Thesis (M.A.R.)--Emmanuel School of Religion, 2005. / Vita. Includes bibliographical references (leaves 58-59).

Thesis (M. Sc.)--University of Hong Kong, 2005.

Thesis (M.A.R.)--Emmanuel School of Religion, 2005. / Vita. Includes bibliographical references (leaves 58-59).

This master thesis discusses three different parts of adventure game development. The first part is about the usage of existing development environments; which one we selected and how we selected it. The second part discusses the development of the game using the selected development environment from the first part. The third and last part discusses the benefits from using skilled story writers when developing an adventure game. In this work the story writers were students from the English Department at Blekinge Institute of Technology.

Climbing in video games is a game mechanic that, after the introduction of three-dimensional movement, became more and more common and extended the movement options of the player character. Climbing, as used in this thesis, is a very specific action that can only be performed by interacting with a climbable gameplay element in the game world. A visual analysis is applied to investigate how objects in action-adventure games depict climbable gameplay elements: specifically, whether the way the games communicate climbability through visual communications is consistent or not. Four games are included in this study and the results point towards an overarching consistency for each of the games' use of visual cues to communicate climbability. However, the consistency is affected by the gameplay experience of each game. The linear games use very clear and controlled visual cues to describe the climbable gameplay elements, and the player often only interacts with a climbable gameplay element once per section, similar to an obstacle course. The games that emphasize exploration of a gameplay area, akin to a playground, place climbable gameplay elements around the environment for the player to freely interact with and have less clear visual cues. Climbable gameplay elements, like ledges, are found to be unique in the interaction they provide, and this is proven by the many different methods of visual communication that are used to convey the affordance of climbing. / Klättrande i dataspel är en spelmekanik som efter introduktionen av tredimensionell rörelse, blivit allt vanligare och utvidgat möjligheterna för spelarkaraktärens rörelser. Klättrande, som använt i denna uppsats, är en mycket specifik handling som endast kan utföras genom att interagera med ett klättringsbart spelelement i spelvärlden. En visuell analys appliceras för att undersöka hur objekt i action-äventyrsspel avbildar klättringsbara spelelement. Specifikt, huruvida sättet spelen kommunicerar klättringsbarhet genom visuell kommunikation är konsekvent eller ej. Fyra spel är inkluderade i denna studie och resultaten pekar mot att det finns en övergripande följdriktighet för varje spels användande av visuella signaler för att kommunicera klättringsbarhet. Följdriktigheten är dock påverkad av spelupplevelsen i varje spel. Dem linjära spelen använder mycket tydliga och kontrollerade visuella signaler för att beskriva klättringsbara spelelement, och spelaren interagerar oftast endast med ett klättringsbart spelelement en gång per sektion, likt en hinderbana. Spel som betonar utforskande av ett spelområde, likt en lekplats, har mindre tydliga visuella signaler. Klättringsbara spelelement, såsom avsatser, upptäcks vara unika i interaktionen de förmedlar, och detta påvisas av de många olika metoderna för visuell kommunikation som används för att förmedla klättringsbarhet.

published_or_final_version / Sports Science / Master / Master of Science in Sports Science

As video games have evolved, the focus on impressive graphics and surround-sound has become increasingly prominent. Stepping away from their roots, video games have toned down the interaction and put the cinematic parts of the experience on the forefront. However, some games stand outside the norm, taking down the sound-level to a minimum, even going as far as removing text entirely. In my essay, I explore the functions of silence, specifically in two works: the computer game Machinarium, and 2001: A Space Odyssey, the film, along with the novel. By analyzing these works, I highlight how silence can have widely different effects on how the users experience the work. Employing different techniques, the authors manipulate the experience, using visuals as well as audio to increase the sense of immersion and connectedness to the characters on screen. In my essay, the close ties between video games and film is central, and it discusses how the former has been influenced by the latter. Comparing the use of silence to techniques found in literature, I discover surprisingly many similarities to the narrative techniques used there. My research shows that video games employing silence can, even while being influenced by more cinematic media, still retain its core essentials and provide an experience that encourages exploration and imagination of the individual user.

This thesis investigates the level of difficulty of puzzles in the adventure games and the implications thereof. The thesis contains an in-depth background, and a brief history about the genre. It brings up the main problem of the genre and looks into both the cause and effect that follows. To support this process, an analysis has been made of design documents and a survey was issued on the subject of adventure game puzzles.

No description available.

The work deals with the relationship between game mechanics and user experience. Identifies the basic gameplay mechanics and elements that have the most important influence on the quality of user experience. Research is realized on the example of a specific game using the concept of game design patterns. Part of the work deals with the introduction of this concept. Furthermore, the work deals with the general theories of games, models of classification and history of computer games. Part of the work is a description of the author's practical experience in creating games as a school project.