This thesis examines the fissures and intersections between feminist digital media, queer theory, and Mad and disability studies. Moving across social media platforms, hashtag data, and digital gaming, this project argues for the subversive and creative potential within Mad/crip/queer digital identity performances. My theorizing of the avatar as an automedial figure in this project is attentive to the politics of the face as a site of encounter, to digital bodies and movement, to identification and community-building, and to embodiment and affects that move between on- and off-screen lives. This thesis follows the “bad avatar,” a collection of Mad digital identity practices that interrupt, disrupt, and transgress normalizing and normative digital spaces of North American settler capitalist culture. Claiming the bad avatar as a deliberate identity position is an act of claiming the label of “bad,” which here has multiple meanings: Mad queer bodies—physical and digital—are bad citizens because we break the heteronormative patriarchal rules. We’re troublemakers—we make trouble for power systems and those who embody power. We can be bad workers, unproductive and fatigued. We can be bad for capitalism and bad for nationalist morale. We also experience feelings that become pathologized and policed. As despair, panic, melancholy, and angst stick to our bodies our bodies themselves become framed as bad: sick, broken, wrong, a problem in need of fixing or eradication. Reclaiming “bad” is both a celebration of the willful subject (Ahmed 2014) and a challenge to the binary of “good/bad” that is used to oppress Mad and disabled bodies. / Thesis / Doctor of Philosophy (PhD) / This thesis theorizes the digital avatar as an automedial figure, a mode of virtual embodiment and a site of encounter. I use “avatar” to draw a connecting line between widely varied digital identity acts that occur across social media platforms and video games. This thesis examines the “bad avatar,” a collection of Mad/crip/disabled faces, bodies, and identity practices that interrupt, disrupt, and transgress the normalizing and normative digital spaces of North American settler capitalist culture. Mad/crip digital identity play offers avenues for enacting modes of resistance through the politics of representation and the processes of identity performance and community-building.

The aim of this thesis is to determine how the debate about equality in the culture of video and computer games appears in different kind of web based media. And what underlying reasons may affect the outcome of the discourse. The theoretical perspectives used in this study is based on a gender perspective complemented with the concept of hegemony, myths and stereotypes. This examination is based on a critical discourse analysis and Fairclough’s three dimensional model of discourse, the material has been collected with a quantitative content analysis. The result of the study shows that inequality in the culture of video and computer games is a big problem. The result is a study of constant repression against women, threats and harassment. The deduction of this study is that the patriarchy is the fundamental structure that has created the current culture of gaming. And as long as the patriarchy exsists, so will the inequality, not only in society, but in the ever growing culture of video and computer games.

The Entertainment Industry has long been plagued by the “Video Game Curse”, a term used by both fans and critics to describe the historically poor performance and reception of video game adaptations to film and television, often resulting from a failure to capture the essence and appeal of the original games (Barasch, 2023). However, in the last few years, there have been several successful video game-to-film/TV adaptations released (Williams, 2021), with many more adaptations in development. Has the “Video Game Curse” finally been lifted? And if so, then how and why now? This thesis will examine how the “Video Game Curse” has manifested itself in film and TV productions and how more recent media seem to have learned from the mistakes of the past. Using a theoretical creative development project for a TV series based on the cult classic video game, Mirror’s Edge (2008), this paper will unpack the unique challenges and opportunities that come with adapting video games into film and TV. This analysis will also include a discussionon the evolution of storytelling techniques, the importance of authentic representation of the game's world and characters, and the integration of interactive elements that define video games into a passive viewing experience. / <p>Det finns övrigt digitalt material (t.ex. film-, bild- eller ljudfiler) eller modeller/artefakter tillhörande examensarbetet som ska skickas till arkivet.</p><p>There are other digital material (eg film, image or audio files) or models/artifacts that belongs to the thesis and need to be archived.</p>

