Digitala spel i dagens samhälle blir allt vanligare och har de senaste åren börjat användas inom utbildning och undervisning runt om i världen. Att använda spel och teknologi inom en utbildning har både positiv och negativ påverkan på eleverna så väl som skolan. Teknikens positiva delar leder till en ökad motivation och engagemang bland eleverna men kan samtidigt leda till mer negativa delar, till exempel social isolering, dyra kostnader eller en distraktion som kan leda till att det påverkar andra kurser inom utbildningen negativt. Denna rapport syftar till att vara ett stöd vid val av utbildningsverktyg som ska användas i syfte för Game Design Based Learning (GDBL). Detta stöd består av en utvärderingsmodell som kan användas av exempelvis lärare som vill tillämpa GDBL i sin utbildning. Arbetet har utförts med stöd av forskningsstrategin design och skapande, där utvecklingen och framtagandet av en artefakt har skett. Utvärderingsmodellen har utformats med hjälp av den aktuella forskningsstrategin. Datainsamlingen för arbetet har skett genom sökning efter utbildningsverktyg, bland annat, på sökmotorn Google Search tillsammans med relevanta termer för arbetet, till exempel drag & drop. Vid tillämpning av GDBL samt valet av utbildningsverktyg gäller det att ta hänsyn till både de möjligheter som GDBL ger men även de negativa risker som finns. Utvärderingsmodellen har också testats på fem olika utbildningsverktyg för att validera utvärderingsmodellen. Dessa fem utbildningsverktyg är Scratch, Kodu Game Lab, Kahoot, Quizizz och Twine. Slutligen kom vi fram till att två av utbildningsverktygen passar bäst i ett utbildningssyfte. Dessa var Kahoot och Quizizz som är simpla frågesportsspel, det vill säga att dessa inte kräver utbildning eller programmering för att användas inom en undervisning. Detta baserades på ett påhittat scenario vilket var att hitta ett utbildningsverktyg för ett program som inriktar sig på grafisk design. / Digital games in today's society are becoming more common and have in the past few years been used in education and teaching around the world. Using games and technology in an education has both positive and negative impact on the students as well as the school. The positive aspects of technology lead to increased motivation and commitment among the students, but at the same time can lead to more negative factors, such as social isolation, expensive costs or a distraction that may adversely affect other courses in education. This report aims to be a support in selecting educational tools to be used for Game Design Based Learning (GDBL). This support consists of an evaluation model that can be used, for example, by teachers who wish to apply GDBL in their education. The work has been carried out with the support of the research strategy design and creation, where the development and the production of an artefact has taken place. The evaluation model has been designed using the current research strategy. The data collection for the work has been done by searching for training tools, including the search engine Google Search, along with relevant terms for the work, such as drag & drop. When applying GDBL and the choice of training tools, it takes into account both the opportunities offered by GDBL, but also the negative risks that exist. The evaluation model has also been tested on five different training tools to validate the evaluation model. These five training tools are Scratch, Kodu Game Lab, Kahoot, Quizizz and Twine. Finally, we found that two of the training tools are the most suitable for educational purposes. These were Kahoot and Quizizz, which are simple quiz games, that is, they do not require education or programming to be used in a classroom. This was based on an established scenario, which was to find a training tool for a program that focuses on graphic design.

