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1
Sandqvist, Ulf. "Digitala drömmar : en studie av den svenska dator- och tv-spelsbranschen 1980-2005." Licentiate thesis, Umeå University, Department of Economic History, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-1470.
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This licentiate thesis describes the development of the Swedish computer and video game industry. The main focus is on the Swedish game development industry. Little research on the industry has been done and the purpose is to define the companies involved and to create an initial overview of the development of the industry. This overview will later be used as a platform for the doctorial thesis.
Games are a growing culture form and today a lot of people are playing different types of computer and video games. Internationally the industry has expanded and some of the successful games have generated spectacular revenues. In Sweden the industry has received attention from different actors like universities, government bodies and media. There are today educations that are focused on game development and there are programs which allocates grants towards game companies. The rapid development in the computers technology has had a great impact on the game industry, which is dependent on hardware development to create games.
The first computer games were made for some of the very first computers in the 1940´s and 1950´s. In the 1970´s a market for games was created when arcade machines and somewhat later home consoles were introduced. The industry has grown and includes today some of the largest companies in the world.
The Swedish industry follows the international pattern but developed a bit later and the first Swedish game companies were founded in the late 1980´s. The industry has expanded, especially between 1998 and 2002. In 2005 the number of people employed in the industry had increased to over 600. During the period under study the industry seems to have had a constant problem with making a profit. Especially in 2002 and 2003 the industry has had economic problems and some of the lager companies were bankrupt.
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Du, Plessis Corné. "Video games as “play assemblages”: applying philosophical concepts from deleuze and guattari to create a novel approach to video games." Thesis, Nelson Mandela Metropolitan University, 2017. http://hdl.handle.net/10948/16119.
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The phenomena that we collectively refer to as “play” form a significant part of life at numerous levels. According to the play scholar, Johan Huizinga, play has not only been part of all human societies, it is also at the root of the development of numerous cultural activities, including structured games and sports, certain judicial and legal activities, war, and numerous forms of art. Despite its importance, play, with its various manifestations, is often relegated to being a children’s activity or an occasion of pure waste, and is a surprisingly marginalized topic in academic scholarship. In part to remedy this deficit, my aim in this thesis is to explore the comparatively new phenomenon of video games as a particular form of play. While there are undoubtedly many philosophical approaches that can respond to different aspects of the “problem” of video games, I propose that Gilles Deleuze and Felix Guattari’s philosophy of “difference” and “becoming” is particularly useful. On the one hand, Deleuze and Guattari’s philosophy provides a viable framework through which to determine the limitations of the current prominent theories in the field of video game studies, which include “narratology”, “ludology”, and the more recent “hybrid approach”. On the other hand, their philosophy enables one to extend the creative and transformative potential that is inherent to a philosophical “problem”, in this case the “problem” of video games. By adapting selected Deleuzian and Deleuzoguattarian philosophical concepts, including “assemblage”, “percept”, “affect”, “transversal becoming”, and “becoming-imperceptible”, I aim to establish a philosophical framework through which different forms of play, and different video games, can be analyzed in terms of their capacity to generate “difference” and “becoming”. More specifically, I argue that video games can be understood as particular kinds of “play assemblages” that can potentially open the player to “transversal becomings”. The video games that I analyze as play assemblages that can generate “transversal becomings” are Thatgamecompany’s Flower (2009) and Journey (2012). Importantly, “transversal becomings”, understood in this instance as the “becoming-other” of human individuals, have the potential to contribute to the individual’s capacity for creative thought and action. Therefore, I argue that video games, far from being activities of pure waste, can potentially open the player to various forms of “becoming-other”, which can, in turn, increase the player’s capacity to think differently, to become different and to create differences. Ultimately, I aim to promote the value of play and video games on the one hand, and the value of Deleuze and Guattari’s philosophy on the other hand, for the aim of extending the questioning power of life, and increasing our capacity to effectively respond to a continuously changing world of problems.
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Răzman, Diana Cristina. "Replaying history : Accuracy and authenticity in historical video game narratives." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-18962.
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In this research paper, I develop a conceptual framework through which I identify two ways in which historical practices, events, and spaces are represented and engaged with in video games. The concepts I propose are historical accuracy to reflect well-established narratives and a high fidelity to factual data, and historical authenticity to reflect lesser known narratives and a more complex and sometimes abstract interpretation of history. The research concentrates on the modalities in which history is represented in mainstream video games, what similarities or dissimilarities can be drawn from the analysis of various historical digital games, and how can these games be designed to foster diversity and fair representation.
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Hagström, Anders. "Poetically Man Dwells in Game Space : A Phenomenological Investigation of Video Games as Art." Thesis, Uppsala universitet, Institutionen för speldesign, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-326132.
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The studies of digital games is a young scientific field notable for its interdisciplinary nature that seeks to unite several epistemological positions in order to properly encompass the wide array of questions raised by the subject matter. During the last two decades strides have been made towards the introduction of a unified game theory, with several of the more recently suggested methods coalescing towards a similar end. This paper posits a phenomenological game theory which circumvents the usual aesthetic arguments for a focus on game as space, and analyses what it means to be in that space. The result of the initial reading of mainly three well-known and critically acclaimed digital games strongly indicates that using Heideggerian phenomenological thought reveals things about games as art that a) reinforces the validity of commonly held beliefs in current game theory, and b) suggests new ways forward for game design to improve games through enhancing the player’s comportment into their spaces by means of phenomenological game theory.
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Hess, Taryn. "COMPARISON OF LEARNING EXPERIENCES AND OUTCOMES BETWEEN A SERIOUS GAME-BASED AND NON-GAME-BASED ONLINE AMERICAN HISTORY COURSE." Doctoral diss., University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2108.
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The use of online courses continues to increase despite the small amount of research that exists on the effectiveness of online educational environments. The little research that has been conducted has focused on evaluating factors taken into consideration during the adoption of online learning environments. One notable benefit often cited is the ability to incorporate multimedia such as video games. Although game researchers and developers are pushing for the use of video games for educational purposes, there is a lack of research on the effectiveness of serious video games. When paring the increasing use of online educational environments, the push to use serious video games, and the lack of research on the effectiveness of online learning environments and video games, there is a clear need for further investigation into the use of serious video games in an online format. Based on current literature, no other known study has conducted an analysis comparing a serious game-based and non-game based online course; making this a unique study. The purpose of this study was to compare student learning experiences and outcomes between a serious game-based and non-game based online American History course. The data sources were data provided from Florida Virtual School (FLVS) and student and teacher interviews. Random samples of 92 students were statistically analyzed. A group of 8 students and 4 teachers were interviewed. FLVS data provided were analyzed using an independent t-test and the Mann-Whitney test and the student and teacher interview were analyzed using thematic analysis. Results of an independent t-test revealed that there was a significant (p < .01) difference in the mean number of days necessary to complete the course (MGB = 145.80, SDGB = 50.64, MNGB = 112.63, SDNGB = 49.60). The Mann-Whitney results indicated a significant difference between course performance and the type of American history course (Z = -5.066, p < .01); students in the serious game-based online course had an A average whereas students in the non-game-based online course had a B average. The thematic analysis of the relationship between student performance and motivation in both courses indicated that students and teachers of the game-based online course provided more reasons for student motivation than the students and teachers in the non-game-based online course. The thematic analysis of what aspects do students perceive as helpful and/or hindering to their learning indicated that students and teachers of the game-based online course provided more desirable, more helpful, less undesirable, and less hindering aspects for their course than the students and teachers in the non-game-based online course. As a result of the unique nature of this study, the findings provide new information for the fields of research on online learning, serious video gaming, and instructional design as well as inform instructional-designers, teachers, education stakeholders, serious video game designers, and education researchers.Ph.D.
Other
Education
Education PhD
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Grabner, Sarah M. "Art Games: Performativity and Interactivity." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1523973549005374.
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Sandqvist, Ulf. "Digitala drömmar och industriell utveckling : en studie av den svenska dator- och tv-spelsindustrin 1980-2010." Doctoral thesis, Umeå universitet, Institutionen för ekonomisk historia, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-33912.
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The aim of this thesis is to explore and analyse the development of the Swedish video and computer game industry. The main focus is on the Swedish game development industry. The research was conducted with two different methods. First with a macro approach where all Swedish game developers were identified and general data from the annual reports was collected. The second part is a case study with three Swedish game developing companies focusing on the production and development of the firms. The game industry has expanded and some of the successful games have generated spectacular revenues. In Sweden the industry has received attention from different actors like universities, government bodies and media. Yet little research has been done about the Swedish game industry. In general the game industry outside the larger videogame producing countries USA, Japan and the UK has been ignored to a large part in academic research. The first computer games were made for some of the very first computers in the 1940’s and 1950’s. In the 1970’s, a market for games was created when arcade machines and somewhat later home consoles were introduced. The industry has grown and today it includes some of the largest companies in the world. The Swedish industry follows the international pattern. Evidence suggests that the first Swedish games were created in the 1950’s at the large university computers. But a game developing industry seems to have developed a bit later than internationally when the first Swedish game companies were founded in the late 1980’s and early 1990’s. The Swedish industry entered an introduction phase from the middle of 1980’s, a couple of years after the introduction of personal computers, until the end of the 1990’s. An expansion phase started in 1998. The expansion was strong between 1998 to 2002 and 2006 to 2008. In 2008 the number of people employed in the industry had increased to over 1300. During the studied period the industry seems to have had constant problems making a profit. Especially in 2002 and 2003 the industry had economic problems and some of the larger companies went bankrupt. The distribution among the companies shows that the concentration within the industry is growing. A few companies have expanded rapidly and have well over a hundred employees. The industry is very gender segregated and the number of women working in the industry is under ten percent. To study the development on a micro level, three Swedish game developing companies were selected. The focus was the development and change in production and organisation. The structure of the industry seems to have been changing with the fast technical development. A more modular structure seems to be emerging within the industry. In a number of areas a modular system has emerged. It is possible to buy more parts and productions capacity on the market. It is possible to buy game engines and outsource motions-capture work to other specialized companies. The relation to game publishers seems to influence the companies and create uncertainty for the game developers when they do not own the rights to the intellectual properties. The three game developers also have a similar development being founded by computer interested young men wanting to pursuit their interest as a job. The Swedish subculture around the so called “demoscene” seems to have been a factor in the early development of the industry and a recruitment base for the early developers.
