Dissertations / Theses: 'Ludology'

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Fuchs, Angelica. "The Player’s Journey: Ludology and Narratology in Modern Gaming." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5460.

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This thesis examines the evolution of gaming criticism (specifically ludology and narratology) and games as a medium of expression through the use of case studies. These case studies look at some of the core aspects of four major titles (The Last of Us, Horizon Zero Dawn, various BioWare games and Journey) and survey how these games work to effectively employ a narrative while maintaining an immersive, intuitive system for the player to interact with. Through these titles, the thesis suggests that in order to gain a full scope of a game’s intentions, studies should analyze more than the base story or gameplay, but rather the correlations between them as well as the ways that the visuals and audio aspects interact and enhance the narrative. Furthermore, it suggests the importance of creating gameplay that works with the story in order to ensure that the player always feels as though they have a stake in the outcome of the game, regardless of the nature of the narrative.

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Nacke, Lennart. "Affective Ludology : Scientific Measurement of User Experience in Interactive Entertainment." Doctoral thesis, Karlskrona : Blekinge Institute of Technology, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-00449.

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Digital games provide the most engaging interactive experiences. Researching gameplay experience is done mainly in the science and technology (e.g., human-computer interaction, physiological and entertainment computing) and social science (e.g., media psychology, psychophysiology, and communication sciences) research communities. This thesis is located at the intersection of these research areas, bringing together emerging methodological and scientific approaches from these multi-faceted communities for an affective ludology; a novel take on game analysis and design with focus on the player. The thesis contributes to game research with three important results: (1) the establishment of an objective/subjective correlation methodology founded on psychophysiological methods, (2) the creation of a formal theoretical framework in which to conduct user experience (UX) research related to games, and (3) the combination of results regarding cognitive and emotional factors for describing, defining, and classifying the interactive relationship between players and games. Two approaches for measuring gameplay experience are used in this thesis. First, objective assessment of physiological user responses together with automated event-logging techniques, so called game metrics, allows collecting essential player- and game-related variables for a comprehensive understanding of their interaction. Second, using psychometric questionnaires allows a reliable assessment of players' subjective emotion and cognition during gameplay. The benefit of psychophysiological methods is that they are non-intrusive, covert, reliable, and objective. To fully understand psychophysiological results, a correlation between subjective gameplay experience ratings and psychophysiological responses is necessary and has been done in this thesis and prior work it builds on. This thesis explores objective and subjective assessment of gameplay experience in several experiments. The experiments focus on (1) level design implications from psychophysiological and questionnaire measurements, (2) the impact of form and age on subjective gameplay experience, (3) the impact of game audio and sound on objective and subjective player responses, and (4) the impact of game interaction design on and the relationship between experience and electroencephalographic measures. In addition, the thesis includes a theoretical framework for UX research in games, which classifies gameplay experience along the dimensions of abstraction and time. One remaining conceptual and empirical challenge for this framework is the huge variety of vaguely defined experiential phenomena, such as immersion, flow, presence, and engagement. However, the results from the experimental studies show that by establishing correlations between psychophysiological responses and questionnaire data, we are approaching a better, scientifically grounded, understanding of gameplay experience. Many possibilities open from here. More detailed analyses of cognition will help us understand to what extend gameplay experience depends on emotional or cognitive processing. In addition, the inclusion of more complex and detailed gameplay metrics data together with psychophysiological metrics will enable a comprehensive analysis of player behavior, attention, and motivation. Finally, the integration of new measurement technologies in interactive entertainment applications will not only allow a detailed assessment of gameplay, but also improve physical and mental interaction with future games.

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Audi, Gustavo Magliano. "Jogos narrativos de videogame: criação e manutenção do estado de imersão." Universidade do Estado do Rio de Janeiro, 2012. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=5209.

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O objetivo deste trabalho é entender como o jogo narrativo de aventura para videogame consegue atrair e manter a atenção do jogador, imergindo-o no mundo ficcional, em face dos inúmeros estímulos existentes a sua volta. É sugerida uma definição para o jogo narrativo de aventura e a imersão e, posteriormente, estabelece-se uma relação entre elementos presentes nos jogos e as estruturas que atraem a atenção do indivíduo. Para isso, consultou-se material produzido pelas duas principais linhas de estudos de jogos: Narratologia e Ludologia. O conteúdo teórico foi comparado e exemplificado através da prática de diversos jogos, principalmente do console Sony Playstation 3. O próprio conceito de jogo narrativo, a prática dos jogos e a relação percebida entre seus elementos e as ferramentas para criar e manter a atenção revelaram que o videogame, através dos jogos narrativos de aventura, representa um potente meio para criar e manter o estado de imersão sobre o jogador.
The objective of this research is to understand how the narrative game of adventure manages to attract and maintain the attention of the player, immersing him into the fictional world, despite the existence of countless stimuli available around him. It is suggested a definition to narrative game of adventure and to immersion, and then it is established a relationship between elements present in games and frameworks that attract the attention of the individual. The research uses material produced by the two main lines of games study: Narratology and Ludology. The theoretical content was compared and exemplified by the practice of different games, mainly of Sony Playstation 3. The concept of narrative game, the playing of games and the relationship between its elements and the attention tools revealed that the narrative game of adventure represents a powerful way to create and maintain the state of immersion of the player.

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Nanamaker, Benjamin. "Emergent gameplay the limits of ludology and narratology in analyzing video game narrative /." Connect to resource, 2005. http://hdl.handle.net/1811/5884.

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Thesis (Honors)--Ohio State University, 2005.
Title from first page of PDF file. Document formatted into pages: contains 52 p.; also includes graphics. Includes bibliographical references (p. 53-58). Available online via Ohio State University's Knowledge Bank.

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Richter, Angelika. "Klassifikationen von Computerspielen." Universität Potsdam, 2010. http://opus.kobv.de/ubp/volltexte/2010/4390/.

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Klassifikationen von Computerspielen widmet sich den Begriffen, mit denen Computerspiele zu Klassifikationszwecken versehen werden. Eine repräsentative Auswahl an derartigen Klassifikationsmodellen, die die Arbeiten von Designern, Journalisten, Pädagogen, Laien und expliziten Computerspielforschern abdeckt, wird vorgestellt und hinsichtlich ihrer Anwendbarkeit zur eindeutigen Bestimmung konkreter Spiele bewertet. Dabei zeigen sich zwei grundlegend verschiedene Herangehensweisen an die Problematik: „Kategorisierungen“ stellen feste Kategorien auf, in die einzelne Spiel eindeutig einsortiert werden sollen, während „Typologien“ die einzelnen Elemente von Spielen untersuchen und klassifizieren. Beide Ansätze werden analysiert und ihre jeweiligen Vor- und Nachteile aufgezeigt. Da offensichtlich wird, dass die Klassifikation von Computerspielen in bedeutendem Maße vom jeweiligen zugrunde liegenden Verständnis davon, was ein „Computerspiel“ sei, abhängt, ist der Untersuchung der Klassifikationsmodelle eine Betrachtung dieser problematischen Begriffsdefinition vorangestellt, die beispielhaft an vier ausgewählten Aspekten durchgeführt wird.
Classifications of computer games is concerned with the terms that are used to label computer games for classificatory purposes. A representative selection of such classification models, that covers the works of designers, journalists, pedagogues, laymen and explicit computer game researchers, are introduced and assessed with regard to their ability to classify specific games unambiguously. Two essentially different approaches to this problem are identified: “categorizations” establish rigid categories to which single games are to be assigned unambiguously, while “typologies” examine and classify single elements of games and not games as a whole. Both methods are analysed and their advantages and disadvantages are shown. As it becomes obvious that classifying computer games is highly dependent on the respective basic understanding of what a computer game is, the study of the classification models is preceded by an overview which discusses four chosen aspects as examples of this problematic definition.

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Guimarães, Neto Ernane. "Formas de fazer ficção: de Final Fantasy VII ao livro eletrônico." Pontifícia Universidade Católica de São Paulo, 2012. https://tede2.pucsp.br/handle/handle/18102.

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Made available in DSpace on 2016-04-29T14:23:10Z (GMT). No. of bitstreams: 1 Ernane Guimaraes Neto.pdf: 18724840 bytes, checksum: 7a8b5d588ce400e5c7c89815d31174ae (MD5) Previous issue date: 2012-05-14
This dissertation investigates ontological attributes of electronic games and books. This approach is founded on Philosophy, Communication and Ludology authors, contrasted and connected to each other. The principles in Nelson Goodman s nominalist philosophy ground the dialogue among different authors. A philosophy of language is constructed, aiming for the combination of concepts such as Heidegger s errancy and the thoughts on fiction since Plato and Aristotle. The tools obtained from this structure of relations are used for an interpretation of the Final Fantasy VII electronic game. Game researchers, such as Gonzalo Frasca and James Paul Gee, as well as Ludology epitomes such as Johan Huizinga and Roger Caillois, are summoned to support the understanding of this specific subject. From that game emerges a functional separation between independent narrative planes, related either to the fictional plot or playability. Following reflections on the ontology of electronic games, an exercise of translating Final Fantasy VII to e-book format is proposed. Marshall McLuhan helps thinking about the inherent potential in every new expressive medium; Walter Benjamin bridges traditional Western fiction and features of the reception experience, which are regained by digital media-laden interaction. Marie-Laure Ryan, among others who applied Literary Studies to understand games, complements the resulting e-book s conception. As a result, this research intends to accomplish a threefold role. It discusses language fundamentals and their ethical consequences for the work of communicators; analyzes a culturally relevant document in its mechanics and its fictional structure; presents an interactive book as an example of the electronic media potential in enriching the reading experience of fictional texts, even for non-game products
Esta dissertação investiga atributos ontológicos de jogos e livros eletrônicos. A abordagem fundamenta-se em autores da Filosofia, da Comunicação e da Ludologia, contrastados e articulados. Os princípios da filosofia nominalista de Nelson Goodman baseiam esse diálogo entre autores. Constrói-se uma filosofia da linguagem que vise a combinação de conceitos como a errância de Heidegger e a ficção desde Platão e Aristóteles. Os instrumentos desenvolvidos a partir dessa estrutura de relações são aplicados a uma interpretação do jogo eletrônico Final Fantasy VII. Pesquisadores de jogos, como Gonzalo Frasca e James Paul Gee, passando por referências da Ludologia como Johan Huizinga e Roger Caillois, são invocados em apoio à compreensão específica desse objeto. Emerge nesse jogo uma separação funcional entre planos narrativos independentes, relacionados ao roteiro ficcional ou à jogabilidade. A partir de reflexões sobre a ontologia do jogo eletrônico, propõe-se um exercício de tradução de Final Fantasy VII para o formato de livro eletrônico. Marshall McLuhan auxilia a pensar sobre o potencial inerente a cada novo meio de expressão; Walter Benjamin faz a ponte entre a tradição ficcional ocidental e características da experiência da recepção, resgatadas pela interatividade proporcionada pelos meios digitais. Marie- Laure Ryan, entre outros autores que utilizaram o repertório dos Estudos Literários para a compreensão dos jogos, complementa a concepção do livro eletrônico produzido. Como resultado, a pesquisa pretende cumprir um triplo papel. Discute conceitos fundamentais da linguagem e suas consequências éticas para o trabalho dos comunicadores; analisa um documento cultural relevante em suas mecânicas e em sua estrutura ficcional; apresenta um livro interativo como exemplo do potencial dos meios eletrônicos de enriquecer a experiência de leitura do texto ficcional, mesmo para produtos que não sejam jogos

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Christer, Lidén. "The quest for medievalism in ‘The Witcher 3’ : A study of the vita gravis: the apposition between the medieval and the fantastical." Thesis, Stockholms universitet, Historiska institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-139214.

