DOCSLIB.ORG

Department of Business Administration International Business Program Degree Project, 30 Credits, Spring 2020 Supervisor: Galina Biedenbach

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Department of Business Administration International Business Program Degree Project, 30 Credits, Spring 2020 Supervisor: Galina Biedenbach Department of Business Administration International Business Program Degree Project, 30 Credits, Spring 2020 Supervisor: Galina Biedenbach Contents ABSTRACT ................................................................................................................................................................................. 1 1. Introduction .............................................................................................................................................................................. 2 1.1 Choice of Subject .............................................................................................................................................................. 2 1.2 Problem Background ......................................................................................................................................................... 2 1.3 Twitch.tv ........................................................................................................................................................................... 4 1.4 Research Problem and Gaps ............................................................................................................................................. 6 1.5 Research Question ........................................................................................................................................................... 10 1.6 Purpose ............................................................................................................................................................................ 10 2. Theoretical Framework .......................................................................................................................................................... 11 2.1 Brands and Branding ....................................................................................................................................................... 11 2.2 Personal Branding ........................................................................................................................................................... 12 2.3 Personal Branding in the Perspective of a Twitch.tv Broadcaster .................................................................................. 12 2.4 Third places ..................................................................................................................................................................... 13 2.5 Virtual third places .......................................................................................................................................................... 15 2.6 Virtual third places in a gaming setting .......................................................................................................................... 16 2.7 Twitch.tv as a Virtual Third Place .................................................................................................................................. 17 2.8 Outcomes of Personal Branding and Virtual Third places ............................................................................................. 19 2.9 Brand Loyalty ................................................................................................................................................................. 19 2.10 Customer Satisfaction and Delight ............................................................................................................................... 21 2.11 Conceptual Model ......................................................................................................................................................... 22 3. Scientific Methodology .......................................................................................................................................................... 24 3.1 Ontology ......................................................................................................................................................................... 24 3.2 Epistemology .................................................................................................................................................................. 24 3.3 Research Approach ......................................................................................................................................................... 25 3.4 Research Design .............................................................................................................................................................. 26 3.5 Pre-understandings .......................................................................................................................................................... 27 3.6 Literature search .............................................................................................................................................................. 28 3.7 Choice of Theories .......................................................................................................................................................... 28 4. Practical Method .................................................................................................................................................................... 31 4.1 Data Collection ............................................................................................................................................................... 31 4.2 Sampling ......................................................................................................................................................................... 33 4.3 Transcribing .................................................................................................................................................................... 35 4.4 Thematic Analysis ........................................................................................................................................................... 35 5. Empirical Findings ................................................................................................................................................................. 37 5.1 Profiles of Interviewees .................................................................................................................................................. 37 5.2 Personal Branding ........................................................................................................................................................... 38 5.3 Virtual Third Places ........................................................................................................................................................ 40 5.4 Interactions and Engagement .......................................................................................................................................... 43 5.5 Customer Delight and Customer Satisfaction ................................................................................................................. 44 5.6 Loyalty ............................................................................................................................................................................ 45 5.7 Diffusion of Information ................................................................................................................................................. 46 5.8 Motivations to Watch / Stream ....................................................................................................................................... 47 5.9 Personality ....................................................................................................................................................................... 48 6. Analysis and Model Discussion ............................................................................................................................................. 50 6.1 Thematic Network Analysis ............................................................................................................................................ 50 6.2 Personal Branding ........................................................................................................................................................... 52 6.3 Virtual Third Places ........................................................................................................................................................ 53 6.4 Customer Satisfaction and Delight ................................................................................................................................. 54 6.5 Brand Loyalty ................................................................................................................................................................. 55 6.6 Model Discussion ............................................................................................................ Error! Bookmark not defined. 7. Conclusion ............................................................................................................................................................................. 57 7.1 General conclusions ........................................................................................................................................................ 57 7.2 Theoretical contribution .................................................................................................................................................
