DOCSLIB.ORG

Stakeholder Management in Crowdfunded Video Game Development

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Stakeholder Management in Crowdfunded Video Game Development Fabian Unger Stakeholder management in crowdfunded video game development Faculty of Information Technology and Communication Sciences Master’s Thesis May 2019 2 ABSTRACT Fabian Unger: Stakeholder management in crowdfunded video game development Master’s Thesis, 155 pages, 7 appendices Tampere University Master's Degree Programme in Media Management May 2019 This case study examines, how stakeholder interests affect reward-based crowdfunded video game development, how managers cope with (potential) stakeholder conflicts, and the similarities and differences between crowdfunding video game projects of different scales. As research on stakeholder interests in the production of crowdfunded video games is scarce, this study thus aims to fill a gap in scholarly literature. The purpose of this study is to contribute to the field of managing crowdfunding projects using a reward-based model, to examine stakeholder-developer interactions and the management of interests in crowdfunded video games, specifically from a manager’s point of view. The outcomes of this study should provide valuable insights for media managers, who deal with varying stakeholders as part of the development of a crowdfunded video game. The study examines seven cases of crowdfunded video games developed by video game companies using a reward-based financing model. It takes a qualitative approach, using semi-structured in-depth interviews with a sample of one employee per company in charge of the overall game development process. The results demonstrate the various ways in which stakeholders influence the development process, similarities and differences of crowdfunding projects of various size, and the impact of crowdfunding on the video game development process in general. Research on developer-stakeholder interaction suggests that stakeholders can affect the development by presenting the prospect of providing more funds, by being a lead user or specialist, or by putting pressure on the developers to change the creative direction by voicing opinions as a crowd, among other reasons. Developers may adopt strategies, that maintain the creative control over the game, but at the same time, be more willing to change project aspects by request or perceived stakeholder interest. In order not to lose a stakeholder group, managers continuously assess the active and passive influence exerted by various stakeholder groups on the overall project. They often try to find common ground in order to satisfy all stakeholder groups and communicate their decisions accordingly. By specifying those strategies, the author presents valuable methods for coping with stakeholder interests in the development of a reward-based crowdfunded video game. Keywords: crowdfunding, reward-based crowdfunding, crowdfunding campaign, stakeholder, stakeholder management, stakeholder influence, stakeholder interests, video game, video games, video game development The originality of this thesis has been checked using the Turnitin OriginalityCheck service. 3 Table of contents 1. Introduction 6 Statement of the general problem to be studied 6 Purpose and significance of the study 7 Theoretical framework 8 2. Literature review 11 2.1. Crowdfunding 11 Roots, history, and industry numbers 11 Crowdfunding definitions 12 Classification of crowdfunding models 13 Characteristics of crowdfunding 15 Advantages and disadvantages of crowdfunding 15 Success factors and pitfalls of crowdfunding 19 2.2. Video games 22 Video games industry numbers 23 Video games industry framework 23 The emerging video gaming value chain 26 2.3. Co-creation and user participation in video game development 28 Co-creation and co-creativity definitions 29 Participatory culture 29 A framework of co-creation 30 Implications of co-creative approaches 31 2.4. Stakeholders and the organization 32 The stakeholder-organization relationship 32 Power and influence in a stakeholder-organization relationship 35 How stakeholders influence organizations 36 How organizations manage stakeholders 39 The backer-developer connection (Smith, A. N., 2015) 40 Stakeholder influence in crowdfunded video game development 44 3. Research questions 46 4. Presentation of the cases 47 Definition of key terms 47 Case characteristics table 50 4 4.1. Large-scale projects 52 Case 1 – Crowfall (ArtCraft Entertainment) 52 Case 2 – BattleTech (Harebrained Schemes) 53 Case 3 – Kingdom Come: Deliverance (Warhorse Studios) 54 4.2. Medium-scale projects 56 Case 4 – Descent (Descendent Studios) 56 Case 5 – The Flame in the Flood (The Molasses Flood) 57 4.3. Small-scale projects 59 Case 6 – Nevermind (Flying Mollusk) 59 Case 7 – Perception (The Deep End Games) 60 5. Methodology 62 6. Findings 64 6.1. Large-scale projects 64 Case 1 – Crowfall (ArtCraft Entertainment) – Interview with Walton (2017) 64 Case 2 – BattleTech (Harebrained Schemes) – Interview with Weisman (2017) 68 Case 3 – Kingdom Come: Deliverance (Warhorse Studios) – Interview with Klima (2017) 73 6.2. Medium-scale projects 78 Case 4 – Descent (Descendent Studios) – Interview with Peterson (2017) 78 Case 5 – The Flame in the Flood (The Molasses Flood) – Interview with Dowling (2017) 84 6.3. Small-scale projects 90 Case 6 – Nevermind (Flying Mollusk) – Interview with Reynolds (2017) 90 Case 7 – Perception (The Deep End Games) – Interview with Gardner (2017) 95 7. Discussion 103 Comparison with literature review results 103 Research question #1 104 Research question #2 104 Research question #3 120 Research question #4 121 Research question #5 123 8. Conclusion 129 Limitations and further research 129 Outlook 129 9. Appendices 130 10. References 145 5 1. Introduction Statement of the general problem to be studied Companies in the creative industries today increasingly struggle to merge their own artistic work with the needs and demands of stakeholders. They tend to demand more product value for a better price, while expecting artists to meet their demands. These developments lead to company efforts to actively integrate (potential) stakeholders into the activities of the company. (Prahalad & Ramaswamy, 2004; Ramaswamy & Gouillart, 2010) Gaming companies are no exception to this development. Crowdfunding is one method of including stakeholders into the creative development process that has become increasingly popular among gaming companies in recent years. Considering the management of crowdfunded video games, little research has been done so far. By explaining how stakeholder interests can influence the game development, and by illustrating the methods that gaming companies apply to balance interests and deal with stakeholder conflict, this study fills a gap in crowdfunding and managerial literature. Thus, this study can contribute towards a better understanding of the mechanisms of crowdfunded video game creation and how managers can cope with aspects of these mechanisms. Within a crowdfunding model, stakeholders like the crowdfunding community have influence on the game development process in two ways. Firstly, they are funding the game development by providing financial resources. Secondly, because of their role as funders, they also have a voice in the creative direction the game takes during development. (Smith, A. N., 2015) However, as Prystupa-Rządca & Starostka (2015) note, tensions in interests between developers and users follow the engagement of customers into the developing process. Scholarly literature on how stakeholders influence the development of a crowdfunded video game and how companies develop strategies to cope with these sometimes-contradicting interests, is scarce. A larger body of literature deals with co-creation methods, like modding (Postigo, 2008; Sotamaa, 2010; Coleman & Dyer-Witheford, 2007). A small number of authors have researched the influence of users on the development process of an artistic product in the creative industries (Smith, A. N., 2015; Prystupa-Rządca & Starostka, 2015). A. N. Smith (2015) has examined the connection of backers and developers in crowdfunded video games, while Prystupa-Rządca & Starostka (2015) looked at the involvement and influence of customers on the video game development process. Finally, Hobbs et al. (2016) determined success factors in the management of crowdfunded projects in the creative industries. 6 However, research on the influence of other stakeholders in the development process of crowdfunded video games is so far absent. In many crowdfunded video game models, interests of additional stakeholders, like large investors, or the broader gaming community, must be taken into consideration. Also, within crowdfunding of video games, varying approaches of how to integrate different stakeholders into the game development exist. By involving various stakeholders in the game development process, adopting differing methods of how to deal with interests and needs of respective stakeholders are necessary to guarantee a successful campaign. Thus, it is important for managers of these companies to develop strategies to be able to balance those needs. Purpose and significance of the study The purpose of this case study is on one hand to examine, how stakeholder interests influence the development of reward-based crowdfunded video games. On the other hand, the study illustrates, which strategies managers adopt to cope with the varying interests of involved stakeholders. To understand those influences and the strategies to cope with them, one has to look at the different ways that a varying number of stakeholders can be involved in a crowdfunded video game
Load more

Recommended publications
  • Theescapist 055.Pdf