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Tulloch, Rowan Christopher English Media &amp Performing Arts Faculty of Arts &amp Social Sciences UNSW. "Powerplay: video games, subjectivity and culture." Publisher:University of New South Wales. English, Media, & Performing Arts, 2009. http://handle.unsw.edu.au/1959.4/43519.

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This thesis examines single-player video gaming. It is an analysis of video game play: what it is, how it functions, and what it means. It is an account of how players learn to play. This is done through a set of close readings of significant video games and key academic texts. My focus is on the mechanisms and forces that shape gameplay practices. Building on the existing fields of ludology and media-studies video-game analysis, I outline a model of video game play as a cultural construction which builds upon the player's existing knowledge of real world and fictional objects, scenarios and conventions. I argue that the relationship between the video game player and the software is best understood as embodying a precise configuration of power. I demonstrate that the single-player video game is in fact what Michel Foucault terms a 'disciplinary apparatus'. It functions to shape players' subjectivities in order to have them behave in easily predicted and managed ways. To do this, video games reuse and repurpose conventions from existing media forms and everyday practices. By this mobilisation of familiar elements, which already have established practices of use, and by a careful process of surveillance, examination and the correction of play practices, video games encourage players to take on and perform the logics of the game system. This relationship between organic player and technological game, I suggest, is best understood through the theoretical figure of the 'Cyborg'. It is a point of intersection between human and computer logics. Far from the ludological assumption that play and culture are separate and that play is shaped entirely by rules, I show video game play to be produced by an array of complex cultural and technological forces that act upon the player. My model of video game play differs from others currently in circulation in that it foregrounds the role of culture in play, while not denying the technological specificity of the video gaming apparatus. My central focus on power and the construction of player subjectivities offers a way to move beyond the simplistic reliance on the notion that rules are the primary shaping mechanism of play that has, to date, dominated much of video game studies.

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Cummings, Kelsey. "Gameplay Mechanics, Ideology, and Identity in Mobile and Online Girl Games." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19270.

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This thesis analyzes the ideological functions of gameplay mechanics in five mobile and online girl games. The subjects of close reading in this study are Tampon Run, Wonder City, Barbie Fashionistas, Style Studio, and Central Park Wedding Prep. First, a review of the literature is presented. Video game studies and ludology, identity in game studies, and performativity and game studies are examined as the central areas of literature from which the thesis draws. The thesis then explores the historical context of the problem, investigating politics and ideology in gaming spaces and considering the activist and educational games Tampon Run and Wonder City. Finally, the thesis analyzes three traditional girl games: Barbie Fashionistas, Style Studio, and Central Park Wedding Prep. This study argues that activist games rely on limiting mechanics to convey feminist ideologies, while traditional games rely on the perceived mechanics-based empowerment of their players to convey patriarchal ideologies.

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Schules, Douglas Michael. "Anime fansubs: translation and media engagement as ludic practice." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3532.

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The democratization of new media technologies, particularly the software tools though which "content" can be manipulated, has invited a seemingly vast array of modes through which people can express themselves. Conversations in fan studies, for example, cite the novel ways in which new media allow fans to alter texts in the expression of their subcultural needs, while theorizations of media often reverse the paradigm by arguing how advances in technology will revolutionize how we interact with, and hence, know the world. Frequently overlooked are the ways in which these technologies and communities co-construct engagement and the extent to which this engagement spurs novel ways of interaction. This dissertation addresses these problems by theorizing the role of the medium as a ludic negotiation between text and fan, informed--but not determined--by the rules and strictures that construct both these discrete media artifacts and the communities in which these texts circulate. Nowhere are these concerns more evident than in the subcultural realm of anime fan translations, where an eclectic blend of tech-savvy, Japanese language proficient, culturally competent individuals from different backgrounds converge to form groups who have self-nominated themselves to spread anime through timely, efficient, and accurate translations. To be successful, they must navigate multiple linguistic and cultural currents as they move between Japanese and their target language, deftly avoid running aground on the shores that structure the boundaries of container media, all the while remaining mindful of ideological and subcultural discursive shoals as they scan the horizon for alternate paths to their translation goal. These fan translators are, to be less dramatic, limited in the types of translations they can provide by the formal properties of the selected medium, but these limitations should be conceived as a generative process motivating translators to seek novel ways of engagement with the medium to meet both their translation needs and the needs of the communities in which their translations circulate.

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Rönnberg, Alexander, and Martin Svensson. "En actionberättelse : en analys av de narrativa delarna i actiondatorspelet Halo." Thesis, Södertörn University College, School of Communication, Technology and Design, 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-341.

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This essay is a narrative analyze of the computer game Halo. The purpose of the essay is to see what function the narrative elements have in a computer game of the action genre. The analyze is done with a neo-formalistic approach according to the theory of David Bordwell and Kristin Thompson. The choice of game was based on it's positive reviews mentioning the story. The essay tries to give a picture of research in the field and researchers views on narratives and computer games.

The conclusion is that this particular game uses the narrative to motivate progress through the game and give the player a goal to play towards. It's also been used to enhance the players experience.

Uppsatsen gör en analys av de narrativa delarna i datorspelet Halo. Syftet med uppsatsen är att se vilken funktion de narrativa elementen fyller i ett datorspel i actiongenren. Analysen har gjort utifrån neoformalistisk teori enligt David Bordwell och Kristin Thompson. Valet av spel gjordes utifrån de positiva recensioner spelet fått som nämner historien i spelet. Uppsatsen försöker ge en bild av dagens forskning inom datorspel och narrativ och den bild framstående forskare har.

Slutsatsen är att spelet har använt narrativ för att fungera som drivkraft genom spelet och att ge spelaren det mål som man ska spela mot för att vinna. Det har också använts för att förhöja spelarens upplevelse.

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Angelöv, Auguste. "Att leka life? - en undersökning av makt, lekt och berättande i tv-spel." Thesis, Södertörns högskola, Litteraturvetenskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-34585.

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This is a paper concerning storytelling in video games. It’s based on the assumption that power gives people the possibility to tell stories. We will have a look at what that means when in contact in video games, as the interaction between player and story world may result in creation of a story. Aim will be taken at three categories: agency, power and communication. Communication is of great importance in video games, as one of very few mediums that allows agency and communication within the actual story world. One can look at it as agency being the possibility to demonstrate power, whilst power is through which means the player can express their agency. This will be analysed through different parts of what constitutes a video game, such as rules, characters, space and game world.

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Lidén, Christer. "The Desert of the Real in Spec Ops: The Line. A Study of Simultaneous Hyperreal Experiences by Protagonist and Player : A Study of Simultaneous Hyperreal Experiences by Protagonist and Player." Thesis, Stockholms universitet, Engelska institutionen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-125903.

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As an anomaly on the market of military shooters of the 21st century, Spec Ops: The Line entails a journey of undetermined realities and modern warfare consequences. In this study, the narrative is analyzed from the perspective of Jean Baudrillard’s idea that simulations have replaced our conception of reality. Both the protagonist and the player of Spec Ops will unavoidably descend into a state of the hyperreal. They experience multiple possible realities within the game narrative and end up unable to comprehend what has transpired. The hyperreal is defined as the state in which it is impossible to discern reality from simulation. The simulation of reality has proliferated itself into being the reality, and the original has been lost. The excessive use of violence, direct approach of the player through a break with the 4th wall and a deceitful narrator contribute to this loss of reality within the game. Although the game represents simulacra, being a simulation in itself, the object of study is the coexisting state of hyperreal shared between protagonist and player when comprehending events in the game. In the end, neither part can understand or discern with any certainty what transpired within the game.

Grade: B

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Wang, Pengyu. "Labor or Play? Understanding Productive Activities in Digital Games." Thesis, Uppsala universitet, Medier och kommunikation, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-254800.

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For a long time, playing games was considered as the opposite of being productive. However, in the digital age, millions of players produce economic value in the game worlds. This new phenomenon challenges the previous dichotomy of labor and play. To understand this new phenomenon, theoretical innovations are required. This thesis aims to give a better understanding of in-game productive activities from a theoretical perspective. Based on previous academic studies, I develop a new theoretical framework upon the concept “playbor.” This framework is an attempt of combining two theoretical traditions, namely the Ludology tradition and the Marxism tradition. It is a framework from a ludological starting point toward a critical direction. In this framework, I firstly analyze how play has been transformed to playbor. This process is shown as a transition model by the shifts of characteristics. Based on the transition model, a taxonomy of playbor is introduced. In the taxonomy, I identify three types of playbors: unintentional playbor, autonomous playbor and obligational playbor. Thereafter, problems related to playbors are examined. Problems from which traditional labor suffers, such as division of labor, alienation and exploitation, can also be observed in the game worlds. Apart from these problems, I identify a new problem which threatens all forms of playbors, namely the vulnerability of data. This thesis is based on my theoretical research from January to May 2015. The main research method is literature review. Data from news reports and participant observations have also been used to support arguments.

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Norman, Fredrik. "“A peaceful world is a boring world” : a study in narrative structure and mythological elements in Squaresoft‟s Chrono Trigger." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-8534.

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The focuses of this paper are narrative structures and mythological elements in the video game Chrono Trigger. A qualitative method was used to code the game world's seven eras into themes of symbolism, quest-themes, and, characters. These themes were compared with Northrop Frye's archetypal myth theory from Anatomy of Criticism. The results show that each age relates to a season and moves due to the player's influence according to a cyclical pattern. Six out of seven epochs show high correlation to Frye's archetypal model whereas options such as to discard the main hero illustrates the player's control. The seventh era pictures a more female symbolism than the male dominant template proposed by Frye. A hypothesis is presented with the concept of a fluent surface which argues that the player manipulates the basic story to build a personal narrative. Furthermore, the hypothesis emphasizes that the specific game mechanics stimulates the player's sensitivity to the narrative elements when constructing an individual ideal story.

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Roberts, Scott. "The Narrative of Weather: Understanding the Impact of Photo-realistic Procedural Weather on Narrative in Virtual Reality." Thesis, Griffith University, 2018. http://hdl.handle.net/10072/384792.

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By reflecting on existing mediums that have been created specifically to tell stories we can see that, at some point, viewers become comfortable with certain elements they like, and these elements are defined as the mainstream stereotype of the medium. Video games, books, cinema, theatre, and television have defined mainstream stereotypes based on the elements of those mediums that were successful and persisted. Throughout the development and growth of a medium, divergence occurs through exploration of new methods. New methods of delivering digital media require alternate theoretical frameworks to guide design. By exploring the intersection of cinematography, narratology and ludology it is possible to define new processes to deliver storytelling experiences in emerging mediums, specifically virtual reality. This research explores the intrinsic design requirements of virtual interactive environments to enhance environmental presence and measure the impact of photo-realistic weather systems on virtual reality audiences. Real-time virtual environments have been demonstrated as exponentially progressing towards more aesthetic realism in an effort to emulate natural environments. It is believed the users’ perception of realism and immersion within the virtual space will have a direct effect on their ability to not only effortlessly transfer their consciousness but react and interact with the environment in a way that would be observed in natural behaviour. The objective is to generate physiological responses similar to natural behaviour by instilling a sense of awe in audience members when they perceive a virtual space. To gain insight into the value of weather as an environmental storytelling tool, two experiments were undertaken. Each experiment analysed participants behaviour to photo-realistic weather systems in virtual environments through differing mediums. Experiment 1, known as the Console Experiment, analysed qualitative and quantitative user responses to variations of weather when experiencing the environments on a desktop computer. The experimental trial required participants to explore two virtual environments; clear weather and stormy weather. Whilst a statistically significant result demonstrated a preference for the dynamic weather system, participants reported poor levels of immersion and playability. Experiment 2, known as the Virtual Reality Experiment, responded directly to the findings of the Console Experiment to generate high fidelity trial environments for use in virtual reality headsets. This experiment analysed behavioural responses to procedural weather variants in two separate virtual environments, collecting data through observational and interview processes. A small focus group of 10 participants was used to collect the data, with significant time being spent in the test environments. Results described reactions beyond those anticipated in the hypothesis of the research, with 8 participants audibly demonstrating a sense of awe, 9 participants describing sensations of feeling ‘cold’ and ‘warm’, 6 participants commenting on the potential of feeling wet, and 7 participants considering potential exploration pathways and storyline adjustments through soliloquy. This thesis demonstrates significant potential of procedural weather systems’ impact on narratives in virtual reality. With recent discourse outlining the absence of high-fidelity virtual environments in immersive stories, this research concludes a definitive potential for environmental factors like weather to enhance narratives in virtual reality.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
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Calleros, Villarreal Daniel. "Digital Narratives and Linguistic Articulations of Mexican Identities in Emergent Media: Race, Lucha Libre Masks and Mock Spanish." Diss., The University of Arizona, 2015. http://hdl.handle.net/10150/565891.

