Academic literature on the topic 'Video Game Protagonist'
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Journal articles on the topic "Video Game Protagonist"
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Jatmiko, Rahmawan. "Fictional Characters’ Heroism in Assassin’s Creed III Video Game in the Perception of Indonesian Video Gamers." NOBEL: Journal of Literature and Language Teaching 8, no. 1 (April 3, 2017): 35–48. http://dx.doi.org/10.15642/nobel.2017.8.1.35-48.
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Assassin’s Creed is a historical fiction video game developed and published by Ubisoft. This video game has been so far considered as one of the most violent video games. Assassin’s Creed III is the third sequel of which plot is set in a fictional history of real world events and follows the centuries-old conflict between the Assassins and the Templars. Based on this study, the plot, characters, characterization, and scenes in Assassin’s Creed III are deemed to be able to give positive teachings to the young generation, despite the fact that there are violent and sadistic scenes in the story. Haytham Kenway, who is “evil” protagonist in Assassin’s Creed Forsaken, is portrayed as an expert in using weapons, since he was kid. Separated from his family, Kenway was taken by mysterious mentor, who trained him to be the most deadly killer. Comparisons with classic characters such as Oedipus, Hamlet, or Indonesian legendary character Sangkuriang are intentionally made to sharpen the analysis. The finding of this study is that heroic value might be found in either protagonist or antagonistic characters, whose roles involved numerous violent actions. Comments from the official website and social media which claim that Assassin’s Creed has brought negative impacts on the consumers might not be totally true.
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Matthews, Clare. "Seeing Triple: Identification and Gamic Vision in Film and FPS Games." Film Matters 12, no. 2 (September 1, 2021): 61–80. http://dx.doi.org/10.1386/fm_00155_7.
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The subjective shot as used in film and FPS video games is analyzed. In film, the subjective shot involves an alignment of two conflicting POVs (protagonist and spectator) and so is generally problematic. By providing game-enabled agency, the subjective shot is employed successfully in FPS games. Being John Malkovich and Peeping Tom both use a special case of the subjective shot, with the merging of three looks. This provides the spectator with a vicarious sense of agency comparable to that of an FPS game, rendering the subjective shot non-problematic in these films.
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Walter, Nathan, and Yariv Tsfati. "Interactive Experience and Identification as Predictors of Attributing Responsibility in Video Games." Journal of Media Psychology 30, no. 1 (January 2018): 3–15. http://dx.doi.org/10.1027/1864-1105/a000168.
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Abstract. This study examines the effect of interactivity on the attribution of responsibility for the character’s actions in a violent video game. Through an experiment, we tested the hypothesis that identification with the main character in Grand Theft Auto IV mediates the effect of interactivity on attributions of responsibility for the main character’s antisocial behavior. Using the framework of the fundamental attribution error, we demonstrated that those who actually played the game, as opposed to those who simply watched someone else playing it, identified with the main character. In accordance with the theoretical expectation, those who played the game and came to identify with the main character attributed the responsibility for his actions to external factors such as “living in a violent society.” By contrast, those who did not interact with the game attributed responsibility for the character’s actions to his personality traits. These findings could be viewed as contrasting with psychological research suggesting that respondents should have distanced themselves from the violent protagonist rather than identifying with him, and with Iyengar’s (1991) expectation that more personalized episodic framing would be associated with attributing responsibility to the protagonist.
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Triviño Cabrera, Laura, Alejandro Muñoz-Guerado, and Asunción Bernárdez-Rodal. "The educational potential of video games in the deconstruction of hegemonic masculinity through the VIGLIAM method (Video Games Literacy From Alternative Masculinities)." Profesorado, Revista de Currículum y Formación del Profesorado 25, no. 1 (March 29, 2021): 339–55. http://dx.doi.org/10.30827/profesorado.v25i1.8602.
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Generally, male video game characters represent a hegemonic masculinity based on a patriarchal system that shows as a protagonist and dominant a white, western, heterosexual, wealthy male, disabled man and anti-ecologist. Videogames are one of the most consumed entertainment industry products worldwide. For students, video games are spaces where to find their masculine identity. Therefore, education must include video games. Video games are used as an educational resource for the improvement of the teaching-learning process of students. However, the aim of this study is to propose a didactic method untitled VIGLIAM (acronym for Video Games Literacy from Alternative Masculinities). From this method, firstly, students deconstruct critically the hegemonic masculinity of the characters in video games. Secondly, students build critically and creatively alternative masculinities that promote a fairer and more equal society. From this way, students develop empowering and empathetic skills from categories as gender, race, class, sexual orientation, body and nature. In short, this research is part of masculinities studies in the area of education and it is fundamental in the light of the emergence of posmachism that arises given the possibility of the loss of male privilege.
