Dissertations / Theses on the topic 'Digital game worlds'
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Gustafsson, Viktor. "Designing persistent player narratives in digital game worlds." Electronic Thesis or Diss., université Paris-Saclay, 2021. http://www.theses.fr/2021UPASG102.
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Les joueurs de jeux en ligne massivement multijoueurs (MMO), génèrent des histoires avec leurs personnages, mais ne peuvent pas exprimer ou voir les traces de leurs aventures dans l'environnement. Je soutiens que comprendre le rôle de la persistance et de l'émergence des récits de joueurs dans les mondes de jeux numériques, peut conduire à de nouveaux systèmes et outils permettant d’ accroître leurs engagements De plus, cela peut aider les concepteurs de jeux à produire du contenu. Je combine plusieurs méthodes pour comprendre des récits de joueurs et je présente We Ride, un MMO proposant le cadre du “Narrative Substrates” pour construire des architectures et des mécanismes de jeu qui tirent parti des récits persistants de joueurs. De multiples études montrent comment le “Narrative Substrates” encourage avec succès les joueurs à co-créer du nouveau contenu à partir de leurs propres récits, en leur permettant de façonner le monde et de contribuer à un contenu nouveauPlayers in digital game worlds, such as Massively Multiplayer Online Games (MMO), generate long standing histories with their characters, but cannot express or see persisted traces of their adventures within the environment. I argue that understanding the role of persistence and the emergence of player narratives in digital game worlds can lead to novel systems and tools for increasing players'engagement and help game designers produce content. I combine multiple methods for understanding player narratives, and present We Ride, an MMO that embodies and tests the Narrative Substrates framework for building game architectures and mechanics that leverage persistent player narratives. Multiple studies show how Narrative Substrates successfully encourages players to codesign new content from their own persisted narratives, letting them shape the world and contribute novel content. Finally, I discuss the challenges of this work and suggest several promising directions for future work
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Lõugas, Marilin. "Weaving Mental Threads: Exploring the Touchpoints Between Parallel Game Worlds in an Ended World Setting." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22784.
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This master thesis researches parallel digital world design in computer games in the setting of An Ended World. The main focus of the research is the touchpoints between two or more worlds and how the inputs from a designer can influence the type of experience received by the player.The overall research takes inspiration from both game and interaction design and follows a very user-centric approach with numerous play sessions and a workshop. The final outcome is presented in the form of attributes and a prototype built as a modification for an existing game.
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Caldwell, Kyrie Eleison Hartsough. "Fake the dawn : digital game mechanics and the construction of gender in fictional worlds." Thesis, Massachusetts Institute of Technology, 2016. http://hdl.handle.net/1721.1/106745.
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Thesis: S.M. in Comparative Media Studies and Writing, Massachusetts Institute of Technology, Department of Humanities, Graduate Program in Science Writing, 2016.Cataloged from PDF version of thesis. "September 2016."
Includes bibliographical references (pages 93-105).
This thesis considers the ways in which digital game mechanics (interactive inputs) contribute to games' worldbuilding. In particular, this work is concerned with the replication and reinforcement of problematic gender roles through game mechanics that express positive ("warm") interactions between characters, namely healing, protection, and building relationships. The method used has been adapted from structural analysis via literary theory, as informed by game studies, media studies methodologies, and feminist epistemologies. Game mechanics are analyzed both across and within primary texts (consisting of Japanese-developed games from the action and role-playing genres) in relation to characters' representation. Through this analysis, I found that characters who are women and girls are often associated with physical weakness, nature-based magic, and nurturing (or absent) personalities, whereas characters who are men and boys often protect women through physical combat, heal through medical means, and keep an emotional distance from others. Relationships built through game mechanics rely on one-sided agency and potential that renders lovers and friends as characters who exist to support the player character in achieving the primary goals of the game. Through these findings, I conclude that even warm interactions in games carry negative, even potentially violent and oppressive, representations and that there is thusly a need for design interventions on the mechanical level to mitigate violence in game worlds and the reinforcement of negative real world stereotypes.
by Kyrie Eleison Hartsough Caldwell.
S.M. in Comparative Media Studies and Writing
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Perkins, Kyle Eric. "Lifesigns: Successful Storytelling in Open-World Games." Ohio University Honors Tutorial College / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1290205847.
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Chan, Pauline B. "Narrative participation within game environments: role-playing in massively multiplayer online games." Thesis, Georgia Institute of Technology, 2010. http://hdl.handle.net/1853/37126.
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Massively multiplayer online games (MMOGs) present fantastic, persistent worlds and narratives for a community of players to experience through pre-defined rules, roles, and environments. To be able to offer the opportunity for every player to try the same experiences, many game developers have opted to create elaborate virtual theme parks: scripted experiences within static worlds that cannot be affected or changed through player actions.
