© Adriana Loureiro Fernandez for The New York Times
© Pool photo by Andy Buchanan
© Federico Rios for The New York Times
最近我重新开始玩宝可梦系列作品《走吧！皮卡丘》，玩着玩着发现了一个小彩蛋：在玉虹市的玉虹大厦三楼走廊尽头，有个专门为「游戏狂想家」这家公司安排的小空间。
我当时就想：
“哇，这家游戏工作室专门埋了一个独属于自己的小彩蛋？任天堂没有意见吗？他们俩背后到底有什么故事呢？”
我一开始查资料，就停不下来了 —— Game Freak（游戏狂想家）、HAL、任天堂、宝可梦 IP，这些名字背后的历史和关系，远比我以为的要复杂得多。与此同时我还发现，这其实是一个很生动的案例，告诉我们，创意如何在制度化、战略化的环境下持续落地。这套逻辑对做品牌和设计咨询，也特别有启发。
先从 Game Freak 说起。很多人以为宝可梦一出世就是大团队作品，其实它的起源很有意思：
看到这，你可能会想：“哇，他们是从杂志直接跳到宝可梦吗？”其实不是，他们先做了几款外包软件，尝到商业开发的甜头后才真正走上这条路。这个过程告诉我们：独立创意很重要，但商业化和持续发展，需要制度和经验的积累。
接着是宝可梦的版权问题，很多人理解错了。宝可梦可不是任天堂的独家 IP，它的结构是这样的：
所以任天堂虽然不是唯一版权方，但它独占主机平台的全球发行权，并持 TPC 股份约三分之一。手游、卡牌之类的授权则由 TPC 直接处理。换句话说，版权和发行权分开、责任和利益明确，创意团队既有自由又有制度支撑，这也是宝可梦能长期保持高质量的关键。
相似的案例，我们再来说说《星之卡比》的主要开发团队，HAL 研究所。1992 年，他们负债约 15 亿日元，任天堂没有直接收购，而是通过追加订单、提前支付版税和信用担保来帮他们渡过难关[3][4]。
1993 年，临危受命的岩田聪出任 HAL 社长，他做了几个关键动作：
结果，1995 年游戏销量突破 100 万套，公司成功扭亏[4][5]。星之卡比的版权归任天堂，但 HAL 保留开发署名权（© Nintendo / HAL Laboratory）[5]。2000 年，岩田聪入职任天堂，两年后出任社长，任天堂与 HAL 的关系更进一步。
整个逻辑很清楚：制度化支持 + 资源集中 = 危机管理成功。任天堂既保证了关键 IP 安全，又保留了 HAL 的创新能力。
顺便说一下任天堂的独家 IP 案例，你可以看到规律：
规律是：开发分散，版权集中，生态稳固。换句话说，创意团队有空间，战略和商业被制度化保障。这一点对品牌和设计咨询来说特别值得学习。
知道了这些，你可能会问：那和我们的品牌/设计咨询有什么关系？其实你看，任天堂的做法和庞大的 IP 收益已经明确告诉了我们，想要长久高效地产出创意，必须有清晰规则 + 制度化支持 + 战略长期稳定。
这里有几个关键点：
就像宝可梦里，开发团队可以自由设计游戏机制、精灵、玩法创新，但发行和品牌逻辑有统一的规则，保证整个生态长期稳定。
这样可以保证方向不跑偏，创意不散乱，也让各个团队知道自己在做什么。
简单来说，如果我们把任天堂三方合作、版权集中、创意独立的逻辑搬到品牌/设计咨询里。核心就应该是：
实践大概分四步：
最后总结一下，我自己体会最深的四点：
如果你的品牌希望在快速变化的市场里保持方向清晰、创意可持续、执行高效，这套逻辑很值得参考。
我是从业 16 年的工业设计师苏志斌，乙方甲方都有相当从足的从业体会：服务过的客户中，既有创客类型的初创小团队，也有世界 500 强的领军企业；设计落地的产品中既有成熟行业的精准创新，也有新领域新品类的挖掘和探索。
如果你的团队需要 产品创新/工业设计/品牌策略 等帮助，可以私信或邮件联系我：
suithink.su@gmail.com
我更多关于产品/设计/企业的思考和见解，欢迎在这里收看我的节目：
尾注Making a highly successful career for yourself as a woman artist in the Renaissance was an extraordinary if not unique feat. It’s one of the many accomplishments of Sofonisba Anguissola (c 1532-1625), who also managed to survive the ravages of infectious disease, and died in her early nineties, four centuries ago today.
