MiHoYo's 10th Anniversary: 12 Short Stories

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在不久前的12月1日，R酱刚刚与全公司的同事一起，庆祝了米哈游的十周年。
On December 1st not long ago, R-chan celebrated the tenth anniversary of miHoYo with colleagues from the entire company.

这十年之中，发生过很多有趣的故事，你可能想象不到：《崩坏3》在专业声优配音前，芽衣一开口就是男人的声音；《原神》开发区的工位旁边的凳子甚至都经历过多次迭代；《未定事件簿》项目组经常有同学“讲相声”；校招生回学校读研的时候，米游社的同学组织过送别诗朗诵……
Over these ten years, many interesting stories have occurred, which you may find hard to imagine. In *Honkai Impact 3rd*, before professional voice actors were hired, Mei's voice sounded like a man's as soon as she spoke. The chair next to the workstations in the *Genshin Impact* development area went through multiple iterations. The project team of *Tears of Themis* often entertained each other with comedic dialogues. When the new graduates returned to school for further studies, the miHoYo colleagues organized farewell poetry recitations...

在这一个又一个的故事中，R酱似乎发现了“技术宅拯救世界”的秘密所在。
In these countless stories, R-chan seems to have discovered the secret of "Tech Otakus Save the World."

## Borrowed Bed Space

我加入米哈游的时候算上我一共只有5个人，那时还是借用学校的办公室来工作。虽然团队很小，但每个人都分工明确、战斗力爆棚，还在读大四的我就过上了每晚11点下班的社畜生活。
When I joined miHoYo, including myself, there were only five people in total. We were still using a borrowed office space at the school to work. Although the team was small, each person had clear responsibilities and extraordinary capabilities. Even as a senior in college, I started living the life of an office worker, leaving work at 11 p.m. every night.

我最早是画了琪亚娜的初版人设，作为原画师加入到团队。一起做研发的过程中，我其实做了挺多序列帧动画和CG这类的工作。或许是因为这样的初始研发契机，我在后来的每个项目中都秉承着一种“只要我能做好，不管什么通道的工作我都愿意去做”的开发观念。
Initially, I was responsible for creating the initial character design for Kiana as an illustrator when I joined the team. During the development process, I actually did a lot of work on sequential frame animation and CG. Perhaps because of this initial opportunity in development, I upheld a development philosophy in every subsequent project, which was "as long as I can do it well, I'm willing to take on any task, regardless of its nature."

当时还在大伟哥宿舍借宿过一段时间，出门或者打水都要偷偷避开宿管。等我做完美术工作要回广州毕业时，提着行李走出宿舍的那天，宿管主动和我打招呼道别，其实她知道我不是这里的学生但也并没有赶我。这是我对上海的最初印象，挺好的。
I also stayed in Brother Wei's dormitory for a while. Whenever I went out or fetched water, I had to sneak past the dormitory supervisor. When I finished my art work and was about to return to Guangzhou after graduation, on the day I walked out of the dormitory carrying my luggage, the dormitory supervisor to the initiative to greet me and bid me farewell. In fact, she knew that I wasn't a student there, but she didn't chase me away either. This was my first impression of Shanghai, and it was quite positive.

## Memorable "One-on-One"

毕业那会儿刚来公司的时候，公司的招聘信息只有两三句话，办公室只有七八个人，工作也经常是一个人同时做几个人的事情。但正是这么一家公司，它将“一小部分人的热爱”变成了“千万人的热爱”，变成了成熟的商业化产品。
When I first joined the company after graduating, the job postings were only two or three sentences long, the office had only seven or eight people, and it was common for one person to handle tasks meant for several people. But it is precisely this company that has transformed "the passion of a few" into "the passion of millions," turning it into a mature commercial product.

还记得2014年的某个早会，一位客服同学向Leader提出了从玩家反馈归纳而来的产品优化建议，Leader直接拉他去会议室进行“对线”。在两人的“对线”中，Leader更清晰地认知到了玩家诉求，客服同学也深入了解了项目开发成本。直到现在，我们依旧推崇这种直接“对线”的沟通模式，倾听与玩家有更多交流的一线同学的意见。
I still remember a morning meeting in 2014 when a customer service colleague presented product improvement suggestions derived from player feedback to the leader. The leader immediately took him to a conference room for a direct "one-on-one" discussion. Through this "one-on-one," the leader gained a clearer understanding of player demands, and the customer service colleague gained a deeper understanding of project development costs. Even to this day, we still uphold this direct "one-on-one" communication mode, listening to the opinions of frontline colleagues who have more interactions with players.

