#游戏研究

符号学视角下游戏类文创产品的主题表意研究 ——以侵入式虚拟现实游戏为例

The Chinese Fifteen Magic Blocks”: Tong Xiegeng’s Contribution to Early Education in Late Qing and Republican China

堕落之血（这是个游戏）

符号叙述学理论下的角色扮演类桌面游戏叙事研究

“影游融合”趋势下电子游戏对传统电影蒙太奇的重组——以 《Immortality》为例

通过《龙与地下城》探索性别：挑战或遵从霸权叙事

多元视域下的青年亚文化研究 ——以桌面角色扮演游戏及其玩家为例

可供性视角下，数字技术对桌面游戏的再中介化影响研究

乙女游戏的运营模式策略研究

A New Paradigm in Game Design Using Game Refinement Theory. Xiong Shuo PhD Thesis

Exhibiting a Multidimensional Image of Addicted Gamers: An Ethnography of CSGO Gamers in China

网络游戏成瘾在世界各地的不同文化中往往被打上危险的标签，这一现象在东南亚国家中尤为明显。本文将网络游戏成瘾视为一种蕴含着危险因素的审美活动，在半边界的框架下，探寻了游戏自身所存在的不确定因素和确定因素对于玩家的吸引力。当玩家过于沉浸时，可能产生不好的影响，但是玩家作为具有能动性的主体可以及时自我调节，使游戏再次成为一种良性的活动。同时，本文将网络游戏成瘾放置于更广泛的环境之中，探讨社交、家庭和社会对于成瘾玩家的影响，最终发现中国社会存在由新技术恐慌和社会焦虑而产生的对于网络游戏和成瘾玩家的道德恐慌。 3 Introduction With the continuous development of the Internet, online games, as an extension of Internet technology, have attracted more and more attention from policymakers, scholars and the general public. According to Statista, by 2022, about 5.3 billion people worldwide will be using the Internet1, and the number of video game players is expected to reach 3.07 billion in 20232. In China, according to the report released by CNNIC in 2022, by June 2022, a total of 1.05 billion people were using the Internet in China, with the Internet penetration rate reaching 74.4%. The number of online game users in China has reached 552 million, accounting for 52.6% of the total number of Internet users in China3. It can be seen that the Internet has gradually become a significant tool in people's daily lives. In addition, the Internet provides a new place for real people to spend their time (Whang & Chang 2004). Howard et al. (2001) provides an analogy by referring to the Internet as "third spaces", such as a café where people spend long periods. Online games also attract players to spend time in the virtual space, and many players have shown their love and reliance on online games. As the number of people playing online games has grown, behavioural addictions such as Internet Gaming Disorder (IGD) have been gaining interest from researchers and clinicians. American Psychiatric Association created a category of behavioural addictive disorders in the 1 Number of internet users worldwide 2005-2022. Statista (available on-line: https:

《魔兽世界》玩家二十年行为变迁研究（2005-2024）

反失忆游戏：作为历史性当下情感档案的中国独立游戏

Designing with fantasy in AR games for learning

Exploring the Synergy of Videogames in Visitor Engagement and Advancing Museum Digitalisation-Two case studies from Nintendo

As technologies are ever-changing, to advance museum digitalisation, enhance visiting experience, attract younger audiences and bridge gaps between museum spaces and the digital world, videogames, which developed simultaneously with museum digitalisation, have been incorporated into museum practices. But most academic research focuses on the value of videogames as digital heritage, few studies have considered videogames as digital approaches in advancing museum digitalisation. This research aims to investigate the role of videogames in helping museums achieve their digitalisation purposes, their mutual impact and people’s perceptions of videogames as part of museums digital practice using two typical examples: The Audioguide Louvre - Nintendo 3DS (AL-3DS) and Animal Crossing New Horizon (ACNH). The research analysed the content of two games, conducted questionnaires with AL-3DS users and ACNH players and held semi-structured interviews with AL-3DS users. Results for the AL-3DS study indicate that traditional museums can use videogame mechanisms to offer visitors a more immersive and flexible museum experience by replacing or complementing traditional audioguides and recreating certain elements of physical museums in virtual spaces. The ACNH example proves that adding museum elements to videogames can enhance overall gaming experience and help players understand every aspect of real-world museums, providing players with a digital experience surpassing traditional museum visits. Together, the case studies demonstrate that utilising videogame technologies to either recreate museums in a virtual space or experience the resemblance of real-world museums in games, can increase players’ interests in visiting real museum. Furthermore, both cases demonstrate that videogames can assist museums to eliminate boundaries between physical spaces and the digital world, helping them achieve their digitalisation goals, rather than making digital concepts or equipment in museums remai

