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Dissertations / Theses on the topic 'Interactive video game'
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Willoughby, A. "Video Game Theatre." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2424.
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Video games are becoming the fastest growing and most lucrative form of entertainment across the globe. The goal of this project was to take gaming to the next level; to the theatre. I have devised an original piece of theatre using the CIC’s of video gaming: Creativity, Interaction, and Community and put on a production from members of the VCU community. Aside from the project, I have detailed why video games are growing in popularity at an alarming rate and why they belong in the category of ‘Art.’ With new technology and new stories being told, the gaming industry is now an entertainment force to be counted. The project was exposed to the VCU community involving gamers from many different areas of study through theatre as our medium allowing us to convey our thoughts, emotions, and message to an audience. This experimental project is an exploration into bridging the world of gaming into the laps of an awaiting audience.
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Woo, Tack. "video game culture and interactivity; An exploration of digital interactive media through a metaphorical approach to video game culture." Thesis, University of Dundee, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.510624.
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Nakamura, Tatsuya. "The Soprants: conceptual and technical framework for a 3D interactive video game." Texas A&M University, 2006. http://hdl.handle.net/1969.1/4306.
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This thesis covers the design of an interactive 3D video game with certain unique
features and demonstrates the design through a prototype implementation. Insect
characters are modeled after human characters and set in a game story. The ants
in the game behave similar to leaf-cutter ants. A 3D game environment based on a
real ant colony nest is created and used for prototyping the game. Insect behavior
based on behavior of real ants is implemented in an interactive 3D environment. The
cinematic scenes and the trailer of the game are created to present the game story.
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Sutterfield, Curtis T. "The relationship between video game user and character." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1337637.
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This thesis identifies and explores the types of communication modes that exist in video games. Different types of communication are identified and discussed based on Frye's audience centered theory of modes. The inferior communication mode, the mimetic communication mode, the leader-centered communication mode, the romantic communication mode, and the mythical communication mode are all explained. A convenience sample of six video game players were interviewed about video games. An analysis of their self-identification statements revealed that players seek a high level of romantic communication when playing video games. The romantic communication mode makes the video game world an idealized place where the players are able to manipulate their circumstances or show more intelligence than the user in reality. Uses of the communication modes are also explained.Department of Telecommunications
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Scantlin, Ronda Mae. "Interactive media : an analysis of children's computer and video game use /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.
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Ahn, Changhyun. "Interacting With Story: Examining Transportation into Video Game Narrative." Cleveland State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=csu1431608782.
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Yates, Brittany Elizabeth McMurray Robert G. "A pilot study assessing energy expenditure during interactive video game play." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2008. http://dc.lib.unc.edu/u?/etd,1899.
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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2008.Title from electronic title page (viewed Dec. 11, 2008). "... in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Exercise and Sport Science Exercise Physiology." Discipline: Exercise and Sports Science; Department/School: Exercise and Sport Science.
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Du, Toit Timon Dawid. "Interactive Media in Archaeology : Video Games for Archaeological Heritage Conservation." Diss., University of Pretoria, 2020. http://hdl.handle.net/2263/78749.
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The use of video games as a sustainable tool for preserving existing archaeological data in an entertaining and interactive manner was investigated. The main aim of such investigation was to explore the potential benefits in terms of archaeological/heritage education, broadcasting, and representing data in a manner that is interactive and encourages critical thinking through play. Game Pass Shelter, located at Kamberg in the uKhahlamba Drakensberg Park was used to create a virtual environment in a video game that accurately represents traditional Bushmen rock art and folklore. Two phases were featured in the development of the video game: (i) getting feedback from gamers through a questionnaire I had designed, and (ii) using the identified recommendations to design the 2D video game using Unity Game Engine (a free video game development piece of software). This 2D video game, defined by authenticity to the represented folklore, features rock art motifs from Game Pass Shelter used against the backdrop of the Spoiling of the Eland traditional story. The video game begins with the ‘Rosetta Stone’ of southern African rock art and contextualises it using selected traditional folklore. Through this process, the video game aims to show why hunting was so important to the traditional Bushmen way of life. It further shows why eland were so valued and some unique beliefs that the Bushmen had concerning them.Dissertation (MA (Archaeology))--university of Pretoria, 2020.
Anthropology and Archaeology
MA (Archaeology)
Unrestricted
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Young, David M. "Adaptive Game Music: The Evolution and Future of Dynamic Music Systems in Video Games." Ohio University Honors Tutorial College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1340112710.
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Jensen, Michelle. "New Media and Interactivity." University of Sydney, 2006. http://hdl.handle.net/2123/1522.
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Master of Visual ArtsDigital/video games1 have entertained for 40 years and are a medium with the ability to reach a vast audience. In an article published in the Sydney Morning Herald, Charles Purcell reports that; “Globally, Halo 2 has sold more than 7 million copies. Both in the US and Australia it broke the film box-office record for the most earnings in the first 24 hours of release. The worldwide Halo 2 community on X-box Live has about 400,000 players… at the World Cyber Games in Seoul. Last year, gold medallist Matthew Leto won $US20,000 ($AUS27,0000) after his second consecutive Halo title.” 2. Game consoles have become a part of many lounge rooms just as the television did before them. Games are even commonplace in many coat pockets and carrying bags. This dissertation is concerned with the medium of digital/video games in relation to its effect on Game Art. It is also concerned with the concept of my studio work that deals with “evil” and the “uncanny” which are discussed in chapter four. My research looks at games and how they have developed and the relationship to contemporary art. A history of this development is explored in chapter two. My research will help me in developing an interactive piece. Throughout my current research the thoughts of author of The Second Self: Computers and the Human Spirit Sherry Turkle resonate: “…not what will the computer be like in the future, but instead, what will we be like? What kind of people are we becoming?” 3 It is interesting to consider the video/digital games as experiments of who we are or who we would like to be, little fantasies of empowerment. In a game we are able to live out our frustrations or fantasies in a closed and predictable experience.
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Paustian, Shane William. "Designing an interactive visualization for intrusion detection systems with video game theory and technology." [Ames, Iowa : Iowa State University], 2007.
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Pickmans, León Jorge Tulio. "El Desarrollo de los videojuegos limeños y sus avances en la última década. Casos: Bamtang Games y Leap Game Studios." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/653214.
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El presente trabajo universitario desarrollado por Jorge Tulio Pickmans León, en calidad de estudiante de la facultad de Comunicaciones en la especialidad de Audiovisual y Medios Interactivos, de la Universidad Peruana de Ciencias Aplicadas, tiene como finalidad ser un trabajo de investigación con tema principal el desarrollo de videojuegos en el Perú, precisamente de Lima provincia, y cómo estos son vistos en un entorno internacional. Además de analizar los factores de desarrollo que están impulsando o retrasando esta joven industria. Para ello, se investigará el mercado y el público objetivo a través de un estudio mixto de investigación. Y con ello, analizar las principales empresas del rubro: Bamtang Games y Leap Game Studios, y sus aportes en el mercado.The present university work written by Jorge Tulio Pickmans León, as a student of the Communication faculty in the specialty of Audiovisual and Interactive Media, of the “Universidad Peruana de Ciencias Aplicadas” (Peruvian University of Applied Sciences), aims to be an investigation project having as a main topic the development of video games in Peru, precisely from Lima City, and how they are seen in an international environment. Plus, to analyze the development factors that are improving or delaying this young industry. In order to do this, the market and the target audience will be investigated through a mixes research study. And with that, analyze the main companies in the work field: Bamtang Games and Leap Game Studios, and their contributions in the market.
Trabajo de investigación
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Alhidari, Abdullah. "Co-Creating Value in Video Games: The Impact of Gender Identity and Motivations on Video Game Engagement and Purchase Intentions." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc799485/.
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When games were first developed for in-home use, they were primarily targeted almost exclusively at children and males. However, today’s marketplace manifests a more diverse population plays Internet-enabled games that can be played virtually anywhere. The average gamer is now 30 years old. Many gamers, obviously, are much older. Yet more strikingly, and more germane to this study’s purpose, 47% of the U.S. gamer population is female, as compared to 40% in 2010. Despite these trends the gaming industry remains a male-dominated culture. The marketer’s job is to facilitate game engagement and to motivate gamers to play. The notion of “engagement” is not new in business. The term was developed in the last decade. Many studies were devoted to understand, explain, and define the term. It suggests that within interactive, dynamic business environments, consumer engagement (CE) represents a strategic position that companies can use to enhance their sales growth, competitive advantage, and profitability. Moreover, there are three levels of engagement in any experiential consumption (i.e., playing video game): presence, flow, and psychological absorption. The findings of this study affirm that consumer engagement, including presence, flow and psychological absorption are explanatory factors that impact gamer’s purchase intentions. Our results show that consumers experience different mental engagement in an interactive environment (i.e., playing video games) compared to passive environments (i.e., visiting a website). These findings change our understanding of consumers’ engagement and flow state. We also found that male and female gamers experience different engagement level. However, we did not find a significant result that masculinity and femininity traits impact gamers’ engagement or intention. We argue that macroeconomic factors results in sales fluctuation may have resulted in reject in this hypothesis. Thus, marketers shed a light into the consumer’s interactive environment and flow states in that environments. Consumers not only determine the value in using a product as Vargo and Lusch suggested, but they also create that value. Also, consumer experience is an ongoing process that does not have a specific point to start, making the value creation a temporally accumulative process that includes past, present, and future experience. Therefore, the value created by consumers is not created while physically interacting with a device to play, but it may include imagined and indirect interaction with the product. Therefore, consumers (i.e., gamers) need to maintain a balance between presence and psychological absorption (i.e., flow) to get the best experience in play video gaming. Empirical evidence suggest that consumers’ flow state engagement is the most important variable in determining their ensuing purchase intention for video games, regardless of game genre.
