Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-09-12T17:26:03Z No. of bitstreams: 1 juliapessoavarges.pdf: 2258766 bytes, checksum: 4e93cc17ecc6f9a7932f8f1bcd68d32e (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-10-04T12:35:53Z (GMT) No. of bitstreams: 1 juliapessoavarges.pdf: 2258766 bytes, checksum: 4e93cc17ecc6f9a7932f8f1bcd68d32e (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-10-04T12:36:12Z (GMT) No. of bitstreams: 1 juliapessoavarges.pdf: 2258766 bytes, checksum: 4e93cc17ecc6f9a7932f8f1bcd68d32e (MD5) / Made available in DSpace on 2016-10-04T12:36:12Z (GMT). No. of bitstreams: 1 juliapessoavarges.pdf: 2258766 bytes, checksum: 4e93cc17ecc6f9a7932f8f1bcd68d32e (MD5) Previous issue date: 2011-04-15 / Resumo: Esta dissertação de mestrado analisa os jogos eletrônicos a partir de seu potencial narrativo. A popularização dos consoles de videogames e a disseminação dos computadores pessoais e da Internet ao longo das duas últimas décadas facilitou o acesso a estes produtos tecnológicos, aumentando também o interesse acadêmico em tais jogos. Grande parte da bibliografia referente ao assunto gira em torno do debate Narratologia versus Ludologia; em que teóricos de vertentes opostas acreditam que os jogos eletrônicos podem ser compreendidos ou somente por seus aspectos lúdicos, diretamente ligados à ação do jogador (gameplay); ou apenas pelos narrativos. Ao longo da presente dissertação, apresentaremos os pensamentos dos principais ludologistas (Jesper Juul, Gonzalo Frasca, Espen Aarseth) e também dos narratologistas, dos quais a americana Janet Murray é a principal expoente. Nosso objetivo, ao descrever as duas vertentes, é demonstrar a necessidade de incorporá-las para uma compreensão mais ampla dos jogos eletrônicos, contrapondo o caráter excludente como as duas correntes teóricas vêm sendo concebidas. Desta forma, nossa hipótese é de que somente levando em conta o gameplay e o potencial narrativo é que se pode analisar os videogames no que Marie-Laure Ryan, Santaella e Galloway consideram sua característica mais distintiva: a interatividade. Para isto, utilizaremos o conceito de “narrativas interativas” de Ryan (2009), que propõe que a narratividade nos videogames é diretamente ligada ao gameplay, já que cada elemento narrativo é construído a partir de ações desempenhadas pelo jogador e materializadas no interior do jogo através de um avatar; e, por outro lado, cada ação a ser tomada é determinada pelo enredo narrativo que se forma. Assim, lúdico e narrativo são elementos inextricáveis para a compreensão dos jogos eletrônicos em todo potencial. Como exemplo desta tendência, analisaremos “Red Dead Redemption”, jogo para Xbox 360 criado pela Rockstar Games, que acreditamos agregar todas as características das “narrativas interativas” de Ryan. / This dissertation analyzes videogames from their narrative potential. The popularity of videogame consoles and the spread of personal computers and the Internet over the past two decades have facilitated the access to these technological products, also causing the academic interest in such games to increase. Much of the literature on the subject revolves around the debate “Narratology versus Ludology”, where theorists of opposing sides believe that electronic games can be understood either by their ludic aspects, directly related to the action of the player (gameplay), or only by its narrative characteristics. Throughout this thesis, we present the thoughts of the main Ludologists (Jesper Juul, Gonzalo Frasca, Espen Aarseth) and the Narratologists, of which Janet Murray is the principal exponent. Our goal in describing the two theories is to demonstrate the need to incorporate them both in order to achieve a broader understanding of electronic games, unlike the opposition between the two theoretical approaches proposes. Hence, our hypothesis is that it is only taking into account both gameplay and the narrative potential of videogames that one can analyze these games in which Marie-Laure Ryan, Santaella and Galloway consider its most distinctive feature: interactivity. To do so, we use Ryan’s concept of "interactive narratives" (2009), which proposes that the narrative in video games is directly related to gameplay, as each narrative element is constructed from actions taken by the player and materialized inside the game through an avatar, and, moreover, every action taken is determined by the narrative plot that is designed. As a consequence, ludic and narrative elements are inextricable to the understanding of electronic games in their full potential. As an example of this trend, we will analyze the game "Red Dead Redemption" for Xbox 360, created by Rockstar Games, which we believe aggregates all the characteristics of Ryan’s "interactive narratives".