Tv-spel har nästan alltid lagt fokus på berättande och spelmekanik, men det finns ytterligare en aspekt som i vissa fall saknar samma grad av fokus. Miljön, eller ytan spelarna interagerar och rör sig inom omfattar en stor del av spelupplevelsen. En uppslukande och rik spelvärld kan engagera en spelarbas och behålla deras intresse för spelet, men det spelutvecklare fokuserar på i sin utveckling kan skilja sig från vad spelare faktiskt tycker är tilltalande. Genom intervjuer och en enkät undersöker denna studie processen och fokusområden hos spelutvecklare vid designen av tv-spel. Därefter jämförs det med vad spelare tycker är tilltalande i de spel de spelar. Resultaten visar att de intervjuade utvecklarna föredrar att arbeta med spel med en öppen värld, och majoriteten av spelarna från enkäten spelar spel med en öppen värld på grund av spelens olika valmöjligheter. Ett betydande antal spelare föredrar däremot linjära spel eftersom miljöerna tenderar att kännas mer genomtänkta och målmedvetna. Slutsatsen, som baserades på analysen av resultaten, identifierade fyra faktorer utifrån de data som samlats in från intervjuerna och enkäten. Dessa faktorer var känslor, atmosfär, tolkning och associationer. De fyra faktorerna kombinerat förbinder varandra och spelar enligt studieresultatet störst roll i skapandet av en tilltalande värld för tv-spel. Vi hoppas att dessa upptäckter kan assistera i det framtida skapandet av tv-spelsmiljöer och den fortsatta forskningen inom ämnet.

This research project employs principles of feminist theory to critically analyze video games, focusing specifically on the dichotomy between "games for boys" and "games for girls." By comparing these digital environments with the gendered play styles observed on playgrounds, this study investigates how entrenched stereotypes from the childhoods of European game designers are reflected in contemporary game design. The research extends previous studies by examining how gender roles are manifested in games.

This research explores player motivations in first-person shooter competitive multiplayer games and proposes game mechanics illustrated in gameplay contexts that promote competence, relatedness, and autonomy. By adopting a self-deterministic lens for exploring player motivations and experiences, and how they are negatively affected by toxic play, the study aims to identify insights that could diminish the negative effects for standard players. Following a design-based research approach, the project employed player-centred methods to explore personal accounts of experience in the researched context. The end result is an annotated portfolio presenting game mechanics in gameplay contexts that allow players to understand who they are playing with and against, to bond with their teammates, and to get a second chance to rejoin the game. The annotated portfolio frames the knowledge contribution as insights into how the designs enhance perceived competence, relatedness, and autonomy.

Ce mémoire porte sur la culpabilité du joueur pour des actions qu’il pose dans les jeux vidéo. L’objectif est de cibler les situations de jeu et les conditions psychosociologiques à l’émergence de cette émotion. Le premier chapitre compare l’expérience émotionnelle du spectateur et du joueur principalement dans la relation que ces derniers entretiennent avec des personnages. Le deuxième chapitre offre une étude détaillée de la culpabilité telle que vécue ordinairement, particulièrement de son processus cognitif et de ses fonctions sociales. Le troisième chapitre propose un modèle du processus de la culpabilité du joueur qui inclut des variables relatives à l’expérience des jeux vidéo et au design de jeu. Le modèle est mis en application dans l’analyse d’un corpus de jeux vidéo solos et narratifs à différents degrés, qui visent à provoquer des fautes morales chez le joueur et à les lui faire prendre conscience. / This master’s thesis focuses on player’s guilt based on gameplay actions. The objective is to target video games situations and psychosociological conditions leading to this emotion. The first chapter compares the spectator’s emotional experience with that of the player mainly in their relations with characters. The second chapter offers a detailed study of guilt as ordinarily experienced, especially of its cognitive process and its social functions. The third chapter introduces a theoretical model of the player’s guilt process which includes variables related to the experience of video games and game design. The model is applied to the analysis of a corpus of single-player narrative games that intent to provoke the player to commit wrongdoings and to make him aware of them.

