Cette thèse se propose d’étudier les modalités d’écriture des serious games narratifs.Ces objets, à la fois porteurs d’un objectif ludique et d’une intention sérieuse sont également porteurs de promesses narratives. L’articulation de ces trois dimensions est au cœur de cette recherche doctorale. L’enjeu de cette thèse se caractérise par la nécessité de comprendre comment le jeu de nos objets se distingue, d’envisager de quelle manière l’intention sérieuse est véhiculée et de déterminer pourquoi une dimension narrative se met en place. Notre recherche se base sur un corpus de 42 objets, que nous avons analysés en nous appuyant sur la sémio-pragmatique. Nous avons d’abord cherché à identifier les influences culturelles de nos objets afin de déterminer ce dont ces objets sont les héritiers. Nous avons ensuite cherché à déterminer le « contrat ludique » de nos objets, et mis en évidence la présence importante de « marqueurs pragmatiques de jeu ». Pour autant, l’expérience ludique se révèle souvent limitée, notamment par des challenges relevant du leurre ou de l’illusion du jeu. Nous avons alors exploré les raisons de cette jouabilité perturbée et mis en exergue l’importance de l’écrit dans nos objets.A partir de ces éléments, nous avons discerné 2 types de structures de serious games narratifs : en alternance et en association. Dans la structure en alternance, l’utilisateur est successivement confronté aux dimensions ludique, sérieuse et narrative. Dans la structure en association, ces trois composantes se répondent.Parallèlement, nous avons développé, un serious game réalisé en prise de vue réelle, à destination des médecins généralistes, pour les former à la communication. Les réflexions menées sur l’écriture du scénario, le développement et l’analyse de 2 prototypes nous ont permis de souligner que le mode en alternance contraint certes le jeu, mais favorise l’exposition de l’intention sérieuse de l’objet, au contraire de la structure en association qui la minore. / This thesis’ purpose is an exploration and study of narrative serious games’ writing modalities from the audiovisual research field point of view. Those tools have both a playful goal and a serious intention, tending also to reach narrative undertakings. The joint between play, seriousness and narrative is the main basis of this PhD research.This thesis’ stake can be defined as the need of understanding how play can be discern in serious games, as the approach of the way the serious intention is set forth and the determination of the reasons why a narrative dimension is setted.Our research is based on a 42 serious games’ corpus, which we have analyzed relying on semio-pragmatic.We had first seek to identify their cultural influence. We aimed to define objects which serious games inherited. Then we aimed to establish the « Playfull Based Act » of serious games and to highlight the major presence of « game pragmatic markers ».The playfull experience is however often felt as restricted especially because of challenges based on gaming lures or illusions. So we explored the reasons of the playfull obstruction and established the importance of writing in serious games. We have been able to define two types of narrative serious games structures from those previous elements : in alternance and in association. In the alternance structure, users are successively confronted to playfull, serious and narrative dimensions, which never be melted or crossed.In the association structure, those three dimensions answer to each other.We have developped a « real shot » serious game for general practioners in parallel,in order to train them to communication.The thoughts and researches conducted during scenario writing and the two prototypes' making and analysis have led us to emphasize the constraint aspect of the « alternance mode » of some of the games, but also its power of emphasize the serious intention of serious games, in the contrary of « association structure » which minore it.

In today’s competitive landscape, shaping positive digital experiences with the brand is crucial for the company’s market success. The study aimed to investigate the interconnected relationship between User Experience (UX) and Brand Experience (BX) by exploring the potential for enhancing BX through the implementation of User Interface (UI) elements aligned with brand values within an e-commerce website. In this study, a two-phase quantitative experiment was employed, and four high-fidelity e-commerce web page prototypes were developed based on the Swedish multinational furniture retailer IKEA’s e-commerce website. In conclusion, this study establishes that the implementation of UI elements in line with brand values has the potential to enhance BX within the context of an e-commerce website. Through one of the prototypes, all dimensions of BX could be positively influenced. By emphasizing the interconnectedness between UX and BX, these findings contribute to our understanding of the critical role of UX design in shaping positive brand experiences online.