当我们用日活、留存、转化这些被处理过的量化数据看待用户时，我们很容易忽略掉用户作为个体的真正诉求，而这些——恰恰是只靠数据无法传递的“心声”。
When we look at users through processed quantitative data such as daily active users, retention, and conversion rates, it is easy for us to overlook the true individual demands of users, which are the "voice" that cannot be conveyed by data alone.

## Mysterious Male Voice

我在面试的时候看到了《崩坏3》的Demo，那个时候还是蛮惊讶的，因为当时市面上的手游大多是Q版小人加立绘的形式，米哈游也没有尝试过3D画风，我感觉这会是一个不小的挑战。
During the interview, I saw the demo of *Honkai Impact 3rd*, and I was quite surprised because at that time, most mobile games on the market were in a chibi art style with illustrations. miHoYo had not attempted a 3D art style before, so I felt it would be quite a challenge.

日式美术有独特的设计风格和颜色运用表达，但作为游戏制作的工艺普遍存在难动画化的问题，所以我们选择了通过渲染方式把3D模型还原成2D的美术表达。这种独特的美术风格以及高品质的模型、动画，让《崩坏3》的美术成为了米哈游美术风格的护城河。
Japanese-style art has a unique design style and uses colors to express emotions. However, there is generally a difficulty in animating this style in game production. Therefore, we chose to render the 3D models into 2D art through a rendering process. This unique art style, along with high-quality models and animations, made the art of *Honkai Impact 3rd* a stronghold of miHoYo's art style.

在项目初期的时候，作为角色原画师，我还需要负责角色表情的制作。我们在找专业声优给角色配音之前都会先找公司的男同学来试配，确认好技术可行后才会约各位声优进行正式录制，所以当初芽衣一张口就是男人的声音…
During the early stages of the project, as a character illustrator, I was also responsible for creating character expressions. Before finding professional voice actors to dub the characters, we would first have male colleagues from the company try out the voices. Once we confirmed the technical feasibility, we would then proceed to invite the voice actors for the official recording. That's why back then, when Mei opened her mouth, it was a man's voice...

## ¥178 Spray-Painted Background Board

《崩坏3》最开始做直播的时候资源非常有限，我们努力搭了一个简陋的直播间，没有摄像机，只有很便宜的会议摄像头，在文印店花了178块钱做了个喷绘背景板，因为味道太大还被其他同学投诉了。后来我们找来了绿幕，制作直播背景图和直播动画。直到现在，我们有了专门的拍摄场地和专业的导播流程。
During the early days of live streaming for *Honkai Impact 3rd*, we had very limited resources. We worked hard to set up a rudimentary live streaming room with no cameras, only cheap conference webcams. We spent 178 yuan at a printing shop to create a spray-painted backdrop, but it generated such a strong odor that other colleagues complained. Later, we acquired a green screen and started creating live streaming backgrounds and animations. Until now, we have dedicated filming locations and a professional broadcasting process.

我印象很深的是在2021年BW漫展，那天正好也是《崩坏3》「薪炎之律者」的动画首发。当时有许多玩家到展台前来问，现场会不会有首映，我知道这个情况后当场决定提前为现场观众播放。当时为了烘托氛围，我临时拽了个UP主做了小型访谈，在完全没有提前准备的情况下，我们热火朝天地聊了半个小时《崩坏3》的最新剧情。在动画开始播放的那一刻，所有人都安静了下来，不约而同地举起手机记录现场，我现在回忆起来依然能看到他们眼里的热爱。
One vivid memory I have is from the 2021 BW Comic Convention. That day also happened to be the premiere of the "Everlasting Flames" animation for *Honkai Impact 3rd*. Many players came to our booth and asked if there would be a premiere screening. Upon learning about this, I spontaneously decided to play it for the audience at the convention. To create a more immersive atmosphere, I impromptu invited a popular online content creator for a small interview. With no prior preparation, we enthusiastically discussed the latest plot of *Honkai Impact 3rd* for half an hour. When the animation started playing, everyone fell silent and simultaneously raised their phones to record the moment. Even now, when I recall that scene, I can still see the passion in their eyes.

