Context. The feeling of immersion in a video game is something most game developers try to achieve. Immersion makes the player feeling like they are a part of the game they are playing, and causes them to lose track of time and space. Immersion can be achieved in many ways, one of them being through different kinds of Graphical User Interfaces. An integrated interface might help players to get more immersed. Objectives. The objective of this thesis is to find out whether an integrated or "diegetic" interface improves the feeling of immersion in players.To fullfil this objective, a prototype must be made and then tested using participants who then can answer questions about their level of immersion. Methods. The prototype was built using Unity, a free game engine. The participants of the study played two different levels with two different interfaces and then answered a number of questions in a questionnaire. The questions were then analysed using the students t-test. Results. The results of the study showed there were no difference in terms of immersion in the two different interfaces. Conclusions. These results suggest there is no improvement of immersion when using a diegetic interface, compared to using a non diegetic one.

I detta arbete har det undersökts huruvida ett narrativ som berättas endast genom dieges ger samma resultat som om berättelsen skulle förmedlas med hjälp av icke-dieges. Detta arbete fokuserade på den verbala berättartekninken och genom en undersökning där sex vana spelare av narrativa spel intervjuades. Undersökningen genomfördes genom semistrukturerade intervjuer där informanterna fick spela två artefakter, en diegetisk och en icke-diegetisk. Artefakterna var utformade att leverera narrativet genom tal och språk och skapades efter Walter Murch teori om kodat och inbäddat ljud. Utvärderingen visade att alla sex deltagare kunde skapa sig en viss uppfattning om narrativet men att det med icke-dieges blev tydligare vad den exakta berättelsen var.

The diegetic and non-diegetic functions that exist when dealing with music for film can affect the way that viewers perceive scenes and characters. It is therefore important to be well informed about what effect these two functions can have on the viewers as a sound designer. This study tested if audiences could perceive a difference between diegetic source music and non-diegetic underscore. The participants rated how romantic, happy, sad, scary & intimate they perceived a scene in a romantic setting to be. It was found that the two functions had major differences in how the scene was interpreted by the participants. The non-diegetic version was seen as looking back at something or looking at someone’s memory, while the diegetic version was seen as something happening in the present in front of the participant. The diegetic version ended up being perceived as scarier, while the non-diegetic version was perceived as happier. This study suggests that when creating the illusion of watching something from the past like a memory, it would be beneficial to use non-diegetic music rather than diegetic music.

This thesis concerns itself with a phenomenon found in film music that can be described as audible diegetic transitions. In short, an audible diegetic transition occurs when film music shifts from one implied musical placement to another by changing its pre­sented sound quality. This occurs predominantly through the employment of music that is pre-existing in relation to the release of the film where the music is utilised. These audible diegetic transitions are categorised as aural displacements and transaural dis­placements which are both anchored in previous re­search concerning stable musical place­ments. In order to answer the research questions regarding technical aspects and narra­tological implications, the thesis is centred around a film music analysis. The de­marcation of said analysis uses pre-existing songs from the film Joker (Philips, 2019) as its main focus. In order to provide a colourful and meaningful discussion the selected material also contains a variety of examples from other films. The analysis shows that the selected audible diegetic transitions can provide narra­tological implications both for a film as a whole and for a specific scene or se­quence in any film. In Joker specifically, the audible diegetic transitions arguably contain the narra­to­logi­cal im­plication of adding to the retrospective and unreliable narration, which is im­port­ant for the story of the film. The thesis also argues that the technical aspects of the ana­lysed audible diegetic transitions can be condensed into being either diegetic to comm­en­tary, or vice versa. Diegetic music is, in this context, defined as music that is im­­­­plied as being heard in the acoustic space of the story-world, whereas commen­tary music is an um­brella term defined as music that is not implied being heard in the acous­tic space of the story-world. The analysis shows that these transitions can transpire either instantly or gra­­­dually with the change of sound quality from being either narrow or wide. These tech­nical aspects contribute in under­standing the narratological im­plications of said au­dible diegetic transition by categorising them as either emotive or groun­ding. Both of these narratological implications can be concluded and described as swift enforcers of the relationship be­tween the one consuming the film and the char­acters, or lo­cations, of the film they are con­­­­suming. Audible diegetic transitions figura­tively breach the fourth wall that is the screen.

This thesis examines how Zhao Jiping's film score in Yellow Earth (1984) establishes distinct identities for the diegetic and non-diegetic (presentational) space, as well as how Zhao manipulates the audience's perception of musical-spatial boundaries in order to create moments of musical significance during the "river scenes." To model the diegesis, I use a perception model approach combined with work by Winters and Yacavone. This frames the diegesis in relation to reality, without being beholden to it, and attributes to the audience an active role in constructing the diegesis, internally and subjectively expanding on fragments presented by the film. I then characterize the music of the diegesis as being representative of the Shaanbei region of China, using folk singing and instruments indigenous to the region. The music of the presentational space uses melodic material derived from the diegetic music, supported by orchestral music in a style similar to mixed instrument ensembles in Model Works. During the "river scenes", Zhao's music gradually detaches the audience's sense of anchoring in the diegetic space and pivots into the presentational space, creating an intense contrast that supports the narrative significance of the scene. Afterwards, similar techniques are then used to gradually re-anchor the audience back into the diegesis. Using models of the diegetic and presentational spaces that incorporate recent shifts in academic perspective, this thesis demonstrates Zhao Jiping's nuanced understanding of how an audience perceives musical space, both by creating distinct identities for the diegetic and presentational spaces, and by manipulating audience perception of space in order to create moments of musical significance.

