Incremental Digital Product Innovation in Social Mobile Games
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Activision Blizzard, Inc
Investment Club Presentation Activision Blizzard, Inc. (ATVI) Analyst: Niko Martinovic 5-Yr Stock Performance $90 $80 $70 $60 $50 $40 $30 Decline in stock primarily driven by analyst sentiment changes, missing expectations, CFO firings, $20 and most recently, Bungie games leaving ATVI $10 $0 1/15/20144/15/20147/15/201410/15/20141/15/20154/15/20157/15/201510/15/20151/15/20164/15/20167/15/201610/15/20161/15/20174/15/20177/15/201710/15/20171/15/20184/15/20187/15/201810/15/2018 Source: AIM/Martinovic 2018, Company Filings, S&P Capital IQ, and IBIS World 2 They’re Wrong Activision Blizzard has three meaningful and diverse revenue streams that can all grow in unique ways. E-Sports and Virtual Reality are the most exciting growth opportunities in this industry and ATVI is the best positioned to take advantage of it with the power of their brands, aggressive R&D spend, and patience. Source: 3 Note: Three Year Stock Performance ATVI has outperformed the S&P consistently since early 2017 while the Peer Set1 has reverted back. 160.00% 140.00% Stock Price $46.85 Shares Outstanding $762.41mm 120.00% Market Cap $36.08bn 52 Week Range $43.71-$84.68 100.00% Avg. Volume 7,550,000 EPS (TTM) $2.13 80.00% Past Month Performance -1.60% Past 1 Year -33.63% 60.00% Past 5 Year 170.36% 40.00% 20.00% 0.00% -20.00% -40.00% 1/15/2016 4/15/2016 7/15/2016 10/15/2016 1/15/2017 4/15/2017 7/15/2017 10/15/2017 1/15/2018 4/15/2018 7/15/2018 10/15/2018 S&P ATVI Peer Set Source: AIM/Martinovic 2018, Company Filings, S&P Capital IQ, and IBIS World 4 1Electronic Arts, Ubisoft, Take Two Interactive, Square Enix, and Zynga Company Overview & Monetization Activision Blizzard, Inc. -
Retrocomputing As Preservation and Remix
Retrocomputing as Preservation and Remix Yuri Takhteyev Quinn DuPont University of Toronto University of Toronto [email protected] [email protected] Abstract This paper looks at the world of retrocomputing, a constellation of largely non-professional practices involving old computing technology. Retrocomputing includes many activities that can be seen as constituting “preservation.” At the same time, it is often transformative, producing assemblages that “remix” fragments from the past with newer elements or joining together historic components that were never combined before. While such “remix” may seem to undermine preservation, it allows for fragments of computing history to be reintegrated into a living, ongoing practice, contributing to preservation in a broader sense. The seemingly unorganized nature of retrocomputing assemblages also provides space for alternative “situated knowledges” and histories of computing, which can sometimes be quite sophisticated. Recognizing such alternative epistemologies paves the way for alternative approaches to preservation. Keywords: retrocomputing, software preservation, remix Recovering #popsource In late March of 2012 Jordan Mechner received a shipment from his father, a box full of old floppies. Among them was a 3.5 inch disk labelled: “Prince of Persia / Source Code (Apple) / ©1989 Jordan Mechner (Original).” Mechner’s announcement of this find on his blog the next day took the world of nerds by storm.1 Prince of Persia, a game that Mechner single-handedly developed in the late 1980s, revolutionized computer games when it came out due to its surprisingly realistic representation of human movement. After being ported to DOS and Apple’s Mac OS in the early 1990s the game sold 2 million copies (Pham, 2001). -
Shareware Solutions II
SharewareShareware SolutionsSolutions IIII An Exciting Apple II Journey Into The Future Volume 3, Issue 1 Spring, 1996 Heard It Through The Grapevine Hard Drive Give Away following e-mail message: The There was also quite a bit of dis- winner of the HD is Keith Saga- cussion about Brutal Deluxes Everyone whose subscription low. We threw all of the papers System 6.0.2 update, and Oliv- was current at the end of Febru- into the air, then we threw a ier admitted that his program- ary, 1996 was automatically en- dart at one. There were three ming partner suffered from a tered into the Hard Drive Give names hit by the dart, but only hard drive crash and that much Away Contest, and the winner one was legible, so Keith was of the work had been lost. of that contest is Keith Saga- the winner. low, a IIGS owner from Central The freewheeling online chat Valley, New York. Keith is now Thanks to Tony Diaz for do- session was attended by more the proud owner of a 120 Mega- nating the drive. Thanks to Auri than 30 people, and a good time byte Focus Hard Drive. for acting as an intermediary to seemed to be had by all. Steve Wozniak. Thanks to Woz From the time the contest was for choosing the winner. But Upon his return to France, Oliv- announced in the last issue un- most of all, thanks to all of you ier started work on the next Bru- til the time that Keith received for supporting Shareware Solu- tal Deluxe release, a IIGS game his hard drive, several unexpect- tions II. -
