This article aims to illuminate the meanings and aesthetic effects generated by scenes of staged opera in video games. It also explores the images of opera transmitted to the huge audiences that games address. Three dimensions of the opera-game encounter are discussed. First,ToscainHitman: Blood MoneyandThe Beggar’s OperainAssassin’s Creed IIIare used to examine the treatment of violence and the discourse of popular appeal in games and opera. Second, the arias sung by women inFinal Fantasy VIandParasite Eveillustrate how a melodramatic mode of expression represents a confluence of the aesthetic priorities of the two media. Finally,The Beast Within’s meditation on Wagner reveals how opera sequences aim to engage players by conjuring phantasmagorias through a unifying and enrapturing spectacle.

中文翻译：

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电子游戏中的歌剧场景：杀手、女主角和瓦格纳的狼人

本文旨在阐明电子游戏中舞台剧场景所产生的意义和美学效果。它还探讨了传递给游戏所针对的大量观众的歌剧图像。讨论了歌剧游戏遭遇的三个维度。第一的，托斯卡在杀手：血钱和乞丐的歌剧在刺客信条 III用于检查暴力的处理以及游戏和歌剧中的大众诉求话语。二、女性唱的咏叹调最终幻想VI和寄生虫前夜说明情节剧的表达方式如何代表两种媒体的审美优先级的融合。最后，内心的野兽对瓦格纳的沉思揭示了歌剧序列如何通过统一和令人陶醉的奇观来召唤幻影来吸引玩家。