游戏的文化与传播研究，目前仍普遍局限于符号与叙事的范畴，从而成为文学与影 视研究的附庸，其本身也陷于效果层面与行为主义。本文以“编码解码”“延异”等符 号学意义生产理论为切入点，将游戏媒介的意义生产视为由规则、随机性、符号三种平 行的意义单元相互作用而产生的一种整体机制。通过规则分析、文本分析与深入访谈的 方法，提出一、游戏规则由符号内规则与符号外规则构成。规则是时间性的，游戏通过 对时间的切割与放置来实现与现世的根本区隔。二、规则与空间性的符号之间存在跨维 度的复杂互动关系。三、随机性是独立于时间、空间维度之外的元素，它破坏规则与符 号构成的时空，并通过发生位置产生意义。规则、随机性、符号之间的互动形成了游戏 意义生产的“游戏性”模型，三者交互主导。游戏性使游戏媒介具有三种特质：一、叙 事权转移。二、自新性。三、透明性。“反馈显著效应”是游戏性被技术等因素放大而 形成的外显。因此，游戏媒介本身具有积极性，当前对游戏的批判不应针对游戏本体而 应更加精确地指向技术、商业话语对反馈显著效应的滥用。

The current cultural and communicational research and study about video games is still suffering from the cage of semiology and narratology, dependent on movie-TV study and literature study. This paper intends to inspect the meaning production of video games as a interactional constructure with rules, randomness and signs, as three parallel units:1,Games’ rules are composed of in-sign rules and out-sign rules. Rules are of timeliness. “Rulization ”is a way to make the basic difference between games and reality. 2, There are complex dimensional interactivities between rules and signs, as between time and space. 3, Randomness make its own meaning by destructing the certainty constructed by rules and signs. And that’s where the “interesting” comes. They work together to make a model for games’ meaning production, which gives three signifcant quality to games as media: transparency, self-renewing, and the power to degrade narrative. This Gameness model cause an effect named Signifcant Feedback here, which would be over-enhanced for economic reasons. This is where games are blamed socially.