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How a Chinese game scholar connects ancient texts with modern play_我的网站

一 | 注册“罗永浩”淘宝直播间的经纪公司为杭州交个朋友智慧科技有限公司，据启信宝APP显示，该公司成立于2022年9月23日，注册资本为100万人民币，法定代表人为赵慧利。据启信宝APP显示，赵慧利还担任杭州世纪睿科信息技术有限公司的法定代表人，杭州交个朋友智慧科技有限公司与杭州世纪睿科信息技术有限公司存在间接关联。东吴证券吴劲草、阳靖分析，未来罗永浩将会同时在淘宝和抖音两个平台分别进行直播。在平台经济反垄断法实施之后，已经不会有所谓“二选一”的情形。

Liu Mengfei at Beijing's Homoludens Archive Photo: Courtesy of Liu Mengfei
Inside Beijing's Homoludens Archive, shelves are filled with books, game consoles, game cartridges and other materials tracing the history of video games. For Liu Mengfei, the archive's director and chair of the academic committee of the Gamification Professional Committee, these collections preserve more than the evolution of games, they also capture the cultural memories of a generation.
A PhD in history from Tsinghua University, Liu has spent more than a decade studying the social impact of games, the role of games in history and digital humanities. Throughout her career, she has continued to explore the relationship between games and people: Why do humans create games? And how do games shape culture and society?
Books, meanwhile, have been an important gateway through which Liu has come to understand the world of games.
"The real value of a book lies not simply in what it tells you, but in whether it can change the way you understand the world and people," Liu told the Global Times.
Books meet games

In 2007, being an undergraduate history student, Liu wrote her thesis on the links between ancient Celtic religion and modern digital games.
To study original sources such as The Gallic War by Roman author Julius Caesar, she taught herself Latin. As her research extended into modern games, she also began reading the rulebooks of Dungeons & Dragons, a tabletop role-playing game.
"From historical texts to game rulebooks, these reading experiences seemed to belong to completely different worlds, but they gradually led me to realize that games are not simply entertainment products. They also contain history, culture and the relationships between people and society," she said.
Later, Homo Ludens, by Dutch historian Johan Huizinga, further transformed the way she understood games. The book gives a theory that humans are not only Homo sapiens, or "rational beings," but also Homo ludens, or "playing beings," and that games are deeply intertwined with human culture, from language and art to religious rituals and sports.
The book had a profound influence on her. It points out that the foundations of human society — language, civilization, religious rituals, sports and art, are all connected to play and games, because we are Homo ludens, "the playing human."
"The idea prompted me to view games from a broader perspective," Liu said. "Games are not an appendage outside human civilization, but are deeply connected to cultural creation and social life."
"It also showed me that games and game-based thinking could extend into broader fields, including education and technology," she added.
She later read other works on game studies, including Play Between Worlds: Exploring Online Game Culture, Half-Real and Rules of Play Game Design Fundamentals. Play Between Worlds, in particular, opened up another possibility for game studies at a time when discussions about "internet addiction" were prevalent in China.
"Games are not simply a form of entertainment that needs to be restricted or criticize;. they can also serve as important media for storytelling, cultural expression and exploring relationships," she said.
These reading experiences gradually shifted Liu's focus from simply asking "What are games?" to a deeper question: What can games bring to people?
Beyond time and technology
Periodically, Liu still returns to Homo Ludens in her free time, finding new insights from the book as society changes. In the age of artificial intelligence, she has revisited one of its fundamental questions: As AI becomes increasingly capable of handling repetitive tasks and surpasses humans in efficiency, what does it mean to be human?
"As AI takes over more monotonous and repetitive work, the time freed up should be devoted to creativity, experience and human relationships," she said. "The time we gain should actually be used to become better at 'playing humans.'"
For Liu, this also requires people to maintain their ability to think, imagine and reflect -- abilities that cannot be gained through simply receiving information. This has also prompted her to reconsider the meaning of reading.
In an era when AI can quickly summarize an entire book, Liu believes people still need to read the original works in full, because the value of reading lies in more than simply acquiring knowledge and conclusions.
"Reading a book is like a form of cultivation. You have to immerse yourself in it, patiently allow the author to take you on a journey, and find your own island along the way," she said.
For Liu, the value of reading is not limited to books on paper. As media evolve, so do the ways people encounter stories and understand culture. Some digital works are now becoming new vehicles for reading.
Chinese-developed games such as Genshin Impact contain hundreds of thousands, and even more than a million Chinese characters of text, while Black Myth: Wukong uses its "Journal" system to tell the stories of individual monsters through written entries.
"Digital games are carrying forward traditions inherited from literature and film, becoming new gateways, through which young people can enter the worlds of literature, history and traditional culture," she said.
"An important reason why Black Myth: Wukong has succeeded in communicating Chinese culture is that it does not simply insert traditional cultural symbols into a game. Instead, it draws on the original Journey to the West, contemporary works inspired by the classic, as well as the game's own rules and interactions, allowing players to develop a new understanding of traditional culture through their actions," she noted.
For Liu, the forms of reading may change, but the desire to understand the world and discover oneself will not. From books to digital worlds, what matters is not only what people read or play, but how they think, create and find meaning through these experiences.
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二 | 对于罗永浩而言，同时在两个平台上直播将有助于接触到更多的客户。而抖音和淘宝的平台环境和客户心智都有很大差异，因此判断“交个朋友”将会在两个平台分别开设两个不同的直播间进行直播。对于淘系平台而言，罗永浩/交个朋友的加盟将显著提升平台主播矩阵的整体实力，带来新流量且提升多样性；抖音平台受影响程度不大，一是抖音本身中心化程度低，罗永浩/交个朋友的占比不高，二是抖音交个朋友直播间已经不需要罗永浩亲自直播就能保证相当的成交额。

