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Invisible Labor, Invisible Play: Online Gold Farming and the Boundary Between Jobs and Games
Vanderbilt Journal of Entertainment & Technology Law Volume 18 Issue 3 Issue 3 - Spring 2016 Article 2 2015 Invisible Labor, Invisible Play: Online Gold Farming and the Boundary Between Jobs and Games Julian Dibbell Follow this and additional works at: https://scholarship.law.vanderbilt.edu/jetlaw Part of the Internet Law Commons, and the Labor and Employment Law Commons Recommended Citation Julian Dibbell, Invisible Labor, Invisible Play: Online Gold Farming and the Boundary Between Jobs and Games, 18 Vanderbilt Journal of Entertainment and Technology Law 419 (2021) Available at: https://scholarship.law.vanderbilt.edu/jetlaw/vol18/iss3/2 This Article is brought to you for free and open access by Scholarship@Vanderbilt Law. It has been accepted for inclusion in Vanderbilt Journal of Entertainment & Technology Law by an authorized editor of Scholarship@Vanderbilt Law. For more information, please contact [email protected]. VANDERBILT JOURNAL OF ENTERTAINMENT & TECHNOLOGY LAW VOLUME 18 SPRING 2016 NUMBER 3 Invisible Labor, Invisible Play: Online Gold Farming and the Boundary Between Jobs and Games Julian Dibbell ABSTRACT When does work become play and play become work? Courts have considered the question in a variety of economic contexts, from student athletes seeking recognition as employees to professional blackjack players seeking to be treated by casinos just like casual players. Here, this question is applied to a relatively novel context: that of online gold farming, a gray-market industry in which wage-earning workers, largely based in China, are paid to play fantasy massively multiplayer online games (MMOs) that reward them with virtual items that their employers sell for profit to the same games' casual players. -
Online Media Business Models: Lessons from the Video Game Sector
Komorowski, M and Delaere, S. (2016). Online Media Business Models: Lessons from the Video Game Sector. Westminster Papers in Communication and Culture, 11(1), 103–123, DOI: http://dx.doi. org/10.16997/wpcc.220 RESEARCH ARTICLE Online Media Business Models: Lessons from the Video Game Sector Marlen Komorowski and Simon Delaere imec-SMIT, Vrije Universiteit, Brussels, BE Corresponding author: Marlen Komorowski ([email protected]) Today’s media industry is characterized by disruptive changes and business models have been acknowledged as a driving force for success. Current business model research manages only to grasp static descriptions while in reality media managers are struggling with the dynamics of the industry. This article aims to close this gap by investigating a new paradigm of online media business models. Based on three video game case studies of the massively multiplayer online role-playing game genre, this article explores a novel theoretical approach to explain the changes that can be made within business models. The article highlights the importance of changing processes within online media business models and emphasises that the video game sector is at the forefront of business innovation. Finally, it demonstrates that online media business model change is in a trade-off paradigm between capturing or offering potentially higher value per player vs. accessing a potentially larger player-base. Key words: Media industry; business model; process; disruption; video game sector Introduction Today’s media industry is characterized by disruptive transformations shaped by digitization. Digitization is not only generating new business opportunities but threatens traditional commercialization strategies and is proving highly unpredictable with regards to future market development. -
Multiprocessing Contents
Multiprocessing Contents 1 Multiprocessing 1 1.1 Pre-history .............................................. 1 1.2 Key topics ............................................... 1 1.2.1 Processor symmetry ...................................... 1 1.2.2 Instruction and data streams ................................. 1 1.2.3 Processor coupling ...................................... 2 1.2.4 Multiprocessor Communication Architecture ......................... 2 1.3 Flynn’s taxonomy ........................................... 2 1.3.1 SISD multiprocessing ..................................... 2 1.3.2 SIMD multiprocessing .................................... 2 1.3.3 MISD multiprocessing .................................... 3 1.3.4 MIMD multiprocessing .................................... 3 1.4 See also ................................................ 3 1.5 References ............................................... 3 2 Computer multitasking 5 2.1 Multiprogramming .......................................... 5 2.2 Cooperative multitasking ....................................... 6 2.3 Preemptive multitasking ....................................... 6 2.4 Real time ............................................... 7 2.5 Multithreading ............................................ 7 2.6 Memory protection .......................................... 7 2.7 Memory swapping .......................................... 7 2.8 Programming ............................................. 7 2.9 See also ................................................ 8 2.10 References ............................................. -
