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.

This thesis examines the topic of representation of totalitarianism in videogames. It aims to show how the totalitarianism is depicted in selected games and whether the videogame as a medium has some influence on this depiction. Theoretical part introduces and examines all sorts of different approaches, based on which one can study videogame as a medium. An argument about the videogames as a medium of control is presented further on and is also discussed in relation with totalitarianism. Second half of theoretical chapter focuses on definition of totalitarianism which is used in the case studies later on. Empirical part analyzes four games - Half-life 2, Papers, please, Wolfenstein: the New Order and BioShock with focus on representation of totality or dystopia. The games are analyzed both with regards to their rules and fiction. The conclusion shows that totalitarianism was represented mostly by its outer activities rather than ideology which were usually represented rather marginally. However, in all cases there could be found some examples of how was the representation of totalitarianism used to merge with system of control in games.

The thesis deals with the image of gamers in Czech media, specifically in the most read daily newspapers. Videogames are still a rather marginal topic within the Czech society, gamers are perceived as weird and socially isolated individuals, and in the worst case they are described as addicted and aggressive. Predictions for the future say that digital games will become a regular part of our lives, but before this happens, I set myself the goal to find out how contemporary Czech media depict people who like to play videogames. This task is important because, whether we want it or not, media represents a reflection of our society and it is also an element that can influence public opinion to some extent. However, if there is a goal to educate public sphere or change the perception of the gaming community, it is necessary to find out what is the current situation among the Czech society. In the theoretical part I deal with the environment in which the media texts are created and their impact on the recipients of the given content. At the same time, I also explain to the reader how gamers really look like. The practical part examines the seven most widely read Czech newspapers Aha!, Blesk, E15, Hospodářské noviny, Lidové noviny, Mladá fronta DNES and Právo. These are the best newspapers when it comes...

This work focuses on the analysis of visual representation, behaviour and development of female characters in the video games series the Witcher, which consists of three games with consequential stories. The aim of this work is to analyse all female characters that appear in this three-part series, from main characters to supporting characters and female monsters. In the first part of this work, there is the theoretical clarification of the basic gaming terms and how the gender problematics are connected with video games - namely femininity, sexism and basic female archetypes, which are an inseparable part of games. Furthermore, the thesis introduces the origin of the Witcher world as well as its main hero, Geralt, and briefly introduces the plot of the series. In the second part of this work, the three main characters of the series are analysed in the terms of their visual representation, behaviour, motivation as well as their relationship with the main hero, their behaviour during fights and their relationships with other characters. Furthermore, this work analyses selected female characters, which are examined as individuals (for example sorceresses and warriors) or as groups (for example village women, town women and vampires), according to how significant they are. This thesis focuses on how...

This thesis deals with issues of violence, gender and multiculturalism in videogames and computer games. The theoretical part summarizes the history of videogames and describes what videogames are, who are they for and who actually plays them. Next, it describes the problems and criticism of videogames regarding violence, gender and multiculturalism and showcases the issues on select videogames. The practical part showcases presentation of violence, sexual content, female characters and racial and ethnic minorities in videogames in a case study of the game The Witcher 3: Wild Hunt. The case study also comments on criticism the game has received because of these issues. The author considers the game to be problematic in some aspects, but generally not racist or sexist. The thesis includes a study of demographical distribution of players in Czech Republic and their opinions about violence, gender and multiculturalism in videogames. The study had the form of an online questionnaire; the respondents were asked to take part via social media. The players do not mind violence in videogames and their opinions are in accord with the latest studies. Their opinions on gender and multiculturalism differ from the opinions of experts and the players generally consider videogames to be more inclusive than they...

