學術產出-學位論文
文章檢視/開啟
書目匯出
-
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 2-八月-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.參考文獻 王貞子、劉子強（2006）。〈從旁觀到參與：新媒體敘事結構分析見數位媒體與科技文化〉。邱誌勇編，《數位媒體與科技文化》，頁92-109。台北：遠流。王淑美（2014）。〈馴化IM：即時通訊中的揭露、協商與創造〉。《中華傳播學刊》，25：161-192。朱華瑄譯（2009）。《探究迷文化》。台北：韋伯。（原書：Matt Hills. [2002]. Fan Cultures.）。行政院（2022）。《2022年性別圖像》。取自：https://gec.ey.gov.tw/Page/8996A23EDB9871BE余國強（2017）。〈影片隨身看：數位匯流下的「個人化行動電影院」實踐初探〉，《資訊社會研究》，33：65-114。 doi: 10.29843/JCCIS.201707_(33).0003吳岱芸（2019）。〈從「暫時擴張自我界限」觀點檢視台灣青少年的電玩遊戲動機與行為〉，《中華傳播學刊》，35: 159-198。吳玥、孫源南、朱寧、師曉煒（2020）。〈乙女類電子遊戲對女性玩家理想戀愛觀的影響〉，《青年研究》，4：57-96。李衣雲（2012）。《讀漫畫：讀者、漫畫家和漫畫產業》。台北：群學。李佩真（1998）。《偶像文本的消費意義：迷與偶像關係之探討》。世新大學傳播研究所碩士論文。李延輝譯（2008）。〈新民族誌及對他者的理解〉，《文化研究取徑：新舊方法論的探索》。台北：韋伯。（原書：Saukko, P. [2003]. Doing Research in Cultural Studies: An Introduction to Classical and New Methodological Approaches. London: Sage pubilcation.）李明璁（2009）。〈去／再領域化的西門町：「擬東京」消費地景的想像與建構〉，《文化研究》，9：119-163。汪依穎（2011）。《玩家遊戲動機與角色扮演遊戲化身設計：情感設計觀點的初探性研究》。交通大學傳播研究所碩士論文。周群英譯（2009）。《分析日常生活與文化理論》。台北：韋伯。（原書： Highmore, B. [2002]. Everyday life and cultural theory: An introduction.）。弦琅（2015）。〈日本成人遊戲發展史〉。王佩迪編，《動漫社會學 : 別說得好像還有救！》，頁95-108。台北：奇異果文創出版。林宇玲（2007）。〈偏遠地區學童的電玩實踐與性別建構--以臺北縣烏來地區某 國小六年級學童為例〉，《新聞學研究》，90：43-99。林宇玲（2011）。〈線上遊戲與性別建構〉，《新聞學研究》，108：51-58。林佳樺（2003）。《性與真實：本土言情小說讀者之閱讀論述》。世新大學傳播研究所碩士論文。姚其宏（2019）。《台灣的獨立遊戲發展：出資者、發行商、與平台業對遊戲開發的影響》。政治大學傳播碩士學位學程碩士論文。胡幼慧（1996）。〈轉型中的質性研究：演變、批判和女性主義的研究觀點〉。胡幼慧編，《質性研究：理論、方法及本土女性研究實例》，頁7-26。台北：巨流。胡幼慧、姚美華（1996）。〈一些質性方法上的思考〉。胡幼慧編，《質性研究：理論、方法及本土女性研究實例》，頁141-158。台北：巨流。紐文英（2021）。《質性研究方法與論文寫作》。台北：雙葉。財團法人台灣網路資訊中心（2022）。《2022年台灣網路報告》。取自https://report.twnic.tw/2022/高淑清（2018）。《質性研究的18堂課——首航初探之旅》。高雄：麗文。張玉佩、邱馨玉（2010）。〈遊戲媒體文化之男性氣概探索:文本結構與玩家詮釋〉，《傳播與社會學刊》，12：111-146。張玉佩、錢宛青（2020）。〈邁向成功老化的可能：樂齡玩家、手機遊戲與社會互動〉，《新聞學研究》，143: 1-53。張君玫譯（2002）。《文化消費與日常生活》。台北：巨流。（原書：Storey, J. [1999]. Cultural Consumption and Everyday Life.）張錦惠、王柏偉譯（2011）。《愛情作為激情：論親密性的符碼化》。台北：五南。（原書：Niklas Luhmann. [1994]. Liebe als Passion: Zur Codierung von Intimität.）畢恆達（1996）。〈詮釋學與質性研究〉。胡幼慧編，《質性研究：理論、方法及本土女性研究實例》，頁27-45。台北：巨流。許秀珮（2002）。《羅曼史小說：女人寫給女人的書》。清華大學社會學研究所碩士論文。許夢芸譯（2008）。《文化研究：民族誌方法與生活文化》。台北：韋伯。（原書：Gray, A. [2003]. Research practice for cultural studies: ethnographic methods and lived cultures. London: Sage publication.）陳仲偉（2009）。《日本動漫畫的全球化與迷的文化》。台北：唐山。陳昭希（2015）。《綑綁的愉悅與女性情慾解放： 以《格雷的五十道陰影》之迷群為例》。國立交通大學傳播研究所碩士論文。陳莞欣（2015）。《初探乙女遊戲性別意涵》。臺灣大學新聞研究所碩士論文。黃書瑋（2020）。《穿梭於虛擬與現實：上班族玩家在線上遊戲的社會資本運作之探討》。政治大學傳播碩士在職專班碩士論文。黃錦容譯（2015）。《遊戲性寫實主義的誕生 : 動物化的後現代2》。台北：唐山。（原書：東浩紀. [2007]. ゲーム的リアリズムの誕生：動物化するポストモダン2.）黃璐（2019）。〈幻想與認同：女性向遊戲中玩家的心理分析〉，《今傳媒》，5：70-72。doi: 10.3969/j.issn.1672-8122.2019.05.023椿（2018年7月28日）。〈太太們注意！《戀與製作人》將有台配 同時保留原中配〉，《聯合新聞網》。取自：https://game.udn.com/game/story/10453/3270149 （擷取日期：2023年3月4日）椿（2019年1月29日）。〈角落專訪／《戀與製作人》為什麼這麼紅？〉，《聯合新聞網》。取自：https://game.udn.com/game/story/10453/3619032 （擷取日期：2023年3月4日）溫彩雲、周宣任（2018）。〈戀愛・遊戲・白日夢：女性向戀愛類遊戲的心理作用機制分析〉，《藝術評論》，8: 41-50。資策會（2020）。《數位內容產業年鑑》。取自：https://drive.google.com/file/d/1e7iohqpCyYOt_ld42jcu9GqEhiAP02mm/view褚炫初譯（2012）。《動物化的後現代》。台北：大藝。（原書：東浩紀. [2001]. 動物化するポストモダン——オタクから見た日本社会.）。蔡銘晏（2021）。《青年女性玩家：鑲嵌於社會角色的遊戲行為與意義》。陽明交通大學傳播與科技研究所碩士論文。鄭熙青譯（2016）。《文本盜獵者：電視粉絲與參與式文化》。北京：北京大學出版社。（原書：Jenkins, H. [1992]. Textual Poacher: Television fans and participatory culture.）。盧嵐蘭（2005）。《媒介消費 : 閱聽人與社會》。台北：揚智。蕭湘文（2002）。《漫畫研究：傳播觀點的檢視》。台北：五南。蕭蘋（2003）。〈或敵或友？流行文化與女性主義〉，《台灣社會學刊》，30：135-164。賴怡伶（2000）。《台灣少女漫畫發展與文本創作分析研究》。成功大學藝術研究所碩士論文。霍連彬、米丹（2018）。〈替代性滿足：親密關係視角下手游《戀與製作人》的用戶研究〉，《東南傳播》，6：112-115。龎袿方（2019）。《迷的情感經濟與勞動：防彈少年團（BTS）與迷的社群媒體實踐》。政治大學傳播碩士學位學程碩士論文。蘇碩斌譯（2009）。《媒介文化論：給媒介學習者的 15 講》。台北：群學。