For my thesis, I have undertaken the creation of a persuasive game to advance a particular argument of the way that work is performed in the field of technical communication. Designed using procedural rhetoric, with an attention to aesthetics, fun, and the qualities that make games viable pedagogical tools, my game has been programmed using HTML5 and JavaScript, and made freely available online at RhetoricalGamer.com. This written document is meant to serve as a supplement to the game, providing a rationale for the use of games in education and in technical communication; a definition of procedural rhetoric and the necessary qualities of game design to ensure that the rhetoric operates correctly; and a detailed breakdown of the final elements and mechanics in place within my game. It is my hope that this work will serve as an exemplar for others interested in pursuing the creation of persuasive games, as a case study for the application of procedural rhetoric to education, and as a means of advancing technical communication's study of games and their relationship with such emerging technologies.

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As a response to finding innovative ways of using games as tools for learning we explore the design process of creating a game system meant to promote self-directed learning. This thesis explores what design pillars a game system needs to follow when making a game that is meant to promote self-directed learning through reflection on cause and effect relations. We use a theoretical framework based on procedural rhetoric and self-directed learning in video games to inform our design process when creating an eco-adapted game system that provides experimentation opportunities. We adapt an ecosystem as a simulated real life context for our game environment and identify the major design pillars that video games looking to promote self-directed learning needs to consist of. The major pillars we found most important were; 1, activate participation, to engage the player by allowing them to experiment with different perspectives and the game state. 2, avoid correlating rhetorical arguments, to not influence players as they set their own goals when playing in an informal setting. 3, provide observational clarity, to let players learn how the actions they perform affect the actors and events in the game system. 4, enable trial and error, to give players time to explore multiple approaches in a safe environment where they can fail and try again without penalties. This thesis focuses primarily on the design process and documentation around the creation of a game system that adapts self-directed learning principles as a central design directive. In our design documentation we provide an open discussion of our design process around the decisions, findings, and implementations that make our simulation. / Som ett svar på att hitta innovativa sätt att använda spel som verktyg för lärande undersöker vi designprocessen för skapandet av ett spelsystem som är avsett att främja självstyrd inlärning. Denna uppsats undersöker vilka designpelare ett spelsystem behöver följa när man skapar ett spel som är avsett att främja självstyrd inlärning genom reflektion över orsaks- och påverkansrelationer. Vi använder ett teoretisk ramverk baserat på procedurell retorik och självstyrd inlärning i datorspel för att informera vår designprocess när vi skapar ett eko-adapterat spelsystem som ger experimenteringsmöjligheter. Vi anpassar ett ekosystem som en simulerad verklig omgivning till vår spelmiljö och identifierar viktiga designpelare som datorspel som vill främja självstyrd inlärning behöver bestå av. De huvudsakliga pelarna som vi fann viktigast är; 1, aktivera deltagande, för att engagera spelarna genom att låta dem experimentera med olika perspektiv och spelets tillstånd. 2, undvik korrelerande retoriska argument, för att inte påverka spelarna när de sätter sina egna mål medan de spelar i en informell miljö. 3, ge observationsklarhet, så att spelarna lär sig hur handlingarna de utför påverkar aktörerna och händelserna i spelsystemet. 4, möjliggör försök och misstag, för att ge spelarna tid att utforska flera tillvägagångssätt i en säker miljö där de kan misslyckas och försöka igen utan straff. Denna uppsats fokuserar främst på designprocessen och dokumentationen kring skapandet av ett spelsystem som tillämpar självstyrda inlärningsprinciper som ett centralt designdirektiv. I vår designdokumentation ger vi en öppen diskussion om vår designprocess kring de beslut, resultat och implementeringar som utgör vår simulering.

Game instructions play an important role in all games, as players always need them to help them understand the rules of the game. Constructivist learning theory and procedural rhetoric theory provide the theoretical basis for exploring unguided game instruction. This thesis aims to investigate two aspects of unguided game instruction, how it affects players' perceptions of the rules of the game, and how it affects players' perceptions of the message the game is trying to convey. An experiment was conducted with a control group and the results were analysed both quantitatively and qualitatively, based on objective data of the participants' performance during the game and their subjective answers in the post-game questionnaire. The main conclusion is that, unguided game instruction helps some players to construct an understanding of the rules, but it has no clear advantage in helping the player to understand the message the game is trying to convey.

