Pub Date : 2023-07-06DOI: 10.1177/15554120231185630
Johan Kalmanlehto
In this study I investigate aesthetics of agency in games in terms of rhythm. Following C. Thi Nguyen's theory of agency as the aesthetic medium of games, I suggest that the aesthetic experience of agency can be interpreted in terms of rhythm. First, I provide an overview of Nguyen's theory of games as the art of agency. By focusing on Nguyen's characterization of the aesthetic experience of agency, I highlight a need for a more detailed description of agential aesthetics. Second, I introduce a philosophical interpretation of rhythm as a distinction between form and flow. Finally, by using Elden Ring as an example I argue that an understanding rhythm as form in continuous motion captures the transient and mutable character of agency as the object of the player's aesthetic experience. Rhythm provides insight into the temporal nature of Nguyen's process aesthetics and explains how agency can have nonconceptual meaning.
{"title":"Aesthetics of Agency and the Rhythm of Gameplay","authors":"Johan Kalmanlehto","doi":"10.1177/15554120231185630","DOIUrl":"https://doi.org/10.1177/15554120231185630","url":null,"abstract":"In this study I investigate aesthetics of agency in games in terms of rhythm. Following C. Thi Nguyen's theory of agency as the aesthetic medium of games, I suggest that the aesthetic experience of agency can be interpreted in terms of rhythm. First, I provide an overview of Nguyen's theory of games as the art of agency. By focusing on Nguyen's characterization of the aesthetic experience of agency, I highlight a need for a more detailed description of agential aesthetics. Second, I introduce a philosophical interpretation of rhythm as a distinction between form and flow. Finally, by using Elden Ring as an example I argue that an understanding rhythm as form in continuous motion captures the transient and mutable character of agency as the object of the player's aesthetic experience. Rhythm provides insight into the temporal nature of Nguyen's process aesthetics and explains how agency can have nonconceptual meaning.","PeriodicalId":12634,"journal":{"name":"Games and Culture","volume":"46 5 1","pages":""},"PeriodicalIF":2.8,"publicationDate":"2023-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89186354","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-01DOI: 10.1177/15554120221119962
Scott DeJong, Courtney Blamey
There is an emerging body of games that simulate the labor of drink making and serving at the forefront of play through the role of a bartender or artisanal mixologist. Both are working class but the creative variance between them challenges how economic precarity is understood. The authors ask how this translates to video games when these positions are foregrounded. How do play, poverty, and precarity interconnect in drink making and serving games? Through the qualitative analysis of four games that put the player in the position of bartender or mixologist, this paper shows how creative labor and precarity are illuminated or obfuscated through mechanics and narrative. In doing so, it argues how games, as one form of media, obscure or make visible labor and precarity to players and simultaneously reinforce the romanticization of often exploited creative labor. These findings prompt further questions and research directions on representations of working-class labor.
{"title":"Top Shelf Drinks, Bottom Line Play: Examining Representations of Class in Bartending and Mixology Games.","authors":"Scott DeJong, Courtney Blamey","doi":"10.1177/15554120221119962","DOIUrl":"https://doi.org/10.1177/15554120221119962","url":null,"abstract":"<p><p>There is an emerging body of games that simulate the labor of drink making and serving at the forefront of play through the role of a bartender or artisanal mixologist. Both are working class but the creative variance between them challenges how economic precarity is understood. The authors ask how this translates to video games when these positions are foregrounded. How do play, poverty, and precarity interconnect in drink making and serving games? Through the qualitative analysis of four games that put the player in the position of bartender or mixologist, this paper shows how creative labor and precarity are illuminated or obfuscated through mechanics and narrative. In doing so, it argues how games, as one form of media, obscure or make visible labor and precarity to players and simultaneously reinforce the romanticization of often exploited creative labor. These findings prompt further questions and research directions on representations of working-class labor.</p>","PeriodicalId":12634,"journal":{"name":"Games and Culture","volume":"18 5","pages":"622-642"},"PeriodicalIF":2.8,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC10251459/pdf/","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"10290730","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
While the volume of education-based video game research has increased, the field has yet to settle on a consistent definition of educational video games (EVGs). Available definitions of video games do not account for the nuances of games used within education and have not been developed for that purpose. Several systematic reviews and meta-analyses have concluded that the lack of standardized definition is critically hampering a cohesive approach to research in this area. This article begins by reviewing the current scholarship on video game definitions and then suggests a definition for EVGs to improve research outcomes in the field. Given that the major potential of video game use in education is to improve learning, we advocate that educational research scholarship needs to develop a common foundational approach to defining EVG and associated educational technologies. We hope that this definition will advance the field by suggesting a common language and operationalization of EVGs.