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Rutherford, Kevin J. "Playing/Writing: Connecting Video Games, Learning, and Composition." Miami University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=miami1281125116.
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Tiryakioglu, Nevsal. "A Theoretical Study of the Interactive Communication Process in Video Game Playing: A Symbolic Interactionist Approach." TopSCHOLAR®, 2001. http://digitalcommons.wku.edu/theses/642.
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Video games have become the most popular leisure activity among children and adolescents. The increasing popularity of video games has urged researchers to determine the effects of video game playing on youngsters. Given the fact that most popular video games are violent in nature, much of the research has primarily focused on the correlation between playing video games with violent content and aggressive behavior in children. Most researchers have relied on previous media violence research, assuming similarities between television viewing and video game playing. However, video games are interactive media allowing the player to participate in the game scenario, which may intensify the impact of video game playing. Furthermore, the extent of possible influence by a video game may depend on the individual and environmental factors surrounding the player. This study examines the factors involved in video game playing within an interactive communication context. To achieve this goal, symbolic interactionism is used as a theoretical ground to explicate the interactive communication during video game playing. Once the pertinence of symbolic interaction theory to the player-video game interaction is demonstrated, the conceptual framework of symbolic interactionism is applied to video game playing. Based on the previous mass media models and symbolic interactionism, the interactive communication during video game playing is investigated. First, the individual and environmental factors surrounding the player are identified. Second, a theoretical model named "video game interaction model (VGIM)" is developed to examine how these factors affect the interactive communication during video game playing. VGIM illustrates the dynamics of the player-video game interaction and the relations among the variables contributing to this interaction.
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Westlund, Magnus. "Exploring technology and design for interactive TV on tvOS : A game show as an example." Thesis, KTH, Skolan för datavetenskap och kommunikation (CSC), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-191171.
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This project explores the ability to use “smart” media devices for the TV set as platforms for interactive TV shows. The research approach was research-based design where a prototype was designed, developed, and evaluated with user tests. The project used a Swedish television game show called “På spåret” and an application for tvOS on Apple TV was developed, which allow users to play along with the show. The software implements a model-view-controller architecture and uses the AVFoundation framework for playing video streams together with the UIKit framework to create interactive overlay views. The interactive elements were synchronized with the video by the usage of metadata. The user test results show that the interactive TV show gained in both entertainment and excitement among the users. Further conclusions are that interactive elements can be available both during playing or paused video and the context should decide which mode. A multimodal interface with gestures and sound as feedback seems to be a good option, based on user tests. This project also presents a solution for user input with the remote, using a virtual keyboard together with filter function. The user filtering out the input from a data set to minimize the typing of letters. User tests show that the filter solution seems to be a good option for text input in a specific domain or category of allowed input. However, for free text input, a better method is required.Detta projekt utforskar möjligheten att använda ”smarta” mediaspelare till TV-apparaten som plattform för interaktiva TV program. Forskningsmetoden var forskningsbaserad design där en prototyp designades och utvecklades som sedan utvärderades med användartest. Projektet använde sig av TV-programmet ”På spåret” som scenario och en applikation, som tillåter användare att spela med i programmet, utvecklades till Apple TV och tvOS. Applikationen implementerade model-view-controller-arkitektur och använde sig av ramverken AVFoundation samt UIKit för att skapa interaktiva överläggsvyer på en video-vy med strömmande video. De interaktiva inslagen synkades med videon med hjälp av metadata. Användartesterna visar på att det interaktiva TV-programmet ökade både i underhållningsvärde och i exaltation hos testpersonerna. Vidare slutsatser är att interaktivitet kan implementeras både under spelande och pausad video, och vilket man väljer är det som passar videoinnehållet bäst. Multimodala interaktioner såsom gester och feedback med ljud rekommenderas baserat på användartesterna. I detta projekt presenteras också en lösning för användarinput med fjärrkontrollen. Med ett virtuellt tangentbord filtrerar användaren ut sin inputdata utifrån en bestämd datamängd, vilket minimerar antalet skrivna bokstäver. Användartester bekräftar att filterlösningen är ett bra alternativ för inmatning i en specifik kategori av tillåten input. För helt fri textinmatning behövs dock bättre metoder.
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Perry, Allison. "Women and Video Games: Pigeonholing the Past." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/135.
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Academic work dealing with the overlap between video games and female representation is limited in both volume and proper research. Most texts agree on three supposed flaws with video games: they alienate female participants, there are no games for female players, and female players cannot relate to female characters. This thesis sheds light on these points, not only citing specific counter-examples, but also showing how many of these issues reflect on a larger societal problems.
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Lundh, Haaland Magnus. "The Player as a Conductor : Utilizing an Expressive Performance System to Create an Interactive Video Game Soundtrack." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-281324.
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Music is commonly applied in art and entertainment to enhance the emotional experience. In video-games and other non-linear mediums this task must be achieved dynamically at run-time, as the timeline of events is unknown in advance. Different techniques have been developed to solve this issue, but most commercial applications still rely on pre-rendered audio. In this study, I investigate using a Computer System for Expressive Music Performance (CSEMP) to dynamically shape a computer performance of a pre-composed track to a small platforming game. A prototype environment utilising the KTH Rule System was built and evaluated through semistructured interviews and observations with 7 participants. The results suggest that changes in the musical performance can successfully reflect smaller changes in the experience such as character movement, and are less effective for sound effects or more dramatic changes, such as when the player is engaging in combat or when the player loses. All participants preferred the interactive soundtrack over a non-interactive version of the same soundtrack.Musik används ofta som ett komplement i konst och underhållning för att förstärka den känslomässiga upplevelse. I datorspel och andra icke-linjära medier måste musiken ta på sig denna rollen dynamiskt, eftersom det inte går att veta hur händelserna kommer utfalla sig i förväg. För att lösa detta problem har det utvecklats olika tekniker, men dom flesta är fortfarande baserade på digitala inspelningar. I denna studie utforskar jag användningen av ett "Computer Systen for Expressive Musig Performance" (CSEMP) för att dynamiskt forma datorns framträdande av en lineär komposition till ett enkelt plattformsspel. En prototyp baserat på systemet "KTH Rule System" utvecklades och utvärderades genom semistrukturerade intervjuer och observationer med 7 deltagare. Resultaten visar att förändringar i uppspelningen lyckades spegla mindre förändringar i spelet, såsom hur en spelkaraktär rör sig, och var mindre effekt som ljudeffekter och för större förändringar, såsom när spelaren är i fara eller spelet är över. Alla deltagare föredrog det interaktiva ljudspåret över en icke-interaktiv version i det samma ljudspåret.
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Dymek, Mikolaj. "Industrial Phantasmagoria : Subcultural Interactive Cinema Meets Mass-Cultural Media of Simulation." Doctoral thesis, KTH, Industriell ekonomi och organisation (Avd.), 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-13084.
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The video game industry has in three decades gone from a garage hobby to a global multi-billion euro media industry that challenges the significantly older and established cultural industries. After decades of explosive growth the industry surprisingly finds itself in a crisis – in terms of sales, future trajectories and creative paradigms. The global gaming culture receives substantial attention from society, media and academia – but the industry itself appears in comparison as an enigmatic terra incognita with astonishingly little dedicated research. This thesis aims to amend this situation by presenting a study at the cross-section of the video game industry, game studies, literary theory, cultural industries and business studies. It deals with the following question: how does the global game industry relate to its own product, in terms of communication and media dimensions, and what are the (business) consequences, in terms of production, strategy and commercial/creative innovation, of this relationship? This study’s departure point is constituted by a comprehensive description of the industry’s structure, dynamics and processes, based on extensive interviews with industry professionals. It is followed by an examination and comparison of the game industry with other media/cultural industries in relation to their economy and business dynamics. With inconclusive answers regarding the medium-industry relation, this study proceeds by exploring literary theories from the field of game studies, in order to gain insights into the dynamics of medium and industry. Literary theories from ludology and narratology provide rewarding perspectives on this inquiry, since it is found that the ontological dichotomy of simulation vs. respresentation present in the interpretational realm of the game medium is also reflected in the industry and its dynamics. This has pivotal consequences for the analysis of the game industry. This study concludes by positing the current critical condition of the industry as an extremely decisive moment in its history: will it become a truly universal mass-medium, or will it continue down its subcultural path? Subcultural “interactive cinema” meets mass-cultural media of simulation – how will the industry evolve?QC20100708
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Andersson, Olliver. "Exploring new interaction possibilities for video game music scores using sample-based granular synthesis." Thesis, Luleå tekniska universitet, Medier, ljudteknik och teater, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-79572.
