節錄自〈虛擬化的種族偏見：電子遊戲中的他者想像〉／林子超

　

　　電子遊戲不再是娛樂，是傳達思想載體。電子遊戲的虛擬介面，讓觀者跳脫文本限制，獲得身臨其境體驗，且無論聯網或單機，電子遊戲都可實現人與人或人與AI互動，使用者跨國籍和地理限制在平臺合作或對抗。然而，種族偏見並沒有因為數位化的跨國性而消失。本文將從遊戲開發結構與他者觀點，探討西方遊戲對於黑人和有色族群的他者想像，以《惡靈古堡5》、《俠盜列車手5》和《決勝時刻：現代戰爭2》遊戲說明當中的種族偏見與刻板印象。

　　本文發現，電子遊戲開發仍由歐美主導，且主要市場也在歐美，導致內容多呈現種族偏見、文化挪移、白色習性及刻板印象。另方面，電子遊戲也多數將女性物化及性化，呈現男性主義色彩。其因於，遊戲開發仍以男性為主，即便女性玩家比例逐年提高，但開發系統男性仍具主導，導致多數遊戲內容忽視兩性平衡。

　　若要打破遊戲「他者」視角，社會須肯認遊戲的宣傳性、教育性和空間思維，正視遊戲為文化和價值傳遞平臺，加強遊戲人才培育和相關研究探討，建立在地文化遊戲內容和遊戲機制，發揮在地文化於遊戲創作的影響性。倘若，將遊戲視為主流外，係將遊戲「話語權」讓渡於外，對遊戲多元性發展並不適切。

　

關鍵詞：電子遊戲、種族偏見、性別歧視、文化挪移

　

Virtualized Racial Prejudice: The Imagination of Others in Video Games

／Tzu-Chao Lin

Adjunct Assistant Professor, Department of Public

Administration and Management, Chinese Culture University

　

Abstract

　　Video games are no longer entertainment, but a medium for conveying ideas. The virtual interface of video games allows viewers to escape the limitations of text and gain an immersive experience, and whether online or offline, video games can achieve interaction between people or people and AI, allowing users to cooperate or compete across nationalities and geographical restrictions. However, racial prejudice has not disappeared due to the transnational nature of digitalization. This article will explore the Western imagination of black people and people of color from the perspective of game development structure and the other, using Resident Evil 5, Grand Theft Auto 5 and Call of Duty: Modern Warfare 2 as examples to illustrate the racial prejudice and stereotypes in them.

　　This article finds that video game development is still dominated by Europe and America, and the main market is also in Europe and America, resulting in content that shows racial prejudice, cultural displacement, white habits and stereotypes. On the other hand, video games also objectify and sexualize women, showing a masculine color. This is because game development is still dominated by men, even though the proportion of female players has increased year by year, but men still have a dominant force in the development system, resulting in most game content ignoring gender balance issues.

　　To break the "other" perspective of games, social culture must recognize the propaganda, educational and spatial thinking brought by games, face up to games as a platform for cultural and value transmission, strengthen game talent cultivation and related research and discussion, establish local cultural game content and game mechanisms, and exert the influence of local culture on game creation. If games are seen as outside the mainstream, then they are giving up the "discourse power" of games to outsiders, which is not appropriate for the diversity development of game content.

　

Keywords: Electronic games, Racial prejudice, Sexism, Cultural Appropriation

節錄自〈虛擬化的種族偏見：電子遊戲中的他者想像〉／林子超

　

　　電子遊戲不再是娛樂，是傳達思想載體。電子遊戲的虛擬介面，讓觀者跳脫文本限制，獲得身臨其境體驗，且無論聯網或單機，電子遊戲都可實現人與人或人與AI互動，使用者跨國籍和地理限制在平臺合作或對抗。然而，種族偏見並沒有因為數位化的跨國性而消失。本文將從遊戲開發結構與他者觀點，探討西方遊戲對於黑人和有色族群的他者想像，以《惡靈古堡5》、《俠盜列車手5》和《決勝時刻：現代戰爭2》遊戲說明當中的種族偏見與刻板印象。

　　本文發現，電子遊戲開發仍由歐美...

【研究論文】

權利救濟的有與無：四分之三個世紀憲法解釋裡的文化隔閡
／李念祖
　
耕者有其田地價方案的決策與業佃利益
／陳兆勇
　
虛擬化的種族偏見：電子遊戲中的他者想像
　林子超
　
「我竟看不見中國的怒吼」──徐訏抗戰時期（1937-1945）創作的現實關懷兼論其文藝觀的形成
　余能城
　
晚清《啟蒙畫報》中的「女學」：一個圖像符號學的觀點
／杜賽男、孫秀蕙

【研究論文】

權利救濟的有與無：四分之三個世紀憲法解釋裡的文化隔閡
／李念祖
　
耕者有其田地價方案的決策與業佃利益
／陳兆勇
　
虛擬化的種族偏見：電子遊戲中的他者想像
　林子超
　
「我竟看不見中國的怒吼」──徐訏抗戰時期（1937-1945）創作的現實關懷兼論其文藝觀的形成
　余能城
　
晚清《啟蒙畫報》中的「女學」：一個圖像符號學的觀點
／杜賽男、孫秀蕙