Within these games, some players have turned to role-playing to establish meaningful connections to these worlds by expanding upon and subverting the game's expectations to assume a limited sense of agency within the world. The interaction between role-players and the locations they occupy within these worlds is a notable marker of this narrative layering; specific locations inform social codes of conduct, designed by developers, and then repurposed by players for their characters and stories. Through a qualitative case study in World of Warcraft on public role-playing events, this thesis considers how the design of in-game locations inform their use for role-playing, and how locations are altered through storytelling as a result.
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Pearce, Celia. "Playing ethnography : a study of emergent behaviour in online games and virtual worlds." Thesis, University of the Arts London, 2006. http://ualresearchonline.arts.ac.uk/2300/.
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This study concerns itself with the relationship between game design and emergent social behaviour in massively multiplayer online games and virtual worlds. This thesis argues for a legitimisation of the study of ‘communities of play’, alongside communities perceived as more ‘serious’, such as communities of interest or practice. It also identifies six factors that contribute to emergent social behaviour and investigates the relationship between group and individual identity, and the emergent ways in which these arise from and intersect with the features and mechanics of the game worlds themselves. Methodology: Under the rubric of ‘design research’, this study was conducted as an ethnographic intervention, an anthropological investigation that deliberately privileged the online experience whilst acknowledging the performative nature of both game play and the research process itself. The research was informed by years of professional practical experience in game design and playtesting, as well as by qualitative methods derived from the fields of Anthropology, Sociology, Computermediated Communications and the emerging field of Game Studies. The process of conducting the eighteen-month ethnographic study followed the progress of a sub-set of members of the ‘Uru Diaspora,’ a group of 10,000 players who were made refugees when the massively multiplayer game ‘Uru: Ages Beyond Myst’ was closed in February of 2004. Uru refugees immigrated into other virtual worlds, using their features and capabilities to create ethnic communities that emulated the culture, artefacts and environments of the original Uru world. Over time, players developed ‘hybrid’ cultures, integrating the Uru culture with that of their new homes, and eventually creating entirely new Uru and Myst-inspired content. The outcome is the identification of six factors that serve as ‘engines for emergence’ and discusses their relationship to each other, to game design, and to emergent behaviour. These include: • Play Ecosystems: Fixed-Synthetic vs. Co-Created Worlds: Online games and virtual worlds exist along a spectrum, with environments entirely authored by the designer at one end, and those comprised primarily of player-created content and assets on the other, with a range of variations between. The type of world will impact the sort of emergent behaviour that occurs, and worlds that include player-created content will be more inclined to promote emergent behaviour. • Communities of Play: Distributed groups formed around play demonstrate distinct characteristics based on shared values and play styles. The study describes in detail one such play community, and analyses the ways in which its characteristic play styles drove its emergent behaviours. • The Social Construction of Avatar Identity: Individual avatar identity is constructed through an emergent process engaging social feedback. • Intersubjective Flow: A social reading of the psychological notion of ‘flow’ that describes the way in which flow dynamics occur in a social context through play. • Productive Play: Countering the traditional contention that play is inherently ‘unproductive’ as some scholars suggest, the thesis argues that play can be seen as a form of cultural production, as well as fulcrum for creative activity. • Porous Magic Circles and the ‘Ludisphere’: The magic circle, which bounds play activities, is more porous than game scholars had previously believed. The term ‘ludisphere' is used to describe the larger context of aggregated play space via the Internet. Also identified are leakages between ‘virtual worlds’ and ‘real life’. By identifying these factors and attempting to trace their roots in game design, the study aims to contribute a new approach to the making and analysis of user experience and creativity ‘in game’. The thesis posits that by achieving a deeper cultural understanding of the relationship between design and emergent behaviour, it is possible to make steps forward in the study of ‘emergence’ itself as a design material.
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Anad, Donya, and Haojue Gong. "Situated Gaming: The story of the past, present and future in women's digital game world." Thesis, Blekinge Tekniska Högskola, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-16550.
