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L'immersion Dans Les Univers De Fiction À L'ère Du Jeu Vidéo

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L'immersion Dans Les Univers De Fiction À L'ère Du Jeu Vidéo UNIVERSITÉ DU QUÉBEC À MONTRÉAL ILLUSION, IDÉALISATION, GRATIFICATION. L'IMMERSION DANS LES UNIVERS DE FICTION À L'ÈRE DU JEU VIDÉO THÈSE PRÉSENTÉE COMME EXIGENCE PARTIELLE DU DOCTORAT EN SÉMIOLOGIE PAR CARL THERRIEN JUIN 2011 UNIVERSITÉ DU QUÉBEC À MONTRÉAL Service des bibliothèques Avertissement La diffusion de cette thèse se fait dans le respect des droits de son auteur, qui a signé le formulaire Autorisation de reproduire et de diffuser un travail de recherche de cycles supérieurs (SDU-522 - Rév.û1-2ûû6). Cette autorisation stipule que «conformément à l'article 11 du Règlement no 8 des études de cycles supérieurs, [l'auteur] concède à l'Université du Québec à Montréal une licence non exclusive d'utilisation et de publication de la totalité ou d'une partie importante de [son] travail de recherche pour des fins pédagogiques et non commerciales. Plus précisément, [l'auteur] autorise l'Université du Québec à Montréal à reproduire, diffuser, prêter, distribuer ou vendre des copies de [son] travail de recherche à des fins non commerciales sur quelque support que ce soit, y compris l'Internet. Cette licence et cette autorisation n'entraînent pas une renonciation de [la] part [de l'auteur] à [ses] droits moraux ni à [ses] droits de propriété intellectuelle. Sauf entente contraire, [l'auteur] conserve la liberté de diffuser et de commercialiser ou non ce travail dont [il] possède un exemplaire.» ~~~--------- Remerciements À Bertrand Gervais et Bernard Perron, pour leur travail de direction assidu et leurs encouragements. À Dominic Arsenault, Sébastien Babeux, Anick Bergeron, Alexis Blanchet, Maude Bonenfant, Kelly Boudreau, Shanly Dixon, Simon Dol', Steve Giasson, Louis-Martin Guay, Alison Harvey, Marc Joly-Corcoran, Hélène LaUl'in, Henry Lowood, Philippe Mathieu, Vincent Mauger, Andréanne Morin-Simard, Martin Picard, Cindy Poremba, Marc-André Primeau, Guillaume Roux-Girard, Carlos Roncero, Mark J. P. Wolf, pour les nombreuses discussions stimulantes. À la cuvée 2009-2010 du DESS en design de jeu vidéo, pour l'inspiration. À tous ceux-là encore, à mes amis, à ma famille, pour l'essentiel: leur compagnie. Merci! L'auteur tient également à remercier le Fonds québécois de la recherche sur la société et la culture de même que le Centre de recherches en sciences humaines pour leur soutien financier. Table des matières Liste des figures v Introduction. Du jeu à la fiction 1 Première partie 13 Le grandfantasme de ['immédiateté 1. L'immersion à l'époque de la prolifération technique 14 Immersion corporelle 15 Dispositifs immersifs et institutions fictionnelles 24 .Jeu vidéo et fétichisme technologique 27 II. La question des instances. Stratégies de représentation et effacement.. 40 Mettre en monde .4 1 Le narrateur fondamental .44 Le grand imagier 49 Le récit vidéoludique 57 III. La médiation vidéoludique 65 Qui est là? Une instance, quatre niveaux 68 Immersion totale, identification totale 90 Deuxième partie 95 La quête de ['avatar IV. L'idéalisation de l'expérience 96 Un pied dans la fiction: postures immersives 100 La posture ludique: une activité réelle 105 Idéalisation de l'expérience 110 Univers ludiques 112 IV V. L'immersion idéalisée. Ocularisation et focalisation 118 Pour en finir avec l'identification 119 Le fantôme du manoir Stauf... 