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This paper is about save systems and will analyze save functions in various games. Save systems in games are usually blamed for harming the suspension of disbelief as it is an act taking place outside the game and should only be used for its intended purpose: letting the players store their game data, and progress whenever they need.

The game save function developed as rapid leaps of technology were made, with the beginning era of home consoles and home computers allowing players to spend more time playing, creating a demand for longer play sessions in games which lead to a need of methods for storing game data.

The analysis of save systems is carried out in this paper by using MDA Framework (Mechanics, Dynamics, Aesthetics), a tool used for documenting game design. This framework can be used to analyze a game from a designer‟s or player‟s perspective. By reversing the framework ADM (Aesthetics, Dynamics and Mechanics) one can analyze the user experience, which is how the player perceives the game‟s aesthetics to be, depending on the dynamics and mechanics.

This analysis aims to provide knowledge of how consistency in game design and the save system can be used to create a cohesive game world that facillitates the player's experience and immersion.

An introductory undergraduate textbook on the design of computer and video games.

This thesis investigates the level of difficulty of puzzles in the adventure games and the implications thereof. The thesis contains an in-depth background, and a brief history about the genre. It brings up the main problem of the genre and looks into both the cause and effect that follows. To support this process, an analysis has been made of design documents and a survey was issued on the subject of adventure game puzzles.

In this report I am going to go through the process of creating the 3d graphics for the game Midnight produced at Gotland university spring 2010. Midnight is a real time strategy game who utilizes the rock, paper, scissor principal in the balancing of the teams. My main focus will be the pipeline of the workflow that was used during production of the graphics. What worked and what didn´t and how to make it more efficient.

In the method part of this report, I am going to explain how the pipeline looked and worked. The process that was used started with the production of concept art, turnarounds were produced and it was then modeled and textured. When it was complete, rigging and animation were commenced, and the artifacts were then put into the game.

The pipeline worked rather good later in the production, but was inefficient in the beginning because of other projects and courses colliding with this one. There were some problems with the structuring of the different teams. Everybody wanted to be a part of everything. This led to inefficiency. It could be resolved with stricter and better structure of the teams in the group.

Syftet med mitt arbete har varit att undersöka pedagogers strategier att bemöta barns olik­heter. Hur går de tillväga för att göra den pedagogiska verksamheten meningsfull för alla barn? Jag vill genom undersökningen också skaffa mig redskap för mitt kommande yrkesliv genom att ta del av verksamma pedagogers erfarenheter. Genom studien kan jag också knyta ihop teorin från min utbildning med verksamheten på fältet.

I läroplanen står att förskolan har i uppdrag att bemöta och ta tillvara alla barns individu­ella behov samt att de skall göra verksamheten meningsfull för alla barn. Jag har ställt mig följande frågor.  Vad har pedagoger för strategier för att bemöta varje enskilt barn, på dess individuella nivå? Hur anpassar pedagoger gruppverksamhet, exempelvis samlingar eller annan planerad verksamhet till alla barns individuella behov?

Jag har som metod använt mig av kvalitativa intervjuer. Jag har varit på två olika förskolor där jag intervjuat tre pedagoger på respektive förskola.

Resultatet av min undersökning pekar på att bemötandet är av stor betydelse för barns utveckling och lärande. Det är pedagogens barnsyn som är avgörande för hur de förhåller sig i mötet med barn och till barns lärande. Det är nödvändigt att pedagoger är medvetna om sin egen barnsyn (för bemötandet hänger ihop med förmågan till samspel). Har pedagoger förmågan att bemöta och samspela med barnen, så kan de även anpassa och organisera den pedagogiska verksamheten efter barnens behov och intressen. Bland det viktigaste är, att pedagoger är medvetna om att i lärandet finns det två personer. Pedagogen och barnet, och pedagogen är lika viktig som den som ska lära.

