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引用次数: 0
摘要
本文讨论了在叙事驱动的界面游戏中使用自拍的问题,即把叙事放在类似电脑或智能手机的虚构界面中的游戏,以此在角色和玩家之间创造亲密关系,同时保持玩家作为个人故事见证者而非主动参与者的独立性。文章分析了如何通过将自拍融入界面游戏的叙事中来协商角色间和玩家间的亲密关系和情感距离。这类游戏通常讲述的是边缘化身份人群的个人故事,其固有的亲密性与对玩家代理权的限制--无论是在整个游戏过程中还是在玩家无法亲自自拍的情况下--形成了对比。我们将根据 Gabriel Faimau(2020 年)指出的用于讨论自拍的三个框架来讨论这三款游戏:戏剧透镜(自拍作为自我展示)、社会符号学方法(自拍作为一种交流艺术)和辩证框架(自拍作为一种社会批判)。
Narrative selfies and player–character intimacy in interface games
This paper discusses the use of selfies in narrative-driven interface games, that is games that place the narrative within fictionalized interfaces resembling those of computers or smartphones, as methods of creating intimacy between the characters and the player, while simultaneously maintaining the player’s separateness as a witness of personal stories, rather than their active actor. The article analyses how inter-character and player–character intimacy and emotional distance can be negotiated through the implementation of selfies into the narrative within interface games. The inherent intimacy of such games, which often tell personal stories of people of marginalized identities, is juxtaposed with the constrictions on the player’s agency—both in the overall gameplay and in their inability to take the selfies themselves. Three games are discussed according to three frameworks used to discuss selfies as noted by Gabriel Faimau (2020): a dramaturgic lens (the selfie as self-presentation), a sociosemiotic approach (the selfie as an art of communication), and a dialectical framework (selfie as a social critique).