Gov. Gavin Newsom’s aides said that their online insults were meant to ridicule figures on the right. But some critics say they are homophobic.

© Felix Hörhager/picture-alliance, via AP Images

Eli Lilly plans to acquire Centessa Pharmaceuticals, which has been conducting a midstage clinical trial of its lead drug.

© Scott Olson/Getty Images

Central Park is car-free, and so is Prospect Park. What about the rest?

© James Estrin/The New York Times

The just resentments of a shrinking middle class.

In India, China and several other nations, Novo Nordisk is on the verge of losing patent protection for its blockbuster weight loss drug, opening the door for cheaper competing versions.

Four years after the Russian invasion of Ukraine sent energy prices soaring, the war in Iran is posing another challenge to efforts to revive European factories.

Germany’s chancellor seeks to reduce Europe’s reliance on China and the United States. He speaks with a bluntness that few business leaders share.

Chancellor Friedrich Merz laid out his complaints in a frank message to his hosts on a trip to Beijing that China had designed to showcase their relationship.

Chancellor Friedrich Merz’s trip will test his ability to address tensions between the countries, at a time of strain between Europe and Washington.

As we lose our alliances and instability spreads, America is headed for more, not fewer, international entanglements.

The “Project Vault” initiative is intended to reduce U.S. reliance on China for key technology components.

As Washington unsettles its partners, Beijing is reaping diplomatic gains, without backing down on human rights, trade or security.

Why the competition for, and control of, energy resources is central to global politics.

Can middle powers like Canada exist between America and China?

Federal prosecutors quietly dropped their case against the officer, but a Police Department investigation based on the charges led to his firing, the suit says.

It’s time to head off for a weekend away from the January gloom in Granada, Andalusia, southern Spain, where we’ll visit the Alhambra. It’s one of the oldest, grandest, most fascinating and beautiful palaces in Europe.

It started as one of many hill forts used by the Romans in a series of campaigns to control a succession of tribal revolts, and stamp the Empire’s presence close to North Africa. It was rebuilt in 889 CE, but nothing palatial became of it until around 1250, when the ruling Nasrid emir started to turn it into something much grander.

At that time, much of the south of the Iberian peninsula wasn’t ruled by people from Europe to the north, but by Muslim dynasties who had swept up from the south. The Emirate of Granada was the last substantial part of Iberia to remain under Muslim rule, and in 1333 the Sultan of Granada, Yusuf I, decided to transform the Alhambra into a royal palace. In doing so, he and his successors built one of the most exquisite expressions of Arabic Muslim art and architecture along a ridge about half a mile (0.7 km) long overlooking the city of Granada.

This plan from Openstreetmap and its contributors shows the modern site, as of 2013.

Constantin Uhde’s plan of 1892 shows the layout of the Nasrid palaces:

• Red is the site of the Palace of Comares and the Palaces of the Ambassadors.
• Green is the Palace of the Lions.
• Yellow is the Mexuar.
• Blue is the Garden of Lindajar and later quarters of the Emir.

This article shows a selection of views of the palace up to 1883, and tomorrow’s sequel brings that up to the start of the First World War in 1914.

Early paintings of the Alhambra were mainly topographic views, painted in watercolour during the eighteenth century, such as José de Hermosilla’s View of the Alhambra from the Torres Bermejas Castle of 1767. These are similar to views of landmarks being produced in Britain at the time.

Others, like John Frederick Lewis in 1835, came to record details of the remains of the Alhambra’s buildings, as in The Torre de Comares, Alhambra, drawn carefully in graphite and only slightly highlighted and coloured with watercolour and gouache.

While every seriously aspiring landscape painter was flocking to paint en plein air in the Roman Campagna in the early nineteenth century, the Alhambra seems not to have been included in the circuit.

It was the vogue for Orientalist views in the middle of the nineteenth century that first attracted artists to paint the Alhambra in oils. This is David Roberts’ undated view of Alhambra and Albaicin. Roberts is much better-known for his sketches turned into prints from multiple tours of Egypt and the ‘near east’ made between 1838-40. This work probably originated in sketches made when he visited Spain in 1832, and would have then been painted in this form back in Britain after about 1833, and turned into a print by 1837.

Achille Zo was a Basque painter who specialised in views of Spain during the 1860s, such as this Patio in the Alhambra from 1860. These were well received at the Salon in Paris, earning him a gold medal in 1868, following which he too turned to Orientalism.

It was the fine collection of paintings of the Prado in Madrid that attracted many great artists to Spain. In 1867, Franz von Lenbach and a student of his travelled to Madrid to copy the masters there for his patron Baron Adolf von Schack. The following year, he painted two works in Granada: The Alhambra in Granada (1868) is a magnificent sketch including the backdrop of the distant mountains, and appears to have been painted in front of the motif.