（原書：吉見俊哉. [2004]. メディア文化論: メディアを学ぶ人のための15話.）Andlauer, L. (2018). Pursuing One`s Own Prince- Love`s Fantasy in Otome Game Contents and Fan Practice. Mechademia: Second Arc, 11(1), 166-183.Ang, I. (1988). Feminist Desire and Female Pleasure: On Janice Radway`s Reading the Romance: Women, Patriarchy and Popular Literature. Camera obscura (Durham, NC), 6(1), 179-190. doi: 10.1215/02705346-6-1_16-179Ask, K., Sørenssen, I. K., & Moltubakk, S. T. (2021). The struggle and enrichment of play: Domestications and overflows in the everyday life of gamer parents. Nordicom Review, 42(S4), 107–123. https://doi.org/10.2478/nor-2021-0044Buckingham, D. (2006). Doing Game Analysis. In Carr, D., Buckingham, D., Burn, A., & Schott, G. (Eds.), Computer games: text, narrative, and play (pp. 179-190). Cambridge, U.K.: Polity Press.Carr, D. (2006). Games and Gender. In Carr, D., Buckingham, D., Burn, A., & Schott, G. (Eds.), Computer games: text, narrative, and play (pp. 162-178). Cambridge, U.K.: Polity Press.Cassell, J., & Jenkins, H. (1998). From Barbie to Mortal Kombat : gender and computer games. Cambridge: MIT Press.Chess, S. (2017). Ready Player Two: Women Gamers and Designed Identity: Univ Of Minnesota Press.Couclelis, H. (2004). Pizza over the Internet: e-commerce, the fragmentation of activity and the tyranny of the region. Entrepreneurship and regional development, 16(1), 41-54. doi: 10.1080/0898562042000205027Couldry, N. (2004). Theorising media as practice. Social semiotics, 14(2), 115-132. doi:10.1080/1035033042000238295Couldry, N. (2010). Why voice matters : culture and politics after neoliberalism. London: SAGE.De Schutter, B., Brown, J. A., & Vanden Abeele, V. (2015). The domestication of digital games in the lives of older adults. New media & society, 17(7), 1170-1186. doi: 10.1177/1461444814522945Delamere, F. M., & Shaw, S. M. (2008). "They see it as a guy`s game": The politics of gender in digital games. Leisure = Loisir, 32(2), 279-302. doi:10.1080/14927713.2008.9651411Eklund, L. (2011). Doing gender in cyberspace: The performance of gender by female World of Warcraft players. Convergence (London, England), 17(3), 323-342. doi:10.1177/1354856511406472Forster, E. M. (1927). eForeword. In Aspects of the novel (pp. 4-5). NY: Harcourt Brace & World.Friedman, T. (1996). Making sense of software: Computer games and interactive textuality. In S. G. Jones, (Ed.), Cybersociety: Computer-mediated communication and community. (pp. 73-89). Thousands Oaks, CA: Sage.Fujimoto, Y., & Thorn, M. t. (2012). Takahashi Macoto: The Origin of Shōjo Manga Style. Mechademia, 7(1), 24-55. doi: 10.1353/mec.2012.0000Ganzon, S. C. (2019a). Growing the otome game market: Fan labor and otome game communities online. Human technology, 15(3), 347-366. doi: 10.17011/ht/urn.201911265024Ganzon, S. C. (2019b). Investing Time for Your In-Game Boyfriends and BFFs: Time as Commodity and the Simulation of Emotional Labor in Mystic Messenger. Games and culture, 14(2), 139-153. doi: 10.1177/1555412018793068Haddon, L. (2011). Domestication Analysis, Objects of Study, and the Centrality of Technologies in Everyday Life. Canadian journal of communication, 36(2), 311-324. doi: 10.22230/cjc.2011v36n2a2322Hasegawa, K. (2013). Falling in Love with History: Japanese Girls’ Otome Sexuality and Queering Historical Imagination. In Kapell, M. W., & Elliott, A. B. (Eds.), Playing with the past: Digital games and the simulation of history (pp.135-148). London & NY: Bloomsbury Publishing.Herwitz, D. (2008). There Is Only One Star Icon. In The Star as Icon: Celebrity in the Age of Mass Consumption (pp. 23-39). NY: Columbia University Press. https://doi.org/10.7312/herw14540Hjorth, L., & Richardson, I. (2009). The waiting game: complicating notions of (tele)presence and gendered distraction in casual mobile gaming. Australian journal of communication, 36(1), 23-35.Hollows, J. (2000). Feminism, femininity and popular culture. Manchester, England: Manchester University Press.Huyssen, A. (1986). Mass Culture as Woman: Modernism’s Other. In After the great divide : modernism, mass culture, postmodernism (pp. 44-62). Bloomington, Ind: Indiana University Press.IGDA. (2021). Developer Satisfaction Survey. Retrieved from: https://igda-website.s3.us-east-2.amazonaws.com/wp-content/uploads/2021/10/18113901/IGDA-DSS-2021_SummaryReport_2021.pdfIpsos（2021）。《在虛擬世界中創造存在感：虛擬實境及擴增實境的力量》。