Esta pesquisa tem como objetivo, estabelecer um conjunto de diretrizes que facilitem a geração e a exploração de ideias, e a partir do conceito de esboço, traçar relações com o brinquedo, inserindo-as nas etapas de concepção do Design de Jogos. Para a elaboração dessas orientações, foram abordados cinco tópicos: o processo de desenvolvimento de jogos, a experiência do usuário nos jogos digitais, o processo criativo nos jogos, a resolução de problemas no Design, o brinquedo como atividade exploratória e precursora de jogos, bem como os tipos e formas encontrados nas atividades lúdicas. A pesquisa, então, relaciona as propriedades dos esboços e as propriedades dos brinquedos, para então estabelecer diretrizes para as fases conceituais do Design de Jogos bem como descreve uma série de orientações de projeto de jogos, baseadas nessas diretrizes. O relatório apresenta a aplicação das orientações na conceitualização de um jogo digital. O trabalho foi executado a partir de uma pesquisa bibliográfica, utilizando-se de documentação indireta, através de fontes secundárias e a aplicação das diretrizes desenvolvidas, na elaboração do conceito de um jogo. E como resultado dessa pesquisa, verificou-se que é possível agregar atividades geradoras de alternativas nas etapas preliminares do processo de desenvolvimento de jogos. / This research aims to establish a set of guidelines that facilitate the generation and exploration of ideas, and from the concept of the activity of sketch, establish parallels with the play, inserting them in the Design stages of game development. To elaborate the guidelines, were addressed five topics: the process of game development, user experience in digital games, the creative process in games, solving Design problems, the toy as exploratory activity and precursor to games as well as the types and forms found in recreational activities. The study then lists the properties of the sketches and the properties of the toys, and then show methodological guidelines for the conceptual stages of Game Design and describes a series of procedures for game Design, based on the guidelines. The report then presents the application of the guidelines in the conceptualization of a digital game. The methodology used in this study was the literature search, using indirect documentation, through secondary sources and application of guidelines developed in the elaboration of the concept of a game. And as a result of this research, it was found that it is possible to add alternative generating activities in the preliminary stages of the game development process.

Submitted by Irene Nascimento (irene.kessia@ufpe.br) on 2016-09-15T18:07:44Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissert_CeciliaFonte-BC.pdf: 9067315 bytes, checksum: f386f12e79500bfa9cc202505a477de6 (MD5) / Made available in DSpace on 2016-09-15T18:07:44Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissert_CeciliaFonte-BC.pdf: 9067315 bytes, checksum: f386f12e79500bfa9cc202505a477de6 (MD5) Previous issue date: 2016-01-26 / CNPQ / Nos últimos anos o setor independente de jogos digitais cresceu exponencialmente, recebendo reconhecimento do público, da imprensa e do mercado. Entretanto, a conceituação de games independentes é apresentada na literatura através de um complexo emaranhado de definições que divergem entre si. Esta pesquisa pretende então compreender qual o sentido de independência no contexto de atividades culturais e como ele se traduz no campo de jogos. Para tal, primeiramente será realizado um estudo da cultura independente mais ampla que buscará perceber como se dá sua conceituação, como ela se transforma com o passar dos anos e quais as ideias e práticas que perpetua. Nesse momento, serão observados importantes cenários alternativos (contracultura da déc. de 60 e Punk) assim como a produção de zines, publicações que alimentam as comunidades indies. Esse estudo inicial - que tem o intuito de encontrar as características comuns às manifestações independentes - servirá como base para a análise posterior da produção independente de jogos que tem o objetivo de verificar como os desenvolvedores praticam a independência. A pesquisa indica que o universo de jogos descrito como indie é bastante amplo e heterogêneo, mas que nele, é possível encontrar game designers que compartilham de muitos dos ideais e comportamentos propagados pela cultura independente ao longo do tempo. / In recent years the independent game sector has grown exponentially, gaining recognition from the audience, the press and the market. However, the concept of independent games is presented in the literature through a complex maze of definitions that differ from each other. This research aims to understand then what is the sense behind the independence in cultural activities and how it translates on the game industry. For that, at first, a study about the broad independente culture will be conducted, which will seek to comprehend how its conceptualization is given, how it changes over the years and what ideas and practices are perpetuated by it. At this context, important alternative scenarios will be observed (the counterculture of the sixties and the Punk movement), as well as the production of zines, publications that feed the indie communities. This initial study - which intends to find the common characteristics of the independent manifestations - will serve as a basis for the further analysis of the production of indie games, that will have the purpose of seeing how developers practice independence. This research indicates that the gaming universe described as indie is broad and heterogeneous, but that it carries game designers who share many of the ideals and behaviors spread by the independent culture over time

