A Game of Musical Layers

Total Page:16

File Type:pdf, Size:1020Kb

A Game of Musical Layers University of South Wales 2064869 A GAME OF MUSICAL LAYERS: AN INVESTIGATION INTO THE USE OF A VERTICAL LAYERING SOUNDTRACK AS AN INTEGRAL PART OF THE INFORMATION SYSTEM OF A VIDEO GAME WILL ASHTON A submission presented in partial fulfilment of the requirements of the University of South Wales for the degree of Master of Philosophy January 2015 Contents Abstract.............................................................................iv Definition of Vertical Layering..................................................v List of Figures......................................................................vi List of Tables......................................................................ix List of DVD Items..................................................................x Acknowledgements...............................................................xi 1 Introduction.................................................................... 1 2 Game Audio Theory...........................................................5 Hearing and Listening.....................................................6 The Diegesis................................................................9 Actions and Interactions................................................ 14 Structures.................................................................. 18 Information Systems....................................................22 Usability Function.......................................................30 3 Audio in Real-time Strategy Games.......................................33 Gameplay.................................................................34 Musical Soundtrack.....................................................41 4 Methodology.................................................................52 5 Level 1: A Basic Vertical Layering Soundtrack........................59 Design..................................................................... 59 Results.....................................................................73 n Feedback.................................................................82 Conclusion...............................................................85 6 Level 2: Vertical Layering with On/Off States.........................89 Design....................................................................89 Results.................................................................. 100 Feedback...............................................................110 Conclusion............................................................. 115 7 Level 3: Multi-dimensional Information..............................119 Design.................................................................. 119 Results.................................................................. 133 Feedback............................................................... 157 Conclusion............................................................. 161 8 Conclusion.................................................................. 165 Findings................................................................ 165 Reflections and Future Directions.................................. 171 Appendices Appendix 1: Level 1 Tutorial Transcript.................................175 Appendix 2: Level 2 Tutorial Transcript................................. 177 Appendix 3: Level 3 Tutorial Transcript................................. 180 Bibliography.................................................................. 184 in Abstract This thesis contributes to the field of game audio research by investigating the hypothesis that a vertical layering musical soundtrack can be used as an integral part of the information system of a video game. The concept of dynamically controlling music through multiple layers, as well as the idea that music can be used to convey information to players, are currently underexplored areas within game audio research. The analytical and information-rich genre of real-time strategy games is used to contextualise the research, although this research has wider relevance to other genres, as well as the field of game audio in general. The work presented here is supported by a discussion of the relevant knowledge base and an analysis of the audio in a selection of current real-time strategy games. In order to test the hypothesis, and highlight the strengths and weaknesses of the approach, this research employed a methodology that consisted of empirical user testing of three purpose-built game levels, featuring vertical layering soundtracks and in-built testing mechanics, in order to produce both quantitative results and qualitative feedback from a small group of research participants about the effectiveness of the information transfer achieved by these vertical layering soundtracks. As was shown throughout all three test levels, players appeared to be able to learn individual layers of a soundtrack, recognise them during gameplay and respond accordingly to the information they conveyed, while attending to other gameplay tasks. Based on the findings of the research, potential design considerations for the use of vertical layering soundtracks as a source of information have been put forward which could be used as a basis for further research within the topic. IV which stacks these layers on top of one another in perfect synchronization. Interactivity is achieved through the independent manipulation of the layers, enabling the overall track to change in accordance with the fluctuating state of the game." (Phillips, 2014: 194) List of Figures 3.1 Screenshot of StarCraft //............................................... ....34 3.2 StarCraft II worker and mineral resource................................35 3.3 A hero from Strife using a special ability................................36 3.4 A hero portrait from Dota 2................................................38 3.5 Fog of war in Dota 2........................................................41 3.6 Layout of Strife level........................................................46 5.1 Flame turrets defending the player's base in Level 1...................61 5.2 Start screen of Level 1......................................................62 5.3 Extract from Level 1 tutorial.............................................. 63 5.4 Level 1 prediction buttons.................................................65 5.5 Level 1 results screen.......................................................66 5.6 Level 1: extract from base layer.......................................... 