Syftet med denna uppsats var att undersöka om och hur svenska tv-spelare från olika Facebook-forum har upplevt Game Transfer Phenomena. GTP är ett fenomen där tv-spelens värld påverkar tv-spelarna efter att de slutat spela. Utifrån psykologen Angelica B. Ortiz de Gortaris teori och skala om hur vi kan påverkas har jag beskrivit hur detta fenomen ser ut och och undersökt om tv-spelares upplevelser kan ha  överensstämt med Ortiz de Gortaris begrepp. I denna studie siktade jag även på att undersöka hur spelarnas starkaste GTP-upplevelse kan ha sett ut. Jag skickade ut en enkätundersökning och fick svar från 241 respondenter. Det visade sig att majoriteten av spelarna som deltog i undersökningen hade upplevt detta fenomen. De främsta fenomenen spelarna hade upplevt var att: visualisera bilder från tv-spelen i huvudet eller se bilder från spelet när man blundat när man inte spelar; upplevt att man hört musiken från ett spel; velat eller känt en impuls att göra något i verkliga livet efter att ha sett något som påminner en om tv-spelet; fortfarande har haft samma tankar som när man spelar ett spel efter att man har slutat spela; och har sjungit, ropat eller sagt något ur ett datorspel i verkliga livet utan att ha haft för avsikt att göra det. Datan visade också att de starkaste upplevelserna som spelarna upplevt hade kopplingar till spelet och dess innehåll på många punkter. De spelserier som respondenterna hade haft starkast upplevelse från var World of Warcraft, Zelda och Tetris. Majoriteten av respondenterna svarade att genren RPG (Rollspel), hade givit dem den starkaste upplevelsen.  Därefter följt av den mer specifika genren MMORPG (Massive Multiplayer Online Role Playing Game). Även Action-äventy, Förstapersonsskjutare, och pussel var vanliga genrer. Majoriteten av spelarna hade sin starkaste upplevelse på en tv-spelskonsol, följt av dator. De flesta styrde spelet med handkontroll, tangentbord eller mus. Spel med 3D-grafik var den kategori som påverkade spelarna starkast enligt respondenterna. Tredje- och förstapersonsperspektiv var ungefär lika vanliga. Spelet hade mycket interaktivitet, och innehöll stressfulla moment ibland eller ofta. Det var vanligt att det ofta eller hela tiden förekom upprepande moment. Spelet dominerades oftast av mycket narrativ, och var ofta immersivt, men ansågs inte vara särskilt känslosamt. / The purpose of this thesis was to examine if and how Swedish video gamers from various Facebook forums had experienced Game Transfer Phenomena. This is a  phenomenon where the video game world affects the video game players after they have stopped playing. With the psychologist Angelica B. Ortiz de Gortaris theory and scale of how we might be affected, I have described what this phenomena may look like and examined if gamers experiences have aligned with Ortiz de Gortaris concept. In this study I also aimed to discover how the gamers strongest experience might have looked like. I sent out a survey form to various video game groups on Facebook and got answers from 241 respondents. The data showed that the majority of the gamers that participated in the survey had experienced this phenomena. The foremost phenomenas the gamers had experienced was to: visualize pictures from the video game in the head or seeing pictures from the game with the eyes closed, when not playing; experiencing hearing the music from a video game; wanting or feeling an impulse to do something in real life after seeing something that reminds the person of the video game; still having the same thoughts as when the person was playing the video game, after stopped playing; and have sung, shouted or said something from a video game, in real life, without having an intent to do so. The data also showed that the strongest experiences that the gamers had experienced had connections to the game and its content in many parts. The video game series that the gamers had their strongest experience from were World Of Warcraft, Zelda and Tetris. The majority of the respondents answered that the genre RPG (Role Playing Game) had given them the strongest experience. Followed by the more specific genre MMORPG (Massive Multiplayer Online Role Playing game). Action-adventure, First-Person Shooter and puzzle were common genres. The majority of the gamers had their strongest experience on a video game console, followed by a computer. Most gamers used to steer with a controller, keyboard or mouse. Games with 3D graphics was the category that affected the gamers the most according to the respondents. Third- and first-person perspective in the games was approximately equally common. The game had a lot of interactivity and had parts that were stressful sometimes or often. It was common that repeating parts occurred often or all the time. The game was usually dominated with a lot of narration and was often immersive, but was not considered having many emotional elements.

