典型鬼畜遊戲一例:ruf的『螺旋回廊』

前言:在歐陽兄及鬼畜超人效應下,本blog昨天的閱讀人數是平時的二至三倍。歐陽兄的見解平實而獨到,是長年研究及參與gal-game的功力。熱烈及理性的討論顯示gal-game(甚至H-game)都是門高深的學問。從文學、心理學、性別研究、社會學、哲學及語言學等不同角度可作分析。這個中篇內容比上篇更豐富,思考及討論的空間更多。此文一刀直入要害,對入門者有一定難度。期待各位高手展開討論。
警告:對gal-game及h-game反感的人仕請勿進入。

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近年美少女遊戲的發展(中):鬼畜篇

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撰文:歐陽宇亮



除了『臭作』以外,重視文學性、哲學性的鬼畜遊戲還有很多。○作系列的完結篇、繼承『臭作』玩法的第三作『鬼作』揭露幼年失父、童年喪母、從未感受人間溫暖而飽受欺凌的伊頭三兄弟可憐的身世,在True End中末子鬼作在神秘小女孩(相信為女神的召使或他們母親的轉生,目的是給予鬼作人間溫暖)的引領下洗心革面,共同消失於「滿地都是鮮花的遠方」,幽玄而悠遠;而其結尾曲「臭毛蟲」以「歐吉桑」的粗陋聲線歌唱「為世所遺之人」內心的痛苦和自傷自棄之情,教人動容。在大量被遺忘的「住所不定無職」(即露宿者)走上犯罪之途的日本,更極富社會意味。


再舉一例,以網上罪惡為題材的『螺旋回廊』(ruf)包含大量凌辱劇情,是典型的鬼畜game。然而它的主題從始至終集中在「二重人格」,包括主角在內的眾多角色都在圍繞網上的性犯罪集團的故事中表現典型的表裏兩重性格。讓玩者對人類心理的複雜性和多面性展開思考。全作連一個真正的Happy End也沒有,不論身為大學教授的主角或其他主要人物最後都變得精神失常,更叫人不寒而慄。有純愛系玩者表示此作的鬼畜內容是「唯一最能把其主題發揮得淋灕盡致的選材」而大加讚揚(此例擇自筆者的調查結果)

game名作『君永遠』


同一作家執筆的著名「鬱game(使人傷心沮喪的遊戲)『君永遠』(age。題意是「你所盼望的永遠」)以戀愛情節為主,但亦有明顯鬼畜成份。某女角劇本中男主角被監禁在該女子家中,連日抵抗不果,結果竟遭調教成性奴隸。該劇本的結局是淪為女角寵物、套上頸環、被女角以繩索牽引的男主角與「主人」同赴迪士尼樂園,兩人同為世人唾棄的場面,一樣教人心寒。從這個例子可見鬼畜game的鬼畜對象不限於女性,其目的與一般所想像的「讓男性盡情凌辱女性」並不契合。『君が望む永遠』作者的用意在於提示另一種形式的「永遠」,與『螺旋回廊』一樣是以鬼畜為表達手法,絕非偽善道理的虛無的正當化。

  

Silkys名作『河原崎家之一族』(Windows版)


上述諸例都是九十年代後期以降的作品。其實鬼畜遊戲的文學·哲學化最遲於九十年代前期已頗明顯,Silkys名作『河原崎家之一族』及Cs ware名作『禁斷之血族』(同於1993年發售)都是富有深度而偏向鬼畜的佳作。然而這個傾向在九十年代後期加速亦是事實。在這裏要留意,同期也是純愛遊戲的文學和哲學要素急劇膨脹的時代。所謂鬼畜遊戲的「深層化」斷非特別的現象,它是整個美少女遊戲界轉向藝術化發展的一環,與純愛遊戲的相同傾向性質雷同。


在我的美少女遊戲研究系譜中,這時代屬於美少女遊戲發展的第三期。(注一)這個時期感動性、文學性和哲學性成長,其積累下來的成果就是「泣game」的出現(上述的「鬱game」為「泣game」的一種。「泣」讀作「naki)。「泣game」不一定指使人飲泣的遊戲,廣義來說它泛指劇本(文學)本位的作品,有時又會用「物語重視」來表達。「泣game」偏偏在性要素繁多的美少女遊戲(而非在其他遊戲)出現是十分值得注意的,它既暗示美少女遊戲的「重文輕玩」的體裁適於文學發展,亦顯示美少女遊戲與其當初的性質已大相逕庭。