Denna analys undersöker representationen av genus i en våldsam spelkontext i fightingspel-serien Mortal Kombat, med fokus på spel 9, 10 och 11. Genom en semiotisk bildanalys med fokus på utvalda karaktärers visuella design och förändring framkommer teman i deras relation med genus. En betydande förändring där de kvinnliga karaktärernas design går från en hypersexualiserad och hyperfeminin gestaltning, till en mer funktionell och täckande utstyrsel. Samtidigt ökar de manliga karaktärernas hypermaskulina drag som tidigt etablerats. De senare spelen visar på en minskad överdriven och stereotypisk design där karaktärerna blir allt mer realistiska. Analysen belyser även hur karaktärers könsidentitet och normer används i relation till identitet inom “den heterosexuella matrixen” för att undersöka hur deras binära representation används. En sen acceptans inom forskningsfältet gör att spelindustrins största fightingspel-serie är intressant att undersöka. / This analysis examines the representation of gender in a violent gaming context within the fighting game series Mortal Kombat, focusing on games 9, 10 and 11. Through a semiotic image analysis, highlighting the selected characters visual design and changes, relating to their gender relation. A significant shift in the female characters designs, going from a hypersexualized and hyperfeminine depiction to a more functional and covering attire. Simultaneously, there is an increase in hypermasculine traits among the male characters, which were seen early on. The later games exhibit reduced exaggerated and stereotypical designs, leading to characters becoming more realistic. Additionally, the analysis sheds light on how characters' gender identities and norms are utilized concerning identity within the “heterosexual matrix”, examining the use of binary representations. A late acceptance within the research field makes the analysis of the gaming industry's largest fighting game series an interesting subject to explore.

O objetivo desta pesquisa é a criação de um corpo de trabalhos visuais e registro de seu processo criativo, tendo em vista desdobramentos didáticos para o ensino de linguagens visuais no campo do Design. Imagens foram geradas a partir da observação, do pensamento e do gesto, e ganharam visibilidade através de procedimentos como fotografia, escaneamento, colagem, manipulação digital, desenho e impressão. O ato criador, aliado à reflexão sobre esse fazer, permitiu a investigação sobre a gênese deste processo: a teoria é uma prática, o fazer é um pensar. A primeira parte da tese expõe sequências figurativas em simultaneidade com depoimentos, ambos produzidos pela autora, onde se apresentam as motivações e os meandros deste processo criativo, cotejados com conceitos teóricos e com a produção contemporânea da visualidade. Na segunda parte, produtos visuais realizados pelos alunos da autora, no âmbito de uma disciplina de graduação em Design, são apresentados com os relatos sobre essa experiência docente. Corpo de provas, enquanto documento dos trajetos, desvios, dificuldades e conquistas vivenciados na prática reflexiva da construção de linguagens visuais, fornece subsídios e aponta possibilidades didáticas para seu ensino. / The present research aims to create a collection of visual artworks and document its creation process, while also focusing on developments for the teaching of visual languages in the field of Design Studies. The images were created from observation, reflection, and gesture and took shape through a number of practices including photography, scanning, collage, digital manipulation, drawing, and print. An investigation into the genesis of the process was made possible through the association of the creative act and a deliberation on its praxis: theory became practice, and practice turned into reflection. The first part of this thesis offers figurative sequences and accounts by the author, which convey the motivations and meanders of her creation process. That material was subsequently confronted to theoretical concepts and contemporary visual works. The second part displays visual products created by the author\'s students in the context of an undergraduate Design class, and includes her accounts regarding this academic experience. As a document of the trajectories, detours, difficulties, and achievements experienced throughout the reflective practice in the construction of visual languages, Book of Proofs suggests options and offers support for teaching these processes.

