I denna rapport vill vi lyfta fram de möjligheter och begränsningar som finns för att skapa nya engagerande läromiljöer genom att implementera ett mobilt lärospel i ett svenskt skolsammanhang. För att exemplifiera detta har vi i vårt projekt skapat ett mobilt lärospel kallat Agent O, som två högstadieskolor med ungdomar mellan 15-16 år gamla fått testspela. / This essay is a product of our bachelor of science in interactiondesign. Our focus in this project was to evaluate the mobile learning game from MIT and transform it so it would fit into Swedish schools and to redesign the interface from an interactiondesigners perspective and make it more goal-orientated for teenagers at the age of 13 to 16 years old. This resulted in the mobile learning game called Agent O. A learning game with the main purpose to evolve an interaction between the pupils and the pedagogical material through a handheld computer. Taking the learning procedure to a level where the learning part differs as when reading a textbook or solving a mathematic equation. Learning by doing may encourage the teenager to be active in the lecture in a progressive way.In this essay we present the theoretical basis by giving a background and context description of technology where it has been used as an educational complement. We will describe the limitations when designing an interface for mobile games, and look upon the possibilities for this kind of mobile learning game in Swedish schools. We have performed two main usertests at two schools in Malmö and the results of these tests are presented in the report.

近年手機遊戲產業發展迅速，不論是在全球或是台灣皆呈現高潛力的發展趨勢，手機遊戲有望在不久的將來成為遊戲界營收佔比最高的類別。相應著這樣的潮流，對手機遊戲的相關研究也跟著大量出現，研究題材如遊戲內容品質、平台營造以及營利模式等等，均為手機遊戲的開發有諸多貢獻。但是，儘管手機遊戲的研究正在興起，其走向仍以遊戲本質為主，鮮少有針對手遊玩家使用心態的研究，更遑論探討其與消費行為之間的關聯。 為了解決這樣的理論空缺，本研究欲以玩家的遊玩動機與遊戲特質偏好，結合科技接受模式中的知覺娛樂性，探討其對手機遊戲消費行為之間的關係。本研究將遊玩動機區分成「成就型動機」、「社交型動機」以及「沉浸型動機」；遊戲特質偏好則以「奇幻性偏好」、「合理性偏好」、「神祕性偏好」和「控制性偏好」四大構面分析。至於玩家的消費行為，本研究將其分為「付費意願」、「付費金額」和「上癮度」。 本研究以發放網路問卷的方式進行，總共獲得有效問卷共1043份。經過統計迴歸分析後發現，三種遊玩動機均對付費意願有顯著正向影響，而遊戲特質偏好雖然同樣對付費意願與顯著關係，但在付費金額方面則呈現不相關，唯有「奇幻性偏好」高的玩家有高消費的傾向。「奇幻性偏好」、「合理性偏好」以及「神秘性偏好」都對遊戲的上癮度有顯著影響。其他顯著影響的因素將待於研究中一一解釋。 / The mobile game industry has been developing rapidly in recent years. Its high growing potential can be observed both in global and Taiwan markets. Some marketing studies even claim that mobile games would become the most profitable genre among the gaming market in the near future. The amount of research related to mobile games marketing increases in a fast pace, only reflecting this booming trend However, most of the studies by far merely focus on the content of games. Little academic research has been conducted on the players’ attitude toward games. Therefore, this study aims to bridge the gap between mobile gamers’ psychological status and their purchasing behaviors, offering a possible explanation for the reasons behind their purchases. This study used players’ motivation and preference on game characteristics as the independent variables, in which players’ motivation was classified into “achievement,” “social,” and “immersion,” while preference on game characteristics was divided into four categories: “fantasy,” “rationality,” “mystery,” and “control.” As for gamers’ behavior, it was analyzed in terms of three dimensions: “purchasing intention,” “spending,” and “addiction.” After the regression analysis, the results show that all of the above-mentioned motivation constructs exhibit significant association with purchasing intention. Players with high preference on fantasy theme have greater tendency to spend more on mobile games. Furthermore, preferences on fantasy, rationality, and mystery, have positive relationships with game addiction.

Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2018-04-20T12:48:24Z No. of bitstreams: 1 Kévin Cardoso de Sá_.pdf: 3208171 bytes, checksum: dfc5ea787aaa256079d1f84d750608ff (MD5) / Made available in DSpace on 2018-04-20T12:48:24Z (GMT). No. of bitstreams: 1 Kévin Cardoso de Sá_.pdf: 3208171 bytes, checksum: dfc5ea787aaa256079d1f84d750608ff (MD5) Previous issue date: 2018-02-27 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Chronic diseases are the main cause of mortality in the last few decades, accounting for 59% of all deaths in the world. It is possible to prevent the development of such diseases using tools and methods that instruct the population. One way to achieve this goal is by using games, since they make it possible to teach subjects to the users, without them actively knowing that they are learning new concepts. Through a mapping study, it was possible to identify existing works that employ games focused on chronic conditions, however these works cover a reduced range of these conditions, are mainly targeted towards a younger audience and the majority is of a specific genre, exergames. In this context, this work proposes a model, named CCMUG, for the development of mobile and ubiquitous games that address chronic diseases. The contribution of our work is the definition of a model for the development of games for awareness focused on chronic diseases, subdividing the model into components with relationships between them. Unlike the related work considered, there are no restrictions regarding the type of game target audience and chronic disease addressed. The model aids in the development of games of the most varied genres, for different chronic conditions and individuals of all ages. We conceived the design and developed a mobile game focused on HIV/AIDS, based on the model proposed in this work. We then conducted a individual evaluation with a group of Digital Games undergraduate students of Universidade do Vale do Rio dos Sinos (Unisinos), with the objective to qualify the design of the game. The results obtained show that the game assumes its role of entertaining the players and teaching them concepts regarding the chronic condition. Furthermore, we identified aspects of the design to be improved in the development of the game prototype. Afterwards, we conducted a second evaluation, employing the focus group methodology, with a group of six students who participated in the first evaluation. The aim of this evaluation was to identify if a narrative should be used in the game and, if so, how it should be designed. The participants agreed that the use of a narrative would be beneficial in a game that tries to teach new concepts to the players, but it should be well elaborated. Through the focus group, we conceived a narrative for the game as well as additional features originated from the story. Then, we conducted an evaluation on the prototype after its development to assess the user enjoyment of the game. It was based on a modified version of EGameFlow, a survey that serves as a scale of measurement of the enjoyment and fun of the users in e-learning games. EGameFlow is divided in several dimensions that are assessed with the mean and standard deviation of the answers of the participants. The participants played the game and answered the questionnaire. Overall, all dimensions scored satisfactorily, showing that the prototype is considered to be fun and enjoyable for the players. The last evaluation of this work gathered opinions of game developers to ascertain the validity of our model, its components and relations for developing games focused on chronic conditions. This step occurred as a individual structured interview that followed a explanation of the proposed model and the developed prototype. There were no requests to remove, add or drastically change any component of our model, only minor corrections were applied. Overall, the results are positive and all developers fully agree that our model can be used to develop games, mobile or ubiquitous, focused on chronic conditions without the restrictions identified in the related works. The results confirm that CCMUG can be used as a guideline to develop games in this context. However, more evaluations with different prototypes focusing on other chronic diseases are planned as future works. / Doenças crônicas são a principal causa de mortalidade, representando 59% de todas as mortes do mundo. É possível prevenir o desenvolvimento da doença por intermédio de ferramentas e métodos que instruem a população. Uma forma de alcançar esse objetivo é utilizando jogos, visto que eles possibilitam ensinar assuntos sem que os usuários tenham consciência de estarem aprendendo novos conceitos. Através de um mapeamento sistemático, foi possível identificar trabalhos existentes que empregam jogos no âmbito de condições crônicas, entretanto tais trabalhos abrangem uma gama reduzida dessas condições, são principalmente direcionados para um público jovem e a maioria é de um gênero específico, exergames. Nesse contexto, este trabalho propõe um modelo, chamado CCMUG, para o desenvolvimento de jogos móveis e ubíquos com o foco em doenças crônicas. A contribuição do nosso trabalho é a definição de um modelo para o desenvolvimento de jogos móveis e ubíquos para conscientização focados em doenças crônicas, subdividindo o modelo em componentes com relações entre eles. Diferentemente dos trabalhos relacionados considerados, não há restrições quanto ao tipo de jogo, público-alvo e doença crônica abordada. O modelo auxilia no desenvolvimento de jogos dos gêneros mais variados, para diferentes condições crônicas e indivíduos de todas as idades. Foi concebido o design e desenvolvido um jogo móvel que aborda o tema HIV/AIDS com base no modelo proposto neste trabalho. Em seguida, realizamos uma avaliação individual com uma turma de graduandos de Jogos Digitais da Universidade do Vale do Rio dos Sinos (Unisinos), com o objetivo de qualificar o design do jogo. Os resultados obtidos constatam que o jogo concebido desempenha sua função de entreter os jogadores e ensiná-los conceitos sobre a condição crônica. Além disso, foram identificados aspectos do design a serem aprimorados no desenvolvimento do protótipo do jogo. Posteriormente, realizamos uma segunda avaliação, empregando a metodologia do grupo focal, com um grupo de seis alunos que participaram da primeira avaliação. O objetivo desta avaliação foi identificar se uma narrativa deve ser usada no jogo e, em caso afirmativo, como ela deve ser projetada. Os participantes concordaram que o uso de uma narrativa seria benéfico em um jogo que tenta ensinar novos conceitos aos jogadores, mas ela deve ser bem elaborada. Através do grupo focal, criamos uma narrativa para o jogo, bem como features adicionais originadas a partir dessa história. Em seguida, realizamos uma avaliação do protótipo, após o seu desenvolvimento, para avaliar a diversão do jogo pelo usuário. Essa avaliação foi baseada em uma versão modificada do EGameFlow, um questionário que serve como uma escala de medida do prazer e diversão dos usuários em jogos de aprendizado. EGameFlow é dividido em várias dimensões que são avaliadas através do desvio padrão e média das respostas dos participantes. Os participantes jogaram o jogo e responderam ao questionário. No geral, os resultados de todas as dimensões foram satisfatórios, mostrando que o protótipo é considerado prazeroso e divertido para os jogadores. A última avaliação deste trabalho reuniu opiniões de desenvolvedores de jogos para verificar a validade de nosso modelo, seus componentes e relações para o desenvolvimento de jogos focados em condições crônicas. Este passo ocorreu como uma entrevista estruturada individual que seguiu uma explicação do modelo proposto e do protótipo desenvolvido. Não houveram solicitações para remover, adicionar ou alterar drasticamente qualquer componente do nosso modelo, apenas foram aplicadas pequenas correções. No geral, os resultados são positivos e todos os desenvolvedores concordam plenamente que nosso modelo pode ser usado para desenvolver jogos, móveis ou ubíquos, focados em condições crônicas sem as restrições identificadas nos trabalhos relacionados. Os resultados confirmam que o CCMUG pode ser usado como base para desenvolver jogos neste contexto. No entanto, mais avaliações com diferentes protótipos com foco em outras doenças crônicas estão planejadas como trabalhos futuros.

