“Yes.”叶晚说，“就像我妈妈绣花。她不为了谁看，绣了，就存在了。”

        话题转到绣样。Sarah调出了“雨后春草”的高清图，在共享屏幕上放大。针脚的细节清晰可见，三种绿色的渐变，水珠的光影。

        “This is exquisite.” Sarah说，“The craft**anship… and the story behind it. Your mother was ill when she made this?”

        叶晚点头，用简单英文回答：“Yes. She had lung disease. Breathe hard, but… she kept sewing. Said, when sewing, not thinking of illness.”

        “How long did it take?” Michael问。

        “Three days. But she sewed only a few hours eabsp;day. Rest in between.”叶晚顿了顿，“The water droplets… she used three shades of green. To catbsp;light.”

        Michael示意Sarah做记录。然后他看向镜头后的团队：“Your projebsp;is unusual. It’s not just games, not just art. It’s… a dotation. Doting disappearing things: traditional aesthetibsp;handcraft, quietness. In a world that’s getting louder and faster.”

        “That’s what we want to do.”李君宪接话，用他有限的英文，“To keep something. In code, in pixel, in sound.”

        “The challenge,” Michael身体前倾，“is how to present this in a museum text. Games are for pying, not for looking. How do you make a pyable experienbsp;work in an exhibition? People e, they have limited time, they may not want to sit and py for hours.”

        这正是他们担心的。林薇展示了她设计的“切片方案”：精选场景，循环播放，配字幕解释。但Michael摇头。

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