Context. Augmented reality (AR) is a technology that uses the camera to display what is seen on the screen and adds digital informationover the picture. This study analyses how augmented reality mightaect game experience when applied to real time strategy games. Objectives. Evaluate the available development tools, to implementthe game prototype and the AR interaction. Then develop interactive methods for AR and traditional version. Create a basic articialintelligence, design the experiment to evaluate game experience, completion time and score. Methods. The experiment were executed after implementation of thegame, in this the participant played both the traditional and augmented reality version of the same game. Before starting to play participant lled out a pre inquiry about their previous experience withgames, tablets and computers. After playing they answered a postinquiry with questions about the game. The comparing experimentwas conducted with several participants in a controlled environment. Results. The results show that most participants thought that theAR version had an interesting mechanic and that the game experiencehad been enhanced when compared to the PC version. However theparticipants thought the controls where better on the PC. Conclusions. The results indicated that the game experience basedon player performance, decreased in the AR version and that the controls were better on the PC. The participants thought that the PCversion was a little easier to play. However about 71% of the participants thought the game experience on the AR version was interestingbecause they could move around while playing. The most enjoyableversion of the game varied a lot between participants, having a slightpreference for the PC version of the game. However, participantsmanifested an interest in playing a sequel of the game in the AR version.

Tutorial missions are an essential part of video games. However, their significance is often not emphasized enough during development. This thesis presents a review of the literature related to tutorial design and combines information from the private sector and the academic sphere. The analysis outcome was organized into a clear set of rules. A tuto- rial mission for the cooperative game Silicomrades was designed based on these findings. Two distinct versions of the tutorial were created, centered on one of the conflicts iden- tified during the literature review - whether it is better to use Scaffolding (giving player necessary information right away) for a video game onboarding or Just in time approach (giving player information when he is unsure what to do). An experiment was conducted (n = 28) to identify differences between these two approaches. Participants of the expe- riments played one of the two versions, and then their performance was measured in the specialized mission. None of the experiment findings was of statistical significance, but the results indicated a superiority of the Scaffolding approach (based on the performance and subjective enjoyment). After the experiment, the tutorial mission was refined based on the feedback, and exciting directions for future studies were suggested. 1

Background: The usage of video games for educational purposes has become more prevalent in the recent decade. There are a lot of studies showing that video games can affect a person’s cognitive abilities. However, few studies have aspired to determine if a virtual environment can affect a person’s Game experience. A few examples are competence, negative effects and positive. In this research, an experiment will be conducted where participants are asked to solve simple puzzles in four different virtual environments. Afterwards, the participants are asked to answer a questionnaire based on the Game Experience questionnaire. The results will be compiled, analyzed and discussed. Objectives: The objective of this research is to assess if the different virtual environments affect the subjects’ experience positively and negatively.Methods: The main research methods in this project will be implementation and experimentation with a questionnaire. Where the participants will be given different virtual environments to walk around in and solve simple puzzles. The data will then be analyzed. Results: Some of the results were expected and confirmed some of our hypotheses, however, the other half of the results were unexpected.Conclusions and future work: Different virtual environments had a major impact on a player’s game experience. Environments that are considered "negative" would affect the player’s experience negatively. And "positive environments would affect the player’s experience positively. However, it varies greatly from person to person. For future work, an increase in participants and more carefully planned environments may yield a more accurate result.

This essay focuses on the possibilities and problems that come with having teleportation mixed with horror and fear and not having monsters in fear games. How it is to play a horror game without enemies and just being able as an Interactiondesigner to relay on the psychological feeling within the player, if the feeling is more than enough if the player him self get to fantasies and let their deepest fright feelings take over. Is there no difference if there are monsters/enemies or not. Is fright and fear already there before you encountering the enemies? These questions are answered as the paper also presents a game in the shape of a course that has been paralleled worked with. The world with the complete and finished game have bin done in the Hammer editor which the game HalfLife2 (VU games/Valve Software, 2004) is built on. The finished game is a result of several user tests from the prototype game and user questionnaires. Fear games are mainly built on humans’ psychological feelings, the imaginations and how one feel. Through strong usage and building upon these main factors to create fear I have worked from that perspective and investigated how I by best possible means, should do to create fear to fright players by not using enemies as main frightening objects. Focus has been on the narrative of both visual and auditive narration. I have also given an account of the advantage and disadvantages with working with the tool I have chosen, how it has affected my work and my result. The Result turned out to be even better than I had in mind and a positive attitude towards my game from all the test persons. They thought it was a good example that a horror game is not bound to have monsters in order to fright the player. I got a loot of good feedback, response and ideas of what I could improve and what was already good. Some wanted more light effects on the first part and others less sound in the last part. By listening to the test persons I started to create and shape the final version of the game. Everyone became scared and felt more or less frightened through all four parts of the game. I also got positive feedback on my theory from the test persons, that teleportation mixed with horror and fear is something that they could consider using more in games and that this was a good start in the right direction.

