Li Guo：《罗小黑战记》中的多平面影像、物种间治理和生态意识游戏

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To Cite This Article

Guo, Li. "Animating Eco-aesthetics: Multiplanar Images, Interspecies Government, and Eco-conscious Gaming in The Legend of Hei (2019) and Its TV Series (2011–Present)" Journal of Chinese Film Studies, vol. 3, no. 1, 2023, pp. 159-184. https://doi.org/10.1515/jcfs-2022-0037

 About the Author

Li Guo (Professor of Chinese and Asian studies) teaches Chinese language, literature, Asian literatures and film at Utah State University. Her research interests include Chinese women’s narratives, folk literature, film, and comparative literature. She is the author of Women’s Tanci Fiction in Late Imperial and Early Twentieth-Century China (Purdue UP, 2015), and Writing Gender in Early Modern Chinese Women’s Tanci Fiction (Purdue, 2021). She is the co-editor with Patricia Sieber and Peter Kornicki of a volume titled Reading and Writing Across Lines: Ecologies of Translation in East and South East Asia, 1600–1900 (Amsterdam UP, 2022). Her articles appeared in Modern Chinese Literature and Culture (MCLC, 2019), Frontiers of Literary Studies in China (FLSC, 2011, 2014), Tulsa Studies in Women’s Literature (2014), CLCWeb: Comparative Literature and Culture (2013), Film International (2012), Prism: Theory and Modern Chinese Literature (2021). She has coedited special issues for MCLC (2019), Journal of Chinese Cinemas (2017), FLSC (2014, 2017), and CLCWeb (2013).

郭丽，美国犹他州立大学世界语言文化系教授，主要研究方向为明清及现代中国女性文学、性别研究、电影、动画、翻译和通俗叙事。著有《晚清及二十世纪早期中国的女性弹词小说》（普渡大学出版社, 2015年出版），《早期近代中国女性弹词小说的性別书写》（普渡大学出版社, 2021年出版），与夏颂教授 (Patricia Sieber), 彼得·科尼基教授（Peter Kornicki）合编有《1600年至1900年东亚及东南亚翻译生态研究》（阿姆斯特丹大学出版社，2022年出版）。在《中文现代文学与文化》《华语电影杂志》《棱镜：理论与现代中文文学》《塔尔萨妇女文学研究》和《电影国际》等学术期刊发表文章。

Abstract and Keywords

Abstract: This study on the animation feature The Legend of Hei (2019) and its TV animation series (2011 to the present) endeavors to explore nascent models of eco-aesthetics in Chinese animation through an intersectional framework bridging studies of eco-politics, eco-cinema, and contemporary animation and media studies. Through close analysis of multiplanar imaging and limited animation in the animation feature, I discuss how varied animation techniques in the film contribute to aesthetic effects of appearance and disappearance, diversified characterization, and representations of contesting models of ecological subjectivities, bio-politics, and environmental governance. Contrary to a radical ecologist’s approach that resorts to forceful undertakings to “rescue nature,” the animation projects an alternative ethico-political method that promotes co-existence, inter-species governance, tolerance, and the art of “letting be.” The latter half of the essay situates the TV animation series The Battle of Luo Xiaohei in the milieu of eco-cinema and media ecology. I argue that the TV animation’s transmedial presentation of ACG gaming, platformativity, and parasocial participation of gamers, human characters and elfin alike, offer new insights on videogaming as social and cultural responses to environmental crises, also drawing attention to the ethico-political potential of parasocial gameplay in promoting democratic ideals of ecosystem governance.