Class Action Chamber)
CANADA PROVINCE OF QUEBEC SUPERIOR COURT DISTRICT OF MONTREAL (CLASS ACTION CHAMBER) No: 500-06-001132-212 GABRIEL BOURGEOIS Petitioner -vs.- ELECTRONIC ARTS INC., legal person duly constituted, having its address of service at 1209 Orange Street, Wilmington, DE 19801 USA and ELECTRONIC ARTS (Canada), INC., legal person duly constituted, having its address for service at 1800 510 West Georgia St., Vancouver, BC, V6B 0M3, Canada and ACTIVISION BLIZZARD INC., legal person duly constituted, having its address for service at 251 Little Falls Drive, Wilmington, New Castle, Delaware, 19808 and ACTIVISION PUBLISHING INC., legal person duly constituted, having its address for service at 251 Little Falls Drive, Wilmington, New Castle, Delaware, 19808 and BLIZZARD ENTERTAINMENT INC., legal person duly constituted, having its address for service at 251 Little 1 Falls Drive, Wilmington, New Castle, Delaware, 19808 and TAKE TWO INTERACTIVE SOFTWARE INC., legal person duly constituted, having its address for service at 251 Little Falls Drive, Wilmington, Delaware, 19808 and TAKE TWO INTERACTIVE CANADA HOLDINGS INC., legal person duly constituted, having its address for service at 5770 Hutontario St, Mississauga, Ontario, L5R 3G5 and 2K GAMES INC., legal person duly constituted, having its address for service at 251 Little Falls Drive, Wilmington, Delaware, 19808 and ROCKSTAR GAMES INC, legal person duly constituted, having its address for service at 251 Little Falls Drive, Wilmington, Delaware, 19808 and WARNER BROS. ENTERTAINMENT INC., legal person duly constituted, having its address for service at 1209 Orange St., Wilmington, DE 19801 and WARNER BROS ENTERTAINMENT CANADA INC., legal person duly constituted, having its address for service at Suite 1600, 5000 Yonge Street, Toronto, Ontario, M2N 6P1 and 2 WARNER BROS. -
Henry Jenkins Convergence Culture Where Old and New Media
Henry Jenkins Convergence Culture Where Old and New Media Collide n New York University Press • NewYork and London Skenovano pro studijni ucely NEW YORK UNIVERSITY PRESS New York and London www.nyupress. org © 2006 by New York University All rights reserved Library of Congress Cataloging-in-Publication Data Jenkins, Henry, 1958- Convergence culture : where old and new media collide / Henry Jenkins, p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8147-4281-5 (cloth : alk. paper) ISBN-10: 0-8147-4281-5 (cloth : alk. paper) 1. Mass media and culture—United States. 2. Popular culture—United States. I. Title. P94.65.U6J46 2006 302.230973—dc22 2006007358 New York University Press books are printed on acid-free paper, and their binding materials are chosen for strength and durability. Manufactured in the United States of America c 15 14 13 12 11 p 10 987654321 Skenovano pro studijni ucely Contents Acknowledgments vii Introduction: "Worship at the Altar of Convergence": A New Paradigm for Understanding Media Change 1 1 Spoiling Survivor: The Anatomy of a Knowledge Community 25 2 Buying into American Idol: How We are Being Sold on Reality TV 59 3 Searching for the Origami Unicorn: The Matrix and Transmedia Storytelling 93 4 Quentin Tarantino's Star Wars? Grassroots Creativity Meets the Media Industry 131 5 Why Heather Can Write: Media Literacy and the Harry Potter Wars 169 6 Photoshop for Democracy: The New Relationship between Politics and Popular Culture 206 Conclusion: Democratizing Television? The Politics of Participation 240 Notes 261 Glossary 279 Index 295 About the Author 308 V Skenovano pro studijni ucely Acknowledgments Writing this book has been an epic journey, helped along by many hands. -
High-Performance Play: the Making of Machinima
