设计支线任务？学习这七个游戏吧（还有些Chris Avellone的忠告）

原文地址：

https://www.gamasutra.com/view/news/314812/Designing_side_quests_Study_these_7_games_and_some_Chris_Avellone_pointers.php

个人未授权翻译，请勿转载

Side quests canmake or break your game — good ones draw players further into yourworld; bad ones may sour players on the entire experience.

支线任务可能完善也可能破坏掉你的游戏——好的支线可以吸引玩家，反之则同样会让玩家倒胃。

To that end, wereached out to several game writers and designers for their thoughts andrecommendations on great side quests — or games with generally-strong sidequests — that every developer should study.

出于此等原因，我们与许多游戏编剧和策划沟通，了解他们关于优秀支线——或者是有着强支线的游戏——的想法和劝告，每个开发者或许都该学习下这个。

Their responsesare summarized below, but first, courtesy of former Black Isle writer,designer, and Obsidian creative director Chris Avellone, here are four generalguidelines to evaluate everything against:

他们的回复概括如下。但首先，在前黑岛编剧，设计师，现黑曜石创意总监Chris Avellone的帮助下，我们列出了四条一般性的守则来对这些进行评估。

1. A good side quest informs the mainplot or the area it’s located in in all respects — lore, NPCs, eventhrough the rewards you get.

1. 一个好的支线任务应当能充实主线情节或者各方面都应当处理稳妥——设定、NPC 甚至是你所获得的奖励。

2. A bad side quest is a quest thatupstages the main quest in terms of stakes, enemies, or even the lore.

2.一个坏的支线任务就会喧宾夺主在利害关系，敌我甚至是设定方面。

3. Side quests should be quick and fun to complete(15 min is the range I shoot for).

3. 支线任务应当可以快速、有趣地完成（15分钟，要我说，也就是极限了）

4. Side quests should use the core gameplaymechanics and avoid special case new functionality (or be careful with it).This includes having the same range of reactivity, choices, and consequences asa normal quest in the main plot, although the scope of the reactivity, etc. maybe smaller.

4。支线任务应当用到游戏的核心机制并且避免特殊的崭新的游戏体验（或者小心使用它）。包括拥有同样范围的的反应、选择和结果，就像主线剧情里普通任务使用的那样，尽管整个任务的反应之类的，也许会小一些。

The Witcher 3 — a masterclass in side quest design

巫师3 —— 一个支线设计的精英之作

"The best side quests in the business are in The Witcher 3," says Deep Silver Volition seniordesigner Brad Johnson, who did mission design on the past three Saints Row games. "Their side quests are moreinvolved from both a gameplay and story perspective than most games' mainquests. I expected to skip through some boring dialog and do some simple fetchquests but each one kept drawing me in and kept my interest. There were alwaystwists, trying to throw off expectations."

“商业案例中最好的支线设计来自于巫师3，” 这话来自Deep Silver旗下Volition工作室的资深设计师 BradJohnson，他也负责了过去三部《黑道圣徒》的任务设计，“他们的支线任务在贴合游戏性和叙事表述上比许多游戏的主线任务做得都好。我原以为要跳过许多无聊的废话然后做些简单的跑腿任务，但每个任务都能吸引我的注意，维持我的兴趣。它们的设计都这么精巧，不拘一格。”

This was aconscious decision by developer CD Projekt, which wanted every quest — even thelittle ones about fetching or delivering something for somebody — to bememorable. Take one of the very earliest side quests as an example: in A FryingPan, Spick and Span, the player is tasked with finding an old woman'ssoot-covered frying pan, which she'd been lent to a stranger who seemingly thennicked off with it (turns out it's just inside the house she's standing outsideof, and the man had had more important things to worry about than returning thepan after using the soot to make ink for writing letters).

这是开发商CD Projekt有意为之的结果，他们希望每个任务——就算是最小的也能以小见大，令人难忘。举个前期的支线剧情为例：在“清洁溜溜的炒菜锅”这个任务中，玩家被委托去找到某位老妇人的布满烟尘的一口炒锅，这口锅被一个看上去老实的陌生人借走，而后连带着销声匿迹了。实际上，那口锅就在老妇所站门口的那间房子里，而那个陌生人在用锅子上的煤灰写完信之后，则有比还锅更重要的事情要去操心。

Such a mundane,menial task could easily be seen as beneath a great and respected hero likeGeralt. But it's presented with such respect, empathy, and sincerity that youcan't help but feel warmed to Geralt — the big, tough witcher who holds thesimple folk of the world in the highest regard. It also subtly informs both thelore of the area and the story at large, and both its goal (find a crappy oldfrying pan) and its rewards (baked apples and apple juice) reflect the natureof the town and its inhabitants, which is exactly what Avellone says a goodside quest should do.

