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Nesoulad Herní a Narativní Roviny Ve Videohrách

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Nesoulad Herní a Narativní Roviny Ve Videohrách MASARYKOVA UNIVERZITA Filozofická fakulta Ústav hudební vědy Teorie interaktivních médií Nesoulad herní a narativní roviny ve videohrách Bakalářská diplomová práce Autor: Jan Andrš (#488277) Vedoucí práce: Mgr. Bc. Silvester Buček 2021 Prohlášení Prohlašuji, že jsem tuto bakalářskou diplomovou práci vypracoval samostatně, s využitím uvedeným pramenů a literatury. Jan Andrš V Praze, 21. 5. 2021 1 Předmluva Game studies FTW. Za konzultace a cenné rady děkuji Silvesteru Bučkovi, za vstřícnost Tomáši Krátkému a za trpělivou podporu N. a T. 2 Anotace Bakalářská práce se zaměřuje na nesoulad mezi herní a narativní rovinou v ideologickém diskurzu vybrané videohry. Tento nesoulad nám umožňuje nahlédnout na videohry jako na ideologicky komplexní a nesourodé artefakty a zkoumat je jako sociokulturní fenomény. V teoretickém rámci práce vychází z kritické kulturní analýzy Douglase Kellnera a na něj navazujících autorů. Cílem práce je provést kritickou analýzu videohry akční RPG Dishonored, identifikovat rozpory mezi herní a příběhovou rovinou a rozebrat je zejména v kontextu progresivně-konzervativního ideologického střetu. Klíčová slova Herní studia, herně-narativní disonance, ideologie ve videohrách, kritická kulturní analýza Abstract The thesis focuses on ludo-narrative dissonance in videogames‘ ideological discourse. Ludo-narrative dissonance dissonance allows us to analyze videogames as ideologically complex and diverse socio-cultural phenomenon. In its theoretical framework, the thesis is building on critical cultural analysis presented by Douglas Kellner and related authors. The objective of the thesis is to perform a critical analysis of an action RPG videogame Dishonored, identify dissonance between ludic and narrative dimensions and analyze them in the context of progressive-conservative ideological clash. Keywords Game studies, ludo-narrative dissonance, ideology in videogames, critical cultural analysis 3 Obsah 1. Úvod ................................................................................................................................ 5 2. Kritická kulturní analýza videoher .................................................................................. 8 2.1 Definice videoher ....................................................................................................... 8 2.2 Kritická kulturní analýza a ideologie ......................................................................... 9 2.3 Videohry a neoliberalismus ..................................................................................... 12 2.4 Herní a narativní rovina a jejich nesoulad ............................................................... 13 3. Nesoulad herní a narativní roviny Dishonored .............................................................. 18 3.1 Volba díla a metodologie ......................................................................................... 18 3.2 Děj a žánr ................................................................................................................. 20 3.3 Steampunk a dystopie .............................................................................................. 21 3.4 Neoliberální herní mechaniky v Dishonored ........................................................... 29 3.4.1 Úprava avatara a podnikatelské já .................................................................... 30 3.4.2 Spotřeba a kumulativní logika spojená s osobním rozvojem ............................ 34 3.4.3 Individualistický epos ....................................................................................... 36 3.5.4 Soutěživost a idealizovaný systém odměn ........................................................ 39 4. Závěr .............................................................................................................................. 42 Resumé/Summary .............................................................................................................. 44 Seznam literatury ............................................................................................................... 46 Seznam pramenů ................................................................................................................ 