Optimizing Performance and Satisfaction in Virtual Reality

Total Page:16

File Type:pdf, Size:1020Kb

Optimizing Performance and Satisfaction in Virtual Reality OPTIMIZING PERFORMANCE AND SATISFACTION IN VIRTUAL REALITY ENVIRONMENTS WITH INTERVENTIONS USING THE DATA VISUALIZATION LITERACY FRAMEWORK Andreas Bueckle Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Doctor of Philosophy in the Luddy School of Informatics, Computing, and Engineering, Indiana University July 2021 Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Doctoral Committee _______________________________ Katy Börner, Ph.D. _______________________________ Patrick C. Shih, Ph.D. _______________________________ John A. Walsh, Ph.D. _______________________________ Robert D. Montoya, Ph.D. April 19, 2021 ii Copyright ©2021 Andreas Bueckle iii To Mama To Aga To Alex To Chris iv ACKNOWLEDGMENTS First and foremost, I want to express my deep gratitude to my advisor Katy Börner for hundreds, if not thousands of hours of mentorship, direct and indirect, and for her courage to challenge and be challenged together. Second, I would like to say a heartfelt “Thank You!” to my research committee, consisting of Patrick Shih, John Walsh, and Rob Montoya, for all the guidance, feedback, and support. Third, I gratefully acknowledge support from the following entities and people: the Department of Information & Library Science (ILS) for the ILS Leadership Award; the Cyberinfrastructure for Network Science Center (CNS) and the Department of Intelligent Systems Engineering (ISE) in the Luddy School of Informatics, Computing, and Engineering (SICE) at Indiana University for my employment as a research assistant and associate instructor as well as the ability to be part of large scientific endeavors; my stellar colleagues at CNS and in SICE; the German Academic Exchange Service (Deutscher Akademischer Austauschdienst, DAAD) for my graduate scholarship as a non-degree student in 2014/2015; and the Advanced Visualization Lab (AVL), especially Chauncey Frend, for tech support and the encouragement to pursue virtual reality as a research topic. Also, I would like to thank Klaus Gasteier at Berlin University of the Arts, who introduced me to interaction design while I was pursuing my Master’s degree prior to coming to IU. My thanks also go to Philip Beesley for allowing me to use his 3D model of Luddy Hall in my dissertation, and for the opportunity to collaborate with the world-class artists in his team. v Fourth, I would like to acknowledge the contributions of co-authors, co-creators, and colleagues. Like most interdisciplinary work, the research presented here is the product of collaboration between people with different skills. I gratefully acknowledge my co-authors Katy Börner and Michael Ginda for their work on the Data Visualization Literacy Framework (32), on which I built the theoretical core of this dissertation. Chapters 5 and 6 were co-written with Kilian Buehling, Patrick Shih, and Katy Börner, a great collaboration for which I express my deepest gratitude. Further, JangDong “JD” Seo from the Indiana Statistical Consulting Center (ISCC) provided his expert input on power analysis for determining the required number of subjects for the user studies presented in chapters 5, 6, and 7. Robert L. Goldstone assisted in developing the initial research design for chapter 5. Leonard E. Cross supported the development of the three setups tested in chapter 5 through active play-testing and discussions. Kristen Browne (Bioinformatics and Computational Biosciences Branch, Office of Cyber Infrastructure and Computational Biology, National Institute of Allergy and Infectious Diseases, National Institutes of Health) created the 3D model of the kidney used in chapters 5 and 6. Todd Theriault performed copy-editing and proof- reading for chapter 5. Perla Brown improved the figures in chapter 5. Eight colleagues at CNS served as pilot testers for the virtual reality (VR) setups developed for this dissertation. Lisel Record, Esmé Middaugh, and my brother Alexander Bueckle graciously served as friendly reviewers for my dissertation proposal in 2020. Further, I would like to acknowledge Sanjay Jain, M.D., Ph.D., and Diane Salamon, R.N., from Washington University in St. Louis School of Medicine for providing the pictures of dissected kidneys. vi Last but not least, I would