Exploring Motivations for Virtual Rewards in Online F2P Gacha Games: Considering
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Analysis of Global Regulatory Schemes on Chance-Based Microtransactions
Analysis of Global Regulatory Schemes on Chance-Based Microtransactions ANTHONY WEN - T S U N W O N G I. MICROTRANSACTIONS – A VIDEO GAME MONETIZATION MODEL icrotransactions are financial transactions for a digital good or service. These transactions are often seen in video game monetization models M where consumers purchase a currency or credit to spend on in-game additions. Companies have found innovative ways of introducing microtransactions to monetize games through business models such as free-to- play “freemium” models or by reducing the initial cost of purchasing a game and shifting the cost onto additional features. Other companies introduced microtransactions as a method of obtaining virtual gameplay goods and services. Some products are chance-based where the obtained outcome is randomized according to a table of probabilities. These are often referred to as “gachapon” and “loot boxes.” This paper seeks to examine and compare this chance-based nature, its effectiveness in video game microtransactions and their financial and psychological influences on the consumer to those of traditional gambling games. Furthermore, an analysis of Canadian and foreign legislation will be done to identify downfalls in Canadian legislation, determine necessary reformations to Canadian gaming law, and identify effective methods that will strengthen the regulatory regime. II. CHANCE-BASED MICROTRANSACTIONS A “Gachapon” is a Japanese vending-machine-style capsule toy dispenser; its name being an onomatopoeia of the sound of the hand-crank (“gacha”) and the sound of the capsule landing in the receptacle (“pon”). A consumer would pay the fee, turn the hand-crank, and a capsule containing a prize from a predefined list would be dispensed. -
How Disney's Abc Avoided Reporting Electronic Arts Star Wars Game Micro
University of Windsor Scholarship at UWindsor Major Papers Theses, Dissertations, and Major Papers 2018 HOW DISNEY’S ABC AVOIDED REPORTING ELECTRONIC ARTS STAR WARS GAME MICRO-TRANSACTIONS Rohan Khanna University of Windsor, [email protected] Follow this and additional works at: https://scholar.uwindsor.ca/major-papers Part of the Communication Commons, and the Models and Methods Commons Recommended Citation Khanna, Rohan, "HOW DISNEY’S ABC AVOIDED REPORTING ELECTRONIC ARTS STAR WARS GAME MICRO- TRANSACTIONS" (2018). Major Papers. 41. https://scholar.uwindsor.ca/major-papers/41 This Major Research Paper is brought to you for free and open access by the Theses, Dissertations, and Major Papers at Scholarship at UWindsor. It has been accepted for inclusion in Major Papers by an authorized administrator of Scholarship at UWindsor. For more information, please contact [email protected]. HOW DISNEY’S ABC AVOIDED REPORTING ELECTRONIC ARTS STAR WARS GAME MICRO-TRANSACTIONS by Rohan Khanna A Major Research Paper Submitted to the Faculty of Graduate Studies through Communication and Social Justice in Partial Fulfillment of the Requirements for the Degree of Master of Arts at the University of Windsor Windsor, Ontario, Canada 2018 © 2018 Rohan Khanna HOW DISNEY’S ABC AVOIDED REPORTING ELECTRONIC ARTS STAR WARS GAME MICRO-TRANSACTIONS by Rohan Khanna APPROVED BY: ———————————————— V. Manzerolle Communication, Media, and Film ———————————————— J. P. Winter, Advisor Communication, Media, and Film May 10, 2018 iii AUTHOR’S DECLARATION OF ORIGINALITY I hereby certify that I am the sole author of this MRP and that no part of this Major paper has been published or submitted for publication. -
Ethereum Crypto-Games: Mechanics, Prevalence and Gambling Similarities