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This project examines the articulation of Mexican identities in digital narratives through a variety of genres, bringing into conversation various disciplines to present more comprehensive studies on the construction of representational paradigms, their consumption and social impact and their association with other cultural and literary texts. Deploying a multidisciplinary approach, this work articulates a theoretical framework that incorporates the fields of semiology, postcolonial theory, visual culture, urban studies, ludology, linguistic anthropology and border studies. This project analyzes the processes through which the identities of Mexican subjects and the depiction of Mexican spaces are articulated in new digital narratives in the form video games as mass culture objects, which are conceived from hegemonic loci of production, are globally consumed and have the potential to transmit deeply rooted social knowledge. Furthermore, the lack of spaces in which represented minorities may counter the stereotypical images projected forecloses dialogic processes. Through the agglomeration of different representational modules (visual units, narrative elements and linguistic portrayals) different genres impose predisposed rhetorical framework and found that the vast majority share a predetermined collection of elements that create a representational mosaic of how "Mexicanness" should be depicted and perceived. Furthermore, said digital subject representations enact cultural ideological frameworks that are imposed onto the audience, influencing meaning-formation processes. This work also analyzes the dynamics between the production, representation and consumption of videogames and traces tangents with the social and historical contexts of earlier visual media in Latin America.

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Ståhl, Daniel. "En digital hjälte? : En klassisk narratologisk analys av ett nytt medium – tv-spelet som medietext." Thesis, Jönköping University, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-1134.

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The digital games take an increasing part of our western society. The time when gaming was excluded to the most frantic computer fans is long gone. Today the gaming industry competes with both the film- and music industry for the consumers’ attention.

Despite this, research regarding the digital games has been put aside for a long time. But there is an ongoing process in establishing game studies regarding content and expression aspects that go beyond the question about possible psychological effects and such. But this process is still young and disagreements occur concerning how the games should be approached as an object of study.

This debate, originating from two different approaches; the narratological and the ludological, has proven to be central to the research society. To reach a better understanding regarding storytelling within the digital games I carried out a narratological analysis of a video game; Shadow of the Colossus for Playstation 2. I used classical narratological tools regarding the syntagmatic structure of storytelling; Propp’s characters and functions and Todorov’s equilibrium formula.

To be able to carry out this analysis the first step was to identify the storytelling elements of the game so that these could be properly recognized. After that the narratological tools were applied to these. In order not to neglect the medium specific characteristics that the digital games hold, I implemented a minor ludological analysis of its rules, to see how these were connected with the potential storytelling.

The narratological analysis proved to be useful; a number of Propp’s functions were identified and the storytelling could also be described on the basis of Todorov’s equilibrium. Furthermore a clear connection between the storytelling of the game and the ludus rules, meaning the rules that define the winning conditions and how to reach them. The classic narratological analysis was fruitful, but the medium specific characteristics with systems of rules and their connection to the storytelling elements proved to be an important relationship to illustrate further.

De digitala spelen tar allt större plats i vårt västerländska samhälle. Tiden då spelande bara var för de mest inbitna datorfantasterna är sedan länge förbi. Idag konkurrerar spelindustrin med både film- och musikindustrin om konsumenternas uppmärksamhet.

Trots det har forskning kring de digitala spelen länge åsidosatts. Men en process är nu i full gång för att etablera forskning kring spel och dess innehålls- och uttrycksmässiga aspekter som ser bortom frågan om eventuella skadliga psykologiska effekter och liknande. Men denna process är ung och oenighet råder om hur spelen som studieobjekt ska behandlas.

Denna debatt som utgår från två olika ansatser; den narratologiska och ludologiska, har visat sig vara central i forskarvärlden. För att försöka nå bättre förståelse kring berättande i de digitala spelens värld genomförde jag en narratologisk analys av ett enskilt spel; Shadow of the Colossus till Playstation 2. Jag utgick från klassiska narratologiska verktyg som utgår från berättandets syntagmatiska struktur; Propps rollfunktioner och Todorovs jämviktsformel.

För att kunna genomföra denna analys var första steget att först identifiera de berättande elementen i spelet så att dessa kunde kartläggas. När det var gjort applicerades de narratologiska verktygen på dessa. För att inte helt åsidosätta de mediespecifika kriterierna som de digitala spelen besitter, genomförde jag en enkel ludologisk analys av dess spelregler, för att se hur dessa var sammankopplade med eventuellt berättande.

Den narratologiska analysen visade sig vara användbar; ett antal av Propps funktioner identifierades och berättandet kunde även beskrivas utifrån Todorovs jämvikt. Dessutom visades ett klart samband mellan spelets berättande och dess ludusregler, det vill säga de regler som definierar mål och hur dessa skall nås. Den klassiska narratologiska analysen var fruktbar, men de mediespecifika egenskaperna med regelsystem och dess sammankoppling med de berättande elementen visade sig vara ett viktigt förhållande att belysa.

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Brandberg, Peter. "Spelet om spelandet : En medieetnografisk studie av barns dataspelande på en fritidsklubb." Thesis, Uppsala University, Media and Communication, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-9163.

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Abstract

Title: The game of playing: A media ethnographic study of children playing videogames on a Swedish after school recreation centre. Spelet om spelandet: En medieetnografisk studie av barns dataspelande på en fritidsklubb.

Number of pages: 46

Author: Peter Brandberg

Tutor: Amelie Hössjer

Period: Spring term 2008

Course: Media and Communication studies D

University: Division of Media and Communication, Department of Information Science, Uppsala University

Purpose/Aim: The aim with this study is to describe how children play video games in an everyday context. In this study this context consists of a Swedish after school recreation centre. By combining three different aspects on the activity this study tries to understand how both the video game and the social and cultural context in which the activity takes place in influences it. This by taking one analyse of the specific game that the children played at the time of the study and how the overall environment is structured into account. Together these two perspectives contribute to the understanding of the playing as a complex and dynamic activity.

Material/Method: The material and method consists primary of a participatory observation which were conducted for eight days in an after school recreation centre. The analyse of the video game uses specific parts from the ludologist Aki Järvinens “applied ludology” to understand the game Guitar Hero.

Main results: The main results of this study shows how the social context influences the play activity in which the children needs to negotiate about the resources needed to play. They used different strategies to try to gain control over the interfaces to the game. The study also shows how the children didn’t relate to the fact that these interfaces looked like guitars in their use of them. Instead the children used knowledge about other interfaces and played the game by “pressing buttons in the right time”.

Keywords: media ethnographic, participatory observation, ludology, applied ludology, video game, game studies, guitar hero, children, after school recreation centre, situated play

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Anyó, Sayol Lluís. "El meu videojoc, la nostra narració. Els relats de la identitat." Doctoral thesis, Universitat Ramon Llull, 2011. http://hdl.handle.net/10803/51085.

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En el marc ampli de les teories audiovisuals, aquesta tesi doctoral aborda les relacions entre identitat, narració i videojocs des de la perspectiva de l'antropologia cultural, de les teories narratològiques en cinema i literatura i de la ludologia. Es proposa la figura teòrica del jugador implicat per explicar el tipus de relació entre el jugador i el seu personatge, en relació amb la construcció d'un relat identitari. En aquest sentit, es relaciona la idea de marcs d'experiència amb la de nivells narratius i narradors. El model teòric i metodològic resultant s'aplica a l'estudi de cas de dos videojocs: Silent Hill 2, un survival horror monousuari, i Espai8, un joc de rol en línia massiu i multiusuari.
En el marco amplio de las teorias audiovisuales, esta tesis doctoral aborda las relaciones entre identidad, narración y videojuego desde la perspectiva de la antropología cultural, de las teorías narratológicas en cine y literatura y de la ludología. Se propone la figura teórica del jugador implicado para explicar el tipo de relación entre el jugador y su personaje, en relación con la construcción de un relato identitario. En este sentido, se relaciona la idea de marcos de experiencia con la de niveles narrativos y narradores. El modelo teórico y metodológico resultante se aplica al estudio de caso de dos videojuegos: Silent Hill 2, un survival horror monousuario y Espai8, un juego de rol en línea masivo y multijugador.
In the wide framework of audiovisual theories, this PhD. thesis undertakes the relation between identity, narrative and videogames from the point of view of cultural anthropology, of narratological theories in cinema and literature and of ludology. We propound the theoretical figure of the implied player connected with the construction of a discourse of the self-identity. In this sense, we connect the idea of frames of experience with the idea of narrative levels and narrators. The resulting theoretical and methodological model it’s applied to the study case of two video games: Silent Hill 2, a singleplayer survival horror, and Espai8, a massively multiplayer online rol-playing game.

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Marques, Pedro da Silva Pereira Dias. "Jogos sérios: ferramentas do novo jornalismo." Master's thesis, Instituto Superior de Ciências Sociais e Políticas, 2013. http://hdl.handle.net/10400.5/6172.

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Tese de Mestrado em Comunicação Social, na vertente de Jornalismo
Esta dissertação analisa a forma como os Jogos Sérios podem ser utilizados como complemento do jornalismo tradicional. Vários especialistas consideram que os videojogos podem ser uma mais-valia para o jornalismo por causa da sua natureza interativa: os jogadores assumem um papel ativo na busca de informação, interagindo através da mecânica de jogo e estabelecendo dessa forma uma ligação especial com o tema em questão. A pergunta de partida é "como funcionam os Jogos Sérios enquanto complemento jornalístico?" Os principais objetivos são analisar os Jogos Sérios enquanto ferramentas do novo jornalismo; comparar o papel dos Jogos Sérios com o dos media tradicionais; estudar detalhadamente September 12th aferindo a sua eficácia enquanto Jogo Sério e propor alguns temas que possam ser abordados por este género de videojogos em contexto português. De modo a investigar o potencial dos videojogos enquanto meio jornalístico, realizou-se a análise de conteúdo qualitativa de September 12th e entrevistou-se especialistas em jornalismo e em Jogos Sérios. Para avaliar o potencial de September 12th enquanto complemento jornalístico, entrevistou-se trinta indivíduos, jogadores e não jogadores habituais de videojogos. Esta investigação permitiu-nos constatar que, apesar dos Jogos Sérios poderem funcionar como ferramentas noticiosas eficazes, não deixam de ter algumas limitações. Os órgãos de comunicação devem avaliar se este investimento garantirá a sua continuidade a médio e longo prazo, estando o seu sucesso dependente de uma reorganização estrutural das redações, assim como da vontade dos jornalistas de testar novas fórmulas de apresentação do conteúdo informativo.
This dissertation explores how Serious Games can be used as a complement to traditional journalism. Several experts believe that video games can add value to journalism because of their interactive nature: players take an active role in the search for information, interacting through the game mechanics and thus establishing a special connection with the subject in question. The starting question set for this research is "how can Serious Games work as a complement to journalism?" The main objectives are to analyze Serious Games as tools of new journalism; to compare the role of Serious Games with traditional media; to particularly examine the case of September 12th in order to determine its effectiveness as a Serious Game and to propose some themes that may be addressed by this genre of video games in the Portuguese context. In order to investigate the potential of video games as a journalistic medium a qualitative analysis of September 12th was undertaken and experts in journalism and in Serious Games were interviewed. To evaluate the potential of September 12th as a complement to journalism, thirty individuals, players and non-players, were interviewed. This research lead us to conclude that Serious Games can function as effective tools of journalism, although not without some limitations. The media organizations should evaluate whether this investment will ensure its continuity in the medium and long term, with its success dependent on a structural reorganization of the newsroom as well as the willingness of journalists to test new formulas of presenting informational content.

