DOCSLIB.ORG

JOGO DO ANO JOGO BRASILEIRO DO ANO Assassin's

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
JOGO DO ANO JOGO BRASILEIRO DO ANO Assassin's JOGO DO ANO JOGO BRASILEIRO DO ANO Assassin's Creed Odyssey (Ubisoft Dandara (Long Hat House/Raw Fury) Quebec/Ubisoft) God of War (SIE Santa Monica Studio/Sony Distortions (Among Giants) Interactive Entertainment) Marvel's Spider-Man (Insomniac Horizon Chase Turbo (Aquiris Game Studio) Games/Sony Interactive Entertainment) Monster Hunter World (Capcom) No Heroes Here (Mad Mimic Interactive/Chorus Worldwide) Red Dead Redemption 2 (Rockstar Games) Sword Legacy Omen (Firecast Studio/Fableware Narrative Design/Team17) JOGO MAIS AGUARDADO - 2019 MELHOR JOGO ORIGINAL Anthem (BioWare/Electronic Arts) A Way Out (Hazelight Studios/Electronic Arts) Devil May Cry 5 (Capcom) Celeste (Matt Makes Games) Kingdom Hearts III (Square Enix) Dead Cells (Motion Twin) Resident Evil 2 Remake (Capcom) Detroit: Become Human (Quantic Dream/Sony Interactive Entertainment) Sekiro: Shadows Die Twice Marvel's Spider-Man (Insomniac (FromSoftware/Activision) Games/Sony Interactive Entertainment) MELHOR JOGO PARA PC MELHOR JOGO PARA CONSOLE Assassin's Creed Odyssey (Ubisoft Celeste (Matt Makes Games) Quebec/Ubisoft) Battlefield V (EA DICE/Electronic Arts) Forza Horizon 4 (Playground Games/Microsoft Studios) Call of Duty: Black Ops 4 God of War (SIE Santa Monica Studio/Sony (Treyarch/Activision) Interactive Entertainment) Celeste (Matt Makes Games) Marvel's Spider-Man (Insomniac Games/Sony Interactive Entertainment) Monster Hunter World (Capcom) Red Dead Redemption 2 (Rockstar Games) MELHOR PERIFÉRICO/HARDWARE MELHOR JOGO DE TIRO GeForce RTX 2070 (NVIDIA) Battlefield V (EA DICE/Electronic Arts) GeForce RTX 2080 (NVIDIA) Call of Duty: Black Ops 4 (Treyarch/Activision) Nintendo Labo (Nintendo) Destiny 2: Renegados (Bungie/Activision) Poké Ball Plus (The Pokémon Far Cry 5 (Ubisoft Montreal/Ubisoft) Company/Nintendo) Xbox Adaptive Controller (Microsoft) Insurgency: Sandstorm (New World Interactive) MELHOR JOGO DE AÇÃO E AVENTURA MELHOR JOGO DE LUTA Assassin's Creed Odyssey (Ubisoft BlazBlue: Cross Tag Battle (Arc System Quebec/Ubisoft) Works) God of War (SIE Santa Monica Studio/Sony Dragon Ball FighterZ (Arc System Interactive Entertainment) Works/Bandai Namco Entertainment) Marvel's Spider-Man (Insomniac SoulCalibur VI (Bandai Namco Games/Sony Interactive Entertainment) Entertainment) Red Dead Redemption 2 (Rockstar Games) Street Fighter 30th Anniversary Collection (Capcom) Shadow of the Tomb Raider (Eidos Street Fighter V Arcade Edition (Capcom) Montréal/Square Enix) MELHOR RPG MELHOR JOGO DE CORRIDA Assassin's Creed Odyssey (Ubisoft F1 2018 (Eden Games/Codemasters) Quebec/Ubisoft) Dragon Quest XI: Echoes of an Elusive Age Forza Horizon 4 (Playground Games/Microsoft Studios) Monster Hunter World (Capcom) Horizon Chase Turbo (Aquiris Game