## The Look of Love

有件事是我们一开始就想得非常清楚的，在《未定事件簿》里我们不仅希望玩家能感受到梦幻的恋情，更希望大家能看到爱情“原有的姿态”，而不是把这里当做“逃避的港湾”。
There was something we had in mind right from the start, and that was to ensure that in *Tears of Themis*, players not only experience a dreamlike romance but also see love in its "original form," rather than treating it as a "haven for escapism."

悬疑&律政&恋爱这个题材很具挑战性，但同时也是个绝妙的主题。
The genre of mystery, legal drama, and romance is challenging, but at the same time, it is a fantastic theme to explore.

有光明的地方就会有阴影，我们在设计案件时毫不避讳地描述人性黑暗的一面，但我们的男女主角正是在那些有关人性的思考，乃至争论中，理解人性复杂但人性本善这件事，从而更进一步地了解对方。相识、相知，然后才是相爱，这可以说是我们创作的初心。
Where there is light, there will be shadows. In designing the cases, we openly depict the dark side of human nature. However, it is through the contemplation and even debate about human nature that our main characters come to understand the complexity of humanity and ultimately realize that human nature is inherently good. Meeting, getting to know each other, and then falling in love—this can be said to be the essence of our creation.

相比3D游戏，2D美术的表现相对传统，能做的游戏内演出也比较局限，为此我们“死磕”了动画表现，玩家们看到的“丝般顺滑”背后有着非常复杂的工艺。比如想让卡牌动得自然，有时候一张图甚至会有几百张切片，同时还必须顾及性能消耗，每张卡牌都是在画面和性能之间的博弈，但每次卡牌上线后，看到玩家们对于动态卡牌的认可，我们觉得每一张切片上的一笔一画都是值得的。
Compared to 3D games, 2D art is relatively traditional in its expression, and the in-game performances that can be achieved are somewhat limited. To overcome this, we put great effort into animating our visuals. The "silky smooth" animations that players see require a highly complex production process. For example, to make the cards move naturally, sometimes a single card image can be sliced into hundreds of individual frames. At the same time, we have to consider performance optimization. Each card is a delicate balance between visual appeal and performance efficiency. However, every time we see players appreciate the dynamic cards after they are released, we feel that every stroke and every detail in each slice was worth it.

未定项目初期创作人员比较少（虽然现在也不多），但办公室里每天都很欢乐（经常有同学讲相声）。我们一定会不忘初心，竭尽全力带给大家更高质量的内容。
During the early stages of the project, we had a relatively small team of creators (although it's still not a large team now), but the atmosphere in the office was always joyful (with colleagues often telling jokes and comedic sketches). We will always remember our original intention and spare no effort in delivering higher quality content to everyone.

## The Small Stool by the Workstation

小时候经常玩游戏，有次玩累了躺在网吧的椅子上想，要是将来能做一款让全世界的玩家都能玩的游戏该多好。
When I was young, I often played games. One time, while lying on a chair in an internet cafe, I thought to myself, how great would it be if I could create a game that players from all around the world could enjoy.

《原神》初期的时候，项目还没有名字，开发组的大家也都没有做过开放世界游戏。开发过程中，踩了很多坑，走了很多弯路，很多功能当时做到一半，总会觉得太难了，要么做成这样算了，看看别的游戏也是这样的。
During the early stages of *Genshin Impact*, the project didn't have a name, and none of the development team had experience working on open-world games. Throughout the development process, we encountered many obstacles and took many detours. There were moments when certain features seemed too difficult, and we would think, "Let's just settle for this level of quality since other games are also like this."

庆幸的是，我们坚持下来了。举个例子：《原神》从创角到走进蒙德城，期间大约有十几个剧情画面，每个演出质量都很高，这个数量是传统手游的好几倍。为了一些演出效果，项目组在性能和功能上都做了多次尝试和迭代。当时很多人，包括我都不太理解，这些内容玩家看一次就过了，花这么大精力是不是太浪费了。但就是这些追求极致的内容，让它成为了一款优秀的游戏。
Fortunately, we persevered. For example, from character creation to entering the city of Mondstadt in *Genshin Impact*, there were around a dozen high-quality cutscenes, which is several times more than what traditional mobile games typically have. In order to achieve certain visual effects, the project team made numerous attempts and iterations in terms of performance and functionality. At the time, many people, including myself, didn't quite understand why so much effort was put into these elements that players would only experience once. It seemed like a waste of resources. However, it was precisely these relentless pursuits of perfection that made it an outstanding game.