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Assis, Diego O. de. "Perspectivas para o jornalismo crítico de games." Pontifícia Universidade Católica de São Paulo, 2007. https://tede2.pucsp.br/handle/handle/4991.

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Made available in DSpace on 2016-04-26T18:16:43Z (GMT). No. of bitstreams: 1 Diego O de Assis.pdf: 587332 bytes, checksum: 11a87924a5208f2de4c11fbc9b87819f (MD5) Previous issue date: 2007-10-26
The goal of this study is to analise the actual stage of games journalism and point to new perspectives regarding its critical approach. Even though recognized as one of the most promising sectors of the entertainment industry in the new millenium, the universe of the videogames is still receiving a not so representative attention from the mass communication vehicles if compared to more traditional forms such as cinema and music. Nowadays, a great portion of the coverage of videogames is still confined to specialized publications and technology sections of newspapers and magazines. To pursue this analysis it will at first be necessary to trace a historical panorama of the development of electronic games. Created almost 50 years ago, in an atempt to turn computers into something fun, videogames have been gaining complexity with successive technological advances until they have transformed into one of the most intriguing cultural objects from the turn of the 20th to the 21st century. Present in the lives of young people from all kind of societies in the last two decades, games have started to influence and to be influenced by other aesthetical languages from the pop culture, like movies, music, cartoons and comic books. Today, as stated by authors such as Chris Crawford, Steven Poole and Henry Jenkins, games represent a new and autonomous cultural cathegory, with specific features that demand its own theories and concepts. After going into the cultural and technological evolution of videogames, we will then look at some of the main publications dedicated to the subject, including segmented magazines, like Electronic Gaming Monthly, news and reviews websites, such as GameSpot.com and IGN.com, and blogs and internet services that have recently joined what is called games journalism. Still on this issue, we intend to show the major problems faced by games journalism in order to refrain from performing a mere utilitary role which it traditionally did and start dealing with the cultural, social and economical layers that have stick to the universe of videogames in the last decades. (Something that, paradoxically, publications of the non-specialized media, such as The New York Times and Wired have performed way more efficiently.) At last, we will be listing a few examples of how a well-informed games criticism practice can benefit from literature, as is the case with the controversial new games journalism, and also from concepts that are being debated in the Academy such as narrative (Murray), simulation (Frasca), meaningful play (Salen and Zimmerman) and software (Galloway, Manovich)
O objetivo desta dissertação é analisar o estágio atual do jornalismo de games e apontar novas perspectivas para sua abordagem crítica. Mesmo reconhecido como um dos setores da indústria de entretenimento mais promissores neste novo milênio, o universo dos videogames tem recebido ainda uma atenção proporcional pouco representativa nos meios de comunicação de massa se comparados a formatos mais tradicionais como o cinema e a música. No contexto atual, boa parte da cobertura de games permanece confinada a publicações especializadas e a cadernos de informática. Para levar adiante esta análise será necessário antes de tudo traçar um panorama histórico do desenvolvimento dos jogos eletrônicos. Surgidos há quase 50 anos, numa tentativa de transformar os computadores em algo divertido, os videogames foram ganhando complexidade com os sucessivos avanços tecnológicos até se transformarem em um dos objetos culturais mais instigantes da virada do século 20 para o 21. Presentes na vida dos jovens de praticamente todas as sociedades nas últimas duas décadas, os games passaram a influenciar e a serem influenciados por outras linguagens estéticas da cultura popular, como o cinema, a música, os desenhos animados e as histórias em quadrinhos. Hoje, como defendem à sua maneira autores como Chris Crawford, Steven Poole e Henry Jenkins, os games representam uma categoria cultural autônoma, com características específicas que exigem formulações teóricas e conceituais própria. Após um passeio pela evolução tecnológica e cultural dos videogames, iremos nos debruçar sobre as principais publicações do gênero, que incluem revistas especializadas, como a Electronic Gaming Monthly, sites de notícias e reviews (ou resenhas), como GameSpot.com e IGN.com, além de blogs e outras ferramentas de internet que mais recentemente se juntaram ao chamado jornalismo de games. Ainda nesse segmento, pretendemos apontar os principais problemas enfrentados para que o jornalismo de games deixe de desempenhar o papel meramente utilitário que tradicionalmente ocupou e passe a dar conta das camadas culturais, sociais e econômicas que se atrelaram ao universo dos jogos nas últimas décadas. (Algo que, paradoxalmente, veículos da imprensa não-especializada, como The New York Times, Wired e outros tem realizado com maior eficiência). Por fim, relacionaremos também alguns exemplos de como uma crítica bem informada de games pode se beneficiar de recursos formais da literatura, como é o caso do controverso new games journalism, além de conceitos que vem sendo debatidos na Academia como narrativas (Murray), simulação (Frasca), meaningful play (Salen e Zimmerman) e software (Galloway, Manovich)

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Clark, Bradley R. "Using the ZMET Method to Understand Individual Meanings Created by Video Game Players Through the Player-Super Mario Avatar Relationship." Diss., CLICK HERE for online access, 2008. http://contentdm.lib.byu.edu/ETD/image/etd2358.pdf.

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Maldonado, Lana. "L'engagement narratif dans les jeux vidéo comme engagement d'apprentissage du joueur/apprenant dans des contextes formels et informels." Electronic Thesis or Diss., Université Côte d'Azur, 2024. http://www.theses.fr/2024COAZ2022.

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Cette thèse de doctorat, intitulée « L'engagement narratif dans les jeux vidéo comme engagement d'apprentissage du joueur/apprenant dans des contextes formels et informels », est un travail interdisciplinaire qui se lie étroitement à d'autres domaines tels que les game studies, la ludologie, la narratologie et la sociologie. L'état de l'art concernant les jeux vidéo permet de répertorier des recherches qui s'intéressent à l'étude de l'apprentissage (formel ou informel) des différentes disciplines et savoirs à travers les jeux vidéo, ainsi que des études qui se concentrent sur les spécificités narratives de ces jeux. Notre intérêt s'est porté sur l'impact de l'engagement narratif pour l'engagement d'apprentissage dans les contextes formels et informels à partir de l'utilisation des jeux de divertissement et des jeux sérieux. Les résultats de ce travail visent ainsi à contribuer à la réflexion sur le rôle de cet engagement pour l'implication des joueurs/apprenants dans leur propre parcours d'apprentissage. Nous avons cherché à proposer quelques pistes expérimentales en fin de recherche. Pour comprendre cette possible relation, ce travail cherche à investiguer les spécificités liées à trois éléments principaux de cette dynamique : le joueur/apprenant, le contexte d'apprentissage (formel ou informel) et le jeu vidéo (jeu sérieux et jeux de divertissement). Les résultats présentés dans ce travail sont issus de l'analyse des données recueillies dans une étude de cas réalisée auprès d'étudiants de l'Université Côte d'Azur sur une période de 16 mois. La thèse est structurée en trois grandes parties. La première est dédiée à rassembler des éléments théoriques liés aux trois piliers principaux de notre travail (joueur, contexte et jeu vidéo). À partir du rassemblement et du croisement de concepts issus de différents domaines de la connaissance, nous cherchons à comprendre comment les jeux vidéo et l'apprentissage ont été liés à travers l'histoire (intentionnellement ou non) et comment les mécanismes d'engagement narratif et d'apprentissage fonctionnent à partir de l'utilisation des jeux sérieux et des jeux vidéo de divertissement pour le joueur/apprenant. Les réflexions issues de cette première partie guident la deuxième partie de ce travail. Nous présentons ici la méthodologie, les différents outils de collecte de données utilisés dans ce travail ainsi que le traitement de ces données de natures diverses. Notre objectif n'était pas de réduire les deux types d'engagement à une seule sphère d'analyse, mais bel et bien de l'explorer dans ses différentes dimensions, ce qui a exigé de construire un protocole hybride articulant des outils de collecte de données aussi différents que des questionnaires standardisés, des entretiens, de l'observation et de la captation vidéo. Enfin, dans la troisième partie du travail, nous présentons les résultats obtenus et proposons une analyse multivariée de ceux collectés avant, pendant et après les séances de jeux vidéo réalisés.Au terme de l'analyse des données obtenues, il a été possible d'observer une relation entre les deux types d'engagement pour le groupe de participants à la recherche. Cette relation est cependant conditionnée par le respect de certaines spécificités liées aux joueurs, au contexte et aux jeux : le style d'apprentissage du joueur, le potentiel narratif du jeu et l'interaction entre les joueurs
This doctoral thesis, entitled "Narrative engagement in video games as a learning engagement for the player/learner in formal and informal contexts," is an interdisciplinary work closely linked to other fields such as game studies, ludology, narratology, and sociology. State of the art concerning video games presents a list of research that is interested in the study of learning (formal or informal) of different disciplines and knowledge through video games, as well as studies that focus on the narrative specificities of these games. On the other hand, our interest is in the impact of narrative engagement on learning engagement in formal and informal contexts based on entertainment and serious games.The results of this work thus aim to contribute to reflection on the role of this engagement for the involvement of players/learners in their learning journey. We sought to propose some experimental paths at the end of the research. To understand this possible relationship, this work seeks to investigate the specificities linked to three main elements of this dynamic: the player/learner, the learning context (formal or informal), and the type of video game (serious game and entertainment games). The results come from data analysis collected in a case study carried out with students at the University of Côte d'Azur over 16 months.The thesis is structured into three main parts. The first part brings together theoretical elements linked to the three main pillars of our work (player, context, and video game). From the gathering and crossing of concepts from different fields of knowledge, we seek to understand how video games and learning have been linked throughout history (intentionally or not) and how the mechanisms of narrative engagement and learning work from the use of serious games and entertainment video games for the player/learner. Guided by the reflections from the first part, the second part of this work presents the methodology, the different data collection tools used, and the processing of this data of various natures. Our objective was not to reduce the two types of engagement to a single analytical sphere, but rather to explore them in their various dimensions, which required the construction of a hybrid protocol that articulated data collection tools as diverse as standardized questionnaires, interviews, observation, and video capture. Finally, in the third part of the work, we present the results obtained and propose a multivariate analysis of those collected before, during, and after the video game sessions. At the end of the study, it was possible to observe a relationship between the two types of commitment for the research participants. However, this relationship is conditioned by respect for certain specificities linked to the players, the context, and the games: the player's learning style, the narrative potential of the game, and the interaction between the players

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Holmquest, Broc Anthony. "Ludological Storytelling and Unique Narrative Experiences in Silent Hill Downpour." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1363456341.