The inherent conflict between the predetermined nature of narrative and the freedom that interactivity allows for, has been a major point of discussion in the field of interactive storytelling for many years. The Narrative Paradox, which initially described this tension, is seemingly getting closer than ever to being solved, but a singular solution with a definite answer has not been determined. This qualitative thesis aims to find a possible solution to the Narrative Paradox in how the multimodal components in the video game Outer Wilds construct meaning as well as ludonarrative coherence in conjunction with the player experience. The study also aims to discuss the importance of implementing game studies in media and communication research by arguing for the relevance of the medium in the field. In order to answer these questions, a multimodal discourse analysis of ludonarrative relationships arising in Youtube Let’s Plays was performed. By utilizing the narrative goals of Outer Wilds, theoretical solutions for the Narrative Paradox and the notion of narrative emerging from player interactions and motives, the results of the study show that Outer Wilds primarily uses Embedded Narrative as its main source of storytelling, while the game design and the open world within it allow for a high degree of Emergent behaviors through non-linear sequencing of events. The analysis also highlights the game as being purposefully designed for a specific type of player, which was reflected by one of the players experiencing close to a completely resonant playthrough of the game's introductory phase. While the ludonarrative structure of Outer Wilds in itself revealed similarities to the theoretical solutions of the Narrative Paradox, the analysis of the player experience in Outer Wilds provided insight into the importance of players’ motives as an essential part in the game design process of minimizing the tension between narrative and interactivity in video games.

No description available.

Ce mémoire analysera les différents procédés de transmission à l'oeuvre dans Metal Gear Solid V: The Phantom Pain (2015) et Metal Gear Solid V: Ground Zeroes (2014) afin de saisir l'ensemble de la vision auctoriale du réalisateur de la série Metal Gear Solid, Hideo Kojima, ce qui nous permettra dans un second temps de comprendre la signification du réseau communicationnel rhizomatique qui précède et accompagne ces jeux vidéo. Ma recherche sera ainsi divisée en trois sections. La première section s'intéressera à la publicité entourant les deux volets de Metal Gear Solid V, laquelle sera étudiée en tant que signe social. La deuxième section présentera une analyse scénaristique dans laquelle il sera question des inspirations historiques et intermédiales qui contribuent à former l'univers narratif de notre corpus. La troisième section sera une analyse du modèle interactif de Metal Gear Solid V: Ground Zeroes et de Metal Gear Solid V: The Phantom Pain. Il y sera question de l'avantage parfois insoupçonné de l'encadrement de systèmes logiques vidéoludiques afin d'influencer le joueur à abandonner ou à adopter de nouvelles perspectives sociopolitiques. Ce mémoire démontrera comment Metal Gear Solid V utilise et unit un maximum de méthodes de transmission afin de convaincre son public de se laisser séduire par son message auctorial, ce qui servira finalement à prouver le potentiel rhétorique d'une union songée du paratexte et du contenu d’une œuvre vidéoludique. / This memoir will analyse the different processes of transmission used in Metal Gear Solid V: The Phantom Pain (2015) and Metal Gear Solid V: Ground Zeroes (2014) in order to grasp the whole auctorial vision of the Metal Gear Solid series director, Hideo Kojima, which will in turn allow us to understand the meaning of the rhizomatic communicational network that precedes or accompanies these video games. My research will be divided in three sections. The first section will focus on the publicity (and therefore social signs) that surrounds the two parts of Metal Gear Solid V. The second section will present a story analysis where historical and intermedial inspirations of both games will be discussed. The third section will analyse the interactive model of Metal Gear Solid V: Ground Zeroes and Metal Gear Solid V: The Phantom Pain. That chapter will focus on the often unsuspected advantages of the logical videoludic systems as means to influence the player to abandon or to adopt new sociopolitical perspectives. This memoir will decompose how Metal Gear Solid V uses and unites a maximum of transmission methods to persuade its public to give in to its auctorial message, which will hopefully demonstrate the rhetorical potential of a thoughtful union of paratext and content within videoludic works.

