Our goal was to create an enhanced spectator experience to better engage the rapidly growing audience for Esports, through the use of Virtual Reality (VR) technology. In this study, we delve into the ways in which VR can do this. To test this hypothesis, we created a VR spectator add-on for a game and gathered data using semi-structured interviews. The data from the interviews were then analyzed using thematic analysis. The results of our study show that VR provides more engagement through a combination of possible factors including proximity to the action, novelty of VR experiences and the harder controls in VR. The results also show that the terms "immersion" and "spatial presence" were quite possibly used interchangeably by the participants and also that there may not be a correlation between the terms "engagement" and "spatial presence". In conclusion, we believe that the increased sense of engagement through VR technology can be taken even further and has the potential to be something more than what traditional modes of spectating can offer.

The research described in this thesis is grounded in the fields of independent adult learning, user experience for mobile applications and game design. It considers the case for mobile game-based learning in the context of informal microlearning and investigates the potential of mobile games to assist the independent skills development of adults. Initial research found that adults expressed positive attitudes towards the idea of learning with a mobile game, while even those who did not use mobile games recreationally appeared positive to using them if they perceived them as an effective way to develop their skills. Guidelines were then developed to inform the design of effective mobile learning games based on theories of adult learning, game-based engagement, mobile usability and mobile game design. These guided the development of a mobile game prototype aimed at assisting adults, speakers of English as a second language, to build their academic vocabulary. To evaluate the effectiveness of the prototype, a mixed methods approach combining quantitative and qualitative data collection instruments was utilised. Player engagement and system usability were measured rather than direct measures of learning outcomes. Overall the results were encouraging since evaluation participants were found to be engaged by the activity and able to easily pick up the game and play. Additionally, qualitative data on participants’ experiences and perceptions were collected, which supported initial research findings on the positive attitudes of adults towards using mobile games for learning. Though caution is recommended when generalising the evaluation results, the potential of mobile games for the independent learning of adults was supported. Overall this research offers a rationale for the use of mobile game-based learning, an insight into the nature of adult learners’ needs and their mobile devices usage patterns, a critical discussion on the type of learning that would be appropriate for the context, a set of guidelines for the design of mobile learning games, and finally a discussion of evaluation methods along with a collection of empirical data on the post-experiential attitudes of adults with regards to mobile games for learning.

The tags and descriptions entered by video owners in video sharing sites are typically inadequate for retrieval purposes, yet the majority of video search still uses this text. This problem is escalating due to the ease with which users can self-publish videos, generating masses that are poorly labelled and poorly described. This thesis investigates how users tag videos and whether video tagging games can solve this problem by generating useful sets of tags. A preliminary study investigated tags in two social video sharing sites, YouTube and Viddler. YouTube contained many irrelevant tags because the system does not encourage users to tag their videos and does not promote tags as useful. In contrast, using tags as the sole means of categorisation in Viddler motivated users to enter a higher proportion of relevant tags. Poor tags were found in both systems, however, highlighting the need to improve video tagging. In order to give users incentives to tag videos, the VideoTag project in this thesis developed two tagging games, Golden Tag and Top Tag, and one non-game tagging system, Simply Tag, and conducted two experiments with them. In the first experiment VideoTag was a portal to play video tagging games whereas in the second experiment it was a portal to curate collections of special interest videos. Users preferred to tag videos using games, generating tags that were relevant to the videos and that covered a range of tag types that were descriptive of the video content at a predominately specific, objective level. Users were motivated by interest in the content rather than by game elements, and content had an effect on the tag types used. In each experiment, users predominately tagged videos using objective language, with a tendency to use specific rather than basic tags. There was a significant difference between the types of tags entered in the games and in Simply Tag, with more basic, objective vocabulary entered into the games and more specific, objective language entered into the non-game system. Subjective tags were rare but were more frequent in Simply Tag. Gameplay also had an influence on the types of tags entered; Top Tag generated more basic tags and Golden Tag generated more specific and subjective tags. Users were not attracted to use VideoTag by the games alone. Game mechanics had little impact on motivations to use the system. VideoTag used YouTube videos, but could not upload the tags to YouTube and so users could see no benefit for the tags they entered, reducing participation. Specific interest content was more of a motivator for use than games or tagging and that this warrants further research. In the current game-saturated climate, gamification of a video tagging system may therefore be most successful for collections of videos that already have a committed user base.

