Julian KücklichMMOGs als sozialeUtopieräumere:publica 07, Berlin13. April 2007
Utopie und Virtualität
Von der Utopie zur Dystopie
MMOGs: Utopie ...
... Dystopie ...
... oder Spiegel der Zeit?
Der Roman als Modell              Textualität              Narrativität              Dialogizität              Realismus
Der Roman als Modell              Textualität
Der Roman als Modell              Textualität              Narrativität
Der Tod des Autors?„For the traditional readerelectronic writing offerslittle comfort; it will infact confirm much of what...
Der Roman als Modell               Narrativität            „Wir haben festge-            stellt, daß die            Tragöd...
Der Roman als Modell               Narrativität            „Wir haben festge-            stellt, daß die            Tragöd...
Der Roman als Modell               Narrativität            „Narrative has            something to do            with timeb...
Der Roman als Modell              Narrativität              Dialogizität             „A cybertext is a             machine...
Der Roman als Modell              Dialogizität                Scutter, he                cried thickly                She ...
Der Roman als Modell              Dialogizität                lol ME ME ME!                it saves                ur !@# ...
Der Roman als Modell „When heteroglossia enters the novel it becomes subject to an artistic reworking. The social and hist...
Der Roman als Modell              Dialogizität              Realismus               lol ME ME ME!                it saves ...
Der Roman als Modell                 Realismus            „Realistic-ness            and realism are            most certa...
Der Roman als Modell                    Realismus         „[The realist novel‘s]         greatness and practical         u...
Der Roman als Modell              Utopie?              Textualität              Narrativität              Dystopie?       ...
Utopie oder Dystopie?  we lived to fight  another day!lol ME ME ME!              By pressing the                          ...
Utopie oder Dystopie?„But one new and interesting thingin this EULA [...] is the fact thatyou will be giving up your right...
Utopie oder Dystopie?                   39,99
Utopie oder Dystopie?„Player activity is productive in a number ofways. The basic ergodic nature of the gametext requires ...
Utopie oder Dystopie? „There‘s no way to measure the reasonableness of virtual world design decisions [...]. Artists do wh...
Utopie oder Dystopie?              I don‘t want to              surrender control. I              hate the notion of      ...
Utopie oder Dystopie?„Game fictions are all about testing of ‚hypotheses‘,‚options‘, and ‚imaginative alternatives, all ab...
julian@kuecklich.de
Utopie oder Dystopie?              “Then the cheaters came. As a              social construct, despite being             ...
Upcoming SlideShare
Loading in …5
×

MMOGs als soziale Utopieräume

594 views

Published on

0 Comments
0 Likes
Statistics
Notes
  • Be the first to comment

  • Be the first to like this

No Downloads
Views
Total views
594
On SlideShare
0
From Embeds
0
Number of Embeds
1
Actions
Shares
0
Downloads
5
Comments
0
Likes
0
Embeds 0
No embeds