High-Performance Play: The Making of Machinima Henry Lowood Stanford University <DRAFT. Do not cite or distribute. To appear in: Videogames and Art: Intersections and Interactions, Andy Clarke and Grethe Mitchell (eds.), Intellect Books (UK), 2005. Please contact author, [email protected], for permission.> Abstract: Machinima is the making of animated movies in real time through the use of computer game technology. The projects that launched machinima embedded gameplay in practices of performance, spectatorship, subversion, modification, and community. This article is concerned primarily with the earliest machinima projects. In this phase, DOOM and especially Quake movie makers created practices of game performance and high-performance technology that yielded a new medium for linear storytelling and artistic expression. My aim is not to answer the question, “are games art?”, but to suggest that game-based performance practices will influence work in artistic and narrative media. Biography: Henry Lowood is Curator for History of Science & Technology Collections at Stanford University and co-Principal Investigator for the How They Got Game Project in the Stanford Humanities Laboratory. A historian of science and technology, he teaches Stanford’s annual course on the history of computer game design. With the collaboration of the Internet Archive and the Academy of Machinima Arts and Sciences, he is currently working on a project to develop The Machinima Archive, a permanent repository to document the history of Machinima moviemaking. A body of research on the social and cultural impacts of interactive entertainment is gradually replacing the dismissal of computer games and videogames as mindless amusement for young boys. There are many good reasons for taking computer games1 seriously. -
Cheating in Candy Crush Saga." Social, Casual and Mobile Games: the Changing Gaming Landscape
Carter, Marcus, and Staffan Björk. "Cheating in Candy Crush Saga." Social, Casual and Mobile Games: The changing gaming landscape. Ed. Tama Leaver and Michele Willson. New York: Bloomsbury Academic, 2015. 261–274. Bloomsbury Collections. Web. 1 Oct. 2021. <http:// dx.doi.org/10.5040/9781501310591.ch-018>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 1 October 2021, 16:24 UTC. Copyright © Tama Leaver, Michele Willson and Contributors 2016. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 18 Cheating in Candy Crush Saga M a r c u s C a r t e r a n d S t a ff a n B j ö r k reemium’ describes an economic model for digital software that involves ‘F a free basic service, with premium content available for customers that choose to pay. Freemium games are thus ‘free-to-play’ (F2P) and have grown enormously popular in tandem with the emergence of ‘casual’ games popular on non-dedicated mobile gaming platforms (such as iOS or Android devices) and social network sites (SNSs) (such as Facebook). A December 2012 survey estimated that revenue from free mobile and computer games has surpassed revenue from paid titles in the United States (Amano 2013). Candy Crush Saga is one of the most commercially successful freemium games, being F2P while offering purchases of in-game ‘lives’ and advantages at a relatively low cost (ranging between US$0.99 and US$2.99 on the iOS version). -
The Shape of Games to Come: Critical Digital Storytelling in the Era of Communicative Capitalism
The Shape of Games to Come: Critical Digital Storytelling in the Era of Communicative Capitalism by Sarah E. Thorne A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Cultural Mediations Carleton University Ottawa, Ontario © 2018, Sarah E. Thorne Abstract The past decade has seen an increase in the availability of user-friendly game development software, the result of which has been the emergence of a genre of reflexive and experimental games. Pippin Barr, La Molleindustria’s Paolo Pedercini, and Davey Wreden are exemplary in their thoughtful engagement with an ever-expanding list of subjects, including analyses and critiques of game development, popular culture, and capitalism. These works demonstrate the power of games as a site for critical media theory. This potential, however, is hindered by the player-centric trends in the game industry that limit the creative freedom of developers whose work is their livelihood. In the era of communicative capitalism, Jodi Dean argues that the commodification of communication has suspended narrative in favour of the circulation of fragmented and digestible opinions, which not only facilitates the distribution and consumption of communication, but also safeguards communicative capitalism against critique. Ultimately, the very same impulse that drives communicative capitalism is responsible for the player-centric trends that some developers view as an obstacle to their art. Critical game studies has traditionally fallen into two categories: those that emphasize the player as the locus of critique, such as McKenzie Wark’s trifler or Mary Flanagan’s critical play, and those that emphasize design, as in Alexander Galloway’s countergaming, Ian Bogost’s procedural rhetoric, and Gonzalo Frasca’s theory of simulation. -
Loot Boxes: Are They Grooming Youth for Gambling?
