Videogames are becoming an important means of expression for marginalized communities. Despite the growing body of research in queer game studies, transgender identity remains under-researched and lacking in empirical data. By using an experimental approach coupled with grounded theory and informed by current game and queer theory, this study aims to illuminate how transgender- identifying persons approach autobiographical videogame depiction of transgender experience. Ten participants were asked to play influential independent videogame Dys4ia, which depicts the author's hormonal replacement therapy, and semi-structured interviews were conducted. Their responses were coded, and a preliminary model of how Dys4ia works in the context of transgender media ecology was constructed. The term Procedural-autobiographic multimodality is introduced to describe an assemblage of interactive affordances, distinctive aesthetics and situatedness of Dys4ia in structures of minority media while considering video game-specific theories. This study attempts to empirically ground transgender queer game studies, suggesting avenues for future research and proposing a model of how videogames as procedural artefacts work alongside vlogs and other expressive means within transgender mediascape.

En la presente investigación, se hará una exploración y análisis del rol fundamental que el sonido cumple en los videojuegos, cómo el mismo se encuentra con respecto a dicha materia en el territorio peruano y su aplicación en videojuegos independientes. Para esto, se hará un breve recorrido histórico sobre la creación de formas sonoras y su implementación en el espacio sónico de obras audiovisuales: teatro, cine y finalmente videojuegos; así como las nociones básicas del diseño de sonido. Luego, observaremos el estado actual de la industria de videojuegos latinoamericana, cómo esta se compara con la peruana, el estado de la misma y cómo el sonido puede jugar un rol importante en el desarrollo de la industria de videojuegos de dicho país. A continuación, se ahondarán en los aspectos técnicos de creación de sonido y música para videojuegos. Para tal motivo, se efectuará un análisis comparativo entre éstos y el cine, se explorarán los entresijos del audio no lineal y los distintos procesos de producción de audio para un videojuego. Finalmente, haremos un análisis de la estética Lo-Fi y las posibilidades creativas que ofrece esta estética sonora para creadores de videojuegos independientes y, asimismo, cómo esta se manifiesta en el ámbito sonoro de distintos videojuegos. / In this investigation, we will do an exploration and analysis of the fundamental role of sound design in videogames, how it has developed in the Peruvian videogame industry and its application on independent videogames. For this, we will do a brief historical walkthrough on the creation of sound objects and their implementation in the soundscape of audiovisual pieces: from theatre through cinema to videogames. We will also take a look at basic notions of sound design in general. Afterward, we will observe the state in which the Latin American videogame industry stands, how it compares to its Peruvian counterpart, and the role sound design can partake in to aid in the development of this industry in the country. Subsequently, we will delve on the technical aspects of sound and music creation for videogames. For such a motive, we will do a comparative analysis between films and videogames, an examination of the intricacies of non-linear audio in dynamic media, as well as the process for audio production for videogames. Finally, we will do an analysis on the Lo-Fi aesthetic, and the creative possibilities it offers for independent videogame developers, and moreover, how it manifests on its sonic counterpart in videogames. / Trabajo de investigación

Como objetivo principal de este trabajo de investigación se ha buscado comenzar con las definiciones de los nuevos géneros como las palabras que han surgido en el mundo de los videojuegos para entender el contexto en el que nos estamos manejando. Partiendo de estas definiciones se comienza a desarrollar el estudio de diversos temas que componen el trabajo de investigación que se dividen en: la narrativa, los elementos estéticos y los cuatro personajes principales del videojuego. Se hizo el uso del videojuego “What remains of Edith Finch” para entender los conceptos desarrollados en este trabajo de investigación, a partir de esto se logra acercar el tema ejemplificando un videojuego para el análisis profundo de los cuatro principales familiares de Edith que nos va a llevar a guiarnos a lo largo del desarrollo y explicación final del tema de investigación. Es por eso que se ha buscado que la estructura cubra todos los conceptos teóricos como prácticos para poder desarrollar el trabajo de investigación. El trabajo aquí presente se está realizando para el aporte hacia los elementos estéticos de los videojuegos siendo parte de uno de los pocos trabajos de investigación realizado específicamente centrado en este tema. / The main objective of this research work has been to start with the definitions of the new genres as the words that have arisen in the world of videogames to understand the context in which we are dealing. Starting from these definitions, we begin to develop the study of various topics that make up the research work that are divided into: the narrative, the staging and the four main characters of the video game. The videogame "What remains of Edith Finch" was used to understand the concepts developed in this research work, from this it is possible to approach the subject by exemplifying a video game for the in-depth analysis of the four main relatives of Edith that is going to lead to guide us throughout the development and final explanation of the research topic. That is why we have sought that the structure covers all the theoretical concepts as practices to be able to develop the research work. The work presented here is being carried out for the contribution towards the staging of videogames being part of one of the few research works carried out specifically focused on this topic. / Trabajo de investigación

