The master’s thesis is focused on the creation of a viable business plan for self-employment in strategy video game development. The foundation is a literary framework processed into a theoretical basis, including basic concepts focusing on the main idea of the plan and the creation of a business model. The analytical part is devoted to the examination of the business idea using the Lean Canvas method and performing further analyzes of the business environment. The proposal part describes the chosen strategy for the beginning self-employed person, including the business model, which is based on the results of analyzes of the business environment.

E-sports is currently estimated to be a billion dollar industry which is only growing in size from year to year. However the cinematography of spectated games leaves much to be desired. In most cases, the spectator either gets to control their own freely-moving camera or they get to see the view that a specific player sees. This thesis presents a system for the generation of cinematically-pleasing views for spectating real-time graphics applications. A custom real-time engine has been built to demonstrate the effect of this system on several different game modes with varying visual cinematic constraints, such as the rule of thirds. To create the cinematic views, we encode cinematic rules as cost functions that are fed into a non-linear least squares solver. These cost functions rely on the geometry of the scene, minimizing residuals based on the 3D positions and 2D reprojections of the geometry. The final cinematic view is found by altering camera position and angle until a local minimum is met. The system was evaluated by comparing video output from a traditional rigidly constrained camera and the results of our algorithm’s optimally solved views. User surveys are then used to qualitatively evaluate the system. The results of these surveys do not statistically find a preference between the cinematic views and the rigidly constrained views. In addition, we present performance and timing considerations for the system, reporting that the system can operate within modern expectations of latency when enough constraints are placed on the non-linear least squares solver.

Background: The global video game industry is today bigger than both the film- and music industry and is subject to a lot of competition. Companies are always looking for alternative ways to reach consumers and buzz is identified as a crucial success factor by many scholars. From real life examples, buzz is shown to have both positive and negative effects. There is however little knowledge about the phenomenon and what role buzz can play in the customer-based brand equity (CBBE) of video game companies. Purpose: The purpose of this study is to gain a better understanding about buzz and examine what role it plays in customer-based brand equity for companies within the video game industry. Method: A deductive approach was adopted and in order to fulfil the purpose of the study, a qualitative study (i.e. a case study) was deemed suitable. Interviews were held with five companies within the video game industry. Also, observations were made of how the companies work with their promotion and creation of buzz during the pre-release period. Theoretical framework: The theoretical framework consists of theories regarding the buzz phenomenon and CBBE. These were combined in order to examine the potential role buzz plays in the context of CBBE. Findings: Buzz is shown to play a big role in the video game industry but is becoming increasingly difficult to maintain. It is also found that buzz can have a “life of its own” and become unmanageable through speculations. Speculations can lead to higher expectations and pseudo-promises[1], making buzz even more difficult to manage. Regarding CBBE, buzz plays a role in all aspects. However, it is shown to play a different role in the CBBE of video game companies depending on how high the brand loyalty is within that company. The study also results in a conceptual model, illustrating buzz and what role it plays in the CBBE of video game companies both pre-release and post-release.