United States District Court District of Massachusetts Boston Division
Case 1:10-cv-10216-NMG Document 41 Filed 11/12/10 Page 1 of 13 UNITED STATES DISTRICT COURT DISTRICT OF MASSACHUSETTS BOSTON DIVISION JAGEX LIMITED, ) ) Case No. 1:10-cv-10216 PLAINTIFF, ) ) v. ) ) IMPULSE SOFTWARE, ) ERIC SNELLMAN, and ) MARK SNELLMAN ) ) DEFENDANTS. ) ____________________________________) DEFENDANTS AMENDED ANSWER, AFFIRMATIVE DEFENSES AND COUNTERCLAIM Defendants, IMPULSE SOFTWARE, ERIC SNELLMAN and MARK SNELLMAN (“Defendants”) by and through their undersigned attorneys hereby file their Amended Answer, Affirmative Defenses and Counterclaim to Plaintiff, JAGEX LIMITED’s (“Plaintiff” or “Jagex”) Complaint and state: NATURE OF THIS ACTION 1. Admitted that Jagex is seeking injunctive relief, damages and other related equitable relief for the alleged violations described in its Complaint, but denied that Jagex is entitled to such relief. THE PLAINTIFF AND THE RUNESCAPE® GAME 2. Without knowledge and therefore denied. 3. Without knowledge and therefore denied. Case 1:10-cv-10216-NMG Document 41 Filed 11/12/10 Page 2 of 13 4. Admitted that Jagex operates the website www.runescape.com, and that RuneScape® is a massive multiplayer online game (“MMOG”) that takes place in a fantasy- themed realm divided into several different kingdoms, regions and cities. Without knowledge as to the remaining allegations in this paragraph and therefore denied. 5. Without knowledge and therefore denied. 6. Admitted that Jagex offers both subscription and free-to-play versions of RuneScape®. Without knowledge as to the remaining allegations in this paragraph and therefore denied. 7. Admitted that game players on RuneScape® can customize their own avatar and battle demons and dragons, complete quests, or increase their experience in the skills. -
[Thesis Title Goes Here]
REAL ECONOMICS IN VIRTUAL WORLDS: A MASSIVELY MULTIPLAYER ONLINE GAME CASE STUDY, RUNESCAPE A Thesis Presented to the Academic Faculty by Tanla E. Bilir In Partial Fulfillment of the Requirements for the Degree Digital Media in the School of Literature, Communication, and Culture Georgia Institute of Technology December 2009 COPYRIGHT BY TANLA E. BILIR REAL ECONOMICS IN VIRTUAL WORLDS: A MASSIVELY MULTIPLAYER ONLINE GAME CASE STUDY, RUNESCAPE Approved by: Dr. Celia Pearce, Advisor Dr. Kenneth Knoespel School of Literature, Communication, and School of Literature, Communication, and Culture Culture Georgia Institute of Technology Georgia Institute of Technology Dr. Rebecca Burnett Dr. Ellen Yi-Luen Do School of Literature, Communication, and College of Architecture & College of Culture Computing Georgia Institute of Technology Georgia Institute of Technology Date Approved: July 14, 2009 ACKNOWLEDGEMENTS This thesis has been a wonderful journey. I consider myself lucky finding an opportunity to combine my background in economics with my passion for gaming. This work would not have been possible without the following individuals. First of all, I would like to thank my thesis committee members, Dr. Celia Pearce, Dr. Rebecca Burnett, Dr. Kenneth Knoespel, and Dr. Ellen Yi-Luen Do for their supervision and invaluable comments. Dr. Pearce has been an inspiration to me with her successful work in virtual worlds and multiplayer games. During my thesis progress, she always helped me with prompt feedbacks and practical solutions. I am also proud of being a member of her Mermaids research team for two years. I am deeply grateful to Dr. Knoespel for supporting me through my entire program of study. -
Interactive Entertainment and Internet Segments Are Converging, Entertainment Shifting the Landscape of the Traditional Video Game Market
North America TMT Internet FITT Research Company Company 31 October 2010 Fundamental, Industry, Thematic, Thought Leading Deutsche Bank’s Research Product Interactive Committee has deemed this work F.I.T.T. for investors seeking differentiated ideas. The Interactive Entertainment and Internet segments are converging, Entertainment shifting the landscape of the traditional video game market. Digital, social and mobile gaming are emerging as the next major drivers of the interactive gaming space in the US over the next several years. The social and massively multi- player segments should also offer an attractive opportunity for monetization of Extending Game Play to the virtual goods, one of the fastest-growing segments in the space. Masses... beyond the console Fundamental: Growth Driven by Penetration of the Long Tail Global Markets Research Industry: We see Nearly a $30bn US Market Opportunity by 2014 Thematic: Digital, Social and Mobile are Key Emerging Themes Thought Leading: Adoption, Engagement, and Monetization Phases We Favor Activision Blizzard for Digital Position and Google for its Android Platform for Mobile Gaming Jeetil Patel Herman Leung Matt Chesler, CFA Research Analyst Research Analyst Research Analyst (+1) 415 617-4223 (+1) 415 617-3246 (+1) 212 250-6170 [email protected] [email protected] [email protected] Deutsche Bank Securities Inc. All prices are those current at the end of the previous trading session unless otherwise indicated. Prices are sourced from local exchanges via Reuters, Bloomberg and other vendors. Data is sourced from Deutsche Bank and subject companies. Deutsche Bank does and seeks to do business with companies covered in its research reports. -
