The purpose of this thesis is to contextualise Hindsight, a sustainability-focused historically based city-simulation and resource management game built by the author. The game and game engine were coded from scratch using the C# programming language and the Unity game development suite of tools. The game focuses on the management of the city of London in two time periods, London from 1850 and the other set in 2050. Both versions of the city are divided into 21 zones, each of which can be managed by the player through the construction, upgrading, or destruction of various buildings within the zone. The player must manage both the city’s resources and the resources of the environment upon which the city depends in order to bring about a more sustainable future and bring the 2050-era version of the city back from the brink of environmental devastation. Along the way, the player must address the cultural views of the society they are managing to ensure their reforms will be accepted and can also see those views slowly change over time. The goal of the game is to provide an interactive learning experience for both the historical element of London and the importance of making sustainable choices.

This project is a video game implementation of the Filipino ruleset of Mahjong for the purpose of increasing awareness of the Mahjong game and Filipino culture. The game, titled Todas!, is built from scratch using various free resources and contains a Tutorial for teaching players the basics of the game and a Multiplayer mode that enables remote gameplay for up to four people.

Games have traditionally had a high barrier to entry because they necessitate unique input devices, fast reaction times, high motor skills, and more. There has recently been a push to change the design process of these games to include people with disabilities so they can interact with the medium of games as well. This thesis examines the current guiding principles of accessible design, who they are being developed by, and how they might help guide future accessible design and development. Additionally, it will look at modern games with accessibility features and classify them in terms of the Game Accessibility Guidelines. Then, using an interview with a lead developer at a game studio as aid, there will be an examination into modern game industry practices and what might be holding developers or studios back when it comes to accessible design. Finally, further suggestions for these developers and studios will be made in order to help them and others improve in making their games more accessible to people with disabilities.

During the height of COVID-19 in the summer of 2020, most major sports leagues were shut down or postponed, to limit the spread of COVID-19. However, people still yearned for the community of cheering on their favorite team. To that end, The Game Band, a Los Angeles-based game development studio, decided to make America's favorite pastime, baseball, virtual. Just like that, Blaseball was born. In this creative project, the Season Twelve version of Blaseball.com was subjected to analysis of its user interface and user experience elements by the author of this paper in the role of the researcher. The research questions posited by this project were as follows: - What user interface/user experience elements of the Season Twelve version of Blaseball.com were effective, and what elements detracted from the purpose of the site? - What recommendations could be made by the researcher to improve the user experience and allow for a more effective user experience of the Season Twelve version of Blaseball.com? To answer these questions, two deliverables were decided upon. The first was a research study consisting of a usability survey and interviews with web developers who worked on Blaseball or Blaseball-related projects. The second deliverable was an industry-level analysis of the Season Twelve version of Blaseball.com to be presented as a culmination of the research and work. Through this process, it had been discovered that while the site was simplistic and could easily direct users to other pages, as intended by the developers, UI elements on individual pages confused and misled users. As such, clarifications and a more in-depth UI were recommended.

During the height of COVID-19 in the summer of 2020, most major sports leagues were shut down or postponed, to limit the spread of COVID-19. However, people still yearned for the community of cheering on their favorite team. To that end, The Game Band, a Los Angeles-based game development studio, decided to make America's favorite pastime, baseball, virtual. Just like that, Blaseball was born. In this creative project, the Season Twelve version of Blaseball.com was subjected to analysis of its user interface and user experience elements by the author of this paper in the role of the researcher. The research questions posited by this project were as follows: - What user interface/user experience elements of the Season Twelve version of Blaseball.com were effective, and what elements detracted from the purpose of the site? - What recommendations could be made by the researcher to improve the user experience and allow for a more effective user experience of the Season Twelve version of Blaseball.com? To answer these questions, two deliverables were decided upon. The first was a research study consisting of a usability survey and interviews with web developers who worked on Blaseball or Blaseball-related projects. The second deliverable was an industry-level analysis of the Season Twelve version of Blaseball.com to be presented as a culmination of the research and work. Through this process, it had been discovered that while the site was simplistic and could easily direct users to other pages, as intended by the developers, UI elements on individual pages confused and misled users. As such, clarifications and a more in-depth UI were recommended.

During the height of COVID-19 in the summer of 2020, most major sports leagues were shut down or postponed, to limit the spread of COVID-19. However, people still yearned for the community of cheering on their favorite team. To that end, The Game Band, a Los Angeles-based game development studio, decided to make America's favorite pastime, baseball, virtual. Just like that, Blaseball was born. In this creative project, the Season Twelve version of Blaseball.com was subjected to analysis of its user interface and user experience elements by the author of this paper in the role of the researcher. The research questions posited by this project were as follows: - What user interface/user experience elements of the Season Twelve version of Blaseball.com were effective, and what elements detracted from the purpose of the site? - What recommendations could be made by the researcher to improve the user experience and allow for a more effective user experience of the Season Twelve version of Blaseball.com? To answer these questions, two deliverables were decided upon. The first was a research study consisting of a usability survey and interviews with web developers who worked on Blaseball or Blaseball-related projects. The second deliverable was an industry-level analysis of the Season Twelve version of Blaseball.com to be presented as a culmination of the research and work. Through this process, it had been discovered that while the site was simplistic and could easily direct users to other pages, as intended by the developers, UI elements on individual pages confused and misled users. As such, clarifications and a more in-depth UI were recommended.

Affective video games are still a relatively new field of research and entertainment. Even
so, being a form of entertainment media, emotion plays a large role in video games as a whole.
This project seeks to gain an understanding of what emotions are most prominent during game
play. From there, a system will be created wherein the game will record the player’s facial
expressions and interpret those expressions as emotions, allowing the game to adjust its difficulty
to create a more tailored experience.
The first portion of this project, understanding the relationship between emotions and
games, was done by recording myself as I played three different games of different genres for
thirty minutes each. The same system that would be used in the later game I created to evaluate
emotions was used to evaluate these recordings.
After the data was interpreted, I created three different versions of the same game, based
on a template created by Stan’s Assets, which was a version of the arcade game Stacker. The
three versions of the game included one where no changes were made to the gameplay
experience, it simply recorded the player’s face and extrapolated emotions from that recording,
one where the speed increased in an attempt to maintain a certain level of positive emotions, and
a third where, in addition to increasing the speed of the game, it also decreased the speed in an
attempt to minimize negative emotions.
These tests, together, show that the emotional experience of a player is heavily dependent
on how tailored the game is towards that particular emotion. Additionally, in creating a system
meant to interact with these emotions, it is easier to create a one-dimensional system that focuses
on one emotion (or range of emotions) as opposed to a more complex system, as the system
begins to become unstable, and can lead to undesirable gameplay effects.

In this experiment, a haptic glove with vibratory motors on the fingertips was tested against the standard HTC Vive controller to see if the additional vibrations provided by the glove increased immersion in common gaming scenarios where haptic feedback is provided. Specifically, two scenarios were developed: an explosion scene containing a small and large explosion and a box interaction scene that allowed the participants to touch the box virtually with their hand. At the start of this project, it was hypothesized that the haptic glove would have a significant positive impact in at least one of these scenarios. Nine participants took place in the study and immersion was measured through a post-experiment questionnaire. Statistical analysis on the results showed that the haptic glove did have a significant impact on immersion in the box interaction scene, but not in the explosion scene. In the end, I conclude that since this haptic glove does not significantly increase immersion across all scenarios when compared to the standard Vive controller, it should not be used at a replacement in its current state.