Game industry is increasing and developing its possibilities by creating new trends, making it more attractive for users and offering way more than just a spending-time activity.  This bachelor thesis presents a brief study about games which are designed and based on real geographical places. This study argues the question about playing games created after real cities and if this can attract gamers to the real destination which a particular game is based on. The aim of this paper is to see if there is a link between tourism and game industry. The methods used for this study are qualitative, in form of interviews, as well as quantitative. The quantitative study is performed with a survey answered by players, and what effect that has on the user experience, both in the game, but also in visiting real destinations. To find out this particular issue, questions about user experience were asked in aim to find out what provokes the desire to visit the physical location. By analyzing collected data, it has come to a conclusion that players are positively affected by the fact that the game they are playing is based on real geographical places.  This conclusion is based on players answers which are reflected by the fact that game felt more real, but also that players took different decision for visiting places during their stay at the destination, which they probably would not do if they did not play those particular games. / Spelbranschen expanderar allt mer från år till år och skapar nya trender. Speciellt nu när spel erbjuder så mycket mer än bara tidsfördriv blir spelandet allt mer attraktivt.  Denna kandidatuppsats presenterar en undersökning av spel som är utformade efter en verklig plats, och om de på så sätt lockar spelaren att besöka den riktiga platsen. Syftet är att se om det finns en koppling mellan turismnäringen och spelbranschen. De metoder som används är både kvalitativa, i form av intervjuer, samt kvantitativa. Den kvantitativa studien genomförs med en enkätundersökning riktad till spelare, och vilka effekter det får på användarens upple-velse, både i spelet men även vid ett eventuellt besök på den verkliga platsen. För att ta reda på detta ställs frågor som rör användarens upplevelse av platsen som spelet är utformat i, och i vilken mån det framkallar en vilja att besöka den fysiska platsen.  Genom analys av den insamlade datan har man kommit till en slutsats som visar att spelaren påverkas i positiv mening av att spelvärlden existerar i verkligheten. Detta visar sig både ge-nom att spelet upplevs mer verkligt, men också att spelaren tar andra beslut på destinationen, än den hade gjort om hen inte spelat.

Submitted by Cristiane Chim (cristiane.chim@ucpel.edu.br) on 2016-12-14T12:34:17Z No. of bitstreams: 1 Vinícius dissertação biblioteca.pdf: 3547787 bytes, checksum: 9dac22034b8705d80dbecf81c82ae05a (MD5) / Made available in DSpace on 2016-12-14T12:34:17Z (GMT). No. of bitstreams: 1 Vinícius dissertação biblioteca.pdf: 3547787 bytes, checksum: 9dac22034b8705d80dbecf81c82ae05a (MD5) Previous issue date: 2015-12-04 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq# / #-2555911436985713659# / #600 / Being grounded in the consideration that games are texts (MAGNANI, 2008), Network Literacy (BUZATO, 2009, 2012a, 2012b, 2014) and sites of engagement (SCOLLON, 2001, NORRIS, 2004) my aim, in this dissertation, is analyzing the semiotic and discursive course of a subject that plays the game The Grand Theft Auto V. The reason for choosing is justified by two aspects: 1) It is an adult game that, in other words, needs many hours to be played, according to what Gee (2007) points out. 2) It deeply characterizes the cultural universe of the students, because this game has sold, according to the newzoo site, thirty four million copies in thirteen months since its release. This purpose is justified by the fact that, if we want to idealize proper schools and/or pedagogies for games, in the educational sphere, we have to, at first, analyze the complex discursive and semiotic process that characterize their playing. The theoretical background of this dissertation is divided into four chapters: 1) The state of art videogame studies. 2) Literacy: One theme and three turns. 3) Games and the produce of meaning. 4) Mediated Discourse Analysis. Methodologically, I use an online monitoring software called Open Broadcaster Software (OBS) in order to analyze all spaces that the subject goes while he is playing this game. This way to do ethnography is called Connective Ethnography (LEANDER e MCKIM, 2003; LEANDER E LOVORN, 2006), because it traces the person’s activity as online, as offline. Besides it, the questionnaire that was previously applied in order to analyze the subject’s profile. The results of this study showed that the analyzed subject had mobilized two different kinds of literacies: 1) Literacy in the web pages. 2) Literacies in the virtual world of the game. In these second kind of literacies, the analyzed subject used to assimilate the Discourses of the game that made the avatar become a killer, or a robber, for example. / Estando ancorado na consideração de que os games são ora textos (MAGNANI, 2008), ora Letramentos em Rede (BUZATO, 2009, 2012a,2012b, 2014), ora sítios de engajamento (SCOLLON, 2001, NORRIS, 2004), busco, nesta dissertação, analisar o percurso semiótico e discursivo de um sujeito que joga o game The Grand Theft Auto V. O motivo para escolher este jogo está justificado em dois aspectos principais: 1) Trata-se de um jogo adulto, ou seja, exige várias horas para ser praticado, conforme Gee (2007) aponta. 2) Caracteriza sobremaneira o universo cultural dos sujeitos que estão na escola, fato notado pelo marcante volume de vendas destacado pelo site newzoo – trinta e quatro milhões de cópias em treze meses desde seu lançamento. Essa proposta se justifica pelo fato de que, para pensarmos em escolas e/ou pedagogias, que sejam responsivas aos games, na esfera educacional, devemos, primeiramente, analisar os processos complexos, semióticos e discursivos que caracteriza seu jogar. O referencial teórico deste trabalho é dividido em quatro capítulos: 1) O estado da arte nos estudos de videogame. 2) Letramento: Um tema e três Viradas. 3) Games e produção de sentido. 4) Análise do Discurso Mediado. Metodologicamente, uso o software de monitoramento online Open Broadcaster Software (OBS) para analisar todos os espaços que o sujeito percorre enquanto joga o game. Essa forma de etnografia empregada é chamada de etnografia conectiva (LEANDER e MCKIM, 2003; LEANDER E LOVORN, 2006), pois rastreia a atividade do sujeito, tanto online, quanto off-line. Soma-se a isso o questionário previamente aplicado, cujo objetivo era analisar o perfil do sujeito. Os resultados desse percurso revelaram que o sujeito analisado mobilizou dois tipos diferentes de letramentos: 1) Letramentos em páginas da web. 2) Letramentos no mundo virtual do game. Nesses últimos letramentos, o analisado acabava assimilando os Discursos do game que, ora revelavam o avatar do jogador como um matador, ora o revelavam como um ladrão, por exemplo.