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For a long time, the function of the musical score has been to support activity in video games, largely by reinforcing the drama and excitement. Rather than leave the score in the background, this project explores the interaction possibilities of an adaptive video game score using real-time modulation of granular synthesis. This study evaluates a vertically re-orchestrated musical score with elements of the score being played back with granular synthesis. A game level was created where parts of the musical score utilized one granular synthesis stem, the parameters of which were controlled by the player. A user experience study was conducted to evaluate the granular synthesis interaction. The results show a wide array of user responses, opinions, impression and recommendations about how the granular synthesis interaction was musically experienced. Some results show that the granular synthesis stem is regarded as an interactive feature and have a direct relationship to the background music. Other results show that interaction went unnoticed. In most cases, the granular synthesis score was experienced as comparable to a more conventional game score and so, granular synthesis can be seen a new interactive tool for the sounddesigner. The study shows that there is more to be explored regarding musical interactions within games.For contact with the author or request of videoclips, audio or other resources
Mail: olliver.andersson@gmail.com
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Wood, Hannah. "Video game 'Underland', and, thesis 'Playable stories : writing and design methods for negotiating narrative and player agency'." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/29281.
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Creative Project Abstract: The creative project of this thesis is a script prototype for Underland, a crime drama video game and digital playable story that demonstrates writing and design methods for negotiating narrative and player agency. The story is set in October 2006 and players are investigative psychologists given access to a secure police server and tasked with analysing evidence related to two linked murders that have resulted in the arrest of journalist Silvi Moore. The aim is to uncover what happened and why by analysing Silvi’s flat, calendar of events, emails, texts, photos, voicemail, call log, 999 call, a map of the city of Plymouth and a crime scene. It is a combination of story exploration game and digital epistolary fiction that is structured via an authored fabula and dynamic syuzhet and uses the Internal-Exploratory and Internal-Ontological interactive modes to negotiate narrative and player agency. Its use of this structure and these modes shows how playable stories are uniquely positioned to deliver self-directed and empathetic emotional immersion simultaneously. The story is told in a mixture of enacted, embedded, evoked, environmental and epistolary narrative, the combination of which contributes new knowledge on how writers can use mystery, suspense and dramatic irony in playable stories. The interactive script prototype is accessible at underlandgame.com and is a means to represent how the final game is intended to be experienced by players. Thesis Abstract: This thesis considers writing and design methods for playable stories that negotiate narrative and player agency. By approaching the topic through the lens of creative writing practice, it seeks to fill a gap in the literature related to the execution of interactive and narrative devices as a practitioner. Chapter 1 defines the key terms for understanding the field and surveys the academic and theoretical debate to identify the challenges and opportunities for writers and creators. In this it departs from the dominant vision of the future of digital playable stories as the ‘holodeck,’ a simulated reality players can enter and manipulate and that shapes around them as story protagonists. Building on narratological theory it contributes a new term—the dynamic syuzhet—to express an alternate negotiation of narrative and player agency within current technological realities. Three further terms—the authored fabula, fixed syuzhet and improvised fabula—are also contributed as means to compare and contrast the narrative structures and affordances available to writers of live, digital and live-digital hybrid work. Chapter 2 conducts a qualitative analysis of digital, live and live-digital playable stories, released 2010–2016, and combines this with insights gained from primary interviews with their writers and creators to identify the techniques at work and their implications for narrative and player agency. This analysis contributes new knowledge to writing and design approaches in four interactive modes—Internal-Ontological, Internal-Exploratory, External-Ontological and External-Exploratory—that impact on where players are positioned in the work and how the experiential narrative unfolds. Chapter 3 shows how the knowledge developed through academic research informed the creation of a new playable story, Underland; as well as how the creative practice informed the academic research. Underland provides a means to demonstrate how making players protagonists of the experience, rather than of the story, enables the coupling of self-directed and empathetic emotional immersion in a way uniquely available to digital playable stories. It further shows how this negotiation of narrative and player agency can use a combination of enacted, embedded, evoked, environmental and epistolary narrative to employ dramatic irony in a new way. These findings demonstrate ways playable stories can be written and designed to deliver the ‘traditional’ pleasure of narrative and the ‘newer’ pleasure of player agency without sacrificing either.
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Kirkwood, Demetrice. "The Effects of Playing Exergames on Energy Expenditure." TopSCHOLAR®, 2011. http://digitalcommons.wku.edu/theses/1133.
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The purpose of this study was to assess the performance, ratings of perceived exertion, metabolic responses, and energy expenditure as individuals participated in interactive video game play. There were 14 participants that participated in the study, whose age was 20.1 ± 1.64 years of age. Participants completed a maximal aerobic test to exhaustion (VO2max test), and then 30 minute testing session on both the Kinect Adventures (K) and Wii Fit Plus game. Data were analyzed using a dependent t-test and one-way ANOVA. Significance was accepted at P ≤ 0.05. Energy expenditure and RPE were significant in both exergames interactive game play P=0.044 and P < 0.05, respectively. In addition, heart rate (P=0.001) and performance during exergame play P=0.00015 were of significance in the Xbox Kinect and Wii Fit Plus. In conclusion, we found that individuals participating on the exergame Xbox Kinect expends more calories and work at a higher intensity than the Wii Fit Plus, thus justifying an alternative way to participate in physical activity via exergames. As an alternative way to exercise, individuals can meet the daily requirements of energy expenditure of moderate intensity, which is 150-400 kcals.
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Haji, Mohammad Ali Sabbagh Shabnam. "Digital Interactive Games for Assessment: A Study of the Effectiveness of a Digital Game as a Measure of Students' Understanding of Boolean Logic." Master's thesis, University of Central Florida, 2014. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/6284.
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Digital games have been used mostly for entertainment but recently researchers have started to use digital games in other areas such as education and training. Researchers have shown that digital games can provide a compelling, creative, and collaborative environment for learning. However, the popularity of computers and the Internet brings this question to mind: Are the assessment methods falling behind and remaining traditional? Will the traditional methods of learning and knowledge assessment be sufficient for this new generation who are starving for new technology?
This study investigates the effectiveness of using a digital interactive game as an assessments method – in this case a mini-game that was designed to assess the student's knowledge on basic Boolean logic. The study reports on the performance differences of the students who participated in this study and correlations between the performance of these students in a digital interactive game, written tests and their in-class performance to examine the effectiveness of using a digital game as a new knowledge assessment method.M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Emerging Media; Digital Media
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Hadzinsky, Chad. "A Look into the Industry of Video Games Past, Present, and Yet to Come." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/cmc_theses/842.
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Since its inception, the video game industry has been both a new medium for art and innovation as well as a major driving force in the advancements of many technologies. The often overlooked video game industry has turned from a hobby to a multi-billion dollar industry in its short, forty year life. People of all ages and genders across the world are playing video games at a higher clip than ever before. With so many new gamers and emerging technologies, it is an exciting time for the industry. The landscape is constantly changing and successful business models of the past will need to find ways to adapt if they wish to remain successful in the growing industry.
Looking at how past trends and technological innovations have driven the industry gives understanding and insight into where it is at today and where it will go in the future. Video games have become an interactive art medium which inspires users to explore and create. The digitalization of games and their extreme popularity reflect our instinctive desire to seek out game-playing for its fun, cooperative, and competitive nature.
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Davies, Huw. "Towards a more versatile dynamic-music for video games : approaches to compositional considerations and techniques for continuous music." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:3f1e4cfa-4a36-44d8-9f4b-4c623ce6b045.
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This study contributes to practical discussions on the composition of dynamic music for video games from the composer’s perspective. Creating greater levels of immersion in players is used as a justification for the proposals of the thesis. It lays down foundational aesthetic elements in order to proceed with a logical methodology. The aim of this paper is to build upon, and further hybridise, two techniques used by composers and by video game designers to increase further the reactive agility and memorability of the music for the player. Each chapter of this paper explores a different technique for joining two (possibly disparate) types of gameplay, or gamestates, with appropriate continuous music. In each, I discuss a particular musical engine capable of implementing continuous music. Chapter One will discuss a branching-music engine, which uses a precomposed musical mosaic (or musical pixels) to create a linear score with the potential to diverge at appropriate moments accompanying onscreen action. I use the case study of the Final Fantasy battle system to show how the implementation of a branching-music engine could assist in maintaining the continuity of gameplay experience that current disjointed scores, which appear in many games, create. To aid this argument I have implemented a branching-music engine, using the graphical object oriented programming environment MaxMSP, in the style of the battle music composed by Nobuo Uematsu, the composer of the early Final Fantasy series. The reader can find this in the accompanying demonstrations patch. In Chapter Two I consider how a generative-music engine can also implement a continuous music and also address some of the limitations of the branching-music engine. Further I describe a technique for an effective generative music for video games that creates musical ‘personalities’ that can mimic a particular style of music for a limited period of time. Crucially, this engine is able to transition between any two personalities to create musical coincidence with the game. GMGEn (Game Music Generation Engine) is a program I have created in MaxMSP to act as an example of this concept. GMGEn is available in the Demonstrations_Application. Chapter Three will discuss potential limitations of the branching music engine described in Chapter One and the generative music engine described in Chapter Two, and highlights how these issues can be solved by way of a third engine, which hybridises both. As this engine has an indeterminate musical state it is termed the intermittent-music engine. I go on to discuss the implementation of this engine in two different game scenarios and how emergent structures of this music will appear. The final outcome is to formulate a new compositional approach delivering dynamic music, which accompanies the onscreen action with greater agility than currently present in the field, increasing the memorability and therefore the immersive effect of the video-game music.
