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Save yourself! The video games casting us as helpless children
If society has already reduced us to a childlike state of weakness, isolation and vulnerability, it is perhaps no surprise that modern pop culture and technology tend towards infantilisation, and that many video games function as childish wish fulfilment.
如果說社會(huì)已經(jīng)讓我們退化成一種孩子般的軟弱、孤獨(dú)和感性的狀態(tài)，那么現(xiàn)代流行文化和科技偏向幼稚化也許并不奇怪，許多視頻游戲的實(shí)際作用就是為玩家實(shí)現(xiàn)那些孩子氣的愿望。
By turning us into star footballers or super space marines, they reconstruct adolescent fantasies of proficiency and heroism.
通過將我們變成足球明星或是超級(jí)星際戰(zhàn)士，它們重建了我們青少年時(shí)對(duì)精湛技術(shù)和英雄主義的幻想。
Yet some games have begun to depict a childhood experience more in tune with the current social context.
然而有些游戲已經(jīng)開始描繪一種更符合當(dāng)前社會(huì)語境的童年體驗(yàn)。
These games make us play as children, and in doing so often accentuate feelings of powerlessness and fear.
這些游戲使我們作為兒童進(jìn)行游戲，并在游戲過程中常常強(qiáng)調(diào)那種無力和恐懼的感受。
Only more recently have such experiences been joined by a range of games about, but not for, children.
而就是最近，很多游戲都加入了這種體驗(yàn)。這些游戲是關(guān)于孩子的，但它們并不是為孩子們?cè)O(shè)計(jì)的。
The trendsetter here is Limbo, which features a dispiritingly monochrome palette and a pre-teen character who suffers all manner of gruesome deaths.
其中的先行者是《地獄邊境》（Limbo），該作品以令人沮喪的黑白色調(diào)為特征，主角是一個(gè)不滿13歲、經(jīng)歷了各種可怕死亡的孩子。
Since then, its successor, Inside, as well as games such as Little Nightmares, have placed young children in dystopian worlds that are as freakishly bizarre as they are hostile, preying on childhood fears of monsters and abandonment.
之后，它的續(xù)作《囚禁》（Inside），以及像《小小噩夢(mèng)》（Little Nightmares）這樣的游戲，都將小孩子置于極為怪異并充滿敵意的反烏托邦世界中，靠對(duì)怪物和被遺棄的童年恐懼來吸引玩家。
It doesn’t seem coincidental that such a portrayal of children has emerged in recent years.
近些年來，對(duì)于兒童的這種描繪集中出現(xiàn)似乎并非巧合。
It re-enacts a reality in which systems appear fragile and we are made to feel responsible for failures outside our control.
它重新打造了一個(gè)現(xiàn)實(shí)，在這個(gè)世界中體制脆弱不堪，我們被迫為那些無法掌控的事情的失敗而感到自責(zé)。
Perhaps these games also reflect the fears and worries that developers and players, increasingly parents themselves, have for their children and for the future.
也許這些游戲也正反映了越來越多成為父母的開發(fā)者和玩家們對(duì)他們的下一代和未來的恐懼和憂慮。
There’s a sense here, as well as in games such as Limbo, that we’re making ourselves experience our children’s reality, trapped in the chaos that the adults have created.
這個(gè)道理是說得通的，在《地獄邊境》這類游戲中也是如此，那就是我們被困在成年人所制造的混亂當(dāng)中，正在強(qiáng)迫自己體驗(yàn)孩子們的現(xiàn)實(shí)。
Some of these experiences are about growing up, or learning to face an intimidating reality.
這些體驗(yàn)中一部分是關(guān)于成長(zhǎng)的，或者說，學(xué)習(xí)如何面對(duì)一個(gè)令人恐懼的現(xiàn)實(shí)。
In their way, they do offer some hope: no matter how many times we’re ripped apart by attack dogs in Inside, we find our way.
這些游戲確實(shí)以自身的方式給了我們一些希望：不管我們?cè)凇肚艚樊?dāng)中多少次被警犬撕成碎片，最終我們總能找到出路。
And modern games reflect a more modern understanding of children as resourceful individuals, rather than adults in waiting.
同時(shí)，現(xiàn)代游戲反映了一個(gè)更加摩登的思維方式，那就是將小孩子作為足智多謀的個(gè)體來看待，而不是一味等待他們成年。
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