Submitted by Milena Dias (milena.dias@ufpe.br) on 2015-03-05T18:05:51Z No. of bitstreams: 2 Bruno_Dissert_final.pdf: 733360 bytes, checksum: 750df5ff2557116f9edbc6e7434bdbe1 (MD5) license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) / Made available in DSpace on 2015-03-05T18:05:52Z (GMT). No. of bitstreams: 2 Bruno_Dissert_final.pdf: 733360 bytes, checksum: 750df5ff2557116f9edbc6e7434bdbe1 (MD5) license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Previous issue date: 2012-05 / Este trabalho consiste na análise do modo como os games Guitar Hero e Rock Band tentam proporcionar aos jogadores a sensação de incorporarem grandes estrelas do rock quando estão num palco. Esses games, através do uso de joysticks no formato de instrumentos musicais e do design de áudio, permitiram aos jogadores uma imersão no seu ambiente de jogo, a ponto de alguns se sentirem como astros do rock, independente de qualquer habilidade com guitarras, baixos ou baterias. O presente trabalho parte da hipótese de que Guitar Hero e Rock Band alcançaram o sucesso por, além de utilizarem em suas trilhas grandes sucessos da história do rock, conseguirem, através do formato diferenciado dos seus controles e pela forma como o som do jogo é emitido, diminuir a distância crítica entre a fantasia e a realidade, provocando o fascínio de seus jogadores, que sentem como se realmente estivessem tocando um instrumento musical. Dessa forma, consideramos o conceito de imersão fundamental para que se dê início a uma discussão sobre como esses games musicais atuam para que os indivíduos entrem na brincadeira de ser uma estrela do rock, já que acreditamos que agem de uma forma diferente de outros games mais tradicionais para o envolvimento emocional dos jogadores.

The phenomena that we collectively refer to as “play” form a significant part of life at numerous levels. According to the play scholar, Johan Huizinga, play has not only been part of all human societies, it is also at the root of the development of numerous cultural activities, including structured games and sports, certain judicial and legal activities, war, and numerous forms of art. Despite its importance, play, with its various manifestations, is often relegated to being a children’s activity or an occasion of pure waste, and is a surprisingly marginalized topic in academic scholarship. In part to remedy this deficit, my aim in this thesis is to explore the comparatively new phenomenon of video games as a particular form of play. While there are undoubtedly many philosophical approaches that can respond to different aspects of the “problem” of video games, I propose that Gilles Deleuze and Felix Guattari’s philosophy of “difference” and “becoming” is particularly useful. On the one hand, Deleuze and Guattari’s philosophy provides a viable framework through which to determine the limitations of the current prominent theories in the field of video game studies, which include “narratology”, “ludology”, and the more recent “hybrid approach”. On the other hand, their philosophy enables one to extend the creative and transformative potential that is inherent to a philosophical “problem”, in this case the “problem” of video games. By adapting selected Deleuzian and Deleuzoguattarian philosophical concepts, including “assemblage”, “percept”, “affect”, “transversal becoming”, and “becoming-imperceptible”, I aim to establish a philosophical framework through which different forms of play, and different video games, can be analyzed in terms of their capacity to generate “difference” and “becoming”. More specifically, I argue that video games can be understood as particular kinds of “play assemblages” that can potentially open the player to “transversal becomings”. The video games that I analyze as play assemblages that can generate “transversal becomings” are Thatgamecompany’s Flower (2009) and Journey (2012). Importantly, “transversal becomings”, understood in this instance as the “becoming-other” of human individuals, have the potential to contribute to the individual’s capacity for creative thought and action. Therefore, I argue that video games, far from being activities of pure waste, can potentially open the player to various forms of “becoming-other”, which can, in turn, increase the player’s capacity to think differently, to become different and to create differences. Ultimately, I aim to promote the value of play and video games on the one hand, and the value of Deleuze and Guattari’s philosophy on the other hand, for the aim of extending the questioning power of life, and increasing our capacity to effectively respond to a continuously changing world of problems.

In scaffolding, full support (guidance) is given to the learner to support weakness and withdrawn bit by bit as learner knowledge fortifies (fading) (Martens & Maciuszek, 2013) . According to Puntambekar & Hubscher (2005), the attributes of scaffolding include diagnosis, calibration and fading. Research work on scaffolding in serious games – games with other purposes other than entertainment, has mainly focused on diagnosis and calibration often referred to in this field as player modelling and adaptivity respectively. There is barely any empirical study investigating fading this in these games. Instead of fading which is the gradual removal of scaffolding, an all-or-nothing approach is often used. The all-or-nothing could lead to cognitive overload in children. For children to have a pleasurable gameplay, it is important the cognitive load is managed effectively. The fundamental question asked in this thesis is “To what extent can scaffolding-fading improve children’s gameplay experience and knowledge gain?” This is broken down to four research questions – 1. Does the gradual removal of guidance improve children’s gameplay experience? 2. What dimensions of gameplay experience are impacted and to what extent are they impacted by the gradual removal of guidance? 3. Would guidance fading during gameplay improve knowledge gain? 4. What effect would inappropriate guidance-fading have on gameplay? A game in which the scaffolding can be manipulated is designed for this study. A comparative study methodology with a controlled experiment, comparing gameplay in both the gradual removal and the all-or-nothing mode, is employed with the aim of measuring gameplay experience and knowledge gain in these modes. Analytics was also employed to capture performance-related gameplay metrics. These methods were combined for a more substantial explanation of findings. The key contributions made include – 1. Appropriately implementing guidance-fading for the first time in a game AND highlighting the relevance of this scaffolding mode to serious gameplay.

