ZeroAbuse, a serious game to prevent child maltreatment

La maltraitance des enfants est un problème critique qui touche environ un milliard d'enfants dans le monde chaque année. Les blessures qui persistent toute leur vie, les handicaps ou même la mort sont des conséquences risquées découlant de la maltraitance des enfants. Plusieurs approches, y compris les Jeux Sérieux (SGs), ont été conçues pour éduquer les individus sur la maltraitance des enfants et comment la prévenir. Cependant, les SGs qui sont présentement en existence se concentrent uniquement sur l’intimidation ou les abus sexuels chez les enfants et non sur toutes les formes possibles de maltraitance des enfants. De plus, la plupart des ressources concernant la prévention de la maltraitance des enfants s'adressent aux adultes et non aux enfants. Ce travail se concentre sur la conception d'un SG appelé ZeroAbuse qui englobe les quatre types de maltraitance des enfants: Physique, Émotionnel, Abus Sexuel et Négligence. Il combine les principes d'apprentissage, les éléments pour immerger le joueur dans le jeu et les critères de qualité des programmes de prévention. ZeroAbuse s'adresse aux enfants âgés de 9 à 11 ans, qui sont exposés de manière homogène à tous les types de maltraitance. Il tient également compte des compétences cognitives et physiques propres aux enfants de cet âge. La conception du SG a pris en compte les perspectives d'experts en prévention de la maltraitance des enfants et a été testée sur la population cible afin d’améliorer l'expérience de jeu et valider l'approche d'apprentissage.Child abuse is a critical problem affecting approximately one billion children worldwide annually. Lifelong injuries, disabilities, or even fatalities are risky consequences derived from child abuse. Several approaches, including Serious Games (SGs), have been designed to educate individuals about child abuse and how to prevent it. However, existing SGs focus only on bullying or sexual abuse and not all possible forms of child abuse. In addition, most of the existing resources for child abuse prevention are aimed at adults and not at children. This work focuses on designing an SG called ZeroAbuse that encompasses the four types of child abuse: Physical, Emotional, Sexual abuse and Neglect. It combines the principles of learning, the elements to immerse the player into the game, and the quality criteria of prevention programs. ZeroAbuse is aimed at children aged 9 to 11 years, given that they show homogeneous participation in all types of abuse. It also considers the cognitive and physical competencies of children at this age. The SG design considers the perspectives of experts in child abuse prevention and was tested on the target population to enhance the game experience and validate the learning approach

As cinemáticas e narrativas de jogos digitais: implicações para o design de jogos

Game cinematics integrating filming techniques, cutscenes, and animations are likely to have a pivotal role in the player experience, emotional attachment, and relatedness to the game narrative content. In recent years, the avoidance of cuts to generate a seamless and connected game experience has challenged older patterns on storytelling in games and find new ways of intertwining gameplay with the narrative. However, a one-size-fits-all strategy may not be applied when considering different storytelling purposes, structures, and language used in diversified game genres. The purpose of this research is to examine the contributions of cinematics to affect game story comprehension, especially in young adults. A multi-stage development research method is applied, encompassing the following activities: (1) identification of requirements to develop game cinematics based on the literature review and interviews with 16 scholars and industry professionals in Game UX, and cinematic development; (2) Development of a Game Cinematics experiment for the game Mutation Madness, using first- and third- perspectives; and a (3) Comparative evaluation of game cinematics in terms of experience and narrative comprehension. The cinematics developed are tested with 46 young adults to assess the effect of the Point Of View (POV) camera on visual attention and story comprehension in Mutation Madness, using an eye- tracking experiment. The results suggest that third- perspective in game cinematics constitute omniscient knowledge of the story, evoking the sense of time and focusing on the story agents, while first- perspective visually guides the player to the game events happening in the time of gameplay. This research contributes to the Communication Sciences and Technologies field by presenting a set of best practices developing game cinematics.As cinemáticas de jogos que integram técnicas de filmagem, cutscenes, e animações, tendem a ter um papel central na experiência do jogador, envolvimento emocional, e relação com a narrativa. Nos últimos anos, os padrões mais antigos inerentes ao processo de contar histórias nos jogos têm sido desafiados pela ausência de cortes e interrupções na experiência, de modo a garantir a interconexão e o entrelaçar da jogabilidade com a narrativa. No entanto, a adoção de uma estratégia de dimensão única pode não atender a diferentes propósitos da narrativa, estruturas e linguagem utilizadas em diferentes géneros de jogos. O objetivo desta investigação é compreender o modo como as cinemáticas podem afetar a compreensão de histórias de jogos, especialmente em jovens adultos. O método de investigação de desenvolvimento é aplicado, subdividido nas seguintes etapas: (1) Identificação de requisitos para desenvolver cinemáticas de jogos com base na revisão da literatura e entrevista a 16 académicos e profissionais da indústria em experiência de jogo, e desenvolvimento de cinemáticas; (2) Desenvolvimento de cinemáticas do jogo Mutation Madness, com recurso à primeira e terceira perspetiva; e (3) Avaliação comparativa das cinemáticas de jogo em termos de experiência e compreensão da narrativa. As cinemáticas desenvolvidas são testadas por 46 jovens adultos, recorrendo à metodologia eye-tracking, para avaliar o efeito da perspetiva da câmara [Point Of View (POV)] na atenção visual e na compreensão da narrativa do jogo Mutation Madness. Os resultados sugerem que a cinemática em que é adotada a terceira perspetiva no jogo proposto contribui para um conhecimento omnisciente da história, evocando o sentido do tempo e concentrando-se nos agentes da história, enquanto a primeira perspetiva orienta visualmente o jogador para os eventos do jogo que acontecem no tempo da jogabilidade. Esta investigação contribui para a área das Ciências da Tecnologia da Comunicação ao apresentar um conjunto de melhores práticas para desenvolver as cinemáticas nos jogos.Mestrado em Comunicação Multimédi

