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Comunidad, Género Y Videojuegos Tesis Doctoral

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Comunidad, Género Y Videojuegos Tesis Doctoral Comunidad, género y videojuegos Tesis doctoral Autora: María Rubio Méndez Directora: Dra. Eulalia Pérez Sedeño Programa de Doctorado de Lógica y Filosofía de la Ciencia Departamento de Filosofía, Lógica y Estética Facultad de Filosofía Universidad de Salamanca Año 2017 A David e Ino-chan, que me han acompañado desde el comienzo de esta aventura ÍNDICE Índice de figuras ............................................................................................... 6 Índice de gráficos ......................................................................................... 6 Índice de imágenes ...................................................................................... 6 Índice de mapas de actantes ....................................................................... 7 Índice de tablas ............................................................................................ 8 Agradecimientos .............................................................................................. 9 0. Introducción ............................................................................................... 11 Capítulo 1. Comunidad y videojuegos ........................................................... 23 1. Videojuegos como subcultura ............................................................... 23 1.1. La escuela de Chicago y la escuela de Birmingham ........................ 24 1.2. El punto de vista de Ken Gelder y Edward Castronova .................. 30 1.3. Videojuegos, contracultura y movimiento hacker.......................... 34 2. Ámbitos de juego: lo público y lo privado en los videojuegos .............. 40 1.1. Ámbito no profesional .................................................................... 44 1.2. Ámbito profesional ......................................................................... 46 3. Mapa de actantes de la comunidad ....................................................... 51 Capítulo 2. ¿Quién juega? .............................................................................. 54 1 1. Ideas previas. La comunidad de videojugadores/as en el imaginario colectivo ..................................................................................................... 55 1.1. Frikis y gamers ................................................................................ 61 2. Análisis de datos .................................................................................... 63 3. La brecha digital de género en la comunidad de videojuegos .............. 69 Capítulo 3. ¿A qué se juega? .......................................................................... 78 1. Características del juego ........................................................................ 79 1.1. Johan huizinga: Homo ludens ......................................................... 80 1.2. Roger Caillois: Los juegos y los hombres ........................................ 84 2. Características del videojuego ............................................................... 93 2.1. Clasificación de los videojuegos ...................................................... 96 3. Jugabilidad y diseño de juego: las perspectivas mda y rules of play ... 104 3.1. Marco MDA para el análisis de videojuegos ................................. 104 3.2. Enfoque de Salen y Zimmerman en Rules of play ........................ 109 4. Mecánicas y brecha digital de género ................................................. 118 4.1. Videojuegos de acción y brecha de género .................................. 121 5. Influencia de las mecánicas en las posibilidades de relación en la comunidad ............................................................................................... 138 5.1. Análisis de caso: World of Warcraft ............................................. 140 5.2. Roles sociales y mecánicas de juego ............................................. 156 2 5.3. Relaciones de género y mecánicas de juego ................................ 161 Capítulo 4. Universo simbólico .................................................................... 168 1. Reproducción de estereotipos culturales: Videojuegos como metáforas .................................................................................................................. 171 1.1. Análisis de caso: El universo simbólico del Zelda ...................... 181 1.2. Estereotipos de género en los personajes femeninos: Análisis retórico ................................................................................................. 193 1.3. Análisis de caso: Los Roles sociales de los personajes femeninos en ciencia y tecnología .............................................................................. 212 1.4. Los nuevos personajes femeninos y su recepción en la comunidad .............................................................................................................. 218 2. De la reproducción a la producción simbólica ..................................... 233 Capítulo 5. Experimentación ........................................................................ 238 1. Experimentación y aprendizaje............................................................ 243 1.1. Experimentación y brecha digital de género ............................. 245 1.2. Experimentación y nueva brecha digital ....................................... 264 2. Experimentación y subjetividad ........................................................... 268 2.1. Performatividad de género y videojuegos .................................... 274 2.1.2. Análisis de caso. La performatividad de género en World of Warcraft ............................................................................................... 298 2.3. Otras miradas desde los videojuegos ........................................... 304 3 Capítulo 6. El locus del juego ....................................................................... 315 1. ¿Con qué se juega? .............................................................................. 315 2. ¿Cómo se adquiere? ............................................................................ 320 3. ¿Dónde se juega? ................................................................................. 327 4. ¿Con quién se juega? ........................................................................... 331 5. ¿Quién crea opinión pública sobre lo que se juega? ........................... 332 6. ¿Dónde se relaciona la comunidad? .................................................... 338 7. ¿Quién crea lo que se juega? ............................................................... 341 Capítulo 7. Gamergate y el feminismo en los videojuegos ......................... 351 1. Topografía digital del Gamergate ........................................................ 354 2. Origen e historia del Gamergate ......................................................... 362 2.1. Ética periodística y el caso de Zoë Quinn ..................................... 362 2.2. Comienza el acoso hacia las mujeres: Anita Sarkeesian, Brianna Wu y Felicia Day.......................................................................................... 364 2.3. El papel de las redes sociales, 4chan y 8chan en el GamerGate .. 367 2.4. La guerra de Wikipedia ................................................................. 371 3. Situación actual .................................................................................... 373 3.1. Mujeres en e-sports ...................................................................... 376 8. Conclusiones: feminismo y videojuegos .................................................. 383 Anexo I: Glosario sobre videojuegos ........................................................... 389 4 Anexo II: Encuesta videojuegos en línea...................................................... 400 Bibliografía ................................................................................................... 418 Filmografía ................................................................................................... 432 Ludografía .................................................................................................... 433 5 ÍNDICE DE FIGURAS ÍNDICE DE GRÁFICOS GRÁFICO 1: %VARONES Y MUJERES - RANGO DE EDAD ................................................ 65 GRÁFICO 2: ACCESO Y USO TIC .............................................................................. 68 GRÁFICO 3: CÍRCULO DE LA EXCLUSIÓN .................................................................. 320 GRÁFICO 4: ¿DÓNDE SE JUEGA? .......................................................................... 327 ÍNDICE DE IMÁGENES IMAGEN 1: ANUNCIO DE NINTENDO ....................................................................... 56 IMAGEN 2: ANUNCIO DE MORTAL KOMBAT ............................................................. 57 IMAGEN 3: EVOLUCIÓN DE LARA CROFT. IMÁGENES EXTRAÍDAS DE LA WEB “TOMB RAIDER SPAIN". ................................................................................................... 132 IMAGEN 4: EVOLUCIÓN DE LARA CROFT. IMÁGENES EXTRAÍDAS DE LA WEB “TOMB RAIDER SPAIN". ................................................................................................... 132 IMAGEN 5: CHELL DE PORTAL .............................................................................. 134 IMAGEN 6: LA TRIFUERZA ................................................................................... 182 IMAGEN 7: GANONDORF .................................................................................... 184 IMAGEN
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