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Nordqvist, Adam. "LÄRANDEPOTENTIAL & HISTORIEBRUK I DATORSPEL : En kvalitativ analys av Crusader Kings 2 möjligheter för lärande och historia ämnet." Thesis, Högskolan i Halmstad, Akademin för lärande, humaniora och samhälle, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-33324.
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Denna studie undersöker hur ett videospel som heter Crusader Kings 2 använder historia. Studien kommer också att titta på den potential videospel kan ge som pedagogiskt verktyg för lärande. Detta har analyserats i nära relation till den svenska läroplanen för ämnet historia på gymnasiet. För att upptäcka hur detta spel använder historia har spelet bryts ner i sina spelmekanismer, genre och faktorer och analyserats med hjälp av Klas-Göran Karlsson teori om de olika historiebruken för historia. För att hitta och analysera potentialen för lärande i spelet som har valts för denna studie har Young m fl teori om videospel och dess potential använts i nära relation till tidigare forskning, samt läroplanen för att analysera spelet. Denna teori om denna potential har baserats på artiklar och studier om videospels potential för lärande efter K-12 läroplanen. Resultatet är att Crusader Kings 2 potential för lärande i historia ämnet är mycket relevant till läroplanen och visar sig vara ett sätt uppfylla vad som förväntas av målen i ämnet. Det visade sig att spelet identifierades med hjälp av användningen av historia på många nivåer med hjälp av Karlssons teori om användningen av historia. Här har följande användningar identifierades: Existentiellt, moraliskt, ideologiskt, icke-bruk och kommersiellt bruk.This study looks at the way a video game called Crusader Kings 2 uses history. The study will also look at the potential videogames can bring as pedagogical tool for learning. This have been analyzed in close relation to the Swedish curriculum for the subject history in the upper secondary school. To discover the way this video game uses history the game has been be broken down into its game mechanisms, genre and factors and analyzed using Klas-Göran Karlsson theory about the different uses of history. To find and analyze the potential for learning in the game, that have been chosen for this study Young et als theory about video games and its potential have been used in close relationship to previous research and the curriculum to analyze the game. This theory about this potential have been based on 300+ articles and studies about video games potential for learning following the K-12 curriculum. The result is that Crusader Kings 2 potential for learning in the history subject is very related to the curriculum and shows to provide a way fulfill what is expected to be learned from the goals of the subject. It was shown that the game was identified using the uses of history on many levels using Karlssons theory of the uses of history. Here the following uses was identified: Existentially, moralist, ideologist-none-use and commercial uses.
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Greenwood-Ericksen, Adams. "LEARNING AFRICAN-AMERICAN HISTORY IN A SYNTHETIC LEARNING ENVIRONMENT." Doctoral diss., University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3350.
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Synthetic Learning Environments (SLEs) represent a hybrid of simulations and games, and in addition to their pedagogical content, rely on elements of story and interactivity to drive engagement with the learning material. The present work examined the differential impact of varying levels of story and interactivity on learning. The 2x2 between subjects design tested learning and retention among 4 different groups of participants, each receiving one of the 4 possible combinations of low and high levels of story and interactivity. Objective assessments of participant performance yielded the unexpected finding that learners using the SLE performed more poorly than any other learning group, including the gold-standard baseline. This result is made even more surprising by the finding that participants rated their enjoyment of and performance in that condition highest among the four conditions in the experiment. This apparent example of metacognitive bias has important implications for understanding how affect, narrative structure, and interactivity impact learning tasks, particularly in synthetic learning environments.Ph.D.
Department of Psychology
Sciences
Psychology PhD
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McDivitt, Anne. "I Play to Beat the Machine: Masculinity and the Video Game Industry in the United States." Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5817.
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This thesis examines the video game industry within the United States from the first game that was created in 1958 until the shift to Japanese dominance of the industry in 1985, and how white, middle class masculinity was reflected through the sphere of video gaming. The first section examines the projections of white, middle class masculinity in U.S. culture and how that affected the types of video games that the developers created. The second section examines reflections of this masculine culture that surrounded video gaming in the 1970s and 1980s in the developers, gamers, and the media, while demonstrating how the masculine realm of video gaming was constructed. Lastly, a shift occurred after the 1980 release of Pac-Man, which led to a larger number of women gamers and developers, as well as an industry that embraced a broader audience. It concludes with the crash of the video game industry within the United States in 1983, which allowed Japanese video game companies to gain dominance in video gaming worldwide instead of the U.S. companies, such as Atari.M.A.
Masters
History
Arts and Humanities
History; Public History
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Souza, Ricardo Vinicius Ferraz de. "Tradução e videogames: uma perspectiva histórico-descritiva sobre a localização de games no Brasil." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8160/tde-03122015-131933/.
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Os videogames são hoje uma das formas de entretenimento mais populares em todo o mundo. Muito desse sucesso só foi possível graças à tradução, a qual, por meio de versões localizadas para os mais diversos idiomas, contribuiu decisivamente para que os videogames alcançassem um número cada vez maior de mercados e chegassem a milhões de lares ao redor do planeta. Esta dissertação, de caráter eminentemente historiográfico, tem por objetivo examinar a relação entre a tradução/localização e os videogames desde seu início até os dias de hoje. Além disso, pretende também, por meio da análise de alguns jogos, traçar um panorama acerca de como se dá esta relação sob o contexto brasileiro, abordando as características e especificidades que a localização de games tem apresentado no Brasil ao longo do tempo. A análise desses jogos está fundamentada sob duas perspectivas: a) uma perspectiva histórica, em que se buscará situar as épocas em que foram lançados às etapas de evolução dos videogames e sua relação com a tradução/localização em cada momento; e b) uma perspectiva descritiva, em que se realizará uma análise dos aspectos acerca da tradução/localização observados nesses jogos, fundamentada sob as bases teóricas utilizadas nesta dissertação: o conceito de domesticação/estrangeirização (Venuti, 1995), a teoria funcionalista do Skopos (Vermeer, 1986) e o conceito de Gameplay Experience (Souza, R.V.F., 2014).Video games are today one of the most important forms of entertainment worldwide. Much of this success was only made possible due to translation, which, through localized versions into various languages, contributed decisively for video games to achieve a growing number of markets and reach millions of homes across the globe. This dissertation, of an eminently historiographical nature, aims to examine the relation between translation/localization and video games from their beginning until the present day. Furthermore, it also intends, through the analyses of a number of games, to provide an overview on how this relation works under the Brazilian context, addressing the characteristics and specificities that video game localization has been showing over time. The analysis of such games is founded upon two perspectives:a) a historical perspective, which will seek to situate the times when they were released to the stages of evolution of video games and their relation with translation/localization in each moment; and b) a descriptive perspective, which will undertake an analysis of translation/localization aspects observed in such games, founded upon the theorical basis utilized in this dissertation: the concept of domestication/foreignization (Venuti, 1995), the functionalist Skopos theory (Vermeer, 1986) and the concept of Gameplay Experience (Souza, R. V. F., 2014).
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Zachariáš, Michal. "Vývoj "Indie Game"." Master's thesis, Vysoké učení technické v Brně. Fakulta informačních technologií, 2011. http://www.nusl.cz/ntk/nusl-235517.
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This master's thesis deals with development of indie game - independently-developed game. It describes important moments in computer games history. It clarifies terms like golden age of video arcade games and video game crash of 1983. Further it explains history and origin of indie game phenomenon. It describes some of the differences between independent and commercial game development. In next chapter it presents some game engines which are suitable for independent game development. And in the last chapter it describes the design and implementation of game engine and game running on it.
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Schrank, Brian. "Play beyond flow: a theory of avant-garde videogames." Diss., Georgia Institute of Technology, 2010. http://hdl.handle.net/1853/42865.
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Videogame tinkerers, players, and activists of the 21st century are continuing, yet redefining, the avant-garde art and literary movements of the 20th century. Videogames are diverging as a social, cultural, and digital medium. They are used as political instruments, artistic experiments, social catalysts, and personal means of expression. A diverse field of games and technocultural play, such as alternate reality games, griefer attacks, arcade sculptures, and so on, can be compared and contrasted to the avant-garde, such as contemporary tactical media, net art, video art, Fluxus, the Situationists, the work of Pollock or Brecht, Dada, or the Russian Formalists. For example, historical avant-garde painters played with perspectival space (and its traditions), rather than only within those grid-like spaces. This is similar in some ways to how game artists play with flow (and player expectations of it), rather than advancing flow as the popular and academic ideal. Videogames are not only an advanced product of technoculture, but are the space in which technoculture conventionalizes play. This makes them a fascinating site to unwork and rethink the protocols and rituals that rule technoculture. It is the audacity of imagining certain videogames as avant-garde (from the perspective of mainstream consumers and art academics alike) that makes them a good candidate for this critical experiment.
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Rathburn, Evie Amanda. "Evolution of Interactive Entertainment: An Economic History and Analysis of the Videogames Industry in the United States." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/cmc_theses/1403.
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Sweeping advancements in digital technology have greatly influenced the evolution of every industry through streamlining processes, improving market reach, and disrupting traditional value chains. In the videogames industry which develops, manufactures, and markets interactive entertainment hardware and software, the exponential increases in computing power and affordability have consistently diversified their product offerings and customer base. The spread of internet accessibility and the increased prevalence of gamification for subjects outside of entertainment have provided unique opportunities for market growth. With the increasing ownership of personal computers and advanced mobile devices, the spread of social gaming, and the implementation of “freemium” business models, new revenue streams exclusive to this interactive entertainment medium have empowered the videogames industry to consistently reach more consumers while embracing digital distribution. This paper will not only cover the evolution of the videogames industry from its inception to modern day but also will discuss the challenges that drove this industry’s rise to becoming one of the fastest growing industries in the United States economy. Further this paper will examine the implications of these successes and present-day challenges the industry continues to face.
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Bello, Robson Scarassati. "O videogame como representação histórica: narrativa, espaço e jogabilidade, em Assassin\'s Creed (2007-2015)." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-19122016-103439/.