科学技术思想史·科学研究中的游戏因素

电子游戏存档及其机制研究

A Game Called Paako: The challenge of an autobiographical video game

Inthe2020s, metafictional videogames, ormetagames, arenolongernewto themassaudience. FromclassicslikeTheStanleyParable(2013)andUndertale (2015)tonewoneslikeThereIsNoGame: WrongDimension(2020)andInscryption (2021), indiedevelopershavepopularizedthisgenreofgames-about-games. But still, fewofthemaregamesaboutthemselves, andnearlynoneofthemis documentingtheircreationprocess. AGameCalledPaako, myinteractivemedia master’sthesis, posesachallengetodesignareasonablyrecursivemetagameby tellingthestoryofitsowncreationprocessfromthetoptotheend, thereforefilling thegapinthecurrentdiscourseandthestateoftheart. v ChapterOne:Introduction

Characteristics of Pets in East Asian Video Games and their Genesis in the Perspective of Gaming Traditions

In this paper, we will start from the definition of "pet" and briefly introduce the images of pets in video games from different regions and different eras. From the perspective of East Asian people's historical approach and attitude towards games, the paper will explore the different patterns and trends of the pet element in video games from the East and the West, as well as the reasons for their formation.

Ludo-spectatorship as gaming and metagaming: exploring the pleasures of assemblage

面向青春期亲子沟通的游戏设计研究

游戏开发是否鼓励创意？

The purpose of this dissertation is to explore the interrelationship between the two critical components in the video game industry: production and creativity. Creativity is believed to be the key motivation and the most significant factor behind the massive value potential within the industry. However, the current industry has been blamed for intensive labour exploitation and commercialised product with stereotypical game design. There seems to be a contradiction between production systems and creativity. Thus, I come up with the research question: Are current video game production systems propitious to creativity? To answer the question, I disassemble the current video game production systems and analyse them with creativity estimation methods in previous research. In order to conclude a macro perspective on the complete picture of the current video game systems, I choose two representative and extreme sy stems as my research subjects: AAA game production and game jam. The former represents the most complicated system when thousands of game producers work on a single project. AAA game production is characterised by an intensive division of labour, high technology support, massive capital investment, and increased marketing budgets. On the one hand, creativity is enhanced by adequate resources in AAA game production. On the other, the instability brought by creativity results in commercial risk against major corporations' business strategies. As a result, maintaining the stability of projects has a higher priority on creativity. AAA game production is blamed for the exploitation of labour and financialisation. As the producers are alienated from their products, assemble-like products without personalised aesthetics and creativity can not provide the sense of creativity of playing for consumers. Game jam represents the minimalist video game production system with extremely limited production conditions. In most situations, game jams require a small game production t

FACILITATING PARTICIPANT ENGAGEMENT IN REMOTE CO-DESIGN THROUGH GAMIFICATION

Rapid-changing innovation environments require more interaction and interchange of knowledge among multi -stakeholders. The co -design approach is increasingly popular on these occasions thanks to its unique and diverse approaches to engaging people in design activities. However, impacted by the covid19 pandemic, the classic in-person co-design event cannot be organized. A challenge has emerged during the lockdown and in the post -pandemic era when working from home becomes the new normal. That is, how to faci litate co-design activities remotely? As the employment of game elements in non -game contexts, the gamification approach has been applied for many serious purposes in online environments. It seems a promising solution to facilitate remote co - design in terms of engagement. However, this is a topic that continues to pose challenges for designers and researchers. How to unders tand participant engagement? How to facilitate participant engagement in remote co -design through gamification ? How to measure participant engagement if a gamification solution is proposed? The research actions follow the 'research through design' process. Start by formulating several structured design principles and hypotheses built on the review and analysis of literature. Various types of prototypes are continuously designed and developed based on the result of the literature review. Finally, the core hypotheses can be verified through the implementation of experiments or studies in the real field or a context - simulated lab. In order to gain a comprehensive understanding of participant engagement, we applied a systematic review scan across the design 3 literature. The results suggest a dimensional and attribute -based interpretation, in which engaging participants can be understood as the promotion of intrinsic motivation, involvement, and empowerment. By scanning the literature in game studies and supported by the case studies, we introduced the framework of "game principles," in