See discussions, stats, and author profiles for this publication at: https://www.researchgate.net/publication/335202888 Ethereum Crypto-Games : Mechanics, Prevalence and Gambling Similarities Conference Paper · October 2019 DOI: 10.1145/3311350.3347178 CITATIONS READS 6 1,512 6 authors, including: Oliver J. Scholten Nathan GJ Hughes The University of York The University of York 10 PUBLICATIONS 7 CITATIONS 2 PUBLICATIONS 6 CITATIONS SEE PROFILE SEE PROFILE Sebastian Deterding Anders Drachen The University of York The University of York 88 PUBLICATIONS 9,049 CITATIONS 177 PUBLICATIONS 3,241 CITATIONS SEE PROFILE SEE PROFILE Some of the authors of this publication are also working on these related projects: Games User Research and Game Analytics View project PAnDA Architecture View project All content following this page was uploaded by Nathan GJ Hughes on 28 October 2019. The user has requested enhancement of the downloaded file. Paper Session 6: Broader Reflections CHI PLAY'19, October 22–25, 2019, Barcelona, Spain Ethereum Crypto-Games: Mechanics, Prevalence and Gambling Similarities Oliver James Scholten Nathan Gerard Jayy Hughes Sebastian Deterding University of York University of York University of York York, UK York, UK York, UK [email protected] [email protected] [email protected] Anders Drachen James Alfred Walker David Zendle University of York University of York York St. John University York, UK York, UK York, UK [email protected] [email protected] [email protected] ABSTRACT of real-money gaming [26] and, due to their chance-based Ethereum crypto-games are a booming and relatively unex- mechanics, of the recent convergence of gaming and gam- plored area of the games industry. -
How Do Loot Boxes Make Money? an Analysis of a Very Large Dataset of Real Chinese CSGO Loot Box Openings
How do loot boxes make money? An analysis of a very large dataset of real Chinese CSGO loot box openings David Zendle, University of York* Elena Petrovskaya, University of York Heather Wardle, University of Glasgow *corresponding author: [email protected] Abstract Loot boxes are a form of video game monetisation that shares formal similarities with gambling. There are concerns that loot box revenues are disproportionately drawn from a small percentage of heavily-involved individuals, as is the case with gambling, leading to the potential for financial harm. In this paper we analyse a dataset of 1,469,913 loot box purchases from 386,269 separate Chinese users of the game Counter-Strike: Global Offensive. The Gini coefficient was used to measure the distribution of spending, and how much spending was concentrated within top percentiles. It estimated the concentration of spending amongst loot box openers as lower than observed elsewhere amongst gamblers (95CI: 63.76% - 64.26%). However, the majority of loot box revenue is drawn from the top 10% of players, with 1% alone responsible for 26.33% of all revenue. Overall, this research provides a crucial first step in understanding the financial consequences of loot box monetisation. Introduction Loot boxes are items in video games that may be purchased for real-world money, but which contains randomised contents of uncertain value. Loot boxes are extraordinarily widespread in video games: The majority of top-grossing mobile games contain loot boxes, and the majority of play sessions on desktop take place in a game that features loot boxes1,2. -
Exploring the Game-Of-Chance Elements in F2P Mobile Games - Insights of Player's Emotions from Qualitative Analysis
【Paper】 Exploring the game-of-chance elements in F2P mobile games - Insights of player's emotions from qualitative analysis - フリーミアム型モバイル・ゲームの確率変動要素の考察 ―定性分析によるユーザーの感情に着目して― Koeder, Marco Tanaka, Ema Mitomo, Hitoshi Graduate Student, GSAPS, Waseda University Visiting Associate Professor Professor, Waseda University Free-to-play (F2P) mobile games are based on a business model which allows the majority of players to play the game for free while only a small percentage (2-5%) is actually paying for the game (mostly through the purchase of virtual in-game items). Monetization is done through so called micro-transactions within the game where players can acquire virtual items and tools. To grow revenue and profit, game makers must motivate the limited amount of paying players to purchase more or to convert non- payers into payer. This is done by combining an attractive game-play with settings/elements that entice players to make in-game purchases. Especially, the above monetization mechanism could be boosted by the introduction of“game-of-chance” elements, or Gacha in F2P mobile games in Japan. Gacha can lead to irrational overspending among some part of paying players since game developers deliberately (mis-)use its mechanics to increase their revenue and profit with these players. This paper first outlines a basic framework of Gacha, its different mechanics and elements as well as its core issues based on literature research and interview research on players and developers. A special focus is on the emotional involvement of paying players and on learning from game developers and game expert about the role of this involvement for revenue generation. -