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O objetivo deste trabalho é investigar as relações entre a representação da História e os jogos eletrônicos (Videogames) através da análise dos jogos da série, produzidos entre 2007 e 2015, Assassins Creed. A série representou múltiplos tempos históricos em narrativas, jogabilidades e espaços virtuais que reconstituíram cenários do passado para exploração e interação de um jogador que controla o avatar de um Assassino. Nossa investigação pretende compreender este produto, ainda pouco estudado nas ciências humanas, em sua especificidade, estabelecendo sua posição dentro da Indústria Cultural em seus suportes materiais e distintos gêneros e em relação a outros jogos. Utilizamos um dos episódios em específico, Assassins Creed III (2012), para nos aprofundarmos sobre o desenvolvimento da narrativa de acontecimentos, a elaboração do espaço, a interatividade proposta, para então compreender como as várias temporalidades são sistematizadas em uma estrutura narrativa e lúdica no conjunto da série, que expressa uma determinada visão sobre o multiculturalismo e a História.The goal of this work is to investigate relations between the representation of History and electronic games (Videogames) by analyzing the game series Assassins Creed (between 2007 and 2015), which has representations of multiple historic times in narratives, gameplays and virtual spaces that reconstitute sceneries of the past for a player to explore and interact controlling the character of an Assassin. Our investigation intends to understand this product, which has been very little studied in the Humanities, within its specificity, and to pinpoint its position within the Culture Industry with its material supports and many genres as well as in relation to other games. One specific episode of the game, Assassins Creed III (2012), has been used for in-depth analysis of the narrative development of events, the creation of space and the proposed interactivity, so as to understand how the many temporalities are systemized in a ludic and narrative structure throughout the whole series, which expresses a specific view on multiculturalism and History itself.
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Petersson, Casper. "Atenare, spartaner och en handkontroll : En kvalitativ kategoriseringsstudie av historiebruk och historiemedvetande i Assassin's Creed Odyssey och spelets potential i klassrummet." Thesis, Högskolan i Halmstad, Akademin för lärande, humaniora och samhälle, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-39040.
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This study aims to examine the historical accuracy and historical usage in Ubisofts video-game Assassin’s Creed Odyssey. The study also examines the game’s potential to be used in teaching history in the upper secondary schools. The tools of the analysis are based on four different categorization models to analyze historical games and their didactic abilities. I have made some modifications to the different models, mainly because of the time-limit of this study. Furthermore, I have presented a crucial and relevant selection of previous research in the field of historical computer games, along with a summarizing description of the game-series Assassin’s Creed. The results from this study shows that the game is heavily influenced by history, and the historical accuracy can be noticed throughout the game. However, the game mixes the historical accuracy with fictional and fantastic elements in order to make the story and narrative of the game more intriguing and playable. The potential of the game in the upper secondary school is found to be problematic, mainly because of the time-limit and economical aspects. Nevertheless, the historical content of the game can easily be connected to the national curriculum, which means that the potential of making use of the game in the classroom should not be entirely dismissed.
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Summers, Timothy Richard David. "Video game music : history, form and genre." Thesis, University of Bristol, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.573894.
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This dissertation investigates video game music from a musicological perspective, considering the role, function and effect of music in games. I hypothesize that music's significance for the gamer is founded upon the way the player interacts with the game. The nature of this interaction is determined by what is termed the 'interactive genre' in question - the type of interaction typical for a particular class of games. Thus the musical analysis of game interactive genres is an appropriate and potentially rewarding way of understanding game music. These genres of interaction are distinct and historically established, which allows a survey of many games over a relatively long chronological period. Musical analysis of interactive genres, in turn, illuminates the way in which gamers play and understand games. After creating a contextual frame for the study of game music, the body of the dissertation focuses on a genre-by-genre examination. Each chapter considers the features of a particular genre (or genres sharing key features), and examines representative games to ascertain the relationship between the game and the music. Certain genres prioritize distinct modes of interaction and components of musical function because of the interactive mechanism of the game, and thus provide the opportunity for the examination of particular musical concerns. That this is so indicates the close relationship between music and gameplay /interaction in the video game medium. A case study is used to demonstrate a 'deep reading' of the musical concerns or issues that are seen to feature prominently in the game genre in question. The study concludes with a summary in the form of a chapter on action games that focuses on the aspects of game music that can be extracted from the preceding discussions. The epilogue explores how game music may reveal the playfulness of the human-music interaction in a more general way. ii
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Bogajewski, Sébastien. "Le jeu vidéo dans ses rapports à la psychologie clinique : Une approche psychanalytique." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCD112/document.
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L’objet jeu vidéo interroge de plus en plus la psychologie clinique depuis le début des années 2000. Au centre de divers controverses quant à ses usages et ses prétendus méfaits ; certaines pratiques videoludiques tendent aujourd’hui à se banaliser. Pour autant, le discours des addictologues, des médias, des parents et éducateurs, des joueurs eux-mêmes, voire de la psychanalyse, véhiculent souvent une vérité masquée par le langage qui ne cesse de nous interroger. Notamment, c’est la question des origines, de l’histoire, et des effets de cette vérité sur le sujet qui nous intéresse. Dire que jouer « peut-être comme la drogue » en dit long sur les représentations que nous nous faisons, en tant que société, du jeu, comme du jeu vidéo. Mais cela en dit long, également, sur un certain malaise à propos des nouvelles technologies et de la jeunesse en général. C’est ce malaise, que nous pensons percevoir dans certaines demandes de soin, et dans certaines manifestations cliniques symptomatiques, voir « synthomatiques ». La présente thèse tente de s’interroger sur l’histoire et les caractéristiques du jeu vidéo en tant qu’objet du champ du ludique, avant de présenter les rapports du jeu vidéo à la clinique, pour enfin conclure sur une réflexion autour des discours propos du vidéoludique et de leurs possibles effets en cliniqueVideo games interrogate more and more the clinical psychology since early 2000's. They are in the center of numerous controversies about its uses and its alleged misdeeds. Despite this, some videogame practices tend to trivialize today. However, the discourse of addictologists, media, parents and educators, players themselves or of psychoanalysis, often convey a truth obscured by the language that continues to question us. Notably, it raises the issue of the origins, history, and the effects of this truth on the subject that interests us. Say that play "maybe like drugs" is very eloquent about the representations we make, as a society, relating to the game, as the video game. But it's very eloquent, too, about some discontent about new technologies and youth in general. It is this discontent, we think carefully collect in certain demands, and in some symptomatic clinical manifestations, even in some "synthomatical" manifestations. This thesis attempts to question the history and characteristics of the video game as a playful object, before presenting the reports of the video game to the clinic, to finally conclude with a reflection on the discourse about the videogame and their possible effects in the clinic
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Holmdahl, Arnman Thea. "Konstverket i spelmiljö : En undersökning av spelet Animal Crossing: New Horizons (2020) användande av konstverk och presentation av museet som institution." Thesis, Södertörns högskola, Konstvetenskap, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-44039.
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This essay focuses on the digitalization of art canonisation in the game Animal Crossing: New Horizons (Nintendo/Nintendo EPD, 2020). Furthermore, the purpose of this essay is to understand which artworks the game incorporates in its museum, as well as how the player can interact with the artworks in question. Bolter and Grusin's remediation theory are thoroughly explored through the material, as well as the maintaining of norms through representation. The conclusion is that the game allows the player to interact restrictedly with the art in the museum, but is allowed more freedom outside of it. However, the restricted interaction is strongly incorporating known norms of how to behave and interact with the museum as an institution. These norms are also applicable in situ – outside of the museum's pixelated world. The aura of the artworks is compromised through the notion that the player can obtain any number of original artworks. Still, the originality and aura of the artworks are secured through the institutionalised environment in the museum.Uppsatsen behandlar digitaliserad konsts kanonisering i spelet Animal Crossing: New Horizons (Nintendo/Nintendo EPD, 2020). Uppsatsens syften är att analysera vilka konstverk som spelet integrerar i sitt museum och hur dessa verk kategoriseras, samt hur spelaren kan interagera med konstverken. Bolter och Grusins remedieringsteorier behandlas utifrån denna frågeställning med fokus på digitalisering och konstrepresentation. Slutsatsen är att spelarens interaktion med konstverken på det digitala museet är begränsad, men att spelaren får mer frihet i spelets andra miljöer. Således följs etablerade konventioner kring hur besökaren på ett museum ska bete sig. Konstverkens aura förändras då spelaren kan inneha hur många originalverk som helst. Trots denna omdefinierade aura stärks däremot verkens originalitet av museets institutionaliserade och auktoritära presentation.
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Kangasniemi, Jasmine. "Hon som huvudroll : En komparativ studie av Lara Croft, Bayonetta, Emily Kaldwin och Billie Lurk." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-385207.
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The aim of this essay is to examine how Lara Croft, Bayonetta, Emily Kaldwin and Billie Lurk have been portrayed in their respective games. The questions at issue have examined how these four characters have been portrayed by their appearance on the cover of their games and how they’ve been depicted in gameplay. A comparative study has been used to compare how the design on the characters have been differentiated not only from each other but also from the male characters in each game. The essay has also examined what the sex and gender identity have been of the character’s creators and if they’ve motivated their character designs. An analysis has been made to establish if there has been a male gaze present in the design process and the game and if this has led to the character’s being sexualized. Judith Butler’s performativity theory has been used for this essay along with Laura Mulvey’s theory of the male gaze as well as an intersectional approach according to Kimberlé Crenshaw. Lara Croft, Bayonetta and Emily Kaldwin are shown to break gender codes while still upholding some of them; Billie Lurk is the only one that totally breaks with them and creates a sort of a “new woman”, as she not only breaks the Madonna-and-the-Whore-complex in which each of the other three can be put in. Billie Lurk and Emily Kaldwin are the only female characters which can be seen as not sexualized or steered by the male gaze, but instead they give the gamer an opportunity to live the characters’ stories through them with the first-person-shooter-view. Lara Croft from the games before Tomb Raider (2013) and Bayonetta are clearly sexualized female characters that are controlled by male desire and the male gaze. As these two games are played from a third-person-view it gives the gamer the power to control these women, putting them under the gamer’s will.
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Rutherford, Kevin J. "Pack Your Things and Go: Bringing Objects to the Fore in Rhetoric and Composition." Miami University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=miami1436295241.
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Dogramacilar, Gozde. "Play and History: Authenticity and experience in virtual reconstructions and video gaming." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1276998914.
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Blake, Greyory. "Good Game." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5377.
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This thesis and its corresponding art installation, Lessons from Ziggy, attempts to deconstruct the variables prevalent within several complex systems, analyze their transformations, and propose a methodology for reasserting the soap box within the display pedestal. In this text, there are several key and specific examples of the transformation of various signifiers (i.e. media-bred fear’s transformation into a political tactic of surveillance, contemporary freneticism’s transformation into complacency, and community’s transformation into nationalism as a state weapon). In this essay, all of these concepts are contextualized within the exponential growth of new technologies. That is to say, all of these semiotic developments must be framed within the post-Internet sphere.