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Lawrence, Richard, and Ribut Basuki. "The Lost of Virtual and Simulated Identity in Online/Virtual Platform Written Adaptation of a Game “Digimon Story Cyber Sleuth: Hacker’s Memory”." K@ta Kita 8, no. 3 (December 23, 2020): 297–304. http://dx.doi.org/10.9744/katakita.8.3.297-304.
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This creative project is a written adaptation of a video game entitled Digimon story Cyber Sleuth: Hacker’s Memory (2017). This adaptation will retell a story from the aforementioned video game title about an alternate Japanese society where technology has evolved so much that people can dive into a cyber space called EDEN. By using a set of computers and a special device called Digivice. In this virtual cyberspace, a physical manifestation can be achieved by having a virtual account and many people at the beginning of the story have been using EDEN for years to do many things. The story begins with a young man who lost his virtual account. In order to get his account back he has to get involved in the world of hackers which are individuals who are able to temper the programming codes of EDEN just like how it used to be in regular computers to achieve a certain purpose. In this involvement the protagonist also encounters creatures known as Digimon which will then play a major role in the story moving forward. The protagonist also meets a hacker group called Hudie which the protagonist ends up joining in order to gain support in searching for his missing account. The theme of this adaptation is how a missing a virtual identity ends up shaping another identity for the main protagonist. This adaptation also serves as a journey for the main protagonist who at the beginning falls under the category of “hacker” which is a bad term into a “hero” at the end. Key words: Virtual, cyber space, hacker, mental data, avatar, account, identity.
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Kubiński, Piotr. "Interfejsy intymności. Tendencje intymistyczne we współczesnych grach wideo." Załącznik Kulturoznawczy, no. 8 (2021): 215–39. http://dx.doi.org/10.21697/zk.2021.8.11.
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The article concentrates on a specific tendency that can be observed in some video games created in recent years. This trend is that more and more video games present an intimate perspective and focus on the individual experience of the protagonist. The author of the article approaches the phenomenon in question mainly from the interpretative and genological perspective, since video games are not a media form commonly identified with the expression of intimate, formative or identitycreating experiences. The author starts with an analysis of the reasons why video games and intimistic texts are commonly perceived as very distant genre forms. Then he analyzes those video games that represent the intimistic tendency: Bury me, my Love (The Pixel Hunt, 2017), A Normal Lost Phone (Accidental Queens, 2017) and Wanderlust: Travel Stories (Different Tales, 2019). The analysis leads to the following conclusions: what is common for all the three discussed games is i.a. a particularly important role of the text as the basic semiotic material in which the game is realized. Even though Interfejsy intymności this concentration on the word is not a necessary condition of intimistic poetics – it definitely helps introducing such a dimension into the work. What is more, two of the three discussed games use the strategy of remediating a smartphone. In both cases, the creators designed new interfaces modeled on the real ones and turned navigating on the phone screen into basic game mechanics. This, in turns, means that intimistic tendencies in video games stimulate reaching for new genre forms. This process of remediation is possible mainly because modern intimacy has shifted very clearly towards the digital, and smartphones have become its basic tool. This phenomenon, which the author of the article calls ‘intimacy 2.0’, is a result of the fact that: (a) contemporary culture is deeply anchored in the digital and its interfaces, and (b) the importance of smartphones in everyday communication and media consumption has been growing enormously in recent years. The final conclusion of the paper is as follows: all the discussed games use an intimate perspective to evoke empathy, which was not a typical video game design goal. This is especially interesting, given the fact, that all the analyzed games remain primarily commercial products that are driven by the laws of the market.
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Stang, Sarah Marie. "“No one gives you a rulebook to raise a kid”: Adoptive Motherhood in The Walking Dead Video Game Series." Loading 12, no. 20 (November 20, 2019): 51–70. http://dx.doi.org/10.7202/1065897ar.