Submitted by Paula Quirino (paula.quirino@ufpe.br) on 2015-03-10T18:18:25Z No. of bitstreams: 1 DISSERTAÇÃO Jair Rocha de Oliveira Neto.pdf: 3623832 bytes, checksum: 1690067fcfa97d652ccacce825430ff7 (MD5) / Made available in DSpace on 2015-03-10T18:18:25Z (GMT). No. of bitstreams: 1 DISSERTAÇÃO Jair Rocha de Oliveira Neto.pdf: 3623832 bytes, checksum: 1690067fcfa97d652ccacce825430ff7 (MD5) Previous issue date: 2014 / A partir das questões que envolvem relações de causa e efeito muitos trabalhos vêm sendo desenvolvidos com o intuito de descobrir se a violência dos jogos leva a comportamentos violentos. No entanto, outras questões que antecedem esta não vêm recebendo a devida atenção, tanto pelo senso comum, como pela academia. Por que realizar violência nos videogames? Esta dissertação teve por objetivo investigar a experiência da violência dos jogos eletrônicos, a partir dos significados atribuídos pelos seus próprios agentes. Através dos jogadores da franquia GTA (Grand Theft Auto), buscamos compreender o porquê de agredir, atropelar, matar, furtar e roubar. Qual o prazer em assumir o personagem do bandido e cometer estes crimes? A partir de uma análise microssociológica do jogar, que envolveu entrevistas, registro de imagens, observação e participação nas sessões de jogos, identificamos que os prazeres da violência virtual não se fundamentam em seus efeitos destrutivos, no sentido de que os jogadores não cometem os atos de violência guiados pelo prazer em destruir e causar sofrimento ao outro. Antes, os gamers buscam uma experiência extraordinária de poder. Neste sentido, a violência praticada apenas faz sentido a eles na medida em que seus atos representam uma experiência de empoderamento e liberdade. Através da competição, da incorporação do papel do bandido, da criação de narrativas, da superação de situações de fragilidade em um mundo extraordinário, os jogadores ressignificam o sentido imoral e assustador de seus atos de violência para sentidos prazerosos, lúdicos e cômicos.

In the thesis, the authors investigate how the women in the videogame Grand Theft Auto V are being portrayed in three different walkthrough videos on YouTube. With the aid of theorist Mieke Bal and her narratology terms, the authors of the thesis can examine the characters. The academic theories used for the thesis are gender, representation, videogame and the male gaze, as well as narratology. The issues being handled in this study are meant to answer how the portrayal of women characters are, and how the different portrayals differ from the represented characters. The third issue describes how women are being treated by the protagonists in the videogame. Over the course of the study, the authors found that the majority of the characters are described as flat in the videogame, and maintains a stereotypical image. This stereotypical portrayal commence from sexual references and treatment from the protagonists. However, a few characters can be described as round. These characters develops with time. There are also examples from the study that shows that there are characters who portray a dominant personality, therefore breaking the common pattern.

No description available.

Thesis (M.A.)--Miami University, Dept. of Communication, 2006. / Title from first page of PDF document. Includes bibliographical references (p. 83-86).

