游戏艺术：《比特之旅》揭示游戏如何塑造世界

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《逐像素：电子游戏如何重塑我们的世界》是一本由Andrew Ervin撰写的专业分析书籍，作者深入探讨了电子游戏在现代社会中的崛起与影响力。随着技术的发展，电子游戏不再局限于小众群体，而是成为全球广泛参与的娱乐形式，据统计，现在有超过67%的美国家庭拥有游戏设备，平均玩家年龄为34岁，每周投入8小时的游戏时间，且女性玩家的比例已达到40%。这本书通过对1950年代至今游戏产业的详尽历史梳理，Ervin揭示了电子游戏吸引人的关键在于它们激发的创造力。他强调，电子游戏不仅是艺术，因为它们能够呈现出美感、情感深度，甚至具有政治含义。游戏设计让玩家在互动过程中成为艺术家，体验到创造的乐趣和满足感。例如，书中引用了Dave Hickey的观点，他在《看不见的龙：关于美的论文》中提到的游戏美学，进一步论证了电子游戏作为一种艺术形式的合理性。 Ervin在书中还提到了版权问题，如引用了Elizabeth Bishop的诗歌《明亮》的部分章节，并获得了相应的授权。同时，他分享了自己在"Geek Reads"栏目中的文章片段，这些内容被整合进本书，展示了作者的个人见解和专业背景。《逐像素》不仅是一本关于游戏历史和技术发展的书籍，更是一本对电子游戏艺术价值和社会影响的深度剖析。它对于理解当代社会文化变迁以及电子游戏在其中的作用具有重要意义。阅读这本书，读者将能更全面地认识到电子游戏如何从边缘文化走向主流，以及它们如何塑造并反映我们时代的价值观和审美观。

and wires—was blurry and clunky and not remotely as polished as the app.

The resolution was hideous yet beautiful, in much the same way that hearing

the pops and cracks of an old LP is beautiful. I loved playing Adventure that

way like I love hearing Ben Webster on a scratchy old record instead of on

remastered and lifeless CDs. The scratches and crackle, or in this case the

pixelated blurs and wonky motion, are essential to my enjoyment.

In writing this book, I have whenever feasible played the original

incarnation of each game under discussion. I dropped quarters into arcade

cabinets, loaded 5 1/2” floppy diskettes into buzzing C=64 drives, and spun

tiny 3” CDs in a Nintendo GameCube. Without a single peep of complaint

from Elivi, I installed a full-sized and obscenely loud Donkey Kong (1981)

machine in our basement. However, with video games, and digital media in

general, locating an original of a program can be futile. Newer games in

particular are infinitely reproducible. It makes little sense to adhere to some

false notions, rooted in nostalgia, for an authenticity that never existed. For

that reason, I did not lose sleep over my inability to play Spacewar! (1962)

on a PDP-1 computer or Pong (1972) on an original arcade cabinet. I tried to

be respectful of Benjamin’s aura without being inexorably tied to it.

I have also focused my attention on the games that advanced the medium

in creative ways. No work of history can be truly comprehensive, and this

one is not. What you hold in your hands consists of a selective and ultimately

subjective—and hopefully still corrective—survey. The contributions of

women to video game history have been overlooked for too long, for

instance. Margaret Atwood has written that, “In most conventional histories,

women simply aren’t there. Or they’re there as footnotes. Their absence is

like the shadowy corner in a painting where there’s something going on that

you can’t quite see.” Make no mistake: this is no conventional history. I have

tried to celebrate some of the many brilliant contributions, otherwise often

ignored, that women programmers and designers have made to the field of

video games.

When I set off to write the book, I quickly and unexpectedly found myself

learning about the origins of video games in the time of World War II and

their parallel growth alongside and within the military-industrial complex.

My research took me to a government laboratory and dusty junk shops, to

design studios and arcades, to universities, and to museums that had recently

added games to their collections. I met professors and professional gamers,

scientists and hobbyists, critics and game makers themselves. I designed a

university course about video games and taught it online, holding virtual

student conferences inside World of Warcraft. And, yes, with the help of my

nephews I even learned how to play Minecraft. In fact, I played enough to

suffer from Minecraft Syndrome, the effect of seeing the objects around me

in real life as constituted of component blocks.

As Warren Robinett, the mind behind Adventure, has put it, “If you accept

the idea that a new artform is emerging, then interviewing the genre-creators

is equivalent, for a Classicist, to interviewing Homer; for an English

professor, to interviewing Shakespeare.” Self-aggrandizement aside, I could

not agree more. I was fortunate, in a way, that many of the most important

people behind games are still alive; my conversations with Robinett and Tim

Schafer and other video game designers enlivened and complicated this book.

Few of the people I met would agree on what makes video games important,

or if they are art or not, but every last one shared an abiding—and contagious

—passion for playing games.

And what is it exactly that I came to love about video games? The works

of art I value the most—Inferno and Moby-Dick, Magritte’s “The Treachery

of Images” and Bartók’s Concerto for Orchestra—always and necessarily

resist definition; they allow me to question my own tastes and beliefs and

values. Art cannot be pinned down like a butterfly to a taxonomist’s board.

