The Tim Ferriss Show Transcripts Episode 93: Jane Mcgonigal Show Notes and Links at Tim.Blog/Podcast
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Activision Blizzard, Inc
Investment Club Presentation Activision Blizzard, Inc. (ATVI) Analyst: Niko Martinovic 5-Yr Stock Performance $90 $80 $70 $60 $50 $40 $30 Decline in stock primarily driven by analyst sentiment changes, missing expectations, CFO firings, $20 and most recently, Bungie games leaving ATVI $10 $0 1/15/20144/15/20147/15/201410/15/20141/15/20154/15/20157/15/201510/15/20151/15/20164/15/20167/15/201610/15/20161/15/20174/15/20177/15/201710/15/20171/15/20184/15/20187/15/201810/15/2018 Source: AIM/Martinovic 2018, Company Filings, S&P Capital IQ, and IBIS World 2 They’re Wrong Activision Blizzard has three meaningful and diverse revenue streams that can all grow in unique ways. E-Sports and Virtual Reality are the most exciting growth opportunities in this industry and ATVI is the best positioned to take advantage of it with the power of their brands, aggressive R&D spend, and patience. Source: 3 Note: Three Year Stock Performance ATVI has outperformed the S&P consistently since early 2017 while the Peer Set1 has reverted back. 160.00% 140.00% Stock Price $46.85 Shares Outstanding $762.41mm 120.00% Market Cap $36.08bn 52 Week Range $43.71-$84.68 100.00% Avg. Volume 7,550,000 EPS (TTM) $2.13 80.00% Past Month Performance -1.60% Past 1 Year -33.63% 60.00% Past 5 Year 170.36% 40.00% 20.00% 0.00% -20.00% -40.00% 1/15/2016 4/15/2016 7/15/2016 10/15/2016 1/15/2017 4/15/2017 7/15/2017 10/15/2017 1/15/2018 4/15/2018 7/15/2018 10/15/2018 S&P ATVI Peer Set Source: AIM/Martinovic 2018, Company Filings, S&P Capital IQ, and IBIS World 4 1Electronic Arts, Ubisoft, Take Two Interactive, Square Enix, and Zynga Company Overview & Monetization Activision Blizzard, Inc. -
Class Action Chamber)
CANADA PROVINCE OF QUEBEC SUPERIOR COURT DISTRICT OF MONTREAL (CLASS ACTION CHAMBER) No: 500-06-001132-212 GABRIEL BOURGEOIS Petitioner -vs.- ELECTRONIC ARTS INC., legal person duly constituted, having its address of service at 1209 Orange Street, Wilmington, DE 19801 USA and ELECTRONIC ARTS (Canada), INC., legal person duly constituted, having its address for service at 1800 510 West Georgia St., Vancouver, BC, V6B 0M3, Canada and ACTIVISION BLIZZARD INC., legal person duly constituted, having its address for service at 251 Little Falls Drive, Wilmington, New Castle, Delaware, 19808 and ACTIVISION PUBLISHING INC., legal person duly constituted, having its address for service at 251 Little Falls Drive, Wilmington, New Castle, Delaware, 19808 and BLIZZARD ENTERTAINMENT INC., legal person duly constituted, having its address for service at 251 Little 1 Falls Drive, Wilmington, New Castle, Delaware, 19808 and TAKE TWO INTERACTIVE SOFTWARE INC., legal person duly constituted, having its address for service at 251 Little Falls Drive, Wilmington, Delaware, 19808 and TAKE TWO INTERACTIVE CANADA HOLDINGS INC., legal person duly constituted, having its address for service at 5770 Hutontario St, Mississauga, Ontario, L5R 3G5 and 2K GAMES INC., legal person duly constituted, having its address for service at 251 Little Falls Drive, Wilmington, Delaware, 19808 and ROCKSTAR GAMES INC, legal person duly constituted, having its address for service at 251 Little Falls Drive, Wilmington, Delaware, 19808 and WARNER BROS. ENTERTAINMENT INC., legal person duly constituted, having its address for service at 1209 Orange St., Wilmington, DE 19801 and WARNER BROS ENTERTAINMENT CANADA INC., legal person duly constituted, having its address for service at Suite 1600, 5000 Yonge Street, Toronto, Ontario, M2N 6P1 and 2 WARNER BROS. -
Reality Is Broken a Why Games Make Us Better and How They Can Change the World E JANE Mcgonigal
Reality Is Broken a Why Games Make Us Better and How They Can Change the World E JANE McGONIGAL THE PENGUIN PRESS New York 2011 ADVANCE PRAISE FOR Reality Is Broken “Forget everything you know, or think you know, about online gaming. Like a blast of fresh air, Reality Is Broken blows away the tired stereotypes and reminds us that the human instinct to play can be harnessed for the greater good. With a stirring blend of energy, wisdom, and idealism, Jane McGonigal shows us how to start saving the world one game at a time.” —Carl Honoré, author of In Praise of Slowness and Under Pressure “Reality Is Broken is the most eye-opening book I read this year. With awe-inspiring ex pertise, clarity of thought, and engrossing writing style, Jane McGonigal cleanly