Esta pesquisa tem como escopo geral um fenômeno que articula espetáculo e jogos digitais, chamado de eSport. Trata-se de uma cena competitiva de jogos digitais, composta de torneios, partidas transmitidas online e ao vivo para milhares de espectadores, além de patrocinadores e rotinas de treinamento. Dependendo do jogo em questão, diferentes competências são exigidas para um desempenho vitorioso, como reflexos rápidos, leitura e interpretação de informações que emergem durante uma partida, e comunicação para a coordenação de um time. Sobretudo, é uma expressão cultural que reverbera em aspectos sociais e tecnológicos diversos, sendo que interessa aqui deter-se sobre a subjetivação acerca dos jogadores quando se leva em conta os algoritmos de um jogo digital (o audiovisual produzido por eles, compondo espacialidades diversas, e as regras, que moldam a temporalidade de uma sessão de jogo). Argumenta-se que os jogadores, de modo geral, integram uma densa máquina social e tecnológica, onde a produção de mercadoria e de subjetividades acontece tanto na aquisição de periféricos e jogos quanto na própria atividade que engendra o jogo. Essa máquina se faz mais visível no nicho dos eSports, onde exploramse as lógicas que compõem o jogo e as capacidades do jogador. Entre as rotinas de treinamento dos jogadores profissionais e o parâmetro intangível que decide o sucesso de um jogo, a diversão, há uma zona cinzenta, já evidente em técnicas de gamification, onde atividade laboral e entretenimento embaralham-se. Daí a necessidade de se abordar criticamente que tipo de usuário resulta dessa relação específica com as tecnologias envolvidas em jogos digitais. / The scope of this research is a phenomenon that articulates spectacle and digital games, called eSport. eSport is a competitive scene comprising digital games, championships, sponsors, training routines and matches transmitted online and live to a crowd of hundreds of thousands. Depending on the game, different skills are required to achieve a competitive performance, such as sharp reflex, reading and interpretation of information that emerges during a match, and communication to ensure the team\'s coordination. Above all, it is a cultural expression that echoes in a multitude of social and technological aspects, emphasizing here the subjectivation of the players, considering the algorithms (that is, the audiovisual produced by them and the rules, that shape the temporality of a game session) that compose them. It argues that the players, broadly speaking, are part of a dense social and technological machine, where the production of commodities and subjectivities happens when someone purchases equipments and digital games, but also during and within the very activity that comprises the game.This machine makes itself more visible at the eSports niche, where the logics that compose the game and the capacities of the player are exploited. Between the training routines and the intangible parameter which decides the success of the game, called fun, there is a grey area, clear enough in gamification techniques, where labor and entertainment are shuffled. Hence the need to critically engage the type of user that results from this specific relation with technologies involved in digital games.

