Jogos digitais e autorrepresentação: a construção de sentidos nos videogames com elementos autobiográficos
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Data
2021-10-22
Autores
Santos, Lucas Marques dos
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Universidade Estadual Paulista (Unesp)
Resumo
A dissertação tem como objetivo compreender a produção de sentidos em jogos autorrepresentacionais. Este é um termo que utilizamos para designar jogos digitais que apresentam o relato de si como parte essencial de sua experiência. Na década de 2010, jogos pessoais e autobiográficos estiverem envolvidos em discussões políticas e estéticas. A pesquisa parte desse contexto para compreender como os jogos autorrepresentacionais se apresentam diante das culturas dos videogames, se inserem na tradição confessional e autobiográfica e desempenham os efeitos de sentido específicos, seja na perspectiva da criação ou da recepção. Entendemos a comunicação como experiência estética, na qual o receptor é um sujeito ativo no processo. A perspectiva, com bases fenomenológicas e hermenêuticas, nos guia no desenvolvimento teórico-argumentativo da dissertação. No primeiro capítulo, identificaremos a compatibilidade do objeto de estudo com definições e conceitos de jogos digitais. No segundo capítulo, argumentaremos como jogos digitais se configuram nos conceitos que balizam o relato de si, sobretudo na literatura. A partir de autores como Paul Ricœur e Judith Butler, a ideia de reconhecimento será relacionada aos jogos digitais, com ênfase a problemática da empatia. O terceiro capítulo, parte das discussões do efeito do real em Barthes, para identificar como esse efeito pode se realizar nos games. O quarto capítulo é de ordem empírica, trazendo a análise de três jogos - Mainichi, Neurotic Neutrons e That Dragon, Cancer. O quinto capítulo interpreta os materiais empíricos e lança conclusões e preposições, como a dimensão do reconhecimento para além dos jogos autorrepresentacionais.
This thesis’ objective is to understand the production of meanings in self-representational games. It is a term we use to designate digital games that feature the expression of the self as an essential part of their experience. In the 2010s, personal and autobiographical games were involved in political and aesthetic discussions. The research starts from this context to understand how self-representational games present themselves in videogame cultures, in the confessional and autobiographical tradition, and play specific meaning effects, whether from the perspective of creation or reception. We understand communication as an aesthetic experience, in which the spectator is an active subject in the process. The perspective, with phenomenological and hermeneutic bases, guides us in the theoretical-argumentative development of the thesis. In the first chapter, we will identify the compatibility of the object of study with definitions and concepts of digital games. In the second chapter, we will discuss how digital games are configured in the concepts that guide the self-expression, especially in the literature. From authors such as Paul Ricœur and Judith Butler, the idea of recognition will be related to digital games, with emphasis on the issue of empathy. The third chapter, starts from the discussions about the effect of the real in Barthes, to identify how this effect can be realized in games. The fourth chapter is empirical, with the analysis of three games - Mainichi, Neurotic Neutrons and That Dragon, Cancer. The fifth chapter interprets the empirical materials and offers conclusions and prepositions, as the dimension of recognition beyond self-representational games.
This thesis’ objective is to understand the production of meanings in self-representational games. It is a term we use to designate digital games that feature the expression of the self as an essential part of their experience. In the 2010s, personal and autobiographical games were involved in political and aesthetic discussions. The research starts from this context to understand how self-representational games present themselves in videogame cultures, in the confessional and autobiographical tradition, and play specific meaning effects, whether from the perspective of creation or reception. We understand communication as an aesthetic experience, in which the spectator is an active subject in the process. The perspective, with phenomenological and hermeneutic bases, guides us in the theoretical-argumentative development of the thesis. In the first chapter, we will identify the compatibility of the object of study with definitions and concepts of digital games. In the second chapter, we will discuss how digital games are configured in the concepts that guide the self-expression, especially in the literature. From authors such as Paul Ricœur and Judith Butler, the idea of recognition will be related to digital games, with emphasis on the issue of empathy. The third chapter, starts from the discussions about the effect of the real in Barthes, to identify how this effect can be realized in games. The fourth chapter is empirical, with the analysis of three games - Mainichi, Neurotic Neutrons and That Dragon, Cancer. The fifth chapter interprets the empirical materials and offers conclusions and prepositions, as the dimension of recognition beyond self-representational games.
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Palavras-chave
Jogos autobiográficos, Experiência estética, Jogos digitais, Comunicação, Autobiographical games, Aesthetic experience, Digital games, Communication