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The purpose of this study is to analyse the 2021 video game The Forgotten City from a historical didactical theoretical framework. The study aims to highlight how the game can contribute to the players historical consciousness with its digital recreation of ancient Rome. The method used for analyzing the video game was a playthrough of the game with careful notetaking that was then analyzed with a qualitative method. The result of this analysis found many interesting aspects of how the game can contribute to the players historical consciousness. The game utilized moral-philosophical debates, an epistemological immersion in the game world, and a digital museum like presentation of history. The main problems that were identified was that there is no clear distinction between pure fiction and history which can lead to players without a historical framework of ancient Rome to assume that fiction is historical fact. Finally, the study presents a use case for how a video game like The Forgotten City can be used in a Swedish classroom setting.

This study has investigated navigation strategies and spatial memory in Euclidean versus non-Euclidean environments. It also had a focus on mental maps, homing abilities and past video game experiences. Two test groups traversed mazes with identical layouts, but in which the non-Euclidean version incorporated wormholes that teleported participants in an, to the participant, unobvious manner. Data such as distances, time taken, and individual routes was collected. A thematic survey regarding strategies and tests for deeming what kind of mental map the participants used were also employed. Shapiro-Wilk tests, QQ-plots, PCA, Boxplots, T-tests, Heatmaps and Mann-Whitney U tests were used depending on the suitable data. Results showed that there were no significant differences between the two test groups in terms of quantifiable data and overall strategies used, while still there were signs of better performance for both groups in some certain respects. At the look on the groups as a whole, the participants that were deemed to use cognitive topological graphs, rather than cognitive Euclidean maps, were more successful in achieving the objectives. The results imply that areas like game design can be pushed further when it comes to using abstract or non-conventional spaces created by wormholes, without having a negative effect on the players navigational abilities. The results are also consistent with prior research in the field of psychology that refers to people using both maps and graphs as a cognitive representation of space.