Studio) Ni no Kuni II: Revenant Kingdom (Level- On Rush (Codemasters/Deep Silver) 5/Bandai Namco Entertainment) Octopath Traveler (Square The Crew 2 (Ivory Tower/Ubisoft) Enix/Acquire/Nintendo) MELHOR JOGO DE ESPORTE MELHOR JOGO DE ESTRATÉGIA FIFA 19 (EA Vancouver/EA Sports) Frostpunk (11 bit studios) Madden NFL 2019 (EA Tiburon/EA Sports) Into the Breach (Subset Games) Mario Tennis Aces (Camelot Software The Banner Saga 3 (Stoic Studio/Versus Evil) Planning/Nintendo) NBA 2K19 (Visual Concepts/2K Sports) Thronebreaker: The Witcher Tales (CD Projekt RED) Pro Evolution Soccer 2019 (PES Valkyria Chronicles 4 (SEGA) Productions/Konami) MELHOR JOGO PARA A FAMÍLIA MELHOR JOGO MOBILE Mario Tennis Aces (Camelot Software Donut County (Ben Esposito/Annapurna Planning/Nintendo) Interactive) Overcooked 2 (Ghost Town Games/Team17) Florence (Mountains) Pokémon Let's Go (Game Freak/Nintendo) Fortnite (Epic Games) Super Mario Party (NDcube/Nintendo) PUBG MOBILE (Lightspeed & Quantum/Tencent Games) Spyro Reignited Trilogy (Toys for REIGNS: Game of Thrones (Nerial/Devolver Bob/Activision) Digital) MELHOR MULTIPLAYER MELHOR TRILHA SONORA Battlefield V (EA DICE/Electronic Arts) Celeste (Matt Makes Games) Call of Duty: Black Ops 4 God of War (SIE Santa Monica Studio/Sony (Treyarch/Activision) Interactive Entertainment) Monster Hunter World (Capcom) Marvel's Spider-Man (Insomniac Games/Sony Interactive Entertainment) Overcooked 2 (Ghost Town Games/Team17) Ni no Kuni II: Revenant Kingdom (Level- 5/Bandai Namco Entertainment) Sea of Thieves (Rare/Microsoft Studios) Red Dead Redemption 2 (Rockstar Games) MELHOR ESTÚDIO MELHOR PUBLISHER Capcom Devolver Digital Insomniac Games Nintendo Rockstar Games Rockstar Games SIE Santa Monica Studio Sony Interactive Entertainment Ubisoft Quebec Ubisoft MELHOR JOGO INDEPENDENTE MELHOR DUBLAGEM EM PORTUGUÊS Celeste (Matt Makes Games) Assassin's Creed Odyssey (Ubisoft Quebec/Ubisoft) Dead Cells (Motion Twin) Detroit: Become Human (Quantic Dream/Sony Interactive Entertainment) Frostpunk (11 bit studios) Far Cry 5 (Ubisoft Montreal/Ubisoft) Into the Breach (Subset Games) God of War (SIE Santa Monica Studio/Sony Interactive Entertainment) The Messenger (Sabotage Studio) Marvel's Spider-Man (Insomniac Games/Sony Interactive Entertainment) MELHOR EQUIPE DE ESPORT DO BRASIL MELHOR PRO PLAYER DO BRASIL Black Dragons André “Nesk” Oliveira (Rainbow Six Siege - Team Liquid) Brasil Gaming House Epitácio “TACO” de Melo (CS:GO - Team Liquid) INTZ e-Sports Gabriel "Fallen" Toledo (CS: GO - Mibr ) KaBuM! e-Sports Marcelo "Coldzera" David (CS: GO - Mibr) paiN Gaming Matheus “dyNquedo” Rossini (League of Legends - KaBuM! e-Sports) MELHOR JOGO DE ESPORTS Counter-Strike: Global Offensive (Hidden Path Entertainment/Valve Corporation) Fortnite (Epic Games) League of Legends (Riot Games) Overwatch (Blizzard Entertainment) Rainbow Six: Siege (Ubisoft Montreal/Ubisoft) .
