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DISSERTAÇÃO Caio Túlio Olímpio Pereira Da Costa.Pdf UNIVERSIDADE FEDERAL DE PERNAMBUCO CENTRO DE ARTES E COMUNICAÇÃO PROGRAMA DE PÓS-GRADUAÇÃO EM COMUNICAÇÃO CAIO TÚLIO OLÍMPIO PEREIRA DA COSTA A EXPERIÊNCIA SENSÍVEL NA IMERSÃO EM JOGOS DE VIDEOGAME Recife 2020 CAIO TÚLIO OLÍMPIO PEREIRA DA COSTA A EXPERIÊNCIA SENSÍVEL NA IMERSÃO EM JOGOS DE VIDEOGAME Dissertação apresentada ao Programa de Pós- Graduação em Comunicação da Universidade Federal de Pernambuco, como requisito parcial para obtenção do título de Mestre em Comunicação. Área de concentração: Estética e Culturas da Imagem e do Som. Orientador: Professor Doutor Eduardo Duarte Gomes da Silva. Recife 2020 Catalogação na fonte Bibliotecária Andréa Carla Melo Marinho, CRB-4/1667 C837e Costa, Caio Túlio Olímpio Pereira da A experiência sensível na imersão em jogos de videogame / Caio Túlio Olímpio Pereira da Costa. – Recife, 2020. 174 f.: il. Orientador: Eduardo Duarte Gomes da Silva. Dissertação (Mestrado) – Universidade Federal de Pernambuco. Centro de Artes e Comunicação. Programa de Pós-Graduação em Comunicação, 2020. Inclui referências. 1. Videogame. 2. Imersão. 3. Experiência sensível. 4. Subjetividade. I. Silva, Eduardo Duarte Gomes da (Orientador). II. Título. 302.23 CDD (22. ed.) UFPE (CAC 2020-91) CAIO TÚLIO OLÍMPIO PEREIRA DA COSTA A EXPERIÊNCIA SENSÍVEL NA IMERSÃO EM JOGOS DE VIDEOGAME Dissertação apresentada ao Programa de Pós- Graduação em Comunicação da Universidade Federal de Pernambuco, como requisito parcial para obtenção do título de Mestre em Comunicação. Aprovada em: 19/02/2020. BANCA EXAMINADORA _____________________________________________________________ Prof. Dr. Eduardo Duarte Gomes da Silva (Orientador) Universidade Federal de Pernambuco _____________________________________________________________ Prof. Dr. Rodrigo Octávio D’Azevedo Carreiro (Examinador Interno) Universidade Federal de Pernambuco _____________________________________________________________ Prof. Dr. Nathan Nascimento Cirino (Examinador Externo) Universidade Federal de Campina Grande AGRADECIMENTOS A cidade do Recife por ter me recebido tão bem. À Eduardo Duarte, meu orientador e mentor, pela paciência, acolhimento, franqueza e amizade. Aos colegas do grupo Narrativas Contemporâneas pelas conversas, desabafos, dúvidas e inspirações. Ao PPGCom por todo o carinho. A Universidade Federal de Pernambuco por ter se tornado minha casa. A minha família do Ceará por ter acreditado em mim e ter me dado esse voto de confiança. À minha família de Pernambuco pela ternura, amparo e compreensão. À Camila Colaço pelos incentivos e amor. A irmandade que foi formada durante esses dois anos de muitas aventuras e desventuras com Nahum Isaque, Dêverton Plácido e Johnson Sarmento. Aos amigos da academia de todo o Brasil pelos encontros e desencontros ao redor do país e pelas produções em conjunto. À Mary Kate e Ashley - as muletas que me seguraram -, às fisioterapeutas Morgana Buarque, Silvia Crasto e Alice Valadares, que me deram suporte durante as crises de hérnia de disco. Aos alunos do curso de bacharelado em Rádio, TV e Internet da UFPE que cursaram a disciplina Comunicação Comparada em 2019.1, por estabelecerem uma relação mútua de aprendizado a partir de meu estágio docente e expandirem minhas percepções sobre os pilares teórico-metodológicos da dissertação. A minha banca de qualificação por apagar incêndios e me indicar melhores rumos. À Deus, da forma que eu o concebo, pelos empurrões, estalos e estamina. À Fundação de Amparo à Ciência e Tecnologia de Pernambuco - FACEPE por ter financiado uma jornada de pesquisa, ciência e autodescoberta de extrema valia. Aos jogos eletrônicos por me proporcionarem o exercício do viver e experimentar diversos universos imaginários. "Whenever there is a meeting, a parting is sure to follow. However, that parting need not last forever... Whether a parting be forever or merely for a short time... That is up to you." (The Legend of Zelda: Majora’s Mask, 2000). RESUMO A presente dissertação analisa o modo pelo qual os jogos de videogame podem proporcionar aos jogadores a imersão em mundos primorosamente simulados através da experiência obtida do jogar. Trata como pilares teórico-metodológicos a imersão e a experiência sensível, considerando seus elementos intrínsecos como essenciais para a compreensão das relações entre jogo-jogador (ambiente-indivíduo). Permeando conceituações como projeção-identificação, avatar, saldo do vivido, subjetividade e gatilhos imersivos, a dissertação bebe de fontes multidisciplinares para tratar seu objeto, considerando também a comunicação como esfera privilegiada. Nesse processo, apresenta um corpus de pesquisa que facilita o pensamento crítico a respeito dessa interação e transporte, utilizando-se de grupos de controle e métodos de observação