Children are born with an intrinsic motivation to play games. Over the past decade, educational video games have invaded mainstream classroom instruction and researchers are “considering how games might be used in pursuit of engaging, effective learning experiences� (Squire and Jenkins, 2003). This research encompasses designing math games using a constructivist and embodied cognition pedagogy in an effort to answer the question: “Will overlapping wearable technology and mathematical objectives with traditional children’s games show improved efficacy in students’ math skills and increase students’ motivation to learn math in 4th thru 6th grade students?� Methods of research include a usability study and four subsequent iterative studies to improve the game and the technology, measuring students’ math self-efficacy and motivation to learn math. The final goal of this thesis is to design, test and document an engaging children’s math learning game using wearable technology that requires active physical experiences while involved in deep thinking and complex problem solving (Gee, 2003) within real world environments, beyond classrooms, pencil and paper, and even beyond traditional computer games in front of a computer screen.

The eSports scene as well as the Multiplayer Online Battle Arena (MOBA) have rapidly grown in popularity over the past decade. Research regarding game design factors and player experience in this genre are still not fully explored. This study aimed to examine Heroes of the Storm (HotS), League of Legends (LoL) and Defense of the Ancients 2 (Dota2) through a tailored game ontology for MOBA games, if the game mechanics cause more frustration and challenge compared to other genres (Johnson, Nacke and Wyeth, 2015); and to better understand the effect on player experience in MOBA games. Results suggest that builds for heroes, including talents, items and meta strategies, are the most challenging aspects. Frustration may surge when players make mistakes or when communication within the team fails. Additionally, the main difference between these games is the level of difficulty and complexity making Dota2 the optimal choice for MOBA veterans and HotS a good introduction to the MOBA genre. / ESports scenen så väl som Multiplayer Online Battle Arena genren har snabbt vuxit i popularitet under de senaste tio åren. Forskning angående speldesignfaktorer och spelupplevelse har fortfarande inte blivit fullt utforskat. Syftet med denna studie är att undersöka  Heroes of the Storm (HotS), League of Legends (LoL) och Defense of the Ancients 2 (Dota2) genom en skräddarsydd ontologi för MOBA spel,  och hur spelmekanikerna skapar mer frustration och utmaning hos spelare i jämförelse med andra genrer (Johnson, Nacke och Wyeth, 2015) samt att bättre förstå vilken effekt de har på spelarna i MOBA genren. Resultaten tyder att builds för karaktärer, inklusive talents, items och metastrategier är dem mest utmanande elementen. Frustration kan uppstå när spelare gör misstag eller när kommunikationen inom laget ej fungerar. Den största skillnaden i mellan dessa spel är svårighetsgraden och komplexitet, vilket leder till att Dota2 är ett optimalt val för veteraner och HotS är en bra introduktion till MOBA genren.

