Research Article
BibTex RIS Cite

Analysis of the Ghost of Tsushima Game According to the Actantial Model of Griemas

Year 2022, Issue: 74, 315 - 329, 26.10.2022
https://doi.org/10.51290/dpusbe.1162644

Abstract

The success of digital games is possible with a gripping story and surrealistic depictions of places and characters. When the stories of popular games in the recent past are examined, the abundance of games that deal with historical and mythological events draws attention. In this study, the structure of the plot in the Ghost of Tsushima game, developed by Sucker Punch Productions and published by Sony Interactive Entertainment in 2020, was examined according to Greimas' model of actors. The analysis of the play is based on its model, a qualitative approach traditionally developed by Greimas (1973) to examine and describe the different roles, functions, and actions in storytelling. This model presents the interconnections of the relationships, functions, and possible actions in the scenario in a table. As a result of the research, the plot in the play was defined according to the subject, object, sender, receiver, supportive and obstructive elements, which form the basis of the pragmatic narrative model and also known as the semiotic frame, and the relations between the actors and the operation scheme of the narrative were revealed.

References

  • Aydın, O. Ş. (2017). Bir görsel tarih anlatısı olarak Ayla filminin Greimas’ın eyleyensel örnekçesine göre çözümlenmesi. Sosyal Bilimler Dergisi, 4(17), 91-100.
  • Barnett, J., & Coulson, M. (2010). Virtually real: A psychological perspective on massively multiplayer online games. Review of General Psychology, 14(2), 167–179. https://doi.org/10.1037/a0019442
  • Bernhaupt, R. (2015). User experience evaluation methods in the games development life cycle. regina bernhaupt (Ed.), Game user experience evaluation (pp.1-10). Switzerland: Springer.
  • Birsen, H. ve Yıldız, M. E. (2018). Video oyun çalışmalarının geleceği̇: oyuncu merkezli̇ ve kullanıcı deneyimi odaklı yaklaşımlar. Kurgu, 26 (3), 268-283.
  • Chandler, D. (2002). Semiotics: The basics. New York: Routledge.
  • Cleary T. F. (2008). Training the samurai mind: a bushido sourcebook. Shambhala: Random House.
  • Demirbaş, Y. (2017). Oyun çalışmalarında dijital anlatı ile oyun biçimi karşıtlığı ekseninde süren tartışmalara farklı bir bakış. Moment Dergi, 4 (2), 352-373.
  • Eklund, L. (2011). Doing gender in cyberspace: The performance of gender by female World of Warcraft players. Convergence, 17(3), 323–342.
  • Frasca, G. (2001). Rethinking Agency and Immersion: Video games as a means of consciousness raising. Digital Creativity 2001. 12(3), 167-174.
  • Greimas, A. J. (1966). Structural semantics: An attempt at a method. Lincoln, NE: University of Nebraska Press.
  • Greimas, A. J., & Courtés, J. (1982). Semiotics and language: An analytical dictionary. Bloomington: Indiana University Press.
  • Griffiths, M. D., & Hunt, N. (1995). Computer game playing in adolescence: Prevalence and demographic ındicators. Journal of Community ve Applied Social Psychology, 5(3), 189-193.
  • Gough, C. (2020). Breakdown of U.S. computer and video games sales from 2009 to 2017 by delivery format, https://statinvestor.com/data/27070/us-computer-and-video-game-sales-digital-vs-physical/ (Erişim tarihi:1 Temmuz 2022).
  • Hodent, C. (2017). The Gamer’s Brain how neuroscience and ux can ımpact video game design. New York: CRC Press.
  • Houghton, R. (2019, Mayıs 30). Why are objectives ımportant in historical video games? The public medievalist. https://www.publicmedievalist.com/game-objectives
  • Hubbard, B. (2014). The samurai: swords shoguns and seppuku. Gloucestershire: History Press.
  • Kamisah, O., & Ah-Nam, L. (2018). Chemistry learning through designing digital games. encyclopedia of ınformation science and technology, fourth edition. (pp. 3248-3259). USA: Information Resources Management Association.
  • Karadeniz, O. Ö. (2017). Oyun İncelemelerinde Ludoloji- Narratoloji Tartışması ve Alternatif Kuramsal Arayışlar. Galatasaray Üniversitesi İletişim Dergisi, 27, 57-78.
  • Kıran, A. E., ve Kıran, Z. (2011). Yazınsal okuma süreçleri. Ankara: Seçkin Yayıncılık.
  • Leech, N. L., & Onwuegbuzie, A. J. (2008). Qualitative data analysis: A compendium of techniques and a framework for selection for school psychology research and beyond. School Psychology Quarterly, 23(4), 587–604.
  • Lévi-Strauss, C. (1987). Anthropology and myth. lectures 1951-1982. Oxford: Basil Blackwell.
  • McCall, J. (2018) Video games as participatory public history. In: Dean, D. (Ed.) The Companion to Public History (405–416). John Wiley & Sons, New York.
  • Misuraca G., & Stewart, J. (2013). The industry and policy context for digital games for empowerment and inclusion: Market analysis, future prospects and key challenges in videogames, serious games and gamification. Luxembourg: Publications Office of the European Union.
  • Nardi, B. A. (2010). My life as a night elf priest: An anthropological account of World of Warcraft. Ann Arbor: University of Michigan Press.
  • Newzoo (2022). Gaming Industry Trends Report 2022. https://newzoo.com/insights/trend-reports/gaming-industry-trends-2022-report-games-esports-gamestreaming-cloud-metaverse
  • Ollerhead, S. (2019). Teaching across semiotic modes with multilingual learners: Translanguaging in an Australian classroom. Language and Education, 33(2), 106-122.
  • Olsson, C.M. (2015). Fundamentals for writing research. Lankoski, P., & Bjork (Ed.), Game research methods: An overview (pp. 151-170). ETC Press: Pittsburgh.
  • Raven, P. G., & Elahi, S. (2015). The New Narrative: applying narratology to the shaping of futures outputs. Futures, 74, 49-61. https://doi.org/10.1016/j.futures.2015.09.003
  • Rifat, M., (2008). XX. Yüzyılda dilbilim ve göstergebilim kuramları. İstanbul: Yapı Kredi Yayıncılık.
  • Saussure, F. de (1974) General course in linguistics. New York. Philosophical Library.
  • Shaumyan, S. (1987). A semiotic theory of language. Bloomington: Indiana University Press.
  • Signori, P., & Flint, D. J. (2019). Revealing the unique blend of meanings in corporate identity: An application of the semiotic square. Journal of Marketing Theory and Practice, 28(1), 26–42. doi:10.1080/10696679.2019.1662312
  • Taylor, T. L. (2003). Multiple pleasures women and online gaming. Convergence, 9(1), 21–46.
  • Tisserand, D. (2018). It is all about process. In A. Drachen, P. M. Babaei, L. E. Nacke (Ed.), Games User Research (pp. 31-44). Oxford University Press.
  • Frasca, G. (2003). Simulation versus Narrative. in Wolf, Mark J. P. and Perron, Bernard. (Eds.), The Video Game Theory Reader (pp. 221-235). New York, Routledge.
  • Zimmerman, E. (2004). Narrative, interactivity, play, and games. London: MIT Press.