Loot Boxes.” Loot Boxes Are a Subcategory of in What Amounted to a Pay-To-Win Scheme
Disclaimer: This article was written and submitted in the author’s personal capacity as a member of the gaming law community. It does not reflect, nor should it be interpreted as reflecting, any regulatory position or policy stance of, or on behalf of, the Nevada Gaming Commission or its individual members. LOOT BOANXD ETHS E QUESTION OF GAMBLING By Elijah Tredup At the ever-increasing intersection of gambling and video consumers felt like a disproportionate time to unlock games, one topic that has stoked impassioned discussion features through regular gameplay, raised complaints that among consumers, video game publishers, lawmakers, and the game was too heavily trying to push loot box purchases 8 regulators are “loot boxes.” Loot boxes are a subcategory of in what amounted to a pay-to-win scheme. While initial the microtransaction monetization model used by video consumer backlash was centered on perceived price gouging game developers—a microtransaction generally being of customers, it also cast increased scrutiny on the loot box categorized as an in-game purchase made after the initial mechanic itself, its perceived similarities to gambling, and 1 purchase or download of the video game. the inclusion of a potentially unregulated gambling product 9 in games with large audiences of minors. Loot boxes follow a fairly standard formula across different games. Players either earn the loot box through game play, or With how relatively new the scrutiny of loot boxes as a 2 to save time and effort they can also purchase it with money. gambling product is, it can be easy for many, especially The contents of the loot box are typically determined by those removed from the video game community, to attempt some form of random number generator, and are revealed in to categorically declare loot boxes as either gambling or not a carefully choreographed display of animation, lights, gambling. -
Lootboxes" in Digital Games - a Gamble with Consumers in Need of Regulation? an Evaluation Based on Learnings from Japan
A Service of Leibniz-Informationszentrum econstor Wirtschaft Leibniz Information Centre Make Your Publications Visible. zbw for Economics Koeder, Marco Josef; Tanaka, Ema; Mitomo, Hitoshi Conference Paper "Lootboxes" in digital games - A gamble with consumers in need of regulation? An evaluation based on learnings from Japan 22nd Biennial Conference of the International Telecommunications Society (ITS): "Beyond the Boundaries: Challenges for Business, Policy and Society", Seoul, Korea, 24th-27th June, 2018 Provided in Cooperation with: International Telecommunications Society (ITS) Suggested Citation: Koeder, Marco Josef; Tanaka, Ema; Mitomo, Hitoshi (2018) : "Lootboxes" in digital games - A gamble with consumers in need of regulation? An evaluation based on learnings from Japan, 22nd Biennial Conference of the International Telecommunications Society (ITS): "Beyond the Boundaries: Challenges for Business, Policy and Society", Seoul, Korea, 24th-27th June, 2018, International Telecommunications Society (ITS), Calgary This Version is available at: http://hdl.handle.net/10419/190385 Standard-Nutzungsbedingungen: Terms of use: Die Dokumente auf EconStor dürfen zu eigenen wissenschaftlichen Documents in EconStor may be saved and copied for your Zwecken und zum Privatgebrauch gespeichert und kopiert werden. personal and scholarly purposes. Sie dürfen die Dokumente nicht für öffentliche oder kommerzielle You are not to copy documents for public or commercial Zwecke vervielfältigen, öffentlich ausstellen, öffentlich zugänglich purposes, to exhibit the documents publicly, to make them machen, vertreiben oder anderweitig nutzen. publicly available on the internet, or to distribute or otherwise use the documents in public. Sofern die Verfasser die Dokumente unter Open-Content-Lizenzen (insbesondere CC-Lizenzen) zur Verfügung gestellt haben sollten, If the documents have been made available under an Open gelten abweichend von diesen Nutzungsbedingungen die in der dort Content Licence (especially Creative Commons Licences), you genannten Lizenz gewährten Nutzungsrechte. -
