英文摘要

Video Games： Breaking the Concept of the Traditional Landscape and Shaping Future Life

ZHU Qingsheng

（Department of History， Peking University， Beijing 100871; World Arthistory Institude， Shanghai International Studies University， Shanghai 200083; Department of Art History， Xi'an Academy of Fine Arts， Xi'an 710065）

Abstract： This paper explores the status and potential of video games as an art form in art history studies，particularly how they challenge and transcend the traditional concept of \"landscape\". Starting from W. J. T.Mitchell's \"pictorial turn\"， it discusses two main issues related to landscapes in video games： the differentunderstandings of “l(fā)andscape” between Eastern and Western cultures， and the potential of game art to transcendtraditional landscape painting. Game art embodies the potential to transcend the material and the physical，opening up new possibilities for human existence. This is especially evident in the new interpretations ofart ontology in Chinese and Indian art traditions， and the distinct artistic philosophies expressed in Chinesecalligraphy and landscape painting that differ from materialism. This paper develops and transcends Westernand Chinese traditional ontology through \"being in non-being\"， proposing a new perspective of game art as anew media art， signifying a fundamental breakthrough in traditional art forms like cinema， offering humanity abroader space for creativity and survival.

Keywords： video games; landscape; picture theory

War Games： The Cold War as the Starting Point， Background， and Myth in Video Game History

LU Yahuai

（Research Institute of Marxism， Party School of the Jiangxi Provincial Committee of the CPC， Nanchang 330108）

Abstract： The relationship between video games， war， and violence is a major source of public moral anxietyand a central issue in game studies. Video games emerged during the peak of the Cold War and the fervent socialmovements of the 1960s. Spacewar！ was influenced by the technological competition of the Cold War and thecounterculture's technopolitical atmosphere. By the early 1980s， video games had become a popular form ofentertainment for teenagers， coinciding with a period when the threat of full-scale war loomed large. MissileCommand， a popular shooting game of the time， attempted to convey the anti-war message \"there are no winnersin war\" through its unique game mechanics. In the relatively peaceful and prosperous 1990s， the dangers of theCold War and nuclear war no longer resonated with teenagers. The unexpected success of the Fallout seriesoffered a biting satire of Cold War politics and， with its unique artistic charm， turned Cold War myths intosubjects of nostalgia. Thus， the origins of war games reveal that the threats and memories of real wars never trulyfade， and games provide a means to engage with， protest against， or reminisce about war.

Keywords： video game; Cold War; 1960s; American studies; youth culture

The Game Interface as a Metainterface： An Ontology

YANG Jianqiu

（School of Theatre， Film， and Television， Communication University of China， Beijing 100024）

Abstract： The game interface， composed of software and hardware， serves as the intermediary that connectshumans and machines， enabling interaction and understanding of gameplay. A historical examination of gameinterfaces from a software perspective reveals that changes in the interface's visual design not only alter thegame's aesthetics but also revolutionize its \"world model\". Throughout this process， the game interface interactswith the cultural mainstream and forms a metainterface featuring operability and modifiability. It represents theassimilation and transformation of media on both the software and hardware levels， and demonstrates paidiafrom the perspectives of both playing and designing. As an entity and as an operation， the metainterface connectshumans with machines， other people， and the world， forming the foundation of \"interface ontology\".

Keywords： video games; game interface; metainterface; interface ontology

How to Make-Believe？ The Imaginative Mechanisms of Backroom Games

LI ran

（College of Arts， University of Chinese Academy of Social Sciences， Beijing， 102400）

Abstract： Backroom games differ from AAA games due to their weaker gameplay， which features low visualrealism， monotonous scenes， and flat characters. As a result， they lack the actor-network and replayability. Theirrelevance and interactivity primarily manifest on the psychological and aesthetic levels for players. Leveragingcollective memory and cultural conventions as foundations， players shift from individual aesthetic experiencesto a shared public fiction through the game visuals. This process generates new personal imaginings and enrichesthe game narrative. Here， representation moves away from the requirement of standards and morality to anautomatic mechanism driven by aesthetics， leading to a \"rule-based\" critical paradigm that integrates variouscontemporary art practices， distinct from mimicry or media theory.

Keywords： backroom games; Walton; props; fiction; representation

What if 80% Jobs Are Taken by AI in the Future？

SUN Zhouxing

（School of Philosophy， Zhejiang University， Hangzhou 310058）

Abstract： The advancement of AI will inevitably lead to a significant reduction in job opportunities. Whichindustries will be the first to be taken over by AI？ What will become of the \"useless\" humans， and what can theydo？ Various speculations have already been made about this issue. In this interview， Sun Zhouxing argues thatthe impact of AI will be comprehensive， with two types of jobs being the first to bear the brunt： repetitive laborjobs and industries focused on decision-making and calculation. In a future where the majority of people are"unemployed， social organization and structure will undoubtedly undergo a complete transformation. Individuals，facing the new challenge of how to live a long and tedious life， must create a new way of living. The suggestionsare： focus less on the past but more on the future; lower one's posture while raising one's vision; maintaingoodwill and seek out passions.

Keywords： AI; philosophy of technology; content production; ChatGPT

The Triple Reality of the Metaverse

ZHANG Shusheng

（College of Liberal Arts， Shanghai University， Shanghai 200444）

Abstract： The Metaverse is far from being realized and cannot yet describe its Realit?t. However， it aims toenrich the human world of meaning， providing a new reality， and offers a forward-looking perspective forexamining its Wirklichkeit of today.