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This article closely examines the representation of adoptive motherhood in Telltale Games’ The Walking Dead video game series. It builds off previous research which has examined The Walking Dead: Season One as an example of a ‘dadified’ game to explore the ways adoptive motherhood is represented throughout the series. More specifically, this article focuses on the series’ protagonist, Clementine, as she develops from a daughter-figure to a mother-figure. Overall, this article argues that although TWD has been discussed primarily as a dadified game and much of the extant literature on the series has focused on Lee as a father-figure, TWD series can also be read as a ‘momified’ narrative. While there are several problematic aspects in the way Clementine is portrayed, the series is notable in that it explores adoptive maternity, centralizes the experiences of non-white characters, and reinforces the message that family is not limited to blood relations. Because of its centralization of Clementine – a young, potentially queer, adoptive mother of colour – TWD series should be considered as a maternal narrative, rather than only categorized as another dadified series.
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Lindner, Danielle, Melissa Trible, Ilana Pilato, and Christopher J. Ferguson. "Examining the effects of exposure to a sexualized female video game protagonist on women’s body image." Psychology of Popular Media 9, no. 4 (October 2020): 553–60. http://dx.doi.org/10.1037/ppm0000251.
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Ciccoricco, David. "Narrative, Cognition, and the Flow of Mirror’s Edge." Games and Culture 7, no. 4 (July 2012): 263–80. http://dx.doi.org/10.1177/1555412012454223.
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Faith, the protagonist of Mirror’s Edge, marks an empowered female character that is not hypersexualized, and the decision to employ a first-person perspective (thereby subverting any gaze offered by a third-person view) supports this design objective through gameplay. But despite Faith’s welcome debut on the main stage of commercial gaming, the game raises more significant questions through its engagement with the multifarious concept of “fluidity” or “flow,” which is integral to both the gameplay of Mirror’s Edge and the themes in it. Is Faith’s flow—in line with radical critical moves in literary history and cultural theory of the late 20th century to gender this trope—essentially or inevitably feminine, or for that matter, feminist? Does the game ultimately avoid, perpetuate, or contest the gendered discourses that it evokes? What can its simulations of a fictional mind in action tell us about our own? This article draws on cognitive, feminist, and narrative theoretical frameworks to question what the concept of fluidity means for a video game that mobilizes it through both narrative design and gameplay.
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Borunda Magallanes, Ismael Antonio. "Gris: metáfora, símbolo y relato en (inter)acción." Sincronía XXV, no. 80 (July 3, 2021): 314–34. http://dx.doi.org/10.32870/sincronia.axxv.n80.15b21.
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Gris, an independent Spanish video game, explores the expressive possibilities of this creative medium through a story that is, on one hand, a symbolic representation of the psychological process of the protagonist, and, on the other hand, a foundational narrative about the loss and recovery of identity. This title employs the expressive tools of the history of art to build its aesthetic proposal; in particular, it is categorically placed in the line of surrealism as an artistic current. The analysis of this elements is realized through fundamental notions of rhetoric and poetics, referencing authors such as Helena Beristáin and Carmen Bobes, and the narrative hermeneutics of Paul Ricoeur, as well as theoretical perspectives that allow building bridges of analysis between literature and the visual arts.
Dissertations / Theses on the topic "Video Game Protagonist"
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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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Siri, Åhman. "Wait, I'm him now? : Identification and choice in games with more than one protagonist." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-15418.
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This study examines correlations between player choice and identification in a multiple protagonist video game, seeking to determine whether a player’s identification with one or more player characters affects the way they make choices while playing. It discusses various definitions and types of identification as well as ways to create a successful narrative with multiple protagonists. The artefact created for the study is a text-based game with a branching narrative, where the player is required to make choices for three different characters, and a qualitative research method based on interviews with a small group of participants. The results show that players seek to identify with the player character even when there are more than one, and often use this as a basis for the choices they make, either by imagining themselves in the situation of the main character or by imagining that they are the main character. They do not usually base their choices while playing as a character on their identification or lack thereof with another, and regardless of how they made choices, most players made more or less the same ones. However, it did show that lack of identification made making choices more difficult for that character, which lessened their enjoyment of that storyline.Artefakten som användes i arbetet utvecklades i samarbete med Amanda Thim
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Hogla, Cecilia. "Kvinnliga tv-spelshjältar : En kritisk diskursanalys av hur kvinnliga protagonister skildras i tv-spel." Thesis, Linköpings universitet, Institutionen för studier av samhällsutveckling och kultur, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-124608.
