”Poistan Sut Steamista!”

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”Poistan Sut Steamista!” Jani Kauta ”Poistan sut Steamista!” Nörttistereotyyppien kehitys ja pelikulttuurin esittäminen 2010-luvun TV-sarjoissa ja elokuvissa Metropolia Ammattikorkeakoulu Medianomi Elokuvan ja television koulutusohjelma Opinnäytetyö 21.11.2020 Tiivistelmä Jani Kauta Tekijä(t) ”Poistan sut Steamista!”: Nörttistereotyyppien kehitys ja peli- Otsikko kulttuurin esittäminen 2010-luvun TV-sarjoissa ja elokuvissa Sivumäärä 45 sivua Aika 21.11.2020 Tutkinto Medianomi Tutkinto-ohjelma Elokuvan ja television koulutusohjelma Suuntautumisvaihtoehto Elokuva- ja tv-käsikirjoittaminen Ohjaaja(t) Käsikirjoittamisen lehtori Timo Lehti Opinnäytetyö käsittelee nörttistereotyyppejä, pelikulttuurin esittämistä ja pelejä pelaavien hahmojen esittämistä 2010-luvun TV-sarjoissa ja elokuvissa. Tarkoituksena on selvittää, onko nörttistereotyyppi muuttunut aikojen saatossa, ja jos on, niin mihin suuntaan. Työssä tutustutaan ensin videopelin määritelmään ja videopelaamisen historiaan, sitten ha- vainnoidaan pelikulttuuria tänä päivänä hyödyntäen tekijän omia kokemuksia ja tilastotietoja pelaamisesta sekä Yhdysvalloissa että Suomessa ja lopuksi verrataan nykypäivän nörtti- hahmoja tunnettuihin aiempiin nörttistereotyyppeihin: Griefer ja protagonistilapset South Parkin jaksosta Make Love, Not Warcraft. Työn perustana toimivat alan kirjallisuus, verkkoartikkelit, tekijän omat kokemukset sekä analysoitavat elokuvat. Kvalitatiivisten analyysien tukena on lista määrittelevistä tekijöistä ja kysymyksistä, joita tekijä vertaa aiemmin mainittuun South Parkin jaksoon ja siinä esitettä- vään nörttikuvaan. Työn ensimmäinen osio koskee pelin määritelmää, pelaamisen historiaa ja pelaamisen ny- kypäivää. Pelien historian tunteminen on tärkeää, sillä se valottaa niitä seikkoja, jotka johti- vat South Parkin nörttikuvan luomiseen: pelit olivat ennen tuote, jota markkinoitiin ensisijai- sesti lapsille. Nykyään pelit ovat saavuttaneet suosiota kaikissa ikäryhmissä: pelejä pelaa 55 prosenttia koko Suomen väestöstä. Suurin ikäryhmä on 19–35-vuotiaat. Seuraavaksi työssä analysoidaan South Parkin edellä mainittu verrokkijakso ja neljä 2010- luvun sarjaa tai elokuvaa, jossa on pelejä pelaavia hahmoja. Analyysissa verrataan moder- nien teosten hahmoja South Parkin hahmoihin. Tutkittavana on ikä-, sukupuoli-, status- ja etnisyysjakauma sekä se, miten muut hahmot suhtautuvat pelaamiseen. Lisäksi tutkitaan yleisesti sitä, millaisia tarinoita pelaajista kerrotaan. Tutkimuksen tuloksena havaitaan, että nykypäivän nörttistereotyyppi on monimuotoistunut verrokista. Hahmoja on useista etnisyyksistä, he edustavat laajempaa sukupuoli-identiteet- tien kirjoa, ja heitä on kaikista ikä- ja luokkatasoista. Lisäksi nörttihahmot ovat siirtyneet osit- tain pois naurunalaisuudesta kokonaisvaltaisemmiksi hahmoiksi, joilla voidaan kertoa mo- nenlaisia tarinoita. Avainsanat Pelit, pelikulttuuri, stereotyypit, henkilöhahmo, gamer Abstract Jani Kauta Author(s) “I’ll Delete You from Steam!”: The Nerd Stereotype and the Title Presentation of Gaming Culture in 2010s TV and Film Number of Pages 45 pages Date 21 November 2020 Degree Bachelor of Culture and Arts Degree Programme