《頭號(hào)玩家》：斯皮爾伯格的懷舊游戲

It isn’t going too far out on a limb to predict that “Ready Player One” will turn out to be one of Steven Spielberg’s more controversial projects. Even before its release, this adaptation of Ernest Cline’s 2011 best seller — what one writer called a “nerdgasm” of a novel — was subjected to an unusual degree of internet pre-hate. That was only to be expected. Mr. Spielberg has tackled contentious topics before — terrorism, slavery, the Pentagon Papers, sharks — but nothing as likely to stir up a hornet’s nest of defensiveness, disdain and indignant “actually”-ing as the subject of this movie, which is video games.

如果預(yù)測(cè)《頭號(hào)玩家》(Ready Player One)會(huì)是史蒂文·斯皮爾伯格(Steven Spielberg)比較有爭(zhēng)議的作品之一，不會(huì)有很多人反對(duì)。這部電影改編自歐內(nèi)斯特·克萊恩(Ernest Cline)2011年出版的暢銷小說(shuō)(一位作家稱之為“死宅高潮”)，早在發(fā)行前就在網(wǎng)上遭到極大厭惡。這完全正常。斯皮爾伯格以前處理過有爭(zhēng)議的話題——恐怖主義、奴隸制、五角大樓文件、鯊魚——但沒有哪個(gè)像這部電影的主題——電子游戲——一樣，可能會(huì)惹來(lái)防范心態(tài)、蔑視和憤憤不平的“事實(shí)上根本不是這樣”的麻煩。

And not only video games. “Ready Player One,” written by Mr. Cline and Zak Penn, dives into the magma of fan zeal, male self-pity and techno-mythology in which those once-innocent pastimes are now embedded. Mr. Spielberg, a digital enthusiast and an old-school cineaste, goes further than most filmmakers in exploring the aesthetic possibilities of a form that is frequently dismissed and misunderstood.

不僅僅是電子游戲。克萊恩和扎克·佩恩(Zak Penn)聯(lián)合編劇的《頭號(hào)玩家》探究了粉絲的熱情、男性的自憐，以及曾是無(wú)足輕重的消遣、現(xiàn)在卻已根深蒂固的科技神話。斯皮爾伯格是數(shù)字愛好者，也是老派電影人。對(duì)于一種經(jīng)常遭到無(wú)視與誤解的形式，他卻探討它的審美可能性，在這方面，他比大部分電影人都走得更遠(yuǎn)。

Aided by his usual cinematographer, Janusz Kaminski, and by the production designer Adam Stockhausen, he turns a vast virtual landscape of battling avatars into a bustling pop-cultural theme park, an interactive museum of late-20th- and early-21st-century entertainment, a maze of niche tastes, cultish preoccupations and blockbuster callbacks. Mr. Spielberg navigates this warehouse with his usual dexterity, loading every frame with information without losing the clarity and momentum of the story.

在御用攝影師雅努什·卡明斯基(Janusz Kaminski)和美術(shù)總監(jiān)亞當(dāng)·斯托克豪森(Adam Stockhausen)的協(xié)助下，他把宏大的虛擬化身打斗場(chǎng)景變成了一個(gè)熙熙攘攘的流行文化主題公園;一座展示20世紀(jì)末與21世紀(jì)初的娛樂的互動(dòng)博物館;乃至一個(gè)由小眾化品味、粉絲的狂熱迷戀和對(duì)大片的回憶組成的迷宮。斯皮爾伯格用他慣用的嫻熟技巧駕馭著這座倉(cāng)庫(kù)，賦予每一幀畫面以信息，又不破壞故事清晰的條理和勢(shì)頭。

Nonetheless, the toy guns of social media and pop-up kulturkritik are locked and loaded. Mr. Spielberg will be accused of taking games and their players too seriously and not seriously enough, of pandering and mocking, of just not getting it and not being able to see beyond it — “it” being the voracious protoplasm that has, over the past three or four decades, swallowed up most of our cultural discourse. Whatever you call it — the revenge of the nerds, the franchising of the universe, the collapse of civilization — it’s a force that is at once emancipatory and authoritarian, innocent and pathological, delightful and corrosive.

