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MKKS 16 4 2020.Pdf Wydawnictwo Uniwersytetu Warmińsko-Mazurskiego w Olsztynie media kultura komunikacja społeczna 16/415/4 20202019 Tytuł kwartalnika w języku angielskim: „Media – Culture – Social Communication” Rada Naukowa Zbigniew Anculewicz (Uniwersytet Warmińsko-Mazurski), Tomas Axelson (Dalarna University, Sweden), Irena B. Czajkowska (Uniwersytet Opolski), Bernadetta Darska (Uniwersytet Warmińsko-Mazurski), Marek Haltof (Northern Michigan University), Maria Hołubowicz (Université Stendhal – Grenoble), Henryka Ilgiewicz (Instytut Badań Kultury Litwy), Jurij Władimirowicz Kostjaszow (Bałtycki Federalny Uniwersytet im. E. Kanta), Ákos Kovács (Pázmány Péter Catholic University, Budapest), Andrzej C. Leszczyński (Uniwersytet Gdański), Gabriella Racsok (Sárospatak Reformed Theological Academy, Debrecen), Małgorzata Radkiewicz (Uniwersytet Jagielloński), Tatyana Shevyakova (Kazakh Ablai Khan University of International Relations and World Languages), Agata Zawiszewska (Uniwersytet Szczeciński), Dorota Zaworska-Nikoniuk (Uniwersytet Warmińsko-Mazurski) Redakcja Mariola Marczak (redaktor naczelna) Radosław Bomba (redaktor prowadzący numer) Miłosz Babecki (redaktor, redaktor prowadzący numer) Urszula Doliwa (redaktor) Marta Więckiewicz-Archacka (redaktor, sekretarz redakcji) Mark Jensen (redaktor językowy tekstów angielskojęzycznych) Małgorzata Kubacka (redaktor językowy tekstów polskojęzycznych) Recenzenci MKKS-u 16/1‒4 Zbigniew Anculewicz, Tomas Axelson, Monika Białek, Sławomir Bobowski, Joanna Chłosta-Zielonka, Katarzyna Citko, Bernadetta Darska, Sonam Deki, Arkadiusz Dudziak, Paweł Frelik, Maria B. Garda, Aleksandra Jarosz, Kazimiera Juszka, Katarzyna Kopecka-Piech, Agnieszka Kuczkiewicz-Fraś, Agnieszka Kula, Dorota Kulczycka, Monika Kusiak-Pisowacka, Maria Łoszewska-Ołowska, Tadeusz Miczka, Aleksandra Mococka, Alina Naruszewicz-Duchlińska, Agnieszka Ogonowska, Joanna Pigulak, Andrzej Pitrus, Grzegorz Ptaszek, Maria Rółkowska, Anna Ryłko-Kurpiewska, Radosław Sajna-Kunowsky, Aliaksandr Smalianchuk, Magdalena Szydłowska, Anna Ślósarz, Marta Tymińska, Agnieszka Uberman, Renata Włodarczyk, Dorota Zaworska-Nikoniuk, Szymon Żyliński Adres redakcji „Media – Kultura – Komunikacja Społeczna” Instytut Dziennikarstwa i Komunikacji Społecznej Uniwersytet Warmińsko-Mazurski ul. Kurta Obitza 1 10-725 Olsztyn strona internetowa pisma: http: //www.uwm.edu.pl / mkks platforma cyfrowa: https://czasopisma.uwm.edu.pl/index.php/mkks Redakcja informuje, że wersją pierwotną czasopisma jest wydanie papierowe Projekt okładki Maria Fafińska Redakcja wydawnicza Małgorzata Kubacka ISSN 1734–3801 © Copyright by Wydawnictwo UWM • Olsztyn 2020 Wydawnictwo UWM ul. Jana Heweliusza 14, 10-718 Olsztyn tel. 89 523 36 61, fax 89 523 34 38 www.uwm.edu.pl/wydawnictwo/ e-mail: [email protected] Nakład 90 egz., ark. wyd. 11,8; ark. druk. 10,0 Druk: Zakład Poligraficzny UWM w Olsztynie, zam. 130 Spis treści Radosław Bomba, Miłosz Babecki Wprowadzenie ........................................................................................................... 5 Transgresje gier cyfrowych Weronika Zuzanna Szatkowska Enhancing Inclusion within Responsible Innovation Process through Serious Gaming ....................................................................................................................... 13 Adriana Krawiec Stosunki władzy w rozumieniu Michela Foucaulta wpisywane w role kobiece w grach komputerowych w ciągu dwóch pierwszych dekad XXI wieku ................ 31 Instrumentalizacje gier cyfrowych Marcin Łączyński Cyfrowe gry planszowe w czasach pandemii – zmiany wzorców zachowania graczy i czynniki wpływające na popularność platform ......................................... 49 Miłosz Babecki Metaforyka gier przeglądarkowych w perspektywach: historycznej, medioznawczej i metaforologicznej ........................................................................... 61 Mimesis gier cyfrowych Piotr Przytuła O naśladownictwie cech gier komputerowych w literaturze. Przypadek imersywnej fikcji Jacka Dukaja ............................................................................... 89 Mateusz Kossakowski Zwrot w stronę narracji filmowej ‒ współczesna narracja gier wideo na przykładzie serii The Last of Us ......................................................................... 105 Recenzje i sprawozdania Ita Głowacka Początek wielkiego rozwoju gamingu. Studium przypadku Segi oraz Nintendo ... 119 Bożena Brzostowska Zarządzanie uwagą 3.0 ............................................................................................. 129 Dominika Agata Myślak „Istnieją metafory bardziej rzeczywiste niż ludzie chodzący po ulicy” .................. 