取自：https://www.ipsos.com/en-tw/creating-sense-presence-power-virtual-and-augmented-reality-zhIto, K. (2005). A History of Manga in the Context of Japanese Culture and Society. Journal of Popular Culture, 38(3), 456-475.Ito, M., Okabe, D. (2005). Intimate Connections: Contextualizing Japanese Youth and Mobile Messaging. In L. P. a. A. T. R. Harper (Ed.), The Inside Text Social, Cultural and Design Perspectives on SMS (pp. 127-45).: Oxford University Press.Ito, Mizuko. (2005). Mobile phones, Japanese youth and the replacement of social contact. In Rich Ling & Per E. Pedersen (Eds.), Mobile communications: Renegotiation of the social sphere (pp. 131-48). London: Springer.Jenkins, H. (2006). Convergence culture: Where old and new media collide. NY: New York University Press.Jenkins, H., Ford, S., & Green, J. (2013). Spreadable media : creating value and meaning in a networked culture. NY: New York University Press.Jenson, J. (1992). Fandom as pathology: The consequences of characterization. In Lewis, L. (Ed.), The Adoring audience: Fan culture and popular media (pp. 9-26). NY: Routedge.Jin, D. Y., Chee, F., & Kim, S. (2015). Transformative mobile game culture: A sociocultural analysis of Korean mobile gaming in the era of smartphones. International Journal of Cultural Studies, 18(4), 413-429. doi: 10.1177/1367877913507473Juul, J. (2010). A casual revolution : reinventing video games and their players / Jesper Juul. Cambridge, Mass: MIT Press.Karlin, J. G. (2012). Through a Looking Glass Darkly: Television Advertising, Idols, and the Making of Fan Audiences. In Galbraith, P.W., Karlin, J.G. (Eds.), Idols and celebrity in Japanese media culture (pp. 72-88). UK: Palgrave Macmillan.Kim, H. (2009). Women’s Games in Japan: Gendered Identity and Narrative Construction. Theory, Culture & Society, 26, 165-188Koike, M., Loughnan, S., Stanton, S. C. E., & Ban, M. (2020). What factors attract people to play romantic video games? PloS one, 15(4). doi:10.1371/journal.pone.0231535Liu, T., & Lai, Z. (2020). From non-player characters to othered participants: Chinese women`s gaming experience in the ‘free’ digital market. Information, communication & society, 1-19. doi:10.1080/1369118X.2020.1791217Lull, J. (1980). The Social Uses of Television. Human Communication Research, 6(3), 197-209.McDonald, Heidi. (2015). Romance in Games: What It Is, How It Is, and How Developers Can Improve It. A Journal in GLBTQ Worldmaking 2: 32–63.Miller, L. (2006). Male Beauty Work. In L. Miller (Ed.), Beauty Up: Exploring Contemporary Japanese Body Aesthetics (pp. 125-158). Berkeley: University of California Press.Morley, D. (1986). Introduction. In Family television : cultural power and domestic leisure. London: Comedia Pub. Group.Morley, D. (2003). What`s `home` Got to do with it?: Contradictory Dynamics in the Domestication of Technology and the Dislocation of Domesticity. European Journal of Cultural Studies, 6(4), 435-458. doi: 10.1177/13675494030064001Murray, J. H. (2006). Toward a Cultural Theory of Gaming: Digital Games and the Co-Evolution of Media, Mind, and Culture. Popular communication, 4(3), 185-202. doi:10.1207/s15405710pc0403_3Nagaike, K. (2012). Johnny’s Idols as Icons: Female Desires to Fantasize and Consume Male Idol Images. In Galbraith, P.W., Karlin, J.G. (Eds.), Idols and Celebrity in Japanese Media Culture (pp. 97-112). UK: Palgrave Macmillan. https://doi.org/10.1057/9781137283788_5Newzoo. (2021). Global Games Market Report 2020. Retrieved from: https://newzoo.com/insights/trend-reports/newzoo-global-games-market-report-2021-free-version/Niko Partners. (2020). Play like a girl: Key ways to engage one of Asia’s fastest growing gaming audiences. Retrieved from: https://nikopartners.com/play-like-a-girl-key-ways-to-engage-one-of-asias-fastest-growing-gaming-audiences/Radway, J. A. (1984). Reading the romance : women, patriarchy, and popular literature. London & New York: Verso.Robinett, W. (2003). The Video Game Theory