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Sweeney, Mark Richard. "The aesthetics of videogame music." Thesis, University of Oxford, 2014. https://ora.ox.ac.uk/objects/uuid:70a29850-0c0d-4abd-a501-e75224fa856a.
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The videogame now occupies a unique territory in contemporary culture that offers a new perspective on conceptions of high and low art. While the fear that the majority of videogames 'pacify' their audience in an Adornian "culture industry" is not without justification, its reductionism can be countered by a recognition of the diversity and aesthetic potential of the medium. This has been proposed by sociologist, Graeme Kirkpatrick, although without close attention to the role of music. Videogame music often operates in similar ways to music in other mixed-media scenarios, such as film, or opera. In the same way that film music cannot be completely divorced from film, videogame music is contingent on and a crucial part of the videogame aesthetic. However, the interactive nature of the medium - its différance - has naturally led to the development of nonlinear musical systems that tailor music in real time to the game's dynamically changing dramatic action. Musical non-linearity points beyond both music and videogames (and their respective discourses) toward broader issues pertinent to contemporary musicology and critical thinking, not least to matters concerning high modernism (traditionally conceived of as resistant to mass culture). Such issues include Barthes's "death of the author", the significance of order/disorder as a formal spectrum, and postmodern conceptions and experiences of temporality. I argue that in this sense the videogame medium - and its music - warrants attention as a unique but not sui generis aesthetic experience. Precedent can be found for many of the formal ideas employed in such systems in certain aspects of avant-garde art, and especially in the aleatoric music prevalent in the 1950s and 60s. This thesis explores this paradox by considering videogames as both high and low, and, more significantly, I argue that the aesthetics of videogame music draw attention to the centrality of "play" in all cultural objects.
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Grandjean, Guillaume. "Le langage du level design : analyse communicationnelle des structures et instances de médiation spatiales dans la série The Legend of Zelda (1986-2017)." Electronic Thesis or Diss., Université de Lorraine, 2020. http://www.theses.fr/2020LORR0143.
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L’objet de ce travail est l’étude des spatialités construites et représentées dans le jeu vidéo. En testant l’hypothèse d’une forme de « langage » du level design, nous mettons en lumière le caractère structurel de l’espace vidéoludique, identifiable d’un jeu sur l’autre au sein d’une « grammaire partagée », mais également sa valeur communicationnelle, comme instance de médiation entre le jeu et le joueur ou la joueuse. À partir d’une analyse précise et détaillée de la manière dont l’espace se construit et évolue dans la série The Legend of Zelda (1986- 2017), nous formalisons, classons et hiérarchisons les différentes structures qui forment le répertoire de la spatialité vidéoludique, puis nous mettons en évidence les stratégies de médiation mises en place par les jeux pour faciliter le décodage de l’information navigatoire. Nous terminons en brossant un portrait diachronique de la façon dont ce langage se transforme, en particulier concernant la question du contrôle de la navigation, en mobilisant la notion-outil de « parcours critique » et ses implications dans une histoire formelle et communicationnelle du jeu vidéoThe aim of this work is the study of the constructed and represented spaces of video games. By testing the hypothesis of a form of “language” of level design, we shed light on the structural aspect of video game space, identifiable from one game to another within a “shared grammar”, but also its communicative value, as an instance of mediation between the game and the player. From a precise and detailed analysis of the way space is constructed and evolves in the series The Legend of Zelda (1986-2017), we formalize, classify and prioritize the different structures that make the repertoire of video game spatiality; then we highlight the mediation strategies implemented by games to facilitate the decoding of navigational information. We end up painting a diachronic portrait of the way this language is transformed, in particular concerning the question of navigation control, by mobilizing the notion-tool of “critical path” and its implications in a formal and communicative history of video games
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Walbrou, Sonny. "Pour une histoire critique au prisme des rapports du corps à la machine, entre le cinéma, jeu vidéo et culture spectaculaire fin-de-siècle : continuité critique, innervation, attraction." Thesis, Lille, 2018. http://www.theses.fr/2018LIL3H037.
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Entre hier et aujourd’hui, entre la culture spectaculaire de la fin du XIXe siècle, le cinéma et la pratique des jeux vidéo, cette thèse explore les enjeux critiques d’une pensée des rapports du corps à la machine au prisme de la notion benjaminienne d’innervation. A partir d’une notion historiographique élaborée au sein de la thèse, celle de « continuité critique » qui consiste à déterminer des phénomènes de permanence à travers l’histoire, notre travail vise à définir une critique opératoire des nouveaux médias. Depuis les notions d’innervation et de continuité critique, nous étudions dans une perspective historique et théorique deux « états du corps » déterminant des points de résonance manifestes entre passé et présent. L’un se situe au tournant du siècle, l’autre au cours des années 1980. Le premier concerne le devenir-attraction des machines autour de 1900. Dans le prolongement de Tom Gunning nous pensons une telle attraction dans les termes d’un corps à corps entre le spectateur et la machine. À travers la culture visuelle et spectaculaire fin-de-siècle, nous identifions un motif récurrent : le voyage immobile. Nous étudions alors l’actualité critique d’un tel motif jusqu’à nos jours comme quelque chose qui, en dépit des innovations techniques, n’a pas changé. Le second état s’intéresse cette fois-ci aux transformations qui concernent les rapports du corps à l’écran dans la pratique du jeu vidéo. Il s’agit d’étudier cette fois-ci un ensemble de représentations qui apparaissent entre le début des années 1980 et le milieu des années 1990 et attestant la récurrence d’un autre motif : l’écran traversé. L’étude de ces deux motifs nous permet, par le biais de l’histoire, de formuler une critique des nouveaux médias sur le terrain-même de la nouveautéBetween past and present, between the turn-of-the-century spectacular culture, cinema and video games, our thesis explores the critical aspects of body-machine relationships understandings regarding Walter Benjamin’s concept of innervation. From a historiographical concept formulated within this work, i. e. “critical continuity” which consists in crafting permanencies though history, our purpose is to delineate an operating critic of the new media. From the concepts of innervation and critical continuity, we explore two defining “state of body” to draw resonances between past and present. One takes place at the turn of the century while the other takes place during the 1980’s. The former concerns the becoming-attraction of the machines circa 1900. Extending Tom Gunning’s concept, we understand such an attraction as a corporeal relationship between the spectator’s body and the machine. Through 1900’s visual and spectacular culture, we examine a recurring topos: the immobile voyage. We find and explore the critical topicality of such a topos up to present day as something that has never changed despite technical innovations. The latter state explores the transformations regarding the body-screen relationships in video game practice. We study a collection of representations appearing between the early 1980’s up to the middle of the 1990’s featuring another recurring topos: the screen crossed whether by the game’s universe whether by the player. These two topoi help us to conceive a critic of the new media on the very basis of novelty
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DeLeon, Christopher L. "Arcade-style game design: postwar pinball and the golden age of coin-op videogames." Thesis, Georgia Institute of Technology, 2012. http://hdl.handle.net/1853/44699.
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Several major design elements that we often take for granted in early coin-op videogames-including rule automation, real-time button play, and fiction as static theme-originated decades prior as innovations within the pinball industry. These similarities occurred on account of a number of key personnel doing leading work in both industries, convergent evolution around the business model shared by both game forms, and an irreversible trend of coin-op games becoming more differentiated and having better contextualized objectives. Although echoes of these qualities exist in more modern videogames, the relatively pure combination of these traits in early coin-op games resulted in a type of game style unfamiliar, or even off-putting, to players whose gameplay experiences are limited primarily to newer games from the past two decades. Because the coin-op gameplay formula achieved high replay value with little content, and required only minimal instruction, aspects of it have been rediscovered within the modern casual games movement and indie mobile games. Patterns from the historical relationship between pinball and coin-op videogames can serve as a lens for gaining another perspective on more recent issues and trends in the game industry, from the inherent issues with motion control to the rapid industry-changing shift toward social games.
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Teetsel, Sarah M. "Musical Memory of the Player, Characters, and World of The Legend of Zelda Video Game Series." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1431710749.
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Maulden, Hannah Leah. "Heroes and Villains: Political Rhetoric in Post-9/11 Popular Media." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1431964700.
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Harvat, Zachary. "Histories beyond Hurt: Queer Historical Literature and Media since the AIDS Epidemic." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555503462022072.
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Bazile, Julien. "Opération historiographique et game design de jeu vidéo : les sources historiques dans la conception de "Assassin’s Creed IV Black Flag" et "Assassin’s Creed Freedom Cry"." Electronic Thesis or Diss., Université de Lorraine, 2021. http://www.theses.fr/2021LORR0110.
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Cette thèse étudie la conception vidéoludique comme une « opération historiographique ». Elle aborde un travail de sélection, d’appropriation et de mise en forme de sources historiques prenant place dans « un milieu d’élaboration que circonscrivent des déterminations propres ». En étudiant la conception des jeux vidéo Assassin's Creed IV: Black Flag et Assassin’s Creed : Freedom Cry au moyen du concept de ludoformation, nous ancrons nos questionnements aussi bien en histoire qu’en études vidéoludiques. Notre thèse est que les pratiques de documentation des concepteurs nourrissent un « projet historiographique » au cœur de la conception vidéoludique, qui associe à la fois un projet de médiation ludique (communiquer la jouabilité de l’objet) et de médiation historique (représenter le passé). Nous présentons dans quels cas la médiation historique sert la médiation ludique, en somme comment les représentations du passé sont employées pour communiquer au joueur les règles, les objectifs et les mécaniques du jeu. Nous montrons enfin de quelle manière la médiation ludique sert la médiation historique, c’est-à-dire comment en convoquant des sources historiques dans le processus créatif, les concepteurs adoptent des pratiques révélatrices d’un recul critique et d’une réflexion sur la spécificité de l’engagement ludique du joueur avec le passéThis thesis studies videogame design as an « historiographical operation » (« opération historiographique »). It approaches a work of selection, appropriation and shaping of historical sources set within a « development environment circumscribed by specific determinations ». To study the conception of Assassin's Creed IV: Black Flag and Assassin’s Creed : Freedom Cry we use the concept of ludoformation. We anchor our research questions in both history and videogame studies. Our thesis supports that the designers’ documentation practices feed an « historiographical project » at the heart of videogame design, involving both a project of ludic mediation (communicating the object’s gameplay) and one of historical mediation (representing the past). We present in which cases the historical mediation serves the ludic mediation, that is to say, how representations of the past are used to communicate the game’s rules, objectives and mechanics. We then show how the ludic mediation serves the historical mediation, that is how designers, while summoning historical sources in the creative process, are adopting practices revealing of a critical distance as well as a reflexion on the specificity of the ludic engagement of the player’s engagement with the past
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Robert, Martine. "Vivre le passé au présent : Dimensions et valeurs de la forme du jeu vidéo au regard de l'épistémologie de la connaissance historique et de la simulation informatique." Thesis, Aix-Marseille, 2014. http://www.theses.fr/2014AIXM3051.