Ghost of Tsushima Oyununun Greimas’ın Eyleyensel Modeline Göre Çözümlenmesi

Year 2022, Issue: 74, 315 - 329, 26.10.2022
https://doi.org/10.51290/dpusbe.1162644

Abstract

Dijital oyunların başarısı sürükleyici bir öykü ile mekân ve karakterlerin gerçeküstü bir şekilde tasvirleri ile mümkün olmaktadır. Yakın bir geçmişteki popüler oyunların hikâyeleri incelendiği zaman tarihi ve mitolojik olayları konu alan oyunların fazlalığı dikkat çekmektedir. Bu oyunlardan Ghost of Tsushima, 13. yüzyılda Moğol İmparatorluğu’nun doğu seferi sırasında işgal etmek istediği Japonya'ya bağlı Tsushima Adası’ndaki Jin Sakai komutasında halk direnişini konu almaktadır. Bu çalışma, 2020 yılında Sucker Punch Productions tarafından geliştirilen ve Sony Interactive Entertainment tarafından yayınlanan Ghost of Tsushima oyunundaki olay örgüsünün yapısı Greimas’ın Eyleyenler modeline göre incelenmiştir. Oyunun analizi, Greimas (1973) tarafından geleneksel olarak hikâye anlatımındaki farklı rolleri, işlevleri ve eylemleri incelemek ve tanımlamak için geliştirilen nitel bir yaklaşım olan örnekçeye göre yapılmıştır. Bu modelde senaryodaki ilişkilerin, işlevlerin ve olası eylemlerin birbirleriyle olan bağlantıları bir tabloda sunulmaktadır. Araştırma sonucunda oyundaki olay örgüsü edimsel anlatı modelinin temelini oluşturan ve göstergebilimsel kare olarak da bilinen özne, nesne, gönderici, alıcı, destekleyici ve engelleyici öğelere göre tanımlanarak eyleyenler arasındaki ilişkiler ve anlatının işleyiş şeması ortaya konulmuştur.