The Wirklichkeit of the Metaverse can be understood on three levels. First， the Metaverse is grounded in humansensory to fulfill human needs creatively， making it inherently human-centric. Secondly， the Metaverse is closelyrelated to human actions， encompassing threefold creative imitation that aligns with the hermeneutic structureof subjective practice， continuously enhancing human self-understanding. Thirdly， the Metaverse enriches thehuman life as a game reality through iteration. It offers behavioral constraints and referential presets distinctfrom traditional art media in four dimensions： sensory confirmation， third-party authority， subjective unity， andresistance experience.

These three levels of examination employ a cautious reflexivity， drawing on philosophical anthropology，hermeneutics， phenomenology， and pragmatism to explore the reality of the Metaverse， providing critical insightsinto the human condition in a technological era.

Keywords： Metaverse; reality; fiction; technology; Blumenberg; Ricoeur; game

Mao Xianshu's Canonical Rhymes of Nanqu and the Theories on the Rhymes of Qu

YU Weimin

（School of Humanities， Wenzhou University， Wenzhou 325035）

Abstract： Canonical Rhymes of Nanqu is a rhyme book for Nanqu. Mao Xianshu considered the four-tone rhymesystem as the phonetic canon; since Canonical Rhymes of Hongwu was a rhyme book based on this system， heused it as the foundation for setting up the twenty-two rhyme categories and canonical rhymes in CanonicalRhymes of Nanqu. He believed that the phonetic canon of qu should not be determined by region but by thenature of phonetics. Otherwise， the eastern， western， southern， and northern rhymes would be dialectical insteadof canonical. The canonical rhymes could only be determined by the integration of dialectical rhymes. Sincenanqu adopts the four-tone system as its standard phonetics， it differs from beiqu by having a complete set of four"tones， including the three entering tones， which are necessary for its own singing style to match its meanderingmelodies.

Keywords： Zhongyuan Yinyun; canonical sounds; three entering tones; Canonical Rhymes of Nanqu; Canonical Rhymes of Hongwu

The Rights of Integrity of Traditional Chinese Opera in the Perspective of Fanworks

ZHENG Zhiwu， XU Fang

（School of Performing Arts and Education， Zhejiang Vocational Academy of Art， Hangzhou 310053）

Abstract： Fanworks of traditional Chinese opera are theatrical works that imitate the original works and do notqualify as new works under copyright law. The protection of the rights of integrity of traditional Chinese operaaims to ensure that their characters are not distorted and that the original works are faithfully and legitimatelyutilized. There are various theories on the integrity rights of traditional Chinese opera， including the subjective，the objective， and the compromised views. The labor values and the system values of traditional Chinese opera，the protection of traditional Chinese opera， and the relevant and lagged laws all demand the protection of theintegrity rights of traditional Chinese opera in the creation of fanworks. Hence， it requires the improvementof laws and regulations to clarify the nature of these rights and the obligations of fan artists， Implementetransformative methods to enhance protective effects， and establishing a system to distill the essential elementsfrom traditional Chinese opera. In the information age， the protection of integrity rights in fanworks could impactthe development of traditional Chinese opera.

Keywords： fanwork of traditional Chinese opera; protection of integrity rights of traditional Chinese opera;essential elements of traditional Chinese opera

Opportunities and Challenges for Zhejiang's Film and Television Industry in Digitalization and Industrialization

WU Xinfeng， JIANG Jiayin

（School of Television Arts， Communication University of Zhejiang， Hangzhou 310018;School of Arts， Peking University， Beijing 100871）

Abstract： Zhejiang has long been a hub for Chinese cinema with a rich heritage in the film and televisionindustry. The region has enhanced the integration of its film and television sectors， exploring paths for industrialtransformation， increasing productivity， and achieving economies of scale. In the era of digital intelligence，generative AI is set to impact the creativity， planning， production， and aesthetics of film and television. Zhejiang'sfilm and television industry has made significant strides in digital assets， Big Models， and algorithms. It willcontinue to advance technology and literature， integrating digital technology with traditional film and televisionproduction， and merging technology with content. By optimizing resource allocation and improving production"efficiency， high-quality development can be achieved.

Keywords： digitalization; industrialization; Zhejiang film and television industry; AI

Enamel Basins： The Patternization and Breakthrough of Contemporary Chinese Painting

LIU Xuguang

（College of Liberal Arts， Shanghai University， Shanghai 200444）

Abstract： Taking the \"Chinese Painting and Craft Art Movement\" of the 1950s as an example， this paperanalyzes the trend of patternization in contemporary Chinese painting and its underlying causes， as well as thetransformation and reformation of Chinese painting during the Seventeen Years. By examining examples suchas enamel basins and sandalwood fans， this article illustrates how traditional Chinese painters participated inlight industrial production through pattern creation. This reflects not only the social background of contemporaryChinese painting but also its transition from tradition to modernity. The patternization of Chinese paintinghas enabled it to be more widely integrated into social production and undertake more practical social roles.However， this trend has also sparked deeper discussions about the artistic value and \"national style\" of Chinesepainting. The paper explores potential paths for contemporary Chinese painting to overcome the dilemma ofpatternization， showcasing the complex interplay between tradition and modernity， and art and craft， as well asthe efforts and explorations of Chinese painters in the process of modernization.

Keywords： enamel basin; Chinese painting; craft art; pattern; national style