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題名 乙女遊戲玩家實踐研究－ 以《戀與製作人》為例
A Study of Female Players’ Practices in Otome Games: A Case Study of “Mr. Love: Queen’s Choice”
作者 張品萱
Chang, Pin-Hsuan
貢獻者 王淑美
Wang, Su-Mei
張品萱
Chang, Pin-Hsuan
關鍵詞 乙女遊戲
女性玩家
馴化理論
雙重構連
資料庫消費
Otome games
Female players
Domestication theory
Double articulation
Database consumption
日期 2023
上傳時間 2-Aug-2023 14:09:59 (UTC+8)
摘要 女性在成長歷程中經常被歌詠浪漫愛幻想的大眾文本所圍繞，這些文本由不同媒介所中介，而隨著傳播科技與網路蓬勃發展，手機也成為愛情文本的中介媒介。手機乙女遊戲是種新型態混合敘事文本，將女性熟悉的愛情文本以遊戲形式呈現，結合故事、遊戲關卡、互動機制及線下活動，使玩家遊走於虛擬與現實之邊界，形成過去遊戲文化中不曾見過的光景。
本研究從文化消費、馴化理論的角度出發，以《戀與製作人》為例，旨在探討新型態混合敘事文本如何融入日常生活，女性熟悉的愛情文本以遊戲形式呈現，如何結合手機媒介特性，被女性玩家與社會文化脈絡共同馴化，在日常生活脈絡中找到其定位。本研究先回顧遊戲開發團隊的相關報導了解其商品化過程，並以深度訪談法訪問十五位女性玩家，分析其遊玩與使用細節。
首先，研究發現愛情文本與手機物質性雙重構連，提升玩家遊走於現實與虛擬之間的頻率，進而對文本產生若即若離、高度私密的愉悅。同時，現成的愛情故事被轉換與內化成一種個人經歷、人際網絡，在遊戲過程中，玩家建立並經營與男主角的想像式關係，讓遊戲得以在日常生活中被長久留存。
其次，手機乙女遊戲將巨型文本拆分成更為瑣碎的小敘事與元素，滿足不同時間與空間的需求，與過去大眾文本相比，得以更緊密鑲嵌於日常，一併蒐集與管理人們無從處置的休閒時間，流暢串接日常生活中的事件，而遊戲所呈現的資料庫型態也便於女性快速挑選與消費，與當代新自由主義社會追求效率的意識形態相契合。
最後，與過去相比，當代女性在兩性情感關係中得以與男性討論、協商，女性玩家將遊戲當成大型資料庫，藉此訓練日常生活親密關係的互動，乙女遊戲不再只是現成的文化產品，而是轉變成一種戀愛腳本的資料庫。
In women’s growth process, they are usually surrounded by mass-produced romantic fantasies which are mediated by various media. With the rapid development of communication technology and the Internet, mobile phones have also become one of the intermediaries for love stories. Mobile Otome games are a new hybrid narrative text that presents familiar love stories to women in the form of games. That Mobile Otome games combine storylines, game levels, interactive mechanisms, and offline activities allows players to switch frequently between the real world and the virtual one and unprecedented spectacle in the video game culture.
Based on the perspective of cultural consumption and domestication theory, the study takes Mobile Otome game “Mr. Love: Queen’s Choice” as an example. The study aims to explore how this new hybrid narrative text integrates into everyday life, how familiar love stories for women are presented in the form of games, how it combines the characteristics of mobile phone, and further it is domesticated together by female players and sociocultural context. The study begins by reviewing relevant reports about the game developer to give a broad outline of its commodification. Then, drawing on in-depth interview with fifteen female players to analyze their gameplay and usage details.
First, the study discovers that the double articulation of love story and the materiality of mobile phone makes players more frequently switch between the real world and the virtual one. This, in turn, generates a sense of ambivalence about the text and highly private pleasure. Simultaneously, ready-made love stories are transformed and internalized into the individual experience and social network. During the gameplay, players establish and cultivate imaginative relationships with the male characters to allow the game to be perpetually exist within their everyday lives.
Second, mobile Otome games break down the grand narratives into smaller, fragmented narratives and elements, catering for different time and space. Compare to traditional mass-produced texts, these games are more deeply embedded in everyday life, enabling players to collect and manage their unallocated casual time and seamlessly connect with daily events. Also, the database structure of mobile Otome games facilitates quick selection and consumption for women, aligning with the efficiency-oriented ideology in contemporary neoliberalism.