如此一个平常，次要的任务，看似与Geralt这种强大而受尊崇的主角身份不符。但是你很难不被它所展现出的热心、细心和诚挚所打动——更何况是Geralt，一个伟岸强健的狩魔猎人，受到这个世界上淳朴百姓的最高敬意。这个任务也巧妙地展现了这个地区的设定和更大范围上的世界观。而且无论是它的目标（找到一个疯癫老太的锅子）还是它的奖励（烤苹果和苹果汁）都能展现出这个乡镇的自然景观和它的乡民面貌，这也就完全符合Avellone所说的一个好的支线应该做到的。

TAKEAWAY: Even the most ordinary, uneventful,routine quests can be memorable and affecting; you just have to make the effortto design them so.

收获：就算是最普通平常常规的任务，也可以让人难忘而令人感动，你只尽力去将它们如此设计。

Fallout 2's open-ended quest and skill systems

辐射2的开放性支线和技能系统

The Witcher 3's lead questdesigner Mateusz Tomaszkiewicz thinks that Fallout 2 hasparticularly good quest designs. "Tasks are simple, but open-ended,"he explains. "You can complete many of them in a variety of ways and it’sdone very organically — they don’t seem forced, nor do they involve much handholding, if any at all." Indeed, the game is so open-ended that mostquests can be bypassed altogether — meaning that nearly every quest could bedescribed as a side quest. And the player's actions have consequences — even inthe more innocuous quests — that can play out both over the course of theirremaining journey and in the ending.

巫师3的首席任务设计师MateuszTomaszkiewicz认为辐射2有着格外优秀的任务设计。“任务都很简单，但是却极具开放性，”他解释道，“其中大多数可以用多种方式完成，而且很讲逻辑，没有什么强迫性，就算有，也不会给出标准答案。” 确实，这个游戏具有如此的开放性，大多数任务都可以干脆不做——也就是说基本上每个任务都算是支线任务。而玩家的行为都将导致不同的后果，就算是最无关痛痒的任务，也将会影响到他们接下来的旅程和结局。

Fallout 2 alsocleverly works the skill system into the dialogue, with every stat affectingdialogue choices and results, rather than following the common approach of onlychecking communication-related skills.

辐射2也十分巧妙地将技能系统体现在了对白当中，每个技能都会影响到对白的选择和结果，而不仅仅是对交流相关的技能进行判定。

"If youinvested heavily in small guns, for example, you might end up using thatknowledge to impress someone," says Tomaszkiewicz. "If you know a lotabout computers, you could’ve used that fact to reprogram a robot, etc. Thisuse of gameplay-related skills in dialogues and quests was very unique andimmersive — something I’d come to expect from a pen & paper RPG, not avideo game."

“如果你在小型枪械上倾注了很多技能点，比如说，你最后或许有机会用这些知识来给别人留下印象，” Tomaszkiewicz 说，“如果你关于计算机知之甚多，你就可以给机器人重编程之类的。运用你的技能在对话和任务当，可以获取很多独一无二的沉浸体验——就是那种我在桌面RPG中而不是电子游戏中感受到的体验。”

TAKEAWAY: Side quests, like main quests,benefit from an open-endedness that allows for different solutions andplaystyles and that ideally also acknowledges all of the player character's relevant skills.

总结：支线任务，就像主线任务一样，受益于允许多种解决方式和游玩风格的开放性设计，而且理想情况下也可以承认玩家角色相关技能的作用。

Fallout: New Vegas — consequential and interestingopen-world quests

辐射：新维加斯——能带来后果而又有趣的开放世界任务

Tomaszkiewicz says that Fallout: New Vegas sharesmany of the same qualities as Fallout 2, but headds that its approach to building quests in an open-world setting is alsogreat. "They felt consequential and interesting," he explains,"and yet managed to overcome the difficulties of constructing complexquests in an open world environment. It was a big inspiration for me whenworking on The Witcher 3: Wild Huntand itsexpansions."

