REVIEW

摘要

The world of electronic games is inextricably enmeshed in overlapping and often wildly contradictory conceptions of reality and 'the real'. On the one hand, game developers are drawn like moths to a flame to fantasy, sci-fi and horror scenarios - which they then proceed to fill with elaborate 'realistic' (i.e. terrestrial) physics and 'realistic' (i.e. representationally familiar) images; the end result is often anything but alien and fantastic. Yet developers are also lured by historical scenarios, as with the recent crop of WWII shooters; they pay extraordinary attention to modelling the look and behaviour of an Ml Garand, the appearance of a French chateau or the burst pattern of a high-explosive shell, but then tone down the gore, carnage and disorganization of actual combat to the point that it compromises the overall authenticity of the experience. The first quarter of 2010 saw the release of two titles that illustrate perfectly the shifting and ambiguous relationship game developers have with 'the real'. UK-based developer the Creative Assembly (CA) launched