Mobile apps have emerged ever since the smartphone has been establishedinto most peoples everyday life. Almost half of those available apps in the appstores are mobile games. We study game design patterns speci cally for endlessmobile minigames, as they are one of the emerging categories. This genre hasbecome popular in the app stores with its unique characteristics which include veryshort play session iterations and its minimalist design. Game design patterns arefocused on the interaction with the player and provide knowledge and experiencewith regards to games in general. Not only are they bene cial for game designers,but also for developers, practitioners and possibly researchers, as patterns providea common terminology to share information between di erent professions.We conduct a case study including ve example games and analyze endlessmobile games to identify and create genre speci c game design patterns. We searchfor commonalities and major aspects of endless mobile minigames to facilitate theproduction of such games for developers. To con rm our results, we implementa prototype of an endless mobile minigame, which is then evaluated through asurvey.The result is a collection of game design patterns based on our cases. Thequestionnaire reveals which of those patterns are relevant and should be consideredwhen developing an endless mobile game. The result outlines that game designpatterns are considered supportive when designing a game, however requires ad-justments and revisions.

Endless runner (ER) is a game genre where the player controls a constantly running character. The player's enjoyment is closely tied to the difficulty of the game, which makes it an interesting platform for dynamic difficulty adjustment (DDA). DDA is a way of balancing game's difficulty by the use of computer-aided adjusting methods. First, we have developed an endless runner type of game using Unity and utilizing client-server architecture. Second, we have implemented a DDA system using player modeling and genetic algorithms. We have tested the validity of our approach on live users. We were able to adjust the game difficulty to increase player enjoyment and reduce player death rates in levels. This approach can be used in a production environment to improve players' enjoyment of endless runner games.

Games are irritating when they are too hard, and boring when they are too easy. Level Eight is a game development company which is, during this project, developing an endless runner. This thesis describes research and implementation of a dynamic difficulty adjustment system in Level Eights’ endless runner by considering several conditions of the player. This was accomplished with the help of the game environment by implementing procedural content generation and combine it with the dynamic difficulty adjustment system. / Spel är irriterande när de är för svåra, och tråkiga när de är för lätta. Level Eight är ett spelutvecklingsföretag som under detta projekt utvecklar ett ändlöst löparspel. Denna avhandling beskriver forskning och genomförande av ett dynamiskt svårighets justeringssystem i Level Eights ändlöst löparspel genom att överväga flera villkor för spelaren. Detta uppnåddes med hjälp av spelmiljön genom att implementera procedurell innehållsgenerering och kombinera den med det dynamiska svårighets justering systemet.

Procedural content generation (PCG) is increasingly used to generate many aspects in a variety of games. AI players, both hand scripted or also generated (by AI methods), are used to evaluate this content. Comparatively little effort is invested in using PCG to generate the whole game, including its rules. In this thesis, we use evolutionary algorithms to generate the game rules, its content and the evaluating AI player on a narrow, but flourishing, genre of endless runners - games where the player is constantly running. For this purpose, we have implemented a framework for creating endless runner games. Our approach could provide more efficiency for game designers, explore completely new game concepts in endless runners, platformer games, and be further generalized to other game genres.

Games get boring when they start repeating themselves and do not offer players new content. Procedural content generation (PCG) is increasingly used to generate this content. PCG-based game design decreases the need to have a human designer or a writer to generate the content. Algorithmic creation of game content can augment the creativity of human designers and this makes it possible small so-called indie teams to create the content for their game without the big resources. In this work, the field of PCG is introduced. Application of PCG is shown through a mobile game implementation. The implementation details of the mobile game Rush Hour will be presented that makes use of Foursquare, Twitter and Mapbox APIs, which eases the content creation using open data as the input of PCG.

This thesis investigates conditions for formal negotiation onset. The cases that are investigated are found in the overarching conflict between the Government of Colombia and the guerilla group, Ejército de Liberación Nacional (ELN). The thesis argues that ideology and ecological rationality set the framework for disputant negotiation strategies and that disputants decide whether to progress negotiations to an elevated stage based on their perceived relative strategic position. It is hypostasized, firstly, that the disputants go to formal negotiations when the guerilla perceives itself in a favorable entrapment position, and the government perceives that the guerilla is not in a favorable entrapment position. Secondly, it is hypothesized that disputants go to formal negotiations when there are no perceptions of opponent devious objectives. The findings show weak support for the hypotheses.