Made available in DSpace on 2016-04-26T18:16:43Z (GMT). No. of bitstreams: 1 Diego O de Assis.pdf: 587332 bytes, checksum: 11a87924a5208f2de4c11fbc9b87819f (MD5) Previous issue date: 2007-10-26 / The goal of this study is to analise the actual stage of games journalism and point to new perspectives regarding its critical approach. Even though recognized as one of the most promising sectors of the entertainment industry in the new millenium, the universe of the videogames is still receiving a not so representative attention from the mass communication vehicles if compared to more traditional forms such as cinema and music. Nowadays, a great portion of the coverage of videogames is still confined to specialized publications and technology sections of newspapers and magazines. To pursue this analysis it will at first be necessary to trace a historical panorama of the development of electronic games. Created almost 50 years ago, in an atempt to turn computers into something fun, videogames have been gaining complexity with successive technological advances until they have transformed into one of the most intriguing cultural objects from the turn of the 20th to the 21st century. Present in the lives of young people from all kind of societies in the last two decades, games have started to influence and to be influenced by other aesthetical languages from the pop culture, like movies, music, cartoons and comic books. Today, as stated by authors such as Chris Crawford, Steven Poole and Henry Jenkins, games represent a new and autonomous cultural cathegory, with specific features that demand its own theories and concepts. After going into the cultural and technological evolution of videogames, we will then look at some of the main publications dedicated to the subject, including segmented magazines, like Electronic Gaming Monthly, news and reviews websites, such as GameSpot.com and IGN.com, and blogs and internet services that have recently joined what is called games journalism. Still on this issue, we intend to show the major problems faced by games journalism in order to refrain from performing a mere utilitary role which it traditionally did and start dealing with the cultural, social and economical layers that have stick to the universe of videogames in the last decades. (Something that, paradoxically, publications of the non-specialized media, such as The New York Times and Wired have performed way more efficiently.) At last, we will be listing a few examples of how a well-informed games criticism practice can benefit from literature, as is the case with the controversial new games journalism, and also from concepts that are being debated in the Academy such as narrative (Murray), simulation (Frasca), meaningful play (Salen and Zimmerman) and software (Galloway, Manovich) / O objetivo desta dissertação é analisar o estágio atual do jornalismo de games e apontar novas perspectivas para sua abordagem crítica. Mesmo reconhecido como um dos setores da indústria de entretenimento mais promissores neste novo milênio, o universo dos videogames tem recebido ainda uma atenção proporcional pouco representativa nos meios de comunicação de massa se comparados a formatos mais tradicionais como o cinema e a música. No contexto atual, boa parte da cobertura de games permanece confinada a publicações especializadas e a cadernos de informática. Para levar adiante esta análise será necessário antes de tudo traçar um panorama histórico do desenvolvimento dos jogos eletrônicos. Surgidos há quase 50 anos, numa tentativa de transformar os computadores em algo divertido, os videogames foram ganhando complexidade com os sucessivos avanços tecnológicos até se transformarem em um dos objetos culturais mais instigantes da virada do século 20 para o 21. Presentes na vida dos jovens de praticamente todas as sociedades nas últimas duas décadas, os games passaram a influenciar e a serem influenciados por outras linguagens estéticas da cultura popular, como o cinema, a música, os desenhos animados e as histórias em quadrinhos. Hoje, como defendem à sua maneira autores como Chris Crawford, Steven Poole e Henry Jenkins, os games representam uma categoria cultural autônoma, com características específicas que exigem formulações teóricas e conceituais própria. Após um passeio pela evolução tecnológica e cultural dos videogames, iremos nos debruçar sobre as principais publicações do gênero, que incluem revistas especializadas, como a Electronic Gaming Monthly, sites de notícias e reviews (ou resenhas), como GameSpot.com e IGN.com, além de blogs e outras ferramentas de internet que mais recentemente se juntaram ao chamado jornalismo de games. Ainda nesse segmento, pretendemos apontar os principais problemas enfrentados para que o jornalismo de games deixe de desempenhar o papel meramente utilitário que tradicionalmente ocupou e passe a dar conta das camadas culturais, sociais e econômicas que se atrelaram ao universo dos jogos nas últimas décadas. (Algo que, paradoxalmente, veículos da imprensa não-especializada, como The New York Times, Wired e outros tem realizado com maior eficiência). Por fim, relacionaremos também alguns exemplos de como uma crítica bem informada de games pode se beneficiar de recursos formais da literatura, como é o caso do controverso new games journalism, além de conceitos que vem sendo debatidos na Academia como narrativas (Murray), simulação (Frasca), meaningful play (Salen e Zimmerman) e software (Galloway, Manovich)

<p>This essay is a narrative analyze of the computer game Halo. The purpose of the essay is to see what function the narrative elements have in a computer game of the action genre. The analyze is done with a neo-formalistic approach according to the theory of David Bordwell and Kristin Thompson. The choice of game was based on it's positive reviews mentioning the story. The essay tries to give a picture of research in the field and researchers views on narratives and computer games. </p><p>The conclusion is that this particular game uses the narrative to motivate progress through the game and give the player a goal to play towards. It's also been used to enhance the players experience. </p> / <p>Uppsatsen gör en analys av de narrativa delarna i datorspelet Halo. Syftet med uppsatsen är att se vilken funktion de narrativa elementen fyller i ett datorspel i actiongenren. Analysen har gjort utifrån neoformalistisk teori enligt David Bordwell och Kristin Thompson. Valet av spel gjordes utifrån de positiva recensioner spelet fått som nämner historien i spelet. Uppsatsen försöker ge en bild av dagens forskning inom datorspel och narrativ och den bild framstående forskare har. </p><p>Slutsatsen är att spelet har använt narrativ för att fungera som drivkraft genom spelet och att ge spelaren det mål som man ska spela mot för att vinna. Det har också använts för att förhöja spelarens upplevelse. </p>