Load more

Recommended publications
  • Netflix and Twitch Traffic Characterization
    University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2015-09-30 NetFlix and Twitch Traffic Characterization Laterman, Michel Laterman, M. (2015). NetFlix and Twitch Traffic Characterization (Unpublished master's thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/27074 http://hdl.handle.net/11023/2562 master thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY NetFlix and Twitch Traffic Characterization by Michel Laterman A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE GRADUATE PROGRAM IN COMPUTER SCIENCE CALGARY, ALBERTA SEPTEMBER, 2015 c Michel Laterman 2015 Abstract Streaming video content is the largest contributor to inbound network traffic at the University of Calgary. Over five months, from December 2014 { April 2015, over 2.7 petabytes of traffic on 49 billion connections was observed. This thesis presents traffic characterizations for two large video streaming services, namely NetFlix and Twitch. These two services contribute a significant portion of inbound bytes. NetFlix provides TV series and movies on demand. Twitch offers live streaming of video game play. These services share many characteristics, including asymmetric connections, content delivery mechanisms, and content popularity patterns.
    [Show full text]
  • Esports Marketer's Training Mode
    ESPORTS MARKETER’S TRAINING MODE Understand the landscape Know the big names Find a place for your brand INTRODUCTION The esports scene is a marketer’s dream. Esports is a young industry, giving brands tons of opportunities to carve out a TABLE OF CONTENTS unique position. Esports fans are a tech-savvy demographic: young cord-cutters with lots of disposable income and high brand loyalty. Esports’ skyrocketing popularity means that an investment today can turn seri- 03 28 ous dividends by next month, much less next year. Landscapes Definitions Games Demographics Those strengths, however, are balanced by risk. Esports is a young industry, making it hard to navigate. Esports fans are a tech-savvy demographic: keyed in to the “tricks” brands use to sway them. 09 32 Streamers Conclusion Esports’ skyrocketing popularity is unstable, and a new Fortnite could be right Streamers around the corner. Channels Marketing Opportunities These complications make esports marketing look like a high-risk, high-reward proposition. But it doesn’t have to be. CHARGE is here to help you understand and navigate this young industry. Which games are the safest bets? Should you focus on live 18 Competitions events or streaming? What is casting, even? Competitions Teams Keep reading. Sponsors Marketing Opportunities 2 LANDSCAPE LANDSCAPE: GAMES To begin to understand esports, the tra- game Fortnite and first-person shooter Those gains are impressive, but all signs ditional sports industry is a great place game Call of Duty view themselves very point to the fact that esports will enjoy even to start. The sports industry covers a differently.
    [Show full text]
  • Twitch.TV and Parasocial Interaction: Understanding Twitch’S Social Features Within a Parasocial Framework
    Twitch.TV and Parasocial Interaction: Understanding Twitch’s Social Features Within a Parasocial Framework Maren Zeinstra June 26th, 2017 Supervisor: Dhr. Dr. Markus Stauff Second reader: Dhr. Dr. Toni Pape Television and Cross-Media Culture University of Amsterdam Table of contents Chapter 1. Introduction page 3 Chapter 2. Commentators page 10 Chapter 3. Streamers page 20 Chapter 4. Viewers page 30 Chapter 5. Conclusions page 39 Bibliography page 41 2 1. Introduction 1.1 Introduction Twitchis an online platform founded in 2011 (https://twitch.tv) where users live-stream themselves while playing a video game, displaying gameplay andincluding webcam and microphoneto communicate with their viewers (image 1.1). According to Twitch, the community consists of more than 2 million live-streamers and close to 10 million visitors per day (About Twitch).Besides individual users, organizations broadcast their eSports tournaments where gamers and teams compete for prizes (Edge 34-5). Twitch additionally offers features for social contact between users by following, subscribing, adding friends and sending personal messages. Additionally, all channelshave a chat room right next to the live-stream where userscan communicate in real time (image 1.1). Twitch users can select streams from the list of channels they “follow” at the left side of the screen, or they can browse through all live channels, of both individual streamers and organized tournaments, filtered per game, community or popularity (image 1.2). Besides the heterogeneous gaming content, Twitch introduced a “Creative” section in October 2015, where users stream themselves while cooking, painting, designing, making music, et cetera. (Moorier)(image 1.2).
    [Show full text]
  • GIRL GAMER and the POWER of PERSONA: the EXPERIENCE of VIDEO GAME LIVESTREAMERS by NAOMI BRAUN a THESIS PRESENTED to the GRADUAT
    GIRL GAMER AND THE POWER OF PERSONA: THE EXPERIENCE OF VIDEO GAME LIVESTREAMERS By NAOMI BRAUN A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2016 © 2016 Naomi Braun ACKNOWLEDGMENTS I would like to thank my parents (all three) for encouraging me and allowing me to make my own choices. I would also like to thank all the teachers who have informed those choices along the years. 3 TABLE OF CONTENTS page ACKNOWLEDGMENTS .................................................................................................. 3 ABSTRACT ..................................................................................................................... 5 CHAPTER 1 INTRODUCTION .................................................................................................. 6 2 BACKGROUND .................................................................................................... 7 3 LITERATURE REVIEW ...................................................................................... 11 4 METHODOLOGY ............................................................................................... 16 5 ANALYSIS .......................................................................................................... 21 Relationship Building .......................................................................................... 21 Teasing and Insults ...........................................................................................
