Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2016-09-26T14:12:13Z No. of bitstreams: 1 Rafael Giuzio dos Santos.pdf: 4421552 bytes, checksum: 7b1cbb0bba43094445871e9f44157abe (MD5) / Made available in DSpace on 2016-09-26T14:12:13Z (GMT). No. of bitstreams: 1 Rafael Giuzio dos Santos.pdf: 4421552 bytes, checksum: 7b1cbb0bba43094445871e9f44157abe (MD5) Previous issue date: 2016-05-19 / The core aim of this research is the analysis and study of marketing within digital games. A field research led to the object of this study, which the lack of consistent and meaningful marketing action within digital games architected by developers, which leads to market limitations including fundraising. By inserting advertising and marketing into digital games it is possible for the developer, a sharp inception into the consumer market, once the relevance and the impact that marketing can generate for either the developer, for a target audience as well as brands and sponsors is clear. Through the analysis of digital media and marketing theories we understand the scope of this theme. As for the methodological aspects, we highlight the review of Bioshock. The results obtained came out through the analysis of the posters that are inserted within the environment of Bioshock. The results of this analysis demonstrate that marketing actions can be inserted in a digital game environment in a natural way in the eyes of the players, not being awkward nor unconfortable, at the same time it may become a fundraising channel for developers and a channel of propaganda and promotion of brands to small, medium or large entrepreneurs , medium and large / A pesquisa tem como objetivo central desta analise é o estudo do marketing dentro dos jogos digitais. Uma pesquisa de campo deu origem ao objeto de estudo, sendo esse a ausência de coerência e representatividade do marketing dentro dos jogos arquitetados por desenvolvedores, o que acarreta em limitações de mercado dentre eles a captação de recursos. Através da inserção de marketing e publicidade dentro dos jogos digitais e possível ao desenvolvedor, de forma contundente, lançar-se para o mercado consumidor, uma vez que seja clara a relevância e o impacto que o marketing pode gerar tanto para o desenvolvedor quanto para o seu publico alvo quanto para marcas e patrocinadores. Através da analise das mídias digitais e das teorias de marketing compreende-se o alcance desta temática. Quanto aos aspectos metodológicos destacamos a análise do Bioshock. Os resultados obtidos são as analises dos pôsteres que estão inseridos dentro do ambiente em Bioshock. A partir dessa analise os resultados encontrados demonstram que as ações de marketing podem sim acontecer dentro de um ambiente de um jogo digital e de maneira natural aos olhos dos jogadores, sem lhes causar estranheza ou desconforto, e serem um canal de captação de recursos para desenvolvedores e um canal de propaganda e promoção de marcas para empreendedores de pequeno, médio e grande porte

Master of Arts / Department of Modern Languages / Melinda Cro / Many recent video games feature complex narratives that contain increasing amounts of written and spoken language. There has thus been growing need for them to be localized into other languages; that is, translated and adapted for markets where languages other than the video game’s language of development are spoken. While the localization process shares many similarities with other projects of translation, because the primary goal of a video game is to be entertaining, video game localization teams are allowed certain creative liberties in translating video games in order to maximize entertainment for players in target markets. Non-literal translation techniques, including transposition, modulation, equivalence, and adaptation, are used to avoid mistranslating in-game language. However, Mangiron and O’Hagan identify in their 2006 analysis of the English localization of Final Fantasy X certain “transcreation” techniques that are used by localization teams in order to make video games more entertaining for players in other markets. These transcreation techniques include the addition of linguistic variation, the re-naming of in-game terminology, the re-creation of wordplay, “contextualization by addition”, and the deliberate use of regional expressions. These transcreation techniques not only serve to make the localized version of a video game more entertaining for a target market, but also make the gameplay experience more original for players in these markets. This study will analyze non-literal translation techniques and “transcreation” techniques in the French localization of BioShock Infinite: Burial at Sea Episode 2 to determine how these translation techniques may be used to maximize entertainment and to create a more original gameplay experience for francophone players, followed by a discussion of how video game localizations may be implemented in second language acquisition contexts for the purposes of exploring certain L2 linguistic and cultural phenomena.

2011 genomförde William Gibbons en analys av spelet Bioshock. I denna analys menar Gibbons att spelet har diegetisk populärmusik som spelar en unik narrativ roll. Bioshock Infinite är ett nytt spel i Bioshock-serien som kom ut efter Gibbons analys. En problemformulering formulerades i denna undersökning. Frågeställningen är: Vad kan man lära sig om den narrativa potentialen av diegetisk populärmusik i spel genom att analysera musiken i spelet Bioshock Infinite? Metoden innebar en analys med inspiration från Gibbons analys. En analys av spelet Bioshock Infinite genomfördes för att försöka svara på frågeställningen. Spelanalysen jämfördes sedan med andra analyser av spelen Bioshock och Fallout 3. Många likheter mellan spelen kunde konstateras. resultatet visar sig vara att Bioshock Infinite visar på samma användning av diegetisk populärmusik som Bioshock gjorde, men tog konceptet steget längre. Populärmusiken i Bioshock Infinite bidrar unikt även till handlingen av spelet. Resultatet diskuterades sedan utefter flera aspekter.

