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MODDING Künstlerische Forschung in Computerspielen

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MODDING Künstlerische Forschung in Computerspielen Bauhaus-Universität Weimar Fakultät Kunst und Gestaltung Promotionsstudiengang Medienkunst Dekan: Prof. Wolfgang Sattler Ph. D.-Arbeit MODDING Künstlerische Forschung in Computerspielen Thomas Hawranke https://vimeo.com/album/5100550 Passwort:Modding Angestrebter Abschluss: Doctor of Philosophy (Ph. D.) Mentorinnen: Prof. Margarete Jahrmann (Züricher Hochschule der Künste) PD Dr. Alexander Knorr (Ludwig-Maximilians-Universität München) Prof. Dr. Michael Lüthy (Bauhaus-Universität Weimar) Datum der Einreichung: 30.04.2018 i Künstlerische Projekte OoB (2017), Serie aus 24 Bildschirmfotografien, 3840 × 2160 (UHD-1). Grand Ape Town 1.5 (2017), Serie aus acht Bildschirmfotografien, verschiedene Größen. Grand Ape Town (2016), Video (Machinima), 1920 x 1080, 30 fps, 13:30 Min. Tiger PHASED (2015), Installation, Teppich/Monitor/Kopfhörer, Video: 1920 x 1080, 30 fps, 22:00 Min. Maximum Chimaera (2014), Video, 1920 x 1018, 30 fps, 10:30 Min. AI-Experiment 2 (2013), Videodokumentation, 1280 x 720, 30 fps, 1:55 Min. Wissenschaftliche Veröffentlichungen Intrinsic Research – a practice-based approach to modding (2018), in: Playful Participatory Practices, Springer: Wien/New York (im Herausgeber-Lektorat). Deep Hanging Out mit dem vermeintlich Wilden. Tier-Mensch-Beziehungen im Computerspiel (2016), in: Tierstudien, Neofelis Verlag: Berlin (mit Dr. Pablo Abend). Ausstellungen und Festivals MILAN MACHINIMA FESTIVAL, IULM Open Mailand (2018). Mixed Realities. Of Dreams and Dreads, SCOTTY Projektraum, Berlin (2018). Im Spielrausch. Von Königinnen, Pixelmonstern und Drachentötern, MAKK – Museum für Angewandte Kunst, Köln (2017). WE <3 MACHINIMA!, Black-Box, Filmmuseum Düsseldorf (2017). VS, Pori Art Museum, Pori (2017). Animal Lovers, nGbK, neue Gesellschaft für bildende Kunst, Berlin (2016). New Gameplay, Nam June Paik Art Center, Gyeonggi-do (Paidia Institute, 2016). GLOBALE: GLOBAL GAMES @ ZKM, ZKM, Karlsruhe (Paidia Institute, 2015). we, animals – transference, Projektraum Meinblau, Berlin (2015). Circular Permutation – in between negative and positive space, W139, Amsterdam (2015). Schwindel der Wirklichkeit, Akademie der Künste, Berlin (Paidia Institute, 2014). Computerspielen – perspectives of play, Museum am Ostwall, Dortmunder U, Dortmund (2013–2014). iii ZKM_Gameplay, ZKM, Karlsruhe (Paidia Institute, 2013). Kuratorische Projekte I know, you know – Ein audiovisueller Dialog, Werkleitz Festival, Halle/Saale (mit Hörner/Antlfinger, Schweiger, Maletzki, Purgand), 2015. We, animals – transference, Projektraum Meinblau, Berlin (mit Hölck, Hörner/Antlfinger), 2015. Computerspielen – perspectives of play, Dortmunder U, Dortmund (mit Jonas Hansen), 2013. PAUSE – Computer games and cultural contingencies, Temporary Gallery, Köln (mit Karin Lingnau), 2013. Vorträge Player-designed Narratives – In-game movie-making as artistic research practice, Display, Disruption, Disorder, International Symposium, Luzern, 2017. Reenact Animals – Grand Ape Town, Reenactment & Storytelling, Institut für Medienkultur und Theater, Universität Köln, 2016. Artistic Research in Video Games, Participative Practices in Games – Methodological Challenges, Universität Köln, 2016. Bestialische Ornamente – Von Kill-Animationen und der Wildheit der Skripte in digitalen Weiten, Wilde Bestien. Bilder tierischer Aggression, Gewalt und Brutalität, Kunstgeschichtliches Seminar, Universität Hamburg (zusammen mit Dr. Pablo Abend), 2016. Artist Keynote: Artistic Research in Video Games, Playing with Worlds. Worlds of Play, a.r.t.e.s. Graduate School for the Humanities, Köln, 2016. Nicht-narratives-Erkunden, Playful Participation. Experimentelle und künstlerische Strategien der interaktiven Teilhabe, Universität zu Köln, 2014. From skinpack to raising a weapon, STAGE#03 – Playing Gender, Universität Köln, 2014. iv Inhalt 0. Einleitung ........................................................................................................................................ 7 1. Kapitel: Spielen & Computerspielen ............................................................................................. 15 1.1 Einleitung .......................................................................................................................... 15 1.2 Spielen ............................................................................................................................... 16 1.3 Computerspielen ................................................................................................................ 25 1.4 Spielen als Modifizieren .................................................................................................... 