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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.
。分地区来看，北美和欧洲的收入分别为8.1亿美元和1.6亿美元，均不及市场预期，增速分别为3.1%和5.4%；其他地区收入同比增长22%至1.56亿美元，略高于市场预期。尽管调整后利润超出市场预期，但是SNAP的净亏损飙升400%至3.6亿美元，部分原因是1.55亿美元的重组费用。虽然用户数依然维持高速增长，但是每用户平均收入（ARPU）下降11%至3.11美元，低于分析师平均预测的3.19美元。此外，SNAP再次取消下个季度的业绩指引。该公司称：鉴于与经营环境相关的不确定性，我们没有提供我们对2022 第四季度的收入或调整后净利润的预期。但该公司称，它已经“预测四季度的收入同比增速将同比大致持平。

B | ”金融博客Zero Hedge认为，这意味着，SNAP的高速成长期可能已经结束了。财报发布后，公司盘后股价暴跌近26%。该公司股价从2021年9月底的高点以来已经累计下跌约90%，今年以来的跌幅则达到77%。
用户维持高速增长，付费用户超过150万三季度，SNAP全球日活跃用户数为3.63亿，高于市场预期的3.582亿，同比增速达到19%。这表明尽管业务方面存在困难，但该公司仍然能够吸引用户使用该服务。但是，每用户平均收入（ARPU）下降11%至3.11美元，低于分析师平均预测的3.19美元。公司表示其在6月推出的每月3.99美元的Snapchat+订阅服务在三季度已经有超过150万订阅用户，当前该服务已经覆盖全球170多个国家和地区。

C | SNAP首席执行官Evan Spiegel称：本季度，我们采取行动，进一步将业务重点放在三个战略重点上：发展我们的社区并加深用户对产品的参与，重新加速和多元化我们的收入增长，以及投资增强现实。他说，用户增长“为我们在动荡的宏观经济环境中提供了长期机会”。受美国宏观经济及苹果隐私政策的影响，SNAP广告业务能力下降苹果2021年对iOS系统的隐私更新仍然是SNAP跟踪用户能力的障碍，从而其互联网广告业务遭到削弱。

D | Meta的Facebook等社交媒体也受到苹果该政策的冲击。下周Meta和Alphabet将公布最新的季度报告。此外，美国经济放缓和衰退的可能性加剧也导致许多广告商暂停或减少广告支出。在新闻稿中，SNAP称：我们发现，我们在许多行业的广告合作伙伴正在减少他们的营销预算，特别是在面临运营环境变差、通胀驱动的成本压力和资本成本上升的情况下。

E | 受SNAP不及市场预期的财报的拖累，同样依靠互联网广告收入的Meta在美股盘后一度跌约5%，Google母公司Alphabet盘后转跌，跌幅超2%。

SNAP继续缩减项目以期节省开支作为降低成本计划的一部分，SNAP称，将关闭几个昂贵的项目，包括计划以230美元单价出售的Pixy无人机。SNAP还终结了其Snap Originals优质节目的制作。8月，SNAP宣布将裁员超过1000名员工，约占6000名员工的20%。遣散费和相关费用占报告期内重组费用的很大一部分。与第二季度财报发布时一样，SNAP董事会批准了一项高达5亿美元的股票回购计划。截至三季度末，该公司拥有44亿美元的现金、现金等价物和有价证券。

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Published on:08:45:57

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