Reader. In M. J. P. W. a. B. Perron (Ed.), The Video Game Theory Reader (1 Ed.): Routledge.Royse, P., Lee, J., Undrahbuyan, B., Hopson, M., & Consalvo, M. (2007). Women and games: technologies of the gendered self. New media & society, 9(4), 555-576. doi:10.1177/1461444807080322Saito, K. (2021). From Novels to Video Games: Romantic Love and Narrative Form in Japanese Visual Novels and Romance Adventure Games. Arts (Basel), 10(3), 42. doi: 10.3390/arts10030042Sandbye, M. (2014). Play, Process and Materiality in Japanese Purikura Photography. In Larsen, J. (Ed.), Digital snaps : the new face of photography. London: I.B. Tauris.Schott, G. R., & Horrell, K. R. (2000). Girl Gamers and their Relationship with the Gaming Culture. Convergence (London, England), 6(4), 36-53. doi:10.1177/135485650000600404Shamoon, D. (2012). Introduction. In D. Shamoon (Ed.), Passionate Friendship: The Aesthetics of Girls` Culture in Japan (pp. 1-13). Honolulu: University of Hawaii Press.Silverstone, R. (1994). Television and everyday life. London: Routledge.Silverstone, R. (2005). Introduction. In R. Silverstone (Ed.), Media, technology and everyday life in Europe: From information to communication (pp. 1-18). Hants, Canada: Ashgate.Song, W., & Fox, J. (2016). Playing for Love in a Romantic Video Game: Avatar Identification, Parasocial Relationships, and Chinese Women`s Romantic Beliefs. Mass communication & society, 19(2), 197-215. doi:10.1080/15205436.2015.1077972Statista. (2021). Distribution of video gamers worldwide in 2017, by age and gender. Statista. Retrieved from: https://www.statista.com/statistics/722259/world-gamers-by-age-and-gender/Steinberg, M. (2012). Introduction: Rethinking Convergence in Japan. In M. Steinberg (Ed.), Anime`s media mix franchising toys and characters in Japan (pp. vii-xvii). Minneapolis: University of Minnesota Press.Tanikawa, M., & Asahi, Y. (2013). The Study to Clarify the Type of “Otome-Game” User. Paper presented at the Human Interface and the Management of Information. Information and Interaction for Learning, Culture, Collaboration and Business, Berlin, Heidelberg.Taylor, E. (2007). Dating-Simulation Games: Leisure and Gaming of Japanese Youth Culture. Southeast Review of Asian Studies, 29, 192-208. Retrieved from https://search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=82914514&lang=zh-tw&site=ehost-liveTaylor, N., Jenson, J., & de Castell, S. (2009). Cheerleaders/booth babes/ Halo hoes: pro-gaming, gender and jobs for the boys. Digital creativity (Exeter), 20(4), 239-252. doi:10.1080/14626260903290323Taylor, T. L. (2006). Play between worlds : exploring online game culture. Cambridge, Mass: MIT Press.Wagner, K. B., & Liang, M. (2021). Love and Producer as East Asian Transmedia: Otome Games, Sexless Polyamory, and Neoliberal Choice for Chinese and South Korean Young Career-Oriented Women. In F. Gilardi & C. Lam (Eds.), Transmedia in Asia and the Pacific : industry, practice and transcultural dialogues (pp. 129-156). Singapore: Springer Singapore.Watt, I. (1957). The Rise of the Novel:Studies in Defoe, Richardson and Fielding . Berkeley, CA: University of California Press.Willett, R. (2017). Domesticating online games for preteens - discursive fields, everyday gaming, and family life. Children`s geographies, 15(2), 146-159. doi: 10.1080/14733285.2016.1206194World Economic Forum. (2021). Global Gender Gap Report 2021.Yoon, K., & Jin, D. Y. (2016). The Gamification of Mobile Communication among Young Smartphone Users in Seoul. Asiascape: Digital Asia, 3(1-2), 60-78. doi: https://doi.org/10.1163/22142312-12340048 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-Mei en_US dc.contributor.author (作者) 張品萱 zh_TW dc.contributor.author (作者) Chang, Pin-Hsuan en_US dc.creator (作者) 張品萱 zh_TW dc.creator (作者) Chang, Pin-Hsuan en_US dc.date (日期) 2023 en_US dc.date.accessioned 2-八月-2023 14:09:59 (UTC+8) - dc.date.available 2-八月-2023 14:09:59 (UTC+8) - dc.date.issued (上傳時間) 2-八月-2023 14:09:59 (UTC+8) - dc.identifier (其他 識別碼) G0109464047 en_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) 109464047 zh_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/#G0109464047 en_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 games en_US dc.subject (關鍵詞) Female players en_US dc.subject (關鍵詞) Domestication theory en_US dc.subject (關鍵詞) Double articulation en_US dc.subject (關鍵詞) Database consumption en_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) thesis en_US dc.relation.reference (參考文獻) 王貞子、劉子強（2006）。