关于游戏中“劳动”特征的研究-基于社交游戏的流程与玩家体验

本文将通过阐明近年来出现的社交游戏中游戏的劳动性质，进而深入探讨游戏如何成为一种玩工。 在社交游戏中，与街机游戏和主机游戏相比，主要有两个显着特征。第一个是由玩家的游戏生成的数据 (角色，设备等) 的所有权形式。社交游戏的用户无法将数据作为其游戏的成果。其次，游戏设计的游戏玩法通常与获取以游戏外部 (现实中) 货币交换的虚拟货币直接相关。因此，游戏游戏的行为对玩家来说逐渐并是不有趣的游玩，而近乎是一种获取资源的长时间工作。 在迄今为止的许多游戏研究中将游戏视为简单的“游玩”。另一方面，这些电子游戏理论没有提到游戏中的“劳动”方面。基于上述情况，现代游戏理论中需要加入“劳动”或“劳动性质”的考察。 随着近年来媒体平台的兴起，传播政治经济学提出了一种称为“玩工”的概念。Terranova (2002) 称UGC中的免费劳动随着数字平台的扩大而出现，并称这种劳动形态为“数字劳动”。Kücklich (2005) 主张电子游戏的MOD作者是一种“玩工”，并代表了无形劳动形式的诞生。 此外，Fuchs (2014) 将这种无形劳动形式与马克思政治经济学联系起来，提出了“数字劳动”或“玩工”与平台数字资本之间的阶级关系，并提倡对这种无形劳动形式的剥削性的警惕。然而，在上述所有理论中仅将到电子游戏和UGC的创建者作为研究对象分，而一般的游戏玩家被排除在外。 基于上述问题意识，本文试图考察一般游戏过程中产生的劳动特征，并提出了两个假设并进行验证。(1) 社交游戏的游玩是一种玩工，(2) 这些游戏中的劳动要素它不仅发生在游戏产业与其他行业以及玩家社区之间，也发生在游戏内部。 本文将从“用户生成内容”，“真实货币交易”和“电子竞技”三个角度来探讨玩工，并结合马克思主义剥削和异化的具体情况进行分析。通过对“用户生成内容”的考察可以得出，“玩家”和“游戏结果”的异化关系由帐户系统构成。玩家的“游戏行为”被异化成给予游戏运营方利益的“劳动行为”。通过对“用户生成内容”的考察可以得出，随着互联网经济的发展，游戏的游玩与数字经济之间产生了联系。很明显，当玩家的游戏过程涉 及经济活动时，一般的游玩行为被视为可以用法定货币衡量的劳动行为。通过对“用户生成内容”的考察可以得出，由于电子竞技商业系统的不断扩张与整合，游戏将不可避免地与其他相关行业关联。因此，玩家在游玩过程中可能会受到游戏以外的平台的异化与剥削。通过以上的考察，本文明确了基于玩工理论的电子游戏中存在的劳动性质要素。 基于以上的考察，本研究对社交游戏中的玩家进行访谈调查。通过对玩家的游戏流程的了解和对游戏系统的解析，社交 游戏 中的 劳动要素可以归结为“有意延长游戏时间的机制”，“在一定时期内可持续发挥的机制”“与其他平台延长游戏体验的机制”三种机制。通过考察与采访，本文明确了游戏中的四个劳动要素:“建立账户系统”，“可持续发挥机制”，“与其他平台的强有力合作”，“游戏中经济行为的发生”。上述劳动要素构成了游戏中“游玩行为”成为“劳动行为”的机制，并使玩家的游玩变成了一种劳动。 因此，本研究证明了“一般的游戏游玩中也会产生劳动性质”的假设。然而，基于游戏产业的现状，不能证明一般游戏游玩本质上是一种玩工。但基于游戏产业发展的现状，本文呼吁对未来游戏中包含许多玩工要素的可能性保持警惕。 2023 Master thesis A study on "labour" character in game play ~ Focusing on social game process and players ~ Ritsumeikan University Department of Image Art, Graduate School of Image Art TONG Haorui