The digital games take an increasing part of our western society. The time when gaming was excluded to the most frantic computer fans is long gone. Today the gaming industry competes with both the film- and music industry for the consumers’ attention. Despite this, research regarding the digital games has been put aside for a long time. But there is an ongoing process in establishing game studies regarding content and expression aspects that go beyond the question about possible psychological effects and such. But this process is still young and disagreements occur concerning how the games should be approached as an object of study. This debate, originating from two different approaches; the narratological and the ludological, has proven to be central to the research society. To reach a better understanding regarding storytelling within the digital games I carried out a narratological analysis of a video game; Shadow of the Colossus for Playstation 2. I used classical narratological tools regarding the syntagmatic structure of storytelling; Propp’s characters and functions and Todorov’s equilibrium formula. To be able to carry out this analysis the first step was to identify the storytelling elements of the game so that these could be properly recognized. After that the narratological tools were applied to these. In order not to neglect the medium specific characteristics that the digital games hold, I implemented a minor ludological analysis of its rules, to see how these were connected with the potential storytelling. The narratological analysis proved to be useful; a number of Propp’s functions were identified and the storytelling could also be described on the basis of Todorov’s equilibrium. Furthermore a clear connection between the storytelling of the game and the ludus rules, meaning the rules that define the winning conditions and how to reach them. The classic narratological analysis was fruitful, but the medium specific characteristics with systems of rules and their connection to the storytelling elements proved to be an important relationship to illustrate further. / De digitala spelen tar allt större plats i vårt västerländska samhälle. Tiden då spelande bara var för de mest inbitna datorfantasterna är sedan länge förbi. Idag konkurrerar spelindustrin med både film- och musikindustrin om konsumenternas uppmärksamhet. Trots det har forskning kring de digitala spelen länge åsidosatts. Men en process är nu i full gång för att etablera forskning kring spel och dess innehålls- och uttrycksmässiga aspekter som ser bortom frågan om eventuella skadliga psykologiska effekter och liknande. Men denna process är ung och oenighet råder om hur spelen som studieobjekt ska behandlas. Denna debatt som utgår från två olika ansatser; den narratologiska och ludologiska, har visat sig vara central i forskarvärlden. För att försöka nå bättre förståelse kring berättande i de digitala spelens värld genomförde jag en narratologisk analys av ett enskilt spel; Shadow of the Colossus till Playstation 2. Jag utgick från klassiska narratologiska verktyg som utgår från berättandets syntagmatiska struktur; Propps rollfunktioner och Todorovs jämviktsformel. För att kunna genomföra denna analys var första steget att först identifiera de berättande elementen i spelet så att dessa kunde kartläggas. När det var gjort applicerades de narratologiska verktygen på dessa. För att inte helt åsidosätta de mediespecifika kriterierna som de digitala spelen besitter, genomförde jag en enkel ludologisk analys av dess spelregler, för att se hur dessa var sammankopplade med eventuellt berättande. Den narratologiska analysen visade sig vara användbar; ett antal av Propps funktioner identifierades och berättandet kunde även beskrivas utifrån Todorovs jämvikt. Dessutom visades ett klart samband mellan spelets berättande och dess ludusregler, det vill säga de regler som definierar mål och hur dessa skall nås. Den klassiska narratologiska analysen var fruktbar, men de mediespecifika egenskaperna med regelsystem och dess sammankoppling med de berättande elementen visade sig vara ett viktigt förhållande att belysa.

