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University Devils is a Founders Lab Thesis group looking to find a way for post-secondary institutions to increase the number of and diversity of incoming applications through the utilization of gaming and gaming approaches in the recruitment process while staying low-cost. This propelling question guided the group through their work.

University Devils is a Founders Lab Thesis group looking to find a way for post-secondary institutions to increase the number of and diversity of incoming applications through the utilization of gaming and gaming approaches in the recruitment process while staying low-cost. This propelling question guided the group through their work. The team’s work primarily focused on recruitment efforts at Arizona State University, but the concept can be modified and applied at other post-secondary institutions. The initial research showed that Arizona State University’s recruitment focused on visiting the high schools of prospective students and providing campus tours to interested students. A proposed alternative solution to aid in recruitment efforts through the utilization of gaming was to create an online multiplayer game that prospective students could play from their own homes. The basic premise of the game is that one player is selected to be “the Professor” while the other players are part of “the Students.” To complete the game, the Students must complete a set of tasks while the Professor applies various obstacles to prevent the Students from winning. When a Student completes their objectives, they win and the game ends. The game was created using Unity. The group has completed a proof-of-concept of the proposed game and worked to advertise and market the game to students via social media. The team’s efforts have gained traction, and the group continues to work to gain traction and bring the idea to more prospective students.

ContributorsDong, Edmund Engsun (Co-author) / Ouellette, Abigail (Co-author) / Cole, Tyler (Co-author) / Byrne, Jared (Thesis director) / Pierce, John (Committee member) / Computer Science and Engineering Program (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
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Description
The current model of revenue generation for some free to play video games is preventing the companies controlling them from growing, but with a few changes in approach these issues could be alleviated. A new style of video games, called a MOBA (Massive Online Battle Arena) has emerged in the

The current model of revenue generation for some free to play video games is preventing the companies controlling them from growing, but with a few changes in approach these issues could be alleviated. A new style of video games, called a MOBA (Massive Online Battle Arena) has emerged in the past few years bringing with it a new style of generating wealth. Contrary to past gaming models, where users must either purchase the game outright, view advertisements, or purchase items to gain a competitive advantage, MOBAs require no payment of any kind. These are free to play computer games that provides users with all the tools necessary to compete with anyone free of charge; no advantages can be purchased in this game. This leaves the only way for users to provide money to the company through optional purchases of purely aesthetic items, only to be purchased if the buyer wishes to see their character in a different set of attire. The genre’s best in show—called League of Legends, or LOL—has spearheaded this method of revenue-generation. Fortunately for LOL, its level of popularity has reached levels never seen in video games: the world championships had more viewers than game 7 of the NBA Finals (Dorsey). The player base alone is enough to keep the company afloat currently, but the fact that they only convert 3.75% of the players into revenue is alarming. Each player brings the company an average of $1.32, or 30% of what some other free to play games earn per user (Comparing MMO). It is this low per player income that has caused Riot Games, the developer of LOL, to state that their e-sports division is not currently profitable. To resolve this issue, LOL must take on a more aggressive marketing plan. Advertisements for the NBA Finals cost $460,000 for 30 seconds, and LOL should aim for ads in this range (Lombardo). With an average of 3 million people logged on at any time, 90% of the players being male and 85% being between the ages of 16 and 30, advertising via this game would appeal to many companies, making a deal easy to strike (LOL infographic 2012). The idea also appeals to players: 81% of players surveyed said that an advertisement on the client that allows for the option to place an order would improve or not impact their experience. Moving forward with this, the gaming client would be updated to contain both an option to order pizza and an advertisement for Mountain Dew. This type of advertising was determined based on community responses through a sequence of survey questions. These small adjustments to the game would allow LOL to generate enough income for Riot Games to expand into other areas of the e-sports industry.
ContributorsSeip, Patrick (Co-author) / Zhao, BoNing (Co-author) / Kashiwagi, Dean (Thesis director) / Kashiwagi, Jacob (Committee member) / Barrett, The Honors College (Contributor) / Sandra Day O'Connor College of Law (Contributor) / Department of Economics (Contributor) / Department of Supply Chain Management (Contributor)
Created2015-05
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Description
While not officially recognized as an addictive activity by the Diagnostic and Statistical Manual of Mental Disorders, video game addiction has well-documented resources pointing to its effects on physiological and mental health for both addict and those close to the addict. With the rise of eSports, treating video game addiction