Keywords：animation, eco-aesthetics, multiplanar images, inter-species governance, platformativity, parasociality

摘要：本文研究动画电影《罗小黑战记》（2019年）及其动画剧集（2011 年至今），致力于通过生态政治、生态电影、当代动画和媒体研究的交叉框架，探索中国动画中生态美学的新生模式。通过对动画片中的多平面影像和有限动画的仔细分析，本文讨论了影片中不同的动画技术如何促进美学效果的呈现和消失、多样化的人物形象以及生态主体性、生物政治和环境治理的争议模式。与激进生态学家诉诸强有力的行动来“拯救自然”的方法相反，这部动画提出了一种替代的伦理政治方法，即倡导共存、物种间治理、宽容和“顺其自然”的艺术。本文后半部分将动画剧集《罗小黑战记》置于生态电影和媒体生态的语境下。作者认为，动画剧集对ACG游戏、平台性以及人物、妖精等游戏玩家的准社会参与的跨媒体呈现，为电子游戏应对环境危机作出的社会和文化反应提供了新的见解，也引起了人们对电子游戏的伦理政治促进生态系统治理的民主理想潜力的关注。

关键词：动画；生态美学；多平面影像；物种间治理；平台性；准社会性

A Glimpse of the Article

Upon its release in Tokyo in 2019, the animation feature The Legend of Hei (MTJJ, Dir 2019) was applauded for its representations of otherworldly characters and plot arrangements, its adaptation of Japanese animation aesthetics, and its inclusion of some culturally-bound representations that helped audiences identify Sinophone sound and visual elements in the film. The story portrays contesting modes of ecopolitical ethics represented by human beings and spirits in a transcultural realm of interpretation. In the Chinese and Sinophone world, though some viewers criticized its slow-paced narration, most critics praised the animation feature for its refined storyboard design, eloquent storytelling, effective expressions of characters’ emotions, and reembodiment of traditional ink painting aesthetics (Ji 2019; Banbeizi 2019; Fu 2020). In the English-speaking world, the film is praised for its “beautiful mix of inking and two-dimensional animation beauty between the old world landscapes and the various spirits’ powers,” and deemed as a charming story of adventure reminiscent of “Studio Ghibli’s ecological fables” (Cooper 2021). This essay, through a close analysis of the animation feature The Legend of Hei and its TV series (2011– present), aims to bring Chinese-language environmental animation works into dialogue with current scholarship on Chinese and Sinophone eco-cinema.

自从动画片《罗小黑战记》（木头，2019）于2019年在东京上映后，该片因其所呈现的异世界角色和情节安排、对日本动画美学的改编，以及加入能够帮助观众识别中国声音和视觉元素的中国风描写在国际上备受称赞。故事描绘了在跨文化的阐释语境中以人类和妖精为代表的生态政治伦理模式的较量。在华语世界，尽管有些观众批评该片叙事松散，但是大部分评论者对影片设计精良的故事板、动人的故事情节、细腻的情感表现和再现传统水墨画美学持赞扬态度。在英语世界，该片被赞誉为“在古老世界的风景和各种妖精的力量中，对水墨画和二维动画的美丽结合”，并被认为是一个引人入胜的冒险故事，使人联想到吉卜力生态动画(Cooper 2021)。本文通过对动画电影《罗小黑战记》及其电视剧集的仔细分析，旨在将中国生态动画作品与当代华语生态电影语境的学术研究结合起来。

This study builds upon current scholarship on environmental awareness animation as well as Chinese-language eco-cinematic traditions, and intends to achieve the following goals. First, by exploring multiplanar images, limited animation, and full animation in the animation feature Legend of Hei, I consider how the film’s presentation of the opposition between human and spirits transcends a simple discourse about restoring ecological sovereignty, and presents an alternative narrative about eco-aesthetics against an environmental success story.