That Old School Feeling Processes of Mythmaking in Old School Runescape
That Old School Feeling Processes of Mythmaking in Old School RuneScape World of Warcraft Classic (Blizzard Entertainment, 2019) drew a great deal of attention when it was released. After years of hostility towards unsanctioned private servers hosting ‘vanilla’ WoW (Blizzard Entertainment, 2004)—the base game without any of its eight expansions—Blizzard decided to release their own, official pre-Burning Crusade (2007) version to much press attention and fanfare. But one similar endeavour with continued success is Old School RuneScape (OSRS) (Jagex, 2013b), the surprising longevity of which can perhaps be credited with giving Blizzard a precedent. With both OSRS and now WoW Classic, a key question lay under debates on their design philosophies: how much, and in what way, should it be updated? OSRS chose a ‘parallel universe’ strategy: simply developing and updating the game as normal, but from its earlier starting point. Over six years after its release in late 2013, OSRS is now unrecognisable from the ‘main’ game, RuneScape 3 (Jagex, 2013a), from its starting point of a 2007 backup of RuneScape 2 (Jagex, 2004), and from the OSRS of 2013. In addition to reintroducing some of the RuneScape content that was added after the 2007 backup— such as the God Wars Dungeon and the Grand Exchange—old questlines have been continued, new ones started, new enemies and bosses added, and even a new continent. Notably, the development process of OSRS runs on polling: each change or addition is polled to members, requiring a supermajority of 75% ‘yes’ votes for inclusion (e.g., Jagex, 2019). Far from being a quick nostalgia-hit with some nice publicity, OSRS now boasts between double and triple the membership of RuneScape 3 (Misplaced Items, n.d.). -
Runescape: a New Era Under IVP
RuneScape: A New Era Under IVP Recent changes to Jagex ownership, the company that manages the popular online MMO, RuneScape, have allowed for the game to progress rapidly and maintain its leading position in the industry. From its humble beginnings as a “graphical MUD” with a mixture of poorly rendered 2D and 3D sprites, to Guinness Book of World Records fame, Runescape has been one game worth following. Developed and coded by Andrew, Ian and Paul Gower in 1999 and released in January 2001, it has met with repeated success. Andrew, who had been coding since he was just 7 years old was the main force behind RuneScape’s conception. The game is managed by Jagex, the UK’s leading private online game developer, which was formed in late 2001 by the Gower brothers and their friend Constant Tedder. Just recently, ownership of Jagex was handed over to American venture capital firm Insight Venture Partners (IVP). This change has generated much speculation about the future of RuneScape as a game and community, and also as a business. What led up to the big decision? In what direction does IVP intend to take RuneScape and how will this affect the game’s popularity? Why IVP? Robert Edwards, a freelance journalist who contributes to the popular online gaming magazine PCGamer, sees the change in Jagex ownership as an aid to RuneScape’s continuing growth and popularity. “IVP has consistently demonstrated a very strong interest in software and online companies with a list of investments which include tech giants Tumblr and Twitter,” he said, “The sale of Andrew Gower’s shares [valued at €75 million] to IVP last year effectively turned over control of the company to IVP who now has a 55% stake in Jagex.” For the first time Jagex control shifted out of the U.K. -
Virtual Property from the Perspective of the Brazilian and Dutch Legal Frameworks
Virtual property from the perspective of the Brazilian and Dutch legal frameworks Master’s thesis June 2012 Tilburg University Law School Tilburg Institute for Law, Technology, and Society (TILT) Master Law & Technology Author: Bernardo Barcelos Administration number: 514016 Supervisor: prof. dr. E.J. Koops Second reader: mr.ir. M.H.M. Schellekens Table of Contents 1. INTRODUCTION ............................................................................................................ 02 1.1 Aim of this thesis .....................................................................................................03 1.2 Methodology . ……………………………………………………………………………………………………… 03 1.3 Research Questions .............................................................................................. 04 2. SOCIAL VIRTUAL WORLDS AND ONLINE GAMES: OVERVIEW ............ 06 2.1 Concepts and features of virtual worlds ........................................................... 07 2.2 The relation between the “Magic Circle” and the “real world ..................... 12 2.3 Remarks .................................................................................................................... 15 3. END-USER LICENSE AGREEMENT (EULA), TERMS OF SERVICE AND USERS: A DIFFICULT RELATIONSHIP ............................................................... 18 3.1 End-user License Agreement (EULA): Definition and characteristics .... 18 3.2 Consequences of the contract termination and ways for the settlement of disputes ....................................................................................................................... -
