Civilization games can depict imaginative and sophisticated perspectives on the future. Yet some scholars have critiqued civilization games for their replication of dominant, limited ideologies. Game designers often learn about design directly or indirectly from frameworks, such as the Mechanics-Dynamics-Aesthetics (MDA) framework which contains a very idiosyncratic definition of aesthetics. Given that aesthetic thinking can unlock the sociological imagination, the aim of this dissertation was to discover opportunities to expand civilization game design by understanding the aesthetic experience of designers. A qualitative interview study was conducted of 13 game designers who created at least one civilization game based in the future. The interview and analysis had an ontological focus, to better understand how aesthetics fit into the existing puzzle of game design knowledge. The findings showed that designers employ their perspective in game design; this sense of self and perspective is not captured by current ontologies of game design. Furthermore, designers are limited in their ability to explore the boundaries of civilization games by task complexity, emotionality, and reliance on player experience. Resultantly, they may focus intensely on known aspects of game design in order to deliver a product. The dissertation proposes two primary solutions. Firstly, a game design framework that integrates the self into game design and more clearly delineates the game as an artifact. Secondly, cultivate truer senses of vision in game design for those who want to push civilization games and games as a whole, while understanding the practical realities of game design. These implications can be used by educators to reconsider game design program curricula, as well as affirm game designers’ pursuit of their own perspective.

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The growing number of video gamers over the age of fifty has sparked new interests in the transformative power of play and consequently, video games, for a larger demographic of citizens. Researchers have found that digital gaming can have positive effects on the physical, psychological and cognitive well-being of older adults. Of particular interest to this thesis is the potential of games to facilitate social connections between different generations of players. Intergenerational games have focused on improving relations between younger people and older adults by providing enjoyable interactions that can impart cognitive and physical benefits. While previous work has focused on enhancing intergenerational social connections between relatives, non-familial intergenerational encounters have scarcely been explored. Games often feature asymmetrical participation and require long term interest, all factors that can prove challenging to implement for public non-kin intergenerational gameplay. Previous works have shown that the successful use of games is dependent on a number of psychosocial and contextual factors that shape the player experience. One of them is the degree of familiarity between players. Familiarity has been linked to many of the core motivations associated with intergenerational play, exposing doubts of whether the same motivations can be used to inform the design of intergenerational games between strangers of different ages. In addition, for most socio-technical interventions designed for older adults, the characteristics of seniors have predominantly been framed around accessibility and decline. This limited perspective also tends to be true when discussing games designed for seniors. Finally, existing research on games for seniors has mainly focused on seniors who play conventional video games and self-identify as gamers, further marginalizing seniors who do not fit these descriptions. The current design of intergenerational games might not be ready for adoption by the broader society. In response to these gaps, this thesis presents a research through design project aimed to investigate how a general population of older people (who may not be composed of video-gamers) perceive and experience game and play, and map this knowledge to promising playful approaches of intergenerational encounters while at the same time promoting a positive image of older adults as active and sociable members of society. The methodology featured a participatory approach that involved interview studies, co-design workshops, and playtests that helped to articulate the general requirements for an intergenerational game to be played in public spaces. The result of these formative exercises produced Klang Verbindet (“Sound Connects”), an interactive playful system that supports embodied interaction and group exploration of spaces. Designed to be played through body movements, the system employs vision-based algorithms and sound synthesis to provide an age- agnostic space for public play. Interactions with the system were evaluated in two different public contexts, using direct observations, semi-structured group interviews, and post-game questionnaires. Based on these data and the design and implementation of the system, the thesis describes a number of important factors to be considered when designing and evaluating games for non-familial intergenerational interaction. The most important being, to design for short-term and low-entry engagements which are defined as “low-threshold intergenerational encounters”. Within this space, the thesis discusses the distinctive value of - ambiguity, appropriation, and curiosity as drivers of gameplay for rapid mixed-aged encounters in the public context.

