Submitted by Marta Toyoda (1144061@mackenzie.br) on 2018-05-03T00:05:28Z No. of bitstreams: 2 ALCIDES TEIXEIRA BARBOZA JUNIOR.pdf: 9020009 bytes, checksum: 471b5496a42233bdb8f2c97b65202fd4 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Paola Damato (repositorio@mackenzie.br) on 2018-05-04T16:06:30Z (GMT) No. of bitstreams: 2 ALCIDES TEIXEIRA BARBOZA JUNIOR.pdf: 9020009 bytes, checksum: 471b5496a42233bdb8f2c97b65202fd4 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-05-04T16:06:30Z (GMT). No. of bitstreams: 2 ALCIDES TEIXEIRA BARBOZA JUNIOR.pdf: 9020009 bytes, checksum: 471b5496a42233bdb8f2c97b65202fd4 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-03-12 / Digital games make use of the principles related to the concepts of persuasion, motivation and engagement, principles that are often applied intuitively and unsystematically in the game design process. However, these principles are not always followed, they need more precise definitions, as well as a systematization. Therefore, this thesis aims to propose a framework called PerMotivE (Persuasion - Motivation - Engagement), formed by three components: the first is a conceptual model, called PerMotivE Model, whose objective is to define guidelines and relations between these bases in a systematization of the concepts persuasion, motivation and engagement based on a literature review; the second is a software architecture proposal that aims to support the use of the framework, this component is called PerMotivE Maker; the third component of the framework establishes a set of elements that make up a simplified GDD proposal, called PerMotivE Artifacts, making available the artifacts used in a game design, analyzed by means of Bayesian networks, as to its adherence to the proposed guidelines in the conceptual model . Based on the components of this framework, a web application was developed with the aim of evaluating it together with a limited group of designers to evaluate its pertinence in the elaboration of some game designs. These designs were evaluated qualitatively and quantitatively in order to verify the relevance of the framework. It has been found that the conceptual model can help designers to understand the principles that influence, motivate and engage players in games. It was also noticed that some guidelines could not be evaluated due to the inexistence of game prototypes analyzed through their designs. It has also been found that the application developed for the tests can be expanded to assist the game design process more broadly. In general, the framework was adequate for the purpose of evidencing the principles related to persuasion, motivation and engagement that can be worked on in the game design process from its artifacts. / Os jogos digitais fazem uso dos princípios relacionados aos conceitos de persuasão, motivação e engajamento, princípios que, na maioria das vezes são aplicados de forma intuitiva e não sistemática no processo de game design. Contudo, nem sempre esses princípios são devidamente seguidos, uma vez que carecem de definições mais precisas, bem como de uma sistematização. Isto posto, esta tese tem como objetivo propor um framework denominado PerMotivE (Persuasão – Motivação – Engajamento), formado por três componentes: o primeiro é modelo conceitual, denominado de PerMotivE Model, cujo objetivo é definir diretrizes e relações entre estas embasado em uma sistematização dos conceitos de persuasão, motivação e engajamento com base em uma revisão de literatura; o segundo é uma proposta de arquitetura de software que visa dar suporte ao uso do framework. Este componente é denominado PerMotivE Maker. O terceiro componente do framework estabelece um conjunto de elementos que compõem uma proposta de GDD simplificado, denominado de PerMotivE Artifacts, disponibilizando os artefatos utilizados em um game design analisados computacionalmente, por meio de redes bayesianas, quanto à sua aderência as diretrizes propostas no modelo conceitual. Baseando-se nos componentes desse framework, foi desenvolvida uma aplicação web com o intuito de avaliá-lo junto com um grupo limitado de designers para avaliar sua pertinência na elaboração de alguns game designs. Tais designs foram avaliados de forma quali-quantitativamente a fim de verificar a pertinência do framework. Verificou-se que o modelo conceitual pode auxiliar os designers a compreender os princípios que influenciam, motivam e engajam os jogadores nos jogos. Também se percebeu que algumas diretrizes não puderam ser avaliadas devido à inexistência de protótipos dos jogos analisados por meio dos seus designs. Verificou-se também que a aplicação desenvolvida para os testes pode ser expandida para auxiliar o processo de game design de forma mais ampla. De forma geral, o framework se mostrou adequado quanto ao propósito de evidenciar os princípios ligados a persuasão, motivação e engajamento que podem ser trabalhados no processo de game design a partir dos seus artefatos.