本研究以当前有关环境意识动画的学术研究以及华语生态电影传统为基础，旨在实现以下目标。首先，通过探讨动画片《罗小黑战记》中的多平面影像、有限动画和全动画，思考了该片对人妖对立的呈现如何超越了简单的关于恢复生态主权的论述，并在环保成功的故事中呈现了另一种生态美学叙事。Second, drawing from Thomas Lamarre’s discussion of media ecology, parasociality and platformativity, and from studies of game theory, this essay studies how the two seasons of the TV animation series The Legend of Hei (MTJJ 2011) challenge the divisive conceptualization of nature and technology as binary and divisive realms, and instead facilitate exchanges and passages between the material and immaterial, between the physical world and the virtual playspace. Probing into the transmedial presentation of the MMOR game “Gate of All the Creatures” in the TV animation series of the same name, this essay discusses how the mixed media ecorealities created by the game within a meta-media platform of animation provide multiple possibilities of playing “nature.” Such examples of parasocial connections in the virtual playspace, the utilization of animation form as mediatization, invite new insights on how media technologies of communications shape people’s connections with each other as well as with their social, cultural, and natural environments, while transforming their ecological practices through new ethical encounters with non-human species.其次，本文借鉴托马斯·拉马尔（Thomas Lamarre）对媒介生态学、准社会性和平台性的讨论，以及对博弈论的研究，探讨两季动画剧集《罗小黑战记》（木头 2011）如何挑战将自然和技术视为二元对立的分裂概念，而促进物质和非物质之间、现实世界和虚拟游戏空间的交流和传递。本文探究了大型多人在线游戏“众生之门”在同名动画系列中的跨媒体呈现，讨论了该游戏在动画的元媒体平台中创造的混合媒体生态是如何为“自然”游戏提供多种可能性的。这种虚拟游戏空间中的准社会联系、动画形式作为媒介化的利用，为媒体传播技术如何塑造人与人之间的联系以及人与社会、文化和自然环境之间的联系提供了新的视角，同时通过与非人类物种的新的伦理接触改变了人们的生态实践。

1

Reconsidering Multiplanar Images  

and Limited Animation

The animation feature The Legend of Hei begins in a bleak and oppressive urban setting. Hei, a black cat spirit, is chased and abused by a vicious street gang on a rainy day. When cornered in a dead end, the desperate Hei transforms into his spirit form, a gigantic black feline. He is however rescued by Fengxi (Stormend), a powerful tree spirit who takes Hei to a deserted bridge, underneath which he guides Hei through one of the pillars into the entrance to what appears to be a prehistoric utopian sphere of lavish verdure and timberlands under iridescent sunlight. Though Hei’s astounded and curious gaze, the viewers encounter an ethereal world of lustrous and gigantic trees, moss-coated stone paths, dilapidated constructions swathed in enormous tree trunks, foliage, and unending vines. Remnant traces of ancient human residences indicate a preindustrial archaic world, now a land for roaming spirits who flee from the aggressively expanding human civilization. And yet some modern buildings and edifices, breached and torn down by the vegetation, reveal more recent traces of spectacular destruction of human constructions made by the tree spirits, foreshadowing the eroding and powerful force of this secluded eco-sphere that may take revenge against the human beings and reclaim their lost territories. Occasionally mushroom spirits and translucent beings pop up, indicating that the place has become the locale for placeless beings. “This is merely a place deserted by men,” Fengxi states, guiding Hei to his crew of spirits, including Luozhu (Bamboo), Xuhuai (Void), and Tianhu (Skytiger), who welcome Hei with a feast. Fengxi even prepares a cave home for Hei with a soft bed made of straw. However, Wuxian (Infinity), a powerful enforcer, breaks into this world and raises havoc, attempting to capture Fengxi and take him to the Guild for Spirits (Yaoling huiguan). Unable to defeat Wuxian, Fengxi and his friends manage to flee back to the human world, leaving Hei behind, stuck and unable to return to the city through the old entrance. Hei is thus taken in by Wuxian, and travels with him by boat back to the Guild, while Fengxi and his friends keep following them, hoping to take Hei back.