Von Lenbach’s Tocador de la Reina shows the exterior of the Queen’s Dressing Room in the palaces, with his student sketching.

Just two years before he was killed in the Franco-Prussian War, Henri Regnault toured Spain, and when he was in Granada he painted this view of the Colonnade of the Court of the Lions at the Alhambra (1869). I suspect this is unfinished, and he intended to complete the detail in its lower half.

Martín Rico was one of the most important painters in Spain at this time. Influenced mainly by the Barbizon school, he painted this finely-detailed view of The Tower of the Ladies in the Alhambra in 1871-72. It captures the dilapidation the Alhambra had fallen into before more recent work to restore it to its former glory.

If Marià Fortuny’s more Impressionist view of a Courtyard at Alhambra (Patio in Granada) from 1873 is to be believed, some parts of the Alhambra had been turned into smallholdings, with free-ranging chickens.

More distant views of the ridge, such as Heinrich Hansen’s undated painting of Granada with the Alhambra in the Nineteenth Century, show its imposing grandeur.

John Haynes Williams (or Haynes-Williams) recognised the merits of views painted from the Alhambra as a high point, in his undated Albaicin from the Alhambra.

The late nineteenth century saw new visitors to copy masters at the Prado: those Americans who came to study painting in France and Germany. Among then, Childe Hassam visited during the summer of 1883, with his friend Edmund H Garrett, and sketch this view of The Alhambra then. This shows the Palace of the Ambassadors, and remains one of the most frequently painted parts of the site.

From even further afield, the Anglo-Australian Tom Roberts visited Granada when he was in Spain in 1883, when he painted this detailed realist view of A Moorish Doorway, Alhambra. Roberts had migrated with his family in 1869, returned to Britain to study at the Royal Academy Schools from 1881, then went to Spain with the Australian John Peter Russell. He returned to Australia in 1884, becoming one of the early Australian Impressionists.

Reference

Wikipedia.

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。

---

任天堂、Game Freak 和宝可梦的故事

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：

• 1983 年：田尻智和杉森建创办了《Game Freak》同人杂志，全手工装订，大家都是为了分享创意和玩法。
• 1987 年：他们受南梦宫委托开发了《Mario Bros. Special》的 PC 版，这是第一次尝试电子游戏的商业开发。
• 1989 年 4 月 26 日：Game Freak 正式注册公司，从同人杂志团队变成了专业的游戏开发商[1]。

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：

• Game Freak：程序和主要设计
• Creatures Inc.：角色模型和素材
• The Pokémon Company（TPC）：任天堂与前两家一起，三方共同成立的公司，统一管理品牌、商标、授权和收益，三方股权各占大约三分之一[2]

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：

• 半年内裁掉三分之一团队
• 取消六个高风险项目
• 集中资源开发《星之卡比 2》

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：

• 马力欧（Nintendo EPD）
• 塞尔达传说（Nintendo EPD）
• 星之卡比（HAL 开发，IP 属任天堂）
• 火焰之纹章（Intelligent Systems 主开发）
• 银河战士 Metroid（Retro Studios / Nintendo EPD）
• 喷射战士 Splatoon（Nintendo EPD）

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。

---

从任天堂逻辑到品牌与设计咨询的启发

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：

1. 长期战略伙伴

• 不是只做一次性的设计方案，而是提供长期的战略判断
• 输出的价值不仅是结果，还有流程、框架和定期校准
• 高价值在于长期陪伴和战略能力
• 弹性的框架给创意滋生提供优秀的孵化土壤

2. 品牌“主机”：核心规则与创新空间

• 核心规则：品牌价值观、核心叙事、设计原则
• 创意空间：让团队自由发挥
• 核心统一 + 创意弹性 = 长期可持续

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。

3. 制度化校准

• 可每个月以安排一次深度品牌校准会
• 明确主线，输出决策方法，让战略落地
• 咨询方成为长期的战略伙伴

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。

4. 启示的核心

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：

• 规则要清楚
• 执行有弹性
• 战略长期稳定

实践大概分四步：

1. 事实梳理：先把过去的成功和失败、团队和市场的价值认同梳理清楚
2. 品牌主机搭建：核心叙事、设计原则、决策框架
3. 制度化校准：每月一次深度复盘
4. 总结价值：方向清楚、决策高效、创意可持续、团队活力长久

---

最后总结一下，我自己体会最深的四点：

• 权责明确：谁做什么、谁负责什么，一目了然
• 核心统一 + 执行弹性：核心稳定，创意自由
• 制度化合作：定期校准，长期稳定
• 长期伙伴观：咨询方不仅是执行者，更是战略伙伴

