《黑神话:悟空》的“后西游叙事”、遍历空间实践与跨文化传播

The“Post Journey to the West Narrative”,Spatial Exploration,and Cross-Cultural Communication in Black Myth:Wukong

中国数字游戏曾经受缚于“国风游戏”的主题,由视听元素虚构的国家在场消解了游戏作为数字互动文本的叙事探索。《黑神话:悟空》沿用了“国风游戏”常见的神话题材,将机制、互动和美学的探索整合到游戏叙事和空间实践当中,成为国风数字游戏一次较为成功的尝试。该作聚焦于新千年后充满现代性迷思的“后西游叙事”,借鉴了“魂类游戏”的机制,通过古建筑实景扫描为游戏的箱庭空间建构数字文化地景,并在“通道”“规则”“演出”的支撑下展开空间,为玩家提供具身遍历。它携“国风”出海,既是“中国故事”的“赛博在场”,也是一场跨国别、跨语境、跨媒介的文化实践。

Chinese digital games were once constrained by the thematic conventions called“Guofeng Games”(games with Chinese national styles).The fictionalized presence of a national identity through audiovisual elements diluted the narrative potential of games as interactive digital texts.Black Myth:Wukong adopts the mythological theme of“Guofeng Games”and integrates mechanics,dynamics and aesthetics into its narrative and spatial practices.This game focuses on the“post Journey to the West narrative”infused with modern existential inquiries characteristic of the new millennium.Drawing on“souls-like”game mechanics,it constructs the digital cultural landscape within miniscape spaces,using real-life scans of ancient architecture,and unfolds these spaces through“paths,”“rules,”and“performance,”offering players an embodied ergodic space practice.It takes“Guofeng”overseas,serving not only as a“cyber presence”for“Chinese stories”but also as a cross-national,cross-contextual,and cross-media cultural practice.