Internet Trends 2017 – Code Conference
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Joint Action Against Online Video Piracy in China
November 13, 2013 Joint Action Against Online Video Piracy in China Lawsuits Seeking RMB300 Million in Damages Filed Against Baidu and QVOD on Claims of Spreading Pirated Videos and Engaging in Hotlinking BEIJING, Nov. 13, 2013 /PRNewswire/ -- Youku Tudou, Sohu Video, Tencent Video, LeTV, MPA, the Motion Picture Association of America (MPAA), CODA, Wanda Films, Enlight Media, Letv Films announce a joint declaration today in Beijing to fight online video infringement and piracy both on PC and mobile Internet in China. Meanwhile, the joint action announces legal action has been taken against Baidu and QVOD for compensation as high as RMB300 million. Representatives from more than a dozen Chinese and international film and television production companies attended the joint action announcement in Beijing. International attendees included the Motion Picture Association of America, Sony Pictures Entertainment, Warner Brothers, Disney and Paramount. Chinese attendees included the Capital Copyright Industry Alliance Capital Protection Division, the China Radio and Television Association of the Television Production Committee, and many Chinese production companies. "Since 2009, the video industry is facing a more severe anti-piracy situation," Sohu Group Chairman and CEO Charles Zhang said. "Especially when those big Internet companies with resource advantages participate in large-scale piracy. We cannot keep competing because where thieves and robbers are having their way, law-abiding companies cannot survive. We may even have to exit online video industry if such practices continue. Nobody will invest in content, and China's online video industry will face the sad situation as the music industry, which has already been destroyed by piracy, had faced before. -
DESIGN-DRIVEN APPROACHES TOWARD MORE EXPRESSIVE STORYGAMES a Dissertation Submitted in Partial Satisfaction of the Requirements for the Degree Of
UNIVERSITY OF CALIFORNIA SANTA CRUZ CHANGEFUL TALES: DESIGN-DRIVEN APPROACHES TOWARD MORE EXPRESSIVE STORYGAMES A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in COMPUTER SCIENCE by Aaron A. Reed June 2017 The Dissertation of Aaron A. Reed is approved: Noah Wardrip-Fruin, Chair Michael Mateas Michael Chemers Dean Tyrus Miller Vice Provost and Dean of Graduate Studies Copyright c by Aaron A. Reed 2017 Table of Contents List of Figures viii List of Tables xii Abstract xiii Acknowledgments xv Introduction 1 1 Framework 15 1.1 Vocabulary . 15 1.1.1 Foundational terms . 15 1.1.2 Storygames . 18 1.1.2.1 Adventure as prototypical storygame . 19 1.1.2.2 What Isn't a Storygame? . 21 1.1.3 Expressive Input . 24 1.1.4 Why Fiction? . 27 1.2 A Framework for Storygame Discussion . 30 1.2.1 The Slipperiness of Genre . 30 1.2.2 Inputs, Events, and Actions . 31 1.2.3 Mechanics and Dynamics . 32 1.2.4 Operational Logics . 33 1.2.5 Narrative Mechanics . 34 1.2.6 Narrative Logics . 36 1.2.7 The Choice Graph: A Standard Narrative Logic . 38 2 The Adventure Game: An Existing Storygame Mode 44 2.1 Definition . 46 2.2 Eureka Stories . 56 2.3 The Adventure Triangle and its Flaws . 60 2.3.1 Instability . 65 iii 2.4 Blue Lacuna ................................. 66 2.5 Three Design Solutions . 69 2.5.1 The Witness ............................. 70 2.5.2 Firewatch ............................... 78 2.5.3 Her Story ............................... 86 2.6 A Technological Fix? . -
Analysis and Discussion on the Network Self Made Drama Under the Network Platform
Analysis and Discussion on the Network Self Made Drama under the Network Platform Xiaoxia LI Zibo Vocational Institute Abstract: In recent years, with the continuous deepening of the integration of Internet and film and television creation, China has entered the online drama world spawned by the “Internet”. In the development trend of online drama, self-made content has become the foundation of every major platform. In 2020, the network self-made drama will be stable and new. Under the benign situation of stable development, it will move towards higher quality and broader stage. Keywords: Network; Platform; Homemade drama; Film and television DOI: 10.47297/wspciWSP2516-252708.20200409 1. The Rise of Self-made Drama in the Network Video Platform (1) The characteristics of network communication and the platform advantage of mastering the front market data, the network self-made drama has high interaction and market sensitivity. (2) Behind the rise of the network self-made drama is the network video platform that is eager for more control. n the increasingly fierce and cruel competition of “film and television winter”, Ithe network self-made drama makes these online video platforms escape the copyright purchase cost of the sky price, and change from passive content competition to active participation in content production, and become the core of platform differentiation competition. At the same time, this benign change also contains the vision of the film and television industry to reshape the content ecology. About the author: Xiaoxia LI (1978-02), female, from Zibo City, Shandong Province, master, lecturer, engaged in computer applications, network big data and artificial intelli- gence. -
