This thesis presents an investigation of how to design engaging audio games. This was done by creating two prototypes. The first prototype was a rhythm based fighting game. As it was being developed it became clear that it did not differentiate itself enough from a large amount of already existing audio games. The second prototype was a first person shooter/adventure game utilizing 3D audio. The second prototype was evaluated by observing users playing the prototype and having them answer two questionnaires followed by an interview. Using spatial audio opens up a lot of possibilities. First person navigation using spatial audio is clearly possible, although how to implement it with a high degree of playability is in need of further study. When designing a first person audio game it is important to keep in mind that navigating, aiming etc. is more difficult than in video games. A slower pace seems suitable to this type of game. A lot of time and effort has to be put into the details when designing the gameplay of an audio game. Seemingly inconsequential things can be detrimental to the player’s enjoyment. Focus should be on perfecting the fundamental actions and challenges. / <p>Examensarbetet är utfört vid Institutionen för teknik och naturvetenskap (ITN) vid Tekniska fakulteten, Linköpings universitet</p>

This thesis deals with the design of play in public places; this can mean both pervasive games and other freer play activities. In these activities (as well as in many other game activities) the same game can spur many different ways to play it, and the same activity can be experienced differently by different players, and even differently on different occasions for the same player. An activity such as playing must be observed as a whole. The surrounding cul- ture, player preconceptions and the emergent mood within the group will affect the experience. By analysing previous frameworks, and using own design examples, a three level design framework is developed, functioning as a lens towards understanding the design of playful activities. The framework focuses on the player perspective, offering game design as an invitation and encouragement to engage in certain activities. The framework distinguishes between design at three levels: Designed construct (e.g. artefacts and rules) Activity Experiences But it remains to be understood why people engage in the activities that lead to playful experiences. What encourages playful engagement? And why do people want to play one game, and not another? This question can be split into two parts: Engagement: starting to be interested in the activity Commitment: actually caring for the experience This issue is identified in the thesis, and examples show how convoluted this problem is, in particular in pervasive game settings. Challenges are pre- sented for future work. / Mobile Life Centre / Playspaces

The aim of this thesis is to investigate players’ attitudes towards microtransactions within online games. The thesis is based on a multi-method approach combining the following methods: focus group-interviews, interview questions posed to hosts of a podcast, for then to discuss in their episode, and a survey. The results of this study are a categorization of players’ attitudes towards microtransactions consisting of: Activist, Idealist, Agile, Pragmatist, Enthusiast and Compliant. By adopting de Certeau’s concept of strategies and tactics, I have elicited distinctive reactions and ways of meaning making towards microtransactions, associated with each proposed category. Apart from categorizing player attitudes, this study has also identified microtransactions to have brought the broader player base into the symbiosis that previously existed exclusively between fan-programmers, socialized players, and game companies. Meaning, feedback from the whole player-base is crucial for success in implementing microtransactions. In turn, this is perceived as a strategy that surrenders power from the producer to the user.

Incremental idle clickers is a genre of games where gameplay revolves aroundsimple interactions like clicking the screen repeatedly to accumulatecurrency. The clicking action is often automatized by the game. This thesisinvestigates qualities that make interactions in incremental idle clickerscompulsive and motivating. The incremental idle clickers genre adoptsmechanics and interactions that were experienced as compelling, motivatingand anxiety-inducing. The “idle” mechanic allows the game to run withoutplayer interaction and proved to be central in relation to the playerexperience. Through a user-centered design-process, the compulsive andmotivating nature can be suggested to emerge from three major experiencesof the genre, “Monotony”, “Intrusive omnipresence” and “Demanding”. Theresult includes a discovery of the ambiguous tension and balance betweeninteractivity and interpassivity in the genre. Finding this balance may provebeneficial to the player experience. I identified ethical challenges concerningthe game depriving players of satisfying gameplay.