Even more unusually, she wasn’t born into an artistic family, but into minor nobility in Cremona, Lombardy, Italy. The oldest of Amilcare Anguissola’s seven children, the family claimed ancestry going back to ancient Carthage. Amilcare and his wife Bianca educated and encouraged their daughters to develop their abilities, resulting in four of their six girls becoming painters, but it was only Sofonisba who persisted long enough to make a career of her art.
When she was fourteen, Sofonisba went to study in Bernardino Campi’s workshop, then to Bernardino Gatti’s. She probably completed her training in about 1553, but by then was already painting outstanding works in oils.
One of her earliest surviving paintings is also one of her most remarkable and ingenious, this Self-portrait with Bernardino Campi, painted in 1550 when she was just eighteen. This double portrait is fascinating in her depiction of two left hands on the portrait that Campi is shown working on: one reaches up to meet his right hand, holding a brush, and the other holds her own brushes.
Only five years later she transformed Renaissance portraiture with her superb The Chess Game (1555), showing her sisters playing chess, with their mother (probably) making an appearance at the right edge. Her sisters Lucia, Minerva and Europa are shown dressed in their finest, but the informality of their poses and expressions is striking, and innovative in portraits at that time. Her attention to detail in clothing and on the table is also notable, and perhaps more characteristic of the Northern Renaissance. Her other portraits are just as finely detailed.
In addition to painting her family, she also completed a series of self-portraits in her early career, including this Self-portrait from 1554, when she was twenty-two. The contrast with the fine dress and relaxed informality of her family portraits is interesting, and may reflect her almost austere devotion to her art.
A couple of years later, Self-portrait at the Easel (1556) shows her working on an exquisite devotional painting which may have been of the Virgin and Child, showing the deep relationship between a mother and her infant, and another painting within a painting.
This small undated Self-portrait on a tondo is no more relaxed.
Her Portrait of the Artist’s Family of 1557-58 maintains her style of informality in poses, although its composition is more typical of the day. This shows her younger sister Minerva, father Amilcare, and young brother Asdrubale, with a fantasy landscape of classical ruins and the rising towers of distant castles, receding to a dramatic mountain.
She stayed in Rome in 1554, where she met Michelangelo and several other artists. Michelangelo seems to have mentored her for a while. She became an established portraitist, and in 1559 was invited by King Philip II of Spain to teach painting to his wife, the young Queen Elisabeth of Valois. Anguissola painted many important portraits while in Philip’s court, and prospered as a result.
This fine Portrait of Prince Alessandro Farnese from about 1560 has been attributed to her. The prince, who later became Duke of Parma and Piacenza, lived from 1545-1592, and this portrait conforms to more standard practice.
Her Portrait of Anna of Austria of 1573 was one of her more important commissions. Anna (1549-1580) was the fourth wife of her uncle, King Philip II of Spain, and the daughter of the Holy Roman Emperor Maximilian II. She married the king in 1570 following the death of Queen Elisabeth of Valois, who had been Anguissola’s pupil. Among Anna’s other portrait painters was Giuseppe Arcimboldo, later famous for his unique ‘vegetable’ portraits.
Although she had married a noble in 1571, she continued to paint professionally, and the couple moved to Paternò, near Catania on the east coast of Sicily. Her first husband died eight years later, and in 1584 she married again, moving to Genoa.
This unusual Portrait of Julius Caesar Aged 14 from about 1586 shows, according to its inscription, the famous Roman emperor, who lived from 100-44 BCE. She has approached it as another of her informal portraits rather than as a history painting.
Her religious paintings broke new ground in the intimacy with which she shows family scenes, as in The Holy Family with Saints Anne and John the Baptist (1592).
She taught and provided advice to other painters throughout her later career, and in 1624 was visited by the young Anthony van Dyck. Her sight was failing by that time, but she was still able to give him good advice. Finally, Anguissola moved to Palermo, where she died at the age of 92 or 93 in 1625. She had no children, but left a generation of artists who had benefitted from her innovation and influence. Among those directly inspired by her example and work was Lavinia Fontana. Over two centuries later, Ella Sophonisba Hergesheimer pursued her painting career bearing Anguissola’s name.
Reference
Almost all who paint in oils use conventional brushes, but there’s a significant minority who sometimes, or frequently, use different tools to apply and shape the paint layer. Of those, the most popular are palette knives, generally used to move and mix paint on the palette. Others have used the other end of the brush stick to incise, or their fingers.
