Teorie Digitálních Her: Metody Analýzy a Teorie Žánrů

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Teorie Digitálních Her: Metody Analýzy a Teorie Žánrů Masarykova univerzita, Fakulta sociálních studií Katedra mediálních studií a žurnalistiky Teorie digitálních her: metody analýzy a teorie žánrů (Bakalářská práce) Martin Horný Vedoucí práce: Mgr. David Kořínek Brno 2007 Prohlašuji, že jsem tuto bakalářskou práci vypracoval samostatně s použitím pramenů a literatury uvedené v bibliografii. V Brně 7. 1. 2008 ................................................ Martin Horný 2 Poděkování: Před samotným úvodem bych chtěl poděkovat Mgr. Davidu Kořínkovi za vstřícné vedení práce, Bc. Vendule Škráčkové za cenné kritické poznámky k formální stránce textu, hardcore hráči Josefovi Vlasákovi za přínosné konzultace v oblasti herních reálií a Lence Šenkové za trpělivost. 3 Každé estetické vyjádření musí být bráno podle jeho vlastních premis a ne jako podkategorie jiné estetické disciplíny. Lewis, C. S:. An Experiment in Criticism (1961) 4 Obsah: 1. ÚVOD .................................................................................................................................................. 6 1.1.T ÉMA , CÍL A METODOLOGIE PRÁCE .................................................................................................... 6 1.2. TERMINOLOGICKÝ APARÁT PRÁCE .................................................................................................... 7 2. VÝCHODISKA A PROBLÉMY STUDIA DIGITÁLNÍCH HER ............................................................ 9 2.1 GAME STUDIES TADY A TEĎ ? ............................................................................................................ 9 2.2. SEDIMENTACE DIGITÁLNÍCH HER VE SPOLEČNOSTI OPTIKOU TEORIE KULTURNÍHO OPOŽDĚNÍ ............. 12 2.3. PŘEHLED DOSAVADNÍCH SOCIÁLNĚ -VĚDNÝCH A HUMANITNÍCH VÝZKUMŮ DIGITÁLNÍCH HER ................ 13 2.3.1. Studie herního publika ........................................................................................................ 14 2.3.2. Studie sociálních témat ....................................................................................................... 15 2.3.3. Teorie digitálních her .......................................................................................................... 15 3. METODY ANALÝZY DIGITÁLNÍCH HER ........................................................................................ 17 3.1. GONZALO FRASCA , ANEB LUDOLOGIE POTKÁVÁ NARATOLOGII ......................................................... 17 3.2. LARS KONZACK , ANEB POLOŽENÍ STRUKTURÁLNÍCH ZÁKLADŮ ANALÝZY DIGITÁLNÍCH HER .................. 20 3.3 ESPEN AARSETH , ANEB NÁHLÁ VIDITELNOST DIGITÁLNÍCH HER ......................................................... 23 3.4. MIA CONSALVO A NATHAN DUTTON , ANEB IDEOLOGIE V DIGITÁLNÍCH HRÁCH ................................... 26 3.5. SHRNUTÍ ...................................................................................................................................... 29 4. TEORIE ŽÁNRŮ DIGITÁLNÍCH HER ............................................................................................... 31 4.1. OBECNÉ PROBLÉMY TYPOLOGIZACE DIGITÁLNÍCH HER ..................................................................... 31 4.2. ROLE -PLAYING GAME .................................................................................................................... 33 4.2.1 Přehledná typologie ............................................................................................................. 35 4.3. AKČNÍ DIGITÁLNÍ HRY .................................................................................................................... 36 4.3.1 Přehledná typologie FPS jako subžánru akčních her .......................................................... 41 4.4. STRATEGIE ................................................................................................................................... 43 4.4.1. Přehledná typologie ............................................................................................................ 46 4.5 SHRNUTÍ ŽÁNRŮ DIGITÁLNÍCH HER .................................................................................................. 47 5. ZÁVĚR ............................................................................................................................................... 48 JMENNÝ A VĚCNÝ REJSTŘÍK: .......................................................................................................... 50 SEZNAM POUŽITÉ LITERATURY: ...................................................................................................... 51 SEZNAM POUŽITÝCH FILMŮ: ............................................................................................................ 