Thesis (M.S.)--University of North Texas, May, 2009. / Title from title page display. Includes bibliographical references.

Thesis (M.A.)--University of Alberta, 2010. / Title from PDF file main screen (viewed on July 29, 2010). A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts, Department of Humanities Computing, University of Alberta. Includes bibliographical references.

Thesis (M.A.)--Ball State University, 2008. / Title from PDF t.p. (viewed on Sept. 08, 2009). Includes bibliographical references (p. 100-104).

This study has examined the uses and gratifications, which fantasy sports users seek for their online participation. Several uses and gratifications were tested to demonstrate whether or not they were motivations for different groups of online fantasy users. A survey instrument was created and disseminated to online fantasy users through fantasy message boards on the Internet. Online fantasy users who are Beginners, have high levels of participation, and participate in monetary prize leagues were groups that were studied. The analyses identified seven motivations that are sought by online fantasy users of those three groups. Descriptive data indicates most of online fantasy users are full-time employees who spend time at work checking their fantasy leagues and teams. / Department of Journalism

Thesis (M.A.)--Ohio University, June, 2007. / Title from PDF t.p. Includes bibliographical references.

A thesis presented on modern tabletop role-playing games and how they offer anthropologists a new way to approach issues of creativity, identity construction, social interaction, and the nature of play in American culture. In these games, players continuously challenge and redefine aspects of personal identity, social paradigms, gender identity, and reality construction. This thesis is exemplified by the interactions of two separate role-playing groups in Muncie, Indiana, as well as multiple interviews with gamers from many different areas. This idea is also clearly reflected in the interactions of role-players, both in their own personas and in character. Multiple layers of roles, in both the fictional world and within the social group of the players, are created, accepted, adapted, and discarded during the course of an average game. Gamers’ voices are emphasized, rather than game play itself, in order to explore how gamers feel and think about their play. Both Ludology and Carnival are explored as possible ways to approach the subject. Play in general allows individuals and/or small groups the creative space to form new strategies to enact personal and cultural change in the reality outside of the game; while tabletop RPGs allow players the liminal space to explore different aspects of their personal identities, even as they create an outlet for challenging social strictures. Negative cultural labeling of these games as deviant and subversive has created the illusion of secrecy that helps the games to function in this manor. The importance of both play and narrative become obvious when speaking to gamers about their hobby; allowing the gamers to form a sub-culture based on the shared experiences of the games. And it is in these shared experiences that the gamers find the power to alter their real-life self images, and experiment with change. / Department of Anthropology

This study is a comparative analysis of the personality characteristics of a sample of World of Warcraft players (n = 147) and a large normative sample (n = 20,993). The 120-item International Personality Item Pool, based on the five factor model, is used. Independent t-tests were conducted and statistical significance was found for some factors; however, the effect sizes were small, indicating a limited practical difference between the two groups.

This research considers how the culture of game developer Cyan Worlds influences the gameplay environment and the culture of fans in Myst Online: Uru Live. The game has gone through two commercial releases and in both cases it was cancelled after a short time. Fans have attempted to salvage the game by producing their own server software and content creation tools. Recently, Cyan released their own source code and development tools to the fan community, giving fans an official channel for creating new content. This work builds off of Pearce's (2009b) study of the culture of Uru players and emergent play, but adds the dimension of considering the culture of developers themselves. A primary goal of this study was to determine how the culture of a game developer like Cyan shapes the constraints of the designed "play ecosystem" (Pearce 2009b: 7), and how it shapes the processes by which fans can salvage aspects of the game to create new content. One finding is that the design of Uru's gameplay environment is rooted in the cultural practices, personal philosophical goals and individual personality traits of its developers. Fans were able to assert ownership over the Uru story-world and the means of production of new content by proactively applying technical and problem-solving skills--the same sorts of skills that players must apply to solving puzzles in Myst games. This fan action, coupled with Cyan's goal of making an open-ended world, has helped to propel the initiative to provide open-source tools for creating new content. When fans produce new content, they draw significantly from an existing shared cultural repertoire of cues and conventions. These conventions are supported both by the software affordances of the development environment and by cultural precedent--they are readily adapted to Myst-like narratives and are easily "read" by experienced players.