An objective of this study is to investigate what current research states regarding how violent, sexist, and racist norms in video games affects the player over time. Another objective is to investigate in what way the current longitudinal research takes different aspects of game design and the player’s context into consideration. This was done by conducting a systematic literature review. The findings suggest that current longitudinal research has focused on violent norms in video games, and that a few or no longitudinal studies have investigated how sexist and racist norms affect the player. The findings also suggest a connection between playing violent video games and aggression. However, the cause for this effect and how powerful it is, is yet not concluded. These issues and suggestions for further research are discussed.

This study examines how professional social workers relate to problematic computer and video gaming as an addiction. It is a qualitative interview study aimed to describe and analyze how professional social workers, who in some way work with problematic computer gaming, relate to the player’s problems in terms of a concept of dependency. The theoretical approach is based on social constructivist theories of discourses, normality, the definition of dependency and diagnoses. The study was conducted through five qualitative half structured definition interviews with professional social workers that work directly or comes in contact with problematic computer gaming. The results portray a consistent, yet fragmented understanding of the problem. Daily life is described as "reality" and the problematic computer gaming as "escapism". The player can’t meet the normative requirements of its surroundings and is classified as addicted. The informants describe similar problems related to computer gaming, but have different ideas on how the problems arise. The study concludes that professionals specifically describing problematic gaming as an addiction explain their clients in terminology comparable to substance abuse. Those who don’t relate to the concept of dependence as firmly describe the problematic gaming as more of a consequence of the interaction between the player and its surroundings.

The purpose of this paper consists of examining the different ways of thinking about death and life beyond death conveyed in the game Grim Fandango Remastered. This was done by using a theoretical framework consisting of a self invented definition of death called "Bodily death". This definition consists of common notions about death such as cessation of life functions like movement, metabolism, respiration and overall cessation of brain functions. It also included cessation of vital processes, which includes the ability to make energy transfer, making reparations, for example by cell replication, as well as the waste system of the body.  Besides this, the study examines the prevalence of dualism, a conception that views the soul essential to the individual's mental state. Two kinds of dualism were investigated, simple dualism with the assumption that the individual is made up of the soul, and compound dualism, where soul and body are dependent on each other for the survival of the individual. The study also examined the prevalence of materialism, a mindset where the individual is comprised of a combination of things without life or consciousness, in other words an existence dependent of the body. The results showed mainly a view that was non agreeable with bodily death, as the characters had many life signs such as breathing, ability to move, nutrition, metabolism and other signs of functions that would not be possible without the brain's functionality. Furthermore as shown with sprouted, the death within death in the game which consisted of becoming overgrown with flowers, showed signs of life rather than bodily death, as flowers have the vital process of photosynthesis. The game also showed mainly ideas of ​ dualism as the characters often was referred as souls. The kind of dualism that occurred most however was compound dualism because the game often implied that characters died when their bodies became destroyed.

At one point or another we have all felt overwhelmed or stressed. It is part of human nature and can at times be beneficial as it can boost our performance and make us more alert. However when it becomes a part of daily life to worry about everything, it turns into a hindrance. This is where Iyashikei, the japanese word referring to the feeling of calm and relaxed, comes into play. We explore what makes a medium “Iyashikei” and define a design methodology based on those findings. The design methodology consists of three parts in which feelings and Iyashikei have been the main focus when deciding what to include. This design methodology is then evaluated by using it to design a game. The game is a small proof of concept design and can be expanded upon further to increase its calming effect. However we believe that it is sufficient as proof of concept.