The primary purpose in this case study was to explore the use of three-dimensional virtual spaces via the use of the game Minecraft as a teaching tool. The case study examined the effectiveness, self-efficacy, and social interaction of students when using such a tool in the teaching and learning process. The research analyzed knowledge acquisition through various deliverables such as benchmark pre and post exams, student discourse, and tangible objects created from the lessons by the students. Students were enrolled and participated in a summer camp offered from Arts and Technology Institute in North Texas. The camp utilized Minecraft to teach architecture types. Students learned about pyramids (Egyptian and Aztec), Roman/Greek architecture, Gothic architecture, and Post-Modern Architecture. Each day students were exposed to a different them of architecture and were tasked with building a world that was in the theme of an assigned type of architecture. Fifty-nine school age students ranging in ages from eight to twelve years old participated fully in the study. The students were not grouped by age, but instead self-selected partners with which to work during the course of their creations. Results show that students who participated in the Minecraft driven course were highly engaged and reported a positive experience during the course of learning. Participants worked cohesively to achieve common goals and problem solve during the course of project completion. Participants freely participated in discourse that was on the topic of the lesson, as well as, offered suggestions for improvement and solicited ideas from other participants. Pre and posttest results yielded an improvement in knowledge acquisition regarding general knowledge of architecture types. Many students frequently used the word “Fun” to describe their learning experience as cited in their daily blog entries. The research strived to show that using Minecraft as a teaching tool can create an environment in which students are highly engaged and are afforded an opportunity to learn material in a way that students can see as an applicable reason for learning. Results of this research evidence Minecraft as a tool in learning yields an atmosphere in which students take ownership of their learning and work in concert with other members of the classroom to yield positive learning outcomes.

Att spela datorspel är för många barn en rolig och populär sysselsättning och det finns olika sorters spel som barnen spelar. Många barn spelar våldsamma datorspel vilket har uppmärksammats i skolor. De har observerat att barn som spelat våldsamma datorspel lekt på ett aggressivt och våldsamt sätt på skolgården. Inom forskningen har också sambandet mellan våldsamma datorspel och barn observerats och det har genomförts mycket forskning inom området för att utröna om barn som spelar våldsamma datorspel blir mer aggressiva och våldsamma av att spela dessa spel. Forskningen på området är däremot motstridig huruvida barn som spelar våldsamma datorspel blir mer aggressiva och våldsamma. Studiens syfte är att undersöka vad det finns för stöd i forskning som talar för eller emot att barn som spelar våldsamma datorspel blir aggressiva och våldsamma och varför forskningen är motstridig på området. Resultatet i studien är att när endast sambandet våldsamma datorspel och aggressivitet mäts tenderar sambandet att vara starkare, att barn som spelar våldsamma datorspel också uppvisar högre nivåer av aggression. Det som talar emot att barn som spelar våldsamma datorspel uppvisar högre aggressionsnivåer är att när andra bakgrundsvariabler beaktas tenderar sambandet mellan våldsamma datorspel och aggressionsnivåer hos barn att minska eller försvinna. Hur aggressionsbegreppet tolkas och att vissa forskare bedriver en forskning som visar ett samband med att barn blir mer våldsamma utav att spela våldsamma datorspel och forskare som visar på motsatsen är anledningar till att forskningen är motstridig på området. / Playing computergames is to many children a fun and popular hobby and there are various kinds of games that children play. Many children play violent computergames which has attracted attention in schools. They have observed that children who played violent computergames played in an aggressive and violent manner in the schoolyard. Within science the connection between violent computergames and children has been observed and there has been much research in the field to find out if children who plays violent computergames becomes more aggressive and violent when they play these games. Research on the other hand is contradictory whether children who play violent computergames becomes more aggressive and violent. Purpose of the study is to investigate what are the support for in research who speaks for or against that children who plays violent computergames becomes aggressive and violent and why research is contradictory in this area. The result in the study is when only the connection between violent computergames and aggressiveness is measured the connection seems to be stronger that children who plays violent computergames also exhibit higher levels of aggression. What speaks against that children who plays violent computergames exhibit higher aggression levels is that when other background variables is considered the connection between violent computergames and aggression seems to decrease or disappear. How the term aggression is interpreted and that some scientist conducts research that shows a relation that children who plays violent computergames becomes more aggressive when playing these games and other scientists conducts research that shows the opposite are reasons that research are contradictionary in the area.