67 5.7 Level 1: extract from layer 1..............................................68 5.8 Level 1: extract from layer 2..............................................68 5.9 Level 1: extract from layer 3...............................................69 5.10 Player performance over time in Level 1.............................. 80 5.11 Gameplay/musical information mismatch in Level 1................86 6.1 Micro-task in Level 2......................................................91 6.2 Level 2: extract from base layer..........................................95 6.3 Level 2: extract from layer 1..............................................95 6.4 Level 2: extract from layer 2..............................................95 6.5 Level 2: extract from layer 3..............................................96 VI 6.6 Level 2: extract from layer 4................................................97 6.7 Level 2: extract from layer 5................................................97 6.8 Original Fmod event set-up in Level 2....................................98 6.9 Correct predictions per layer in Level 2................................. 102 6.10 Correct predictions per layer in Level 2, including "one-way"..... 103 6.11 Player performance overtime in Level 2..............................106 6.12 Prediction performance and micro-task in Level 2.................. 107 6.13 First wave and overall performance in Level 2...................... 109 7.1 Macro-task of Level 3..................................................... 120 7.2 The three enemy types of Level 3....................................... 122 7.3 Prediction toggle buttons for Level 3.................................... 123 7.4 Level 3 tutorial music example buttons................................125 7.5 New models for Level 3.................................................. 126 7.6 Extract from the yellow enemy layer in Level 3...................... 127 7.7 Extract from the red enemy layer in Level 3..........................128 7.8 Extract from the brown enemy layer in Level 3...................... 128 7.9 Extract from the base layer in Level 3................................. 129 7.10 Extract from the calm layer in Level 3............................... 130 7.11 Extract from the danger layer in Level 3.............................130 7.12 Volume automation for Level 3 motivic layers..................... 132 7.13 Overall prediction success rate by category in Level 3............ 138 7.14 Predictions for small groups of enemies in Level 3................. 140 7.15 Predictions for large groups of enemies in Level 3..................141 7.16 Predictions for absent groups of enemies in Level 3............... 142 7.17 Player performance over time in Level 3............................. 143 VII 7.18 Micro- and macro-tasks in Level 3.................................... 145 7.19 Micro-task and overall prediction success in Level 3...............146 7.20 Macro-task and overall prediction success in Level 3.............. 147 7.21 Success of individual
Recommended publications
  • Analyzing Modular Smoothness in Video Game Music
    Analyzing Modular Smoothness in Video Game Music Elizabeth Medina-Gray KEYWORDS: video game music, modular music, smoothness, probability, The Legend of Zelda: The Wind Waker, Portal 2 ABSTRACT: This article provides a detailed method for analyzing smoothness in the seams between musical modules in video games. Video game music is comprised of distinct modules that are triggered during gameplay to yield the real-time soundtracks that accompany players’ diverse experiences with a given game. Smoothness —a quality in which two convergent musical modules fit well together—as well as the opposite quality, disjunction, are integral products of modularity, and each quality can significantly contribute to a game. This article first highlights some modular music structures that are common in video games, and outlines the importance of smoothness and disjunction in video game music. Drawing from sources in the music theory, music perception, and video game music literature (including both scholarship and practical composition guides), this article then introduces a method for analyzing smoothness at modular seams through a particular focus on the musical aspects of meter, timbre, pitch, volume, and abruptness. The method allows for a comprehensive examination of smoothness in both sequential and simultaneous situations, and it includes a probabilistic approach so that an analyst can treat all of the many possible seams that might arise from a single modular system. Select analytical examples from The Legend of Zelda: The Wind Waker and Portal
    [Show full text]
  • Uma Perspectiva Musicológica Sobre a Formação Da Categoria Ciberpunk Na Música Para Audiovisuais – Entre 1982 E 2017
    Uma perspectiva musicológica sobre a formação da categoria ciberpunk na música para audiovisuais – entre 1982 e 2017 André Filipe Cecília Malhado Dissertação de Mestrado em Ciências Musicais Área de especialização em Musicologia Histórica Setembro de 2019 I Dissertação apresentada para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Ciências Musicais – Área de especialização em Musicologia Histórica, realizada sob a orientação científica da Professora Doutora Paula Gomes Ribeiro. II Às duas mulheres da minha vida que permanecem no ciberespaço do meu pensamento: Sara e Maria de Lourdes E aos dois homens da minha vida com quem conecto no meu quotidiano: Joaquim e Ricardo III Agradecimentos Mesmo tratando-se de um estudo de musicologia histórica, é preciso destacar que o meu objecto, problemática, e uma componente muito substancial do método foram direccionados para a sociologia. Por essa razão, o tema desta dissertação só foi possível porque o fenómeno social da música ciberpunk resulta do esforço colectivo dos participantes dentro da cultura, e é para eles que direciono o meu primeiro grande agradecimento. Sinto-me grato a todos os fãs do ciberpunk por manterem viva esta cultura, e por construírem à qual também pertenço, e espero, enquanto aca-fã, ter sido capaz de fazer jus à sua importância e aos discursos dos seus intervenientes. Um enorme “obrigado” à Professora Paula Gomes Ribeiro pela sua orientação, e por me ter fornecido perspectivas, ideias, conselhos, contrapontos teóricos, ajuda na resolução de contradições, e pelos seus olhos de revisora-falcão que não deixam escapar nada! Como é evidente, o seu contributo ultrapassa em muito os meandros desta investigação, pois não posso esquecer tudo aquilo que me ensinou desde o primeiro ano da Licenciatura.