Background. Head-tracking enables the use of head movements as a form of input for video games. Some games allow the player to use their head to orient the in-game camera. However, the movement of the in-game camera is seldom proportional to the movement of the player. Head-Coupled Perspective is achieved by tracking the player’s head and displacing the in-game camera similarly. There is a lack of data gathered on how a Head-Coupled Perspective affects user experience in video games. Objectives. The aim of this thesis is to investigate how Head-Coupled Perspective affects user experience by implementing it into a first-person shooter game. Methods. Head-Coupled Perspective was implemented into Receiver 2 (WolfireGames LLC). An experiment was conducted where 28 participants were divided into two groups. The groups were divided by the order in which they play the standard version and the Head-Coupled Perspective version of the game. Their impressions were measured using a questionnaire adapted from the Game Experience Questionnaire. After playing both versions, participants answered comparative questions comparing the game versions. Participants’ in-game task completion time and head velocity were recorded during the tests. Results. The results showed that both groups preferred the first version of the game they played. Overall, the Head-Coupled Perspective version of the game generated higher scores for the Flow and Negativity constructs. The results gathered through the questionnaire had low statistical significance. Conclusions. This study indicates that task engagement and negative feelings increase when playing a First-Person Shooter game with Head-Coupled Perspective. However, due to the low statistical significance of the data, more work is required on the subject before a rigorous conclusion can be drawn. On top of that, Head-Coupled Perspective had no significant effect on the difficulty of the game and the subjects' head velocity. / Bakgrund. Huvudspårning möjliggör användning av huvudrörelser som en form av inmatning för datorspel. Vissa spel låter spelaren använda huvudet för att orientera kameran i spelet. Mängden rörelse för kameran i spelet är dock sällan proportionell mot spelarens huvudrörelse. Huvudbundet perspektiv uppnås genom att spåra spelarens huvud och röra spelets kamera därefter. Studier har utförts om hur ett huvudbundet perspektiv påverkar användarupplevelsen i datorspel. Men för lite data har genererats från dessa tidigare studier för att dra en slutsats om dess påverkan på användarupplevelsen. Syfte. Syftet med denna rapport är att undersöka hur huvudbundet perspektiv påverkar användarupplevelsen genom att utveckla det för ett förstapersonsskjutspel. Metod. Huvudbundet perspektiv implementerades i Receiver 2 (Wolfire GamesLLC). Ett experiment genomfördes där 28 deltagare delades in i två grupper. Grupperna är uppdelade efter den ordning i vilken de spelar standardversionen och den huvudbundna perspektivversionen av spelet. Deras intryck mättes med hjälp av frågeformulär anpassat från Game Experience Questionnaire. Efter att ha spelat och svarat på enkäten för båda versionerna svarade deltagarna på frågor som jämförde spelversionerna. Tiden deltagarna tog för att fullfölja speluppgiften mättes. Samt spelarnas huvudrörelser mättes under testerna. Resultat. Resultaten visade att båda grupperna föredrog den första versionen avspelet de spelade. Totalt sett genererade den huvudbundna perspektivversionen avspelet högre poäng för Game Experience Questionnaire områdena associerade medspelengagemang och negativitet. Resultaten hade låg statistisk signifikans. Slutsatser. Den här studien indikerar att spelengagemang och negativa känslor ökar när man spelar ett förstapersonsskjutspel med huvudbundet perspektiv. På grund av den låga statistiska signifikansen hos datan krävs mer arbete inom ämnet innan en rigorös slutsats kan dras. Utöver det har huvudbundet perspektiv ingen signifikantpåverkan på spelets svårighetsgrad och deltagarnas huvudrörelse.