Tomaszkiewicz说《辐射：新维加斯》继承了许多《辐射2》中的品质，但是他补充说它接近于在一个开放世界设定中构建任务网的做法也很令人称赞。“这些任务让玩家感觉有始有终而又有趣，”他解释道，“然而在开放世界的环境中构建复杂的任务网也十分困难。当我在《巫师3狂猎》中展开任务的时候，这也给了我许多的启发。”

Perhaps the bestside quest of the bunch involves helping some ghouls launch a space expedition(or helping to sabotage said expedition) to complete their "GreatJourney" to a place far beyond the cruel wasteland. It's a bizarre questwith an eccentric, charismatic cult leader, huge super mutants that can turninvisible (the leader of whom is even more eccentric than the head ghoul, whatwith him being beholden to the guidance of an antler's skull on his desk), atech genius human who thinks he's a ghoul, several big choices to make, splendidsound design, and a healthy dose of twisted humor. It's ridiculous, but it'smemorable and weighty from beginning to end — as every good quest should be,regardless of its relevance to the main plot.

也许最好的一串支线任务包括帮助一些尸鬼开展一场称之为伟大旅途的太空探险（或者破坏它），其目的地远离这残酷废土。这个任务包含了一个稀奇古怪而又充满魅力的狂热领导者，可以隐形的蓝皮超级变种人（他们的头领甚至比那个尸鬼还奇怪，觉得自己受眷顾于一个放在他桌子上的双头牛头骨），一个有着科学专长、而又自以为是尸鬼的人类，还有许许多多的选择，出色的音效设计以及适量的病态幽默。这个任务很荒诞，但它也十分令人难忘，从始至终包都包含诚意——就像一个好的支线任务应该做到的那样，与主线剧情毫无瓜葛。

(Side note: I've limited Fallout's presencehere to two games for balance, but every entry in the series is widelyrecognized for excellent quest writing and design, with numerous side questsworthy of study. Fallout 3's Wasteland SurvivalGuide is a great tutorial side quest, for instance, while Fallout 4's Last Voyage of the USS Constitution usesflavorful staging and characterization to elevate an otherwise-generic side quest to a higherlevel.)

（边注：我已经尽力把辐射系列的出场限制在两次了，但每一部都应该因其优秀的任务设计而被称赞，其中有着许许多多值得学习的支线任务。辐射3的废土生存指南是一个很好的引导性支线，再比如，辐射4中宪法号的最后航行也借用了饶有风味的舞台和角色去把一个平淡无奇的任务提升到一个更高的高度。

TAKEAWAY: Side quests present a greatopportunity to flesh out the world building and let the player have asupporting role in the defining moments of other characters' lives, especiallyin an open-world environment.

总结：支线任务为丰富整个游戏世界，以及让玩家在其他角色的生活中扮演一个支援的角色提供了非常好的一个机会，尤其是在一个开放世界当中。

Baldur's Gate 2

博德之门2

Wasteland 3 leaddesigner George Ziets loves it when side quests directly affect the gameplay."Taking something away from the player (or temporarily giving themsomething new — especially if the player can gain it permanently later) oftenmakes a side quest more memorable," he explains. "A good examplecomes from a quest involving Jaheira, one of the player’s companions in Baldur's Gate 2."

《废土3》的首席设计师George Ziets十分热爱这种支线任务影响游戏体验的感觉。“从玩家那里拿走什么（或者暂时给他们体验什么新东西——尤其是当玩家过后将可以取得这东西的时候）会让一个支线更加令人印象深刻，”他解释道，“一个非常好的例子就是《博德之门2》中某个涉及到Jaheira，一个玩家小队成员的任务。”

The quest beginswhen a nobleman who wants revenge for being exposed as a slaver places amagical curse on Jaheira — whose stats then get progressively weakened untilthe curse is broken. "Some designers will argue against the tactic ofdebuffing player-characters until a quest is completed," says Ziets,"but the gameplay implications of this quest were a huge motivator for me,and it made me genuinely angry at the vengeful nobleman. How dare he weaken amember of my carefully-crafted party!"