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Warmke, Daniel A. "Complexity, Fun, and Robots." Ohio University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1565298442450712.

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Piehler, Robert. "Schnittstelle Spieler." Master's thesis, Universitätsbibliothek Chemnitz, 2008. http://nbn-resolving.de/urn:nbn:de:bsz:ch1-200801008.

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Die Qualität der Schnittstelle eines Videospiels kann wesentlich zu dessen kommerziellen Erfolg beitragen. Dennoch beschränkt sich die entsprechende Evaluation primär auf die Auswertung qualitativer Daten, die etwa in Nutzertests erhoben werden. Inferenzstatistische Verfahren kommen bisher mangels theoretischer Grundlagen kaum zum Einsatz. Die vorliegende Arbeit stellt daher ein theoretisches Framework zur quantitativen Analyse verschiedener Dimensionen der Schnittstellengestaltung in Videospielen zur Verfügung. Dabei wird ausgehend von spielwissenschaftlichen Überlegungen und einer Erweiterung von Huizingas Konzept des „magic circle“ ein Bogen von perzeptiven, psychologischen und soziologischen bis hin zu kulturellen Aspekten gespannt. Methodisch handhabbar wird dieses Konstrukt durch eine Ausrichtung am Genre-Begriff, der für den Bereich der Videospiele diskutiert wird. So entsteht ein ganzheitliches Modell, das den Grundstein zu einem zielgruppenspezifischen und quantitativen Messinstrument für Interfaces in Videospielen legt
The quality of a videogame’s interface is a decisive factor to its commercial success. However, the current evaluation methods focus primarily on qualitative research data like those generated in usability tests. Methods of inferential statistics are not common yet because of a lack of theoretical fundamentals. To address this issue, this paper provides a theoretical framework for quantitative analysis on different dimensions of interface design in videogames. Aspects of perception, psychology, sociology as well as culture are dealt with in this context and the associated scientific concepts are conflated by a theoretical extension of Huizinga’s “magic circle”. The technical term “genre” in regard to videogames is also discussed in this paper and it proves to be a basis for connecting the various concepts methodically. As a result, this paper presents a holistic model, which can be applied in future audience-specific and quantitative measuring instruments for interfaces in videogames

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Lysell, Simon, and Diana Lövgren. "Interaktivt berättande : Spelberättande mellan narratologi och ludologi." Thesis, Blekinge Tekniska Högskola, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-14684.

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Detta är en kandidatuppsats som presenterar ett arbete om berättande i spel och ett fokus på narratologiska och ludologiska berättartekniker. Narratologer och ludologer har länge varit oense om det sätt på vilket ett spel ska analyseras. Skillnaden mellan dessa två är att narratologer anser att spel ska analyseras som ett narratologiskt medie (som t.ex. böcker eller film) medan ludologer istället menar att spel ska analyseras genom spelmekanik (regler och spelarens interaktion med spelvärlden). I detta arbete presenteras olika sätt att använda berättande i spel och en tillämpning på detta gestaltas genom ett spel med en stegräknare skapat i form av en mobilapplikation

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Wahlsten, Christoffer. "”Run you bastards! I’m coming for you all!” : En narrativ och processretorisk analys av Tomb Raider." Thesis, Uppsala universitet, Avdelningen för retorik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-296822.

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Uppsatsen tar sig – med utgångspunkt i en analys av spelet Tomb Raider (2013) – an frågan om hur karakterisering genomförs inom interaktiva dataspel. Wahlsten väljer att använda sig dels av Sonja K Foss metod för narrativ analys, dels av Ian Bogosts procedurala retorik för att visa hur karaktären Lara Croft konstrueras under loppet av spelet. Dessa två metoder används för att kartlägga verktygen med vilka spelets narrativ presenteras, såväl de interaktiva som de icke-interaktiva. Uppsatsen visar tydligt och med många exempel att det finns en spänning mellan narrativets krav och spelarens intressen som ifrågasätter idén om att interaktiva spel i första hand påverkar genom immersion - tvärt om är spelen uppbyggda på så sätt att spelaren förutsätts dels identifiera sig med huvudkaraktären, dels ta avstånd från och använda denna som ’en virtuell leksak’ under loppet av spelet. Därmed pekar också Wahlsten ut ett tämligen okänt men mycket intressant forskningsområde för retorikvetenskapen. Wahlsten är medveten om att hans val av studieobjekt inte är självklart inom retoriken, men argumenterar väl för behovet av att studier av spel/Virtual Reality är och i synnerhet i framtiden bör vara, ett centralt område inom retorikforskningen
The essay asks the question how characterization in video games is accomplished, with the subject of analysis being the video game Tomb Raider (2013). Wahlsten chooses to use the methodology of Sonja K Foss for the narrative analysis, in addition to Procedural Rhetoric coined by Ian Bogost. These two methodologies are used to map out the tools used to construct the narrative of the game, which includes interactive one as well as non-interactive ones. The essay clearly shows that there is a definite tension between the demands of the narrative on the player that puts into question the idea of interactive games mainly influencing through immersion. On the contrary, the game is constructed in such a way that the player is expected to identify with the playable character, while also motivating the player to distance itself from the character and use it as a sort of “virtual plaything”. Wahlsten thus highlights a fairly obscure but also highly interesting field of study within the Rhetorical sciences. Wahlsten is aware the object of study is not an obvious one within the field Rhetoric, but argues for the need of studies of games and Virtual Reality, and the importance of them for Rhetorical sciences in the future.

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Lundell, Erika. "Förkroppsligad fiktion och fiktionaliserade kroppar : Levande rollspel i Östersjöregionen." Doctoral thesis, Stockholms universitet, Institutionen för etnologi, religionshistoria och genusvetenskap, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-103211.

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This dissertation concerns live action role-playing (larp). Larp may be described as improvised theater without an audience, as participants simultaneously embody both audience and actor in their constant interaction with one another. Hence, larp can be seen as a participatory culture. The study is based on participant observation, interviews and online ethnography in Denmark, Latvia, Sweden and Norway. The aim of the thesis is to analyze how bodies materialize, take and are given space in larps. At the heart of the study lie questions on how processes of embodiment are enacted before, during and after the game. Two central concepts - larp chronotope and matrix of interpretation – shape the analysis. The first denotes the specific timespace in which a larp takes place, e.g a Soviet military camp or a fantasy world. The second concept stands for a general matrix of norms that informs participants on how to enact their characters in the larp chronotope. The thesis shows that participants strive to act in ways that are intelligible according to the matrix of interpretation that reigns during the game days. In addition, although game and everyday matrixes of interpretations are always inseparable, while attending a larp the participant’s ordinary lives are temporarily allowed to fade into the background. Thus, larps are complex combinations of objects, spaces and bodies that are given new relations and new meanings. Furthermore, the thesis shows that larp embodiment is conditioned by normative ideas of what it means to be an intelligible live action role player. White male bodies are more likely to access the sphere of larp intelligibility than others, which is evident in many of the stories and made up worlds portrayed in the study. Yet, the collaborative narration of game worlds that take place before larps can include all sorts of bodies. Consequently, larps provide an opportunity for alternative forms of embodiment and experiences.

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31

Solinski, Boris. "Ludologie : jeu, discours, complexité." Electronic Thesis or Diss., Université de Lorraine, 2015. http://www.theses.fr/2015LORR0129.

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Considérer le jeu comme un acte, c’est lui prêter une intention et une finalité. Sa problématique est donc moins son identification en tant que jeu, évidente à chacun, que la communication de l’idée de ce qui se joue : « Qu’est-ce donc que le jeu ? Si personne ne me demande, je le sais ; mais que je veuille l’expliquer quand on me demande, et je ne sais plus. » (L. Wittgenstein). Plus que le jeu, c’est son discours qui est l’objet de notre étude, c’est-à-dire cette dynamique qui implique l’acte de jouer et fait de l’homme un joueur, et qui se situe dans l’aire intermédiaire d’expérience (D. Winnicott). Un discours à l’interface du discours de l’homme sur le jeu et du discours du jeu sur l’homme, autrement dit un discours du ludique : une ludologie. Approcher le jeu tel qu’il se dit, depuis l’implicite de la mythologie à l’explicite de la littérature ou de la pensée épistémique du jeu, c’est mettre l’accent sur les valeurs qu’il véhicule et par lesquelles on le reconnaît, puisque le jeu n’est pas une forme mais une modalisation : « ce qui pour nous est en train de se passer » (E. Goffman).A partir des fonctions du jeu, il est possible d’organiser le discours du ludique et de dépasser ainsi le simple champ d’étude pour mettre en place un cadre de compréhension ludologique. Ce cadre n’est pas plus la sélection d’un discours par rapport à un autre que la création d’un nouveau discours, mais bien l’articulation des discours du jeu et sur le jeu, pour dégager moins des éléments constitutifs que la cohérence de leur dialogue (S. Genvo), reflet de la dynamique du jeu qu’est le ludique. En effet, dans une perspective complexe (E. Morin), tous ces discours du jeu se contredisent moins qu’ils ne se complètent et se fécondent, à condition de les envisager potentiellement, c’est-à-dire dans ce que chacun est susceptible de « dire » des autres. En tant que discours du discours du jeu, la ludologie est donc l’homothétique de celui-ci, à l’interface de l’homme et de son jeu, de la narration et de la simulation, du temps et de l’espace où la potentialité qu’ouvre le jeu à l’homme se réalise dans le choix qui n’appartient ni tout à fait à l’un ni tout à fait à l’autre, mais dont l’interaction rend enfin possible « l’exercice d[es] possible[s] » (J. Henriot), offrant au jeu, par l’accomplissement de l’homme, sa condition comme sa finalité : son caractère ludique en tant que synonyme de plaisir.Ainsi, en entreprenant le jeu humain d’un point de vue communicationnel et sémiotique, il est possible d’en dégager la spécificité et la portée qu’incarne le ludique, et plus encore du discours de celui-ci qu’est la ludologie en tant que mode de connaissance prospectif, projectif, créatif et expérientiel à même d’enrichir les sciences humaines et sociales
Considering play as an act is assigning it intent and purpose. Its problem is less its identification as play, obvious to everyone, that a problem of communicating the idea of what is being played: « So, what is play ? If no one asks me, I know; but if I want to explain when people ask me, I do not know anymore. » (L. Wittgenstein). More than play, this is a rethoric which is the topic of our research, that is to say this dynamics that involves the act of playing and makes human a player belongs to the intermediate area of experience (D. Winnicott). A rethoric at the interface between human rethoric of play and play rethoric about human, a playful rethoric of the ludic way : a ludology.Approaching play as it express itself, from implicit to explicit, from mythology to literature or epistemic thought about play, leads to focus on the values that play conveys and through it can be recognized, since play is not a form but a modalization: « what we believe is happening » (E. Goffman).From the functions of play, it is possible to organize the playful rethoric and, beyond the simple field of study, to develop a framework of ludologic understanding. This framework no more favours a rethoric over another nor the creation of a new rethoric, but definitely the articulation of the rethorics of play, not emphasizing components but the consistency of their dialogue (S. Genvo), consequence of the dynamics of the ludic way. Indeed, from a complex perspective (E. Morin), all theses rethorics of play do not contradict but complement and fertilize each other, provided we consider them potentially, for what each is likely to point out from the other.As rethoric of play rethoric, ludology is its homothetic, at the interface of human and his play, narration and simulation, time and space where the potentiality that play opens to human is realized in the choice that does not belong entirely to one or to the other, but whose interaction finally makes possible « the exercise of possibilities » (J. Henriot), providing the play, with the accomplishment of human, its condition as its purpose: its playful feature as synonymous with fun.So, undertaking play from a communicational and semiotic point of view makes possible to identify the specificity and scope of human play that embodies the ludic way. Ludology is this rethoric of the rethoric of play as a prospective, projective, creative and experiential way of knowledge that enriches human and social sciences

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32

Solinski, Boris. "Ludologie : jeu, discours, complexité." Thesis, Université de Lorraine, 2015. http://www.theses.fr/2015LORR0129/document.