This thesis focuses on which kinds of aspects that would be extra important when two or more persons are collaboratively navigating a single character in a game world. With help of interaction design methods during this process, such as literature researches and usability tests, a low-fidelity and a mid-fidelity prototype were created to find these aspects. In the tests, I also used a high-fidelity game to compare my prototypes with. The conclusion and discussion in this thesis presents different sorts of new ideas and possibilities concerning the different aspects that could lead to developing new interesting games with collaborative navigation.

With the development of media technology and game evolution, games are endowed with multiple purposes and functions. Some scholars believe that the game is the supplement of the real world, which can affect the players' psychology and behaviour. Numerous studies show that games can make players accept challenges, overcome obstacles, arouse positive emotions and solve problems. Therefore, academia's research on games and related topics in learning has become increasingly popular. In response, different models have emerged to evaluate the design of active educational games.This research discusses how different game mechanisms affect players. Also, this study used a prototype game as output media to examine the impact of various game mechanisms on learning. The purpose of this study is to explore how to choose a more suitable game mechanism in the design of educational games. The research results include that some game mechanisms promote learning motivation and improve learning outcomes. At the same time, some game mechanisms have the risk of reducing learning motivation. Through these findings, the researcher of this study believes that educational games can bring positive influence and help to players' learning. However, how to choose a suitable game mechanism in the design of educational games is worthy of serious consideration for making design decisions.

Diegesis and Spatiality are fundamental to visualization techniques in games. The impact of integrating user interfaces into the game world is a contentious issue between minimizing the heads-up display or maximizing functionality above realism. Previous studies have shown conflicting results determining what approach is better, but these studies have focused on conventional genres like the First Person Shooter. Strategy games, or more specifically, the grand strategy genre, is different in perspective and role of the player, as the genre places a heavier emphasis on panel elements than other genres. In this paper, we created two similar prototypes that differed in their focus on integration or superimposition. We then evaluated their impact on performance and the user experiences. The results showed that strictly spatial integration attributed to negative results, but diegetic integration was better received. Additionally, we identified several areas where implementing diegetic interfacing in grand strategy games is different from other genres of games. Finally, we gave recommendations to enhance the strengths and overcome the limitations of diegetic interfacing in grand strategy games. / Datorspel är levande världar som strävar efter att spelare ska ha kul. Olika spel har olika fokus på spelupplevelse, men också olika mängd gränssnitt som finns fastsatt på skärmen kontra inuti spelvärlden. Valet mellan fastsättning och integrering beror på genre och preferens, men mycket av nutida forskning fokuserar på mer vedertagna genrer såsom förstapersonskjutare. Strategispel, och mer specifikt, “grand strategy” spel följer inte samma konventioner, då perspektivet och rollen på spelaren är annorlunda. I detta examensarbete evaluerade vi hur en förändring i fokus mellan fastsättning och integrering av spelelement förändrade spelarprestandan och användarupplevelsen. Resultatet visar att strikt placering av panelelement i världen gav dålig användarupplevelse, men att diegetisk integration gynnade upplevelsen. Till sist analyserade vi hur utveckling av integrerade användargränssnitt inom genren var annorlunda gentemot andra genrer, och gav sedan rekommendationer på styrkor och svagheter som genrenhar.

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This paper is a study of how game concept art is connected to the larger field of art history through the elements of the concept art itself. Through examining the elements which these concept art paintings consist of the thesis compares them to elements from previous art movements. To connect concept art to the larger fields of art and art history. This examination is conducted with the method of formal analysis, formal analysis examines an object or artefact through its elements. The influence for this research is the vast amount of game concept art which exists but is not connected to the older field of art and art history. The art movements which this paper use for the theoretical background are the following, Romanticism, Impressionism, Realism, Expressionism, Surrealism and Dadaism. These art movements were chosen as they are somewhat close in time and to varying degrees were influenced by each other. The results of this analysis showed that there are elements in the concept art which can be traced to some of the earlier art movements.