<p>The digital games take an increasing part of our western society. The time when gaming was excluded to the most frantic computer fans is long gone. Today the gaming industry competes with both the film- and music industry for the consumers’ attention.</p><p>Despite this, research regarding the digital games has been put aside for a long time. But there is an ongoing process in establishing game studies regarding content and expression aspects that go beyond the question about possible psychological effects and such. But this process is still young and disagreements occur concerning how the games should be approached as an object of study.</p><p>This debate, originating from two different approaches; the narratological and the ludological, has proven to be central to the research society. To reach a better understanding regarding storytelling within the digital games I carried out a narratological analysis of a video game; Shadow of the Colossus for Playstation 2. I used classical narratological tools regarding the syntagmatic structure of storytelling; Propp’s characters and functions and Todorov’s equilibrium formula.</p><p>To be able to carry out this analysis the first step was to identify the storytelling elements of the game so that these could be properly recognized. After that the narratological tools were applied to these. In order not to neglect the medium specific characteristics that the digital games hold, I implemented a minor ludological analysis of its rules, to see how these were connected with the potential storytelling.</p><p>The narratological analysis proved to be useful; a number of Propp’s functions were identified and the storytelling could also be described on the basis of Todorov’s equilibrium. Furthermore a clear connection between the storytelling of the game and the ludus rules, meaning the rules that define the winning conditions and how to reach them. The classic narratological analysis was fruitful, but the medium specific characteristics with systems of rules and their connection to the storytelling elements proved to be an important relationship to illustrate further.</p> / <p>De digitala spelen tar allt större plats i vårt västerländska samhälle. Tiden då spelande bara var för de mest inbitna datorfantasterna är sedan länge förbi. Idag konkurrerar spelindustrin med både film- och musikindustrin om konsumenternas uppmärksamhet.</p><p>Trots det har forskning kring de digitala spelen länge åsidosatts. Men en process är nu i full gång för att etablera forskning kring spel och dess innehålls- och uttrycksmässiga aspekter som ser bortom frågan om eventuella skadliga psykologiska effekter och liknande. Men denna process är ung och oenighet råder om hur spelen som studieobjekt ska behandlas.</p><p>Denna debatt som utgår från två olika ansatser; den narratologiska och ludologiska, har visat sig vara central i forskarvärlden. För att försöka nå bättre förståelse kring berättande i de digitala spelens värld genomförde jag en narratologisk analys av ett enskilt spel; Shadow of the Colossus till Playstation 2. Jag utgick från klassiska narratologiska verktyg som utgår från berättandets syntagmatiska struktur; Propps rollfunktioner och Todorovs jämviktsformel.</p><p>För att kunna genomföra denna analys var första steget att först identifiera de berättande elementen i spelet så att dessa kunde kartläggas. När det var gjort applicerades de narratologiska verktygen på dessa. För att inte helt åsidosätta de mediespecifika kriterierna som de digitala spelen besitter, genomförde jag en enkel ludologisk analys av dess spelregler, för att se hur dessa var sammankopplade med eventuellt berättande.</p><p>Den narratologiska analysen visade sig vara användbar; ett antal av Propps funktioner identifierades och berättandet kunde även beskrivas utifrån Todorovs jämvikt. Dessutom visades ett klart samband mellan spelets berättande och dess ludusregler, det vill säga de regler som definierar mål och hur dessa skall nås. Den klassiska narratologiska analysen var fruktbar, men de mediespecifika egenskaperna med regelsystem och dess sammankoppling med de berättande elementen visade sig vara ett viktigt förhållande att belysa.</p>

This essay is a narrative analyze of the computer game Halo. The purpose of the essay is to see what function the narrative elements have in a computer game of the action genre. The analyze is done with a neo-formalistic approach according to the theory of David Bordwell and Kristin Thompson. The choice of game was based on it's positive reviews mentioning the story. The essay tries to give a picture of research in the field and researchers views on narratives and computer games. The conclusion is that this particular game uses the narrative to motivate progress through the game and give the player a goal to play towards. It's also been used to enhance the players experience. / Uppsatsen gör en analys av de narrativa delarna i datorspelet Halo. Syftet med uppsatsen är att se vilken funktion de narrativa elementen fyller i ett datorspel i actiongenren. Analysen har gjort utifrån neoformalistisk teori enligt David Bordwell och Kristin Thompson. Valet av spel gjordes utifrån de positiva recensioner spelet fått som nämner historien i spelet. Uppsatsen försöker ge en bild av dagens forskning inom datorspel och narrativ och den bild framstående forskare har. Slutsatsen är att spelet har använt narrativ för att fungera som drivkraft genom spelet och att ge spelaren det mål som man ska spela mot för att vinna. Det har också använts för att förhöja spelarens upplevelse.

This is a paper concerning storytelling in video games. It’s based on the assumption that power gives people the possibility to tell stories. We will have a look at what that means when in contact in video games, as the interaction between player and story world may result in creation of a story. Aim will be taken at three categories: agency, power and communication. Communication is of great importance in video games, as one of very few mediums that allows agency and communication within the actual story world. One can look at it as agency being the possibility to demonstrate power, whilst power is through which means the player can express their agency. This will be analysed through different parts of what constitutes a video game, such as rules, characters, space and game world.