El objetivo de esta investigación es analizar la narrativa visual en el diseño atmosférico y de personaje en los videojuegos denominados Metroidvania. Así, se planteó la hipótesis que el diseño atmosférico y de personajes apoyan a la narrativa visual en los videojuegos del subgénero de Metroidvania gracias a la inmersión e interacción que se genera por el world narrative. En relación a la metodología, se emplearon fichas documentales para analizar el diseño atmosférico y de personaje de los videojuegos Hollow Knight, Ori and the Blind Forest y Guacamelee!. Se examinaron los elementos gráficos del box art de cada videojuego, es decir, la portada que presentan en su empaque; después, tres escenas de distintas áreas que muestran elementos gráficos que aportan a la narrativa visual; y por último, analizar el diseño de personaje de cada videojuego mencionado para identificar sus acciones o reacciones, y cómo apoyan a la inmersión del jugador. Como resultado principal, se tiene que la iluminación y las tonalidades empleadas en cada videojuego apoyan a transportar al jugador hacia un mundo ficcional, además de transmitirles un tono de comunicación específico, ya sea el misterio en Hollow Knight; el misticismo en Ori and the Blind Forest; y el enfoque cultural mexicano en Guacamelee! La investigación concluyó que la exploración e interacción que realizan los jugadores dentro de los espacios lúdicos mencionados se asocian al world narrative, ya que el espacio se encarga de comunicar no solo la ubicación, sino también sensaciones que rodean al personaje en relación al espacio. / The main objective of this investigation is to analyze the visual narrative in the atmospheric and character design of videogames denominated as Metroidvania. In this manner, a hypothesis was created that proposes that atmospheric and character design supports the visual narrative on videogames from the Metroidvania subgenre thanks to the immersion and interaction generated by the world narrative. In relation to the methodology, documental files were implemented to analyze the atmospheric and character design from the following videogames: Hollow Knight, Ori and the Blind Forest an Guacamelee!. Also, the graphical elements from the box art were examined from each videogame, then, three scenes from each of this videogames and different areas within them, were also examined to see if they supported the visual narrative. Lastly, analyze the design of each main character from every single one of the selective videogames to be able to identify its actions, reactions and move sets and how they support the players immersion. As a main result, it is understood that illumination and different hues employed help to transport the player into the fictional world, likewise, to transmit a communication tone specific to the game, for example: Mystery in Hollow Knight, mysticism in Ori and the Blind Forest and Mexican culture in Guacamelee! The investigation concluded that the exploration and interaction that players make inside ludic spaces are linked to the world narrative, because the space is in charged of not only the location if not sensations around the character in relation to the space. / Trabajo de investigación

Ce mémoire cherche à montrer l’influence du cinéma lors de la création de mondes fictifs vidéoludiques. L’étude présente les liens artistiques existants entre le 7e et le 10e art et leur influence sur la jouabilité, ce qui se ressent sur l’expérience des utilisateurs. Dans cette optique, elle cherche à comprendre en quoi l'esthétique pensée par les concepteurs favorise l’immersion des joueurs. L’analyse est focalisée sur un genre en particulier qui suscite de puissantes émotions : la science-fiction d’horreur, et se concentre sur une étude de cas : les jeux Dead Space (2008) et Dead Space 2 (2011) développés par Visceral Games. / This master thesis seeks to show the influence of cinema in the creation of fictive game worlds. The study presents the existing artistic links between 7th and 10th art and their influence on gameplay, which is reflected in the user experience. With this in mind, it seeks to understand how the aesthetic thought by the designers promotes the immersion of the players. The analysis is focused on one genre in particular that evokes powerful emotions: horror science-fiction, and fosters on a case study : the games Dead Space (2008) and Dead Space 2 (2011) developed by Visceral Games.

Cultural adaptation and free translation strategies are more common to use within the field of video game localization although they are still not recommended too veruse in translation studies. Free translation strategies are commonly used invideo game localization to make video games ready for a targeted audience. As free translation is mostly target-oriented in video game localization, the original source text often loses its meaning because of culturally adapting and modifying the text to fit to the target culture. This study aims to analyze 10 chosen cutscenes of the video game Lost Judgement, to find how frequently cultural adaptation and free translation strategies were used for pragmatic (proper names, cultural termsand expressions, allusion) and interlingual (regional dialect and slang) translation problems and how these problems were solved. The result and analysis of the study demonstrate examples of these translation problems within chosen cutscenes. The examples prove that depending on translation problems, both free translation and cultural adaptation can be used in combination with a literal word-for-word translation strategy. It also indicates that the video localization of Lost Judgement implied to use both domestication and foreignization approaches to achieve a higher satisfaction for the players of the game who can choose their favorite version. Another important factor was that the localization of the videogame focused on a functional approach whose purpose was to keep loyalty to the original text, the source text.

This is a study of how game design has influenced my artistic process as a music producer fora video game called Sang: The Desert Blade. The artistic practice is used to explore a conceptin game design called ludonarrative. The experiences gathered from this exploration arepresented with examples of music that have been created and implemented for the gameduring this study. The music examples are contextualized together with video documentationfrom my creative process and video recordings of the game. The study concludes that videogame music is directly interconnected with game design and its aesthetics is directly affectedby the degree to which a music producer is included in the development team. The study alsoshows how unpredictability is a fundamental part of game design and suggests how it can beexplored in future artistic research of video game music. / Det här är en studie om hur speldesign har påverkat min konstnärliga process sommusikproducent för ett dataspel som heter Sang: The Desert Blade. Den konstnärligapraktiken används för att undersöka ett koncept inom speldesign som kallas ludonarrativ.Erfarenheterna från undersökningen presenteras genom musikexempel som har skapats ochimplementerats i spelet under studien. Musikexemplen kontextualiseras tillsammans medvideodokumentation från min kreativa process och med videoinspelningar från spelet. Studiendrar slutsatsen att dataspelsmusik är direkt sammanlänkad med speldesign och dess estetik ärdirekt påverkad av den grad som en musikproducent involveras i spelets utvecklingsteam.Studien visar också hur oförutsägbarhet är en fundamental del av speldesign och föreslår hurdet kan undersökas i framtida konstnärlig forskning av dataspelsmusik.