Made available in DSpace on 2016-04-29T14:22:50Z (GMT). No. of bitstreams: 1 Guilherme Henrique Quintana.pdf: 32848183 bytes, checksum: 414774d3466ecae65472495b12871c32 (MD5) Previous issue date: 2011-01-28 / Currently the focus of the market for digital games is the development of games for the general public, and especially for the juvenile segment. Moreover, there is the growing number of elderly people on the planet. Thus, this research aims to outline the central features of today's games from the interaction with the elderly population using the Nintendo Wii. The secondary objectives are to create interactions with Wii workshops for seniors; observe interactions, collect data, analyze the data and, finally, point of game design elements that may harm or help the elderly in four areas: visual, sound, interactivity and sociability. The research involved different strategies and methods: encounters with the elderly group, workshops, practical activities with the Wii, asking questions, reading of texts on the elderly and game design, review and reformulation of the initial questions and the development of the dissertation. Data collection was conducted through questionnaires prepared by the researcher, video recordings, photographs and data from the video game software through the use of games in the collection Wii Sports, which include five sports: tennis, boxing, bowling, baseball and golf in weekly meetings during two months with the group of participants in the volleyball team "Golden Age" of Itatiba / SP, composed of elderly. To analyze the data collected, authors were used in areas that include psychology in the elderly (Argimon), caloric expenditure with the use of games similar to those used in this study (Robin R. Mellecker and Alison M. McManus), cognitive effects in elderly users of games, the market revolution promoted by the Wii, game development, the possible insertion of the elderly population in this market and the tools used in creating these works (Nelson Zagalo and Rui Prada). In the field of critical studies about games, were fundamental to the research Jesus de Paula Assis, Roger Tavares, Vinicius Mano, Edson P. Pfutzenreuter, Andrés Rollings, Ernest Adams, Celia Pearce, among others. The results highlighted the need for the reformulation of the game design aimed at the elderly as this segment of the population has physical and behavioral characteristics significantly different from the adult audience and / or juvenile. Aspects such as the choice of colors and arrangement of information on the screen, the sound frequencies used, methods of handling the interaction and preference for more cooperative than competitive games stood out as key factors to please and meet the needs of this growing audience in our society / Atualmente, o foco do mercado de jogos digitais está no desenvolvimento de games para o público em geral, e, principalmente, para o segmento infanto-juvenil. Por outro lado, observa-se o crescimento do número de idosos no planeta. Neste contexto, esta pesquisa tem como objetivo central delinear as características dos jogos atuais a partir da interação com o público idoso através da utilização do Nintendo Wii. Os objetivos secundários são: criar oficinas de interações com Wii para idosos; observar as interações; coletar dados; analisar os dados obtidos e, finalmente, apontar elementos de Game Design que possam prejudicar ou auxiliar os idosos em quatro âmbitos: visualidade, sonoridade, interatividade e sociabilidade. A pesquisa envolveu diferentes estratégias e métodos: encontros com o grupo de idosos; oficinas de atividades práticas com o Wii; formulação de perguntas; leitura de textos sobre a terceira idade e Game Design; revisão e reformulação das questões iniciais; desenvolvimento da dissertação. A coleta de dados foi realizada através de questionários confeccionados pelo pesquisador, gravações de vídeo, fotografias e dados retirados do software do videogame através do uso de games na coletânea Wii Sports, que englobam cinco modalidades: tênis, boxe, boliche, beisebol e golfe, em encontros semanais durante o período de dois meses com o grupo de participantes do time de vôlei Melhor Idade de Itatiba/SP, composto por idosos. Para a análise dos dados colhidos foram utilizados autores que englobam psicologia em idosos (Argimon), gasto calórico com a utilização de jogos similares aos utilizados nesta pesquisa (Robin R. Mellecker e Alison M. McManus), efeitos cognitivos em idosos utilizadores de games, a revolução do mercado promovida pelo Wii, o desenvolvimento de games, a possível inserção do público idoso neste mercado e as ferramentas utilizadas na criação destas obras (Nelson Zagalo e Rui Prada). No campo dos estudos críticos sobre games, foram fundamentais as pesquisas de Jesus de Paula Assis, Roger Tavares, Vinícius Mano, Edson P. Pfutzenreuter, Andrés Rollings, Ernest Adams, Célia Pearce, entre outros. Os resultados obtidos realçaram a necessidade da reformulação do Game Design direcionado à terceira idade à medida que essa parcela da população tem características físicas e comportamentais significativamente diferentes do público adulto e/ou infanto-juvenil. Aspectos como a escolha de cores e disposição de informações na tela, frequências sonoras utilizadas, métodos de movimentação na interação e a preferência por jogos mais cooperativos que competitivos se destacaram como fatores decisivos para agradar e atender às necessidades deste público crescente em nossa sociedade

