Dans ce travail de thèse, nous proposons d'étudier les méthodes d'évaluation de l'attention ainsi que son implication dans la gestion de la difficulté dans le contexte du jeu vidéo. La prise en compte des processus attentionnels joue un rôle important dans la construction des interfaces homme-machine. La perturbation de ces processus peut, symétriquement, servir de variable d'ajustement des difficultés rencontrées dans les challenges proposés par les game designers. Notre première démarche a consisté à mesurer des temps de réaction de l'utilisateur dans un contexte de jeu sérieux. L'algorithme développé a permis, par une analyse des trajectoires du pointeur contrôlé par le joueur, de détecter des valeurs anormales de temps de réaction. Cela nous a amené à étudier dans quelle mesure la quantité d'information présentée à l'écran pouvait altérer les performances d'un joueur. Notre deuxième approche a consisté donc à mesurer les effets produits par une variation du champ de vision choisi sur la caméra virtuelle dans les jeux à la première personne. Dans la suite de ce travail, nous avons étudié dans quelle mesure la distribution de l'attention d'un utilisateur sur plusieurs dispositifs pour réaliser une simple tâche pouvait modifier les performances comparativement à un dispositif unique. Cette étude a montré que l'utilisation de deux dispositifs en parallèle provoque une augmentation significative de la difficulté. / In this thesis, we study attention evaluation methods and their application to the management of difficulty within the context of video games. The consideration of attentional processes plays an important role in the development of human-computer interfaces. The disruption of these attentional processes can be used symmetrically as a variable for adjusting game difficulty. Our first approach was to measure user reaction time, which we did in the context of a serious game. By analyzing the trajectories of a mouse cursor controlled by the player, our approach allows us to detect abnormal reaction time values. This led us to consider how the amount of information displayed on screen could alter player performance. Our second approach, therefore, was to measure the effects produced by variations in the field of view of the virtual camera in a 3D first-person game. Finally, we studied how the distribution of user attention across multiple devices for the execution of a simple task could affect performance relative to the use of a single device. This study showed that the use of two devices in parallel causes a significant increase in difficulty.

The purpose of this thesis is to examine the formation of identity through dress in virtual environments, and to establish connections between identity, fashion, and virtual reality by means of language and semiology. The notion of identity through fashion in virtual environments is examined, with fashion as a factor in identity formation through dress as analysed in structuralist terms. The virtual aspect is used both as a literal field, i.e. the medium of video games and social networks that involve virtual avatars, and as theoretical testing ground from which to derive new results on the nature of dress and many of the aspects of clothing and fashion. The practical outcome of this research, a video game based on dress and narrative, serves as an applied experiment of the three main themes in this thesis and the relations and interactions between them, as well as a testing tool with which to challenge in a practical way the theories and speculations formed in the thesis. My methodology is based on structuralism and post-structuralism in the fields of linguistics, psychology and anthropology, with particular application to the visual media and virtual reality. I am using a post-structuralist approach as it has been the most dominant discourse of replacing economic and social (power) relations with codes and the interplay between signifiers and signifieds. This, I find, is the most appropriate method for analysing both virtual systems and fashion, because, on an atomic level, they both depend on variables such as words and numbers. The code is therefore the common denominator of both disciplines. Furthermore, both disciplines use narrative for their proper function, video games for their back story and motivation of the player, and fashion for its advertising and promotion, as well as through archetypes and symbols. Fashion in this context works as a catalytic agent between post-structuralist codes in modern media as texts, and video games.

This thesis sets out to explore some of the ways in which videogames use space as a means of expression. This expression takes place in two registers: representation and embodiment. Representation is understood as a form of expression in which messages and ideas are communicated. Embodiment is understood as a form of expression in which the player is encouraged to take up a particular position in relation to the game. This distinction between representation and embodiment is useful analytically but the thesis attempts to synthesise these modes in order to account for the experience of playing videogames, where representation and embodiment are constantly happening and constantly influencing and shaping each other. Several methods are developed to analyse games in a way that brings these two modes to the fore. The thesis attempts to arrive at a number of spatial aesthetics of videogames by adapting methods from game studies, literary criticism, phenomenology, onomastics (the study of names), cartographic theory, choreography and architectural and urban formation analysis.