exploded every misconception I’ve ever had about games and gaming. If you thought that games are for kids, that games are squandered time, or that games are dangerously isolating, addictive, unproductive, and escapist, you are in for a giant surprise!” —Sonja Lyubomirsky, Ph.D., professor of psychology at the University of California, Riverside, and author of The How of Happiness: A Scientific Approach to Getting the Life You Want “Reality Is Broken will both stimulate your brain and stir your soul. Once you read this remarkable book, you’ll never look at games—or yourself—quite the same way.” —Daniel H. Pink, author of Drive and A Whole New Mind “The path to becoming happier, improving your business, and saving the world might be one and the same: understanding how the world’s best games work. -
Ludology with Dr. Jane Mcgonigal Ologies Podcast March 12, 2019
Ludology with Dr. Jane McGonigal Ologies Podcast March 12, 2019 Ohaaay, it’s the lady sitting in the middle seat, who has to get up to pee, but you’re in the window seat and you’re so relieved she does, because that means you don’t have to ask the guy in the aisle to get up, Alie Ward, back with another episode of Ologies. Oh, video games! [Mario coin-collecting noise] Video games, what’s their deal? How do they affect our brains? Have we got an ology for y’all! First, I do have some thanks. Thanks to everyone who’s pledging some of your latte money or tossing me a quarter a week on Patreon for making it possible for me to get my physical butt in the same space as the ologists, or in this case, pay a recording studio to do our first ever remote interview. Very exciting. Thanks to everyone sporting Ologies merch out in the wild – that’s at OlogiesMerch.com. T-shirts, hats, pins, all of that. Thank you to everyone who rates, and subscribes, and reviews. You leave such nice notes! For example, Namon says: I love this podcast so much. I found it when searching for podcasts to sleep! Sadly, I found a podcast to binge and stay up even later. Thank you, Alie Ward, for the podcast that has everything from biology to beauty. I never did solve my sleeping problem, but I don’t really mind anymore, so thank you for the podcast. Well, thanks for the review! Try the Fancy Nancy. -
A Sense of Presence: Mediating an American Apocalypse
religions Article A Sense of Presence: Mediating an American Apocalypse Rachel Wagner Department of Philosophy and Religion, Ithaca College, Ithaca, NY 14850, USA; [email protected] Abstract: Here I build upon Robert Orsi’s work by arguing that we can see presence—and the longing for it—at work beyond the obvious spaces of religious practice. Presence, I propose, is alive and well in mediated apocalypticism, in the intense imagination of the future that preoccupies those who consume its narratives in film, games, and role plays. Presence is a way of bringing worlds beyond into tangible form, of touching them and letting them touch you. It is, in this sense, that Michael Hoelzl and Graham Ward observe the “re-emergence” of religion with a “new visibility” that is much more than “simple re-emergence of something that has been in decline in the past but is now manifesting itself once more.” I propose that the “new awareness of religion” they posit includes the mediated worlds that enchant and empower us via deeply immersive fandoms. Whereas religious institutions today may be suspicious of presence, it lives on in the thick of media fandoms and their material manifestations, especially those forms that make ultimate promises about the world to come. Keywords: apocalypticism; Orsi; enchantment; fandom; video games; pervasive games; cowboy; larp; West 1. Introduction Michael Hoelzl and Graham Ward observe the “re-emergence” of religion today with a “new visibility” that is “far more complex and nuanced than simple re-emergence of something that has been in decline in the past but is now manifesting itself once more” (Hoelzl and Ward 2008, p. -
Getting Started with Gamification Aaron Sumner SIDLIT 2011