[pt] Jogos pervasivos móveis são jogos que combinam os mundos real e virtual em um espaço híbrido, permitindo interações não apenas com o mundo do jogo virtualmente criado, mas também com o ambiente físico que envolve os jogadores. A Internet de Coisas Móveis (IoMT) especifica situações em que os dispositivos na Internet das Coisas (IoT) podem ser movidos ou se moverem de forma autônoma, mantendo conectividade remota e acessibilidade de qualquer lugar na Internet. Seguindo o enorme sucesso dos recentes jogos pervasivos móveis e a iminente expansão de IoT, nós fornecemos uma integração para toda a tecnologia envolvida no desenvolvimento de um jogo pervasivo móvel que incorpora dispositivos IoT. Também propomos um jogo móvel pervasivo que avalia os benefícios da união de ambos os campos. Este protótipo de jogo explora maneiras de aumentar a experiência dos jogadores através de mecânicas pervasivas, aproveitando a motivação dos jogadores para realizar tarefas de sensoriamento. O jogo também incorpora aplicações sérias na jogabilidade, tais como a localização de instalações e serviços. / [en] Mobile pervasive games are a game genre that combines the real and virtual worlds in a hybrid space, allowing interactions with not only the virtually created game world, but also with the physical environment that surrounds the players. The Internet of Mobile Things (IoMT) specifies situations in which devices on the Internet of Things (IoT) can be moved or move autonomously, while maintaining remote connectivity and accessibility from anywhere on the internet. Following the huge success of recent mobile pervasive games and the coming IoT boom, we provide an integration for all the technology involved in the development of a mobile pervasive game that incorporates IoT devices. We also propose a mobile pervasive game that evaluates the benefits of the union of both fields. This game prototype explores ways of increasing the experience of players through pervasive mechanics while taking advantage of the player s motivation to perform sensing tasks. It also incorporates serious applications into the gameplay, such as the localization of facilities and services.

