Since the contemporary game production process is based on the Integrated Development Environment (IDE) applications, it is easier for developers to create multiple versions of their game for both VR and desktop platforms. This provided a great opportunity for researchers to conduct comparative studies to explore the user experience of the relatively novel virtual reality applications In this study, we evaluated a puzzle game through a within-subjects experiment design using objective measures of game success and gameplay duration, as well as plenty of subjective measures in order to assess game user experience, comparing desktop and VR. In addition to selected dimensions of GUESS (Game User Experience Satisfaction Scale), we employed MEC-SPQ (Measurement Effects Conditions - Spatial Presence Questionnaire) to measure presence. Furthermore, we employed NASA-TLX (NASA Task Load Index) to compare the perceived task complexity of the same task executed in VR and desktop gaming environments. Results revealed that there is not a significant difference in objective measures of player performance, comparing the VR and desktop gameplay. The Game User Experience Satisfaction Scale did not reveal any significant difference between the mean scores of VR and desktop experiences. The spatial presence related dimensions of MEC-SPQ revealed significantly higher scores of VR, for Possible Actions and Self Location dimensions. NASA-TLX weighted scores were significantly higher for VR in physical load and for desktop in frustration. Our results show that a puzzle-based game experienced in VR does not lead to a higher level of satisfaction in terms of game user experience but triggers a sense of spatial presence. Due to the different control schemes, players perceive that HMD based gameplay demands more physical task load. However, the gameplay duration and game success rate are not significantly different. The failure in desktop gameplay might have led to higher frustration, since the experience seems more familiar to players. Since the results are partially concordant with previous studies, it is not possible to make a strict conclusion on the effect caused by different immersive technologies on game user experience. Further studies are required through a more consistent methodology with a focus on game design components rather than game genre.

The aim of the study was to validate a prototype of a game-based educational tool for improving auscultation skills. The tool was presented to 12 medical school students studying at a foundation university. The data collection tools of the study were: Cardiac sound identification form, educational tool evaluation form and auscultation survey form. Key findings of the study were: 1—Each medical student increased their identification skills and retention was possible. 2—The most incorrectly identified heart sound was the most correctly identified heart sound after using the tool. 3—Medical students sided with the tool for it is flexible, quicker method of learning and getting feedback, can be used anytime, anywhere without interruption of daily life. 4—Since students felt skillful and epic, in real-World tackling problems, on the mission; saving lives, and competitive, they repeated the content otherwise they would not. 5—The tool created a hype and motivation for further learning. 6—Tool was effective on the users with possible restricted acoustic capability which could imply findings might also be used for improving listening skills and musical ear. Keywords: Stethoscope skills, heart auscultation training, mobile learning, game-based learning, retention.

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Why sugar is sweet? Why sexual activities are pleasurable? Why computer games are fun? Answers to such questions may end up in circular reasoning unless fi ndings from evolutionary biology and neuroscience are not utilized. The brain circuits that determine and modulate the hedonic impact of events and substances are relatively well described and evolutionary theories help us understand the advantages of assigning such a value to "pleasurable" things and activities. The question "Why games are fun," however, seems to require a further understanding of human neuropsychology and evolution because computer games are a very novel part of our lives as a species and quite alien to our past. This concise yet rather dense chapter aims to present a brief introduction and a road map for further reading toward our current scientifi c understanding of play behavior and how it lays the foundations of the modern phenomena called gaming. Diverse topics ranging from the evolution and adaptive value of play to the neuronal circuits that enable us to derive pleasure from it will be briefl y discussed along with examples from experimental studies conducted in humans and animals to elaborate on the "fun" and sometimes addictive nature of games.

Video games borrow fictional worlds from other media or create their own unique worlds to spread to a wider audience but how these virtual worlds are created or what kind of components are used to build them are important questions that can be studied well with a systematic analysis of their content. It is also important to note here that once a fictional world is successful for one type of media, it usually expands through different media, which is defined as media narrative convergence or transmedia storytelling. This study attempts to find out the patterns and trends of worldbuilding methods in the fictional worlds of computer role-playing games. Adopting a systematic content analysis approach, 10 most successful computer roleplaying games are analyzed to identify their worldbuilding components and transmedial extensions. The analysis of video games includes information about the game world (world type, world map, distinct elements), points of interest and their corresponding map icons, species found in the fictional world (player species, flora, fungi, creatures, sentient species), information about culture (religion, language, government type, social organizations, the use of magic or technology). In this regard, repeating patterns of worldbuilding in games are presented and the framework that consists of three components (place, species, culture). The effects of each fictional world on different media are also given.