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Al-Sader, Mohamed. "Gaze-driven interaction in video games." Thesis, Linköpings universitet, Medie- och Informationsteknik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-156718.
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The introduction of input devices with natural user interfaces in gaming hardware has changed the way we interact with games. Hardware with motion-sensing and gesture recognizing capabilities remove the constraint of interacting with games through typical traditional devices like mouse-keyboard and gamepads. This changes the way we approach games and how the game communicates back to us as the player opening new levels of interactivity. This thesis covers how eye tracker technology can be used to affect rendering effects in games.
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Rempulski, Nicolas. "Synthèse dynamique de superviseur pour l'exécution adaptative d'applications interactives." Thesis, La Rochelle, 2013. http://www.theses.fr/2013LAROS407/document.
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Cette thèse a pour objectif de proposer des solutions aux problématiques de la narration interactive. Nous souhaitons ainsi proposer une méthode de conception pour les auteurs, ainsi qu’une logique d’exécution utilisant ce modèle pour contrôler la construction d’un récit. Nous appliquons nos travaux au contexte des jeux vidéo, mais souhaitons adresser la narration interactive dans une dimension plus large. Nous abordons la narration interactive comme une déstructuration de la narration classique. Le processus de création du récit n’est ainsi plus à la seule charge de l’auteur, mais implique également le public. Au travers d’une revue de la narration classique, nous souhaitons donc, dans un premier temps, formaliser le récit et ses enjeux. Nous utilisons ensuite le concept d’œuvre en mouvement pour identifier les processus et acteurs mis en jeu dans la coproduction d’une œuvre, et ainsi définir les enjeux de nos travaux. Pour adresser ces problématiques, nous proposons un modèle de la narration interactive à base d’automates. Celui-ci permet un contrôle et une vérification des récits possibles, tant lors de la conception, que dynamiquement à l’exécution. Cependant ce formalisme peut être complexe à prendre en main pour des auteurs non-initiés. Ainsi, nous formulons un modèle de haut-niveau, basé sur les concepts de la narratologie, permettant à ces derniers de créer un modèle de narration interactive en manipulant des concepts qu’ils maitrisent. Ce modèle est alors converti vers notre modèle à base d’automates. Ce dernier sert alors de référent pour le contrôle dynamique de la narration interactive par un superviseur multi-agents. Celui-ci, par observation des évènements produits dans le jeu vidéo, est alors en mesure de contrôler le récit en cours de production pour garantir les critères de qualités spécifiés par l’auteur. Nous proposons une implémentation de notre approche sous la forme d’un framework, comprenant notamment des outils auteurs d’édition des modèles que nous définissons, mais également les algorithmes de supervision nécessaires à l’asservissement de l’univers virtuel du jeu vidéoThis PhD thesis has for objective to propose solutions to interactive storytelling problems. We aim to propose a design method for the authors, as well as a logic of execution using this model to control the narrative unfolding. We apply our works in the video games context, but wish to address interactive storytelling in a wider dimension. We so approach the interactive story as a breakdown of the classic storytelling. Indeed, interactive storytelling creation process is not any more only under the author responsability, but also involves spectators. Through a review of the classic storytelling, we thus wish, at first, to formalize storytelling and its stakes. We use then the concept of ”œuvre en mouvement” to identify processes and actors involved in this creation process of a work, and thus to define the stakes in our research works. We propose an interactive storytelling mode base on automata. This one allows a controland a check on possible narratives, during design as well as dynamically while producing the story. However this formalism is complex to handle by authors. So, we formulate a top-level model, based on storytelling concepts, allowing authors to create an interactive story model using concepts they know. This model is then converted into our automaton based model. The latter serves then as referent for the dynamic control of the interactive storytelling, done by a supervisor multi-agents. This one, by observing produced events in the video game, is then able of controlling and guarantee the quality criteria specified by authors. We propose an implementation of our approach in a framework, including authoring tools to edite our models. We also implements automata check and supervision algorithms necessary to control video game virtual universe
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Bedoya, De Lama Luis Sebastian. "La influencia de la jerarquía visual en la aprendibilidad de los videojuegos de administración de recursos." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/652367.
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En esta investigación se evaluó la influencia de los principios de jerarquía visual en la aprendibilidad de las interfaces de videojuegos de administración de recursos, a lo cual se postuló la hipótesis de que la jerarquía visual aplicada en el diseño de la interfaz de usuario en juegos de este género influyen de manera positiva en la aprendibilidad, facilitando el reconocimiento de los elementos gráficos y la memorización de los pasos a realizar para lograr la victoria disminuyendo la posibilidad de abandono del juego por parte de jugadores nuevos. Para llegar a este supuesto, se analizó documentalmente dos videojuegos del género Estrategia en Tiempo Real desarrollados del 2008 al 2018. De igual manera, se realizaron pruebas de usabilidad en dichos videojuegos y, consecuentemente, encuestas que midan la aprendibilidad según la opinión de los participantes. Los resultados del análisis documental sugieren la aplicación de los principios de semejanza, región común, proximidad y de contraste. En los resultados de las pruebas de usabilidad y encuestas se registró que los usuarios consideran que el ordenamiento de los elementos gráficos les ayudó a realizar las acciones dictadas, memorizarlas y usarlas de manera más rápida para poder conseguir la victoria. Podemos concluir que existe una influencia positiva de la jerarquía visual en la velocidad y eficacia de aprendizaje de las interfaces en los videojuegos del género estudiado y, que la aplicación de los principios busca el logro de uso en lugar de un orden de importancia de los elementos del juego.In this investigation we analyzed the influence of the principles of visual hierarchy in the learnability of resource management video game interfaces, to which a hypothesis was postulated regarding how visual hierarchy applied to user interface design on games of this genre influence positively in the learnability, making easier the recognition of graphic elements and the memorization of the steps to achieve victory lowering the possibility of game quitting in new players. To achieve this supposition, two Real Time Strategy video games that were developed from 2008 to 2018 were analyzed. Similarly, usability tests of such games were made, and, therefore, surveys that measure the learnability from the participants standpoint. The results of the documentary analysis suggest that the application of the principles of similarity, common fate, proximity and contrast. In the results of the usability tests and surveys it was recorded that the arrangement of graphic elements helped them to achieve the dictated tasks, memorizing them and using them in the fastest way to achieve victory. We can conclude that there’s a positive influence of visual hierarchy in the speed and effectiveness of learning from the videogame interfaces of the studied genre and, that the application of the principles look for a successful experience rather than just a hierarchy order between the game assets.
Trabajo de investigación
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McLean, David Parsons. "It's in the Game: The effect of Competition and Cooperation on Anti-Social Behavior in Online Video Games." Thesis, Virginia Tech, 2016. http://hdl.handle.net/10919/71667.
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Video games have been criticized for the amount of violence present in them and how this violence could affect aggression and anti-social behavior. Much of the literature on video games effects has focused primarily on the content of video games, but recent studies show that competition in video games could be a major influence on aggression. While competing against other players has been shown to increase aggression, there is less research on whether the mere presence of a competitive environment can influence aggression. The existing research has also primarily been performed using surveys and lab experiments. While these two approaches are very useful, they lack the ecological validity of methods like field experiments. This study examined how competitiveness, teamwork, and co-operation affect anti-social behavior in video games. A 2 (competition: high vs low) x 2 (cooperation: vs no cooperation) x 2 (team: teammates vs opponents) online field experiment on hostile speech was performed. In this study, it was found that players experience more hostile language from their teammates than they do opponents. However, neither the level of competition nor cooperation had an effect on hostile language. There was a significant interaction between player team and cooperation, with teammates being less hostile in the cooperation condition and enemies being more hostile in the cooperation condition. Implications for hostility in online video games and group dynamics within online games are discussed.Master of Arts
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Gançarski, Pierre. "Le controle de l'interactivite et du temps dans la production d'animation." Université Louis Pasteur (Strasbourg) (1971-2008), 1988. http://www.theses.fr/1988STR13217.
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Etude des concepts entrant dans la definition d'un systeme destine a realiser des animations simples a scenario interactif. L'idee de base consiste a associer un acteur a chacun des intervenants d'une animation et a conserver le scenario dans son integralite. Ce scenario est un programme qui gere l'ensemble des evenements reconnus par l'animation ainsi que certains types de liens entre acteurs ou de contraintes appliquees a ceux-ci. Ce programme est mis sous forme d'un systeme reactif. La structure du systeme realise, ses differents composants et son implantation sont decrits en esterel et c**(++)
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Braaf, Adele. "A grounded theory for active video game design to promote gamer engagement and immersion." Thesis, Cape Peninsula University of Technology, 2017. http://hdl.handle.net/20.500.11838/2724.
