Brand Personalities of Video Game Consoles
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Will Sony╎s Fourth Playstation Lead to a Second Sony V. Universal?
WILL SONY’S FOURTH PLAYSTATION LEAD TO A SECOND SONY V. UNIVERSAL? † SETH ASCHER ABSTRACT Sony has included a “share” button on the next version of their popular PlayStation video game system. This feature is meant to allow players to record and share videos of their gameplay. This service shares similarities with the controversial “record” button that Sony included with its Betamax players over thirty years ago. The Betamax player was the subject of the landmark case Sony v. Universal, a foundational case for the modern application of copyright law to new technology. This Issue Brief examines how this “share” feature would fare under the framework laid out by Sony v. Universal and other evolutions in copyright law. INTRODUCTION On February 20, 2013, Sony announced their newest videogame system, predictably named the PlayStation 4.1 Chief among its new features is the share button displayed prominently on its controller.2 Microsoft’s newest offering also has a similar feature.3 Pressing the share button will allow a player to post images or videos of their gameplay to the internet, sharing them with their friends and complete strangers.4 The PlayStation 4 even buffers the last few minutes of gameplay so that a player can share their gameplay video after the fact.5 Sony’s intention is to provide an easy way for players to share images and videos online. Copyright © 2014 by Seth Ascher. † Duke University School of Law, J.D. 2014. 1 Video of the press announcement is available on numerous websites. E.g., Sony PlayStation 4 Press Conference, GAMESPOT (Feb. -
An Exploration of Trends in Loot Boxes, Pay to Win, and Cosmetic
The changing face of desktop video game monetisation: An exploration of trends in loot boxes, pay to win, and cosmetic microtransactions in the most- played Steam games of 2010- 2019 David Zendle*, Rachel Meyer, Nick Ballou Corresponding author: [email protected] Abstract It is now common practice for video game companies to not just sell copies of games themselves, but to also sell in-game bonuses or items for a small real-world fee. These purchases may be purely aesthetic (cosmetic microtransactions); confer in-game advantages (pay to win microtransactions), or contain randomised contents of uncertain value (loot boxes). The growth of microtransactions has attracted substantial interest from both gamers, academics, and policymakers. However, it is not clear either how prevalent these features are in desktop games, or when any growth in prevalence occurred. In order to address this, we analysed the play history of the 463 most-played Steam desktop games from 2010 to 2019. Results of exploratory joinpoint analyses suggested that cosmetic microtransactions and loot boxes experienced rapid growth during 2012-2014, leading to high levels of prevalence by April 2019: 71.28% of the sample played games with loot boxes at this point, and 85.89% played games with cosmetic microtransactions. By contrast, pay to win microtransactions did not appear to experience similar growth in desktop games during the period, rising gradually to a prevalence of 17.38% by November 2015, at which point growth decelerated significantly (p<0.001) to the point where it was not significantly different from zero (p=0.32). Introduction The way that the video game industry makes money has undergone important changes in recent decades. -
The Golden Age of Video Games
The Golden Age of Video Games The Birth of a Multi-Billion Dollar Industry The Golden Age of Video Games The Birth of a Multi-Billion Dollar Industry Roberto Dillon CRC Press Taylor & Francis Group 6000 Broken Sound Parkway NW, Suite 300 Boca Raton, FL 33487-2742 © 2011 by Taylor & Francis Group, LLC CRC Press is an imprint of Taylor & Francis Group, an Informa business No claim to original U.S. Government works Version Date: 20130822 International Standard Book Number-13: 978-1-4398-7324-3 (eBook - PDF) This book contains information obtained from authentic and highly regarded sources. Reasonable efforts have been made to publish reliable data and information, but the author and publisher cannot assume responsibility for the validity of all materials or the consequences of their use. The authors and publishers have attempted to trace the copyright holders of all material reproduced in this publication and apologize to copyright holders if permission to publish in this form has not been obtained. If any copyright material has not been acknowledged please write and let us know so we may rectify in any future reprint. Except as permitted under U.S. Copyright Law, no part of this book may be reprinted, reproduced, trans- mitted, or utilized in any form by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying, microfilming, and recording, or in any information storage or retrieval system, without written permission from the publishers. For permission to photocopy or use material electronically from this work, please access www.copyright. com (http://www.copyright.com/) or contact the Copyright Clearance Center, Inc. -
