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UMĚNÍ KULTURY HRÁČŮ DIGITÁLNÍCH HER Magisterská Diplomová Práce

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UMĚNÍ KULTURY HRÁČŮ DIGITÁLNÍCH HER Magisterská Diplomová Práce Masarykova univerzita Filozofická fakulta Ústav hudební vědy Teorie interaktivních médií Bc. Zdeněk Záhora UMĚNÍ KULTURY HRÁČŮ DIGITÁLNÍCH HER Magisterská diplomová práce Vedoucí práce: Mgr. Jaroslav Švelch Brno 2011 2 Prohlašuji, že jsem diplomovou práci vypracoval samostatně s využitím uvedených pramenů a literatury. V Brně, dne 18.5.2011 ............................. Bc. Zdeněk Záhora 3 Děkuji Ivušce. 4 Obsah 1 Úvod.................................................................................................................................................6 1.1 Anotace.....................................................................................................................................6 1.2 Kapitoly a význam práce..........................................................................................................6 2 O kultuře hráčů digitálních her.........................................................................................................7 3 Teorie umění a tendence remixu.......................................................................................................9 3.1 Institucionální definice umění..................................................................................................9 3.2 Tvorba hráčů digitálních her jako svébytný svět umění.........................................................11 3.3 Remix jako dominantní strategie digitálního prostředí...........................................................12 3.4 Postprodukce jako základ kultury remixu..............................................................................14 3.5 Autor je mrtev, ať žije autor – od konzumenta ke spolutvůrci kultury...................................17 3.6 Klastrová teorie umění............................................................................................................18 3.7 Shrnutí.....................................................................................................................................20 4 Digitální hra jako médium a jeho významné vlastnosti.................................................................21 4.1 Digitální hra jako potenciální umělecký systém.....................................................................21 4.2 Teorie kybertextu....................................................................................................................24 4.2.1 Kybertext.........................................................................................................................24 4.2.2 Ergodicita........................................................................................................................25 4.2.3 Textony a skriptony.........................................................................................................26 4.2.4 Přenosná funkce..............................................................................................................26 4.2.5 Procedurální generování.................................................................................................28 4.3 Shrnutí.....................................................................................................................................29 5 Interaktivní publikum, participativní kultura a „zájmový uzel“.....................................................30 5.1 Interaktivní publikum – když divák ovlivňuje konzumovaný text.........................................30 5.2 Od participativní kultury k svébytné tvůrčí komunitě............................................................32 5.3 Tvorba kultury hráčů digitálních her jako paratext.................................................................33 5.4 Participace na textu? Aneb když se paratext shlukuje kolem nejednotných textů..................35 5.5 Shrnutí.....................................................................................................................................36 6 Typologie kreativní tvorby kultury hráčů digitálních her...............................................................37 6.1 Úvod........................................................................................................................................37 6.2 Fanfikce – dominantní kategorie tvorby participativního publika..........................................38 6.3 Hudební video – audiovizuální remix.....................................................................................41 6.4 Machinima..............................................................................................................................45 6.5 Herní modifikace....................................................................................................................51 6.6 Let's play – individuální gameplay a performance jako platforma vyprávění........................57 6.7 Gameplay jako performance...................................................................................................66 6.8 Akce a happening....................................................................................................................75 6.9 Shrnutí.....................................................................................................................................82 7 Závěr...............................................................................................................................................84 8 Resumé...........................................................................................................................................86 9 Seznam literatury a zdrojů..............................................................................................................87 5 1 Úvod 1.1 Anotace Digitální hry mají své nezastupitelné místo v kultuře. Jsou celosvětovou formou masové zábavy, často spojované s pasivní konzumací obsahu, ale zároveň poskytují uživatelům platformu pro kreativní činnost. Cílem práce je poskytnout náhled na kulturu hráčů digitálních her, a to na základě zmapování kreativně- umělecké produkce. Práce rozlišuje základní formy produkovaných děl a uměleckých strategií. Lze mluvit o uměleckých dílech či o specifické formě 'internetového' folklóru? Jak reagují výrobci digitálních her na 'přivlastňování' si her v duchu remixu? Práce přispívá k akademické debatě s předmětem digitálních her, a to z pozice teorie umění nových médií. 1.2 Kapitoly a význam práce V následujících kapitolách je předmět práce, tj. způsoby kterými hráči digitálních her využívají obsah digitálních her a samotné digitální hry, rozebírán z několika hledisek. V druhé kapitole O kultuře hráčů digitálních her je stručně nastíněná heterogenita her i hráčů samotných, kteří jsou autory dále popisovaných děl. V třetí kapitole Teorie umění a tendence remixu je předmět práce zasazen do kontextu teorie umění a je popsána dominantní tvůrčí strategie – remix. V této kapitole je také rozebrána klastrová teorie umění, která je použita v šesté kapitole Typologie kreativní tvorby kultury hráčů digitálních her jako analytická metoda, jak popsat identifikované formy dle charakteristických vlastností, které vykazují již známé a etablované umělecké formy. Ve čtvrté kapitole Digitální hra jako médium a jeho významné vlastnosti jsou rozebrány digitální hry jako samostatné médium, jeho vlastnosti důležité pro tuto práci a pomocí konceptu systémové estetiky jsou digitální hry nahlíženy jako potenciálně umělecké systémy. V páté kapitole Interaktivní publikum, participativní kultura a „zájmový uzel“ je popsán vztah autorů a diváků digitálních her, což pomáhá vysvětlit podmínky vzniku předmětu práce. V této kapitole je rozlišeno mezi interaktivním a participativním publikem a pro potřeby této práce je navržen a volně definován termín „zájmový uzel“, který umožňuje flexibilnější pojmenování vztahů mezi tvůrci zkoumaných děl, jejich diváky a autory samotných her. V poslední kapitole Typologie kreativní tvorby kultury hráčů digitálních her jsou definovány, popsány a na příkladech rozebrány různé kategorie kreativní tvorby kultury hráčů digitálních her. Jsou to: (1) fanfikce, (2) hudební video, (3) machinima, (4) herní modifikace, (5) let's play, (6) gameplay jako performance a (7) akce a happening. Ke každé kategorii jsou vybraná taková díla, která umožňují demonstrovat variabilitu daných kategorií, a která tak poskytují základní zmapování těchto rozmanitých kategorií. Mezi hlavní výsledky této práce patří: (1) zmapování kreativní produkce uživatelů jednoho ze současných nejvýznamnějších médií, (2) důkazy teze, že některé potenciálně umělecké formy vycházejí z „lidové“ tvorby participativního publika a (3) důkazy toho, že kultura hráčů digitálních her není tvořena pouze pasivními konzumenty, na které mají digitální hry devastující účinky, což je velmi patrným společenským mýtem, zvláště pak v České Republice. 6 2 O kultuře hráčů digitálních her Co to je kultura hráčů digitálních her? Jedná se o undergroundové hnutí několika nadšenců? Je to navzájem nekomunikující skupina výhradně mužského pohlaví, „zašitých“ v pokojích bez oken? Hry a herní kultura jsou rozmanitými strukturami, které nelze zjednodušit do tradičních náhledů, kterými výše zmíněné stále ještě jsou. Takových náhledů je mnoho: hrají jen muži, obézní ztroskotanci, potenciální vrazi, hry jsou nahlíženy jako zdroj pasivní konzumace, ztráty času, existuje nebezpečí závislosti na on-line hrách... atd. Netvrdím, že se takové případy nenajdou, je však důležité zdůraznit, že hraní her jakožto proces, hry samotné jakožto médium a kultura hráčů jako globální sociální struktura, jsou mnohem komplexnějším
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