    [Show full text]
  • In Pursuit of Victory: League of Legends and a Project of the Self
    In Pursuit of Victory: League of Legends and a Project of the Self by Oliver Crosby A Thesis submitted to the Faculty of Graduate and Postdoctoral Affairs In partial fulfillment of the requirements of the degree of Master of Arts in Sociology with Specialization in Digital Humanities Carleton University Ottawa, Ontario ©2016 Oliver Crosby Abstract Video games are often recognized as ephemeral arrangements of signs and symbols, arranged to mimic ‘real’ relationships of domination and subjection. The fear, then, is that the subjects produced by video games are habituated, in a straightforward way, toward certain dispositions. Yet when we look at a competitive game like League of Legends, we see an active player-subject, engaged in an entrepreneurial project of self- improvement. This investigation is aimed at power beyond manipulation, asking how an emplaced self is made true in-and-through the pursuit of victory. My autoethnographic account looks at how we become the object of our own conditional existence through interpellation and reflexivity. League of Legends stands as an example of a particular type of reflexive subjectification, one in which we draw on prescriptive texts, guides, and techniques of self-improvement in order to shape ourselves in response to a discursive provocation; in response to the current of opposition. ii Acknowledgements When I read about military comrades, or close friends forged in hard times, I see my fellow grad students. They were with me the whole time: every stumbling block, every bump, every time I careened down that slope that lead to hopelessness. I lucked out. Our group was organized around struggles, meeting every week or so, we called ourselves ‘Friends Against Research and Thesis Stagnation’.
    [Show full text]
  • Gameplay Livestreaming: Human Agents of Gamespace and Their Parasocial Relationships
    GAMEPLAY LIVESTREAMING: HUMAN AGENTS OF GAMESPACE AND THEIR PARASOCIAL RELATIONSHIPS By Alex P. Leith A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of Media and Information Studies—Doctor of Philosophy 2019 ABSTRACT GAMEPLAY LIVESTREAMING: HUMAN AGENTS OF GAMESPACE AND THEIR PARASOCIAL RELATIONSHIPS By Alex P. Leith Gameplay livestreaming is an increasingly popular form of media, with tens of thousands of people choosing to do it as either a hobby or career. Once each of these individuals creates a Twitch account and starts broadcasting themselves, they become a media figure. This dissertation examined the chats from thousands of partnered Twitch channels. The two key areas of examination are parasocial relationships and gameplay engagement. Parasocial relationshxips state that media users can begin to develop perceived relationships with media figures as they consume content containing that figure. A series of Python bots gathered chat and stream data over a month from 30 Twitch categories (e.g., Hearthstone, League of Legends, Art, and Just Chatting). The bots logged a total of 321,189,309 messages from 6,564,307 senders and 117,943 channels. After cleaning the data for partnership status, stream language, and message count, coding divided the remaining 3,224,942 messages from 1,298,148 senders and 3,127 channels into their appropriate groups (i.e., messages target and stream content). The research hypotheses subdivided the dataset several times. All hypotheses had the messages separated between streamer-specific messages and other-specific messages. Streamer-specific messages are messages which include the at symbol (@) and the channel name, thus signaling message intentionality to the streamer.