First-person games often support the player’s gradual accretion of knowledge of the game’s rules during gameplay. They thus focus on challenging and developing performative skills, which in turn supports the player in attaining feelings of achievement and skills mastery. However, an alternative disruptive game design approach is proposed as an approach that encourages players to engage in higher-order thinking, in addition to performative challenges. This requires players to cognitively engage with the game at a deeper level. This stems from the player’s expectations of game rules and behaviours being disrupted, rather than supported, requiring players to learn and re-learn the game rules as they play. This disruptive approach to design aims to support players in satiating their needs for not only achievement and mastery at a performative level but also, their needs for problem-solving and creativity. Utilising a Research through Design methodology, a model of game space proposes different stages of a game’s creation, from conceptualisation through to the final player experience. The Ludic Action Model (LAM), developed from existing game studies and cognitive psychological theory, affords an understanding of how the player forms expectations in the game as played. A conceptual framework of game components is then constructed and mapped to the Ludic Action Model, providing a basis for understanding how different components of a game interact with and influence the player’s cognitive and motor processes. The Ludic Action Model and the conceptual framework of game components are used to construct the Disruptive Game Feature Design and Development (DisDev) model, created as a design tool for ‘disruptive’ games. The disruptive game design approach is then applied to the design, development, and publication of a commercial game, Amnesia: A Machine for Pigs (The Chinese Room, 2013). This application demonstrated the suitability of the design approach, and the proposed models, for establishing disruptive game features in the game as designed, developing those features in the game as created, to the final resolution in the game as published, which the player will then experience in the game as played. A phenomenological template analysis of online player discussions of the game shows that players tend to evaluate their personal game as played (i.e. their personal play experience) in relation to their a priori game as expected (i.e. the experience that they expected the game to provide). Players reported their play experiences in ways that suggested they had experienced cognitive engagement and higher-order thinking. However, player attitudes towards this type of play experience were highly polarised and seemingly dependent on the correspondence between actual and expected play experiences. The discussion also showed that different methods of disruption have a variable effect on the player experience depending on the primacy of the game feature being disrupted. Primary features are more effectively disrupted when the game’s responses to established player actions are subsequently altered. Secondary game features, only present in some sections, are most effectively disrupted when their initially contextualised behaviour is subsequently altered, or recontextualised. In addition, story-based feature disruption is most effected when the initial encoding stage is ambiguous, thus disrupting players’ attempts to form an initial understanding of them. However, these different methods of disruption may be most effective when used in conjunction with each other.

Les Serious Games (SGs) sont des dispositifs de formation de plus en plus utilisés dans les différents secteurs de l’éducation initiale et continue. Dans le cadre de cette thèse, notre objectif est de concevoir, d’abord, et développer, ensuite, un SG pour la formation et l’évaluation des personnels travaillant en environnement aseptique. Nous présenterons dans ce travail de recherche les approches théoriques qui sont à l’origine de la démarche de conception. Nous en viendrons à la définition d’un modèle unitaire et holistique (PEGADE) qui décrit le processus collaboratif et optimal de conception des SGs et qui s’articule autour d’une nouvelle figure professionnelle, le Pedagogical Game Designer (PGD). Une étude de l’efficacité sera réalisée pour comprendre dans quelle mesure un développement des compétences via le SG est possible et quelle est sa plus-value par rapport aux méthodes traditionnelles de formation pour les mêmes matières. Nous proposerons également une évolution de la théorie du conflit instrumental sur laquelle cette thèse s’appuie qui sera à l’origine d’une nouvelle méthode d’analyse de l’utilisabilité des dispositifs d’apprentissage utilisant les technologies informatiques. / Serious games (SGs) are a very widespread training and evaluation device, employed in different sectors of school and adult education. In this study we aim to design and develop a SG for training and evaluating personals working in aseptic environment. We will present in this research the theoretical basis needed for that design process. We will define a holistic and united model (PEGADE), which describes the collaborative and optimal process to conceive SGs and which is constructed around a new professional figure, the Pedagogical Game Designer (PGD). A study of the effectiveness will be performed in order to understand how competences can be developed through the SG and which are the differences between this device if compared with traditional training used for similar purposes. We will propose as well an evolution of the instrumental conflict theory, which is one of the foundations of this thesis. That one will constitute the basic for a new method of usability test applied to every learning tool using ICTs.