References

  • Aydın, O. Ş. (2017). Bir görsel tarih anlatısı olarak Ayla filminin Greimas’ın eyleyensel örnekçesine göre çözümlenmesi. Sosyal Bilimler Dergisi, 4(17), 91-100.
  • Barnett, J., & Coulson, M. (2010). Virtually real: A psychological perspective on massively multiplayer online games. Review of General Psychology, 14(2), 167–179. https://doi.org/10.1037/a0019442
  • Bernhaupt, R. (2015). User experience evaluation methods in the games development life cycle. regina bernhaupt (Ed.), Game user experience evaluation (pp.1-10). Switzerland: Springer.
  • Birsen, H. ve Yıldız, M. E. (2018). Video oyun çalışmalarının geleceği̇: oyuncu merkezli̇ ve kullanıcı deneyimi odaklı yaklaşımlar. Kurgu, 26 (3), 268-283.
  • Chandler, D. (2002). Semiotics: The basics. New York: Routledge.
  • Cleary T. F. (2008). Training the samurai mind: a bushido sourcebook. Shambhala: Random House.
  • Demirbaş, Y. (2017). Oyun çalışmalarında dijital anlatı ile oyun biçimi karşıtlığı ekseninde süren tartışmalara farklı bir bakış. Moment Dergi, 4 (2), 352-373.
  • Eklund, L. (2011). Doing gender in cyberspace: The performance of gender by female World of Warcraft players. Convergence, 17(3), 323–342.
  • Frasca, G. (2001). Rethinking Agency and Immersion: Video games as a means of consciousness raising. Digital Creativity 2001. 12(3), 167-174.
  • Greimas, A. J. (1966). Structural semantics: An attempt at a method. Lincoln, NE: University of Nebraska Press.
  • Greimas, A. J., & Courtés, J. (1982). Semiotics and language: An analytical dictionary. Bloomington: Indiana University Press.
  • Griffiths, M. D., & Hunt, N. (1995). Computer game playing in adolescence: Prevalence and demographic ındicators. Journal of Community ve Applied Social Psychology, 5(3), 189-193.
  • Gough, C. (2020). Breakdown of U.S. computer and video games sales from 2009 to 2017 by delivery format, https://statinvestor.com/data/27070/us-computer-and-video-game-sales-digital-vs-physical/ (Erişim tarihi:1 Temmuz 2022).
  • Hodent, C. (2017). The Gamer’s Brain how neuroscience and ux can ımpact video game design. New York: CRC Press.
  • Houghton, R. (2019, Mayıs 30). Why are objectives ımportant in historical video games? The public medievalist. https://www.publicmedievalist.com/game-objectives
  • Hubbard, B. (2014). The samurai: swords shoguns and seppuku. Gloucestershire: History Press.
  • Kamisah, O., & Ah-Nam, L. (2018). Chemistry learning through designing digital games. encyclopedia of ınformation science and technology, fourth edition. (pp. 3248-3259). USA: Information Resources Management Association.
  • Karadeniz, O. Ö. (2017). Oyun İncelemelerinde Ludoloji- Narratoloji Tartışması ve Alternatif Kuramsal Arayışlar. Galatasaray Üniversitesi İletişim Dergisi, 27, 57-78.
  • Kıran, A. E., ve Kıran, Z. (2011). Yazınsal okuma süreçleri. Ankara: Seçkin Yayıncılık.
  • Leech, N. L., & Onwuegbuzie, A. J. (2008). Qualitative data analysis: A compendium of techniques and a framework for selection for school psychology research and beyond. School Psychology Quarterly, 23(4), 587–604.
  • Lévi-Strauss, C. (1987). Anthropology and myth. lectures 1951-1982. Oxford: Basil Blackwell.
  • McCall, J. (2018) Video games as participatory public history. In: Dean, D. (Ed.) The Companion to Public History (405–416). John Wiley & Sons, New York.
  • Misuraca G., & Stewart, J. (2013). The industry and policy context for digital games for empowerment and inclusion: Market analysis, future prospects and key challenges in videogames, serious games and gamification. Luxembourg: Publications Office of the European Union.
  • Nardi, B. A. (2010). My life as a night elf priest: An anthropological account of World of Warcraft. Ann Arbor: University of Michigan Press.
  • Newzoo (2022). Gaming Industry Trends Report 2022. https://newzoo.com/insights/trend-reports/gaming-industry-trends-2022-report-games-esports-gamestreaming-cloud-metaverse
  • Ollerhead, S. (2019). Teaching across semiotic modes with multilingual learners: Translanguaging in an Australian classroom. Language and Education, 33(2), 106-122.
  • Olsson, C.M. (2015). Fundamentals for writing research. Lankoski, P., & Bjork (Ed.), Game research methods: An overview (pp. 151-170). ETC Press: Pittsburgh.
  • Raven, P. G., & Elahi, S. (2015). The New Narrative: applying narratology to the shaping of futures outputs. Futures, 74, 49-61. https://doi.org/10.1016/j.futures.2015.09.003
  • Rifat, M., (2008). XX. Yüzyılda dilbilim ve göstergebilim kuramları. İstanbul: Yapı Kredi Yayıncılık.
  • Saussure, F. de (1974) General course in linguistics. New York. Philosophical Library.
  • Shaumyan, S. (1987). A semiotic theory of language. Bloomington: Indiana University Press.
  • Signori, P., & Flint, D. J. (2019). Revealing the unique blend of meanings in corporate identity: An application of the semiotic square. Journal of Marketing Theory and Practice, 28(1), 26–42. doi:10.1080/10696679.2019.1662312
  • Taylor, T. L. (2003). Multiple pleasures women and online gaming. Convergence, 9(1), 21–46.
  • Tisserand, D. (2018). It is all about process. In A. Drachen, P. M. Babaei, L. E. Nacke (Ed.), Games User Research (pp. 31-44). Oxford University Press.
  • Frasca, G. (2003). Simulation versus Narrative. in Wolf, Mark J. P. and Perron, Bernard. (Eds.), The Video Game Theory Reader (pp. 221-235). New York, Routledge.
  • Zimmerman, E. (2004). Narrative, interactivity, play, and games. London: MIT Press.
There are 36 citations in total.

