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What makes us like or dislike certain games? Is there relation between our tastes in games and our personalities and can it be measured? This dissertation examines gamer personalities and game attributes with the help of the Five-Factor Model, also called The Big Five. It treats an experiment on how to apply the Five-Factor Model to games and their players and what it may be used for. By interviewing gamers, recording their favored and unfavored games, letting the gamers take a Big Five personality test and then juxtapose their personalities with their games' attributes, those questions may be answered.

The Dirty Faces game requires players to perform iterative reasoning in order to arrive at equilibrium play. The game is dominance solvable with a unique equilibrium when it is correctly specified. The particular payoff structure has significant implication on whether the reasoning process leads to equilibrium play. This paper illustrates that the traditional specification - as used by Weber (2001) - leads to multiple equilibria and the game loses its dominance solvability. We modify the payoff structure and restore uniqueness. The resulting game, which is dominance solvable, is implemented in an experiment to test the depth of iterative reasoning in humans. Our data analysis suggests that some deviation from equilibrium play is due to limited depth of iteration. Additionally, we find evidence that the lack of confidence in other players’ iterative abilities also induces deviations from equilibrium play. / Thesis (M.Ec.) -- School of Economics, 2007

Thesis (M.Sc.) - Carleton University, 2006. / Includes bibliographical references (p. 90-92). Also available in electronic format on the Internet.

Thesis (Ph. D.)--University of Michigan, 1941. / Thesis note on p. ix, also stamped on t.p. "This publication is a contribution of the Virginia Commission of Game and Inland Fisheries (Pittman-Robertson projects, Division of Game) and the Virginia Cooperative Wildlife Research Unit, cooperating"--P. iv. Includes bibliographical references (p. 253-260).

Thesis (Ph. D.)--University of Michigan, 1941. / Thesis note on p. ix, also stamped on t.p. "This publication is a contribution of the Virginia Commission of Game and Inland Fisheries (Pittman-Robertson projects, Division of Game) and the Virginia Cooperative Wildlife Research Unit, cooperating"--P. iv. Includes bibliographical references (p. 253-260).

Thesis (M.S.)--University of Wisconsin--Stevens Point, 2006. / Includes bibliographical references (leaves 75-79).

Punishment is the act of penalizing an individual as a response to a transgression. This thesis will deal with punishment in experimental game scenarios and in experimental criminal punishment scenarios, along with their different adaptations. The aim will be to provide an overview of both psychological and neurological underpinnings of punishment by reviewing existing literature. While punishment ought to deter transgressions and promote cooperative behavior, internal neural reward-related systems seem to be a driving factor of the desire to punish wrongdoings. Decisions on whether a transgressor is guilty and deserves punishment is mediated by the medial prefrontal cortex with an emphasis on the ventromedial parts. External influences affect the behavioral output and its underlying neural signatures of punishment. Social context such as peer pressure and in-group bias emphasize the importance of theory of mind related areas when conducting punishment.

Diploma work engaged game and upbringing, if is there interconnection and continuity. In this work are three main chapter. First chapter apply upbringing. Then follow second charter about game. Third charter´s name is "Upbringing like process and upbringing like game".

For centuries, the horror genre has ensnared audiences across generations and genre lines: ballet, opera, literature, poetry, film, and, most recently, video games have all utilized the power of terror to shock, horrify, and, perhaps most disturbingly, attract. But what does fear sound like? This thesis will focus on that question as it explores both the twin worlds of Konami’s survival-horror title Silent Hill and the underwater-nightmare city of Rapture in 2KGames’ 2007 hit Bioshock. Offering a deeper understanding of the agency video game sound employs, this thesis will engage critical gender, race, and feminist theory, confront issues of social and cultural fears evoked through sound, and offer an in-depth analysis of each game’s soundscape in order to discuss the ways video game soundtracks can serve as vehicles for both signifying and unpacking complicated social and political topics that prevail in modern society.