Global ETD Search

1	När stjärnor flyttar på sig : -En intermedial studie av läsprocessen som den relaterar till Codex, det digitala uppslagsverket i tv- och dataspelet Mass Effect Kristiansson, Oscar January 2013 (has links) This study examines the in-game encyclopaedia Codex as it appears within the videogame Mass Effect. The purpose of this study is to analyse the Codex with emphasis on how the reading process is affected by the videogame medium. In this regard the study seeks to uncover what characterises the Codex as a fictional encyclopaedia, what it entails and how it interacts with the rest of the game. The theoretical basis of this study is derived from a combination of the writings of Wolfgang Iser concerning the process of reading, Jesper Juul's writings on the relationship between games and narratives, and the concept of intermediality as discussed by Hans Lund and Jørgen Bruhn. This study is based on a close examination of the PC and Playstation 3 versions of the videogame Mass Effect, created by Bioware, with particular emphasis placed on the Codex. Mass Effect is a science fiction third-person shooter and RPG set in a future where mankind has begun interacting with aliens civilizations and colonising new planets. The Codex is an in-game encyclopaedia providing the player with information on various topics relating to the game world. While videogames are not narratives they cancontain and use narrative content. Mass Effect does this. Thus it is divided into two settings. The first is the actual environment accessible to the player. The second is the implied game-world that is derived from a combination of the game's narrative content and the player's imagination. Facilitating the production of this implied world is the main purpose of the Codex. The implied game-world is reminiscent of the virtual dimension of literary texts. Beyond the Codex however, Mass effect employs multiple medial strategies in order to facilitate the production of the implied game-world. The game also offers the player a certain degree of freedom when it comes to what narrative content is revealed. This in turn affects the production of the implied game-world. Mass Effect Bioware litteratur i tv- och dataspel läsprocessen fiktiva uppslagsverk digital litteratur
2	The Expanding Storyworld : An Intermedial Study of the Mass Effect novels Sundin, Jessika January 2018 (has links) This study investigates the previously neglected literary phenomenon of game novels, a genre that is part of the increasing significance that games are having in culture. Intermedial studies is one of the principal fields that examines these types of phenomena, which provides perspectives for understanding the interactions between media. Furthermore, it forms the foundation for this study that analyses the relation between the four novels by Drew Karpyshyn (Mass Effect: Revelation, 2007; Mass Effect: Ascension, 2008; Mass Effect: Retribution, 2010) and William C. Dietz (Mass Effect: Deception, 2012), and the Mass Effect Trilogy. Differences and similarities between the media are delineated using semiotic theories, primarily the concepts of modalities of media and transfers of media characteristics. The thesis further investigates the narrative discourse, and narrative perspectives in the novels and how these instances relate to the transferred characteristics of Mass Effect. Ultimately, the commonly transferred characteristic in the novels is the storyworld, which reveals both differences and similarities between the media. Regardless of any differences, the similarities demonstrate a relationship where the novels expand the storyworld. Drew Karpyshyn William C. Dietz Mass Effect BioWare storyworld video games digital games intermediality transmediality narratology semiotics multimodality media modality General Literature Studies Litteraturvetenskap
3	The Cinematisation of Computer and Console Games : Aesthetic and Commercial Convergence in the Film and Game Industries Majek, Dee January 2011 (has links) This thesis examines the growing trend of cinematisation in computer and console games, where both visual styles and industrial practices are concerned. The ever-increasing runtime of cinematic cutscenes in games, and the stylization of game graphics in accordance with established film genres are of primary focus regarding the gaming industry's absorption and interpretation of cinematic visuals. Comparisons of film-game convergence are based on the proliferation of non-gameplay promotional trailers and their role in hype-generation; as well as game producer strategies of franchising, cross-promotion, and initial-sales business model. Comparison is thus accomplished with regards to a number of fundamental similarities in both industries' business and commercial tactics, as stemming from the risk and reward-based investment financing system prevalent in both industries. Finally, a selection of user and industry professional video responses to the aforementioned trends are examined, both for their value in counter-balancing the assumptions of success which often follow staggeringly high initial sales figures; and for their value in layering the depth of film-game convergence even further, as they respond to the recent, filmic trends in games using the very language of film. Games film convergence game industry film industry game developers game publishers pre-release hype marketing franchising promotional trailers risk and reward hardcore mainstream aesthetic cut-scenes cinematic transitional chasm EA Activision BioWare CD Projekt Call of Duty Dark Souls

1

Page generated in 0.0341 seconds