Players of an open-world video game are more than merely audience members watching a narrative play out--they actively participate and perform in the world. Drawing from scholars like Edmund Husserl, Konstantin Stanislavski, Ossy Wulansari, and PJ Manney, this paper explores principles of performance, phenomenology, and empathy to examine how open-world role-playing games, specifically Red Dead Redemption II, help players experience empathy. Constructing this experience through character attachment, length of play, and identification in a safe experimental space, these games become a bridge leading to greater empathy for people who are different from the player. The immersive nature of these games provides a suitable area for studying the effects of this media on a player's development of empathy for the character they play, others in the game world, and beyond. This paper focuses on this phenomenon through the player's performance of the main character, Arthur Morgan, and attempts to connect how this experience applies to the real-world building of player empathy.

Denna undersökning i form av en textanalys besvarar frågeställningen: Hur trovärdig är hästarnas gestaltning i Red Dead Redemption II? Undersökningen analyserar hästarnas gestaltning utifrån fyra delar; roll och beteende, anatomi, färg och rörelse baserat på datorspelsinriktade studier samt facklitteratur och studier om hästar. Analysens fyra delar konkluderar till hög trovärdighet i gestaltning av spelets hästar samt öppnar en diskussion för ytterligare frågeställningar om vilka faktorer bidrar till att spelinnehåll uppfattas som trovärdigt.

Open-world videogames inherently allow players a significant amount of freedomwhen traversing the in-game world. Due to this fact, level designers for such games are taskedwith the challenge of maintaining engagement and motivating exploration without drasticallyinfringing on their player agency. With this study, the authors analyzed three popular open-world games via a comparative formal analysis to determine the presence and validity of thePOI Diversity Rule, a conceptual rule for effective open-world level design proposed bySkobelev (2023), which recommends having at least three points of interests on the player’sline of horizon, offering different gameplay experiences. The authors performed this study byplotting out a route known as a “critical path”, taking panoramic screenshots within 30 secondintervals and analyzing them. The results showed that the rule is largely prevalent in all threegames. However, the conditions of fulfillment differ in terms of what categories are mostcommon, and whether static or dynamic POI are most prevalent. / Open world-datorspel ger spelare en hög grad av frihet att resa runt i spelvärlden. Pågrund av detta står leveldesigners för sådana spel inför utmaningen att upprätthållaengagemang och motivera utforskning inom spelvärlden utan att allvarligt begränsa spelarnashandlingsfrihet. I denna studie analyserades tre populära open world-spel via en jämförandeformell analys för att avgöra närvaron och giltigheten av POI Diversity Rule, en konceptuellregel för effektiv open world-leveldesign föreslagen av Skobelev (2023). Regelnrekommenderar att det bör finnas minst tre intressepunkter inom spelarens synligahorisontlinje, som erbjuder olika spelupplevelser. Författarna genomförde denna studiegenom att plotta in en rutt kallad "critical path", ta panoramabilder med 30 sekundersintervaller och analysera dem. Resultaten visade att regeln är till stor del närvarande i alla trespel. Men de specifika villkoren gällande dess uppfyllelse skiljer sig åt när det kommer tillvilka kategorier som är vanligast, och huruvida statiska eller dynamiska intressepunkter ärmest framträdande. / <p></p><p></p>

