摘要
橙光游戏是中国最大的AVG游戏网站,它既是许多AVG游戏爱好者的亚文化社区,也作为商业平台,充当游戏工具提供商、游戏发行渠道及代理商。从面向业余游戏制作者的非营利交流社区,到企业化的转型,橙光游戏吸纳了参与文化所积累的物质资源,向着商业动机所驱使的经营模式发展。其中,游戏作者身份被夹在艺术创作者与创意劳动者之间,不断卷入游戏产业链中,为作为商品的游戏提供劳动力。而商业主义亦将亚文化参与者之间的关系,通过类似商品竞争与消费的方式异化,将游戏玩家的情感以商品拜物教的逻辑转移到对虚拟货币的购买和投资上,对亚文化活力造成了破坏。
Cheng Guang Game is the biggest AVG website in China,which is considered as a subcultural community for AVG fans,and a commercial platform which provides online tools,training videos,and recourses buying channels,for youth to make games by themselves.The paper attempts to examine the economic and cultural discourse produced among the roles of website,game maker and game player.By historicizing the development of Cheng Guang,it firstly examines how that the web open up a space for the youth to create their own games and subculture while gradually absorb and appropriate the creativities into cultural industry.Secondly,it demonstrates the given and deprived subjectivity of game makers when their authorship is transformed to creative labor.Lastly,it concerns about the how the game players,as fans and consumers,become to spend money constantly,in order to express their affection and support to games or characters.Though adopting the concept of“participatory culture”by Henry Jenkins to describe the game subculture,the paper mainly points the inevitably unequal status and exploited relationships under the commercial operation on the web.
出处
《文化研究》
2019年第3期160-179,共20页
Cultural Studies
基金
“2018~2019名城名校融合发展战略项目”的阶段性研究成果。
关键词
参与文化
商业主义
橙光游戏
创意劳动
商品拜物教
Participatory Culture
Commercialism
Cheng Guang Game
Creative Labor
Fetishism