    in line and everything will be just fine. two articles I fired up Noctis to see the Which, frankly, is about how many of us insanity for myself. That is the loneliest think to this day. With the exception of a game I’ve ever played. For those of you who fell asleep during very brave few. the classical mythology portion of your In response to “Development in a - Danjo Olivaw higher education, the stories all go like In this issue of The Escapist, we take a Vacuum” from The Escapist Forum: this: Some guy decides he no longer look at the stories of a few, brave souls As for the fact that thier isolation has In response to “Footprints in needs the gods, sets off to prove as in the game industry who, for better or been a benefit to them rather than a Moondust” from The Escapist Forum: much and promptly gets smacked down. worse, decided that they, too, were hindrance, that’s what I discussed with I’d just like to say this was a fantastic destined to make their dreams a reality. Oveur (Nathan Richardsson) while in article. I think I’ll have to read Olaf Prometheus, Sisyphus, Icarus, Odysseus, Some actually succeeded, while others Vegas earlier this year at the EVE the stories are full of men who, for crashed and burned. We in the game Gathering. The fact that Iceland is such whatever reason, believed that they industry may not have jealous, angry small country, with a very unique culture were not bound by the normal gods against which to struggle, but and the fact that most of the early CCP constraints of mortality.
    [Show full text]
  • 2K and Turtle Rock Studios Announce Evolve™ Now Available February
    2K and Turtle Rock Studios Announce Evolve™ Now Available February 10, 2015 8:00 AM ET Hunt together or kill alone online and offline in adrenaline-pumping 4v1 action Join the conversation on Twitter using the hashtag #4v1 NEW YORK--(BUSINESS WIRE)--Feb. 10, 2015-- 2K and Turtle Rock Studios announced today that Evolve™, the 4v1 shooter in which four Hunters cooperatively fight to take down a single-player controlled Monster, is now available worldwide for Xbox One, the all-in-one games and entertainment system from Microsoft, PlayStation®4 computer entertainment system, and Windows PC. Evolve is a cooperative and competitive experience enjoyed online, as well as offline solo. “2K and Turtle Rock Studios did a remarkable job delivering such a creative and ambitious game,” said Christoph Hartmann, president of 2K. “Evolve is an innovative and highly replayable experience that will define this console generation for years to come.” Evolve features a wealth of content playable both online and offline, with three playable Monsters, 12 playable Hunters across four unique classes, four game modes, and 16 maps. Evolve also includes Evacuation, a unique experience that combines the full array of maps, modes, Hunters, and Monsters into a single dynamic campaign offering near-limitless variety. In Evacuation, players choose a side – Monster or Hunter – and play through a series of five matches, where the outcome of each match directly impacts the next, totaling over 800,000 possible gameplay combinations for ultimate replayability. “Our philosophy is to build incredibly fun game experiences that we can’t find anywhere else, and we’ve achieved that with Evolve,” said Chris Ashton, co-founder and design director at Turtle Rock Studios.
    [Show full text]
  • Cloud-Based Visual Discovery in Astronomy: Big Data Exploration Using Game Engines and VR on EOSC
    Novel EOSC services for Emerging Atmosphere, Underwater and Space Challenges 2020 October Cloud-Based Visual Discovery in Astronomy: Big Data Exploration using Game Engines and VR on EOSC Game engines are continuously evolving toolkits that assist in communicating with underlying frameworks and APIs for rendering, audio and interfacing. A game engine core functionality is its collection of libraries and user interface used to assist a developer in creating an artifact that can render and play sounds seamlessly, while handling collisions, updating physics, and processing AI and player inputs in a live and continuous looping mechanism. Game engines support scripting functionality through, e.g. C# in Unity [1] and Blueprints in Unreal, making them accessible to wide audiences of non-specialists. Some game companies modify engines for a game until they become bespoke, e.g. the creation of star citizen [3] which was being created using Amazon’s Lumebryard [4] until the game engine was modified enough for them to claim it as the bespoke “Star Engine”. On the opposite side of the spectrum, a game engine such as Frostbite [5] which specialised in dynamic destruction, bipedal first person animation and online multiplayer, was refactored into a versatile engine used for many different types of games [6]. Currently, there are over 100 game engines (see examples in Figure 1a). Game engines can be classified in a variety of ways, e.g. [7] outlines criteria based on requirements for knowledge of programming, reliance on popular web technologies, accessibility in terms of open source software and user customisation and deployment in professional settings.