本來被視為理所當然的真正「H game(H而設的遊戲),到了這個時候失去了它的不證自明性(self-evidency),要被套上新的名堂來稱呼。這個名字就是「拔game(「拔」是性欲解放的意思,讀作「nuki」。廣義來說,所有以H為主導的遊戲均稱「拔game)。「拔game」的著名作品有『麻雀幻想曲』、『尾行』、『夜勤病棟』系列等。「泣」和「拔」成為兩個對立的新系統,『臭作』的時期就是「泣」大舉擴軍的時代。『臭作』和其他劇本主導的鬼畜作品,都不過是這趨勢的一環(『臭作』被稱為「鬼畜泣game)。「泣」和「拔」橫誇純愛與鬼畜兩大舊系統,可見純愛和鬼畜已經失去了本質上的差異,而「泣」(文學主體)「拔」(情色主體)則取而代之。



注一:各期以幾種對美少女遊戲本質的不同理解(interpretation)或閱讀(reading)的各自成熟時期為區分。第一期(八十年代)是「為Hgame」的時期,在該時代美少女遊戲作為性欲解放工具的理解完全成熟。第二期(九十年代前期)是純愛遊戲(不同於現在的戀愛遊戲)的成立期,以『同級生』和『心跳回憶』系列為代表,在H之外,作為第二種主流理解的「戀愛」茁壯起來。九十年代後半的第三期以感動系的「葉鍵」為代表,感動性、文學性與哲學性成為新的理解,真正的純愛遊戲遭排斥,出現新時代的戀愛遊戲。2002年以降的第四期以「萌game」為代表,同時亦出現大量風格炯異的廠商,總體作品數量激增,純愛鬼畜二分法崩潰,進入群雄無首的戰國時代。有關第三期及第四期,詳見本文。










Posted by 知日部屋屋主 | 評論(59) | 引用(5) | 閱讀(48604)
Au Yeung +
2005/10/05 10:30
>Depth
>「処女(おとめ)はお姉様(ボク)に恋してる」就個人對Ts:CD「女裝」立場而言,這並不是款及格遊戲,畢竟在女裝本位上並無用處,僅合理化百合個性的主人公方便進行多角色攻略路線而已。

Patially agree, but not all.

(1) I agree that おとボク is not really a good game despite its good prestige in Japan. To speak frankly I was quite dissatisfied when I cleared the game because its prestige was so good.
However, おとボク is already a relatively high-quality game among 萌えゲー. At least, it has comparatively unique scenarios and ideas. Other 萌えゲー only use the developed patterns.
This fact shows the poverty in content of general 萌えゲー. The game's prestige came from those 萌え派 players only.

(2)Of course, the configuartions of おとボク have the intention to legitimate "百合個性的主人公方便進行多角色攻略路線".
However, we should also notice two other points.
(a) Despite the final quality, おとボク, being a parody of マリ見て but with its main character as a boy, breaks the traditional gender order though in a incomplete way. The MOST feminine character in the game is exactly the ONLY BOY in the game world , but not any other girls. Moreover, the ONLY BOY becomes the お姉様 (The Great Sister) of a 女子校. You can regard it just as configurations for legitimation, but in fact it does break something old.
(b)"百合個性的主人公" in おとボク is the main moe character (萌えキャラ) of the game. This represents a new trend of girl games which has been developed since the beginning of 21th Century.
Depth +
2005/10/05 02:53
>ms09r2
請不要則怪她(雖然早先我也不小心差點失控XD),部分原因已在歐陽兄上篇關於乙女向遊戲篇內說明。畢竟真實世界中,某些行為情況真的是可恥到令人髮指的地步;但我仍要說,妄想這種東西是一種情緒發洩,正如同謾罵請別對著他人,要在不干擾到他人的情況下,所有都是為了健康的人生。各退一步即為雅量。

>鬼畜超人兄
「処女(おとめ)はお姉様(ボク)に恋してる」就個人對Ts:CD「女裝」立場而言,這並不是款及格遊戲,畢竟在女裝本位上並無用處,僅合理化百合個性的主人公方便進行多角色攻略路線而已。

