让年轻人“上头”的剧本杀，迎来了监管时刻。

　　近日，上海市文化和旅游局发布了《上海市密室剧本杀内容备案管理规定(征求意见稿)》，截至12月8日面向社会公众征求意见。这意味着，在“野蛮生长”之后，包括剧本内容、场馆运营等剧本杀产业将率先在上海进入备案管理阶段。

　　剧本杀是一种推理游戏，最早被称为“谋杀之谜”，因角色的代入性、逻辑的严密性、情节的刺激性深受广大年轻人喜爱。近日发布的《2021实体剧本杀消费洞察报告》显示，预计2021年国内剧本杀市场规模将超过150亿元，消费者规模或达941万，超七成为30岁以下的年轻人群，超四成用户消费频次在一周1次及以上。

　　剧本杀俨然成为年轻人当下最流行的新社交方式之一，与此同时，剧本杀产业链中频频曝出的诸多问题，也越来越受关注。

　　11月23日晚，北京东城区一家“剧本杀”店内，几名青年人围坐在一起游戏。随着“剧本杀”游戏的兴起，这也成为青年人的一种社交方式。中青报·中青网记者 赵迪/摄

　　剧本杀展会多了，但好剧本依旧难抢

　　夜幕笼罩，北京一本正京剧本杀展会所在酒店的门前，挂着外埠车牌的轿车来来往往。来自全国各地的发行团队、剧本店店主，正背着大包小包进入展会酒店。酒店走廊里，五颜六色的剧本宣传页放置在桌面上，颇具设计感的海报易拉宝竖在房门前。不同房间代表着不同剧本，七八个年轻人不拘小节地蹲坐在地上或床上，声情并茂地演绎着剧本内容……

　　这是北京沐眠沉浸式剧场创始人王浩伦第一次来到剧本杀展会。与普通玩家不同的是，他们的任务并不是“玩”，而是“测”，即通过亲身体验，购买到高质量剧本杀作品。“剧本杀展会将整个剧本圈的上游作者、中游发行、下游店家聚集到一起，这更像是行业的一次聚会。”王浩伦告诉中青报·中青网记者。

　　在很多大学生眼中，开一家剧本杀店，似乎是一桩好买卖。王浩伦就是在校期间玩了百余个剧本作品，当过兼职DM(剧本杀主持人——记者注)后，成为剧本杀店主。想要店铺在行业内站得住脚，总得有点镇店之宝。王浩伦此行就是为了能抢到一部有望成为“爆款”的剧本杀作品。与王浩伦印象中“高大上”的展会完全不同，参会者可以在剧本杀展会上添加任何发行或作者的微信，用交朋友的方式去“盘”想要的剧本。

　　据了解，按照销售形式的不同，剧本杀作品目前可被分为“独家本”“城限本”和“盒装本”三种主要类型。“独家本”是仅授权给一家店的剧本，“城限本”允许一座城市的3-6家剧本店拥有权限。“盒装本”的购买门槛为零，批量发行，是大部分中、小型剧本杀店的基本保障。

　　“参加剧本杀展会最开始主要是从业者的业务交流，但随着行业的发展变化，逐步演变为以销售剧本为主的展销会。”王浩伦说，与一般购买渠道不同，在展会上，店家不仅能享受到更优惠的价格，还能得到一个更重要的好处——抢到首发的“城限本”或“独家本”。

　　与许多剧本杀店家一样，北京如梦剧本社创始人王璐经常组织店员往返于各地展会，就是为了“城限”和“独家”。“他们几乎是不分昼夜地测试各类剧本，不计成本地将有口碑的剧本买回来。”作为安徽蚌埠的一家剧本店创始人之一，杨力田与合伙人有明确分工：他作为金牌DM“镇店”，懂发行行业的合伙人负责“刷”全国各地展会，购买剧本。在他们看来，不断更新店内好剧本才能吸引更多年轻人。