51 4 1. Úvod Videohry jsou nejrychleji rostoucím segmentem masové populární kultury a v posledních desetiletích co do tržeb a společenského zásahu přeskočily postupně knižní, hudební i filmový průmysl a v sportovní oblasti atakují e-sporty zavedené fenomény jako je tenis nebo atletika. I proto si zasluhují podstatně více odborné pozornosti. I když game studies jako samostatný obor jsou teprve v plenkách (ve srovnání třeba s filmovou vědou), snad už se videoherním vědcům a vědkyním podařilo překročit onu hranici, kdy se od nich společensky i odborně očekávalo hlavně konstantní vysvětlování proč bychom se měli hrami zabývat a jestli násilné videohry nedělají z dětí vraždící maniaky (měli a nedělají). Je veselou ironií, že ani já jsem s tomu v předcházejícím odstavci nevyhnul. Ve své bakalářské práci jsem si vybral úzce vymezené a velmi specifické téma s ideologickým rozměrem. Moje studium teorie interaktivních médií a předchozí studia společenských věd mě vybavila především pro mezioborové zkoumání vztahů videoher a společnosti, tedy produktů videoherního průmyslu a jejich konzumentů a konzumentek. Zkoumaným fenoménem v mé práci je tzv. nesoulad herní a narativní roviny ve videohrách, tedy stav, kdy je hráči či hráčce prostřednictvím videohry vyprávěn příběh, který ale nekoresponduje s tím, jaké možnosti hraní jsou hráčům a hráčkám nabízeny. Ilustruji to na případu Dishonored, relativně úspěšné akční taktické videohry, kde se hráč či hráčka (ne)vžije do role císařského bodyguarda Corva Attana. Po puči a vraždě „jeho“ císařovny a únosu její dcery se dává na cestu pomsty a ve spojení s hnutím loajalistů se pokouší svrhnout nově nastolený totalitní režim vrchního pučisty Lorda Regenta Hirama Burrowse. Kromě loajalistické kliky usilující o návrat osvícenské monarchie mu pomáhá i 5 tajemná božská bytost The Outsider, která ho postupně vybavuje nadpřirozenými schopnostmi. Celý děj je usazen fiktivního steampunkového světa alternativně- historického devatenáctého století s důrazem na pokročilou technologii daleko za hranicí obyčejných parních strojů. Jako teoretický rámec práce jsem využil už existující práci Peréze a Olivy, kteří společně provedli a publikovali analýzu nesouladu herní a narativní roviny u jiné videohry – ještě o kousek populárnější Bioshock Infinite. Peréz a Oliva1 vychází především z kulturně- kritických studií Douglase Kellnera2 a na něj navazujících autorů jako je Berman3 nebo Baerg4. Ve své práci se zaměřují především na ideologický nesoulad obou zmiňovaných rovin – narativní rovina ukazuje humanistické a kolektivistické ideály a herní prvky jsou neoliberální a individualistické. Převzal jsem jejich výzkumný rámec a aplikoval ho jako případovou studii na videohru Dishonored. Hlavní výzkumná otázka, na kterou se pokouším v práci odpovědět, je tato: Můžeme u Dishonored pozorovat ideologický rozpor mezi herní a narativní rovinou hry? Dále se pak zaměřuji na to, v kterých kategoriích vztahů herních mechanik a příběhu můžeme jaké ideologické rozpory pozorovat a jaké vnitřní pnutí v díle díky tomu vzniká. Obecným cílem práce je pak přispět k poznání o herně-narativním nesouladu aplikováním teorie Peréz-Latorre a Olivy na jiném významném videoherním díle. Mimo jiné i proto, že 1 OLIVA, Mercé, PÉREZ-LATORRE, Óliver.; & BESALÚ, Reinald. “Choose, collect, manage, win!”: Neoliberalism, enterprising culture and risk society in video game covers. Convergence: The International Journal of Research into New Media Technologies. 2016, pp. 1–16. 2 KELLNER, D. Media Culture: Cultural Studies, Identity, and Politics Between the Modern and the Postmodern. Routledge. 1995. 3 BERMAN. Russell. Modern Art and Desublimation. Telos 62. 1984. 4 BAERG, Andrew. Risky Business: Neo-liberal Rationality and the Computer RPG. In VOORHEES, Gerald; CALL, Josh; WHITLOCK, Katie (eds.). Dungeons, Dragons, and Digital Denizens: The Digital Role-Playing Game. Continuum. 2012. 6 stav bádání v této oblasti není nijak oslnivý – kromě dvou uvedených autorů se příbuzným tématům věnuje například Baerg, který se zaměřuje na „hry na hrdiny“ a jejich ideologickou základnu (zkoumá videohry i stolní hry) a v rovině meritokratického individualismu ve hrách třeba Jo Littler nebo Christopher A. Paul. V práci se nejdříve zaměřuji na teoretickou rovinu, vymezení základních termínů, shrnutí kritické kulturní analýzy ideologie a jak s ní dále pracuji. Vzhledem k tomu, že se zaměřuji neoliberální povahu některých herních mechanik, navazuji na to i rozsáhlejší pasáží o neoliberalismu ve videohrách. V praktické části využívám jednotlivé kategorie herních mechanik dle Peréz-Latorre a Olivy a mapuji na ně data sebraná z opakovaného hraní Dishonored tak, abych odpověděl na základní výzkumnou otázku práce. V závěru shrnuji výsledky analýzy a pokouším se navrhnout některé další směry, kterými by se zkoumání nesouladu herní a narativní roviny ve hrách mohlo ubírat. 7 2. Kritická kulturní analýza videoher Zkoumání ideologických rovin v dílech masové kultury je populární disciplínou v rámci uměnovědných, mediálních a kulturních studií5. Historicky se vědci a vědkyně věnovali zkoumání aktuálně existujících artefaktů masové kultury, a protože videohry jsou jedním z novejších masově-kulturních produktů, dostává se jim nyní významného zájmu6. Můj analytický přístup vychází z kombinace kritické kulturní analýzy
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