Žene koje vole vampire: Analiza popularnosti lika Astariona iz video–igare Baldur's Gate 3 među igračima koji nisu muškarci
DOI:
https://doi.org/10.21301/eap.v21i1.11Ključne reči:
video igre, vampiri, ženska perspektiva, popularna kultura, digitalna antropologija, Baldur’s Gate 3Apstrakt
Iako je evidentno da danas sve više žena igra video igre svih žanrova, video igre se u javnom diskursu često tretiraju kao medij isključivo za muškarce. U skladu sa ovim stereotipom, likovi iz video igrara su najčešće napravljeni upravo po ukusu muškaraca. Međutim, kada je 2023. izašla video igra Baldur’s Gate 3 (treći deo sada već legendarne franšize) bilo je evidentno da je lik pod imenom Astarion postao izuzetno popularan među ženskim igračima – brojni fanovii u online zajednicama su izražavali koliko im se lik dopada, kreirajući značajan broj fan–medija o njemu. Interesantan aspekt je to da je Astarion predstavljen kao vampir, biće koje je izuzetno bitno u popularnoj kulturi još od 19. veka. Igranjem igrice se može uvideti da je Astarionova priča vrlo razrađena i povezana sa bitnim temama seksualnog nasilja i telesne autonomije. S obzirom da su priče o muškom seksualnom nasilju retke, a još ređe kad je reč o likovima vampira (koji su neretko prikazani kao monstrumi i predatori koji vrše zlostavljanje), istraživanje ulazi u analizu toga na koji način je ovaj narativ povezao sa arhetipom, te kako se oni uklapaju jedan u drugog kroz utvrđene teme seksualnosti. Na osnovu toga dalje se ulazi u pregled toga zašto se upravo ovakav lik sviđa fanovima, koliku ulogu u tome igra sam vampir, a koliko je reč o narrative koji u obzir uzima ženska iskustva traume. Analizirajući intervjue sa ženskim i ne–binarnim fanovima igrice, rad nudi odgovor šta to lik Astariona čini takvim da se on uklapa u žensku perspektivu, kao i to zbog čega to ima veze sa njegovim vampirskim odlikama. Konačna ideja je da arhetip vampira sa sobom nosi poznate i već popularne metafore seksualnosti koje igrica dalje prilagođava relevantnim temama, dok medijum video igre i sama kompleksnost narativa nude ne–muškim igračima sredstvo i agens pomoću kojeg oni/r mogu da se povežu sa likom i osete aktivnim delom narativa o seksualnom zlostravljanju, odnosno nečemu što je često deo njihovog iskustva.
##plugins.generic.usageStats.downloads##
Reference
Auerbach, Nina. 1995. Our Vampires, Ourselves. Chicago: University of Chicago Press.
Bacon–Smith, Camille. 1992. Enterprising Women: Television Fandom and the Creation of Popular Myth. Philadelphia: University of Pennsylvania Press.
Baker, David. 2021. “Browning’s Dracula and the Development of the Classical Screen Vampire: Genre, Form, and Figure”. Continuum: Journal of Media & Cultural Studies 35 (2): 205–219. https://doi.org/10.1080/10304312.2021.1936826
Bandić, Dušan. 1980. „Vampir u religijskim shvatanjima jugoslovenskih naroda”. Kultura 50: 81–103.
Boellstorff, Tom; Bonnie Nardi, Celia Pearce, and T. L. Taylor 2012. Ethnography and virtual worlds: a handbook of method. Princeton and Oxford: Princeton University Press
Carter, Margaret L. 1997. “The Vampire as Alien in Contemporary Fiction”. In Blood Read: The Vampire as Metaphor in Contemporary Culture, edited by. Joan Gordon and Veronica Hollinger, 27–44. Philadelphia: University of Pennsylvania Press.
Cassell, Justine, and Henry Jenkins. 1998. “Chess for Girls? Feminism and Computer Games.” In From Barbie to Mortal Kombat: Gender and Computer Games, edited by Justine Cassell and Henry Jenkins, 2–45. Cambridge, MA: The MIT Press.
Chess, Shira. 2020. Play Like a Feminist. Cambridge, MA: The MIT Press.
Demetrakopoulos, Stephanie. 1977. “Feminism, Sex Role Exchanges, and Other Subliminal Fantasies in Bram Stoker’s Dracula”. Frontiers: A Journal of Women Studies 2 (3): 104–113.
Dresser, Norine. 1989. American Vampires: Fans, Victims & Practitioners. New York: Vintage Books.