Orientador: José Roberto Boettger Giardinetto / Resumo: O presente trabalho contribui para ao ensino de geometria por relações, no qual buscou responder as questões: Como é apresentada a geometria para as crianças pequenas (4 e 5 anos)? Quais as relações que elas estabelecem entre a geometria e o seu ambiente? Como se apropriam dessas relações? Para tanto, teve por objetivo desenvolver jogos digitais com uma proposta de ensino por relações, para colaborar com o ensino de geometria apostando na ludicidade como estratégia, desde a manipulação dos objetos até a tridimensionalidade. O trabalho foi desenvolvido tendo como público-alvo crianças de 4 e 5 anos de idade que frequentavam a pré-escola em um município de aproximadamente 90 mil habitantes, localizado no interior do estado de São Paulo. Nesse trabalho foi utilizada a pesquisa bibliográfica na abordagem metodológica qualitativa, o estudo de caso, que é adequada quando procuramos descrever, explorar e compreender contextos utilizamos, para isso a observações e acompanhamentos em sala de aula da aplicação das atividades propostas. O referencial teórico foi os documentos nacionais oficiais: CF, LDB, RCNEI, DCNEI, BNCC, Caio Prado Junior e a Pedagogia Histórico-Crítica - PHC. Esta dissertação é composta por dois capítulos. O primeiro, com o título de “O desenvolvimento sensorial para percepção dos conceitos geométricos” tece considerações sobre a situação do ensino da geometria e sua importância para sua apropriação já na Educação Infantil. O segundo intitulado “O ensino de geometri... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This work contributes to the teaching of geometry by relationships, in which it sought to answer the questions: How is geometry presented to young children (4 and 5 years old)? What relationships do they establish between geometry and its environment? How do they appropriate these relationships? To this end, it aimed to develop digital games with a proposal for teaching by relationships, to collaborate with the teaching of geometry, betting on playfulness as a strategy, from the manipulation of objects to three-dimensionality. The work was developed with the target audience of children of 4 and 5 years old who attended pre-school in a municipality of approximately 90 thousand inhabitants, located in the interior of the state of São Paulo. In this work, bibliographic research was used in the qualitative methodological approach, the case study, which is adequate when we try to describe, explore and understand contexts, for this purpose we use observations and accompaniments in the classroom of the application of the proposed activities. The theoretical framework was the official national documents: CF, LDB, RCNEI, DCNEI, BNCC, Caio Prado Junior and Pedagogia Histórico-Critica - PHC. This dissertation consists of two chapters. The first, entitled "Sensory development for the perception of geometric concepts", considers the situation of teaching geometry and its importance for its appropriation in early childhood education. The second entitled "The teaching of geometry by relatio... (Complete abstract click electronic access below) / Mestre

Researchers have found that digital gaming is beneficial for the cognitive,psychological, and physical health of the elderly people [1][6]. The percentage of theelderly people playing digital games is growing increasingly (and so do thedemographics) and thus the elderly generation form a potential base for a yetinexperienced game market. Nevertheless, the game industry seems to have ignoredthis important layer of the population as a special category of users [3]. Neither thehardware nor the software are designed with the elderlies’ age-related cognitive andphysical impairments.While there is a lot of research on the positive effects of digital games on the elderlies’well-being, the characteristics of the elderly gamers have rarely been explored [1]. Thepurpose of this study is to find out the elderly people’s perceptions and experiences ofplaying games and map the difficulties they experience. Based on the collected dataand facts, a number of important factors to be considered by the designers of gamesfor the elderly people are recommended.Almost 50 individuals between 65 and 90 years of age, living in their homes andenjoying a for their age normal health, have been interviewed by the author. The resultsreveal that a considerably high majority of the respondents show interest in playinggames. Meanwhile, they complain about the complexity of both hardware andsoftware in relation to their age-related cognitive and physical limitations. Most of theelderly individuals say that they need help with both playing games and using thedevices. An important conclusion from the findings of this research is that gamestargeting the elderly users should be designed beyond the general usability issues,considering the possibility of customizing the technologies to individual needs andrequirements, as the health and physical conditions of the elderly people vary greatly.The study concludes that for the elderly population to be motivated and benefit fromdigital games, developers producing the software and hardware, and designersengaged in the design of user interface, need to consider this population as a separatecategory of gamers and offer games meeting age-related needs and requirements.