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Thesis (MTech (Information Technology)--Cape Peninsula University of Technology, 2017.Active Video Games (AVGs) are a form of video games that rely on gamer motion as the main source of interaction between the AVG and the player. These AVGs serve a number of purposes, such as medical rehabilitation, education, social development, and motor skill development, among others. Prolonged play of AVGs is not sustainable as gamers lose interest in playing AVGs after the initial period of acquiring them. Therefore, the following research question was posed: “What design factors contribute to an engaged and immersed AVG experience?” The aim was to explore the inhibiting and enhancing factors influencing engagement and immersion among AVG gamers, as well as to develop a theory of AVG design. Constructivist Grounded Theory (CGT) was used as the methodology to carry out this study, which adopted an inductive approach towards the research to construct a theory firmly grounded in the data. Play Active Theory (PAT) is the outcome of this process, which explores the engagement and immersion factors related to AVG design as well as the abandonment and replayability of AVGs. PAT was compared to existing engagement and motivation theories as part of the CGT process, and further refined. In closing, the research question was answered and the aims of the study were met. A reflection account of the research journey concludes the thesis.
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Le, Prado Cécile. "Ecriture sonore : entre déterminisme, émergence et interactivité." Thesis, Paris, CNAM, 2013. http://www.theses.fr/2013CNAM0913/document.
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L’auteur de cette thèse a réalisé, en tant que compositeur, un ensemble d’installations sonores. Ce travail part d’une composition déterministe et linéaire et mène progressivement à une œuvre ouverte. Durant les dernières années, ce travail a été influencé par les méthodes d’écritures utilisées dans la conception de jeux vidéo, aboutissant à des œuvres sonores spatiales et interactives. Dans le processus de conception de ces dernières, le compositeur va être amené à penser la conception sonore dans un espace virtuel ou réel en fonction des déplacements d’un auditeur. Une façon de mener cette démarche est de laisser l'auditeur interagir avec le système au travers de personnages non joueurs (PNJ). Un tel choix témoigne de l'évolution du rôle du compositeur depuis la construction d’une œuvre linéaire et déterministe vers celle d’une œuvre ouverte et non déterminisme. Pour une pièce donnée, le créateur laisse à l’interacteur un certain degré de liberté et au système un certain degré d'autonomie.Nous débutons ce travail par un état de l'art couvrant divers domaines, de l'art interactif aux agents intelligents.Le troisième chapitre est consacré à l'analyse des pièces interactives conçues par des musiciens, plasticiens, designers de jeux. De cette analyse, nous dégageons un ensemble de critères de classification et nous plaçons ces œuvres d'art dans un triangle Concepteur/Interacteur/Système (C.I.S.). La position d’une œuvre dans ce triangle détermine la latitude que laisse le concepteur aux deux autres protagonistes.Le quatrième chapitre pose la problématique de cette thèse. Nous sommes partis du fait qu’une méthode et à fortiori des outils informatiques sont souvent liés à un style d’écriture. L’histoire des outils d’écriture informatique, jusqu’aux moteurs de jeux vidéo, reflète des visions différentes de ce qu’est la notion d’interactivité dans un domaine et à une époque donnée. Nous proposons ici que le concepteur puisse prendre le point de vue d’un des deux autres protagonistes: l’interacteur ou les PNJ. Ceci aboutit à deux styles que nous appelons le style scripté d’une part et le style émergent d’autre part. Nous comparons ces styles d’un point de vue de l’écriture dans les jeux, de la notion de narrateur, de l’ouverture de l’œuvre et du style de programmation. Cette première comparaison formelle ne permet pas de tirer des conclusions convaincantes. Le cinquième chapitre est consacré à la conception et au développement d’une même installation, Le promeneur écoutant, selon les deux styles cités au chapitre précédent. La version scriptée a été réalisée dans le cadre du projet Terra Dynamica. Nous en proposons une seconde écriture en style émergent et comparons le résultat des deux approches. Nous parcourons l’ensemble des étapes de conception et de réalisation, de la spécification informelle à la programmation. Nous analysons du point de vue du concepteur ces deux styles. Nous montrons que le style émergent, séduisant à priori, aboutit à une complexité de création et de mise en œuvre très importante. Dans les deux cas, les lacunes et besoins en matière de méthodes et d’outils sont mis en évidence.Dans la conclusion, ce travail d’expérimentation est complété par une enquête donnant le point de vue de plusieurs concepteurs d’œuvres interactives sur notre problématique. Nous concluons par une synthèse de ce travail et une analyse de ses développements possibles tant sur le plan conceptuel de l’écriture que sur le développement d’outils auteursThe author of this thesis has worked as music composer on numerous sound walk art installations. During the last decade, this work has been influenced by the design methods used in video games, leading to interactive sound walk pieces. In the design process of such pieces, as compared with interactive music works, the composer must write her/his sound design in a real or a virtual space according to the listener’s promenade. A way to drive this walk is to let the listener interact with the System through Non Player Characters (NPC). Such an installation shows the evolution of the composer’s role from that of a deterministic creation to a non-deterministic one. For a given piece, the creator leaves to the interactor a certain amount of freedom and to the system, according its level of self-sufficiency, a certain amount of autonomy. According to these two parameters, each art piece can be positioned somewhere within a triangle D.I.S. which vertices are the Designer, the Interactor and the System. The main goal of this thesis is to analyze the goals and the needs of the designer of such interactive pieces, in terms of methodology and tools. We begin this work by a state of the art covering various fields, from interactive art to intelligent agents. The third chapter is devoted to the analysis of interactive pieces designed by musicians, plastic artists, game designers. From this analysis we propose a set of classification criteria and we place these art works in the DIS triangle. The fourth chapter raises the problematic of our research. We assume that the choice of a position in this triangle is directly related to a choice between two writing styles, the “scripting style” and the “emergent style”. In the scripting style, the designer takes the point of view of the interactor who becomes the narrator. In the emergent style, the designer takes the point of view of the NPC. The two styles are first compared according to the criteria presented in the previous chapter.For a deeper analysis of the two styles, we have designed, with the help of a development team, two versions of the same interactive sound installation The Listening Walker. The installation was created in Paris during the “Futur en Seine” Festival in June 2013 and shown as an art installation for ICEC 2013 in Sao paulo.The goal of this sound walk is to discover a virtual district of Paris around the Pantheon. This installation is designed as a video game with different levels of exploration. The player’s reward is the discovery of the city mainly via sound. Success depends on his listening behavior: NPC are moving around him, interpreting his moves, the direction he takes and the time spent listening particular sounds. Depending upon the listener’s attitude, each NPC has his own reaction such as running away, getting closer to the listener, ignoring him or helping him to discover secret areas. In the fifth chapter, we present the whole creation and development process of the two versions of the installation. It starts with the constraints and artistic choices. The informal specifications of the two versions are presented and the methods and programming methodologies used described. In both cases, the lack of efficient tools for non programmers is pointed out. This experiment shows also the great complexity of the emergent style compared to the scripting style: it is much more difficult to specify a world than to write a story, even an interactive one.In the conclusion, we corroborate our analysis with the point of view of creators working in different fields from interactive music to game design. Some possible extensions of this work are then presented
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Jin, Chengyue. "Game narrative conveyed through visual elements in digital games." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-20104.
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This thesis compares the different concepts of game narrative and traditional narrative, and aims to explore and analyze the relationship between visual elements and game narrative in video games. Game narrative is an emerging narrative based on digital media. It can not only include stories from traditional narratives, but also convey narratives through the virtual environment and mechanisms of games. This thesis discusses the concepts of traditional narrative and game narrative from the basic concepts of narrative, and lists different visual narrative elements and video games of different narrative types on this basis. In addition, this thesis designs a study that includes different dimensions of immersion to investigate the impact of narratives conveyed through visual elements on player immersion.
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Krča, Michal. "Making better serious games for children with ADHD : Guidelines for designing motivational video game training." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-12448.
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This study examines how serious games may be designed and developed to contain engaging working memory (WM) training exercises. Video games have a high potential as WM exercise environment for children with ADHD, but it is still difficult to create a long-term training solution due to their problem to retain attention. This thesis aims for better understanding of ADHD children’s motivation to be trained by describing the creation of a game prototype that was designed with the help from WM experts, workshops with designers working on previous prototypes of the same game, guidance from medical doctors specialized on ADHD, and by using a methodical formal game design approach along with frequent user tests. The results of the presented prototype showed an increase in play-time and in retention of player’s attention over time in comparison to the previous prototype. The study concludes how game design resonated with the target audience.
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Moser, Shelby. "Digitally interactive works and video games : a philosophical exploration." Thesis, University of Kent, 2017. https://kar.kent.ac.uk/66616/.