55 SEZNAM POUŽITÝCH HER: ................................................................................................................ 56 5 1. Úvod „Jednoduše řečeno, čemu teď čelíme je paradox: fenomén s ohromující popularitou a sociálním dopadem nemá jasnou akademickou reflexi, žádnou odezvu na našich univerzitách, ani v našem vzdělávacím systému.“ (Mäyrä 2005) Digitální hry se v současné době staly fenoménem s nebývalým ekonomickým obratem a společenským dopadem. Bez problému je můžeme označit za plně mainstreamové médium, které ovšem zůstává víceméně bez akademické reflexe. V českém akademickém milieu potom musíme slovo „víceméně“ nahradit nesmlouvavým „zcela“. V žádné tuzemské knihovně pod hesly typu teorie počítačových/digitálních her, herní studia, či ludologie jednoduše nic nenacházíme. Marně bychom také hledali publikace světových autorů z oblasti game studies . Na českých univerzitách se studijní obor herní studia nevyučuje, velmi zřídka můžeme nalézt předmět nebo kurz, který se alespoň částečně zabývá tématikou digitálních her 1. Obecnou ambicí textu je popsat základní informace z teorie digitálních her v oblasti metod analýz a teorii žánrů. Pokud budou tuzemské univerzity reagovat na celosvětový vývoj, brzy se objeví nejen konkrétní kurzy zkoumající digitální hry, ale možná i celé studijní obory; ambiciózně doufáme, že by tato práce mohla být vhodným úvodním textem pro nemalý počet akademiků nejen z řad studentů ale i učitelů. S tímto záměrem je text psán a strukturován. 1.1.Téma, cíl a metodologie práce Ačkoli přední teoretik digitálních her Frans Mäyrä považuje rozsah a obsah game studies za nedostačující (Mäyrä 2005), není v našich silách a možnostech popsat novou vědní disciplínu ve své plné hloubce. Proto jsme nuceni přistoupit k určité redukci výzkumného tématu, která se odráží už v názvu práce: „Teorie digitálních her: metody analýzy a teorie žánrů“, ze kterého je zřejmé, že text má kompilační charakter a nepostihuje game studies v celé své šíři. Teorií digitálních her, jak je lépe a důkladně vysvětleno níže v kontextu jiných prací, myslíme pouze část game studies , která ovšem není nikterak okrajová. Naopak. 1 Pravděpodobně jediným akademickým kurzem v ČR zabývající se přímo digitálními hrami je předmět Počítačové hry: RPG & strategie vyučovaný pod záštitou Ústavu hudební vědy na FF MU. Nutno dodat, že předmět příliš nereflektoval strukturu a témata game studies, navíc byl realizován pouze jednou. Na domácí FSS MU se digitálními hrami částečně zabývá kurz Strategické hry a simulace vedený Katedrou politologie. 6 Představuje podle našeho názoru klíčovou a centrální oblast nové disciplíny, protože popisuje specifickou strukturu digitálních her, pro kterou definuje nové koncepty, pojmy a typologie. Hlavním tématem práce je tedy analýza charakteru digitálních her reprezentovaná námi níže definovanou teorií digitálních her. Jelikož vydělujeme dvě podtémata teorie digitálních her – metody analýzy a teorie žánrů - můžeme je zároveň označit i za podtémata celé bakalářské práce. Mimo základní výzkumné téma tak zůstává celá oblast game studies , která se nezabývá podstatou a strukturou herního média (zkoumá „okrajová“ témata typu násilí, genderu, hráčství apod.). Část těchto analýz přehledně typologizujeme. Primárním cílem práce je popsat oblast teorie digitálních her, a to skrze metody analýzy digitálních her a teorii herních žánrů. Z toho důvodu není metodologie práce objevným výzkumem s jasně definovanou výzkumnou otázkou, která by byla potvrzena, resp. vyvrácena, ale spíše deskriptivním popisem. Nicméně s předloženými tezemi a koncepty částečně polemizujeme a doplňujeme tak deskripci o určitý kritický aspekt. V popisu metod analýzy digitálních her (třetí kapitola) rozdělujeme text do podkapitol podle zkoumaných autorů seřazených dle historického vývoje, zatímco v teorii herních žánrů postupujeme podle konceptů. 1.2. Terminologický aparát práce Pokud je jedním z cílů práce hledaní metodologických možností analýzy digitálních her, pak bychom se neměli vyhýbat přesné definici termínů, které jsou v textu skloňovány. Tento obecný předpoklad akademické reflexe platí v případu výzkumu digitálních her o to více, že autoři poněkud svévolně pracují s označením objektu svého studia, ačkoli sami volají po terminologické jednoznačnosti. Můžeme se tak setkat s pojmy digitální hry ( digital games ), počítačové hry ( computer games ) a videohry ( videogames ), které se různě zaměňují. Domníváme se, že je důležité začít důsledně rozlišovat mezi těmito termíny. Navrhujeme diferenci podle použité technologie ( hardware ), která je k hraní digitálních her nutná, protože podle nás zásadním způsobem ovlivňuje charakter a povahu samotné hry. Pokud v textu neodkazujeme k jinému zdroji, považujeme termín počítačové hry za označení jen těch her, které jsou hrané na platformě PC. Videohry potom paralelně směřují k použití
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