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L'archivage Des Jeux Vidéo, De La Fin Des Années 1990 À Aujourd'hui

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L'archivage Des Jeux Vidéo, De La Fin Des Années 1990 À Aujourd'hui Mémoire / août 2018 Parcours – archives numériques Mention – sciences de l’information et des bibliothèques Domaine - sciences humaines et sociales Diplôme national de master Professeur et directeur de la recherche à Robert l’ENSSIBdedirection la Pascal Sous – Université de Lyon Brochier Fanny des années 1990 à aujourd’hui L’archivage des jeux vidéo, de la fin Remerciements Je tiens tout d’abord à remercier Pascal Robert, mon directeur de recherche, pour ses précieux conseils, ainsi que Benoît Epron pour le soutien apporté au début de mes recherches. Ensuite, une pensée particulière pour les quelques personnes ayant accepté de répondre à mes questions et sans qui je n’aurai peut-être pas pu terminer ce mémoire. Enfin, un immense merci à mes proches, qui m’ont épaulée durant mon travail et m’ont permis de tenir pendant tout ce marathon, jusqu’à la ligne d’arrivée. Merci donc à ma famille ainsi qu’à mes amis Émilie, Tiago, Morgane, Lily, Lionel, Ophélia, Lunare, Nicolas, Odin, Abby et Lin pour leur présence et leur bienveillance. Et parce qu’il faut bien savoir rire un peu, je remercie mes sponsors non- officiels, à savoir les marques et boutiques de thé de Lyon, qui m’ont fournie tout au long du processus de recherche, de lecture et de rédaction. Parce qu’on écrit bien mieux avec une bonne tasse de thé près de soi. BROCHIER Fanny | M2 ARN | Mémoire | août 2018 - 3 - Résumé : Ce mémoire s’attache à étudier, analyser et décrypter les pratiques d’archivage dans le jeu vidéo (surtout français) dans le but de proposer des pistes d’amélioration pour l’avenir, notamment par une approche de type Records Management. Descripteurs : jeu vidéo, archivage, conservation, Records Management. Abstract : In this thesis, the main point is to study analyze how video games are preserved, especially in France. The goal is to emit ideas on how to preserve video games, with a Records Management approach. Keywords : video games, preservation, archiving, Records Management. Droits d’auteurs Cette création est mise à disposition selon le Contrat : Paternité-Pas d'Utilisation Commerciale-Pas de Modification 4.0 France disponible en ligne http://creativecommons.org/licenses/by-nc-nd/4.0/deed.fr ou par courrier postal à Creative Commons, 171 Second Street, Suite 300, San Francisco, California 94105, USA. BROCHIER Fanny | M2 ARN | Mémoire | août 2018 - 4 - Sommaire SIGLES ET ABRÉVIATIONS.....................................................................................7 INTRODUCTION..........................................................................................................9 POURQUOI ET COMMENT ARCHIVER LE JEU VIDÉO À PARTIR DE LA FIN DES ANNÉES 1990 ?..........................................................................................13 Qu’est-ce qu’un jeu vidéo ?...................................................................................14 1.1 – De l’idée à la clef d’activation du produit : entre ludique et informatique...........................................................................................................16 1.2 – Serious Games, réalité virtuelle, gamification, mondes en ligne persistants… Est-il encore possible voire nécessaire de définir le jeu vidéo ? .................................................................................................................................19 La patrimonialisation du jeu vidéo en France...................................................22 1.3 – Conservation, émulation, valorisation : le travail des institution et des associations en France.........................................................................................23 1.4 – Une capitalisation de la dimension artistique encore timide..................25 Jeu vidéo et archivage : état des lieux en France..............................................28 1.5 – 2017, l’année de la prise de conscience ?.................................................29 1.6 – Une pratique encore marginale de la part des studios............................32 PARTIE 2 – ARCHIVAGE ET JEU VIDÉO SONT-ILS COMPATIBLES ?....35 L’archivage, principe et enjeux............................................................................36 2.1 – L’archivage et le jeu vidéo : quelles possibilités, quels croisements ?..38 2.2 – Portages, nouvelles versions, remasters : le problème posé par les multiples itérations d’un même titre....................................................................41 La conservation du jeu vidéo et la gestion des risques : l’alliance impossible ?..............................................................................................................44 2.3 – La grande diversité de l’industrie : un frein