State of Mobile 2020
1 1 2 0 2 0 S T A T E O F M O B I L E Executive Summary 204B $120B 3.7 Hrs 825% 60% Worldwide Downloads Worldwide App Store Per day spent in mobile Higher avg IPO Higher per user in 2019 Consumer Spend by the average user valuation for mobile engagement in 2019 in 2019 companies in 2019 by Gen Z vs older demos in 2019 2 State of Mobile | Copyright 2020 | App Annie Table of Contents ● Macro Mobile Trends 5 ● Gaming 13 ● Finance 22 ● Retail 27 ● Streaming 32 ● Social 36 ● Other Industries Embracing Mobile Transformation 40 ● Worldwide Rankings 45 3 State of Mobile | Copyright 2020 | App Annie The Mobile Performance Standard Through our mobile data and insights platform, we help create winning mobile experiences for those aspiring to achieve excellence 4 State of Mobile | Copyright 2020 | App Annie MACRO MOBILE TRENDS Top Countries by App Store Downloads Consumers Downloaded a Record 120B 240B 100B 200B Growth From 2016 to 2019 204 Billion Apps Worldwide Downloads Worldwide 80B 160B ● Annual worldwide downloads have grown 45% in — Worldwide 45% the 3 years since 2016 and 6% year over year, — China 80% 60B 120B which is particularly impressive given this excludes — India 190% re-installs and app updates. — United States 5% 40B 80B — Brazil 40% ● Downloads are largely fueled by emerging Country-Level Downloads Country-Level markets, including India, Brazil and Indonesia. — Indonesia 70% 20B 40B ● Consumers in mature markets like the US, Japan and Korea have seen download growth level off, 0B 0B but are still seeking out new apps. -
Read the Report
23 Dec 2020 CMB International Securities | Equity Research | Company Initiation iQIYI (IQ US) BUY (Initiation) China’s online Disney in the making Target Price US$23.2 Up/Downside +34.8% Current Price US$17.2 We keep positive on IQIYI’s long-term subs trend and margin improvement , backed by its sizable users, unique original content and valuable IP. We forecast iQIYI to deliver 11% revenue CAGR during FY20-22E, with subs price hike and China Internet Sector ads recovery. Given fundraising partly priced in, we think iQIYI’s valuation is attractive. Initiate with BUY with DCF-based TP US$23.2. Sophie Huang An online video leader: Not only “Netflix”, but more. iQIYI is a leading (852) 3900 0889 online video platform in China, with 105mn subs. Backed by its sizable users, [email protected] vibrant original content and IP reserve, we forecast iQIYI to deliver 11% rev CAGR in FY20-22E, with subs price hike, ads recovery, and user expansion. Miriam Lu (852) 3761 8728 Original content makes the difference. With online video industry growth [email protected] tapering off, we believe content matters more to users than traffic or subsidies. iQIYI exceled itself with exclusive original content in both popular dramas and variety shows. Moreover, it bore initial fruits from short-episode dramas (e.g. Stock Data Mkt Cap (US$ mn) 13,499 the popularity of The Bad Kids <隐秘的角落>), and would further enrich Light Avg 3 mths t/o (US$ mn) 180.41 on Series (迷雾剧场) with stronger pipeline. We expect short-episode dramas 52w High/Low (US$) 28.03/ 14.51 series to stimulate its subs & brand ads momentum with higher ROI, such as Total Issued Shares (mn) 373 Who is Murderer<谁是凶手> in 2021 pipeline. -
From Western TV Sets to Chinese Online Streaming Services: English-Language TV Series in Mainland China
. Volume 16, Issue 2 November 2019 From Western TV sets to Chinese online streaming services: English-language TV series in mainland China Xiaoran Zhang, University of Nottingham, UK Abstract: In the age of multiple screens, online streaming has in the 2010s become the most significant way of consuming overseas television programs in Mainland China. Due to rather strict government policy and censorship, foreign television series are presently only legally distributed and circulated on licensed online streaming services. Focusing on the streaming of US/UK TV series, this paper examines online streaming services’ distribution activities in order to understand both streaming websites’ business practices surrounding transnational TV and the features they employ to cater to online audiences for these series. To grasp how the online distribution of English-language TV series operates in China, I begin by looking at China’s five major video streaming services, analyzing the design of their interfaces, scheduling of programs, and accessibility for different tiers of users. I then examine how streaming services use social media as a major tool to promote their US and UK TV series. Through this analysis, I argue that transnational TV flow has had to be localized to achieve distribution and marketing goals in a Chinese context, resulting in the uniqueness of these streaming practices. This article concludes that, with the development of online streaming technologies, distinctive modes of audience consumption in China have informed the localization of this specific transnational TV content. Keywords: Online streaming, streaming consumption, television distribution, transnational TV, Tencent Video, HBO, Game of Thrones Introduction As one of HBO’s most successful high-end shows, Game of Thrones (2011-) has earned a worldwide reputation that includes the fandom of Chinese viewers. -
