LEE- Oyun ve Etkileşim Teknolojileri-Yüksek Lisans

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http://hdl.handle.net/11527/19421

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Yazar "Alaçam, Sema" ile LEE- Oyun ve Etkileşim Teknolojileri-Yüksek Lisans'a göz atma
  • Öge
    Exploring the role of game mechanics in generating spatial compositions: Snaris case
    (Graduate School, 2023-08-02) Özvatan, Ozan Can ; Alaçam, Sema ; 529201018 ; Game and Interaction Technologies
    As the world becomes increasingly digitized, the study of virtual environments and user agency in it has emerged as an important field of research. Video games, in particular, serve as an influential subset of these digital spaces, presenting an array of dynamic, complex, and interactive worlds. These game spaces are experienced by users regularly and also raise interesting questions about human interaction, cognition, and experience within virtual realities. In a game, the player acts as both the subject, engaging with the gaming system, and the object, receiving responses based on their input. Their actions and decisions are interwoven into a complex system of cause and effect, where each decision leads to a change in the state of the virtual environment, thereby influencing their subsequent actions. This cyclical process organizes all decisions made during the gaming session, and the game space emerges as a result. This research is about user interaction with virtual spaces, exploring the impact of game mechanics -specifically risk and reward mechanics- on the player's agency in shaping the virtual environment, thus establishing a discussion on exploration at the intersection of game studies, architecture, and human-computer interaction. More specifically, the goal of this research is to answer the following questions: How does the involvement of risk and reward mechanics impact the spatial outcomes generated by participants using a 3D puzzle game? In which ways do the risk and reward mechanics affect the player's role in shaping virtual spaces? What is the impact of more challenging situations on the spatial composition in a virtual environment? How do software limitations influence the generation of spatial elements? To investigate the impact of risk and reward mechanics on generating spatial outcomes, we designed and developed a two-state digital application called Snaris, a 3d puzzle game, in which we can isolate various mechanics in two distinct modes. We compared the spatial compositions created under these distinct conditions by comparing scenes created in Play Mode which harbors risk and reward mechanics with scenes created in Build Mode, which lacks said mechanics. We proposed a method for qualitatively assessing spatial features of scenes created in Snaris. This method employs 12 criteria for evaluating unique 3D spatial compositions generated by the application. We collected data by conducting playtests with 20 participants with each submitting a scene from both modes of application. We observed that where the risk and reward mechanics exist, participants were usually more preoccupied with being able to shape the spatial outcome deliberately. Thus, creating more random and incoherent structures. On the other hand, the absence of risk and reward mechanics and a clear, unobstructed game environment allowed players to engage in unconventional actions, and create familiar topologies, in a setting that encourages exploration and experimentation throughout the session.
  • Öge
    Procedural approaches in open-world games: Game artists' perspective
    (Graduate School, 2022) Özmen, Can ; Alaçam, Sema ; 713245 ; Game and Interaction Technologies Master Program
    Procedural Modeling (PM) or Procedural Content Generation (PCG) is both research and application topic for forty years. That is basically data amplification technique to create immersive media output. Also, the term includes many applications that run with specific inputs for desirable outcomes. Today, with the acceleration of digitalization, the interest in the game and the playing time per individual have increased, and the need for game content has increased accordingly. Since there are relatively large maps and universes in open world games, productive systems must meet this need.For theses in English, the summary in English must have 300 words minimum and span 1-3 pages, whereas the extended summary in Turkish must span 3-5 pages. A summary must briefly mention the subject of the thesis, the method(s) used and the conclusions derived. The main importance of Procedural techniques is labor-efficiency, realism and attractiveness in the product. There are several areas that PCG is using in games as modeling, texturing, narrative, simulation, sound and game design. Also, from the beginning of the game-making, Procedural approaches become more and more important in considering creating larger game spaces and adding layers into player experience. Commercial games use these techniques for quantity and variation of the game content to enrich player experience. Early examples of this approach, which has become widespread in digital game production processes, used randomness for story-based corridor production in role-playing games. Even though Rogue and Elite games were early applications, Procedural Content Production/Procedural Approaches were used in certain areas in the game production process. They could not pass into an advanced, general-use phase. Hardware (deficiencies in game development tools), software (limited algorithms), and a low number of experts can be listed among the main reasons why Procedural Content Production/Procedural Approaches did not spread rapidly when they first emerged. The power of data amplification offers the opportunity to create bigger projects with limited workforce in indie game companies. The main reason for interest in PCG is obviously the generation of a great amount of content. Human labor is neither fast, nor cheap in comparison with PCG. Since the game making has arisen, the quantity of workers has scaled up in particular projects and production times could last many years. Because of this, development costs rise up. The number of profitable games and the ability of the run budget in game making are affected negatively. In addition there is an ongoing argument which claims that there can be optimistic recruitment for game companies about cheaper and more rapid game productions. The argument is based on swapping particular workers who work in the design and art field, into Procedural or Generative Algorithms by keeping desirable game making standards. On the other hand, there is another perception in using PCG to broaden and work with artist creativity and make it possible even the small groups can handle a great number of contents in games. On the other hand, the independent developer model is the way companies produce with relatively little investment and employees. It is seen that the workforce is mainly limited in companies working with the independent developer model. In this context, it is thought that the data amplifier feature of Procedural Approaches creates an opportunity for game companies working with the independent developer model. Compared to Procedural Modeling