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Fandom Modding: Dinamiche E Specificità Relative Alla Rielaborazione Amatoriale Di Brand Videoludici

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Fandom Modding: Dinamiche E Specificità Relative Alla Rielaborazione Amatoriale Di Brand Videoludici Corso di Laurea magistrale in Lingue, Economie e Istituzioni dell’Asia e dell’Africa Mediterranea Tesi di Laurea Fandom Modding: dinamiche e specificità relative alla rielaborazione amatoriale di brand videoludici Overwatch e Fate/Grand Order, analisi e confronto di due franchise Relatore Prof. Toshio Miyake Correlatore Prof. Pierantonio Zanotti Laureando Nicola Rubini Matricola 868746 Anno accademico 2019/2020 Sommario Abstract ........................................................................................................................................... 3 概要 ................................................................................................................................................. 4 Introduzione .................................................................................................................................... 7 Capitolo 1 ...................................................................................................................................... 11 1.1. Videogiochi e videogiocatori: convergenze tecnologiche e culturali .............................. 11 1.1.1. Un universo economico in espansione ................................................................................ 11 1.1.2. Modelli di business e diversificazione ................................................................................. 18 1.1.2.1. Hardcore gaming in produzioni Tripla A ....................................................................... 19 1.1.2.2. Casual Gaming ............................................................................................................... 23 1.1.2.3. Mobile gaming ............................................................................................................... 28 1.1.2.4. Mobile gaming e sottocategorie: il caso del Giappone ................................................... 32 1.2. Gamers e community: culture, spazi e produttività ......................................................... 40 1.2.1. Dall’approccio sub-culturale al mainstream ........................................................................ 40 1.2.2. Produttività: pratiche, giocatori, intersezioni ....................................................................... 46 1.2.3. Girls ‘n’ Games ................................................................................................................... 50 1.3. Il videogioco come medium: un approccio relazionale ................................................... 56 1.3.1. Attività, passività, interazione: oltre la contraddizione ....................................................... 56 1.3.2. Costruendo il videogiocatore: piacere incarnato e affettività .............................................. 58 Capitolo 2 ...................................................................................................................................... 60 2.1. Teorie applicate ............................................................................................................... 60 2.1.1. Il videogioco come oggetto di studio................................................................................... 60 2.1.2. Branding the game ............................................................................................................... 63 2.1.3. Modding the brand............................................................................................................... 71 2.2. Metodologia pratica: questionario e modalità di raccolta dati ......................................... 86 Capitolo 3 ...................................................................................................................................... 89 3.1. Titoli a confronto: somiglianze e differenze .................................................................... 89 3.1.1. Notorietà globale ................................................................................................................. 90 1 3.1.2. Pervasività ........................................................................................................................... 92 3.1.3. Centralità dei personaggi ..................................................................................................... 95 3.1.4. Media mix franchise ............................................................................................................ 96 3.2. Caratteristiche e descrizione dei videogiochi ................................................................ 100 3.2.1. Overwatch .......................................................................................................................... 100 3.2.2. Fate/Grand Order ............................................................................................................... 109 Capitolo 4 .................................................................................................................................... 121 4.1. Fate/Grand Order: risultati del questionario e commento ............................................. 121 4.1.1. FGO: media mix e posizionamento ................................................................................... 121 4.1.2. FGO: brand image ............................................................................................................. 128 4.1.3. FGO: media ....................................................................................................................... 134 4.1.4. FGO: stili di gioco ............................................................................................................. 138 4.1.5. FGO: fandom ..................................................................................................................... 147 4.1.6. FGO: fan productivity ........................................................................................................ 152 4.2. Overwatch: risultati del questionario e commento ........................................................ 158 4.2.1. Overwatch: brand image .................................................................................................... 159 4.2.2. Overwatch: stili di gioco .................................................................................................... 166 4.2.3. Overwatch: media mix, lore, personaggi ........................................................................... 174 4.2.4. Overwatch: fandom ........................................................................................................... 180 4.2.5. Overwatch: fan productivity .............................................................................................. 188 Conclusioni .................................................................................................................................. 194 Limiti della ricerca e quesiti futuri ............................................................................................. 199 Indice delle figure ........................................................................................................................ 201 Riferimenti .................................................................................................................................. 205 Bibliografia ................................................................................................................................ 205 Sitografia .................................................................................................................................... 216 Ludografia .................................................................................................................................. 221 Altre fonti ................................................................................................................................... 222 2 Abstract La tesi si propone di ricostruire un’etnografia delle pratiche produttive di fandom in ambito videoludico, attraverso l’analisi di due case study: i titoli presi in considerazione sono Overwatch e Fate/Grand Order. La ricerca approccia i contesti videoludici in cui si inseriscono i due titoli selezionati da differenti punti di vista, cercando di metterne in luce le dimensioni tecnologica, economica, culturale e sociale; oltre a confrontarsi con la letteratura accademica relativa agli ambiti di game studies, fan studies e gender studies sincronicamente e diacronicamente, la ricerca si pone l’obiettivo di mettere in risalto la relazionalità degli approcci sopra menzionati. Dopo aver fornito una panoramica sul mercato videoludico in senso più generale, anche relativamente a dinamiche territoriali (Giappone), la tesi approfondisce il discorso su fandom e rielaborazione amatoriale dei contenuti, soprattutto dal punto di vista di identità di genere e tipologia di produzioni culturali. L’analisi dei videogiochi in un’ottica di fandom viene approcciata attraverso il concetto di brand modding: in primis viene approfondito il funzionamento delle dinamiche di brand extension in contesti transmediali, e in seguito illustrate le modalità con cui la partecipazione dei fan può modificare la percezione del brand stesso. Le pratiche relative ai videogiochi in questione vengono investigate tramite un questionario, per poi essere analizzate in relazione ai rispettivi contesti videoludici per verificarne eventuali specificità. 3 概要 「ゲーム」というものは、もともと人々が成立した社会、歴史、文化の一部であった。 古代から現代まで、人はゲームを作って、ゲームを通して自らの社会の規則に逆らったり、 非日常体験を体験したり、想像力の限界に至るまで新現実を想像したりしてきたのである。 しかし、この論文ではゲームの全体の歴史の中で目立つデジタルゲーム、すなわちビデオ ゲームが中心となる。なぜかというと、７０年代以降ビデオゲームは新技術、または新し
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