Contemporary Song Poetry as a Gaming Stream: Subjective Identification of Rock Hero

This article explores the specifics of subjective organization in contemporary Belarusian and Russian rock poetry mediated by current gaming strategies. The author pays particular attention to understanding the problem of (self-)identification of the lyrical subject under conditions of fidgetalization, mediatization, and gamification of culture. Comparative analysis results are presented for verbal subtexts from musical groups such as “Vihilija,” “Niamiha,” “Bjarla,” and “Khren” over the period 2021–2025. The role of autocommunication and polyphonic constructs in shaping the image of the game-consciousness-and-speech subject as heir to the role-playing hero is discussed. Verification emphasis is placed on determining the impact of streaming communication strategies and computer-game aesthetics on rock poetics. The relevance of this study stems from the need for scientific comprehension of the relationship between transformations in the subjective organization of rock texts and crises in traditional forms of subjectivity. Concepts introduced include game rock stream, auto-communicative game code, nonsubjective player-hero. It has been demonstrated that the rock hero evolves from monologic “I-the Prophet” to modulated game projection. A classification of lyrical subject's game strategies is proposed: avatar-based, narrative-role-playing, auto-communicative, transmedia. An overview is provided regarding representation of one's own / other / alien consciousness within the focus of existential-virtual artistic being.