Submitted by Irene Nascimento (irene.kessia@ufpe.br) on 2016-08-30T17:34:37Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Janiel - Dissertação.pdf: 4742603 bytes, checksum: bfac90cf32cb35cdd6dd087a3a4bae21 (MD5) / Made available in DSpace on 2016-08-30T17:34:37Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Janiel - Dissertação.pdf: 4742603 bytes, checksum: bfac90cf32cb35cdd6dd087a3a4bae21 (MD5) Previous issue date: 2015-08-25 / FACEPE / Um novo conceito de interação tem se estabelecido pelas desenvolvedoras de jogos digitais, que adotam o uso dos gestos sendo o intermediário entre o jogador e o jogo. O presente trabalho tem como objetivo um estudo detalhado sobre quais são os gestos mais utilizados nos jogos para dispositivos móveis, analisados categoricamente por gêneros. Para execução do presente estudo, foi utilizado o método GOP (Game Ontology Project), no intuito de identificar as principais tendências nos jogos analisados e suas relações. A proposta é criar um mapa de gestos de comandos e ações completo o suficiente para indicar os gestos mais adequados a serem utilizados em um novo jogo. Os resultados possibilitaram a identificação dos tipos de gestos mais comuns nos jogos para dispositivos móveis, abrindo a oportunidade de construção de um mapeamento de gestos em situação de jogo, podendo ser útil às desenvolvedoras como uma ferramenta de orientação e de criação de jogos. / A new concept of interaction has been established by digital game developers, which adopt the use of gestures as interface between the player and the game. This work aims a detailed study of the most used gestures in games for mobile devices, categorically analyzed by gender. In this study, we used the method GOP (Game Ontology Project) in order to identify the main trends in the analyzed games and their relationships. The proposal is to create a map between command gestures and actions, complete enough to indicate the most appropriate gestures to be used in a new game. The results allowed the identification of the most common types of gestures in games for mobile devices, opening the opportunity to build a gesture mapping in game situations, which can be useful to developers as an orientation tool for creating games.

While there is a lot of research about other aspects of game design, there are fairly few studies about music and sound in video games. Since music and sound are components of next to all games, it is interesting to investigate how this aspect affects the perceived immersion of gamers. The aim of this study is to investigate how sound and music affect player sense of presence in a video game, Transistor [19], which was chosen due to its distinct and strongly emotional music and sound. Five video prototypes were made using gameplay and sound from the game. The videos presented different variations of the soundscape. These were tested by a web survey with questions from the PENS questionnaire [15], providing the users a seven point Likert scale by which they could rate their experience. The answers were analyzed with a mixed model regression and compared with an estimated image of which degree of immersion would be experience for each of the videos. The result of the study showed that the complete soundscape was significantly more immersive than all the other soundscapes, while silence was significantly less immersive than the other soundscapes. The conclusions were the more complete the soundscape is, the more immersive it is, and that even a small part of the total soundscape is more immersive than complete silence.

This work explores the interactive documentary as a hybrid, emergent cultural form that has been shaped by the growth of digital interactive entertainment. Through investigation and analysis of the historical background of documentary, the research discusses the development of documentary film, examining the notions of truth, objectivity and authorship in factual media, and their relationship with existing understandings of interactivity. Critical parameters are then derived to objectify the process of deconstructing interactive and documentary media forms. An inclusive view is taken on the categorisation and classification of interactive documentary, informed by the fundamental constructs of both traditional documentary and interactive media. The constructs and structures of interaction and narrative are highlighted to facilitate the identification and examination of existing examples of factual interactive entertainment– from computer generated documentary games to navigable filmic forms. The thesis proposes a range of characterisation frameworks for the study of interactive documentary and these are applied towards case study analysis of sixteen interactive productions. The final work presented in this thesis proposes a theoretical framework for the analysis and development of immersive, interactive documentary experiences, encompassing the processes of content creation and consumption from the perspectives of both audience and director.