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of "retro-futurism" highlights a collective nostalgia for the early 2000s, where past innovations are now viewed as outdated, despite being perceived as cutting-edge at the time [11][13] Group 3 - The "mourning theater" of the cyber age reflects a cycle of cultural loss, where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]

我算是个恐怖游戏爱好者。在我看来，有相当一部分恐怖游戏是没有什么"重复可玩性"的。这些游戏的重心一般是讲一个故事，然后在讲故事的过程中使 用各种手段吓人，比如Jumpscare、惊心动魄的追逐、扭曲惊悚的画面等等。它们之所以能让人感到恐怖，除了一些印在大众脑海中的刻板元素之外，还 有"不知道什么时候会跳出个东西给你一下子"的新鲜感。而这只在第一次玩时才会生效，一旦你提前知道了哪儿有Jumpscare，它就吓不到你了。 当然，没有重复可玩性不意味着没有重复可看性。有的游戏，哪儿会出怪，什么时候有Jumpscare，我差不多都能背下来了，但这毫不影响我去各个直播 间和游戏频道，反复观看不同主播的反应——有的夸张，有的搞笑，有的冷静，有的嘴硬，虽然明知道有一部分是"节目效果"，但真的十分解压。 另一些游戏则有些不同。它们里面没有（或者少到可以忽略不计）Jumpscare和紧张的追逐、战斗，纯以氛围塑造带给人毛骨悚然、后背发凉的感觉。这 类游戏往往叙事性不强，甚至没有主线，想加点玩法的就做些解谜，玩法弱的干脆就是"走路模拟器"。但也正是因为没有线性流程，我偶尔还会反复打开 玩上一小会，不一定通关，就是感受一下氛围，放 ...