Loot Boxes.” Loot Boxes Are a Subcategory of in What Amounted to a Pay-To-Win Scheme
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Playerunknown's Battlegrounds Free Download How to Record Playerunknown's Battlegrounds Gameplay/Replay
playerunknown's battlegrounds free download How to record PlayerUnknown's Battlegrounds gameplay/replay. PlayerUnknown's Battlegrounds (PUBG) is a multiplayer online battle royale game. In the game, up to one hundred players parachute onto an island and scavenge for weapons and equipment to kill others while avoiding getting killed themselves. The last player or team standing wins the round. The game was first released for Steam in March 2017. By the end of the year, the Steam version had sold over twenty four million copies and held a peak concurrent player count of over three million. ( Go to Wikipedia for more info ) Recording Sample Video. Game video was uploaded by a Bandicam user. To record PlayerUnknown's Battlegrounds (PUBG), please follow the steps below. Choose the 'Game Recording' mode to record PlayerUnknown's Battlegrounds (PUBG) It's better to use 'Game Recording' mode to get a high quality video file. Start PlayerUnknown's Battlegrounds (PUBG) game to record. Note: For a stable operation, Bandicam needs to be running before starting the PlayerUnknown's Battlegrounds (PUBG) game. While running a game in 'Game Recording' mode, you can see the green number on the screen. You can control the FPS (Frames per second) under the 'FPS' tab of Bandicam. If you can't see the green number, visit No FPS on the recording target. Press the 'F12' function key (or the 'Record' button in Bandicam) to start recording. During recording, the green number (FPS) will change to red . To stop recording, press the 'F12' function key (or the 'Record' button in Bandicam) again. -
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 Motivations for Virtual Rewards in Online F2P Gacha Games: Considering
Exploring motivations for virtual rewards in online F2P Gacha games: Considering income level, consumption habits and game settings In Partial Fulfillment of the Requirements for the Bachelor of Science in Global Business by DONG Yulai 1025594 May, 2020 ABSTRACT The objective of this study is to figure out players’ motivation on paying for virtual rewards in online F2P Gacha games. Based on the previous studies and primary survey, this paper will draw a conclusion with a primary survey collection which covered more than 3700 adept Gacha game players. Possible factors including income level, consuming habits and game settings which may be players’ paying motivations are analyzed to weigh their dependency about how they sustain and influence players’ playing and consuming behaviors. The correlation analysis and regression analysis will be used to measure the relationship between these factors and payment for Gacha games. As a result, players’ income level has a significant correlation with their payment in Gacha games while their consuming habits in other virtual goods doesn’t have a significant positive correlation with paying for Gacha games. Keywords: F2P Gacha game; virtual goods; consumer behavior; online payment INTRODUCTION Gacha game is generated from Gashapon, a kind of capsule toy derived from Japanese Bandai company that consumers can get a random one from a sets of given toys in a loot box (Toto, 2012). The system of Gashapon and loot box are applied to the initially Free-to-Play on- line game no matter PC games or mobile games since 2010s. However, the loot box system in these so-called “free-to-play” game lures players to spend a lot on in-game virtual currency for the possibility of getting random virtual rewards such as rare items or game characters (Nieborg, 2016). -
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. -
Are Game Engines Software Frameworks?