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

1. 《ゲームフリーク 設立記念インタビュー》4Gamer，2016-02-26
2. TPC 第 7 期有价证券报告书（2023-05-31）
3. 《岩田聪传》日经 BP，2010，pp.68-71
4. 《週刊朝日》1996-03-08 采访
5. 日本版权登记数据库：1018608601「星のカービィ」
6. 本文由 ChatGPT、Kimi、DeepSeek 协助完成

昨天发现 AAAny 更新了发图的功能，于是就顺势发起了一个讨论 AIGC 的话题。

轶轩在话题下问我为什么对外发表的图都是一些细节比较丰富的类型，是否有基于 AIGC 的生成方式而做的一些突破方向的尝试。我觉得，针对这个问题，我可以在对他的回复上，再做一期视频来谈一谈我的观点。

但与此同时，我也想做一些「简练」或「抽象」的图来辅助说明我的看法。于是，今天在工作之余，用一些碎片时间，做了一些图出来。

对此，我尝试比较随意地做了一些「东西」。它们都没有什么明确的「表达」，仅仅只是我随手写的一些 prompt，或者就是在 Midjourney 的社区里复制修改的 prompt，最终出来的东西都是一眼看上去有一些「意境」或者没那么精致细节的但表现比较能唬住人的图像。

你会发现，在这些人类认为偏「抽象」的表达上，AI 反而是比较容易做「好」的。

但是，这种好不是真的好，只是这些风格上，并不需要对细节有很认真的考据，在表现层面上是非常容易「糊弄」的。

这也是现当代艺术作品常常被人诟病的原因之一，因为那些作品浓缩了大量的思考和抽象提炼，但表现形式上，其实并没有比传统艺术更复杂，或更需要技艺和体力上的付出。也就是说，作为当代艺术最核心的「观念」，在完全不需要理解的情况下，一个外行的人或者一个数据量管够的 AI 就可以模仿出「看上去像那么回事」的东西。这种模棱两可的状态，恰恰是江湖神棍和 AIGC 擅长处理的对象。

这里说的「糊弄」「神棍」并非贬义，而是借着世俗的话语体系来表达，这样的「生成作品」并不需要 AI 具备「意识」和「创意」也可以轻松地实现。

那么，什么东西是更难的呢？

细节，是令人信服的细节。

这些是我用 AI 生成的男士剃须刀的设计方案。

你会发现，这些方案咋一看是那么回事，但只要你多看两秒，立刻就会意识到它不对。它们的空间关系、形态的处理、物理交互的关系、电子器件的布局，通通都有很大的问题。这些就是不可信的细节。

因为 AI 实际上并不理解它学习的那些图像。

这些令人信服的关键点，是无法糊弄的。因为它们当中包含了大量精确的思考和训练，也包含了海量的脑力和体力劳动，如果一个「智能体」不理解一个图像背后的复杂逻辑，那么它就没有办法真正地创作出这个对象。它只能模仿，只要模仿得足够像，就可以唬住外行。但是对于以此为生的从业者，这样的智能工具，还不足以成为生产力。设计师可以用这样的工具拓展自己的思维，但这些过程并不能替代设计行为。

从创意到落地，中间还有漫长的路需要人类设计师去走完。

现阶段，更适合工业设计使用 AIGC 的方式是这样：

我的意思并不是让 AI 画手绘图，这仅仅是一种表现方式。但是，这是一种不需要追求精确的表达方式，很适合 AI 用「抽卡」的方式来快速堆想法。除了这种，当然也可以让它生成上面剃须刀那样的图，但同样的，目的不在于出方案，而是借助 AI 的海量数据库，快速地堆出一批发散性思维的「胡编乱造」的混杂图像来。

人类的视野有限，但 AI 看得一定比人类个体的平均值多。

工业设计不是天马行空地想象，它是一种「劳作」。

从初期的构思，从草图推延到模型和效果图，再从设计方案导入结构设计和工艺、制程，这意味着工业设计不是一项纯脑力劳动，不是一种只运行在计算机里的行为。它包含的体力劳作同样是设计的一部份，甚至可以说，是更关键的那部份。这种体力劳作，不仅仅是肌肉和工具的配合，更是人脑对环境、事件、社会群体、物质的反应和处理，设计师的动作意味着这个人对世界的认知。这种程度的认知，对于只运行在计算机内，仍然缺少复杂的传感器和理解过程的 AI 而言，暂时还是无法实现的。

我当然相信它未来会具备这样的能力，但是在目前的技术条件下，依然需要大量的人类来完成这些真正代表了「智能」的「体力劳作」。

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