Försvarsmaktens budget blir allt mindre, detta innebär att man inte kan öva i samma omfattning med riktig ammunition och fordon. Intresset för digitala krigsspel och simulationer har därmed ökat. Men för att använda sig av spel i utbildning måste man veta hur man skall använda dem. Syftet med uppsatsen har således varit att undersöka om man kan använda sig av digitala krigsspel i sig självt som en bärare för lärande. Kan deltagarna lära sig taktik genom att bara spela ett spel? Det finns flera olika synsätt som stöder alternativt motbevisar om hur lärande sker då man använder sig av spel för lärande. Uppsatsen kommer att fokusera på två av dessa teorier, Ett experiment genomfördes för att undersöka om spelet i sig kunde öka kvalitén på de taktiska planerna som togs fram. Experimentet gick ut på att två grupper fick ta fram en taktisk plan på plutons nivå, en av grupperna fick även genomföra ett digitalt krigsspel på ett liknande scenario innan. Resultatet av bedömningen av planerna resulterade inte i någon signifikant skillnad mellan grupperna. Vad man däremot kunde se var att spelet hade en annan inverkan på deltagarna. / The Swedish Armed Forces’ budget is getting smaller, that means a lot less practice with real ammunitions and vehicles. Because of this, the interest for digital war games and simulations has increased.  But to use games in education you need to know how you are going to implement them. The purpose with this paper has been to examine the possibility of only using a digital war game for learning. Will the participants learn tactics by just playing a game? The impact this could have is that learners could bring the game home and train whenever they wanted to. There are several views that support and reject the idea of using gamebased learning. This paper will focus on describing two of these theories.  An experiment was done to examine if the digital game itself could increase the quality of the tactical plans that the participants had made. The experiment had two groups which had an assignment to make a tactical plan on a platoon level, one of the groups also got to play a digital war game before they made the tactical plan. The assessment of the plans was made by a tactical teacher at the Defense Collage and the results of the assessment did not give any results that showed any significant difference from the groups. The game itself did not have any impact on the quality of the plan. But there were indications that the game might have had other impact on its participants.

O aumento no número de dispositivos móveis de alto desempenho e a disponibilidade de conexões sem fio permitiram o desenvolvimento de interfaces que são compartilhadas entre diversos dispositivos; tais interfaces são chamadas de Interfaces Distribuídas de Usuários. Esta pesquisa foca no desenvolvimento de um arcabouço que visa simplificar o desenvolvimento de jogos digitais que utilizem interfaces distribuídas, assim como analisar o atual estado da arte de outras tecnologias e arcabouços. É proposto um estudo de aceitação, utilizando parâmetros quantitativos e qualitativos, afim de comprovar as características necessárias para uma experiência fluída para o usuário. Tal tarefa é analisada através da criação de um jogo protótipo onde diversos jogadores podem jogar juntos e compartilhar informações entre diversos dispositivos. / The increasing number of high-end mobile devices and increased connection availability have allowed on the development of interfaces that can be shared between multiple devices; such interfaces are called Distributed User Interfaces. This research aims the development of a framework to simplify the development of games using distributed interfaces, as well as to assay the current state-of-art of technologies and frameworks. We propose a study of the acceptance, using both qualitative and quantitative parameters, in order to verify compliance with the necessary characteristics for a fluid user experience. This is accomplished through the creation of a prototype game in which several players can play together and share information through many devices.