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In this bachelor thesis we research and discuss a theme that has been the focus for many feminist figures and groups in both older and recent content where they clash together in an effort to find a solution to a problem that has been plaguing our society. The problem being; a lack in diversity inside Game development companies and creation, thus our question becomes; how can We include or encourage more women to enter the digital world and participate in programming and game making. The methods that has been chosen for this thesis range from Critical Design: to design and create a unique game of our own, Interviews: to question women from different backgrounds and ages to find out what they want/wish for regarding games, to Kanban: where we use it to get our project together. All while linking this entire thesis to Situated Knowledge concept where we dive in deeper to what it means in the discussion part and how in our results we discoverer a way that we individually can use to change the gaming industry and its involvement.I det här kandidatarbetet undersökes det ett problem som har varit centrum för många feministiska figurer och grupper i båda äldre och senaste innehåll där man har försökt på flera år och sätt att hitta lösning till; vilket är brist på mångfald inom spelutvecklingsföretag och skapandet, särskild när det gäller kvinnor. Då vår fråga blev; hur kan vi inkludera eller uppmuntra fler kvinnor att komma in i den digitala världen och delta i programmering samt spelframställning. Metoderna som har valts för denna avhandling sträcker sig från Critical Design: Att utforma och skapa ett unikt spel med hjälp av konceptet. Intervjuer: Fråga kvinnor från olika bakgrunder och åldrar för att ta reda på vad de vill / önskar med avseende på spel, till Kanban: där vi använder det här projektmetoden för att få vårt projekt ihop. Samtidigt kopplas hela arbetet till Situated-knowledge konceptet där vi fördjupar oss i om vad det betyder i diskussionsdelen med sambandet av resultat där upptäcker vi en väg/ potentiell lösning som kan användas enskild för att förändra spelbranschen.
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Yeadon, Michelle. "The Nether Worlds of Jennifer Haley — A Case Study of Virtuality Theatre." Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23726.
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Studies exploring the first wave of digital performance foregrounded technology by cataloging experimentation and novel interactions between liveness, projections and code. As exercises in medium, these high tech spectacles demonstrate the aesthetic potential of digital media while introducing key media concepts. Jennifer Haley is a writer with one foot in theatre and one in code. She is uniquely positioned in two interdependent spheres, which makes her particularly suited to engineer a theatrical bridge into the virtual, because at the heart of the contemporary technological revolution is a new level of writing and media literacy. Theatre has been effectively accessing the virtual imagination for millennia, and new technologies create new intricacies for engaging the virtual within theatrical space. Each is a medium defined by action, which host other media, and provide in depth simulations. Haley’s plays push beyond the fascination and spectacle of technology to incorporate the mundane reality of the digital into the structure of her work. Haley writes plays specifically to resonate with the similarities she sees between theatre and virtual worlds. Utilizing techniques and tropes from other media and then framing the narrative from within a theatrical world Haley exploits the essence of an active, critical audience and opens a dialog between virtual worlds and the perceptions of the audience. She treats her media generated worlds as places. Other digital theatre plays may peer through a window into the virtual by dramatizing a conversation through media; Haley sends an expedition over the threshold into another world. A flesh version of an avatar breathing before the audience establishes a material existence unattainable in two dimensional screen media. Haley illuminates the constructed nature of mediatized communication, but she does it dramaturgically deemphasizing the technology and re-centering the human within the virtual drama. Her approach builds a metaphorical bridge between theatre and virtual digital realities. Through a close reading of Haley’s plays I will demonstrate how Haley takes the artistic next step for computer technology and theatre.
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Bäcke, Maria. "Power Games : Rules and Roles in Second Life." Doctoral thesis, Karlskrona : Blekinge Institute of Technology, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-00496.
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This study investigates how the members of four different role-playing communities on the online platform Second Life perform social as well as dramatic roles within their community. The trajectories of power influencing these roles are my main focus. Theoretically I am relying primarily on performance studies scholar Richard Schechner, sociologist Erving Goffman, and post-structuralists Michel Foucault, Gilles Deleuze and Felìx Guattari. My methodological stance has its origin primarily within literature studies using text analysis as my preferred method, but I also draw on the (cyber)ethnographical works of primarily T.L. Taylor, Celia Pearce, and Mikael Jakobsson. In this dissertation my focus is the relationship of the role-player to their chosen role especially in terms of the boundary between being in character, and as such removed from ”reality,” and the popping out of character, which instead highlights the negotiations of the social, sometimes make-belief, roles. Destabilising and problematising the dichotomy between the notion of the online as virtual and the offline as real, as well as the idea that everything is ”real” regardless of context, my aim is to understand role-play in a digital realm in a new way, in which two modes of performance, dramatic and social, take place in a digital context online — or inworld as many SL residents call it.
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Marone, Vittorio. "Constructing Meanings by Designing Worlds: Digital Games as Participatory Platforms for Interest-Driven Learning and Creativity." Doctoral thesis, Università degli studi di Padova, 2013. http://hdl.handle.net/11577/3423639.
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This study emerges from the observation of an increasing divide between generations: a lack of a shared ground that carries profound social, cultural, and educational implications. In particular, the broadening differences between academic and “grassroots” approaches to learning and creativity are transforming formal and informal enterprises into seemingly incommunicable realms. This clash between different (and distant) practices, inside and outside of school, is inhibiting the construction of a common language between teachers and students, and, more broadly, between generations, thus hindering the development of any educational discourse.
