Introduction. Stereotypical representations of libraries and librarians in popular culture and media have been a cause of concern for decades. Nevertheless, representations of fictional libraries and librarians in video games have so far been ignored by scholars. This thesis aims at an initial mapping of this uncharted territory.   Method. The two types of source material, fantasy video games and textual productions made by video gamers, were identified through online searches. Various forms of data, such as screenshots, videos and notes, were analysed through qualitative textual analysis. Theory. The thesis is grounded in a social constructionist approach, with central concepts such as representation, stereotype, genre, and thematic and ludic dimensions of video games, mainly derived from cultural studies, media studies and game studies.    Analysis. Textual analysis was carried out focusing on (1) the form and function of libraries; (2) the appearance, personality and actions of librarians and their relations to library users, and (3) the significance of genre. Several themes were identified, such as the library as a romantic meeting place and a source of information about the video game world. Conclusion. Representations are often influenced by genre. For example, libraries tend to be reduced to resource generators in strategy games. While librarians are portrayed with fantasy features such as tentacles and green skin, the female librarian stereotypes dominating the media landscape today, the ”old maid” and the ”sexy librarian”, are clearly present in video games. Male librarians are more varied however, and the often referred to feminine librarian is not prevalent. Video gamers reproduce stereotypical images of librarians as angry, shushing and – in the case of female librarians – sexually attractive. Paper type. This is a two years master’s thesis in Library and Information Science.

Colour coding is seen in various forms throughout different types of media and in reallife. This study focuses on what effect colour coded visuals can have on a player in avideo game, using lights and environments deliberately coloured in a specific way togain the players attention. Results suggest that colour coding aids the player inunderstanding where to go in the game and what something means. Participantsexpressing their ability to traverse levels in the game with ease thanks to theirunderstanding of what a colour may imply. The participants selected for the test havevaried in skill, age and gender to avoid any form of bias. Further prevention of biaswas done through the between-subjects method where the subjects always started on arandom level. / Färgkodning ses i olika former inom media och verkliga livet. Denna studie fokuserarpå vad för effekt färgkodade visuella element kan ha på en spelare i ett videospel, medhjälp av ljus och miljö i ett videospel med avsiktlig färgkodning för att vägledaspelaren och fånga dennes uppmärksamhet. Resultaten föreslår att färgkodning hjälperspelaren att förstå vart de ska gå i datorspelet, samt vad något betyder. Deltagare anseratt deras förmåga att ta sig igenom spelets nivåer var enkelt tack vare deras förståelseav vad en färg kan antyda. Deltagarna valda för studien varierade i förmåga, ålder ochkön för att förhindra någon form av partiskhet. Vidare förebyggande av partiskhetgjordes via mellan-deltagare metoden, där deltagare startade på en slumpad nivå.

This study examines how costume design is used as a narrative and functional part of video game character design. The purpose being how costume design is currently utilized, what common design trends can be found and in which instances costume design goes against the functionality and believability of the character. One character from each top selling single player third person game between the years 2015-2018 were chosen for the sample. A character analysis and a coding scheme were created to find common design trends used to visually display information to players. The results showed a prevalent use of real-world cues and signs to visually display instant information. Contradicting real-world cues used together can show a divergence from reality, but even with a lack of real world examples a uniform design language can be seen. The results also show the use of objects with contextual meaning being an important part of costume design, giving it more depth. The instances found of contradicting costume design were predominantly used to make the character stand out or to emphasize their attractiveness. / Denna studie undersöker hur kostymdesign används som en narrativ och funktionell del inom design av spelkaraktärer. Syftet är att se hur kostymdesign nuvarande används, vilka vanliga design trender som kan hittas och vilka instanser som finns där kostymdesign går emot trovärdighet och funktionalitet. En karaktär från varje toppsäljande spel med enspelarläge och tredjepersons perspektiv mellan år 2015-2018 valdes. En karaktärsanalys och ett kodschema skapades för att hitta gemensamma design trender som används för att visuellt förmedla information till spelare. Resultatet visar en övergripande användning av signaler från verkligheten för att visuellt förmedla omedelbar information. Motsägande verkliga signaler som visas tillsammans kan påvisa en avvikelse från verkligheten men även scenarion med en avsaknad av verkliga exempel kan ett uniformt designspråk ses. Resultaten visade även den vikt som läggs på användningen av objekt med kontextuell mening för att ge kostymdesigner mer djup. Instanser där kostymdesign sågs som motsägande var mestadels för att få karaktären att stå ut eller för att framhäva attraktiva drag.

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Video games are an almost universal adolescent leisure activity. Though some in the scholarly field are concerned about the effects of violent video game content on adolescent social outcomes, others believe that the benefits of video game play have been overlooked. A literature review was conducted to examine the evidence for positive and negative outcomes of video game play on adolescents. There were 14 articles identified and subsequently reviewed. Findings demonstrated a unique link between video game play and antisocial (e.g., aggression), prosocial (e.g., generosity), and pragmatic (e.g., problem-solving skills) outcomes. However, the results also suggest that much of this research is atheoretical and does adequately consider the roles of relational context. Discussion of the potential roles of relationships, theoretical applications, strengths and limitations of the research, and future directions are provided.