Design patterns are widely used in game design, especially in action games. Design patterns can be seen as a group of concluded gameplay. A stealth game is a video game genre that rewards the player for using stealth (conceal avatar of player in order to avoid enemies) to overcome antagonists. In some cases there is a conflict between difficulty and game experience in stealth game. In order to solve this problem, we researched design patterns in stealth games. We observed a set of stealth game design patterns from three different stealth games. The collection used a different template of game design pattern.Then we created a questionnaire to collect opinions from designers that have experience in stealth game area. Based on such data, we designed and created a prototype of application. Unlike other websites or books, the application shown game design pattern for a single type of game(stealth game). From the application designers can check stealth game design patterns based on design document. The application can introduce stealth game design patterns to designers, and show how to use them in stealth game design.

Det här kandidatarbetet undersöker relationer mellan personer som spelar digitala spel och fiktiva spelkaraktärer och hur de kan påverkas av skuldkänslor. Syftet är att beskriva skuld som känsla och hur man, i ett spelscenario, kan utnyttja hur människor förhåller sig till den för att skapa starkare band mellan den som spelar och en fiktiv karaktär i spelet. För att undersöka problemområdet genomfördes en spelproduktion där vår kunskap kring skuldkänslor användes för att designa och utveckla ett spelscenario ämnat att frambringa skuldkänslor hos spelaren och i förlängning förstärka bandet mellan denne och en fiktiv spelkaraktär. Denna produktion testades sedan mot respondenter och resultatet sammanställdes med reflektioner kring hur skuldkänslor kan användas som ett verktyg i framtida spelproduktioner. / This bachelor thesis studies the relationship between people who play games and fictive game characters and how they can be affected by feelings of guilt. The purpose of the thesis is to describe guilt as a feeling and how game creators could take advantage of the way people relate to it to achieve stronger bonds between the players of the game and the fictive characters in it. To examine the problem area a game production was conducted in which our knowledge about feelings of guilt were used to design and develop a game scenario meant to generate guilty feelings in the player and in extension strengthen the bond between him/her and a fictive game character. This production was then tested on respondents and the results were compiled alongside reflections on how feelings of guilt could be used as a tool in future game productions.

[ES] El papel de la Música como elemento de expresión e inducción emocional ha cobrado recientemente importancia en el entorno de la interactividad y los Videojuegos. Los efectos que tiene la música sobre la experiencia emocional del jugador han sido el eje vertebrador de esta investigación que, con el objetivo de crear una experiencia adaptada a la individualidad de cada persona, propone la utilización de la medición fisiológica como elemento activo en la selección musical del videojuego. En base a la revisión de experiencias previas existentes en la literatura científica, este trabajo incluye el diseño y desarrollo de un prototipo de Sistema Musical Interactivo (SMI) basado en la medición de Respuesta Galvánica de la Piel (GSR) como detonante de las variaciones de la música, con el que poder observar la viabilidad de la propuesta con cualquier videojuego existente. La experimentación con este sistema ha sido apoyada también por la creación de varias composiciones musicales con funcionalidad interactiva que ha tenido en cuenta, además, la incorporación de elementos musicales con demostrada efectividad en la respuesta emocional. Así ha sido posible observar distintos aspectos de la respuesta emocional de los jugadores y sugerir algunas formas de aplicación de la medición fisiológica como medio para generar una experiencia de juego individualizada. / [CA] El paper de la Música com a element d'expressió i inducció emocional ha cobrat recentment importància al voltant de la interactivitat i els Videojocs. Els efectes que té la música sobre l'experiència emocional del jugador han sigut l'eix vertebrador d'esta investigació que, amb l'objectiu de crear una experiència adaptada a la individualitat de cada persona, proposa la utilització del mesurament fisiològic com a element actiu en la selecció musical del videojoc. Sobre la base de la revisió d'experiències prèvies existents en la literatura científica, este treball inclou el disseny i desenvolupament d'un prototip de Sistema Musical Interactiu (SMI) basat en el mesurament de Resposta Galvànica de la Pell (GSR) com a detonant de les variacions de la música, amb el qual poder observar la viabilitat de la proposta amb qualsevol videojoc existent. L'experimentació amb este sistema ha sigut secundada també per la creació de diverses composicions musicals amb funcionalitat interactiva que ha tingut en compte, a més, la incorporació d'elements musicals amb demostrada efectivitat en la resposta emocional. Aixina, ha sigut possible observar diferents aspectes de la resposta emocional dels jugadors i suggerir algunes formes d'aplicació del mesurament fisiològic com a medi per a generar una experiència de joc individualitzada. / [EN] The role of Music as an element of expression and emotional induction has recently gained importance in the environment of interactivity and Videogames. The effects that music has on the emotional experience of the player have been the backbone of this research that, with the aim of creating an experience adapted to the individuality of each person, proposes the use of physiological measurement as an active element in the selection musical video game. Based on the review of previous experiences in the scientific literature, this work includes the design and development of a prototype of an Interactive Musical System (SMI) based on the measurement of Galvanic Response of the Skin (GSR) as a trigger for the variations of music, with which to observe the viability of the proposal with any existing video game. Experimentation with this system has also been supported by the creation of various musical compositions with interactive functionality that has also taken into account the incorporation of musical elements with proven effectiveness in emotional response. In this way, it has been possible to observe different aspects of the emotional response of the players and to suggest some forms of application of the physiological measurement as a means to generate an individualized gaming experience. / Guerra Recas, L. (2021). Personalización subjetiva en los sistemas de música interactiva en los videojuegos. En busca de una experiencia de juego a la medida del individuo [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/172545 / TESIS