Getting Started with Gamification Aaron Sumner SIDLIT 2011 Share this list with others: bit.ly/gamification-sidlit Jane McGonigal at TED (2010, video) http://www.ted.com/talks/jane_mcgonigal_gaming_can_make_a_better_world.html A 20-minute summary of McGonigal’s thesis that games teach the critical skills we need to solve the world’s largest problems. Reality is Broken: Why Games Make Us Better and How They Can Change the World (McGonigal, 2011) http://realityisbroken.org/ McGonigal’s book goes more in-depth on her thesis and showcases a number of examples of real games that have been developed to solve real problems. Gabe Zichermann: Gamification Master Class (2011, video) http://oreilly.com/catalog/0636920017622 A three-hour video workshop on putting game mechanics to use. Targeted toward marketers, but contains good information for education and other fields. Includes activities to help you develop the right experience for your “players.” Gamestorming (Gray, Brown, and Macanufo, 2010) http://oreilly.com/catalog/9780596804183 Not quite what I was looking for for my needs, but might be of interest to you if you’re looking for new ways to promote collaboration within a group. The games from this book are non- technological in nature. Gamification by Design (Zichermann and Cunningham, 2011) http://oreilly.com/catalog/0636920014614 A book version of the Gamification Master Class videos. I have not read this book yet. Flow: The Psychology of Optimal Experience (Csikszentmihalyi, 2008) http://www.amazon.com/gp/product/0061339202/ Referred to as many experts in game design and gamification as a must-read book (which, unfortunately, I haven’t gotten to yet). -
Cheating in Candy Crush Saga." Social, Casual and Mobile Games: the Changing Gaming Landscape
Carter, Marcus, and Staffan Björk. "Cheating in Candy Crush Saga." Social, Casual and Mobile Games: The changing gaming landscape. Ed. Tama Leaver and Michele Willson. New York: Bloomsbury Academic, 2015. 261–274. Bloomsbury Collections. Web. 1 Oct. 2021. <http:// dx.doi.org/10.5040/9781501310591.ch-018>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 1 October 2021, 16:24 UTC. Copyright © Tama Leaver, Michele Willson and Contributors 2016. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 18 Cheating in Candy Crush Saga M a r c u s C a r t e r a n d S t a ff a n B j ö r k reemium’ describes an economic model for digital software that involves ‘F a free basic service, with premium content available for customers that choose to pay. Freemium games are thus ‘free-to-play’ (F2P) and have grown enormously popular in tandem with the emergence of ‘casual’ games popular on non-dedicated mobile gaming platforms (such as iOS or Android devices) and social network sites (SNSs) (such as Facebook). A December 2012 survey estimated that revenue from free mobile and computer games has surpassed revenue from paid titles in the United States (Amano 2013). Candy Crush Saga is one of the most commercially successful freemium games, being F2P while offering purchases of in-game ‘lives’ and advantages at a relatively low cost (ranging between US$0.99 and US$2.99 on the iOS version). -
The Shape of Games to Come: Critical Digital Storytelling in the Era of Communicative Capitalism
The Shape of Games to Come: Critical Digital Storytelling in the Era of Communicative Capitalism by Sarah E. Thorne A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Cultural Mediations Carleton University Ottawa, Ontario © 2018, Sarah E. Thorne Abstract The past decade has seen an increase in the availability of user-friendly game development software, the result of which has been the emergence of a genre of reflexive and experimental games. Pippin Barr, La Molleindustria’s Paolo Pedercini, and Davey Wreden are exemplary in their thoughtful engagement with an ever-expanding list of subjects, including analyses and critiques of game development, popular culture, and capitalism. These works demonstrate the power of games as a site for critical media theory. This potential, however, is hindered by the player-centric trends in the game industry that limit the creative freedom of developers whose work is their livelihood. In the era of communicative capitalism, Jodi Dean argues that the commodification of communication has suspended narrative in favour of the circulation of fragmented and digestible opinions, which not only facilitates the distribution and consumption of communication, but also safeguards communicative capitalism against critique. Ultimately, the very same impulse that drives communicative capitalism is responsible for the player-centric trends that some developers view as an obstacle to their art. Critical game studies has traditionally fallen into two categories: those that emphasize the player as the locus of critique, such as McKenzie Wark’s trifler or Mary Flanagan’s critical play, and those that emphasize design, as in Alexander Galloway’s countergaming, Ian Bogost’s procedural rhetoric, and Gonzalo Frasca’s theory of simulation. -
Loot Boxes: Are They Grooming Youth for Gambling?