Le jeu sérieux semble une piste pertinente pour ouvrir le musée à un jeune public et fournir une présentation originale des œuvres, tirant partie des possibilités des outils numériques. Des propositions existent déjà mais, à ma connaissance, sans réflexion globale sur la nature et les objectifs de ces jeux : quel type de jeu construire pour les musées ? Quelles expériences sont recherchées par les visiteurs joueurs ? Comment leur procurer à la fois une expérience satisfaisante de jeu et de visite ?L'étude que j'ai menée ici, à partir de l'analyse de travaux des projets de médiation numérique auxquels j'ai participé, d'études académiques sur les jeux sérieux et l'expérience des visiteurs et des joueurs et de mon expérience professionnelle dans le domaine de la médiation et du développement informatique, apporte des réponses à ces différentes questions. Elle propose la notion de "jeu de visite", adapté à un public plus différencié et en conçoit une modélisation autour de la notion de "mission adaptable". Elle permet une modification dynamique des constituants du jeu et de son contexte d'exécution, en fonction de l'expérience recherchée par et pour le visiteur joueur. / Serious games seem a relevant proposition for a more open offer for young audience and a more creative works' presentations taking advantages of the opportunities of digital technologies. Such proposition already exist but, as far as I know, what they should be exactly has never been studied. What kind of games are the more appropriate for museums ? Which experiences do gaming visitors expect ? How to manage their satisfaction about their visit and about playing a real game ? These are the questions this PhD thesis contribute to answer.I based my reflection and my proposals on the analyse of projects devoted to cultural mediation in which I participated, on the research studies about serious games, visitors and gamers experience and on my professional background in cultural mediation and software engineering. I propose the notion of "visit game", appropriate for a more differentiated public, and build a model of this type of game around the concept of "adaptable mission". It allows to dynamically modify its components and its context of execution, depending on the experience expected by and for the gaming visitor.

Dans un effort pour mettre en valeur la pertinence de l’étude du jeu de cartes japonais Yu-Gi-Oh en tant que facteur non négligeable de la construction identitaire de ses joueurs, ce mémoire s’intéresse à l’analyse du rapport qu’entretiennent lesdits joueurs à leur jeu fétiche. Pour ce faire ce travail s’intéresse à trois des spécificités qui caractérisent le jeu de cartes Yu-Gi-Oh à savoir : l’élaboration transmédiatique de sa narration, le caractère décisif des interactions entre ses joueurs ainsi que l’appropriation personnalisée du jeu par les participants. A la croisée de multiples disciplines telles que la psychologie, la ludologie, la narratologie ou encore la sociologie et soutenues par plus deux mois de terrain, les analyses et propos présentés dans ce travail ont également pour objectif d’offrir une plongée aussi immersive qu’enrichissante au sein du milieu socio-culturel des joueurs de Yu-Gi-Oh rappelant du même coup l’importance que peut avoir la pratique ludique pour l’être humain moderne. Enfin, avec ce devoir j’espère pouvoir démontrer que les joueurs de Yu-Gi-Oh ont tendance à se raconter des histoires à propos d’eux-mêmes à partir de leur médium de choix. Les cartes aussi ont une histoire. / In an effort to highlight the relevance of the study of the Japanese card game Yu-Gi-Oh as a significant factor in the « identity building » of its players, this master thesis focuses on the analysis of the relationship between said players to their favorite game. To do this, this work focuses on three of the specificities that characterize the Yu-Gi-Oh card game, namely: the transmedia development of its narration, the decisive nature of the interactions between its players as well as the personalized appropriation of the game by the participants. At the crossroads of multiple disciplines such as psychology, ludology, narratology or sociology and supported by more than two months of fieldwork, the analyzes and remarks presented in this work also aim to offer a dive as immersive as it is enriching within the socio-cultural environment of Yu-Gi-Oh players recalling at the same time the importance that playful practice can hold for the modern man. Finally, with this work i hope to be able to demonstrate that Yu-Gi-Oh players tend to tell stories about themselves from their medium of choice. Cards also have stories to themself.