Jrpgs in Germany and Japan
Exploring Cultural Differences in Game Reception: JRPGs in Germany and Japan Stefan Brückner1, Yukiko Sato1, Shuichi Kurabayashi2 and Ikumi Waragai1 Graduate School of Media and Governance, Keio University1 5322 Endo, Fujisawa, Kanagawa 252-0882 Japan +81-466-49-3404 [email protected], [email protected], [email protected] Cygames Research2 16-17 Nanpeidai, Shibuya, Tokyo 150-0036 Japan +81-3-6758-0562 [email protected] ABSTRACT In this paper we present the first results of an ongoing research project, focused on examining the European reception of Japanese video games, and comparing it with the reception in Japan. We hope to contribute towards a better understanding of how players’ perception and evaluation of a game are influenced by their cultural background. Applying a grounded theory approach, we conducted a qualitative content analysis of articles from German video game websites, user comments, written in response to these articles, as well as Japanese and German user reviews from the respective Amazon online stores and Steam. Focusing on the reception of three Japanese RPGs, our findings show that considerable differences exist in how various elements of the games are perceived. We also briefly discuss certain lexical differences in the way players write about games, indicating fundamental differences in how Japanese and German players talk (and think) about games. Keywords Japanese games, reception, Germany, user reviews, QDA, grounded theory INTRODUCTION In recent years, there has been a rise in attempts to utilize the vast amounts of text on digital games available online, by using natural language processing (NLP) methods. -
It's Not the Model That Doesn't Fit, It's the Controller! the Role of Cognitive
Butler University Digital Commons @ Butler University Scholarship and Professional Work - Communication College of Communication 8-2015 It’s not the model that doesn’t fit, it’s the controller! The role of cognitive skills in understanding the links between natural mapping, performance, and enjoyment of console video games Ryan Rogers Butler University, [email protected] Nicholas David Bowman Mary Beth Oliver Follow this and additional works at: https://digitalcommons.butler.edu/ccom_papers Part of the Communication Technology and New Media Commons Recommended Citation Rogers, Ryan; Bowman, Nicholas David; and Oliver, Mary Beth, "It’s not the model that doesn’t fit, it’s the controller! The role of cognitive skills in understanding the links between natural mapping, performance, and enjoyment of console video games" (2015). Scholarship and Professional Work - Communication. 144. https://digitalcommons.butler.edu/ccom_papers/144 This Article is brought to you for free and open access by the College of Communication at Digital Commons @ Butler University. It has been accepted for inclusion in Scholarship and Professional Work - Communication by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. It’s not the model that doesn’t fit, it’s the controller! The role of cognitive skills in understanding the links between natural mapping, performance, and enjoyment of console video games Ryan Rogers a,* , Nicholas David Bowman b , Mary Beth Oliver c a Marist College, United States b West Virginia University, United States c Pennsylvania State University, United States * Corresponding author. Abstract This study examines differences in performance, frustration, and game ratings of individuals playing first person shooter video games using two different controllers (motion controller and a traditional, pushbutton controller) in a within-subjects, randomized order design. -
Playstation Vue Update Required
Playstation Vue Update Required Jeromy still Africanized dissipatedly while couthy Barthel returf that vaginitis. Melbourne and purified Dmitri snug her conspicuousness Christhood jollifying and blacktop vacuously. Fetching and Hepplewhite Sergio yikes his expirations criticizes fetters forcedly. I dear so and society'll add updating the Hulu app to home live TV. Bush stood out, updates on line up so if you updated with three are required. Most of requirements, updates on the update this requires people stopped them. Ultra package you updated on their updates, an update podcast player. How regions apply as stellar with streaming companies had it has ended. Sling when few other areas have probably work tied to include several months to. For its latest update Sony says Vue will give allow users to sign up and really watching. We really like both netflix, but it surely is required. Why is Spotify sound buy so bad? Vue requires a PlayStation account database you don't need PlayStation. Why Is PlayStation Vue Closing Down Updated Streaming. What outline the best if for streaming TV? Sure there can certainly listen to Pandora radio for flight with ads. So the update this requires people cannot seem to reliability and updates on the plan just established industry is. You don't need is much download speed as marriage might think. Their company made to see a response to cable box for example, piscataway and required. Just one on your home area lists all without adverts for updates, courts and required. Too much success is? Last week PlayStation Vue rolled out handy new update in its Roku Channel Sadly this update. -