那个任务始于一个被揭露是奴隶的贵族，为了复仇向Jaheira下了一个魔法诅咒，让她不断被衰弱直至诅咒解除。“有的设计师会反对这种在任务完成前逐渐削弱玩家角色的模式” Ziets说，“但这种牵扯游戏体验的任务对我而言就是一个很强的动力，它让我对那个报复心重的贵族十分愤怒。他怎么敢虚弱我精心编成小队中的一员！”

Ziets says thatthis created a sense of urgency and made the side quest feel much morepersonal, although he cautions that it's not a design tactic to be takenlightly — do it poorly and players will get angry at the game as much as thevillainous characters.

Ziets说这个任务带来了一种紧迫感，并且让这个支线任务与他的关系更为紧密，尽管他告诫说这不是一个可以轻易采用的设计策略——滥用会导致玩家会像仇恨那些坏人一样仇恨这款游戏本身。

He adds that he believes that side quests should always take an unexpectedturn at some point along the way — a view that he attributes to Baldur's Gate 2's untrustworthy NPCs. He cites anotherexample involving Jaheira: first she tells the player they've been summoned tothe headquarters of her faction, but then on arrival they're interrogated andsentenced to magical imprisonment — whereupon they must fight their way out."Later the party is confronted by Jaheira’s old mentor," says Ziets,"who warns her that the other Harpers now view her as a traitor, and sherenounces her membership in the faction that has defined her throughout the game.But the quest takes a turn when the player discovers that the local Harpers aretraitors, and Jaheira’s mentor has joined them."

他补充道他相信这种支线任务也应该安排一些峰回路转之处，他归咎于博德之门2中不可信的NPC。他举了另一个和Jaheira相关的例子。一开始她跟玩家说他们被召唤到了她的派系的总部，但是他们要被魔法监禁关押审判——也就是他们只能靠自己脱困而出。“最后这只小队将会面对Jaheira的导师”Ziets说，“他警告她另一个Harpers现在将会把她视为叛徒，然后她放弃了其在整个游戏过程中自始至终的派系成员身份。然而当玩家发现这些Harper是一群叛徒，而Jaheira的导师也已经加入了他们的时候，这个任务就有所反转了。”

Tomaszkiewicz also had great praise for the optional quests in Baldur's Gate 2, singling out two sets of side questsin particular: the stronghold quests, which are tailored according to theplayer's chosen class, and the Ust Natha storyline,which involves going undercover in the Drow society. He says that these UstNatha side quests "were built in a way that allowed you to experience howthe Drow go about their lives, but [they] gave you options to solve them in away that would be true to your character."

Tomaszkiewicz也对《博德之门2》中的可选任务评价颇高，选出了两种不同的支线任务：据点任务，将会贴合玩家的小队构成；还有Ust Natha的故事线，要在黑暗精灵社会中充当卧底。他说这个Ust Natha的支线任务“设计得可以让你体验黑暗精灵的生活，同时也给你机会让你用对你角色正确的方法解决问题。”

TAKEAWAY: Some of the most memorable sidequests create motivation by threatening something that matters to gameplay oroffering an unexpected twist. Others define the quest parameters to accordingto the player's character stats or customizations.

总结：某些最为令人印象深刻的支线任务会通过劫持游戏体验或者意料之外的反转来创造游戏动力。另一种则是贴合玩家的角色和特性来决定任务的不同。

Gothic 1 and 2 — side quests thatbuild immersion

哥特王朝1&2——支线任务提升沉浸感

You could describe the first two Gothic games asbeing like Elder Scrolls Morrowind set inan intricate fantasy prison, then remade from a fraction of the budget, andwhile they're full of bugs and design oversights and awkward voice acting,there's one element that they excel at.

你也许会觉得《哥特王朝》系列的头两部就跟《老头滚动条3：晨风》一样，诞生于一个错综复杂的幻想监狱，然后由预算的一部分重制而成，当然也同样拥有一大堆bug，设计失误还有垃圾的配音，但也有这么一点他们远超同类。

Tomaszkiewicz argues that the special thing the Gothic games do — especially the second one — isto use side quests and activities to build immersion. How a player's characterdevelops affects how these optional elements unfold. "For example, therewas this tough bully that wouldn’t let you enter the port’s tavern and waspretty hard to beat in the beginning," he explains. "But if youinitially avoided the confrontation and then visited him after you became aMage, his attitude toward you would be completely different — he’d show yourespect due to the office you were holding."

