作为大众艺术的互动真人影游——聚焦《隐形守护者》和《神都不良探》  

Interactive Live Action Film-Game as Mass Art:Focusing on The Invisible Guardian&Underdog Detective

作　　者：王若存 周媛媛 WANG Ruo-cun;ZHOU Yuan-yuan(School of Humanities&Research Institute of Literary and Art Criticism,Hangzhou Normal University,Hangzhou Zhejiang 311121,China)

机构地区：[1]杭州师范大学人文学院、文艺批评研究院,浙江杭州311121

出　　处：《廊坊师范学院学报（社会科学版）》2024年第2期35-44,共10页Journal of Langfang Normal University(Social Sciences Edition)

基　　金：浙江省哲学社会科学重点研究基地杭州师范大学文艺批评研究院课题“当代中国新媒介文艺批评话语建构研究”(20JDZD045)国家社会科学基金重大项目“中国新媒介文艺研究”(18ZDA282)阶段性成果。

摘　　要：基于计算机数字技术而将电影与游戏合二为一的“互动真人影游”,可以被视作一种近年来在新媒介语境下逐渐兴起的大众艺术。通过对比分析《隐形守护者》和《神都不良探》这两部较为典型的作品,能够看到互动真人影游在叙事、玩法和情感等方面所呈现的数字艺术性特征,也能够进而理解影游的交互叙事在知觉层面上所唤起的审美介入及其意义和价值。The interactive live action flm-game is a fusion of film and game based on computer digital technology,which can be seen as a kind of mass art rising gradually in the new media context in recent years.Through the comparison and analysis of two typical film-game works The Invisible Guardian and Underdog Detective,the digital artistic features of interactive live action film-game can be illustrated in terms of narration,gameplay,and emotion.What's more,the aesthetic engagement which is evoked by interactive narrative at the level of perception,and its meaning and value can also be elucidated.

关 键 词：影游 交互叙事 介入式审美 《隐形守护者》 《神都不良探》 

分 类 号：J959[艺术—电影电视艺术]