JAM-BOX Retro PACK 16GB AMSTRAD
JAM-BOX retro PACK 16GB BMX Simulator (UK) (1987).zip BMX Simulator 2 (UK) (19xx).zip Baby Jo Going Home (UK) (1991).zip Bad Dudes Vs Dragon Ninja (UK) (1988).zip Barbarian 1 (UK) (1987).zip Barbarian 2 (UK) (1989).zip Bards Tale (UK) (1988) (Disk 1 of 2).zip Barry McGuigans Boxing (UK) (1985).zip Batman (UK) (1986).zip Batman - The Movie (UK) (1989).zip Beachhead (UK) (1985).zip Bedlam (UK) (1988).zip Beyond the Ice Palace (UK) (1988).zip Blagger (UK) (1985).zip Blasteroids (UK) (1989).zip Bloodwych (UK) (1990).zip Bomb Jack (UK) (1986).zip Bomb Jack 2 (UK) (1987).zip AMSTRAD CPC Bonanza Bros (UK) (1991).zip 180 Darts (UK) (1986).zip Booty (UK) (1986).zip 1942 (UK) (1986).zip Bravestarr (UK) (1987).zip 1943 (UK) (1988).zip Breakthru (UK) (1986).zip 3D Boxing (UK) (1985).zip Bride of Frankenstein (UK) (1987).zip 3D Grand Prix (UK) (1985).zip Bruce Lee (UK) (1984).zip 3D Star Fighter (UK) (1987).zip Bubble Bobble (UK) (1987).zip 3D Stunt Rider (UK) (1985).zip Buffalo Bills Wild West Show (UK) (1989).zip Ace (UK) (1987).zip Buggy Boy (UK) (1987).zip Ace 2 (UK) (1987).zip Cabal (UK) (1989).zip Ace of Aces (UK) (1985).zip Carlos Sainz (S) (1990).zip Advanced OCP Art Studio V2.4 (UK) (1986).zip Cauldron (UK) (1985).zip Advanced Pinball Simulator (UK) (1988).zip Cauldron 2 (S) (1986).zip Advanced Tactical Fighter (UK) (1986).zip Championship Sprint (UK) (1986).zip After the War (S) (1989).zip Chase HQ (UK) (1989).zip Afterburner (UK) (1988).zip Chessmaster 2000 (UK) (1990).zip Airwolf (UK) (1985).zip Chevy Chase (UK) (1991).zip Airwolf 2 (UK) -
BANDAI NAMCO Group FACT BOOK 2019 BANDAI NAMCO Group FACT BOOK 2019
BANDAI NAMCO Group FACT BOOK 2019 BANDAI NAMCO Group FACT BOOK 2019 TABLE OF CONTENTS 1 BANDAI NAMCO Group Outline 3 Related Market Data Group Organization Toys and Hobby 01 Overview of Group Organization 20 Toy Market 21 Plastic Model Market Results of Operations Figure Market 02 Consolidated Business Performance Capsule Toy Market Management Indicators Card Product Market 03 Sales by Category 22 Candy Toy Market Children’s Lifestyle (Sundries) Market Products / Service Data Babies’ / Children’s Clothing Market 04 Sales of IPs Toys and Hobby Unit Network Entertainment 06 Network Entertainment Unit 22 Game App Market 07 Real Entertainment Unit Top Publishers in the Global App Market Visual and Music Production Unit 23 Home Video Game Market IP Creation Unit Real Entertainment 23 Amusement Machine Market 2 BANDAI NAMCO Group’s History Amusement Facility Market History 08 BANDAI’s History Visual and Music Production NAMCO’s History 24 Visual Software Market 16 BANDAI NAMCO Group’s History Music Content Market IP Creation 24 Animation Market Notes: 1. Figures in this report have been rounded down. 2. This English-language fact book is based on a translation of the Japanese-language fact book. 1 BANDAI NAMCO Group Outline GROUP ORGANIZATION OVERVIEW OF GROUP ORGANIZATION Units Core Company Toys and Hobby BANDAI CO., LTD. Network Entertainment BANDAI NAMCO Entertainment Inc. BANDAI NAMCO Holdings Inc. Real Entertainment BANDAI NAMCO Amusement Inc. Visual and Music Production BANDAI NAMCO Arts Inc. IP Creation SUNRISE INC. Affiliated Business -
TITLES = (Language: EN Version: 20101018083045
TITLES = http://wiitdb.com (language: EN version: 20101018083045) 010E01 = Wii Backup Disc DCHJAF = We Cheer: Ohasta Produce ! Gentei Collabo Game Disc DHHJ8J = Hirano Aya Premium Movie Disc from Suzumiya Haruhi no Gekidou DHKE18 = Help Wanted: 50 Wacky Jobs (DEMO) DMHE08 = Monster Hunter Tri Demo DMHJ08 = Monster Hunter Tri (Demo) DQAJK2 = Aquarius Baseball DSFE7U = Muramasa: The Demon Blade (Demo) DZDE01 = The Legend of Zelda: Twilight Princess (E3 2006 Demo) R23E52 = Barbie and the Three Musketeers R23P52 = Barbie and the Three Musketeers R24J01 = ChibiRobo! R25EWR = LEGO Harry Potter: Years 14 R25PWR = LEGO Harry Potter: Years 14 R26E5G = Data East Arcade Classics R27E54 = Dora Saves the Crystal Kingdom R27X54 = Dora Saves The Crystal Kingdom R29E52 = NPPL Championship Paintball 2009 R29P52 = Millennium Series Championship Paintball 2009 R2AE7D = Ice Age 2: The Meltdown R2AP7D = Ice Age 2: The Meltdown R2AX7D = Ice Age 2: The Meltdown R2DEEB = Dokapon Kingdom R2DJEP = Dokapon Kingdom For Wii R2DPAP = Dokapon Kingdom R2DPJW = Dokapon Kingdom R2EJ99 = Fish Eyes Wii R2FE5G = Freddi Fish: Kelp Seed Mystery R2FP70 = Freddi Fish: Kelp Seed Mystery R2GEXJ = Fragile Dreams: Farewell Ruins of the Moon R2GJAF = Fragile: Sayonara Tsuki no Haikyo R2GP99 = Fragile Dreams: Farewell Ruins of the Moon R2HE41 = Petz Horse Club R2IE69 = Madden NFL 10 R2IP69 = Madden NFL 10 R2JJAF = Taiko no Tatsujin Wii R2KE54 = Don King Boxing R2KP54 = Don King Boxing R2LJMS = Hula Wii: Hura de Hajimeru Bi to Kenkou!! R2ME20 = M&M's Adventure R2NE69 = NASCAR Kart Racing -
