Abstract:

This article works out a logic for trash in videogames through its consideration of the ludic artifact. Defining videogame trash as that which graphically outlives the execution of its ludic function, the essay distinguishes trash from objects that signify as real-world refuse, like Mario Kart’s banana peels, and the merely decorative. It also addresses the correlation between technical capability and a graphic verisimilitude that generates trashscapes. Examining videogames from Super Mario Bros. to The Elder Scrolls V: Skyrim, this article’s philosophical, technical, and art-historical approach departs from narratology and garbage studies to offer a prolegomenon for further inquiry.

摘要：

本文通过对游戏神器的考虑，为电子游戏中的垃圾制定了一个逻辑。这篇文章将电子游戏垃圾定义为在图形上比其滑稽功能的执行寿命更长的东西，将垃圾与表示现实世界垃圾的物体区分开来，比如马里奥赛车的香蕉皮，以及仅仅是装饰性的。它还解决了技术能力与生成垃圾景观的图形逼真度之间的相关性。检查来自超级马里奥兄弟的电子游戏。对于上古卷轴 V：天际，本文的哲学、技术和艺术史方法脱离了叙事学和垃圾研究，为进一步探究提供了一个序幕。