随着数字娱乐产业的蓬勃发展，乙女游戏作为一种面向女性的文化产品，通过为玩家提供暂时摆脱现实压力、肆意获得情绪价值的虚拟恋爱体验，吸引了大量女性玩家的参与。其中，游戏女主角作为玩家在游戏世界的代理和延伸，对玩家的游玩体验具有重要影响。鉴于近年来，对女主角的态度与认知持不同观点的玩家群体之间冲突与纷争频发，“乙游玩家对女主角的态度及其认知差异是如何形成的？”成为了本文研究的主要问题。

本文采取质化研究方法，以国产乙女手机游戏玩家为研究对象，综合运用参与式观察与半结构化深度访谈，并对其内容进行文本分析。本文首先明确了国产乙女游戏主人公定位的客观背景，并在此基础上分析由此引发的玩家群体分化现象，进而对乙女游戏玩家不同群体进行分类；其次，探讨影响玩家在游戏中产生化身认同的因素，并据此总结出乙女游戏玩家化身认同模式；最后，由于游戏空间并非完全独立于现实世界的封闭系统，本文进一步从现实生活的视角探究玩家自我建构的过程。

本研究认为，乙游玩家对女主角的态度及其认知差异是在我国乙女游戏制作方对于主人公定位模糊的前提下，玩家经由“无意识-情动”下的化身认同与“有意识-理辨”上的自我建构两个阶段，逐步建立起了不同的自我游戏身份定位。游戏内，玩家受化身-个体相似性、化身吸引力等游戏因素以及现实–理想自我差异、自我认同等个体因素影响，从相似性、理想化、具身临场感三个维度逐步建构对化身的认同；游戏外，玩家通过对自我身上的化身相关特质产生认同，并借助与他人的交流互动，在不断的信息交换和跨文化互动中对自己的身份进行审视和反思。在这两个阶段的循环作用下，玩家逐渐明确自己的乙女游戏身份定位。

With the rapid growth of the digital entertainment industry, Otome games, as a cultural product targeted at women, have attracted a large number of female players by providing a virtual romantic experience that offers temporary relief from real-life pressures and emotional value. In these games, the game's female protagonist, serving as the player's avatar and extension in the game world, significantly impacts the player's gaming experience. In recent years, conflicts and disputes have frequently arisen among player groups with different attitudes towards the female protagonist, leading to the primary research question of this thesis: "How are the attitudes and cognitive differences of Otome game players towards the female protagonist formed?"

This study employs qualitative research methods, focusing on players of domestic Otome mobile games. It integrates participatory observation with semi-structured in-depth interviews and textual analysis. Initially, the study clarifies the protagonist's niche in domestic Otome games, and based on this, analyzes the phenomenon of player community segmentation that arises, leading to a classification of different otome game player groups. Subsequently, the study explores the factors that influence players' identification with their avatars in the game and summarizes the avatar identification patterns among otome game players. Finally, recognizing that the gaming space is not a completely closed system independent of the real world, the study further investigates the process of players' self-construal from the perspective of real life.

The research suggests players' attitudes and cognitive differences towards the female protagonist are under the premise of ambiguous protagonist’s niche made by game developers, and players’ game identification are established through two stages: unconscious avatar Identification and conscious self-construal. Within the game, players’s game identification are influenced by the avatar similarity and avatar attractiveness, as well as self-discrepancy and self-identity between dream and reality, where players gradually construct identification with the avatar from embodied presence, wishful identification and similarity identification. Outside the game, players identify with avatar-related traits within themselves and then engage in self-examination by reflexivity through communication and interaction with others. Through the cyclical interaction of these two stages, players gradually clarify their own Otome game identification.