So there you are, watching your favorite show when a beloved character makes a terrible decision, sending the plot spiraling in the wrong direction.
你正在看自己最喜歡的節(jié)目，發(fā)現(xiàn)你最愛的角色做出了一個非常糟糕的決定，使劇情偏離了方向。這個時候除了沖著電視屏幕大嚷、發(fā)推特表示憤怒或直接關(guān)掉電視以外，你還能做什么呢？

What can you do but yell at the screen, fire off an angry tweet, or shut off the TV? If you're a Netflix subscriber, you can go back and change their choice.
如果你是奈飛用戶，你可以回放改變他們的選擇。

The streaming service announced an ambitious experiment in interactive storytelling today with the children's programs Puss in Book: Trapped in an Epic Tale and Buddy Thunderstruck: The Maybe Pile.
今天流媒體視頻播放網(wǎng)站奈飛宣布了一項雄心勃勃的試驗，觀眾可以在奈飛網(wǎng)站上觀看《鞋貓劍客：魔法書中逃》和《雷霆卡車巴迪：點子袋》這兩個兒童節(jié)目的互動劇集。

The shows, which offer thousands of permutations, bring the "choose your own adventure" format to internet TV and make every one of Netflix's 100 million subscribers the director. (Puss in Book is available today, while Buddy lands on July 14th.)
這兩個節(jié)目劇情有數(shù)千種，把“選擇自己的冒險”這一模式引入網(wǎng)絡(luò)電視中，使奈飛1億用戶都可以成為導(dǎo)演。（《鞋貓劍客：魔法書中逃》今天上線，《雷霆卡車巴迪：點子袋》7月14日上線。）

Books and videogames have done this for years, but achieving good results with video has proved difficult.
互動式說故事手法早在幾年前就已經(jīng)應(yīng)用在書籍和電子游戲中了，但事實證明應(yīng)用到電子游戲中并不容易。

Beyond making the technology work, open-ended storytelling doesn't make much sense from a business standpoint if you're a conventional studio or TV network.
對于傳統(tǒng)的演播室或電視網(wǎng)絡(luò)而言，這么做除了能發(fā)展這一技術(shù)外，從商業(yè)的角度開放式的說故事方式并沒有太大意義。

“Truthfully, this was not something that could really be implemented on a broad scale until digital video came along,” says Glenn Hower, a senior digital media analyst with research firm Parks Associates.
“實際上在數(shù)字視頻出現(xiàn)之前，我們是無法大范圍地實施這一做法的，” 市場調(diào)研公司Parks Associates的資深數(shù)字媒體分析員格倫?豪爾說。

“Not only does Netflix have this communication capability being a digitalon-demand service, but it has a huge subscriber base to leverage.”
“奈飛作為一家數(shù)字視頻點播網(wǎng)站，不僅具備這樣的通訊能力，而且還擁有強大的用戶基礎(chǔ)。”

（翻譯：紅樓里的小石頭）

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