Genom detta kandidatarbete prövar vi på att testa ett annorlunda tillvägagångssätt inom spelutveckling och design, till att försöka skapa en mer innovativ och tilltalande spelprodukt. Med hjälp av termen Critical Play från Mary Flanagan, undersöker vi genom reflektion, diskussion och ifrågasättande, alternativa sätt att tolka världen på. Genom prövning skapar vi en underhållande gestaltning och analyserar ifall Critical Play som utveckling­ och designmetod även går att applicera tillsammans med teorier från medvetandefilosofi i åtanke. Vi ser möjligheter i att föra fram en avvikande spelupplevelse, genom att presentera spelvärlden och dess objekt på ett visuellt asymmetriskt sätt för alla spelare / In this bachelor’s thesis we explore alternative game­design and game­development methods and use them to try to create more innovative and publicly appealing games. Guided by Mary Flanagan’s Critical Play method, we investigate through reflection, discussion, and questioning the other interpretations of how we experience the world. Through tests, we build a video game and analyze whether or not Critical Play is a feasible method for creating games, even when philosophical tenets governs the underlying game mechanics. We discover possibilities to create unique game experiences by presenting game­objects as visually asymmetrical entities.

Inlevelse i den digitala spelvärlden är ett utspritt begrepp bland spelare och spelutvecklare, men har termen samma innebörd för alla. Detta forskningsarbete tar upp tidigare forskning inom ämnet inlevelse i digitala spel men också vad spelare idag anser om termen och vilka faktorer de anser är viktiga att fokusera på när man vill skapa ett inlevelserikt spel i genren first-person shooter. Genom en litteraturundersökning av tidigare forskning samt en enkätundersökning framgår det att inlevelse kan delas in i tre olika nivåer: involvering, försjunkning och total inlevelse. Forskningsarbetet bekräftar tidigare forskning på området och för ämnet om inlevelse i first-person shooter genren vidare, där inlevelsen styrs av spelelementens fyra pelare: estetik, spelmekanik, story och teknik men är också högst beroende av en spelares personlighet, mentalitet och inställning till det spel denne spelar. Enkätundersökningen pekar också på ytterligare faktorer som kan stärka respektive hämma inlevelsen i FPS. / The term immersion is widely used in the video game industry, but there is still a lack of signs on what immersion really is, or if people are using the term with the same meaning behind it. This paper describes previous research relating to the subject but also what gamers think about immersion, and what different factors that they deem important to focus on when creating an immersive digital video game in the first-person-shooter genre. With research of previous work in the field and a survey on immersion showed that immersion can be seen in three different levels: engagement, engrossment and total immersion. This research paper confirms previous research in the field and moves the research of immersion in first-person shooters forward, where immersion is governed by the four pillars of game elements: aesthetics, game mechanics, story and technology but is also highly influenced by the gamers personality, mentality and attitude towards the game the gamer is playing. The research paper also indicates other elements which can enhance or limit the feeling of immersion in FPS.

Denna uppsats undersöker vad spelare vill uppleva i sitt karaktärsskapande iolika spel. Syftet med arbetet har varit att få bättre förståelse för vad enanvändare vill ha ut av sin karaktär och sitt karaktärskapande.Frågeställningen i arbetet löd: ”Vad är för en designer viktigast att tänka pånär man designar en karaktärsskapande del i ett spel?” Förhoppningen varatt få en djupare förståelse för karaktärsskapandets karaktär för att bättrekunna designa den karaktärsskapande delen i ett spel. Undersökningengenomfördes med en kvalitativ metod för att belysa frågorna djupare. Förstskapades en kvalitativ intervju, och efter intervjuerna skapades tre nyafrågor som lades ut på två internetforum med inriktning mot MMORPGs.De spelare som verkade vara mest intresserade av karaktärsskapande ochprocessen kring karaktärsskapandet, var de spelare som ibland ägnade sig åtrollspelande. De spelare som delvis eller helt ägnade sig åt Player versusPlayer verkade ha svårt att se någon mening med att skapa en identitet ellerett unikt utseende överhuvudtaget. Det viktigaste som framkom iundersökningen var att man måste känna sin publik. Som designer behöverman veta för vilka spelstilar man designar spelet. De faktorer som varviktiga för spelarna, för att kunna fördjupa sig i sina karaktärer, var att deraskaraktärer hade möjligheten att bli unika. / This paper is focused on a better understanding of what computer gameplayers want to get out of their character and the character creation. Thequestion addressed in the paper was: "What is most important for a designerto consider when designing a character-creation part of a game?" The aimwas to gain a deeper understanding of the nature of the character creationprocess in order to better design the character creation part of future games.The study has been conducted with a qualitative method to illuminate thequestions in more depth. First, a qualitative interview was made, and afterthe interviews, three new questions were created, which were then postedon two Internet forums focusing on MMORPGs. The players who were themost interested in character creation and the process of this, were theplayers who sometimes engaged in role play. The players who partially orfully engaged in Player versus Player combat, had difficulties seeing anypoint in creating an identity or a unique look at all. The most importantthing that emerged from the investigation was that the designer needs toknow his audience. As a designer, you need to take into account whatplaying styles you design the game for. The important factors for theplayers to immerse themselves in their characters, was that their characterscould be made unique.