League of Legends is one of the most popular video games in the world, and yet it is also infamously known as being filled with harassment and failure. Why do I continue to play? In this project, a critical autoethnography is used to illustrate what it is like to play in this male-dominated space as a woman. Using feminist and queer game studies as my theoretical framework, this project investigates three distinct, but interconnected concepts: hegemonic masculinity, weaponized failure, and subversive play. In chapter one, I use Raewyn Connell’s theory of hegemonic masculinity to analyze League of Legends. I argue that gameplay elements such as champion selection, communication, and role-play make it difficult to challenge hegemonic masculinity in League of Legends. However, I do acknowledge that it is possible to challenge through playing the role of support properly – by concentrating on teamwork and sacrifice. In chapter two, I use queer video game studies, including key texts by Bonnie Ruberg and Jesper Juul, to consider failure in League of Legends. While queer failure can be fun in single-player video games, I argue that failure in League of Legends can be used as a weapon to intentionally hurt your teammates. Finally, in chapter three I consider my own subversive playstyle. While some academics have argued that woman who play masculine video games using male-coded skills cannot challenge the patriarchy, I argue that embracing my femininity in League of Legends allows me to persevere and push against the patriarchy. I argue that my feminine visibility in the form of my gamertag, SJW Queen, my communication style that emphasizes positivity and mediation, and how I play League of Legends are all examples of subversive gameplay. I bring my femininity into League of Legends uncompromised and I embrace it, rather than try to escape from it.

The purpose of this non-positivistic mixed-methods study is to examine parental attitudes towards the use of computer and video games in their child’s classroom and to investigate how the sociocultural contexts in which parents live affect those attitudes. The research was conducted using a mixed-methods triangulation design, including both quantitative and qualitative techniques. First, the study tried to identify which groups of parents were better positioned to accept and support digital game-based learning and which groups were less likely to have a positive attitude toward integrating digital games into the classroom. This study tried to determine if socioeconomic status, age, education level, and/or cultural background could serve as a predictor of parental attitudes toward digital game-based learning. Second, the study tried to recognize how social and cultural contexts in which parents live affect their attitudes toward digital games in the classroom. Many researchers agree that parents play an important role in students’ and eventually, educators’ attitudes toward gaming. It has been argued that if parents accept a certain non-traditional (digital) learning tool, then their children would most likely have a similar attitude toward it. Parents might be the support system that educators need in order to ensure that students are able to see the educational value of video games and are willing to think critically and draw connections between what they learn in a gaming environment and core subject areas.

This thesis aimed to analyse slapstick comedy found in Untitled Goose Game by comparing it to early twentieth century slapstick comedy to answer the question of how Untitled Goose Game designed its slapstick comedy gags. Moments resembling classic slapstick were evaluated and tested by a formula synthesized from Charlie Chaplin’s Modern Times, a cornerstone of classicslapstick comedy, and slapstick theory. The formula contained four crucial points: (a) the reliance on surprise; (b) easily understood scenarios that offered instant audience responses; (c) a build up of tension; and (d) a climactic moment to the gag. The moments were found to behave very much in accordance with the classic slapstick formula created, with small discrepancies in surprise. Through analysis and discussion, it was found that these discrepancies could be explained by the scripted nature of the humor found within the game. The answer to the research question was that Untitled Goose Game designed its humor very similar to the classic slapstick gags found in the early twentieth century using this formula, and that there was potential for more within the videogame medium. Therefore, this thesis concludes that by following this formula, video games can easily integrate slapstick humor. This insight can allow video game designers to implement the formula and therefore humor more effectively by either fulfilling or subverting the audience's expectations. / Syftet med den här studien är att analysera slapstickkomedin i Untitled Goose Game för att jämföra den med klassisk slapstickkomedi från början av 1900-talet i syfte att svara på hur spelet använde och designade sina slapstick rutiner. Spelmoment med inslag av klassiskt slapstick värdesattes och testades med hjälp av en formel syntetiserad från Charlie Chaplins Modern Times, en grundpelare i både klassisk slapstickkomedi samt slapstickteori. Formeln innehöll fyra viktiga punkter: (a) beroendet av överraskning; (b) lättförstådda scenarion vilka gav direkt respons från publiken; (c) en uppbyggnad av spänning; och (d) skämtets klimax. De analyserade momenten sågs uppföras mycket snarlikt den klassiska uppbyggnaden för en slapstick-rutin, med somliga avvikelser i (a) överraskning. Analys och diskussion visade att dessa avvikelser kan förklaras av den iscensatta naturen av humorn funnen i spelet. Svaret på studiens frågeställning var att Untitled Goose Game designade sin humor på ett sätt liknande det som återfinns i slapstick-komedi från tidigt 1900-tal genom att använda den tidigare nämnda formeln, samt att det finns vidare möjligheter att utveckla slapstick i spel-mediet. Således resulterar studien att spel kan följa denna formel för att integrera slapstick-komedi på ett enkelt sätt. Denna insikt kan tillåta speldesigners att implementera formeln, och således även humorn, på ett effektivare sätt genom att antingen fullfölja eller undergräva publikens förväntningar.

