Denna studies frågeställning undersöker hur spelaren upplever agency när dialogsystem i digitala rollspel visar respektive gömmer otillgängliga dialogval. I arbetets bakgrund presenteras definitioner av agency, samt vad tidigare undersökningar nått för slutsatser om termen. Bakgrunden visar även olika implementationer av digitala rollspel och vilka tekniker som borde användas för att få spelaren att engagera sig i studiens artefakt. För att svara på frågeställningen skapades en kort rollspelsupplevelse med två olika versioner, en där otillgängliga dialogval visas för spelaren, och en där de göms. En kvalitativ undersökning utfördes för att se hur skillnaden mellan dessa versioner påverkar spelarens känsla av agency. Resultatet visade på att uppvisning av otillgängliga dialogval påverkade informanternas agency negativt när de otillgängliga dialogvalen ansågs mer attraktiva än de tillgängliga.

MousePunk är en undersökning som strävar efter att inkludera de två observerbara lek- och spelstilarna i digitala spel, som tydligt skiljer olika personer åt och projektet visar att spelstilarna är beteendemönster som finns omnämnt i moraletiken. Redan hos barn är dessa beteende observerbara i deras sätt att leka. De två olika stilarna är Justice och Care och i jämförelse med andra spel i den valda spelgenren som främst bejakar Justice ger en inkludering av båda spelstilarna en ökad möjlighet för narrativ och spelmekanik. Eftersom de två beteendemönstren dessutom är observerbart uppdelade mellan cis-män och cis-kvinnor är det även inkluderande att balansera dessa spelstilar i ett spel. Därför har projektet behandlat och utrett hur ett CRPG kan se ut om det balanserat bejakar båda beteendestrukterna oavsett genus. Genom att kombinera nyckelprinciper i Justice och Care och destillera ner beteendestrukturerna till drivkrafter hos den enskilda individen har projektet sammanställt en gestaltning som balanserar spelstilarna med varandra. / MousePunk is a study that strives to include the two observable play styles in digital games: Justice and care. It shows that the playing styles are behavioural patterns that are mentioned in morality (this statement is still hanging-needs more substantion). Even in children, these behaviours are observable in their way of playing. In comparison with other games in the chosen game genre that mainly affirm Justice, the inclusion of both game styles provides an increased opportunity for narrative and game mechanics. In addition, since the two patterns of behavior are observably divided between cis-men and cis-women, it is also inclusive to balance these playing styles in a game. Therefore, the project has dealt with and investigated how a computer role playing game (CRPG) can look like if it equally affirms both behavioural structures regardless of gender. By combining key principles in Justice and Care and distilling them down to the driving forces of the individual, the project has put together a design that balances the playing styles with each other.

Ce mémoire s’intéresse au jeu de rôle numérique, plus spécifiquement le jeu vidéo appartenant au genre du jeu de rôle. Pour comprendre ce genre, il est nécessaire d’en faire l’histoire pour en lire l’évolution à travers le temps. Or, une simple lecture historique ne parvient que très partiellement à restituer un portrait d’ensemble de ce type de jeu vidéo. À partir de notions de genre, de jeu de rôle et d’histoire, ce mémoire dresse un bilan historiographique du RPG ainsi que de ses écritures. Ce bilan permet de dégager les enjeux principaux qui ont articulé l’histoire du jeu de rôle numérique, enjeux qui sont ensuite soumis à une enquête historique. Cette enquête menée sur la critique de jeu vidéo dans des magazines spécialisés entre 1980 et 2006 permet de restituer l’état des lieux à une époque donnée et de le comparer aux écrits des historiens du genre. À la lumière de ces résultats, ce mémoire documente, précise et nuance l’histoire du jeu de rôle telle que construite par les historiens et offre une vision plus actuelle du jeu de rôle numérique d’hier à aujourd’hui. / This master thesis studies digital role-playing games, in this case referring to video games of the role-playing game genre. To do so, it is necessary to study the genre’s history to better understand its evolution through time. However, a historical overview does not fully account for the phenomena of digital role-playing games. Using notions of genre, role-playing games and history, this thesis provides an overview of the history and historiography of role-playing games and its writing. This overview then highlights some major issues which have been integral parts to the genre’s history. These issues are then the focus of a historical study, using video game reviews found in specialized magazines from 1980 to 2006, to situate the state of things in defined points in time regarding role-playing games and compare it to what the genre’s historians have written. This thesis then uses the results obtained to document, clarify, and nuance the history of digital role-playing games built by its historians, and offers a more accurate picture of role-playing video games through their history.

Women represent 45% of the entire workforce in the United States, but only comprise 26% of the high-tech industry. Early introduction and interest in video games, contributes to computer literacy and self-confidence in terms of computing skills. Socially pervasive gender stereotypes, found in ubiquitous software, specifically games, factor in the alienation of young girls from active participation in computing. Currently marketed gaming software perpetuate this societal bias in the guise of overly-sexualized game avatars, and fail to adequately address documented female gaming preferences. Gender inclusive design is more a pragmatic approach to ameliorating gender bias, than creating a pink box “girl’s game.” Such games cater solely to stereotypical “female” interests, and are uncomfortably close to the concept of “separate but equal.” In the scope of this research a gender inclusive computer role playing game (CRPG) interface was designed and evaluated. The advantage of a CRPG is that it may be played individually or single player mode, as in the prototypic interface, or allow collaborative game play within a smaller group (2-12) when migrated to a multiplayer online environment. Small groups, involved in CRPG collaborative play, may reduce the incidence of online harassment or intimidation by male players, often encountered by experienced female gamers when engaged in Massively Online Multiplayer games. The Xanthia: A Fae’s Battle CRPG, was designed with the intent of studying key female preferences outlined in this research. The design utilized a stylized “cute” but strong female protagonist, featured a compelling storyline, and a backstory narrative. The game broached real world environmental issues with an underpinning of moral dilemma in the guise of good versus evil. Competitive but not combat-centric play was utilized in the game design, which enabled leveling up without the demise of the central protagonist. Fantasy-themed conflict resulted in transformations of both protagonist and antagonists when a change of state occurred during battle, thus eliminating the violence of gory death scenarios. This formative study endeavored to examine the underlying reasons for female underrepresentation in the high-tech and computing fields. The CRPG used in the study, incorporated key gender inclusive game elements found in current literature, in order to acquire insight into female gaming preferences. Two survey instruments were utilized to gather data from 35 female Barry University students, who had disparate gaming experience, comfort with computers, and academic majors. A pre-game questionnaire pertained to motivations for play, level of gaming expertise, and self-perceived comfort with computing. Additional data were gathered regarding access in early childhood to a gaming console or computer in the participants’ childhood homes and the incidence of tinkering. The female sample pool provided CRPG feedback post-game engagement. Examination of survey responses indicated that identification with the central female protagonist was a key element in positive game engagement for the majority of the study’s participants. In general, experienced gamers were more apt to tinker with the hidden features of the game. Experienced gamers also enjoyed competiveness and challenge more than their inexperienced or non-gamer counterparts. The primary component of positive engagement for this female sample group was “fun.” Social interaction was a key motivator for engagement in video game play for the majority of the participants. Empirical data collected from survey instrumentation suggested that individuals who had the easiest access to video game consoles and computing equipment, participated at greater rate in tinkering in childhood. The participants who tinkered, had a higher self-perception of comfort with computing.