“扮假作真”何以可能?——“后室游戏”及其想象生成机制  

How to Make-Believe? The Imaginative Mechanisms of Backroom Games

作　　者：李苒 LI ran(College of Arts,University of Chinese Academy of Social Sciences,Beijing,102400)

机构地区：[1]中国社会科学院大学文学院,北京102400

出　　处：《文化艺术研究》2024年第3期34-46,113,共14页Studies in Culture and Art

基　　金：中国社会科学院大学(研究生院)研究生科研创新支持计划项目“新实用主义视阈下的电影现代性研究——以卡维尔的伦理学电影本体论为例”(项目编号:2024-KY-028)的阶段性成果。

摘　　要：类型游戏“后室游戏”因其画面视觉拟真度低、场景与形象单一等“弱游戏性”而区别于市面流行的“3A大作”,缺乏一般意义上的“行动者网络性”或“重复可玩性”。其现实关涉性及交互性主要发生于玩家的心理想象和审美体验层面:玩家借助集体记忆与文化惯例这一前置道具,通过游戏画面的增强效果,得以从个体审美体验进入公共性虚构世界,又从给定条件中生成新的个人想象并以此充实游戏所指。“再现”在此从某种符合论标准与道德性要求,转向了被审美感知效果所决定和选择的“自动机制”,以此走向一种有别于模仿论或媒介论、整合当代艺术实践诸层面的“规则论”批评思路。Backroom games differ from AAA games due to their weaker gameplay,which features low visual realism,monotonous scenes,and flat characters.As a result,they lack the actor-network and replayability.Their relevance and interactivity primarily manifest on the psychological and aesthetic levels for players.Leveraging collective memory and cultural conventions as foundations,players shift from individual aesthetic experiences to a shared public fiction through the game visuals.This process generates new personal imaginings and enriches the game narrative.Here,representation moves away from the requirement of standards and morality to an automatic mechanism driven by aesthetics,leading to a"rule-based"critical paradigm that integrates various contemporary art practices,distinct from mimicry or media theory.

关 键 词：后室游戏 沃尔顿 道具 虚构 再现 

分 类 号：J0-05[艺术—艺术理论]