Load more

Recommended publications
  • A Nintendo 3DS™ XL Or Nintendo 3DS™
    Claim a FREE download of if you register ™ a Nintendo 3DS XL ™ or Nintendo 3DS and one of these 15 games: or + Registration open between November 27th 2013 and January 13th 2014. How it works: 1 2 3 Register a Nintendo 3DS XL or Nintendo 3DS system and one of 15 eligible games Log in to Club Nintendo Use your download code at www.club-nintendo.com by 22:59 (UK time) on January 13th 2014. 24 hours later and in Nintendo eShop check the promotional banners before 22:59 (UK time) Eligible games: for your free download code on March 13th, 2014 • Mario & Luigi™: Dream Team Bros. • Sonic Lost World™ to download ™ • Animal Crossing™: New Leaf • Monster Hunter™ 3 Ultimate SUPER MARIO 3D LAND for free! • The Legend of Zelda™: • Pokémon™ X A Link Between Worlds • Pokémon™ Y ™ • Donkey Kong Country Returns 3D • Bravely Default™ ™ • Fire Emblem : Awakening • New Super Mario Bros.™ 2 ™ • Luigi’s Mansion 2 • Mario Kart™ 7 ® • LEGO CITY Undercover: • Professor Layton The Chase Begins and the Azran Legacy™ Please note: Club Nintendo Terms and Conditions apply. For the use of Nintendo eShop the acceptance of the Nintendo 3DS Service User Agreement and Privacy Policy is required. You must have registered two products: (i) a Nintendo 3DS or Nintendo 3DS XL system (European version; Nintendo 2DS excluded) and (ii) one out of fi fteen eligible games in Club Nintendo at www.club-nintendo.com between 27th November 2013, 15:01 UK time and 13th January 2014, 22:59 UK time. Any packaged or downloadable version of eligible software is eligible for this promotion.
    [Show full text]
  • Poképark™ Wii: Pikachus Großes Abenteuer GENRE Action/Adventure USK-RATING Ohne Altersbeschränkung SPIELER 1 ARTIKEL-NR
    PRODUKTNAME PokéPark™ Wii: Pikachus großes Abenteuer GENRE Action/Adventure USK-RATING ohne Altersbeschränkung SPIELER 1 ARTIKEL-NR. 2129140 EAN-NR. 0045496 368982 RELEASE 09.07.2010 PokéPark™ Wii: Pikachus großes Abenteuer Das beliebteste Pokémon Pikachu sorgt wieder einmal für großen Spaß: bei seinem ersten Wii Action-Abenteuer. Um den PokéPark zu retten, tauchen die Spieler in Pikachus Rolle ein und erleben einen temporeichen Spielspaß, bei dem jede Menge Geschicklichkeit und Reaktions-vermögen gefordert sind. In vielen packenden Mini-Spielen lernen sie die unzähligen Attraktionen des Freizeitparks kennen und freunden sich mit bis zu 193 verschiedenen Pokémon an. Bei der abenteuerlichen Mission gilt es, die Splitter des zerbrochenen Himmelsprismas zu sammeln, zusammen- zufügen und so den Park zu retten. Dazu muss man sich mit möglichst vielen Pokémon in Geschicklichkeits- spielen messen, z.B. beim Zweikampf oder Hindernislauf. Nur wenn die Spieler gewinnen, werden die Pokémon ihre Freunde. Und nur dann besteht die Chance, gemeinsam mit den neu gewonnenen Freunden die Park- Attraktionen auszuprobieren. Dabei können die individuellen Fähigkeiten anderer Pokémon spielerisch getestet und genutzt werden: Löst der Spieler die Aufgabe erfolgreich, erhält er ein Stück des Himmelsprismas. Ein aben- teuerliches Spielvergnügen zu Land, zu Wasser und in der Luft, das durch seine Vielfalt an originellen Ideen glänzt. Weitere Informationen fi nden Sie unter: www.nintendo.de © 2010 Pokémon. © 1995-2010 Nintendo/Creatures Inc. /GAME FREAK inc. TM, ® AND THE Wii LOGO ARE TRADEMARKS OF NINTENDO. Developed by Creatures Inc. © 2010 NINTENDO. wii.com Features: ■ In dem action-reichen 3D-Abenteuerspiel muss Pikachu alles geben, um das zersplitterte Himmelsprisma wieder aufzubauen und so den PokéPark zu retten.