    [Show full text]
  • Anàlisi Del Màrqueting I La Comunicació En Els Esports Electrònics
    Anàlisi del màrqueting i la comunicació en els esports electrònics TREBALL FINAL DE GRAU ADMINISTRACIÓ I DIRECCIÓ D’EMRPRESES Autor: Pau Sans Monguillot Tutor: Francesc Xavier Arroyo Cañada Departament: Empresa Curs acadèmic: 2016/2017 Resum Els esports electrònics han estat els últims anys una indústria que no ha parat de créixer. Aquesta indústria ha captivat un públic jove, d’entre 18 i 35 anys, l’oci del qual és principalment online i que ja no interactua amb els mitjans tradicionals. A l’hora de captivar aquest públic s’han de dur a terme accions de màrqueting que no són aquelles a què estem més acostumats. L’anàlisi duta a terme mostra que, des dels diferents agents que formen part de la indústria, s’ha d’actuar per poder aconseguir captar d’una forma eficient l’atenció dels seguidors dels esports electrònics. D’aquesta manera s’ha de crear un màrqueting de continguts i d’influències que permeten que l’usuari no se senti constantment interromput amb una comunicació poc personalitzada. PARAULES CLAU e-sports Influencers Comunicació Online Inbound marketing Xarxes socials 1 DETAILED STUDY BASED ON THE MARKETING AND THE COMMUNICATION IN THE E-SPORTS INDUSTRY The industry of eSports has been growing constantly during the last years. With yearly growths of 40%, it has become one of the areas with biggest possibilities of growing. This industry has caught a young audience, among 18 and 35 years old, whose hobbies are mostly online as they don’t interact with traditional media. In aim to reach this audience we must perform marketing actions which aren’t the ones we are used to.
    [Show full text]
  • Comparing Traditional Sports and Electronic Sports By
    COMPARING TRADITIONAL SPORTS AND ELECTRONIC SPORTS BY EFE CAN KARAKUS THESIS Submitted in partial fulfillment of the requirements for the degree of Master of Science in Computer Science in the Graduate College of the University of Illinois at Urbana-Champaign, 2015 Urbana, Illinois Adviser: Associate Professor Karrie G. Karahalios ABSTRACT Electronic sports (eSports) viewership numbers have been growing over the years. Video games such as League of Legends, Counter Strike: Global Offensive, or Hearthstone: Heroes of Warcraft have a large following. During the League of Legends regular season matches, 250,000 people regularly tune in to watch the games. Professional players such as Enrique “Xpeke” Cedeno-Martinez have 470,000 Twitter followers. In this study, we built two visualizations to explore similarities and differences between eSports and traditional sports. We focused on the salaries earned by eSports players and the emergence of a new way of interacting with professional players via live streaming. We then compared how fan loyalties differ between the two fields. ii TABLE OF CONTENTS CHAPTER 1: INTRODUCTION ............................................................................................................................. 1 CHAPTER 2: BACKGROUND ........................................................................................................................... 3 CHAPTER 3: REVENUE OF PROFESSIONAL PLAYERS ............................................................................. 9 CHAPTER 4: FANDOM IN ELECTRONIC
    [Show full text]
  • Anticompetitive Conduct by Publisher- Controlled Esports Leagues Notes
    University of Minnesota Law School Scholarship Repository Minnesota Law Review 2020 Competing Competitions: Anticompetitive Conduct by Publisher- Controlled Esports Leagues Notes Michael Arin Follow this and additional works at: https://scholarship.law.umn.edu/mlr Part of the Law Commons Recommended Citation Arin, Michael, "Competing Competitions: Anticompetitive Conduct by Publisher-Controlled Esports Leagues Notes" (2020). Minnesota Law Review. 3253. https://scholarship.law.umn.edu/mlr/3253 This Article is brought to you for free and open access by the University of Minnesota Law School. It has been accepted for inclusion in Minnesota Law Review collection by an authorized administrator of the Scholarship Repository. For more information, please contact [email protected]. Note Competing Competitions: Anticompetitive Conduct by Publisher-Controlled Esports Leagues Michael Arin INTRODUCTION The esports1 industry is maturing; with maturation comes attention and regulation. At the same time, the esports industry debates player compensation2 in light of increased value of esports teams;3 professional player associations bargain for J.D. Candidate 2020 University of Minnesota Law School, Managing Editor, Minnesota Law Review, 2019–20. Student Editor-in-Chief, Esports Bar Association Journal, 2020. I would like to thank Susanna Blumenthal for her guidance during the note-writing process, as well as members of the Esports Bar Association for being a constant source of inspiration, discussion, and sup- port. Of course, the Minnesota Law Review team also deserves high praise for the work they do. Copyright © 2020 by Michael Arin. 1. The term esports has not been defined by either the federal government or the states. Cf. Sports Wagering Act, N.J.