During the last 30 years computer and videogames have grown into a large entertainment industry of economic as well as cultural and social importance. As a distinctive field of academic inquiry begins to evolve in the form of Game Studies, the majority of approaches can be identified as emerging either from a background of literary theory which motivates a concentration on narrative structures or from a dedicated focus on the rules of video and computer games. However, one of the most evident properties of those games is their shared participation in a variety of spatial illusions. Although most researchers share the view that issues related to mediated space are among the most significant factors characterising the new medium, as of yet, no coherent conceptual exploration of space and spatial representation in video and computer games has been undertaken. This thesis focuses on the novel spatial paradigms emerging from computer and video games. It aims to develop an original theoretical framework that takes the hybrid nature of the medium into account. The goal of this work is to extend the present range of methodologies directed towards the analysis of digital games. In order to reveal the roots of the spatial apparatus at work an overview of the most significant conceptions of space in western thought is given. Henri Lefebvre's reading of space as a triad of perceived, conceived and lived space is adopted. This serves to account for the multifaceted nature of the subject, enables the integration of divergent spatial conceptions as part of a coherent framework, and highlights the importance of experiential notions of spatiality. Starting from Michel Foucault's notion of the heterotopia, game-space is posited as the dynamic interplay between different spatial modalities. As constitutive elements of the dynamic spatial system mobilized by digital games the following modalities are advanced: the physical space of the player, the space emerging from the narrative, the rules, the audiovisual representation and the kinaesthetic link between player and game. These different modalities are examined in detail in the light of a selected range of exemplary games. Based on a discussion of film theory in this context an original model that serves to distinguish between different visual representational strategies is presented. A chapter is dedicated to the analysis of the crucial and often overlooked role of sound for the generation of spatial illusions. It is argued that sound has to be regarded as the privileged element that enables the active use of representational space in three dimensions. Finally the proposed model is mobilised to explore how the work of contemporary artists relates to the spatial paradigms set forth by digital games. The critical dimension of artistic work in this context is outlined. The thesis concludes with a discussion of the impact of the prevalent modes of spatial practice in computer and video games on wider areas of everyday life.

Massively Multiplayer Online Role Playing Games (MMORPGs) have evolved from traditional video games in that they embrace both the technology of the Internet and video games. The massive “exodus” from the physical offline world to online gaming communities brings with it not only a number of unique and exciting opportunities, but also a number of emerging and serious risks. This research set out to examine the unique opportunities and risks to vulnerable individuals, namely, young adults, teenagers and young children; all of whom are considered by many to be priority groups in the protection from harm. The purpose was to examine the reality of vulnerable individuals encountering these opportunities and risks. This research combined a number of methodologies supported by underpinning qualitative and quantitative theories. Questionnaires, semi-structured interviews and focus groups gathered information from teenagers, adults and children in order to critically examine the unique opportunities and risks encountered in Massively Multiplayer Online Role Playing Games. The findings from these interactions identified specific examples of opportunities and risk posed to vulnerable individuals. The findings demonstrated that there was a need for a support and protection mechanism that promoted the identification and awareness of the potential risk among vulnerable individuals. Emerging from these findings was a set of concepts that provided the evidence base for a Novel Taxonomy of Opportunities and Risks in Massively Multiplayer Online Role Playing Game environments that was designed to assist in the assessment of risk. Validation of the proposed taxonomy was achieved by means of an ethnographic study of (World of Warcraft) online gamers’ behaviour and social interactions through unobtrusive video capture of gaming sessions. The Novel Taxonomy of Opportunities and Risks provided a basis for the development of a proof-of-concept Decision Support System; the purpose of which was to assist both social work practitioners and individuals to identify and reduce risks. Representatives from both user groups were consulted for evaluation of the acceptability of such an approach. Favourable responses from participants demonstrated acceptability of the aforementioned approach. The evaluation process also demonstrated how the prototype would serve as a useful tool to make individual users aware of potential dangers. This research presents three novel facets: (1) it advances understanding of the unique opportunities and risks within MMORPG environments; (2) provides a framework for the assessment of risks in MMORPGs through the Novel Taxonomy and (3) demonstrates a novel Decision Support System to assist in the identification and reduction of risk through a proof-of-concept prototype.

