I ett samhälle där datorspelare anses vistas i en högst amoralisk miljö, vill vi med den här studien granska hur etik och moral ter sig i den virtuella världen via ett symboliskt interaktionistiskt perspektiv. Genom kvalitativa intervjuer har elva spelare av onlinespel fått redogöra för sin egen upplevelse av den interaktion de genomgår dagligen. Med hjälp av utförliga teorier kring etik och moral, symbolisk interaktionism och spelkultur har studien ett brett teoretiskt underlag som appliceras i en hermeneutisk analys. Resultatet visar att etik och moral existerar i onlinespel, samtidigt som amoraliteten. Det verkar röra sig om två olika kulturer. Studien lägger sin fokus på den förstnämnda och beskriver både vad fenomenet består i, och hur det ter sig. Essensen handlar om den sociala aspekten, det vi kan kalla för socialitet. Vi fann essensen utifrån fem teman, som alla rör grupp, socialitet och samspel. Slutsatsen visar att det finns en moralisk spelkultur och en amoralisk, baserat på graden av socialitet och inlevelse. Den moraliska spelkulturen skapas och återskapas utifrån spelarnas meningsskapande, sociala behov och den virtuella världens flexibilitet.   Nyckelbegrepp: Etik, Moral, Onlinespel, Spelkultur, Symbolisk interaktionism. / In a society in which gamers are considered to engage in an amoral environment, we intended with this study to examine how ethics and morality appears in the virtual world through a symbolic interactionist perspective. Through qualitative interviews eleven gamers have been able to give their own views about their experiences of the interaction they undergo daily. With help from detailed theories about ethics and morality, symbolic interactionism and gaming culture, this study has a wide theoretical foundation which applies in a hermeneutical analysis. The results show that ethics and morality exists within online games, as well as an amoral gaming culture. It appears to be two cultures, in which this study puts its focus on the first and describes both what the phenomenon is made of, and how it appears. The essence is about the social aspect, what we call sociality. This essence was found through five themes, all regarding group, sociality and interaction. The conclusion shows that there is a moral gaming culture as well as an amoral one, based on the degree of sociality and immersion. The moral gaming culture is created and recreated from the creation of meaning and social needs through the gamers as well as the flexibility of the virtual world.   Keywords: Ethics, Morality, Online game, Game culture, Symbolic interactionism.

Gender stereotypes are identified as a major problem happening in the game industry, it is presented in both female and male characters which they are highly following the preference of masculinity. Multiple researches have been conducted to analyse how females are being sexualized and objectified, and there is an atmosphere of misogyny in both the industrial aspect and the user aspect. However, It is interesting to rethink the problem from the opposite perspective, where the question can be ‘why the word masculinity is somehow becoming a conclusion of this industry?’ How masculinity is growing during the development of video games? And why the walls of masculinity are still solid in recent years where most other forms of media is posstivlty accepting feminism into their field? The project starts as a role of a male gamer, in both perspectives of male and video game player,  aiming to find a way to deconstruct the atmosphere of masculinity by the theory of inclusive masculinity in the game industry, discussing the positive and negative aspects of masculinity, and finally provide a possibility to build up an inclusive condition in this industry.

