The introduction of a game mechanic is an aspect of a game that - when done right - goes almost unnoticed by the player. When it is done incorrectly however, it can become a large point of frustration in the player. The goal of this study is to discover how to introduce a game mechanic that guides the player through the game's musical score. The research question asked was: "Based on player experiences, how should a non-diegetic musical guidance mechanic be introduced in a video game?" This study uses design science as a foundation and uses a survey to gain a broad overview of the general preferences given by participants. Two versions of a prototype were developed which was played by 11 participants who were then asked about their experience. In both versions, the player was tasked with finding the magic flutes scattered across a city by listening to the music. The flute was stereo panned to the left or right speaker, corresponding the direction of the flute in the game world. The versions contained two different methods of introduction and the participant was asked in a semi-structured interview afterwards whether they enjoyed the method they received. One version contained a detailed introduction that described how the guidance mechanic worked, the other version did not. The interviews were transcribed and analysed using thematic analysis to extract common themes in the answers given. The results were varied, but the majority said that they preferred to learn by themselves, without a detail introduction. This method let the player think for themselves and led to a greater sense of accomplishment and satisfaction when figuring out what to do. For a game such as this where the objective is to somehow find something, they believed that it is better to not give the answer away too freely. Not many ethical concerns where found for this study, though the one that was found is important to acknowledge. Players with aural impairments cannot play this game the way it is intended, by listening to the musical score, since they have difficulties with sound. This is a flaw that should be studied and solved or mitigated in future studies.

Inom det akademiska forskningsfältet har den historiska spelfilmen länge betraktats som ren fantasi utan historiskt värde. Samtidigt verkar den historiska spelfilmen bli alltmer populär inom historieundervisningen. Tidigare didaktiskforskning har fokuserat på varför lärare använder historiska spelfilmer i sin undervisning, vilka sådana filmer är, och elevers erfarande av dem. Därför syftar studien att utifrån analys av historiska spelfilmer utveckla ett didaktiskt verktyg för historielärare, ämnat att främja elevers förståelse av historiebruk. Ett sådant syfte anses svara mot ett försummat område inom det svenska forskningsfältet och bidra med kunskap om hur historiska spelfilmer kan användas i praktisk undervisning. Förslag på historiska spelfilmer lämpade för undervisning samlades in genom en enkät riktad till historielärare. Filmerna Gladiator, Suffragette och Schindler’s List valdes sedan ut för en analys. De tre filmerna ansågs utgöra en variation av historiska spelfilmer, vilket i sin tur skulle utmynna i ett generaliserbart resultat. Filmanalysen genomfördes med stöd av ett teoretiskt analysredskap med en övre och undre tolkningsnivå. Genom att med den övre tolkningsnivån belysa relationen mellan filmskaparens intention och filmberättelsens funktion, inom vilken ett historiebruk tog form, granskade sedan den undre tolkningsnivån vilka narrativa och estetiska uttryck historiebruket gav upphov till. Sammanställningen av analysen resulterade i två skalor för tolkning av historiebruk i historiska spelfilmer. Den ena skalan består av en pendling mellan fiktiv historia och historisk fiktion, medan den andra skalan illustrerar förhållandet mellan historiskt spektakel och historisk rekonstruktion. Genom att kombinera skalorna genererades en teoretisk modell som formulerar fyra olika kategorier av historiebruk i historiska spelfilmer. I diskussionen beskrivs sedan hur lärare kan använda denna modell som ett verktyg vid planering av undervisning ämnad att främja elevers förståelse av historiebruk. Genom verktyget kan lärare få en djupare insikt i hur den historiska spelfilmen förhåller sig till autenticitet jämfört med underhållning. De olika kategorierna av historiebruk resulterar också i olika porträtt av historiska personer. Slutligen beskrivs även hur en historisk spelfilm kan fungera antingen som en primär- eller sekundärkälla beroende på historiebrukets sammanhang.

