Thesis (doctoral)--Philipp-Universität zu Marburg.

Thesis (doctoral)--Friedrich-Alexander-Universität zu Erlangen.

Thesis (doctoral)--Universität Freiburg in der Schweiz, 1944. / Includes bibliographical references (p. 11-13).

Thesis (M.S.)--University of Wisconsin--Madison, 1975. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (M.S.)--University of Wisconsin--Madison, 1964. / eContent provider-neutral record in process. Description based on print version record. Bibliography: l. 108-111.

Thesis (M.S.)--University of Wisconsin--Madison, 1970. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

An experiment was conducted to test the adequacy of three models of game playing behavior in accounting for choices made by eighteen females in three non-zero sum games. Data were obtained for testing a Markov model, a Subjective Expected Utility model and a Rational Motive Pursuit (né Stochastic Choice) model. Results indicated some support for all models, however the Markov model appeared to predict the data most accurately, the R.M.P. model less accurately and the S.E.U. model least accurately. Much of the data were interpreted In terms of each model and a theoretical synthesis of them was proposed. / Arts, Faculty of / Psychology, Department of / Graduate

Video games as a medium have always focused on having their players interact with their game worlds and narratives regardless of genre. However, a repeatedly debated concept is whether players are able to feel a sense of identification with their avatars. The majority of this debate revolves around studying works with a multiplayer focus, such as MMOs, where players can interact with one another. This paper seeks to explore if players can identify with their avatar in single-player role-playing games (RPG), as this genre focuses on the player's direct influence on the narrative through various mechanics that allow the player to craft an avatar's identity. These mechanics typically include character customization, dialogue choice, and narrative consequences, which permits the player to form a unique narrative with their avatar and thus characterize the avatar throughout their time playing a game. This paper will use Bethesda's The Elder Scrolls V: Skyrim and BioWare's Dragon Age: Origins as case studies on how this genre accomplishes player identification and how different games use their own methods to accomplish this. The ultimate goal is to explore how games as an interactive medium can allow players to become active participants in these games and shape their narratives.

In this project, I created a framework for exploring problems with representations of marginalized characters in video games called "critical modding." The main goal of this project was to provide a method for addressing issues with portrayals of queer characters in video games through modification of a game's narrative and gameplay systems. I also created a video game prototype called Life in the Megapocalypse as a digital tool for engaging in critical modding. In addition, I created classroom assignments based on the game prototype aimed at helping people learn more about problems with portrayals of queer characters in games through critical modding that can be found in Appendix B. I created the critical modding framework based on established research on education, queer representation, and narrative design related to video games. The video game prototype is built in a text-based interactive fiction scripting engine called Inky and is stored in a web-based version on my website; I also provided selected source code from the game in Appendix C of this project. The game focuses on representations of queer characters in a post-apocalyptic world and asks the player to make choices by offering the characters guidance, as well as talking with them to learn more about them. This project is valuable in that it provides a research-based framework for exploring problems with portrayals of queer characters in video games through modification, an idea that has not been explored in established video game research. It also provides a tool for doing so in the form of the video game prototype, offering a unique approach that blends traditional academic research with digital design.

This interdisciplinary dissertation explores perceptions of control in modded and unmodded versions of Bethesda's sandbox video game Skyrim. Sandbox games are known for greater choice options that suggest greater perceptions of control for gamers. Sandbox games also generally encourage the use of user-generated creations called modifications (mods) that users can download to personalize their games. While we need philosophy to understand and define control as a concept, we also need psychology to understand how users perceive control in media studies. At present, qualitative academic research that measures gamer perceptions of control is non-existent as is research on how users articulate their experiences with mods. Interviews were conducted with twenty-seven individuals who identified as gamers to analyze these perceptions of control in a game like Skyrim. The first chapter is introductory and outlines key terms for the dissertation as well as the play study's methodology. The second chapter examines philosophical and psychological perceptions of control that correspond with negative freedom (freedom from) and positive freedom (freedom to). While no game can promise radical free will because they have been programmed in advance, the information here may be used to demonstrate how perceptions of control might influence game design. The third chapter continues this exploration of perceived control through genre analysis, revealing the relationship between greater perceptions of control and mod support in sandbox video games. The fourth chapter presents the first two findings from the play study that demonstrate how mods influence player perceptions of control. The fifth chapter reveals how gamers of the play study discuss their perceptions of control video games in their own words with an emphasis on positive and negative freedom and generic conventions. The final chapter provides challenges for game design and scholarly qualitative analysis for future research based on findings in the play study.