)劃。大家要記住，創(chuàng)建一個(gè)游戲設(shè)計(jì)宏觀方案并不是制定一個(gè)嚴(yán)格的計(jì)劃，讓我們?cè)谥谱饔螒虻娜^(guò)程去盲目地遵循，這更像是制定一個(gè)合理且實(shí)用的普通計(jì)劃，如果我們遵循它，它將提供足夠的時(shí)間來(lái)處理意外發(fā)生的事情。

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正如我在書里面提到的那樣，我們應(yīng)該“將變化視為機(jī)會(huì)，而不是危機(jī)”。這意味著我們制定的每個(gè)計(jì)劃，都必須能夠適應(yīng)意外事件的發(fā)生。美國(guó)有句俗語(yǔ)：“當(dāng)生活給你檸檬時(shí)，你得把它做成酸甜可口的檸檬汁”。

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游戲日?qǐng)?bào)：您所著的《妙趣橫生的游戲制作之旅》一書與日常教學(xué)有哪些聯(lián)系？

Richard Lemarchand：由于我每個(gè)學(xué)期都在南加州大學(xué)給學(xué)生們教授中級(jí)設(shè)計(jì)和制作課程，所以這本書和日常教學(xué)有著深厚的聯(lián)系。說(shuō)實(shí)話，給學(xué)生派發(fā)自己參與編寫的教科書是一種很奇怪的感覺(jué)，因此我總是很謙虛的讓學(xué)生們閱讀相關(guān)章節(jié)。?比較欣慰的是，我在書中加入了一些笑話和我在游戲行業(yè)經(jīng)歷過(guò)的一些故事，以此來(lái)保持內(nèi)容的趣味性。

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游戲日?qǐng)?bào)：當(dāng)初是處于怎樣的考慮，選擇加入到南加州大學(xué)游戲?qū)I(yè)任教？目前主要負(fù)責(zé)哪方面教學(xué)工作？

Richard Lemarchand：在加入頑皮狗之后不久，我就開(kāi)始在南加州大學(xué)游戲中心做義務(wù)講座，向他們講述我們?cè)诠ぷ魇业挠螒蜷_(kāi)發(fā)過(guò)程。后來(lái)，我開(kāi)始輔導(dǎo)MFA學(xué)生，指導(dǎo)他們?cè)诘谌甑恼撐捻?xiàng)目，最終我滿懷熱情的完成了這項(xiàng)任務(wù)，以至于我們項(xiàng)目的創(chuàng)始人之一特雷西·富勒頓教授（《游戲設(shè)計(jì)工作坊》作者）認(rèn)為我會(huì)成為一名優(yōu)秀的游戲設(shè)計(jì)教授。

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雖然我可以一直待在頑皮狗并且有著不錯(cuò)的收入和職業(yè)前景，但我依然想做出一些改變，而不是這樣安然度日。我想把更多的時(shí)間花在對(duì)游戲開(kāi)發(fā)中的文化藝術(shù)，以及游戲開(kāi)發(fā)藝術(shù)工藝的哲學(xué)性思考上。于是在2012年，我成為了一名專職教授，現(xiàn)在很高興地說(shuō)，南加州大學(xué)游戲設(shè)計(jì)專業(yè)給了我充裕的時(shí)間，讓我能夠完成這些工作，并且還可以做更多事情。

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游戲日?qǐng)?bào)：南加州大學(xué)在游戲人才培養(yǎng)方面，主要是培養(yǎng)什么類型的人才？針對(duì)不同的學(xué)歷階段，分別去培養(yǎng)學(xué)生哪方面的能力？

Richard Lemarchand：當(dāng)然，我們培訓(xùn)學(xué)生的游戲開(kāi)發(fā)“硬實(shí)力”技能：軟件工程、游戲引擎使用、藝術(shù)、動(dòng)畫和音頻制作、游戲設(shè)計(jì)、游戲故事講述、游戲制作等等。

但是，我們也非常關(guān)注游戲開(kāi)發(fā)的“軟實(shí)力”技能：良好的溝通和協(xié)作能力、和同事相處的能力、充當(dāng)臨時(shí)領(lǐng)導(dǎo)者的決策能力，以及在突發(fā)情況下，聽(tīng)取并且基于大家的想法來(lái)快速解決問(wèn)題的能力。這些軟實(shí)力與硬技能同樣重要，兩者相輔相成，從而使我們的學(xué)生能夠制作世界一流的游戲。

