Minecraft Free Minecoins
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Gambling and Video Games: Are Esports Betting and Skin Gambling Associated with Greater Gambling Involvement and Harm?
RESEARCH REPORT Gambling and video games: are esports betting and skin gambling associated with greater gambling involvement and harm? July 2020 responsiblegambling.vic.gov.au © Victorian Responsible Gambling Foundation, July 2020 This publication is licensed under a Creative Commons Attribution 3.0 Australia licence. The licence does not apply to any images, photographs, branding or logos. This report has been peer reviewed by two independent researchers. For further information on the foundation’s review process of research reports, please see responsiblegambling.vic.gov.au. For information on the Victorian Responsible Gambling Foundation Research Program visit responsiblegambling.vic.gov.au. Disclaimer The opinions, findings and proposals contained in this report represent the views of the authors and do not necessarily represent the attitudes or opinions of the Victorian Responsible Gambling Foundation or the State of Victoria. No warranty is given as to the accuracy of the information. The Victorian Responsible Gambling Foundation specifically excludes any liability for any error or inaccuracy in, or omissions from, this document and any loss or damage that you or any other person may suffer. Conflict of interest declaration The authors declare no conflict of interest in relation to this report or project. To cite this report Greer, N, Rockloff, M, Russell, Alex M. T., 2020, Gambling and video games: are esports betting and skin gambling associated with greater gambling involvement and harm?, Victorian Responsible Gambling Foundation, -
An Educator's Guide to Gaming
EDUCATOR RESOURCE VIDEO GAME TERMS GLOSSARY An Educator’s Guide to Gaming Gambling in games has a language all its own. Here are some words you need to know. 1-up Power-Up An object that gives the player an extra life (or try) in games Objects that instantly benefit or add extra abilities to where the player has a limited number of chances to complete the game character, usually as a temporary effect. a game, a task, or level. 1-ups can be acheived by completing Persistent power-ups are called perks. Power-Ups levels or found in purchased loot boxes. can be acheived by completing levels or found in purchased loot boxes. 100% A game is 100% complete once a player unlocks all available Season content and completes the game. The player must collect 1. The full set of downloadable content that is every in-game item, upgrade, and complete every mission to planned to be added to a video game, which can get 100%. Many players are so determined to get 100%, that be entirely purchased with a season pass. they will make mulitiple in-game purchases for upgrades to 2. A finite period of time in massive multiplayer achieve this goal. online games in which new content, such as themes, rules, and modes, becomes available – Downloadable Content (DLC) sometimes replacing prior time-limited content. Additional content for a video game that is acquired through a Notable games that use this “season” system digital delivery system. DLCs can be purchased in video game include Star Wars: Battlefront II (2017) and console stores. -
The Political Economy of the App
Nieborg, D. (2016). From premium to freemium: The political economy of the app. In T. Leaver & M. Willson (Eds.), Social, Casual and Mobile Games: The Changing Gaming Landscape (pp. 225–240). London and New York: Bloomsbury Academic. Released under a Creative Commons BY-NC-ND license http://creativecommons.org/licenses/by-nc-nd/4.0/. Your rights under the License are in addition to any fair use or fair dealing rights which you have. 16 From premium to freemium: The political economy of the app David Nieborg or decades, the game industry has been dominated, if only in terms of F revenue and mindshare, by a tandem of globally operating game publish- ers and game console platform holders. Historically, these two small groups of industrial actors, primarily located in North America and Japan, have been ‘dominant forces’ in the game industry (Consalvo 2007, 123). Similarly, Johns (2006) notes that power relationships in the game hardware and software production networks are uneven and are affected by temporal and spatial dimensions. Driven by the cyclical introduction of new hardware platforms, the platform/publisher duo served a relatively stable, highly lucrative niche market (Williams 2002; Kerr 2006). Every fi ve to seven years, development and marketing budgets increase and, as a result, so do fi nancial risks and the distribution of capital and power (Schilling 2003). Geographically, the main centers for console game development have been North America, Western Europe and the Asia Pacifi c (Johns 2006). That is to say, the majority of the billions of dollars of value generated by the sale of video game hardware and software has been captured by a small number of globally operating fi rms who have a high rate of incumbency. -
Gaming Or Gambling: Quiz