? Are Game Engines Software Frameworks? A Three-perspective Study a < b c c Cristiano Politowski , , Fabio Petrillo , João Eduardo Montandon , Marco Tulio Valente and a Yann-Gaël Guéhéneuc aConcordia University, Montreal, Quebec, Canada bUniversité du Québec à Chicoutimi, Chicoutimi, Quebec, Canada cUniversidade Federal de Minas Gerais, Belo Horizonte, Brazil ARTICLEINFO Abstract Keywords: Game engines help developers create video games and avoid duplication of code and effort, like frame- Game-engine works for traditional software systems. In this paper, we explore open-source game engines along three Framework perspectives: literature, code, and human. First, we explore and summarise the academic literature Video-game on game engines. Second, we compare the characteristics of the 282 most popular engines and the Mining 282 most popular frameworks in GitHub. Finally, we survey 124 engine developers about their expe- Open-source rience with the development of their engines. We report that: (1) Game engines are not well-studied in software-engineering research with few studies having engines as object of research. (2) Open- source game engines are slightly larger in terms of size and complexity and less popular and engaging than traditional frameworks. Their programming languages differ greatly from frameworks. Engine projects have shorter histories with less releases. (3) Developers perceive game engines as different from traditional frameworks. Generally, they build game engines to (a) better control the environ- ment and source code, (b) learn about game engines, and (c) develop specific games. We conclude that open-source game engines have differences compared to traditional open-source frameworks al- though this differences do not demand special treatments. -
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. -
'Apex Legends' Esports Tournament
4/27/2021 FACEIT To Host $50,000 'Apex Legends' Esports Tournament May 27, 2019, 06:01pm EDT | 5,754 views FACEIT To Host $50,000 'Apex Legends' Esports Tournament Mike Stubbs Contributor Games Covering esports and influencers across the world. The Apex Legends esports scene is nally nding its feet. CREDIT: FACEIT FACEIT has announced the first ever officially licensed Apex Legends s e b esports tournament, which will have a massive $50,000 total prize pool and r o F feature some of the biggest organisations in the world. n o s ie The FACEIT Pro Series: Apex Legends competition will be a series of $5,000 k o o tournaments that will run over eight weeks. The remaining $10,000 of the C prize pool will go to the highest scoring team across the entire event. https://www.forbes.com/sites/mikestubbs/2019/05/27/faceit-to-host-50000-apex-legends-esports-tournament/?sh=52ae68387a9b 1/3 4/27/2021 FACEIT To Host $50,000 'Apex Legends' Esports Tournament The first event in the FACEIT Pro Series: Apex Legends kicks off at 2pm PST/5pm EST on May 31. After a brief break to allow for the ECS Season 7 CS:GO finals, the Apex Legends action will return on June 14, and continue on weekly until the final week on July 26. Each week’s tournament will last for four hours, with players having to secure more points in their matches than the other teams competing. FACEIT will of course be broadcasting the event, with CS:GO casters James Bardolph and Daniel ‘DDK’ Kapadia talking you through the action, along with other broadcast talent that is yet to be confirmed. -
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. -
Master Thesis
DIGITAL SYMBOLIC ARENAS Reinventing youth identity and emerging forms of play Erik Bredal Master’s Thesis Department of Social Anthropology UNIVERSITY OF BERGEN JANUARY 2020 This thesis will ethnographically analyze the interrelationships between gender, class, and subcultural styles using different video gaming groups primarily located in Bergen, Norway. I will discuss the structures of the groups and the video-game organizations that they participate in so as to examine how the games fit in with the players’ wider social and cultural life. The digital gaming scene provides a new arena for the articulation and reinvention of youth identity in its various contemporary forms. Alongside the game itself other things are being played out, such as cultural-social experimentations in social relations, forms of communication, and symbolic iconography. I unpack the interplay between users and technology by studying how game design works through its ability to organize aesthetics, narratives, and reward structures within virtual worlds. The genre preferences and gaming habits of different individuals are analyzed so as to examine the varying degrees of devotion to a game and indeed sometimes addiction to it. The increased accessibility of digital games has transformed the sociocultural context surrounding gaming activities making it part of new forms of mass consumption. New marketing strategies and ways of generating revenue are emerging, most prominently often employing chance-based game rewards that sometimes obscure the line between gaming and gambling. Due to increased consumer possession of technological devices, such as personal computers, gaming systems, and smartphones, the gaming market has become highly lucrative, for advertisers, those selling goods and for game developers. -
Emergent Behavior in Playerunknown's Battlegrounds by Christopher Aguilar, B.A. a Thesis in Mass Communications Submitted to T
Emergent Behavior in PlayerUnknown’s Battlegrounds by Christopher Aguilar, B.A. A Thesis In Mass Communications Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS Approved Bobby Schweizer, Ph.D. Chair of Committee Glenn Cummins, Ph.D. Megan Condis, Ph.D. Mark Sheridan Dean of the Graduate School August, 2019 Copyright 2019, Christopher Aguilar Texas Tech University, Christopher Aguilar, August 2019 ACKNOWLEDGEMENTS I just want to thank everyone that has been an inspiration for me on this journey to get me to this point of my academic success. To Dr. John Velez, who taught the gaming classes during my undergraduate that got me interested in video game research. For helping me choose which game I wanted to write about and giving me ideas of what kinds of research is possible to write. To Dr. Bobby Schweizer, for taking up the reigns for helping me in my thesis and guiding me through this year to reach this pedestal of where I am today with my work. For giving me inspirational reads such as T.L Taylor, ethnography, helping me with my critical thinking and asking questions about research questions I had not even considered. Without your encouragement and setting expectations for me to reach and to exceed, I would not have pushed myself to make each revision even better than the last. I am grateful to Texas Tech’s teachers for caring for their student’s success. My journey in my master’s program has been full of challenges but I am grateful for the opportunity I had.