    [Show full text]
  • Disruptive Innovation and Internationalization Strategies: the Case of the Videogame Industry Par Shoma Patnaik
    HEC MONTRÉAL Disruptive Innovation and Internationalization Strategies: The Case of the Videogame Industry par Shoma Patnaik Sciences de la gestion (Option International Business) Mémoire présenté en vue de l’obtention du grade de maîtrise ès sciences en gestion (M. Sc.) Décembre 2017 © Shoma Patnaik, 2017 Résumé Ce mémoire a pour objectif une analyse des deux tendances très pertinentes dans le milieu du commerce d'aujourd'hui – l'innovation de rupture et l'internationalisation. L'innovation de rupture (en anglais, « disruptive innovation ») est particulièrement devenue un mot à la mode. Cependant, cela n'est pas assez étudié dans la recherche académique, surtout dans le contexte des affaires internationales. De plus, la théorie de l'innovation de rupture est fréquemment incomprise et mal-appliquée. Ce mémoire vise donc à combler ces lacunes, non seulement en examinant en détail la théorie de l'innovation de rupture, ses antécédents théoriques et ses liens avec l'internationalisation, mais en outre, en situant l'étude dans l'industrie des jeux vidéo, il découvre de nouvelles tendances industrielles et pratiques en examinant le mouvement ascendant des jeux mobiles et jeux en lignes. Le mémoire commence par un dessein des liens entre l'innovation de rupture et l'internationalisation, sur le fondement que la recherche de nouveaux débouchés est un élément critique dans la théorie de l'innovation de rupture. En formulant des propositions tirées de la littérature académique, je postule que les entreprises « disruptives » auront une vitesse d'internationalisation plus élevée que celle des entreprises traditionnelles. De plus, elles auront plus de facilité à franchir l'obstacle de la distance entre des marchés et pénétreront dans des domaines inconnus et inexploités.
    [Show full text]
  • Sword & Shield—Vivid Voltage Card List
    Pokémon TCG: Sword & Shield—Vivid Voltage Card List Use the check boxes below to keep track of your Pokémon TCG cards! 001 Weedle ● 048 Zapdos ★H 095 Lycanroc ★ 142 Tornadus ★H 002 Kakuna ◆ 049 Ampharos V 096 Mudbray ● 143 Pikipek ● 003 Beedrill ★ 050 Raikou ★A 097 Mudsdale ★ 144 Trumbeak ◆ 004 Exeggcute ● 051 Electrike ● 098 Coalossal V 145 Toucannon ★ 005 Exeggutor ★ 052 Manectric ★ 099 Coalossal VMAX X 146 Allister ◆ 006 Yanma ● 053 Blitzle ● 100 Clobbopus ● 147 Bea ◆ 007 Yanmega ★ 054 Zebstrika ◆ 101 Grapploct ★ 148 Beauty ◆ 008 Pineco ● 055 Joltik ● 102 Zamazenta ★A 149 Cara Liss ◆ 009 Celebi ★A 056 Galvantula ◆ 103 Poochyena ● 150 Circhester Bath ◆ 010 Seedot ● 057 Tynamo ● 104 Mightyena ◆ 151 Drone Rotom ◆ 011 Nuzleaf ◆ 058 Eelektrik ◆ 105 Sableye ◆ 152 Hero’s Medal ◆ 012 Shiftry ★ 059 Eelektross ★ 106 Drapion V 153 League Staff ◆ 013 Nincada ● 060 Zekrom ★H 107 Sandile ● 154 Leon ★H 014 Ninjask ★ 061 Zeraora ★H 108 Krokorok ◆ 155 Memory Capsule ◆ 015 Shaymin ★H 062 Pincurchin ◆ 109 Krookodile ★ 156 Moomoo Cheese ◆ 016 Genesect ★H 063 Clefairy ● 110 Trubbish ● 157 Nessa ◆ 017 Skiddo ● 064 Clefable ★ 111 Garbodor ★ 158 Opal ◆ 018 Gogoat ◆ 065 Girafarig ◆ 112 Galarian Meowth ● 159 Rocky Helmet ◆ 019 Dhelmise ◆ 066 Shedinja ★ 113 Galarian Perrserker ★ 160 Telescopic Sight ◆ 020 Orbeetle V 067 Shuppet ● 114 Forretress ★ 161 Wyndon Stadium ◆ 021 Orbeetle VMAX X 068 Banette ★ 115 Steelix V 162 Aromatic Energy ◆ 022 Zarude V 069 Duskull ● 116 Beldum ● 163 Coating Energy ◆ 023 Charmander ● 070 Dusclops ◆ 117 Metang ◆ 164 Stone Energy ◆