{"title":"Why and How to Define Educational Video Games?","authors":"Caitlin Cole, Roberto Hernan Parada, Erin Mackenzie","doi":"10.1177/15554120231183495","DOIUrl":"https://doi.org/10.1177/15554120231183495","url":null,"abstract":"While the volume of education-based video game research has increased, the field has yet to settle on a consistent definition of educational video games (EVGs). Available definitions of video games do not account for the nuances of games used within education and have not been developed for that purpose. Several systematic reviews and meta-analyses have concluded that the lack of standardized definition is critically hampering a cohesive approach to research in this area. This article begins by reviewing the current scholarship on video game definitions and then suggests a definition for EVGs to improve research outcomes in the field. Given that the major potential of video game use in education is to improve learning, we advocate that educational research scholarship needs to develop a common foundational approach to defining EVG and associated educational technologies. We hope that this definition will advance the field by suggesting a common language and operationalization of EVGs.","PeriodicalId":12634,"journal":{"name":"Games and Culture","volume":"4 1","pages":""},"PeriodicalIF":2.8,"publicationDate":"2023-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86371869","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-26DOI: 10.1177/15554120231182498
Daniel Possler, R. Daneels, N. Bowman
Research has shown that seeking fun and enjoyment (i.e., hedonic reasons) motivates playing digital games. However, recent scholarship revealed that gaming also evokes eudaimonic entertainment experiences, such as meaningfulness and being moved. Yet, it is unclear whether players turn to games to have such eudaimonic experiences. Hence, the present study explored potential eudaimonic gaming motives in an online survey among fans ( N = 894) of five yet-to-be-released games. Specifically, it was examined whether eudaimonic motives, derived from gaming research and scholarship in positive psychology, complement an existing scale measuring gaming motives. Exploratory and confirmatory factor analysis (split-half method) demonstrated that “Eudaimonia” represents a distinct reason to play—alongside the well-known motives of “Absorption” and “Social Interaction.” Moreover, the Eudaimonia motive for using the five games was positively related to general eudaimonic orientations in life and trait-like eudaimonic game preferences. The results suggest that digital gaming may also be eudaimonically motivated.
{"title":"Players Just Want to Have Fun? An Exploratory Survey on Hedonic and Eudaimonic Game Motives","authors":"Daniel Possler, R. Daneels, N. Bowman","doi":"10.1177/15554120231182498","DOIUrl":"https://doi.org/10.1177/15554120231182498","url":null,"abstract":"Research has shown that seeking fun and enjoyment (i.e., hedonic reasons) motivates playing digital games. However, recent scholarship revealed that gaming also evokes eudaimonic entertainment experiences, such as meaningfulness and being moved. Yet, it is unclear whether players turn to games to have such eudaimonic experiences. Hence, the present study explored potential eudaimonic gaming motives in an online survey among fans ( N = 894) of five yet-to-be-released games. Specifically, it was examined whether eudaimonic motives, derived from gaming research and scholarship in positive psychology, complement an existing scale measuring gaming motives. Exploratory and confirmatory factor analysis (split-half method) demonstrated that “Eudaimonia” represents a distinct reason to play—alongside the well-known motives of “Absorption” and “Social Interaction.” Moreover, the Eudaimonia motive for using the five games was positively related to general eudaimonic orientations in life and trait-like eudaimonic game preferences. The results suggest that digital gaming may also be eudaimonically motivated.","PeriodicalId":12634,"journal":{"name":"Games and Culture","volume":"1 1","pages":""},"PeriodicalIF":2.8,"publicationDate":"2023-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89978654","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-24DOI: 10.1177/15554120231179511
M. Allen
While recent data from the Entertainment Software Association indicates there is close to a 50/50 split in gender identification of gamers between men and women, the environment created by stereotypical depictions of women in games as well as negative community interactions continue creating a hostile environment for women who identify as gamers. Since the 2010s, the presence of female playable characters in major studio games began to appear with polarized reception. Horizon Zero Dawn (2017) and Horizon Forbidden West (2022) require players to assume the role of Aloy, a female machine hunter and outcast without a male playable character option. Using Glick and Fiske’s concept of benevolent sexism and the three frames outlined in Schröter and Thon’s video game narrative analysis framework (narrative, ludic, and social), Aloy's narrative was analyzed to highlight how it disrupts amatonormative benevolent sexism in female-led games.
