游戏开发（gamedev）在很多人，特别是玩家眼中，是一个非常美好，快乐，收入又高的行业。因为游戏很好玩，所以你们就这么觉得了，对吧？
但事实和你们这些玩家的想象刚好相反，这行业就是个血汗行业！而开发者们的收入看起来的确不低（和资本主义金字塔最底层的行业相比算得上“工人贵族”，但和老板们相比，呵呵），可这是拿命换钱！
一起来看看真实的gamedev现状吧：
Crunch: The Video Game Industry’s Notorious Labor Problem（超长时间加班：视频游戏行业中臭名昭著的劳工问题）：
Due to some “unlucky business negotiations” with publisher Ubisoft, Techland hadn’t been given enough time to finish the game. With a release date looming and far too much work left to complete, the team turned to one of the video game industry’s most notorious practices: crunch.
由于与出版商Ubisoft的一些“不幸的商业谈判”，Techland没有被给予足够的时间来完成游戏。 随着发布日期迫在眉睫但还有太多工作要完成，团队转向视频游戏行业最臭名昭著的做法之一：超长时间加班。
“We all had the enthusiasm and drive to create a good game, but there simply weren’t enough hours around the clock to fit everything in,” Nosek says. “Out of exhaustion we were making stupid mistakes, which required even more patching later on. We would lose our tempers easily, and at some point we developed a pretty surrealistic attitude to the project as a whole.”
“我们都有热情和动力来创造一款优秀的游戏，但根本没有足够的时间来实现所有内容，”Nosek说。 “因为精疲力尽，我们犯了愚蠢的错误，导致后来需要更多补丁。我们会轻易地发火，而且在某些时候我们对整个项目产生了一种非常超现实主义的态度。”
Another former Techland developer (who asked to remain anonymous) explains that, “from Monday to Friday it was around 10 hours a day on average,” but it often went well above this. Saturday was usually an eight-hour shift, with a few extra hours on Sunday to “tie up loose ends that would help the team with their planned work for the following week.”
另一位前Techland开发商（要求保持匿名）解释说，“从周一到周五平均每天大约工作10个小时，”但它通常远高于此。 星期六通常是一个8小时的轮班，周日需要额外的几个小时才能“捆绑松散的末端，这将有助于团队在接下来的一周内完成计划的工作。”
The long weeks soon turned into long months, and the crunch began to take a personal toll. Life became work; work became life.
漫长的几周很快就变成了漫长的几个月，而超长时间加班开始造成个人损伤。 生活变成工作; 工作变成生活。
How crunch is more than a labor issue in the video game industry(超长时间加班在游戏行业中不仅仅是一个劳工问题)：
A piece recently published by Game Informer features interviews from various people working in the game industry, discussing a massive labor problem that has been plaguing developers for years: crunch.
Game Informer最近出版的一篇文章介绍了游戏行业各种人士的访谈，讨论了多年来困扰开发者们的大规模劳工问题：超长时间加班。
“Crunch has been prevalent in the games industry for decades, and while it’s not unique to the games industry, it has become a negative practice that has perpetuated for too long,” explains former executive director of the IGDA Kate Edwards. “It burns people out, discourages them from continuing in the industry, and has seriously negative effects on physical, mental, and social health.”
“超长时间加班在游戏行业已经流行了几十年，虽然它并不是只存在于游戏行业中，但它已经成为一种长期存在的负面做法，”IGDA的前执行董事Kate Edwards解释道。 “它将人们摧毁，阻止人们继续从事该行业，并对身体，心理和社会健康产生严重的负面影响。”
A survey conducted by the IGDA in 2015 found that 62 percent of developers said their jobs involved crunch and of those nearly one-third said crunch meant 50-59 hours of work a week. A 2014 IGDA survey found the most common reason for developers leaving the video game industry was “poor quality of life.”