Figures show that the games industry remains a male dominated occupation. Anecdotally a link has been proposed between higher male consumption of platform-based games and career choices, though figures also show a higher female to male ratio in social networking games. This suggests that perhaps the type of gameplay may influence career choice. This study therefore interviews women who have chosen a counter-stereotypical gendered career pathway and who are students in Further Education and Higher Education who are in the process of making career choices, to understand better a potential link between gameplay and career choice. The key findings relate to the positive emotive language utilised by the participants, a suggested link between gameplay, the concept of a 'gamer' and the choice of the games industry as a career, and serious concerns of abusive online gaming behaviour experienced by females. By adopting a subtle realist approach this study found a strong emotive view of games and the games development courses created a quantifiable link to a career. A high level of identifiable traits, traditionally considered both masculine and feminine, suggested that an outmoded view of gender stereotypes also appeared to negatively affect career choice. From the findings further research is suggested in relation to experiences of females both within the industry and at secondary school. At a wider level this study suggests both games courses and the industry would benefit from incorporating both traditionally masculine and feminine traits as part of developing more effective and inclusive recruitment strategies. Finally further research is proposed regarding how games and the gaming community relate to females both as characters and as players.

Fighting videogames (also known as fighting games) are ever growing in popularity and accessibility. The isolated console experiences of 20th century gaming has been replaced by online gaming services that allow gamers to play from almost anywhere in the world with one another. This gives rise to competitive gaming on a global scale enabling them to experience fresh play styles and challenges by playing someone new. Fighting games can typically be played either as a single player experience, or against another human player, whether it is via a network or a traditional multiplayer experience. However, there are two issues with these approaches. First, the single player offering in many fighting games is regarded as being simplistic in design, making the moves by the computer predictable. Secondly, while playing against other human players can be more varied and challenging, this may not always be achievable due to the logistics involved in setting up such a bout. Game Artificial Intelligence could provide a solution to both of these issues, allowing a human player s strategy to be learned and then mimicked by the AI fighter. In this thesis, game AI techniques have been researched to provide a means of mimicking human player strategies in strategic fighting games with multiple parameters. Various techniques and their current usages are surveyed, informing the design of two separate solutions to this problem. The first solution relies solely on leveraging k nearest neighbour classification to identify which move should be executed based on the in-game parameters, resulting in decisions being made at the operational level and being fed from the bottom-up to the strategic level. The second solution utilises a number of existing Artificial Intelligence techniques, including data driven finite state machines, hierarchical clustering and k nearest neighbour classification, in an architecture that makes decisions at the strategic level and feeds them from the top-down to the operational level, resulting in the execution of moves. This design is underpinned by a novel algorithm to aid the mimicking process, which is used to identify patterns and strategies within data collated during bouts between two human players. Both solutions are evaluated quantitatively and qualitatively. A conclusion summarising the findings, as well as future work, is provided. The conclusions highlight the fact that both solutions are proficient in mimicking human strategies, but each has its own strengths depending on the type of strategy played out by the human. More structured, methodical strategies are better mimicked by the data driven finite state machine hybrid architecture, whereas the k nearest neighbour approach is better suited to tactical approaches, or even random button bashing that does not always conform to a pre-defined strategy.