Denna uppsats undersöker huruvida rollspel (inom TV- och PC-spel) kan bidra till svenskämnets litteraturundervisning på gymnasiet. Vi har utgått från spelet Red Dead Redemption 2 för att sedan analysera dess narrativ och lyfta fram relevanta perspektiv som kan bidra till elevers skönlitterära kunskaper. Genom den hermeneutiska metoden har vi tolkat spelets innehåll, och genom det litteraturvetenskapliga perspektivet narratologi har vi analyserat och tolkat narrativet. Vi har även uppmärksammat behavioristiska inslag i spelets valmöjligheter då spelaren blir belönad vid vissa val. För att avgränsa arbetet har vi utgått från att fokusera vår analys på temana samhörighet och medmänsklighet. Efter analysen har vi kopplat samman vårt resultat med tidigare forskning om arbete med skönlitteratur och lärares kompetenser. Denna uppsats ämnar inte redogöra för hur ett spel kan spelas under lektionstid, utan att undersöka huruvida elevers tidigare spelerfarenheter kan användas i skolan. Det vi har observerat är att spelet omfattar ett långt och komplext narrativ som är unikt för spelvärlden. Det finns andra spel inom rollspelsgenren som är uppbyggda på liknande sätt, men att narrativet drivs till stor del av spelarens val är unikt för Red Dead Redemption 2. Vi har kommit fram till att om läraren besitter didaktiska kompetenser, relationella kompetenser samt ledarkompetenser kan detta narrativ användas i svenskämnets litteraturstudier i relation till läroplanens riktlinjer.

Los videojuegos como medio audiovisual han evolucionado; sin embargo, esto ha traído consigo la creación de diferentes géneros los cuales han logrado adaptarse mejor a los tipos de trama propuestas por el cine. No obstante, dentro de este abanico de géneros existe el Sandbox o mundo abierto, el cual ha tenido una acogida muy favorable por los jugadores o gamers; no por las historias que transmiten si no por la libertad de exploración. Pero con la salida del videojuego Red Dead Redemption 2 (2018) la perspectiva de Sandbox por su libertad y no historias cambio. Esta investigación analiza la existencia de la trama audiovisual del cine y cuáles serían las características de dicha trama en el videojuego Red Dead Redemption 2, para su aplicación en futuros lanzamientos de géneros Sandbox. / Videogames as an audiovisual medium have evolved; However, this has brought with it the creation of different genres which have managed to better adapt to the types of plots proposed by the cinema. However, within this range of genres there is the Sandbox or open world, which has had a very favorable reception by players or gamers; not for the stories they convey but for the freedom of exploration. But with the release of the video game Red Dead Redemption 2 (2018) the perspective of Sandbox for its freedom and not stories changed. This research analyzes the existence of the audiovisual plot of the cinema and what would be the characteristics of said plot in the video game Red Dead Redemption 2, for its application in future releases of Sandbox genres. / Trabajo de investigación

El presente documento de investigación tiene como objetivo analizar el arte dentro de los videojuegos. Con este motivo, la investigación se centra en lograrlo mediante la observación del videojuego Red Dead Redemption 2, yendo por el tema de su jugabilidad, el apartado visual y sonoro, como todos los elementos que lo conforman y ayuden a difundir información más detallada sobre los videojuegos y sus formas expresivas de arte virtual. La investigación tiene un fundamento basado en autores dedicados al estudio de los videojuegos como fenómeno cultural, su influencia en la cultura, así como las herramientas de expresión que estos utilizan con el fin de entretener a un público en específico. Con la realización de esta investigación, se busca incentivar a la participación por parte del mercado audiovisual dentro de la industria de los videojuegos, debido a que existen formas de expresión artísticas que requieren la presencia de este tipo de profesionales para lograr el mejor resultado dentro de la realización de un videojuego. La metodología que utiliza esta investigación está basada en un paradigma interpretativo que busca analizar el contenido del videojuego Red Dead Redemption 2, particularmente la misión número cuarenta y uno; según sus valores factibles y abstractos relacionados a todas sus formas de expresión artística. / The present research document aims to analyze art within videogames. For this reason, the research focuses on achieving this by observing the video game Red Dead Redemption 2, going through the subject of its playability, the visual and sound section, as well as all the elements that make it up and help to disseminate more detailed information about the videogames and their expressive forms of virtual art. The research has a foundation based on authors dedicated to the study of video games as a cultural phenomenon, their influence on culture, as well as the expression tools they use in order to entertain a specific audience. By conducting this research, the aim is to encourage participation by the audiovisual market within the video game industry, since there are forms of artistic expression that require the presence of this type of professionals to achieve the best result within the realization of a video game. The methodology used in this research is based on an interpretive paradigm that seeks to analyze the content of the video game Red Dead Redemption 2, particularly mission number forty-one; according to its feasible and abstract values ​​related to all its forms of artistic expression. / Trabajo de investigación