The Outline of the development and history of a board game. The Mapping of the contemporary situation in the field of board games. Cultural, social and psychological aspects of playing board games. Defence of the stand that board games are not marginal subject beside modern sorts of amusement e.g. computer games. The Classification of modern board games with regard to their dominant cultural background and origin. The sociological survey on board games and motivation to their playing in the subculture of players 10-15years old. The Analysis of the survey and a search of basic categories of associated motivations for positive relation to board games and their playing. More detailed view on reasons why people do not want to play board games. The Analysis of players' fellowship. The practical application of board games (like general educative tool, a tool in the scope of teambuilding and human resources or else expert diagnostics and therapy). Keywords a subculture of players, a modern classification of a game, a board game, a table game, the history of board games

This research considers how the culture of game developer Cyan Worlds influences the gameplay environment and the culture of fans in Myst Online: Uru Live. The game has gone through two commercial releases and in both cases it was cancelled after a short time. Fans have attempted to salvage the game by producing their own server software and content creation tools. Recently, Cyan released their own source code and development tools to the fan community, giving fans an official channel for creating new content. This work builds off of Pearce's (2009b) study of the culture of Uru players and emergent play, but adds the dimension of considering the culture of developers themselves. A primary goal of this study was to determine how the culture of a game developer like Cyan shapes the constraints of the designed "play ecosystem" (Pearce 2009b: 7), and how it shapes the processes by which fans can salvage aspects of the game to create new content. One finding is that the design of Uru's gameplay environment is rooted in the cultural practices, personal philosophical goals and individual personality traits of its developers. Fans were able to assert ownership over the Uru story-world and the means of production of new content by proactively applying technical and problem-solving skills--the same sorts of skills that players must apply to solving puzzles in Myst games. This fan action, coupled with Cyan's goal of making an open-ended world, has helped to propel the initiative to provide open-source tools for creating new content. When fans produce new content, they draw significantly from an existing shared cultural repertoire of cues and conventions. These conventions are supported both by the software affordances of the development environment and by cultural precedent--they are readily adapted to Myst-like narratives and are easily "read" by experienced players.

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.

When games were first developed for in-home use, they were primarily targeted almost exclusively at children and males. However, today’s marketplace manifests a more diverse population plays Internet-enabled games that can be played virtually anywhere. The average gamer is now 30 years old. Many gamers, obviously, are much older. Yet more strikingly, and more germane to this study’s purpose, 47% of the U.S. gamer population is female, as compared to 40% in 2010. Despite these trends the gaming industry remains a male-dominated culture. The marketer’s job is to facilitate game engagement and to motivate gamers to play. The notion of “engagement” is not new in business. The term was developed in the last decade. Many studies were devoted to understand, explain, and define the term. It suggests that within interactive, dynamic business environments, consumer engagement (CE) represents a strategic position that companies can use to enhance their sales growth, competitive advantage, and profitability. Moreover, there are three levels of engagement in any experiential consumption (i.e., playing video game): presence, flow, and psychological absorption. The findings of this study affirm that consumer engagement, including presence, flow and psychological absorption are explanatory factors that impact gamer’s purchase intentions. Our results show that consumers experience different mental engagement in an interactive environment (i.e., playing video games) compared to passive environments (i.e., visiting a website). These findings change our understanding of consumers’ engagement and flow state. We also found that male and female gamers experience different engagement level. However, we did not find a significant result that masculinity and femininity traits impact gamers’ engagement or intention. We argue that macroeconomic factors results in sales fluctuation may have resulted in reject in this hypothesis. Thus, marketers shed a light into the consumer’s interactive environment and flow states in that environments. Consumers not only determine the value in using a product as Vargo and Lusch suggested, but they also create that value. Also, consumer experience is an ongoing process that does not have a specific point to start, making the value creation a temporally accumulative process that includes past, present, and future experience. Therefore, the value created by consumers is not created while physically interacting with a device to play, but it may include imagined and indirect interaction with the product. Therefore, consumers (i.e., gamers) need to maintain a balance between presence and psychological absorption (i.e., flow) to get the best experience in play video gaming. Empirical evidence suggest that consumers’ flow state engagement is the most important variable in determining their ensuing purchase intention for video games, regardless of game genre.