This work uncovers perceptions of the Czech society concerning cultural and social role of a digital entertainment (computer games and videogames) as a relatively new interactive media form. The author tries to verify validity of a presumption that the digital entertainment is an object of a cultural stigma that was formed by combination of various factors which are closely specified in the work. According to the author, present perception of the digital entertaiment in society is formed by a media panic that repeated itself regularly in the course of history. Amongst other significant determinants one can find certain stereotypical viewes, efforts of a ruling class to sustain status quo and struggle of various social groups over cultural dominance which leads to hierarchization of cultural tastes. Suggested cultural stigmatisation of the digital entertainment probably leads to a social stigmatisation of players, who submit to social pressures and often adapt their behaviour to general tastes. Essential part of the work is formed by a research based on qualitative and quantitative data collected from teachers and gymnasium (high schools) and elementary school students. The research supports a presumption that the negative view on the digital entertainment is subject to specific generational...

Research in the digital game-based learning domain has so far shown mixed results as to the use of narrative in educational games. The aim of this thesis is to help to answer the question of whether and to which extent it is reasonable to employ the narrative feature in educational games for young children. In addition to a literature review, the thesis presents an experimental study comparing two versions of a maths game that are the same except for for the richness of the game's story (a value-added study). The participating children (N = 67) from school year 2 and 3 (mean = 8.67 years, SD = 0.4 years) were given the opportunity to play a game for two weeks on touch devices: a game version with a simple narrative frame, or a game version with a rich story narrated through an interactive voiced comic, or a "placebo" game (control group). No significant effect of the rich narrative on the children's engagement, as reported by parents, was found (d = 0.45, p = .245). Furthermore, the two narrative condition groups did not differ in terms of in-game progress (Cliff's δ = 0.01), and the difference was neither significant for the number of solved game tasks (d = 0.08, p = .857), nor the learning gains (d = -0.25, p = .691) measured using a near-transfer maths skill test (pre-post design). Both narrative...

(in English): In videogames we frequently come across religions created by game designers for the sole purpose of game development. In these cases religious rituals, symbols and other elements invented for certain needs of videogames are implemented into game design. Those fictional religions differentiate from each other in how they are manifested in narrative structures, audiovisual elements and most importantly in videogame mechanics. This diploma thesis uses formal analysis in order to find out what role do fictional religions play in the context of ten chosen videogames. Game theoretics believe that integration of religion into various layers of game design can create more immersive game experience and richer game world. The analysis confirms and expands upon their findings about the function of religions in world building, ingame architecture and related mechanics. It discovers repetitive motifs like healing, defense, resource production and even punishments which can affect a player's character as a result of interaction with fictional religions.

Recent academic work proposes that mainstream video games, which are not specifically designed for reflection or persuasion, can have a potential to implicitly encourage reflection on environmental issues and ecology. Some game developers have also echoed this view. Much of this work either does not include a player perspective in the reflection triggering, or mentions its possible inclusion in future studies. The aim of this thesis is to investigate this proposed potential of mainstream video games through the eyes of those who are to receive the environmental message of such videogames - the players. The present thesis builds on previous research in this area as well as on studies of the process of reflection in video games. In-depth interviews with 11 participants about 5 different mainstream videogames were conducted and their content and structure analysed for common themes. The selected videogames were: Red Dead Redemption II, Death Stranding, Horizon: Zero Dawn, Frostpunk and Cities: Skylines. The results point towards a high variability in the player's responses and attitudes towards the proposed climate reflection triggers in these video games. In addition, the analysis highlighted those factors which contribute to or interfere with the process of reflection, which is often accompanied by the...

The vast majority of videogames is consisting of fiction. One of the ways of approaching fiction is the literary theory of fictional worlds. However, this begs a question if we would be able to use this theory. The purpose of our thesis is to determine how literary theorists define fictional worlds. Furthermore, we will look at the way that this concept is used by ludologists and how they work with it. If our hypothesis, that we can apply this theory to videogames, will be confirmed, then we investigate how those worlds are different from the literary ones. Then, with the help from the acquired knowledge, we will conduct case studies on selected games. Finally, we will demonstrate how researching of fictional worlds can be profitable for game studies and how to utilize the theory more.