I detta kandidatarbete undersöker jag hur man med hjälp av virtuell verklighet (VR) kan skapa en fabriksmiljö för att bidra till ökad medvetenhet och säkerhetstänk i fabriken.  Undersökningen baseras på en utmaning från Volvo med deras egen fabrik i fokus där dem velat ha en säkerhetsutbildning för deras gångtrafikanter i fabriken. Med hjälp av designperspektivet design thinking har Volvo fått vara delaktiga genom hela processen där vi kunnat skapa en produkt åt dem tillsammans. Undersökningens frågeställning är “Hur kan man med hjälp av Virtual Reality skapa upplevelsen av fabriksmiljö för att bidra till ökad medvetenhet och säkerhetstänk i fabriken?” där jag valt att gestalta detta i ett spel integrerat med VR. Med hjälp av de valda metoderna för designprocessen kunde jag sätta mig in i Volvos problem och skapa en fabrik som efterliknar deras så mycket som möjligt. Volvo själva fick ta del av skapandet genom bilder och videor för att ge feedback om miljön, samt hur realistisk upplevelsen kändes jämfört med deras egen fabrik. För att gestaltningen skulle testas och godkännas av Volvo involverades dem konstant i arbetet. Undersökningen resulterade i ett VR spel med en kort säkerhetsutbildning om fabrikens miljö och vissa faror som kan komma att ske i den. Eftersom ökad medvetenhet och säkerhetstänk hos personer inom arbetet inte kan mätas direkt har frågeställningen kunnat blivit besvarad efter endast ett fåtal test. De personer från Volvo som har testat det gav positiv respons och nya tankar och idéer kring tekniska utbildningar inom säkerhet som dessa har väckts hos många. / In this bachelor thesis I’m examining how to create a factory environment with virtual reality (VR) to contribute to increased awareness and safety mindset in the factory. The examination is based on a challenge from Volvo with their own factory in focus where they wanted to have a safety training for their pedestrians in the factory. With help from the design perspective design thinking, Volvo has been involved through the whole process where we could create a product for them together. The survey question is ”How can you with help from Virtual Reality create the experience of a factory environment to contribute to increased awareness and safety mindset in the factory?” where I chose to shape this into a game integrated with VR. With help from the selected methods for the design process I could put myself into Volvo’s problem and create a factory that resembles theirs as much as possible. Volvo took part of the creation themselves through pictures and videos to provide feedback on the environment and how realistic the experience felt compared to their own factory. For the design to be tested and approved by Volvo, they were constantly involved in the project. The examination resulted in a VR game with a short safety training about the environment of the factory and some dangers that may occur in it. Because increased awareness and safety thinking in people within the work can not be measured directly, the survey question has been answered after only a few tests. The people at Volvo who have tested it gave positive results and new thoughts and ideas about technical training in security, such as these, have been awakened by many.

The reflective game design theory outlined by Rilla Khaled (2018) argues for designing disruptive experiences to promote reflection within the player. We decided to design and produce a game based on her theory to then engage with Khaled’s theory critically. We define the act of making a game as a three-step process consisting of ideation (influenced by Khaled’s theory), articulation of the design based on a framework (SGDA Framework by Mitgutsch & Alvarado, 2012), and finally the implementation of it (based on principles outlined by Swink, 2009 and Boyer, 2010). We make a theoretical argument for our design decisions, test the game in a user study, and then discuss the successes and shortcomings of our design. To conclude we tie our discoveries to the steps taken in the application of theory into practice. We discover that the best design intentions often cannot reach the player because their interaction with the game is hindered by un-polished implementation. We identify further gaps between theory and practice and are stating what designers should watch out for when making reflective games. / I Rilla Khaled´s (2018) teori Reflective game design theory, argumenterar hon för fördelen med att skapa omvälvande upplevelser i syfte att uppmana spelaren till reflektion. Vi beslöt oss för att designa och utveckla ett spel baserat på hennes teori, för att sedan undersöka och utvärdera teorin. Vi definierar spelutvecklande som en process i tre steg, bestående av ”ideation” (grundat ur Khaleds teori), artikulering av designen baserat på ett ramverk s.k. ”SGDA Framework” ( Mitgutsch & Alvarado, 2012), och slutligen realisering (grundat på principer framtagna av Boyer, 2010 och Swink, 2009). Vi argumenterar för besluten som ligger bakom vår design, utför praktiska test av spelet i en användarstudie och diskuterar sedan framgångar samt eventuell tillkortakommanden med vår design. Slutsatsen består av en redogörelse för hur våra upptäckter står i förhållande till applikationen av teori till praktik. Vi upptäckte att genomtänkta och välmotiverade beslut inom spelutveckling inte alltid når spelaren, då interaktionen mellan spelare och spel hindras av tillkortakommanden i hur dessa beslut tillämpats. Vi identifierade ytterligare klyftor mellan teori och realisering, och konstaterar vad spelutvecklare bör vara uppmärksamma på under utveckling av s.k. ”reflective games”.