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The purpose of this paper is to examine how female protagonists in video games are portrayed. The material analysed consist of two game series of ten games each, which means a total empirical material of 20 games. The game series chosen for analysis are Metroid with its protagonist Samus Aran and Tomb Raider with Lara Croft as its protagonist. These game franchises were chosen because they have the bestselling video game heroines. The method used for this study has been a critical discourse analysis and the results show both a validated and contradicted result. The theories and the result from the analysis can confirm that female video game characters and especially protagonists are visually portrayed in an objectified sexualised manner. The contradiction is shown in the descriptions of the two female leads where they are both depicted as strong, confident and independent women in their fields of expertise.
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Rodriguez, Joanna. "Manliga kvinnor och ideala män i videospel : En kritisk diskursanalys av representationen av kvinnliga och manliga protagonister i spelrecensioner." Thesis, Södertörns högskola, Svenska, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-37483.
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The gaming industry is a multimillion-dollar industry that is male dominated. The games contain mostly male protagonists and the few female protagonists that makes it to the shelves are met with criticism from the players. I have taken an interest in how the protagonists are portrayed by reviewers. For example, when it comes to age and use of name, if there is any difference between genders and if there is any kind of discrimination like sexualizing in the text. In this study, I use critical discourse analysis to study game review articles of six different games, three with female protagonists and three with male protagonists. The reviews are from two different gaming magazines. The results are that the protagonists are rarely represented as the stereotypical hero to the readers and there is not a big difference between genders. An observation is that the male protagonists are described and depicted as ideal men that are supposed to be aggressive, violent and dominant. The female protagonists are described with similar traits as the male protagonists. The conclusion is that the female protagonists are fitted into the stereotypical main character role. This role is built up by hard traits where softer traits like passive, pacifistic and submissive, which are more considered stereotypically female, is absent from main protagonists.
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Thériault, Pascale. "L’héroïne d’action dans le jeu vidéo et ses représentations de personnages féminins : une figure et ses variations." Thèse, 2016. http://hdl.handle.net/1866/18750.
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Ce mémoire se concentre sur la figure de l’héroïne d’action dans les jeux vidéo. La culture vidéoludique, qui glorifie la masculinité militarisée, tend à sexualiser les personnages féminins et à négliger les préférences des joueuses afin de cibler les hommes et les garçons. La figure de l’héroïne d’action naît du désir d’inclusion des femmes dans la culture du jeu vidéo. Ces protagonistes féminins, bien que souvent objectifiés comme le témoigne le célèbre personnage de Lara Croft, présentent tout de même un potentiel subversif en envahissant l’espace traditionnellement masculin. Ce mémoire analyse quelques protagonistes qui correspondent à la figure de l’héroïne et la remodèlent.This master thesis focuses on the action heroine trope in video games. The video game culture, which glorifies militarized masculinity, tends to sexualize female characters and to neglect the preferences of female players by targeting men and boys. The action heroine trope is born from the desire to include women in the video game culture. These female protagonists are often sexualized, such as the famous Lara Croft, but they also have a subversive potential by invading a traditional masculine space. This master thesis analyzes a few characters that are modeled and reshaped on the action heroine trope.
Book chapters on the topic "Video Game Protagonist"
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Hemovich, Vanessa. "From Princess to Protagonist." In Gender and the Superhero Narrative, 205–20. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496818805.003.0009.
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The rise of global communication and the pervasive nature of mass media entertainment has led to stark increases in the popularization of video games. With increases in popularity, socio-cultural representations of video gamers are also changing, particularly as more women take up game controllers and consoles to play. This rise in diversification of player demographics has, in part, spearheaded an upheaval of vocal reactions across the gaming community concerning the resounding lack of positive portrayals of female game characters and persistent criticisms of profound misogyny in the video games industry. This chapter interrogates the changes in characters and fandom amid the controversy of #gamergate.
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Zourgani, Mehdi Debbabi, Julien Lalu, and Matthieu Weisser. "Intermediality and Video Games." In Advances in Multimedia and Interactive Technologies, 54–69. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-5225-0477-1.ch004.
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This chapter proposes to study intermediality in video games in order to highlight media interactions. The purpose is to analyze some intermedia processes to illustrate how intermediality can create signification. The chapter is focused on the survival horror game Silent Hill 2 (Konami, 2001). More specifically, it is about, but not only, two protagonists: James Sunderland and Eddie Dombrowski. Analyses follow three different intermediality levels that can be applied in video games to get a better comprehension of it. The co-presence shows what is played between the media included in the game. The transfer has an interest to the links between video games and other objects in order to find how its language is created. Silent Hill 2, as a Japanese production, includes many Japanese symbols. The emergence reveals what creates the specific identity of the video game as a medium by observing the interactions between the different media composing it.