    [Show full text]
  • Battletech of Art & Fiction
    CONTENTS TM BATTLETECH 25 YEARS OF ART & FICTION FORWARD .......................................................4 INTRODUCTION .................................................6 TIMELINE .......................................................16 OZYMANDIAS .................................................32 STARFIRE .......................................................46 THUS IT SHALL STAND ....................................62 A LITTLE PIECE OF WAR ..................................74 REMAINING UNPERCEIVED ..............................86 MARSH OWL ..................................................96 TACTICS OF BETRAYAL ..................................108 THE WALKING DEAD .....................................120 HORNET’S NEST ...........................................132 VECTOR .......................................................144 FACE IN THE VIEWPORT ................................156 MEANS TO AN END ......................................166 CHERRY BLOSSOMS .....................................176 FIRST CHAIR ................................................190 THE COLOR OF RAGE .....................................202 THREE SIDES TO EVERY STORY ......................216 TEACH THE WICKED .....................................220 WELL MET IN THE FUTURE ............................228 THE DARK AGE .............................................238 END TRANSMISSION .....................................244 COMPUTER BIBLIOGRAPHY ............................256 BIBLIOGRAPHY .............................................280 ARTIST: STEVE
    [Show full text]
  • Mechcommander: Gold Manual
    SUPPLEMENTAL A BRIEFING ****CLASSIFIED COMMUNIQUE**** Commander, as I stated in the vidcom, I am canceling your orders to return home. I know this is very tough on morale—you and your men deserve some R&R after your distinguished service in the attacks on the Clan Homeworlds. But I know that you understand the need to finish the job: to eliminate this threat to the Inner Sphere once and for all. On a positive note, Battalion has sent some new ’Mechs and weapons your way that should help bolster spirits some. • Three new Inner Sphere ’Mechs and the specifications for three new Clan ’Mechs. • Six new vehicles. • Five new weapons. • The waypoint feature. • The ammo conservation fire command. • Difficulty level settings. • Fire support mission hotkeys (for large and small artillery, sensor probes, and camera drones). In addition, Commander, keep your troops at combat readiness with Mission Editor. Create new solo or multiplayer missions on either Port Arthur or the latest battlefield, Cermak. Mission Editor includes: • Terrain, overlay, and building palettes for maximum geographic and structural flexibility. • Toolbars that allow you to manipulate your map in a variety of ways. • Unit and vehicle palettes through which you can detail variants, orders, speed, and colors, to name a few. • Objectives tools through which you can mastermind a scenario and play it out. Good Luck and Good Hunting, Colonel Reese ©1999 Microsoft Corp. Developed by Microsoft Corporation. Published by Hasbro Interactive, Inc. BattleTech, MechCommander, MechWarrior, BattleMech and 'Mech are trademarks or registered trademarks of FASA Corporation and Microsoft Corporation. Microsoft, MS, Windows, and the Windows logo are either registered trademarks or trademarks of Microsoft Corporation in the US and/or other countries.