In this study I inquired into an online participatory space in order to advance our understanding on how its participants, driven by their interest for gaming and game design, discursively constructed learning and creativity. In particular, I looked into a community dedicated to designing, sharing, and critiquing digital game levels (i.e. “mini-games”) created with LittleBigPlanet (a digital game and creative tool for the PlayStation 3 game console) and discussed in the “Forum” section of the LittleBigPlanet Central website (www.lbpcentral.com).
In this qualitative study I applied a hybrid intertextual methodology based on discourse analysis, studio critique, and design process analysis to analyze discursive texts (threads/posts in the discussion forum), interactive artifacts (user-generated game levels), and constructive practices (deigning, sharing, and critiquing game levels).
The findings of this study show that participants socially construct and negotiate learning and creativity by enacting specific discursive functions that entail the use of humor and specialist language and the negotiation of effort and self-appreciation. By engaging in multimodal and intertextual practices in an attentive and competent community, users create a safe social space that fosters reciprocal trust, togetherness, participation, planning, and reflectivity.
By furthering our understanding of a situated interest world, this research advances our knowledge on informal participatory spaces in which learning and creativity emerge as intertwined phenomena that develop through social-constructive endeavors that spur from people’s interests and passions.Questa ricerca nasce dalla constatazione di un crescente divario tra generazioni: una mancanza di terreno comune che comporta profonde implicazioni sociali, culturali ed educative. In particolare, le differenze tra approcci formali e informali all’apprendimento e alla creatività sembrano inibire la costruzione di un linguaggio condiviso tra docenti e studenti, e, più in generale, tra generazioni, ostacolando così lo sviluppo di qualsiasi discorso educativo. In questa ricerca qualitativa ho analizzato le interazioni in uno spazio on-line informale i cui partecipanti, guidati dal loro interesse per i videogiochi e il game design, progettano, condividono, e commentano livelli di gioco digitali (cioè “mini-giochi”) creati con LittleBigPlanet (un videogioco e uno strumento creativo per la PlayStation 3) e discussi nella sezione “Forum” del sito LittleBigPlanet Central (www.lbpcentral.com). In questo studio ho utilizzato una metodologia intertestuale ibrida basata sull’analisi del discorso, sulla “studio critique”, e sull’analisi di processo nel campo del design, per analizzare i testi discorsivi (i thread/post nel forum), gli artefatti interattivi (i livelli di gioco creati dagli utenti) e le pratiche costruttive (progettare, condividere e commentare i livelli di gioco). I risultati di questa ricerca dimostrano che i partecipanti del forum costruiscono socialmente l’apprendimento e la creatività attraverso specifiche funzioni discorsive che comportano l’impiego di humor e linguaggio specialistico e la negoziazione sociale di impegno e auto-apprezzamento. Gli utenti del forum, immersi in una comunità attenta e competente, cimentandosi in pratiche multimodali e intertestuali, creano uno spazio sociale che favorisce lo sviluppo di fiducia reciproca, unità, partecipazione, pianificazione, e riflettività. Questa ricerca amplia la nostra comprensione degli spazi partecipativi informali in cui l’apprendimento e la creatività emergono come fenomeni interconnessi che si sviluppano attraverso pratiche socio-costruttive che scaturiscono dagli interessi e dalle passioni delle persone.
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Moser, Shelby. "Digitally interactive works and video games : a philosophical exploration." Thesis, University of Kent, 2017. https://kar.kent.ac.uk/66616/.
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This dissertation explores the philosophy of digitally interactive works and video games. There are two central questions to this thesis, namely, what is distinctive about computer art, and more specifically, what is distinctive about the interactivity that these kinds of works afford? The latter question is a response to the former, but, as I will articulate in the chapters that follow, this distinctive type of interactivity is not restricted to works that are comprised of digital media. As it turns out, games (especially video games) are paradigmatic examples and so both analytic aesthetics and game theory are relevant to a discussion of interactivity. In what follows, I address topics that pertain to interactivity such as art categories, prescriptions, appreciation, and ontology. This thesis will show that interactive works consist of unique displays and prescriptions and are, therefore, a distinctive category of art. I conclude that interactive works do not belong in a performance ontology, that the prescriptions of interactive art bear player engagement, and, importantly, the distinctive features of digitally interactive works hinge on an algorithmic ontology.
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Jakobsson, Joel, and Sara Ullman. "The role-playing game Final Fantasy 7 and English vocabulary development." Thesis, Malmö högskola, Fakulteten för lärande och samhälle (LS), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-30830.
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Abstract In this study, the role-playing game Final Fantasy 7 was analysed in regards of its qualities for English language development. Areas concerning language, specifically vocabulary, and video games explored in this study were academic words, words that express time, collocations, frequency, and keywords. Other areas investigated in this study are video games in connection to the syllabus for English, students’ outside of school interests, and implications for teaching. Data from a corpus-based vocabulary analysis showed that the players of Final Fantasy 7 will encounter a rich variety of words and linguistic features. Further, the text of Final Fantasy 7 shares a lot of the same qualities with texts from English 5 and 6, concerning academic words. Although, an analysis of keywords in the game and in the school texts also showed some differences, mainly in terms of grammatical variations, which indicate that Final Fantasy 7 can function as a complement to typical school texts.