IGDA在2015年进行的一项调查中发现，62％的开发者们表示他们的工作涉及超长时间加班，而近三分之一的人表示，超长加班意味着每周工作50-59小时。 2014年IGDA调查发现，开发者们离开视频游戏（视频游戏就就是中国玩家所熟悉的单机游戏）行业的最常见原因是“生活质量糟糕”。
Krzysztof Nosek, the multiplayer programming lead on Call of Juarez: The Cartel discusses how crunch forced him to take a step back and reflect on the repercussions. Not only was it bad for his physical and mental health, but it was affecting his personal life. “In retrospect you see the different directions that you and the world around you have taken, and you must judge whether it was worth it or not,” Nosek says. “It’s a tough moment that can quite often bring bouts of depression or low morale – the infamous ‘post-crunch realizations,’ as they are known.”
Krzysztof Nosek是Call of Juarez：The Cartel的多人游戏部分的开发者，他讨论了超长时间加班如何强迫他退后一步并反思其后果。这不仅对他的身心健康不利，而且影响了他的个人生活。 “回想起来，你会看到你和周围世界的不同方向，你必须判断它是否值得，”Nosek说。“这是一个艰难的时刻，经常会带来一阵沮丧或士气低落—臭名昭著的’后加班意识’，这是被众所周知的。”
The Horrible World Of Video Game Crunch（一个视频游戏行业超长时间加班的糟糕的世界）：
In February of 2011, fresh off nine months of 80-hour work weeks, Jessica Chavez took a pair of scissors to her hair. She’d been working so hard on a video game—14 hours a day, six days a week—that she hadn’t even had a spare hour to go to the barber.
2011年2月，从为期九个月的80个小时的工作周中解脱出来之后，Jessica Chavez对着她的头发拿起了一把剪刀。她一直在努力制作一个视频游戏—每天工作14小时，每周工作6天—她甚至没有空闲时间去理发店。
As soon as the overtime came to an end, so did 18 inches of hair. “[It was] retaliation for the headaches the weight of it had given me while working,” she’d later tell me. “It got so heavy… it was unbearable after a while.”
加班一旦结束，18英寸的头发也一样被终结了。 “这是对工作中这些重量给我带来的头痛的报复，”她后来告诉我。 “它变得如此沉重……过了一段时间后，这是无法忍受的。”
Chavez, who writes and edits text for the boutique publisher XSEED Games, says she dropped 10% of her body weight during this period, where she handled just about all the dialogue for the text-heavy role-playing game Legend of Heroes: Trails in the Sky. By the end of the project, she weighed 99 lbs. (She’s 5’4.)
为精品出版商XSEED Games撰写和编辑文字的Chavez说，在她处理了多文本角色扮演游戏“英雄传说：空之轨迹”中的所有对话期间，她减少了10％的体重。到项目结束时，她的体重为99磅（45kg）。 （她的身高为5’4英尺（1.62m）。）(算了下BMI为17，属于偏瘦，被超长时间加班摧残的)
Spend any amount of time talking to people who make video games and you’ll hear thousands of stories like this. Crunch, as it’s called, has become status quo for the video game industry, as routine to game developers’ lives as daily commutes or lunch breaks. From multimillion-dollar blockbusters like Call of Duty to niche RPGs like Trails, just about every video game in history is the net result of countless overtime hours, extra weekends, and free time sacrificed for the almighty deadline. This crunch comes in many different forms—sometimes it’s long and drawn-out; other times it’s just a few weeks at the end of a project—but for people who work in video games, it’s always there. And because most game developers work on salaries, it’s almost always unpaid.
如果花费任何长度的时间与制作视频游戏的人交谈，你会听到成千上万的类似的故事。 正如所谓的“超长时间加班”已经成为视频游戏行业的普遍现状，就像日常通勤或午休时间一样成为游戏开发者们的日常生活。从像使命召唤这样价值数百万美元的大片到像Trails这样的小众角色扮演游戏，历史上几乎所有的视频游戏都是无数的加班时间，额外的周末以及为全能截止日期牺牲的空闲时间的最终结果。这种超长时间加班有许多不同的形式—有时它持续很久; 其他时候，在只需要在项目要结束时进行几周时间—但对于从事视频游戏领域工作的人来说，它始终存在着。 而且由于大多数游戏开发者们都是固定工资，因此超长时间加班几乎总是没有报酬的（赤裸裸的剥削啊）。
Conversations about the morality and necessity of crunch have dominated the industry for over a decade now, ramping up in 2004, when the game designer Erin Hoffman wrote an exposé about practices at video game publisher Electronic Arts. Hoffman, who went by the name EA Spouse, wrote about how various forms of crunch were destroying her significant other’s life, hammering EA for practices she said were unethical and illegal. The blog went viral, causing widespread outrage and triggering a series of class-action lawsuits that led EA to settle for tens of millions.