Finally, in comparison with the past society, women in the contemporary society can engage in discussion and negotiate with men in their relationships. Female players perceive Otome games as a large database, utilize them to train the interaction with their lovers in intimate relationship. At this point, Otome games have transcended their status as ready-made cultural products; they have transformed into the database of romantic scripts.
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描述 碩士
國立政治大學
傳播學院傳播碩士學位學程
109464047
資料來源 http://thesis.lib.nccu.edu.tw/record/#G0109464047
資料類型 thesis
dc.contributor.advisor 王淑美zh_TW
dc.contributor.advisor Wang, Su-Meien_US
dc.contributor.author (Authors) 張品萱zh_TW
dc.contributor.author (Authors) Chang, Pin-Hsuanen_US
dc.creator (作者) 張品萱zh_TW
dc.creator (作者) Chang, Pin-Hsuanen_US
dc.date (日期) 2023en_US
dc.date.accessioned 2-Aug-2023 14:09:59 (UTC+8)-
dc.date.available 2-Aug-2023 14:09:59 (UTC+8)-
dc.date.issued (上傳時間) 2-Aug-2023 14:09:59 (UTC+8)-
dc.identifier (Other Identifiers) G0109464047en_US
dc.identifier.uri (URI) http://nccur.lib.nccu.edu.tw/handle/140.119/146594-
dc.description (描述) 碩士zh_TW
dc.description (描述) 國立政治大學zh_TW
dc.description (描述) 傳播學院傳播碩士學位學程zh_TW
dc.description (描述) 109464047zh_TW
dc.description.abstract (摘要) 女性在成長歷程中經常被歌詠浪漫愛幻想的大眾文本所圍繞，這些文本由不同媒介所中介，而隨著傳播科技與網路蓬勃發展，手機也成為愛情文本的中介媒介。手機乙女遊戲是種新型態混合敘事文本，將女性熟悉的愛情文本以遊戲形式呈現，結合故事、遊戲關卡、互動機制及線下活動，使玩家遊走於虛擬與現實之邊界，形成過去遊戲文化中不曾見過的光景。
本研究從文化消費、馴化理論的角度出發，以《戀與製作人》為例，旨在探討新型態混合敘事文本如何融入日常生活，女性熟悉的愛情文本以遊戲形式呈現，如何結合手機媒介特性，被女性玩家與社會文化脈絡共同馴化，在日常生活脈絡中找到其定位。本研究先回顧遊戲開發團隊的相關報導了解其商品化過程，並以深度訪談法訪問十五位女性玩家，分析其遊玩與使用細節。
首先，研究發現愛情文本與手機物質性雙重構連，提升玩家遊走於現實與虛擬之間的頻率，進而對文本產生若即若離、高度私密的愉悅。同時，現成的愛情故事被轉換與內化成一種個人經歷、人際網絡，在遊戲過程中，玩家建立並經營與男主角的想像式關係，讓遊戲得以在日常生活中被長久留存。
其次，手機乙女遊戲將巨型文本拆分成更為瑣碎的小敘事與元素，滿足不同時間與空間的需求，與過去大眾文本相比，得以更緊密鑲嵌於日常，一併蒐集與管理人們無從處置的休閒時間，流暢串接日常生活中的事件，而遊戲所呈現的資料庫型態也便於女性快速挑選與消費，與當代新自由主義社會追求效率的意識形態相契合。
最後，與過去相比，當代女性在兩性情感關係中得以與男性討論、協商，女性玩家將遊戲當成大型資料庫，藉此訓練日常生活親密關係的互動，乙女遊戲不再只是現成的文化產品，而是轉變成一種戀愛腳本的資料庫。		zh_TW
dc.description.abstract (摘要) In women’s growth process, they are usually surrounded by mass-produced romantic fantasies which are mediated by various media. With the rapid development of communication technology and the Internet, mobile phones have also become one of the intermediaries for love stories. Mobile Otome games are a new hybrid narrative text that presents familiar love stories to women in the form of games. That Mobile Otome games combine storylines, game levels, interactive mechanisms, and offline activities allows players to switch frequently between the real world and the virtual one and unprecedented spectacle in the video game culture.
Based on the perspective of cultural consumption and domestication theory, the study takes Mobile Otome game “Mr. Love: Queen’s Choice” as an example. The study aims to explore how this new hybrid narrative text integrates into everyday life, how familiar love stories for women are presented in the form of games, how it combines the characteristics of mobile phone, and further it is domesticated together by female players and sociocultural context. The study begins by reviewing relevant reports about the game developer to give a broad outline of its commodification. Then, drawing on in-depth interview with fifteen female players to analyze their gameplay and usage details.