The dramatic evolvement of Virtual Reality (VR) technique in recent years has enabled a rapid growth of VR games. In order to provide intuitive interaction with a virtual world, VR hand controllers were developed. Since this kind of controller is based on hand movement, the risk of getting fatigued becomes very high. However, little current research has addressed the impact of fatigue generated by VR hand controllers. In this study, the influence of different Control/Display (C/D) ratios of hand controllers on muscle fatigue and the game experience in VR games was explored. Based on an established mobile VR fishing game, a test scenario was developed which uses Oculus Rift and Oculus Touch hand controller. A user study was conducted with 24 participants. The between subjects design was applied which spans three groups experiencing fishing with different C/D ratios (1.0, 0.5, 0.1 respectively). During the test, self- perceived fatigue data as well as game experience data was collected. The results showed that the fatigue was reduced gradually along with the decreasing of the C/D ratio, while different C/D ratios produced an impact on game experience depending on the margin between the exact ratio and 1.0. Based on the results, some implications for the design of VR games were introduced. / De senaste årens stora intresse och fokuserade utveckling av tekniken för virtual reality (VR) har resulterat i en motsvarande utveckling av VR-spel. De tidigare använda kontrollerna (såsom mus/tangentbord eller spelkontroll) har visat sig inte vara tillräckliga utan det har utvecklats särskilda handkontroller för just VR för att intuitivt kunna interagera med en virtuell värld. Eftersom en sådan typ av kontroll baseras på handrörelser finns det en stor risk för att användarna att drabbas av muskeltrötthet. Det finns däremot mycket lite aktuell forskning med just detta fokus. I denna studie undersöks hur olika Control/Display (C/D)-förhållanden för VR-handkontroller påverkar muskeltröttheten och spelupplevelsen av VR-spel. Baserat på ett etablerat fiskespel i VR, skapades ett test-scenario som använde Oculus Rift och Oculus Touch (handkontrollen). Därefter genomfördes en användarstudie med 24 deltagare. Deltagarna var uppdelade i tre grupper och varje grupp testade spelet med olika C/D förhållanden (1.0, 0.5 och 0.1). Deltagarens egen uppfattning av trötthet, samt spelupplevelse, samlades in under användartesten. Resultaten visar att tröttheten minskar med minskande C/D-förhållande, samt att spelupplevelsen påverkas av C/D- förhållandet beroende på relationen mellan det exakta förhållandet och 1.0. Utifrån resultaten ges också några förslag för design av VR-spel.

The thesis presents possibilities and hazards resulting from the combination of experience-based education methods and those of doing philosophy with children. Having defined the terms used, it introduces the aims, key features and basic methods of leisure education; furthermore, experience-based education is described in more detail together with its fundamental elements: dramaturgy, adventure, reflection and games. The latter two elements are understood to be the links between experience-based education and Philosophy for children program. Then, the follow-up reflection on the interface between Philosophy with children and experiential activities is the substantial part of the thesis. Besides other topics, the philosophical aspects of games and reflection (review) as possible ways of experience-based philosophical inquiry are dealt with. Thus, in the closing part of the thesis, the potential for connecting philosophical inquiry and the experience itself is outlined.