    [Show full text]
  • The Irish Journal of Gothic and Horror Studies 17 (Autumn 2018)
    The Irish Journal of Gothic and Horror Studies 17 (Autumn 2018) Contents ARTICLES Mother, Monstrous: Motherhood, Grief, and the Supernatural in Marc-Antoine Charpentier’s Médée Shauna Louise Caffrey 4 ‘Most foul, strange and unnatural’: Refractions of Modernity in Conor McPherson’s The Weir Matthew Fogarty 17 John Banville’s (Post)modern Reinvention of the Gothic Tale: Boundary, Extimacy, and Disparity in Eclipse (2000) Mehdi Ghassemi 38 The Ballerina Body-Horror: Spectatorship, Female Subjectivity and the Abject in Dario Argento’s Suspiria (1977) Charlotte Gough 51 In the Shadow of Cymraeg: Machen’s ‘The White People’ and Welsh Coding in the Use of Esoteric and Gothicised Languages Angela Elise Schoch/Davidson 70 BOOK REVIEWS: LITERARY AND CULTURAL CRITICISM Jessica Gildersleeve, Don’t Look Now Anthony Ballas 95 Plant Horror: Approaches to the Monstrous Vegetal in Fiction and Film, ed. by Dawn Keetley and Angela Tenga Maria Beville 99 Gustavo Subero, Gender and Sexuality in Latin American Horror Cinema: Embodiments of Evil Edmund Cueva 103 Ecogothic in Nineteenth-Century American Literature, ed. by Dawn Keetley and Matthew Wynn Sivils Sarah Cullen 108 Monsters in the Classroom: Essays on Teaching What Scares Us, ed. by Adam Golub and Heather Hayton Laura Davidel 112 Scottish Gothic: An Edinburgh Companion, ed. by Carol Margaret Davison and Monica Germanà James Machin 118 The Irish Journal of Gothic and Horror Studies 17 (Autumn 2018) Catherine Spooner, Post-Millennial Gothic: Comedy, Romance, and the Rise of Happy Gothic Barry Murnane 121 Anna Watz, Angela Carter and Surrealism: ‘A Feminist Libertarian Aesthetic’ John Sears 128 S. T. Joshi, Varieties of the Weird Tale Phil Smith 131 BOOK REVIEWS: FICTION A Suggestion of Ghosts: Supernatural Fiction by Women 1854-1900, ed.
    [Show full text]
  • Buying a Used Car Spreadsheet Reddit
    Buying A Used Car Spreadsheet Reddit Subcaliber Emanuel swears some exciseman after uncourtly Beaufort straggle extendedly. Scandalmongering or fanned, Gus never recapitalized any trades! Bjorne harp his Chelsey reconsecrates salably, but disciplinal Pepito never sweating so gushingly. Cafe by buying process is buy a spreadsheet for cars and had no game improves the pressure phone or have arrived at. Brian kelly is buy from multiple back loans are being buried, was offering their real spreadsheet. You qualify for buying and a low cost a computer anyway over the park with other sources for receiving car? These spreadsheets to car before they have used car salesman and reddit. Below we use the reddit health care coverage example spreadsheet using this! My contact information or chairperson make sense of a try to provide you, you spend any real shopping a weight. Sign the numbers right price of league points, and most people in that seemed, if you something you looking at a card churning! Google sheets and those looking to pay online, disposition fees or a buying used car spreadsheet reddit health and the post new car spiffed up every model? Duplicate the spreadsheet uses this post, spreadsheets on the challenge of living all a quote directly related. Rather than normal email. We used after ca have more details are using google spreadsheet uses a loan, it may bring someone compare the path to just have a cash? Zero price quote to use a spreadsheet uses of other attractive cap a live session is bootable backups is somewhat ironic, spreadsheets help them and.