Loot Boxes: Are they grooming youth for gambling? Prepared for: The NSW Responsible Gambling Fund Prepared by: Prof. Matthew Rockloff Dr. Alex M T Russell Ms. Nancy Greer Dr. Lisa Lolé Prof. Nerilee Hing Prof. Matthew Browne Central Queensland University June 2020 doi: 10.25946/5ef151ac1ce6f ISBN: 978-1-921047-87-9 This project was funded by the NSW Government’s Responsible Gambling Fund, with support from the NSW Office of Responsible Gambling. The report has undergone independent peer review, which was overseen by the Office. This publication is licensed under a Creative Commons Attribution 4.0 Australia licence. Page | 1 Executive summary This report outlines research aimed at understanding the risks posed by loot boxes to adolescents (12-17) and young adults (18-24) in NSW. Loot boxes are a growing concern due to the risk and reward properties that closely align them with traditional gambling, the potential for encouraging greater gambling involvement, and the potential for associated gambling harm. Broadly, this research revealed: • Loot boxes are common in the best-selling video games. Our exploration included a selection of 82 best selling video games and revealed 62% (51) had loot boxes. • In our survey sample, almost all of the respondents played at least one video game with loot boxes within the last 12 months (93.2%). • About a third (32.9%) of the survey respondents who played games with loot boxes within the last 12 months had also purchased a loot box, and their median monthly expenditure was $50 for adolescents and $72 for young adults. • Compared to other purchasers, young adults who more recently first purchased loot boxes were more likely to have gambling problems. -
Digital Game Studies
MMC 6936-1E88 Digital Game Studies Course Info When: Monday 9:35am-12:35pm Where: Weimer Hall 3020 Instructor: Dr. Yu-Hao Lee E-mail: [email protected] Phone: (352)392-3951 Office hours: Monday 1:00pm-3:00pm or by appointment Office: 3051 Weimer Hall Course Objectives Games and play are fundamental to humans and many animal species. Through play, we learn to think, to solve problems, and to socialize with others. Digital games harness the affordances of human play and the computational capabilities of modern technology, to create designed experiences that motivate and engage players. Today, digital gaming is one of the fastest growing communication industries, surpassing the movie and music industry in terms of annual sales. Over 59% of American households play digital games. However, as a young technology, it has only recently became a field of serious study. This class will focus on the theories and applications of digital games for behavior change, also known as serious games or persuasive games. The focus is in understanding questions such as: Why do people play digital games? How can we make games more engaging? What are the theories that can be applied to designing and using games for behavior change? In this class, students will: Play a number of digital games that are designed for behavior change in the fields of education, health, corporate training, etc. Understand the principles of digital game motivations and engagement. Understand the theories that has been applied to digital games for behavior change. Analyze digital games using scientific methods. Readings There are no required textbooks for this class, all the readings will be posted on the Canvas course site (https://lss.at.ufl.edu) select “e-Learning in Canvas,” and log in using your Gatorlink ID Requirements Moderate discussions: You will work in groups to present the key concepts of each reading, background/theory, research questions/hypotheses, methods, results, conclusions. -
Summary of an Experiment in Global Engagement
CATALYSTS FOR CHANGE Paths out of Poverty Summary of an Experiment in Global Engagement INSTITUTE FOR THE FUTURE 124 University Avenue, 2nd Floor, Palo Alto, CA 94301 | 650.854.6322 www.iftf.org ABOUT ... INSTITUTE FOR THE FUTURE The Institute for the Future is an independent, nonprofit strategic research group celebrating more than 40 years of forecasting experience. The core of our work is identifying emerging trends and discontinuities that will transform global society and the global marketplace. We provide our members with insights into business strategy, design process, innovation, and social dilemmas. Our research spans a broad territory of deeply transformative trends, from health and health care to technology, the workplace, and human identity. The Institute for the Future is located in Palo Alto, California. THE ROCKEFELLER FOUNDATION The Rockefeller Foundation supports work that expands opportunity and strengthens resilience to social, economic, health and environmental challenges—affirming its pioneering philanthropic mission since 1913 to promote the well-being of humanity. The Foundation operates both within the United States and around the world. The Foundation's efforts are overseen by an independent Board of Trustees and managed by its president through a leadership team drawn from scholarly, scientific, and professional disciplines. © 2012 Institute for the Future. All rights reserved. Reproduction prohibited without written permission. SR-1535 Contents 1 | Introduction 1 2 | Game Objectives and Game Design 3 3 | Pre-Game -
Syllabus (Holly Newman
Master of Entertainment Industry Management Course The Business of Gaming Information Course Number: 93-857 Semester Credit Hours: 4, Class Meetings: 4 Instructor: Holly Newman Email: [email protected] Saturday, 10/24 at 10am Saturday, 11/7 at 10am Saturday, 11/14 at 10am Saturday, 11/21 at 10am *Syllabus subject to change and readings will be assigned closer to the date to ensure current issues are involved. Description This four-week class will focus on the business aspects that relate to the gaming industry. This industry has grown quickly in the last 25 years. With 2020 sales anticipated to reach $159 billion in game content, hardware and accessories, games have emerged as a leading source of commercial entertainment – in content development, distribution and the licensing of its IP. The course will focus on the ways in which its creative and business practices are both unique, and also share common characteristics with other forms of screen-based entertainment. The course will focus on the following key areas: - The publishing business model, and how Games evolved from and relate to software distribution. Covered material will include: licensing agreements, the development and ownership of Intellectual Property. - The game publishers, and an overview of the key companies and competing business strategies, including game genres, key titles/franchises, management of developer relationships, and the publishers’ relationships with licensors and licensees (primarily vis-à-vis the motion picture business). - The lexicon and how to effectively communicate with buyers and sellers of Intellectual Property. - The production process and how to reconcile with film and television production timelines and milestones.