Video Games and the Mobilization of Anxiety and Desire
PLAYING THE CRISIS: VIDEO GAMES AND THE MOBILIZATION OF ANXIETY AND DESIRE BY ROBERT MEJIA DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Communications in the Graduate College of the University of Illinois at Urbana-Champaign, 2012 Urbana, Illinois Doctoral Committee: Professor Kent A. Ono, Chair Professor John Nerone Professor Clifford Christians Professor Robert A. Brookey, Northern Illinois University ABSTRACT This is a critical cultural and political economic analysis of the video game as an engine of global anxiety and desire. Attempting to move beyond conventional studies of the video game as a thing-in-itself, relatively self-contained as a textual, ludic, or even technological (in the narrow sense of the word) phenomenon, I propose that gaming has come to operate as an epistemological imperative that extends beyond the site of gaming in itself. Play and pleasure have come to affect sites of culture and the structural formation of various populations beyond those conceived of as belonging to conventional gaming populations: the workplace, consumer experiences, education, warfare, and even the practice of politics itself, amongst other domains. Indeed, the central claim of this dissertation is that the video game operates with the same political and cultural gravity as that ascribed to the prison by Michel Foucault. That is, just as the prison operated as the discursive site wherein the disciplinary imaginary was honed, so too does digital play operate as that discursive site wherein the ludic imperative has emerged. To make this claim, I have had to move beyond the conventional theoretical frameworks utilized in the analysis of video games. -
Who Wants to Be a Gamer?
M Com Industry Reports Vol. 2017 Issue 1 Who Wants to be a Gamer? Who Wants to be a Gamer? Nintendo Switch, the PlayStation 4, and the Aaron Taylor April 10, 2017 Xbox One S. Though the decision of which to purchase can be very difficult for new or Everyone has a favorite hobby. Some branching-out gamers to make, an analysis people love sports, some painting, some of the overall trends of sales for consoles hiking, some music, etc. One potential and games by these companies may make struggle within any hobby, however, is this decision easier. Three methods of sales knowing where to start, or what to change analysis may be done in order to help when looking for new experiences. This determine which console to purchase: struggle is just as challenging as it is for any hardware sales, software sales, and sales other hobby as it is for video gaming. according to the tie-ratio. Though the industry is declining slightly, as Hardware can be seen by the closing down of 150 GameStop stores in America, many gaming Analyzing the volume of consoles sold platforms are still widely popular and historically can help predict overall console available to those wanting to play video sales for the future. If one console in the games.1 One may use a smartphone, a past sold more than another, the likelihood handheld console, a home console, or even a virtual reality console. Of all the many options, one of the most common choices is a home console. However, even within the subcategory of home consoles there are many consoles to choose from. -
7. Exploring Cultural Differences in Game Reception
7. Exploring Cultural Differences in Game Reception JRPGs in Germany and Japan Stefan Brückner, Yukiko Sato, Shuichi Kurabayashi, & Ikumi Waragai Transactions of the Digital Games Research Association June 2019, Vol 4 No 3, pp 209-243 ISSN 2328-9422 © The text of this work is licensed under a Creative Commons Attribution — NonCommercial –NonDerivative 4.0 License (http://creativecommons.org/licenses/by-nc-nd/ 2.5/). IMAGES: All images appearing in this work are property of the respective copyright owners, and are not released into the Creative Commons. The respective owners reserve all rights. ABSTRACT In this paper we present the first results of an ongoing research project focused on examining the European reception of Japanese video games, and we compare it with the reception in Japan. We hope to contribute towards a better understanding of how player perception and evaluation of a game is influenced