儘管人物設定或原畫讓原本無CD妄想者不小心撈過界...對不屬於燃燒系的在下來說本作品幾無用處(大義凜然貌)。

另外補充說一下,異裝癖、性倒錯等作品妄想者絕非心理上有此症候,正如其他類型的妄想般是有各自的意義的,所以且勿妄下斷語喔。
ms09r2 +
2005/10/05 01:16
請恕在下冒昧發言, 在下深有一種感覺 : 真善美小姐根本沒有想認真討論的心. 我的理由是, 她的發言中一直只有論點, 從來沒有論據以及論證過程. 而其結論則偏向攻擊他人. 在討論的場合中, 那單方面說出結論然後斷絕交流的行徑無異是一種無禮的騷擾. 敬告真善美小姐, 如果你想其他版友容納閣下, 則敬請留下你得出意見的論證過程和理據, 如此一來, 也有助於版友們理解你的想法, 有回話的餘地. 至少在下不會像現時一樣在心中為你掛上"鬧事者"的標籤.
知日部屋屋主 +
2005/10/04 23:24
小美:不用致歉。只要認真討論便好了。彼此意見不同十分正常。若意見都一樣便沒有什麽好討論。不過大家用字還是小心點,不要彼此傷害。若能彼此互相尊重,心平氣和,那便是理想的討論氣氛了。我一直希望本blog成為文章為副,討論為主的意見交換平臺。妳及歐陽其實都有相當代表性。不打不相識,也許一日會成為朋友。smile
Au Yeung +
2005/10/04 23:15
>Blog Master
I am sorry.
I could ignore most offensive writings, but it was difficult for me to remain silence upon writings offending my own personality directly. I hope to have meaningful discussions, of course.
I am really sorry. I wish that the same cycle will not occur again.
真善美 +
2005/10/04 23:14
>知日部屋屋主
對不起,我剛才的說話太過份了,請將它們刪除吧。
Au Yeung +
2005/10/04 23:10
>真善美
Please don't make offensive sayings if you don't want others to attack you.
I am not particularly hostile against you. I, as well as others attacking you, respond to your offensive writings only.
知日部屋屋主 +
2005/10/04 23:06
歐陽兄及小美:
讀者們想看的是認真的討論
你們也不要「你一句我一句」,好嗎?謝謝。
真善美 +
2005/10/04 23:02
>Au Yeung
這只是笑話而已,請不要記掛在心。
真正關心你的人也在這兒看的。sad
Au Yeung +
2005/10/04 22:46
>真善美

Sorry for making such a comment, but I must say it.
>易服廦,對女性身體的妒嫉繼而憎惡,我開始明白這人的心態了。
Is it a joke?
真善美 +
2005/10/04 22:37
易服廦,對女性身體的妒嫉繼而憎惡,我開始明白這人的心態了。
Au Yeung +
2005/10/04 22:19
>鬼畜人

You asked the right person.coolsmile
There are other girl game veterans in HK besides me, just as you guys, but I am quite confidenent that I am the otaku most familiar with 女装美少年 in HK.
I am one of the founders of 女装美少年愛好会 in Tokyo University.
In fact, 女装美少年 has already been a boom now. Only-events of 女装美少年 are being held. One of the most famous one is "計画" series (http://ketto.com/br/).
Mooks about 女装美少年 were published and many girl games include 女装美少年 characters.
The start of the boom is Bridget, a famous lovely boy in the fighting game Guilty Gears XX. Afterwards, the boom moves to the field of girl game, leading to the rise of a large number of games stressing on 女装美少年.
One of the best games among them is "ねがぽじ" of Active. This is indeed a 泣き game. Really moving. Of course, the hero(ine) is also extremely kawaii.
女装美少年激萌えーーーーーーーーーーーーーーーーーー!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

I am sure that 女装美少年 will soon become one of the most important 萌え属性 in girl games.
鬼畜人 +
2005/10/04 21:56
說起來,《処女(おとめ)はお姉様(ボク)に恋してる》還剛剛傳出要被動畫化的消息呢... 這是否標誌著女裝美少年之風快要吹起?

相關消息: http://www.starchild.co.jp/special/otome/
Au Yeung +
2005/10/04 19:33
「おとボク」、「少女」じゃなくて「処女」でした。orz
Au Yeung +
2005/10/04 19:27
Sorry, in order to avoid misleading, I would like to add one more comment.
Alice Blue creates both BL games and otome games. I mean its BL games below.
Au Yeung +
2005/10/04 19:23
>路人x

I see. Well, it means that your opinions are in fact the same as mine.