Denna uppsats behandlar varför några utvalda pedagoger arbetar tematiskt samt deras förhållningssätt till den tematiska undervisningen. I uppsatsen ställer jag frågor om vad de intervjuade pedagogerna anser att en tematisk undervisning kan ha för konsekvenser på elevers inlärning. Undersökningen omfattar även om pedagogerna tror att läsutvecklingen kan gynnas genom tematisk undervisning. Definitionen av vad tematisk undervisning är har hämtats ur litteratur om ämnet och utgörs av att ämnen integreras, en erfarenhetsbaserad undervisning och att inte ha en läromedelsstyrd undervisning.Jag använt mig av kvalitativa samtalsintervjuer som metod för min undersökning. I det huvudsakliga resultatet syns att de medverkande pedagogerna anser att tematisk undervisning kan vara gynnsamt för elevers inlärning. De slutsatser som jag då kan dra är att tematisk undervisning är gynnsamt på grund av att olika ämnen integreras inom temat och då bildar en helhet för eleven. Den är också gynnsam på grund av den erfarenhetspedagogiska riktningen den tematiska undervisningen ofta antar.

This paper features an analysis of how some games are better designed for virtual reality than others and what we can learn from the games that work better to improve those that do not work as well. The thesis will briefly go through some of the problems in working with virtual reality. Data was collected by letting ten participants play four different games with the Oculus Rift and then answer questions related to their experience with these said games. Did the game cause the feeling of discomfort or create a sense of presence and did the game somehow break that presence? Based on the collected data and the analysis, the results indicate that some types of games work better than others for virtual reality, but that some design decisions can carry over to other games, granted with some effort, but that it is better if a game is created with virtual reality in mind from the start of the development.

Making 3D models with polygon modeling is the most common technique used for a 3D animated movie production, but there are also other good modeling techniques to work with. The aim of this thesis is to examine which of three chosen modeling technique is most appropriate to use for modeling a chair for a 3D animated movie production. I made three models of the same chair design and compared the results. The modeling technique used is polygon modeling, NURBS modeling and digital sculpting. A few factors were considered when I judged which one of the three techniques that was most suitable: The model's geometry, the workflow and the rendering (material and lightning).

The three chairs were rendered in the same scene with the same lightning and settings. The results showed that the model's geometry and how smooth it is to work with the modeling technique matter most for judging which technique is the most appropriate. In addition, the results show that how the light falls and reflects the surface depends on how the geometry was placed on the model rather than which of the other modeling techniques that was used.

Based upon earlier studies in the fields of psychology and game design by Frank and Gilovich (1988) and Yee (2007), this paper examines the influence of color on players of backgammon. The paper examines the probability of a player hitting an opponent’s piece when possible in backgammon depending on the color of the checkers. The data sample was compared using a t-test but showed no significant correlation. Based upon the results it was concluded that the Proteus Effect is not as effectively achieved through units in board games compared to avatars in virtual worlds.

My purpose with this paper is to find out how my workflow is affected when creating two products in synergy with each other, and if I can still reach a sufficient level of quality by my standards.

I chose to do my research during a transmedia project. By observing what happened during the project, I could compare my experience from this project with workflows normally used for animation in the games and film industry.

We spent the majority of the time alloted for the project planning how the two products would unfold, and how we could link them together in a way that benefited the project as a whole. We however did not get as much time in the production phase, which meant that I had to produce the animation in the order that I received the required assets.

My conclusion was that I appreciated being able to plan how the two products would work together, but that I and the team would have needed more time in the production to test our ideas.

Syftet med undersökningen är att jag ska få kunskaper om hur fyra- och femåringar samspelar i den fria leken. Jag har formulerat följande frågeställningar: Hur ser samspelet ut mellan barnen i den fria leken? Hur får barn tillträde till lek? Hur agerar de barn som inte får tillträde till lek?

