日本的女性遊戲開發者中村育美，曾待過Capcom和白金工作室等，現在出來成立自己的遊戲工作室Unseen，這是她的訪談：

Ikumi Nakamura on the Future of Video Game Design | ...

“I got into Capcom to make horror games and I ended up making Okami,” she says. “It was a bit of a realization – ah, it’s not just horror games, is it?”
（因為喜歡惡靈古堡／生化危機系列）為了製作恐怖遊戲而進入Capcom，結果最後在製作《大神》，理解到不只有恐怖遊戲而已

In the gaming world, especially in Japan, the majority of its key players are male. This obvious gender disparity does not come without its problems. Without Nakamura’s aforementioned drive and determination, it’s possible that she would have given up on game designing herself.
在遊戲界，尤其是在日本，其主要參與者大多是男性。這種明顯的性別差異並不是沒有問題的。如果中村沒有上述的動力和決心，她有可能會放棄自己的遊戲設計。

Many of her peers quit two to three years after starting, citing poor physical and mental health. Indeed, it is well documented that companies such as Capcom had employees sleeping under desks and working around the clock.
她的許多同齡人在開始工作兩到三年後就辭職了，理由是身體和精神健康狀況不佳。事實上有資料顯示，像卡普空這樣的公司有員工睡在桌子下面，晝夜不停地工作。

Nakamura also mentions a lack of support for development. Then there’s discrimination, with no females in management positions at the companies she worked at.
中村還提到了開發過程中的缺乏支援。然後是歧視，在她工作過的公司中，沒有女性擔任管理職務。

She speaks of how she’d like to change this by creating, in Unseen, a studio where “people can look at the studio and think ‘I want to be like that too.’
她談到她想透過創建工作室來改變這種情況，人們可以看著Unseen這間工作室並想著「我也想成為那樣的人」。

“As a developer myself, I wanted to create a studio that would incorporate many of the wishes developers have,” she says.
她說：「作為一個開發者，我想創建一個工作室能納入許多開發者的願望。」

Unseen aims to be a home away from home and she’s thankful that remote work became the norm during the pandemic.
Unseen致力於成為一個在家庭之外的另一個家，她很感謝在疫情期間遠端工作成為常態。

“We try to create an atmosphere where [artists] do not feel constrained by their time,” she says. “We have a system that makes it easy for them to adjust their life to work, such as taking a walk, going to the hospital, or picking up and dropping off their children.”
「我們試圖創造一種氛圍，讓[藝術家]不覺得自己的時間受到限制，」她說。 「我們有個系統，使他們很容易調整自己的生活融入工作，例如散步、去醫院或是接送小孩。」

Nakamura, a parent herself, talks about innovations to assist working parents, rare for a Japanese company. Learning from the pandemic, the innovations ensure that employees needn’t be worried if there is no childcare available, as they can bring their children in.
中村本人做為一個家長，她談到了幫助在職父母的創新，這在日本公司中是很少見的。 從疫情中學習到，這些創新確保員工在沒有托兒服務的情況下也不必擔心，因為他們可以將孩子帶到公司。

“Unlike what we often see in Japanese dramas, artists won’t have to choose between work or family,” she says. “I want to make an environment where workers can have both these things.”
「與我們經常在日劇中看到的不同，藝術家不必在工作或家庭之間做出選擇，」她說。 「我想創造一個員工可以同時擁有這兩種東西的環境。」

When talking about her future plans for Unseen, Nakamura mentions gaming lessons and her passion to educate future generations.
在談到她對 Unseen 的未來計劃時，中村提到了遊戲課程以及她對教育下一代的熱情。

Emphasizing the importance of the role of a varied curriculum, she wants to teach children how to communicate, present and collaborate together in a multicultural environment, through game development.
強調多樣化課程的重要性，她希望通過遊戲開發教孩子們如何在多元文化環境中進行交流、展示和協作。

Her dream is to have a children’s game design school, where children from the ages of five to 15 can work together to build a game from scratch.
她的夢想是擁有一所兒童遊戲設計學校，讓 5 到 15 歲的孩子可以一起從零開始製作遊戲。

And in a changing world, with youngsters even deeper into the digital realm than ever before, she thinks this could benefit not only their communicative skills but maybe even inspire them.
在一個不斷變化的世界中，年輕人比以往更深入地進入數位領域，她認為這不僅有利於他們的溝通技巧，甚至可能啟發他們。

“I’d hope that thanks to our actions, children will say: ‘I want to be a game creator too,’” she says.
「我希望透過我們的行動，孩子們會說：『我也想成為一名遊戲創作者』」她說。

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沒有翻全文，只挑我非常有同感的部分

查了一下她年紀還比我小 只是我入行比她晚了七年左右…
早期的台灣遊戲業我根本進不去，也沒有我想要投入的作品在

總之看到有類似理想的人願意跳出來真的滿感動，希望她可以成功
不像我在哪都大逆風，遊戲業絕大部分都男性，認識好幾個事業成功然後犧牲掉家庭的老闆（男），而以女性為主的創作圈像是噗浪之類，不婚不生才是主流，媽媽圈子討論的話題則是小孩都沉迷遊戲怎麼辦、如何管制小孩玩3C…

雖然看到我小孩想像我一樣也會擔心他以後要怎麼辦，不過總之還是我自己得先生存下去吧

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中村的推特，已經有三十幾萬追隨者
Ikumi Nakamura 🪐@unseentokyo (@nakamura193) / Twitte...
謝謝中村さん，讓我目標變得更明確了