Degree | Type | Year |
---|---|---|
2503873 Interactive Communication | OB | 2 |
You can view this information at the end of this document.
There are no prerequisites, even though curiosity and prior knowledge of fiction, videogames and narrative in general are valuable.
1. What is genre?
2. Genre in fiction prior to videogames.
3. What is a videogame?
4. The concept of genre in videogames.
5. Historical references in videogames genre.
6. Genre in videogames nowadays.
7. What can happen in the future, in terms of genre?
Title | Hours | ECTS | Learning Outcomes |
---|---|---|---|
Type: Directed | |||
Lab practices | 30 | 1.2 | 2, 3, 4, 5, 6, 7, 10, 11, 12, 13, 14, 15, 16, 17, 18 |
Theory | 33 | 1.32 | 1, 2, 4, 5, 6, 7, 8, 10, 15, 17 |
Type: Supervised | |||
Handout assessment activities | 20 | 0.8 | 2, 3, 4, 5, 6, 8, 10, 11, 12, 13, 14, 15, 17, 18, 19 |
Type: Autonomous | |||
Reading and assignments | 24 | 0.96 | 1, 2, 5, 8, 10, 11, 14, 16, 17, 18 |
The methodology of the subject is based on:
1. The theoretical sessions will be dedicated to presenting and discussing theoretical concepts.
2. The practical classes will be destined to present analysis cases and defending the ideas.
3. The tutorials will be intended to guide students in their video game analysis in terms of genre.
The analysis of the genres will be made through products' analysis, not only videogames but also media products prior to videogames.
Also, students should be able to synthesize all the knowledge in the course through a videogame creation.
Annotation: Within the schedule set by the centre or degree programme, 15 minutes of one class will be reserved for students to evaluate their lecturers and their courses or modules through questionnaires.
Title | Weighting | Hours | ECTS | Learning Outcomes |
---|---|---|---|---|
[A] Videogame Idea | 40 | 18 | 0.72 | 1, 2, 3, 4, 6, 7, 8, 9, 10, 11, 12, 13, 14, 16, 17, 18, 19 |
[B] Case Study | 30 | 13 | 0.52 | 1, 2, 3, 4, 5, 6, 7, 8, 10, 11, 12, 14, 15, 17, 18 |
[C] Classroom discussion and activites | 20 | 8 | 0.32 | 1, 2, 4, 5, 6, 7, 8, 10, 12, 14, 15, 17 |
[D] Class participation | 10 | 4 | 0.16 | 1, 2, 4, 5, 6, 7, 8, 9, 12, 14, 15, 17 |
Evaluation
[A] -Videogame Idea: 40%. The ideas taught throughout the course should be reflected in this idea. Group activity.
[B] -Case Study: 30%. Analyze 3 fiction products, one of them has to be a videogame. Individual activity.
[C] -Classroom activities and debates: 20%. Individual activity.
[D] -Classroom participation: 5% in direct participation and 5% in ludification activities.
This course offers the possibility of a single assessment. The conditions for being assessed in this way will be explained on the first day of class.
Single assessment
Exam: 30%. Which includes all the contents in the subject
Case Study: 20%. Fictions prior to videogames.
Videogame analysis: 20%. Detailed analysis of a videogame.
Videogame idea: 30%. Idea and early development of a videogame.
a) According to regulation, in order to participate in the re-evaluation process, students must have been previously evaluated in at least 2/3 of the total assessable activities of the course.
b) The exam can only be retaken if the student has obtained a grade lower than 4.9. The recovery exam will consist of a written test assessing theoretical knowledge.
c) The grade obtained in the resolution of activities 2, 3 and 4 will be part of the total average of the final grade. Only in the case of failing this test, and if the student so wishes, they may choose to retake it with a test of the same nature.
d) Activities 2, 3 and 4 are not suitable for re-evaluation, and the grade obtained in each assignment (whether passed or not) will be part of the total average of the final grade.
The specific bibliography will be revealed throughout the semester.
Basic references:
Altman, R. (2000). Los géneros cinematográficos. Paidós Comunicación. Barcelona: Espasa.
Heussner, Tobias, Kristen Finley, Toya, Brandes Hepler, Jennifer, & Lemay, Anne (2015). The Game Narrative Toolbox
Complementary references:
· BISSELL, T. (2010). Extralives: Why Video Games Matter. New York: Pantheon Books.
· COLON, A. y ANYÓ, L. (2015). Argumentos para el clímax: estrategias narrativas en el vide- ojuego de acción y aventuras. En J. Cuesta y J. Sierra (Eds.), Videojuegos: arte y narrativa audiovisual (pp. 69-85). Madrid: ESNE.
· GONZÁLEZ, F. (2014) Super Control. Seria aproximación al mundo del videojuego. Star-t Magazine Books.
· LÓPEZ REDONDO, I. (2014). ¿Qué es un videojuego? Claves para entender el mayor fenómeno cultural del siglo XXI. Sevilla: Ediciones Arcade.
· PARKIN, S. (2015). Death by video game. London: Serpent’s Tail.
· PÉREZ, Ó. (Tesis doctoral, 2010). “Análisis de la significación del videojuego. Fundamentos teóricos del juego al mundo narrativo y la enunciación interactiva como perspectivas de estudio del discurso.” UPF: http://www.tdx.cat/handle/10803/7273
This course has no software prerequisites.
Name | Group | Language | Semester | Turn |
---|---|---|---|---|
(SEM) Seminars | 61 | Catalan | first semester | afternoon |
(SEM) Seminars | 62 | Catalan | first semester | afternoon |
(TE) Theory | 6 | Catalan | first semester | afternoon |