Details

Primary Language Turkish
Journal Section RESEARCH ARTICLES
Authors

Uğur Bakan 0000-0003-0117-3731

Ufuk Bakan 0000-0001-7302-9398

E. Nilüfer Üstündağ 0000-0001-6212-2394

Publication Date October 26, 2022
Published in Issue Year 2022 Issue: 74

Cite

APA Bakan, U., Bakan, U., & Üstündağ, E. N. (2022). Ghost of Tsushima Oyununun Greimas’ın Eyleyensel Modeline Göre Çözümlenmesi. Dumlupınar Üniversitesi Sosyal Bilimler Dergisi(74), 315-329. https://doi.org/10.51290/dpusbe.1162644
AMA Bakan U, Bakan U, Üstündağ EN. Ghost of Tsushima Oyununun Greimas’ın Eyleyensel Modeline Göre Çözümlenmesi. Dumlupınar Üniversitesi Sosyal Bilimler Dergisi. October 2022;(74):315-329. doi:10.51290/dpusbe.1162644
Chicago Bakan, Uğur, Ufuk Bakan, and E. Nilüfer Üstündağ. “Ghost of Tsushima Oyununun Greimas’ın Eyleyensel Modeline Göre Çözümlenmesi”. Dumlupınar Üniversitesi Sosyal Bilimler Dergisi, no. 74 (October 2022): 315-29. https://doi.org/10.51290/dpusbe.1162644.
EndNote Bakan U, Bakan U, Üstündağ EN (October 1, 2022) Ghost of Tsushima Oyununun Greimas’ın Eyleyensel Modeline Göre Çözümlenmesi. Dumlupınar Üniversitesi Sosyal Bilimler Dergisi 74 315–329.
IEEE U. Bakan, U. Bakan, and E. N. Üstündağ, “Ghost of Tsushima Oyununun Greimas’ın Eyleyensel Modeline Göre Çözümlenmesi”, Dumlupınar Üniversitesi Sosyal Bilimler Dergisi, no. 74, pp. 315–329, October 2022, doi: 10.51290/dpusbe.1162644.
ISNAD Bakan, Uğur et al. “Ghost of Tsushima Oyununun Greimas’ın Eyleyensel Modeline Göre Çözümlenmesi”. Dumlupınar Üniversitesi Sosyal Bilimler Dergisi 74 (October 2022), 315-329. https://doi.org/10.51290/dpusbe.1162644.
JAMA Bakan U, Bakan U, Üstündağ EN. Ghost of Tsushima Oyununun Greimas’ın Eyleyensel Modeline Göre Çözümlenmesi. Dumlupınar Üniversitesi Sosyal Bilimler Dergisi. 2022;:315–329.
MLA Bakan, Uğur et al. “Ghost of Tsushima Oyununun Greimas’ın Eyleyensel Modeline Göre Çözümlenmesi”. Dumlupınar Üniversitesi Sosyal Bilimler Dergisi, no. 74, 2022, pp. 315-29, doi:10.51290/dpusbe.1162644.
Vancouver Bakan U, Bakan U, Üstündağ EN. Ghost of Tsushima Oyununun Greimas’ın Eyleyensel Modeline Göre Çözümlenmesi. Dumlupınar Üniversitesi Sosyal Bilimler Dergisi. 2022(74):315-29.

Dergimiz EBSCOhost, ULAKBİM/Sosyal Bilimler Veri Tabanında, SOBİAD ve Türk Eğitim İndeksi'nde yer alan uluslararası hakemli bir dergidir.