Denna studie avser analysera hur de grafiska delarna i den spelifierade tjänsten Myskistar kan tolkas och därefter undersöka deras relation med tjänstens spelelement. Uppsatsen är tänkt att öka förståelsen för hur visuella element kan uppfattas i en spelifierad tjänst och vad elementen säger i relation till spelteori. Uppsatsens teoretiska ramverk består av ett urval med begrepp från semiotisk teori, grafisk teori och spelteori. Detta ramverk ämnar förklara vårt resultat för att besvara frågeställningarna. Undersökningen är begränsad till att undersöka 18 spelrelaterade grafiska element som en användare av tjänsten kan erhålla. Studien görs genom en semiotisk tolkande analys och knyts sedan samman med grafisk teori för att besvara hur de grafiska elementen kan tolkas. Därefter kopplas analysresultaten samman med spelteori för att besvara vad de grafiska elementen säger i relation till spelelementen. Studiens resultat visar att de grafiska elementen både kan vara förklarande och förvirrande för betraktaren. Grafiken krävde i stor utsträckning en tillhörande bildtext för att skapa ett tydligt meddelande. Övergripande sett stärktes spelelementens funktion med hjälp av visuella element och innehållet blev tydligare. Därmed förstärktes spelets regler och detta kan i sin tur skapa ett större engagemang hos användaren. Men det visuella kunde också påverka de grundläggande spelelementens budskap och därmed påverka tjänsten negativt. Studien har slutligen funnit att vissa grafiska element kan locka en viss typ av spelare.

Horror, one of the most popular genres of entertainment, can be quite hard to get right. This report explores the visual subject of psychological horror in games, aiming to answer the following questions: How is the genre handled in movie production? How have previous game developers done this, both for bigger productions as well as indie games? How well did the chosen movies and games manage to translate the horror feeling into the visuals? The chosen method to determine this is image analyses and surveys. The results showed that there are not many differences between how the genre is handled in movies compared to games, though there are a few. Results from the surveys showed that games are more often perceived scary and disturbing on a higher degree than movies. / Skräck, en av de mest populära genrerna inom underhållning, kan vara ganska svår att få till. Den här rapporten utforskar de visuella ämnenena inom psykologisk skräck i spel, utifrån följande frågeställningar: Hur hanteras genren inom filmproduktion? Hur har tidigare spelutvecklare genomfört detta, både för större produktioner och för indiespel? Hur väl har de utvalda filmerna och spelen lyckats översätta skräckkänslan i det visuella? Den valda metoden för att fastlägga detta är bildanalyser och enkätundersökningar. Resultaten visar att det inte finns många skillnader mellan hur genren hanteras inom film jämfört med spel, även om det finns några. Resultat från enkätundersökningarna visar på att spel oftast ses som läskigare och obehagligare på en högre nivå än filmer.

Les travaux de recherche menés dans le domaine des environnements virtuels pour l’apprentissage humain permettent aujourd’hui d’envisager leur utilisation à des fins d’entraînement à la prise de décision en situation de crise. Le problème de ce type d’application est qu’il nécessite pour les concepteurs et les programmeurs un travail d’écriture lourd et une programmation exhaustive de l’état du monde. Notre hypothèse est de mobiliser les principes existants du récit interactif afin de proposer un design de scénarisation qui prenne en compte les aspects temporels, critiques et complexes des actions de l’apprenant. Nous proposons une approche réflexive de l’apprentissage en fondant notre scénarisation sur l’uchronie et en intégrant des notions philosophiques comme le simulacre et le rhizome dans le parcours d’apprentissage. L’apprenant pourrait revenir en arrière au sein du même scénario initié par le formateur, et le système informatique informerait ce scénario en fonction des décisions et erreurs faites par l’apprenant. Une partie de notre contribution est la conception d’une scénarisation pour un entraînement en environnement virtuel. Il respecte la réalité des experts du cas d’application concret sur lequel s’adossent nos travaux de recherches, un projet de formation de leaders médicaux au sauvetage de blessés suite à un afflux massif de blessés. / This thesis presents a story-based approach in a simulation-based learning environment in the context of crisis management. The domain of application is the management of mass casualties in the context of medical emergencies. To efficiently train medical staff, live simulations are organized, in which an entire rescue team is re-enacted. Each simulation session takes place in a pre-established pattern and includes three distinct phases : the briefing provides a framework, the scenario puts the learner in a practice of situation, and the debriefing involves the learner reflexivity with the help of the trainer’s feedback.Those simulation sessions mobilize a lot of professionals and equipment. Therefore, they cannot be used on a large scale and research is conducted to develop those trainings in virtual environments, in which the phase of debriefing is often missing while it is a crucial part in learning. Our case of application aims at creating a virtual environment for training rescue team leaders during crisis situations. In this environment, the user is a medical team leader who interacts with a team of virtual autonomous first-aid workers. In this thesis, we propose a user experience that includes both the scenario and the debriefing part of a simulation. We focus on decision making in crisis management. We suggest that the learner should reconsider his decisions if he becomes aware of a mistake he did not avoid: he could change what he has done. In the debriefing, he could visualize the consequences of those errors : he could see what he had not seen. Reflexivity of learning is an integral part of our approach. We propose a reflexive approach to learning by grounding our scenarisation on uchronia, a fiction genre consisting in stories containing "what if" scenarios at crucial points in history and present an outcome of events alternative to historical record. Our game design is based on the uchronia : when the learner becomes aware of his mistakes, he has the opportunity to go back and make a new decision. Our system will change the plot of the story by changing the occurrence probabilities of events based on a past choices of the learner, but without changing the frame or the characters in the story. Our game design offers two phases of simulation. During the scenario, the learner will explore several possible worlds. During the debrieng, he may view several possible alternatives to the scenario as a timeline.

