Group 1 - The core idea of contemporary theater is its role as a laboratory for self-discovery and exploring the relationship between the self and the world, facilitated by the internet and breaking geographical limitations while adhering to local cultural contexts [1][3] - The concept of "cyber locality" reflects a new form of artistic expression that continues to resonate with past cultural roots, creating a "mourning theater" that redefines the essence of drama in the 21st century [1][18] - The internet has transformed the understanding of locality among contemporary creators, leading to a diminished emphasis on traditional geographic identity while fostering a new form of spiritual locality rooted in digital interactions [3][4] Group 2 - The experience of internet users has evolved from a distinct separation between online and offline identities to a seamless integration, particularly for younger generations who have grown up in a fully connected environment [5][6] - The phenomenon of "information cocoons" on the internet leads to a repetitive engagement with familiar content, resulting in a nostalgic longing for past cultural expressions while stifling the exploration of new ideas [9][10] - The concept of "retro-futurism" highlights a collective nostalgia for the early 2000s, where past innovations are now viewed as outdated, despite being perceived as cutting-edge at the time [11][13] Group 3 - The "mourning theater" of the cyber age reflects a cycle of cultural loss, where cherished elements of the past are continuously revisited but ultimately fade into obscurity, creating a sense of collective grief [18][19] - The narrative structure of contemporary theatrical works often incorporates themes of data loss and the quest for meaning in a digital age, mirroring the challenges faced by individuals in navigating their identities within the internet's vast landscape [25][26] - The influence of gaming culture on contemporary understanding of reality suggests a desire for clear rules and pathways to success, contrasting with the often ambiguous nature of real-life experiences [27][28]

Core Viewpoint - The article discusses the appeal and characteristics of different types of horror games, particularly focusing on the "core" aesthetic in games like "无人" (No One) and "池核" (Pools) [3][5][7]. Group 1: Types of Horror Games - Some horror games lack replayability due to their reliance on storytelling and jump scares, which lose their impact after the first playthrough [1]. - Other horror games focus on atmosphere rather than linear narratives, allowing for repeated play without the need for completion, often described as "walking simulators" [2]. - The emergence of "core" games, characterized by low-quality graphics and a nostalgic, chaotic atmosphere, has become a trend in recent years [2]. Group 2: Specific Game Analysis - "无人" (No One) incorporates elements of Chinese dream core, evoking a mix of eerie, nostalgic, and tranquil emotions through its setting and design [3]. - "池核" (Pools) features a minimalist design with a focus on staircases, corridors, and pools, creating a complex atmosphere that elicits feelings of both unease and calm [5]. - The contrasting feelings of safety and suffocation associated with water, as well as the nostalgic elements of dream and memory, contribute to the appeal of these "core" games [7]. Group 3: Cultural Influence - The regional cultural context can influence the gaming experience, as seen in the author's personal connection to the environments depicted in "池核," which resemble local bathhouses [7].