从游戏《师父》的复仇叙事辨析其价值表达

游戏《师父》一经发售，不仅成为了一款成功的商业作品，而且成功地引起了全球玩家对中国文化中“武德”的讨论。本文拟从作品的主要情节出发，分析武德在历史上所具有的内涵，剖析作品的复仇叙事，并从武德精神和复仇叙事的并置中，辨析作品表达中国价值武德的偏差。武德的本质是儒家化的伦理素养，讲求以武会友； 而复仇叙事思考的是暴力之争与复杂人性的发现，是敌友之辩的问题。 作品表达武德的偏差就在其中。 【关键词】游戏研究；文本研究；价值表达；复仇叙事；武德精神 从游戏《师父》的复仇叙事辨析其价值表达 Discerning the value expression from the revenge narrative of the game SIFU

电子游戏玩法与概念隐喻： 关于结构化经验的比较猜想

本文处理的中心问题是，电子游戏体验能否适用概念隐喻理论加以解释。这一问题的出发点是体验赋有结构。莱考夫的概念隐喻理论主张，人的理解和体验经过了认知层面隐喻映射机制的加工，这种加工给人的经验赋以范畴结构，建构人所理解的概念，从而产出人所使用的语言表达中的隐喻。在这个意义上， 隐喻语言是隐喻思维过程的一种表征模态， 反映着人结构性地理解和体验事物的方式。就结构性地理解和体验这一点而言，以沉浸感著称的电子游戏引起了我们的注意。对电子游戏的朴素观察表明，玩家常常将玩游戏当作一场自足、完整、有意义的活动，而不只是其间一连串的机械操作之和；也就是说，玩家的游戏体验似乎也赋有一定的结构，以至于玩家用整体的方式去理解游戏，把游戏体验为某种比游戏操作之和更“多”的东西。 电子游戏体验和一般体验都赋有结构这一共同点，促使本文提出比较猜想。这一猜想分两个层次：第一，游戏体验因受到某些因素的制约而赋有结构；第二，游戏体验的结构与概念隐喻理论所揭示的一般经验的概念结构在某些方面可比，就这些方面而言概念隐喻理论可以适用于电子游戏体验。相应地，本文对中心问题的回答分为两个部分。 第一，玩法为电子游戏体验赋予沉浸结构。本文完成的第一项工作是为电子游戏体验提供分析解释框架。首先，解释制约因素具体是哪些。本文认为，目标、规则和互动是电子游戏玩法的基本要素，这些要素规定了游戏最基本的进程和开展方式，因此是游戏体验最基本的制约因素。其次，解释赋予结构具体是怎样一个过程。本文主张，目标、规则和互动三个要素相互协同，作用于游玩兴趣、游戏参与和游戏操控三个层面，而沉浸感正是从这三个子层面形成，因此游戏玩法为游戏体验赋予了沉浸结构。另外，游玩过程中存在的一种葛莱斯主义式的默契也值得注意。 第二，沉浸结构的不同层面与概念隐喻理论有着不同的关系，沉浸结构的参与层可以承载隐喻，而操控层则与概念隐喻理论主张的跨域映射机制存在冲突。本文选择“过程是旅程”这一典型概念隐喻，发现互动故事类电子游戏的设计和内容组织方式中也能找到这一隐喻的表征，游戏可以通过让玩家参与决定过场演出和故事线走向实现用旅程认识任务过程，在这个意义上，电子游戏兼容概念隐喻，或可视作概念隐喻的一种新模态。但另一方面，电子游戏的可玩性与叙事性之间存在冲突，玩家操控角色完成的旅程常常就是过程的一部分而非对过程的象征，旅程域与过程域常常合而为一，因此难以适用概念隐喻理论主张的两个并立认知域之间建立隐喻映射的机制。

电子游戏中的幻想主题及玩家行为的文化意义研究——以《艾尔登法环》为例

《艾尔登法环》是由日本电子游戏开发公司“From Software”制作并发行的动作角色扮演游戏，亦是黑暗幻想题材的典型之作。本研究结合了文本分析、网络民族志与访谈的方法，探讨了游戏本体的幻想元素如何在当前文化背景下产生的，玩家在游玩过程中又与游戏本体进行了怎样的互动。文章的第一部分通过对此游戏文本及游玩过程的分析，确定了如下文化主题： （1） 意义之无； （2）死亡循环； （3）自由意志。第二部分则根据受访玩家的主观描述及对网络社区的田野调查，将玩家行为意义归纳为以下三类： （1）挑战； （2）收集； （3）漫游。