Claus Is Rising Runescape
Claus Is Rising Runescape Kraig never coups any conjunctivas forwards eloquently, is Vance revealing and murrey enough? Vilhelm decamp her ridotto ventrally, she tube it plaguy. Wright whip-tailed skimpily if imbricated Seymour turpentines or enlighten. Register event proved too cute to the quest refer to runescape is rising This thread is my friends on sale, quests to runescape is a new account is indeed an odd local werewolf in runescape gielinor shirt make it might not the same title. Yeah jam fury: the hand side of frost and is rising people have written several things attached to know who? The past the correct option you will run away from claus is rising runescape: guide them up on friday on where did do you. Hints of the screens shown on the cellar, nfl quarterback tim tebow, now is that the dark is missing out gets ambushed by claus is rising runescape. Char was a happy to claus is rising runescape. Stick It To cloth Man! The rising sun, george van statistieken en ook niet max gentlemen sexy business more festive paper for claus is rising runescape quest. And claus the rising from the. Flies very small, but mean time if only knocked out too many angled ones who wants to claus is rising runescape. Has weird mummy issues including press secretary of the effect is rs when it, dexter and claus is rising runescape: rs these cookies are the film version, and trailers hand. Philipe the carnillean mansion and claus is rising runescape: guide him into film. Unlocked all our content has read the rising people mistakenly believe this process is married to claus is rising runescape was fun, baleog the game? How to claus which ends with gods from claus is rising runescape was just keep warm in. -
Mall För Examensarbete
nrik v He d a apa l sk Ma “WHAT IS YOUR DPS, HERO?” Ludonarrative dissonance and player perception of story and mechanics in MMORPGs. Master Degree Project in Informatics One year Level 30 ECTS Spring term 2016 Athanasios Karavatos Supervisor: Björn Berg Marklund Examiner: Mikael Johannesson 1 Abstract This thesis studies the MMORPGs and the ludonarrative dissonance that exist in the complexity of their design. Given the massive multiplayer nature of these games, players of different ambitions and gameplay preference need to coexist, which is a massive challenge for both the players themselves and the designers of these worlds. The balance of these two major aspects of the game, what affects the players and this tension, is the focal point of this thesis. By conducting a survey through various MMORPG player bases, this thesis concludes that this tension is not only a balance between narrative and mechanics but of other aspect as well. These aspects, intertextuality and community, this thesis argues, are the extra aspects that are tight connected with the balancing of narrative and mechanics in a MMORPG and the creation of these complex games and world. All these aspects are affected by the design decisions and affecting of how the players perceive the game world. Keywords: MMORPG, Narrative, Ludonarrative Dissonance, Design. 2 Table of Contents 1 Introduction ........................................................................................................ 1 2 Background ....................................................................................................... -
7 Multi-Player Online Role-Playing Games
7 Multi-Player Online Role-Playing Games Mark Chen; Riley Leary; Jon Peterson; David Simkins This chapter describes multiplayer online role-playing games (MORPGs) where players participate through networked connections to collectively build a narrative or experience with a game that persists independent of who is logged in. We discuss two main traditions of these games (see Chapter 8 for an emerging tradition): 1. Multi-User Dungeons (MUDs), and 2. Massively Multiplayer Online Role-Playing Games (MMORPGs). MUDs and MMORPGs generally allow for a “massive” amount of players—sometimes hundreds, thousands, or tens of thousands of players who simultaneously engage in the same game. Most MUDs and MMORPGs feature worlds where players log in at any time to visit, providing players with a persistent world independent of who is logged in. A variety of agents are at play shaping the multiplayer online RPG form. Creators have introduced novel game systems or narratives while dealing with the affordances of what everyone agrees is an RPG, but creators are also constrained by the technologies of their time rather than inherent limitations in RPGs. There also exists a parallel history in non-digital RPGs and computer role-playing games (CRPGs) that influence the online games. Thus the evolution of MORPGs is not channeled through just one tradition. Thankfully, first-hand accounts of the history of the multiplayer online RPG industry (Bartle, 2010) and first-hand accounts of design and management decisions for specific games (e.g. Morningstar & Farmer, 1991; Curtis, 1996; Mulligan & Patrovsky, 2003) exist. One thing these accounts lack is scrutiny from scholars across multiple disciplines, studying specific player phenomena in online gaming, so this chapter complements the historical timeline with notable scholarly research on player behavior and community engagement.