participante como instrumental analítico. A dissertação busca registrar como ocorre a experiência de imersão de consciência, identificando características que diferenciam essas experiências, compreendendo mobilizações afetivas experimentadas e verificando se esse processo é capaz de formular ideias e juízos que podem ser refletidos no cotidiano do usuário. Palavras-chave: Videogame. Imersão. Experiência Sensível. Subjetividade. ABSTRACT The current research analyses how videogames provide immersion in primarily simulated worlds through the experience of playing to the players. It carries out immersion and sensible experience as theoretical and methodological perspectives, considering its intrinsic essential elements to the comprehension of the relations of game-gamer (environment-individual). It regards discussions on projection-identification, avatar, living results, subjectivity, and immersive triggers, as well as multidisciplinary fonts while treating its object, considering the communications field of study as privileged. It presents a research corpus in order to strengthen the critical thinking on this transport and interactions, applying group monitoring and methods of participatory observation as analytical instruments. The research aims at the registration of how the experience of conscience immersion occurs, identifying characteristics that differs one from another, comprehending affective mobilizations experienced and verifying if this process is able to create ideas and thoughts that could reflect on the daily life of the user. Keywords: Videogame. Immersion. Sensible Experience. Subjectivity. LISTA DE ILUSTRAÇÕES Figura 1 - Jogo de futebol com chinelos como trave, ambiente do Círculo Mágico ......... 21 Figura 2 - Jogo The Legend of Zelda: Breath of the Wild (2017) desenvolvido por Nintendo ............................................................................................................ 26 Figura 3 - Guitarra/Controle alternativo da franquia Guitar Hero. .................................... 27 Figura 4 - Interface do jogo Guitar Hero II (2006). ........................................................... 28 Figura 5 - Tela de tutorial do jogo God of War com instruções de ataque (2018) ............ 29 Figura 6 - Customização de personagem no jogo eletrônico online Destiny (2014)......... 32 Figura 7 - Ilustração de Lewis Brown, retratando o RPG de mesa, os jogadores, seus respectivos avatares e o Mestre que narra a história/campanha. ...................... 34 Figura 8 - Pôster do jogo de CD-ROM Myst (1993) ........................................................ 35 Figura 9 - Simulador de voo da aeronave C-105 Amazonas da Força Aérea Brasileira, homologado pela Agência Nacional de Aviação Civil ..................................... 38 Figura 10 - Wolfenstein 3D (1992), da desenvolvedora iD Software ................................. 39 Figura 11 - Canal Flow: A1 (objetivos claros), A2 (feedback), A3 (engajamento) e A4 (desafio). ........................................................................................................... 41 Figura 12 - Interface de Battlefield V (2018), da Electronic Arts ....................................... 44 Figura 13 - Pac-Man (1980), a bola amarela que come tudo pela frente ............................. 45 Figura 14 - Imagem do livro-jogo Planeta Rebelde, de Robin Waterfield (1985) .............. 46 Figura 15 - Interface do jogo Grand Theft Auto: San Andreas (2004) ............................... 54 Figura 16 - Life is Strange (2015) ....................................................................................... 55 Figura 17 - O Templo mórmon de Salt Lake City real ........................................................ 57 Figura 18 - O Templo mórmon de Salt Lake City em The Last of Us (2013) .................... 57 Figura 19 - A captura de movimentos em Mortal Kombat (1992). ..................................... 59 Figura 20 - A tecnologia de captura de movimentos em The Last of Us (2013). ............... 59 Figura 21 - Senua lembrando que testemunhou a execução de sua mãe ............................. 61 Figura 22 - Senua encontra o corpo de Dillion após a Águia de Sangue ............................ 62 Figura 23 - Senua em alucinações visuais ........................................................................... 63 Figura 24 - A ambientação de Hellblade: Senua’s Sacrifice ............................................... 64 Figura 25 - A técnica de captura de performance de Hellblade: Senua’s Sacrifice ............ 65 Figura 26 - A tela inicial e a interface de Hungry Hearts Diner (2018) .............................. 67 Figura 27 - Exemplo de conversa no restaurante, sobre maternidade ................................. 68 Figura 28 - O diagrama do cone de Bergson
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