Retrogaming, giocare con la nostalgia = Retrogaming, playing with nostalgia

The cultural practices related to video games - a relatively young communication medium - gained substantial relevance in the media system. They are characterized by a mix of regret and sadness because of the impossibility to go back to places, people and, in this case, interactions, which - although they belong to the sphere of the immaterial - are vividly laid out in memories. Nostalgia emphasizes a strong collective dimension in addition to his individual nature. Starting from the aesthetics of the ruin of Poe and the Romantics (Brancato, 2000), the nostalgia of pop culture fueled, especially in the last decade, an idealization of childhood and adolescent culture of the eighties and nineties of the twentieth century. This article aims to analyze the rise of this phenomenon, trying to understand the social dynamics that - in a market tending to hyperrealism and immersive virtual reality - push the players to remain romantically involved to the originals video games, in paradoxical contrast to the inherent fluidity of the medium.

电子游戏作为一种相对年轻的传播媒介，其相关文化实践在媒体体系中已占据重要地位。这些实践的特征在于遗憾与悲伤交织——因无法重返某些场所、人物，以及（在本语境下的）互动场景，尽管这些都属于非物质范畴，却在记忆中清晰鲜活地呈现。怀旧除了具有个体本质外，还凸显出强烈的集体维度。从爱伦·坡与浪漫主义者的废墟美学出发（Brancato, 2000），流行文化的怀旧情绪尤其在过去十年间，催生了对20世纪80至90年代童年与青少年文化的理想化倾向。本文旨在分析这一现象的兴起，试图理解在一个趋向超写实主义（hyperrealism）与沉浸式虚拟现实（immersive virtual reality）的市场中，是什么社会动态推动玩家对原版电子游戏保持浪漫依恋——这与媒介本身的内在流动性形成了矛盾对比。