This paper describes a modification to the mixed-initiative co-creative tool, the Evolutionary Dungeon Designer, and a study performed to evaluate and analyze the co-creative relationship between human designer and AI. The relationship between AI and human designer in creative processes is delicate, as adjusting the autonomy of the AI can negatively affect the user experience. To perfect this type of Human-AI collaboration, further research is needed. In this thesis, different degrees of initiative of the AI are explored, to gain further understanding of mixed-initiative co-creative tools. A user study was performed on the Evolutionary Dungeon Designer, with three varying degrees of AI-initiative. The study highlighted elements of frustration that the human designer experiences when using the tool, and the behaviour in the AI that led to possible strains on the relationship. The paper concludes with the identified issues and possible solutions, as well as suggested further research.

This is the result of a 10 week long study about if player behaviors and choices are affectedby the surrounding colors in their environment. A number of players are asked to movethrough a virtual environment, while being clocked, where they have to make left and rightdecisions based on different colors (red, green, blue and gray). While most choices consist oftwo different colors, some use the same color. The result shows that the players most likelyprefer one color over another, and that they most likely prefer a non-neutral color over aneutral color. With these results and the interviews that are conducted the conclusion is madethat it is very likely the players choices are affected by the colors in the environment, but it isnot clear to say how they are affected. / Det här är resultatet av en 10 veckor lång studie om spelares beteenden och om deras valpåverkas av färgerna i deras omgivning. Ett antal personer är tillfrågade att röra sig genom envirtuell miljö, på tid, där de gör höger- och vänsterval baserat på olika färger (röd, grön, blåoch grå). Medan de flesta av valen består av två olika färger så använder några samma färger.Resultatet visar att personerna troligen föredrar en färg framför en annan och att de troligtvisföredrar en icke-neutral färg framför en neutral färg. Med dessa resultat och de intervjuer somgjordes så blir slutsatsen att det är stor sannolikhet att personerna påverkas av färgerna i derasomgivning, men det är svårt att säga exakt hur de påverkas.

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.

With continuing research into quantum computing, current public key cryptographic algorithms such as RSA and ECC will become insecure. These algorithms are based on the difficulty of integer factorization or discrete logarithm problems, which are difficult to solve on classical computers but become easy with quantum computers. Because of this threat, government and industry are investigating new public key standards, based on mathematical assumptions that remain secure under quantum computing. This paper investigates methods of improving the area and performance of one of the proposed algorithms for key exchanges, "NewHope." We describe a pipelined FPGA implementation of NewHope512cpa which dramatically increases the throughput for a similar design area. Our pipelined encryption implementation achieves 652.2 Mbps and a 0.088 Mbps/LUT throughput-to-area (TPA) ratio, which are the best known results to date, and achieves an energy efficiency of 0.94 nJ/bit. This represents TPA and energy efficiency improvements of 10.05× and 8.58×, respectively, over a non-pipelined approach. Additionally, we investigate replacing the large SHAKE XOF (hash) function with a lightweight Trivium based PRNG, which reduces the area by 32% and improves energy efficiency by 30% for the pipelined encryption implementation, and which could be considered for future cipher specifications. / Master of Science / Cryptography is prevalent in almost every aspect of our lives. It is used to protect communication, banking information, and online transactions. Current cryptographic protections are built specifically upon public key encryption, which allows two people who have never communicated before to setup a secure communication channel. However, due to the nature of current cryptographic algorithms, the development of quantum computers will make it possible to break the algorithms that secure our communications. Because of this threat, new algorithms based on principles that stand up to quantum computing are being investigated to find a suitable alternative to secure our systems. These algorithms will need to be efficient in order to keep up with the demands of the ever growing internet. This paper investigates four hardware implementations of a proposed quantum-secure algorithm to explore ways to make designs more efficient. The improvements are valuable for high throughput applications, such as a server which must handle a large number of connections at once.

This paper sought to understand how onboarding should be designed for a low-complexity game that favours implicit instructions. Low-complexity games are defined as having a low number of mechanics with predictable gameplay. This may make explicit instructions less applicable for onboarding players in those types of games, as players may have a more enjoyable experience learning the game with higher agency. Currently, there is a lack of studies focusing on the subject of onboarding in low-complexity games. This paper aims to contribute findings to the topic, which may prove relevant for game designers seeking to design viable onboarding methods for their low-complexity games. For this study, we conducted research through design. We iterated our own low-complexity game, The Social Grip, over three playtests. The changes were motivated by the results presented during each playtest and iterated within the cognitive load and feedback systems framework. We found that in low-complexity games, it is important to also keep the environment low in complexity to ensure players notice intentionally designed landmarks or breadcrumbs. Finally, we concluded that explicit instructions may be usable in areas that implicit instructions cannot cover, such as teaching players keyboard shortcuts.