I denna uppsats undersöks hur spelares beteende i virtuella miljöer skiljer sig när modern HMD VR-teknik används jämfört med traditionell bildskärm i 2D. Genom att utveckla en spelprototyp i 3D med förstapersonsperspektiv i pusselgenren där spelarens mål är att finna objekt i olika rum har en komparativ studie genomförts. Spelprototypen skapades med hjälp av metoden prototyputveckling. En alfaversion testades innan den slutgiltiga versionen gjordes klart.   Två grupper med 7 personer i vardera har utfört testet. Ena gruppen använde HMD VR-glasögonen Oculus Rift DK2 medan den andra använde traditionell bildskärm i 2D. Styrning skedde med tangentbord och mus. En dataloggning kördes i bakgrunden av varje användartest som samlade in information om spelarens positions- och rotationsdata. Denna data analyserades sedan och jämfördes mellan grupperna.   Sammanfattningsvis utgörs ingen stark skillnad mellan dom två grupperna. Den största skillnaden är i hur mycket mark som har täckts av spelarna. I gruppen som spelade med VR-glasögon stod spelarna still mer och gick inte runt och utforskade lika mycket. Men dom var cirka 5 sekunder snabbare i genomsnitt. Gruppen som spelade utan VR-glasögon tittade upp och ner något mer men som mest skiljde det sig endast 5 grader. / In this thesis the behaviours of players in virtual environments using modern HMD VR technology and traditional 2D monitors is studied and compared. By developing a game prototype in 3D using a first-person perspective and placing it in the puzzle genre by having the players goal being that they must find an object in different rooms a comparative study has been carried out. The game prototype was developed by using prototyping and an alpha version was tested before the final version was completed.   Two groups of 7 in each one has performed the test. One group used the HMD VR headset Oculus Rift DK2 and the other one used a traditional 2D monitor. Mouse and keyboard was used for controls. A data logging ran in the background of every test and collected information on the players positional and rotational data. The data was analysed and then compared between the two groups.   In conclusion, there is no strong difference between the two groups. The biggest difference was in how much ground the players covered. The group who played in VR didn’t walk around and explored as much and instead was more stationary. But they were around 5 seconds faster in average. The group who played without VR looked up and down a bit more but the difference was never more than just 5 degrees.

Genom detta kandidatarbete prövar vi på att testa ett annorlunda tillvägagångssätt inom spelutveckling och design, till att försöka skapa en mer innovativ och tilltalande spelprodukt. Med hjälp av termen Critical Play från Mary Flanagan, undersöker vi genom reflektion, diskussion och ifrågasättande, alternativa sätt att tolka världen på. Genom prövning skapar vi en underhållande gestaltning och analyserar ifall Critical Play som utveckling­ och designmetod även går att applicera tillsammans med teorier från medvetandefilosofi i åtanke. Vi ser möjligheter i att föra fram en avvikande spelupplevelse, genom att presentera spelvärlden och dess objekt på ett visuellt asymmetriskt sätt för alla spelare / In this bachelor’s thesis we explore alternative game­design and game­development methods and use them to try to create more innovative and publicly appealing games. Guided by Mary Flanagan’s Critical Play method, we investigate through reflection, discussion, and questioning the other interpretations of how we experience the world. Through tests, we build a video game and analyze whether or not Critical Play is a feasible method for creating games, even when philosophical tenets governs the underlying game mechanics. We discover possibilities to create unique game experiences by presenting game­objects as visually asymmetrical entities.