This project presents a virtual reality (VR) Interactive Narrative aiming to leave users reflecting on the perspectives one chooses to view life through. The narrative is driven by interactions designed using the concept of procedural rhetoric, which explores how rules and mechanics in games can persuade people about an idea, and Shin's cognitive model, which presents a dynamic view of immersion in VR. The persuasive nature of procedural rhetoric in combination with immersion techniques such as tangible interfaces and first-person elements of VR can effectively work together to immerse users into a compelling narrative experience with an intended emotional response output. The narrative is experienced through a young woman in a state between life and death, who wakes up as her subconscious-self in a limbo-like world consisting of core memories from her life, where the user is tasked with taking photos of the protagonist's memories for her to come back to life. Users primarily interact with and are integrated into the narrative through a photography mechanic, as they have the agency to select "perspective" filters to apply to the protagonist's camera from which to view a core memory through, ultimately choosing which perspectives of her memories become permanent when she comes back to life. This project hopes to provide an example of effectively applying procedural rhetoric to a VR interactive narrative so that future interactive narrative designers can further apply and explore how procedural rhetoric can work with immersion techniques to create compelling and immersive VR experiences.

How do games express meaning and participate in societal development? A significant contribution to the scholarly efforts that seek to answer such questions takes the rule-based properties of games as its starting point. Termed Procedural Rhetoric, the theory is tightly interwoven with major research questions in Game Studies, yet is under-researched and lacks clarity in several respects. This paper conducts an exploratory, qualitative literature review of the theory to address the lack of information about accumulated knowledge. It discovers new perspectives that may help chart a future for the theory and for Game Studies more broadly. Three possible paths forward are also outlined. A New Agenda is suggested in which game rules and procedures are (re)instated at the core of the analysis but new perspectives are embraced concerning the role of players and of developers, the societal context, and the contributions of the researchers and the educators who study them.

This thesis establishes a theoretical framework for understanding virtual spaces and roleplaying in relation to Ian Bogost's theory of "procedural rhetoric," the art of persuading through rule systems alone. Bogost characterizes the persuasive power of games as setting up an Aristotelian enthymeme--an incomplete argument--that one completes through play; however, I argue that the dominant rhetoric intended by a team of game designers is subject to manipulation through player choice. Discrete structures within the play experience cause the meaning-making possibilities of a game object to pullulate in a number of directions. Procedural rhetoric is not comprehended or created when reflected back upon after play: we interrogate it, piece it together, and change it through play. If rules are how the designers express themselves through videogames, then the player expresses herself by forming a personal ruleset--a modus operandi or ethical system--in response to the dominant rhetoric. Furthermore, game space is not merely the place where this dialectic occurs; it also embodies a ruleset in the way it organizes objects and directs the flow of play. The thesis proposes a model by which games, which are "half-real" according to theorist Jesper Juul, can be judged intersubjectively--that is, in a way that accounts for the objectivity of their rulesets and the subjectivity of player experience. By fully understanding the dynamic between the three procedural influences of rules, space, and identity, we can learn more about designing persuasive game systems and enhance the possibilities of subversive play.

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A rhetorical analysis of the educational interactive film “Riskprofilen”, produced by the Swedish Civil Contingencies Agency (Swedish: Myndigheten för Samhällsskydd och Beredskap). This essay uses the theories and methods of Procedural Rhetoric, as described by Professor Ian Bogost, and Visual Rhetoric, as described by Professor Brigitte Mral to analyse the interactive and visual component parts of the artefact, and compares them to the intended purposes of the artefact as stated by documents pertaining to its creation, found to be those of educating the public; marketing the agency; and driving traffic to its webpage. The artefact is through analysis found to fulfil the purposes of marketing the Agency and of likely increasing traffic to the website upon which it is hosted. Regarding the primary, educational purpose this analysis finds that the artefact does not teach a user the accident-avoidance strategies it claims to do, but is dependent upon further materials.