　　在Larp剧本杀发行工作室的发行王靖博看来，剧本杀展会的举办提高了年轻人对该城市的熟悉度，推动了城市的旅游业和美誉度。不仅如此，一般展会都会选在周围餐饮娱乐业较丰富的地方，也带动了周边经济。

　　可是，大到一线城市，小到县级市，当剧本杀店如同雨后春笋般迅速涌现后，“好剧本难抢”依旧是新手剧本店不得不面对的现实窘境。

　　制作成本高导致“投放难”

　　平均每天50个新增微信好友，未读消息七八百条；中午12点上班，清晨4点下班；为及时与客户周旋，手机时刻不离身，从睁开眼的那一刻就开始回复消息；除过年放假一两天，有时甚至全年、全天无休……这是昆明桌立方工作室负责人马骏骥的工作日常。

　　除此之外，马骏骥最重要的工作就是监制剧本。“精品剧本”是许多发行工作室的努力目标，这不仅是为了获得良好的市场效益，更是出于对自身品牌信赖度的建设与维护，出于作者、玩家和整个行业的一份责任心。

　　“监制的作用非常重要，一部成功的作品需要具备人物饱满、情感丰富、故事丰满等根本因素，监制就是辅助作者完善作品的。”27岁的李莹是老玉米联合工作室的主理人，她告诉记者，每一家工作室监制的水平，都代表着该工作室的“天花板”。

　　“通常情况下，我们会用一个月的时间去测试剧本，然后交付作者修改。修改过后再次进行测试，直到没有Bug，才能继续接下来的工作。”李莹说，从创作直到成功发货，大概需要长达4-5个月的时间。

　　“制作一部精品剧本杀作品，我们的投入在20万-40万元之间。”马骏骥表示，从运行流程来看，制作成本、印刷成本、宣发成本、售后成本、差旅成本、人员成本……每一个环节都必不可少，越是成熟的发行体系，花在测评、美工等制作中间环节的投入就会越高。

　　为保障“独家本”“城限本”的优质内容得以最大程度呈现，许多发行店家会优先选择自己熟悉的合作伙伴，这也造成了新店家可能很难拿到优质本的现状。李莹坦言，发行与新店家的合作不乏忧虑，因为行业内部鱼龙混杂，一座城市里的剧本杀门店开了倒、倒了开，还没拿到本子就倒闭了的情况也时有发生。

　　“在授权剧本时，我需要综合考虑商家诚信、DM演绎水平、故事体量等综合因素，必须对自己发行的剧本负责，因为每个发行都希望自己制作的剧本能被‘开’出好的口碑。”李莹作为发行方始终相信，只有成熟的店才能获得更好的效果。

　　“一家店铺能否成功经营是十分复杂的，并不能简单归因于发行方的不信任，也不能仅仅归因于抢不到‘城限本’。”小黑探网络科技有限公司CEO王欢岳认为，“城限本”并不是实体门店存活的根本原因，其服务口碑、店面风格、主持能力等因素都会影响客人的去留。

　　每个新兴领域在发展初期都会有红利期，当红利期过去，从业者又该如何更好地生存下去？王欢岳建议，拿不到“独家本”或“城限本”的店家从自身出发改善经营情况：客观认识内容创意产业“为内容负责”的实际情况；向优质老店学习，调研实际情况，从其他维度去解决问题。

北京崇文门一家“剧本杀”游戏店里，年轻人在参与游戏。

　　“低门槛”是把双刃剑

　　剧本杀创造出另一个时空，让玩家暂时抛却现实烦恼，开启“第二重人生”。正是这份魅力，让许多年轻人怀着一份热爱，投入到行业大军之中，行业低门槛与年轻化成为明显特征。

　　据了解，作为行业内具有代表性的互联网企业，“小黑探”团队成员均是90后。王欢岳说，在实体店铺中，DM、NPC(非玩家角色——记者注)集中在95后。发行端的监制、宣发、美工、签约作者几乎都是90后，其中也不乏00后，“年轻化客观存在，这是行业蓬勃向上的证明，也是剧本杀行业在就业领域作出的贡献”。