outputs, the human workforce remains slow and expensive. One of the areas where Procedural Approaches respond in the game production process is optimization. Optimization techniques allow the compression and refinement of the game's partial or total data while supporting the production of games with relatively large file sizes. Thus, the desired geometry is produced at the desired time, and memory optimization is achieved. This optimization in computer hardware allows the effective use of visual data. Procedural approaches are used in many areas of Open World Game production. The literature data on Procedural Approaches, which form the basis of the study, are examined under two main headings: Procedural Content Production in Open-World Games and Procedural Content Production in Game Development, Actor and Processes. Procedural Content Production in Open World Games and Procedural Content Production in Game Development are examined under three sub-titles: Open World Components (Terrain, Plant, Built Environment), Content Types (Models and Textures) and Tools/Algorithms (Artist Friendly Tools, Procedural Game Engines and Plugins for Content Production). Although Procedural Approaches are used in many areas in game production, the scope of the study will focus on open-world environmental elements, modelling and texturing issues. In addition, current tools for Procedural Approaches from the artist's perspective will also be introduced. The main title of Procedural Content Production, Actor and Processes in Game Development is also examined under three sub-titles: Conceptual Design and Procedural Content Generation, Game Artist and Procedural Content Generation Relationship, Handcraft vs Automatization. A two-layer qualitative analysis method was employed in the study. These layers are pilot study and semi-structured expert interviews. Within the scope of the pilot study, open-ended questions obtained from the literature were directed to two professionals, and the data obtained from this constituted the main study scope. Interviews with nine professionals within the scope of the main study are analyzed in the conclusion part. Transcriptions obtained from the transcript of the interview texts, 1. Specification in the use of PA, 2. PCG Tools, 3.Standalone Need /Independent Tool Need, 4.Art Directable – Artist Friendly Tools, 5.Conceptual Design of Games within PCG, 6. Handcraft vs Automatization, 7.Customization in Narration, 8. Online-Offline Generation, 9. Need for Advanced Skills, 10.Opportunities for Indie – Small Sized Studios were examined in the light of lenses.
  • Öge
    Transforming structures into interactive experiences: Generative frameworks
    (Graduate School, 2024-06-27) Nardereli, Duygu ; Alaçam, Sema ; 529211005 ; Game and Interaction Technologies
    Understanding the complicated relationship between player experiences and game components is essential in the evolving game design landscape. This study explores this dynamic by offering practical and interactive game design exercises. These exercises, which are based on the Mechanics, Dynamics, and Aesthetics (MDA) framework, a key tool in game design, are designed to make them more accessible and actionable for game designers, emphasizing their crucial role in shaping player experiences. Gathering feedback at specific thresholds is crucial in the intricate game design and development process. Today's novice learners favor various learning sources, rapid information access, clearly defined objectives, and the ability to use technology to visualize the consequences of their decisions. This study offers a structured yet adaptable game design approach catering to these diverse learning preferences. The primary objective is to enhance the comprehensibility and practicality of the MDA framework for game designers by redefining its core components—mechanics, dynamics, and aesthetics. This endeavor is anticipated to establish a new language that will prove advantageous in workshops with individual and collaborative game designers. By introducing these concepts early in the game production, designers can understand the design perceptions necessary for crafting captivating games. The MDA framework plays a crucial role in bridging game design, game development, and technical background, enhancing comprehension of the design process. According to MDA, one of the critical components, 'aesthetics,' was designed as a destination, much like a compass. It guides the gameplay dynamics and mechanics, helping us map out a route for the emotional responses we want to evoke in the player. Mechanics are the only aspect of the game that designers have complete control over when it comes to fulfilling its emotional purpose, or aesthetics, by creating dynamics. Understanding all these experiences is crucial: It shows where the team should focus their efforts and how it can impact the player's experience when interacting with the game. This study uses board game mechanics as a foundation to avoid confusion in defining mechanics and ensure that selected mechanics evoke specific dynamics. The study began by examining the necessity of creating academic systems for creative processes, followed by an investigation into existing frameworks for design, game design, and serious game design. Secondly, common points and objectives are identified, allowing for a comprehensive analysis and redefinition of the foundational concepts of the MDA framework. The foundational concepts of the MDA framework—mechanics, dynamics, and aesthetics—were analyzed and reconsidered in conjunction with game design literature. This analysis helped to develop a theoretical foundation on how these frameworks could be utilized as content in game development processes. After establishing the theoretical foundation, board game mechanics were employed to transform MDA into a new generative experience. Using the BoardGameGeek (BGG) database and an academic study's classification, the definitions of BGG mechanics were revised. A scoring system was developed to determine the emotions a game mechanic could generate, creating a network of relationships visualized based on the "8 kinds of fun" in MDA. The proposed framework follows a card game structure with 28 different board game mechanics and components. These elements evolve into exercises focusing on various design issues requiring an iterative design process. The mixed-method approach validates the framework, where six expert game designers participate in a design workshop to evaluate MDA exercises and applicability with several parameters. This study aims to provide game designers with a half-structured tool for creating engaging and emotionally resonant games by redefining the MDA framework and employing board game mechanics. The innovative approach ensures that designers, whether novices or experts, can systematically explore and implement effective game design strategies. The next generation of game designers will produce breakthroughs in player experience, designing games with unique play mechanics and thinking beyond the existing parameters. This generative approach can help foster innovation and give game designers a solid process for exploring unusual questions about gameplay and player experience possibilities.