在《原神》的开发区的工位边上，你总能看到许多小凳子，那都是为了不同部门的同事在开发过程中讨论细节用的。在协调的时候可能策划要到动画这边来看动画效果，原画要到模型这边来看人物细节，有时候一看就是半个小时，所以就买了许多凳子。对了，我们的凳子也经过了多次迭代，来适配不同同学的体重、身高、使用场景。
In the development area of *Genshin Impact*, you can always see many small chairs next to the workstations. These chairs are used for discussions among colleagues from different departments regarding various details during the development process. During coordination, for example, the game designers might come over to the animation department to review the animation effects, and the concept artists might come over to the modeling department to examine character details. Sometimes, these discussions can last for half an hour, so we bought many chairs. Oh, and our chairs have also gone through multiple iterations to accommodate the weight, height, and usage scenarios of different colleagues.

## Inspiration for Creating Monsters

我参加的第一次公司团建原本只是单纯的爬山，结果一群人到了山脚下，突然就进入了爬山比赛的气氛里。其实以我的身体素质，在校期间体育从来都是不及格的，万万没想到居然在这次比赛里获得了第二名（没有奖品）......另一点奇怪的是，从这次比赛之后，公司的团建就换了一种风格......现在...大家...都采取更休闲的方式了......
The first company outing I participated in was originally just a simple mountain climbing activity. However, when we arrived at the foot of the mountain, suddenly it turned into a competitive atmosphere for climbing. In fact, considering my physical fitness, I always scored poorly in sports during my school days. I never imagined that I would actually come in second place in this competition (without any prizes)... Another strange thing is that after this competition, the style of our company outings changed... Now... everyone... adopts a more relaxed approach...

我们创作怪物的灵感一般是来自于自然界里的动植物，将自然元素和幻想元素进行融合的过程是很需要技巧的，如果元素结合的不好，很容易变成四不像的合成兽，或者体现不出怪物本身的设计主题元素。所以平时在看插图、动画、游戏、电影和纪录片的时候大家也会刻意去分析里面的怪物的塑造方式、运动形态、生态栖息点等等。
The inspiration for creating monsters usually comes from animals and plants in the natural world. The process of combining elements of nature and fantasy requires a lot of skill. If the elements are combined poorly, it can easily become a bizarre hybrid or fail to reflect the design theme elements of the monster itself. So, in our free time, when we look at illustrations, animations, games, movies, and documentaries, we deliberately analyze the way monsters are depicted, their movements, and their ecological habitats, among other things.

对于原画设计工作来说，设计阶段的瓶颈期有时候也是不可避免的。但凡能想到的都试过了，还是不行，那就只能再逼自己一把。一点一点去盯着改每一处小细节，期望能摸到灵感的手，做一个量变影响质变的努力。有的时候连续几天盯着一张图，人的感官会变得不敏锐，这种时候就会把这幅画放到随身携带的手机里面，在下班路上、到家之后、睡觉前、甚至可能在厕所的时候，利用所有碎片时间来思考。反复把手机里的设计图放大、缩小，再放大，再缩小，想还有没有其他调整的可能性，回头来看，似乎有点借着不同地点和情境的由头来调整思路的意思。
For character design work, encountering bottlenecks during the design phase is sometimes inevitable. We try everything we can think of, but if it still doesn't work, we have to push ourselves further. We meticulously focus on improving every small detail, hoping to grasp the hand of inspiration and make efforts that can lead to qualitative changes through quantitative accumulation. Sometimes, after staring at a single image for several consecutive days, our senses become less sharp. In such moments, we put that artwork into our mobile phones, carrying it with us everywhere. During the commute, after arriving home, before sleeping, and even possibly in the restroom, we utilize every fragmented moment to contemplate. We repeatedly zoom in and out of the design image on our phones, thinking if there are any other possibilities for adjustments. Looking back, it seems like we are adjusting our mindset with the help of different locations and circumstances.

## New Expressions for Lumi

我硕士期间学的是图形学专业，今年通过校招加入了米哈游。和同事工作的时候感觉像是在和同学、老师一起做研究，但是在资产管理和代码规范性上比在学校里专业了很多。
During my master's program, I specialized in computer graphics, and this year I joined miHoYo through campus recruitment. Working with colleagues feels like doing research with classmates and teachers, but there is a greater emphasis on asset management and code standards compared to my time in school.