　　“实体经营的本质是盈利，创业初期的大学生在入行之前，要经过仔细考量。开一家剧本杀店，必须要对得起自己付出的时间、精力。”王欢岳提示，从实体经营的角度来看，“低门槛”是一把双刃剑，它虽然加大了店家经营时所要面临的市场竞争难度，但较低的市场准入也使行业能获得蓬勃的发展。

　　古风沉浸本、情感本、欢乐本、恐怖本、机智本、立意本、综合本……从产生到现在，剧本杀走在成长之路上。“这也得益于‘低门槛’。”马骏骥说。同时身为玩家的剧本杀作者，通过一次次参与游戏获取灵感，越来越多的人愿意尝试提笔创作，开拓不同类型，市面上也就出现了更多类型的剧本。

　　“如果没有低门槛，开一家剧本杀店要是和开一家网吧或KTV一样困难，我们很可能连牌照都拿不到。”他坦言，从业者多为同龄人，大家处在和平、融洽、相互理解的氛围中，行业拥有极强包容性，“每个人的角色都不受限，店家可以是发行，发行可以是作家……低门槛使更多相关工作者、实体经营者、文学艺术工作者踏入剧本杀行业，从多方面驱动这一小众行业发展”。

　　但长时间的低门槛会使“包容”变成“纵容”。“长远效益是最重要的事，低门槛一旦致使行业生态恶化，存活时间自然也不会太长。”这也是老玉米联合工作室的李莹所担心的。

　　从上游来看，多领域、多年龄段作者使剧本质量参差不齐，部分逻辑崩坏，情节狗血，带有低俗、色情、暴力元素的剧本流向市场，大大降低了玩家的游戏体验质量。而在下游，较低的市场准入机制下，门店寿命短、竞争无序成为显着问题，甚至有一些店家以搞垮同行为目的，偏离了正常的经营轨道。

　　依时而动的创业者们让实体门店“遍地开花”，但以情怀为出发点的一时冲动往往会让这些门店犹如昙花一现。

　　行业亟待规范

　　除行业销售、实体经营以外，剧本杀在上游的内容生产端也不乏隐患。行业边界有待明确，剧本杀究竟应该归于何种领域？“只有行业规制才能让我们获得更多的安全感。”作为行业内的新发行，表里山河的负责人00后王俊龙说。

　　“新兴事物应该如何去定义？这是需要时间来回答的。由于我国桌游行业处于初期阶段，缺乏相关政策与定义，很多人会对这份职业产生误解。”王欢岳说，“任何行业从业者应该都有自尊心，希望自己从事的工种被社会认可。”

　　除“正名”之外，盗版猖獗也是行业目前最棘手的问题。店家用盗版盈利，版权人从取证到检验，再到后期处理，都是非常漫长的过程，这与剧本“时效短”“消耗快”的现实是矛盾的。很多创作方、发行方想要依靠外部力量进行维权，出于成本的考虑，也无法从根本上解决问题。

　　“盗版不仅会侵犯他人着作权，影响玩家游戏体验，更重要的是会让支持正版的店家感到寒心，慢慢地，正版市场可能会越来越小。”李莹如是说。

　　“20万左右的从业者规模并不算特别大，行业产值大概一两百个亿，行业生命周期也就只有两到三年。因此，对于很多传统行业来说，剧本杀仍是新兴领域。”作为行业见证者之一，王欢岳认为目前剧本杀行业还存在无限可能。

　　中国人民大学数字人文研究中心研究员陈姚一直很关注剧本杀产业发展。在他看来，目前的剧本杀产业还处于自发自管的生长期，远没有达到“巅峰”状态，“但随着越来越多资本、店主的进入，当产业规模扩张到一定程度后，或将会暴露更多问题。因此，亟待政府部门和相关行业协会加强监管。”