盡管如此，社交媒體的玩具槍和快閃式的文化批判已經(jīng)鎖定目標(biāo)。斯皮爾伯格會(huì)被指責(zé)太重視游戲和游戲玩家，也會(huì)被指責(zé)為不重視游戲和游戲玩家;會(huì)被指責(zé)為迎合，也會(huì)被指責(zé)為嘲笑;會(huì)被指責(zé)為不懂“它”，也會(huì)被指責(zé)為無(wú)力超越“它”——這里的“它”指的是過去三、四十年里吞噬了我們大部分文化話語(yǔ)的那種貪婪的物質(zhì)。無(wú)論怎么稱呼它——死宅的復(fù)仇、宇宙系列大片、文明的崩潰——它是一股既解放又專制，既無(wú)害又病態(tài)，既令人愉悅又具有腐蝕性的力量。

Mr. Spielberg and some of his friends helped to create this monster, which grants him a measure of credibility and also opens him up to a degree of suspicion. He is the only person who could have made this movie and the last person who should have been allowed near the material.

斯皮爾伯格和他的一些朋友參與創(chuàng)造了這個(gè)怪物。這讓他獲得了一定的稱道，也讓他遭受了一定程度的懷疑。他是唯一一個(gè)有可能拍出這部電影的人，也是原本最不應(yīng)該被允許獲得這一素材的人。

That material has issues of its own. Mr. Cline’s book — readable and amusing without being exactly good — is a hodgepodge of cleverness and cliché. Less than a decade after publication, it already feels a bit dated, partly because its dystopian vision seems unduly optimistic and partly because its vision of male geek rebellion has turned stale and sour.

這一素材有自己的問題?？巳R恩的書可讀性強(qiáng)、有趣味、但又確實(shí)不算出色，它是小聰明和陳詞濫調(diào)的大雜燴。出版不到十年，它已經(jīng)感覺有點(diǎn)過時(shí)了，部分是因?yàn)樗姆礊跬邪钤妇八坪踹^于樂觀，部分是因?yàn)樗哪行詷O客反叛愿景已經(jīng)變得老套和乏味。

In the film, set in 2045, Wade Watts (a young man played by the agreeably bland, blandly agreeable Tye Sheridan) lives in “the stacks,” a vertical pile of trailers where the poorer residents of Columbus, Ohio (Oklahoma City in the book), cling to hope, dignity and their VR gloves. Humanity has been ravaged by the usual political and ecological disasters (among them “bandwidth riots” referred to in Wade’s introductory voice-over), and most people seek refuge in a digital paradise called the Oasis.

電影背景設(shè)定在2045年。韋德·瓦茨(Wade Watts，一個(gè)年輕男子，由乏味得令人感到親切，又親切得令人感到乏味的泰伊·謝里丹[Tye Sheridan]扮演)住在“疊樓”，即垂直的一堆拖車?yán)?。在那里，俄亥俄州哥倫布?原著中是俄克拉荷馬市)較為貧窮的居民緊緊抓住希望、尊嚴(yán)和VR手套不放。人性被常見的政治和生態(tài)災(zāi)難(包括韋德在開篇的旁白中提到的“帶寬暴動(dòng)”)摧殘，大部分人都在一個(gè)叫“綠洲”(Oasis)的數(shù)字天堂里尋求慰藉。

That world — less a game than a Jorge Luis Borges cosmos populated by wizards, robots and racecar drivers — is the creation of James Halliday (Mark Rylance). After Halliday’s death, his avatar revealed the existence of a series of Easter eggs, or secret digital treasures, the discovery of which would win a lucky player control of the Oasis. Wade is a “gunter” — short for “egg hunter” — determined to pursue this quest even after most of the other gamers have tired of it. Among his rivals are a few fellow believers and Nolan Sorrento (Ben Mendelsohn), the head of a company called IOI that wants to bring Halliday’s paradise under corporate control.

那個(gè)世界與其說(shuō)是一款游戲，不如說(shuō)是一個(gè)生活著巫師、機(jī)器人和賽車手的豪爾赫·路易斯·博爾赫斯(Jorge Luis Borges)式宇宙，它是由詹姆斯·哈利迪(James Halliday，馬克·里朗斯[Mark Rylance]飾)創(chuàng)造的。哈利迪去世后，他的化身透露，游戲中存在一系列“復(fù)活節(jié)彩蛋”，或者說(shuō)秘密數(shù)字寶藏，發(fā)現(xiàn)它們的幸運(yùn)玩家將贏得對(duì)綠洲的控制權(quán)。韋德是尋找彩蛋的人，簡(jiǎn)稱“尋蛋人”之一。即使其他大部分玩家都已經(jīng)厭倦了，他依然決心繼續(xù)尋找。他的競(jìng)爭(zhēng)對(duì)手包括幾個(gè)同樣堅(jiān)信不疑的人，此外還有諾蘭·索倫托(Nolan Sorrento，本·門德爾森[Ben Mendelsohn]飾)，他是一家名為IOI的公司的負(fù)責(zé)人，該公司希望將哈利迪創(chuàng)造的天堂置于自己控制之下。