{"title":"“How is it that Someone Like You: paragon, Damn Near Saint; Could Love this World so Damn Much but No One in It?”: Horizon Zero Dawn's Aloy and the Disruption of Hetero-Amatonormative Benevolent Sexism in Female-led Games","authors":"M. Allen","doi":"10.1177/15554120231179511","DOIUrl":"https://doi.org/10.1177/15554120231179511","url":null,"abstract":"While recent data from the Entertainment Software Association indicates there is close to a 50/50 split in gender identification of gamers between men and women, the environment created by stereotypical depictions of women in games as well as negative community interactions continue creating a hostile environment for women who identify as gamers. Since the 2010s, the presence of female playable characters in major studio games began to appear with polarized reception. Horizon Zero Dawn (2017) and Horizon Forbidden West (2022) require players to assume the role of Aloy, a female machine hunter and outcast without a male playable character option. Using Glick and Fiske’s concept of benevolent sexism and the three frames outlined in Schröter and Thon’s video game narrative analysis framework (narrative, ludic, and social), Aloy's narrative was analyzed to highlight how it disrupts amatonormative benevolent sexism in female-led games.","PeriodicalId":12634,"journal":{"name":"Games and Culture","volume":"17 1","pages":""},"PeriodicalIF":2.8,"publicationDate":"2023-06-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72514794","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-22DOI: 10.1177/15554120231182802
Philly Wintle
The post-apocalyptic environment has been popular in video games for many decades—from nuclear fallout to alien invasions, there is a fascination with the decline of mankind. This article looks, in light of the Covid-19 outbreak, at the depiction of failing and inhuman worlds in video games about pandemics. The environments in games such as Bioshock (2007), Left 4 Dead (2008, 2009), and The Last of Us (2013), are unflinchingly cruel, often depicting humans (and the player) as selfish entities seeking only self-survival. These environments are destructively violent, and, although the player is often surrounded by ‘mutants', these worlds are also oppressively lonely. This article looks at the fears reflected in pre-Covid-19 pandemic video games and what they say about our world, offering a retrospective view now we are living through a global pandemic perhaps not so different from those found in these games.