    [Show full text]
  • Ambient Music the Complete Guide
    Ambient music The Complete Guide PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Mon, 05 Dec 2011 00:43:32 UTC Contents Articles Ambient music 1 Stylistic origins 9 20th-century classical music 9 Electronic music 17 Minimal music 39 Psychedelic rock 48 Krautrock 59 Space rock 64 New Age music 67 Typical instruments 71 Electronic musical instrument 71 Electroacoustic music 84 Folk instrument 90 Derivative forms 93 Ambient house 93 Lounge music 96 Chill-out music 99 Downtempo 101 Subgenres 103 Dark ambient 103 Drone music 105 Lowercase 115 Detroit techno 116 Fusion genres 122 Illbient 122 Psybient 124 Space music 128 Related topics and lists 138 List of ambient artists 138 List of electronic music genres 147 Furniture music 153 References Article Sources and Contributors 156 Image Sources, Licenses and Contributors 160 Article Licenses License 162 Ambient music 1 Ambient music Ambient music Stylistic origins Electronic art music Minimalist music [1] Drone music Psychedelic rock Krautrock Space rock Frippertronics Cultural origins Early 1970s, United Kingdom Typical instruments Electronic musical instruments, electroacoustic music instruments, and any other instruments or sounds (including world instruments) with electronic processing Mainstream Low popularity Derivative forms Ambient house – Ambient techno – Chillout – Downtempo – Trance – Intelligent dance Subgenres [1] Dark ambient – Drone music – Lowercase – Black ambient – Detroit techno – Shoegaze Fusion genres Ambient dub – Illbient – Psybient – Ambient industrial – Ambient house – Space music – Post-rock Other topics Ambient music artists – List of electronic music genres – Furniture music Ambient music is a musical genre that focuses largely on the timbral characteristics of sounds, often organized or performed to evoke an "atmospheric",[2] "visual"[3] or "unobtrusive" quality.
    [Show full text]
  • School of Music Faculty Newsletter, March 2021
    Illinois State University ISU ReD: Research and eData School of Music Faculty Newsletter Music 3-2021 School of Music Faculty Newsletter, March 2021 School of Music Illinois State University Follow this and additional works at: https://ir.library.illinoisstate.edu/somfn Part of the Music Commons Recommended Citation School of Music, "School of Music Faculty Newsletter, March 2021" (2021). School of Music Faculty Newsletter. 64. https://ir.library.illinoisstate.edu/somfn/64 This Book is brought to you for free and open access by the Music at ISU ReD: Research and eData. It has been accepted for inclusion in School of Music Faculty Newsletter by an authorized administrator of ISU ReD: Research and eData. For more information, please contact ISUReD@ilstu.edu. March 2021 Illinois State University School of Music Faculty/Staff Newsletter • March 2021 • Volume 10, No. 5 Faculty Accomplishments and News (in alphabetical order): Upcoming Events: Dr. Glenn Block reports that the ISU String Symphony performed its first live- 3/16/21 stream concert of the new year on February 21, with music by Britten, a world Guest Artist Recital: Davis Hale, saxophone premiere by Argentinian composer Claudio Alsueyet, and a concerto grosso for 7:30 p.m., limited seating strings by Handel. The Symphony rehearsals have been dedicated to an (CPA) and livestream exploration of baroque bow performance practices, and included a ZOOM rehearsal with Maestro Alsuyet from Buenos Aires. Graduate conducting student 3/18/21 Nickolai Podvin conducted the Britten as part of his graduate conducting Black Music Showcase 8:00 p.m., online event degree concert requirements.