According to a study at Linköping University, students who study programming need additional assistance beyond the help provided in the course. According to the same survey, the majority of these students indicate that they would pay for private tuition in programming. At the same time, there are students who believe they have the competence to teach others in programming and could consider of doing this against financial compensation. To meet these needs of students, a solution tested in this thesis resulted in the development of a web application to create a C2C platform where students can meet up to exchange knowledge within programming. The development of the web application is varied by design and functionality substantiated by scientific theories. During the project, user testing is performed to get opinions from the potential target group. The work mainly focuses on answering the research questions regardingconsumer trust of the web application’s design. The report shows that it is possible to develop a web application according to the above criteria.

Submitted by Fernando Souza (fernandoafsou@gmail.com) on 2017-08-08T11:12:04Z No. of bitstreams: 1 arquivototal.pdf: 15717745 bytes, checksum: 0fcd3fd6ffd19c3eacbec24acf76d0cc (MD5) / Made available in DSpace on 2017-08-08T11:12:04Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 15717745 bytes, checksum: 0fcd3fd6ffd19c3eacbec24acf76d0cc (MD5) Previous issue date: 2016-08-23 / The distance learning in Brazil is an increasing reality at the higher education, especially in the licentiate undergraduate courses. In this kind of teaching, the printed teaching material acquires a more relevant space since it may be the most effective source of knowledge, information and interface between the student and the teacher, even being inserted in other possibilities of virtual interaction. In this way, this research consists of the analysis in which the production and circulation process is possible, as the comprehension of the printed teaching material, approaching issues related to the categorization of the printed teaching material as a text genre, as well as the language and the verbal and non-verbal structure. This research aims to investigate the multimodal resources of the printed teaching material in all the curricular components of the first term at the Letras (Modern Arts) Course, distance learning, at the Technology, Science and Education Federal Institute of Paraíba, through the textual organization, the production and the reception conditions of the social developed actions, as a socialcommunicative tool. For this reason, the research took place in two fields of investigation: the textual analysis which observed the PTM under the perspective of the visual semiotics and had the conceptions of van Leeuwen (2005), at Introducing Social Semiotics as theoretical framework, and the syntactic analysis of the multimodal resources based on the metafunctions systematized by the Visual Design Grammar by Kress and van Leeuwen (1996[2006]); the textual production based in the production conditions presented by the Sociodiscursive Interactionism (SDI) by Bronckart (1999[2009], 2006). To understand the PTM as a text genre, the SDI was also used to be especially related to the discussions of Bakhtin (2010 [1895-1975]) on the theme. These data analyses allowed understanding in a clearer possibility the relations between the constitution of the printed teaching material, not only in the verbal aspect but also in the non-verbal view, as well as the production and comprehension conditions of this genre in the teaching/learning process as an instrument which is able to create comprehensive and didactic communicative actions. / A educação a distância no Brasil é uma realidade crescente na formação superior, em especial, nos cursos de Licenciatura. Nessa modalidade de ensino, o material didático impresso conquista um espaço de maior relevância tendo em vista ser, talvez, a mais efetiva fonte de conhecimento, informação e interface entre o estudante e o professor, mesmo inserido em outras possibilidades de interação virtual. Nesse sentido, esse trabalho consiste na análise de uma das muitas frentes que o processo de produção, de circulação e de compreensão do material didático impresso possibilita, abordando questões relativas à categorização do material didático impresso como gênero textual, bem como à linguagem e à estrutura não verbal e verbal. O objetivo dessa pesquisa é investigar os recursos multimodais do material didático impresso de todos os componentes curriculares do primeiro período do curso de Licenciatura em Letras na modalidade a distância do Instituto Federal de Educação, Ciência e Tecnologia da Paraíba, a partir da organização textual, das condições de produção e recepção e das ações sociais desenvolvidas, como instrumento sociocomunicativo. Para isso, a pesquisa ocorreu em dois campos de investigação: o textual, que se ocupou de observar o MDI sob a perspectiva da semiótica visual, tendo como suporte teórico as concepções de van Leeuwen (2005) apresentadas no livro Introducing Social Semiotics e a análise sintática dos recursos multimodais com base nas metafunções sistematizadas pela Gramática do Design Visual de Kress e van Leeuwen (1996[2006]); a produção textual fundamentada nas condições de produção apresentadas pelo Interacionismo Sociodiscursivo-ISD por meio do que discute Bronckart (1999[2009], 2006). Para se ter o entendimento do MDI como gênero textual, recorremos, também, ao ISD com atenção especial ao que Bakhtin (2010 [1895- 1975]) discute sobre a temática. A análise desses dados possibilitou compreender melhor as relações entre a constituição do gênero material didático impresso, seja no aspecto verbal, seja no não verbal, e as condições de produção e compreensão desse gênero no processo de ensino e aprendizagem como instrumento capaz de criar ações comunicativas compreensíveis e didáticas.