Gavrilović, Ljiljana. 2016. Stvarnije od stvarnog – antropologija Azerota. Beograd: Etnografski institut SANU
George, Sam and Bill Hughes. 2013. “Introduction: Undead Reflections: The Sympathetic Vampire and Its Monstrous Other”. Gothic Studies 15 (1): 1–7. https://doi.org/10.7227/GS.15.1.1.
Hallab, Mary Y. 2009. Vampire God: The Allure of the Undead in Western Culture. Albany: State University of New York Press.
Jennings, Stephanie C. 2018. “Women Agents and Double–Agents: Theorizing Feminine Gaze in Video Games” In Feminism in Play, edited by Kishonna L. Gray, Gerald Voorhees, Emma Vossen, 235–250. Cham: Palgrave Macmillan. https://doi.org/10.1007/978–3–319–90539–6
Kougioumtzoglou, Georgios, Angelica Antonakis, and Anastasios Theodoropoulos. 2025. “The Evolution of Women and Gender Representation in computerized RPGs: The Baldur's Gate Paradigm.” In Conference Proceedings of DiGRA 2025: Games at the Crossroads. n.p.
Łuksza, Agata. 2015. “Sleeping with a Vampire: Empowerment, Submission, and Female Desire in Contemporary Vampire Fiction”. Feminist Media Studies 15 (3): 429–443. https://doi.org/10.1080/14680777.2014.945607
Mc Grath, Mary Elizabeth. 2025. “Queernormativity & freedom in Baldur’s Gate 3: Enabling true self exploration & expression for queer players.” PhD diss., Institute of Art, Design+ Technology.
Nardi, Bonnie A. 2010. My Life as a Night Elf Priest: An Anthropological Account of World of Warcraft. Ann Arbor: University of Michigan Press.
Peterson, Jon. 2013. Playing the World. San Diego: Untreason Press.
Schleiner, Anne–Marie. 2001. “Does Lara Croft Wear Fake Polygons? Gender and Gender–Role Subversion in Computer Adventure Games.” Leonardo 34 (3): 221–226.
Shaw, Adrienne. 2014. Gaming at the Edge: Sexuality and Gender at the Margins of Gamer Culture. Minneapolis: University of Minnesota Press.
Tomc, Sandra. 1997. “Dieting and Damnation: Anne Rice’s Interview with the Vampire”. In Blood Read: The Vampire as Metaphor in Contemporary Culture, edited by Joan Gordon and Veronica Hollinger, 95–114. Philadelphia: University of Pennsylvania Press.
Trbojević, Danilo. 2021. “Društvena i politička instrumentalizacija predstava o vampiru na Balkanu: prilagodljivost besmrtnog motiva”. PhD diss. Filozofski fakultet, Univerzitet u Beogradu.
Westecott, Emma. 2018. “Feminism and Gameplay Performance.” In Feminism in Play, edited by Kishonna L. Gray, Gerald Voorhees, Emma Vossen, 251–266. Cham: Palgrave Macmillan. https://doi.org/10.1007/978–3–319–90539–6
Williamson, Milly. 2005. “Spike, Sex and Subtext: Intertextual Portrayals of the Sympathetic Vampire on Cult Television”. European Journal of Cultural Studies 8 (3): 289–311. https://doi.org/10.1177/1367549405054863
Wizards RPG Team (Wizards of the Coast). 2014. Monster Manual. Renton, WA: Wizards of the Coast.
Zanger, Jules. 1997. “Metaphor into Metonymy: The Vampire Next Door”. In Blood Read: The Vampire as Metaphor in Contemporary Culture, edited by Joan Gordon and Veronica Hollinger, 17–26. Philadelphia: University of Pennsylvania Press.
Žikić, Bojan. 2021. “The Physiology and Mythology of the ‘Domestic’ and the ‘Alien’: The Model of the Vampire in Serbian Traditional Culture and Popular Culture”. Etnoantropološki problemi / Issues in Ethnology and Anthropology 16 (1): 155–178. https://doi.org/10.21301/eap.v16i1.6
Žikić, Bojan. 2022. “The Vampire as a Model of Cultural Otherness in the Television Series ‘What We Do in the Shadows’”. Etnoantropološki problemi / Issues in Ethnology and Anthropology 17 (1): 23–53. https://doi.org/10.21301/eap.v17i1.1
##submission.downloads##
Objavljeno
Kako citirati
Broj časopisa
Sekcija
Licenca
Ovaj rad je pod Creative Commons Autorstvo-Deli pod istim uslovima 4.0 Internacionalna licenca.
ERIH PLUS - European Reference Index for the Humanities
World Cat
AnthroSerbia