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This dissertation explores the philosophy of digitally interactive works and video games. There are two central questions to this thesis, namely, what is distinctive about computer art, and more specifically, what is distinctive about the interactivity that these kinds of works afford? The latter question is a response to the former, but, as I will articulate in the chapters that follow, this distinctive type of interactivity is not restricted to works that are comprised of digital media. As it turns out, games (especially video games) are paradigmatic examples and so both analytic aesthetics and game theory are relevant to a discussion of interactivity. In what follows, I address topics that pertain to interactivity such as art categories, prescriptions, appreciation, and ontology. This thesis will show that interactive works consist of unique displays and prescriptions and are, therefore, a distinctive category of art. I conclude that interactive works do not belong in a performance ontology, that the prescriptions of interactive art bear player engagement, and, importantly, the distinctive features of digitally interactive works hinge on an algorithmic ontology.
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Younis, Bilal Khaleel. "CREATING DIGITAL GAMES AS INTERACTIVE LEARNING ENVIRONMENTS: FACTORS THAT AFFECT PALESTINIAN TEACHERS' SUCCESS IN MODIFYING VIDEO GAMES FOR INSTRUCTION." OpenSIUC, 2012. https://opensiuc.lib.siu.edu/dissertations/594.
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CREATING DIGITAL GAMES AS INTERACTIVE LEARNING ENVIRONMENTS: FACTORS THAT AFFECT PALESTINIAN TEACHERS' SUCCESS IN MODIFYING VIDEO GAMES FOR INSTRUCTION The purpose of this study was to investigate the factors that might predict Palestinian teachers' success in modding games for instruction. An instructional game design model named Game Modding for Non-Professionals (GMNP) was created specifically for the training of Palestinian teachers during this study. This study addressed the question: To what extent do the variables gender, age, teaching experience, experience in playing video games, and adherence to the GMNP model predict teachers' success in modding video games for instruction when using the GMNP model? Gaining an understanding of teachers' performance in modding video games for instructional use may identify potential interventions that can be utilized to increase the use of this technology in the classroom. This investigation is useful in pointing out the need for teacher training to administrators and policy makers. The data for this study was collected from teachers at two Palestine Technical Colleges. All the teachers at the two Colleges were invited to participate, and 79 teachers agreed. Three teachers withdrew from the study before finishing it; hence, only 76 completed the study, and their data was used in the regression analysis. A workshop was conducted to train the teachers in using the GMNP model as a guide to game modding to modify video games for instructional use. During the workshop, the participants were asked to complete a worksheet. The participants were directed to use this worksheet to modify Neverwinter Nights 2 to teach a given instructional objective. At the end of the workshop, the completed GMNP model worksheet and the game mod created were collected from each participant as research data. The GMNP Model Rubric and the Educational Games Rubric were used to assess respectively the worksheets (for adherence to the GMNP model) and the game mods (for success in modifying a video game for instruction). Multiple linear regression was conducted to answer the research question. Tests to verify that the data met the various conditions required for multiple regression analysis were conducted and no violations of these conditions were detected. Findings indicated that gender was not a significant predictor of teachers' success in modding video games for instruction when the variance attributed to the other predictor variables was controlled, and the variables age, experience in playing video games, and adherence to the GMNP model were significant predictors of teachers' success in modding video games for instruction. The study suggested some implications and recommendations for policy makers and for future researchers who are interested in conducting similar studies about video game integration.
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Navarro, Diego. "Biofeedback Interaction : Applying Physiological Methods to Entertainment Video Games." Licentiate thesis, Blekinge Tekniska Högskola, Institutionen för datavetenskap, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-20730.
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Biofeedback interaction offers interesting opportunities for video games since it allows player physiological information to be used in novel interaction techniques. Despite several contributions in the area, biofeedback interaction faces a set of challenges relating to its design and implementation. First, it has mainly been used as a method to replace more traditional interaction devices, such as gamepads, mice or keyboards. Also, few of the previous interaction techniques have made an essential use of physiological data: exploring possibilities that could only be developed by involving physiological inputs. This dissertation explores how different physiological methods, such as electroencephalography, eye tracking, electrocardiography, electrodermal activity, or electromyography, could be used in the design and development of natural user interaction techniques that might be applied to entertainment video games, highlighting technical details for the appropriate use of physiological signals. The research also discusses interaction design principles from a human-computer interaction perspective, evaluates several novel biofeedback interaction techniques with a set of user studies, and proposes ethical considerations for the appropriate exposure to virtual reality and physiological sensor technology. Results show that the use of biofeedback inputs in novel interaction techniques, vary in complexity and functionality depending on the type of measurements used. They also showed that biofeedback interaction can positively affect player experience since it allows games and virtual reality applications to synchronize with player physiology, making of playing games a personalized experience. Results highlighted that biofeedback interaction can significantly affect player performance, being influenced by the interaction complexity and the reliability of the sensor technology used.
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Wibom, Martin. "Exploration of smell rehabilitation video games." Thesis, Malmö universitet, Institutionen för konst, kultur och kommunikation (K3), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-45926.
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This project explores opportunities in designing hybrid digital/physical smell rehabilitation video games using no unique game peripherals. During a 13-week process, three major iterations were created and externally tested on a small user group. The first two iterations contained five simple minigames that served to explore different types of game concepts. For the final iteration, two minigames were fully developed, a slow- and fast-paced game. The main findings were that slow-paced better-facilitated smell training than fast-paced games; aesthetics increased the player’s focus on small training; not utilising unique game peripherals limited the design opportunities and implementation of smell mechanics.
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Bohman, Niclas, and Kimberly Stinson. "The Effects of Peripheral Use on Video Game Play." Thesis, Södertörns högskola, Institutionen för naturvetenskap, miljö och teknik, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-26262.
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Fourteen volunteers were asked to participate in an experiment, along with answering a survey, toevaluate the performance of three peripherals: the Xbox 360 Wired Controller, a keyboard, and theRock Band Fender Stratocaster Wired Guitar Controller. The participants played a prototype madein Unity, and their accuracy scores were analyzed in R using ANOVA. However, no significantquantifiable difference was found based on which peripheral was being used. The scores were alsoanalyzed using Pearson's Product-Moment correlation, and we were able to determine that thevariation in accuracy scores was directly linked to the participant's specific test run in theexperiment. Taking this into consideration along with results of our observational data andparticipant feedback, we found that there were more factors at play, in regards to playability andaccuracy, than just the input device itself. The learning effect of repetitive play of the prototype andinput devices, the control input scheme, and the participant's chosen peripheral manipulationmethod all had an impact.I syfte att utvärdera prestandan av de tre kringutrustningarna handkontroll till Xbox 360, ett vanligttangentbord samt Rock Bands gitarrkontroll Fender Stratocaster deltog fjorton frivilliga personer i ettexperiment samt svarade på en enkät. Deltagarna spelade en prototyp gjord i spelmotorn Unity somsamlade in deras precisionspoäng som senare kunde analyseras i programmet R med metoden ANOVA.Dock hittades ingen signifikant mätbar skillnad mellan de olika kringutrustningarnas prestanda.Precisionspoängen analyserades även med hjälp av Pearsons produkt-moment korrelation där vi kundekonstatera att variationen i precisionspoängen var direkt kopplade till deltagarens specifika testrunda iexperimentet. Med hänsyn till detta tillsammans med resultaten från våra observationer samt feedbackfrån deltagarna fann vi att det fanns fler faktorer än inmatningsenheten som påverkade spelbarheten ochprecisionen: deltagarnas val vid hanteringen av kringutrustningen, de olika kontrollschemana samtinlärningseffekten som uppstod vid upprepat spelande av prototypens testbana och användandet avkringutrustningen.
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Atanasov, Simeon. "Juiciness: Exploring and designing around experience of feedback in video games." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22264.
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This project aims to explore the effects of feedback over experience invideo games. It acts as a part of a discussion around the concept of “Juiciness”, byattempting to define it both in theory and practice. The text describes a positionon “Juiciness” in relation to experience design and “Experiential qualities”, anddiscusses the role of aesthetics in the context of feedback. The practical aspect ofthe project is aimed towards finding where “Juiciness” can enrich a designprocess and this is done through the design, development and analysis of a videogame prototype. The project also takes a critical standpoint towards “Juiciness”,in order to question and expand on the current definitions of the concept.
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Wang, Ping. "Social game retrieval from unstructured videos." Diss., Georgia Institute of Technology, 2010. http://hdl.handle.net/1853/34673.
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Parent-child social games, such as peek-a-boo and patty-cake, are a key element of an infant's earliest social interactions. The analysis of children's behaviors in social games based on video recordings provides a means for psychologists to study their social and cognitive development. However, the current practice in the use of video for behavioral research is extremely labor-intensive, involving many hours spent extracting and coding relevant video clips from a large corpus. From the standpoint of computer vision, such real-world video collections pose significant challenges in the automatic analysis of behavior, such as cluttered backgrounds, the effect of varying camera angles, clothing, subject appearance and lighting. These observations motivate my thesis work - automatic retrieval of social games from unstructured videos. The goal of this work is both to help accelerate the research progress in behavioral science and to take the initial steps towards the analysis of natural human interactions in natural settings.