O objetivo desta pesquisa é a criação de um corpo de trabalhos visuais e registro de seu processo criativo, tendo em vista desdobramentos didáticos para o ensino de linguagens visuais no campo do Design. Imagens foram geradas a partir da observação, do pensamento e do gesto, e ganharam visibilidade através de procedimentos como fotografia, escaneamento, colagem, manipulação digital, desenho e impressão. O ato criador, aliado à reflexão sobre esse fazer, permitiu a investigação sobre a gênese deste processo: a teoria é uma prática, o fazer é um pensar. A primeira parte da tese expõe sequências figurativas em simultaneidade com depoimentos, ambos produzidos pela autora, onde se apresentam as motivações e os meandros deste processo criativo, cotejados com conceitos teóricos e com a produção contemporânea da visualidade. Na segunda parte, produtos visuais realizados pelos alunos da autora, no âmbito de uma disciplina de graduação em Design, são apresentados com os relatos sobre essa experiência docente. Corpo de provas, enquanto documento dos trajetos, desvios, dificuldades e conquistas vivenciados na prática reflexiva da construção de linguagens visuais, fornece subsídios e aponta possibilidades didáticas para seu ensino. / The present research aims to create a collection of visual artworks and document its creation process, while also focusing on developments for the teaching of visual languages in the field of Design Studies. The images were created from observation, reflection, and gesture and took shape through a number of practices including photography, scanning, collage, digital manipulation, drawing, and print. An investigation into the genesis of the process was made possible through the association of the creative act and a deliberation on its praxis: theory became practice, and practice turned into reflection. The first part of this thesis offers figurative sequences and accounts by the author, which convey the motivations and meanders of her creation process. That material was subsequently confronted to theoretical concepts and contemporary visual works. The second part displays visual products created by the author\'s students in the context of an undergraduate Design class, and includes her accounts regarding this academic experience. As a document of the trajectories, detours, difficulties, and achievements experienced throughout the reflective practice in the construction of visual languages, Book of Proofs suggests options and offers support for teaching these processes.

Gränssnittsdesign är en av de viktigaste aktiviteterna vid systemutveckling, eftersom gränssnittet utgör den beståndsdel för vilket slutanvändare kommer göra sin primära helhetsbedömning av systemet utefter. Det innebär att gränssnittsdesignarbetet har en avgörande roll för hur systemet kommer att mottas och bedömas vid leverans och upphandlingar av system. Att designa tillfredställande gränssnitt handlar om att ta hänsyn till en rad olika human computer interaction (HCI)-aspekter. Dessa är användbarhet, användarupplevelse samt estetik, det vill säga hur visuellt tilltalande gränssnittet är. Följande tre aspekter kommer på olika sätt påverka hur en användare upplever ett system, vilket i sin tur kommer påverka huruvida en beställare är beredd att investera i ett system. Att utveckla gränssnitt för system innebär ofta att designers och utvecklare måste göra avvägningar kring i vilken mån en designer skall få realisera gränssnittsdesign. Detta eftersom en samansättning av för många visuella gränssnittselement kan få inverkan på systemets prestanda. Stundtals hamnar de två elementen, visuella designattribut och systemkrav, i konflikt med varandra och i de fall där de senare föregår designattribut ställs gränssnittsdesigners inför en utmaning eftersom att de bli begränsade i sitt arbete. Trots detta ställs dock samma krav på att designers skall uppnå tilltalande gränssnitt som väcker känslor av professionalism, samtidigt som systemet skall bibehålla optimal systemprestanda och funktionalitet.Syftet med denna studie var att undersöka hur ett tillfredställande gränssnitt i aspekter av estetik, användbarhet och användarupplevelse kan designas i ett standardsystem när designarbete begränsas till att enbart kunna justera placering och färg av gränssnittselement. Detta har inneburit en designforskningsansats bestående av en iterativ utvecklingsprocess där ett gränssnitt designat och realiserat baserat på av teorin förslagna riktlinjer för gränssnittsdesign som fortfarande har varit möjliga att tillämpa trots designarbetets begränsningar. Gränssnittet har därefter utvärderats genom experiment i form av användbarhetstester och expertutvärdering. Empirisk data från utvärderingarna har därefter analyserats och införlivats i gränssnittet och slutligen har en slutsats genererats och presenterats.Studiens resultat visar att genom en kombination av befintliga teoribaserade riktlinjer kommer designers en god bit på väg för att lyckas design tillfredställande gränssnitt i aspekter av estetik, användbarhet och användarupplevelse. I slutet av studien presenteras detta i form av sju nya riktlinjer. Variabeln användarupplevelse visade sig dock vara svårare att designa för i studiens begränsade