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Released in 2019, the video game Death Stranding follows the monomythic structure described by Joseph Campbell in his 1949 book The Hero with a Thousand Faces. The journey begins with the protagonist, Sam “Porter” Bridges, reluctantly accepting his calls to adventure, and, as he begins to move west, he receives supernatural aid from an increasing number of helpers he encounters along the way. Crossing the thresh-old, into the world of danger and adventure, has him meeting the threshold guardian Higgs, the primary antagonist of the game. During this first stage, the player of the game learns how to control Sam’s movements and how to navigate this world to-gether with the Bridge Baby known as Lou, who helps Sam on his journey. The second stage of the journey has Sam moving through a road of trials, overcoming both the physical obstacles of the terrain and the emotional obstacles of the people he helps along the way. He is at one point tempted to adopt the Bridge Baby Lou, his primary helper, but resists said temptation and continues on his jour-ney, until he is finally reunited with his sister, Amelie, who is threatening to end hu-manity in an extinction event. The lessons he has learnt on his journey – to focus on helping others and only using violence when the situation calls for it – leads him to his apotheosis, which is the realization of the value of other people and the relation-ships between them. With this realization, and Sam’s physical manifestation of it in his embracing of Amelie, convinces her that humanity deserves to live to die another day, and so the world is saved from falling into ruin. The third stage of Sam’s journey has him struggling to return home, aided at long last by the help of the friends he made on his journey. Sam, however, is uninter-ested in the world he helped save, and aims to return to his life of solitude. Upon his atonement with his father, however, he resolves this internal conflict and he is now free to live life as he wishes – as a father to the now freed baby Lou. The use of game mechanics in Death Stranding ultimately provides the player with alternatives to violence, giving way to a narrative that can contain as-pects of the monomythic hero that are not exclusively related to the typical warrior hero seen in most action games. Instead, the game frames the tools of the warrior as the stepping-stone to the hero as lover, who uses more peaceful means to achieve their goals. This exemplifies the potential of the video game medium as a platform for the monomyth, and how games could come to encompass a wider variety of he-roic figures than those currently available. / Tv-spelet Death Stranding, som släpptes 2019, följer den monomytiska strukturen som beskrivs av Joseph Campbell i hans bok från 1949, The Hero with a Thousand Faces. Resan börjar med att huvudpersonen Sam "Porter" Bridges motvilligt accepterar hans uppmaningar till äventyr, och när han börjar färdas västerut får han övernaturlig hjälp från ett antal personer han möter på vägen. När han korsar tröskeln, in i en värld av fara och äventyr, möter han tröskelväktaren Higgs, spelets främsta antagonist. Under detta första steg lär sig spelaren hur man kontrollerar Sams rörelser och hur man navigerar i denna värld tillsammans med en Bridge Baby känd som Lou, som hjälper Sam på hans resa. Den andra etappen av resan rör sig Sam genom en väg av prövningar och övervinner både de fysiska hindren i terrängen och de känslomässiga hindren för de människor han hjälper på vägen. Han är vid ett tillfälle frestad att adoptera Lou, hans främsta medhjälpare, men motstår nämnda frestelse och fortsätter på sin resa, tills han slutligen återförenas med sin syster, Amelie, vars förmågor hotar att göra slut på mänskligheten i en utrotningshändelse. Lärdomarna han har fått sig på sin resa – att fokusera på att hjälpa andra och bara använda våld när situationen kräver det – leder honom till hans apoteasis, som är insikten om värdet av andra människor och relationerna mellan dem. Denna insikt, och Sams fysiska manifestation av det i hans omfamning av Amelie, övertygar henne om att mänskligheten förtjänar att leva för att dö en annan dag, och så räddas världen från att falla i ruin. Under den tredje etappen av Sams resa får han kämpa för att återvända hem, äntligen med hjälp av vännerna han fick på sin resa. Sam är dock ointresserad av världen han hjälpte till att rädda och siktar på att återvända till sitt liv i ensamhet. Efter sin försoning med sin far löser han dock denna interna konflikt och han är nu fri att leva livet som han vill – som en far till den nu frigivna babyn Lou. Användningen av spelmekanik i Death Stranding ger i slutändan spelaren alternativ till våld, vilket ger vika för ett narrativ som kan innehålla aspekter av den monomytiska hjälten som inte enbart är relaterade till den typiska krigarhjälten som ses i de flesta actionspel. Istället ramar spelet in krigarens verktyg som språngbrädan till hjälten som älskare, som använder mer fridfulla medel för att uppnå sina mål. Detta exemplifierar potentialen hos videospelsmediet som en plattform för monomyten, och hur spel kan komma att omfatta ett bredare utbud av heroiska figurer än de som finns tillgängliga för närvarande.