关于超长时间加班的道德和必要性的对话已经在这个行业占据了十多年的主导地位，在2004年，当游戏设计师Erin Hoffman写了一份对电子游戏发行商Electronic Arts（单机玩家们最熟悉的名字之一）的揭露时，她以EA Spouse为名写到了各种形式的超常加班如何摧毁对她重要的其他人的生活，并指责EA所做的那些她认为不道德的和非法的做法。该博客像病毒一样迅速传播，引发了广泛的愤怒并触发了一系列集体诉讼，导致EA赔偿了数千万美元。（资本主义辩护士们会说为什么她不辞职，呵呵，让受害者滚然后老板们继续胡作非为剥削压迫？呸！更别说其他公司一样是血汗工厂！）
Today, however, things haven’t changed much. Developers regularly lament having to suffer through unrelenting crunch cycles where they go weeks or months without seeing their families. A 2014 survey by the International Game Developers Association found that 81% of polled game developers had crunched at some point over the previous two years. (50% felt crunch was expected in their workplaces and a “normal part of the job.”)
然而，今天事情并没有太大变化。 开发者们经常感叹不得不遭受不间断的超长时间加班周期的折磨，这使得他们和她们经常数周或数月都看不到他们和她们的家人（这和血汗工厂的流水线奴工有得一比了）。国际游戏开发者协会在2014年的一项调查中发现，81％的受访游戏开发者在过去两年中曾经处于某种程度的超长时间加班上。 （50％的人认为他们在工作场所总是会出现超长时间加班，而且这是“正常工作的一部分。”）
Why is this still happening? Why do people so often have to work crazy hours just to make video games? Should companies be doing more to prevent it? Over the past few weeks, I’ve talked to some two dozen current and former game developers—some of whom spoke on the record and others who asked to be kept anonymous—to try to answer some of these questions. The stories are candid and ugly: Some speak of nights sleeping in the office; of going weeks without seeing their families; of losing friendships and relationships because of endless unpaid overtime. Some say crunch drove them away from the video game industry. Some say they’ve taken vows to never work more than 10 hours a day.
为什么这仍然发生？ 为什么人们经常为制作视频游戏而工作令人疯狂的时间？ 公司应该采取更多措施来阻止它吗？ 在过去的几个星期里，我与二十多位现任和前任的游戏开发者们进行了交谈—其中一些人在记录中发言，另一些人则要求保持匿名—试图回答其中一些问题。 故事坦率而丑陋：有些人谈到在办公室睡觉的夜晚（我想起了被迫睡在机器下面的工人）; 几周都见不到家人; 由于无休止的无偿加班而失去了友谊和关系。有人说，超长时间加班使得他们远离视频游戏行业。 有人说他们从此发誓从不工作超过10小时。
“Crunch is any time a milestone is behind schedule,” the developer said. “Crunch is any time a project is due for review by management. Crunch is any time an issue comes up that prevents other people from working. Crunch is any time a publisher decides they want to see something now or wants new features that weren’t planned previously. Crunch is when any trade show or article requires a demo/trailer/screenshots/you name it. Crunch is after the public sees said PRE-RELEASE content and starts tearing apart something that’s not finished… Crunch is not uncommon. It is the norm.”
