日本游戏批评思想地图——兼论游戏批评的向度

游戏批评包含不少向度,其中有两个向度常被运用,即指向文艺鉴赏的第一向度,与指向超越性问题意识的第二向度。日本的游戏批评起步于20世纪80年代,这些批评对当时流行的宇宙类游戏给予了高度关注,并从游戏文本中解读日本社会的深层构造。之后的游戏批评,把注意力转向游戏中普遍存在的故事性,批评的向度也由超越性的问题意识移向文艺鉴赏,逐渐成为市场机制的一部分。2000年以后,东浩纪与大冢英志的学术论争,催生了“游戏现实主义”,成就了日本游戏批评的最高峰,游戏批评逐渐被引回学术领域。如今,在日本政府与游戏业界的协助下,日本学界正在厘清已有的游戏研究成果,并着力于游戏批评史的建构。

An Ideological Map of Criticism for Japanese Games:With the Disscussion upon the Dimension of Game Criticism

The game criticism includes at least two dimensions,with one towards literary appreciation and the other one towards transcendentalism.In Japan,the game criticism came to birth in the 1980s,during which period most critics focused on space games and tried to interpret the deep structures of Japanese society throughout the analyses of those games.However,the focus of game criticism was later shifted to the storytelling,which paid more attention to the literary appreciation and became part of the market mechanism.Since the year 2000,the academic debate between critics Hiroki Azuma and Eiji tsuka brought about the conception of“Game Realism”,which represented the peak of game criticism in Japan.Nowadays,in association with the government and the game industry in Japan,Japanese academia of game studies attempts to sort out the existing research results and reconstruct the history of game criticism in Japan.