This study investigates how the layout and structure of battle arenas in a melee-driven multiplayer split-screen game influence player engagement. By iterating on two arenas, making informed design decisions based on data from weekly playtests. Data collection involved observations, interviews, and an automated C# data-collecting tool. Metrics focused on social interaction, success, participation, and area interaction, linked to enjoyment, immersion, and level of interaction. We conducted six playtests with eleven arena iterations. Key findings include a player preference for arenas where they experienced higher success rates, either through hit accuracy or wins; excessive spatial restrictions leading to player frustration and decreased enjoyment due to mobility difficulties; and a general preference for asymmetrical arenas, which were favored for their varied gameplay and strategic opportunities, despite slightly lower active combat participation. The final arena design was asymmetrical, featuring four distinct zones, each providing unique gameplay experiences and strategic opportunities. This study highlights how arena design can enhance player engagement by balancing spatial dynamics and strategic elements.

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<p>Ovaj rad ima za cilj da ispita prisutnost i značaj videoigara u<br />kontekstu scenske arhitekture i da ukaže na rastući značaj jedne mlade<br />discipline, a to je kreiranje prostora u videoigrama. Teorijski i<br />naučno-istraživački deo rada ukazuju, svaki na svoj način, na već<br />postojeće i nove moguće oblike primene koncepata prostora i vizuelnih<br />percepcija iz oblasti arhitekture i urbanizma u oblasti kreiranja<br />videoigara. Od Vitruvijevog trojnog načela, preko trojnog načela<br />ključnih odrednica videoigara i problematike prostornih situacija,<br />do uloge i položaja korisnika/igrača u kontekstu sadejstva sa datim<br />prostorom, u radu je predočen niz načina na koje elementi<br />arhitektonskog teorijskog nasleđa, pre svega elementi i principi<br />scenske arhitekture, mogu biti implementirani u proces kreiranja<br />prostora u videoigrama.</p> / <p>The goal of this thesis is to examine the presence and significance of<br />videogames in the context of scene architecture and to indicate a growing<br />importance of a young field &ndash; level design in videogames. Theoretical and<br />scientific research portions of the paper point, each in their own manner, to<br />existing as well as new modes of applying concepts of space and visual<br />perception from the domain of architecture and urbanism in the field of<br />videogame design. This paper offers a significant number of methods of<br />implementing aspects of architectural theory heritage, primarily elements and<br />principles of scene architecture, in the process of designing space in<br />videogames - starting with Vitruvius&rsquo;s triple principle, followed by the triple<br />principle of key features of videogames and the issue of spatial situations, to<br />the role and position of user/player in the context of cooperation with a given<br />space.</p>

Planners are well developed tools in computer science, but their role is rather limited in games. We decided to test the possibilities of writing such a game around them. Proving that freely available, general purpose planning systems are worthy alternatives to custom made solutions could open a new path to small developers and popularize a new kind of gameplay powered by these tools. We attempted to exploit planners in two roles, in the development, to partially automate the level design process; and in the gameplay as a decision making tool for the acting agents. Our program is a puzzle game, more precisely an anticipation game, where the player has to foresee the future actions of the acting agents, then discover the pitfalls where they are heading. Using this knowledge he can modify their environment and force them to a desired outcome. A part of our program is a generator of such game challenges. We came to a conclusion that within some limitations planners are capable of creating believable agent behavior and while not all decisions can be handed over to the planning systems, they can lighten the task of the level designer.

The purpose of this thesis is to examine how compositional techniques developed for fine art may be applied to 3-dimensional level design. It uses game design theory and best practices as a starting point and then investigates how graphic theory can be applied to further them by creating natural graphic focal points in a level, providing a set of tools the designer might use to graphically communicate with the player. The thesis investigates four main techniques used to achieve graphic control: Managing hues and values. Managing shapes. Using linear and atmospheric perspective. Managing levels of detail. Each technique is linked to compositional theory through historical paintings which feature the techniques in question. Examples are then provided from contemporary games that testify the validity of using the technique in level design. In some cases altered scenes are also provided; over paints done in Adobe Photoshop exemplify how a technique may be used to change a scene’s meaning and convey other messages to the player. The conclusions and analysis testify to the value of incorporating compositional theory into level design and suggest further areas of research along the same line.