Gaming or Gambling: Quiz Q1: How many 11-16-year-olds in the UK have gambled in the last year? ❏ A) 28.2% ❏ B) 39% ❏ C) 44% Q2: Which of the below is NOT a gambling-like feature found in games? ❏ A) Downloadable Content (DLC) ❏ B) Skin gambling ❏ C) Loot boxes Q3: How many children and young people in the UK have spent money on loot boxes? ❏ A) 7.1% ❏ B) 19.3% ❏ C) 31% Q4: Why is the risk of being exposed to gambling-like features higher in free-to-play games? ❏ A) Since the games are free to download, the chance of being exposed to loot boxes is much higher ❏ B) Free-to-play games have advertisements in them to keep them free and often feature ads for online casinos ❏ C) It isn’t. Games which are advertised as free-to-play are not permitted by law to charge for content Q5: How do children spend money in games? ❏ A) Normal currencies, like pounds, are not accepted, so players have to use cryptocurrencies like Bitcoin ❏ B) Connect a voucher or debit card and pay real money or convert money into virtual currency ❏ C) They don’t - Once you’ve bought a game, you automatically have access to all the features In partnership with GambleAware Q6: How can children buy paid-for virtual currencies? ❏ A) They have to ask their parents’ permission and use their debit card ❏ B) They can use prepaid vouchers that don’t always require age verification, in addition to debit cards ❏ C) Under-18s are not allowed to buy virtual currencies so children won’t be able to buy them Q7: What is the name of the virtual currency used in the popular online game Fortnite? -
Call of Duty: Advanced Warfare Downloadable Content Pack Supremacy Available Now
Call of Duty: Advanced Warfare Downloadable Content Pack Supremacy Available Now Four New Multiplayer Maps, New Celebrity Performance in Fresh Exo Zombies Experience; Supremacy a Must-Have Call of Duty Experience for Fans SANTA MONICA, Calif.--(BUSINESS WIRE)-- Call of Duty®: Advanced Warfare Supremacy, the third DLC pack for Call of Duty®: Advanced Warfare, is available now, first on the Xbox Live online entertainment network for Xbox One and Xbox 360 games and entertainment system from Microsoft, with other platforms to follow. The content pack features four new multiplayer maps, taking players to iconic locations around the world. Published by Activision Publishing, Inc., a wholly owned subsidiary of Activision Blizzard (Nasdaq: ATVI), and developed by Sledgehammer Games, Supremacy brings a new Exo Zombies adventure, and also features Exo Grapple gameplay with the four new maps to give players faster ways to gain a strategic advantage. ● Parliament: Docked on the River Thames, this military cargo ship delivers a view of the London cityscape along with a fast-paced combat experience. Mixed site-lines provide opportunities for all styles of play to dominate this medium-sized map. Players can take control of the map-based scorestreak to unleash a barrage of missiles that annihilate enemies. ● Kremlin: Gamers must prepare for intense combat in Red Square. Secure elevated positions to give the team a strategic advantage, or use exoskeleton capabilities to avoid being caught in the minefield that activates mid-match. ● Compound: Players take combat preparation to the limit in an Atlas training facility hidden away in the Colorado wilderness, as they'll have to be quick on the trigger in this small, symmetrical map, which funnels high-speed combat through tight corners to the main tower structures. -
Pay to Play: Video Game Monetization Patents and the Doctrine of Moral Utility
GEORGETOWN LAW TECHNOLOGY REVIEW PAY TO PLAY: VIDEO GAME MONETIZATION PATENTS AND THE DOCTRINE OF MORAL UTILITY Kirk A. Sigmon* CITE AS: 5 GEO. L. TECH. REV. 72 (2021) TABLE OF CONTENTS I. INTRODUCTION ...................................................................................... 72 II. THE GROWING COST OF VIDEO GAMES ................................................. 74 III. CONTROVERSIAL VIDEO GAME PATENTS ON DLC AND MICROTRANSACTIONS ................................................................................... 81 IV. THE CONTROVERSY BEHIND THE PSYCHOLOGY OF DLC AND MICROTRANSACTIONS ................................................................................... 86 V. A BRIEF HISTORY OF PATENTS AND “MORAL UTILITY” ........................ 89 VI. WHY MORAL UTILITY SHOULD NOT BE REVIVED FOR VIDEO GAMES .. 94 VII. CONCLUSION .......................................................................................... 98 I. INTRODUCTION Video games are now more complex and realistic than they ever have been—but making those games is not cheap. Video game development and marketing costs are sky high.1 To help recoup these costs, game developers and publishers have begun inventing increasingly clever ways to encourage users to spend more money on video games—and they are pursuing patents for those inventions. One recently granted patent seeks to drive in-game purchases by making multiplayer matches difficult for a player, encouraging that player to buy an item and, once that item is purchased and used, subtly rewarding the spending by making multiplayer matches easier.2 Another recently granted patent targets players more likely to spend money in-game by presenting them with exclusive spending opportunities, maximizing value * Shareholder, Banner Witcoff. Thanks to Ross A. Dannenberg, Scott M. Kelly, and Carlos Goldie for their invaluable input and assistance with this Article. 1 See infra Part II. 2 See U.S. Patent No. 9,789,406 (filed Oct. 17, 2017) [hereinafter Marr]. -
Advanced Warfare Downloadable Content Pack Reckoning