    [Show full text]
  • Pokémon – 25 Year Anniversary
    25 years since Created Many people assume that Ishihara (CEO of Pokémon) is the actual creator Satoshi Tajiri as he makes all the public appearances. Tajiri rarely makes public appearances as he has Asperger's syn- drome and this affects his social abilities Satoshi was obsessed with video games and used to play the in the arcades and almost didn't graduate from High School. He spent so much time in his local arcade that he was given his own ‘Space Invaders’ machine. AK 02/2021 Tajiri did a two year technical degree programme at the Tokyo National College of Technology At 17 years of age, Tajiri started a video games magazine called ‘Game Freak’ which was initially handwritten and stapled together . The legendary Ken Sugimori (Pokémon illustrator) became involved with the magazine after coming across it at a local comic shop. Before the release of Pokémon ‘Red and Green’, Ta- jiri directed two games that were published by two of Nintendos biggest rivals, Sony and Sega. Tajiri directed ‘Smart Ball’ for Super Nintendo which was published by Sony and ‘Pulseman’ for the Sega Gen- esis which was published by Sega. By the time the development on Pokémon ‘Red and Green’ began, the whole process from start to finish was ex- tremely rigorous. The games took six years to complete and nearly caused ‘Game Freak’ to go bankrupt. They barely had enough money to pay their employees, with five of them quitting. Tajiri was so dedicated he did not give himself a salary and was supported by his fa- thers income.
    [Show full text]
  • Found in Translation: Evolving Approaches for the Localization of Japanese Video Games
    arts Article Found in Translation: Evolving Approaches for the Localization of Japanese Video Games Carme Mangiron Department of Translation, Interpreting and East Asian Studies, Universitat Autònoma de Barcelona, 08193 Bellaterra, Barcelona, Spain; [email protected] Abstract: Japanese video games have entertained players around the world and played an important role in the video game industry since its origins. In order to export Japanese games overseas, they need to be localized, i.e., they need to be technically, linguistically, and culturally adapted for the territories where they will be sold. This article hopes to shed light onto the current localization practices for Japanese games, their reception in North America, and how users’ feedback can con- tribute to fine-tuning localization strategies. After briefly defining what game localization entails, an overview of the localization practices followed by Japanese developers and publishers is provided. Next, the paper presents three brief case studies of the strategies applied to the localization into English of three renowned Japanese video game sagas set in Japan: Persona (1996–present), Phoenix Wright: Ace Attorney (2005–present), and Yakuza (2005–present). The objective of the paper is to analyze how localization practices for these series have evolved over time by looking at industry perspectives on localization, as well as the target market expectations, in order to examine how the dialogue between industry and consumers occurs. Special attention is given to how players’ feedback impacted on localization practices. A descriptive, participant-oriented, and documentary approach was used to collect information from specialized websites, blogs, and forums regarding localization strategies and the reception of the localized English versions.