Made available in DSpace on 2016-04-26T18:12:26Z (GMT). No. of bitstreams: 1 Sabrina Pereira Kumagai Carmona.pdf: 11567914 bytes, checksum: 98180881edb7d03df36906381ba4bb57 (MD5) Previous issue date: 2012-10-19 / Based on the state of art of games production and reception, this research has as an objective to propose the construction of a game museum conceived in the way of produce a gamified experience to those who visit it. Understood as gamification the phenomenon that has been widely released and incorporated in various fields of human activity. Gamification is taken as the application of game dynamics to day-to-day situations. The proposal comes with justifications that emphasize what is relevant to build a museum when you have as an object such a recent media as videogame. The main justification finds itself in the enormous cultural relevance of games and its indubitable penetration in people s lives, not only the young ones, in which we can conclude also about its relevance to future generations. Having as a theoretical basis mainly the studies of Huizinga, Schuytema, Zimmerman, Salen and other game scholars, it was possible to establish connections between game theory and the gamified experience that it provides to different means. This research corpus covers games as FIFA 2010 (2010), God of War (2005), Shadow of the Colossus (2006), among others. The methodology uses a case study from the Computerspiele Museum, in Berlin. By this study, and furthermore, it was possible to elaborate the history of games in a gamified experience that becomes relevant to a visitor of a Game Museum. This way, the gamified experience, that can prove itself very interesting to visit a Game Museum was elaborated having the following five essential points that are essential parts of game development: rules, narrative, interactivity, challenges and gameplay / Tomando por base o estado da arte da produção e recepção de games, esta pesquisa tem como objetivo propor a construção de um museu de game concebido de modo a produzir uma experiência gamificada para aqueles que o visitam. Entendida como a gamificação é um fenômeno que tem sido fartamente divulgado e incorporado em vários campos das atividades humanas. Entende-se por gamificação a aplicação das dinâmicas de jogos a situações cotidianas. A proposta vem acompanhada de justificativas enfatizando que é pertinente a construção de um museu quando se tem por objeto uma mídia tão recente como o videogame, tendo como. A principal justificativa encontra-se na enorme relevância cultural dos games e sua penetração indiscutível na vida das pessoas, não apenas jovens, do que se pode concluir também sobre sua relevância para as gerações futuras. Utilizando como base teórica principalmente os estudos de Huizinga, Schuytema, Zimmerman, Salen e outros estudiosos dos games, foi possível estabelecer conexões entre a teoria dos games e a experiência gamificada que a mesma proporciona para os diversos meios. O corpus da pesquisa abrange games como FIFA 2010 (2010), God of War (2005), Shadow of the Colossus (2006), entre outros. A metodologia fez uso de um case study do Computerspiele Museum, em Berlim. Por meio desse estudo, mas indo além dele, foi possível elaborar a história dos games na forma de uma experiência de gamificação relevante para um visitante de um Museu de Games. Desta maneira, a experiência gamificada, que pode se provar muito interessante para se visitar um Museu de Games, foi elaborada tendo os seguintes cinco pontos essenciais que são partes integrantes da constituição dos games: regras, narrativa, interatividade, desafios e jogabilidade

The thesis focuses on the reactions of readers to new ways of journalistic texts about computer games. These reactions often present themselves as a negative and intense rejection of writing about computer games beyond traditional modes of game journalism. Therefore, the thesis' main objective is to set these reactions to the context of changes in game culture and gamers' identity. The theoretical part describes the historical development of the computer games medium. It also summarizes Czech game journalism's evolution and describes the theoretical concepts of computer games as a specific medium, emphasizing the relationship between the medium and its consumer. The first part is enclosed by a chapter on fan cultures, especially on the gaming community. The central part of the research analyses users' comments, which react to analysed journalistic texts. Part of the analysis is also comprised of interviews with the authors of these texts. Such a constructed sample reveals that gamers and publicists perceive the computer games' nature and their roles in society differently. Furthermore, analysis has shown emphasis on identitarian themes in gaming community which manifested in rejecting the messages of analysed texts with reference to individual characteristics of its authors.

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<div>This project engages in an intersectional and interdisciplinary tracing of the emerging field of feminist game studies and the epistemologies and methodologies that exist within this field. Through such tracing, this project asks—what are feminist game studies’ epistemological goals and frameworks? What methodologies can the field draw from in order to achieve these epistemological goals? Ultimately, this project argues that feminist game studies enacts an epistemology of feminist worldbuilding—that is, an inclusive, embodied, space-claiming mode of producing knowledge—and achieves this worldbuilding through methodologies of intersectional disruption in order to perform disruptive feminist interventions into video game culture. </div><div><br></div><div>In the first chapter of this project, I make use of a methodology of narrative autoethnography to discuss my experience with online harassment as an inroad into interrogating the bodies at risk in gaming spaces in order to make a case for the need for feminist interventions to disrupt the violent structures within video game culture. The second chapter traces the ways hegemonic, patriarchal frameworks in game studies epistemologically deprivilege material, representational analyses of bodies and culture in the study of games and, instead, argues for the implementation of intersectional approaches to video game culture. The third chapter maps the intersectional feminist methodologies that can be implemented in feminist game studies in order to perform generative and disruptive interventions into video game culture and build feminist worlds. </div><div><br></div><div>In the fourth chapter, I apply some of these methodologies of disruption to the alienation of mothers in the gaming industry’s workplace culture and representations of mothers in the games Among the Sleep and Horizon Zero Dawn in order to intervene into video game culture’s prejudicial attitudes regarding labor, mothers, and women. The final chapter continues my autoethnographic work through the connection of my experiences with online harassment to previous experiences with gendered violence and trauma in order to underscore the stakes of feminist game studies praxis. In all these ways, I argue that feminist game studies builds worlds by performing interventions into video game culture through intersectional and pluralistic methodologies of disruption, for such methodologies imagine new, inclusive models of existence and futurity in video game culture.</div>