Massiva multispelar onlinerollspel (MMORPG) är idag en välutvecklad industri. Det finns även ett fåtal vars ekonomi och loot är baserade på riktiga pengar. Loot är de föremål en spelare kan erhålla genom att t.ex. döda monster och ett lootsystem är de interna mekanismer som hanterar hur loot distribueras i ett spel. Lotterilagen och Lotteriinspektionen reglerar vad som är ett lotteri i Sverige, om ett spel är slumpbaserat och spelaren eller spelarna kan vinna mer än de satsar, så måste arrangören få en licens utfärdad. Hur designar man ett enkelt lootsystem, baserat på riktiga pengar, utan att bryta mot Lotterilagen och som inte en stor mängd av spelarna kan utnyttja för egen vinning, och om spelarna förstår systemet hur skyddar man företagets intäkter? Denna avhandling tar reda på om det är möjligt att skapa ett spel som är kunskaps och färdighetsbaserat och som inte skulle kräva en licens. Spelet testas för att se om en spelare med kunskap får bättre resultat än en slumpmässig spelare. Den genomförda undersökningen pekar på att så är fallet.

This thesis tells the story of a design case creating an user interface for a MMORPG where the player are able control the body language of the avatar. By this the game can achieve a gameplay about drama and strong characterization. The thesis addresses considerations on what aspects of body language that can be important for computer games and other virtual environments. It also offers design considerations when designing interfaces for using gestures and other body signals to communicate emotions in virtual environments such as computer games. The main design consideration when creating the interface was to treat the player as an actor and the game world as a stage. The player needs to be in control of combinations of facial expressions, body posture and gestures as well as relative avatar positioning to other characters and objects. The interface was first tested as a paper prototype, re-designed, re-tested and then implemented into a computer prototype.

This study aims to see if it is feasible, for the purpose of studying game balance, to put a concrete value on damage and other abilities in Real-Time Strategy (RTS) games. The main metric that was used for this analysis was the cost per DPS (Damage Per Second) for units in a RTS game. The game that was used to test this analysis was StarCraft II: Heart of the Swarm.   This topic was tested by first gathering data about the properties of units in the game and then calculating the average values of the units in the game. After that, a few units and game mechanics were chosen to be analyzed in further detail. They were analyzed by comparing their cost/DPS values to the average values and seeing if there were any other properties that might have an impact in the cost of a unit.   While it was concluded that it is feasible to put a value on damage and other properties of units, the subject needs to be approached with caution. Using the cost/DPS metric that was assumed for this thesis, some units came out as being too strong for their cost. Further studies on similar topics might be able to find better methodologies for approaching similar analyses. / Denna studie vill titta på om det är rimligt, för ändamålet att studera spelbalans, att sätta ett konkret värde på skada och andra förmågor i Realtidsstrategispel. Det huvudsakliga mätsättet som användes i denna analys var kostnaden per skada per sekund (DPS, Damage per Second på engelska) för enheter i Realtidsstrategispel. Spelet som användes för att testa denna analys var StarCraft II: Heart of the Swarm.   Studien genomfördes genom att först samla in data om enheternas egenskaper och sedan räkna ut genomsnittsvärden för enheterna i spelet. Efter det så valdas några enheter och spelmekaniker ut för att analyseras i mer detalj. De var analyserade genom att jämföra vad de hade för förhållande mellan sin kostnad och deras DPS-värden med det genomsnittliga och se om de hade andra egenskaper som kunde ha påverkat enhetens kostnad.   Även om slutsatsen som drogs var att det är rimligt att sätta ett värde på skada och andra egenskaper hos enheter så måste man vara försiktigt om man vill studera detta ämne. Genom att använda sig utav kostnad/DPS värden som användes för denna analys så kom vissa enheter att se väldigt starka ut i förhållande till vad de kostar. Vidare studier på liknande ämnen kan hitta bättre sätt att närma sig liknande analyser.