〈從旁觀到參與：新媒體敘事結構分析見數位媒體與科技文化〉。邱誌勇編，《數位媒體與科技文化》，頁92-109。台北：遠流。王淑美（2014）。〈馴化IM：即時通訊中的揭露、協商與創造〉。《中華傳播學刊》，25：161-192。朱華瑄譯（2009）。《探究迷文化》。台北：韋伯。（原書：Matt Hills. [2002]. Fan Cultures.）。行政院（2022）。《2022年性別圖像》。取自：https://gec.ey.gov.tw/Page/8996A23EDB9871BE余國強（2017）。〈影片隨身看：數位匯流下的「個人化行動電影院」實踐初探〉，《資訊社會研究》，33：65-114。 doi: 10.29843/JCCIS.201707_(33).0003吳岱芸（2019）。〈從「暫時擴張自我界限」觀點檢視台灣青少年的電玩遊戲動機與行為〉，《中華傳播學刊》，35: 159-198。吳玥、孫源南、朱寧、師曉煒（2020）。〈乙女類電子遊戲對女性玩家理想戀愛觀的影響〉，《青年研究》，4：57-96。李衣雲（2012）。《讀漫畫：讀者、漫畫家和漫畫產業》。台北：群學。李佩真（1998）。《偶像文本的消費意義：迷與偶像關係之探討》。世新大學傳播研究所碩士論文。李延輝譯（2008）。〈新民族誌及對他者的理解〉，《文化研究取徑：新舊方法論的探索》。台北：韋伯。（原書：Saukko, P. [2003]. Doing Research in Cultural Studies: An Introduction to Classical and New Methodological Approaches. London: Sage pubilcation.）李明璁（2009）。〈去／再領域化的西門町：「擬東京」消費地景的想像與建構〉，《文化研究》，9：119-163。汪依穎（2011）。《玩家遊戲動機與角色扮演遊戲化身設計：情感設計觀點的初探性研究》。交通大學傳播研究所碩士論文。周群英譯（2009）。《分析日常生活與文化理論》。台北：韋伯。（原書： Highmore, B. [2002]. Everyday life and cultural theory: An introduction.）。弦琅（2015）。〈日本成人遊戲發展史〉。王佩迪編，《動漫社會學 : 別說得好像還有救！》，頁95-108。台北：奇異果文創出版。林宇玲（2007）。〈偏遠地區學童的電玩實踐與性別建構--以臺北縣烏來地區某 國小六年級學童為例〉，《新聞學研究》，90：43-99。林宇玲（2011）。〈線上遊戲與性別建構〉，《新聞學研究》，108：51-58。林佳樺（2003）。《性與真實：本土言情小說讀者之閱讀論述》。世新大學傳播研究所碩士論文。姚其宏（2019）。《台灣的獨立遊戲發展：出資者、發行商、與平台業對遊戲開發的影響》。政治大學傳播碩士學位學程碩士論文。胡幼慧（1996）。〈轉型中的質性研究：演變、批判和女性主義的研究觀點〉。胡幼慧編，《質性研究：理論、方法及本土女性研究實例》，頁7-26。台北：巨流。胡幼慧、姚美華（1996）。〈一些質性方法上的思考〉。胡幼慧編，《質性研究：理論、方法及本土女性研究實例》，頁141-158。台北：巨流。紐文英（2021）。《質性研究方法與論文寫作》。台北：雙葉。財團法人台灣網路資訊中心（2022）。《2022年台灣網路報告》。取自https://report.twnic.tw/2022/高淑清（2018）。《質性研究的18堂課——首航初探之旅》。高雄：麗文。張玉佩、邱馨玉（2010）。〈遊戲媒體文化之男性氣概探索:文本結構與玩家詮釋〉，《傳播與社會學刊》，12：111-146。張玉佩、錢宛青（2020）。〈邁向成功老化的可能：樂齡玩家、手機遊戲與社會互動〉，《新聞學研究》，143: 1-53。張君玫譯（2002）。《文化消費與日常生活》。台北：巨流。（原書：Storey, J. [1999]. Cultural Consumption and Everyday Life.）張錦惠、王柏偉譯（2011）。《愛情作為激情：論親密性的符碼化》。台北：五南。（原書：Niklas Luhmann. [1994]. Liebe als Passion: Zur Codierung von Intimität.）畢恆達（1996）。〈詮釋學與質性研究〉。胡幼慧編，《質性研究：理論、方法及本土女性研究實例》，頁27-45。台北：巨流。許秀珮（2002）。《羅曼史小說：女人寫給女人的書》。清華大學社會學研究所碩士論文。許夢芸譯（2008）。《文化研究：民族誌方法與生活文化》。台北：韋伯。（原書：Gray, A. [2003]. Research practice for cultural studies: ethnographic methods and lived cultures. London: Sage publication.）陳仲偉（2009）。《日本動漫畫的全球化與迷的文化》。台北：唐山。陳昭希（2015）。《綑綁的愉悅與女性情慾解放： 以《格雷的五十道陰影》之迷群為例》。國立交通大學傳播研究所碩士論文。陳莞欣（2015）。《初探乙女遊戲性別意涵》。臺灣大學新聞研究所碩士論文。黃書瑋（2020）。《穿梭於虛擬與現實：上班族玩家在線上遊戲的社會資本運作之探討》。政治大學傳播碩士在職專班碩士論文。黃錦容譯（2015）。《遊戲性寫實主義的誕生 : 動物化的後現代2》。台北：唐山。（原書：東浩紀. [2007]. ゲーム的リアリズムの誕生：動物化するポストモダン2.）黃璐（2019）。〈幻想與認同：女性向遊戲中玩家的心理分析〉，《今傳媒》，5：70-72。doi: 10.3969/j.issn.1672-8122.2019.05.023椿（2018年7月28日）。〈太太們注意！《戀與製作人》將有台配 同時保留原中配〉，《聯合新聞網》。取自：https://game.udn.com/game/story/10453/3270149 （擷取日期：2023年3月4日）椿（2019年1月29日）。〈角落專訪／《戀與製作人》為什麼這麼紅？〉，《聯合新聞網》。取自：https://game.udn.com/game/story/10453/3619032 （擷取日期：2023年3月4日）溫彩雲、周宣任（2018）。〈戀愛・遊戲・白日夢：女性向戀愛類遊戲的心理作用機制分析〉，《藝術評論》，8: 41-50。資策會（2020）。《數位內容產業年鑑》。取自：https://drive.google.com/file/d/1e7iohqpCyYOt_ld42jcu9GqEhiAP02mm/view褚炫初譯（2012）。《動物化的後現代》。台北：大藝。（原書：東浩紀. [2001]. 動物化するポストモダン——オタクから見た日本社会.）。蔡銘晏（2021）。《青年女性玩家：鑲嵌於社會角色的遊戲行為與意義》。陽明交通大學傳播與科技研究所碩士論文。鄭熙青譯（2016）。《文本盜獵者：電視粉絲與參與式文化》。北京：北京大學出版社。（原書：Jenkins, H. [1992]. Textual Poacher: Television fans and participatory culture.）。盧嵐蘭（2005）。《媒介消費 : 閱聽人與社會》。台北：揚智。蕭湘文（2002）。《漫畫研究：傳播觀點的檢視》。台北：五南。蕭蘋（2003）。〈或敵或友？流行文化與女性主義〉，《台灣社會學刊》，30：135-164。賴怡伶（2000）。《台灣少女漫畫發展與文本創作分析研究》。成功大學藝術研究所碩士論文。霍連彬、米丹（2018）。〈替代性滿足：親密關係視角下手游《戀與製作人》的用戶研究〉，《東南傳播》，6：112-115。龎袿方（2019）。《迷的情感經濟與勞動：防彈少年團（BTS）與迷的社群媒體實踐》。政治大學傳播碩士學位學程碩士論文。蘇碩斌譯（2009）。《媒介文化論：給媒介學習者的 15 講》。台北：群學。