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Agentivités Des Personnages Féminins Dans Les Jeux De Rôle Japonais : Le Cas De Tales Of

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Agentivités Des Personnages Féminins Dans Les Jeux De Rôle Japonais : Le Cas De Tales Of Université de Montréal Agentivités des personnages féminins dans les jeux de rôle japonais : le cas de Tales of Par Loïc Mineau-Murray Département d’histoire de l’art et d’études cinématographiques, Faculté des arts et des sciences Mémoire présenté en vue de l’obtention du grade de maîtrise en cinéma, option Études du jeu vidéo Dépôt initial en juillet 2020 © Loïc Mineau-Murray, 2020 Université de Montréal Département d’histoire de l’art et d’études cinématographiques, Faculté des arts et des sciences Ce mémoire intitulé Agentivités des personnages féminins dans les jeux de rôle japonais : le cas de Tales of Présenté par Loïc Mineau-Murray A été évalué par un jury composé des personnes suivantes Joëlle Rouleau Présidente-rapportrice Carl Therrien Directeur de recherche Andrea Oberhuber Codirectrice Simon Dor Membre du jury 3 Résumé Dans les jeux vidéo de rôle japonais (JRPG), si le héros est généralement un personnage masculin hétérosexuel se battant à l’arme blanche pour sauver le monde, le personnage de soutien principal est une jeune femme éprise du protagoniste et dotée de divers attributs associés au féminin (apparence soignée, mais peu adaptée au combat, tendance à occuper un rôle de soutien…). À partir du constat selon lequel la plupart des analyses féministes occidentales ne prennent pas en considération le contexte culturel spécifique japonais qui voit naître les JRPG, ce mémoire construit un cadre conceptuel pour mieux décrire et comprendre les tendances historiques de l’évolution des personnages féminins de ces objets vidéoludiques. Il fait appel au concept de l’agentivité, utilisé à la fois en études du jeu et en études féministes littéraires, pour établir des liens entre le genre d’un personnage et la jouabilité qui lui est associée, puis à des travaux japonais sur les phénomènes otaku pour s’assurer d’intégrer un point de vue non- occidental sur ces objets culturels. ll se termine par une analyse des rôles en combat et dans le récit des personnages féminins de la série Tales of. Mots-clés : jeux vidéo, personnage, genre, féminisme, jouabilité, jeux de rôle, Japon, JRPG, otaku, Tales of v Abstract In Japanese role-playing games (JRPGs), if the typical protagonist is a male brunet swordsman saving the world, the typical support character is a young good-looking woman, enamored with the protagonist, and whose fighting style focuses on supporting him rather than offense. From the observation that most occidental feminist analysis in game studies do not take into consideration the specific cultural context in which JRPGs are born, this master thesis builds a theoretical framework to allow a deeper understanding of the historical dynamics that have guided the evolution of female characters in these videogames. This thesis examines the uses of the concept of agency in both game studies and literary gender studies, in order to bridge gameplay and gender. It then integrates Japanese perspectives of female characters in otaku cultural objects, such as mangas and animes. The thesis ends by depicting of the evolution of female characters in the Tales of series, more specifically their combat roles and importance in the story. Keywords : videogames, character, feminism, gameplay, role-playing games, Japan, JRPG, otaku, Tales of vii Table des matières Résumé ............................................................................................................................................. v Abstract .......................................................................................................................................... vii Table des matières .......................................................................................................................... ix Liste des tableaux .......................................................................................................................... xiii Liste des figures .............................................................................................................................. xv Liste des sigles et abréviations ..................................................................................................... xvii Remerciements ............................................................................................................................. xxi Introduction ...................................................................................................................................... 1 Axes de recherche et structure du mémoire ............................................................................... 2 Personnages jouables ............................................................................................................... 2 Personnages féminins .............................................................................................................. 4 Personnages d’œuvres japonaises ........................................................................................... 8 Choix du corpus .......................................................................................................................... 11 Chapitre 1 : L’avatar au pluriel ....................................................................................................... 15 1.1 Entre personnage et prothèse ............................................................................................. 15 1.2 Penser sans l’avatar .............................................................................................................. 17 1.3 Analyse exploratoire : dévoiler les manques ....................................................................... 19 1.3.1 Dragon Quest XI: Echoes of an Elusive Age (Square Enix 2017) ................................... 20 1.3.2 The Elder Scrolls V: Skyrim (Bethesda 2011) ................................................................. 23 Chapitre 2 : Agentivités ludique et narrative ................................................................................. 27 2.1 L’agentivité en études littéraires ......................................................................................... 28 2.1.1 Butler : résistance .......................................................................................................... 28 2.1.2 Boisclair : production .................................................................................................... 31 2.2 L’agentivité en études vidéoludiques .................................................................................. 33 2.2.1 Murray : sentiment ....................................................................................................... 33 2.2.2 Klevjer : avatar ............................................................................................................... 37 2.3 Comparaison des agentivités comme méthode d’analyse .................................................. 39 ix 2.3.1 Synthèse et explications ................................................................................................ 39 2.3.2 Mise en pratique : prêtresse, démone et protagoniste ................................................ 42 2.3.2.1 Rôle au sein du récit ............................................................................................... 43 2.3.2.2 Armes de prédilection et attributs ......................................................................... 44 2.3.2.3 Jouabilité en combat .............................................................................................. 46 2.3.3 Apports et limites de l’outil ........................................................................................... 47 Chapitre 3 : Considérations culturelles .......................................................................................... 49 3.1 Les otaku studies en trois auteurs ....................................................................................... 50 3.1.1 Ōtsuka : microrécits ...................................................................................................... 50 3.1.2 Azuma : base de données ............................................................................................. 51 3.1.3 Saitō : généalogies ......................................................................................................... 51 3.2 Divergences interprétatives avec les féminismes occidentaux ........................................... 54 3.2.1 Montage kairologique et découpage de corps ............................................................. 54 3.2.2 Agentivité narrative et insertion d’éléments d’attraction ............................................ 57 3.3 Pistes de résolution .............................................................................................................. 59 3.3.1 Kotani : science-fiction et féminisme ............................................................................ 59 3.3.2 Therrien : récompenses ludiques .................................................................................. 62 3.3.3 Cas à l’étude : les sources thermales dans Tales of ...................................................... 63 Une représentation conventionnelle entre voyeurisme et pudeur................................... 65 Une évolution vers un voyeurisme implicite, voire subversif ? ......................................... 66 3.4 Synthèse et historicisation ................................................................................................... 70 Chapitre 4 : Les personnages féminins de la série Tales of ..........................................................
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