Film and Television Specialisation option Screenwriting Instructor(s) Timo Lehti, Lecturer in Screenwriting This thesis discusses the nerd stereotype, the presentation of gaming culture, and the presentation of gamer characters in film and TV of the 2010s. The objective is to find out if the nerd stereotype has evolved over time, and if it has, in which direction. First, the thesis explores the definition of a game and the history of gaming. Then the thesis moves to observes the gaming scene as it appears today through personal accounts of the author and statistics in both the United States and Finland. Finally, the thesis compares the nerd characters to some earlier, well-known examples of the nerd stereotype: Griefer and the protagonist children in an episode of the TV show South Park titled Make Love, Not Warcraft. This thesis is built on literature in the field of gaming, gaming culture and the history of games. It also uses web articles, personal experiences of the author, and the analysis of films as sources. The film analysis is based on a list of attributes and questions the author uses to compare the films to the aforementioned South Park episode. The first part of the thesis concerns the definition of a game, history of gaming and the gaming scene today. To know the history of gaming is important as it sheds light on the matters that helped shape the stereotype presented in South Park: games used to be mar- keted mainly towards children. Nowadays games have a much broader audience: gamers make up 55 % of the Finnish population. The biggest age group is 19 to 35. Next, the thesis benchmarks the South Park episode as standard for reference and analyses four films or episodes from the 2010s with gamer characters. In the analysis the attributes considered are: age; sex; status; ethnicity; how they are perceived by their non-gamer peers; and the qualities of stories told of the gamers. The results show that the modern nerd stereotype is more diverse than that of the reference. Characters vary in all compared categories. In addition, the nerd characters have trans- formed from jokes to more realized characters that can be used to tell a multitude of different types of stories. Keywords Games. gaming culture, stereotypes, character, gamer Sisällys 1 Johdanto 1 2 Pelit ja pelikulttuuri 3 2.1 Pelin määritelmä 3 2.2 Digitaalisten pelien lyhyt historia 6 2.2.1 Alkutaival 6 2.2.2 Nintendon perintö 7 2.2.3 Konsolisodat 8 2.2.4 Online-aikakausi 9 2.3 Pöytäroolipelien lyhyt historia 10 2.4 Gamer-kulttuuri 11 2.4.1 Pelaajakunta tilastoina 12 2.4.2 Tyypillisimmät tavat kuluttaa pelisisältöä 13 2.4.3 Pelikulttuurin varjopuoli 14 3 Hahmojen kirjoittaminen ja stereotyypin määritelmä 15 3.1 Hahmon merkitys ja paikka draamassa 15 3.2 Hahmon kirjoittaminen 18 3.3 Mikä on stereotyyppi? 