我們專業(yè)中的在校生和畢業(yè)生都學(xué)到了許多相同的技能，當(dāng)然，研究生會(huì)將他們學(xué)習(xí)到的技能提升到更高水平，也可能在特定領(lǐng)域獲得更高的專業(yè)化技能。

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游戲日?qǐng)?bào)：南加州大學(xué)游戲?qū)I(yè)每年會(huì)招收多少學(xué)生？這些學(xué)生想要進(jìn)入該專業(yè)學(xué)習(xí)，需要具備哪些條件？

Richard Lemarchand：最近，南加州大學(xué)游戲設(shè)計(jì)專業(yè)計(jì)劃擴(kuò)大招生范圍，現(xiàn)在每年招收150名本科生和70名研究生，所對(duì)應(yīng)的學(xué)位各不相同。南加州大學(xué)電影藝術(shù)學(xué)院提供的IMGD學(xué)位中，我們正在招收設(shè)計(jì)、游戲文案和藝術(shù)創(chuàng)作傾向的新生；對(duì)于南加州大學(xué)維特比工程學(xué)院提供的計(jì)算機(jī)科學(xué)（游戲）學(xué)位，會(huì)招收擁有一定技術(shù)、邏輯和數(shù)學(xué)能力的學(xué)生。

但在這兩個(gè)專業(yè)，我們都在尋找一些渴望制作數(shù)字或物理游戲，以及也對(duì)其他藝術(shù)和文化感興趣的復(fù)合型人才。我們喜歡那些不僅僅對(duì)視頻游戲感興趣的候選人，因?yàn)槲覀冎溃螒虻淖罴鸯`感往往來(lái)自游戲之外！

游戲日?qǐng)?bào)：如果一位中國(guó)游戲行業(yè)的從業(yè)者，想要攻讀南加州游戲?qū)I(yè)碩士或者博士學(xué)位，有哪些渠道能夠?qū)崿F(xiàn)？

Richard Lemarchand：在此，我本人非常鼓勵(lì)在中國(guó)游戲行業(yè)的任何從業(yè)者，都可以考慮申請(qǐng)南加州大學(xué)的游戲設(shè)計(jì)專業(yè)，無(wú)論是IMGD MS/MFA學(xué)位還是CS（游戲）MS學(xué)位。這兩門課程都適合尋求獲得經(jīng)驗(yàn)、磨練技能、拓展游戲設(shè)計(jì)技能的專業(yè)人士，同時(shí)還可以與一些世界級(jí)項(xiàng)目中的導(dǎo)師和顧問(wèn)建立聯(lián)系。

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游戲日?qǐng)?bào)：對(duì)游戲人才的培養(yǎng)上，您覺(jué)得目前東西方的差異點(diǎn)在哪？

Richard Lemarchand：在當(dāng)前的高等教育中，游戲設(shè)計(jì)和發(fā)展教學(xué)仍然處在起步的階段，我們算是北美地區(qū)啟動(dòng)相關(guān)教育計(jì)劃最早的學(xué)校，但也僅僅只有20年。當(dāng)然，現(xiàn)在在亞洲的大學(xué)中，也有許多優(yōu)秀的游戲開(kāi)發(fā)學(xué)位課程，包括清華大學(xué)深圳校區(qū)的新IMDT計(jì)劃，南加州大學(xué)游戲設(shè)計(jì)專業(yè)正與清華大學(xué)和騰訊游戲?qū)W堂進(jìn)行合作等等。

最后，我認(rèn)為東方和西方游戲教育的方式上，有很多相似之處：我們都專注于理論和實(shí)踐的正確結(jié)合，以及教導(dǎo)什么最能幫助學(xué)生，讓他在國(guó)內(nèi)或者國(guó)際上取得不錯(cuò)成就的方法，同時(shí)也激勵(lì)他們推動(dòng)游戲設(shè)計(jì)的邊界和更多的可能性。