“任何时候当里程碑落后于时间表时，超长时间加班就会出现”，开发者们说。 “任何项目需要由管理层审核的时候，超长时间加班就会出现。任何出现导致其他人无法工作的问题的时候，超长时间加班就会出现。任何发布商决定他们想要现在看到东西或想要以前没有计划过的新功能的时候，超长时间加班就会出现。任何贸易展览或文章需要演示/预告片/截图/你命名的东西的时候，超长时间加班就会出现。在公众看到先行版内容并开始撕裂未完成的东西之后，超长时间加班就会出现…..超长时间加班并不罕见。这是常态。“
虽然很多工作都要求人们付出时间精力，但游戏行业的情况格外严酷。美国大多数游戏开发者不会因为加班得到额外补偿。他们可能会羡慕电影界的同行，因为电影行业的工会可以帮助从业者规范工作时间，并确保他们能拿到加班费。与银行和法律行业等同样以工作时间极为残酷著称的其他领域相比，游戏开发者的收入水平相形失色。根据Gamasutra网站的一项调查，2013年美国游戏开发者的平均收入是83060美元，不到纽约律师事务所菜鸟合伙人的一半。
当我为一本关于制作电子游戏的书做采访时，许多老牌游戏从业者告诉我，他们失去了和家人相处的时间，亲密关系充满压力，产生严重的倦怠感，因此考虑离开这个行业。
Why ‘crunch time’ is still a problem in the video game industry（为什么”超长时间工作“在视频游戏行业内始终是个问题）：
In an interview with GamesBeat, Edwards said that surveys for the past two years show at least 37 percent of game developers say they are not compensated for crunch time, when they work long hours in a day or week to finish a game.
Edwards在接受GamesBeat采访时表示，过去两年的调查显示，至少有37％的游戏开发者们表示，他们在一天或一周内进行超长时间工作以完成游戏时，不会因此而得到补偿。
This will be the third year of the Developer Satisfaction Survey. We’re launching today. We have two years of data, which is built on several years of older quality of life data we’ve been doing since 2004. Looking back over the stretch, it’s been obvious from the data we’ve collected — we all know crunch is an issue.
这将是开发者满意度调查的第三年。 我们今天要发布了。 我们有两年的数据，这是基于我们自2004年以来一直做了几年的旧生活质量数据的。回顾过去，从我们收集的数据中可以明显看出 – 我们都知道超长时间加班是一个问题。
We also know compensation can be an issue around crunch. Seeing the numbers in the last couple years has given us an indication. Between 2014 and 2015 we saw 38 and 37 percent of developers, respectively, stating they don’t get compensation for crunch time. That’s ringing an alarm. That’s a huge percentage. More than a third of developers get no compensation for something that’s common in our industry.
我们也知道补偿可能是一个关于超长时间加班的问题。 看到过去几年的数字给了我们一个指示。 2014年至2015年间，我们分别有38％和37％的开发人员表示他们没有获得针对超长时间加班的补偿。这是一个很大的警告。这是一个很大的比例。超过三分之一的开发者无法从我们行业中常见的东西中获得赔偿。
以下是对《Blood, Sweat, and Pixels（鲜血，汗水和像素）》这本书的书评，这本书详细的描述了游戏开发者们的故事，以及这些人所遭受的剥削压迫：
Why It’s a Damn Miracle Any Video Game Gets Made（为什么任何视频游戏的制作都是一个该死的奇迹）：
I think there’s that widespread sentiment that game developers need to be quiet unless they’re talking on-message. I think that’s changing a little bit; Twitter has helped, with developers sharing personal opinions on things. Even that is different from five years ago—five years ago if you were at a triple-A [high-profile] game studio, you would get in trouble for even voicing an opinion on a new game that just came out and has nothing to do with your studio. If you were like “Oh, I really like Bioshock” or “I didn’t like The Walking Dead,” you might get in trouble with your boss at a game studio.
我认为有一种广泛存在的观点认为游戏开发者们需要保持安静，除非他们正在被采访。 我认为这有点变化; Twitter帮助开发人员分享个人意见。 即使这与五年前不同 – 五年前如果你在一个三A [高调]游戏工作室，你甚至会对因为对即将发布的和你的工作室无关的新游戏表达意见而陷入麻烦中。如果你说像“哦，我真的喜欢生化奇兵”或“我不喜欢行尸走肉”之类的话，你可能会在游戏工作室被老板麻烦。
That’s not to excuse the crumbier practices game companies can partake in, but I still think the more that anger goes towards educated criticism as opposed to ‘oh those lazy developers.’ If my work or this book or anything else that we have done convinces gamers to, instead of going online and posting ‘I hate those fucking developers’ they’ll say ‘ I hate this but I understand why they did it.’