    [Show full text]
  • SMT-V 02 3 Steven Reale, “Variations on a Theme by a Rogue
    “Variations on a Theme by a Rogue A.I.: Music, Gameplay, and Storytelling in Portal 2" (Part 2 of 2)” SMT-V 2.3 (2016) Society for Music Theory: Videocast Journal Steven Reale (Youngstown University) ISSN 2689-5471 DOI: http://doi.org/10.30535/smtv.2.3 This file includes the abstract, and extensive keyword list, acknowledgements, and bibliography for the video essay, “The Influence of Clara Schumann’s Lieder on Declamation in Robert Schumann’s Late Songs,” by Harald Krebs with Sharon Krebs, SMT-V 2.1 (2016). This essay may be found at https://vimeo.com/societymusictheory/videocast23reale. SMT-V is the open-access, peer-reviewed video journal of the Society for Music Theory. Founded in 2014, SMT-V publishes video essays that showcase the latest research in music theory in a dynamic, audiovisual format. The journal features a supportive and collaborative production process, and publishes three to four videos per year. The videos may be found at www.smt-v.org . SMT-V is overseen by an Editor who organizes the vetting of the videos, along with an Associate Editor who aids with the technical details. Members of the editorial board help to vet submitted videos. Those wishing to publish a video on SMT-V should first submit a written proposal summarizing the proposed project. If the proposed project is deemed appropriate, the author will be invited to submit a draft of a storyboard or script. Upon acceptance of the script, the author will be invited to produce a full video in conjunction with guidance and assessment from selected members of the Editorial Board.
    [Show full text]
  • Universidad Peruana De Ciencias Aplicadas Facultad
    El uso de la música pregrabada en los videojuegos (1990 – 2018) Item Type info:eu-repo/semantics/bachelorThesis Authors Percca Carbajal, Renato Alexander Publisher Universidad Peruana de Ciencias Aplicadas (UPC) Rights info:eu-repo/semantics/openAccess; Attribution- NonCommercial-ShareAlike 4.0 International Download date 23/09/2021 17:28:33 Item License http://creativecommons.org/licenses/by-nc-sa/4.0/ Link to Item http://hdl.handle.net/10757/654984 UNIVERSIDAD PERUANA DE CIENCIAS APLICADAS FACULTAD DE ARTES CONTEMPORÁNEAS PROGRAMA ACADÉMICO DE MÚSICA El uso de la música pregrabada en los videojuegos (1990 – 2018) TRABAJO DE INVESTIGACIÓN Para optar el grado de bachiller en Música con Especialidad en Ejecución AUTOR Percca Carbajal, Renato Alexander (0000-0002-2687-9557) ASESORES Bacacorzo Diaz, Jorge Francisco Martin (0000-0002-8019-3687) Guerra Garcia, Pedro Robinzon (0000-0002-1236-1095) Lima, 8 de diciembre de 2020 RESUMEN En este trabajo de investigación se busca recopilar y analizar información sobre la forma en la que la música pregrabada fue utilizada en los videojuegos desde la década de los 90. Para ello se ha empezado por brindar una serie de antecedentes que conforman el panorama en el cual apareció la tecnología que hizo posible la inclusión del audio pregrabado en los juegos de video y, posteriormente, su desarrollo e impacto en esta forma de entretenimiento en los años 90. Luego, se analizan distintos aspectos de la música pregrabada a lo largo de la década de los 2000, como la mayor calidad de audio, su vigencia a lado del chiptune, su tal vez excesivo parentesco con la música para otros medios como el cine, entre otros.