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L'histoire est la connaissance de la vie des hommes du passé. Mais l'approche nécessairement rétrospective de l'historien est en contradiction avec la vie qui est, par définition, tournée vers l'avenir. Le savoir historique a donc comme condition de possibilité l'acte de pensée par lequel on imagine, ou l'on fait comme si on vivait à l'époque que l'on cherche à connaître. Or c'est dans le jeu que l'on fait « comme si » l'on vivait telle ou telle chose. Plus spécifiquement, le jeu vidéo fait entrer le joueur, par la représentation, dans un univers concret dont la consistance réside dans la résistance et les appuis qu'il offre à l'action du joueur. Le jeu vidéo est en cela susceptible de permettre au joueur de vivre, en actes, le passé au présent. Toutefois, comme cette forme spécifique de représentation n'a jamais été élaborée ni utilisée dans une perspective proprement savante, il ne va pas de soi pour l'historien d'en faire le médium de l'élaboration et de la transmission de son savoir. L'examen épistémologique de ses ressources propres nous conduit non seulement à remettre en cause la position de Ricoeur selon laquelle la forme exclusive de la connaissance historique est le récit, mais aussi à concevoir une nouvelle forme de jeu vidéo qui permette de faire véritablement l'expérience des formes de vie d'une société révolue. Le joueur doit pouvoir mener, dans cet espace social, un parcours individuel fait de ses interactions avec des personnages non joueurs dont le processus d'individuation procède, lui aussi, du jeu, c'est-à-dire de l'entrelacs, des initiatives des uns et des autres au sein de relations sociales dont les formes et le cadre sont historiquement définisHistory is the knowledge of men's life in the past. But the historian necessarily has a retrospective approach, in contradiction to life which is, by definition, forward-looking. In aiming to resolve this tension, historical knowledge involves the act of thought by which we act as if we were living in the era we seek to know. Acting "as if" we were living such and such an experience is playing. More specifically, the video game brings the player through representation in a particular universe whose consistency lies in the resistance and, on the other hand, the support it offers to the player's enterprises. The video game form is likely to allow the player to experience past times in the present. However, this specific form of representation has never been developed or used in a proper scholarly perspective, and it is far from being naturel for the historian to use it as the medium of development and transmission of knowledge. The epistemological review of its own resources leads us not only to question Ricoeur's position that narrative is the exclusive form of historical knowledge, but also to design a new kind of video game that allows us to experience ways of life of bygone societies ; the player's personal journey in this social space proceeds from interactions with non-player characters whose individuation process also results from the intertwining between enterprises of all characters in social relations which have historically defined forms
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Orain, Hugo. "Images et Révolution en mouvement : représentations fictionnelles de la Révolution française au cinéma, à la télévision et dans le jeu vidéo entre 2000 et 2020." Thesis, Rennes 2, 2022. http://www.theses.fr/2022REN20013.
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Notre thèse interroge les mythologies contemporaines qui transforment notre perception du passé, en nourrissant un imaginaire social, et en se heurtant aux récits des historiens. Pour cela, nous avons étudié 23 représentations fictionnelles de la Révolution française au cinéma, à la télévision et dans le jeu vidéo, en France, entre 2000 et 2020. La Révolution est un objet mémoriel qui persiste en grande partie grâce aux fictions. Des mythologies contemporaines, comme la focalisation sur la Terreur et la violence révolutionnaire, alimentent une vision sombre de l'histoire, et s'opposent à une mémoire républicaine positive. Les fictions que nous avons analysées sont vues et jouées par des millions d'individus, ainsi les récits fictionnels constituent une "école parallèle" qui concurrence les travaux historiques. Jusqu'à ce jour, aucune recherche en histoire n'avait véritablement été menée sur ces enjeux. Notre approche est inédite parce qu'elle est intermédiatique, c'est-à-dire que nous avons combiné les trois médias (cinéma, télévision et jeu vidéo), selon l'idée qu'il existe aujourd'hui une hybridation médiatique dans les processus de conception. Dans cette thèse, à l'aide de sources de conception et de réception (entretiens, making-off, art work, critiques...), nous avons déconstruit les fictions contemporaines pour appréhender les mécanismes de représentation du passé. Les historiens doivent faire entrer les fictions dans leur laboratoireOur thesis questions the contemporary mythologies which transform our perception of the past, by nourishing a social imagination, and by colliding with historian narratives. For this, we studied 23 fictional representations of the French Revolution in cinema, television and video game, in France, between 2000 and 2020. The Revolution is a memorial object that persists largely thanks to fictions. Contemporary mythologies, such as the focus on the Terror and revolutionary violence, feed a dark vision of history, and oppose a positive republican memory. The fictions that we have analyzed are seen and played by millions of individuals, thus fictional narratives constitute a "parallel school" which competes with historical works. Until this day, no historical research has really been conducted on these issues. Our approach is unique because it is intermedia, that is to say that we have combined three media (cinema, television and video games), according to the idea that there is a media hybridization in design process. In this thesis, using sources of conception and reception (interviews, making-off, art work, reviews...), have deconstructed contemporary to understand mechanisms of representation of the past. Historians must bring fictions into their laboratory
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Goubault, Sébastien. "Le chien dans les jeux vidéo : Archéologie, filiation et développement d'une réalité virtuelle." Thesis, Lyon, 2018. http://www.theses.fr/2018LYSE3001/document.
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Cette thèse a pour objet d’étude un sujet : les chiens. Après le phénomène des tamagotchis, la sortie du jeu vidéo Nintendogs en 2005 a créé un animal inédit : le chien virtuel « réaliste ». En tant que nouveau loisir, les jeux vidéo représentent aujourd’hui une industrie internationale puissante au croisement des arts d’une culture populaire : la bande dessinée, l’animation, etc. Plus généralement, la révolution numérique en cours dans nos sociétés témoigne de la place centrale des écrans et de la communication. Comment ces médias ont permis de redéfinir nos rapports aux chiens, ont influencé et éduqué notre perception du « genre animal », allant jusqu’à lui conférer une toute nouvelle dimension est la question soulevée par cette thèse. Nous avons eu recours à un large éventail de références médiatiques, allant du grand au petit écran, en l´occurrence du cinéma à la Game Boy, en passant par la publicité, des classiques de la littérature à l´album de vignettes autocollantes Panini, en passant par la bande dessinée, des œuvres célèbres dans le monde entier aux œuvres méconnues. Les multiples représentations du chien nous annoncent l’avènement du chien virtuel.En somme, le but est de comprendre l’histoire de l’illusion du mouvement, de l’illustration des livres à l’interaction avec un animal virtuel : faire l’archéologie du chien des jeux vidéo. Écrire une histoire du chien où la réalité et la virtualité s’entremêlentThe topic of this doctoral thesis are dogs. After the Tamagotchi phenomenon, the release of the video game Nintendogs in 2005 created a new animal: the “realistic” virtual dog. As a new leisure activity, video games represent today an internationally influential industry which is situated at a crossing point with popular art culture: comics, animation etc. More generally, the digital revolution our societies are currently witnessing shows the importance of monitor screens and of communication.The central question of this thesis is how these media have come to redefine our relationship to dogs and to influence our perception of animals in a completely new dimension. A large inventory of references of different media was used going from cinema to Gameboy via publicity, from literary classics to Panini sticker albums via comics, from oeuvres which are famous all over the world to oeuvres which are usually not considered as such. The numerous representations of dogs in these domains announce the advent of the virtual dog.In conclusion, our objective is to understand the history of the illusion of movement, of the relationship between books and virtual animals, i.e. to trace the archaeology of dogs in video games. To write a history of dogs in which reality and virtuality are no longer clearly separable
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Picard, Manon. "La smartfiction : une fiction interactive à lire, un rôle à incarner ou une partie à jouer sur son smartphone ?" Electronic Thesis or Diss., Compiègne, 2022. http://www.theses.fr/2022COMP2681.