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In this essay I analyze the ways in which gender and space are shaped and made sense of through digital gameplay. Specifically in the turn based strategy game XCOM: Enemy Within for the MacBook Air with a computer mouse as the primary input device. Using a mixed methods approach consisting of gameplay sessions of XCOM and qualitative interviews with two players regarding their gameplay I argue that earlier research on space within game studies has overlooked the ways in which the shaping of space in gameplay is also gendered. Developing a theoretical framework influenced by gender studies, critical theory, affect theory, assemblage theories of space, and game theory, I argue for how the shaping of space and gender in game-play is interdependent. This in that the shaping of space and gender in digital gameplay is in constant relation and tension with societal norms and the affective capacities of bodies and digital games. In conclusion, I reflect on the possibilities to develop more empirical research based on the the theoretical framework explored in the essay.

This thesis sheds light on the social relationships, work practices and identities that shape the small scale sector of independent game production. Harnessing elements of the Production of Culture and Cultural Industries/Work perspectives, it aims to clarify the specifics of independent game production and its relationship with the large-scale sector of the industry. Drawing on a multi-sided ethnography, the thesis captures gamework practices, motivations, ideas and conventions deployed in a diverse range of online and physical spaces where independent developers interact. Given the complex relationships and messiness found in the industry, the results of the thesis initially clarify general aspects, characterising both the corporate structure of the games industry and its independent sector. It then examines the cultures that inform independent work as well as emergent 'indie' praxis. After a historical review of the digital games industry, the thesis addresses how the corporate structure of the industry has created a viable game producing field, with a highly rationalised but not unproblematic process of game production. The independent sector is then analysed in relation to this material culture. The thesis discusses the technologic affordances, structural relationships, market approach and organisational forms supporting the production of independent games. It also examines the motivations, ethics and general culture informing independent developers work, as well as the emergence of independent networked scenes as social spaces where creative, organisational, technical and cultural aspects of independent game production are shaped. The analysis of empirical evidence reveals how the uneven struggle to control or access the means for game production, distribution and reproduction, in both retail and digital distribution business models, shapes the material conditions of the small scale sector game production. The thesis highlights the relationship between production, independent developers' preferences, and their identity as 'indies' as central in understanding how this novel sector of the games industry is being structured. By understanding both the structure and informal practices of independent production, this research offers novel insights in this under-researched area, insights that reveal the intricacies of processes of social change and cultural diversification within the digital games industry as a whole.

It is 50 years since the development of the first computer game and digital games now have an unprecedented influence on our culture. An increasingly popular leisure activity, digital games are also permeating other aspects of society. They continue to influence computer technology through graphics, animation and social networking; an influence which is also being felt in other media, in particular film and television. They are a new art form and they are seen to be influential on children s learning and development. However, despite their pervasiveness and apparent importance within our society and culture, they are still largely ignored as part of our cultural heritage. Dismissed as disposable, entertainment products, they have not specifically been addressed in most of the academic literature on digital preservation which represents a serious omission in past research. This was justification for an exploratory study into the preservation of digital games and the aim of this study has been to explore the value of digital games, their significance in our culture, and the current status of their preservation. Investigating the relationship of games to culture; reviewing current preservation activities and drawing conclusions about the value of digital games and the significance of their preservation were the study s objectives. These have been achieved through interviews with key stakeholders the academic community, as potential users of collections; memory institutions, as potential keepers of collections; fan-based game preservation experts; and representatives from the games industry. In addition to this, case studies of key game preservation activities were explored. Through this research, a clearer picture of attitudes towards digital games and opinions on the need for preservation of these cultural products has been established. It has become apparent that there is a need for more coherent and collaborative efforts to ensure the longevity of these important aspects of digital heritage.