126 Voir mieux 129 Savoir plus 140 Rétention et complétude 153 VI. L'actantialisation vidéoludique 156 L'effort vidéoludique, une question d'arrimage 160 Concrétisation! irréalisation 170 De quelques configurations immersives vidéoludiques 175 Redoublement et antalgie. Le corps irréalisé 185 Troisième partie 194 L'immersion dans les univers de fiction VII. L'immersion fictionnelJe, en théorie(s) 195 La réception idéalisée 196 La théorie modale de la fiction 199 Théories sémiotiques 205 Cogniti visme 216 VIII. Immersion et émotion 227 La psychologie de l'émotion 229 Émotions fictionnelles 235 Bruno et Guy, un étrange cas d'empathie 238 Émotions artefacts 250 IX. La fiction vidéoludique 260 La fiction en jeu 262 Écologie de la peur. 274 Écologie de l'empathie 286 Conclusion. De la fiction au discours 299 Bibliographie 309 Liste des figu res 1-1 La Sala delle Prospettive (Baldassare Peruzzi, 1516) .... 17 1-2 Le Cinéorama de Raoul Grimoin-Sanson (1900) .... 18 1-3 Le spectacle SonicVision (directeur de conception: Chris Harvey), présenté au .... 20 planétarium Hayden de New York 1-4 HMD et data glove utilisé par la NASA au milieu des armées 1990 .... 22 1-5 Qualité figurative: 2D (Mortal Kombat JI, Midway, 1993) vs. 3D polygonale .... 29 (Battle Arena Toshinden, Tamsoft, 1994) 1-6 Black & White (Lionhead Studios, 2001) .... 33 1-7 À gauche: le Stuntmaster de Victormaxx (1993); à droite: le VFX 1 Headgear .... 34 de Forte Technologies (1994) 1-8 Partie de pêche dans The Legend ofZelda. Twilight Princess (Nintendo, 2006) .... 35 2-1 À gauche: affiche publicitaire pour La dame du lac (Robert Montgomery, ....56 1947); à droite: Philip Marlowe se regarde dans un miroir 2-2 À gauche: variation d'échelle dans Phantasy Star III (Sega, 1990); à droite: une ....62 scène figée dans une boucle perpétuelle (Dragon Warrior VIII, Level-5, 2004) 2-3 Une tentative d'assassinat préméditée (Call ofDuty 4: Modern Warfare (Infinity ....63 Ward, 2007) 3-1 Capture d'écran promotiormelle pour le jeu Needfor Speed: Shift (Slightly Mad ....68 Studios, 2009) 3-2 La boucle cybernétique schématisée par Aarseth (1997: 104) ....69 3-3 À gauche: tutoriel dans Robo Army (SNK, 1991); à droite: tutoriel dans Art of ....71 Fighting (SNK, 1992) 3-4 Mini-jeu dans la version Wii de Madden NFL /0 (EA Sports, 2009) ....72 3-5 À gauche: indicateur d'intégrité physique dans Jungle Hunt (Taito, 1982); à ....74 droite: capital d'intégrité physique et inventaire dans Ys: The Vanished Omens (Nihon Falcom, 1987) Vi 3-6 Système de guidage spatio-narratif dans Red Faction: Guerrilla (Volition, 2009) ....75 3-7 Sommaire dans Panzer Dragoon Orta (Smilebit, 2002) ....78 3-8 Apprentissage par imitation (Maui Mallard in Cold Shadow, EuroSoft, 1996) ....80 3-9 Concrétisation des indicateurs de vitalité et de munitions dans Dead Space (EA .... 83 Redwood, 2008) 3-10 Écran d'inventaire dans Alone in the Dark (Eden Games, 2008) ....83 3-1 1 Signalisation dans Burnout Paradise (Criterion, 2007) ....85 3-12 Visualisation en mode détective dans Batman: Arkham Asylum (Rocksteady ....85 Studios, 2009) 3-13 Un foyer mnémonique dans Prince ofPersia : The Sands ofTime (Ubisoft ....88 Montreal, 2003) 3-14 À gauche: capture d'écran promotionnelle; à droite: rencontre tangible entre ....92 Derrick et Alex (Breakdown, Namco, 2003) 4-1 « Qui me regarde?» (eXpérience 112, Lexis Numérique, 2007) ....99 4-2 Sept dispositifs fictionnels (Schaeffer, 1999 : 255) .... 