三 | 2020年3月26日上午10点，罗永浩发布了微博和抖音视频，正式宣布抖音成为其独家直播带货平台，同时在当年4月1日晚8点开启首场直播。据中国经济网，2020年4月1日晚11点，新晋带货主播罗永浩在抖音完成了直播首秀。数据显示，整场直播持续3小时，支付交易总额超1.1亿元，累计观看人数超4800万人。

四 | 罗永浩创下了抖音平台当时已知的最高带货纪录。6月12日，@罗永浩发布微博称，将再次埋头创业，并退出所有社交平台。@罗永浩微博12日深夜发布消息称，一眨眼竟然快十三年了，过得真快啊。

五 | 明天我就正式退出微博和所有的社交平台，再次埋头创业去了。想说的话其实还挺多，但基本上提前都跟@晚点LatePost说完了，他们应该是明天下午发稿。每日经济新闻记者注意到，此前，有媒体从知情人士处获悉，在6月份进行的一场内部讲话中，罗永浩宣布正式退出“交个朋友”管理层，但仍会以主播身份参与直播。在罗永浩“离开”83天后，交个朋友突然傍上老牌上市公司世纪睿科。8月29日晚，世纪睿科公告称，公司与交个朋友签订为期五年的独家合作协议。协议规定，世纪睿科将通过运营交个朋友旗下的抖音账号，向客户提供直播技术支持、现场运营、视频内容制作、产品销售等新媒体服务。预计在2022年11月1日达成合作条件后，交个朋友的收入和成本都会归到世纪睿科名下，交个朋友可按协议分成收益。2007年成立的世纪睿科，是一家全媒体应用解决方案供应商，包括内容制作、直播、系统维护及产品销售等服务，于2014年在港交所上市。多年来，世纪睿科为国内外大型项目、体育赛事等活动的视频直播和转播提供技术支持，如北京奥运会、中国首个直播星平台等，拥有丰富的全媒体行业经验。从公司业绩来看，世纪睿科2022财年中报显示，公司今年上半年营收同比增长23.51%至1.37亿元，归母净亏损2700.3万元，亏损同比扩大29.1%。

六 | 据2021财年年报，世纪睿科全年营收2.03亿元，同比增长32.28％，归母净亏损6161.5万元，亏损同比减少36.83％。每经记者翻看世纪睿科公告发现，在与交个朋友签订独家合作协议前，世纪睿科就已率先布局了与短视频平台的合作，并签订了不低于50亿结算GMV（商品交易总额）的合作协议。但想实现这个数字目标并不容易，每经记者曾采访获悉，罗永浩带货2年，实现了100亿元GMV。其实，世纪睿科与交个朋友的合作，早已开始。“自去年底开始，交个朋友的一些子号已由世纪睿科负责运营。