Submitted by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-02-21T18:21:25Z No. of bitstreams: 1 Dissertação de mestrado - Paulo Cesar de Souza Júnior.pdf: 2459023 bytes, checksum: 4b4941032a78bd858db015bb30cbf6dd (MD5) / Made available in DSpace on 2017-02-21T18:21:25Z (GMT). No. of bitstreams: 1 Dissertação de mestrado - Paulo Cesar de Souza Júnior.pdf: 2459023 bytes, checksum: 4b4941032a78bd858db015bb30cbf6dd (MD5) / O objetivo deste trabalho é analisar a adaptação para romance do videogame Assassin’s Creed II e evidenciar que essa tradução intersemiótica promove um distanciamento do projeto global do texto original. A abordagem do corpus se fundamenta na metodologia proposta pela Semiótica francesa e em conceitos de game studies e do cibertexto. Após a investigação das estratégias discursivas do videogame, constatamos que Assassin’s Creed II tem seu fazer persuasivo calcado em estratégias enunciativas que atravessam diferentes aspectos das categorias de pessoa, espaço e tempo. Essas estratégias são atenuadas ou excluídas pelo enunciador do romance, o que corresponde a um enfraquecimento do efeito de interação mobilizado pelo projeto enunciativo original. Pela comparação entre os níveis de análise de objeto e estratégia, concluímos que este processo de adaptação apaga uma visão mais abrangente do papel dos acontecimentos históricos para a trama e descaracteriza o efeito de unidade construído pela série de videogames. / The goal of this study is to analyze the adaptation of the videogame Assassin's Creed II to a novel and to show that this intersemiotic translation promotes a detachment from the global project of the original text. The analysis is based on the methodology proposed by the French Semiotics and on concepts from the game studies and the cybertext. After an investigation of the videogame's discursive strategies, we found that Assassin's Creed II has its persuasive project supported by enunciative strategies that traverse distinct aspects of person, space and time categories. These strategies are either attenuate or excluded by the novel's enunciator, which weakens the interaction effect mobilized by the original enunciation. By comparing two levels of analysis, object and strategy, we conclude that this adaptation process unmake a broader understanding of the role of historical events for the plot and mischaracterizes the unity effect built by the video game series.

This essay explores the usage of history in the historical video game Assassin’s Creed: Unity. Taking a theoretical approach from Nordgren, Karlsson and Landsbergs theories on historical consciousness, historical meaning and the usage of history, the game is analysed from the perspective of the content creator. The essay looks at the perspective of the gamer, through Chapmans theory of reading and doing as a basis for interaction within the game world. The results show that Assassin's Creed: Unity’s narration contains messages that can be linked to genetic functions that intend to link the past, through development, to the present and vice versa. The usage of history in Assassin's Creed: Unity can be seen as mostly scientific and it usually comes from what Bordwell calls an explicit level. This in the sense that the historical content of the gaming world and the elements based on real historical events are clearly presented by the game developer with the aim of offering players, with a need to learn about the French revolution, factual knowledge. In other words, the game assumes the role of a kind of teacher and the player can choose to absorb this content or ignore it to focus only on the game’s ludicrous aspects and drama of the game's action. Reading and doing creates a sense of empathy in the gaming world. It invites the player to take part in a kind of museum visit where one can, based on the rules of the game and an inherent randomness in the gaming world, create one’s own historical narrative and through this, make sense of the historical content of game world. However, this element is partially destroyed by a constantly recurring element of violence.

The main purpose of this study is to investigate the unintentional learning that happens during the use of computer games. With the use of interviews with students in the ages 13-15 who all have played the game series Assassin’s Creed, and then compared them with students who does not play the game, we have been able to identify that some learning is taking place, but that the student’s attitude towards the subject, and their maturity, also is vital for the learning. Even tough, the students who didn’t really enjoy history as a subject showed better knowledge after playing the game, than the students who hadn’t played at all, which indicates that computer games can be a good source for learning. Another purpose was to investigate the students’ attitude towards using computer games in their education. Interestingly all the students we interviewed, even those who are not interested in computer games were positive to the use of computer games in some form in their education, either themselves playing, or the teacher using it as a form of interactive media to show a certain event or person. Our conclusion shows that computer games are a good source of learning, and the use of computer games as a pedagogic tool in the education definitely should be a subject for further research.