（原書：吉見俊哉. [2004]. メディア文化論: メディアを学ぶ人のための15話.）Andlauer, L. (2018). Pursuing One`s Own Prince- Love`s Fantasy in Otome Game Contents and Fan Practice. Mechademia: Second Arc, 11(1), 166-183.Ang, I. (1988). Feminist Desire and Female Pleasure: On Janice Radway`s Reading the Romance: Women, Patriarchy and Popular Literature. Camera obscura (Durham, NC), 6(1), 179-190. doi: 10.1215/02705346-6-1_16-179Ask, K., Sørenssen, I. K., & Moltubakk, S. T. (2021). The struggle and enrichment of play: Domestications and overflows in the everyday life of gamer parents. Nordicom Review, 42(S4), 107–123. https://doi.org/10.2478/nor-2021-0044Buckingham, D. (2006). Doing Game Analysis. In Carr, D., Buckingham, D., Burn, A., & Schott, G. (Eds.), Computer games: text, narrative, and play (pp. 179-190). Cambridge, U.K.: Polity Press.Carr, D. (2006). Games and Gender. In Carr, D., Buckingham, D., Burn, A., & Schott, G. (Eds.), Computer games: text, narrative, and play (pp. 162-178). Cambridge, U.K.: Polity Press.Cassell, J., & Jenkins, H. (1998). From Barbie to Mortal Kombat : gender and computer games. Cambridge: MIT Press.Chess, S. (2017). Ready Player Two: Women Gamers and Designed Identity: Univ Of Minnesota Press.Couclelis, H. (2004). Pizza over the Internet: e-commerce, the fragmentation of activity and the tyranny of the region. Entrepreneurship and regional development, 16(1), 41-54. doi: 10.1080/0898562042000205027Couldry, N. (2004). Theorising media as practice. Social semiotics, 14(2), 115-132. doi:10.1080/1035033042000238295Couldry, N. (2010). Why voice matters : culture and politics after neoliberalism. London: SAGE.De Schutter, B., Brown, J. A., & Vanden Abeele, V. (2015). The domestication of digital games in the lives of older adults. New media & society, 17(7), 1170-1186. doi: 10.1177/1461444814522945Delamere, F. M., & Shaw, S. M. (2008). "They see it as a guy`s game": The politics of gender in digital games. Leisure = Loisir, 32(2), 279-302. doi:10.1080/14927713.2008.9651411Eklund, L. (2011). Doing gender in cyberspace: The performance of gender by female World of Warcraft players. Convergence (London, England), 17(3), 323-342. doi:10.1177/1354856511406472Forster, E. M. (1927). eForeword. In Aspects of the novel (pp. 4-5). NY: Harcourt Brace & World.Friedman, T. (1996). Making sense of software: Computer games and interactive textuality. In S. G. Jones, (Ed.), Cybersociety: Computer-mediated communication and community. (pp. 73-89). Thousands Oaks, CA: Sage.Fujimoto, Y., & Thorn, M. t. (2012). Takahashi Macoto: The Origin of Shōjo Manga Style. Mechademia, 7(1), 24-55. doi: 10.1353/mec.2012.0000Ganzon, S. C. (2019a). Growing the otome game market: Fan labor and otome game communities online. Human technology, 15(3), 347-366. doi: 10.17011/ht/urn.201911265024Ganzon, S. C. (2019b). Investing Time for Your In-Game Boyfriends and BFFs: Time as Commodity and the Simulation of Emotional Labor in Mystic Messenger. Games and culture, 14(2), 139-153. doi: 10.1177/1555412018793068Haddon, L. (2011). Domestication Analysis, Objects of Study, and the Centrality of Technologies in Everyday Life. Canadian journal of communication, 36(2), 311-324. doi: 10.22230/cjc.2011v36n2a2322Hasegawa, K. (2013). Falling in Love with History: Japanese Girls’ Otome Sexuality and Queering Historical Imagination. In Kapell, M. W., & Elliott, A. B. (Eds.), Playing with the past: Digital games and the simulation of history (pp.135-148). London & NY: Bloomsbury Publishing.Herwitz, D. (2008). There Is Only One Star Icon. In The Star as Icon: Celebrity in the Age of Mass Consumption (pp. 23-39). NY: Columbia University Press. https://doi.org/10.7312/herw14540Hjorth, L., & Richardson, I. (2009). The waiting game: complicating notions of (tele)presence and gendered distraction in casual mobile gaming. Australian journal of communication, 36(1), 23-35.Hollows, J. (2000). Feminism, femininity and popular culture. Manchester, England: Manchester University Press.Huyssen, A. (1986). Mass Culture as Woman: Modernism’s Other. In After the great divide : modernism, mass culture, postmodernism (pp. 44-62). Bloomington, Ind: Indiana University Press.IGDA. (2021). Developer Satisfaction Survey. Retrieved from: https://igda-website.s3.us-east-2.amazonaws.com/wp-content/uploads/2021/10/18113901/IGDA-DSS-2021_SummaryReport_2021.pdfIpsos（2021）。