This study intends to examine on how teachers relate to digital games as a teaching method in the subject of history. In the study, five history teachers were interviewed with the aim of getting answers on the extent to which history teachers use digital games, what opportunities and difficulties they see with digital games in history teaching and whether one can benefit from digital games to increase students' history awareness. According to the results, there are many similarities with the previous research, especially when it comes to disadvantages. The respondents mainly mention the lack of time and knowledge about digital games. Just like research, they mention that larger commercial games are not adapted to be implemented in history teaching but are created as leisure activities and for entertainment. Smaller digital games such as Kahoot are used today with the argument that they are easier and do not need very long planning time. However, there are exceptions in the informants' answers, where a history teacher has used the commercial game Assasins´s Creed, but not for the purpose of the students playing the game. Instead, the teacher has used the game because of its richness of detail, as the teacher believes that this story game is in many cases a better contrast to reality than most documentaries and feature films. It also, according to this respondent, creates a clearer historical awareness among the students. The interviewees all agreed that if a history game is to be applied in today's history teaching, a certified material is required, as well as game-developers who create history games linked to the national curriculum.

Research in the digital game-based learning domain has so far shown mixed results as to the use of narrative in educational games. The aim of this thesis is to help to answer the question of whether and to which extent it is reasonable to employ the narrative feature in educational games for young children. In addition to a literature review, the thesis presents an experimental study comparing two versions of a maths game that are the same except for for the richness of the game's story (a value-added study). The participating children (N = 67) from school year 2 and 3 (mean = 8.67 years, SD = 0.4 years) were given the opportunity to play a game for two weeks on touch devices: a game version with a simple narrative frame, or a game version with a rich story narrated through an interactive voiced comic, or a "placebo" game (control group). No significant effect of the rich narrative on the children's engagement, as reported by parents, was found (d = 0.45, p = .245). Furthermore, the two narrative condition groups did not differ in terms of in-game progress (Cliff's δ = 0.01), and the difference was neither significant for the number of solved game tasks (d = 0.08, p = .857), nor the learning gains (d = -0.25, p = .691) measured using a near-transfer maths skill test (pre-post design). Both narrative...

I detta kandidatarbete har vi utforskat huruvida teater som ett medium för upplevelser skulle kunna översättas till ett digitalt spelmedium. Då ‘upplevelse’ som begrepp är mycket stort har vi valt att fokusera främst på känslan av exklusivitet vid liveföreställningar, och använt ett flertal metoder för att utforska detta, bland annat designperspektivet ‘simulering’ med vilket vi ämnat att simulera den agens en skådespelare har vid varje föreställning. Vi har dokumenterat designprocessen, från idégenerering och konceptplanering till vår arbetsprocess, samt gestaltningen av vår undersökning. Slutligen har vi kritiskt granskat resultatet av detta, och har därför kunnat fastställa att vår frågeställning inte har ett konkret svar utan snarare är en pågående process, i vilken fler nyanser av ‘upplevelse’ skulle behöva utforskas för att skapa en tydligare bild av vad en upplevelse faktiskt är. / In this Bachelor Thesis, we have explored whether theater as a medium for experiences could be translated into a digital game medium. Since 'experience' as a concept is very large, we have chosen to focus mainly on the feeling of exclusivity in live performances, and used a number of methods to explore this, including the design perspective ‘simulation’ with which we intended to simulate the agency the actor has in every performance. We have documented the design process, from idea generation and concept planning to our work process, as well as the product of our research. Finally, we have critically examined the result of this, and have therefore been able to determine that our question does not have a concrete answer but rather is an ongoing process in which more nuances of 'experience' would need to be explored to create a clearer picture of what an experience actually is.