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游戲日?qǐng)?bào)：您最喜歡或者最關(guān)注的中國(guó)游戲產(chǎn)品是哪一款？為什么會(huì)喜歡或者關(guān)注它？

Richard Lemarchand：我對(duì)中國(guó)游戲現(xiàn)狀感到非常開(kāi)心，通過(guò)和騰訊的咨詢工作，也了解到了在中國(guó)有著數(shù)量龐大的游戲開(kāi)發(fā)人員。?當(dāng)然，我也是許多騰訊游戲的粉絲，例如《王者榮耀》國(guó)際版和《逆戰(zhàn)》等，我也對(duì)騰訊NExT工作室的創(chuàng)新作品（例如《只只大冒險(xiǎn)》和《不可思議的皇冠》）非常感興趣。?我非常期待在未來(lái)幾年看到從中國(guó)出圈，火到全球的游戲作品！

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以下為英文原文：

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Q1：Thanks for the interview of Game Daily. Why did you choose to write the book "?A Playful Production Process: For Game Designers (and Everyone)" and how long did it take from start to finish?

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Richard Lemarchand：I chose to write?A Playful Production Process?because over the course of my career, I had gathered up a lot of wisdom from my talented colleagues and mentors about integrating game design and game project management. This wisdom, while known by some developers, was not that widely shared, and it was certainly not written down all in one place.

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Having spent two decades as a lead designer in triple-A games at studios like Naughty Dog (Uncharted) and Crystal Dynamics (Soul Reaver, Gex), I now teach at the University of Southern California in Los Angeles. Over the last ten years, I developed a lot of materials to teach these approaches in my USC Games intermediate design and production classes.

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I wanted a textbook for those classes that could also serve as a professional manual for developers at every stage of their career, and the simplest approach was the write the book myself! I had a sense that there was a wider demand for a book of this type, and I seemed to have been correct, based on the warm reception that?PPP?has received around the world! I’m very honored by and grateful for all the positive feedback the book has received.

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Because I was so familiar with the subject matter, from my twin careers in industry and academia, the book almost wrote itself, and only took about 18 months to complete, from writing the first outline, to finishing the final draft.

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Q2：In the book, you divide game production into four stages, of which preproduction is the most important stage in the project, so is it necessary for all games to go for preproduction?

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Richard Lemarchand：Yes, I believe that it’s very important for every game to have a well-executed preproduction period. As my friend and mentor Mark Cerny tells us in his influential DICE 2002 talk about the “Method” model of game design and production used at studios like Naughty Dog and Insomniac Games: “I believe that 80% percent—I'm not exaggerating—of mistakes in game development are a direct result of things that were done or not done in preproduction.”

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Game developers experience many problems related to the “scope” of their games—the size and complexity of the game they are trying to build. All game developers face difficulty in bringing our projects under control, in terms of having sufficient time and budget to properly create and polish our games before release.

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However, these problems melt away when we first use preproduction to uncover the true design of the core of our games by creating a “vertical slice.” Then we can create a plan for our games in the form of a short, effective game design document called a “game design macro.” This gives us a plan that is specific enough to be useful in creating and scheduling our game’s creation, but not so specific that we waste time in creating it. These techniques are described in detail in my book.

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Q3：During the game development process, if there is an unexpected event that disrupts the "game design macro plan" in the preproduction stage, how to adjust it?

Richard Lemarchand：That’s a good question, and in fact we can anticipate that almost every project will have several unexpected events that disrupt the plan according to the game design macro! Creating a macro is not about making a rigid plan that we follow blindly as we build the game in full production. It’s more like creating a general plan to follow that is reasonable and practical, and that, if we follow it well, will give us the time we need to deal with unexpected events.

As my book mentions, the adage used to describe the spirit of Agile development is very useful: we should “treat change as an opportunity, rather than a crisis.” That means that every plan we make must be able to be adapted to deal with the unexpected. As they say in the United States: “when life gives you lemons, make lemonade!”

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Q4：What is the connection between your book"?A Playful Production Process: For Game Designers (and Everyone)" and your daily teaching?