19 4 Pelit ja gamer-kulttuuri 2010-luvun elokuvissa ja televisiosarjoissa 20 4.1 Teosten valintaperusteet 20 4.2 Analyysin menetelmä 21 4.3 Benchmark: South Park: Make Love, Not Warcraft 22 4.4 Nörtti: DragonSlayer666 kausi 1 24 4.5 Black Mirror: Bandersnatch 27 4.6 Community: Advanced Dungeons & Dragons 30 4.7 Ready Player One 33 5 Analyysien tulokset ja vertailu 36 5.1 Nörttikuvan kehitys 36 5.2 Nörttikuvan tulevaisuus 41 Lähteet 42 1 1 Johdanto On vuosi 1966. Herrat Ralph Baer, Bill Rusch ja Bill Harrison seisoivat johtojen ja piirile- vyjen sekamelskan edessä, valmiina painamaan virrat vanhanmalliseen CRT-televisi- oon. On kohtalon hetki. Heille myönnetty 2,500 dollaria on vuonna 1966 suuri raha, ja kapitalistisessa yhteiskunnassa suuri raha tuo suuren vastuun. Varsinkin, kun sen myön- täjänä on yritys, joka myy tutka- ja radioteknologiaa Yhdysvaltojen puolustusvoimille. Ly- hyen loppusäädön jälkeen näytölle syttyy pieni valkea piste. Piste, jota pystyttiin ohjaa- maan saumattomasti ympäri ruutua. Tämä on ensimmäinen kaupalliseksi suunniteltu TV-peli. Tästä pienestä pisteestä ja sen perinnöstä syntyisi alle viidessäkymmenessä vuodessa miljardien arvoinen viihdeteollisuuden haara. (Goldberg 2011, 1–6.) Kelataanpa aikaa eteenpäin vuoteen 2005. Nuori Jani Kauta on juuri siirtynyt tutusta pienen kylän alakoulusta yläasteelle. Yläasteelle siirtyminen tarkoittaa teini-ikää ja sosi- aalista painetta pukeutua oikein, ystävystyä oikeiden henkilöiden kanssa ja kuunnella oikeanlaista musiikkia, ettei jää niin sanotusti ”porukan ulkopuolelle”. Tämän paineen alla Jani vaihtaa mukavat verryttelyhousut farkkuihin ja hän kasvattaa itselleen pitkät, metalli- ja rock-idoleita matkivat hiukset, aivan kuten muillakin on. Elämä on pysyvä muutoksen tila. Yksi asia ei kuitenkaan muutu: hänen intohimonsa pleikkaripelien (Sony PlayStation maallikoille) pelaamiseen. 2000-luvun alussa pelaaminen ei ollut se viimeinen naula sosiaalielämän arkkuun, muttei täysin stigmatontakaan. Pelejä pelaavat löysivät toisensa ja muodostivat omia piirejään. Heitä kutsuttiin – vitsikkäästi ryhmän sisäisesti ja ei-niin-vitsikkäästi ryhmän ulkopuolella – nörteiksi. Nörttikuvastoon kuuluivat silmälasit, rimpulakädet (tai vaihtoehtoisesti yli- paino), huono hygienia ja parantumaton huono onni romantiikassa. Videopelejä paljon pelaavat miellettiin lapsellisiksi ja pelejä pelaava aikuinen oli parhaimmillaankin veteleh- tijä. Kenties paras esimerkki aikakauden gamer-stereotyypistä on South Park -animaa- tiosarjan kymmenennen kauden kahdeksas jakso Make love, not Warcraft (2006), jossa päähenkilöiden ainut toivo päihittää heitä riivaavan elämättömän valkoisen miehen hir- muvalta on pelata peliä kellon ympäri, kunnes he itse ovat samanlaisia groteskeja varjoja entisestä itsestä. 2 Vain harvat halusivat tämän nörtin leiman. Todellisuudessa pelejä pelasivat melko lailla kaikki kirjoittajan ikäiset – ainakin pojat. Siitä vain ei puhuttu, tai jos puhuttiin, se tehtiin visusti omassa yhteisössä, yleiseltä mielipiteeltä suojassa. 2020-luvulle tultaessa pelit ovat tunkeutuneet syvemmälle osaksi tavallisten ihmisten ar- kea kuin koskaan ennen. Videopelit ovat kasvaneet (tai kutistuneet, mikäli tarkastellaan niiden fyysistä kokoa) pelihalleista tutuista jääkaapin kokoisista ja silti kovin yksinkertai- sista high score -tyyppisistä pennejä syövistä koneista miljoonien arvoisiksi viihdeteolli- suuden jättiläisiksi. Pelien ympärille aikanaan syntynyt kulttuuri on myös paisunut lasten- ja nuorten alakulttuurista osaksi suomalaisten ns. ”tavallisten” ihmisten elämää. Tilasto- keskuksen (Tilastokeskus 2017) mukaan pelaaminen on
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