101 4-3 À gauche: faisceau d'engagement optimal (Csikszentmihalyi, 1975); à droite: la .... 111 qualité de l'expérience en fonction de la relation entre défis et compétences (Csikszentmihalyi, 1997:31) 5-1 Quatre catégories de jeux vidéo selon Klevjer (2006: 132) .... 123 5-2 Un point de vue anthropomorphe... une expérience de l'au-delà (The 7th Guest, .... 127 Trilobyte, 1993; fragment) 5-3 Un suspense particulièrement visible (Sabotage, A. Hitchcock, 1936) .... 133 5-4 À gauche: St-Jérôme dans son cabinet de travail (Antonella de Messina, 1475); .... 134 à droite: retable de Saint-Pierre Martyr à Florence réalisé par Fra Angelico (1427-28) 5-5 À gauche: point de vue aérien dans Gauntlet (Atari, 1985); à droite: point de .... 135 vue latéral dans Sonic the Hedgehog (Sega, 1991) 5-6 Échelles discordantes. À gauche: Warcraft 11. Tides ofDarkness (Blizzard, .... 136 1995); à droite: Civilization 1V (Firaxis Games, 2005) 5-7 Vision perçante. À gauche: Punchout (Nintendo, 1984); à droite: The Sims 2 .... 137 (Maxis, 2004) Vil 5-8 Variations du point de vue dans Rainbow Six. Vegas (Ubisoft Montreal, 2006) .... 139 5-9 Variations du point de vue évoqué par le langage (Barthes, 1985 [1966]: 197) .... 141 5-10 Ind icateur de menace dans The Chronicles ofRiddiek. Assaull on Dark Athena .... 148 (Starbreeze, 2009) 5-1 1 Radar intelligent dans Metal Gear Solid 2. Sons ofLiberty (Konami, 2001) .... 150 6-1 La main vÎliuelle du joueur se saisit d'un fidèle en train de se noyer dans Black .... 162 & White (Lionhead Studios, 2001; fragment) 6-2 À gauche: arrimage séquencée dans Links LS Classie (Access Software, 2002); .... 164 à droite: arrimage séquencée dans Bully (Rockstar Vancouver, 2006) 6-3 Gestion de l'intégrité physique dans Cali ofCthulhu. Dark Corners ofthe Earth .... 171 (Headfirst, 2005) 6-4 Exemple de tableau .... 175 6-5 Wii Sports (boxe) .... 177 6-6 GodofWarllf .... 178 6-7 Eye ofthe Beholder .... 179 6-8 Guitar Hero .... 180 6-9 Doom .... 182 6-10 The EIder Serolls fil: Morrowind .... 184 7-1 Le cercle heuristique de Perron (2002) ....219 8-1 Voies basse et haute dans le traitement de stimuli émotionnels ....230 (Ledoux, 1996: 164) 8-2 Expressions faciales typiques - originale à gauche, caricaturée à droite - pour six ....231 émotions primaires. De gauche à droite: la joie; la surprise; la peur, la tristesse, le dégoût et la colère (Calder et al., 1997: 923) 8-3 Le modèle de Plutchik (2003: 104-105) ....234 8-4 Suspense alterné (Strangers on a Train, Alfred Hitchcock, 1951) ....241 8-5 À gauche: réaction de Bruno. À droite: Bruno tente de récupérer le briquet ....243 VUl (Strangers on a Train, Alfred Hitchcock, 1951) 8-6 À gauche: Sarah Connor réussit à enclencher un mécanisme pour se débarrasser ....244 du T-800 (The Terminator, James Cameron, 1984; fragment). À droite: James Kirk suspendu au-dessus de la planète Vulcain (Star Trek, J. J. Abrams, 2009; fragment) 8-7 À gauche: Jack Bauer sous torture; à droite: Abu Fayed évoque la mort ....246 sanglante de son frère aux mains de Jack (24, saison 6, épisode l, Jon Cassar, 2007; fragments) 8-8 Attaque au pesticide (North by Northwest, Alfred Hitchcock, 1959) ....253 8-9 La qualité de l'expérience en fonction de la relation entre défis et compétences ....258 (Csikszentmihalyi, 1997:31) 9-1 Quatre modalités de mise en jeu ....268 9-2 Représentation de l'état affectif de l'avatar (Lands ofLore.
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