There is a high demand for program developers, but the dropouts from computer science courses are also high and course enrolments keep decreasing. In order to overcome that situation, several studies have found serious games as good tools for education in programming learning. As an outcome from such research, several game solutions for programming learning have appeared, each of them using a different approach. Some of these games are only used in the research field where others are published in commercial stores. The problem with commercial games is that they do not offer a clear map of the different programming concepts. This dissertation addresses this problem and analyses which fundamental programming concepts that are represented in commercial games for programming learning. The study also identifies game design patterns used to represent these concepts. The result of this study shows topics that are represented more commonly in commercial games and what game design patterns are used for that. This thesis identifies a set of game design patterns in the 20 commercial games that were analysed. A description as well as some examples of the games where it is found is included for each of these patterns. As a conclusion, this research shows that from the list of the determined fundamental programming topics only a few of them are greatly represented in commercial games where the others have nearly no representation. This shows potential spots for future research in games for programming teaching.

O presente trabalho demonstra a infuência dos processos de design no desenvolvimento de games no final dos anos 1970 e início dos anos 1980 e como isso pode ter funcionado como catalisador no processo de evolução da mídia videogame, levando-a da condição de atividade de recreação baseada em habilidades motoras para condição de mídia expressiva capaz de contar histórias. Para isto foi levantado o que seria um processo de design, tanto como metodologia associada a uma prática laboral quanto como estratégia cognitiva, conseguindo assim uma estrutura formal do processo. Dez jogos foram eleitos e analisados extensivamente tanto por seu conteúdo quanto pelos processos usados em seu desenvolvimento, usando-se de pesquisa bibliográfica e também de nove entrevistas com desenvolvedores envolvidos no projeto de games no período do recorte pro posto, para termos um panorama do contexto sociocultural em soma aos processos usados por eles à época. Nessas análises, critérios do processo de design foram utilizados para conseguimos um quadro geral de sua infuência nos games. / The present work demonstrates the influence of design processes in game development in the late 1970s and early 1980s and how this may have functioned as a catalyst in the evolution process of video game media, leading it from the condition of recreational activity based in motor skills for expressive media condition able to tell stories. For this, what was a design process was raised, both as a methodology associated with a work practice and as a cognitive strategy, thus achieving a formal process structure. Ten games were chosen and analyzed extensively both for their content and for the processes used in their development, using bibliographical research and also nine interviews with developers involved in the game design in the period of the proposed cut, in order to have a panorama of the sociocultural context in addition to the processes used by them at the time. In these analyzes, criteria of the design process were used to obtain a general picture of their influence in games.