While not officially recognized as an addictive activity by the Diagnostic and Statistical Manual of Mental Disorders, video game addiction has well-documented resources pointing to its effects on physiological and mental health for both addict and those close to the addict. With the rise of eSports, treating video game addiction has become trickier as a passionate and growing fan base begins to act as a culture not unlike traditional sporting. These concerns call for a better understanding of what constitutes a harmful addiction to video games as its heavy practice becomes more financially viable and accepted into mainstream culture.
ContributorsGohil, Abhishek Bhagirathsinh (Author) / Kashiwagi, Dean (Thesis director) / Kashiwagi, Jacob (Committee member) / Barrett, The Honors College (Contributor) / Computer Science and Engineering Program (Contributor)
Created2015-05
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Description
Speech recognition in games is rarely seen. This work presents a project, a 2D computer game named "The Emblems" which utilizes speech recognition as input. The game itself is a two person strategy game whose goal is to defeat the opposing player's army. This report focuses on the speech-recognition aspect

Speech recognition in games is rarely seen. This work presents a project, a 2D computer game named "The Emblems" which utilizes speech recognition as input. The game itself is a two person strategy game whose goal is to defeat the opposing player's army. This report focuses on the speech-recognition aspect of the project. The players interact on a turn-by-turn basis by speaking commands into the computer's microphone. When the computer recognizes a command, it will respond accordingly by having the player's unit perform an action on screen.
ContributorsNguyen, Jordan Ngoc (Author) / Kobayashi, Yoshihiro (Thesis director) / Maciejewski, Ross (Committee member) / Barrett, The Honors College (Contributor) / Computing and Informatics Program (Contributor) / Computer Science and Engineering Program (Contributor)
Created2014-05
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Description
The project, "The Emblems: OpenGL" is a 2D strategy game that incorporates Speech Recognition for control and OpenGL for computer graphics. Players control their own army by voice commands and try to eliminate the opponent's army. This report focuses on the 2D art and visual aspects of the project. There

The project, "The Emblems: OpenGL" is a 2D strategy game that incorporates Speech Recognition for control and OpenGL for computer graphics. Players control their own army by voice commands and try to eliminate the opponent's army. This report focuses on the 2D art and visual aspects of the project. There are different sprites for the player's army units and icons within the game. The game also has a grid for easy unit placement.
ContributorsHsia, Allen (Author) / Kobayashi, Yoshihiro (Thesis director) / Maciejewski, Ross (Committee member) / Barrett, The Honors College (Contributor) / Computer Science and Engineering Program (Contributor)
Created2014-05
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Description

This thesis is based on bringing together three different components: non-Euclidean geometric worlds, virtual reality, and environmental puzzles in video games. While all three exist in their own right in the world of video games, as well as combined in pairs, there are virtually no examples of all three together.

This thesis is based on bringing together three different components: non-Euclidean geometric worlds, virtual reality, and environmental puzzles in video games. While all three exist in their own right in the world of video games, as well as combined in pairs, there are virtually no examples of all three together. Non-Euclidean environmental puzzle games have existed for around 10 years in various forms, short environmental puzzle games in virtual reality have come into existence in around the past five years, and non-Euclidean virtual reality exists mainly as non-video game short demos from the past few years. This project seeks to be able to bring these components together to create a proof of concept for how a game like this should function, particularly the integration of non-Euclidean virtual reality in the context of a video game. To do this, a Unity package which uses a custom system for creating worlds in a non-Euclidean way rather than Unity’s built-in components such as for transforms, collisions, and rendering was used. This was used in conjunction with the SteamVR implementation with Unity to create a cohesive and immersive player experience.

ContributorsVerhagen, Daniel William (Author) / Kobayashi, Yoshihiro (Thesis director) / Nelson, Brian (Committee member) / Computer Science and Engineering Program (Contributor, Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
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Description
Intelli-Trail is a game where the player plays as a small blue man with the simple goal of reaching the purple door. The player will primarily interact with the game through combat. The game itself will react to the patterns in the players behavior to progressively become harder

Intelli-Trail is a game where the player plays as a small blue man with the simple goal of reaching the purple door. The player will primarily interact with the game through combat. The game itself will react to the patterns in the players behavior to progressively become harder for the player to win.
ContributorsCurtin, Ethan (Author) / Gonzalez Sanchez, Javier (Thesis director) / Baron, Tyler (Committee member) / Computer Science and Engineering Program (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
This creative project was designed to highlight the good that can come from playing video games using From Software's "Dark Souls" as a case study.In this project, I analyse "Dark Souls" as an allegory for depression, examining how the story, game play and level design all create a mindset in