À travers l'analyse d'un corpus de plus de quatre cents films français réalisés au début de la Ve République (1958-1968), cette thèse étudie les représentations de la musique avec pour ambition de rendre compte du fait musical dans sa globalité, de l'auditeur au musicien en passant par les nombreux médiateurs matériels ou humains. Le parti pris de ce travail est de privilégier l'observation d'une des modalités de la musique au cinéma, la musique dite « diégétique », c'est-à-dire celle audible et/ou produite par les personnages. Ces représentions cinématographiques de la musique sont appréhendées dans leurs multiples dimensions : visuelle – l'image de la musique –, sonore – la musique elle-même –, et linguistique – le discours sur la musique. À la diversité des films concernés (du cinéma « populaire » au cinéma « d'auteur ») répond la diversité des musiques convoquées par le cinéma de cette décennie, où jazz, musique populaire et musique classique se croisent / Through the analysis of more than a four hundred movies collection, directed in the early years of the Fifth Republic (1958-1968), this thesis studies the representations of music aiming to report the wholeness of the musical fact, from the listener to the musician, including both human and material intermediaries. This study is devoted to the observation of one of the modality of music witch is the diegetic one, meaning the music that characters are either listening and/or making inside the story. These représentations are considered in their numerous aspects : visual – the image of music –, sound – the music itself –, linguistic – the speech about music. To the variousness of the chosen movies (from popular cinema to arthouse cinema) answers the variety of music carried by movies in this decade, where jazz, popular music and classical music are crossing paths

This thesis project aims to contribute knowledge to the field of user experience design in games by examining the relationship between presence and wayfinding in games in order to determine how one might design wayfinding systems that simultaneously facilitate player navigation and create a sense of presence. Based on examining and comparing existing literature on wayfinding and presence in games, and by analyzing existing games that accomplish the aforementioned dual purpose, I formulate a set of hypothetical design principles for presence-creating wayfinding design. The validity of these principles is then put to test by creating and testing a digital prototype where participants are tasked with navigating a virtual space. The testing of the practical application of these principles reveals them to be largely viable, demonstrating the viability of designing wayfinding solutions for games that simultaneously facilitate presence.