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La smartfiction est un récit à lire et à jouer sur son smartphone. Reprenant les codes techniques, esthétiques, sociaux et culturels du smartphone pour les réinvestir dans le cadre d’une fiction, la smartfiction repose sur une dimension réflexive par rapport au smartphone. En exploitant les conventions des pratiques ordinaires du smartphone, l’utilisateur d’une smartfiction doit se projeter en tant qu’utilisateur de smartphone lorsqu'il lit, interprète et joue un récit de vie fictionnel. En effet, le propre du récit est de raconter une vie qui n’est plus la mienne ou qui n'est pas la mienne. « Moi » écoutant, je coïncide avec un temps racontant qui me projette sur le temps raconté. L'écriture et les dispositifs font du temps racontant une construction du « Moi » lisant. Dans le cadre des smartfictions, ce jeu sur le temps repose notamment sur la discussion instantanée (chat fictionnel) et les notifications (que je nomme notifictions pour désigner des notifications fictionnelles). Ainsi, l’utilisateur dispose d’un cadre pour se fondre dans le temps du récit en l’articulant à un temps de lecture. Mais ce récit, il l’interprète comme un acteur interprète un rôle au théâtre. En incarnant le rôle qui lui est attribué, l’utilisateur vit le temps du récit comme un temps joué à la première personne. Pour ce faire, il doit aborder son rôle comme s’il jouait une partie et ainsi transformer le temps du récit en un temps de jeu. Il doit « jouer le je.u ». Récit, théâtre et jeu sont alors trois modalités temporelles du temps vécu qui sont reconfigurées par la smartfiction : une histoire que l’on joue et que l’on incarne. La smartfiction relève donc d'un double statut, phénoménologique et sémiotique. En effet, le lecteur-acteur-joueur interagit avec la smartfiction et synchronise son flux de conscience avec les différents objets la composant pour vivre l’expérience de lecture à la première personne. Il synchronise son temps vécu au temps de la fiction. Cette synchronisation est rythmée par l'interaction avec les codes propres à l'utilisation d'un smartphone, qui devient le cadre sémiotique et pragmatique de la smartfiction. Ce cadre permet à la fois la contextualisation de la smartfiction et fonctionne comme une défamiliarisation du smartphone. L'étude, qui repose sur un corpus de onze smartfictions, articule ainsi une double approche phénoménologique et sémiotique. La smartfiction est un récit sur smartphone qui est arrivé à quelqu'un, un récit qui est un jeu dans lequel l’utilisateur joue comme un acteur. Avec la smartfiction, nous assistons à la naissance d’un format, voire d'un genre. L’émergence d’un nouveau genre invite à s'interroger sur son articulation aux genres existants, voire à leurs reconfigurations : la smartfiction correspond-elle à une autre manière de raconter, une autre forme de mise en scène, une autre pratique de jeu ? Ces questions renvoient également au rôle des dispositifs, rôle qui se révèle dans ces formes créatives. En particulier, la smartfiction invite à objectiver le rôle d'un smartphone dans le cadre d'un récit. La smartfiction est donc un laboratoire pour l’analyse des genres créatifs et la compréhension du rôle des supports et des dispositifsA smartfiction is a story to be read and played on the smartphone. Taking the technical, aesthetic, social and cultural codes of the smartphone to reinvest them in the framework of a fiction, smartfiction relies on a reflexive dimension in relation to the smartphone. By using the conventions of ordinary smartphone practices, the user of a smartfiction must project themself as a smartphone user when reading, interpreting and acting out a fictional life story. Indeed, the very nature of the story is to tell a life that is no longer mine or that is not mine. Me listening, I coincide with a telling time which projects me in the told time. The writing of the story and the devices make the telling time a construction of the reading self. Within the framework of the smartfictions, this game on time relies in particular on the instant (fictional) chat and the notifications (which I name notifictions to indicate fictional notifications). That way, the user has a framework for blending into the time of the story by articulating it to a reading time. But they interpret this story as an actor interprets a role in the theater. By embodying the role assigned to him, the user lives the time of the story as a time played in the first person. To do this, they must approach their role as if they were playing a game and thus transform the time of the story into a time of play. They must “play the ga.Me”. Narrative, theater and game are then three temporal modalities of the lived time that are reset by the smartfiction : a story that one plays and that one incarnates. A smartfiction has thus a double status, phenomenological and semiotic. Indeed, the reader-actor-player interacts with the smartfiction and synchronizes their flow of consciousness with the different objects composing it in order to live the experience of reading in the first person. They synchronize their living time with the time of the fiction. This synchronization is punctuated by the interaction with the specific codes related to the use of a smartphone, which becomes the semiotic and pragmatic framework of the smartfiction. This framework allows both the contextualization of the smartfiction and functions as a defamiliarization of the smartphone. The study, based on a corpus of eleven smartfictions, thus articulates a double phenomenological and semiotic approach. A smartfiction is a story on a smartphone that happened to someone, a story that is a game in which the user plays as an actor. With the smartfiction, we witness the birth of a format, even of a genre. The emergence of a new genre invites us to question its articulation with existing genres, or even their reconfiguration: does smartfiction correspond to another way of telling, another form of staging, another practice of acting? These questions also refer to the role of the device which stands out in these creative modes. In particular, smartfiction invites us to objectify the role of a smartphone in a narrative. Smartfiction is thus a laboratory for the analysis of creative genres and for the understanding of the role of the medium and the devices
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Dang, Kim Dung. "Aide à la réalisation de systèmes de pilotage de narration interactive : validation d'un scénario basée sur un modèle en logique linéaire." Phd thesis, Université de La Rochelle, 2013. http://tel.archives-ouvertes.fr/tel-01066720.
Full textAbstract:
L'objectif de cette thèse est de fournir un modèle, une méthode et un outil d'aide à la réalisation de scénarios interactifs. Cette solution répond au problème de l'opposition entre la maîtrise du déroulement d'un jeu vidéo et son niveau d'interactivité. En d'autres termes, notre but est d'aider à réaliser des jeux vidéo dont l'évolution satisfait les intentions des auteurs tout en autorisant un déroulement influencé par les choix du joueur (exprimés aux travers de ses actions). Pour cela, notre proposition permet à l'utilisateur de produire un modèle de scénario de jeu de bonne qualité qui est : (a) riche - le scénario fournit suffisamment d'options pertinentes aux personnages joueur/non-joueur de sorte que le joueur puisse déterminer le déroulement du jeu et sente toujours que le discours créé est intéressant, (b) valide - tous les discours possibles dans le scénario sont cohérents et répondent aux effets désirés par les auteurs, (c) opérationnel - la représentation du scénario est exécutable. Ce scénario est ensuite employé comme l'entrée d'un système de pilotage de narration interactive assurant le contrôle de la gestion du déroulement du jeu. Par conséquent, l'évolution des jeux, qui sont dirigés par un tel système de pilotage, garantit que l'exécution du jeu respecte les souhaits des auteurs, et en même temps, autorise la liberté des actions du joueur. Pour répondre au problème exposé ci-dessus, nous appuyons notre solution sur un modèle mathématique calculable (la logique linéaire) qui offre des mécanismes de déductions rigoureux et automatiques.Nous avons fait un tour d'horizon des approches existantes concernant le pilotage de narration interactive et la validation de scénario. Ceci nous permet d'identifier les principes nécessaires à notre solution, tels que les éléments d'architecture d'un système de pilotage ; la construction,la représentation, l'exécution de scénarios narratifs ; les propriétés de narration importantes ; l'évolution de référence des paramètres dramatiques ; la structuration de discours ; la stratégie pour la validation d'un scénario ; les informations qualitatives et statistiques nécessaires... Nos contributions portent (1) sur la définition d'un ensemble de propriétés de narration spécifiant la qualité des scénarios de jeu ; (2) sur la proposition de modèles, algorithmes et outils pour écrire des modèles de scénario respectant ces propriétés. Nous validons nos résultats par la réalisation de deux exemples. Le premier est un extrait d'un jeu éducatif expliquant comment appliquer notre outil en vue de produire un modèle de scénario de jeu valide, qui est exprimé par un séquent de logique linéaire dont la représentation est conforme à un métamodèle du calcul des séquents. Pour le second exemple, nous décrivons le processus de production complet d'un jeu vidéo réel basé sur l'histoire " Le Petit Chaperon rouge ", mettant en oeuvre un prototype de système de pilotage que nous avons proposé, ce qui permet de dérouler le jeu selon le scénario valide produit, donc son évolution satisfait les intentions des auteurs, et en même temps, dépend des actions du joueur.
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Di, Filippo Laurent. "Du mythe au jeu : approche anthropo-communicationnelle du Nord : des récits médiévaux scandinaves au MMORPG Age of Conan : Hyborian Adventures." Thesis, Université de Lorraine, 2016. http://www.theses.fr/2016LORR0213/document.
Full textAbstract:
Un rhinocéros Berserker, des hordes de Vanir déferlant sur la Cimmérie, le fils d’Ymir emprisonné... les références aux récits médiévaux scandinaves couramment désignés par les termes « mythes nordiques » sont nombreuses dans le jeu de rôle en ligne massivement multi-joueurs Age of Conan: Hyborian Adventures. Mais, comment des éléments issus de sources presque millénaires sont-ils devenus des composantes d’une production vidéoludique contemporaine ? À partir de ce cas d’étude, l’auteur de ce travail s’intéresse, de façon plus générale, aux phénomènes culturels et à leurs dynamiques à travers leurs processus de transmission, de manifestation et d’appropriation. Pour ce faire, il s’appuie sur une démarche qualitative et empirique à la croisée des Sciences de l’information et de la communication et des Études scandinaves afin de développer une approche anthropo-communicationnelle, fortement imprégnée par les travaux en Anthropologie. Celle-ci se fonde sur une méthodologie à la fois linguistique, socio-historique, d’observation participante sur le temps long et un suivi de veille sur le temps très long. Elle permet de constater que, des manuscrits médiévaux aux jeux vidéo en ligne, en passant par la littérature de fantasy américaine des années 1930, le sens donné aux références aux ressources culturelles du passé est sans cesse transformé et construit en fonction de la situation dans laquelle elles sont manifestées. Ces dynamiques culturelles s’inscrivent alors au cœur de la problématique du changement et de la permanence et mettent en lumière les constructions d’un imaginaire du commun tout en remettant au centre de la réflexion le travail des acteursA berserker rhinoceros, hordes of Vanir swarming upon Cimmeria, Ymir’s son imprisoned … references to the medieval scandinavian stories often designated as « Norse myths » are numerous in the massively multi-player online rôle playing game Age of Conan: Hyborian Adventures. But, how could elements coming from sources which are almost a thousand years old become parts of a contemporary videogame ? From this case study, the author of this work takes a more general interest in cultural phenomenons and their dynamics through their transmission, manifestation and appropriation processes. In order to do this, he leans on a qualitative and empirical research which articulates communication studies with scandinavian studies in order to build an anthropo-communicational approach, which is strongly influenced by Anthropology. This approach is based on a multi-layered methodology which includes linguistics, socio-historical method, long term participant observation and very long term information monitoring. It allows to observe that, from the medieval manuscripts to online video games, through american fantasy literature from the 1930’s, the significations which people give to past cultural ressources are always transformed and built according to the situation in which they are expressed. Such cultural dynamics fall within the heart of research questions about change and permanence and highlight the ways by which an imaginary of the common is built at the same time as it puts the work of the social actors at the center of the reflection
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Di, Filippo Laurent. "Du mythe au jeu : approche anthropo-communicationnelle du Nord : des récits médiévaux scandinaves au MMORPG Age of Conan : Hyborian Adventures." Electronic Thesis or Diss., Université de Lorraine, 2016. http://www.theses.fr/2016LORR0213.