这并不是原谅游戏公司可以参与的愚蠢行为的原因，但我仍然认为愤怒会越来越多地趋向变成受过教育的批评，而不是“那些懒惰的开发者”。 如果我的工作或这本书或我们做过的任何其他事情让玩家信服，而不是上网并发布’我讨厌那些他妈的开发者’他们会说’我讨厌这个，但我明白为什么他们这样做。’
Let’s talk a bit about those practices. Every story in your book involves a grueling crunch period, where the developers work 12- or 16-hour days for weeks on end to meet a deadline. Video games aren’t unionized and don’t have established labor standards or practices—how do you examine that when there’s no structure or regulation?
我们来谈谈这些做法。 你书中的每个故事都包括一个艰苦的超长加班时期，开发人员每周工作12或16小时，以追赶截止日期。视频游戏行业没有工会，也没有已经建立的劳工标准或行为—如果没有结构或规则，您如何检查？
Who knows as far as the work and the human cost, whether it’s sustainable. There are no real stats on any of this. You can’t get stats on people who are burnt out or leave the industry. Nothing like that exists. I hear anecdotally about how it’s impossible to find senior leads on games because so many people have just stopped, and so the industry skews towards youth. It’s a lot of people who have just joined, or have been working on games for a few years and haven’t burnt out yet. I think it’s something a lot of people are talking about, but because there are no numbers there’s no way of knowing.
没人知道工作和人工成本如果继续维持现状，它是否可持续。 这些都没有真正的统计数据。 你无法获得被摧毁或离开这个行业的人的统计数据。 没有类似的东西存在。 我听到有关在游戏行业中找到高管是如何不可能，因为很多人刚刚停止了，所以这个行业偏向于年轻人。 很多人刚刚加入，或者已经从事游戏制作工作几年并且还没有被摧毁。我认为这是很多人都在谈论的事情，但因为没有数字，所以没有办法知道。
Again, given the essence of contemporary game design, Blood, Sweat, and Pixels quickly becomes a book about The Crunch — the months leading up to a game’s launch, during which the staff works long hours over weekends and holidays to meet the deadline. Vastly different developers of various sizes, working on a wide variety of game designs, greet The Crunch in exactly the same way — by churning out the necessary code with a kind of communal, masochistic pride.
同样，鉴于当代游戏设计的精髓，《鲜血，汗水和像素》迅速成为一本关于超长时间加班的书 ——这在游戏发布前的几个月被启动，在此期间，开发者们在周末和假期长时间工作以追赶截止日期。不同大小的项目的不同开发者们，各种各样的游戏设计，以完全相同的方式迎接超长时间加班—通过一种公共的，自虐的骄傲来制作必要的代码。
He also clearly respects these developers and their achievements, and treats their rueful tales of selfless struggle with an admiring deference one sees among civilian guests at the American Legion. There are times when the reader hungers for a more critical, or at least more objective eye, as when Schreier feels compelled to include a quote like, “But at this company, [we] all want to create the best games out there. And we are driven by challenges, [even] a huge challenge which is almost impossible to do.”
他也明确地尊重这些开发者们和他们的成就，并且用在从美国退伍军人协会的平民客人中看到的令人钦佩的尊重对待他们进行无私斗争的悲惨故事。 很多时候，读者渴望得到一个更为关键，或者至少更客观的眼睛，就像Schreier感到被迫包含的一句话一样，“但在这家公司，我们都想创造最好的游戏。” 我们受到挑战的驱使，[甚至]是一项几乎不可能做到的巨大挑战的驱使。“
游戏给很多人带来了快乐，包括我自己，但开发者们却被残忍的剥削压迫，被强迫超长时间加班，并且很多时候连补偿都没有。更糟糕的是，几乎没有玩家了解这一切，因为那些游戏媒体们早就和游戏发行公司的老板们相互勾结了，他们只会帮着老板进行炒作，并且把所有游戏中出现的问题都推到开发者身上。而事实上，为了利润最大化，把开发者们的生活几乎完全摧毁的老板们才是罪魁祸首！