This creative project was designed to highlight the good that can come from playing video games using From Software's "Dark Souls" as a case study.In this project, I analyse "Dark Souls" as an allegory for depression, examining how the story, game play and level design all create a mindset in the game's players similar to that of those experiencing depression. I then discuss how certain aspects of the game, including level design, the game mechanics used to handle in-game death, and the passive multiplayer systems, all combine in order to encourage the player to stay engaged with the game and believing in the possibility of success. Via these systems, I believe that in creating "Dark Souls" From Software made an experience in which those grappling with depression can practice the techniques most useful in combating depression in a safe environment. Finally, I discuss the ways that "Dark Souls" designers emotionally affect those playing their game using techniques that are unavailable to other media. I highlight these storytelling devices, and explain why they are either best utilized by or only viable in video games as an example of what unique abilities gaming has as a cultural storytelling medium. I also explore solutions for discussing video game mechanics and game play with a non-gaming audience, utilizing game play recordings to provide examples of the discussed game play mechanics. These techniques can be viewed in the attached video.
ContributorsPalmer, Chad Raymond (Author) / McMahon, Jeff (Thesis director) / Hunt, Kristen (Committee member) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2017-12
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Description
Video game culture, permeated for decades by blatant sexism and discrimination, is a toxic community for many individuals. Though its humble beginnings and early games did not overtly focus on the male gaze or demographic, troubled advertising, representations, and the lack of diversity within video game companies has formed the

Video game culture, permeated for decades by blatant sexism and discrimination, is a toxic community for many individuals. Though its humble beginnings and early games did not overtly focus on the male gaze or demographic, troubled advertising, representations, and the lack of diversity within video game companies has formed the gaming culture into an increasingly hostile and unwelcoming place– especially for women. Those who identify as women or females are often harassed, heckled, and threatened with both verbal and physical violence. Game content and marketing continues to view women as objects of sexuality and violence rather than strong protagonists. Companies have brainwashed society to embrace their commonly held belief that men and boys are the only demographics that play and enjoy games, though this is empirically proven false. The aim of this project is to examine these offenses against women within the video game community– first by exploring video game history and how it fell into its toxic present state as well as the formation of the “gamer” identity and its ramifications for women. I then recount contemporary stories and issues of harassment against women within the community. The project also includes a short student survey that was sent out to gather more data on college-aged women and their gaming habits, which yielded important data supporting previous evidence citing specific gaming communities that struggle the most with these issues. The thesis is concluded by a look into the culture of game development and its hypermasculine nature as well as justification for why companies should care about the plight of women for both ethical and fiscal reasons.
ContributorsGulbransen, Alexis C. (Author) / Eaton, John (Thesis director) / Ingram-Waters, Mary (Committee member) / School of Film, Dance and Theatre (Contributor) / Department of Marketing (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
Dale and Edna is a hybrid animated film and videogame experienced in virtual reality with dual storylines that increases in potential meanings through player interaction. Developed and played within Unreal Engine 4 using the HTC Vive, Oculus, or PlayStation VR, Dale and Edna allows for players to passively enjoy the

Dale and Edna is a hybrid animated film and videogame experienced in virtual reality with dual storylines that increases in potential meanings through player interaction. Developed and played within Unreal Engine 4 using the HTC Vive, Oculus, or PlayStation VR, Dale and Edna allows for players to passively enjoy the film element of the project or partake in the active videogame portion. Exploration of the virtual story world yields more information about that world, which may or may not alter the audience’s perception of the world. The film portion of the project is a static narrative with a plot that cannot be altered by players within the virtual world. In the static plot, the characters Dale and Edna discover and subsequently combat an alien invasion that appears to have the objective of demolishing Dale’s prize pumpkin. However, the aliens in the film plot are merely projections created by AR headsets that are reflecting Jimmy’s gameplay on his tablet. The audience is thus invited to question their perception of reality through combined use of VR and AR. The game element is a dynamic narrative scaffold that does not unfold as a traditional narrative might. Instead, what a player observes and interacts with within the sandbox level will determine the meaning those players come away from this project with. Both elements of the project feature modular code construction so developers can return to both the film and game portions of the project and make additions. This paper will analyze the chronological development of the project along with the guiding philosophy that was revealed in the result.
Keywords: virtual reality, film, videogame, sandbox
ContributorsKemp, Adam Lee (Co-author) / Kemp, Bradley (Co-author) / Kemp, Claire (Co-author) / LiKamWa, Robert (Thesis director) / Gilfillan, Daniel (Committee member) / Arts, Media and Engineering Sch T (Contributor) / Thunderbird School of Global Management (Contributor) / School of Film, Dance and Theatre (Contributor) / School of International Letters and Cultures (Contributor, Contributor) / Barrett, The Honors College (Contributor)
Created2019-05