    [Show full text]
  • FIRSTNAME LASTNAME COMPANY Session Title
    MIKE MORASKY VALVE MUSIC IN VALVE GAMES AND MEDIA This Talk • A broad, slightly historical overview • Some of the things we’ve learned • Minimizing barriers • Going forward and what we’re excited about • Your input Valve Splash Screen Video MUSIC AS CRAFT How We Work at Valve • Free to experiment and execute • Artists are fully integrated and involved • Goals and constraints Workflow • Same as most audio and music artists Workflow • Same as most audio and music artists • Iterating rough “mockups” in context OriginalFirst Team Fortress TF2 Trailer 2 Trailer Workflow • Same as most audio and music artists • Iterating rough “mockups” in context • Acquiring (recording) hi-quality assets How We Work • Same as most audio and music artists • Iterating rough “mockups” in context • Acquiring (recording) hi quality assets • Methodology depends on the scope and style / genre of the work How We Work • Same as most audio and music artists • Iterating rough “mockups” in context • Acquiring (recording) hi quality assets • Methodology depends on the scope and style / genre of the work • Mixing Going Forward • Expanding tools and software available through Steam MUSIC AS DESIGN Trailers • Reinforcing art and game design: • Team Fortress 2 • Left 4 Dead 2: community feedback Trailers • Reinforcing art and game design: • Team Fortress 2 • Left 4 Dead 2: community feedback • Dota 2 Dota 2 Trailer Life of its Own • “Portal”: Jonathan Coulton and “Still Alive” Life of its Own • Portal: Jonathan Coulton and “Still Alive” • Team Fortress 2 Medic and Taunt Medic
    [Show full text]
  • Evaluating an Adaptive Music System in an Adventure Game Environment
    Södertörns högskola | Institutionen för naturvetenskap, miljö och teknik Kandidatuppsats 15 hp | Medieteknik | Höstterminen 2013 Evaluating an adaptive music system in an adventure game environment Av: Oliver Eriksson, Philip Lindau Handledare: Petri Lankoski Abstract Adaptive music changes depending on parameters which change with events in the game. This essay explores whether an adaptive music system would be an improvement for the game A Story About My Uncle over static music, and if it would be worth the time investment of implementing it. Data for this is gathered by having people play an introductory level from the game twice, once with static music and once with adaptive music. The players answer a survey after each playthrough of the levels. The results show no significant difference between the static and adaptive systems in terms of perceiving the music, or the game experience. Keywords: Adaptive Music, Dynamic Music, Sound Design, Video Games 2 Sammanfattning Adaptiv musik ändras beroende av parametrar som ändras av händelser i spelet. Den här studien undersöker om ett adaptivt musik system är en förbättring i spelet A Story About My Uncle jämfört med statisk musik, om det är värt tidsinvesteringen som implementationen kräver. Data samlas in genom att ta in testare som spelar en introduktionsnivå i spelet två gånger, en gång med statisk musik och en gång med adaptiv musik. Spelarna svarar på en enkät efter varje genomspelning av nivåerna. Resultaten visar ingen signifikant skillnad mellan den statiska och adaptiva versionen när man undersöker spelarnas generella spelupplevelse, och upplevelse av musiken i nivåerna. Nyckelord: Adaptiv Musik, Dynamisk Musik, Ljud Design, Datorspel 3 Table of Contents 1 Introduction................................................................................................................................
    [Show full text]
  • Digra Conference Publication Format
    CGP3013M – Assignment 1 Counter Strike: Global Offensive Forming and Maintaining Social Connections Through Success Jez Horton – 16610629 University of Lincoln Brayford Way Lincoln LN6 7TS 01522 882000 16610629@students.lincoln.ac.uk ABSTRACT Gaming in general receives a lot of praise and criticism in terms of social play. Some believe it provides the user with more opportunities to maintain meaningful social connections while others believe the notion of isolation in every ‘hard-core’ player to reality. In this Paper we will be exploring the social implications of Counter-Strike: Global Offensive and how they are exhibited to both provide and maintain a social connection with other players based on the success of them as a team generally. This would be beneficial as we could analyse what this means for the community and if very competitive focused team-play is beneficial to the players and their social connections, borrowing perspectives from social sciences as well as cultural studies. Keywords Counter-Strike: Global Offensive, Social Play, Competitive Team-Play. INTRODUCTION Online gaming as a whole receives continuous slander from popular main-stream media sources such as the news, reference point being BBC News using headlines such as “Video Games cause addiction, violence and distress” (Klienman 2015). The slander it receives however doesn’t hold much merit as the ‘studies’ they quote and cling to have such a small focus group, furthermore many of the focus groups already had a disposition to an issue they were raising (Copenhaver, Mitrofan and Ferguson 2017). Contrary to this, many academics believe video games are a positive thing and help enhance the user’s cognitive abilities and the point of this paper; giving the players a social environment in which they otherwise might not have (Hanghøj, Lieberoth and Misfeldt 2018).