like to thank my fellow sailors at the Sailing Club at Indiana University, where I had the honor of serving as Coach, Captain, and Marketing Chair throughout my graduate school experience at IU. Being on the water has always kept me full of energy for the road ahead. vii PREFACE Throughout my educational career, I have admired the transformative power of mediated experiences, or the fact that we can get excited by seeing shadows on the wall of a cave (or, in modern times, colorful pixels on a screen). Challenged and highly excited by “You Are Not A Gadget” (123), a provocative reflection on the internet, modern media, and their influence on society by VR pioneer Jaron Lanier, I found information science and interaction design as a perfect place to set up my new inner intellectual workshop. When I experienced proper VR for the first time at IU, I had a glimmer of an understanding what those people in the late 19th century must have felt when seeing that famous first film record of a train arriving at a station (174). According to an urban legend, when people watched this clip first the first time, many believed the train would dash out of the screen at any moment, simply because they had never experienced this kind of medium before. Being enchanted by the possibilities of a new medium never loses its power, whether it is in 1895 or in 2016. Combining VR with data visualization then, a field with rich theoretical and applied history, seemed like a dream project for a dissertation that is both theoretically sound and practically valuable, and that can help address real-world issues in a world increasingly reliant on our human ability to analyze data, identify patterns, and spot trends. I am grateful that this dissertation worked out the way it did, allowing me to combine data visualization for solving practical problems with the strength of the mediated experience that is VR. While collecting the data for this dissertation, I had the privilege of watching many dozens of people move and act in VR for the first time. While the VR applications viii described in this dissertation – owing to the nature of this research – lack the graphical fidelity, action, and larger-than-life environments of video games or similar products of entertainment, I witnessed that VR has an impact almost regardless of content. With immersive media becoming increasingly cheap, immersive content becoming ever more widespread, and producing immersive content getting easier by the day, I cannot wait to see where we can take the emerging field of immersive data visualization. As a tinkerer, I cannot wait to continue building. Andreas Bueckle Friday, July 16, 2021 ix Andreas Bueckle OPTIMIZING PERFORMANCE AND SATISFACTION IN VIRTUAL REALITY ENVIRONMENTS WITH INTERVENTIONS USING THE DATA VISUALIZATION LITERACY FRAMEWORK In the age of big data, interactive data visualizations are becoming increasingly prevalent. The ability to focus on subsets of data is essential for exploring large temporal, geospatial, topical, and network datasets. In order to categorize all parts of data visualizations, various attempts have been made to build frameworks for how to interpret, teach, and construct data visualizations while turning data into insights. This need for interactive data visualizations has sparked interest to classify key interaction types. The recent rise of affordable virtual reality (VR) has introduced yet more ways of interacting with datasets using our visual abilities while enabling user input beyond mouse and keyboard. In this dissertation, we apply the Data Visualization Literacy Framework (DVL-FW) in a series of three interconnected VR user studies with 152 subjects representing around 123 hours of face-to-face data collection. In the first study, we compare performance and satisfaction across two VR and one desktop implementation of the same 3D manipulation interface. We found that while VR users are about three times as fast and about a third more accurate in terms of rotation than desktop users, there are no significant differences for position accuracy. Building on this experiment, in the second study, we investigate quantitative differences between two user cohorts, where the experiment cohort gets to inspect their own manipulation performance data between trials in a VR setup and with a traditional 2D line graph, depending on their x