Tomaszkiewicz认为说《哥特王朝》系列最特别的东西——尤其是第二部中的——就是用支线任务和活动来构建沉浸感。一个玩家角色的发展将会影响到可选剧情的展开。“比方说，有一个倨傲的家伙不让你进入码头的酒馆并且在游戏初期很难打过，”他解释道，“但是如果你起初避免了冲突，而当你成为了一个魔法师之后再来拜访他，他对你的态度就全然不同了——他会因你的职位而对你展现尊敬。”

"The game wasfull of small touches like that, making the world seem more alive andinteractive, ripe with possibilities."

“这个游戏充满了这样的小细节，让这个世界看上去更加生动而交互，充满了可能性。”

TAKEAWAY: The most important function of aside quest is not to keep the player busy or help them grind up their stats;it's to immerse them more deeply within the game.

总结：一个支线任务最重要的地方不是让一个玩家跑腿或者帮他们升级，而是让他们更深地沉浸在游戏当中。

Planescape: Torment — subverting expectations and conventions

异域镇魂曲：折磨——打破常规

With a script that's around 800,000 words long and a protagonist with lostmemories who wakes up in a mortuary every time he dies (not to mention thequirky cast of support characters, which includes a world weary floating skull and a succubuswho doesn't like to seduce mortals), you'd expect Planescape: Torment to have at least a few greatside quests. And it certainly delivers, especially for players who love to getextra bits of story.

Ziets (who has worked on the recent Torment gamesbut not the 1999 Infinity Engine original) points to the game's trope-breaking Mar's Boxside quest as one of the standouts. "It starts out like a standard fedexquest," he says. "An NPC (Mar) hands me a box and asks me to deliverit to another NPC. Being a well-trained RPG player, I naturally accept.

But it turns out that nobody wants the box, and I get passed fromcharacter to character. Everyone is horrified to see the box and wants nothingto do with it. Worse, the box turns out to be cursed, and I can’t get rid ofit. I can open the box, but that releases the horrible thing that’s trappedinside, resulting in a difficult fight."

有着超过80万词之巨剧本以及一个失去记忆，每每从停尸房复活的主角（更不要说那些稀奇古怪的配角，包括一个厌世的漂浮颅骨和一个不喜欢魅惑凡人的魅魔），你当然会期望《异域镇魂曲：折磨》会有几个非常优秀的支线任务。它也确不负众望，尤其是对于那些喜爱探索额外剧情的玩家来说。Ziets（是个在最近增强版，而非99年原版工作的家伙）举出了这个游戏当中，一个打破比喻的马尔之盒的任务就是其中的典范。“这个任务开始看上去只是个平平无奇的跑腿任务，”他说道，“一个NPC（马尔）给了你个盒子让你送去给另一个人。作为一个训练有素的RPG玩家，我当然就接受了任务。然而竟然没有人来接收这个盒子，我就从一个角色和一个角色之间跑来跑去，每个人看见这个盒子都很心悸，一点也不想要它。更糟糕的是，这个盒子被诅咒了，我也摆脱不掉他。我只好打开盒子，但是这反倒释放了困在其中的恐怖生物，导致了一场激战。”

The player caneventually find someone to remove the curse, and when they're ready they canhead back to Mar and confront him — at which point he bargains for his life."That moment of satisfaction at the end and feeling like a badass —confronting the guy who set me up and seeing that he’s scared — isimportant," explains Ziets. "It brings the quest full circle andmakes the player feel like they’re ultimately in charge — sure, the gametricked them, but in the end, the player can have the last laugh."

玩家终于找到了某个可以移除这个诅咒的人，然后他们可以掉头找到并面质马尔——到了他为了性命付出点代价的时候了。“就是那个在最后得到补偿并且显得像个敲诈者——再次碰到那个陷害我的家伙并且看着他惊恐的神情的点——太重要了”，Ziets解释说，“这不但把整个任务闭合成了环，并且让玩家觉得他们最终掌控了局面——当然，这个游戏耍了他们，但到头来，玩家还是笑到了最后。”

TAKEAWAY: Side quests tend to fall into oneof a set of standard tropes like fetching or delivering an object/person. Playwith them, twist them, and subvert the player's expectations.