Inlevelse i den digitala spelvärlden är ett utspritt begrepp bland spelare och spelutvecklare, men har termen samma innebörd för alla. Detta forskningsarbete tar upp tidigare forskning inom ämnet inlevelse i digitala spel men också vad spelare idag anser om termen och vilka faktorer de anser är viktiga att fokusera på när man vill skapa ett inlevelserikt spel i genren first-person shooter. Genom en litteraturundersökning av tidigare forskning samt en enkätundersökning framgår det att inlevelse kan delas in i tre olika nivåer: involvering, försjunkning och total inlevelse. Forskningsarbetet bekräftar tidigare forskning på området och för ämnet om inlevelse i first-person shooter genren vidare, där inlevelsen styrs av spelelementens fyra pelare: estetik, spelmekanik, story och teknik men är också högst beroende av en spelares personlighet, mentalitet och inställning till det spel denne spelar. Enkätundersökningen pekar också på ytterligare faktorer som kan stärka respektive hämma inlevelsen i FPS. / The term immersion is widely used in the video game industry, but there is still a lack of signs on what immersion really is, or if people are using the term with the same meaning behind it. This paper describes previous research relating to the subject but also what gamers think about immersion, and what different factors that they deem important to focus on when creating an immersive digital video game in the first-person-shooter genre. With research of previous work in the field and a survey on immersion showed that immersion can be seen in three different levels: engagement, engrossment and total immersion. This research paper confirms previous research in the field and moves the research of immersion in first-person shooters forward, where immersion is governed by the four pillars of game elements: aesthetics, game mechanics, story and technology but is also highly influenced by the gamers personality, mentality and attitude towards the game the gamer is playing. The research paper also indicates other elements which can enhance or limit the feeling of immersion in FPS.

Denna uppsats undersöker vad spelare vill uppleva i sitt karaktärsskapande iolika spel. Syftet med arbetet har varit att få bättre förståelse för vad enanvändare vill ha ut av sin karaktär och sitt karaktärskapande.Frågeställningen i arbetet löd: ”Vad är för en designer viktigast att tänka pånär man designar en karaktärsskapande del i ett spel?” Förhoppningen varatt få en djupare förståelse för karaktärsskapandets karaktär för att bättrekunna designa den karaktärsskapande delen i ett spel. Undersökningengenomfördes med en kvalitativ metod för att belysa frågorna djupare. Förstskapades en kvalitativ intervju, och efter intervjuerna skapades tre nyafrågor som lades ut på två internetforum med inriktning mot MMORPGs.De spelare som verkade vara mest intresserade av karaktärsskapande ochprocessen kring karaktärsskapandet, var de spelare som ibland ägnade sig åtrollspelande. De spelare som delvis eller helt ägnade sig åt Player versusPlayer verkade ha svårt att se någon mening med att skapa en identitet ellerett unikt utseende överhuvudtaget. Det viktigaste som framkom iundersökningen var att man måste känna sin publik. Som designer behöverman veta för vilka spelstilar man designar spelet. De faktorer som varviktiga för spelarna, för att kunna fördjupa sig i sina karaktärer, var att deraskaraktärer hade möjligheten att bli unika. / This paper is focused on a better understanding of what computer gameplayers want to get out of their character and the character creation. Thequestion addressed in the paper was: "What is most important for a designerto consider when designing a character-creation part of a game?" The aimwas to gain a deeper understanding of the nature of the character creationprocess in order to better design the character creation part of future games.The study has been conducted with a qualitative method to illuminate thequestions in more depth. First, a qualitative interview was made, and afterthe interviews, three new questions were created, which were then postedon two Internet forums focusing on MMORPGs. The players who were themost interested in character creation and the process of this, were theplayers who sometimes engaged in role play. The players who partially orfully engaged in Player versus Player combat, had difficulties seeing anypoint in creating an identity or a unique look at all. The most importantthing that emerged from the investigation was that the designer needs toknow his audience. As a designer, you need to take into account whatplaying styles you design the game for. The important factors for theplayers to immerse themselves in their characters, was that their characterscould be made unique.

Massiva multispelar onlinerollspel (MMORPG) är idag en välutvecklad industri. Det finns även ett fåtal vars ekonomi och loot är baserade på riktiga pengar. Loot är de föremål en spelare kan erhålla genom att t.ex. döda monster och ett lootsystem är de interna mekanismer som hanterar hur loot distribueras i ett spel. Lotterilagen och Lotteriinspektionen reglerar vad som är ett lotteri i Sverige, om ett spel är slumpbaserat och spelaren eller spelarna kan vinna mer än de satsar, så måste arrangören få en licens utfärdad. Hur designar man ett enkelt lootsystem, baserat på riktiga pengar, utan att bryta mot Lotterilagen och som inte en stor mängd av spelarna kan utnyttja för egen vinning, och om spelarna förstår systemet hur skyddar man företagets intäkter? Denna avhandling tar reda på om det är möjligt att skapa ett spel som är kunskaps och färdighetsbaserat och som inte skulle kräva en licens. Spelet testas för att se om en spelare med kunskap får bättre resultat än en slumpmässig spelare. Den genomförda undersökningen pekar på att så är fallet.