Social games are characterized by repetitions of turn-taking interactions between the parent and the child, with variations that are recognizable by both of them. I developed a computational model for social games that exploits the temporal structure over a long time-scale window as quasi-periodic patterns in a time series. I presented an unsupervised algorithm that mines the quasi-periodic patterns from videos. The algorithm consists of two functional modules: converting image sequences into discrete symbolic sequences and mining quasi-periodic patterns from the symbolic sequences. When this technique is applied to video of social games, the extracted quasi-periodic patterns often correspond to meaningful stages of the games. The retrieval performance on unstructured, lab-recorded videos and real-world family movies is promising. Building on this work, I developed a new feature extraction algorithm for social game categorization. Given a quasi-periodic pattern representation, my method automatically selects the most relevant space-time interest points to construct the feature representation. Our experiments demonstrate very promising classification performance on social games collected from YouTube. In addition, the method can also be used to categorize TV videos of sports rallies, demonstrating the generality of this approach. In order to support and encourage more research on human behavior analysis in realistic contexts, a video database of realistic child play in natural settings has been collected and is published on our project website (http://www.cc.gatech.edu/cpl/projects/socialgames), along with annotations.
The unsupervised quasi-periodic pattern mining method represents a substantial generalization of conventional periodic motion analysis. Its generality is evaluated by retrieving motions of a range of quasi-periodicity from unstructured videos. The performance was compared with that of a periodic motion detection method based on motion self-similarity. Our method demonstrates superior retrieval performance with a 100% precision when the recall is up to 92.04%, with much fewer parameters than that of the other method.
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Lindström, Frida. ""Spela och lär" : En kvalitativ studie om sociala interaktioner, lärande och tv-spelskunnighet." Thesis, Luleå tekniska universitet, Institutionen för ekonomi, teknik och samhälle, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-80470.
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Tv-spel är något som en signifikant andel av populationen ägnar mycket tid åt. Idag är inte tv- spel enbart något som personer har som fritidssyssla, utan kan även spelas professionellt. Vissa aspekter av tv-spel har det forskats kring, men det tycks finnas en del outforskade områden. Syftet var att beskriva och diskutera interaktionsritualer i förhållande till ”video game literacy”, genom att undersöka hur individer beskriver att de har lärt sig att spela tv-spel samt genom att diskutera kring hur spelandet kan förstås som en social interaktionsritual. Metoden har varit av kvalitativ karaktär, med semi-strukturerade intervjuer som metod för empiriinsamling. Resultatet från studien visade att spelandet av tv-spel tillsammans med andra individer kan förstås som interaktionsritualer, om de innehåller vissa element. Vidare visade studien att individer kan utveckla sina kunskaper kring tv-spel genom att delta i denna typ av interaktioner, men även att det är möjligt för individer att utveckla sina kunskaper enskilt.Video games are something a significant portion of the population spend a lot of time playing. Today, video games aren’t something people solely play in their spare time, but also something played professionally. Some aspects of video games have been researched, however a few unexplored areas still appear to exist. The aim of this study was to describe and discuss interaction rituals in relation to “video game literacy” through examining how individuals describe how they’ve learned to play video games, as well as through discussing how playing video games can be considered an interaction ritual. This essay has utilized a qualitative approach with semi-structured interviews as the method for gathering empirical data. The results from this study suggest that the playing of video games together can be considered a form of interaction ritual, if the interaction contains certain elements. Furthermore, the study showed that it is possible for individuals to develop their understanding of video games through participating in these types of interactions, however it is also possible for individuals to increase their knowledge individually.
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Redmond, Dustin Lamar. "The effect of video games on family communication and interaction." [Ames, Iowa : Iowa State University], 2010. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1476341.
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Bénézech, Marine. "Serious games : le jeu en tension, rencontres entre jeu (vidéo), intention sérieuse et univers narratif." Thesis, Toulouse 2, 2017. http://www.theses.fr/2017TOU20081/document.
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Cette thèse se propose d’étudier les modalités d’écriture des serious games narratifs.Ces objets, à la fois porteurs d’un objectif ludique et d’une intention sérieuse sont également porteurs de promesses narratives. L’articulation de ces trois dimensions est au cœur de cette recherche doctorale. L’enjeu de cette thèse se caractérise par la nécessité de comprendre comment le jeu de nos objets se distingue, d’envisager de quelle manière l’intention sérieuse est véhiculée et de déterminer pourquoi une dimension narrative se met en place. Notre recherche se base sur un corpus de 42 objets, que nous avons analysés en nous appuyant sur la sémio-pragmatique. Nous avons d’abord cherché à identifier les influences culturelles de nos objets afin de déterminer ce dont ces objets sont les héritiers. Nous avons ensuite cherché à déterminer le « contrat ludique » de nos objets, et mis en évidence la présence importante de « marqueurs pragmatiques de jeu ». Pour autant, l’expérience ludique se révèle souvent limitée, notamment par des challenges relevant du leurre ou de l’illusion du jeu. Nous avons alors exploré les raisons de cette jouabilité perturbée et mis en exergue l’importance de l’écrit dans nos objets.A partir de ces éléments, nous avons discerné 2 types de structures de serious games narratifs : en alternance et en association. Dans la structure en alternance, l’utilisateur est successivement confronté aux dimensions ludique, sérieuse et narrative. Dans la structure en association, ces trois composantes se répondent.Parallèlement, nous avons développé, un serious game réalisé en prise de vue réelle, à destination des médecins généralistes, pour les former à la communication. Les réflexions menées sur l’écriture du scénario, le développement et l’analyse de 2 prototypes nous ont permis de souligner que le mode en alternance contraint certes le jeu, mais favorise l’exposition de l’intention sérieuse de l’objet, au contraire de la structure en association qui la minoreThis thesis’ purpose is an exploration and study of narrative serious games’ writing modalities from the audiovisual research field point of view. Those tools have both a playful goal and a serious intention, tending also to reach narrative undertakings. The joint between play, seriousness and narrative is the main basis of this PhD research.This thesis’ stake can be defined as the need of understanding how play can be discern in serious games, as the approach of the way the serious intention is set forth and the determination of the reasons why a narrative dimension is setted.Our research is based on a 42 serious games’ corpus, which we have analyzed relying on semio-pragmatic.We had first seek to identify their cultural influence. We aimed to define objects which serious games inherited. Then we aimed to establish the « Playfull Based Act » of serious games and to highlight the major presence of « game pragmatic markers ».The playfull experience is however often felt as restricted especially because of challenges based on gaming lures or illusions. So we explored the reasons of the playfull obstruction and established the importance of writing in serious games. We have been able to define two types of narrative serious games structures from those previous elements : in alternance and in association. In the alternance structure, users are successively confronted to playfull, serious and narrative dimensions, which never be melted or crossed.In the association structure, those three dimensions answer to each other.We have developped a « real shot » serious game for general practioners in parallel,in order to train them to communication.The thoughts and researches conducted during scenario writing and the two prototypes' making and analysis have led us to emphasize the constraint aspect of the « alternance mode » of some of the games, but also its power of emphasize the serious intention of serious games, in the contrary of « association structure » which minore it
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Bohné, Gunnar. "Emotions at play : gaining emotional knowledge using a video game." Thesis, Uppsala universitet, Människa-datorinteraktion, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-232370.
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The use of video games for teaching children different subjects is commonly believed to be a good approach. In general has learning theme for these games focused on traditionally subject, such as math or biology. Important as they can be for education, other softer aspects can also be considered important for the children and education. One such aspect is emotions and the role it has on a social level. However, it is not much research showing how to use emotions in a learning game. In this thesis, I examine how children perceive and use emotions as they play a game specially designed for teaching emotions. The game utilises emotions in a new design that let the player interact with cartoon animals in different scenarios. I report findings based on a sample of thirty-three (33) preschool children, and six (6) parents who took part in the study. Data was collected using a qualitative method in a two step procedure with observation of play and follow up interviews in the first step, followed by video recordings of play and demonstrations using cuddly pets in the second step. Using an ecological framework for analysis and theory from the field of emotional intelligence, I show that children playing this game can perceive emotions expressed in the game. I also show that it is possible to play this particular game without the need to involve emotions. Children do not learn emotions from playing the game. These results carries important implication for the design of learning games as it illuminates that learning can come from possible sources other than the gameplay.Det finns en spridd uppfattning att videospel kan fungera som lärandespel för barn. Generelltsätt har denna uppfattning stöd i skolan och det finns därför även en önskan att producera spel som kan användas till att undervisa traditionella kärnämnen, exempelvis matematik eller biologi. Dessa ämnen är betydelsefulla att bemästra, dock finns även andra mer mjuka aspekter som kan ha en avgörande betydelse för barnets lärande. En sådan aspekt gäller den viktiga betydelse som känslor har i ett socialt sammanhang. I denna uppsats undersöker jag hur barn uppfattar och använder känslor då barnen spelar ett spel som är designat enkom för detta syfte. Spelet utnyttjar en design som låter spelaren interagera med tecknade djur i skilda scenarion. Jag redovisar resultat som baseras på ett urval av trettiotre (33) förskolebarn och sex (6) föräldrar. De material som samlades in bygger på en kvalitativ datainsamlingsmetod som är uppbyggd i två steg. I steg ett samlades data in genom observationer samt uppföljande intervjuer. I steg två genomfördes sedan observationer följt av demonstrationer då barnen använde gosedjur. Jag visar, genom att applicera ett ekologiskt ramverk samt teori kring emotionell intelligens, att barnen kan uppfatta känslor som manifesteras i ett videospel. Jag visar också att spe- let kan spelas genom en slumpmässig interaktion där barnen inte behöver använda känslor för att föra spelet framåt, och jag konkluderar därför att det är möjligt att barnen inte lär sig känslor som en följd av själva spelandet.