Full textAbstract:
Un rhinocéros Berserker, des hordes de Vanir déferlant sur la Cimmérie, le fils d’Ymir emprisonné... les références aux récits médiévaux scandinaves couramment désignés par les termes « mythes nordiques » sont nombreuses dans le jeu de rôle en ligne massivement multi-joueurs Age of Conan: Hyborian Adventures. Mais, comment des éléments issus de sources presque millénaires sont-ils devenus des composantes d’une production vidéoludique contemporaine ? À partir de ce cas d’étude, l’auteur de ce travail s’intéresse, de façon plus générale, aux phénomènes culturels et à leurs dynamiques à travers leurs processus de transmission, de manifestation et d’appropriation. Pour ce faire, il s’appuie sur une démarche qualitative et empirique à la croisée des Sciences de l’information et de la communication et des Études scandinaves afin de développer une approche anthropo-communicationnelle, fortement imprégnée par les travaux en Anthropologie. Celle-ci se fonde sur une méthodologie à la fois linguistique, socio-historique, d’observation participante sur le temps long et un suivi de veille sur le temps très long. Elle permet de constater que, des manuscrits médiévaux aux jeux vidéo en ligne, en passant par la littérature de fantasy américaine des années 1930, le sens donné aux références aux ressources culturelles du passé est sans cesse transformé et construit en fonction de la situation dans laquelle elles sont manifestées. Ces dynamiques culturelles s’inscrivent alors au cœur de la problématique du changement et de la permanence et mettent en lumière les constructions d’un imaginaire du commun tout en remettant au centre de la réflexion le travail des acteursA berserker rhinoceros, hordes of Vanir swarming upon Cimmeria, Ymir’s son imprisoned … references to the medieval scandinavian stories often designated as « Norse myths » are numerous in the massively multi-player online rôle playing game Age of Conan: Hyborian Adventures. But, how could elements coming from sources which are almost a thousand years old become parts of a contemporary videogame ? From this case study, the author of this work takes a more general interest in cultural phenomenons and their dynamics through their transmission, manifestation and appropriation processes. In order to do this, he leans on a qualitative and empirical research which articulates communication studies with scandinavian studies in order to build an anthropo-communicational approach, which is strongly influenced by Anthropology. This approach is based on a multi-layered methodology which includes linguistics, socio-historical method, long term participant observation and very long term information monitoring. It allows to observe that, from the medieval manuscripts to online video games, through american fantasy literature from the 1930’s, the significations which people give to past cultural ressources are always transformed and built according to the situation in which they are expressed. Such cultural dynamics fall within the heart of research questions about change and permanence and highlight the ways by which an imaginary of the common is built at the same time as it puts the work of the social actors at the center of the reflection
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CHANG, KUEI-YU, and 張桂宇. "Cultural Experience of History-Based Video Games." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/njujt8.
Full textAbstract:
碩士亞洲大學
休閒與遊憩管理學系碩士在職專班
106
As the technology improves every day, video games have also changed rapidly. From the early home consoles to the modern online games, high quality home consoles, and mobile game etc. Our government has officially legislated to protect the rights of playing video games. We can obviously realize the universality and significance of video games among modern society. However, most studies of video games are negative. It can rarely be seen to research how the history-based video games influence the cultural understanding to the players. This study is mainly to clarify the players’ cultural experiences through history-based video games. The purposes of the study are the following three, analyze the content and the design of history-based video games, describe the players’ involvement of history-based video games, and research how the history-based video games influent the cultural understanding of the players. Qualitative method is employed to analyze and understand. In-depth interview is used as research in this study. Interviewing ten history-based video games players through semi-structured interview. The conclusions of this study are as follows: First, the content and the design of history-based video games have to be concerned about the curiosity, operation interface, and degree of freedom of the history according to the players. Also, the design of historical characters must not be stereotyped. To satisfy the desire for players of collecting the historical roles is a must, too. The connection between the players and the historical roles are important as well. Visual, hearing, and the whole background design are important factors to draw the players keep playing the games, too. Second, the players’ involvement to history-based video games causes three results, spend too much time playing them, become much more emotional, and learning guides the achievement. Third, history-based video games improve the cognitive critical thinking through cultural experiences of the players. They also reflect on job choosing in two sides: self-discipline or selectivity; positive and negative influences to lives and relationship are affected as well. In conclusion, history-based video games that incorporate technology and design vividly provide a leisure and puzzled platform to recognize, interpret, and recreate history to the players. Although the players will also face some potential crisis which cause negative influence, their ability of critical thinking of history, strategic thinking, and intelligence and creativity can be deeply affected.
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Herr, Timothy Paul. "Texts and reading in virtual environments : history and prospects." Thesis, 2012. http://hdl.handle.net/2152/ETD-UT-2012-05-5611.
Full textAbstract:
This thesis examines the activity of pleasure reading as conducted within three kinds of virtual environments: role-playing and adventure video games, Massively Multiplayer Online Games (MMOGs) such as World of Warcraft, and graphical online social worlds such as Second Life. I ask how and to what extent different types of virtual environments are able to provide immersive reading experiences. This analysis relies upon the concepts of telic (purpose-driven) and paratelic (pleasure-driven) modes of reading, and I examine how virtual environments provide affordances for one or the other mode. How they do so usually has to do with how their situate reading materials in relation to the environment’s diegetic world, as well as whether the diegetic world is coherent and bounded. I conclude that while paratelic reading is encouraged in all virtual environments, role-playing and adventure video games are conducive to partially telic reading experiences, with players reading in order to better understand the diegetic world in which they act. MMOGs feature largely immutable diegetic worlds lacking normal relations of causality, but they still manage to some degree to encourage telic reading by circumscribing and enriching the world with lore. Virtual social worlds are generally unable to provide this sort of telic reading experience due to their lack of coherent diegetic worlds, and their effectiveness for paratelic reading is currently hampered by unwieldy interfaces and lack of innovation in the format of virtual books. Although MMOGs and social virtual worlds both feature synchronous collaboration between players with the potential for emergent narratives, neither has been able to leverage this advantage for the creation of immersive reading experiences. Finally, all three forms of virtual environment have inspired innovative user-created narratives and interfaces, but they have done so outside the contexts of their diegetic game worlds, in the sphere of participant culture.text
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Chang, Chun-Yan, and 張君仰. "Reproducing the History in Video Games─Using Romance of the Three Kingdoms as Example." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/10822767167207852390.
Full textAbstract:
碩士亞洲大學
數位媒體設計學系碩士班
101
Stories from the Three Kingdoms era of the ancient China are used frequently for designing games in the Asia countries, possibly the most used in video games. Among these games, the "Romance of the Three Kingdoms" series and the "Dynasty Warriors" series by the Japanese company Koei Tecmo are the most well-known. The stories in these games were even more well-known to the young people than the original ones of the book written in the Ming Dynasty. Because of that, we decide to study how they have influenced the game industry of Asia. We collected the relevant games in the past 27 years and use information collection and contextual analysis methods to analyze them. We have some preliminary conclusions and suggest some future study directions.
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WANG, TZU-WEI, and 王祖威. "Playing History:The pleasure experience of playing historical fiction video games and player's history learning." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/nj74g7.
Full textAbstract:
碩士國立中正大學
傳播學系電訊傳播研究所
107
The video game industry grows rapidly in the past few decades. Among all kinds of video games, historical fiction video game has been proved to be one of the most popular types of video game. This research tries to investigate the enjoyment experienced by the historical fiction video game players and the relationship between history learning and video game playing. Data were collected by the in-depth interviews of 14 historical fiction video gamers. The result of research shows that the enjoyments of historical fiction video games can be discussed in three different aspects: "The enjoyment of control," "The enjoyment of cross-media," and "The enjoyment of social interaction." The enjoyment of control comes from taking up the challenges in the games, and the feeling of achievement when players complete the challenges. The enjoyment of cross-media comes from knowing-players’ knowledge of the original context. This kind of enjoyment is composited by "the enjoyment of sensory," "the enjoyment of emotion ," and "the enjoyment of cognitive." The enjoyment of social interaction comes from two different communities: actual community and virtual community. Because of the special characteristic of historical fiction video game, its virtual community interaction is weaker than its actual community interaction. This research also demonstrates that historical fiction video games do help players’ history learning experience, furthermore, game playing increases the players’ historical consciousness. For knowing-players, playing historical fiction games stimulates their interest in learning related histories. For unknowing-players, the historical fiction video games serve as an opportunity for developing fundamental knowledge of related histories.
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(11177289), Lee W. Hibbard. "Preserving Play: Archival Practice in Queer Game Studies." Thesis, 2021.
Find full textAbstract:
This
dissertation investigates archival work concerning the history and preservation
of queer games and play experiences. Current scholarship in archival practice,
queer history, and game studies focus on archival methods, the history of games
in general, or the queerness of games in the present, without a specific focus
on the intersection of archives and preservation of games and play experiences.
This study therefore asks the following questions: What efforts are being made
in game studies to preserve the history of games and those who play them? What
do those methods look like in comparison to an archive of queer games
constructed by and concerning the experiences of queer people? What can game
studies do to more accurately preserve and lift up the voices of marginalized
groups in gaming culture? To answer these questions I developed a six move
methodology that interweaves interdisciplinary areas, including archival
practice, queer theory, games history, and the lived experience of the author
as a queer and transgender individual: 1) Weaving methodological strands
together; 2) Defining a transparent method for insider research; 3)
Decolonizing and redefining axes of marginalization; 4) Integrating queerness,
game studies, and interdisciplinarity; 5) Turning to the archives; and 6)
Enacting and maintaining activism, advocacy, and community. The study conducts
two case studies examining efforts in archiving and preservation to lift up the
voices of marginalized people, taking place at the Strong Museum of Play in
Rochester, New York, and the all-digital LGBTQ+ Video Game Archive,
respectively. The cases find that both archives engage in efforts to preserve
queer gaming history to not only preserve history but look to the future and
how to best serve marginalized populations. This occurs through collaboration
between communities and sharing resources between archives and examining the
interaction between the Strong and the LGBTQ+ Video Game Archive provides
insight into practical methods for preserving and lifting up marginalized
voices in gaming history, including larger archives providing resources to
assist smaller archives with access and long-term storage. Collaborative
efforts to preserve specific queer video games such as Caper in the Castro
provide specific examples of the two archives working together towards ensuring
queer game history is preserved and accessible to scholars and gamers in the
future. Highlighting the collaborative work and connections between the case
studies demonstrates that the methods in use to preserve queer history rely on
queer archival practices like community interaction and collaboration to best
serve marginalized communities in the preservation of their histories and
experiences
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Gonzales, Racquel Maria. "I don’t want to set the world on fire…or do I? : playing (with) history in Fallout 3." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-12-2073.