First, the study discovers that the double articulation of love story and the materiality of mobile phone makes players more frequently switch between the real world and the virtual one. This, in turn, generates a sense of ambivalence about the text and highly private pleasure. Simultaneously, ready-made love stories are transformed and internalized into the individual experience and social network. During the gameplay, players establish and cultivate imaginative relationships with the male characters to allow the game to be perpetually exist within their everyday lives.
Second, mobile Otome games break down the grand narratives into smaller, fragmented narratives and elements, catering for different time and space. Compare to traditional mass-produced texts, these games are more deeply embedded in everyday life, enabling players to collect and manage their unallocated casual time and seamlessly connect with daily events. Also, the database structure of mobile Otome games facilitates quick selection and consumption for women, aligning with the efficiency-oriented ideology in contemporary neoliberalism.
Finally, in comparison with the past society, women in the contemporary society can engage in discussion and negotiate with men in their relationships. Female players perceive Otome games as a large database, utilize them to train the interaction with their lovers in intimate relationship. At this point, Otome games have transcended their status as ready-made cultural products; they have transformed into the database of romantic scripts.		en_US
dc.description.tableofcontents 第一章、 緒論 11
第一節、 研究緣起 11
第二節、 研究背景脈絡 13
第三節、 問題意識與研究目的 16
第四節、 學術價值 19
第二章、 文獻探討 21
第一節、 從性別角度看電玩遊戲轉變 21
一、 電玩遊戲的演變 22
二、 電玩遊戲文化中的女性 25
三、 女孩該玩什麼遊戲？ 30
第二節、 乙女遊戲在東亞 33
一、 戀愛遊戲產業的發展 33
二、 乙女遊戲相關文類研究 36
三、 戀愛遊戲的敘事與媒介特性 40
第三節、 風起雲湧的戀與製作人 43
一、 戀與製作人的市場 43
二、 都會新女性身份的女主角 45
三、 情感作為一種商品 46
四、 被凝視的美男子形象 50
五、 迷的生產與愉悅 52
第四節、 傳播科技與日常生活 56
一、 待馴化的傳播科技 57
二、 走出家庭場域 61
第五節、 小結 64
第三章、 研究方法 66
第一節、 研究問題 66
第二節、 研究設計 67
一、 研究方法的選擇 67
二、 訪談流程 70
三、 訪談對象資料 77
四、 資料整理與分析 81
第四章、 手機乙女遊戲的馴化 83
第一節、 粉紅泡泡的想像 83
一、 流行氛圍 83
二、 過去的消費經驗 86
第二節、 入坑前的傳播科技準備 91
一、 下載階段 91
二、 遊戲階段 92
第三節、 在時間夾縫中進行遊戲 94
一、 日復一日的打卡／打工 94
二、 重拾生活步調 101
第四節、 個人專屬的愉悅 103
一、 被凝視的私密性 106
二、 隱身的迷群 112
第五節、 小結 113
第五章、 當愛情故事躍然於手機螢幕 116
第一節、 只屬於我的戀愛 116
一、 故事幻化為個人經歷 116
二、 只有我知道他的那一面 121
三、 關起門來談情說愛 125
第二節、 以理性為前提的著迷 132
一、 若即若離的愉悅 132
二、 虛擬與真實情感關係 134
第三節、 小結 138
第六章、 結論與建議 139
第一節、 研究發現 139
一、 個人化遊戲的馴化 139
二、 手機乙女遊戲的雙重構連 143
第二節、 研究討論 145
一、 遊戲建立的想像式關係 145
二、 擇其所需的資料庫 146
第三節、 研究貢獻與限制 150
一、 研究貢獻 150
二、 研究限制與後續建議 152
參考文獻 154		zh_TW
dc.format.extent 16660098 bytes-
dc.format.mimetype application/pdf-
dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0109464047en_US
dc.subject (關鍵詞) 乙女遊戲zh_TW
dc.subject (關鍵詞) 女性玩家zh_TW
dc.subject (關鍵詞) 馴化理論zh_TW
dc.subject (關鍵詞) 雙重構連zh_TW
dc.subject (關鍵詞) 資料庫消費zh_TW
dc.subject (關鍵詞) Otome gamesen_US
dc.subject (關鍵詞) Female playersen_US
dc.subject (關鍵詞) Domestication theoryen_US
dc.subject (關鍵詞) Double articulationen_US
dc.subject (關鍵詞) Database consumptionen_US
dc.title (題名) 乙女遊戲玩家實踐研究－ 以《戀與製作人》為例zh_TW
dc.title (題名) A Study of Female Players’ Practices in Otome Games: A Case Study of “Mr. Love: Queen’s Choice”en_US
dc.type (資料類型) thesisen_US
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