Marie Bashkirtseff’s painting of a class in the Académie Julien in Paris in 1881 demonstrates how oil painting should be done by the textbook. The artist, shown in her self-portrait in the centre foreground, is using a long-bladed palette knife to prepare the paint on her palette. At her feet, on an old sheet of newspaper, are her brushes, all with handles of typical length, and the pupil behind her is using a maul stick to rest her right hand while painting with her brush.
Gustave Courbet applied his paint using a palette knife for some of his paintings. This has been identified from the facture in some of his paintings of caves that he made from about 1864, including The Grotto of Sarrazine near Nans-sous-Sainte-Anne above.
Another enthusiast for painting with a knife was Auguste Renoir.
In 1866, Renoir painted his friend Jules Le Coeur and his Dogs in the Forest of Fontainebleau. This is unusual among his works, as it was preceded by two studies, and all three were made using the palette knife rather than brushes. This makes it most likely to have been painted before Renoir abandoned the knife and returned to the brush, by the middle of May 1866.
Renoir returned to the technique in The Mosque, also known as Arab Festival, in 1881. Small strokes of bright colour and energetic work with the palette knife give it a strong feeling of movement, and it so impressed Claude Monet that he bought it from Durand-Ruel in 1900.
Anna Althea Hills’ Fall, Orange County Park (1916) is a classic and highly accomplished plein air painting that appears to have been made with extensive and deft use of the knife, particularly in the foreground.
Perhaps the most famous artist who is known to have painted with his fingers is Leonardo da Vinci.
This Annunciation, painted in oil and tempera on a poplar panel, is generally agreed to be one of the earliest of Leonardo’s own surviving paintings. When it was painted is in greater doubt, but a suggestion of around 1473-75 seems most appropriate. There are numerous pentimenti, particularly in the head of the Virgin. Its perspective projection is marked in scores in its ground and Leonardo used his spontaneous and characteristic technique of fingerpainting in some of its passages.
Finally, some painters are well-known for their use of brushes with exceptionally long handles. These enabled them to stand back, sometimes almost on the opposite side of their studio, get an overall view of their canvas, and paint from the same distance as a viewer.
Like all plein air painters, Paul César Helleu (1859–1927) shown in John Singer Sargent’s An Out-of-Doors Study from about 1889, is using brushes with handles of modest length. His canvas is fairly small, and he’s working close-in while clutching a brace of brushes in his left hand. Some designed for use when painting in front of the motif have even shorter handles, but when back in the studio Helleu would almost certainly have opted for longer.
Whistler was renowned for using brushes with handles over one metre (39 inches) long, and appears to have used them when painting Symphony in White No. 1: The White Girl in 1862 on a canvas just over two metres (78 inches) tall. He reworked it between 1867-72 to make it more ‘spiritual’ and reduce its original realism.
Early in his career, Joaquín Sorolla established his reputation of painting ‘voraciously’, often using brushes with extremely long handles and large canvases. Although Sewing the Sail from 1896 may look a spontaneous study of the effects of dappled light, Sorolla composed this carefully with the aid of at least two drawings and a sketch, and given its 2.2 metre (87 inches) height, he was almost certainly using brushes of similar length.