Full textAbstract:
While considering the role of media in shaping and examining histories, we must also grapple with formal limitations in approaching and understanding the past. The thesis aims to bring video games into critical conversations regarding history, memory, and nostalgia by considering the similar and unique perspectives the medium can bring alongside film, television, radio, and literature. Player positionality and interactivity within the unconventional, non-linear game storytelling form allows for different engagements with history. Focusing on the futuristic, post-apocalyptic role-playing game Fallout 3 (2008), this study interrogates the game’s nuanced presentation of genre as a cultural mediation of the past, the negotiation of memory with history, and our problematic assumptions about technology and narratives of progress. While the study finds games may provide rewarding and potentially critical explorations of history, the self-reflexive nature of video gaming emphasizes the medium’s possibilities, limitations, and implications as a cultural product shaped by the very forces constructing history.text
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Dor, Simon. "Repenser l’histoire de la jouabilité : l’émergence du jeu de stratégie en temps réel." Thèse, 2015. http://hdl.handle.net/1866/13964.
Full textAbstract:
L’objectif de cette thèse est de réfléchir aux enjeux d’une histoire du jeu de stratégie en temps réel (STR). Il s’agit de mieux comprendre les contextes dans lesquels le genre prend sens pour historiciser son émergence et sa période classique. Cette thèse cherche à documenter, d’une part, la cristallisation du STR en tant qu’objet ayant une forme relativement stable et en tant que corpus précis et identifié et, d’autre part, l’émergence des formes de jouabilité classiques des STR.
La première partie est consacrée à décrire l’objet de cette recherche, pour mieux comprendre la complexité du terme « stratégie » et de la catégorisation « jeu de stratégie ».
La seconde partie met en place la réflexion épistémologique en montrant comment on peut tenir compte de la jouabilité dans un travail historien. Elle définit le concept de paradigme de jouabilité en tant que formation discursive pour regrouper différents énoncés actionnels en une unité logique qui n’est pas nécessairement l’équivalent du genre.
La troisième partie cartographie l’émergence du genre entre les wargames des années 1970 et les jeux en multijoueur de la décennie suivante. Deux paradigmes de jouabilité se distinguent pour former le STR classique : le paradigme de décryptage et le paradigme de prévision.
La quatrième partie explique et contextualise le STR classique en montrant qu’il comporte ces deux paradigmes de jouabilité dans deux modes de jeu qui offrent des expériences fondamentalement différentes l’une de l’autre.This thesis is a reflection on the stakes of a history of the real-time strategy (RTS) genre. The goal is to understand contexts in which RTS makes sense to historicize its emergence and its classical period. It seeks to document, on the one hand, the crystallization of RTS as an object having a relatively stable form and as a precise and identified corpus and, on the other hand, the emergence of classical RTS gameplay figures. The first part of this thesis describes the object of this research in order to understand the complexity of the words “strategy” and “strategy games.” The second part puts in place the epistemological thinking by showing how gameplay can be taken into account in a history of video games. It defines the gameplay paradigm concept as a discursive formation to regroup actional statements as a logical unit that is not necessarily equivalent to a genre. The third part maps the emergence of the genre from wargames in the 1970s to multiplayer games of the following decade. Two gameplay paradigms are distinguished and will form the classical RTS: the paradigm of decryption and the paradigm of prediction. The last part explains the role of classical RTS by showing how these two paradigms coexist as two different game modes that offer fundamentally different gameplay experiences.
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Šindelář, Jakub. "Využití historie první světové války v médiu počítačových her." Master's thesis, 2018. http://www.nusl.cz/ntk/nusl-387251.
Full textAbstract:
The thesis is a comparative case study, that applies the typology of deployments of history of S. A. Metzger and R. J. Paxton on the World War I video games Battlefield 1 and Valiant Hearts. The objective of the thesis is to compare the studied games and to evaluate the usefulness and limitations of the applied typology as an analytical tool. A. Chapman's analytical framework for the formal analysis of historical video games is used as a methodological guideline. The "texts" of the video games serve as the main data source, complemented by the use of Let's Play videos, that allow a deeper level of analysis in certain areas and offer a glimpse of how historical representations and narratives are being consumed. Results show that both games present a rich and critical view of the World War I history and that they offer space for representation of marginalized groups. The game Valiant Hearts, unlike the game Battlefield 1, has a strong anti-war message and tells its story from a transnational perspective, emphasizing the Franco-German reconciliation. The game Battlefield 1 celebrates the combat heroism of the soldiers of individual nations and avoids completely the portrayal of civilians and the impact of the war on their lives. The World War I in this game is likened to the Second World War and it...
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Houtekier, Candice. "Du traité à l’expérience : le paysage dans les jeux vidéo." Thèse, 2018. http://hdl.handle.net/1866/22059.
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Kolek, Lukáš. "Empirický výzkum reprezentace historických informací v médiu počítačových her, jejich vnímání uživatelem a jejich intrapersonální vzdělávací výsledky." Doctoral thesis, 2020. http://www.nusl.cz/ntk/nusl-435411.
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This dissertation investigates whether video games are able to affect players' attitudes and information behaviour towards depicted historical topics in games over the short- and long-term. We collected data from a sample of 148 young adults. As far as we know, there is currently no study of such a scale focused on historical games. We used, as an intervention tool, a modification of the serious game Czechoslovakia 38-89: Borderlands that deals with the expulsion of the Sudeten Germans from the former Czechoslovakia after WWII. The game is based on historical research providing players with multiple perspectives on the depicted topics. Our control group played a similar game, but where the narrative was unrelated to any depicted historical event from Czechoslovakia 38-89: Borderlands. In the empirical part of the study, we measured explicit and implicit attitude change and information behaviour change towards the expulsion of the Sudeten Germans. Results showed more negative pretest-posttest explicit attitude changes towards the expulsion on a general level (d = -0.34; p = .022) and a specific level (d = -0.53; p = .001) in the experimental group compared to the control group. Over the long-term, group differences in attitude change remained significant for the specific level (d = -0.44; p = .014),...
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Bushouse, Elizabeth. "The Practice and Evolution of Video Game Translation: Expanding the Definition of Translation." 2015. https://scholarworks.umass.edu/masters_theses_2/187.
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This paper looks at the practice and history of video game translation, with the goal of expanding the definition of translation. Video game translation is a complex process that incorporates a number of aspects from other types of translation, such as literary, audiovisual, and software translation, to form a dynamic whole. As a new medium, video games also present their own challenges to translation in the form of interactivity, technology, non-textual and extra-textual elements, audience involvement, and new business practices. Even though video games are a relatively new medium, the practice of translating them has undergone drastic transformations over the years. A case study of the various official translations of Final Fantasy IV provides a brief overview of this development to help the reader get a complete understanding of the video game translation process. The paper concludes by arguing that the different sign systems present in video games are integral to the player’s understanding of the game, and should be considered as aspects that can be translated. Parallels are also drawn between the translation process and the medium of the video game, to show that different approaches to translation can provide the audience with a more holistic view of a work.
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Lessard, Jonathan. "Histoire formelle du jeu d’aventure sur ordinateur (le cas de l’Amérique du Nord de 1976-1999)." Thèse, 2013. http://hdl.handle.net/1866/10328.
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Cette étude s’intéresse à l’évolution formelle du jeu d’aventure de 1976 à 1999. Elle se propose de mieux comprendre les facteurs historiques contribuant à l’apparition du genre, son institution et ses transformations. La recherche est fondée sur l’analyse du discours de la presse spécialisée en jeux d’ordinateur et d’un corpus étendu d’œuvres. L’une des thèses proposées est que l’identité générique du jeu d’aventure est fondée sur une expérience vidéoludique demeurant relativement constante malgré des variations importantes de formes. Cette expérience est assurée par la reproduction des principaux éléments d’une architecture générale de design de jeu inaugurée par Adventure en 1977. Les variations formelles ponctuelles résultent d’une négociation entre la volonté de s’adapter aux changements de contexte de l’écologie du jeu d’ordinateur et la résistance d’une architecture ludique établie.
La pertinence d’une histoire d’un genre vidéoludique est justifiée au premier chapitre en fonction de l’état actuel des connaissances sur l’histoire du jeu vidéo et du jeu d’aventure. On y précise également le cadre théorique, la méthodologie et les sources étudiées. Le deuxième chapitre s’intéresse à la genèse d’Adventure de Crowther et Woods (1976; 1977) en fonction des diverses pratiques culturelles dans lesquelles l’œuvre s’inscrit. Cette analyse permet d’en dégager l’architecture ludique. Le troisième chapitre porte sur le « tournant narratif » du jeu d’aventure ayant lieu au début des années 1980. On y décrit différents facteurs historiques poussant le genre vers l’enchâssement d’histoires pré-écrites afin d’en faire un véhicule narratif. Le quatrième chapitre décrit le contexte du « tournant graphique », passage du jeu d’aventure d’une représentation textuelle à un régime visuel, ainsi que ses conséquences expérientielles. Le « tournant ergonomique » décrit au cinquième chapitre traite de l’apparition du modèle « pointer et cliquer » en fonction des avancées des connaissances concernant les interactions humain-machine ainsi que de la maturation du design de jeu comme pratique autonome. Le dernier chapitre relate l’apogée du jeu d’aventure au début de la révolution multimédia sous ses formes de film interactif et « Myst-like » puis du ralentissement – voire de l’arrêt – de son évolution formelle.This dissertation examines the formal evolution of adventure games from 1976 to 1999. It aims at understanding the genre’s emergence, its institution and transformations. The research is based on the parallel analysis of computer game magazine discourse and a large corpus of games. One of its main theses is that adventure games’ generic identity is founded on a relatively stable gameplay experience despite important formal variations. This experience is maintained by the reproduction of a general game design architecture initiated by Adventure in 1977. Specific historical models of the adventure game are the product of a negociation between developers’ efforts to adapt to changes in computer game ecology and the resistance of an established ludic architecture. In the first chapter, the research project is justified considering the current state of knowledge pertaining to digital game history in general and adventure games in particular. The theoretical framework, methodology and source materials are also detailed. The second chapter offers a fresh look at Crowther and Woods’Adventure (1976; 1977) in terms of the network of cultural practices in which it was developed. This analysis helps mapping the outlines of the game’s videoludic architecture. The third chapter describes the genre’s « narrative turn » taking place in the early 1980s. It describes the various historical factors pushing the genre as a narrative vehicle by embedding structured pre-written stories. The context of adventure games’ transition from a textual to a visual representation – and its experiential consequences – is the subject of the fourth chapter on the genre’s « graphical turn ». The « ergonomical turn » described in the fifth chapter relates the institution of the « point & click » model to contemporary advances in human-computer interaction as well as to the maturation of video game design as an autonomous practice. The last chapter gives an account of adventure games’ heyday on the onset of the multimedia revolution through the interactive film and “Myst-like” forms, followed by the slowdown – or even standstill – of its formal evolution.