As an entertainment media, video games provide pleasure and enjoyment through interactions with various game elements. Some games are more successful in one part of the world than others, which sales data have clearly shown over the years. Games designed in various parts of the world often have distinct differences, as developers implicitly or subconsciously convey their values and culture in their creations. Thus, in examining ?what is fun,? one must move beyond technical aspects of game design and look into immersion and emotional experiences. <br /><br /> In this paper, sales data for 2004 were first examined, followed by a case study to investigate any differences between Japan and the US, where major game console manufacturers and game developers reside. Although they indicated differences in popularity of genres and design approaches, results from the survey were not able to verify conclusively major statistical difference between the two groups of respondents. <br /><br /> The survey was constructed with a focus on narrative and game-play elements, in hopes to get a better understanding of players? preferences through the concept of immersion, which were anticipated to be influenced by cultural differences. Although no major differences were found, given the small sample population, it could be seen that there was a greater sense of character attachment from Japanese respondents, while American respondents did not like to be forced away from their actions by ?long? narrative elements.

As an entertainment media, video games provide pleasure and enjoyment through interactions with various game elements. Some games are more successful in one part of the world than others, which sales data have clearly shown over the years. Games designed in various parts of the world often have distinct differences, as developers implicitly or subconsciously convey their values and culture in their creations. Thus, in examining ?what is fun,? one must move beyond technical aspects of game design and look into immersion and emotional experiences. <br /><br /> In this paper, sales data for 2004 were first examined, followed by a case study to investigate any differences between Japan and the US, where major game console manufacturers and game developers reside. Although they indicated differences in popularity of genres and design approaches, results from the survey were not able to verify conclusively major statistical difference between the two groups of respondents. <br /><br /> The survey was constructed with a focus on narrative and game-play elements, in hopes to get a better understanding of players? preferences through the concept of immersion, which were anticipated to be influenced by cultural differences. Although no major differences were found, given the small sample population, it could be seen that there was a greater sense of character attachment from Japanese respondents, while American respondents did not like to be forced away from their actions by ?long? narrative elements.

No / The boundaries between different kinds of media spaces are complex and challenging. The convergence of computing, media, and telecommunications produces environments that contain elements of their origins, but also contain new components that allow interaction in new ways by new users with new kinds of information. This poses problems for effective human computer interaction and human media interaction because the paradigms are not well understood. Converged environments are driving these new uses just as the first PCs supported keyboards and then WIMP interfaces. Traditional models of human computer interaction are not adequate to deal with this complexity, and the shifting of the boundaries brought about by convergence.

What social practices are people involved when staying in a game café? What kind of social setting is the game café? What are the attitudes towards playing computer games at home and in public among parents? What are the media representations of co-located game playing in public? What are the sensory experiences of playing co-located game play in public? This dissertation gives a descriptive and analytical account of the contexts and meanings of playing co-located computer games in public settings such as game cafés and LAN parties. The overall aim with the dissertation is to describe and investigate the social and cultural meanings and contexts of playing computer games in a game café. The research questions have been investigated in four empirical studies. The dissertation shows that people are involved in various social practices and activities aimed at supporting and maintaining social relationships among friends and peers. The game café can be seen as a third place, as it used by players for recreation and an escape from the pressure of home and school, a place which feels like home, is familiar and welcoming. However the game café is a limited third place used by young men who likes to play online and network games. The dissertation also shows how the social environment provides for specific sensory experiences. These sensory experiences involve sitting together side by side slapping each other’s shoulders and legs, eating candies and drinking sodas, listening to music. The representations of co-located game playing in public reproduce traditional gender roles where professional gamers are represented by men and causal gamers are represented by women (and men) as well as construct youth as party lovers. The study also suggests that parents’ attitudes towards their children playing games in public draw on traditional values and ideas about children’s play and social relationships. / <p>At the time of the doctoral defense, the following paper was unpublished and had a status as follows: Paper 4: Submitted. </p>

<p>This thesis addresses computer game play activities from the perspective of embodied and situated cognition. From such a perspective, game play can be divided into the physical handling of the game and the players' understanding of it. Game play can also be described in terms of three different levels of situatedness "high-level" situatedness, the contextual "here and now", and "low-level" situatedness. Moreover, theoretical and empirical implications of such a perspective have been explored more in detail in two case studies.</p> / Report code: LiU-Tek-Lic-2008:17.