鹿鸣每一个表情的生产线其实都是很长的，首先要联系合适的演员，然后要在动捕房里捕捉动作，我负责提取视频内重要的特征点，并且把视频转化为动画资源，再下一环是做算法工作。鹿鸣的头发、衣服、肌肉、骨骼绑定、渲染等等，这每一个课题要很多人来做，为的是将最真实的虚拟形象展示在用户面前。鹿鸣的美术风格和之前的游戏项目区别也是比较大的，我们从赛璐璐风格转向了写实和虚拟形象结合的制作手法，具体的技术细节不能告诉你。（R酱：？）
The production process for each expression of Lumi is actually quite extensive. First, we need to find suitable actors, then capture their movements in the motion capture room. My role involves extracting important feature points from the captured video and converting it into animation resources, followed by algorithm work. Lumi's hair, clothes, muscles, skeleton binding, rendering, and more require the collaboration of many people to showcase the most realistic virtual image to the users. The artistic style of Lumi is quite different from previous game projects. We have transitioned from the Cel-shading style to a combination of realism and virtual image production techniques. I can't reveal specific technical details, though. (R-chan: ?)

我们对于鹿鸣也有很深的感情，每次视频发布我们都会第一时间点开，留下自己的弹幕，然后暗中观察大家的评论（打个广告：b站鹿鸣账号@yoyo鹿鸣\_Lumi@人工桌面）。
We have a deep emotional attachment to Lumi as well. Every time a new video is released, we are the first ones to watch it, leaving our own bullet comments, and secretly observing everyone's comments (advertisement: Lumi's Bilibili account is @yoyo鹿鸣\_Lumi@人工桌面).

## Gathered Through Love

米哈游一直都是十分重视玩家的，米游社就是这份重视的成果。米游社的第一个版本其实只有Web版，我们基本上是在整个平台刚刚起步的时候，努力用三个月实现了第一个MVP版本的上线，后来才逐渐完成了App版本的上线。
miHoYo has always placed great importance on players, and the result of this emphasis is the Miyoushe community (miHoYo BBS). The initial version of the community was a web version, and we basically started the platform from scratch. We worked hard for three months to launch the first MVP version, and later gradually released the app version.

我们平时都是带着爱工作的，无论对外还是对项目内的同学。我们团队内有不少多才多艺的同学，曾经有一个校招生回学校读研了，我们给她拉了红底白字的大横幅，还组织了送别诗朗诵。我们自己也是社区的认证用户，比如社区内的产品汪哈哈哈哈，还有一位认证画师和Coser，在日常的产品设计工作之余，也会在社区里产出各种作品，受到了广大用户的喜爱，已经收获了上万粉上十万赞。
We usually work with love, whether it's towards external parties or our teammates within the project. Our team consists of many talented individuals. There was once a fresh graduate from campus recruitment who decided to pursue further studies, so we prepared a large banner with red background and white letters for her and organized a farewell poetry recitation. We ourselves are certified users within the community, such as the "product dog," and also a certified artist and cosplayer. In addition to our daily product design work, we also create various works within the community, which have been loved and appreciated by numerous users, garnering tens of thousands of followers and hundreds of thousands of likes.

作为社区运营，为了提升玩家的体验，我们需要能够体会玩家的感受，了解玩家的需求，并发掘优质的玩家内容。我们很享受为玩家建造社区的过程，在与玩家交流的时候，感觉能为自己热爱的事业做出一份贡献，就非常满足。作为社区产品，为了提升整个产品的交互体验，我们团队的同学都会非常频繁地去使用社区，以一个用户的身份，去体验自己的产品，并且发自内心去跟用户交流，发掘用户的需求。
As community managers, in order to enhance the player experience, we need to empathize with players, understand their needs, and discover high-quality player-generated content. We truly enjoy the process of building a community for players. When interacting with players, we feel a sense of fulfillment in contributing to a career we love. As community-oriented products, to improve the overall user experience, our team members frequently use the community platform as regular users. We approach it with sincerity, engaging with users, and discovering their needs.