Made available in DSpace on 2016-04-29T14:22:53Z (GMT). No. of bitstreams: 1 Mauricio Teixeira Piace.pdf: 2957479 bytes, checksum: 94bc9239c0ce2573dbc043fe36ef0298 (MD5) Previous issue date: 2011-05-13 / This research investigates the videogame experience as a synesthetic interaction with an encoded and intentionally proposed world, which produces a specific cognitive impact. Following this path, we initiallly intend to identify some of the characteristics that define the electronic game and its primary coupling interfaces: the hand and the eye, guided by Frank Wilson s research and the concept of technoimages formulated by Vilém Flusser. Then we will consider Mihaly Csíkszentmihályi s theory of optimal experience (flow) and its implications on games. The goal is to understand how play generates knowledge in the body that undergoes experience, and for this we need to define what cognition is, based on theories from three different schools of cognitive science: Cognitivism, Conexionism and Enaction. Finally we will discuss playing as knowing and the role of the game designer as the creator of experiences with cognitive potential / Essa pesquisa investiga a experiência do jogo eletrônico como uma interação sinestésica com um mundo codificado e proposto intencionalmente, que produz um impacto cognitivo específico. Neste percurso, pretende-se inicialmente identificar algumas das características que definem o jogo eletrônico e seus canais primários de acoplamento: a mão e o olho. Para isso, utilizaremos como guias a pesquisa de Frank Wilson e o conceito de tecnoimagem formulado por Vilém Flusser. Em seguida, consideramos a teoria da experiência ótima (flow) de Mihaly Csíkszentmihályi e suas implicações sobre o jogo eletrônico. O objetivo é entender como o jogar gera conhecimento no corpo que experimenta, e portanto faz-se necessário definir o que é cognição, a partir de um levantamento fundamentado nas teorias de três escolas das ciências cognitivas: o Cognitivismo, o Conexionismo e a corrente Encenativa. Finalmente, discutiremos o jogar como conhecer e o papel do game designer como criador de experiências que carregam potencial cognitivo

Made available in DSpace on 2016-04-29T14:22:53Z (GMT). No. of bitstreams: 1 Leonardo Souza de Lima.pdf: 3313631 bytes, checksum: bb9138db474f442407b28ede66324063 (MD5) Previous issue date: 2011-06-06 / The present investigation explores the question of meaning production in video games, taking as foundation the subjectives conditions envolved in the relationship/interaction between player and game, within the scientific and academic literature environment. Part of the current discussion about the theoretical foundation of video games in general, which are postulated as a special category of objects in a transdisciplinary culture of constant transformation. It features electronic games (games) within a particular category of sensitive and reagents objects that participate in the constitution of a subjectivity in the context of the digital universe, which necessarily involves the relationship between human and non-human intelligence. Addresses this relationship from a multiple look, inter and transdisciplinary taking in count the socio-cultural, technological and semiotic aspects, which are formed in the context of discussing the status of the subject, object and world considered in the realm of the world and digital life. Incorporates elements of the discussion of post-structuralist philosophy, articulating an understanding of the concept of machinic subjectivity with the thematic aspects of the critique of representation, proposing to think video games in a structure coupled with the cognitive and sensitive faculties of human subject, that from his constitution as a system of signs of a-significant potential. From the nature of the particular object of study, this research develops the initial proposal for a qualitative and theoretical strategy, situating it in an exploratory examination of secondary data, direct observation via formal analysis of works and the production and documentation of a digital prototype game that explores the modes of relationship between the subject of the game, their avatars and the terms of playability, located from the conception of a academic and exploratory game. It culminates with the production and experimentation of a model that is heading toward a clearer idea of language devices operating in the construction of meaning in gaming, providing a contribution to increasing capacity for analysis and production of electronic games / presente pesquisa explora a questão da produção de sentido nos jogos eletrônicos tomando como base as condições subjetivas envolvidas na relação/interação entre jogador e jogo, dentro da literatura científico e acadêmica do meio. Parte da discussão atual acerca do fundamento teórico dos videogames em geral, os quais são postulados como uma categoria especial de objetos transdisciplinares em uma cultura em constante transformação. Apresenta os jogos eletrônicos (games) dentro de uma categoria especial de objetos sensíveis e reagentes que participam da constituição de uma subjetividade no contexto do universo digital, a qual, necessariamente passa pela relação entre a inteligência humana e não-humana. Aborda esta relação a partir de um olhar múltiplo, inter e transdisciplinar, considerando as abordagens sócio-culturais, tecnológicas, semióticas, as quais se plasmam no contexto da discussão do estatuto entre o sujeito, o objeto e o mundo considerados na esfera do mundo e da vida digital. Retoma elementos da discussão da filosofia pós-estruturalista, articulando a compreensão maquínica do conceito de subjetividade com os aspectos temáticos da crítica da representação, propondo pensar os videogames em uma estrutura conjugada com as faculdades cognitivas e sensíveis do sujeito humano, isto a partir de sua constituição enquanto sistemas de signos de potencial a-significante. A partir da natureza especial do objeto de estudo, a pesquisa desenvolve a proposta inicial de uma estratégia qualitativa e teórica, situando-a em uma abordagem exploratória no exame de dados secundários, na observação direta via análise formal de obras e da produção e documentação de um protótipo digital de um game que explore os modos de relação entre o sujeito do jogo, seus avatares e as condições de jogabilidade do mesmo, situadas a partir da concepção de um game acadêmico e exploratório. Ela culmina com a experimentação e produção de um modelo que se encaminha na direção de uma noção mais clara dos dispositivos de linguagem atuantes na construção de sentido nos videogames, propiciando uma contribuição para o incremento da capacidade de análise e produção de jogos eletrônicos

