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The present work discusses the production of video games in the contemporary world as part of entertainment supersystems, in a transmedia context (KINDER, 1991; JENKINS, 2006). For that, we use here the notion of video games as composite forms (LINDEROTH, 2015), which support innumerable and different frameworks, in the most varied artistic and media languages, that coexist and are mixed with each other. Among these structures, we highlight here the cutscenes, moments in video games in which the gameplay is suspended for the exhibition of a scene, or sequence. We argue that cutscenes display numerous similarities, loans and relations with the cinematographic and televisive languages. This discussion is based on a case study of Telltale’s Game of Thrones game, in which the use of cutscenes and its variations throughout the gameplay is observed.

O jogo dos tronos: videogame e cutscenes no projeto transmidiático de Game of Thrones