Most Recent Chinese 'Ad Block' Judgment Affirms Ad-Based Revenue Model for Internet Businesses 13 November 2015
Most recent Chinese 'ad block' judgment affirms ad-based revenue model for Internet businesses 13 November 2015 On 14 October 2015, a local court in Shanghai adopted the The judgment latest in a series of judgments on the legality of software and On the ad block claim, the Shanghai court held that the VST other technical measures that block or skip advertisements on software had decrypted iQiyi's security key codes so that digital platforms. iQiyi's servers mistakenly took VST's access requests as In its judgment, the Shanghai Yangpu District People's Court coming from iQiyi's own platform. Through this approach, the found that Juwangshi Technology Corporation ("Juwangshi"), court found, the VST software was able to directly displaying a video streaming service aggregator, had breached anti- iQiyi's videos without the ads, which had the same effect as unfair competition rules by utilizing certain decryption explicit "ad blocking." The court pointed out that Juwangshi's measures to block ads while displaying videos streamed from ad blocking conduct was able to attract users who neither iQiyi, one of China's main online video sites. The judgment want to watch ads nor pay for iQiyi membership, which in turn also addressed the issue of online businesses "scraping reduces iQiyi's revenues. content" (i.e., using information) from other websites. On this point, the Shanghai court judgment is consistent with Background to the case a series of "ad block" judgments by various Chinese courts in the last two years. For example, in a judgment at the end of The plaintiff in this case was iQiyi, which streams video July 2015, the Beijing Shijingshan District People's Court programs for free but has ads embedded at the beginning of found Hualu Tianwei, also an online video aggregation the programs. -
Tencent Announces 2017 Fourth Quarter and Annual Results
For Immediate Release TENCENT ANNOUNCES 2017 FOURTH QUARTER AND ANNUAL RESULTS Hong Kong, March 21, 2018 – Tencent Holdings Limited (“Tencent” or the “Company”, 00700.HK), a leading provider of Internet value added services in China, today announced the unaudited consolidated results for the fourth quarter of 2017 (“4Q2017”) and audited consolidated results for the year ended December 31, 2017 (“FY2017”). FY2017 Key Highlights Revenues: +56% YoY, non-GAAP Profit attributable to equity holders of the Company: +43% YoY . Total revenues were RMB237,760 million (USD36,387 million1), an increase of 56% over the year ended December 31, 2016 (“YoY”). Operating profit was RMB90,302 million (USD13,820 million), an increase of 61% YoY. Operating margin was 38%, up from 37% last year. Profit for the year was RMB72,471 million (USD11,091 million), an increase of 75% YoY. Net margin increased to 30% from 27% last year. Profit attributable to equity holders of the Company for the year was RMB71,510 million (USD10,944 million), an increase of 74% YoY. Basic earnings per share were RMB7.598. Diluted earnings per share were RMB7.499. On a non-GAAP2 basis, which excludes certain non-cash items and certain impact of M&A transactions: - Operating profit was RMB82,023 million (USD12,553 million), an increase of 41% YoY. Operating margin decreased to 34% from 38% last year. - Profit for the year was RMB66,404 million (USD10,163 million), an increase of 44% YoY. Net margin decreased to 28% from 30% last year. - Profit attributable to equity holders of the Company for the year was RMB65,126 million (USD9,967 million), an increase of 43% YoY. -
AWS Is How Game Tech Volume 2
Behind great games, there’s game tech. AWS is How Game Tech Volume 2 AWS IS HOW GAME TECH EDITION Volume 2 2 Player profile Player Player ID: Eric Morales Classification: Reconnecting through tech Head of AWS Game Tech EMEA Player history Stockholm Joined Gamer since 59°32′N 18°06′E July 2015 1995 Over the past year, many of us have felt compelled to escape into a game, even if only for a few hours. Technology has been our salvation and our solace. When we’ve been forced to stay apart, tech has helped us to feel connected, whether by racing strangers through virtual cities or teaming up to battle awesome foes in Wolcen: Lords of Mayhem. There has, perhaps, never been a greater keep pushing forward on a bumpy road and instead of sticking to a plan that no longer Perhaps one of the key things we can need for the escape that gaming gives when to somersaulto a ne ont w one. fits. New ideas come through all the time learn from these studios is that adversity us. So I’d like to say an extra thank you to and you have to embrace them.” can spark the creativity we need to build Building on AWS gives studios the chance the studios we’re featuring in this issue. something truly spectacular. In many to experiment, innovate, and make For some of the developers we spoke Without you, lockdown would have been games, your character levels up and gets mistakes in order to keep forging ahead. to, the pandemic has been just one of just a little bit harder for so many millions stronger regardless of your own skill, which I’m 100 percent with Roberta Lucca many hurdles they’ve overcome. -