Pour respecter les droits auteur, la version electronique de cette thèse a été dépouillée de ses documents visuels et audio-visuels. La version intégrale de la thèse a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal. / Résumé Cette thèse examine la nature complexe de l'identité dans les jeux vidéo solo. Elle introduit la notion d'identité-hybride, et propose un cadre analytique pour déconstruire la jouabilité à travers les genres afin de distinguer des moments d’émergence d’identité. Alors que la recherche sur l’identité se concentre couramment sur le joueur ou le personnage-joueur (ou les deux), la notion d'identité-hybride est une forme d’identité fluide, parfois éphémère, qui existe entre le joueur et le personnage-joueur. L’identité-hybride se développe au cours du processus de jeu et inclut nécessairement le joueur (expérience, contexte de jeu, etc. ), l’environnement du jeu (le design, les mécaniques, etc.), et la médiation technologique (ordinateur, console, etc.) qui facilite la jouabilité. Afin de cerner les différents aspects du gameplay qui contribuent a l'émergence de différents types d'identité, un cadre multiforme a été conçu pour isoler les interactions spécifiques? qui comprennent les interactions joueur/personnage-joueur, personnage-joueur/personnage non-joueur, joueur/environnement du jeu, personnage-joueur /environnement de jeux, et joueur/joueur. Il a été associé à un cadre secondaire qui comprend l'examen des spécificités du joueur individuel et la médiation technologique qui facilitent le jouabilité. Une analyse systématique d’expériences de jeu et des éléments de design de trois jeux différents; Mirror’s Edge (DICE, 2008), Alone in the Dark (Eden Games, 2008), et Fable 2 (Lionhead Studios, 2008), a été réalisée pour illustrer les différents degrés d’apparition d'identité dans différentes structures de jeu. En comparant les trois analyses, l'utilité de ce cadre pour mettre de l’avant les éléments qui contribuent au (ou peuvent entraver) le développement de l'identité et, plus spécifiquement, l'apparition de l'identité-hybride, est démontrée. Ces trois exemples jettent les bases d'une discussion plus profonde sur la définition, le contexte, et le processus d’identité-hybride dans les jeux vidéo en général. / Abstract This dissertation examines the complex nature of identity in single-player videogames. It introduces the concept of hybrid-identity and proposes an analytical framework to deconstruct gameplay across genres to distinguish moments of identity emergence. While identity research commonly focuses on the player or the player-character (or both), the concept of hybrid-identity is a fluid, at times fleeting form of identity that exists between the player and the player-character. Hybrid-identity develops during the networked process of videogame play and necessarily includes the player (experience, play-context, etc.), the game environment (design, mechanics, etc.), and the mediating technology (computer, console, etc.) that facilitates gameplay. In order to delineate the different aspects of gameplay that contribute to the emergence of different types of identity, a multifaceted framework was devised to isolate specific interactions between the player/player-character, player-character/non-playing character, player/game environment, player-character/game environment, and player/player. This framework was coupled with a secondary frame which includes examining the specificities of the individual player and the mediating technologies that facilitate gameplay. A systematic analysis of gameplay and design elements of three different games; Mirror’s Edge (DICE, 2008), Alone in the Dark (Eden Games, 2008), and Fable 2 (Lionhead Studios, 2008) was performed to illustrate the varying degrees of identity emergence in different game structures. The utility of the framework is demonstrated by comparing the three gameplay analyses and highlighting the elements that contribute to (and possibly hinder) identity development and more specifically, the emergence of hybrid-identity. These three examples form the foundation for a more in-depth discussion on the definition, context, and process of hybrid-identity in videogame play.