Orientador: Juliano Maurício de Carvalho / Resumo: A tese analisa o fenômeno dos hubs criativos e seus efeitos no desenvolvimento da Indústria de Jogos Digitais (IJD). O procedimento metodológico é a construção de teorias através de estudos de caso. A coleta de dados se faz por meio de pesquisa documental em websites e relatórios públicos dos 69 hubs criativos da IJD mapeados em todo o mundo. A coleta também envolve entrevistas semiestruturadas on-line e presenciais com gestores dos hubs, e pesquisa de campo com observações diretas. O estudo descreve a estrutura global da IJD e analisa suas implicações nos clusters criativos locais. Mapeia e sistematiza os hubs criativos da IJD, descreve e classifica as ações realizadas por esses hubs. Estuda o caso do hub Dutch Game Garden como exemplo destas iniciativas. A partir dos dados levantados e sistematizados, são formuladas hipóteses, analisadas à luz da literatura. Como resultado, é construída uma série de premissas teóricas a respeito dos hubs criativos da IJD. São elas: os hubs criativos podem ampliar a proximidade entre os agentes de um cluster; a colaboração é essencial para o sucesso de um hub criativo; a eficiência das ações realizadas pelo hub criativo está relacionada ao grau de maturidade do cluster em que ele está localizado; os hubs criativos ocupam o papel de intermediários nas cidades criativas; e as ações dos hubs são capazes de catalisar o desenvolvimento de clusters criativos da Indústria de Jogos Digitais. / Abstract: The thesis analyzes the phenomenon of creative hubs and their effects on the development of the Digital Games Industry (DGI). The methodological procedure is the construction of theories through case studies. Data collection was done through documentary research on websites and public reports of 69 creative DGI hubs mapped around the world. The collection also involves semi-structured online and in-person interviews with managers of the hubs, and field research with direct observations. The study describes the global structure of the DGI and analyzes its implications for local ecosystems. Maps and systematizes DGI's creative hubs, describes and classifies the actions carried out by these hubs. It studies the case of the Dutch Game Garden hub as an example of these initiatives. Based on the data collected and systematized, hypotheses are formulated and analyzed in the light of the literature. As a result, a series of theoretical assumptions are made about DGI's creative hubs. They are: creative hubs can expand the proximity between agents in a cluster; collaboration is essential to the success of a creative hub; the efficiency of the actions carried out by the creative hub is related to the degree of maturity of the cluster in which it is located; creative hubs play the role of intermediaries in creative cities; and the actions of the hubs are able to catalyze the development of creative clusters in the Digital Games Industry. / Doutor

In a digitalized world, learners from the 21st century prefer game-like lessons instead of traditional methods that are preferred by teachers according to previous studies. Creating a fun and engaging environment in the classroom is not an easy task for the teachers. In this study, primary school teachers’ attitudes toward game-based learning are investigated together with the challenges and barriers they encounter when using digital games when teaching English as a second language in a Swedish classroom. A mixed method was used in this study. 30 teachers participated in the online survey and three pre-service teachersfrom public and private primary schools participated in the semi-structured interview in Sweden. The results of this study agree with the findings of previous studies. Teachers are generally very positive to implementing digital games into English language learning and admit the positive effect digital games contribute to the students’ engagement and motivation of learning English. However, due to the challenges teachers encounter with digital games, such as lack of time, knowledge, suitable games, and costs, teachers find it difficult to implement digital game-based learning in their English language teaching.

The aim of this empirical study is to examine if, and which digital games active teachers experience develop pupils' knowledge in mathematics and how the pupils' development can be visible to the teachers. This has been broken down to two sub-questions. To examine this a survey has been designed and sent to active teachers at six different schools in Skåne. The survey includes both qualitative and quantitative data. The results show that there are three digital games which are a bit more preferred in mathematical education, these are Bingel, Qnoddarnas värld and Skolplus. Two of these games are based on rewards for the pupils, and one is an adaptive game. In addition, the results show that active teachers most often use digital games in mathematical education to let their pupils practice skills, and not learn new knowledge. Given that digitalization is increasing in society, this subject was considered interesting and relevant. The survey, however, is too small to generalize for all teachers in Sweden.