pour discuter de politiques d’archivage ?.........................................................................................................45 2.4 – Le problème du online et du mobile gaming : ces jeux « morts » ou disparus..................................................................................................................48 Disparition des données, abandon, etc. Deux cas d’étude...............................52 2.5 – Kingdom Hearts (2002) : recréer un jeu après une perte de données, par un géant de l’industrie japonaise (Square-Enix)................................................53 2.6 – Downfall (2009 et 2016) : réécriture d’un jeu après abandon par son créateur, acteur du monde du jeu vidéo indépendant (Harvester Games).......55 PARTIE 3 – DU CODE SOURCE À LA VERSION GOLDMASTER, COMMENT ARCHIVER UN JEU VIDÉO DANS UNE DÉMARCHE RECORDS MANAGEMENT ?.................................................................................59 Déterminer la démarche de conservation...........................................................60 3.1 – Version de travail, version finale, version « Gold », que garder ?.........63 3.2 – L’obsolescence des supports et la dégradation des matériaux : des enjeux qui concernent tout le secteur..................................................................65 Adopter une démarche Records Management pour assurer la pérennité des œuvres........................................................................................................................67 3.3 – Authenticité, fiabilité, traçabilité, exploitabilité et intégrité : comment appliquer ces grands principes au jeu vidéo ?...................................................68 3.4 – Étude de cas : le projet de Marc Kruzik de dépôt légal de jeux vidéo français à la BnF...................................................................................................71 BROCHIER Fanny | M2 ARN | Mémoire | août 2018 - 5 - De la nécessité pour l’industrie de prendre conscience des enjeux dès maintenant................................................................................................................73 3.5 – Crunch et spécificités du secteur : comment penser sur le long terme ? .................................................................................................................................74 3.6 – Le risque de la disparition des œuvres et la nécessité d’une sensibilisation dès aujourd’hui : quelques pistes de réflexion.........................77 CONCLUSION.............................................................................................................79 SOURCES.....................................................................................................................81 BIBLIOGRAPHIE.......................................................................................................83 ANNEXES.....................................................................................................................89 GLOSSAIRE...............................................................................................................111 TABLE DES MATIÈRES.........................................................................................115 BROCHIER Fanny | M2 ARN | Mémoire | août 2018 - 6 - Sigles et abréviations Pour des explications plus détaillées sur les différents termes techniques utilisés, se référer au glossaire présent à la fin du mémoire. A AFJV : Association française pour le Jeu Vidéo B BnF : Bibliothèque Nationale de France C CNJV : Conservatoire National du Jeu Vidéo D DRM : Digital Rights Management O OST : Original SoundTrack, la bande originale d’un jeu vidéo. R RM : Records Management S STJV : Syndicat des travailleurs et travailleuses du jeu vidéo BROCHIER Fanny | M2 ARN | Mémoire | août 2018 - 7 - INTRODUCTION Apparu entre les années 1960 et 1970, le jeu vidéo, alors appelé « jeu électronique »1 s’est depuis considérablement développé, notamment grâce à l’évolution des supports technologiques. Ainsi est-il possible d’arpenter désormais des univers immenses et photoréalistes, sans temps de chargement, accompagné d’une musique orchestrale ; les animations deviennent de plus en plus précises, crédibles, et le jeu vidéo comme média a désormais gagné ses lettres de noblesse via l’appellation de « Dixième art » grâce au Ministère de la Culture depuis 2006. D’après le rapport 2016 du S.E.L.L. (Syndicat des éditeurs de logiciels de loisirs), le marché du jeu vidéo a généré 3,46 milliards d’euros, répartis en trois « écosystèmes » : console, gaming pc et mobile2. Les rapports régulièrement fournis par le S.E.L.L. (le dernier datant de juillet 2017 3) permettent de voir qui achète quoi et dans quel cadre. Pour autant, le marché reste très diversifié, avec des titres vendus simultanément sur plusieurs supports (exemple : sur un support physique type
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