动画片《罗小黑战记》以荒凉压抑的城市环境开始。黑猫精罗小黑在雨天遭到街头恶棍的追赶和虐待。当陷入死胡同时，绝望的小黑变成了他的妖精形态，一只巨大的黑猫。然后，他被强大的树精风息救助，风息把小黑带到了一座废弃的桥上，他引导小黑穿过一根桥下的柱子，进入了一个似乎是史前乌托邦世界的入口，那里有郁郁葱葱的草木和绚丽的阳光。小黑的目光充满惊讶和好奇，观众们看到的是一个空灵的世界，有光彩夺目的巨大树木、长满青苔的石路、以及被众多树干、树叶和无尽藤蔓包裹着的破旧建筑。残存的古老人类居住痕迹表明这是一个前工业化的古老世界，现在成为从不断扩张的人类文明逃离出来的游荡灵魂的领地。然而，一些被植被破坏和推倒的现代建筑和大厦，揭示了最近树精对人类建筑造成的惊人的破坏痕迹，预示着这个与世隔绝的生态圈的侵蚀和强大力量可能会报复人类并收复他们失去的领地。偶尔会出现蘑菇精和半透明生物，表明这里已成为无主之地。“这里只不过是一个被人类遗弃的地方。”风息说道，并带领小黑认识了他的妖精队伍，包括洛竹、虚淮和天虎，他们盛情款待了小黑。风息还为小黑准备了一个洞穴，里面有一张柔软的稻草床。然而，强大的执法者无限闯入这个世界，制造了混乱，试图抓住风息并将他带到妖灵会馆。由于无法击败无限，风息和他的朋友们设法逃回了人间，小黑被留下，没能从原来的入口返回城市。小黑因此被无限收留，并与他一起乘船返回会馆，而风息等人则一直跟踪他们，希望能将小黑带回来。

In contrast with the opening sequences of the animation feature that frequently entail full animation and fluid dramatic effects in characterization and theatrical scenes of fighting, the sequences of Hei travelling with Wuxian on the sea apply limited animation. As Lamarre observes, in limited animation, “the movement of characters tends toward dramatic poses and outsized repetitious gestures rather than fluidly cinematic action” (Lamarre, 158).

动画片的开场镜头经常采用全动画，并且在人物塑造和戏剧性的打斗场面使用流畅的戏剧效果，相比之下，小黑与无限在海上的镜头使用了有限动画。正如拉马尔所言，在有限动画中，“角色的运动倾向于戏剧性的姿势和夸张的重复动作，而不是流畅的电影动作”（拉马尔，158）。

Contrast between limited animation and full animation is also prominent in the sequence when Fengxi visits Huahu (Painted Tiger)’s bookstore. In this sequence, The fully animated fighting sequence between Fengxi and the painted spirits form a strong contrast against sequences involving Wuxian, who is often illustrated through limited animation and emanates a zen-like spiritual force and resilience, a restrained power superior to the dramatized display of martial strength as often shown by his aggressive foes and enemies. The two main characters’ difference, in this regard, illustrate the divide between limited animation and full animation; with full animation applied to highlight action and dramatic conflict, and limited animation to emphasize characters’ psychological activities, internal reflections and growth.

风息在画虎书店的镜头中，限定动画与全动画的对比也很明显。 在这个片段中，风息与画中妖精之间的全动画战斗片段与无限的片段形成了强烈的对比，无限的镜头经常通过有限动画来表现，散发出一种禅意的力量和韧性，这种内敛的力量超越敌人激进的戏剧化的战斗力。在这方面，两个主角的差异，说明了有限动画和全动画之间的区别；采用全动画突出动作和戏剧冲突，用有限动画强调人物的心理活动、内心反思和成长。

2

Against an Environmental Success

Story

As discussed above, instead of advocating co-existence of humans and spirits, industrialization and nature, Fengxi resorts to a revengeful undertaking to eliminate humankind from earth. In contrast, Wuxian represents a roaming identity in a post-industrial world. A human and compassionate being, Wuxian holds a newfangled perspective of exploring the relationship between nature and human society. Instead of promoting Fengxi’s revenge as justified, the animation shows a complex stance on ethics, bio-politics, and the interrelation between humankind and nature. The defeated Fengxi’s final self-transformation into a magnificent plantation penetrating through an immense parking-lot building embodies the futility of nature’s revenge. It also indicates the possibility of a compromise between nature and the human world. As the spirit Jiulao comments: “Perhaps the building could be turned into a park and attract people to visit as a tourist site.” The opposition between human and demons transcends a linear, teleological discourse about restoring ecological sovereignty. If Hei’s initial alliance with Fengxi and other exiled elfin is based on their loss of home because of industrialization, Hei’s ultimate commitment to Wuxian as a master indicates a willingness to learn a new way of living in a post-industrial world, with the natural spirits as regulating powers of human civilization, taking men’s lives as part of the ecological domain they share and live in.