assigned setup (“Reflective phase”). Our findings indicate that while there is no difference in performance between VR users across cohorts, the Reflective phase yields significant differences for desktop users and increases the satisfaction for VR users. Moreover, we identified behavioral metrics for VR users in the Reflective phase that have a favorable effect on performance in subsequent trials. Finally, in the third study, we asked users to travel to various points inside a virtual 3D model of Luddy Hall on the Indiana University campus in Bloomington, IN. We then tested whether the experiment cohort was able to devise faster movement strategies after a Reflective phase where they inspected their own navigation data in a VR visualization with a miniature model of the building. We found that users with a Reflective phase
Recommended publications
  • Redeye-Gaming-Guide-2020.Pdf
    REDEYE GAMING GUIDE 2020 GAMING GUIDE 2020 Senior REDEYE Redeye is the next generation equity research and investment banking company, specialized in life science and technology. We are the leading providers of corporate broking and corporate finance in these sectors. Our clients are innovative growth companies in the nordics and we use a unique rating model built on a value based investment philosophy. Redeye was founded 1999 in Stockholm and is regulated by the swedish financial authority (finansinspektionen). THE GAMING TEAM Johan Ekström Tomas Otterbeck Kristoffer Lindström Jonas Amnesten Head of Digital Senior Analyst Senior Analyst Analyst Entertainment Johan has a MSc in finance Tomas Otterbeck gained a Kristoffer Lindström has both Jonas Amnesten is an equity from Stockholm School of Master’s degree in Business a BSc and an MSc in Finance. analyst within Redeye’s tech- Economic and has studied and Economics at Stockholm He has previously worked as a nology team, with focus on e-commerce and marketing University. He also studied financial advisor, stockbroker the online gambling industry. at MBA Haas School of Busi- Computing and Systems and equity analyst at Swed- He holds a Master’s degree ness, University of California, Science at the KTH Royal bank. Kristoffer started to in Finance from Stockholm Berkeley. Johan has worked Institute of Technology. work for Redeye in early 2014, University, School of Business. as analyst and portfolio Tomas was previously respon- and today works as an equity He has more than 6 years’ manager at Swedbank Robur, sible for Redeye’s website for analyst covering companies experience from the online equity PM at Alfa Bank and six years, during which time in the tech sector with a focus gambling industry, working Gazprombank in Moscow he developed its blog and on the Gaming and Gambling in both Sweden and Malta as and as hedge fund PM at community and was editor industry.
    [Show full text]
  • Pegi Annual Report
    PEGI ANNUAL REPORT ANNUAL REPORT INTRODUCTION 2 CHAPTER 1 The PEGI system and how it functions 4 AGE CATEGORIES 5 CONTENT DESCRIPTORS 6 THE PEGI OK LABEL 7 PARENTAL CONTROL SYSTEMS IN GAMING CONSOLES 7 STEPS OF THE RATING PROCESS 9 ARCHIVE LIBRARY 9 CHAPTER 2 The PEGI Organisation 12 THE PEGI STRUCTURE 12 PEGI S.A. 12 BOARDS AND COMMITTEES 12 THE PEGI CONGRESS 12 PEGI MANAGEMENT BOARD 12 PEGI COUNCIL 12 PEGI EXPERTS GROUP 13 COMPLAINTS BOARD 13 COMPLAINTS PROCEDURE 14 THE FOUNDER: ISFE 17 THE PEGI ADMINISTRATOR: NICAM 18 THE PEGI ADMINISTRATOR: VSC 20 PEGI IN THE UK - A CASE STUDY? 21 PEGI CODERS 22 CHAPTER 3 The PEGI Online system 24 CHAPTER 4 PEGI Communication tools and activities 28 Introduction 28 Website 28 Promotional materials 29 Activities per country 29 ANNEX 1 PEGI Code of Conduct 34 ANNEX 2 PEGI Online Safety Code (POSC) 38 ANNEX 3 The PEGI Signatories 44 ANNEX 4 PEGI Assessment Form 50 ANNEX 5 PEGI Complaints 58 1 INTRODUCTION Dear reader, We all know how quickly technology moves on. Yesterday’s marvel is tomorrow’s museum piece. The same applies to games, although it is not just the core game technology that continues to develop at breakneck speed. The human machine interfaces we use to interact with games are becoming more sophisticated and at the same time, easier to use. The Wii Balance Board™ and the MotionPlus™, Microsoft’s Project Natal and Sony’s PlayStation® Eye are all reinventing how we interact with games, and in turn this is playing part in a greater shift.