No notes for slide

MMOGs als soziale Utopieräume

  1. 1. Julian KücklichMMOGs als sozialeUtopieräumere:publica 07, Berlin13. April 2007
  2. 2. Utopie und Virtualität
  3. 3. Von der Utopie zur Dystopie
  4. 4. MMOGs: Utopie ...
  5. 5. ... Dystopie ...
  6. 6. ... oder Spiegel der Zeit?
  7. 7. Der Roman als Modell Textualität Narrativität Dialogizität Realismus
  8. 8. Der Roman als Modell Textualität
  9. 9. Der Roman als Modell Textualität Narrativität
  10. 10. Der Tod des Autors?„For the traditional readerelectronic writing offerslittle comfort; it will infact confirm much of whatthe deconstructionists […]have been saying about Jay D. Bolterthe instability of the textand decreasing authorityof the author“
  11. 11. Der Roman als Modell Narrativität „Wir haben festge- stellt, daß die Tragödie die Nach- ahmung einer in sich geschlossenen und ganzen Hand- lung ist [...]. Ein Ganzes ist, was Aristoteles Anfang, Mitte und Ende hat.“
  12. 12. Der Roman als Modell Narrativität „Wir haben festge- stellt, daß die Tragödie die Nach- ahmung einer in sich geschlossenen und ganzen Hand- lung ist [...]. Ein Ganzes ist, was Aristoteles Anfang, Mitte und Ende hat.“
  13. 13. Der Roman als Modell Narrativität „Narrative has something to do with timebounded- ness, and plot is the internal logic of the discourse of mortality“ Peter Brooks
  14. 14. Der Roman als Modell Narrativität Dialogizität „A cybertext is a machine for the production of a variety of expressions“ Espen Aarseth Espen Aarseth
  15. 15. Der Roman als Modell Dialogizität Scutter, he cried thickly She has it, she got it, Wherever she put it The leg of the duck. Vidi aquam egre- dientem de templo a latere dextro. Alleluia
  16. 16. Der Roman als Modell Dialogizität lol ME ME ME! it saves ur !@# we lived to fight another day!
  17. 17. Der Roman als Modell „When heteroglossia enters the novel it becomes subject to an artistic reworking. The social and historical voices populating language, all its words and all its forms, which provide language with its particular concrete conceptualizations, are organized in the novel into a structured stylistic system that expresses the M. Bachtin differentiated socio-ideological position of the author amid the heteroglossia of his epoch.“
  18. 18. Der Roman als Modell Dialogizität Realismus lol ME ME ME! it saves ur !@# we lived to fight another day!
  19. 19. Der Roman als Modell Realismus „Realistic-ness and realism are most certainly not the same thing“ A. Galloway
  20. 20. Der Roman als Modell Realismus „[The realist novel‘s] greatness and practical usefulness lay in its unremitting work of involving the reader himself in the moral life, inviting him to put his own motives under examination, suggest- Lionel Trilling ing that reality is not as his conventional edu- cation has led him to see it.“
  21. 21. Der Roman als Modell Utopie? Textualität Narrativität Dystopie? Dialogizität Realismus
  22. 22. Utopie oder Dystopie? we lived to fight another day!lol ME ME ME! By pressing the ‚I accept‘ button, you accept the it saves terms and con- ur !@# ditions below Dialogizität
  23. 23. Utopie oder Dystopie?„But one new and interesting thingin this EULA [...] is the fact thatyou will be giving up your rights ofownership over anything that youbuild and leave in the world.Moreover if something goes wrongwith the world, or if the powers that E. Castronovabe decide to change some part ofthe code, and as a result you losesomething important to you, youhave no right to expectcompensation. [...]“
  24. 24. Utopie oder Dystopie? 39,99
  25. 25. Utopie oder Dystopie?„Player activity is productive in a number ofways. The basic ergodic nature of the gametext requires player input in order toadvance the game. In emergent games likeEverQuest this can be a creative process 39,99which leads to unexpected or unpredictableresults [...]. Players are also a source offeedback and suggestions; act as quasibug-testers; are active on game bulletinboards. […] Finally there are the social andcommunity investment of players that buildimportant structural features such as thesocial networks found in guilds, and thelong-term friendships and team-likerelationships that lead to player retention inthe game“ (Sal Humphries)
  26. 26. Utopie oder Dystopie? „There‘s no way to measure the reasonableness of virtual world design decisions [...]. Artists do what artists do.“ Richard Bartle „The nature of virtual spaces is such that there must [...] be a higher power or administrator. [...] By declaring that avatars have rights, we‘re abrogating that administrator‘s right to personalRaph Koster property.“
  27. 27. Utopie oder Dystopie? I don‘t want to surrender control. I hate the notion of rights for players.
  28. 28. Utopie oder Dystopie?„Game fictions are all about testing of ‚hypotheses‘,‚options‘, and ‚imaginative alternatives, all about offeringthe ‚contents‘ and not the authored and fixed meaning of asingle imaginative possibility“ (Barry Atkins)
  29. 29. julian@kuecklich.de
  30. 30. Utopie oder Dystopie? “Then the cheaters came. As a social construct, despite being virtual, the online world of Diablo was just as susceptible to cheaters as the real world. […] New players had found ways of illegitimately altering their characters. Using a technique called duping, they could duplicate any item they owned, or even fabricate them out of thin air.” (Andy Kuo)

×