风息并不提倡人与妖、工业化与自然的共存，而是采取了将人类从地球上消灭的复仇行动。相比之下，无限则代表着后工业世界的漫游者。无限是一个富有同情心的人，他以一种新的视角探讨自然与人类社会的关系。影片并没有宣扬风息复仇的正当性，而是展示了对伦理、生物政治以及人与自然之间相互关系的复杂立场。战败的风息最终化为一座宏伟的公园，穿过巨大的停车场，体现了大自然复仇的徒劳。这也表明了自然与人类世界之间妥协的可能性。正如鸠老所说：“也许这座建筑可以变成一个公园，作为一个旅游景点吸引人们来参观。” 人与妖之间的对立超越了关于恢复生态主权的线性、目的论话语。如果小黑最初与风息和其他流亡妖精联盟是基于他们因工业化而失去家园，那么小黑最终拜无限为师则表明他愿意学习后工业世界中新的生活方式，将自然精神作为人类文明的调节力量，将人类的生命视为他们共同生活的生态领域的一部分。

3

Animating Interspecies

Governmentality

As discussed above, the animation stages the collision of diverse modes of ecopolitical ethics through contested and opposing modes of eco-spatial philosophies exemplified by different characters. Fengxi strives for a form of ecological sovereignty for all non-human species, at the price of eradicating human existence in this idealized eco-social system. Wuxian, by contrast, stands for a form of (inter)species governmentality, with the spirits as co-existing and governing guardians for human beings, who are inferior in ability and fragile in comparison with the Spirits, their destructive and un-controlled exploitation of nature being part of their innate incompetence for ecological self-governance. Thom Kuels argues that rather than merely a matter of geography and territorial boundaries, the problem about the space of eco-politics “involves questions of government, or governmentality” (Kuels 1996, 57). The traditional notion of sovereign territory emphasizes ecopolitical authority over a community, a people, and a territory. As Kuels argues, “Sovereign territory is territory ruled by a recognized authority that can be differentiated from other recognized authorities in other sovereign territories” (Kuels 1996, 58). This notion of ecopolitical subjectivity conceptualizes space as “a structured, bounded, consistent space;” “a territorial state” which serves as a basis for a political institution. Such form of ecopolitical governance established in the discourse of sovereignty, however, is problematic in that it emphasizes supreme authority of the ecological subject and risks essentializing ecological autonomy through a spatial conceptualization of a static ecological sovereign state. It constraints the self-definitions of the citizens of the sovereign state through top-down political discourses about legitimate citizenship. That is, the sovereign state model of eco-politics could not address the dynamics of power relations at the grassroots level; shaped to support a historical form of eco-governance through juridical monarchy, the sovereign state model could not effectively mitigate ecological democracy against practices of domination, exploitation, and injustice.

这部动画片通过不同角色所体现的生态空间哲学的竞争和对立，呈现了多种生态政治伦理模式的碰撞。风息为所有非人类物种争取一种生态主权，其代价是在这个理想化的生态社会系统中消灭人类的存在。相比之下，无限代表着一种物种间治理的形式，以妖精作为人类的共存和统治的守护者，与妖精相比，人类的能力低下且脆弱，其破坏性和无节制地的开发自然是其天生的生态自治无能的表现。托姆·库尔斯认为，生态政治空间问题不仅仅是地理和领土边界问题，“还涉及治理问题”（Kuels 1996, 57）。传统的主权领土概念强调对社区、人民和领土的生态政治权威。正如库尔斯所说，“主权领土是由公认的政权统治的领土，该政权可以与其他主权领土上其他公认的政权区分开来”（Kuels 1996，58）。这种生态政治主体性概念将空间概念化为“一个结构化的、有边界的、一致的空间”；作为政治制度基础服务的“领土国家”。然而，这种在主权话语中建立的生态政治治理形式存在问题，因为它强调生态主体的最高权威，并有通过静态生态主权国家的空间概念化来本质化生态自治的风险。它通过自上而下的关于合法公民身份的政治话语来限制主权国家公民的自我定义。也就是说，生态政治的主权国家模式无法解决基层权力关系的动态问题；主权国家模式旨在通过司法君主制支持生态治理的历史形式，但它无法有效地缓解生态民主对统治、剥削和不公正行为的影响。