Som metod i min undersökning har jag använt observationer där jag dokumenterat genom att anteckna. Jag har sett fler exempel på samspel mellan barn där leken och fantasin har blommat ut. I samspel som fungerat sker leken på samma villkor för de inblandade och barnen spinner vidare på varandras idéer. För att få tillgång till lek behöver barnen olika strategier. Det kan handla om att verbalt fråga om tillträde eller genom att komma och visa upp en sak för deltagarna i den pågående leken. De barn som omedelbart inte får tillträde till lek försöker gång på gång komma in i leken genom att använda sig av fler olika strategier. Jag såg också hur några barn agerade när de gjorde misslyckade tillträdesförsök till lek. Det viktigaste resultatet som jag fann i undersökningen är hur barnen dagligen behöver använda olika strategier för att få tillträde till lek. Strategierna är inte mycket värda om inte barnen själva har status i gruppen.

This is a small scale research conducted by a Game Design student about attraction to a game concept of violent nature. A survey was executed and launched on social media such as Facebook to gain many participants in a short period of time. They were asked how attracted they were to the graphics of the concept and also if and how much money they would pay for a game like it. One of the most important parts of this research is that the participators are of a mixed group when it comes to age and gender, but also location, since these things tend to control our environment which in turn can shape a person and their morals. The results are presented in simple graphs and discussed together with results from similar research regarding violent games and how they affect the players and in turn society. Despite the violent contents of the graphics used in the survey, the most popular rating indicates that many participants are attracted to it and that they would consider paying for such a game.

Syftet med denna uppsats är att kritiskt analysera hur den koloniala diskursen tar sig uttryck i tre svenska läromedel i religionskunskap för gymnasiet. Som teori och metod använder jag mig av diskursanalys.

I min studie framkommer det att den koloniala diskursen tar sig uttryck genom att innehållet i läromedlen struktureras utifrån en västerländsk/kristen syn på religionsbegreppet, vilken har sin grund i en essentialistisk religionssyn. Böckerna är organiserade runt centrala kristna begrepp, vilka implicit bär på kristna värderingar, och kristendomen är den religion som får överlägset mest utrymme.

”Vi” framställs som en enhetlig grupp som i första hand är just kristna, men även västerländska, i betydelsen moderna, demokratiska och jämlika humanister. ”Dom” kategoriseras utifrån ”Vår” utblickspunkt som en motpol, eftersom ”Vi” ytterst definierar oss själva utifrån ”De Andra”. ”Dom” är således våldsamma, odemokratiska och ojämlika.

Ur den mångfacetterade kategorin ”Dom” framstår en grupp som särskilt annorlunda – det som i läromedlen kallas ”naturfolk”. Dessa tycks existera i en svunnen mytisk tid, och kopplas till det vidskepliga och irrationella. De är underställda naturens krafter, till skillnad från ”Oss” som har makt över våra egna liv.

This is the report on a study made to find a correlation between the Johari window and the games that the possessor of given Johari window enjoys to play. A Johari window is a graph that shows an individual’s ability to receive and give feedback. One obvious correlation was found between individuals enjoying role playing games and their possessing Johari windows showing a good ability to give feedback. The reasoning behind this is that the ability to give feedback is based on the capability to express oneself to the external environment, and that one would need to be comfortable with expressing oneself to an external environment in order to enjoy interacting with the narrative that takes place within the role playing genre.

For any animator either working in stop-motion or 3D-animation the knowledge of the first animation techniques are most important. For it is based on these principles that animation today can create such vibrant characters. With the extreme development 3D-animation has undergone the last twenty years it is easy to lose track of the old ways. But with this thesis a hope to show that it is these old ways that will take animation to its next stage. My aim with this thesis is to find out if it is possible to identify the characteristic features of stop-motion and apply these onto 3D-animation with purpose to create a more expressive style of animation. To be able to do this the method of this thesis is divided in two parts: the production and the perception. First the two work methods straight ahead and pose to pose are analyzed and the biggest differences are then identified. With this information two basic walk cycle animations are created, one with the work method of straight ahead and the other with pose to pose. These animations are kept as simple as possible so that all focus can be directed at the feel of the movement. In the perception part a survey is done where five participants observes the two animations and with a questionnaire answer how they perceive the differences. They answer which of the two they prefer, is most interesting and pleasant. According to the participants, they feel a difference and the majority prefer the animation done with the work method of stop-motion. They feel that it shows more personality and feel more natural. However the result is relatively even. My conclusion is that to achieve an animation that appeals to a larger group, a combination of the two work methods is optimal.