Made available in DSpace on 2016-04-29T14:23:01Z (GMT). No. of bitstreams: 1 Jaderson Aparecido de Souza.pdf: 44357388 bytes, checksum: 02173ac48fd79c1048c84e4e39f73038 (MD5) Previous issue date: 2011-08-29 / This study addresses the issue of the production of games and its scope as objects of knowledge and learning. Part of the current discussion is about theoretical elements of the games from the ontologically pragmatic assumptions of the metaphilosophy and of the general ontology of the metaverses and games. Methodologically, the production of a game is conceived as the production of a cultural and cognitive object which is organized according to the principles of the narrative designs, three-dimentional environments and characters integrated in the current cultural movement of the digital natives. It is discussed the relation among the methodological assumptions of the approach of the new technologies, the narratology and playful and the current educational reflections that take the games as cognitive objects. It approaches the production contexts of a game, focusing the hypermedia research areas which show the games as cultural agents that promote the human creativity and freedom in the digital era, its relevance as playfulness sense producer and as horizons of knowledge production. It resumes the discussion of the use of games in the educational process confronting them with the entertainment issues and the scientific research that uses the new technologies. It locates and delineates the methodological parameters and conceptual limits for the production of a game which has concepts as objects. It proposes the normative structure of a game design document, its parameter and its development in a high fidelity digital phototype. It culminates in the perspective of the games complexities as digital and cultural objects that locates in the horizons among art, ethics and science, fundamental to the development of the postmodern culture / conhecimento e de aprendizagem. Parte da discussão atual acerca dos fundamentos teóricos dos games, a partir dos pressupostos ontopragmáticos da topofilosofia e da ontologia geral dos metaversos e games. Metodologicamente, concebe a produção de um game como a produção de um objeto cultural e cognitivo que se organiza segundo princípios do design de narrativas, ambientes tridimensionais e personagens, integrados no movimento cultural atual dos nativos digitais. Discute a relação entre os pressupostos metodológicos da abordagem das novas tecnologias, com o binômio narratologia-ludologia e com as atuais reflexões educacionais que tomam os games como objetos cognitivos. Aborda os contextos de produção de um game, enfocando as pesquisas da área hipermídia, que mostram os games como agentes culturais que promovem a criatividade e liberdade humanas na era digital, a sua pertinência como ludicidade produtora de sentidos e como horizonte de produção de conhecimento. Retoma o debate do uso dos games nos processos educativos confrontando-os com as questões do entretenimento e da pesquisa científica que utiliza as novas tecnologias. Situa e delineia os parâmetros metodológicos e limites conceituais para a produção de um game que tenha por objeto conceitos. Propõe a estrutura normativa de um game design document, sua parametrização e seu desenvolvimento em um protótipo digital de alta fidelidade. Culmina na perspectiva da complexidade dos games como objetos digitais e culturais que se situam no horizonte entre arte, ética e ciência, fundamentais para o desenvolvimento da cultura pós-moderna

Abstract I. Introduction a. Thesis statement: What is the process for modeling a stylized character and how does this differ from a semi-realistic character? b. Expanded thesis statement: The two styles differ from start to finish in a variety of ways. I believe that semi-realistic characters require more source material when drawing and modeling; however stylized characters require a different level of creativity and artistic ability in creation. Modeling semi-realistic characters will be more dependent on source images while stylized characters may require special attention with non-standard texture, style, etc. Rendering techniques will also differ when it goes to presenting the final polished versions with the stylized character focusing on rendering styles that flatten the character while the semi realistic character will require rendering techniques that make it seem more real visually.