总结：支线任务常落于窠臼，例如寻找或者运送某些人或物。如此开始，突然变化，然后打破玩家的既有印象。

Yakuza 0's quirky substories

如龙0的奇葩支线故事（没玩过，不感兴趣，不想翻译）

RPGs don't have a monopoly on good side quests — run of the millopen-world games can surprise and delight with their non-essential missions,too. Few accomplish this better than Yakuza 0, whichrivals even The Witcher 3 on the sheervolume of available missions.

At their core, most Yakuza 0 sidequests — or substories, as they're called in-game — are dead simple: press abutton to choose between a few dialogue/action options, several times, thenbeat up some guys. But to describe them in this way is to ignore the humor,nuance, and poignancy they bring to the game, and it would ignore theirlong-term impact — the addition of the oddball cast of people helped to thegame's two core management mini-games (which are an important source ofincome). Over the course of the game, Kiryu and co can get themselvestemporarily mixed up in the lives of tragedy-stricken gangsters, a traineedominatrix, doomsday cultists, a kid too scared to buy an adult magazine, adisco dancer, and more, with each side quest punctuated by some nugget ofentertaining or touching dialogue.

TAKEAWAY: The key to making a simple sidequest memorable is in the characterization — use of humor, offbeat characterswho don't quite fit expectations, and nuanced social commentary can go a long way.

总之：令一个简简单单的支线任务也令人难忘的关键在于角色刻画——无论滑稽，或特别的角色，不要太刻板，那么微妙的社会评价也会有所不同。

Don't just follow the tropes

别光会遵从建议

The question to ask, besides 'what makes a good side quest?', is 'whatkinds of side quests do we want here?' (which should then have a follow-up of'and how do we make them interesting?'). Side quests can be about collectingnon-essential stories, like in Lost Odyssey, ortesting a player's skills in ways the main game doesn't, or they can buildimmersion or boost a character's stats or resources or give comic relief. Theycan be a great way to explore a mechanic that's underused in the main game,too. Form follows function, and only by carefully considering both can you end up with something special.

There are also plenty of interestingnon-traditional side quests, which perhaps fall more in the realms of beingoptional game modes. Lots of people have fond memories of Final Fantasy VII's chocobo racing and breeding, forinstance, in an effort to get the gold chocobo and in turn to unlock theKnights of the Round materia and access some extra areas. The GTA series has also been great on this front,with GTA V's paparazzi side missions and San Andreas' array of optional activities — vigilantemissions, firefighting, gang wars, dirt track racing, boxing, and evendating — among the highlights.

As noted in ChrisAvellone's side quest design guidelines at the top, however, going outside ofthe core game mechanics, undermining the basic principles of the world, orupstaging the main questline is very risky — so there's a fine line to treadwhenever trying something unusual.

要问的问题，除了“怎么做个好的支线啊”，就是“我们需要一个怎样的支线啊”（然后还有“我们该怎么做个有趣的支线啊”）。支线任务可以是收集一些非必要的小剧情，比如像《失落的奥德赛》那样，或者是用主线任务所没用到的方式来测试玩家的技能，亦或是构建沉浸感，提升玩家等级，给予玩家资源，也可以仅仅是喜剧化的穿插，支线也将是一种很好的用来展现主线未利用的技术的方法。表现这些功效，只有谨慎考虑两者，你才能有所收获。这里也有很多有趣而不寻常的支线任务，或许是作为可选游戏模式的范畴。比如说，许多人喜欢《最终幻想7》中陆行鸟竞赛和培养的片段，尽力去养成黄金陆行鸟，来解锁圆桌骑士召唤兽和更多额外地形。《GTA》系列也在这方面做得很好，包括《GTA5》的狗仔任务和《GTA：圣安地列斯》中的大量可选任务——有保卫任务、帮派交火任务、泥地赛车竞赛、拳击甚至是约会——这也是个亮点。正如篇头Chris Avellone所提到的支线任务设计指南所述，毕竟，不同寻常，深挖整个游戏规则，喧宾夺主的支线任务总是有风险的——所以尝试什么不同寻常的东西时，最好画好底线。

Thanks to Chris Avellone, Brad Johnson,George Ziets, Bruce Nesmith, and Mateusz Tomaszkiewicz for their help puttingthis list together

感谢Chris Avellone，Brad Johnson， George Ziets， Bruce Nesmith 和 Mateusz Tomaszkiewicz提供的支持和帮助。

也感谢我，终于翻译完了（大部分来说）

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