有时候，我有个很想要的装备，但市面上完全没有这种产品。因为不是刚需，没必要自己 diy，慢慢地想法也就淡了。过了很多年，突然发现，终于有人把类似的东西设计出来卖。
譬如，几年前和圣途望远镜聊过，（它家是代工国外大牌望远镜起家，非常物美价廉的一家），说把你们的屋脊望远镜，做个单筒版的呀。有的用户譬如我，不长时间盯着看的话，用一只眼就够了。重量和体积减少一半，便携性会好很多。
老板鄙视地说：我们才不做这么不专业的东西！
后来我也没再关注了……刚发现，厂商自我反思，2019 年悄悄去做了单筒款。我上手体验了一番，确实像我期待的那样好用。
老板居然还在淘宝页面，写了一堆心路历程。笑死~~
譬如，2019 年，我自己 3D 打印了一堆，钢笔墨囊的塞子。当时还说要发攻略，后来懒癌发作，就放了鸽子。如今淘宝上已经有成品在卖了……
譬如，我很多年前就想要的：可以装通用手术刀片的便携折刀。
最近也有在卖了。而且我发现的时候，淘宝上已经很卷了，有很多款设计，钛合金才几十块钱。挑了一圈，大部分都不支持锁定。好不容易找到一家框式锁定的，大概是因为带锁定会涉及管制刀具，商家也不敢明说，连背面锁定部分的图片，都不敢放出来。重量 30g。还有一款是甩刀的设计，略重一点（45g），但居然两面可以分别兼容 3、4 号刀柄的手术刀片。拿到手之后，手感也确实像我当年期望的一样舒适。
其实带锁定也只是我的习惯性执念，这种薄刀片并不会大力使用，于是锁定功能并不是必须的。没有锁定功能的刀，可以做的更小，用三号刀架，重量能到 10g 以内，更加便携。但我个人觉得太小了没手感，四号刀架刚刚合适。
常见的两种手术刀柄的接口：
这东西相对于普通折刀，优点：
缺点：
标题源自康德的「物自体」的概念（嗯，我又在扯淡）。
有时也想，要不要自己也把一些好玩设计，做出产品来卖着玩。但没有稳定的居住方式的话，开这种店很麻烦。
说起水壶，突然发觉，日常接触的人，就没见过几个人用 SIGG 水壶的；包括背包旅行和户外徒步时，也很少见到用这种铝制水壶的。为什么呢？我一直觉得这东西很好用啊。作为超过 20 年的老用户，换过六七个，基本都是丢失了立刻再买一个。
当我说 SIGG 水壶时，并不包括这个牌子的其它产品，而只是指最经典的铝壳水壶款式，搭配最原始的旋转瓶盖（试过用嘴吸的快速瓶盖，不好用，也很难清洗）。也未必仅限于瑞士 SIGG 的牌子，西班牙的 Laken 也很好用（我不清楚是否涉及专利）。当然，这样的设计已经到处都是了，10 块钱就能买到山寨版。日常参加个超市活动，就能收到一模一样的山寨赠品……大厂商的正品，与之相比，在以下这些方面，都要靠谱很多：
这种铝壳水壶的户外「竞品」，大概有以下几种：
每种水壶，适用的场合不同。当然不能说 SIGG 的铝瓶在一切场合，都胜过所有其它水壶。但对我来说，这种水壶，在日常的很多场合，其综合实用性更高。
而相对来说，一些「缺点」，对我来说，并不是很重要：
另外，有一个专属于水袋的优点：水不满的时候，不会在瓶里摇晃，浪费体力。这个确实是其它水壶难以做到的。而且水壶容量越大，问题越严重。但我用的铝瓶只有 0.6L，摇晃消耗的体力并不严重。长途徒步时，我也会带几个大可乐瓶装水，铝瓶的水喝完了，再从其它瓶子灌进来，让其它瓶子始终保持全满或全空的状态。
金属水壶的优势
SIGG 这种铝壳水壶，就是早期的金属军用水壶，在现代技术下的轻便款。它的「不保温」、「导热性太强」，其实并不能算缺点，反而是这类水壶的优点。户外有很多场景，是只有这种水壶，才能更方便地做到的：
曾经忘在冰箱冷冻室里的水壶……我还以为结冰膨胀后，会是瓶盖被顶出来，但居然是整个瓶身涨裂了。
一些 SIGG 的业界八卦
虽然 SIGG 号称创建于 1908 年（名字源于瑞士创始人 Ferdinand Sigg），但长年来都是在做家用铝制品，水壶的设计，直到 1980 年才问世。最初也用这个形状，给 MSR 等户外炉具品牌做油壶，但因为技术含量不高，很快 MSR 就自己做油壶了，于是 SIGG 专注于做有内层镀膜的水壶。
传说 SIGG 原始公司的所有权，1999 年就已经被某投资集团接管。2003 年，SIGG 被美国 Riverside 收购。但之后不久，全球开始讨论 BPA 塑料制品的安全问题；而 SIGG 在这期间的表现……相当恶劣。SIGG 在 2008 年 8 月 之前生产的水壶，其内膜是包含 BPA 的；但他们对合作方，著名户外品牌 Patagonia，说他们的水壶内膜一直是 BPA-free 的。2009 年，Patagonia 的老板 Yvon Chouinard 手持 SIGG 水壶，在 Backpacker 杂志登广告阐述环保理念。但没过多久，SIGG 曾经含有 BPA 的事情就被揭露。Patagonia 愤怒地发表声明，终止和 SIGG 的一切合作，撤回杂志和合作卖出的 SIGG 水壶。