In narrative-driven games, the story is an essential part of the gameplay, and understanding the story is of great importance. Given that what separates this genre from other storytelling media is interactivity, this thesis focuses on the elements in narrative-driven video games that effects the players' perception of narrative through interactivity. Using players' likes and dislikes from their previous experiences in narrative-driven games, this thesis aims to develop a heuristic approach for interactive narrative elements that offer the narrative through players' input to the game's system and create an effective gameplay experience that delivers the story to the players.

La música para cine es un arte que convive con nosotros hace muchos años y que ha acompañado a toda clase de películas, desde las taquilleras hasta las experimentales. Así como existen películas legendarias que han trascendido generaciones, también existen soundtracks que han logrado hacer aún más especial la experiencia de presenciar una producción cinematográfica. Con el pasar de los años (desde la aparición de la música sincronizada en las películas en 1926 con Don juan) se han ido elaborando y perfeccionando los métodos para componer música para películas, y es por esta razón que existen diversos manuales y técnicas para tomar en cuenta al momento de componer música para cine. Así como el fenómeno de las películas, existe otra forma de entretenimiento que también lleva bastante tiempo activa y que cada vez toma más fuerza: los videojuegos. Los videojuegos comparten ciertas similitudes con el cine: ambos buscan entretener, comunicar un mensaje, contar una historia. A pesar de que cada uno lo hace a su manera, existe un elemento que ambos comparten y es la música. Esta en los videojuegos tiene casi las mismas funciones que en el cine y por consecuencia surge la interrogante: ¿Se puede componer música para videojuegos tomando como punto de partida los métodos para componer música para cine; y de ser así ¿se práctica dicha aproximación en Perú? El presente trabajo de investigación tiene como objetivo demostrar que sí es posible. / Film music is an art form present in movies for a long time, from blockbusters to experimental cinema. Just as there are classic movies that have transcended generations due to its major success, there are also legendary soundtracks that have made the experience of watching a movie even better. Along the years (since Don Juan in 1926, first movie with synchronized music), composing music for movies has developed grandly and also, it’s techniques. Just like cinema, there is another form of entertainment that already has several years active and grows stronger everyday: videogames. They share the same objectives with movies which are to entertain, communicate a message, tell a story. Each of them has its own ways, but there is an element in common and its music. Here, it has almost the same functions as in cinema, and therefore one may ask: Can I write music for videogames using the methods for composing music for cinema? Is this approach present in the peruvian context? This research aims to demonstrate that these statements are true. / Trabajo de investigación

The game industry is modern and as such in constant evolution, therefore it needs information on how to better its work practices either it be on a professional level or at a training level. This thesis focuses on game education, specifically on the game students partaking in such education and developing a game as part of a game-based development course. The study investigated what kinds of pressure might be afflicting game students at Uppsala University during their game production courses and what are the effects of such pressures on the work/life balance of the concerned game students. To conduct the data collection, a survey with close and open-ended questions was used to gather information on focused topics but also get the opinion of the respondents on the matter. As a result of the research, it was possible to learn that the game students are pushing themselves to adopt overworking tendencies during their game production course. This behavior would be motivated by the different pressures affecting them during their game production course like the pressure to produce high-quality work. The conclusion reached is that the pressures affecting game students during their game production courses are related to the lack of healthy work habits of game students when working independently on their game productions. The pressures have impacts on the work/life balance of the affected students who often end up sacrificing their well-being in favor of work. This decision can have the opposite effect as work/life balance conflicts can hinder a game student's chances of academic success. To address this issue this thesis recommends game schools to support game students who are working independently by leading them to adopt healthy work habits and helping them to cope with the pressures of their environment.