In the real world, IOI encourages Oasis fans to run up debts that it collects by forcing them into indentured servitude. Sorrento’s villainy sets up a battle on two fronts — clashes in the Oasis mirroring chases through the streets of Columbus — that inspires Mr. Spielberg to feats of crosscutting virtuosity. The action is so swift and engaging that some possibly literal-minded questions may be brushed aside. I, for one, didn’t quite understand why, given the global reach of the Oasis, all the relevant players were so conveniently clustered in Ohio. (If anyone wants to explain, please find me on Twitter so I can mute you.)

在現(xiàn)實(shí)世界中，IOI慫恿“綠洲”的粉絲們大筆舉債，通過迫使他們接受奴役契約來(lái)搜集債務(wù)。索倫托的邪惡勢(shì)力在兩條戰(zhàn)線上展開戰(zhàn)斗——哥倫布市街頭的追逐反映了綠洲里的沖突——這激發(fā)了斯皮爾伯格施展精湛的剪輯切換技藝。這場(chǎng)戲速度很快，扣人心弦，所以一些比較實(shí)際的問題可能被沖淡了。比如說(shuō)，我不太明白，既然綠洲是全世界都在玩的游戲，那么，為什么所有重要的玩家都如此便捷地聚集在俄亥俄州(如果有人想解釋，請(qǐng)去Twitter上找我，這樣我就可以拉黑你了)。

But, of course, Columbus and the Oasis do not represent actual or virtual realities, but rather two different modalities of fantasy. Wade’s avatar, Parzival, collects a posse of fighters: Sho, Daito, Aech and Art3mis, who is also his love interest. When the people attached to these identities meet up in Columbus, they are not exactly as they are in the game. Aech, large and male in the Oasis, is played by Lena Waithe. But the fluidity of online identity remains an underexploited possibility. In and out of the Oasis, Art3mis (also known as Samantha, and portrayed by Olivia Cooke) is a male fantasy of female badassery. Sho (Philip Zhao) and Daito (Win Morisaki) are relegated to sidekick duty. The multiplayer, self-inventing ethos of gaming might have offered a chance for a less conventional division of heroic labor, but the writers and filmmakers lacked the imagination to take advantage of it.

但是，當(dāng)然，哥倫布和綠洲并不代表真實(shí)或虛擬現(xiàn)實(shí)，而是代表兩種幻想的模式。韋德在游戲中的身份帕西法爾(Parzival)召集了一群戰(zhàn)士：修(Sho)、大東(Daito)、艾奇(Aech)和阿爾忒密斯(Art3mis)。阿爾忒密斯是韋德的愛慕對(duì)象。當(dāng)這些角色在現(xiàn)實(shí)世界中對(duì)應(yīng)的人物在哥倫布相聚時(shí)，才發(fā)現(xiàn)他們跟游戲中的角色不太一樣。艾奇由麗娜·維特(Lena Waithe)飾演，她在綠洲中是高大的男性，但該片仍未充分利用網(wǎng)絡(luò)身份的靈活性。在綠洲內(nèi)外，阿爾忒密斯(又名薩曼莎[Samantha]，由奧莉維婭·庫(kù)克[Olivia Cooke]飾演)都是男性幻想中的酷女郎形象。修(趙家正[Philip Zhao]飾)和大東(森崎溫[Win Morisaki]飾)被降級(jí)為幫手。多玩家參與和自我創(chuàng)造的游戲精神本可以提供一個(gè)機(jī)會(huì)，塑造不太傳統(tǒng)的英雄分工，但編劇和制片人們?nèi)狈Τ浞掷盟南胂窳Α?/p>

The most fun part of “Ready Player One” is its exuberant and generous handing out of pop-cultural goodies. Tribute is paid to Mr. Spielberg’s departed colleagues John Hughes and Stanley Kubrick. The visual and musical allusions are eclectic enough that nobody is likely to feel left out, and everybody is likely to feel a little lost from time to time.