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Using the concept of dominant strategies, a method for reducing the strategy spaces of a game is developed. These results are used to reduce some infinite games of the Colonel Blotto type to finite matrix games which are then solved by the Snow-Shapley theorem. / Science, Faculty of / Mathematics, Department of / Graduate

After systematically using educational games in three secondary English classes over a one-year period, this project documents the effectiveness of games by analyzing students' opinions. Surveys were used to determine the perceptions of 150 students about the actual games used in their classes. Some examples of effective games are also given.

Digital video games are an immensely popular form of entertainment. The meaningful positive experiences that games facilitate are fundamental to the activity; players are known to invest a lot of time playing games in search of those experiences. Digital games research is polarized. Some studies find games to be a healthy hobby with positive effects; games promote well-being through regular experience of positive psychological experiences such as flow and positive emotions. Others have identified rare problematic use in those players who devote excessive amounts of time to gaming, associating them with social dysfunction, addiction, and maladaptive aggression. While it remains unclear if games cause these effects, or merely coincide with play, the negative effects historically receive more attention in both popular media and academia. Some authorities attempt to reduce the harms associated with games to such an extent that their methods have become national policy affecting all players including those who exhibit no negative outcomes. In South Korea and Taiwan, policing authorities employ a behaviour policy that sets strict daily limits on session length, thereby controlling the amount of time people spend playing games each day. In China, the General Administration of Press and Publication employ a design policy requiring that games service-providers fatigue their games’ mechanics after a period to coax them to take a break sooner than they ordinarily would. Both policy types alter player interaction with games in any given session and it is unclear how these policies affect players in general. This research aims to compare sessions affected by the behaviour policy, design policy, and policy-free sessions in terms of session length, measurable subjective user-experience, the player's intention to return to the game, and their reasons for choosing to stop playing in a particular session. For use in a repeated-measures experiment, we modified the action RPG Torchlight II to simulate both policies. Participants had one session at the same time each week for three consecutive weeks. In varied sequences, participants played a control session unaffected by policy, a onehour shutdown session representing behaviour policy, and a fatigue session representing design policy. After each session, we recorded their session's length, their user-experience in terms of flow and affect, their intention to return to the game, and their reason for ending the current session. We found that our shutdown condition successfully decreases session length, when compared to the other conditions. The condition facilitates strong flow, moderate positive-affect, and weak negative-affect. The shutdown event does not appear to degrade positive experiences and makes participants slightly more upset (statistically significant) than they would be after choosing to stop playing. This is because players do not get to make that decision, and because players are unable to complete the goals they have set for themselves. Most players intended to play the game again immediately or sometime later in that same day, much sooner (statistically significant) iii Word Template by Friedman & Morgan 2014 than they would after choosing to stop. This also may be due to satisfaction associated with choosing to stop, or being unable to complete their self-set goals. We found that our fatigue condition increases session length when compared to the other conditions. This result contradicts the intentions associated with design policies: shorter sessions. The fatigue mechanics make the game more difficult, which increases the time required for players to complete the goals they have set for themselves, whether it is to complete a level, quest, or narrative sequence. The condition facilitates high levels of flow, moderate positive-affect and low negativeaffect; the condition does not appear to degrade these positive experiences, nor increase negative experience. Most players intended to take the longest breaks between sessions of at least one day, and although we observed that these were longer than the control condition, the differences is not statistically significant. We found that most participants chose to stop playing when the game stopped providing them with positive experiences, or begins to generate discomfort. A large group of participants chose to stop because another activity took priority. Few participants chose to stop because they were satisfied with their session. Less than one third of players explicitly referenced the fatigue mechanics in their decision to stop. Neither policy is holistically better than the other. Both provide strong positive experiences, and have different effects on session length. Whereas it appears that the fatigue condition fails to reduce session length, it also appears that players intend taking longer breaks between sessions, which may reduce total play-time across all sessions. Similarly, the shutdown condition may increase total play time, or at least bring it closer to normal amounts of play-time while also making players more upset. Our operational definition of user-experience is bi-dimensional, and does not include many experiential constructs commonly associated with digital games. During this research, several reliable and valid, and more representative experience measures became available. Any future work on this topic should make use of one of these. Our experiment tested the effects of player experience associated with a single game, genre, and context. Future research should reduce the variation of player factors by focusing on single personalities, typologies, or risk-factors rather than generalizing to all players. We tested out participants only as they played in the early stages of Torchlight II. It is possible that the game's narrative elements, rather than the gameplay mechanics fatigued by the design policy, motivated continued play. We suggest a longitudinal study of the individual policies to explore their effects over many sessions.

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