    [Show full text]
  • Frontier: First Encounters 2 Contents
    Frontier: First Encounters 2 Contents Credits v Preface vii Quick start ix 1 Tutorial 1 1.1 Your first view . 1 1.2 You and your ship (Inventory mode) . 2 1.3 The galaxy . 3 1.4 Where to go, and what to do there . 5 1.5 Getting out of here . 9 1.6 Arriving . 11 1.7 On landing . 14 2 The controls 17 2.1 Welcome to your Saker Mk III . 17 2.2 Ship instrumentation, and how to use it . 17 2.3 The View Panel (F1) . 19 2.4 The Inventory Panel (F2) . 22 2.5 The Map Panel (F3) . 25 2.6 The Communications Panel (F4) . 28 2.7 The Scanner . 30 2.8 Fuel Gauge and Temperature Gauges . 31 2.9 Warning Lights . 31 2.10 Dual Console . 32 2.11 Options . 35 3 Flying a spacecraft 37 3.1 Basic flight controls . 37 3.2 Fly-by-wire — an idiot’s guide . 38 3.3 Launching and docking procedures . 39 3.4 Flying between star-systems . 44 3.5 Flying within a system . 46 3.6 Intra-system flight without an autopilot . 49 3.7 Manual flight, and relative velocities . 51 3.8 Your pilot’s test — a revision guide . 55 3.9 Basic combat controls . 57 i ii CONTENTS 3.10 The combat drill . 59 3.11 Combat techniques . 63 3.12 Interception techniques . 68 3.13 Planetary combat . 70 3.14 Full manual flight control (Advanced) . 73 4 Careers 77 4.1 Bulletin Boards . 77 4.2 Deliveries . 79 4.2.1 Parcel courier .
    [Show full text]
  • Announcement
    Announcement Total 100 articles, created at 2016-03-15 00:04 1 Five things to expect from Apple's imminent iPhone launch All the rumours about Apple's 21 March launch in one handy place,Hardware,Mobile 2016-03-15 00:03 2KB www.v3.co.uk (2.00/3) Phones,Communications ,Apple,iPhone 2 Microsoft is Ticking People Off with Automatic Windows 10 Upgrades (2.00/3) The Internet community is up in arms at Microsoft pushing out automatic and supposedly unauthorized Windows 10 upgrades. 2016-03-14 17:24 3KB www.maximumpc.com 3 Microsoft to bolster artificial intelligence using Minecraft Not just a blockhead now 2016-03-14 15:54 2KB www.theinquirer.net (2.00/3) 4 Code.org volunteer emails exposed in information leak As a result, a Singaporean firm decided to try and poach a few members. 2016-03-14 12:59 3KB www.zdnet.com (2.00/3) 5 CityFibre CEO Greg Mensch's ambitious plan to bring FTTP to 100 UK towns and cities - and beat BT in the process Firm's £90m acquisition of Kcom in December has made it a force to be reckoned with in the broadband space,Telecoms ,BT 2016-03-15 00:03 749Bytes www.v3.co.uk 6 Microsoft releases 13 security bulletins in latest Patch Tuesday Patch now or be vulnerable as hackers get to work on coding exploits,Security ,Microsoft,patch Tuesday 2016-03-15 00:03 2KB www.theinquirer.net 7 Microsoft accused of bundling new Windows 10 nagware into latest Patch Tuesday updates More Windows 10 nagware being sneaked into Microsoft updates,Operating Systems,Software,Security ,Microsoft,operating system,Windows Update,security,patch Tuesday
    [Show full text]
  • Frontier Developments Plc Annual Report and Accounts 2020
    STRATEGIC REPORT CHIEF EXECUTIVE’S STATEMENT AN EXCITING FUTURE Our vision is to be the most respected entertainment company in the world. DAVID BRABEN FOUNDER AND CEO Reflecting on our progress since writing my In addition to new game developments and PDLC packs, last report in the summer of 2019, I am delighted our teams have been working hard to deliver three major new releases for our existing game portfolio during FY21. with the achievements of our teams across all Jurassic World Evolution: Complete Edition will be launching areas of our business, particularly through the on the Nintendo Switch, Planet Coaster: Console Edition is challenges of Covid-19. coming to PlayStation and Xbox, and players will soon be able to get out of their ships and SRVs (Surface Reconnaissance Regarding our internally developed game Vehicles) with Elite Dangerous: Odyssey. These major portfolio, we have further expanded our offering achievements are made possible by the talent, experience with another successful major game release, and hard work of our teams, combined with our technology leadership through the continued investment in our own Planet Zoo, which has become our best-selling COBRA game engine. PC game, crossing 1 million base game units in In spring 2020 we signed two major new IP licences less than six months. As usual we have supported to further strengthen our future roadmap. In March 2020 all of our games with free and paid content, we confirmed a deal with Formula 1® with exclusive rights together with active community management, to an annual PC and console management game, with the which has in turn delivered strong ongoing first game planned for the 2022 F1 season.