The purpose of this thesis is to examine the representation of race, social class and gender in the 2013 video game Grand Theft Auto V. Postcolonial theory, including terms such as cultural hegemony, whiteness and Michel Foucaults definition of power, has served as the basis for the analysis. The postcolonial theory has been combined with class theory and gender theory for an intersectional analysis. Semiotic analysis has been used as the method in the thesis, and a total of nine story missions – three for each protagonist in the game – have constituted the material. The analysis has shown that Grand Theft Auto V contains stereotypical depictions of non-hegemonic groups in society, and that these depictions serve to perpetuate negative myths about members of ethnic minorities and the working class.

Ce mémoire-création propose d'établir une adéquation entre l'écriture dramatique et le langage du jeu vidéo; le but est de concevoir un texte dramatique qui reflète des particularités narratives et thématiques propres à l'univers vidéoludique. Le premier chapitre observe la nature du récit vidéoludique, en définissant d'abord certains termes importants. Le second chapitre propose de décrire la nature du jeu Grand Theft Auto IV et d'observer son fonctionnement. Le troisième chapitre retrace l'influence du jeu vidéo sur la production cinématographique contemporaine, en fournissant une liste des procédés utilisés qui évoquent l'univers vidéoludique. Le quatrième chapitre souligne quelques tendances du théâtre postdramatique. Le chapitre cinq combine les inspirations recueillies dans l'analyse de chaque médium (jeu vidéo, cinéma, théâtre) pour amorcer la démarche de création dramatique, ce qui mène à un laboratoire dramaturgique, explicité dans le chapitre six. Enfin, le chapitre sept contient la création dramatique elle-même, nommée ici "partie-jeu scénique". Mots clés : Jeu vidéo, théâtre, cinéma, narrativité, interactivité, récit, vidéoludique, dramatique, postdramatique, création, partie, jeu, scène. This thesis establishes a correspondence between play writing and the language of video games through the creation of a dramatic text that reflects narrative and thematic features of the video game medium. The first chapter examines the nature of the video game tale and defines certain important terms. The second chapter describes how the world-renowned video game, Grand Theft Auto IV, functions. The third chapter presents the influence of video games on contemporary film production by providing a list of techniques specific to video game language. The fourth chapter underlines certain tendencies in post dramatic theatre. Chapter five synthesizes the inspirations gathered from the analysis of the three media (video game, cinema, theatre), initiating the process of dramatic creation, which then leads to the dramaturgic laboratory developed in chapter six. Finally, chapter seven consists of the dramatic creation itself, named here "partie-jeu scénique". Key words: Video game, theatre, cinema, narrative, interactivity, tale, dramatic, dramaturgic, post dramatic, creative process, game, stage.

Esta Tesis Doctoral tiene como objeto de estudio la significación de los videojuegos. Si la forma en la que, desde niños, construimos universos de valores y damos sentido a nuestras vidas está indisolublemente unida a los medios y las obras de la cultura de masas, el estudio de los modos de significación del videojuego requiere, hoy en día, un desarrollo en profundidad. En relación con ello, el principal resultado de esta investigación consiste en la fundamentación teórica y metodológica de tres modelos de análisis del videojuego como discurso: un modelo de estructuras lúdicas, un modelo del discurso como universo narrativo y un modelo de enunciación interactiva. Asimismo, se ofrece una sistematización de los códigos de significación que conforman el lenguaje del diseño de videojuegos. Estos modelos constituyen una aportación metodológica innovadora a la Teoría del Videojuego y al Análisis del Discurso. Las fuentes teóricas y metodológicas fundamentales del trabajo son la Semiótica, la Ludología y la Narratología. La aplicación empírica de los modelos de análisis propuestos se centra en ejemplos y estudios de caso de videojuegos figurativos/narrativos, pero los modelos han sido construidos pensando en su posible utilidad para el análisis de un amplio espectro de videojuegos y otro tipo de textualidades colindantes, como los mundos narrativos de la literatura y las series televisivas. Finalmente, se cierra la investigación con dos estudios de caso donde se prueba el sistema teórico en su conjunto, sobre los videojuegos Ico (2001) y Shadow of the Colossus (2005), ambos del diseñador Fumito Ueda. / The object of study in this Doctoral Dissertation is the signification of videogames. Since early childhood, the way we construct universes of values and make sense of our lifes is closely related to the media and works of mass culture. Therefore, the study of the modes of signification of videogames requires to be fully developed. According to that, this research provides the theoretical and methodological fundamentals of three models of analysis of videogame as discourse: a model of ludic structures, a model of discourse as narrative universe and a model of interactive "énonciation". Besides that, a systematization of the main signification codes which compose the language of videogame design is carried out. These models constitute an innovative methodological contribution to Videogame Theory and Discourse Analysis.The theoretical and methodological framework of the research is built upon Semiotics, Ludology and Narratology.The empirical application of the proposed analytical models is focused on examples and case studies of figurative/narrative videogames. Nevertheless, the models have been constructed bearing in mind their possible utility for the analysis of a broad spectrum of videogames and other kinds of close textualities, like the narrative worlds from literature or television series. At the end of the research, the theoretical system is tested as a whole in two case studies: Ico (2001) and Shadow of the Colossus (2005). Both videogames have been designed by Fumito Ueda.