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Considérer le jeu comme un acte, c’est lui prêter une intention et une finalité. Sa problématique est donc moins son identification en tant que jeu, évidente à chacun, que la communication de l’idée de ce qui se joue : « Qu’est-ce donc que le jeu ? Si personne ne me demande, je le sais ; mais que je veuille l’expliquer quand on me demande, et je ne sais plus. » (L. Wittgenstein). Plus que le jeu, c’est son discours qui est l’objet de notre étude, c’est-à-dire cette dynamique qui implique l’acte de jouer et fait de l’homme un joueur, et qui se situe dans l’aire intermédiaire d’expérience (D. Winnicott). Un discours à l’interface du discours de l’homme sur le jeu et du discours du jeu sur l’homme, autrement dit un discours du ludique : une ludologie. Approcher le jeu tel qu’il se dit, depuis l’implicite de la mythologie à l’explicite de la littérature ou de la pensée épistémique du jeu, c’est mettre l’accent sur les valeurs qu’il véhicule et par lesquelles on le reconnaît, puisque le jeu n’est pas une forme mais une modalisation : « ce qui pour nous est en train de se passer » (E. Goffman).A partir des fonctions du jeu, il est possible d’organiser le discours du ludique et de dépasser ainsi le simple champ d’étude pour mettre en place un cadre de compréhension ludologique. Ce cadre n’est pas plus la sélection d’un discours par rapport à un autre que la création d’un nouveau discours, mais bien l’articulation des discours du jeu et sur le jeu, pour dégager moins des éléments constitutifs que la cohérence de leur dialogue (S. Genvo), reflet de la dynamique du jeu qu’est le ludique. En effet, dans une perspective complexe (E. Morin), tous ces discours du jeu se contredisent moins qu’ils ne se complètent et se fécondent, à condition de les envisager potentiellement, c’est-à-dire dans ce que chacun est susceptible de « dire » des autres. En tant que discours du discours du jeu, la ludologie est donc l’homothétique de celui-ci, à l’interface de l’homme et de son jeu, de la narration et de la simulation, du temps et de l’espace où la potentialité qu’ouvre le jeu à l’homme se réalise dans le choix qui n’appartient ni tout à fait à l’un ni tout à fait à l’autre, mais dont l’interaction rend enfin possible « l’exercice d[es] possible[s] » (J. Henriot), offrant au jeu, par l’accomplissement de l’homme, sa condition comme sa finalité : son caractère ludique en tant que synonyme de plaisir.Ainsi, en entreprenant le jeu humain d’un point de vue communicationnel et sémiotique, il est possible d’en dégager la spécificité et la portée qu’incarne le ludique, et plus encore du discours de celui-ci qu’est la ludologie en tant que mode de connaissance prospectif, projectif, créatif et expérientiel à même d’enrichir les sciences humaines et sociales
Considering play as an act is assigning it intent and purpose. Its problem is less its identification as play, obvious to everyone, that a problem of communicating the idea of what is being played: « So, what is play ? If no one asks me, I know; but if I want to explain when people ask me, I do not know anymore. » (L. Wittgenstein). More than play, this is a rethoric which is the topic of our research, that is to say this dynamics that involves the act of playing and makes human a player belongs to the intermediate area of experience (D. Winnicott). A rethoric at the interface between human rethoric of play and play rethoric about human, a playful rethoric of the ludic way : a ludology.Approaching play as it express itself, from implicit to explicit, from mythology to literature or epistemic thought about play, leads to focus on the values that play conveys and through it can be recognized, since play is not a form but a modalization: « what we believe is happening » (E. Goffman).From the functions of play, it is possible to organize the playful rethoric and, beyond the simple field of study, to develop a framework of ludologic understanding. This framework no more favours a rethoric over another nor the creation of a new rethoric, but definitely the articulation of the rethorics of play, not emphasizing components but the consistency of their dialogue (S. Genvo), consequence of the dynamics of the ludic way. Indeed, from a complex perspective (E. Morin), all theses rethorics of play do not contradict but complement and fertilize each other, provided we consider them potentially, for what each is likely to point out from the other.As rethoric of play rethoric, ludology is its homothetic, at the interface of human and his play, narration and simulation, time and space where the potentiality that play opens to human is realized in the choice that does not belong entirely to one or to the other, but whose interaction finally makes possible « the exercise of possibilities » (J. Henriot), providing the play, with the accomplishment of human, its condition as its purpose: its playful feature as synonymous with fun.So, undertaking play from a communicational and semiotic point of view makes possible to identify the specificity and scope of human play that embodies the ludic way. Ludology is this rethoric of the rethoric of play as a prospective, projective, creative and experiential way of knowledge that enriches human and social sciences

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33

Ribeiro, João Henrique Ranhel. "TV digital interativa e hipermídia: jogos e narrativas interativas na TVi." Pontifícia Universidade Católica de São Paulo, 2005. https://tede2.pucsp.br/handle/handle/4654.

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Made available in DSpace on 2016-04-26T18:14:39Z (GMT). No. of bitstreams: 1 TV Digital, jogos e narrativas interativas na TVi - Joao Ranhel.pdf: 1240500 bytes, checksum: 4f42fe7170e002d6b0ade972220e94fb (MD5) Previous issue date: 2005-12-19
This thesis exposes a survey of new theories, researches and new approaches in the areas of narratology and ludology. It also exposes investigations on feasibility of using the knowledge acquired in such areas in developing new interactive contents for Digital Interactive TV (iTV). Initially the text shows an objective description of technical and operational aspects of the iTV. In the sequence, the narratologists and ludologists propositions are discussed. Narratology is a line of thought that studies the possibilities of interactive dramas a narrative structure in which the user can immerse as a character that he/she plays in first-person. Ludology is a line of thought that studies computer games virtual environments and worlds where the user can simulate, explore, face challenges, etc. The present research tries to survey the most relevant theoretical approaches and propositions from both areas narratology and ludology. Based on such propositions and theories we evaluate the possibility of introducing interactive dramas, new forms of games and new interactive programs in the iTV environment.
A presente pesquisa expõe um levantamento sobre recentes teorias, pesquisas e abordagens nas áreas da narratologia e da ludologia. Baseado nas propostas e teorias mais relevantes de ambas as áreas, analisa-se as possibilidades de introdução de narrativas interativas, de novas formas de jogos e de novos aplicativos televisuais na TV Digital Interativa (TVi). Na primeira parte, uma descrição objetiva sobre os aspectos técnicos e operacionais da TVi é apresentada. Na seqüência são mostradas as propostas narratológicas. Narratologia é uma linha de pensamento que estuda a criação de dramas interativos estruturas narrativas nas quais o usuário pode imergir para vivenciar um papel em primeira-pessoa. Na terceira parte da pesquisa as propostas ludológicas são abordadas. Ludologia é uma linha de pensamento que estuda os jogos computacionais estruturas de mundos virtuais nos quais o usuário pode simular situações, explorar mundos, enfrentar desafios, etc. Dessa forma, o presente trabalho busca outras formas interativas de expressão no novo meio que surge, a TVi.

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34

Carter, Justin T. "A conceptual framework of game feel: An evolutionary approach." Thesis, Queensland University of Technology, 2022. https://eprints.qut.edu.au/227919/1/Justin_Carter_Thesis.pdf.

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This thesis provides insight into the evolution of game feel design principles through an exploration of how game feel has existed and evolved in pivotal character action games. It includes a textual analysis of four influential character action games from discrete, historical generations and explores how design strategies associated with game feel have evolved. The analysis provides insight into the design characteristics that contribute to game feel. The thesis helps to demystify game feel for developers and to guide practice towards a clearer understanding of game feel as a central tenet of character action games.

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35

Slodov, Dustin A. "Nostalgia and World of Warcraft myth and individual resistance /." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1212088472.

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36

Gifford, Ben. "Reviewing the critics: Examining popular video game reviews through a comparative content analysis." Cleveland State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=csu1377089044.

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37

Mesa, Méndez Ancor. "Ludología híbrida. Heterogeneidad en los eventos juveniles cotidianos mediados por videojuegos." Doctoral thesis, Universitat Autònoma de Barcelona, 2012. http://hdl.handle.net/10803/107899.

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La proliferación de tecnologías digitales ha hecho emerger nuevas formas de sociabilidad en la que los videojuegos resultan un buen ejemplo para comprender muchas de las nuevas fronteras relacionales que brindan estos inventos. Los videojuegos han sido ampliamente abordados por la investigación psicosocial. Entre este interés abundan las preocupaciones, principalmente acerca de los posibles riesgos que la rápida expansión de las prácticas con estos dispositivos puedan tener para la correcta y saludable vida de los jóvenes del siglo XXI. Ante este panorama resulta necesario dar un giro en el planteamiento acerca del papel de los videojuegos en las relaciones cotidianas. Antes de preocuparnos, de antemano, por los posibles efectos que estas prácticas puedan tener para los jóvenes, es más clarificador adentrarnos a comprender las maneras en las que las personas participamos de esta peculiar forma de juego. A través de una aproximación etnográfica es posible identificar numerosos agentes de naturalezas dispares que invitan a pensar los videojuegos como procesos cotidianos en los que se asocian instantáneamente tanto elementos tecnológicos, como humanos o discursivos en un logro colectivo por la simulación de espacios lúdicos híbridos dispuestos a la interacción y el disfrute. Un videojugador, con todo y su experiencia a cuestas, es una categoría que se conforma en la acción misma de videojugar y un videojuego, más que un artefacto o un programa informático es el proceso por el cual se ponen en contacto el jugador y lo jugado a través de conexiones como la pantalla, controles o videoconsolas, pero también de otros muchos tipos, como las asociaciones recurrentes entre órdenes digitales (ejecutadas con los dedos) y reglas gráfico-sonoras, o las alianzas y enfrentamientos entre los diversos tipos de participantes en el juego. Desde este punto de vista, uno de los intereses que aporta mi investigación se basa en un tipo de sociología constructiva, centrada en comprender muchos de estos procesos de conexión que desencadenan en la emergencia instantánea de contextos particulares de sociabilidad, más que en tratar de explicar los peligros que estos procesos puedan suponer para la vida en sociedad.
The proliferation of digital technologies has led to the emergence of new forms of sociability which videogames are a good example for understanding many of the new relational boundaries provided by these inventions. Videogames have been extensively discussed by psychosocial research. Among this interest concerns abound, mostly about the potential risks that the rapid expansion of the practices with these devices could have to correct and healthy lives of young century. Against this background it is necessary to turn on the approach to the role of videogames in everyday relationships. Before worrying in advance about the possible effects that these practices may have on young people, is more illuminating delve to understand the ways in which people participate on this particular form of play. Through an ethnographic approach is possible to identify many disparate natures agents inviting to think video games as everyday processes in which both technological elements, than humans or discoursives, are instantly associated, as a collective achievement by simulating hybrid play areas willing to interaction and enjoyment. A gamer, for all his piggyback experience, is a category that is formed in the very act of videoplay and a videogame, rather than an artifact or a computer program is the process by which they contact the player and played by connections like screen, controls or game consoles, but also many other types, such as recurrent associations between digital commands (executed with fingers and other movements) and graphic-sound rules, or alliances and clashes between various types of participants in the game. From this point of view, one of the interests that brings my research is based on a type of constructive sociology, focusing on understanding many of these connection processes that trigger instantaneous emergency in particular contexts of sociability, rather than trying to explain the dangers that these processes may pose to life in society.