    [Show full text]
  • A Study of Music, Embodiment, and Meaning in the World of Portal Helen A
    Lawrence University Lux Lawrence University Honors Projects 5-30-2013 A Study of Music, Embodiment, and Meaning in the World of Portal Helen A. Rowe Lawrence University, hrowe42@gmail.com Follow this and additional works at: https://lux.lawrence.edu/luhp Part of the Film and Media Studies Commons, Musicology Commons, and the Music Performance Commons © Copyright is owned by the author of this document. Recommended Citation Rowe, Helen A., "A Study of Music, Embodiment, and Meaning in the World of Portal" (2013). Lawrence University Honors Projects. 47. https://lux.lawrence.edu/luhp/47 This Honors Project is brought to you for free and open access by Lux. It has been accepted for inclusion in Lawrence University Honors Projects by an authorized administrator of Lux. For more information, please contact colette.brautigam@lawrence.edu. Lawrence University A Study of Music, Embodiment, and Meaning in the World of Portal by Helen Rowe Appleton, Wisconsin April 2013 2 Introduction The field of video game studies has been rapidly expanding since its birth. The first recognized video game was created in 1962, 1 and the few that followed it in the 1960s and early 70s were still extremely primitive, as was the technology they used. The limited storage space on the game cartridges meant that the first video games had little sound and no music. 2 The 1980s saw a surge in the popularity of video games, and a corresponding uptick in writing about video games. Before the 1980s, all books on video games were either instructions or strategy guides; in 1983, the first history of video games was published, which, although groundbreaking at the time, was a very short book meant for children.
    [Show full text]
  • Steven Reale, “Variations on a Theme by a Rogue A.I.: Music
    “Variations on a Theme by a Rogue A.I.: Music, Gameplay, and Storytelling in Portal 2" (Part 1 of 2)” SMT-V 2.2 (2016) Society for Music Theory: Videocast Journal Steven Reale (Youngstown University) ISSN 2689-5471 DOI: http://doi.org/10.30535/smtv.2.2 This file includes the abstract, and extensive keyword list, acknowledgements, and bibliography for the video essay, “The Influence of Clara Schumann’s Lieder on Declamation in Robert Schumann’s Late Songs,” by Harald Krebs with Sharon Krebs, SMT-V 2.1 (2016). This essay may be found at https://vimeo.com/societymusictheory/videocast22reale. SMT-V is the open-access, peer-reviewed video journal of the Society for Music Theory. Founded in 2014, SMT-V publishes video essays that showcase the latest research in music theory in a dynamic, audiovisual format. The journal features a supportive and collaborative production process, and publishes three to four videos per year. The videos may be found at www.smt-v.org . SMT-V is overseen by an Editor who organizes the vetting of the videos, along with an Associate Editor who aids with the technical details. Members of the editorial board help to vet submitted videos. Those wishing to publish a video on SMT-V should first submit a written proposal summarizing the proposed project. If the proposed project is deemed appropriate, the author will be invited to submit a draft of a storyboard or script. Upon acceptance of the script, the author will be invited to produce a full video in conjunction with guidance and assessment from selected members of the Editorial Board.
    [Show full text]
  • El Caso De La COMUNIDAD VIRTUAL PERUANA De TEAM FORTRESS 2
    PONTIFICIA UNIVERSIDAD CATÓLICA DEL PERÚ FACULTAD DE CIENCIAS Y ARTES DE LA COMUNICACIÓN El videojuego online multijugador como medio de comunicación y socialización: El caso de la COMUNIDAD VIRTUAL PERUANA de TEAM FORTRESS 2 TESIS PARA OPTAR EL TÍTULO PROFESIONAL DE LICENCIADO EN COMUNICACIÓN AUDIOVISUAL AUTOR ALEJANDRO MARTINEZ RUIZ ASESOR GABRIEL RAUL CALDERON CHUQUITAYPE Lima, Noviembre, 2018 Resumen Gracias al cada vez más difundido acceso a la internet, los videojuegos han pasado a ser uno de los medios de entretenimiento que más ha aprovechado de ella para conectar a millones de personas geográficamente dispersas a través de espacios lúdicos digitalmente mediados. En ese contexto, este estudio se enfoca en conocer cómo la práctica lúdica del videojuego online multijugador Team Fortress 2 influye en las interacciones sociales de los jugadores provenientes de Lima y otras provincias del Perú. De esa manera, busca aumentar la consideración sobre la importancia del aspecto social de los videojuegos, más allá de su valor de entretenimiento, y contribuir a la poca cantidad de investigaciones comunicacionales en el país acerca del entendimiento de formas de comunicación e interacción entre usuarios de videojuegos. Esta investigación se realizó bajo un enfoque mayoritariamente cualitativo. Se hizo un análisis descriptivo de los aspectos del videojuego en cuestión y los espacios de comunicación formados alrededor de este, en paralelo a la aplicación de cuestionarios online y subsecuentes entrevistas a profundidad, para observar y ahondar más acerca de las características que presentan los jugadores de la comunidad peruana, tales como el uso de canales de comunicación dentro y fuera del juego, las motivaciones de sus prácticas lúdicas, y el involucramiento y participación dentro de la comunidad.
    [Show full text]