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Pour respecter les droits d’auteur, la version électronique de cette thèse a été dépouillée de certains documents visuels et audio‐visuels. La version intégrale du mémoire [de la thèse] a été déposée à la Division de la gestion des documents et des archives / Des convergences technologiques, économiques et socio-culturelles ont contribué à favoriser, depuis la fin du siècle dernier, le déploiement à grande échelle de représentations d’univers, réels comme fictionnels, sur de nombreux médias et plateformes. Des pratiques de création et de consommation médiatique renouvelées sont ainsi apparues autour d’objets médiatiques que, faute d’autres termes, on a pu un temps qualifier de nouveaux médias. Le transmédia s’est inscrit dans cette dynamique de médias non plus envisagés comme des entités stables, mais comme des flux aux contours changeants, poreux. Représentant l’avenir de notre rapport aux médias et au monde pour certains, mort-né pour d’autres, le transmédia, ou plutôt le transmédiatique, a fait l’objet de nombreux fantasmes et d’un certain nombre d’études qui sont loin d’avoir fait le tour de la question. Cette recherche propose de poser les bases théoriques d’une réflexion dépassionnée sur les phénomènes transmédiatiques. Ils seront essentiellement envisagés dans leur dimension fictionnelle, telle qu’elle est pensée par des créateurs d’univers diégétiques, c’est à dire d’univers habitables et navigables par un personnage et, in-fine, par un.e interprète, c’est à dire un.e lecteur-spectateur-auditeur-joueur-interacteur. C’est en se transportant physiquement ou en pensée dans ces univers, par l’entremise de modalités médiatisées construisant le Texte transmédiatique, que créateurs et interprètes participeront éventuellement d’une diégétisation transmédiatique, dont il s’agira de comprendre la nature, les tenants et les aboutissants. C’est ainsi que nous préciserons les termes de médias, plateformes, modalités et diégèse qui nous seront utiles afin d’appréhender comment, dans ce contexte de convergences, se déploient différents types de diégétisations transmédiatiques. Ces dernières seront alors envisagées comme des processus impliquant trois instances, soient les créateurs, les Textes transmédiatiques et les interprètes, se déployant paradoxalement sur des territoires se situant parfois à côté ou en dehors des médias et/ou de leur propre Texte. Enfin, nous ne manquerons pas de souligner les défis et les enjeux soulevés par ces déploiements diégétiques tous azimuts. / Since the end of the last century, technological, economic and socio-cultural convergences have helped to promote the large-scale deployment of representations of universes, real and fictional, on many media and platforms. Renewed media creation and consumption practices have thus emerged around media objects that, in the absence of other terms, could for a time be described as new media. Transmedia has become part of this media dynamic, no longer seen as stable entities, but as flows with changing, porous contours. Representing the future of our relationship with the media and the world for some, stillborn for others, transmedia has been the subject of many fantasies and a number of studies that are far from complete. This research proposes to lay the theoretical foundations for a dispassionate reflection on transmedia phenomena. They will essentially be considered in their fictional dimension, as conceived by creators of diegetic universes, i.e. universes that can be inhabited and navigated by a character and by an interpreter, i.e. a reader-spectator-listener-player-interactor. It is by transporting oneself physically or in thought into these universes, through mediatized modalities constructing the Transmedia Text, that creators and interpreters will eventually participate in a transmedia diegetization, the nature, ins and outs of which will have to be understood. We will define the terms media, platforms, modalities and diegesis that will be useful to us in order to understand how, in this context of convergences, different types of transmedia diegetization are deployed. The latter will then be considered as processes involving three instances, namely creators, transmedia Texts and interpreters, paradoxically unfolding in territories that are sometimes located next to or outside the media and/or their own Text. Finally, we will highlight the challenges and issues raised by these all-out diegetic deployments.

This thesis broadens the discussion surrounding the fourth wall and immersion in games; the hypothesis being that there are more ways to manipulate the fourth wall other than breaking it, and that manipulation of the fourth wall does not necessarily break immersion. Four types of fourth wall manipulation have been labeled in this body of work: breaking, expansion, contraction, and grazing. Expansion and contraction derive from Simon Conway (2010), with minor augmentations to the contraction category having been made by this thesis. The term breaking has been narrowed down and specified while grazing was invented for this particular study. The aim is to update terminology surrounding the fourth wall to introduce it as a narrative tool for game designers, where the tool can be used in different ways that underline the narrative experience that designers want to convey. The study was done by a close reading of the games Metal Gear Solid and NieR: Automata, but references other games relevant to the different types of manipulation. The results show that the identified instances of fourth wall manipulation within the two focus games can all fit in the proposed updated terminology, with some instances elevating the play experience.

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TITLE Compositional-stylistic Unities in David Lodge's Changing Places AUTHOR Martina Felcmanová DEPARTMENT Department of English Language and Literature SUPERVISOR PhDr. Petr Chalupský, Ph.D. ABSTRACT The main aim of this diploma thesis is to focus on the forms in which heteroglossia manifests itself in the most widely known campus novel of David Lodge, Changing Places. The Theoretical Part explains the two crucial terms of Mikhail Bakhtin's literary theory, namely heteroglossia and dialogism, and describes the impact his ideas had on the critical writings of David Lodge. Moreover, it strives to combine Bakhtin's and Lodge's typologies of novelistic discourse with the terminology of Seymour Chatman, in order to create sufficient terminological framework for the subsequent stylistic analysis. Consequently, the Practical Part attempts to explore how the separate unities of heteroglossia are represented within the structure of Changing Places, what effect they have on the implied reader and how they influence the novel as a whole.