　　作为新兴、小众行业，剧本杀也在不断探索边界，将自身融入主流视野之中时，尝试在各个行业中寻找结合点。陈姚认为，抛去目前暴露出的问题，剧本杀作为一种被年轻人广泛喜爱的沉浸式新业态，也存在诸多应当被鼓励发展的亮点。“我最近在看《外交官》的剧本，专门讲述了1919年巴黎和会的相关历史，年轻人在剧本中要维护国家利益，还串起了中国近现代史。这就决定了它在年轻人的历史学习和党史教育中，能够发挥巨大作用”。此外，作为一种线下活动，剧本杀能让年轻人面对面交流和培养团队协作配合能力，“如果产业得到规范发展，它的社会意义和政治意义将远超当下的文化业态意义”。

　　随着《兵临城下》《旗袍》等剧本的出现，越来越多的剧本作品开始赋予家国情怀，它们以生动活泼的形式，走进年轻人的心里，给他们上了一堂别开生面的“党史教育课”。现如今，许多企业也将家国立意剧本作为公司团建的一种方式。“这就好比年轻人在B站上看《亮剑》、听罗翔讲法律，年轻人本质是爱学习的，只不过他们需要找到寓教于乐的方式。”王欢岳说。

　　目前，综艺行业正在逐渐与线下剧本杀店进行合作。爱奇艺、哔哩哔哩等平台的自制综艺推广IP的线下活动可能会用到线下剧本杀店的场地，综艺节目中也与专业主持展开合作。在影视方面，IP反哺也是行业现象之一。很多网文、网剧、电影都在接触剧本行业，影视化成为未来的发展方向。