Vintage Game Consoles: an INSIDE LOOK at APPLE, ATARI
Vintage Game Consoles Bound to Create You are a creator. Whatever your form of expression — photography, filmmaking, animation, games, audio, media communication, web design, or theatre — you simply want to create without limitation. Bound by nothing except your own creativity and determination. Focal Press can help. For over 75 years Focal has published books that support your creative goals. Our founder, Andor Kraszna-Krausz, established Focal in 1938 so you could have access to leading-edge expert knowledge, techniques, and tools that allow you to create without constraint. We strive to create exceptional, engaging, and practical content that helps you master your passion. Focal Press and you. Bound to create. We’d love to hear how we’ve helped you create. Share your experience: www.focalpress.com/boundtocreate Vintage Game Consoles AN INSIDE LOOK AT APPLE, ATARI, COMMODORE, NINTENDO, AND THE GREATEST GAMING PLATFORMS OF ALL TIME Bill Loguidice and Matt Barton First published 2014 by Focal Press 70 Blanchard Road, Suite 402, Burlington, MA 01803 and by Focal Press 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Focal Press is an imprint of the Taylor & Francis Group, an informa business © 2014 Taylor & Francis The right of Bill Loguidice and Matt Barton to be identified as the authors of this work has been asserted by them in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. -
Annual Review
annual review 2017 our board Ukie Annual Review 2016/17 contents 02 foreword 04 Noirin Carmody - Chair Harvey Eagle chair’s report Owner and COO Xbox UK Marketing Director Our initiatives Revolution Software Microsoft 06 ceo’s report Ian Livingstone CBE - Vice Chair Miles Jacobson OBE Chairman Studio Director Playmob Sports Interactive 08 a year in westminster and brussels askaboutgames Dave Gould - Treasurer Veronique Lallier askaboutgames.com Snr Director of Sales UK & Export European Managing Director 12 Take 2 Interactive Hi-Rez Studios research and analysis Without house background Simon Barratt Warwick Light 16 Director UK Managing Director and Vice President ukie’s year in numbers Sony Interactive Entertainment Barog Game Labs INSPIRATIONAL COMPUTING 18 Katherine Bidwell Phil Mansell Digital Schoolhouse acting locally thinking globally Co-Founder CEO digitalschoolhouse.org.ukWith house background State of Play Games Jagex 20 ukie’s global trade programme Neil Boyd Andy Payne OBE INSPIRATIONAL COMPUTING European Anti-Piracy Counsel CEO Nintendo Europe AppyNation 22 the digital schoolhouse Shaun Campbell Kirsty Rigden Games London UK Country Manager Operations Director games.london 24 Electronic Arts FuturLab inspiring talent John Clark Ella Romanos 26 Senior Vice President, Commercial Director promoting a positive image Publishing Rocket Lolly Games SEGA Europe Students 27 Rob Cooper Roy Stackhouse making the most of your IP Managing Director Northern Europe and Vice President - UK, Ireland & Benelux Ukie Students Export Territories -
NOX UK Manual 2
NOX™ PCCD MANUAL Warning: To Owners Of Projection Televisions Still pictures or images may cause permanent picture-tube damage or mark the phosphor of the CRT. Avoid repeated or extended use of video games on large-screen projection televisions. Epilepsy Warning Please Read Before Using This Game Or Allowing Your Children To Use It. Some people are susceptible to epileptic seizures or loss of consciousness when exposed to certain flashing lights or light patterns in everyday life. Such people may have a seizure while watching television images or playing certain video games. This may happen even if the person has no medical history of epilepsy or has never had any epileptic seizures. If you or anyone in your family has ever had symptoms related to epilepsy (seizures or loss of consciousness) when exposed to flashing lights, consult your doctor prior to playing. We advise that parents should monitor the use of video games by their children. If you or your child experience any of the following symptoms: dizziness, blurred vision, eye or muscle twitches, loss of consciousness, disorientation, any involuntary movement or convulsion, while playing a video game, IMMEDIATELY discontinue use and consult your doctor. Precautions To Take During Use • Do not stand too close to the screen. Sit a good distance away from the screen, as far away as the length of the cable allows. • Preferably play the game on a small screen. • Avoid playing if you are tired or have not had much sleep. • Make sure that the room in which you are playing is well lit. • Rest for at least 10 to 15 minutes per hour while playing a video game.