The Free-to-play (F2P) model is the primary business model applied in indie mobile games nowadays. However, the fact that less than 5% of players are paying is still a big problem for developers. There is a theoretical gap in understandings of how to increase revenue without lowering the quality of the game and deliver more valuable and better gaming experience for players. Some assumptions and empirical methods need to be verified. The aim of this research is to understand a series of specific design and development questions of F2P games, including game inner mechanics, game structures, and monetization strategies. We attempted to find consensus between developers and players. In addition, this research also sought to find out how F2P mobile game can provide as a comprehensive service in order. It sought to find a sustainable and profitable business model for each game by integrating monetization organically inside of the game without sacrificing players’ enjoyment. We used a mixed methods research approach, including both interviews and surveys, to examine the opinions and behavior of developers and players based on the Acquisition-Retention-Monetization funnel.

No description available.

Virtual reality tech is new, exciting and full of opportunities.Despite this the gaming section of virtual reality does not grow asfast as it was predicted it would be. Headsets and games areexpensive and perhaps a market model similar to the mobile gamingmarket would do the new tech good. A model that is heavily reliant onadvertisements and low prices.The purpose of this thesis is to show that virtual reality games areas viable an advertising target as mobile games that are a popularadvertisement medium. The study uses 2D billboard advertisements asthey are a non-intrusive advertisement format that can be implementedin a similar fashion on a mobile game and VR game.For this study two games were developed, one that runs on a OculusQuest VR headset and one for mobile Android devices. The games are asclose to each other as possible in terms of objective and settingwith the same advertisements implemented in them, each game featurestwo levels, one level contains advertisements and one does not.Surveys are used to find data regarding how the advertisementsaffected the game experience on both platforms. Interviews were thenconducted to find more qualitative information and to explain theresults as well as to find out what makes an advertisement good ortolerable.

GAYME is a transmedia story-telling world that I have created to conceptually explore the dynamics of queering game design through the development of varying game prototypes. The final iteration of GAYME is @deadquarewalking'. It is a documentary game and a performance art installation that documents a carless, gay/queer/quare man's journey on Halloween to get to and from one of Orlando's most well-known gay clubs - the Parliament House Resort. "The art of cruising" city streets to seek out queer/quare companionship particularly amongst gay, male culture(s) is well-documented in densely, populated cities like New York, San Francisco and London, but not so much in car-centric, urban environments like Orlando that are less oriented towards pedestrians. Cruising has been and continues to be risky even in pedestrian-friendly cities but in Orlando cruising takes on a whole other dimension of danger. In 2011-2012, The Advocate magazine named Orlando one of the gayest cities in America (Breen, 2012). Transportation for America (2011) also named the Orlando metropolitan region the most dangerous city in the country for pedestrians. Living in Orlando without a car can be deadly as well as a significant barrier to connecting with other people, especially queer/quare people, because of Orlando's car-centric design. In Orlando, cars are sexy. At the same time, the increasing prevalence in gay, male culture(s) of geo-social, mobile phone applications using Global Positioning Systems (GPS) and location aware services, such as Grindr (Grindr, LLC., 2009) and even FourSquare (Crowley and Selvadurai, 2009) and Instagram (Systrom and Krieger, 2010), is shifting the way gay/queer/quare Orlandoans co-create social and sexual networks both online and offline. Urban and sub-urban landscapes have transformed into hybrid "techno-scapes" overlaying "the electronic, the emotional and the social with the geographic and the physical" (Hjorth, 2011). With or without a car, gay men can still geo-socially cruise Orlando's car-centric, street life with mobile devices. As such emerging media has become more pervasive, it has created new opportunities to quarely visualize Orlando's "technoscape" through phone photography and hashtag metadata while also blurring lines between the artist and the curator, the player and the game designer. This project particularly has evolved to employ game design as an exhibition tool for the visualization of geo-social photography through hashtag play. Using hashtags as a game mechanic generates metadata that potentially identifies patterns of play and "ways of seeing" across player experiences as they attempt to make meaning of the images they encounter in the game. @deadquarewalking also demonstrates the potential of game design and geo-social, photo-sharing applications to illuminate new ways of documenting and witnessing the urban landscapes that we both collectively and uniquely inhabit. 'In Irish culture, "quare" can mean "very" or "extremely" or it can be a spelling of the rural or Southern pronunciation of the word "queer." Living in the American Southeast, I personally relate more to the term "quare" versus "queer." Cultural theorist E. Patrick Johnson (2001) also argues for "quareness" as a way to question the subjective bias of whiteness in queer studies that risks discounting the lived experiences and material realities of people of color. Though I do not identify as a person of color and would be categorized as white or European American, "quareness" has an important critical application for considering how Orlando's urban design is intersectionally racialized, gendered and classed.