Dying light trainer lingon 1.5.212/23/2023 ![]() Da perspectiva teórica, é usado o conceito de apropriação, como o define Roger Chartier. Como metodologia, são utilizadas algumas proposições de Espen Aarseth sobre como interpretar academicamente os games. Resumo: O ensaio tem por objetivo analisar o jogo eletrônico Final Fantasy X, lançado pela empresa japonesa Square em 2001 para Playstation 2. Drawing on sources from a wide range of disciplines (musicology, East Asian studies, religious studies, ludology, and philosophy), I place music at the center of this dialogue and argue that it is an integral component in the way we (re)experience video games-even if we’ve already beaten them. The third section returns to the ludophilosophical quandary of what it means to “beat” video games, framing the question in terms of the (covertly) antitheistic architecture of most video games. The first two sections of this paper examine the significance of the diegetic “Hymn of the Fayth,” not only at the narrative level of Final Fantasy X, but also the cultural level of the “real world” as well. This paper seeks to rectify these disparities in scholarship, arguing that the music in Final Fantasy X (the first of the post-Sakaguchi Final Fantasy games) prophetically commented on and critiqued the very system it was to become a part of. In this essay, I question and problematize the undertheorized notion of what it means to “beat” video games, as well as address the lack of ludomusicological attention paid to the post-Sakaguchi produced games in the Final Fantasy series. Goals of the project include understanding the close connection between the form and content of a video game and examining popular and visual cultures to understand how experiences can be framed to produce meaning. In so doing, the project seeks to demonstrate the content of video games that, as a unique medium, can address religion in ways distinct from those of other narrative media, especially through video games’ affordance of interactive, transformative experience. These video games act as primary textual, visual, and interactive sources and are considered alongside secondary sources on the theory and application of ritual, of sacred space in the real world, and of video games in general. This project considers video games’ potential for producing religious emotional experiences, specifically through mechanical similarities to ritual actions, the construction of virtual sacred space, and the reinterpretation of religious forms of narrative in two games, Final Fantasy X and Journey. The evolution cut‐scene music in this game will be investigated in order to demonstrate first, how music interacts and, secondly, how changes with the game narrative and how segments of the same musical theme can carry several connotations within the game narrative according to the context. Final Fantasy X is a well‐known RPG that contains many narrative elements that are now considered standard. ![]() This dissertation will focus on Final Fantasy X as a case study. As the narrative evolves, music too will evolve alongside it, adding to and transforming the connotations of the music in the context of the game. During this time, music is reused and themes and motifs reappear in the game. Videogames, especially RPGs, require extensive amounts of gameplay time for the story to develop. Music plays an important role in the game narrative: it interprets and enhances the events displayed on the screen and also creates a setting which supports the illusion of being in another world. Cut‐scenes are used to aid the narrative as they describe events that would otherwise be difficult to explain in interactive mode. One narrative element that stands out is the cut‐scene, in which the interactive nature of games is inhibited, allowing for a guided, non‐interactive narrative to occur. Role Playing Games (RPGs) are known for their extended hours of gameplay and their intricate stories or narratives. These genres differ both in the way their stories are told, and in the ways their in which narratives are developed. Videogames are interactive media that have developed into various genres since their creation in the second half of the 20th century.
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