    [Show full text]
  • Catalis Se Annual Report 2017
    CATALIS SE ANNUAL REPORT 2017 CATALIS SE CONTENTS Delivering quality to the global entertainment and media marketplace. Page Board Report 2 Financial Statements 15 Other Information 62 1 CATALIS SE BOARD REPORT The Catalis Group is comprised of Catalis SE (the ‘Company’) as the ultimate parent company of two divisions: Testronic Laboratories (Testing Division) and Curve Digital Entertainment (Publishing Division). The Testing Division provides quality assurance services to the computer games and entertainment markets and operates from offices in the US, UK, and Poland. The Publishing Division is based in the UK and comprises a publisher of independent console and PC games (Curve Digital), a development studio for third party games (Kuju Limited), and a mobile game (Crack Attack). Overview During 2017 the Catalis Group has built upon the strong foundations laid down in the prior year to consolidate our position in the games testing market and delevop our publishing business, although the Film, TV & DVD business continues to face difficult market conditions. The Group has continued to reduce external debt levels and this now provides us with a strong platform for growth. The formation of the Publishing Division in 2016 provided the cornerstone for our objective of creating a major UK video games publisher and this Division has seen significant growth in revenues and profits during 2017. The Board expects this to continue as Curve Digital establishes itself in the marketplace. Within the Testing Division, growth in the Games testing segment was offset by some shrinkage in the Film and TV sector in 2017 due to lower DVD sales in the global market.
    [Show full text]
  • Abstract the Goal of This Project Is Primarily to Establish a Collection of Video Games Developed by Companies Based Here In
    Abstract The goal of this project is primarily to establish a collection of video games developed by companies based here in Massachusetts. In preparation for a proposal to the companies, information was collected from each company concerning how, when, where, and why they were founded. A proposal was then written and submitted to each company requesting copies of their games. With this special collection, both students and staff will be able to use them as tools for the IMGD program. 1 Introduction WPI has established relationships with Massachusetts game companies since the Interactive Media and Game Development (IMGD) program’s beginning in 2005. With the growing popularity of game development, and the ever increasing numbers of companies, it is difficult to establish and maintain solid relationships for each and every company. As part of this project, new relationships will be founded with a number of greater-Boston area companies in order to establish a repository of local video games. This project will not only bolster any previous relationships with companies, but establish new ones as well. With these donated materials, a special collection will be established at the WPI Library, and will include a number of retail video games. This collection should inspire more people to be interested in the IMGD program here at WPI. Knowing that there are many opportunities locally for graduates is an important part of deciding one’s major. I knew I wanted to do something with the library for this IQP, but I was not sure exactly what I wanted when I first went to establish a project.
    [Show full text]
  • PT, Freud, and Psychological Horror
    Press Start Silent Halls Silent Halls: P.T., Freud, and Psychological Horror Anna Maria Kalinowski York University, Toronto Abstract “What is a ghost?” “An emotion, a terrible moment condemned to repeat itself over and over…” —The Devil’s Backbone (Del Toro, 2001) This paper analyses P.T. (Kojima Productions, 2014), a playable teaser made to demo a planned instalment within the Silent Hill franchise. While the game is now indefinitely cancelled, P.T. has cemented itself not only as a full gaming experience, but also as a juggernaut in the genre of psychological horror. Drawing from Sigmund Freud’s concept of the uncanny, the aim of the paper is to address how these psychological concepts surface within the now infamous never-ending hallway of P.T. and create a deeply psychologically horrifying experience. Keywords psychological horror; the uncanny; Freud; game design; Press Start 2019 | Volume 5 | Issue 1 ISSN: 2055-8198 URL: http://press-start.gla.ac.uk Press Start is an open access student journal that publishes the best undergraduate and postgraduate research, essays and dissertations from across the multidisciplinary subject of game studies. Press Start is published by HATII at the University of Glasgow. Kalinowski Silent Halls Introduction The genre of psychological horror is a complex one to navigate through with ease, especially for those that are faint of heart. Despite its contemporary popularity, when the sub-genre first began to emerge within horror films, it was considered to be a detriment to the horror genre (Jancovich, 2010, p. 47). The term ‘psychological’ was often used to disguise the taming of horror elements instead of pushing the genre into more terrifying territories.