    [Show full text]
  • Unaudited Annual Results
    Unaudited Annual Results Released : 04 September 2019 07:00 RNS Number : 1132L Frontier Developments PLC 04 September 2019 Frontier Developments plc Annual Results A record year. An exciting future. Frontier Developments plc (AIM: FDEV, 'Frontier', the 'Group' or the 'Company'), a leading developer and publisher of videogames based in Cambridge, UK, has published its unaudited full‐year results for the 12 months to 31 May 2019 ('financial year 2019' or 'FY19'). Overview Frontier is a world‐class videogame developer and publisher, with a proven track record of launching multiple successful franchises with a strong post‐launch nurturing strategy which delivers multi‐year revenues. Each new release provides strong launch sales, while a combination of regular free and chargeable updates, together with active community support, ensures longevity of sales performance. Frontier is currently the UK's largest independent studio and continues to grow. In the 12 months to 31 May 2019, Frontier recruited more than 120 people, growing headcount to over 460 staff in its Cambridge headquarters. In financial year 2019, Frontier grew revenue by more than 160% and operating profit by nearly 600%, representing record financial performance. This was delivered through the success of Jurassic World Evolution (June 2018), and the ongoing performance of Frontier's first two self‐published titles, Elite Dangerous (2014) and Planet Coaster (2016). Frontier's next major release is Planet Zoo, the Company's fourth title launch since the transition to a self‐publishing business model in 2013‐2014. Planet Zoo is the ultimate zoo simulation, featuring authentic living animals, rich management, and limitless creativity, and is coming exclusively to PC on 5 November 2019.
    [Show full text]
  • 2007 ANNUAL REPORT Fiscal Year 2003 2004 2005 2006 2007 (U.S
    2007 ANNUAL REPORT Fiscal Year 2003 2004 2005 2006 2007 (U.S. dollars in thousands, except per share amounts) Total Revenues $ 1,100,288 $ 1,268,470 $ 1,482,626 $ 1,796,715 $ 2,066,569 Gross Margin 33.1% 32.2% 34.0% 32.0% 34.3% FY07 Non-GAAP Gross Margin 34.4% Operating Income $ 123,882 $ 145,554 $ 171,674 $ 198,911 $ 230,862 FY07 Non-GAAP Operating Income $ 250,326 Operating Margin 11.3% 11.5% 11.6% 11.1% 11.2% FY07 Non-GAAP Operating Margin 12.1% Net Income $ 98,843 $ 132,153 $ 149,266 $ 181,105 $ 229,848 FY07 Non-GAAP Net Income $ 244,786 Earnings per diluted share $ 0.49 $ 0.67 $ 0.77 $ 0.92 $ 1.20 FY07 Non-GAAP Earnings per diluted share $ 1.27 Diluted number of shares (in millions) 205,638 200,639 198,250 198,770 190,991 Cash Flow from Operations $ 145,108 $ 166,460 $ 213,674 $ 152,217 $ 305,681 Capital Expenditures $ 28,657 $ 24,718 $ 40,541 $ 54,102 $ 47,246 Cash & Cash Equivalents net of Short-Term Debt $ 208,632 $ 280,624 $ 331,402 $ 230,943 $ 398,966 Shareholders’ Equity $ 365,562 $ 457,080 $ 526,149 $ 685,176 $ 844,525 Fiscal Year-end Market Capitalization (in billions) $ 1.40 $ 2.17 $ 2.92 $ 3.80 $ 5.32 NOTE: The Fiscal Year 2007 Non-GAAP gross margin, operating income, operating margin, net income and earnings per diluted share fi gures exclude the cost or net cost of share- based compensation in Fiscal Year 2007, the fi rst year we refl ected this expense in our fi nancial results.