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Dystopian literature has been gaining popularity during the last decade in accordance with thesocial and political changes around the world. On the same parallel there has also been anincrease in games with dystopian worlds and themes. Dystopias have been serving as tools forsocial criticism since their conception; and with their introduction to games, the question of ifgames serve as a medium for criticism rises. This paper looks at how dystopian games elicitcritical thinking through design and narrative by studying the game BioShock (2007)’s influenceon players by using it as a case study with a qualitative interview method. The discussionscrutinizes the game’s emotional and intellectual impact on players under the umbrella ofnarrative and game design.

This thesis examines the topic of representation of totalitarianism in videogames. It aims to show how the totalitarianism is depicted in selected games and whether the videogame as a medium has some influence on this depiction. Theoretical part introduces and examines all sorts of different approaches, based on which one can study videogame as a medium. An argument about the videogames as a medium of control is presented further on and is also discussed in relation with totalitarianism. Second half of theoretical chapter focuses on definition of totalitarianism which is used in the case studies later on. Empirical part analyzes four games - Half-life 2, Papers, please, Wolfenstein: the New Order and BioShock with focus on representation of totality or dystopia. The games are analyzed both with regards to their rules and fiction. The conclusion shows that totalitarianism was represented mostly by its outer activities rather than ideology which were usually represented rather marginally. However, in all cases there could be found some examples of how was the representation of totalitarianism used to merge with system of control in games.

In 2K Games’ Bioshock (2007) the player, as the protagonist Jack, is thrown into a dystopian, futuristic alternate history of America. Rapture is an underwater city saturated in music: popular songs from the mid twentieth century; classical-style soundtrack pieces composed by Garry Schyman; characters humming, singing, whistling or playing instruments; musical vending machines; and even the sounds of whales and other creatures all participate in forming a textured soundscape. The songs from the 1930s - 50s used throughout Bioshock recall a real-world cultural environment—a popular music culture that is both comfortably recognizable yet strangely unfamiliar. They occur within the game world and are heard by the player and game characters, and thus the songs are diegetic or “screen music.” In Bioshock, such music is an explicit component of narrative production, game environment creation, and player immersion. Significantly, diegetic music participates in the construction of narrative through a constant interplay or negotiation with the video game’s other elements—visual, textual, ludic—and ultimately functions as a distinct discourse able to mediate for Jack/the player between contesting factors, via established conventional codes of musical, cultural, film, and now video game signification. Bioshock’s use of music initiates a pre-game discourse during installation and prior to every game session in the disc-loading scenes, and this musical discourse is continued throughout the narrative. The story’s opening and descent into Rapture further establishes and “naturalizes” the presence of diegetic music as part of the story being told, and as a vital component of the audio-visual environment enhances player immersion. At the same time, these opening instances and subsequent occurrences of diegetic music at significant points in the story demonstrate that music’s culturally encoded emotive potential produces ironic and poignant effects, while its lyrical intertextuality generates narratological and ludic commentary in various song/scene pairings.

Image of religion in Bioshock: Infinite computer game Master's thesis - Bc.Jiří Kothera Few mainstream computer games have caused such controversy as Bioshock: Infinite (Irrational Games, 2013). The third installment of the Bioshock series is set in the fictional city of Columbia in an alternate history of early twentieth century, which at first glance appears to be a perfect social utopia. After a while, however, the narrative begins to uncover the multilayered problems of society oppressed by a fraction of the white elite and religious fanaticism embodied by the character of Z.H.Comstock, the charismatic leader of the whole community. The popularity of the game and its stable position at the top of the various popularity charts are not only due to the attractive audiovisual processing and complex game mechanics. It is primarily a story that uses (for a mass audience product) an unprecedented amount of religious symbolism - especially Christian, historical references, polysemic story elements and the story based on the concepts of Frontier myth and American exceptionalism. This work deals with the analysis of narrative and religious-social phenomena appearing in the game, especially those that are directly related to the religious and nationalistic topics in the United States.

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Modern populärkultur verkar under de senaste åren ha framfört en trend i att gestalta sina antagonister som flerdimensionella. Men är komplexitet det enda sättet att göra en antagonist intressant på? I denna fallstudie undersöks antagonisterna i BioShock och Heathers: The Musical, för att förstå den tematiska funktionen av en komplex och en enkel antagonist. Det sker med ett scenurval som identifierar berättelsernas tematik och förtydligar antagonisternas karaktärsdrag. Scenerna förtydligar om antagonisterna är runda eller platta, hur de bedöms inom moral och makt samt framför vad de har för funktion i berättelsernas tematiska mål. Resultatet visar att den enkla antagonisten förespråkar en ytlig ideologi som den sprider och ger komplexitet till andra karaktärer, medan den komplexa antagonisten ger tillfälle till reflektion inom moralen av sin egen ideologi. Slutsatsen av studien blir att de två antagonisttyperna fyller användbara funktioner beroende på hur djupgående en berättelse är villig att utforska ett problem eller ideologi.