Brace Yourself for the Final Call of Duty: Advanced Warfare Downloadable Content Pack Reckoning Call of Duty: Advanced Warfare's Fourth DLC Pack Delivers Four All-New Multiplayer Maps, Return of the Exo Grapple Playlist and New Trident Reflected Energy Weapon Delivers the Epic Conclusion to Advanced Warfare's Exo Zombies saga, featuring all-star cast John Malkovich, Bill Paxton, Rose McGowan, Jon Bernthal and Bruce Campbell Reckoning Arrives First, Exclusively on Xbox August 4th SANTA MONICA, Calif.--(BUSINESS WIRE)-- Call of Duty®: Advanced Warfare wraps up an extraordinary DLC season with the release of the fourth and final DLC pack, Call of Duty: Advanced Warfare Reckoning, coming August 4 first on Xbox Live, the world's premier gaming community from Microsoft for Xbox One and Xbox 360, with other platforms to follow. Reckoning features four all-new maps that takes players from New Baghdad all the way to South Korea as they grapple their way out of ship-fired missile strikes, dodge plasma lamp explosions and boost jump off crumbling glaciers; the return of the Exo Grapple playlist and the thrilling conclusion to Exo Zombies. "We've had an absolute blast supporting the fans throughout the DLC season, and continue to come up with fun new ways to play Advanced Warfare. The support and feedback we've received from the community continues to inspire us, and we've taken that inspiration to heart with Reckoning to deliver a new set of multiplayer maps and the conclusion to Exo Zombies. We are grateful to all of our fans and hope everyone enjoys playing the new content as much as we enjoyed creating it," said Michael Condrey, Co-Founder and Studio Head, Sledgehammer Games. -
Economic Model of Microtransactions in Video Games
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Bilingual Publishing Co. (BPC): E-Journals Journal of Economic Science Research | Volume 01 | Issue 01 | 2018 Journal of Economic Science Research http://ojs.bilpublishing.com/index.php/jesr REVIEW Economic Model of Microtransactions in Video Games Nenad Zoran Tomić* Faculty of Economics - Univesity of Kragujevac, Serbia ARTICLE INFO ABSTRACT Article history: Microtransactions denote a payment made for purchase of mobile phone application or addi- Received: 29 December 2018 tional content in video games. The basic revenue principle for publisher was to sell the entire Accepted: 2 January 2019 content at once, with the buyer having to pay the game as a whole. Trends from mobile ap- Published: 4 January 2019 plications and mobile games market have slowly transferred to PC games and console video games. About one half of total revenue of big video games publishers comes from micro- Keywords: transactions. The topics of this paper are the economic effects of microtransactions on video Microtransactions game industry business model. The scope of microtransactions and different implementing Freemium games procedures will be discused in paper. The goal is to determine the change of the position of all Pay-to-win stakeholders involved in the process of creating and publishing video games. Mobile games Video games 1. Introduction Due to the high cost of equipment and unavailability of professional staff, the number of companies on the supply fter initial success, the video game industry side was initially very small. With increasing demand, has undergone a great expansion in the last two more and more development studios and publishers have decades of the 20th century. -
IAB Game Advertising Ecosystem Guide
IAB Games Advertising Ecosystem Report Games Advertising Ecosystem Guide: Understanding today’s game play, the core game types and advertising categories for marketers to reach consumers - 12:15 PM DEEP-DIVE TRACK SESSIONS (CONTINUED) December 2014 1 IAB Games Advertising Ecosystem Report This document has been developed by the Game Advertising Ecosystem Guide Working Group, part of the Interactive Advertising Bureau’s Games Committee, who worked to provide a concise overview of today’s gamers and game advertising options. The IAB acknowledges Sandro Camarao from MediaBrix, who chaired the working group effort to create this document along with leadership from the Games Committee co-chairs, Kym Nelson from Twitch, and Jack Koch from Electronic Arts with working group contributions from ad4game, Big Fish Games, eMarketer, IDC, Flurry and TreSensa. All committee members were invited to review and provide comment on the first draft of the document. About the IAB Games Committee The IAB Games Committee is dedicated to showing the value and scale of gaming as an advertising medium which is driven by engaging content and cross platform solutions. All efforts are centered on client objectives and needs which include creativity, scale and measurement. The complete list of companies represented on the committee can be found in the Appendix of this document. This document is on the IAB website at: www.iab.net About the IAB The Interactive Advertising Bureau (IAB) is comprised of more than 600 leading media and technology companies that are responsible for selling 86 percent of online advertising in the United States. On behalf of its members, the IAB is dedicated to the growth of the interactive advertising marketplace, of interactive share of total marketing spend and of its members’ share of total marketing spend. -
Death of the Secondary Video-Game Market: Natural Causes, Or Euthanasia?
