Loop
Loop
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DOI：
10.18574/nyu/9781479802043.003.0007
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发表时间：
2020-04
期刊：
影响因子：
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通讯作者：
Christopher B. Patterson
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文献类型：
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作者：
Christopher B. Patterson
本章探讨了《孤岛惊魂》系列中的开放世界射击游戏是如何让玩家参与重复的“游戏循环”（跳、跑、瞄准、射击）的。在东南亚的旅游和饱受战争蹂躏的目的地，这些游戏看到刺伤，射击和向岛上的当地人投掷手榴弹的暴力行为，而不是英雄或帝国主义，而仅仅是“做点什么”，一个快速的三秒乐趣变得充满活力和不同，足以建立三十秒的乐趣。本章通过罗兰·巴特的“快乐”和“布利斯”理论分析《孤岛惊魂》的游戏循环，这是一种保护和扰乱玩家身份和社会世界的色情游戏形式。虽然游戏循环通常会带来一种漂流的乐趣，使帝国的暴力正常化，但循环也会产生奇怪和令人不安的布利斯感，扰乱帝国的话语。
This chapter explores how the open world shooter video games in the Far Cry series engage players in repetitive “game loops” (jump, run, aim, shoot). Set in the tourist and war-torn destinations of Southeast Asia, these games see violent acts of stabbing, shooting, and throwing grenades at an island’s locals not as heroic or imperial but as merely “something to do,” a quick three seconds of fun made dynamic and different enough to build into thirty seconds of fun. This chapter analyzes the game loops of Far Cry through Roland Barthes’s theories of “pleasure” and “bliss,” forms of erotic play that secure and unsettle the player’s identity and social world. Whereas game loops most often facilitate a drifting pleasure that normalizes the violence of empire, loops can also create the queer and unsettling feeling of bliss that disrupts imperial discourses.