昨天，秃鹫发布了一篇关于《红死人救赎2》**的深入报道。其中一句话特别吸引了许多游戏开发商：“我们每周工作100小时（2018年有几次），”首席作家丹·豪瑟解释道。在一个饱受“紧缩”困扰的行业里，这是一个令人失望的发现。紧缩这个词描述了过度工作和强制（通常是无偿）加班，尤其是在项目快结束时。《红死人救赎2》将于本月晚些时候发布，它看起来像是有史以来最具扩展性、最详细的视频游戏之一。但很明显，这些杂乱无章的经历的发展方式造成了人员伤亡。

Rockstar随后澄清了“每周100小时”的评论。在一份即将发表的声明中，豪瑟说：

There seems to be some confusion arising from my interview with Harold Goldberg. The point I was trying to make in the article was related to how the narrative and dialogue in the game was crafted, which was mostly what we talked about, not about the different processes of the wider team. After working on the game for seven years, the senior writing team, which c***ists of four people, Mike Unsworth, Rupert Humphries, Lazlow, and myself, had, as we always do, three weeks of intense work when we wrapped everything up. Three weeks, not years. We have all worked together for at least 12 years now, and feel we need this to get everything finished. After so many years of getting things organized and ready on this project, we needed this to check and finalize everything.

More importantly, we obviously don’t expect anyone else to work this way. Across the whole company, we have some senior people who work very hard purely because they’re passionate about a project, or their particular work, and we believe that passion shows in the games we release. But that additional effort is a choice, and we don’t ask or expect anyone to work anything like this. Lots of other senior people work in an entirely different way and are just as productive — I’m just not one of them! No one, senior or junior, is ever forced to work hard. I believe we go to great lengths to run a business that cares about its people, and to make the company a great place for them to work.

这已经不是摇滚明星第一次被指控过度加班了。2010年，在Rockstar San Diego，关于恶劣工作条件的报道浮出水面。Rockstar San Diego是最初的Red Dead左轮**及其续集背后的工作室，其中包括员工被迫每周工作6天、每天工作12小时的时期。

如果是真的，豪泽的声明表明这种文化已经改变，但无论如何，紧缩仍然是游戏行业的一个严重问题。你只需看看最近“行尸走肉”开发者告密游戏的消亡，不切实际的最后期限导致过度加班，员工因工作环境紧张而精疲力竭。”Crunch culture”被认为是困扰这家曾经大放异彩的工作室的主要问题之一。自此，告密者因为优先考虑完成《行尸走肉》的最后一季，而不是照顾那个些并没有得到遣散费的下岗员工而受到批评。

像这样的事件使工会成为游戏创作者们讨论的一个严肃话题，因为它是解决行业内普遍存在的问题的最可行的办法。今年早些时候，在旧金山的年度游戏开发者大会上，这个话题尤为突出。

“对我来说，问题的本质在于制片厂和出版商如何滥用我们的开发者身份，他们对我们的工作充满热情，愿意投入到产品中，在没有报酬和不尊重我们个人生活的情况下疯狂地为我们工作，资深开发者Jean-Philippe Steinmetz在GDC的圆桌讨论会上解释道。最著名的支持工会的声音之一是一个名为“游戏工人联合会”的团体，该团体旨在“给这个行业的受苦者带来希望并赋予他们权力”