As an addition, some BL games do have a female character, without graphics or even any practical configurations, for the player to symchronize herself/himself with. Games of Alice Blue are examples.
My example of voiceless BL female means that character.

Finally, as a supplementary information.
For girl games concentrated on lesbian relations, the situation is the same as BL games, though they are in very small numbers.
In "少女(おとめ)はお姉様(ボク)に恋してる"(おとボク), a famous moe game and the parody of 今野美緒's "マリア様は見てる"(マリ見て), there is virtually no male characters at all. The hero(ine), Miyanokohji Mizuho, is a 女装美少年 generally seen as a girl instead of a boy. In the 人気投票 of the game, Mizuho is the first runner-up, indicating that most players regard "her" as a character for appreciation but not for synchronization of their own emotions.

女装美少年 is another new trend of girl games in the fourth era. Girl games now include not only girls but also girlish boys.
As a coming out, in fact my own favourite moe attribute is 女装美少年.shy
路人x +
2005/10/04 18:42
Au Yeung>
>Maybe you have misunderstood my words...
啊...我想我是誤解了一半吧....&line;&line;&line;
因為樓下一直在討論的是玩家代入感的問題....
而你則以bl game中的女角沒配音來作例子...令我感到有點莫名其妙....
所以就誤會了你把bl和乙女搞錯或是混為一談了....
而女角沒配音我認為這只是為了省錢的手段...
之前也提到bl game女角沒有存在空間...除了不能攻略之餘大部分也只是配角到不行的配角....
只有要角才有配音也是很普遍的事啊~
Au Yeung +
2005/10/04 01:35
>路人
Maybe you have misunderstood my words...
What I have said is the absense of voices for female characters in BL.
I have both played BL games and 乙女 games, so I know their differences.
Anyway, thank you for your opinions.

For those who do not know what is an 乙女 (otome) game:
A heterosexual romantic relationship-based game with the main character as a girl. You can treat it the female-oriented counterpart of male-oriented girl games. (Of course, we cannot simply consider it the same as girl games only with the reversion of sex.)

>Depth
Thank you for your additional explanation.
A famous girl game producer (sorry that I forgot which one) has said that there were many good fictionists and comic writers in the field of girl game, but there were few good game writers who could master the tempo of giel game. Exactly.
Au Yeung +
2005/10/04 01:24
>BTYYAR

Firstly, I want to tell you that I was forced to laugh after reading your first sentence. Nothing is more understandable than a living sample.

閑話休題。

>基本是上key和leaf所作出的人設而來,以toheart和kanon為例,角色設定中充斥了各種”王道設定”,由職業、性格服裝、口癖、習慣等等,這些可以很明顯的看出這些人設含有大量オタク的妄想成份,Au Yeung兄所舉的sister princess就是個很明顯的例子

Please pardon me to recall a few comments of me before.

"葉鍵 games are games which a player can find out his or her own 萌 from the game world, whereas 萌 games are games specifically designated to strengthen the effect of 萌 as the sole interpretation."

"The present situation is the result of the extreme expansion of a by-product of classical 葉鍵 games. "

It is true that there are many "萌えられる"(可能型) 王道設定, situation 萌え, pattern (of story) 萌え, etc. in 葉鍵 games.
In my analytical system, I define and conclude them all as "moe elements" (萌え要素). This concept is firstly put forward by Azuma Hiroki in 『動物化するポストモダン』.

However, those mature elements are in fact the accumulation of all classical elements from the old old days. (I'm sure you know it.)
"義妹"(いとこ is its 変体) from 同級生2, bunny (川澄舞 in a famous scene of Kanon) from Can Can Bunny, etc.
However, I have heard no one calling 同級生 or Can Can Bunny 萌えゲー.
In the era of 葉鍵, obviously those elements were strengthened, however, AS SPICES CONTRIBUTING TO A HIGHER CONSUMING VALUE OF THE GAME.
Since 2002, the mainstream has changed to the tendency of PROVIDING MOE ELEMENTS AS THE MAIN DISH.
This is exactly the phenomenon of 反客為主, or, in a denial way, 「本末転倒」(Japanese).  
I understand your feeling in saying"把整個時代定義為泣き時代是不合理的", but every 時代設定 is no more than a conceptual construction of the mainstream of a certain period.
In the era of ときメモ, there were also numerous 抜きゲー with few love scenes, but we call the years "Era of love games."
The article this time is for beginners, so I have not made detailed discussions, but I must clarify here that 鍵 inside 葉鍵 is not really followed by other makers. Key is doubtlessly a 異端.
However, the contribution of Key in the boom of Leaf is great. When 葉鍵, as a well-known term, borns, 意識と解釈は言葉によって規定され始める.
If you look at the exact period of 葉鍵 boom, in fact it is rather short. The old Leaf is generally regarded to be including 雫, 痕 and To Heart (1996-97), and Key (in fact, old Tactics. Call it key just for convenience) was not really famous until Kanon. Moreover, Key did not release any really new game from 2000 to 2004, and CLANNAD in 2004 did not create a new boom despite the good prestige. Therefore the real boom of Key was from 1998-2000.