This is the reflection of a graduation work done by Rickard Remelin. The work was made to create a proof of concept for a complex 3D computer game. All common elements such as creating Design document, story, programming, 3D modeling, texturing, animation, sound, etc, has been developed singlehandedly. Software used are Gimp, Blender, Gameblender and Audacity. The code was partly written in Python. / Detta är reflektionen av ett kandidatarbete gjort av Rickard Remelin. Arbetet har gått ut på att skapa ett koncept-bevis för ett komplext 3D datorspel. Alla vanliga moment så som Designdokument, Story, programmering, 3Dmodellering, texturering, animering, ljud, mm, har utvecklats på egen hand. Program som använts är Gimp, Blender, Gameblender samt Audacity. Koden är delvis skriven i Python. / Detta är en reflektionsdel till en digital medieproduktion. Address: Rickard Remelin Sternövägen 5 375 33 Karlshamn SWEDEN Available on Skype.

This paper will detail the prototyping and subsequent production of an digital narrative experience utilizing the theories of Vladimir Propp. The prototype will examine the theories detailed in Propps Morphology of the Folktale. It will implement Propps narrative functions according to a general scheme, connected by connectives. The prototype will dynamically generate narratives according to this scheme. Finally, this paper will draw conclusions about the advantages of a Propp-based system of narrative generation and the narratives produced compared to other digital narratives, such as hypertext.

In this study the impact of a board game as parent guidance strategy to reinforce Cognitive Control Therapy (CCT) in the home environment of a child with ADHD was explored. The influence of such a board game, based on the principles of CCT, on multiple contexts of the child’s existence - therapeutic and family contexts - was also investigated. There were two reasons for involving the parents in therapy. Firstly, children with an attention problem are situated within contexts and the effect of ADHD can permeate to the home and school environments. Secondly, for Cognitive Control Therapy (CCT) to be successful, it needs to be sustained by frequent repetition. It was hypothesized that sustainability of the effect of CCT should rise substantially after introduction of the board game, as the child and the parent can reinforce the principles of CCT by using it, even without being able to attend a session. The board game was designed by using the principles for game development as articulated by Dodge. A case study was then conducted by using a mixed methods approach, where quantitative and qualitative data were obtained. Data collection strategies consisted of quantitative methods in the form of the Cognitive Control battery (pre and post test), and the Copeland Symptoms checklist. Qualitative strategies included parental feedback, qualitative data during therapy sessions (observations and therapeutic notes) and a semi-structured interview with the mother. Data was collected before, after and during the intervention. The intervention consisted of individual therapy with the participant, parent guidance and parallel implementation of the designed board game by the parents with the child-participant. The quantitative data (from the CCB and the Copeland Symptoms Checklist) from the post test indicated that sensitivity towards distractions remains a concern, and that parental implementation of a board game (incorporating elements of CCT) with a child can possibly have a slightly negative effect on cognitive control functioning. However, the scope of this case study does not allow direct correlations to be drawn between the parental input and the child’s cognitive control functioning. It does point to the possibility of heeding caution when implementing a board game to reinforce CCT principles by a parent. Conversely, the findings from the study also indicated that family relations improved. Five qualitative insights emerged: i) increased ability to distinguish between relevant versus irrelevant information in the participant; ii) increase in organizational thought in the therapeutic situation and at home; iii) improved communication between parent and child, resulting in improved skills to maintain discipline; iv) improved interaction among family members; and v) transfer of skills to the mother. The study found that the greatest contribution of the board game appears to be the improvement experienced in the family context – probably as a result of increased interaction among family members and attention focused on the problem. / Dissertation (MEd (Educational Psychology))--University of Pretoria, 2007. / Educational Psychology / MEd / unrestricted

This study evaluates perception differences of male and female narrators in video game tutorials. Video games have long been considered a masculine pursuit, and because of this, women have endured unpleasant surroundings and interactions in gaming and related communities. With the proliferation of technologies like Twitch and YouTube gaming, gaming is more communicative than ever, increasing potential for problematic interactions. Recent booms in these technologies emphasize the importance of understanding how varying demographics are perceived, as these perceptions influence interactions, potentially limiting the likelihood of women and others' involvement and interest. Involvement in technology during youth is associated with interests in science, technology, engineering, and mathematics careers--all fields with disparities in women's employment. Measures included confidence, credibility, performance, trustworthiness, and leadership ability to better understand how the integration of communicative technologies into gaming influences perceptions based on cues--in this case, specifically voice. Male narrators were hypothesized to be evaluated as more confident and credible than female narrators overall, while performance, trustworthiness, and leadership evaluations were hypothesized to be moderated by one's own gender identity. No significant differences emerged, which suggests a positive change in climate for female gamers and leaders in the industry.