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38

Zúniga, Elfström Love. "16 sätt att yla : Narratologiska anaylser av Porpentines Howling Dogs och Abigail Corfmans 16 Ways to Kill a Vampire at McDonalds." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-189888.

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I denna uppsats analyseras spelen Howling Dogs och 16 Ways to Kill a Vampire at McDonalds ur ett narratologiskt perspektiv. Huvuddelen av analysen fokuserar på hur hypertextens mediala förhållanden påverkar relationen mellan spelaren och narrativet samt på förhållandet mellan berättare och lyssnarinstans. Analysen baserar sig på metoder med utgångspunkt i possible worlds theory, formulerat av Alice Bell. Uppsatsen exemplifierar hur man går till väga i analys av texter med ett starkt deiktiskt förhållande mellan texten och läsaren. Syftet är att undersöka existerande metoder och att förbättra dem, tillika en, möjligtvis naiv, förhoppning om att komma ett steg närmare ett större litteraturvetenskapligt intresse gällande vad spel kan tillföra litteraturvetenskapen.
This essay contains narratological analyses of the games Howling Dogs and 16 Ways to Kill a Vampire at McDonalds. The analyses are focused on the hypertext’s medial impact on the relations between user and narrative as well as narrator and narratee. The work is based on methods using possible worlds theory, created by theorists such as Alice Bell. A main purpose here is to further exemplify how to analyze texts having a deictic effect between themselves self and their readers. The purpose here is thus to test existing methods and further develop them. This purpose is also motivated by a, possibly naïve, hope of getting one step closer to a wider acknowledgement of how games can contribute to the subject of literature.

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Choi, Jaz Hee-jeong. "Playpolis : transyouth and urban networking in Seoul." Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/37610/1/Jaz_Choi_Thesis.pdf.

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The overarching aim of this study is to create new knowledge about how playful interactions (re)create the city via ubiquitous technologies, with an outlook to apply the knowledge for pragmatic innovations in relevant fields such as urban planning and technology development in the future. The study looks at the case of transyouth, the in-between demographic bridging youth and adulthood in Seoul, one of the most connected, densely populated, and quickly transforming metropolises in the world. To unravel the elusiveness of ‘play’ as a subject and the complexity of urban networks, this study takes a three-tier transdisciplinary approach comprised of an extensive literature review, Shared Visual Ethnography (SVE), and interviews with leading industry representatives who design and develop the playscape for Seoul transyouth. Through these methodological tools, the study responds to the following four research aims: 1. Examine the sociocultural, technological, and architectural context of Seoul 2. Investigate Seoul transyouth’s perception of the self and their technosocial environment 3. Identify the pattern of their playful interaction through which meanings of the self and the city are recreated 4. Develop an analytical framework for enactment of play This thesis argues that the city is a contested space that continuously changes through multiple interactions among its constituents on the seam of control and freedom. At the core of this interactive (re)creation process is play. Play is a phenomenon that is enacted at the centre of three inter-related elements of pressure, possibility, and pleasure, the analytical framework this thesis puts forward as a conceptual apparatus for studying play across disciplines. The thesis concludes by illustrating possible trajectories for pragmatic application of the framework for envisioning and building the creative, sustainable, and seductive city.

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Hansson, Mikael, and Stefan Karlsson. "A Matter of Perspective : A Qualitative study of Player-presence in First-person Video Games." Thesis, Umeå universitet, Institutionen för informatik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-121058.

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In this study we aimed to investigate the process through which players of video games situate, and form an understanding of their presence within the virtual game environment. This study specifically investigates this process in games played through a first person perspective with the intention of minimising the amount of visual information provided the participants. For this purpose we created two scenarios within a videogame environment specifically design for the study. A total of thirteen participants took part in the study, and after each season a semi structured interview was performed. In a qualitative content analysis we identified patterns and commonalities ascertaining to our line of questioning, and conclude that while the player-presence relationship would appear to be largely dependent on the individual’s type of play, the varying focus on either narratology or ludology in our two scenarios did indeed influence the participants to approach this relationship similarly within the separate groups. Finally we defined four types of player-presence relationship, and how they can be said to relate to the varying ludonarrative dynamics within the two specified genres, as well as the varying types of play observed amongst the participants in our study.

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41

Stejdahl, Emil. "Tv-spelets berättande : En diskussion kring den ludologiska teoribildningen." Thesis, Linnéuniversitetet, Institutionen för språk och litteratur, SOL, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-16897.

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Det här examensarbetet undersöker tidigare teoribildning inom Tv-spelsforskningen och i synnerhet kring Tv-spelets berättande. Eftersom forskning inom Tv-spelsområdet är relativt nytt är också själva teorierna under konstruktion vilket leder till att en del antaganden kan diskuteras. Därför granskar och diskuterar jag i den här uppsatsen de teorier och teoretiker som menar att film och litteraturteorier inte bör användas inom Tv-spelsforskning och att det inte är intressant att analysera spelets berättande. Teoribildningen som gör detta kallas ludologi och driver en tes om att Tv-spel i egenskap av nytt medium istället bör undersökas mer funktionellt. Den här uppsatsen diskuterar hur ludologerna argumenterat i sin framställning av denna tes och huruvida det är konstruktivt att smala av forskning genom att utesluta teorier från andra forskningsfält. Detta görs med hjälp av ett huvudspelexempel i form av Bastion (SuperGiant Games, 2010) som rent funktionellt är ett relativt enkelt spel, men som samtidigt har ett speciellt sätt att berätta på. Syftet är att bidra till forskningen kring Tv-spel och argumentera för en mer bred syn på vad som kan vara intressant att analysera.

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42

Pifferi, Elisa. "Più di un libro, meno di un gioco. Le visual novel tra ludologia e narratologia." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2022. http://amslaurea.unibo.it/25136/.

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Nei primi anni di studio dei videogiochi due correnti di pensiero si sono contrapposte: i ludologi privilegiano l’aspetto ludico e interattivo, mentre i narratologi ritengono di poter studiare il medium emergente attraverso i modelli applicati a qualsiasi altro testo, con un focus sull’elemento narrativo. Il contrasto, ancora non interamente risolto, è legato principalmente al fatto che non sono stati ben individuati i caratteri che definiscono l’oggetto in esame, anche per via della varietà riscontrabile all’interno dei generi che lo compongono. Tra i prodotti meno considerati si situano le visual novel che raggruppano tipologie diverse di videogiochi caratterizzati da una scarsa interattività e una storia avvincente. Proprio per questa peculiarità, che ha generato discredito nei loro confronti, conciliano aspetti osservati a entrambi gli estremi del dibattito. Ed è in quest’ottica che il presente lavoro si prefissa di mostrare il contributo che possono offrire per l’elaborazione di una disciplina nuova che ricomprenda tutti gli aspetti essenziali che definiscono il videogioco come medium a sé stante. Un’applicazione diretta delle teorie fin qui elaborate sarà utilizzata per mettere in rilievo tutti quegli aspetti meno immediati che sono però rilevanti alla loro composizione.

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43

Giner, Esteban. "Discursivités vidéoludiques et discours des jeux vidéo : pour une ludologie socio-constructiviste orientée par les mothertales." Electronic Thesis or Diss., Université de Lorraine, 2023. http://www.theses.fr/2023LORR0238.

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Dès leurs premières controverses comme la panique morale relative à la sortie du jeu Death Race jusqu'aux difficultés contemporaines de l'industrie à clairement positionner les créations qui lui sont issues, le média vidéoludique révèle des complexités discursives. Tantôt expériences médiatiques, tantôt loisirs, les jeux vidéo accumulent des identités complexes, plurielles et parfois contradictoires rendant leur étude et celle de leurs discours sujettes à controverse scientifique, mais également publique. Celles sur les significations des jeux du corpus étudiés dans ce travail doctoral, les mothertales, sont significatives de cela.Ces complexités discursives sont relatives au fait que les discours vidéoludiques (c'est-à-dire des interprétations de réalités issues des jeux vidéo) peuvent être conceptualisés comme des processus de co-construction entre le jeu, l'audience et l'écosystème dans lequel l'ensemble évolue. C'est pourquoi la problématique de ce travail doctoral concerne l'élaboration d'une proposition théorique et pratique permettant une analyse complexe des discours vidéoludiques. Comment penser une ludologie permettant de prendre en compte les complexités discursives des jeux vidéo qui engendrent des frictions ou des complémentarités lors des co-constructions de leurs interprétations ?Afin d'adresser cette problématique, ce travail doctoral propose et défend une ludologie socio-constructiviste (LSC) formalisant et conceptualisant les discours comme des réseaux d'actants, en jeu et hors le jeu, ayant des stratégies diverses et des responsabilités distribuées. Dès lors, l'analyse d'un discours passe par celle des situations de communications entre ces actants. De fait, la LSC répond à un triple enjeu : (1) formaliser les discours vidéoludiques comme des ensembles de variations énoncées différemment en fonction des identités des actants lors des situations de communication, (2) analyser et qualifier les responsabilités ainsi que les stratégies déployées par ces actants et permettant de statuer sur la discursivité, plus ou moins expressive, plus ou moins persuasive, d'un discours vidéoludique et (3) proposer un ensemble d'outils au service d'autres disciplines abordant l'étude des jeux vidéo par d'autres identités que celles de discours.Pour répondre à ce triple enjeu, ce travail doctoral est structuré en trois sections. La première revient et étaye ce qui est entendu par les complexités discursives. La seconde propose un cadrage théorique permettant d'aborder la LSC depuis une perspective matérialiste des discours vidéoludiques. La troisième section déploie et défend des outils d'analyse sollicitant les humanités numériques afin de proposer une analyse complexe et en réseau des discours vidéoludiques. Afin d'illustrer l'ensemble de ces propositions, cette thèse analyse trois discours : [la banalité du mal], [les socialités fictionnelles et responsables] et enfin [l'actualisation du jeu de rôle]. Ce faisant, en plus d'une proposition théorique et pratique, cette thèse contribue à l'analyse plus spécifique de ces thématiques dans les jeux vidéo
From their earliest controversies, such as the moral panic surrounding the release of Death Race, to the industry's contemporary difficulties in clearly positioning its creations, the videogame medium reveals discursive complexities. Sometimes media experiences, sometimes leisure activities, video games accumulate complex, plural and sometimes contradictory identities, making their study and that of their discourses subject to both scientific and public controversy. Those concerning the meanings of the games in the corpus studied in this doctoral work, the mothertales, are significant of this.These discursive complexities are related to the fact that videogame discourses (i.e., interpretations of realities derived from videogames) can be conceptualized as co-construction processes between the game, the audience and the ecosystem in which the whole evolves. This is why the problematic of this doctoral work concerns the elaboration of a theoretical and practical proposal for a complex analysis of videogame discourses. How can we design a ludology that takes into account the discursive complexities of video games, which give rise to frictions or complementarities in the co-construction of their interpretations?To address this issue, this doctoral work proposes and defends a socio-constructivist ludology (SCL) that formalizes and conceptualizes discourses as networks of actors, in and out of play, with diverse strategies and distributed responsibilities. Consequently, the analysis of a discourse involves the analysis of communication situations between these actors. In fact, SCL meets a triple challenge: (1) to formalize videogame discourses as sets of variations expressed differently according to the identities of the actants in communication situations, (2) to analyze and qualify the responsibilities and strategies deployed by these actants, enabling us to rule on the discursivity - more or less expressive, more or less persuasive - of a videogame discourse, and (3) to propose a set of tools at the service of other disciplines approaching the study of videogames through identities other than those of discourse.To answer this triple challenge, this doctoral work is structured in three sections. The first reviews and supports what is meant by discursive complexities. The second proposes a theoretical framework for approaching SCL from a materialist perspective of videogame discourses. The third section deploys and defends analytical tools that draw on the digital humanities to propose a complex, network analysis of videogame discourses. To illustrate all these propositions, this thesis analyzes three discourses: [the banality of evil], [fictional and responsible socialities] and finally [the actualization of role-playing games]. In so doing, in addition to a theoretical and practical proposition, this thesis contributes to a more specific analysis of these themes in video games

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Sjögren, Mats. "”Did you go in my house?” - Spelarstyrd analeps i Final Fantasy VII." Thesis, Högskolan Dalarna, Litteraturvetenskap, 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:du-871.