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Nilsson, Jakob. "Berättelsens labyrinter : Interaktiv fiktion och dess narrativa aspekter." Thesis, Södertörns högskola, Institutionen för genus, kultur och historia, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-15297.
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This essay examines the narrative aspect of interactive fiction. The study uses Janet H. Murrays analysis of the digital environment and the properties of it as procedural, participatory, spatial and encyclopedic. From this, her three characteristic pleasures in digital narratives - immersion, agency and transformation - are examined from the perspective of interactive fiction. The study also examines Nick Montforts analysis of interactive fiction as a potential narrative and a simulated world or environment. His comparison of interactive fiction with the literary riddle is also used in regards to puzzles and other game-related aspects in interactive fiction as a part of storytelling. Furthermore, the essay uses Espen J. Aarseths analysis on ergodic text and non-linearity to place interactive fiction in a tradition of participatory texts not necessarily bound to the computer. The essay show how the repeated and sudden nature of death in interactive fiction poses a potential problem in its aspiration to create a cohesive storytelling experience. Death can however be used as an aid in other narrative aspirations, such as humour. Furthermore, the participatory aspect of interactive fiction can create a meaningful and strong emotional response to the death of non-player characters. The essay also show how interactive fiction may use puzzles and other challenges as a method to create suspense and drama. The quality of interactive fiction as a simulated world enables it to create mazes and related experiences based on spatial navigation. Especially it underlines its capacity to in this manner portrait abstract concepts such as bureaucracy in a convincing and literal way. Finally the essay proposes that interactive fiction can be viewed as a bridge between traditional literary texts and the new digital texts of computer based entertainment. The essay therefore suggests that interactive fiction, with its expressed literary ambitions, is especially qualified as a starting point for understanding computer games as a capable storytelling tool. Further studies on interactive fiction may help reach a deeper understanding of the narrative qualities of computer games.
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Eklund, Lina. "The Sociality of Gaming : A mixed methods approach to understanding digital gaming as a social leisure activity." Doctoral thesis, Stockholms universitet, Sociologiska institutionen, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-83163.
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This dissertation is an exploration of the practice of social digital gaming, using a mixed methods approach with complementary data and analytical methods. The main themes are the prevalence and meaning of gamers’ experiences of social gaming and the underlying structures limiting or assisting social gaming, both material and social. Applying an everyday perspective, focus is on gamers’ day-to-day practices and experiences. Studies I and II enquire into relational aspects of social gaming based on interviews and survey data. Study III investigates the relationship between game design and gamer agency and its importance for social interaction with strangers, using in-game participant observation. Lastly in Study IV, building on interviews, female gamers come to the fore as their gender construction in an online game is examined with the aim of understanding the connection between online and offline. The main result concerns how social gaming takes place in various social relations. How gaming comes to be―what it means―is dependent on the relations between gamers, be they family members, real life friends, Internet friends or strangers. In these interactions, gender and sexual identity are realized; in the relations between gamers, physical proximate or online. Finally, virtuality is shown to be a social accomplishment of the people engaging in games rather than a property of the games themselves. Focus on the relational unveils how gaming comes to be in the process of interaction, a process at the same time dependent on underlying structures, i.e. games as designed platforms with certain affordances for social behaviour. We are able, thus, to reconcile the social constructivist position that (social) gaming is created in the relations between gamers engaging in games with the more formalist approach that games are rule based structures. Games create a foundation for interaction that can further develop into the creation/maintenance of relationships and identity.At the time of the doctoral defense, the following papers were unpublished and had a status as follows: Paper 1: Manuscript. Paper 2: Manuscript. Paper 3: Manuscript.
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Pelan, Justin Darrell. "Modular Multi-Signal Tracking Pulse Descriptor Word (PDW) Generator WithField Programmable Gate Array (FPGA) Implementation." Wright State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=wright1472223866.
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Fletcher, Kathryn DeWitt. "Geographies of the underworld." Thesis, Atlanta, Ga. : Georgia Institute of Technology, 2008. http://hdl.handle.net/1853/24613.
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Thesis (M. S.)--Literature, Communication, and Culture, Georgia Institute of Technology, 2008.Committee Chair: Michael Nitsche, Ph.D.; Committee Member: Celia Pearce, Ph.D.; Committee Member: Eugene Thacker, Ph.D.; Committee Member: T. Hugh Crawford, Ph.D.