    [Show full text]
  • Creativity and Learning in Digital Entertainment Games Thesis
    Open Research Online The Open University’s repository of research publications and other research outputs Creativity and Learning in Digital Entertainment Games Thesis How to cite: Hall, Johanna (2021). Creativity and Learning in Digital Entertainment Games. PhD thesis The Open University. For guidance on citations see FAQs. c 2020 Johanna Kathryn Hall https://creativecommons.org/licenses/by-nc-nd/4.0/ Version: Version of Record Link(s) to article on publisher’s website: http://dx.doi.org/doi:10.21954/ou.ro.0001248e Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk Creativity and Learning in Digital Entertainment Games Johanna Hall Thesis submitted to The Open University for the degree of Doctor of Philosophy Institute of Educational Technology (IET) The Leverhulme Trust June 2020 Johanna Hall The Open University Abstract Creativity has been investigated in areas such as education, the workplace and psychology. However, there remains little in the way of a unanimous definition of what it means to be creative – with various conceptualisations illuminating different aspects of this multifaceted phenomenon. However, it is for the most part agreed that creativity contributes to a wealth of positive outcomes such as openness to experience, cognitive flexibility and emotional wellbeing. Furthermore, creativity is instrumental in facilitating a meaningful learning experience as learners can actively formulate and experiment with ideas in an authentic context. In this way, the creative process leads to ultimately the creative expression itself and subsequent positive effects such as learning.
    [Show full text]
  • A Chronicle of Map Interfaces in Games
    Maps, Navigation and Transportation: Find a way DIS ’20, July 6–10, 2020, Eindhoven, Netherlands Paper to Pixels: A Chronicle of Map Interfaces in Games Z O. Toups,1,3 Nicolas LaLone,4 Katta Spiel,5 Bill Hamilton2,3 1Play & Interactive Experiences for Learning Lab / 2Participatory Live Experiences Laboratory 3Computer Science Department, New Mexico State University, Las Cruces, NM, USA 4Bridge Lab, Department of Information Systems and Quantitative Analysis, College of Information Science and Technology, University of Nebraska at Omaha, Omaha, NE, USA 5e-Media Research Lab, KU Leuven, BE & Centre for Teacher Education, University of Vienna, AT [email protected], [email protected], [email protected], [email protected] ABSTRACT More than physical navigation, maps navigate the complex Game map interfaces provide an alternative perspective on and dynamic world of human culture. Maps on news media the worlds players inhabit. Compared to navigation applica- show political and socio-economic divides. Maps can show us tions popular in day-to-day life, game maps have different where people like ice cream over frozen yogurt or can be used affordances to match players’ situated goals. To contextualize by sports commentators showing us where specific athletes and understand these differences and how they developed, we have placed a ball or puck over time. present a historical chronicle of game map interfaces. Starting Despite that ubiquity, maps in and of themselves are generally from how games came to involve maps, we trace how maps static, a relic of the paper to which they owe their creation. are first separate from the game, becoming more and more There is so much more that maps can provide users given the integrated into play until converging in smartphone-style inter- growing ubiquity of computation and the increasing digital faces.
    [Show full text]
  • E-Sports En Gaming Hip En Trendy, Maar Vooral Lucratief En Beleggersvriendelijk
    TOPIC E-sports en gaming Hip en trendy, maar vooral lucratief en beleggersvriendelijk 25 januari 2021 RESEARCH: KBC SENIOR FINANCIAL ECONOMIST TOM SIMONTS TOPIC E-sports en gaming In de TOPIC gaat Bolero dieper in op een specifiek onderwerp zoals een beursintroductie, de olieprijs, maar we kunnen ook een specifieke beurs of aan- deel onder de loep nemen. Naar aanleiding van zijn presentatie op Finance Avenue 2020 verdiepte KBC Senior Financial Economist Tom Simonts zich in de wereld van gaming en e-sports. Door de coronapandemie en de daaruit volgende lockdowns is de populariteit van online gaming in een stroomversnelling geraakt. Maar welke bedrijven zijn in dit entertainmentsegment actief? Wat is e-sports precies en hoe valt er geld mee te verdienen? En welke factoren zorgen ervoor dat gaming zo’n robuuste groeitrend is, die ook beleggers maar beter in de gaten kunnen houden? Het antwoord leest u in dit dossier. Bolero wijst u erop dat alle informatie in dit dossier, met inbegrip van de koersdoelen en aanbevelingen, dateert van 25 januari 2021 en dus een momentopname is. Gelieve er rekening mee te houden dat die informatie intussen gewijzigd kan zijn. Voor de meest recente adviezen en koersdoelen verwijzen we u graag door naar het Bolero-platform. © 2021 - Alle rechten voorbehouden 2/16 TOPIC E-sports en gaming Inleiding Gaming is altijd al ‘big’ geweest, maar door de coronalockdowns zijn de maatschappelijke en financiële schijnwerpers nog nadrukkelijker op de sector komen te staan. Extra vrije tijd, al dan niet verplicht, zorgt voor een stijgende populariteit. En stijgende beurskoersen, met name van de game developers, cloud gaming-platformen, spelverdelers en bedrijven die op één of andere manier bij betaalverkeer betrokken zijn.