但另一个角度，我们其实也非常克制。一方面我们会非常珍惜整个社区的调性，因为我们认为这是我们的立身之本；另一方面，我们也不会为了完成指标而去使用一些所谓的流量密码，我们希望能给我们的玩家最好的社区氛围和互动体验，也是回报给为爱发电的玩家，回报给因喜爱而相聚的用户们。
However, from another perspective, we exercise great restraint. On the one hand, we highly cherish the overall tone and atmosphere of the community because we believe it is the foundation of our existence. On the other hand, we do not resort to using manipulative tactics or "clickbait" techniques just to achieve certain metrics. We strive to provide the best community environment and interactive experience for our players. It is our way of giving back to the players who support us wholeheartedly and to the users who gather here because of their love for our games.

## Building Worlds with Music

游戏音乐和传统音乐有着极大的区别。游戏音乐更多的是完善游戏的世界观、描述游戏场景，渲染情绪等等。相比较传统音乐，游戏音乐目的性更强，而游戏音乐人，得把自己当成游戏人看待，除了具备音乐人应有的素养：技术、审美、创意，更应具备眼界与修养。最重要的，是尊重市场，懂得虚心接受用户反馈，不傲慢。制作游戏音乐需要保持着谦虚和宽容的心态，它本质上还是一个带着镣铐跳舞，但是你要跳得漂亮的这么一件事。
There is a significant difference between game music and traditional music. Game music is more focused on enhancing the game's world-building, describing game scenes, and evoking emotions. Compared to traditional music, game music has a stronger purpose. As a game musician, one must consider themselves as part of the game development process. In addition to possessing the qualities expected of a musician, such as technical skills, aesthetic sense, and creativity, they should also have a broad perspective and cultivation. Most importantly, they should respect the market and be open to receiving user feedback without arrogance. The production of game music requires a humble and tolerant mindset. It is essentially like dancing with shackles, but the goal is to dance beautifully.

HOYO-MiX作为音乐团队，其实与米哈游的年龄相差无几，在游戏行业中，像米哈游这样在早期阶段就筹备自建音乐团队的公司少之又少。和传统的音乐外包模式不同的是，作为音乐团队，我们在游戏早期开发的阶段就会介入，与整个项目保持着非常强的协同性。我们坚持“用音乐构筑世界”，不会拘于某种刻板印象，而是去探索、创造符合产品特性，又令人耳目一新的音乐语言。
As the music team, HOYO-MiX, is relatively young, just like miHoYo itself. In the game industry, there are very few companies, like miHoYo, that established an in-house music team during the early stages. Unlike the traditional music outsourcing model, as a music team, we get involved in the game's development from the early stages and maintain strong collaboration throughout the project. We adhere to the principle of "building the world with music" and do not confine ourselves to any stereotypes. Instead, we explore and create music that aligns with the product's characteristics while offering a refreshing experience.

## Special Request on the First Day

我入职第一天的时候想要查看公司在东南亚地区的游戏数据，因为涉及敏感信息，所以我申请的时候有点犹豫，没想到Leader很快审批了。后来我提议创建印尼本地化团队，也没有人因为我是新人就不支持，在大家的帮助下我还学会了一口流利的中文。
On my first day of work, I wanted to access the game data for miHoYo's games in Southeast Asia. Since it involved sensitive information, I hesitated when submitting the request, but to my surprise, my leader quickly approved it. Later, I proposed the idea of establishing a localization team in Indonesia, and no one opposed it just because I was a newcomer. With everyone's help, I even learned to speak fluent Chinese.

拓展一个新的游戏版本是一件比较复杂的事，首先要协调各部门的工作，确认新增的语言版本，然后要保证市场支持、组织线下活动、搭建游戏社群、招聘客服等等。我们一开始做国际发行的时候，没有太多经验，所以刚开始在和当地的广告商、代理商对接的时候需要自学很多的新知识，但现在，我们也有了自己完整的发行模式。
Expanding a new game version is a complex task. First, it requires coordinating the work of various departments, confirming the addition of new language versions, ensuring market support, organizing offline events, building game communities, hiring customer service representatives, and more. When we initially started international publishing, we lacked experience, so I had to self-study many new things when coordinating with local advertisers and agents. But now, we have our complete distribution model.

