May’s Journey is a game where you help a video game character, May, finding her friend and repairing the broken game world. This is a 3D puzzle game in which players solve an environmental maze by using the game’s pseudo code to manipulate the environment. The game is aimed at 12 to 18-year-old girls and the purpose is to attract them into Computer Science fields by teaching them basics of programming by focusing on logics and concepts while still asking them to type simple instructions in our programming language. Players do this in a compelling environment, with characters they can identify with,embedded in a relevant story. Our design process was based on our research on young female preferences in games and current teaching techniques for programming.Each decision we made whether for the teaching content, the art style, or the game mechanics and the techniques used to develop this game are motivated by the goal of making programming more appealing and interesting for girls. For this, we developed our own pseudo-code language in order to provide an interface that bridges the gap between drag and drop approach and real programming and introduce typing as part of the experience. We tested our game with 10 teenagers aged from 14 to 17 years old for educational content. We were pleased to see how engaged with the game they were. Overall, the testing results were mostly as expected. The players liked the game (rated 4.8 out of 6) and all of them wanted to play more of it. They all felt that they learned something and 8 of them expressed the will to learn more about programming. Unfortunately, the sample of players is too small to generalize our results so we plan to take the feedback into account, iterate and test it again with a larger study group and get conclusive results. Working on this project has allowed us to understand the importance of iterative design and early playtest feedback. We have also learned the importance of tutorials in games and how that might completely change the users’ experience. Finally, a crucial point was the importance of the UI helpers and targeted feedback in serious games.

Otome games are most simply described as Japanese games in which players play through a romance story as a female protagonist wooing a male love interest, the game equivalent of a romance novel. Indie otome games are otome games made in English, and the developers of these games have created a unique development community that is casually observed to be majority female, majority LGBTQ+, and is motivated to make games in part by the lack of romance games available and is only incidentally motivated by the possibility of earning money. After a background discussion on what otome games are, this unique community is examined through survey and interview answers to understand what they consider otome games to be and why they make otome games, while differences from the mainstream game development industry are highlighted. Survey results demonstrate that women make up the majority of developers in the space and that the majority of developers identify as LGBTQ+. The survey and subsequent follow-up interviews show that while a gap in the market of games is a motivating factor for these developers, for a large portion of developers it is not the primary factor, and they would still be making games regardless. The survey also provides insights into how the indie otome developer community defines itself and suggests that the community is still in the process of growing and defining itself.

In this essay a mediated video game reception of the game Life Is Strange is made, with the purpose of examining the players' meaning-making processes from a gender perspective. The materials of this essay consist of videos from six different YouTube channels where each player film themselves whilst playing through Life Is Strange as a way to review and share the gaming experience. The results show how the meaning-making processes are littered with gender discourses and affects. The affects offset discourses by amplification or by revealing discord between available cultural narratives and the simulated reality of the game. Even though the game highlights themes like female-centric relationships, suicide, euthanasia, lesbianism, socio-economic circumstances, social accountability and men's violence against women, it successfully delivers highly involving, enjoyable and appreciated gameplay experience. The game is shown to provide players with a platform around which they can connect and continue to discuss, raise awareness and produce knowledge around these important topics. The fan generated culture will in turn, reach a much larger audience than the game sales numbers reflect. / <p>Treated in seminar at Stockholm University</p>