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Hammad, Hayssam Mohammed Saber Abdallah. "Ownership and authorship in copyright law : a proposal to re-categorise works and a digital implementation." Thesis, University of Exeter, 2015. http://hdl.handle.net/10871/17636.
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The thesis argues that there is a pressure on the authorship concept since the emergence of collections of facts, anthologies, and adaptations of pre-existing works. These works were the reason that Judges offered various interpretations to authorship and originality, as some Judges lessened the requirement of originality to obtain copyrightability for these works and some raised it. This led to make the protection granted by copyright law to intellectual works vague and uncertain. This became apparent in conflicts in courts decisions on copyright subsistence in works. This subsequently led to confusion around the criteria of interpretation that should be adopted and the theory or justification that copyright law is founded upon. The thesis argues that this vagueness and uncertainty is related not to the authorship concept but to the failure of law to adapt to two separate natures of works, one including authorial, mental and personal contribution and the other only including manually skilful contribution. Those two kinds cannot be subject to same principles or justifications of protection. The inexistence of such differentiation in doctrine, judiciary and legislation led to the distortion of authorship and originality concepts in the attempts to reduce their interpretation to suit those works that actually miss authorial contribution. Alternatively, whole attention was paid to granting ownership to right holders of these works, which led to the prevalence of the ownership concept as being a necessity for the marketability of cultural works over the authorship concept. The thesis finds that this difference in nature can be uncovered by settling on a differentiation between two kinds of skills that are used in creating works: the mental skills, which are authorial skills, on the one side, and manual skills, which are the collecting, combining, performing or executing skills, on the other. Accordingly, this thesis proposes a categorisation of works, that of ‘high, low and non-authorship’ works, which relies on the nature of the works and elements of authorship in the work. The thesis finds that every category of works needs a separate criterion that can suit its nature and constituent authorship elements; also, the protection needs to be graded depending on the level of authorship in the work. This thesis suggests that such a legal proposition be implemented digitally in what it calls the ‘Digital Cultural National Gate’, which decides the category the work should belong to and the correspondent protection, and that through some questionnaires on the work the authorship elements can be recognised.
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Ilar, Sandra. "The Hunger Games Viral Marketing Campaign : A Study of Viral Marketing and Fan Labor." Thesis, Stockholms universitet, Institutionen för mediestudier, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-105864.
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This essay examines Lionsgate’s viral marketing campaign for The Hunger Games (Gary Ross, 2012) and the marketing teams’ use of new marketing techniques and the online fan base. The essay also asks the question to what extent the fans’ participation in Lionsgate’s marketing campaign can be called fan labor. The study is based on a film industrial perspective and academic literature that deals with film marketing, the film industry, fandom and digital labor. The material used for the analysis of The Hunger Games marketing campaign is collected from newspaper articles and news interviews with Lionsgate’s marketing personnel. The study shows that although Lionsgate used many new marketing strategies associated with viral marketing, it is problematic to depict these strategies as a wholesale movement from older marketing techniques. It points to the importance of a nuanced understanding of how producers and consumers operate in the digital age with a holistic view on film marketing practices. The study also shows that Lionsgate’s use of the online fan base correspond with many characteristics of fan labor on the internet. It is, however, problematic to establish that this necessarily means that the fans’ contributions to the marketing campaign were exploited or that it demands compensations. The essay argues that the popularity of viral marketing among film studios and their use of fans and fan created content for promotional purposes calls for further investigations.
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Yamazaki, Kasumi. "Learning to Communicate in a Virtual World: The Case of a JFL Classroom." University of Toledo / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1430389814.
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von, Wenckstern Michael. "Web applications using the Google Web Toolkit." Master's thesis, Technische Universitaet Bergakademie Freiberg Universitaetsbibliothek "Georgius Agricola", 2013. http://nbn-resolving.de/urn:nbn:de:bsz:105-qucosa-115009.
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This diploma thesis describes how to create or convert traditional Java programs to desktop-like rich internet applications with the Google Web Toolkit. The Google Web Toolkit is an open source development environment, which translates Java code to browser and device independent HTML and JavaScript. Most of the GWT framework parts, including the Java to JavaScript compiler as well as important security issues of websites will be introduced. The famous Agricola board game will be implemented in the Model-View-Presenter pattern to show that complex user interfaces can be created with the Google Web Toolkit. The Google Web Toolkit framework will be compared with the JavaServer Faces one to find out which toolkit is the right one for the next web projectDiese Diplomarbeit beschreibt die Erzeugung desktopähnlicher Anwendungen mit dem Google Web Toolkit und die Umwandlung klassischer Java-Programme in diese. Das Google Web Toolkit ist eine Open-Source-Entwicklungsumgebung, die Java-Code in browserunabhängiges als auch in geräteübergreifendes HTML und JavaScript übersetzt. Vorgestellt wird der Großteil des GWT Frameworks inklusive des Java zu JavaScript-Compilers sowie wichtige Sicherheitsaspekte von Internetseiten. Um zu zeigen, dass auch komplizierte graphische Oberflächen mit dem Google Web Toolkit erzeugt werden können, wird das bekannte Brettspiel Agricola mittels Model-View-Presenter Designmuster implementiert. Zur Ermittlung der richtigen Technologie für das nächste Webprojekt findet ein Vergleich zwischen dem Google Web Toolkit und JavaServer Faces statt
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Blackman, Tyler Andrew. "Digital worlds: performativity and immersion in VR videogames." Thesis, 2019. http://hdl.handle.net/1828/11408.
