미소년을 기르는 여성들: 인디/동인게임을 플레이하는 여성 게이머 연구 (A Study on Female Players who Play Indie/Dongin Games)

서지정보

· 발행기관 : 한국여성커뮤니케이션학회
· 수록지 정보 : 미디어, 젠더 & 문화 / 19호 / 145 ~ 177페이지
· 저자명 : 장민지, 윤태진

초록

이 연구는 인디/동인게임인 <어이쿠 왕자님>을 생산/소비하는 여성 게이머들의 경험을 분석함으로써 여성들의 주체 위치와 젠더 정체성 및 섹슈얼리티의 유동성을 확인하는 것을 목표로 하였다. 이를 위해 여성 게이머 11명을 심층인터뷰하였다. 연구 결과, 여성 게이머들은 ‘보이는 대상’에서 ‘보는 주체’로서의 여성, 그리고 ‘이성애 중심의 젠더체계 전복’이라는 이중적 패러디를 생산함을 알 수 있었으며, 이 과정에서 유희적이고 해체적이면서 창조적인 특성을 보였다. 한편 인디/동인문화에 참여하는 여성들은 텍스트를 자신들의 방식으로 변형시켜 풍부하고 복잡한 텍스트를 재창조해내고 공유하는 적극적인 문화생산을 실천하고 있었다. 결론적으로, 인디/동인게임을 소비하는 여성 게이머는 현실의 성 질서를 위반한 동성애 게임텍스트를 시뮬레이션화하고 그를 통해 다면적이고 가변적인 성 정체성을 구성하게 되는 것이다.

영어초록

This study is to analyze experiences of female gamers who produce and consume <Oops! Prince> which is Indie/Dongin Games in Korea. The researchers also aim to delineate the cultural significance of certain female gamers who make their own text and community with male-homoerotic narrative spinning of <Princess Maker>, a well-known raising simulation game focused on existing male-centered ideologies. As a result of combining a variety of methods, in-depth interview and text analysis among others, researchers could highlight a few findings. Female gamers of <Oops! Prince> overcome gender trouble. This process induces double parody, which is subversion of women as a seeing subject from showing object, while asserting compulsory heterosexuality. Under the new set of parodied gender rules, women gamers realized that male gender can be dis-powered to empty signifier articulated as the versatile identification given to the ‘father’ and ‘son’ character of game in parodied gender order. From male gender to female, accessibility of flexible sexual identification through same channel is maintained in the new text. Women gamers overthrow conventional binary gender system and substitute or identify own gender in a unique text including the possibility of selecting mother and father. Eventually, female gamers draw conclusions to perform the game through critical approach of decomposing male gender, which appears as key characters in the game by playing <Oops! Prince>. Female gamers occupy user position, but they consume the text and to create new complicated text and actively share cultural production. In cyberspace where Indie/Dongin games are both produced and consumed, female gamers incessantly takes part in this cycle. Women’s imagination determines the creative result of interactive activity in cyberspace. Female gamers consume Indie/Dongin games as fantasy device, which defy conformed sex order of reality and invite variable gender identities

참고자료

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