66 2. Kapitel: Architekturen des Moddings ........................................................................................... 71 2.1 Ober-, Unter- und Zwischenfläche .................................................................................... 71 2.2 Game Engine & Spieletechnologie ................................................................................... 74 2.3 Saubere und schmutzige Werkzeuge ................................................................................. 84 2.4 Swapping ........................................................................................................................... 99 2.5 Intrinsisches Forschen ..................................................................................................... 107 3. Kapitel: Mods & Art-Mods ......................................................................................................... 109 3.1 Mods ................................................................................................................................ 109 3.2 Art-Mods ......................................................................................................................... 133 3.3 Im Dazwischen des Modifizierens .................................................................................. 163 4. Kapitel: Modifizieren & künstlerische Forschung in Computerspielen ...................................... 165 4.1 Zwischenstand ................................................................................................................. 165 4.2 Einleitung ........................................................................................................................ 167 4.3 Vorgehensweise ............................................................................................................... 168 4.4 Fallstudie: Grand Ape Town ............................................................................................ 175 5. Fazit: Ein modifizierendes Forschen ........................................................................................... 216 5.1 Animal ludens zwischen paidia und ludus ...................................................................... 216 5.2 Postskriptum .................................................................................................................... 219 6. Danksagung ................................................................................................................................. 221 7. Literaturverzeichnis ..................................................................................................................... 222 8. Abbildungsverzeichnis ................................................................................................................ 230 9. Ehrenwörtliche Erklärung ........................................................................................................... 233 v 0. Einleitung »What really feeds players are not the recipes of any single established master game developer, but how they adapt these structures, use them, make them their own. If you are a player, the game world is ultimately yours.«1 Am 15. Juni 2017 wurde meine mehrjährige Forschung im Bereich des Moddings – dem Modifizieren von Computerspielen – ihrer Forschungswerkzeuge beraubt. Eine Unterlassungsklage aus der Spieleindustrie untersagte dem RAGE research project, weiterhin Werkzeuge zum Modifizieren des Computerspiels Grand Theft Auto V anzubieten. Die juristischen Schritte trafen jene Gemeinschaft, deren Tätigkeit ich in den letzten Jahren verfolgt und erforscht hatte, die mir die Werkzeuge lieferte, mit denen ich meine künstlerischen Arbeiten anfertigte, und die mich mit dem Wissen um die Benutzung dieser Werkzeuge versorgte. Die seit über zehn Jahren bestehende Online-Gemeinschaft hat sich um das von Yuriy »Good-NDS« Krivoruchko entwickelte Werkzeug OpenIV gebildet. Diese Software ermöglicht es, auf die proprietären Spieldateien von Computerspielen zuzugreifen und diese nach den eigenen Vorstellungen zu verändern. Das Resultat sind Modifikationen – kurz Mods –, die das bestehende Spiel um die eigenen Inhalte erweitern. OpenIV erzeugt einen Zugang zur Datenebene und somit zu den Materialien, aus denen ein Spiel besteht. Das Werkzeug funktioniert für eine Vielzahl von Computerspielen, der tatsächliche Fokus liegt jedoch auf dem Modifizieren der Reihe Grand Theft Auto und aktuell auf der Manipulation der Version Grand Theft Auto V (im Folgenden GTAV). Am 5. Juni 2017 erreichte die Entwicklerinnen2 dieses Werkzeugs also die bereits erwähnte Unterlassungsaufforderung der Publisher von Grand Theft Auto V, Take 2. Unter Androhung juristischer Folgen stellten die OpenIV-Macher die weitere Entwicklung und den Vertrieb des Werkzeugs ein. Für die Online-Gemeinschaft bedeutete dies, nun keinen Zugang mehr zur Datenebene des Spiels zu haben. Bereits erstellte
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