《在虛擬世界中創造存在感：虛擬實境及擴增實境的力量》。取自：https://www.ipsos.com/en-tw/creating-sense-presence-power-virtual-and-augmented-reality-zhIto, K. (2005). A History of Manga in the Context of Japanese Culture and Society. Journal of Popular Culture, 38(3), 456-475.Ito, M., Okabe, D. (2005). Intimate Connections: Contextualizing Japanese Youth and Mobile Messaging. In L. P. a. A. T. R. Harper (Ed.), The Inside Text Social, Cultural and Design Perspectives on SMS (pp. 127-45).: Oxford University Press.Ito, Mizuko. (2005). Mobile phones, Japanese youth and the replacement of social contact. In Rich Ling & Per E. Pedersen (Eds.), Mobile communications: Renegotiation of the social sphere (pp. 131-48). London: Springer.Jenkins, H. (2006). Convergence culture: Where old and new media collide. NY: New York University Press.Jenkins, H., Ford, S., & Green, J. (2013). Spreadable media : creating value and meaning in a networked culture. NY: New York University Press.Jenson, J. (1992). Fandom as pathology: The consequences of characterization. In Lewis, L. (Ed.), The Adoring audience: Fan culture and popular media (pp. 9-26). NY: Routedge.Jin, D. Y., Chee, F., & Kim, S. (2015). Transformative mobile game culture: A sociocultural analysis of Korean mobile gaming in the era of smartphones. International Journal of Cultural Studies, 18(4), 413-429. doi: 10.1177/1367877913507473Juul, J. (2010). A casual revolution : reinventing video games and their players / Jesper Juul. Cambridge, Mass: MIT Press.Karlin, J. G. (2012). Through a Looking Glass Darkly: Television Advertising, Idols, and the Making of Fan Audiences. In Galbraith, P.W., Karlin, J.G. (Eds.), Idols and celebrity in Japanese media culture (pp. 72-88). UK: Palgrave Macmillan.Kim, H. (2009). Women’s Games in Japan: Gendered Identity and Narrative Construction. Theory, Culture & Society, 26, 165-188Koike, M., Loughnan, S., Stanton, S. C. E., & Ban, M. (2020). What factors attract people to play romantic video games? PloS one, 15(4). doi:10.1371/journal.pone.0231535Liu, T., & Lai, Z. (2020). From non-player characters to othered participants: Chinese women`s gaming experience in the ‘free’ digital market. Information, communication & society, 1-19. doi:10.1080/1369118X.2020.1791217Lull, J. (1980). The Social Uses of Television. Human Communication Research, 6(3), 197-209.McDonald, Heidi. (2015). Romance in Games: What It Is, How It Is, and How Developers Can Improve It. A Journal in GLBTQ Worldmaking 2: 32–63.Miller, L. (2006). Male Beauty Work. In L. Miller (Ed.), Beauty Up: Exploring Contemporary Japanese Body Aesthetics (pp. 125-158). Berkeley: University of California Press.Morley, D. (1986). Introduction. In Family television : cultural power and domestic leisure. London: Comedia Pub. Group.Morley, D. (2003). What`s `home` Got to do with it?: Contradictory Dynamics in the Domestication of Technology and the Dislocation of Domesticity. European Journal of Cultural Studies, 6(4), 435-458. doi: 10.1177/13675494030064001Murray, J. H. (2006). Toward a Cultural Theory of Gaming: Digital Games and the Co-Evolution of Media, Mind, and Culture. Popular communication, 4(3), 185-202. doi:10.1207/s15405710pc0403_3Nagaike, K. (2012). Johnny’s Idols as Icons: Female Desires to Fantasize and Consume Male Idol Images. In Galbraith, P.W., Karlin, J.G. (Eds.), Idols and Celebrity in Japanese Media Culture (pp. 97-112). UK: Palgrave Macmillan. https://doi.org/10.1057/9781137283788_5Newzoo. (2021). Global Games Market Report 2020. Retrieved from: https://newzoo.com/insights/trend-reports/newzoo-global-games-market-report-2021-free-version/Niko Partners. (2020). Play