整个事件指名道姓的都是 SIGG，并没有谈到母公司是谁。2008 之后 SIGG 的镀膜也都是 BPA-free 了，但无疑这件事对市场的影响是巨大的。然而，具体严重到什么程度，我并没有特别直观的认识。日常见到的户外店和时尚家居店里，仍然还能见到 SIGG 的水壶在卖。但美国那边的控股方，生意大概是做不下去了吧？于是，2016 年，SIGG 被转卖给……浙江哈尔斯真空器皿，成交价 16.1m 瑞士法郎。
从此，SIGG 变成了国货……据说原始的铝瓶款还是在瑞士 Frauenfeld 制造（我对此表示怀疑）；但 SIGG 官网上迅速多了一堆，有着明显义乌风格的国产不锈钢和玻璃保温杯，而铝瓶款也多出几款，瓶身凹嵌了橡胶隔热圈的迷之变形。不过浙江哈尔斯本身也在给 Stanley、Yeti 做代工，所以大概也是受后者的时尚路线影响……
关于车里用的燃气炉灶方案。因为只是简单的 van，而不是正式的房车，不存在内嵌的燃气系统，只是每天把各种气罐炉头搬来搬去。简要地说，每天使用最多的方案是：
从大号液化石油气罐（POL），先转成美式一磅罐卡口（UNEF 1″），再转接到户外圆罐炉头（Lindal B188）上。
这样的组合，可以随时把其中的一些环节，替换成其它款式的气罐和燃气用品。
户外常见的气罐接口，大概有这五种：
① POL，也就是最常见的大号「煤气罐」，准确地说，叫「液化石油气罐」。我这边日常可以买到的，有 3.7kg 和 8.5kg 两种容积。大的更划算，但我的床板下面只能放进小号的，换一瓶气大约 $20，Bunnings 和很多加油站都有换。
还有一种 LCC 27 接口，是 POL 的升级版。近年来政府渐渐把 POL 气罐，升级成更安全的 LCC 27 接口。这个是向下兼容的：原先用在 POL 上的管线，仍然可以拧进 LCC 27 的气罐；反之则不行，LCC 27 专用的管线，不能用在 POL 气罐上。所以，使用 POL 的管线，就不必在乎每次换到的气罐，是旧接口还是新接口。
② 3/8″ BSP-LH，另一种大号石油气罐的接口，通常只有专门的户外型房车才会使用。加油站很少见，更换气瓶也远不如 POL 方便。可以很方便地改成 POL，户外店有转接头卖（$15）。
③ UNEF 1″ / BOM，北美常见的一磅重的绿气罐，北美的加油站和便利店到处都是，但澳洲和中国很少，只有专门户外店才有。
④ Lindal B188，又名 7/16 UNEF，户外背包露营时，最常见的扁圆气罐。虽然北美有很多炉头，都是 ③ 的 UNEF 接口，但毕竟 UNEF 接口过于笨重，自己背而不是车载露营的话，国际通用的炉头，更多的还是 ④ 的接口。
⑤ 常见的火锅店长气罐。虽然工艺远不如 ③ ④，但是更便宜也更好买，所以很多用 Lindal 圆罐炉头 ④ 的人，都会常备一个 ⑤→④ 的转换头（$5）。（长罐到美式一磅罐 ⑤→③ 的转接头我从来没见过，大概因为美式罐太笨重了）
还有一些不常用的接口，譬如和 ④ 很像但是不带螺纹的气罐、以及一些笨重烧烤台用的 1/4” BSP……与本文无关，就不面面俱到地提及了。
一张图显示我日常的炉灶系统：
于是，日常使用最多的组合方案，包括：
日常煮食时，炉头和锅放在旁边的桌板，或者直接放在地上也可以。并不需要专门把气罐搬出来用。
其它车内需要用到燃气的装置，还有：
以及，必须的，一氧化碳监测仪，$25
ps，关于灌装。所有的一磅罐、户外圆罐、火锅长罐……厂家都是禁止用户自行灌注燃料反复使用的。但所有这些罐子，都存在着自行灌装的黑科技，以及相应的很便宜的转接头卖。其中美式一磅罐因为自带减压阀，比其它罐子更安全一些。个人感觉重复灌几次，还是没问题的。网上也不乏号称一个罐子反复用了一辈子的。但我还是不推荐读者贸然使用，请自行斟酌。如果只是偶尔用一下小罐子，多买几个一次性火锅气罐也就是了。
卖转接头的网店图。——但是连卖家的演示图，也是错误的。灌装时应该把大罐子倒置，让沉在下面的液态的石油气流进小罐子，而不仅仅是挥发的气态。