Esta pesquisa problematiza a diversificação de imagens realizada a partir de meios reprodutivos. Para complementar a reflexão proposta, são estabelecidos pontos de conexão entre trabalhos de artistas contemporâneos e a produção artística aqui apresentada. A reflexão sobre três séries de gravuras realizadas durante a pesquisa delineia a noção de diversificação de imagens a partir da transferência e utilização de imagens fotográficas tomadas como referenciais. Questiona-se por que diversificar através de uma técnica cuja finalidade é, em essência, multiplicar cópias de uma mesma matriz? Ou, se é possível diversificar através da cópia? Partindo da prática com a litografia, o processo se estende aos procedimentos fotográficos e encontra novos meios de reprodução de imagens, especialmente a infografia. Para melhor compreender a importância da fotografia neste processo é apresentado um breve estudo sobre a linguagem e história da fotografia, onde se examina a relação entre fotografia e gravura. Evidencia-se nesta pesquisa que a matriz da gravura, assim como o negativo da fotografia, também é inacabável, e que a possibilidade de diversificar uma imagem se dá a partir do retorno à matriz. / This study investigates the diversification of images engendered by the use of different means of reproduction. In order to complement the reflection proposed, connection points are established between the work of contemporary artists and the artistic production here presented. The reflection on three series of prints produced during the research reveals the idea of image diversification through the transference and use of photographs as referential images. This study considers the reasons for diversifying through a technique whose main purpose is to multiply the copies of a same matrix and if diversifying through copies is possible. Starting with lithography, the process is extended to the photographic procedures and includes the new means of image reproduction, especially the computer technologies. To have a better understanding of the importance of photography in this process, a brief study on the language and history of photography is presented, in which the relationship between photography and printmaking is examined. This research highlights that the matrix of printmaking is also endless, as the negative of a photograph, and that the possibility of diversifying an image relies on the return to the matrix.

Esta pesquisa problematiza a diversificação de imagens realizada a partir de meios reprodutivos. Para complementar a reflexão proposta, são estabelecidos pontos de conexão entre trabalhos de artistas contemporâneos e a produção artística aqui apresentada. A reflexão sobre três séries de gravuras realizadas durante a pesquisa delineia a noção de diversificação de imagens a partir da transferência e utilização de imagens fotográficas tomadas como referenciais. Questiona-se por que diversificar através de uma técnica cuja finalidade é, em essência, multiplicar cópias de uma mesma matriz? Ou, se é possível diversificar através da cópia? Partindo da prática com a litografia, o processo se estende aos procedimentos fotográficos e encontra novos meios de reprodução de imagens, especialmente a infografia. Para melhor compreender a importância da fotografia neste processo é apresentado um breve estudo sobre a linguagem e história da fotografia, onde se examina a relação entre fotografia e gravura. Evidencia-se nesta pesquisa que a matriz da gravura, assim como o negativo da fotografia, também é inacabável, e que a possibilidade de diversificar uma imagem se dá a partir do retorno à matriz. / This study investigates the diversification of images engendered by the use of different means of reproduction. In order to complement the reflection proposed, connection points are established between the work of contemporary artists and the artistic production here presented. The reflection on three series of prints produced during the research reveals the idea of image diversification through the transference and use of photographs as referential images. This study considers the reasons for diversifying through a technique whose main purpose is to multiply the copies of a same matrix and if diversifying through copies is possible. Starting with lithography, the process is extended to the photographic procedures and includes the new means of image reproduction, especially the computer technologies. To have a better understanding of the importance of photography in this process, a brief study on the language and history of photography is presented, in which the relationship between photography and printmaking is examined. This research highlights that the matrix of printmaking is also endless, as the negative of a photograph, and that the possibility of diversifying an image relies on the return to the matrix.

Esta pesquisa problematiza a diversificação de imagens realizada a partir de meios reprodutivos. Para complementar a reflexão proposta, são estabelecidos pontos de conexão entre trabalhos de artistas contemporâneos e a produção artística aqui apresentada. A reflexão sobre três séries de gravuras realizadas durante a pesquisa delineia a noção de diversificação de imagens a partir da transferência e utilização de imagens fotográficas tomadas como referenciais. Questiona-se por que diversificar através de uma técnica cuja finalidade é, em essência, multiplicar cópias de uma mesma matriz? Ou, se é possível diversificar através da cópia? Partindo da prática com a litografia, o processo se estende aos procedimentos fotográficos e encontra novos meios de reprodução de imagens, especialmente a infografia. Para melhor compreender a importância da fotografia neste processo é apresentado um breve estudo sobre a linguagem e história da fotografia, onde se examina a relação entre fotografia e gravura. Evidencia-se nesta pesquisa que a matriz da gravura, assim como o negativo da fotografia, também é inacabável, e que a possibilidade de diversificar uma imagem se dá a partir do retorno à matriz. / This study investigates the diversification of images engendered by the use of different means of reproduction. In order to complement the reflection proposed, connection points are established between the work of contemporary artists and the artistic production here presented. The reflection on three series of prints produced during the research reveals the idea of image diversification through the transference and use of photographs as referential images. This study considers the reasons for diversifying through a technique whose main purpose is to multiply the copies of a same matrix and if diversifying through copies is possible. Starting with lithography, the process is extended to the photographic procedures and includes the new means of image reproduction, especially the computer technologies. To have a better understanding of the importance of photography in this process, a brief study on the language and history of photography is presented, in which the relationship between photography and printmaking is examined. This research highlights that the matrix of printmaking is also endless, as the negative of a photograph, and that the possibility of diversifying an image relies on the return to the matrix.