In this context, the main proposition that The Legend of Hei puts forward to its audience is an alternative eco-political model of governance that is established not on bounded territories and separated spheres of sovereignty, but rather on collective judicial governance of shared inter-special spaces. Wuxian’s character bespeaks this form of inter-special political subjectivity. As his name implies, by “abolishing the boundaries” of divided spaces, he enforces a form of eco-political governance built on inter-spatial, inter-special balance and co-existence.

在此背景下，《罗小黑战记》向观众提出的主要命题是一种另类的生态政治治理模式，这种治理模式不是建立在有界领土和分割的主权领域之上，而是建立在共享的跨物种空间的集体司法治理之上。无限的角色正体现了这种跨物种政治主体性。正如他的名字所暗示的，通过“消除空间的界限”，他实施了一种建立在跨空间、跨物种平衡与共存基础上的生态政治治理形式。

4

Gaming Nature, Contesting

Ecocentrism

Whereas the animation feature focuses on Hei’s friendship with Fengxi, his encounter with his master Wuxian, and the spirits from the guild, the original animation shorts were published as an online TV series in March 2011. By 2018, 28 episodes of animation shorts were published. From April 2021 to July 2021, another 12 episodes were released online. Through heterogenous media presentations, the story of Xiaohei comes together as an open-ended narrative that gives possibility for multi-layered and multi-directional plotline development. The animation manga, animation film, and TV animation series focusing on the story of Luo Xiaohei covers a span of the last decade. The ongoing TV animation The Battle of Luo Xiaohei (Episodes 1–28, since 2011) focuses on Xiaohei’s encounter with a human character Luo Xiaobai, her family, her brother Argen (a spirit in human form), and the world of spirits in the countryside. A prequel manga Lanxi Town (MTJJ, Sungua 2019) was released to illustrate the story of Laojun, his rescue of war refugees and sheltering of them in a celestial realm called Lanxi Town, and his mentoring of a female disciple, Li Qingning. In 2019, the movie Legend of Luo Xiaohei was released, portraying the cat spirit Xiaohei’s story of encountering Fengxi, being involved in the battle between human beings and the avenging demons, and his ultimate choice of becoming Wuxian’s disciple. Resonating with Laojun’s fascination with ACG (Animation, Comics, and Games), the recent episodes of TV animation engage game animation, by illustrating Xiaohei, his friends, and the Spirits’ encounters in playing an MMOG (Massively Multiplayer online Game) designed by Wuxian called “Gate of All Creatures” (Episodes 29–40, April to July 2021). Together the story of Xiaohei invites a study of animation, intermediality, and self-reflexivity, and diverse media modalities that are enmeshed in the animation viewing process.

动画片主要讲述小黑与风息的友谊、与师父无限和会馆中妖精的相遇相识，而原创动画短片于2011年3月作为网络电视剧集上线，截至2018年，共28集。2021年4月至2021年7月，又上线12集。通过异质的媒体呈现，小黑的故事以开放式的叙事方式汇聚在一起，为多层次、多方向的情节发展提供了可能性。以罗小黑故事为主题的动画漫画、动画电影和动画剧集涵盖了近十年的时间。正在播出的动画剧集《罗小黑战记》（第1-28集，自2011年起）主要讲述了小黑与人类角色罗小白、她的家人、她的堂哥阿根（人形妖精）以及在乡下妖灵界的遭遇。前传漫画《蓝溪镇》（木头，孙呱 2019）发布，讲述了老君拯救战乱难民并将他们庇护在蓝溪镇仙境以及指导女弟子李清凝的故事。2019年，电影《罗小黑战记》上映，讲述了猫妖小黑与风息相遇，卷入人类与复仇妖精的战斗，并最终选择成为无限弟子的故事。与老君对动画、漫画、游戏的迷恋相呼应，最近几集的电视动画融入了游戏动画，描绘了小黑、他的朋友们以及妖精们在玩无限设计的叫做“众生之门”的大型多人在线游戏（第 29-40 集，2021 年 4 月至 7 月）。小黑的故事能够引发对动画、媒介间性、自反性以及动画中所涉及的多种媒体模式的研究。