like a girl: Key ways to engage one of Asia’s fastest growing gaming audiences. Retrieved from: https://nikopartners.com/play-like-a-girl-key-ways-to-engage-one-of-asias-fastest-growing-gaming-audiences/Radway, J. A. (1984). Reading the romance : women, patriarchy, and popular literature. London & New York: Verso.Robinett, W. (2003). The Video Game Theory Reader. In M. J. P. W. a. B. Perron (Ed.), The Video Game Theory Reader (1 Ed.): Routledge.Royse, P., Lee, J., Undrahbuyan, B., Hopson, M., & Consalvo, M. (2007). Women and games: technologies of the gendered self. New media & society, 9(4), 555-576. doi:10.1177/1461444807080322Saito, K. (2021). From Novels to Video Games: Romantic Love and Narrative Form in Japanese Visual Novels and Romance Adventure Games. Arts (Basel), 10(3), 42. doi: 10.3390/arts10030042Sandbye, M. (2014). Play, Process and Materiality in Japanese Purikura Photography. In Larsen, J. (Ed.), Digital snaps : the new face of photography. London: I.B. Tauris.Schott, G. R., & Horrell, K. R. (2000). Girl Gamers and their Relationship with the Gaming Culture. Convergence (London, England), 6(4), 36-53. doi:10.1177/135485650000600404Shamoon, D. (2012). Introduction. In D. Shamoon (Ed.), Passionate Friendship: The Aesthetics of Girls` Culture in Japan (pp. 1-13). Honolulu: University of Hawaii Press.Silverstone, R. (1994). Television and everyday life. London: Routledge.Silverstone, R. (2005). Introduction. In R. Silverstone (Ed.), Media, technology and everyday life in Europe: From information to communication (pp. 1-18). Hants, Canada: Ashgate.Song, W., & Fox, J. (2016). Playing for Love in a Romantic Video Game: Avatar Identification, Parasocial Relationships, and Chinese Women`s Romantic Beliefs. Mass communication & society, 19(2), 197-215. doi:10.1080/15205436.2015.1077972Statista. (2021). Distribution of video gamers worldwide in 2017, by age and gender. Statista. Retrieved from: https://www.statista.com/statistics/722259/world-gamers-by-age-and-gender/Steinberg, M. (2012). Introduction: Rethinking Convergence in Japan. In M. Steinberg (Ed.), Anime`s media mix franchising toys and characters in Japan (pp. vii-xvii). Minneapolis: University of Minnesota Press.Tanikawa, M., & Asahi, Y. (2013). The Study to Clarify the Type of “Otome-Game” User. Paper presented at the Human Interface and the Management of Information. Information and Interaction for Learning, Culture, Collaboration and Business, Berlin, Heidelberg.Taylor, E. (2007). Dating-Simulation Games: Leisure and Gaming of Japanese Youth Culture. Southeast Review of Asian Studies, 29, 192-208. Retrieved from https://search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=82914514&lang=zh-tw&site=ehost-liveTaylor, N., Jenson, J., & de Castell, S. (2009). Cheerleaders/booth babes/ Halo hoes: pro-gaming, gender and jobs for the boys. Digital creativity (Exeter), 20(4), 239-252. doi:10.1080/14626260903290323Taylor, T. L. (2006). Play between worlds : exploring online game culture. Cambridge, Mass: MIT Press.Wagner, K. B., & Liang, M. (2021). Love and Producer as East Asian Transmedia: Otome Games, Sexless Polyamory, and Neoliberal Choice for Chinese and South Korean Young Career-Oriented Women. In F. Gilardi & C. Lam (Eds.), Transmedia in Asia and the Pacific : industry, practice and transcultural dialogues (pp. 129-156). Singapore: Springer Singapore.Watt, I. (1957). The Rise of the Novel:Studies in Defoe, Richardson and Fielding . Berkeley, CA: University of California Press.Willett, R. (2017). Domesticating online games for preteens - discursive fields, everyday gaming, and family life. Children`s geographies, 15(2), 146-159. doi: 10.1080/14733285.2016.1206194World Economic Forum. (2021). Global Gender Gap Report 2021.Yoon, K., & Jin, D. Y. (2016). The Gamification of Mobile Communication among Young Smartphone Users in Seoul. Asiascape: Digital Asia, 3(1-2), 60-78. doi: https://doi.org/10.1163/22142312-12340048 zh_TW