　　“剧本杀产业还可以与文旅行业甚至博物馆进行合作，让博物馆的文物和背后历史‘活’起来，形成交叉新业态。未来的发展空间、想象空间其实是非常大的。”陈姚说。

　　科技、文旅、教育、党建……当剧本杀产业逐步走向“正轨”，或将在未来担负更多责任。

Let young people "above" the script to kill, ushered in a regulatory moment. Recently, the Shanghai Municipal Bureau of culture and tourism issued the provisions of Shanghai Municipality on the administration of the filing of the contents of secret chamber scripts (Draft for comments), which was open to the public for comments as of December 8. This means that after the "barbaric growth", the script killing industry, including script content and venue operation, will take the lead in entering the filing management stage in Shanghai. Script killing is a reasoning game, which was first called "the mystery of murder". It is deeply loved by young people because of the substitution of roles, the strictness of logic and the excitement of plots. According to the recently released insight report on 2021 physical script killing consumption, it is expected that the domestic script killing market will exceed 15 billion yuan in 2021, and the number of consumers may reach 9.41 million. More than 70% of users will become young people under the age of 30, and more than 40% of users consume once a week or more. Script killing seems to be one of the most popular new social ways for young people. At the same time, many problems frequently exposed in the script killing industry chain have attracted more and more attention. On the evening of November 23, several young people sat around and played games in a "script kill" shop in Dongcheng District, Beijing. With the rise of "script kill" game, it has also become a social way for young people. Zhongqing daily · zhongqing.com reporter Zhao di / there are many screenplays to kill the exhibition, but it is still difficult to grab good screenplays. The night is shrouded. In front of the hotel where the Beijing Opera exhibition is located, cars with foreign port license plates come and go. Distribution teams and script store owners from all over the country are carrying large and small bags into the Exhibition Hotel. In the corridor of the hotel, colorful script leaflets are placed on the table, and the poster with a sense of design is erected in front of the door. Different rooms represent different scripts. Seven or eight young people squat on the ground or in bed without formal details, performing the content of the script with both voice and emotion... This is the first time that Wang Haolun, founder of Beijing Mumian immersive theater, came to the script killing exhibition. Different from ordinary players, their task is not to "play", but to "test", that is, to buy high-quality scripts and works through personal experience. "The screenplay killing exhibition brings together the upstream authors, midstream distributors and downstream stores of the whole screenplay circle, which is more like a gathering of the industry." Wang Haolun told Zhongqing daily zhongqing.com. In the eyes of many college students, opening a script killing shop seems to be a good deal. Wang Haolun played more than 100 script works in school. After working as a part-time DM (script killing host - reporter's note), he became a script killing shopkeeper. If you want the store to stand in the industry, you must have some treasure of the town store. Wang Haolun's trip is to grab a screenplay that is expected to become a "hot money". It is completely different from the "tall" exhibition in Wang Haolun's impression. Participants can add wechat of any publisher or author to the exhibition and "plate" the desired script by making friends. It is understood that according to different sales forms, script works can be divided into three main types: "exclusive book", "City limited book" and "boxed book". "Exclusive copy" is a script licensed to only one store, and "City limited copy" allows 3-6 script stores in a city to have permission. The purchase threshold of "boxed version" is zero, and mass distribution is the basic guarantee for most small and medium-sized script stores. "At the beginning, participating in the script killing exhibition is mainly the business exchange of practitioners, but with the development and change of the industry, it has gradually evolved into a sales exhibition focusing on selling scripts." Wang Haolun said that different from the general purchase channels, at the exhibition, stores can not only enjoy more favorable prices, but also get a more important benefit - to grab the "City limited edition" or "exclusive edition" of the first launch. Like many screenplay stores, Wang Lu, founder of Beijing Rumeng screenplay club, often organizes shop assistants to and from local exhibitions for the sake of "city limit" and "exclusive". "They test all kinds of scripts almost day and night, and buy them back at no cost." As one of the founders of a script store in Bengbu, Anhui Province, Yang Litian has a clear division of labor with his partners: as a gold medal DM "town store", he understands the distribution industry and is responsible for "brushing" exhibitions all over the country and buying scripts. In their view, constantly updating good scripts in the store can attract more young people. According to Wang Jingbo, the publisher of LARP script killing studio, the holding of script killing exhibition has improved young people's familiarity with the city and promoted the tourism and reputation of the city. Not only that, the general exhibitions will be selected in the surrounding places with rich catering and entertainment industry, which also drives the surrounding economy. However, from first tier cities to county-level cities, when script killing shops have sprung up, "good scripts are difficult to grab" is still a real dilemma that novice script shops have to face. The high production cost leads to "difficult delivery", with an average of 50 new wechat friends and 700 unread messages every day; Go to work at 12 noon and get off work at 4 am; In order to deal with customers in a timely manner, the mobile phone never leaves the body and replies to messages from the moment you open your eyes; In addition to the Chinese New Year holiday for one or two days, sometimes even all year round... This is the daily work of Ma Junji, the person in charge of Kunming table cube studio. In addition, Ma Junji's most important job is to supervise the production of scripts. "High-quality script" is the goal of many distribution studios, which is not only to obtain good market benefits, but