Ce mémoire tente de mieux comprendre ce que sont les jeux otome japonais et le rapport entre le jeu et la culture. En effet, à travers l’interaction que le jeu permet, celui-ci offre au joueur la possibilité d’explorer de nouvelles identités et par la même occasion, devenir un outil de (re)négociation culturelle. Puisque les jeux otome sont principalement créés pour plaire à un marché féminin japonais, les idéaux culturels en ce qui concerne les performances de genre féminin seraient logiquement intégrés dans les diverses trames narratives qui sont présentées, bien que ce processus puisse être involontaire de la part de leurs créateurs. Puisque les jeux otome reposent principalement sur la réussite de la formation d’une relation amoureuse avec un personnage masculin, ceci semble faire écho à la critique nationale envers le célibat féminin; il est attendu des femmes qu’elles remplissent leur rôle en tant qu’épouse et mère sous l’institution du mariage. Malgré le fait que cet idéal ne puisse pas toujours être suivi en raison de situations socio-économiques tel l’éclatement de la bulle financière de 1990 et des nœuds de résistance de la part des plus jeunes générations au fil du temps, cette notion demeure imprégnée dans la culture japonaise. Cela ne veut pas dire que les femmes jouant à des jeux otome sont contraintes d’accepter ces rôles. Par le biais de la jouabilité et de leur alter-ego numérique qu’est leur avatar, elles peuvent prendre part à l’ordre social établi sans pour autant s’y conformer. En fait, cela peut même être perçu comme un moyen de subvertir l’intention originale puisque ces femmes alimentent une relation retranchée des attentes sociales de la maternité. / This thesis tries to shed light on Japanese otome games and how player agency through the video game medium can lend itself to the exploration of new identities by the player and become a tool for cultural (re)negotiation. As otome games have been mainly created for female customers in the insular Japanese market, cultural ideals regarding female gender performance would logically be embedded in the various narratives that are presented, albeit this process may be unintentional by their creators. Since otome games hinge mostly on obtaining a successful romantic relationship with a male character, this seems to echo national criticism of female celibacy; women should fulfill their roles as wives and mothers through marriage. Although this ideal may not be upheld due to socioeconomic happenstance such as the crash of 1990 and has found pockets of resistance throughout the younger generation as time went by, this notion still permeates Japanese culture. That is not to say women who play otome games are bound to accept these roles. Through the use of play and their digital proxy that is their avatar, they can take part in the social prescribed order without submitting to it. Moreover, it could be seen as a way to subvert the original intent in doing so, as they embrace a relationship that is withdrawn from the social expectation of childbirth.

The thesis focuses on the reactions of readers to new ways of journalistic texts about computer games. These reactions often present themselves as a negative and intense rejection of writing about computer games beyond traditional modes of game journalism. Therefore, the thesis' main objective is to set these reactions to the context of changes in game culture and gamers' identity. The theoretical part describes the historical development of the computer games medium. It also summarizes Czech game journalism's evolution and describes the theoretical concepts of computer games as a specific medium, emphasizing the relationship between the medium and its consumer. The first part is enclosed by a chapter on fan cultures, especially on the gaming community. The central part of the research analyses users' comments, which react to analysed journalistic texts. Part of the analysis is also comprised of interviews with the authors of these texts. Such a constructed sample reveals that gamers and publicists perceive the computer games' nature and their roles in society differently. Furthermore, analysis has shown emphasis on identitarian themes in gaming community which manifested in rejecting the messages of analysed texts with reference to individual characteristics of its authors.