I och med att videospel blir mer avancerade, inte bara grafiskt utan också som konstform samt att dom erbjuder en mer inlevelsefull upplevelse, så kan det förväntas att spelen också ska erbjuda en större utmaning för att få spelaren bli ännu mer engagerad i spelet. Dagens spelare är vana vid fiender vars beteende styrs av tydliga mönster och regler, som beroende på situation agerar på ett förprogrammerat sätt och agerar utifrån förutsägbara mönster. Detta leder till en spelupplevelse där målet blir att klura ut det här mönstret och hitta ett sätt att överlista eller besegra det. Men tänk om det fanns en möjlighet att skapa en ny form av fiende svarar och anpassar sig beroende på hur spelaren beter sig? Som anpassar sig och kommer på egna strategier utifrån hur spelaren spelar, som aktivt försöker överlista spelaren? Genom maskininlärning i spel möjliggörs just detta. Med en maskininlärningsmodell som styr fienderna och tränas mot spelarna som möter den så lär sig fienderna att möta spelarna på ett dynamiskt sätt som anpassas allt eftersom spelaren spelar spelet. Den här studien ämnar att undersöka stegen som krävs för att implementera maskininlärning i Unity motorn samt undersöka ifall det finns någon upplevd skillnad i spelupplevelsen hos spelare som fått möta fiender styrda av en maskininlärningsmodell samt en mer traditionell typ av fiende. Data samlas in från testspelarnas spelsessioner samt deras svar i form av ett frågeformulär, där datan presenteras i grafform för att ge insikt kring ifall fienderna var likvärdigt svåra att spela mot. Svaren från frågeformulären används för att jämföra spelarnas spelupplevelser och utifrån detta se skillnaderna mellan dom. Skalan på spelet och dess enkelhet leder till att svaren inte bör påverkas av okända och ej kontrollerbara faktorer, vilket ger svar som ger oss insikt i skillnaderna mellan dom olika spelupplevelserna där en preferens för fiender styrda av maskininlärningsmodeller kan anas, då dom upplevs mer oförutsägbara och varierande. / As video games become more complex and more immersive, not just graphically or as an artform, but also technically, it can be expected that games behave on a deeper level to challenge and immerse the player further. Today’s gamers have gotten used to pattern based enemies, moving between preprogrammed states with predictable patterns, which lends itself to a certain kind of gameplay where the goal is to figure out how to beat said pattern. But what if there could be more in terms of challenging the player on an interactive level? What if the enemies could learn and adapt, trying to outsmart the player just as much as the player tries to outsmart the enemies. This is where the field of machine learning enters the stage and opens up for an entirely new type of non-player character in videogames. An enemy who uses a trained machine learning model to play against the player, who can adapt and become better as more people play the game. This study aims to look at early steps to implement machine learning in video games, in this case in the Unity engine, and look at the players perception of said enemies compared to normal state-driven enemies. Via testing voluntary players by letting them play against two kinds of enemies, data is gathered to compare the average performance of the players, after which players answer a questionnaire. These answers are analysed to give an indication of preference in type of enemy. Overall the small scale of the game and simplicity of the enemies gives clear answers but also limits the potential complexity of the enemies and thus the players enjoyment. Though this also enables us to discern a perceived difference in the players experience, where a preference for machine learning controlled enemies is noticeable, as they behave less predictable with more varied behaviour.

Prior research has established a relationship between playing video games containing stereotyped representations of traditionally marginalized groups and resulting negative attitudes towards those groups. Yet, very little work has examined video games containing more positive, non-stereotyped representations and whether these diverse casts have inverse effects resulting in positive attitudes following exposure, an effect demonstrated in television media. The current study makes use of two paradigms, one based on short-term priming theory concerning immediate exposure to media, and one on long-term cultivation theory dealing with the overall media diet, and the relation to attitudes towards Blacks including symbolic racism, colorblindness, and implicit bias. In Study 1 (n = 31), Black and White participants reported how much time weekly they spent playing a popular game with positive representations of People of Color before completing measures. In Study 2 (n = 91), Black and White participants were exposed to one of three games, one with positive representation, one with negative representation, and a control game before completing study measures. Findings suggested that participant race was related to pro-Black attitudes (p = .009), but that direct exposure to a game with positive representation (p = .13) as well as playing the game during the week (p = .25) was not, while controlling for participant interracial contract. Despite this, discussions are made in face of interesting patterns of results that could be expanded upon in future work to explain the present findings. Furthermore, practical applications of the present study are made for both non-academic creators and consumers of video games.