Bandai Wonderswan
Bandai WonderSwan Last Updated on September 29, 2021 Title Publisher Qty Box Man Comments Anchor Field Z Sammy Armored Unit Sammy Bakuso Dekotora Densetsu Human beatmania for Wonderswan Konami Bistro Recipe Banpresto Buffers Evolution Bandai Card Captor Sakura: Sakura to Fushigi na Clow Card Bandai Chaos Gear Bandai Chocobo's Mysterious Dungeon Square/Bandai Chou-Denki Card Battle: Kappa Games Kobunsha Chouaniki: Otoko no Tamafuda Bandai Clock Tower Naxat Crazy Climber Nichibutsu D's Garage 21: Taneomaku Tori Bandai Densha de Go Bandai Densha de Go! Bandai Densha de Go! 2 Bandai Digimon Adventure 02: Tag Tamers Bandai Digimon Adventure: Anode Tamer Bandai Digimon Adventure: Cathode Trainer Bandai Digimon: Digital Partner Bandai Digital Monster Ver. WonderSwan Bandai Dokodemo Hamster INTERBEC Engacho! NAC Fever Sankyo Koushiki Pachinko Simulation BEC Final Lap 2000 Bandai Fire Pro Wrestling Kaga Tech Fishing Freaks: Bass Rise BEC From TV Animation One Piece: Mezase Kaizokuou! Bandai Ganso Jajamaru-kun Jaleco Glocal Hexcite Success Gomoku Narabe & Reversi Touryuumon Sammy Gorakuoh Tango! Mebius Gunpey Bandai Hanafuda Shiyouyo Success Harobots Sunrise Interactive Hataraku Chocobo Squaresoft Hunter X Hunter: Ishi o Tsugu Mono Bandai Keiba Yosou Shien Soft - Yosou Shinkaron Media Entertainment Kiss Yori... Seaside Seranade Kid Klonoa: Moonlight Museum Namco Kosodate Quiz Dokodemo My Angel Bandai Langrisser Millennium WS: The Last Century Bandai Last Stand Bandai Lode Runner Banpresto Macross: True Love Song Lay-Up (Upstar) Magical Drop Data East Mahjong Touryuumon Sammy Makaimura for WonderSwan Bandai Medarot: Perfect Edition Imagineer Meitantei Conan: Majutsushi no Chousenjou Bandai Meitantei Conan: Nishi no Meitantei Saidai no Kiki!? Bandai Meta Communication Therapy: Nee Kiite! Media Entertainment Mingle Magnet HAL Laboratory This checklist is generated using RF Generation's Database This checklist is updated daily, and it's completeness is dependent on the completeness of the database. -
Loot Boxes in Video Games
Loot Boxes in Video Games --------------------------------------------------------------------------------------------------------------------------- Call for Evidence - September 2020 1 1 Introduction The UK has played an important role in the development of the global video games sector. The creativity and innovation of our pioneering games designers helped lead to pivotal series such as Lemmings, Tomb Raider and Grand Theft Auto. More recent examples of the high-quality output from the British games industry includes the BAFTA award winning Lego series, the Forza Horizon games and Dreams. This has helped to establish the UK as one of the major centres of the global video games industry. As a result, the UK’s world-class video games sector is now one of the key components in our influential creative industries. Video games in the UK contributed £2.6bn in gross value added (GVA) in 2018 and employed 27,000 people in 2019. The audience for video games in the UK has also continued to grow. Now played by over half the population in the UK1, games allow people to enjoy fun and exciting play, find moments of relaxation, socialise, and learn new skills. However, whilst video games have become an important part of the economic and social fabric of the UK, they undoubtedly also present new responsibilities for everyone including the government to ensure that players - particularly children and young people - are not exposed to harm. Given the pace of evolution in this sector, the government’s challenge is to create policies that are effective within the context of constant innovation. The government wants the UK to be the safest place to be online in the world.