Sign language is used widely around the world as a first language for those that are unable to use spoken language and by groups of people that have a disability which precludes them from using spoken language (such as a hearing impairment). The importance of effective learning of sign language and its applications in modern computer science has grown widely in the modern aged society and research around sign language recognition has sprouted in many different directions, some examples using hidden markov models (HMMs) to train models to recognize different sign language patterns (Swedish sign language, American sign language, Korean sign language, German sign language and so on).  This thesis project researches the assessment and skill efficiency of using a simple video game to learn Swedish sign language for children in the ages within the range of 10 to 11 with no learning disorders, or any health disorders. During the experimental testing, 38 children are divided into two equally sized groups of 19 where each group plays a sign language video game. The context of the video game is the same for both groups, where both listened to a 3D avatar speak to them using both spoken language and sign language. The first group played the game and answered questions given to them by using sign language, whereas the other group answered questions given to them by clicking on an alternative on the video game screen. A week after the children have played the video game, the sign language skills that they have acquired from playing the video game are assessed by simple questions where they are asked to provide some of the signs that they saw during the duration of the video game. The main hypothesis of the project is that the group of children that answered by signing outperforms the other group, in both remembering the signs and executing them correctly. A statistical null hypothesis test is performed on this hypothesis, in which the main hypothesis is confirmed. Lastly, discussions for future research within sign language assessment using video games is described in the final chapter of the thesis. / Teckenspråk används i stor grad runt om i världen som ett modersmål för dom som inte kan använda vardagligt talsspråk och utav grupper av personer som har en funktionsnedsättning (t.ex. en hörselskada). Betydelsen av effektivt lärande av teckenspråk och dess tillämpningar i modern datavetenskap har ökat i stor utsträckning i det moderna samhället, och forskning kring teckenspråklig igenkänning har spirat i många olika riktningar, ett exempel är med hjälp av statistika modeller såsom dolda markovmodeller (eng. Hidden markov models) för att träna modeller för att känna igen olika teckenspråksmönster (bland dessa ingår Svenskt teckenspråk, Amerikanskt teckenspråk, Koreanskt teckenspråk, Tyskt teckenspråk med flera). Denna rapport undersöker bedömningen och skickligheten av att använda ett enkelt teckenspråksspel som har utvecklats för att lära ut enkla Svenska teckenspråksmönster för barn i åldrarna 10 till 11 års ålder som inte har några inlärningssjukdomar eller några problem med allmän hälsa. Under projektets experiment delas 38 barn upp i två lika stora grupper om 19 i vardera grupp, där varje grupp kommer att få spela ett teckenspråksspel. Sammanhanget för spelet är detsamma för båda grupperna, där de får höra och se en tredimensionell figur (eng. 3D Avatar) tala till dom med både talsspråk och teckenspråk. Den första gruppen spelar spelet och svarar på frågor som ges till dem med hjälp av teckenspråk, medan den andra gruppen svarar på frågor som ges till dem genom att klicka på ett av fem alternativ som finns på spelets skärm. En vecka efter att barnen har utfört experimentet med teckenspråksspelet bedöms deras teckenspråkliga färdigheter som de har fått från spelet genom att de ombeds återuppge några av de tecknena som de såg under spelets varaktighet. Rapportens hypotes är att de barn som tillhör gruppen som fick ge teckenspråk som svar till frågorna som ställdes överträffar den andra gruppen, genom att både komma ihåg tecknena och återuppge dom på korrekt sätt. En statistisk hypotesprövning utförs på denna hypotes, där denna i sin tur bekräftas. Slutligen beskrivs det i rapportens sista kapitel om framtida forskning inom teckenspråksbedömning med tv spel och deras effektivitet.