Wireless networks are inherently vulnerable for eavesdropping since they use radio waves to communicate. Wireless networks are therefore protected by encryption. WEP was the first encryption standard that was widely used. Unfortunately WEP proved to have several serious vulnerabilities. WEP could be circumvented within few minutes. Therefore WPA was developed as a response to the weak WEP. Shortly thereafter WPA2 was released and are now being used in present. The only weakness with WPA2 is in the subset WPA2-PSK when weak passwords are being used. Software could easily go through large dictionaries to verify if a password could be recovered. But that is time consuming and therefore providing wireless networks limited protection. However a new area of use with advanced graphic cards has showed that it is providing a faster way of recovering passwords than the ordinary processor on the motherboard. That opens up for the larger use of dictionaries and the processing of words or combinations of words. That is what this study aims to shed light on. How the efficiency of the graphic cards have affected security in wireless networks from a corporate perspective of view.

In 2011, I and fellow student at Gotland University created a multimedia game. To fit the time constraints a “vertical slice” was created. This means a small sample of the game is taken which allows the user to understand how the game works, and at the same time, get a visual demonstration of how the game is designed. The goal of the project was to create a narrative for stadium games in which the backstory is told as players interact with their surroundings. Stadium games which takes place on one map with two teams fighting each other in a fantasy environment.  Every step of the creation has been carefully documented throughout the entire project, which is the content of this report which takes you through the production of online games. The purpose of this report was to look over the design method that the group has been using to create the finishing product from an idea. It describes how they proceed with the idea, what thoughts the group members had under the process and also explains why they made the choices they did to continue developing the project. The result was a team-based online game called “Bane” which was designed to be played on a PC. The project wasn’t just about getting a depth of study in design and programming, but also to give the group the challenge to represent and sell their product and create a public involvement in their idea. The team has also been working on leadership and to divide all roles between them. They’ve also learned to work under a time limit and because of this been taking responsibility in which ideas that they would be able to developing and which ideas not to.      

Syftet med arbetet är att lyfta fram pedagogernas perspektiv och hur de ser på miljön som finns kring barnen i deras fria lek. Syftet är också att teckna en bild av hur pedagogerna tänker kring miljön, som den tredje pedagogen när det gäller barn lärande utveckling.Jag har använt mig av litteratur som är baserad på forskning och teori om miljön, som har viktig förutsättning för barns utveckling. Jag har även tagit del av litteratur som beskriver om hur viktig, den pedagogiska medvetenheten är. När det gäller kunskapen om miljöns utformning och betydelse för barns fortsatta lärande. Jag har använt mig av det sociokulturella perspektivet. Baserat på Lev Vygotskijs teori om barns tänkande och behov, av en stimulerande miljö för att utveckla nytt tänkande.Uppsatsens syfte är att ge dig som läsare en inblick, i pedagogens tankar kring miljön som ett verktyg. För att utveckla barns utveckling lärande.

The aim with this study was to further understand the art of character design, in order to get a better understanding of how visual attributes - especially shape - can be purposely used in order to communicate aspects of a character's personality.

The first step was to investigate the subject of character design through relevant material and literature. From this investigation, a total of four character designs have been developed - two"good" and two "evil" - within two different game titles of different graphical styles: One that is more cartoony/stylized and one that is more realistic.

Prior to the production a number of work processes - production pipelines - used by artists in the game and movie industry were investigated. From this, the pipeline for the study was compiled.

To end the study a survey was conducted, in order to obtain outside feedback for the character designs regarding their style and what personality traits they were associated with. The results show that the majority of the participants perceived the characters in the way that was intended, while the perception of graphical style was a lot more varied.