Art helps me enter Huizinga’s magic circle of ritual, where cordoned off from

the workaday world I can find the mental and emotional bandwidth to better

mediate my relationship between the real and the mystical or extra-real. My

favorite video games do precisely that.

Before we hit START, I would like to thank you, the reader who has put

down the controller long enough to pick up this book. You might find that I

have ignored some popular games that you’re excited about and that I’ve

devoted what may feel like excessive attention to lesser-known games that I

love. Please bear with me. Fortunately, as I discovered, there are enough

video games, and enough kinds of video games, for everyone. The diversity

of video games—and of video gamers—can be the medium’s greatest

strength. The gaming community we build together is entirely up to us. Let’s

play, shall we?

the Bhagavad Gita: “Now I am become Death, the destroyer of worlds.”

Another witness to the detonation was the physicist William A. “Willy”

Higinbotham. As group leader of the electronics division at Los Alamos,

Higinbotham was responsible for creating the timing circuits for the

Manhattan Project. A little over a decade later, he invented the first video

game.

The famous lines that Orson Welles added to Graham Greene’s

screenplay for The Third Man, released in 1949, addressed the historical

correlation of art to war: “In Italy, for thirty years under the Borgias, they had

warfare, terror, murder, and bloodshed, but they produced Michelangelo,

Leonardo da Vinci, and the Renaissance. In Switzerland they had brotherly

love, they had five hundred years of democracy and peace. And what did that

produce? The cuckoo clock.” For all its ravages, warfare has inspired

innumerable artistic triumphs. So perhaps I should not have been surprised to

learn that the invention of video games can be traced directly to World War

II.

Higinbotham was born on October 25, 1910 in Bridgeport, Connecticut.

His father, a Presbyterian minister, encouraged his interest in the sciences,

and at age fourteen Willy began tinkering with radios. He graduated from

Williams College in 1928 with a degree in physics and, unable to find a job at

the beginning of the Great Depression, he pursued his graduate studies at

Cornell University. In 1941, as the United States appeared likely to enter the

war, he went to work with the experimental physicist Robert Fox Bacher at

the Massachusetts Institute of Technology, where he helped adapt early,

analog computing technology for military use, including a high-altitude

bombing system. A few years later, it was Bacher who recruited Higinbotham

to Los Alamos.

One of the figures responsible for initiating the Manhattan Project was the

engineer Vannevar Bush, who helmed the US Office of Scientific Research

and Development. In July 1945, The Atlantic published Bush’s essay “As We

May Think,” in which he attempted to plot a new, peacetime course for

scientific discovery. “Machines with interchangeable parts can now be

constructed with great economy of effort,” he wrote. “The world has arrived

at an age of cheap complex devices of great reliability; and something is

bound to come of it.” Several weeks after the publication date of that essay,

the United States unleashed atomic devastation on Hiroshima and Nagasaki.

Higinbotham was one of the physicists who, as Bush wrote, was “thrown

most violently off stride, who [had] left academic pursuits for the making of

destructive gadgets, who [had] had to devise new methods for their

unanticipated assignments.” Higinbotham lost his brothers Philip and

Frederick in the war and suffered terrible pangs of conscience about his role

in the Manhattan Project. For the rest of his career, in fact, he consistently

threw himself into numerous anti-nuclear proliferation efforts. He moved to

Washington, D.C. to become the first executive director of the Federation of

American Scientists, which sought to call attention to the humanitarian

consequences of scientific research. Soon thereafter, he accepted a position at

Brookhaven National Laboratory, founded by the Atomic Energy

Commission in 1947 on the grounds of a former US Army base in east-

central Long Island. Higinbotham took the job, he said, because he “wanted

to be involved in instruments and also be at an institution that wouldn’t

complain if [he] continued to be active in arms control.”

Beginning in 1958, at the height of the Cold War, Brookhaven instituted

annual visitors’ day celebrations so the public could learn more about the

scientific discoveries their tax dollars were funding. By that time,

Higinbotham had become head of the Instrumentation Division, the official

purpose of which was to “develop state-of-the-art electronic instruments to

help scientists collect and analyze data that would come from the big

machines built for smashing the atom.” For Visitors Day, he created an

interactive exhibition, one that would demonstrate the application of the

government’s technological innovations in a way that the general public

could understand. Using a Donner Model 30 analog computer—and basing

his work upon the calculation of ballistic-missile trajectories—Higinbotham

created a two-player tennis simulation. Today we would immediately

recognize what he called Tennis for Two as a precursor to Pong.

The era’s analog computers differed from our current digital machines in

many ways, and the distinctions would be the cause of debate among video

game historians for decades to come. In a digital computer, such as the ones

eventually used to program and play Spacewar! and every subsequent video

game, a central processing unit (CPU) converts numbers to graphic

representations on a display monitor. An analog computer, by contrast, does

not get programmed so much as assembled: the organization and arrangement

of the physical components themselves create the gameplay. Some gamers

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游戏艺术：《比特之旅》揭示游戏如何塑造世界

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