music, silence and failure on Dark Souls 3

UIDB/00693/2020 UIDP/00693/2020Progression through a series of challenges, and the chance that players may lose, is one of the main mechanics used by many video game genres today. While a growing set of titles are exploring game development with mechanisms other than dying (such as walking simulators or narrative-based games), others have gone so far as to be considered a genre in their own right. This has resulted in several forms of online content production by their cybercommunities, among other aspects of commercial success. This phenomenon is best known with regard to the Soulsborne RPG series, particularly the Dark Souls trilogy (From Software, 2011-2016). Famous for its difficulty (and the fact that the player’s character dies many times), Dark Souls is often mentioned as a helpful or satirical benchmark to define another game’s level of challenge. Besides failure as design, however, Dark Souls’ sonic and musical accompaniment are a key factor in the narrative arc, player agency, and the construction of meaning.While the absence of non-diegetic music during the player’s navigation through the game world is commonly referred to as silence, each area and character has carefully designed sound spaces and cues which build a transdiegetic sonic threshold intrinsically related to the player’s (inter)action. In addition, musical accompaniment only features in boss encounters and rest areas, articulating all these spaces. This paper aims to examine the role of the aural components in Dark Souls and their engagement with the player’s agency while also being underscored by the orchestral soundtrack. Furthermore, this musical dimension has also attracted the attention of produsers, leading to the production of online resources, such as playlists and ambiance compilations. Its music is key, not only for player immersion and narrative definition, but also for the game’s commercial success and role in consolidating the epic style as a popular genre and its consequent circulation, mainly on YouTube.publishersversionpublishe

StreetWise: A valid ecology for a serious game in a secure forensic mental health setting

To ascertain their readiness to be discharged from care, secure forensic mental health service users are often given restricted access to their local communities. However, this can be stressful for the service user and expose the public to potential risks. Therefore, new research was undertaken to explore whether a computer-based serious game could enable service users to explore their responses to community based risk situations in a safe environment. Creating a serious game for use in a secure forensic mental health setting is itself both novel and problematic, and the initial research sought to test the feasibility and acceptance of the game. This paper reports first results from working with service users to develop a prototype game that accurately describes their experiences and expectations to lay the foundations for a clinically effective tool and achieve acceptance

Representations of the city in video games

This research strives to characterize the means by which video game players experience and understand the space of the game city during the course of play. Three-dimensional video game cities are neither static environments nor stationary views; rather, they are experienced through movement, action, and play. Our experiences of new places are not developed at a glance. Instead, they are cultivated through use over time. This work utilizes games that take place in constructed versions of New York City as a case study. By focusing on the ways players navigate spaces, we can understand how they construct spatial awareness and how this space is transformed into a meaningful place of play. In order to come to this understanding, this study asks a series of questions: How are these spaces arranged? How does the player move through the space and how does the game teach spatial navigation? What actions are performed in the space and how is gameplay adapted for the city environment? And how do of narrative environments contribute to a player's identification with the space? These questions are examined within a framework of urban, cultural, and game studies. I examine techniques that are employed by video game city designers to help players navigate space and make it meaningful. Additionally, this research poses areas for future expansion and experimentation with game cities.M.S.Committee Chair: Pearce, Celia; Committee Member: Do, Ellen Yi-Luen; Committee Member: Knoespel, Kenneth; Committee Member: Nitsche, Michae