kontext. Detta beror på att användarupplevelse är en svår variabel att utvärdera på grund av dess subtila natur. Slutligen presenteras förslag för framtida forskning och på vilket sätt studiens resultat vidare bör beprövas. / User-Interface design is one of the most important aspects of development of a system, as the user-interface is one of the elements that the user primarily will take in consideration when assessing a system. This means that user-interface design plays an important role in how the system will be received and assessed at procurement. A designer has to consider a couple of human computer interaction (HCI)-aspects such as usability, user experience, and aesthetics, in order to design a satisfactory user-interface. These three aspects of human computer interaction affect user experience of a system, which will influence a client’s decision on investment in the system. Designing a user-interface of a system often means that designers and developers have to consider the extent to which a designer can implement their version of the interface. A composition of many visual interface elements can have an impact on the systems performance. Sometimes the visual design attributes can conflict with the system requirements. If designers are challenged system requirements are prioritised because they will be limited in their work. Despite those limitations, the designers are still needed to design an appealing user-interface that can invoke feelings of professionalism, parallel to the system requirement of optimal performance and functionality.The purpose of this study was to explore how an appealing user-interface with regards to aesthetics, usability and user experience can be designed when the design work is limited to only be able to adjust placement and visual appearance in terms of names and colour of UI elements. This has been explored by doing an iterative development process in which an interface has been designed and developed based on guidelines from theory on user-interface design which the authors has been able to implement based on the limitations on the design work. The interface has subsequently been evaluated by experiments in terms of usability tests and an expert evaluation in the form of a heuristic evaluation. The evaluations resulted in empirical data which has been analysed and set against existing theory upon which a conclusion has been generated and presented.The result of the study show that designers are well on the way to successfully design an appealing user-interface in relation to aesthetic, usability and user experience, which the authors presents in the form of seven new guidelines. The variable user experience turned out to be more difficult to design in the study’s limited context. The authors believe that one of the reasons for this is that user experience is difficult to evaluate because of its subtle nature. Lastly we present suggestions for future research and how the results of the study should be further proved.

South Africans borrow more and save less than other nations (Discovery Bank, 2018). One reason is a lack of financial knowledge. If a mobile application could guide individuals to modify their financial habits slightly by spending less and saving more, they could dramatically improve their financial future. When designing visualisation systems such as a mobile application interface, users' qualitative design feedback and quantitative usability evaluation are both important and complementary. The benefit of usability feedback in software development is undisputed. The importance of qualitative design feedback from users however, seems to be controversial in Science. Gathering users' qualitative design feedback, ahead of usability evaluation, can have a substantial impact on downstream development costs. The researcher used design as a tool for thinking (imagining new possibilities) and communicating (sharing ideas). The purpose was to clarify ways in which a mobile application interface could support users in making better financial decisions and creating better financial futures for themselves and consequently for society. A user centred design (UCD) approach was followed, emphasising design before development, with a strong focus on user involvement in all three phases, namely requirements gathering, design and evaluation. A primary client archetype for mid-career professionals was developed, split into two personas, Alan and Zoe, based on personality and self-rated motivational attributes which were used in an unconventional way to inspire two parallel, diverse designs. In early design stages, before an idea is well formed, producing multiple contrasting designs in parallel and qualitative design feedback from users is beneficial to establishing utility (solving the right problem), tapping into users' domain knowledge, improving the quality of the design and reducing fixation on one idea. Once the concept has been socialised and evolved sufficiently with users' input, converging on one final design and testing usability (solving the problem in the right way) become more important. This research offers two refinements of the UCD process guidelines for the benefit of researchers and practitioners.