The ability to transfer what you know to new and different contexts is a sign of successful learning. While students often graduate from college with the required number of courses many lack the skills necessary to apply appropriate strategies to solve problems in different contexts, to reason, and think critically. More than a decade ago the Boyer Report (1995) pointed to this fact as a sign that Universities were falling short in adequately supporting their undergraduate populations. As a result, it is not uncommon to see educational institutions introducing new courses and programs geared towards helping students learn better. This study explores learner experiences and the impact on self-regulated learning within a distributed learning setting when motivated by problem-based learning, game play, and computer-based instruction. In this study the instructional design of the course introduced undergraduate students to authentic learning experiences in which students engaged in collaborative problem solving and learning activities framed within the narrative of an alternate reality game. Fifteen self-regulated learning constructs were examined. The comparison group engaged with problem solving tasks and computer-based instruction. Additionally, the study used the theory Learning and Teaching as Communicative Action and its four communicative actions as a lens to understand the full range of student interactions and how they constructed knowledge. The research design employed computer-mediated discourse analysis to examine qualitative data. Data was triangulated through constant-comparative coding of student communication in the form of web logs, emails, student assignments, and semi-structured interviews. Review and consensus building was embedded in the process of identifying emerging codes and categories, and used to support emergent inferences before the final themes were identified and mutually agreed upon. Finally, to evaluate the outcome of the instructional design, pre and posttest measures were used among groups using a two-sample t-test. Statistical significance was used to determine changes in learning outcomes while select qualitative codes were examined and reviewed to gauge student satisfaction with the instructional approach. Results indicated substantial qualitative and quantitative differences among the three versions of the course related to self-regulated learning practices and communicative action in particular in terms of student interaction, and knowledge construction. Additional, findings revealed differences in epistemic beliefs about learning, which in turn influenced how students chose to learn. These outcomes are presented and discussed along with the implications for instructional design.

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How to best develop educational computer games is an open question and an active area of research. It is clear that computer games are able to instill the desire for players to rise to challenges, learn new and complex skills, and most of all to be entertained. Researchers are now trying to identify the underlying motivational nature of computer gameplay to harness it for teaching and learning. This research explores the world of educational game design and development within the field of Serious Games, and presents the Structural Playability Process (SPP) for educational game design and implementation. Serious Games are games designed for a primary purpose other than pure entertainment. The development of the Structural Playability Process was undertaken through the design and production of two serious games; GeoThermal World, which provides a virtual geothermal field‐trip experience; and Ora – Save the Forest!, a simulation‐driven game for pest management in New Zealand forests. Using these games as case studies we describe the four SPP spaces of; education, translation, design, and engine, in support of research into the delivery of effective game design methods that facilitate engagement with educational topics. The main contributions of this research are in the development of a new, generalisable model of educational game design combined with a practical method for implementing the design into a game engine. The results infer that the SPP approach provides a means for ‘designing‐in’ conditions that can support motivation through ‘gameflow’ mapping, and provide support for the impact of serious games on learning; the games designed with the new model increased learning gains post‐play and supported knowledge retention. Finally, this research contributes empirical evidence to the field, as the SPP allows for the measurement of learning outcomes which are tracked throughout the design and development process.

The aim of this study is to uncover and discuss the spaces appropriated by graffiti writers and to reveal out the possible resistances involved in the act throughout the writers&amp / #8217 / motivations, characteristics, spaces they produce and all over process they are entering into together with the specifications of graffiti in Turkey. It demands to unfold the possibilities sheltered in everyday practices looking through graffiti and subsequently revealing out possibilities in graffiti looking through everyday life. It sees the urban space as a social product, which is incomplete without the tactics of the inhabitants and redefined as a result of appropriation. It looks through the history of graffiti, graffiti writers, their motivations and descriptions, working mechanism of the act, spaces chosen and their overall relations to power placed upon urban space in regard to its predescribed theoretical framework reaching out an integrated explanation on play/game theory and resistance it describes. It claims graffiti as a game of the juveniles acting in urban space as their playground.

The work deals with the term Gamification, its origin, dez/interpretation and possible future. Gamification is based on game/play and its historical development, which is described in the work from ancient times to the era of computers. This brings us to the relationship between gamification and digital technologies that can develop its true potential. Goal of the practical part is to develop own gamified solution based on identified principles of gamification. Actual creative process is preceded by an analytical part where I try to identify a niche market and fill it.