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Ljung, Kenth. "Effects of Field-of-View in First-Person Video Games : A Study on Camera Field-of-View in Relation to Game Design." Thesis, Uppsala universitet, Institutionen för speldesign, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-254330.
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Field of view in virtual environments such as games is the angular cone-of-vision a camera uses to display content on screen, and is subject to various characteristics and effects. Some of these effects have been documented based on simulation. However little to no research is readily available regarding video games. This paper set out to document and verify if field of view can reliably be used to affect potential game design aspects, particularly for first-person cameras. Several factors were identified and tests constructed which had participants play through a virtual first-person environment on regular computer hardware (no head-mounted display or other viewing mediums). The measured properties were distance, scale and speed as a function of field of view. According to the results, distances appear longer, objects appear smaller and movement faster at higher field of view, however at varying amounts depending on the context, scenario and viewing angle of the camera. In addition it was also shown that text readability and peripheral vision were significantly affected. It was concluded that field of view can be used within games and virtual applications to enable certain game design elements, and that field of view also should be a consideration in designing a game as it may be interpreted differently given a different field of view.
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Vonderlind, Chris J. "Twitch TV Uncovered – Interactivity and Community in Video Game Live Streams." Ohio University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1566367310448623.
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Glashüttner, Robert. "The perception of video games : from visual power to immersive interaction." Universität Potsdam, 2008. http://opus.kobv.de/ubp/volltexte/2008/2457/.
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This paper highlights the different ways of perceiving video games and video game content, incorporating interactive and non-interactive methods. It examines varying cognitive and emotive reactions by persons who are used to play video games as well as persons who are unfamiliar with the aesthetics and the most basic game play rules incorporated within video games. Additionally, the principle of “Flow” serves as a theoretical and philosophical foundation. A small case-study featuring two games has been made to emphasize the numerous possible ways of perception of video games.
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Almeida, Samuel de Jesus. "The player and video game interplay in the gameplay experience construct." Doctoral thesis, Universidade de Aveiro, 2013. http://hdl.handle.net/10773/13417.
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Doutoramento em Informação e Comunicação em Plataformas DigitaisAmong the many discussions and studies related to video games, one of the most recurrent, widely debated and important relates to the experience of playing video games. The gameplay experience – as appropriated in this study – is the result of the interplay between two essential elements: a video game and a player. Existing studies have explored the resulting experience of video game playing from the perspective of the video game or the player, but none appear to equally balance both of these elements. The study presented here contributes to the ongoing debate with a gameplay experience model. The proposed model, which looks to equally balance the video game and the player elements, considers the gameplay experience to be both an interactive experience (related to the process of playing the video game) and an emotional experience (related to the outcome of playing the video game). The mutual influence of these two experiences during video game play ultimately defines the gameplay experience. To this gameplay experience contributes several dimensions, related to both the video game and player: the video game includes a mechanics, interface and narrative dimension; the player includes a motivations, expectations and background dimension. Also, the gameplay experience is initially defined by a gameplay situation, conditioned by an ambient in which gameplay takes place and a platform on which the video game is played. In order to initially validate the proposed model and attempt to show a relationship among the multiple model dimensions, a multi-case study was carried out using two different video games and player samples. In one study, results show significant correlations between multiple model dimensions, and evidence that video game related changes influence player motivations as well as player visual behavior. In specific player related analysis, results show that while players may be different in terms of background and expectations regarding the game, their motivation to play are not necessarily different, even if their performance in the game is weak. While further validation is necessary, this model not only contributes to the gameplay experience debate, but also demonstrates in a given context how player and video game dimensions evolve during video game play.
Entre as muitas discussões e estudos relacionados com os videojogos, um dos mais recorrentes, amplamente debatido e importante relaciona-se com a experiência de jogar videojogos. A experiência de jogo - como empregado neste estudo - é o resultado da interação entre dois elementos essenciais: um videojogo e um jogador. Os estudos existentes têm explorado a experiência resultante do ato de jogar a partir da perspectiva do videojogo ou do jogador, mas nenhum parece igualmente equilibrar estes dois elementos. O estudo aqui apresentado contribui para o debate em curso com um modelo da experiência de jogo. O modelo proposto, que procura equilibrar de forma igual os elementos videojogo e jogador, considera a experiência de jogo como uma experiência interativa (relacionada com o processo de jogar o videojogo) e uma experiência emocional (relacionada com o resultado de jogar o videojogo). A influência mútua destas duas experiências durante o ato de jogar define a experiência de jogo. Para esta experiência de jogo contribuem várias dimensões, relacionadas com o videojogo e o jogador: o videojogo inclui a dimensão da mecânica, da interface e narrativa; o jogador inclui a dimensão das motivações, expectativas e background. Além disso, a experiência de jogo é inicialmente definida por uma situação de jogo, condicionada por um ambiente em que o jogo se realiza e uma plataforma na qual se joga. Para inicialmente validar o modelo e tentar mostrar uma relação entre as múltiplas dimensões do modelo proposto, um estudo multicaso foi concretizado utilizando dois videojogos e amostras diferentes. Num dos estudos, os resultados mostram correlações significativas entre as múltiplas dimensões do modelo, e evidências de que alterações ao videojogo podem influenciar as motivações do jogador e o seu comportamento visual. Numa análise relacionada com características dos jogadores, os resultados mostram que os jogadores, embora possam ser diferentes em termos de experiência e expectativas em relação ao jogo, a sua motivação para jogar não é necessariamente diferente, mesmo que o seu desempenho no jogo seja fraco. Embora uma validação contínua do modelo seja necessária, este modelo não só contribui para o debate da experiência de jogo, mas também mostra num determinado contexto como as dimensões do jogador e videojogo evoluem durante o ato de jogar.
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Miras, José-Louis de. "Entre cinéma et jeu vidéo : la fiction actable : sur les traces d'une forme filmique interactive en devenir." Thesis, Bordeaux 3, 2020. http://www.theses.fr/2020BOR30030.
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Cinéma interactif, film jouable, actable : toutes ces désignations sont le reflet de tentatives visant à définir un cinéma où le spectateur aurait la possibilité d’intervenir sur le déroulement de l’histoire à partir d’alternatives proposées. Un cinéma où le spectateur serait capable de corriger et de modifier le déroulement du récit en fonction de ses choix et des conséquences de ses choix. Depuis son officialisation en 1967, le cinéma interactif n’a cessé de se chercher une forme stable, en épousant respectivement celle du cinéma, celle d’Internet et enfin celle du jeu vidéo où ce dernier semblerait se cristalliser depuis plusieurs années. Le cinéma interactif est en cela, une forme filmique interactive en devenir. Cette thèse propose de partir sur ses traces, d’en délimiter les traits et contours et ainsi mettre en lumière un objet marginal qui témoigne des mutations du champ du cinéma. Il est question d’établir une histoire du cinéma interactif et de comprendre comment ce phénomène complexe, sortant du champ traditionnel des disciplines artistiques, semblerait avoir un rôle à jouer dans la convergence entre le cinéma et le jeu vidéo. Il s’agit également d’étudier comment le récit interactif se déploie et fait participer le spect-acteur, de s’interroger sur sa viabilité dans le contexte actuel autant que sur les conditions qui prévalent à la création de telles œuvres, et enfin, de mettre en avant les enjeux socioculturels de cet objet inscrit dans un paysage artistique où la convergence des médias est devenue chose communeInteractive cinema, playable movies, interactive movies: all these denominations are the demonstrations of attempts to define a cinema where the spectator would have the possibility to interact with the narration by choosing alternatives. In this kind of cinema, the spectator is able to correct and modify the narration proceeding, because of the consequences of his choices. Since its creation in 1967, interactive cinema has not stopped searching for a stable form to define itself. Throughout the years, it has respectively taken the shape respectively of cinema, Internet and finally video games. This latter seems to have been the more stable form and has been for several years. Interactive cinema is, therefore, a promising interactive filmic form to be. This thesis leads us on its traces, bounding the lines and outlines and so highlights a marginal object which shows the transformations of the field of cinema. By establishing the story of interactive cinema, we will try to understand how this complex phenomenon, which is out of the traditional field of artistic disciplines, could have an effect on the convergence between cinema and video games. It is also question of studying how the interactive narration deploys itself and how it makes the spect-actor participate; to wonder about its viability in this current context, about the creation’s conditions of such works, and finally, to highlights the sociocultural stakes of this object registered in an artistic landscape where convergence media has become a common thing