Abstrakt Diegetiska effekter, icke diegetiska effekter, indexical -och environmental storytelling i relation till tutorials, vad händer när man introducerar spelets mekaniker med hjälp av dessa?  Denna artikel undersöker hur andra spel har använt sig av ovan begrepp för att introducera mekaniker och spelvillkor. Vi kommer diskutera hur environmental -och indexical storytelling tillsammans med diegetiska och icke diegetiska visuella effekter kan påverka spelarens inlevelse och förståelse av de grundliga mekanikerna i ett spelutrymme. Till följd av ett analysarbete av designexempel undersöker vi detta genom en egen gestaltning. / Abstract Diegetic effects, non-diegetic effects, indexical and environmental storytelling in relation to tutorials, what happens when you introduce the game's mechanics with these concepts? This article examines how other games have used these concepts to introduce mechanics and game conditions. We will discuss how environmental and indexical storytelling together with diegetic and non-diegetic effects can affect the player's perception and understanding of the basic mechanics of a game space. As a result of an analysis of design examples, we investigate this through our own design.

In this study, a video game prototype was developed to research the impacts of diegetic and non-diegetic interfaces on two facets of player experience in the context of video games, game difficulty and immersion. A total of 10 participants took part in a play session where they played the prototype, which was followed by semi-structured interviews where the participants discussed their perceived player experience. The transcribed interviews were then analyzed using a thematic analysis approach to find recurring patterns in relation to perceived difficulty and immersion. The findings of this study showed that diegetic interfaces were perceived as more difficult but more immersive in general, while the opposite was true for non-diegetic interfaces. / I den här studien utvecklades en spelprototyp för att undersöka effekterna av diegetiska och icke-diegetiska gränssnitt på två aspekter av spelupplevelse i samband med videospel, spelsvårighetsgrad och fördjupning. Totalt deltog 10 deltagare i en spelsession där prototypen spelades, vilket följdes av semistrukturerade intervjuer där deltagarna diskuterade sin spelupplevelse. De transkriberade intervjuerna analyserades sedan med en tematisk analysmetod för att hitta återkommande mönster i relation till deltagarnas upplevd svårighetsgrad och fördjupning. Resultaten av denna studie visade att diegetiska gränssnitt upplevdes som svårare men mer fördjupande i allmänhet, medan motsatsen gällde för icke-diegetiska gränssnitt.

Simultaneity and conflict are incessant qualities one is confronted with when looking at things. Shifting from familiar to foreign, from present to implied. There seems to be a tendency, if not necessity to embrace this multiplicity. Using the film theory construct of extra-diegetic and relative qualifier 'sort of' to investigate Pulp Fiction, Bose Wave CD player, Sunset Boulevard, American Apparel, and The Uncanny.

Critical Design uses designed artifacts as a critique of consumer culture. However, the complex nature of these artifacts prompted designers to focus on the artifact and present it in an informative, but relatively isolated fashion.The theoretical framework for this thesis is drawn from a similar, yet more recent, design criterion called Design Fiction. The artifacts of Design Fiction are called Diegetic Prototypes: fictional prototypes that function in the social sphere of a film’s structure. This research develops a method for analyzing and creating artifacts, in reference to psychoanalysis theories on the human psyche and perception of objects. It then explores scenarios for presenting these artifacts as diegetic prototypes by exploring and integrating the disciplines of systems/parametric design, digital fabrication, music, animation and film. The scenarios function as micro-narratives. These micro-narratives created through the prototypes will inform the larger narrative structure of the film.

A proposta desta tese é apresentar uma análise das obras O Mandarim e A Relíquia, de Eça de Queirós, a partir da perspectiva da escrita intimista. Para essa leitura serão considerados os aspectos inerentes à escrita de si segundo Michel Foucault, descritas nos textos Lécriture de soi, publicado pela primeira vez no ano de 1983, e no Volume III da História da Sexualidade: O cuidado de si, publicado em 1985. A escolha desse aporte teórico se dá pela evidenciação dos traços desse tipo de escrita nessas duas narrativas de Eça de Queirós, ora classificadas como autodiegéticas. Pretende-se demonstrar que a mimese da escrita de si elaborada pelo escritor nessas duas obras está a serviço de uma forte crítica social, que visa a atingir a própria constituição do sujeito oitocentista. / The aim of this thesis is to present an analysis of the works The Mandarin and The Relic of Eca de Queiroz, from the intimate writing perspective. On this reading will be considered aspects of the writing the self, according to Michel Foucault, described in the texts L\'écriture de soi, first published in 1983, and in Volume III of the History of Sexuality: Self care, published in 1985. The choice of this theoretical contribution is given by the disclosure of the features of this kind of writing these two narratives of Eca de Queiroz, now classified as autodiegéticas. We intend to demonstrate that Eça de Queirozs writing of itself as mimesis in these two works is at the service of a strong social criticism, which aims to achieve the very constitution of the subject nineteenth century.