Conclusion

To conclude, this study on the animation feature The Legend of Hei and its two seasons of TV animation series has endeavored to explore nascent models of eco-aesthetics in Chinese animation through an intersectional framework bridging studies of eco-politics, eco-cinema, and contemporary animation and media studies. Through close analysis of multiplanar imaging and limited animation in the animation feature, I have discussed how varied animation techniques in the film articulate aesthetic effects of appearance and disappearance, diversified characterization, as well as contesting models of ecological subjectivities, bio-politics, and environmental governance. Contrary to a radical ecologist’s approach (represented by the vindictive Fengxi) that resorts to forceful undertakings to “rescue nature,” the animation projects an alternative ethico-political method that promotes co-existence, inter-species governance, tolerance, and the art of “letting be.” The latter half of the essay situates the ongoing TV animation series The Battle of Luo Xiaohei in the milieu of eco-cinema and media ecology, and examines howthe recent TV animation series, through transmedial representation of a whole MMOR game, enacts nascent imaginaries on adaptation and appropriation, inter-species coexistence, gaming as ecological intervention, and the biopolitics of life at play in atrocious environments. The TV animation’s transmedial presentation of ACG gaming, platformativity, and parasocial participation of gamers, human characters and elfin alike, offer newinsights on considering videogaming as an integrate form of social and cultural responses to environmental crises, while also drawing attention to the ethico-political potential of parasocial gameplay in promoting more democratic, participatory, and egalitarian ideals of ecosystem governance.

总而言之，本文对动画电影《罗小黑战记》及其两季动画剧集的研究，致力于通过生态政治、生态电影和当代动画与媒体研究的交叉框架，探索中国动画中生态美学的新生模式。通过对动画中多平面影像和有限动画的仔细分析，作者讨论了影片中不同的动画技术如何表达出现和消失的美学效果、多样化的人物塑造，以及生态主体性、生物政治和环境治理的争议模式。与激进生态学家诉诸武力来“拯救自然”的方法（以主张复仇的风息为代表）相反，该片提出了一种替代性的伦理政治方法，促进共存、物种间治理、宽容和“顺其自然”的艺术。文章的后半部分将正在播出的动画剧集《罗小黑战记》置于生态电影和媒体生态的背景下，探讨最近的动画如何通过对整个大型多人在线游戏的跨媒体再现，演绎出关于改编和挪用、物种间共存、作为生态干预的游戏，以及在恶劣环境中发挥作用的生命政治学的新想象。动画剧集对 ACG 游戏、平台性以及游戏玩家、人类角色和妖精等的准社会参与的跨媒体呈现，为将电子游戏视为社会和文化应对环境危机的综合形式提供了新的见解，同时也引起了人们对准社会游戏在促进更加民主、参与式的、平等的生态系统治理理想方面的伦理政治潜力。

想要了解更多关于“生态美学”以及“《罗小黑战记》中的生态意识”，请点击下方的阅读原文！

Journal of Chinese Film Studies

《中国电影研究》

Journal of Chinese Film Studies立足中国，面向国际，旨在搭建一流国际学术平台，发表国内外高水平的中国电影研究成果，加强不同文化背景的研究者之间的对话和沟通，促进国内外电影研究界开展交流与合作，推动中国电影研究的全球发展。想与国内外知名学者一起探讨中国电影吗？赶快行动投稿吧！

期刊主页

https://www.degruyter.com/journal/key/JCFS/html

投稿网址

https://mc.manuscriptcentral.com/jcfs

编辑部

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来源：中国电影研究

主编：王海洲  金海娜

编辑：张雯

点击阅读原文，直达Animating Eco-aesthetics: Multiplanar Images, Interspecies Government, and Eco-conscious Gaming in The Legend of Hei (2019) and Its TV Series (2011-Present)