    [Show full text]
  • Frontier Developments Plc Annual Report and Accounts 2020
    CREATING AUTHENTIC WORLDS Frontier is a leading independent developer and publisher of videogames founded in 1994 by David Braben, co-author of the iconic Elite game. Based in Cambridge with a growing team of over 560 talented people, Frontier uses its proprietary COBRA game development technology to create innovative genre-leading games, primarily for personal computers and videogame consoles. As well as self-publishing internally developed games, Frontier also publishes games developed by carefully selected partner studios under its Frontier Foundry games label. FINANCIAL HIGHLIGHTS • Our major new game release in FY20 was a 100% own-IP title, Planet Zoo, • All four games, Elite Dangerous, Planet Coaster, Jurassic World Evolution which released exclusively on PC almost halfway through FY20, in and Planet Zoo, benefitted from Frontier’s ‘launch and nurture’ strategy in November 2019, and is Frontier’s biggest selling game to date on FY20, with each providing significant revenue contributions through both PC during an equivalent time period base game sales and paid-downloadable content (“PDLC”) • In comparison our major new game release in FY19 and our biggest • Strong trading performance delivered operating profit, as reported under selling game to date, Jurassic World Evolution, benefitted from a major IFRS, of £16.6 million for FY20 (FY19: £19.4 million), with operating profit existing global IP franchise and launched simultaneously on multiple margin maintained at 22% despite the lower level of revenue platforms, releasing on PC, PlayStation 4 and Xbox One at the start of • Cash balances increased by £10.4 million during the year to £45.8 million FY19 alongside the Jurassic World: Fallen Kingdom film in June 2018 (FY19: £35.3 million) • Total revenue in FY20 was £76.1 million (FY19: £89.7 million).
    [Show full text]
  • Logitech Milestones July 2011
    Logitech Milestones July 2011 1981 Logitech was founded on Oct. 2 by Daniel Borel, Pierluigi Zappacosta and Giacomo Marini. The first office was in Apples, Switzerland. 1982 Logitech opened its first U.S. office on March 8, at 165 University Ave. in Palo Alto, Calif. Logitech introduced its first mouse, the P4. The P4 used opto-mechanical technology, featuring optical encoders connected to the rollers to deliver greater tracking precision while providing the tactile response of a rolling ball. 1983 Logitech established presence in Italy. 1984 Logitech secured its first major OEM win, with HP, a deal that would reach approximately 25,000 mice sold per year. Logitech designed the first cordless mouse, using infrared technology, for Metaphor. 1985 Logitech entered the retail market with the C7 mouse. Available for under $100 in the U.S., the C7 was viewed by many as a breakthrough in price. The company sold more than 800 units in the first month (December) at retail. The C7 drew its power from the CPU’s RS232 serial interface, eliminating the need for an external power supply. 1986 Logitech Far East LTD was created in Hsinchu, Taiwan to be a manufacturing center. Production began in September of that year. Hsinchu is now one of Logitech’s key engineering sites today. Logitech moved its European headquarters from Apples to Romanel, Switzerland. 1987 Logitech established presence in Germany. 1988 In July, Logitech went public on the SWX Swiss Exchange. Logitech introduced a handheld scanner, its first peripheral outside of its core mouse business. Logitech established presence in Ireland, Sweden, Japan and the United Kingdom.
    [Show full text]