Foreseeing Meaningful Choices

Abstract A choice positively contributes to a player's sense of agency when it leads to meaningfully different content. We shed light on what a player may consider meaningfully different by developing a formalism for interactive stories in terms of the change in situational content across choices. We hypothesized that a player will feel a higher sense of agency when making a choice if they foresee the available actions lead to meaningfully different states. We experimentally tested our formalism's ability to characterize choices that elicit a higher sense of agency and present evidence that supports our claim. Study participants (n = 88) played a choose-your-ownadventure game and reported a higher sense of agency when faced with choices that differed in situational content over choices that didn't, despite these choices differing in non-situational ways. We contend our findings are a step toward principled approaches to the design of interactive stories that target specific cognitive and affective states

Intersemiotic translation in videogames: an analysis on the characters of persona 5

A presente dissertação focaliza-se na relação hermenêutica entre Tradução Intersemiótica e construção das personagens nas narrativas interacticas digitais, coloquialmente referidas como “videojogos”. É frequente um videojogo apresentar personagens basedas em personagens originais criadas por outros. Ou estas personagens são transposições diretas de uma personagem para o mundo do jogo, ou uma personagem representativa dessa através de simbolismo. Assim, esta tese concentra-se nos processos involvidos na criação das personagens do RPG Japonês, Persona 5, bem como todo o simbolismo que estas contêm.The following dissertation focuses on the hermeneutic relationship between Intersemiotic Translation and the construction of characters in interactive digital narratives, commonly known as "videogames". It is common for a videogame to present characters based on original characters from other authors. Either these characters are direct transpositions of an entire character into the game’s world, or a character meant to represent them through symbolism. Thus, this dissertation will focus on the processes involved in the creation of the characters of the Japanese Roleplaying Game, Persona 5, as well as all the symbolism they contain.Versão final (Esta versão contém as críticas e sugestões dos elementos do júri

Immersion in digital games: What is immersion in the gaming spectrum?

This work is comprised of two parts. Immersion is a very broad topic that tends to come up in a lot of discussions nowadays, with special focus on the world of digital games. The first part of this dissertation is the analysis the word immersion and all it encompasses, giving the reader a better perception on the matter - “what is immersion?”. To answer this relatively vague question, we must evaluate and define this notion of immersion in all its fields. Not just the digital gaming department, but in others as well. Although, virtual games remain the focus of the dissertation. In the second part of the dissertation, it is presented a case study, based on interviews used to find out what people think immersion is and if it is only connected to digital games. With everything stated, it is the final objective of this dissertation to build a typology based of age and gender of the interviewees, in order to determine what a person of a certain age would find more immersive, and at the same time demystifying and clarifying the notion of immersion.Este trabalho é composto em duas partes. Imersão é um tema muito ambíguo que tende a aparecer em inúmeras discussões nos dias de hoje, com especial foco no mundo dos jogos virtuais. A primeira parte da dissertação é a análise da palavra imersão e todos os seus componentes, dando ao leitor uma melhor percepção sobre o assunto – “o que é imersão?”. Para responder a esta questão relativamente vaga, teremos de avaliar e definir esta noção de imersão em todas as suas variantes. Não apenas no campo dos jogos virtuais, mas noutros também. Apesar de que os jogos virtuais permaneçam o principal foco da dissertação. Na segunda parte da dissertação, é apresentado um estudo de caso baseado em entrevistas, usadas para o efeito de saber o que os entrevistados pensam que é imersão e se está apenas conectado ao mundo dos jogos. Dito isto, é objectivo final desta dissertação, construir uma tipologia baseada no sexo e idade dos entrevistados, de modo a determinar o que uma pessoa de determinada idade achará imersivo e ao mesmo tempo desmistificando e clarificando a noção de imersão

Can computers foster human users' creativity? Theory and praxis of mixed-initiative co-creativity

This article discusses the impact of artificially intelligent computers to the process of design, play and educational activities. A computational process which has the necessary intelligence and creativity to take a proactive role in such activities can not only support human creativity but also foster it and prompt lateral thinking. The argument is made both from the perspective of human creativity, where the computational input is treated as an external stimulus which triggers re-framing of humans’ routines and mental associations, but also from the perspective of computational creativity where human input and initiative constrains the search space of the algorithm, enabling it to focus on specific possible solutions to a problem rather than globally search for the optimal. The article reviews four mixed-initiative tools (for design and educational play) based on how they contribute to human-machine co-creativity. These paradigms serve different purposes, afford different human interaction methods and incorporate different computationally creative processes. Assessing how co-creativity is facilitated on a per-paradigm basis strengthens the theoretical argument and provides an initial seed for future work in the burgeoning domain of mixed-initiative interaction.peer-reviewe