学微机原理的同学都是要求学汇编语言的，但是这种古老的语言并没有良好的移植性，用 Mac 的同学深受其害，往往都需要在 Windows 虚拟机下运行 Dos 模拟器完成，但是 macOS 下也有很棒的 DOS 模拟器，让我们可以跳过 Window 虚拟机这一环。
不要给我说 nasm 命令！！那个东西基本跟学校学习的汇编不兼容，劝发现这个命令的人老老实实用 DOS 模拟器吧。
Windows 下著名的 DOS 模拟器，华中科技大学自动化学生御用 DOS 模拟器，其官网已经多年没有更新了，所以对于最新的系统可能有一些兼容问题。
最新的版本是 2010 年推出的 0.74 版，之后就再也没有更新。细心的读者可能会发现，DOSBox 居然有 MAC OS X 版！各位，先别急着欢呼，我这里之所以用 MAC OS X 而没用 macOS 就是想提醒大家这个版本已经很老了，最新版的兼容性堪忧。
所以广大的 macOS 该怎么办呢？大家放心，既然我博文都写出来了，肯定有比装虚拟机更好的方法。
就是我们大名鼎鼎的 Boxer！虽然最新更新日期是 2016 年 2 月，快有一年没有更新了，但是相比于 DOSBox， 已经好太多。官网地址
软件本身自带几个 DOS 游戏，大家可以试着玩玩，但是我们今天的主题不是这个，而是用它进行汇编语言实验。
有了著名的 DOS 操作环境，下面我们需要搭建开发环境，毕竟 Boxer 本身是不包含编译汇编程序的。
这是我找的一份 DOS 环境下汇编语言开发包，提取码是 je38。至于从哪找的我已经忘了，反正好用无毒！
下载好后把里面的程序放到你的汇编语言开发环境中，即在同一个目录下。
打开 Boxer 后选择 Open a DOS prompt, 即进入的我们熟悉又和蔼的 DOS 操作环境。但是我们目前处于一个神奇的位置 — — Z 盘！Z 盘是在哪里呢？抱歉我也不知道，也不想知道。
我们目前要做的就是定位到我们的项目文件夹。方法很简单，也有多种，这里我介绍最方便的一种，其他的读者可以自己探索。
把你的项目文件夹直接拖动到 Boxer 窗口中，Boxer会把你拖动的文件夹当成 C 盘挂载。
挂载成功后，就是这样的！
输入 dir 我们可以浏览当前文件夹下都有哪些文件。
编译文件用 masm 命令，如：
masm example.asm
编译成功后会生成 .obj 文件，用命令 link 链接对应的文件生成可执行文件，如：
link example.obj
运行生成的 .exe 文件即可！
为了写长篇论文，整理各种散碎的构思和素材，尝试了一圈现有的写作工具。把体验的过程记一下。
先说结论。符合刚需，可供选择的，只有下面这几个。目前的考虑次序是：
参考过，因为不满足刚需被淘汰的：
有一些我知道但没有去试的，譬如 IA Writer。以及这些年似乎有很多，给网文作者开发的写作工具，就不去一个个试了。毕竟我只是要找个自己能用的，而不是做这方面的全面评测。
首先，我寻找的这个工具，是为了一个特定的写作项目，而不是日常泛泛的信息管理。所以，一些对于后者而言，很重要的功能，我是不需要考虑的。
六种工具的横向比较。空白的是我还没仔细看的。
| Scrivener | Lattics | 思源 | Manuskript | CherryTree | Joplin | |
|---|---|---|---|---|---|---|
| 界面 | ★★★ | ★★★ | ★★★ | ★★ | ★ | ★★ |
| markdown | x | √ | √ | x | x | √ |
| 内部链接 | √ | √ | √ | x | √ | √ |
| 分屏 | √ | √ | √ | √ | x | x |
| 切换项目 | √ | x | √ | √ | √ | x |
| 外部编辑器 | x | x | x | x | x | √ |
| zotero | x | x | x | |||
| 卡片 | √ | √ | √ | x | ||
| 多设备 | x | x | x | √ | ||
| 管理媒体文件 | ||||||
| 学习复杂度 | ★★★ | ★★ | ★★ | ★★★ | ★★★ | ★★ |
| 开源 | x | x | x | √ | √ | √ |
| 国产 | x | √ | √ | x | x | x |
| 费用 | 买断 | 免费+订阅 | 免费+订阅 | 免费 | 免费 | 免费 |
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