融媒体时代——乙女游戏中的女性主义和沉浸式传播研究

市场中针对女性用户玩家的游戏都有其特殊性,在视觉和听觉等直接感官方面、游戏中NPC的设置方面、游戏的情节方面以及主题游戏里面所嵌套的小游戏方面,都与一般性的手机游戏有所不同。自2017年《恋与制作人》为代表的乙女游戏风靡中国成为现象级事件之后,女性向手游不断发展——数量大幅度提升,种类多样化,游戏产品的设计流程也逐渐完善,但总体来说在理论研究方面,无论是针对此现象级事件背后所蕴含的社会因素的研究还是针对女性玩家情感心理活动的研究都相对较少,多数研究还是从游戏产业发展的角度出发,因此旨在从女性主义发展的角度出发,去研究针对女性用户玩家的游戏中所蕴含的文化修辞。除此之外,以人为核心的“沉浸式传播”贯穿生活中的方方面面,在女性手游中也将其充分体现。传播实践中,“沉浸”与“场景”常常相辅相成,在乙女游戏中,通过不同游戏场景、游戏人物的设置,玩家在玩游戏的过程中也在有意识或者无意识地接受着游戏中传递出来的价值观念和文化内容。

Age of Integrated Media:Research on the Feminism and Immersive Communication in the Otome Game

The games in the market that aim at the female users have its particularity,whether from the aspects of its direct senses such as vision or hearing,or from the setting of NPC in the game,the plot of the game and the small game nested in the theme game,all of which are different from general mobile games.Since 2017 the popularity of Love And Producers has become a phenomenon-level event in China,the mobile games directed at women have developed greatly:the increase of quantity,the diversity of type and the gradual improvement of the design process of the product.But overall in terms of theoretical research,not only the study of the social factors behind this phenomenal events is little,but the research of women players'emotional psychological activity is relatively deficient.Most of the research only focus on the perspective of the development of game industry.So this article intend to initiate from the perspective of the development of feminism to study the cultural rhetorical contained in the games which aim at the female users.In addition,human-centered immersive communication runs throughout all aspects of our life,and will also been fully embodied in the women mobile games.In the process of communication practice,“immersion”and“scene”often complement each other.In the otome games,through the setting of characters in different game scenes,players are also consciously or unconsciously accepting the values and cultural contents conveyed in the game during the process of playing.