137 Bożena Brzostowska Uniwersum gier wideo. Sprawozdanie z cyklu seminariów groznawczych zorganizowanych w 2020 roku przez Centrum Badania Gier Wideo Uniwersytetu Marii Curie-Skłodowskiej w Lublinie .............................................. 145 Autorzy ......................................................................................................................... 151 Table of Contents ......................................................................................................... 155 Radosław Bomba https://orcid.org/0000-0002-2388-107X Wydział Humanistyczny Uniwersytet Marii Curie-Skłodowskiej w Lublinie Miłosz Babecki https://orcid.org/0000-0001-9749-9351 Wydział Humanistyczny Uniwersytet Warmińsko-Mazurski w Olsztynie Wprowadzenie Introduction Według autorów raportu Perspectives from the Global Entertainment and Media Outlook 2017–2021 (Bothun i Silver 2017) gry cyfrowe są głównym czynnikiem odpowiedzialnym za rozwój światowego sektora mediów oraz za jego rosnącą wartość (w 2019 roku wyniosła ona na świecie 149 mld dolarów). Wskaźnik ekonomiczny odgrywa tu bardzo istotną, ilustratywną rolę. Wskazuje bowiem, że gry kojarzone przez dziesięciolecia tylko z dziecięcą rozrywką stały się jednym z najdynamiczniej rozwijających się mediów wielokierunkowego komunikowania, które posiada wszystkie funkcje przypisywane dotychczas innym, zarówno tradycyjnym, jak i nowym mediom. Wskaźnik ekonomiczny pełni szczególną rolę z jednego jeszcze powodu. Ukazując rynkowy potencjał gier, skłania do pytań o źródło siły, z jaką wpływają one na globalną mediasferę, zmieniając style użytkowania sieci WWW, portali internetowych, komunikatorów internetowych, serwisów społecznościowych, a nawet telewizji, radia i prasy. Z aspektowych analiz podejmowanych w cyklach rocznych przez różne jednostki badawcze wynika, że w światowej mediasferze znajduje się około 1 mln 200 tysięcy komercyjnych gier wideo, które stworzono z myślą o posia- daczach konsol, komputerów, jak również urządzeń mobilnych. Ten przybliżony wynik pokazuje, że gry cyfrowe są mediami, których rozwój zachodzi w wyniku procesu konwergencji technicznej, czyli „[…] integracji telekomunikacji, infor- matyki i mediów oraz jako metafora szerokiego procesu zmiany, do którego to zjawisko się przyczynia” (Jakubowicz 2011: 27). Oprócz wyspecjalizowanych, oficjalnych mikrosfer sieciowych, w których gry te czekają na zakup, wskazać trzeba również na przypominające wyspy na oceanie informacji portale do hostingu gier niezależnych, bezpłatnych, które powstają w ciągu kilkudziesięciu godzin, w reakcji na jakieś wydarzenie o charakterze społecznym, ekonomicznym czy politycznym. Uprawnia to z kolei sąd, że aplikacje tego rodzaju powstają w wyniku konwergencji programowej pojmowanej jako ujednolicanie zawartości mediów i bodziec przyczyniający się 6 Radosław Bomba, Miłosz Babecki do takiego ujednolicania, w którym strategie i taktyki fabularne, operatorskie, a nawet montażowe upodabniają gry do wytworów telewizji i kinematografii, a w wielu przypadkach także filmy i seriale do gier cyfrowych (Jakubowicz 2011: 27). Powstające w efekcie różnych procesów i z woli twórców instytucjonalnych, reprezentujących koncerny działające w skali całego świata, jak również małych, niezależnych studiów czy nawet pojedynczych użytkowników Sieci, gry cyfrowe stają się wytworami „wszędobylskimi” (ang. pervasive games) i służącymi do realizacji coraz to nowych celów. Niektórzy upatrują w nich szansy na wdrażanie w życie śmiałych modeli biznesowych, mających być gwarantem finansowego sukcesu. Inni uważają, że mogą wspierać użytkowników w edukacji szkolnej, pozaszkolnej, a szerzej nawet w enkulturacji. Jeszcze inni chcą widzieć w nich oznaki nowego typu społecznego aktywizmu. Wszystkie te rzeczywiste i wciąż planowane przejawy tak silnej obecności i pozycji gier cyfrowych w mediasferze sprawiają, że patrzy się na nie przez pryzmat teorii powstających na gruncie nauk o mediach i komunikacji społecznej, psychologii, socjologii i kulturoznawstwa. Medioznawcy widzą w grach cyfrowych tak zwane supermedia, w sposób wielomodalny oddziałujące na spektrum zmysłów, a za sprawą interfejsów takich jak VR (ang. virtual reality, pol. wirtualna rzeczywistość) czy AR (ang. augmented reality, pol. rozszerzona rzeczywistość) zdolne do symulacji sztucznej rzeczywistości. Komunikolodzy dostrzegają w nich nowe kanały ko- munikacji, pozwalające podtrzymywać relacje interpersonalne, ale też nawią- zywać stosunki tak ważne we wspólnotach opartych na dążeniu do realizacji zbieżnych interesów. Psychologowie spoglądają bacznym okiem na znaczenie gier w procesach poznawczych, podkreślając, że można je wykorzystać jako wsparcie w terapiach przeciwdziałania lękom, stresowi pourazowemu czy też w programach zmierzających do wzmacniania motywacji do podejmowania różnorakich działań o charakterze zawodowym. Socjologowie natomiast, mając na uwadze
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