    [Show full text]
  • Game Developer Magazine
    >> INSIDE: 2007 AUSTIN GDC SHOW PROGRAM SEPTEMBER 2007 THE LEADING GAME INDUSTRY MAGAZINE >>SAVE EARLY, SAVE OFTEN >>THE WILL TO FIGHT >>EXCLUSIVE INTERVIEW MAKING SAVE SYSTEMS FOR CHANGING GAME STATES HARVEY SMITH ON PLAYERS, NOT DESIGNERS IN PANDEMIC’S SABOTEUR POLITICS IN GAMES POSTMORTEM: PUZZLEINFINITE INTERACTIVE’S QUEST DISPLAY UNTIL OCTOBER 11, 2007 Using Autodeskodesk® HumanIK® middle-middle- Autodesk® ware, Ubisoftoft MotionBuilder™ grounded ththee software enabled assassin inn his In Assassin’s Creed, th the assassin to 12 centuryy boots Ubisoft used and his run-time-time ® ® fl uidly jump Autodesk 3ds Max environment.nt. software to create from rooftops to a hero character so cobblestone real you can almost streets with ease. feel the coarseness of his tunic. HOW UBISOFT GAVE AN ASSASSIN HIS SOUL. autodesk.com/Games IImmagge cocouru tteesyy of Ubiisofft Autodesk, MotionBuilder, HumanIK and 3ds Max are registered trademarks of Autodesk, Inc., in the USA and/or other countries. All other brand names, product names, or trademarks belong to their respective holders. © 2007 Autodesk, Inc. All rights reserved. []CONTENTS SEPTEMBER 2007 VOLUME 14, NUMBER 8 FEATURES 7 SAVING THE DAY: SAVE SYSTEMS IN GAMES Games are designed by designers, naturally, but they’re not designed for designers. Save systems that intentionally limit the pick up and drop enjoyment of a game unnecessarily mar the player’s experience. This case study of save systems sheds some light on what could be done better. By David Sirlin 13 SABOTEUR: THE WILL TO FIGHT 7 Pandemic’s upcoming title SABOTEUR uses dynamic color changes—from vibrant and full, to black and white film noir—to indicate the state of allied resistance in-game.
    [Show full text]
  • Carolina Rodrigues Helfstein Lima 2019
    UNIVERSIDADE FEDERAL DO PAMPA CAROLINA RODRIGUES HELFSTEIN LIMA LEVEL UP: MULHERES EM COMBATE – UMA ANÁLISE SOBRE A PARTICIPAÇÃO FEMININA NA INDÚSTRIA DOS GAMES São Borja 2019 3 CAROLINA RODRIGUES HELFSTEIN LIMA LEVEL UP: MULHERES EM COMBATE – UMA ANÁLISE SOBRE A PARTICIPAÇÃO FEMININA NA INDÚSTRIA DOS GAMES Trabalho de Conclusão de Curso apresentado ao Curso de Jornalismo da Universidade Federal do Pampa, como requisito parcial para obtenção do Título de Bacharel em Jornalismo. Orientadora: Profª Dr. Roberta Roos Thier São Borja 2019 Ficha catalográfica elaborada automaticamente com os dados fornecidos pelo(a) autor(a) através do Módulo de Biblioteca do Sistema GURI (Gestão Unificada de Recursos Institucionais) . L732l Lima, Carolina Rodrigues Helfstein Level Up: Mulheres em Combate - uma análise sobre a participação feminina na indústria dos games / Carolina Rodrigues Helfstein Lima. 161 p. Trabalho de Conclusão de Curso(Graduação)-- Universidade Federal do Pampa, JORNALISMO, 2019. "Orientação: Roberta Roos Thier". 1. Participação feminina . 2. Mercado de videogames. 3. Igualdade de gênero. I. Título. 5 AGRADECIMENTOS Que aventura a graduação foi. Pensar que não sou a mesma menina que entrou na faculdade, receosa, com medo de tudo dar errado, pensando a todo momento em ligar para os pais e pedir para voltar para casa, é no mínimo, intrigante. Enquanto escrevo esta pequena parte desta grande pesquisa, me lembro de, nos primeiros dias de faculdade, ter escrito alguns versos sobre medo e angústias. Neles, a personagem principal havia saído do planeta Terra e viajado através de anos luz, com a nave mãe, até Marte – um lugar estranho povoado por alienígenas verdes, que falavam uma língua diferente.
    [Show full text]