This thesis sheds light on the social relationships, work practices and identities that shape the small scale sector of independent game production. Harnessing elements of the Production of Culture and Cultural Industries/Work perspectives, it aims to clarify the specifics of independent game production and its relationship with the large-scale sector of the industry. Drawing on a multi-sided ethnography, the thesis captures gamework practices, motivations, ideas and conventions deployed in a diverse range of online and physical spaces where independent developers interact. Given the complex relationships and messiness found in the industry, the results of the thesis initially clarify general aspects, characterising both the corporate structure of the games industry and its independent sector. It then examines the cultures that inform independent work as well as emergent 'indie' praxis. After a historical review of the digital games industry, the thesis addresses how the corporate structure of the industry has created a viable game producing field, with a highly rationalised but not unproblematic process of game production. The independent sector is then analysed in relation to this material culture. The thesis discusses the technologic affordances, structural relationships, market approach and organisational forms supporting the production of independent games. It also examines the motivations, ethics and general culture informing independent developers work, as well as the emergence of independent networked scenes as social spaces where creative, organisational, technical and cultural aspects of independent game production are shaped. The analysis of empirical evidence reveals how the uneven struggle to control or access the means for game production, distribution and reproduction, in both retail and digital distribution business models, shapes the material conditions of the small scale sector game production. The thesis highlights the relationship between production, independent developers' preferences, and their identity as 'indies' as central in understanding how this novel sector of the games industry is being structured. By understanding both the structure and informal practices of independent production, this research offers novel insights in this under-researched area, insights that reveal the intricacies of processes of social change and cultural diversification within the digital games industry as a whole.

It is 50 years since the development of the first computer game and digital games now have an unprecedented influence on our culture. An increasingly popular leisure activity, digital games are also permeating other aspects of society. They continue to influence computer technology through graphics, animation and social networking; an influence which is also being felt in other media, in particular film and television. They are a new art form and they are seen to be influential on children s learning and development. However, despite their pervasiveness and apparent importance within our society and culture, they are still largely ignored as part of our cultural heritage. Dismissed as disposable, entertainment products, they have not specifically been addressed in most of the academic literature on digital preservation which represents a serious omission in past research. This was justification for an exploratory study into the preservation of digital games and the aim of this study has been to explore the value of digital games, their significance in our culture, and the current status of their preservation. Investigating the relationship of games to culture; reviewing current preservation activities and drawing conclusions about the value of digital games and the significance of their preservation were the study s objectives. These have been achieved through interviews with key stakeholders the academic community, as potential users of collections; memory institutions, as potential keepers of collections; fan-based game preservation experts; and representatives from the games industry. In addition to this, case studies of key game preservation activities were explored. Through this research, a clearer picture of attitudes towards digital games and opinions on the need for preservation of these cultural products has been established. It has become apparent that there is a need for more coherent and collaborative efforts to ensure the longevity of these important aspects of digital heritage.

The current models of skill in video games make one of two impositions on players: either to provide an estimate of their own skill, or complete several games before they can be properly assessed. However, in order to experience the most enjoyment and greatest sense of immersion, players need to play against the right difficulty. In order to assign the appropriate difficulty, the player's skill must first be captured accurately and quickly, before the player gets frustrated or bored. Rather than relying on game results that need to be averaged over several games, this thesis proposes predicting a player's skill from their behaviour within the first game. In order to do this, we explore methods for measuring skill in both a multiplayer and single-player game and methods for extracting appropriate information from the player's behaviour. The resulting predictions can then be used to automatically assign an appropriate difficulty to the player. In a multiplayer environment, we first demonstrate that a player's final rank canbe predicted within the first 30 seconds of a game with a correlation of over 0.8.This process is transferred to a single-player first-person shooter, where our modelis shown to assign difficulties comparable to a player's own assessment of theirskill within the first 30 seconds of a campaign. We argue that these methods forcapturing skill in a first-person shooter are transferable to other genres, and havethe potential to improve difficulty selection systems.