{"title":"Mutants and Zombies Everywhere! Or Villains, Violence, and Selfishness: Questions of Humanity in the Post-apocalyptic (Pandemic) Video Game","authors":"Philly Wintle","doi":"10.1177/15554120231182802","DOIUrl":"https://doi.org/10.1177/15554120231182802","url":null,"abstract":"The post-apocalyptic environment has been popular in video games for many decades—from nuclear fallout to alien invasions, there is a fascination with the decline of mankind. This article looks, in light of the Covid-19 outbreak, at the depiction of failing and inhuman worlds in video games about pandemics. The environments in games such as Bioshock (2007), Left 4 Dead (2008, 2009), and The Last of Us (2013), are unflinchingly cruel, often depicting humans (and the player) as selfish entities seeking only self-survival. These environments are destructively violent, and, although the player is often surrounded by ‘mutants', these worlds are also oppressively lonely. This article looks at the fears reflected in pre-Covid-19 pandemic video games and what they say about our world, offering a retrospective view now we are living through a global pandemic perhaps not so different from those found in these games.","PeriodicalId":12634,"journal":{"name":"Games and Culture","volume":"16 1","pages":""},"PeriodicalIF":2.8,"publicationDate":"2023-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78726151","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-18DOI: 10.1177/15554120231181462
Samantha Close
Esports, competitive video gaming, is an emerging media industry looking to legitimize itself on the global stage. Part of its efforts include addressing a culture widely perceived as toxic. Toxic gamer culture claims hegemonic masculinity by degrading any seen as feminine, such as women and queer men; while this problem is endemic to gaming, it is particularly virulent in esports due to its struggles to be recognized as a “real” sport. The methods esports authorities have deployed to combat patriarchal homophobia, however, are insufficient. They share much with an anti-queer respectability politics that reinscribes the market as the ultimate cultural authority. An alternative approach would be one based on the principles of transformative justice, which emphasizes the humanity of both perpetrators and victims while demanding perpetrators take responsibility for the harm they cause. Transformative justice has already proved viable in game live-streaming, as seen by AnyKey's GLHF initiative.
{"title":"Esports Cannot Defeat Homophobia With Capitalism","authors":"Samantha Close","doi":"10.1177/15554120231181462","DOIUrl":"https://doi.org/10.1177/15554120231181462","url":null,"abstract":"Esports, competitive video gaming, is an emerging media industry looking to legitimize itself on the global stage. Part of its efforts include addressing a culture widely perceived as toxic. Toxic gamer culture claims hegemonic masculinity by degrading any seen as feminine, such as women and queer men; while this problem is endemic to gaming, it is particularly virulent in esports due to its struggles to be recognized as a “real” sport. The methods esports authorities have deployed to combat patriarchal homophobia, however, are insufficient. They share much with an anti-queer respectability politics that reinscribes the market as the ultimate cultural authority. An alternative approach would be one based on the principles of transformative justice, which emphasizes the humanity of both perpetrators and victims while demanding perpetrators take responsibility for the harm they cause. Transformative justice has already proved viable in game live-streaming, as seen by AnyKey's GLHF initiative.","PeriodicalId":12634,"journal":{"name":"Games and Culture","volume":"139 1","pages":""},"PeriodicalIF":2.8,"publicationDate":"2023-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82261183","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-08DOI: 10.1177/15554120231179496
Alexander Vandewalle, S. Malliet, K. Demoen
Characterization refers to the process of attributing character traits to narrative entities called ‘characters'. While there is a long tradition of characterization theory in literary studies, the topic has not been examined extensively in game research. Based on insights from literary, film, and game studies, this article creates a theoretical model of how ‘character,' or character traits, can be attributed in video games, and offers a methodological vocabulary for further character(ization) research. First, this paper synthesizes the tradition of characterization research in literary studies. Second, it identifies three participants in video game characterization (developers, actors, and players) and introduces the concept of ergodic characterization to describe those instances in which players produce nontrivial characterization efforts. Finally, the framework itself is presented through application to various game titles, and several answers to methodological problems within game characterization analysis are suggested.
