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作 者:谭雅·克什温思卡 韩真真(译) Tanya Krzywinska;Han Zhenzhen(translated)(Digital Games Academy,Falmouth University,Penryn,Cornwall TR109FE;Zhejiang Academy of Culture&Tourism Development,Hangzhou 310008;Tourism College of Zhejiang,Hangzhou 310008)
机构地区:[1]英国法尔茅斯大学电子游戏学院,康沃尔彭林TR109FE [2]浙江省文化和旅游发展研究院,杭州311231 [3]浙江旅游职业学院,杭州311231
出 处:《文化艺术研究》2022年第4期108-110,116,共4页Studies in Culture and Art
摘 要:在游戏中,情动通常与愉悦感、行动力和自信心相关,但在恐怖游戏中,表征和表现有复杂的互动,产生的情动往往与此相反。与普通游戏中那“尽在掌握”的愉悦和井然有序的世界不同,恐怖游戏建立了另一套语言体系,能够创造一种更复杂的“愉悦”,更加高级,更为革新。This article outlines a personal perspective on the way that Horror games create affect in a complex play between representation and performance and that,in some cases,operate against the usual Vitruvian coordinates of games that are used in order to work with the types of affect associated with pleasure,agency and assuredness.The author argues that against the usual informative pleasures of self-affirmation and a clockwork universe,Horror games configured against normative game vocabularies have the potential to create a more complex form of “pleasure” that is both complex and transformational.
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