《頭號(hào)玩家》中最有趣的部分在于它熱情慷慨地分發(fā)流行文化中的好東西。片中向斯皮爾伯格去世的同行約翰·休斯(John Hughes)和斯坦利·庫(kù)布里克(Stanley Kubrick)致敬。它廣泛引用了大量視覺梗和音樂梗，沒有人會(huì)覺得自己被忽略了，但每個(gè)人都很有可能會(huì)不時(shí)感到失落。

Nostalgia? Sure, but what really animates the movie is a sense of history. The Easter egg hunt takes Parzival and his crew back into Halliday’s biography — his ill-starred partnership with Ogden Morrow (Simon Pegg), his thwarted attempts at romance — and also through the evolution of video games and related pursuits. The history is instructive and also sentimental in familiar ways, positing a struggle for control between idealistic, artistic entrepreneurs (and their legions of fans) and soulless corporate greedheads.

懷舊?當(dāng)然，但真正讓該片充滿活力的是一種歷史感。尋找“復(fù)活節(jié)彩蛋”的活動(dòng)將帕西法爾和他的團(tuán)隊(duì)帶回到哈利迪的傳記中——他與奧格登·莫羅(Ogden Morrow，西蒙·佩吉[Simon Pegg]飾)的不幸合作關(guān)系，他在情場(chǎng)上的失敗嘗試——也讓他們經(jīng)歷了電子游戲以及相關(guān)追求的演變。這段歷史很有教益，也令人感傷，它講述了一個(gè)常見的故事：具有藝術(shù)情懷的理想主義創(chuàng)業(yè)者(以及他們龐大的粉絲群體)與貪婪的、沒有靈魂的企業(yè)老板對(duì)控制權(quán)的爭(zhēng)奪。

Halliday is a sweet, shaggy nerd with a guileless Northern California drawl and a deeply awkward manner, especially around women. Sorrento is an autocratic bean counter, a would-be master of the universe who doesn’t even like video games. These characters are clichés, but they are also allegorical figures.

哈利迪是一個(gè)可愛的、不修邊幅的死宅，帶著北加州樸實(shí)的拖腔口音，舉止笨拙，尤其是和女人打交道時(shí)。索倫托是一個(gè)獨(dú)斷專行、精打細(xì)算的人，自詡為宇宙未來(lái)的主人，他甚至不喜歡電子游戲。這些人物的特征都很老套，但同時(shí)也具有諷喻意義。

In the movie, they represent opposing principles, but in our world, they are pretty much the same guy. A lot of the starry-eyed do-it-yourselfers tinkering in their garages and giving life to their boyish dreams back in the ’70s and ’80s turned out to be harboring superman fantasies of global domination all along. They shared their wondrous creations and played the rest of us for suckers, collecting our admiration, our attention and our data as profit and feudal tribute.

在該片中，他們代表著對(duì)立的原則，但在我們的世界里，他們基本上是同一個(gè)人。許多在七、八十年代在車庫(kù)里敲敲打打、幻想將一生奉獻(xiàn)給兒時(shí)夢(mèng)想的DIY人士最后都變成了懷著超人幻想的全球統(tǒng)治者。他們分享自己奇妙的創(chuàng)造物，哄騙我們其余這些人，收集我們的贊賞、關(guān)注和數(shù)據(jù)，作為利潤(rùn)和貢品。

Mr. Spielberg incarnates this duality as perfectly as any man alive. He is the peer of Steve Jobs and Bill Gates, and a Gandalf for the elves and hobbits who made Google, Facebook and the other components of our present-day Oasis. He has been man-child and mogul, wide-eyed artist and cold-eyed businessman, praised for making so many wonderful things and blamed for ruining everything. His career has been a splendid enactment of the cultural contradictions of capitalism, and at the same time a series of deeply personal meditations on love, loss and imagination. All of that is also true of Halliday’s Oasis. “Ready Player One” is far from a masterpiece, but as the fanboys say, it’s canon.

斯皮爾伯格就是這種二元性的代表，和其他任何活著的人一樣。他堪與史蒂夫·喬布斯(Steve Jobs)和比爾·蓋茨(Bill Gates)并駕齊驅(qū)，就像甘道夫指引著精靈和霍比特人，他們也指引著那些創(chuàng)造了現(xiàn)實(shí)世界“綠洲”中的谷歌(Google)和Facebook等組件的那些人們。他既是長(zhǎng)不大的孩子，也是影業(yè)巨子，既是天真的藝術(shù)家，也是冷漠的商人，既因?yàn)閯?chuàng)造了這么多精彩的作品而受到贊揚(yáng)，也常常被指責(zé)破壞了一切。他的職業(yè)生涯既是對(duì)資本主義文化沖突的精彩演繹，也是對(duì)愛情、失落和想象的一系列深刻的個(gè)人思考。哈利迪的綠洲也是如此?！额^號(hào)玩家》遠(yuǎn)非杰作，但正如它的癡迷者所說(shuō)的，它是經(jīng)典。