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"GTA, Humor, and Protagonists." In Wordplay and the Discourse of Video Games, 93–105. Routledge, 2012. http://dx.doi.org/10.4324/9780203124031-12.
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Mason, Derritt. "HIV/AIDS: Playing with Failure in Caper in the Castro and Two Boys Kissing." In Queer Anxieties of Young Adult Literature and Culture, 65–86. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496830982.003.0004.
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This chapter puts into conversation two temporally and formally distant texts: C.M. Ralph’s video game Caper in the Castro, created during the height of the AIDS crisis in 1989 and recently restored in 2017; and David Levithan’s 2013 young adult novel Two Boys Kissing, which is set in the present-day but narrated by a ghostly chorus of gay men—called the “shadow uncles”—who died during the worst of the AIDS epidemic. As a video game, Mason argues, Castro allows us to play with and feel the anxieties about HIV/AIDS that continue to circulate in queer YA and its criticism—including Levithan’s novel, which confines HIV/AIDS to historical trappings, keeping it detached from the social worlds of its young contemporary protagonists. This is consistent with the treatment of HIV/AIDS elsewhere in young adult literature, which habitually mis- and underrepresents the virus in order to preserve the innocence of its protagonists.
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Lie, Sulgi. "The Political Uncanny, or the Return of the Repressed: Caché." In Towards a Political Aesthetics of Cinema. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462983632_ch05.
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Suture opens up the possibility of a reference to a radically conceived outside of film that cannot be integrated diegetically in a simple way. This aesthetics is based on a mode of film that does not superimpose but endures this radical, unbridgeable gap. This becomes political with regard to the constitution of the subject kept open in this way, which is neither interpellatively nor narratively closed. It is the constant perceptible presence of the Absent One that history allows to seep into films, as I demonstrate in an analysis of Michael Haneke’s Caché. In Caché the gaze of the videos articulates the historical guilt of the protagonist and reveals his entire social and political positioning.
Conference papers on the topic "Video Game Protagonist"
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Victorio, Aldo, and Teresinha Vilela. "Art, Audiovisual and Design: an experience." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.128.
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This work aims to share part of a research carried out in a public school that brought art, school and university closer together. The research aimed to understand the interests of students in the Final Stages of Youth and Adult Education (EJA) and was carried out at the Municipal Expeditionary Aquino de Araújo School, in Duque de Caxias, state of Rio de Janeiro. The audiovisual production comes from the school's partnership with the Audiovisual Resources Laboratory of the State University of Rio de Janeiro, Campus Duque de Caxias, Faculty of Education of Baixada Fluminense (LABORAV-UERJ/FEBF). Students, collaborators, go from protagonists to directors and editors of their own productions. In this way, we try to enhance the interests of students who are often invisible. The research gave us the opportunity to get to know in more detail various interests of the students who, along the way, converged mainly on the culture of Skate and Hip Hop. At school, not only skateboarding was present in the classroom, but also skateboarding images, on shirt prints, on the covers of some notebooks. In the pre-investigative period of the project, Mauricio Silva had drawn the letters “R” and “C” on a project for a shirt, an activity that we propose, as an art teacher at the school. Then I met Mauricio Silva with his skater friends, exposing the “Ratarius” brand, that “R” that he drew in his shirt project. This meeting took place at the Meeting of Favelas (MOF) which was recorded in Video 1-MoF2014 Cultura e Imagem Fora das Paredes da Escola https://youtu.be/JdmRNjYygMs?t=7. Ana Mae Barbosa (2015) presents the image as a research narrative. Video 1 was a moment in the research, in which image/writing overflowed beyond paper and videos began to be part of the research methodology as well. We rely on Arts Based Research (PBA) with a/r/tography. Prior to any public presentation of Video 1, students and former students, Mauricio Silva, Thiago Marques, Anthony Oliveira and Raphael Santos were invited to watch Video 1 together on LABORAV, resulting in Video 6 (https://youtu.be/b6E94LzTpxY) with their reactions and comments to the event. see -. Afterwards, from this moment on, the other seven videos were produced with their direct collaboration, getting the invitation to watch. And we are celebrating the approval (October/2021) of the Licentiate Course in Cinema and Audiovisual for the Baixada Fluminense Education Faculty Unit of the State University of Rio de Janeiro, the place that made our research possible.