{"title":"Playing with Character: A Framework of Characterization in Video Games","authors":"Alexander Vandewalle, S. Malliet, K. Demoen","doi":"10.1177/15554120231179496","DOIUrl":"https://doi.org/10.1177/15554120231179496","url":null,"abstract":"Characterization refers to the process of attributing character traits to narrative entities called ‘characters'. While there is a long tradition of characterization theory in literary studies, the topic has not been examined extensively in game research. Based on insights from literary, film, and game studies, this article creates a theoretical model of how ‘character,' or character traits, can be attributed in video games, and offers a methodological vocabulary for further character(ization) research. First, this paper synthesizes the tradition of characterization research in literary studies. Second, it identifies three participants in video game characterization (developers, actors, and players) and introduces the concept of ergodic characterization to describe those instances in which players produce nontrivial characterization efforts. Finally, the framework itself is presented through application to various game titles, and several answers to methodological problems within game characterization analysis are suggested.","PeriodicalId":12634,"journal":{"name":"Games and Culture","volume":"48 1","pages":""},"PeriodicalIF":2.8,"publicationDate":"2023-06-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90000376","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-04DOI: 10.1177/15554120231179261
Nicky Heijmen, J. Vervoort
In the face of a global ecological crisis, culturally dominant framings of subjective experience as separate from living ecologies are no longer sufficient. Games might offer ways to break down these divisions. Alenda Chang has proposed bringing game ecologies to life. To complement her position, in this paper, we aim to inspire game designers and researchers to explore ways in which video games can remodel the perceived player subject as a pathway to ecological entanglement. We investigate four strategies for decentering and deconstructing the subject. These are: (1) deconstructing the subject to foreground internal sources of entanglement; (2) dismantling, distorting, ignoring, and/or invading the visual perspective; (3) conceptual deconstruction and reframing of a sense of self; and (4) decentering the subject through shifting contexts. For each of these, we introduce relevant examples of narrative and gameplay design in existing video games and suggest steps for further development in each direction.
{"title":"It's Not Always About You: The Subject and Ecological Entanglement in Video Games","authors":"Nicky Heijmen, J. Vervoort","doi":"10.1177/15554120231179261","DOIUrl":"https://doi.org/10.1177/15554120231179261","url":null,"abstract":"In the face of a global ecological crisis, culturally dominant framings of subjective experience as separate from living ecologies are no longer sufficient. Games might offer ways to break down these divisions. Alenda Chang has proposed bringing game ecologies to life. To complement her position, in this paper, we aim to inspire game designers and researchers to explore ways in which video games can remodel the perceived player subject as a pathway to ecological entanglement. We investigate four strategies for decentering and deconstructing the subject. These are: (1) deconstructing the subject to foreground internal sources of entanglement; (2) dismantling, distorting, ignoring, and/or invading the visual perspective; (3) conceptual deconstruction and reframing of a sense of self; and (4) decentering the subject through shifting contexts. For each of these, we introduce relevant examples of narrative and gameplay design in existing video games and suggest steps for further development in each direction.","PeriodicalId":12634,"journal":{"name":"Games and Culture","volume":"19 1","pages":""},"PeriodicalIF":2.8,"publicationDate":"2023-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81180845","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-04DOI: 10.1177/15554120231178871
P. Fraile-Jurado
In recent years, open-world environments in video games have become increasingly popular and immersive. Millions of players are able to explore virtual landscapes that resemble the real world, yet significant differences exist. This study investigates the geographical accuracy of 15 open-world video games. The virtual landscapes in these games were analyzed for horizontal distance compression, increased slopes, idealized climate, simplified vegetation and water features, underpopulation, and spatial segregation of ethnic minorities. The findings show significant differences between the games in terms of their geographical accuracy, with some exhibiting a more realistic representation of the natural and cultural environment compared to others. This study sheds light on the relationship between virtual landscapes in video games and our perception of the real world, offering new insights into this rapidly growing field.
{"title":"Geographical Aspects of Open-World Video Games","authors":"P. Fraile-Jurado","doi":"10.1177/15554120231178871","DOIUrl":"https://doi.org/10.1177/15554120231178871","url":null,"abstract":"In recent years, open-world environments in video games have become increasingly popular and immersive. Millions of players are able to explore virtual landscapes that resemble the real world, yet significant differences exist. This study investigates the geographical accuracy of 15 open-world video games. The virtual landscapes in these games were analyzed for horizontal distance compression, increased slopes, idealized climate, simplified vegetation and water features, underpopulation, and spatial segregation of ethnic minorities. The findings show significant differences between the games in terms of their geographical accuracy, with some exhibiting a more realistic representation of the natural and cultural environment compared to others. This study sheds light on the relationship between virtual landscapes in video games and our perception of the real world, offering new insights into this rapidly growing field.","PeriodicalId":12634,"journal":{"name":"Games and Culture","volume":"96 1","pages":""},"PeriodicalIF":2.8,"publicationDate":"2023-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88524363","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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