Loot Boxes: Are they grooming youth for gambling? Prepared for: The NSW Responsible Gambling Fund Prepared by: Prof. Matthew Rockloff Dr. Alex M T Russell Ms. Nancy Greer Dr. Lisa Lolé Prof. Nerilee Hing Prof. Matthew Browne Central Queensland University June 2020 doi: 10.25946/5ef151ac1ce6f ISBN: 978-1-921047-87-9 This project was funded by the NSW Government’s Responsible Gambling Fund, with support from the NSW Office of Responsible Gambling. The report has undergone independent peer review, which was overseen by the Office. This publication is licensed under a Creative Commons Attribution 4.0 Australia licence. Page | 1 Executive summary This report outlines research aimed at understanding the risks posed by loot boxes to adolescents (12-17) and young adults (18-24) in NSW. Loot boxes are a growing concern due to the risk and reward properties that closely align them with traditional gambling, the potential for encouraging greater gambling involvement, and the potential for associated gambling harm. Broadly, this research revealed: • Loot boxes are common in the best-selling video games. Our exploration included a selection of 82 best selling video games and revealed 62% (51) had loot boxes. • In our survey sample, almost all of the respondents played at least one video game with loot boxes within the last 12 months (93.2%). • About a third (32.9%) of the survey respondents who played games with loot boxes within the last 12 months had also purchased a loot box, and their median monthly expenditure was $50 for adolescents and $72 for young adults. • Compared to other purchasers, young adults who more recently first purchased loot boxes were more likely to have gambling problems. -
Amended Final Draft
Independent or Indie? Creative Autonomy and Cultural Capital in Independent Video Game Production Martin Graham Smith A thesis submitted in fulfilment of the requirements of the Manchester Metropolitan University for the degree of Master of Arts (By Research) Manchester Institute for Research and Innovation in Art and Design (MIRIAD) May 2016 ABSTRACT The use of the word ‘indie’ in relation to video games has shifted from referring to games made independently of a large publisher to being a more nebulous term that is harder to define but that is clearly used at times to refer to games other than those made without the financial assistance of publishers. This thesis seeKs to contribute to the ongoing debate in academic writing on video games as to the meaning of the phrase ‘indie games’. The thesis combines textual and institutional analysis to contextualise the modern indie game by investigating the history of independent video game production in the UK and USA from the 1970s to the modern day, with reference to how changes in technology have shaped independent video game production over time. Alternative models of production that existed before the indie games of the mid-2000s onwards are an under researched area, and this thesis argues that a number of independent counter trends to dominant industry practices set precedents for many of the features of later indie games, in terms of content, style, distribution methods, and models of production. The thesis also contains a case study into the publisher-funded indie games of Jenova Chen and Thatgamecompany which investigates the conflicting definitions of indie in academic writing on video games and other forms of media, arguing that as with indie in cinema, indie in games functions as a form of cultural capital for the audience and developers. -
Syllabus (Holly Newman
Master of Entertainment Industry Management Course The Business of Gaming Information Course Number: 93-857 Semester Credit Hours: 4, Class Meetings: 4 Instructor: Holly Newman Email: [email protected] Saturday, 10/24 at 10am Saturday, 11/7 at 10am Saturday, 11/14 at 10am Saturday, 11/21 at 10am *Syllabus subject to change and readings will be assigned closer to the date to ensure current issues are involved. Description This four-week class will focus on the business aspects that relate to the gaming industry. This industry has grown quickly in the last 25 years. With 2020 sales anticipated to reach $159 billion in game content, hardware and accessories, games have emerged as a leading source of commercial entertainment – in content development, distribution and the licensing of its IP. The course will focus on the ways in which its creative and business practices are both unique, and also share common characteristics with other forms of screen-based entertainment. The course will focus on the following key areas: - The publishing business model, and how Games evolved from and relate to software distribution. Covered material will include: licensing agreements, the development and ownership of Intellectual Property. - The game publishers, and an overview of the key companies and competing business strategies, including game genres, key titles/franchises, management of developer relationships, and the publishers’ relationships with licensors and licensees (primarily vis-à-vis the motion picture business). - The lexicon and how to effectively communicate with buyers and sellers of Intellectual Property. - The production process and how to reconcile with film and television production timelines and milestones. -
A New Storytelling Era: Digital Work and Professional Identity in the North American Comic Book Industry
A New Storytelling Era: Digital Work and Professional Identity in the North American Comic Book Industry By Troy Mayes Thesis submitted for the degree of Doctor of Philosophy in the Discipline of Media, The University of Adelaide January 2016 Table of Contents Abstract .............................................................................................. vii Statement ............................................................................................ ix Acknowledgements ............................................................................. x List of Figures ..................................................................................... xi Chapter One: Introduction .................................................................. 1 1.1 Introduction ................................................................................ 1 1.2 Background and Context .......................................................... 2 1.3 Theoretical and Analytic Framework ..................................... 13 1.4 Research Questions and Focus ............................................. 15 1.5 Overview of the Methodology ................................................. 17 1.6 Significance .............................................................................. 18 1.7 Conclusion and Thesis Outline .............................................. 20 Chapter 2 Theoretical Framework and Methodology ..................... 21 2.1 Introduction .............................................................................. 21