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Virtual reality (VR) and videogames present, enable, and constrain human engagement with what may broadly be called digital worlds. Videogames have already become a global force in popular culture. Although VR technologies have existed for half a century, it is only during the past decade that VR has become more widely accessible to the public beyond the confines of research institutions and industry use. Very little scholarship has examined the interconnections of videogames and VR as co-extensive cultural forces that shape ideas and feelings about inhabiting digital worlds. This thesis specifically examines the often-employed lexicon of immersion, presence, or feelings being inside of computer-generated contexts as they exist across videogames and VR. By analyzing 15 participants’ interactions with a contemporary VR videogame and interviewing them about this experience, I discuss how immersion, presence, or the feeling of being inside computer-generated worlds is performative and exceeds what the technology affords. Instead, engagement with digital worlds intersects with other performances, actions, and previous engagement with objects or other digital worlds to make sense of creating meaning in VR.Graduate
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WONG, CHI-LONG, and 黃子龍. "Modern Chinese Ink Painting Used in the Visual Creation of Digital Fantasy Game: Using "Possible Worlds" As an Example." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/8e492y.
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碩士國立臺北教育大學
數位科技設計學系(含玩具與遊戲設計碩士班)
104
Chinese Ink painting art is the unique art style. Different from the Western art as a realist-based, Chinese ink painting is the expression of the mood-based. Today, Chinese ink painting art combines with Western art. Developed modern Chinese ink painting, digital Chinese ink painting and other innovative art form. In today's gaming market has no shortage of all kinds of Chinese ink painting style game, but since early in the game industry has been developing a set of fixed-art models, even with the use of Chinese ink art games, mostly seen in the use of the visual concept. Some games as the main use of the visual, which is only used in conjunction with the subject matter limited to Eastern mythology and other traditional Oriental culture, which makes those Chinese ink painting style games are very similar, and gradually feel nothing new. This study attempts to show the concept of modern Chinese ink painting creation of a fantasy view of the world Western game, in addition to experimenting with new Chinese ink art style as the game's main visual, but also choose non-oriental theme as a design theme, it is desirable to create differ, a unique visual style of the game with game market. I am hoping to offer to the game creator or artistic staff as a reference.
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Neuheisl, Lukáš. "Archeogaming a kulturní dědictví hráčů digitálních her." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-404740.
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Progression of human civilization in fields of technology, culture and media is closely tied to the creation of remains known as a cultural heritage. These artefacts and knowledge are testimonies of human cultures of distant and recent pasts. In last two decades, a trend of creating and living in synthetic worlds has emerged with social media and vast digital games being prime examples of such synthetic worlds. To better understand human culture, a new, yet undeveloped and academically unestablished (even though suggested by texts in past 30 years) interdisciplinar field has emerged: archaogaming. Its mission is researching distant and recent past through cultural heritage in and of digital games, connecting archaeology, game and media studies, using methods and tools inspired by archaeological practice. Among such methods belongs digital ethnography and on-site research, methods used in this Master's thesis' research. Its aim was to describe artefacts used and left in game worlds by gamers of three chosen digital games: GTA Online, Fortnite Battle Royale and Soul Calibur VI. Moreover, other goals of this research were to identify factors influencing such relics and their lifespan. Analysis of data collected during 60 gaming sessions throughout the trio of synthetic worlds suggests that artefacts...
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WU, CHENG-YUAN, and 吳承媛. "A Creation Description of the Digital Game “Little Me Little World”." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/z6j7f7.
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碩士國立臺灣藝術大學
多媒體動畫藝術學系新媒體藝術碩士班
106
“Little Me Little World” is a digital game app that tells the story of a father and daughter. The father’s broad back can be viewed as the daughter’s home. The father carries his daughter on his back as she gradually grows. The inspiration for this story comes from the author’s own life experiences - her own memories and sentiments of her childhood with her father serving as the core creative axis. After the daughter grows up and leaves their father’s side, the paper planes that fly throughout the entire work embody her affection and love. At the end, the daughter’s husband also aims a plane in the father’s direction, conveying how they will always be at his side. The player first watches the animation introducing the story and the entire game world, which guides players to immerse themselves into the interactive game.The player holds the tablet device with both hands and tilts it left and right to keep the game’s character balanced. The objective is to stack items on the character’s back. If successful in beating the game, the player is then able to watch the final animation clip and finish the story. Combining narrative theory with interactive gaming, the entire story is successfully integrated into the work. The work is a digital narrative work that combines animation with an interactive game, using dazzling colors that attract both parents and children. In addition to viewing the animated story, both can develop an elevated level of emotional exchange by playing the interactive game. This work generates concepts of family amongst children, while promoting understanding of the hardships and care of parents. Suitable for both parents and children to play together, this work provides both family education and action entertainment features.