    [Show full text]
  • Nota De Prensa Riot Games Revela Los Streamers Que Competirán En El
    Publicado en Madrid el 10/07/2019 Riot Games revela los streamers que competirán en el Twitch Rivals de Tácticas Maestras El 17 y 18 de julio tendrá lugar el torneo internacional que reunirá a representantes de 8 regiones distintas. Por parte de España estarán Alexelcapo, Ibai, CooLifeGame, Revenant y Evangelion0 Llega el primer torneo internacional de Tácticas Maestras en el próximo Twitch Rivals. 64 streamers de Twitch de 8 regiones distintas buscarán llevarse a casa parte de los 125.000 dólares de la bolsa de premios. El 17 y 18 de julio, todos los participantes tendrán que demostrar sus habilidades en Tácticas Maestras. Tras casi dos semanas jugando, llega la primera prueba de fuego para demostrar quién es el verdadero maestro en el nuevo modo de juego de League of Legends. El primer día, los 64 streamers competirán por conseguir una parte del bote de 100.000 dólares y un puesto en el segundo día. Habrá cuadro de tarde (que empezará a las 18:00, hora peninsular española) y de noche (22:45, hora peninsular española), y cada uno de ellos contará con 32 jugadores. Cada streamer participará en un total de cinco partidas, y obtendrá una recompensa económica en función del puesto conseguido. Los ocho mejores jugadores de cada cuadro se clasificarán para el segundo día. En los enfrentamientos de ese día habrá 25.000 dólares en juego. Los participantes jugarán cuatro partidas en un formato todos contra todos con la misma estructura y el mismo sistema de premios que el día anterior. A continuación, los 8 mejores jugadores pasarán a un último enfrentamiento en el que el ganador se hará con 5.000 dólares y el título de campeón del torneo.
    [Show full text]
  • Relationships to Video Game Streamers: Examining Gratifications, Parasocial Relationships, Fandom, and Community Affiliation Online Michael G
    University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations August 2016 Relationships to Video Game Streamers: Examining Gratifications, Parasocial Relationships, Fandom, and Community Affiliation Online Michael G. Blight University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the Communication Technology and New Media Commons Recommended Citation Blight, Michael G., "Relationships to Video Game Streamers: Examining Gratifications, Parasocial Relationships, Fandom, and Community Affiliation Online" (2016). Theses and Dissertations. 1255. https://dc.uwm.edu/etd/1255 This Dissertation is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. RELATIONSHIPS TO VIDEO GAME STREAMERS: EXAMINING GRATIFICATIONS, PARASOCIAL RELATIONSHIPS, FANDOM, AND COMMUNITY AFFILIATION ONLINE by Michael George Blight A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Communication at The University of Wisconsin-Milwaukee August 2016 ABSTRACT RELATIONSHIPS TO VIDEO GAME STREAMERS: EXAMINING GRATIFICATIONS, PARASOCIAL RELATIONSHIPS, FANDOM, AND COMMUNITY AFFILIATION ONLINE by Michael George Blight The University of Wisconsin-Milwaukee, 2016 Under the Supervision of Professor Erin Ruppel Advances in media consumption and viewership have expanded the use of virtual communities such as streaming platforms (e.g., Twitch,tv, Azubu.tv, YouTube Gaming, AfreecaTV) and the ways individuals satisfy individual and social gratifications within these communities. Further, the connection viewers make with streamers as both fans and parasocially (i.e., a perceived friendship with media figure) has a number of implications for the communities that support them.
    [Show full text]
  • 1 Exploring Motivation and Identity Within Live
    EXPLORING MOTIVATION AND IDENTITY WITHIN LIVE STREAMING VIDEO GAMERS By DENISE LAU A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ADVERTISING UNIVERSITY OF FLORIDA 2017 1 © 2017 Denise Lau 2 ACKNOWLEDGEMENTS I would first like to express my gratitude to my committee chair, Dr. Yu Hao Lee, for always providing feedback and extremely helpful advice throughout the process of this paper. I would like to thank my committee members, Dr. Huan Chen, and Dr. Frank Waddell, for their interest in my research, and for being so understanding and attentive whenever I had specific questions or concerns. I would also like to thank my friends and colleagues for their moral support, and late night coffee breaks. Last but not least, I would like to express my gratitude and appreciation for my family for their constant support and belief in me. None of this would be possible without their positivity and their care. 3 TABLE OF CONTENTS ACKNOWLEDGEMENTS .............................................................................................................3 LIST OF TABLES ...........................................................................................................................6 LIST OF FIGURES .........................................................................................................................7 ABSTRACT .....................................................................................................................................8
    [Show full text]