模组的铭刻与分离:电子游戏影像的诞生  

The Inscription and Detachment of Mods:The Genesis of Game Images

作　　者：耿游子民 GENG Youzimin(School of Arts,Peking University,Beijing 100871)

机构地区：[1]北京大学艺术学院,北京100871

出　　处：《文化艺术研究》2023年第4期44-53,114,共11页Studies in Culture and Art

摘　　要：游戏影像研究作为电子游戏研究的一个重要范畴,具有归纳、阐释电子游戏与其他媒介不同的作用。厘清游戏影像的发生学机制是开展游戏影像研究的前提。基于西蒙栋、基特勒等人的相关理论,游戏的影像可从技术物和数码物角度区分为前游戏影像和游戏影像,且游戏影像来源于深厚的媒介物质性基础——游戏模组。沿媒介物质性与技术哲学两条理论进路,结合《双人网球》等早期电子游戏,不难发现游戏模组经历了从技术物滑向数码物的过程,作为数码物的模组诱发了电子游戏资产—代码分离模式的出现,催生了游戏影像。借由拉图尔的相关理论,游戏影像研究可总结出意识形态批判与技术批判这两种面向。An important topic of video game studies,game image studies serve to categorize,distinguish,and explain the differences between video games and other media.Clarifying the generative mechanism of game images is a prerequisite for conducting researches.According to Simondon and Kittler,game images can be categorized into pre-game images and game images from the perspectives of technical and digital objects.Game images originate from the material foundation of video game modding.By exploring the theoretical approaches of materiality and technological philosophy,and examining early video games such as Tennis for Two,it can be observed that mods have evolved from technical objects to digital objects.As digital objects,they have given rise to the separation of game assets and game code,thereby the birth of game image.Based on Latour's theories,this article summarizes the two aspects of game image studies:ideological critique and technological critique.

关 键 词：游戏影像 游戏模组 技术物 不可变的可移物 铭刻 

分 类 号：J904[艺术—电影电视艺术] G899[文化科学—体育学]