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Herr, Timothy Paul. "Texts and reading in virtual environments : history and prospects." Thesis, 2012. http://hdl.handle.net/2152/ETD-UT-2012-05-5611.
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This thesis examines the activity of pleasure reading as conducted within three kinds of virtual environments: role-playing and adventure video games, Massively Multiplayer Online Games (MMOGs) such as World of Warcraft, and graphical online social worlds such as Second Life. I ask how and to what extent different types of virtual environments are able to provide immersive reading experiences. This analysis relies upon the concepts of telic (purpose-driven) and paratelic (pleasure-driven) modes of reading, and I examine how virtual environments provide affordances for one or the other mode. How they do so usually has to do with how their situate reading materials in relation to the environment’s diegetic world, as well as whether the diegetic world is coherent and bounded. I conclude that while paratelic reading is encouraged in all virtual environments, role-playing and adventure video games are conducive to partially telic reading experiences, with players reading in order to better understand the diegetic world in which they act. MMOGs feature largely immutable diegetic worlds lacking normal relations of causality, but they still manage to some degree to encourage telic reading by circumscribing and enriching the world with lore. Virtual social worlds are generally unable to provide this sort of telic reading experience due to their lack of coherent diegetic worlds, and their effectiveness for paratelic reading is currently hampered by unwieldy interfaces and lack of innovation in the format of virtual books. Although MMOGs and social virtual worlds both feature synchronous collaboration between players with the potential for emergent narratives, neither has been able to leverage this advantage for the creation of immersive reading experiences. Finally, all three forms of virtual environment have inspired innovative user-created narratives and interfaces, but they have done so outside the contexts of their diegetic game worlds, in the sphere of participant culture.text
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SHIH, HUEI-JHEN, and 施慧真. "A Study of Digital Game-based Learning in Social Studies Classroom for Elementary School - A Case Study of the World Culture." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/mjzb9a.
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碩士華梵大學
資訊管理學系碩士班
105
Students' ability to use technology and information is increasing with the popularity of mobile devices and the convenience of the APP. However the teaching materials of the senior social field curriculum are trivial, how to combine the APP to help students study more effectively with the relevant knowledge of the social field is worthy of study. In this study, MIT App Inventor 2 is used to design the APP of social field < World culture game >, and the teaching content of world culture in social field for the sixth grade student is integrated into the APP, which provides students with independent control of the contents of learning and adjust the progress of self review. The APP provides the time-limited game and the top list to stimulate students peer interaction, but also the design of immediate feedback function can help student learn efficiency. The App has been used in the classroom for the sixth grade students. The participants are asked to answer the ARCS Motivation Scale questionnaire, and their regular assessment results for the former and after the test are used to explore the difference of student’s learning motivation and learning effectiveness between the use of the APP to help the social teaching and traditional teaching method. The experimental result shows that the students who use the digital game-based learning APP have higher learning motivation than the students with the traditional learning method. More than 80% of the students like to participate in the digital game-based learning courses, and express a high degree of interest and affirmation for the immediate feedback and 60-second teaching game.
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Chou, Yi-Chen, and 周宜蓁. "The Impact of Social Media’s Posts Writing on the Television Viewing Behavior of Digital Television Viewers: An Example of Baseball World Cup for Taiwan’s Games." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/nzk47x.
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碩士國立臺北科技大學
經營管理系碩士班
105
The rise of Internet has cultivated a new type of television viewing behavior. Many viewers watch TV programs and simultaneously participate in discussions on social media such as Facebook, and therefore, it has become significant for the employees in TV industry to learn how to improve ratings in terms of Facebook. In this research, we take an example of Baseball World Cup and use Text Mining to identify keywords that affected TV program ratings from the posts and the comments in Facebook. Then, CART and VAR are applied to build up a TV program rating forecasting model based on those identified keywords. According to the result, the built model is capable of making good prediction. It, to a certain extent, captures the ratings tendency and provides TV industry an approach to understand what kind of keywords are really helpful for their program ratings.
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Matuszkiewicz, Kai. "Zwischen Interaktion und Narration:." Doctoral thesis, 2017. http://hdl.handle.net/11858/00-1735-0000-002E-E458-E.
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