Aim and Background: This study aims to explore and answer how the Project Manager Identity is constructed and/or acquired from a social science, behavioristic perspective. On this account eleven project manager professionals and scholars have been selected to participate, due to their rich experience in the field and their highly exciting profiles as to share insights and knowledge. Theory: The theoretical frame of this study adopts personality dimensions as explained by Kajonius and Dåderman (2020), that is, Extraversion, Negative Emotionality (neuroticism), Agreeableness, Conscientiousness and Openness to Experience. These are used due to their high degree of reliability and validity compared to other models. Method: The method used to conduct this study is an hour-long interview with each and every one of the interviewees to collect the data. Internet technology applications are used enabling, for the most part, an easier way to handle the planning interview process. The method used to analyze the data is a qualitative, inductive thematic analysis based on interviews and connected to the theoretical frame to reach results. Result and Conclusion: As a result, a Project Manager Identity Archetype emerges from the eleven interviewee narratives that reveals the identity of these Project Managers who strive for peak performance, are endlessly curious and possess a strong psychological shield. These three named themes above describe the Project Manager Identity Archetype of these eleven interviewees who are resilient against high pressure exerted by their work environment or project demands, focused to achieving their goal described as high performers while at the same time navigating into the project unknown by being endlessly curious. Their Project Manager identity is formed in a continuous infinity spiral process both by construct and acquisition, through an exchange between Individual identity and Project Manager Identity Archetype; two perspectives which coincide in a construct (micro) and acquisition (macro) symbiosis to merge information from both sides to form the interviewees’ Individual Project Manager Identity. / Syfte och Bakgrund: Denna studie syftar till att utforska och svara på hur projektledaridentiteten är konstruerad och/eller förvärvad, sett ur ett samhällsvetenskapligt, beteendemässigt perspektiv. Ur denna synpunkt deltar elva projektledare och forskare i studien för att dela insikter och kunskap, vilka valdes till följd av sin rika erfarenhet inom området och sina spännande profiler. Teori: Den teoretiska ramen för denna studie antar personlighetsdimensioner såsom dessa beskrivs av Kajonius och Dåderman (2020), det vill säga, Extraversion, Negativ Emotionalitet (neuroticism), Agreeableness, Samvetsgrannhet och Öppenhet för upplevelse. Dessa används med anledning av sin höga grad av tillförlitlighet och validitet jämfört mot andra modeller. Metod: Den metod som används för att genomföra denna studie är en timslång intervju med var och en av intervjuobjekten för att samla in data. Internet teknologi applikationer används för att, för det mesta, möjliggöra ett enklare sätt att hantera intervjuprocessens planering. Metoden som används för att analysera data är kvalitativ, induktiv tematisk analys baserad på intervjuer kopplat till den teoretiska ramen för att nå resultat. Resultat och Slutsats: Det resultat som uppstår är en Projektledaridentitetsarketyp från dessa elva intervjuobjekts berättelser något som avslöjar en projektledaridentitet för de intervjuade personer som strävar efter topprestation, är oändligt nyfikna och besitter en stark psykologisk sköld. Dessa tre nämnda teman ovan beskriver de intervjuade projektledarnas identitetsarketyp något som beskriver de som motståndskraftiga personer mot högt tryck något som kan utövas av deras arbetsmiljö eller projektkrav, de är fokuserad på att uppnå sina mål och högpresterande samtidigt som de projekt navigerar på okänd mark genom att vara oändligt nyfikna. Deras projektledaridentitet formas i en kontinuerlig oändlighets spiralprocess både genom konstruktion och förvärv, genom ett utbyte mellan Individuell identitet och Projektledaridentitetsarketyp, två perspektiv som sammanfaller i en konstruktion (mikro) och förvärv (makro) symbios för att sammanfoga information från båda sidor för att bilda den individuella projektledaridentiteten.