[2026/07/03]vol.09在巨企的梦中流浪|《深空梦里人》

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[2026/07/03] vol.09 在巨企的梦中流浪 |《深空梦里人》
前言：独立游戏设计师Gareth Damian Martin主导开发、Fellow Traveller公司进行发行的科幻题材叙事角色扮演游戏。游戏以跨星系资本主义边缘的厄灵之眼空间站为舞台，玩家扮演被称作“梦游体”的数字化意识体，通过桌游式骰子系统分配行动力，与时钟进度追踪机制展开生存冒险。续作《深空梦里人2》将前作的代表血量的稳定性系统细分为了压力指示数与故障指示数，在高故障状态下玩家单个骰子的效力将大大降低甚至是直接禁用（压力难度下故障骰禁用，其他难度下故障骰效果为六面骰中固定出一为结果）。
1.资本主义视角出发的资本主义批判
这里想先从题外话开始说起，如果将抛开《苏丹的游戏》与《极乐迪斯科》不谈作为前提，《深空梦里人》在笔者看来是接近及格线的独立游戏作品。然而如果以意识形态批判的深度，或者单纯以文本驾驭能力而言，仅仅从作品比对就可以意识到——意识形态批判其自身对于同品类下的游戏意味着什么。如果游戏这一文学艺术表现形式，将意识形态批判的深度停留在浅层的要素诸元又会发生什么。

2.没在探讨控制论，包装之下有社达
《极乐迪斯科》以个人内心思维的包装，无差别地拆解并批判自由主义、法西斯主义、怀疑论甚至是个人荣誉感。《苏丹的游戏》则在架空背景下，以臣子与帝王身份的同位性作为出发，以巨龙作为包装批判强权，以神明作为框架批判宗教，以封建作为框架去拆解封建统治的兴衰、更迭，以一种近似史书的文笔来进行观点论述和价值判断。《深空梦里人》题材上选取了西方太空科幻作为出发点，然而其故事的主要驱动力却是主人公自身的稳定性乃至于“身份焦虑”，角色生活在太空框架的社会达尔文主义之下挣扎求生、身心耗竭的同时，作品将社会的结构性矛盾表现为了个体的心理/精神负担。

3.结语-为什么科幻作品需要讨论社会形态
科幻作品在题材形式上，本身在未来社会形态的设想中占据一定的优势，或者至少也被视其为是具有前瞻性的。然而制作者在关注“与逐渐衰败的身体、紧追不舍的公司势力斗争，以及为生存而奋斗的经历”（机核独家专访中Gareth Damian Martin的叙述）的同时，笔者在游戏游玩中面临的真实困境是被夹在白左和白右的意识形态之间左右为难，在流于形式的革命和包装在诡辩之下的反抗之中考虑巧克力味屎和屎味巧克力究竟哪个更难吃一点。（哪怕像是《银河破裂者》一样将论述落在环境保护上玩家都能捏着鼻子认了）但是当作品视角出发点在公民以及公民权以下作为出发点，用用力过猛的华丽词藻进行价值观念输出时，笔者只感到虚弱和无力...科幻作品需要讨论社会形态，是为了逐步剥离外在力量对个体的异化与物化统治，而非单纯在形式上对于资本文明体系所遭遇的总体性危机进行重演（例如生态破坏、空间压迫、个体原子化等等）。 
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以下英文版翻译由ai提供（The following English translation is provided by AI.）
Preface：Citizen Sleeper is a sci-fi narrative role-playing game led by independent game designer Gareth Damian Martin and published by Fellow Traveller. Set aboard the Erlin's Eye space station on the fringes of interstellar capitalism, the player assumes the role of a digital consciousness known as a "Sleeper," allocating action points through a tabletop-style dice system while navigating survival challenges via a clock-progression tracking mechanism. Its sequel, Citizen Sleeper 2, refines the predecessor's stability system—which served as a health indicator—into two distinct metrics: Stress and Glitch counters. Under high Glitch conditions, the effectiveness of a single die is significantly reduced or even outright disabled (on Pressure difficulty, Glitched dice are deactivated; on other difficulties, a Glitched die's outcome is fixed at a roll of 1 on a six-sided die).
A Critique of Capitalism from a Capitalist Perspective
Let me begin with a brief digression. If we set aside The Sultan's Game and Disco Elysium as points of comparison, Citizen Sleeper in my view barely crosses the threshold of a passing-grade indie title. However, when measured by the depth of its ideological critique—or simply by its command of textual substance—a comparative reading of these works immediately reveals what ideological critique signifies for games within the same genre. What happens when a game, as a literary-artistic medium, leaves its ideological critique stranded at the level of superficial elemental tropes?
This Is Not About Cybernetics—Beneath the Veneer Lies Social Darwinism
Disco Elysium, cloaked in the guise of personal introspection, indiscriminately deconstructs and critiques liberalism, fascism, skepticism, and even personal honor. The Sultan's Game, set in a fictional world, takes the positional equivalence between subject and sovereign as its point of departure: it critiques authoritarian power through the allegory of dragons, interrogates religion within a divine framework, and dismantles the rise and fall of feudal rule through a feudal lens, advancing its arguments and value judgments in a prose style reminiscent of historical chronicles. Citizen Sleeper, by contrast, adopts Western space sci-fi as its thematic springboard, yet its primary narrative drive revolves around the protagonist's own stability—indeed, an "identity anxiety." The characters struggle to survive under a space-faring social Darwinism, physically and mentally depleted, while the work reframes structural social contradictions as individual psychological and spiritual burdens.
Conclusion—Why Must Science Fiction Engage with Social Formations?
Science fiction, by its very thematic nature, holds a certain advantage—or at least is regarded as forward-looking—in its imaginative projections of future social formations. However, while the developer focuses on "the struggle against a decaying body, against a relentless corporate force, and the fight for survival" (as Gareth Damian Martin recounts in the Jíhé exclusive interview), the actual predicament I faced during gameplay was being caught between the ideological crossfire of the center-left and the center-right, forced to choose between chocolate-flavored excrement and excrement-flavored chocolate—weighing which is more palatable between performative revolutions and resistance wrapped in sophistry. (Even The Riftbreaker, with its environmentalist thesis, at least allowed players to hold their noses and accept it.) But when a work grounds its perspective at the level of citizenship—or even below it—and proceeds to barrage the player with overwrought rhetoric in the service of value-laden messaging, I am left with nothing but a sense of enervation and impotence... Science fiction must engage with social formations precisely in order to progressively strip away the forces of alienation and reification that external powers impose upon the individual—not merely to reenact, in formal terms, the general crises confronting capitalist civilization (ecological devastation, spatial oppression, individual atomization, and so forth). 