Richard Lemarchand：Because I teach our intermediate design and production class every semester at USC to a new cohort of students eager to move beyond the beginner stage of their learning, my book has a deep connection to my daily teaching! It’s a strange feeling, to assign a textbook that one has written oneself, and I always feel very humble in asking my students to read chapters that I have written. I’m glad that I included a few jokes and some stories from my time in the industry to keep things interesting…

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Q5：What kind of consideration make you choose to join the University of Southern California to be a teacher? What aspects of teaching are you responsible for in the game major now?

Richard Lemarchand：I had begun volunteering at USC Games soon after I joined Naughty Dog, visiting to give talks to students about the development processes we used at the studio. Later I began mentoring MFA students as they directed year-long thesis projects in their third year of study, and apparently I approached that task with such enthusiasm that one of our program’s founders, Professor Tracy Fullerton (author of?Game Design Workshop), thought that I would make a good professor of game design.

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While I could happily have stayed at Naughty Dog forever, I was keen to make a change that would allow me to spend more time thinking philosophically about games as art and culture and about game development as a maturing artistic craft, and I became a full-time professor in 2012. I’m happy to say that my time in the USC Games program has allowed me to do all that, and much more besides.

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Q6：What kind of talents does USC mainly develop in game talent training? aiming at different educational levels, what kind of ability should undergraduate, master's students master?

Richard Lemarchand：Of course, we train our students in the “hard” skills of game development: software engineering, game engine usage, art, animation, and audio assets production, game design, game storytelling, game production, and much more.

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But we also have a strong focus on the “soft” skills of game development: the ability to communicate and collaborate well, getting along with each other easily, acting as effective leaders and resolving conflict as it arises, building on each other’s ideas to reach excellence more quickly and with less stress. These soft skills are just as important as the hard skills, and work in concert with them to allow us to make world-class games.

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Undergraduates and graduates in our program learn many of the same skills, but of course graduate students take their studies to a higher level, and may also gain a higher degree of specialization in particular fields.

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Q7：How many students does the USC games major enroll each year? What are the requirements for these students to enter this major?

Richard Lemarchand：The USC Games program has recently expanded its admissions, and each year we now enroll around 150 undergraduates and 70 graduate students. The requirements vary across the degrees we offer. In the IMGD degrees offered from the USC School of Cinematic Arts we look for a predisposition to design, game writing, and artmaking. For the Computer Science (Games) degrees offered in the USC Viterbi School of Engineering we seek some strong technical, logical, and mathematical skill. But across both degrees we look for a mixture of some proven desire to make either digital or physical games, and some other artistic and cultural interests. We like candidates who are into more than just videogames, because we know that the best inspirations for videogames often come from outside of games!

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Q8：If a practitioner in the Chinese game industry wants to pursue a master's degree in Southern California games, how can he achieve? ?

Richard Lemarchand：I’d encourage any practitioner in the Chinese game industry to consider applying to the USC Games program, either the IMGD MS/MFA degree or the CS (Games) MS degree. Both courses are appropriate for early-career professionals seeking to gain experience, hone their skills, and widen their game design practice, while making new industry connections with mentors and advisors in our world-class program.

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Q9：What do you think is the difference between the East and the West in the training of game talents?

Richard Lemarchand：The teaching of game design and development in higher education is still quite new—our program is among the oldest in North America, and we are only twenty years old. Of course, there are now many excellent degree programs in game development in Asia, including the new IMDT program at Tsinghua University’s Shenzhen campus. USC Games is enjoying collaborating with Tsinghua and the Tencent Institute of Games in teaching their incoming students.

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I think that there are perhaps more similarities than differences in the way that games are taught in the East and the West: we are all focused on the correct combination of theory and practice, and on teaching what will best aid students to advance in their careers, both domestically and internationally, while also inspiring them to push forwards the boundaries and possibilities of game design.

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Q10 :What is your favorite or most concerned Chinese game? Why do you like it or pay attention to it?

Richard Lemarchand：I am very excited about the Chinese game scene, and I have come to know many Chinese developers through my consulting work with Tencent. Of course, I am a fan of Tencent’s wonderful blockbuster games like?Honor of Kings?and?Assault Fire, and I’m also very interested in the innovative work of Tencent’s NExT Studios, like?Biped?and?Crown Trick. I’m very much looking forward to seeing the great titles that are destined to emerge from China in the coming years!