<p>This paper considers the roles of critics, newspapers and magazines, in the process ofdescribing computer games and video games as either technical objects or products intendedfor entertainment.The making and “using” of computer games and videogames originates in small groups ofpeople possessing a lot of knowledge in computers, during a time when these kinds of deviceswere very expensive. But now, the gaming culture has grown and almost anyone in oursociety can own and play a video game. For that reason, one could ask the questions “are thegames and the people who plays them still parts of a ‘technical culture’?” and “do we needsome kind of prior knowledge to fully understand the videogame critics?”The critics represent “the official idea” of what a videogame is, how it works and if it is worthplaying. One should be able to trust them since they represent papers and magazines with anassignment to spread information of a serious character. Bourdieus “distinction of taste” and“capital theory” and Vedungs “idea analysis” aided us when we read and analyzed 18computer game and video game reviews in six Swedish news papers and gaming magazines.The conclusion we came up with was that the critics frequently focus their texts to cover the“story”, “graphics”, “feeling” and the “style/genre” of the reviewed games. These dimensionsare easy to understand even if one doesn’t have a lot of experience with video games. Theywere far more common than others that, for example, explained if the game was hard to play,if it contained any bugs (flaws) and discussions like “who would be likely to play thisgame?”, but sometimes they occurred. Dimensions like that require some prior knowledge.Some technical knowledge could help the reader understand more of the reviews, but arerarely essential. According to what we have read in the newspapers and magazines, gamesand gaming could consequently be considered less of a technical question and more of amatter of entertainment.</p>

This paper considers the roles of critics, newspapers and magazines, in the process ofdescribing computer games and video games as either technical objects or products intendedfor entertainment.The making and “using” of computer games and videogames originates in small groups ofpeople possessing a lot of knowledge in computers, during a time when these kinds of deviceswere very expensive. But now, the gaming culture has grown and almost anyone in oursociety can own and play a video game. For that reason, one could ask the questions “are thegames and the people who plays them still parts of a ‘technical culture’?” and “do we needsome kind of prior knowledge to fully understand the videogame critics?”The critics represent “the official idea” of what a videogame is, how it works and if it is worthplaying. One should be able to trust them since they represent papers and magazines with anassignment to spread information of a serious character. Bourdieus “distinction of taste” and“capital theory” and Vedungs “idea analysis” aided us when we read and analyzed 18computer game and video game reviews in six Swedish news papers and gaming magazines.The conclusion we came up with was that the critics frequently focus their texts to cover the“story”, “graphics”, “feeling” and the “style/genre” of the reviewed games. These dimensionsare easy to understand even if one doesn’t have a lot of experience with video games. Theywere far more common than others that, for example, explained if the game was hard to play,if it contained any bugs (flaws) and discussions like “who would be likely to play thisgame?”, but sometimes they occurred. Dimensions like that require some prior knowledge.Some technical knowledge could help the reader understand more of the reviews, but arerarely essential. According to what we have read in the newspapers and magazines, gamesand gaming could consequently be considered less of a technical question and more of amatter of entertainment.

I mitten av 1990-talet närmare bestämt 1996 gjordes en film kallad Diary of a Camper. Filmen handlade om en person som satt och lurpassade på sina fiender i ett datorspel. Det som var speciellt med denna film var inte handlingen eller något fantastiskt kameraarbete. Nej det som var speciellt var det faktum att filmen spelades in i ett datorspel. Denna film anses vara startskottet för machinimakulturen som idag omfattar flera tusen utövare världen över.Det var personerna bakom Diary of a camper som myntade uttrycket machinima som är en sammanslagning av de engelska orden ”machine” och ”animation” alltså maskin och animation. Det finns en annan tolkning där ordets andra stavelse är ”cinema” istället för ”animation” men den officiella ska vara det tidigare. Vad än ordet machinima är ihopsatt av är det en filmteknik där kreatören eller producenten spelar in sin historia i ett TV- eller datorspel. I denna uppsats tittar vi närmare på machinimakulturen och vad för regler, attityder och förhållningssätt som finns i denna tilldags dato, anno 2010, något outforskade arena.