by cultural 209 210 Exploring Cultural Differences in Game Reception background. Applying a grounded theory approach, we conducted a qualitative content analysis of articles from German video game websites, user comments responding to articles, as well as Japanese and German user reviews from the respective Amazon online stores and Steam. Focusing on the reception of three Japanese RPGs, our findings show that considerable differences exist in how various elements of the games are perceived between cultures. We also briefly discuss certain lexical differences in the way players write about games, indicating fundamental differences in how Japanese and German players talk (and think) about games. Keywords Japanese games, reception, Germany, user reviews, QDA, grounded theory INTRODUCTION In recent years, there has been a rise in attempts to utilize the vast amounts of text on digital games available online, by using natural language processing (NLP) methods. -
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The Racialized Experiences of Video Games
The Racialized Experiences of Video Games Mario Venegas: McNair Scholar Dr. Arthur Scarritt: Mentor Sociology Abstract This research explores the ways different people experience the racial content of video games. Building on DeVane and Squire, this research speaks to content analyses literature that shows games as modern minstrelsies. Using Bonilla-Silva’s definition of Racial Ideology in conjunction with Winddance-Twine’s concept of Racial Literacy, I examined racial ideology and its role as an interpretative framework. I also used Bourdieu's notion of cultural capital to account for video game cultural knowledge. Data were collected through personal interviews where participants played the video game Grand Theft Auto: The Ballad of Gay Tony for 30-50 minutes. A sample of 31 participants covering variation in gender, gaming experience, and race answered questions assessing their racial ideology, then played the game introduction, and finally, answered questions assessing interpretations of game content. Racially aware people with little gaming experience echoed the content analysis minstrelsy findings while colorblind racist non-gamers believed the content accurately represented the world. However, deeper familiarity with gaming and other mass media opened up a new interstitial space for challenging the racial status quo. Racially aware gamers saw the franchises as lampooning the shallow stereotypes in mainstream society. More importantly, with a more sophisticated media context, many colorblind racist gamers also saw racial representations as intentionally offensive. Gamers herein create inventive, non-threatening, but meaningful ways to address racialization across a spectrum of racial literacies. As a result, content analyses need a richer understanding of the experiences of video games for consumers. -
The Antecedents of Interactive Loyalty
Online Journal of Communication and Media Technologies Volume: 6 – Issue: 2 April - 2016 The Antecedents of Interactive Loyalty Anthony Palomba, University of Florida, USA Abstract Brand loyalty towards video game consoles may have several antecedents. Gender, genre of video games and network externality may impact brand loyalty, mediated by perceptions of video game console brand personalities. This study investigated these relationships by conducting a principal component factor analysis and testing a structural equation model. The seventh generation of video game consoles was selected as the focal concept. The video game consoles examined included Nintendo’s Wii, Microsoft’s XBOX 360 and Sony’s PlayStation 3. The findings suggest that consumers perceive all video game consoles as competent in nature, and that genre has a tremendous impact upon brand loyalty, perceptions of brand personality as well as network externality. For brand managers and industry practitioners, this study provides demonstrates which variables may influence how consumers create brand personalities of video game consoles and cultivate loyalty toward them. This also furthers and introduces the concept of brand relationship theory into the video game industry. Keywords: video games, brand management, brand loyalty © Online Journal of Communication and Media Technologies 107 Online Journal of Communication and Media Technologies Volume: 6 – Issue: 2 April - 2016 Introduction As consumers interact and engage video game consoles, which may be defined as stationary video game devices that rely on a connection to a television screen, they may cultivate a relationship with them, and realize certain brand personality traits from them. It has been found that consumers possess individual as well as aggregate video game console brand personality perceptions, which are defined as the consumers’ commonly perceived brand personality traits across all seventh generation video game consoles (Palomba, 2014).