Noneless, the break out of Leaf Visual Novel Series and Kanon is undoubtedly significant in the sense that it GUIDES USERS TO RECOGNIZE A NEW TYPE OF GAMES, as well as to PRODUCE A LARGE GROUP OF NEW USERS WHO ONLY APPRECIATE THE NEW GAME TYPE.
There are exactly many games besides 泣きゲー, but the rise of 泣きゲー can be clearly realized through the DEVIATION IN GAMES CALLING WIDESPREAD BOOM AND DISCUSSIONS THOSE YEARS.
葉鍵, Triangle Heart series, 水夏, 君望... and many others. 鬼畜 games like 臭作 and 螺旋回廊 strengthen their philosophical content either. This was also the period for old, giant makers including elf and Alicesoft to try to produce novel games (Refrain Blue, SeeIn青).
This was an overall trend for a new age. I do think that it is undeniable. And I name it as the Era of 泣き. 泣き and 泣きゲー are native categories, but Era of 泣き is an analytical category. (泣き、抜き、泣きゲー、抜きゲー are at the same time analytical categories.)

And now, the trend changes to 萌えゲー, with 萌え要素 as the main dish, together with numerous characteristic and maniac makers like Type-Moon,
This is the change in nature that explains why there are so many 葉鍵 fans show their negative feelings upon 萌えゲー.

Please let me use Japanese here.
萌え要素の先鋭化が、ゲームの他の構成要件を萌えに付属する副次的存在に蹴っ飛ばし、萌えが主人公へとなっていく。この現象は、泣きの時代には表舞台には出ていなかった。
When we think about 雫, AIR, etc. we can easily notice that moe is a 大脇役(大配角), but not the hero. 人気 games nowadays, say, titles released by August have their hero as moe.
I believe in the phrase that 量的変化が質的変化をもたらす. This is the real case this time.

As an ending remark.

>はじめてのおるすばん的話,人設上很明顯是針對部份萌えオタク而作,但在遊戲內容上我卻把它定為抜きゲーム

In that situation, we can say that communication between moe and nuki occur. However, this is hard to say that it is necessarily a game for nuki. But you must first 萌える before you can enjoy the game.
For games like 麻雀幻想曲 or 妻みぐい, a player can just "use" it without the process of moe.
I have described the new qualities required for enjoying moe games in Part 3. Those qualities are crtical, at least at this moment, in the classicification of moe games and other games. Please have a look when it is uploaded.
There is virtually very few, if not no, pure naki, nuki or moe games. We calssify them according to some standards which are considered to be rational in a specific period.
Depth +
2005/10/04 01:00
>路人x
關於乙女向遊戲,個人碰巧也想到,已先回覆於另一主題。
至於代入感,角色理論中為取替行為,事實上顏本身並不是問題(有時反而更是問題...),其所需要的是對於故事的「滿意(Satisfaction)」情況,換句話說在H-Game最能讓取替行為達到滿意者是互動角色的傳神與劇情鋪設的衝突(Conflict)節奏的和諧性...即便是官能的拔Game,因不脫此理。
路人x +
2005/10/04 00:32
Au Yeung>
>The same phenomenon can also be observed in BL games.
>Most graphics of BL games are concentrated on male characters, and female characters rarely have voices.
你想說的應該是乙女GAME吧??
BL GAME是兩位男主角都例必有有配音的...而且裡面都幾乎沒有女角存在的空間....= =&line;&line;
不過就算是乙女遊戲,現在都還是偏向有頭有面的女主角....
而且由於市場還未成熟...不少乙女遊戲公司都屬於男性向HG廠旗下的子社
記得看過有高手玩家說現在的乙女遊戲還是脫離不了男性向的視點云云的話....
奇怪在有關乙女遊戲的代入感問題卻好像沒曾見到有玩家討論過.....