also out of the construction and maintenance of their own brand trust, and out of the sense of responsibility of authors, players and the whole industry. "The role of producer is very important. A successful work needs to have the fundamental factors such as full characters, rich emotions and full stories. Producer is to assist the author to improve the work." Li Ying, 27, is the director of the old corn joint studio. She told reporters that the level of production supervision in each studio represents the "ceiling" of the studio. "Usually, we will test the script for one month and then deliver it to the author for modification. After modification, we will test it again until there is no bug, and then we can continue the next work." Li Ying said that it takes about 4-5 months from creation to successful delivery. "To produce a high-quality screenplay, our investment is between 200000-400000 yuan." Ma Junji said that from the perspective of operation process, production cost, printing cost, publicity and distribution cost, after-sales cost, travel cost and personnel cost... Each link is essential. The more mature the distribution system is, the higher the investment will be spent on intermediate links such as evaluation and art work. In order to ensure that the high-quality content of "exclusive book" and "City limited book" can be presented to the greatest extent, many distribution stores will give priority to their familiar partners, which also makes it difficult for new stores to get high-quality books. Li Ying admitted that there is no lack of worry about the cooperation between the distribution and new stores, because there is a mixture of good and bad people in the industry. The script in a city kills the store, opens upside down, and closes down before getting the book. "When authorizing a script, I need to comprehensively consider the integrity of the business, DM interpretation level, story volume and other comprehensive factors. I must be responsible for the script I publish, because each publisher hopes that the script I produce can be 'opened' to a good reputation." As a publisher, Li Ying always believes that only mature stores can achieve better results. "The success of a store is very complex. It can not be simply attributed to the distrust of the issuer, nor can it be simply attributed to the failure to grab the 'City limited capital'." Wang Yue believes that the fundamental reason for the limited service ability of the company's CEOs such as "Xiaoyue's online presence" and "Xiaoyue's online presence" is not the limited service ability of the company's CEOs. Every emerging field will have a dividend period in the early stage of development. When the hot profit period is over, how can practitioners survive better? Wang Huanyue suggested that those who could not get the "exclusive book" or "City limited book" should improve their business from their own point of view: objectively understand the actual situation of "being responsible for the content" of the content creative industry; Learn from high-quality old stores, investigate the actual situation, and solve problems from other dimensions. Young people participate in the game in a "script kill" game store in Chongwenmen, Beijing. "Low threshold" is a double-edged sword script to create another time and space, so that players can temporarily put aside their real troubles and start "second life". It is this charm that makes many young people devote themselves to the industry with a love. The low threshold and youth of the industry have become obvious characteristics. It is understood that as a representative Internet enterprise in the industry, the team members of "little black detective" are all post-90s. Wang Huanyue said that in physical stores, DM and NPC (non player roles - reporter's note) are concentrated in the post-95. Almost all the producers, publicists, artists and contracted authors at the distribution end are post-90s, including post-00s, "the objective existence of youth is a proof of the vigorous development of the industry and the contribution of the industry in the field of employment". "The essence of entity operation is profit. College students in the early stage of entrepreneurship should carefully consider before entering the industry. To open a script killing shop, they must be able to afford their own time and energy." Wang Huanyue suggested that from the perspective of entity operation, "low threshold" is a double-edged sword. Although it increases the difficulty of market competition faced by stores, low market access also enables the industry to flourish. Immerse in the script, the script, the script of joy, and grow from the script of horror to the script of wit. "This also benefits from the 'low threshold'." Ma Junji said. At the same time, as the script killer of players, he gets inspiration by participating in the game again and again. More and more people are willing to try writing and explore different types, and more types of scripts appear on the market. "If there is no low threshold, if opening a script killing shop is as difficult as opening an Internet cafe or KTV, we may not even get a license." He admitted that most of the practitioners are peers. They are in an atmosphere of peace, harmony and mutual understanding. The industry has a strong inclusiveness. "Everyone's role is not limited. The store can be a publisher and the publisher can be a writer... The low threshold enables more relevant workers, entity operators and literary and artistic workers to enter the script killing industry and drive the development of this niche industry in many ways". However, the low threshold for a long time will turn "tolerance" into "connivance". "Long term benefits are the most important thing. Once the low threshold causes the ecological deterioration of the industry, the survival time will not be too long." This is also what Li Ying of the old corn joint studio is worried about. From the upstream point of view, multi domain and multi age authors make the script quality uneven, some logic collapses, the plot is dog blood, and the script with vulgar, pornographic and violent elements flows to the market, which greatly reduces the quality of players' game experience. In the downstream, under the lower market access mechanism, the short service life of stores and disorderly competition have become significant problems. Some stores even deviated from the normal business model for the purpose of destroying their peers