《原神》目前有13种文本和4种配音，每次更新都是在全球同步发行，这意味着我们所有的语言组需要并行进行翻译、配音、测试。尤其是在疫情期间，我们需要完成跨时差、跨国家、跨语种的多个部门合作。为了要服务全球的用户，我们还增设了13种语言7\*24小时的本地化服务。这些都是不小的挑战，但能够服务全球用户，我们都很有成就感。
*Genshin Impact* currently has 13 text languages and 4 voice languages. Each update is released globally simultaneously, which means our language teams need to work in parallel for translation, voice acting, and testing. Especially during the pandemic, we had to collaborate across time zones, countries, and languages. To serve global users, we have also established 24/7 localization services in 13 languages. These are significant challenges, but being able to serve users worldwide gives us a great sense of accomplishment.

## The Interviewer's Three Bows

我是在2017年底加入米哈游的，在加入米哈游之前，其实我完全不了解二次元，所以也不太知道米哈游（年少无知的我）。那个时候我已经拿到了国外一家游戏公司的offer，有一个不错的出国发展的机会，所以猎头推荐我来面试的时候我是不太愿意的233，最后让我决心放弃出国的机会加入米哈游是因为一个面试官的三鞠躬。
I joined miHoYo at the end of 2017. Before joining miHoYo, I had no knowledge about the two-dimensional world . So, I didn't know much about miHoYo either (I was ignorant at that time). By the end of 2017, I had already received a job offer from a foreign gaming company, which was a good opportunity for international development. So, when the headhunter recommended me to interview at miHoYo, I was initially reluctant, haha. In the end, what made me decide to give up the chance of going abroad and join miHoYo was the three bows from one of the interviewers.

故事是这样的，在那次面试的时候，面试官迟到了，是的，他迟到了15分钟。进来之后他先是给了我第一个鞠躬，说抱歉前一个会议推迟了，我表示理解。后来面试正常进行，相谈甚欢，面试结束之后他给了我第二个鞠躬，说再次抱歉，耽误了我的时间，这个时候我有点尴尬了。在离开之前他又最后给了我一个鞠躬，再再次表达歉意，这一次我被打动了。我觉得他是发自内心的，真诚的，尊重每一个来面试和在这里工作的同学，一个如此尊重人才的公司他能不成吗？
Here's the story: During that interview, the interviewer was late. Yes, he was 15 minutes late. When he finally came in, he gave me the first bow, apologizing for the delay, explaining that the previous meeting had run longer than expected. I expressed my understanding. Later, the interview proceeded smoothly, and we had a pleasant conversation. After the interview, he gave me the second bow, apologizing again for taking up my time. At that point, I felt a bit awkward. Before leaving, he gave me a final bow, expressing his apologies once again. This time, I was deeply moved. I felt that his apologies came from the bottom of his heart, sincere and respectful towards every candidate who came for an interview and those working at miHoYo. How could I resist joining a company that respects talents in such a profound way?

至今我在米哈游已经工作四年了，米哈游一直保持着我们初见时的模样，开放热情、平等尊重、不忘初心。我也很开心能够成为这个正能量的一部分！
Now, I have been working at miHoYo for four years. miHoYo has maintained the same appearance as when I first encountered them—open-minded, passionate, treating everyone equally, and staying true to their original values. I am also happy to be a part of this positive energy!

## Closing

从3个人，到4000人；从一方小小的校内办公室，到走向全球；从《FlyMe2theMoon》初试身手到《原神》荣获TGA年度最佳手游。在这十年间，无数同学因为喜爱相聚在这里，以追求极致的姿态，与米哈游共同打造超出预期的产品与内容。
From three people to 4,000 people, from a small office on campus to going global, from the initial attempt with *FlyMe2theMoon* to the prestigious *Genshin Impact* winning the TGA Best Mobile Game award. In this span of ten years, countless colleagues have gathered here because of their love for what they do. With a pursuit of excellence, they have worked together with miHoYo to create products and content that surpass expectations.

十周年对于我们来说，不是里程碑，更像是一个新的起点。“2030年，打造出10亿人愿意生活在其中的虚拟世界”，新的十年，R酱期待与你共同见证。
The tenth anniversary is not just a milestone for us; it's more like a new starting point. "By 2030, create a virtual world where one billion people would be willing to live." In this new decade, R-chan looks forward to witnessing and experiencing it together with you.

## Notes

1. ↑ 产品汪 *Chǎn pǐn wāng*, "product dog" typically refers to a product manager or someone involved in product development. Its counterpart, 运营喵 *Yùn yíng miāo*, "operation cat", generally refers to an operations specialist or someone involved in community management, marketing, or user engagement.