(不過其實個人還沒算真正接觸過這類遊戲,還是不敢再多說了...)
btyyar +
2005/10/04 00:09
修正
>>但在遊戲內容上我卻把它定為抜きゲーム
內容以性質一詞取代比較好
南溟 +
2005/10/04 00:08
我也不成熟阿...
總之不要用嘲諷、情緒性的字眼或語氣,因為有的人比較敏感。
比起全盤否定、批判性的說法,有所保留和疑問(但非質問)的語氣更受歡迎。
連孔子說話也不常用斷然決然的肯定語氣,何況是我們這些凡夫俗子?
BTYYAR +
2005/10/04 00:01
我先感謝真美善さん為有關現代戀愛資本與アキバ文化的矛盾舉出實例

這樣我回應一下有關為甚麼在我的觀點中第三期為萌え時期
基本是上key和leaf所作出的人設而來,以toheart和kanon為例,角色設定中充斥了各種”王道設定”,由職業、性格服裝、口癖、習慣等等,這些可以很明顯的看出這些人設含有大量オタク的妄想成份,Au Yeung兄所舉的sister princess就是個很明顯的例子,はじめてのおるすばん的話,人設上很明顯是針對部份萌えオタク而作,但在遊戲內容上我卻把它定為抜きゲーム。而在劇本上,這時期的遊戲也出現了大量的situation萌え,最經典的劇情莫非是toheart中あかり每天早上去叫浩之上學吧(這些並非此時代的創作,但卻在此時代變得十分流行),visual novel的流行令人物在劇本中的表現更細緻深刻也是原因

當然在萌え時代中也含有了大量的泣き劇本,像D.C.和WIND等的作品基本上都有泣き設定,但我認為單是這樣就把整個時代定義為泣き時代是不合理的
真善美 +
2005/10/03 23:59
從一幅相中評論一對男女外形襯唔襯有什麼不對,邊有諗得咁複雜!sweat

>南溟
不如你教我點講啦。我以前都畀佢罵得多,總之我說什麼都錯。
Au Yeung +
2005/10/03 23:41
>再生
Thanks for your opinion.
>純愛 , 鬼畜是遊戲劇本「內容」的分界
>泣き,抜き則是遊戲劇本「性質」的分界
Of course, you can define it in this way. My focus is the "nature" indeed.
What I have criticized is that many people treat 純愛 and 鬼畜 natures of a game.
Moreover, for 萌, please refer to Part 3 which may be uploaded tomorrow. Welcome for your comments after reading the whole article.
南溟 +
2005/10/03 23:38
恩,不只是gal-game,不少日系的game都有這樣的做法,那是刻意的。
甚至有些遊戲連名子也省了,乾脆就叫主人公。

不知道真小妹(印象中似乎是的)有沒有留意過說話的技巧?有時候同樣的想法,有的說法可以激起討論,有的說法只是討罵。(我知道你可能不愛聽,可是我很認真很誠懇的說。)
再生 +
2005/10/03 23:35
純愛 , 鬼畜是遊戲劇本「內容」的分界
泣き,抜き則是遊戲劇本「性質」的分界

而這兒「萌え」是屬哪個層面上的?
是畫風?還是其他?
我還是無法確立一定明確的定義
Au Yeung +
2005/10/03 23:32
Your 詭弁 is very weak indeed.
So how can you say that the hero "一點兒也不襯女主角" without the most basic knowledge about the story or even about the media features of girl games?
As 南溟 and makoto stated, to raise the effect of 代入感 the face or voice of hero is skipped in general. The situation is the same in BL for ladies.
If you have such least basic knowledge to make a criticism on girl games, you could never make such a comment.
The opinion of "一點兒也不襯女主角" is generally understood as a criticism on the game, with the scenario as its main component. If you don't mean that, it means that your saying was misleading.

>期待在知日部屋閱讀到相關文章。

Then an AV researcher is needed. Sorry that I am not.

>究竟「拔」是不是指「勃起」啫?