This study is about inclusion in digital environments with a focus on videogames. The purpose of the study is to provide insight into how to increase inclusion in the digital environment, primarily for women, and provide examples of how to apply good information design to digital spaces to contribute to increased inclusion in videogames. The aim is also to increase the understanding of how spatial design affects inclusion for users and which parts of the spatial aspect are important for the environment to be perceived as inclusive or not. The goal is to try to raise awareness about inclusion in the gaming environment and to get people to question the design. The methods used are questionnaire, interview workshop, site analysis and traditional masculine and feminine scale, as well as human centered design as a method and process in the work. Of these methods, prototypes were made and used to produce different notions of what is masculine or feminine, as well as what the users in the study perceived as more inclusive designs. The results show signs that the spatial environment gives signals to be able to behave in a certain way that can be linked to hypermasculinity. The users in the study perceived the most popular games to be in the more masculine direction with Counterstrike as the most masculine direction. The attributes of the game's environment and spatial elements were perceived by the users in the study as violence and terror, which may in this way send signals to the users that it is okay to behave in a more hypermasculine way as one of the attributes of hypermasculinity is violence. The conclusion is that a larger study would need to be carried out on the interaction between the environment and its signals to the users to see if it has a greater impact on the inclusion of the users, as there are signs that the spatial design also contributes to a hypermasculine environment in the digital space. / Det här arbetet handlar om inkludering i virtuella miljöer med fokus på spel. Syftet med studien är att ge insikt i hur man kanske kan öka inkluderingen i den digitala miljön för främst kvinnor och ge exempel på hur man kan tillämpa god informationsdesign på digitala rum för att bidra till en ökad inkludering. Syftet är också att öka förståelsen för hur den rumsliga gestaltningen påverkar inkluderingen för användarna och vilka delar av den rumsliga aspekten som har betydelse för att miljön ska uppfattas inkluderande eller inte. Målet är att försöka höja medvetenheten kring inkludering inom spelmiljön och att få människor att ifrågasätta designen.Metoderna som används är enkät, intervjuworkshop, platsanalys och traditionell maskulin och feminin skala, samt human centered design som en metod och process i arbetet. Av dessa metoder gjordes och användes sedan prototyper för att ta fram olika föreställningar om vad som är maskulint eller feminint, samt vad som användarna i studien uppfattade som mer inkluderande design. Resultatet visar tecken på att den rumsliga miljön ger signaler för att kunna eventuellt bete sig på ett visst sätt som kan kopplas till hypermaskulinitet. Användarna i studien uppfattade de mest populära spelen åt det mer maskulina hållet med Counter-Strike som det mest maskulina hållet. Attributen i spelets miljö och rumsliga element uppfattades av användarna i studien som våld och terror, vilket kanske på så sätt skickar signaler till användarna att de är okej att bete sig på ett mer hypermaskulint sätt då ett av attributen för hypermaskulinitet är våld. Slutsatsen är att det skulle behövas genomföras en större studie kring samverkan mellan miljön och dess signaler till användarna för att se om det har en större påverkan för inkluderingen av användarna, då det finns tecken på att det även den rumsliga gestaltningen bidrar till en hypermaskulin miljö i det digitala rummet.

En kvantitativ enkätstudie genomfördes för att undersöka samband mellan att spela våldsamma pc/tv-spel och aggressivitet. Urvalet bestod av tillgängliga respondenter på Facebook och GameReactors Facebooksida där enkäten delades. 123 stycken deltog i undersökningen varav 85 män och 38 kvinnor. För att undersöka deltagarnas spelvanor frågades hur ofta de spelar pc/tv-spel samt våldsamma spel och hur roligt de ansåg att våldsamma pc/tv-spel var. För att mäta deltagarnas aggressivitet användes testet Buss-Perry-Questionnaire som mäter aggression och fyra underskalor av aggression (fysisk aggression, verbal aggression, ilska och fientlighet). Spearmans korrelationstest användes för att undersöka samband mellan variablerna för att se om spelvanorna av våldsamma spel gav högre poäng på aggressivitet eller någon av de fyra underskalorna. Resultatet visade inga signifikanta samband mellan att spela våldsamma pc/tv-spel ofta och någon aggressionstyp. Samband fanns mellan att tycka det är roligt att spela våldsamma pc/tv-spel och verbal aggressivitet samt fysisk aggressivitet. Ett Mann Whitney U test visade skillnader mellan män och kvinnor då det gällde spelvanor och aggressivitet. Männen spelade våldsamma pc/tv-spel oftare, tyckte våldsamma pc/tv-spel var roligare, var mer fysiskt aggressiva och kvinnor var mer ilskna. Spearmans rangkorrelation visade ett negativt samband mellan ålder och att spela våldsamma pc/tv-spel ofta. De som var yngre ansåg dock inte att våldsamma spel var roligare än andra spel. Korrelationen visade inga signifikanta samband mellan ålder och aggression. Det visade sig alltså inte att de som var yngre var mer aggressiva. Slutsatsen som dras är att de som tycker om att spela våldsamma pc/tv-spel tenderar att vara mer verbalt aggressiva och fysiskt aggressiva. När det gäller frågan att spela våldsamma spel ofta är det oklart om speltiden påverkar aggressionen hos en person och mer forskning behövs på ämnet. / A quantitative survey was carried out to investigate the connection between playing violent PC / video games and aggression. The sample consisted of respondents available on Facebook and Gamereactor's Facebook page where the survey was divided. 123 people participated in the survey, of which 85 men and 38 women. To explore participants' gaming habits they were asked how often they play the PC / video games and violent game and how funny they thought that violent PC / TV game was. Bus-Perry-Questionnaire where used to measure participants' aggressiveness which measures aggression and four subscales of aggression (physical aggression, verbal aggression, anger and hostility). Spearman's correlation test was used to examine the relationship between the variables to see if the gaming habits of violent games gave higher scores on aggression or any of the four sub-scales. The results showed no significant correlation between playing violent PC / video games often and any type of aggression. Correlation existed between thinking it is fun to play violent PC / video games and verbal aggression and physical aggression. The Mann Whitney U test showed differences between men and women when it came to gaming and aggression. Men played violent PC / video games more often, thought violent PC / video games were more fun, were more physically aggressive, and women were angrier. Spearman's rank correlation showed a negative correlation between age and playing violent PC / video games frequently. Those who were younger did not consider violent games as more fun than other games. The correlation showed no significant relationship between age and aggression. It appeared, therefore, that those who were younger were more aggressive. The conclusion is that those who enjoy playing violent PC / video games tend to be more verbal aggressive and physical aggressive. Regarding the question about playing violent games often is it unclear whether the playing time affects the aggression of a person and more research is needed on the topic.