This thesis tells the story of a design case creating an user interface for a MMORPG where the player are able control the body language of the avatar. By this the game can achieve a gameplay about drama and strong characterization. The thesis addresses considerations on what aspects of body language that can be important for computer games and other virtual environments. It also offers design considerations when designing interfaces for using gestures and other body signals to communicate emotions in virtual environments such as computer games. The main design consideration when creating the interface was to treat the player as an actor and the game world as a stage. The player needs to be in control of combinations of facial expressions, body posture and gestures as well as relative avatar positioning to other characters and objects. The interface was first tested as a paper prototype, re-designed, re-tested and then implemented into a computer prototype.

This study aims to see if it is feasible, for the purpose of studying game balance, to put a concrete value on damage and other abilities in Real-Time Strategy (RTS) games. The main metric that was used for this analysis was the cost per DPS (Damage Per Second) for units in a RTS game. The game that was used to test this analysis was StarCraft II: Heart of the Swarm.   This topic was tested by first gathering data about the properties of units in the game and then calculating the average values of the units in the game. After that, a few units and game mechanics were chosen to be analyzed in further detail. They were analyzed by comparing their cost/DPS values to the average values and seeing if there were any other properties that might have an impact in the cost of a unit.   While it was concluded that it is feasible to put a value on damage and other properties of units, the subject needs to be approached with caution. Using the cost/DPS metric that was assumed for this thesis, some units came out as being too strong for their cost. Further studies on similar topics might be able to find better methodologies for approaching similar analyses. / Denna studie vill titta på om det är rimligt, för ändamålet att studera spelbalans, att sätta ett konkret värde på skada och andra förmågor i Realtidsstrategispel. Det huvudsakliga mätsättet som användes i denna analys var kostnaden per skada per sekund (DPS, Damage per Second på engelska) för enheter i Realtidsstrategispel. Spelet som användes för att testa denna analys var StarCraft II: Heart of the Swarm.   Studien genomfördes genom att först samla in data om enheternas egenskaper och sedan räkna ut genomsnittsvärden för enheterna i spelet. Efter det så valdas några enheter och spelmekaniker ut för att analyseras i mer detalj. De var analyserade genom att jämföra vad de hade för förhållande mellan sin kostnad och deras DPS-värden med det genomsnittliga och se om de hade andra egenskaper som kunde ha påverkat enhetens kostnad.   Även om slutsatsen som drogs var att det är rimligt att sätta ett värde på skada och andra egenskaper hos enheter så måste man vara försiktigt om man vill studera detta ämne. Genom att använda sig utav kostnad/DPS värden som användes för denna analys så kom vissa enheter att se väldigt starka ut i förhållande till vad de kostar. Vidare studier på liknande ämnen kan hitta bättre sätt att närma sig liknande analyser.

This is the reflection of a graduation work done by Rickard Remelin. The work was made to create a proof of concept for a complex 3D computer game. All common elements such as creating Design document, story, programming, 3D modeling, texturing, animation, sound, etc, has been developed singlehandedly. Software used are Gimp, Blender, Gameblender and Audacity. The code was partly written in Python. / Detta är reflektionen av ett kandidatarbete gjort av Rickard Remelin. Arbetet har gått ut på att skapa ett koncept-bevis för ett komplext 3D datorspel. Alla vanliga moment så som Designdokument, Story, programmering, 3Dmodellering, texturering, animering, ljud, mm, har utvecklats på egen hand. Program som använts är Gimp, Blender, Gameblender samt Audacity. Koden är delvis skriven i Python. / Detta är en reflektionsdel till en digital medieproduktion. Address: Rickard Remelin Sternövägen 5 375 33 Karlshamn SWEDEN Available on Skype.

This paper will detail the prototyping and subsequent production of an digital narrative experience utilizing the theories of Vladimir Propp. The prototype will examine the theories detailed in Propps Morphology of the Folktale. It will implement Propps narrative functions according to a general scheme, connected by connectives. The prototype will dynamically generate narratives according to this scheme. Finally, this paper will draw conclusions about the advantages of a Propp-based system of narrative generation and the narratives produced compared to other digital narratives, such as hypertext.