More understanding is needed of how the visual design affects the user experience of trustworthiness in web design. Research has shown that the aesthetic part of web design is more important than previously thought and that more knowledge is needed in this area. The purpose of this study is therefore to investigate how the visual design affects the user’s experience of trustworthiness. This is to create an understanding of which parts of a websites visual appearance affect the users experience of trustworthiness more or less. This study was based on the Research Model (Figure 1) by Fasial et al. (2017), which was the result of a study that examined different kind of factors that affected trust, satisfaction and loyalty among website users. The Research model was in this study modified and supplemented with additional factors that were considered important based on what emerged regarding trustworthiness from previous research. Two different housing agency websites were studied as an attempt to capture the user’s true perception of trustworthiness, where a basis for credibility considered to be preconceived. As data collection, to capture conceivable situations, user tests were created with suitable scenarios in an attempt to capture possible situations and to get the flexibility required to capture user’s feelings and experiences. The analysis showed that the visual design evokes emotions such as frustration and that the web pages can be perceived cluttered due to the visual design. But the most important factors were the interaction and content parts of the website, where both housing agencies were less successful in this case. Although the findings show that the two websites in this study can improve their visual design within these parts – this study, as also previous research showed, that the factors in a way belong together and affect each other. Therefore, it is important to use the developed model as a tool to avoid missing important factors when creating/reviewing a website that may affect the user’s experience of trustworthiness / Inom webbdesign behövs det mer förståelse hur den visuella designen påverkar användarens upplevelse av trovärdighet. Forskning har visat att den estetiska biten inom webbdesign har en större betydelse än man tidigare tro och a det därför behövs mer kunskap inom dea område. Därför har den här studiens syfte varit a undersöka just hur en webbsidas visuella design påverkar användarens upplevelse av trovärdighet. Dea för a skapa en förståelse över vilka delar av det visuella som påverkar användaren mer eller mindre. Den här studien utgick från Research model (Figur 1) av Faisal et al. (2017), som var ett resultat av en studie som handlade om a undersöka faktorer som påverkade förtroende, tillfredsställelse och lojalitet hos användarna. Modellen modifierades och kompletterades med ytterligare faktorer som ansågs viktiga utifrån vad som kom fram gällande trovärdighet ur tidigare forskning. Som försök för a fånga användarnas verkliga trovärdighetsuppfaning studerades två olika bostadsförmedlingswebbsidor där en grund till trovärdighet ansågs vara förutfaad. För a fånga tänkbara situationer skapades användartest med passande scenarion som datainsamling för a få den flexibilitet som krävdes för a fånga användarnas känslor och upplevelser. Analysen visade a den visuella designen framkallar känslor som frustration och a webbsidor kan uppfaas röriga på grund av den visuella designen, men att interaktionen och innehållet var de viktigaste faktorerna där båda bostadsförmedlarna lyckades mindre bra. Även om fynden visade a just dessa två webbsidor kan förbära sin visuella design inom dessa delar - så visade denna studie, som även tidigare forskning visat, a faktorerna på e sä hör ihop och påverkar varandra. Därför är det till fördel a använda sig av den framtagna modellen som grund för a undvika a gå miste om viktiga delar vid skapandet/granskandet av en webbsida som kan påverka användarens upplevelse av trovärdighet.