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This paper presents the validation of the Pervasive GameFlow model (PGF), a model for analysing Player enjoyment in Pervasive gaming. The model can be used as both a heuristic guideline for designers and as evaluation criteria in user centred evaluation of Pervasive games, but also as a framework for understanding player experiences in Pervasive gaming on a more general level. The theoretical background and perspective on game design and the design support approach that the PGF model represents is explained, and the concept of the magic circle is discussed. The eight elements of the PGF model (Concentration, Challenge, Player skills, Control, Clear goals, Feedback, Immersion and Social interaction) were validated by evaluation of a Crossmedia game prototype (a sub genre of Pervasive games) called Furiae. The comparative importance of the eight elements in the PGF model when it comes to affecting Pervasive gaming experiences was in focus for the evaluation, where Questionnaires (qualitative) and Focus group interviews were used in order to capture how the players graded the eight elements in terms of their importance for the player experience when playing Furiae. The study revealed that seven of eight elements seem to be of specific importance as they scored relatively high in the validation. The top three elements according to the results here are Concentration (Games should require concentration and the player should be able to concentrate on the game), Challenge (Games should be sufficiently challenging and match the player’s skill level) and Immersion (Players should experience deep but effortless involvement in the game). Finally, some implications for design are discussed in terms of how some of the most important elements present challenges and possibilities for Crossmedia game development.

This paper presents an approach to analyze and re-design evaluation methods. The domain explored in this paper is evaluation methods for evaluating fun and entertainment. However, the approach presented may be applied in other domains as well. The approach is conceptually described and two examples of processes where the approach were used in practice are further discussed. As the map of IT applications and digital media is continuously redesigned, there is a constant need of re-designing evaluation methods.

Pervasive games are computer games that build, to various extents, on social interaction as a driving force in the game play, on integration between physical and virtual worlds and on constant access to constantly ongoing games from virtually every existing context (anytime, anywhere gaming). This new genre of computer games presents many challenges for both researchers and industry; one of the most important is how to understand enjoyable player experiences in this new kind of computer gaming.

The purpose of this thesis is to identify and explore the mechanisms in pervasive game designs that are of most importance for creating enjoyable Pervasive gaming experiences, and further to translate the findings of the exploration into a playability model for pervasive games.

My empirical work focuses on the most important aspects for creating enjoyable player experiences when playing pervasive games. Evaluation methods from the usability and playability area have been deployed in order to identify what factors and aspects the players consider of most importance for their experience when they play pervasive games. Three specific pervasive games have been studied; SupaFly, Pervasive Treasure Hunt and Furiae.

Theoretically, the thesis departs from existing knowledge about Playability, and the most prominent and accepted frameworks for understanding player experiences in computer gaming have been considered. Of the existing models and frameworks, the GameFlow model was selected as a theoretical point of departure.

The main contribution of the thesis consists of a model for understanding player enjoyment in pervasive games - the Pervasive GameFlow model. Pervasive GameFlow elaborates the GameFlow model by adding 14 new criteria identified in the empirical evaluations of three pervasive games, criteria of great importance for enjoyable Player experiences in pervasive games.

Further, the thesis answers questions concerning how the players are putting the anytime, anywhere and mobility aspects of pervasive games into practice - how they perceive and handle games that offer constantly ongoing game play. The results also provide insights into the reach or impact of the novel Pervasive aspects of pervasive games and their importance for the players and player experiences. Finally, the thesis provides notes on how evaluation of pervasive games should be performed.

This paper presents an approach to analyze and re-design evaluation methods. The domain explored in thispaper is evaluation methods for evaluating fun and entertainment. However, the approach presented may be appliedin other domains as well. The approach is conceptually described and two examples of processes where the approachwere used in practice are further discussed. As the map of IT applications and digital media is continuously redesigned,there is a constant need of re-designing evaluation methods.

Player enjoyment is perhaps the most important issue in successful game design, but so far it has not been addressed in the area of pervasive games. Departing from the general gameflow model, this article presents an initial outline for a new model of pervasive player enjoyment, that is, the pervasive gameflow model, which is described and discussed in terms of additions and elaborations to the general gameflow model. It is intended to serve as a departure point for further empirical studies on player enjoyment in pervasive games.

Previous research in computer games have focused on user experience from the perspectives of game content, graphics, interactivity and underling game story while missing to address the effect of a certain input modality on the user experience. In this paper we report from two user studies that focus on players' experience and performance in relation to the use of two different input modalities for the same game and whether it changes the flow and gameplay in any way. The overall research was according to this whether a game can be more fun to play with a certain input modality? The paper presents the results from these studies and draws conclusions based on these data in relation to computer games and user experiences in the context of mobile game playing.