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Jonsson, Jacob. "Ludologiska narrativ och intriger : Datorspelet L.A. Noire som litteraturdidaktiskt verktyg." Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-179299.

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This degree project in swedish is a study on the videogame L.A. Noire (Team Bondi, 2011),where the goal with the essay is to determine which narrative and plot presents itselves in thevideo game. Another point of investigation is how videogames could act as a literaturedidactic tool for pupils and teachers alike. The videogame is analysed with the method“skugga intrigen“, a method originally created to help analyse plots and narratives inliterature. The game has two major plots and takes place in a very strict timelines within thestory and these are during the vice and the arson desks within the LAPD. Previous research onthe topic has concluded that videogames could be implemented as a place not just forentertainment, but education as well. Schools and teachers may lose their authority andcontrol of the classroom if the differences between the school education and their ownunofficial knowledge outside of school is not on par. Perhaps L.A. Noire and othervideogames can become the next great literature didactic tool within the swedish senior highschool?

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Pérez, Latorre Óliver. "Análisis de la significación del videojuego. Fundamentos teóricos del juego, el mundo narrativo y la enunciación interactiva como perspectivas de estudio del discurso." Doctoral thesis, Universitat Pompeu Fabra, 2010. http://hdl.handle.net/10803/7273.

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Esta Tesis Doctoral tiene como objeto de estudio la significación de los videojuegos.
Si la forma en la que, desde niños, construimos universos de valores y damos sentido a nuestras vidas está indisolublemente unida a los medios y las obras de la cultura de masas, el estudio de los modos de significación del videojuego requiere, hoy en día, un desarrollo en profundidad.
En relación con ello, el principal resultado de esta investigación consiste en la fundamentación teórica y metodológica de tres modelos de análisis del videojuego como discurso: un modelo de estructuras lúdicas, un modelo del discurso como universo narrativo y un modelo de enunciación interactiva. Asimismo, se ofrece una sistematización de los códigos de significación que conforman el lenguaje del diseño de videojuegos. Estos modelos constituyen una aportación metodológica innovadora a la Teoría del Videojuego y al Análisis del Discurso.
Las fuentes teóricas y metodológicas fundamentales del trabajo son la Semiótica, la Ludología y la Narratología.
La aplicación empírica de los modelos de análisis propuestos se centra en ejemplos y estudios de caso de videojuegos figurativos/narrativos, pero los modelos han sido construidos pensando en su posible utilidad para el análisis de un amplio espectro de videojuegos y otro tipo de textualidades colindantes, como los mundos narrativos de la literatura y las series televisivas.
Finalmente, se cierra la investigación con dos estudios de caso donde se prueba el sistema teórico en su conjunto, sobre los videojuegos Ico (2001) y Shadow of the Colossus (2005), ambos del diseñador Fumito Ueda.
The object of study in this Doctoral Dissertation is the signification of videogames.
Since early childhood, the way we construct universes of values and make sense of our lifes is closely related to the media and works of mass culture. Therefore, the study of the modes of signification of videogames requires to be fully developed.
According to that, this research provides the theoretical and methodological fundamentals of three models of analysis of videogame as discourse: a model of ludic structures, a model of discourse as narrative universe and a model of interactive "énonciation". Besides that, a systematization of the main signification codes which compose the language of videogame design is carried out. These models constitute an innovative methodological contribution to Videogame Theory and Discourse Analysis.
The theoretical and methodological framework of the research is built upon Semiotics, Ludology and Narratology.
The empirical application of the proposed analytical models is focused on examples and case studies of figurative/narrative videogames. Nevertheless, the models have been constructed bearing in mind their possible utility for the analysis of a broad spectrum of videogames and other kinds of close textualities, like the narrative worlds from literature or television series.
At the end of the research, the theoretical system is tested as a whole in two case studies: Ico (2001) and Shadow of the Colossus (2005). Both videogames have been designed by Fumito Ueda.

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Dymek, Mikolaj. "Industrial Phantasmagoria : Subcultural Interactive Cinema Meets Mass-Cultural Media of Simulation." Doctoral thesis, KTH, Industriell ekonomi och organisation (Avd.), 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-13084.

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The video game industry has in three decades gone from a garage hobby to a global multi-billion euro media industry that challenges the significantly older and established cultural industries. After decades of explosive growth the industry surprisingly finds itself in a crisis – in terms of sales, future trajectories and creative paradigms. The global gaming culture receives substantial attention from society, media and academia – but the industry itself appears in comparison as an enigmatic terra incognita with astonishingly little dedicated research. This thesis aims to amend this situation by presenting a study at the cross-section of the video game industry, game studies, literary theory, cultural industries and business studies. It deals with the following question: how does the global game industry relate to its own product, in terms of communication and media dimensions, and what are the (business) consequences, in terms of production, strategy and commercial/creative innovation, of this relationship? This study’s departure point is constituted by a comprehensive description of the industry’s structure, dynamics and processes, based on extensive interviews with industry professionals. It is followed by an examination and comparison of the game industry with other media/cultural industries in relation to their economy and business dynamics. With inconclusive answers regarding the medium-industry relation, this study proceeds by exploring literary theories from the field of game studies, in order to gain insights into the dynamics of medium and industry. Literary theories from ludology and narratology provide rewarding perspectives on this inquiry, since it is found that the ontological dichotomy of simulation vs. respresentation present in the interpretational realm of the game medium is also reflected in the industry and its dynamics. This has pivotal consequences for the analysis of the game industry. This study concludes by positing the current critical condition of the industry as an extremely decisive moment in its history: will it become a truly universal mass-medium, or will it continue down its subcultural path? Subcultural “interactive cinema” meets mass-cultural media of simulation – how will the industry evolve?
QC20100708

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Holst, Angelica, Cecilia Bullarsjö, and Ylvén Sanna Wallberg. "Visa, berätta inte : Hur väl uppfattar en spelare narrativet i ett spel utan en etableringsscen?" Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-18619.

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Vi är en grupp som håller på att utveckla ett spel, och var för det här spelets räkning intresserade av att se hur väl en spelare kan uppfatta spelberättelsen, motivation, samt ton och genre utan en introducerande etableringsscen. Vi har tagit reda på detta genom att skapa tre varianter av en spelprototyp. Den första använder sig av enbart miljöberättande. Version 2 är som version 1 men har även en panorerande kameraåkning över nivån. Version 3 är som version 2 men har också en 2D-animerad cutscene som tydliggör början av berättelsen. De här versionerna speltestades av testdeltagare som sedan intervjuades för att undersöka deras förståelse av narrativet. Vi kom fram till att en etableringsscen ger en ökad förståelse hos spelaren. Vårt urval av deltagare var däremot litet och prototypen var inte särskilt lång. Vi anser att framtida studier på området bör ha större bredd i urval av testdeltagare samt spelets omfattning.

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Söderström, Henrik. "Konst-kontroll-konfiguration : Om meningsskapande i konst och dataspel." Thesis, Konstfack, Institutionen för Konst (K), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7733.

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I denna uppsats granskar jag dataspelsmediet, ett medium för interaktivt berättande, för att undersöka hur konstverk kan aktivera sin publik, om de tolkningar som konst inbjuder till kan ses som en sorts interaktivitet. Jag kommer att presentera olika teorier och koncept för att undersöka spel i allmänhet och dataspel i synnerhet: ludologi, ergodisk litteratur och cybertext, samt spel och lek som modell för kulturellt meningsskapande enligt Jacques Derrida. Jag tar upp rumsliga installationsverk som ett exempel på konstverk som ger betraktaren möjlighet till egna val, och tolkar två installationer utifrån de teorier jag presenterat. Jag diskuterar i slutsatsen vilka aspekter av dessa teorier som kan överföras till konst, hur de kan användas till analys och produktion av konstverk.

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Tortolero, Cervantes Xochitl. "ESTRUCTURAS NARRATIVAS LÚDICAS: UN RESORTE CREATIVO PARA ARTISTAS DIGITALES." Doctoral thesis, Universitat Politècnica de València, 2013. http://hdl.handle.net/10251/31122.

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Con esta tesis buscamos establecer el mayor número de coincidencias entre lenguaje, narratología y videojuego con el fin de detectar, nuevas estructuras narrativas que puedan aplicarse a la creación artística multimedia. El objetivo principal de esta investigación es proporcionar un modelo de Narrativa lúdica que estimule a los creadores artísticos en nuevos medios, a que revaloren el lenguaje, la narración y las estrategias del juego como recursos de creación. Nuestro punto de partida fue la relación que existe entre las personas las historias y los juegos; pudimos apreciar que no sólo son herramientas de comunicación y expresión, sino que se enriquecen y complementan mutuamente. A lo largo del tiempo la herencia narrativa se ha adecuado a las condiciones culturales y tecnológicas existentes. En un segundo momento pudimos conocer algunas piezas literarias que fueron concebidas a partir de juegos y por ello designamos como narrativas lúdicas, cuyas características pueden considerarse como modelos que estimulen el trabajo profesional de escritores, guionistas o diseñadores de textos interesados en integrar relatos a sus piezas como una aportación a la narratología y a la poética digital contemporáneas. En la tercera parte exploramos las características que los videojuegos y los atributos que podemos asociar con la composición de relatos, como el sentido de vértigo y de movimiento, su formato de niveles o plataformas que muestran un modo de avance y progresión en el que además propicia el ambiente inmersivo que permite a los espectadores vivir en carne propia la experiencia. A través de este estudio mostramos un balance entre las posturas críticas que han distanciado los juegos de las narrativas; confirmando que no existe razón para tal distinción, sino al contrario, existen elementos que aseguran su mutua dependencia. Lo cual confirma nuestra tesis de utilizar ciertas cualidades de los juegos para experimentar formatos narrativos más complejos similares a la idea del palimpsesto, entendido como un texto que se desarrolla a lo largo de diversos ejes, compuesto por un sinnúmero de acciones, formando una red con múltiples posibilidades de lectura e interpretación. En el último apartado proponemos prácticas que puedan orientar tanto a profesores, estudiantes e interesados en incursionar en el mundo del diseño de textos y guiones. Que sean un laboratorio de experimentación lúdico-narrativo, el cual contribuya a formar Narrajugadores, que afloren la genialidad poética nutrida a partir del juego con propuestas que puedan revestirse con temáticas y tratamientos muy diversos. Concluimos nuestro estudio confirmando cómo el juego y el lenguaje son herramientas indispensables que los creadores artísticos pueden considerar para proponer un tipo de narrativas jugables, experimentales e innovadoras. La necesidad de replantear la importancia de relatar historias y estimular su práctica, para cualquier artista interesado en complementar sus piezas.
Tortolero Cervantes, X. (2013). ESTRUCTURAS NARRATIVAS LÚDICAS: UN RESORTE CREATIVO PARA ARTISTAS DIGITALES [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/31122
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Dissertations / Theses on the topic 'Ludology'

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