In this study, ninety costumes from the LittleBigPlanet (Media Molecule, 2008, 2011; Sumo Digital 2014) franchise were analyzed in order to answer the question on how the LittleBigPlanet series have represented diversity of different genders through the available costumes to a seemingly gender neutral character. This is done by dividing the costumes into three categories: feminine, masculine and neutral. The costumes are categorized according to set criteria, and in the results it is revealed that there are mostly feminine costumes, even though the difference is minor. The study also analyses how different gender-coded costumes in the LittleBigPlanet series are portrayed, and several traits are found to be reoccurring. Finally, it is discussed whether having portrayed stereotypical body images were suitable for the age of their audience, and it is also stated that the costumes of the LittleBigPlanet franchise are generally diversified. / I denna undersökning analyserades nittio kostymer från LittleBigPlanet-serien (Media Molecule, 2008, 2011; Sumo Digital 2014). Syftet är att besvara frågan om hur LittleBigPlanet serien har representerad mångfald av kön genom de tillgängliga kostymerna för en till synes könsneutral karaktär. Detta görs genom att dela upp kostymerna i tre kategorier: feminina, maskulina och neutrala. Kostymerna är kategoriserade enligt satta kriterier, och resultaten avslöjar att det är huvudsakligen feminina kostymer, även om skillnaden inte är särskilt stor. Studien analyserar även hur olika könskodade kostymer i LittleBigPlanet-serien är porträtterande, och flera egenskaper visar sig upprepas. Slutligen diskuteras om det är lämpligt för kostymerna att porträttera stereotypiska kroppsbilder i spelen med tanke på deras spelares ålder, och det påstås även att kostymerna i LittleBigPlanet-serien är någorlunda mångsidiga.

Diploma thesis "Progress of representation of the LGBT minority in RPG-story-based PC games and accepting the homosexual themes by gamers and game developers" deals with new way of representation of LGBT minority via videogames. While traditional media as film or literature are able to narrate only by the linear way, with the development of RPG genre the new ergodic literature appeals. This style of narration has many ways which you can follow - and one of them is also the way of playing with LGBT character - the way which can be close for some other players. Work combines a few views on this problem - how does the language of videogames support such ideas? How game developers are interested in this matter? And what about the homosexual gamers - what do they want? This works also include the analysis of the video games, which changed the view on the representation of LGBT minority in videogames (Mass Effect I-III, Dragon Age I-II). The goal of this work is to offer the first compact text on this topic in Czech but even also in world context. Powered by TCPDF (www.tcpdf.org)