No. I have explained it in my article. If you want more "detailed" explanation, please search for it yourself. I do think that the present explanation is enough.
真善美 +
2005/10/03 23:21
>Au Yeung
我只是批評圖中男主角的外形吧(我無話到個故仔唔好),連這樣都話冒犯到其他人我真係無話可說。mute

>AV research has already been one of the main fields in Japanese Cultural Studies for decades.
是嗎?期待在知日部屋閱讀到相關文章。

究竟「拔」是不是指「勃起」啫?
SSE +
2005/10/03 23:16
HGAME的男主角會「有頭有臉」的,在我記憶中只有「逆玉王」、「劍芒羅曼史」、「魔石英雄傳」、「王道勇者」等等這類RPG...(因為RPG的主角不露臉很奇怪),其他種類遊戲的主角大多都是瀏海遮眼、走路八成會撞牆的那種樣子(同級生就是),有些遊戲還乾脆就不畫(甚至還能搞半透明)。
代入感是重點~laugh
Au Yeung +
2005/10/03 23:11
Well, just one more additional comment.laugh

>玩完起碼可以學識怎樣討好那些發萌的男仔。

That may be really regrettable as most "發萌的男仔" regard real girls who "討好" them disgusting (キモイ).heartache
Au Yeung +
2005/10/03 23:08
>南溟
君望 is basically a love game with sad plots. 愛美 scenario is a very exception. If you have time, please try the game. I am sure that it is a high-quality game.
君望 is regarded as the new classical piece in post-To Heart years.

>makoto
>男主角被設定為玩家, 當然不可以有樣子以免投入不到
That's right.
The same phenomenon can also be observed in BL games.
Most graphics of BL games are concentrated on male characters, and female characters rarely have voices.
Au Yeung +
2005/10/03 23:03
>男主角面目模糊,衣著太隨便了,一點兒也不襯女主角。

Please criticize a game after you understand its story. Criticisms without sufficient knowledge is an offence to the game creaters as well as to all lovers of the game.

>唔知幾時又有人從這些角度分析日本AV呢?

???????????????????????????????????????????????????????????????astonish
AV research has already been one of the main fields in Japanese Cultural Studies for decades.
Girl game research has just begun. The two fields are not comparable at this point of time. I am one of the characters now to cultivate on the new field.
Of course, the approach of AV research and girl game research is largely different. AV is undoubtedly a media for direct sexual satisfaction, but girl games have much more interpretations, eg. I am a guy attracted solely by their artistic values while I do not recognize any major artistic value from AV.)
makoto +
2005/10/03 23:01
>君が望む永遠
>男主角面目模糊,衣著太隨便了,一點兒也不襯女主角。
證明真善美沒怎樣玩過這類遊戲XD
男主角被設定為玩家, 當然不可以有樣子以免投入不到
後來為動畫版配音的谷山紀章人氣急昇後
在特別版就有樣有聲了
南溟 +
2005/10/03 22:39
>因為前幾天這個部落格的網址被po在台灣的bbs大站上面
那我也可以把連結貼到我的blog上摟?不告而連總有點奇怪。
台灣的朋友多了,我說的話大概要小心別被恥笑。謹言慎行阿。

君が望む永遠 我是知道有動畫,可是沒想到是這麼激烈的劇情呢。
真善美 +
2005/10/03 22:31
打擾了,在好奇心的軀使下闖了進來。
不反感,不反感,Au Yeung的文筆這樣好,不反感。如果我係男仔,睇完都想試下玩; 如果小美玩,玩完起碼可以學識怎樣討好那些發萌的男仔。

>君が望む永遠
男主角面目模糊,衣著太隨便了,一點兒也不襯女主角。
sunny

「拔game」的語源是什麼,是不是指「勃起」?puzzled
小美領悟力差,看完整篇文章都係一知半解。

>從文學、心理學、性別研究、社會學、哲學及語言學等不同角度可作分析。
哇~~好犀利呀~~~astonish
唔知幾時又有人從這些角度分析日本AV呢?
Tie +
2005/10/03 22:16
telnet://ptt.cc

這是台灣最大的BBS站 批踢踢
我也忘記在哪個版看到這個部落格的laugh
應該也是卡漫相關的版吧~~
Au Yeung +
2005/10/03 21:01
By the way, as I have mentioned in my paper, the scenario writer of 螺旋回廊 is the same as 君望. Those love 君望 can also try 螺旋回廊, given that you have tolerance upon 鬼畜 games. It is different from 君望 which is a representative 泣 game, especially being famous as a typical 鬱 game. 君望's 愛美 scenario (the scenario I mentioned in my article) is the part most like 螺旋回廊.
Au Yeung +
2005/10/03 20:29
>Blog Master
I have corrected my utterance and added some comments on Momoko's opinions. Thank you again to Momoko.sunny
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