GOLDEN_FINAL (ARTICLE 5).DOCX (DO NOT DELETE) 8/28/2014 2:50 PM DEATH OF THE SECONDARY VIDEO-GAME MARKET: NATURAL CAUSES, OR EUTHANASIA? Mathew Golden INTRODUCTION ........................................................................................ 1189 I. THE STAKES – SCOPE OF THE VIDEO-GAME MARKET AND USED VIDEO-GAME SUBMARKET ........................................................... 1190 II. PAST ATTEMPTS TO LIMIT VIDEO-GAME RESALE .............................. 1193 A. “Not for Resale” Stickers .............................................................. 1193 B. CD-Keys ....................................................................................... 1194 C. Downloadable Content ................................................................. 1195 III. MODERN RESTRAINTS ON VIDEO-GAME RESALE.............................. 1197 A. One-Time Use Codes .................................................................... 1197 B. Console-Locked Games ................................................................ 1199 C. Purely Digital Distribution ............................................................ 1201 IV. ATTACKING THE RESTRAINTS ON VIDEO-GAME RESALE ................. 1201 A. First-Sale Doctrine ........................................................................ 1202 B. Copyright Misuse Doctrine ........................................................... 1206 CONCLUSION ............................................................................................ 1209 INTRODUCTION The fact that technology is -
Monetizing Digital Media: Trends, Key Insights and Strategies That Work
1 Monetizing Digital Media: Trends, Key Insights and Strategies that Work Table of Contents ACKNOWLEDGEMENTS!...................................................................................................................!3! INTRODUCTION!..................................................................................................................................!4! 1. PREAMBLE!.............................................................................................................................................!4! 2. APPROACH AND METHODOLOGY!...........................................................................................................!4! 3. STRUCTURE OF THIS REPORT!...............................................................................................................!4! A. A GENERAL OVERVIEW OF THE MONETIZATION OF DIGITAL MEDIA!...............................!5! 1. PREAMBLE!.............................................................................................................................................!5! 2. MONETIZATION MODELS!........................................................................................................................!5! 2.1 Key Monetization Models!............................................................................................................!5! 2.2 Video Games Industry Innovation in Monetization!..................................................................!7! 2.3 The Prominence of the Freemium Model!.................................................................................!9! -
DLC: Perpetual Commodification of the Video Game
Democratic Communiqué 25, No. 1, Spring 2012 DLC: Perpetual Commodification of the Video Game Ryan Lizardi The United States video game industry has become a multi-billion dollar-a-year business, due in large part to the explosion of downloadable content (DLC). Video game DLC includes handheld gaming and additional content not found on software discs. The DLC trend is examined for its increasing exploitation of video game con- sumers through a perpetual form of commodification. This article will show that video game DLC is a cyclical form of commodification, though not simply imma- nent or intertextual. Meaning that players are not paying for a commodity that springs from a previous product, but continually coming back and paying for the same product over and over again. DLC multiplayer maps in the first-person shooter, additional music tracks in rhythm games, and MMORPG microtransac- tions are explored for the ways they exist to fill the monetary gap between game software releases, but end up simultaneously exploiting consumers and their free/ immaterial labor. Introduction popular sentiment passed around about the Great Depression in the US is that the film industry not only survived where other industries had failed, but flour- ished in the face of incredible adversity. The film industry was seen as an inde- A structible source of escape for those going through hard times. In the recent bout of economic turmoil, sometimes called the Great Recession (Wessel 2010), it is not as if the film industry is floundering, but another medium has taken up the mantle of a "turmoil -proof" cultural force.