Submitted by Daniela Ribeiro (daniela.ribeiro@mackenzie.br) on 2016-10-01T16:04:27Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Heloisa Antoniolli Marino.pdf: 850180 bytes, checksum: 18fca92bc70b8cf70fc66eab86125a84 (MD5) / Approved for entry into archive by Paola Damato (repositorio@mackenzie.br) on 2016-10-03T13:05:46Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Heloisa Antoniolli Marino.pdf: 850180 bytes, checksum: 18fca92bc70b8cf70fc66eab86125a84 (MD5) / Made available in DSpace on 2016-10-03T13:05:46Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Heloisa Antoniolli Marino.pdf: 850180 bytes, checksum: 18fca92bc70b8cf70fc66eab86125a84 (MD5) Previous issue date: 2015-08-04 / The present study aims at exploring the narrative constructions of the novel Assassin's Creed: Renaissance and the game Assassin's Creed II as well as the view of their readers and players. The analysis is based on the relations between the historical discourses and fictional creations from the novel and the game, and the method used to form the plot. Then, this study presents how the game narrative is formed comparing to the novel’s, and the gamer’s perspective before the electronic game’s narrative. Thereby the texts of authors as Umberto Eco, E.M. Forster, Linda Hutcheon, Hayden White and Wolfgang Iser have been used as theoretical bases to illustrate the narrative formation and how it comprehends the historical extractions. Furthermore, the texts from the historians such as Rafael Sabatini, Will Durrat and Micheal White were used to set the historic context. Therefore, the dissertation attempts to demonstrate Assassin's Creed franchise's games versatility when it comes to the development of plots which blend History with fiction, besides its universality to extend its narrative to novels. / O presente trabalho tem como finalidade explorar a construção das narrativas e a visão do leitor/jogador no jogo e o romance de Assassin’s Creed II e Assassin’s Creed: Renascença. A análise se fundamenta a partir das relações entre os discursos históricos e as construções ficcionais do romance e do jogo e o modo como dialogam para formar o enredo. Além disso, estuda-se a forma como a narrativa do jogo é construída em comparação ao romance e a perspectiva do jogador frente à narrativa do jogo eletrônico. Assim, foram utilizados como embasamento teórico textos de autores como Umberto Eco, E.M. Forster, Linda Hutcheon, Hayden White e Wolfgang Iser para ilustrar como as narrativas se formam e a maneira como a extração histórica se faz presente nelas. Ademais, para compor o contexto histórico, que facilita a identificação dos fatos históricos citados ao longo da análise, foram utilizados textos de historiadores como Rafael Sabatini, Michael White, e, Will Durrant. Dessa forma, procura-se mostrar a versatilidade dos jogos eletrônicos da franquia Assassin’s Creed na composição de enredos que mesclam a ficção com a história, bem como a sua universalidade ao estender a sua narrativa para a forma de romance.

This paper explores the possibility of using an off the shelf video game, Assassin’s Creed: Odyssey, in teaching a history class about ancient Greece. The study used a method where 7th grade students during one lesson got to experience the videogame together with two surveys about the students’ experiences learning with the video game. The study’s theories focus on previous research and educators’ ideas about using virtual museums and students’ active participation. The questions asked in the study are “in what ways can Assassin’s Creed’s virtually guided tours stimulate a genetic and genealogical history awareness in classroom-based teaching?” and “how do students experience the use of video games in history teaching?”. The results of the study conclude that it is possible to use video games in teaching that enhances the students’ knowledge about a subject, but that there are obstacles to cross nevertheless.