    [Show full text]
  • 3.1. Trastorno Del Espectro Autista
    Grau en Diseño y Producción de Videojuegos VIDEOJUEGOS Y TRASTORNO DEL ESPECTRO AUTISTA: ESTUDIO SOBRE LAS PREFERENCIAS Y HÁBITOS DE ADOLESCENTES CON TRASTORNO DEL ESPECTRO AUTISTA EN RELACIÓN A LOS VIDEOJUEGOS Memoria MERITXELL LARISSA VÁZQUEZ VENTURO TUTOR: CARLOS GONZÁLEZ TARDÓN CURSO 2018-19 Dedicatoria Para todas aquellas valientes personas que lidian con sus dificultades cada día. Agradecimientos Quiero dar las gracias a todos los profesionales que han hecho posible este proyecto y a las personas que me han ayudado y apoyado para seguir adelante con este trabajo. Abstract In this thesis, an investigation is made about adolescents with high-function ASD’s habits and opinions regarding to videogames compared to a control group without this disorder. Before performing the investigation, a bibliographic research of Autism Spectrum Disorder, videogames, their genres and the positive and negative effects has been done. Also it analyzes the main investigations related to ASD and videogames which serves as the basis for the preparation of a survey for the two studied populations. Resumen En este trabajo, se realiza una investigación sobre los hábitos y opiniones que tienen los adolescentes con TEA con escolarización normalizada respecto a los videojuegos comparado con un grupo de control sin dicho trastorno. Antes de realizar la investigación se hizo un estudio bibliográfico del Trastorno del Espectro Autista, los videojuegos, sus géneros y los efectos positivos y negativos. También analiza las principales investigaciones relacionadas entre el TEA y los videojuegos que sirve de base para la elaboración de la encuesta para las poblaciones investigadas. Resum En aquest treball, es realitza una investigació sobre els hàbits i opinions que tenen els adolescents amb TEA amb escolarització normalitzada respecte als videojocs comparat amb un grup de control sense aquest trastorn.
    [Show full text]
  • Pokémon Is Evolving!
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Press Start Press Start Pokémon is Evolving! Pokémon is Evolving! An investigation into the development of the Pokémon community and expectations for the future of the franchise Carina Assunção University of Edinburgh Michelle Brown De Montfort University Ross Workman University of Central Lancashire Abstract Pokémon is one of Nintendo’s largest, most influential franchises. With a history ranging more than twenty years, its enormous fan-base spans video and trading card games, anime TV shows and films, amongst other media. This paper aims to investigate the Pokémon fan community while exploring how the franchise has grown: from its beginnings as a pop-culture phenomenon, to one of the strongest and friendliest gaming fan communities in existence today. Data gathered from 165 online respondents examines how fans’ past experiences with the franchise inform their expectations towards future products. It also explores how considerable efforts from developers – as well as the gaming community – contribute to the creative growth of a continually-expanding fan-base. Additionally, this study was in a unique position to gather data before two new Pokémon games were released: Pokken Tournament and Pokémon GO. The former did not generate high expectations but still performed well in terms of sales. The latter was thought of as a casual game but, as the world now knows, was a tremendous success. Insights obtained from researching fan attitudes to unreleased games show that expectations do not always become reality. Keywords Pokémon; Pokémon Go; gaming community; online community; RPGs; role-playing games; game franchise Press Start 2017 | Volume 4 | Issue 1 ISSN: 2055-8198 URL: http://press-start.gla.ac.uk Press Start is an open access student journal that publishes the best undergraduate and postgraduate research, essays and dissertations from across the multidisciplinary subject of game studies.
    [Show full text]
  • Towards Accessibility of Games: Mechanical Experience, Competence Profiles and Jutsus
    Towards Accessibility of Games: Mechanical Experience, Competence Profiles and Jutsus. Abstract Accessibility of games is a multi-faceted problem, one of which is providing mechanically achievable gameplay to players. Previous work focused on adapting games to the individual through either dynamic difficulty adjustment or providing difficulty modes; thus focusing on their failure to meet a designed task. Instead, we look at it as a design issue; designers need to analyse the challenges they craft to understand why gameplay may be inaccessible to certain audiences. The issue is difficult to even discuss properly, whether by designers, academics or critics, as there is currently no comprehensive framework for that. That is our first contribution. We also propose challenge jutsus – structured representations of challenge descriptions (via competency profiles) and player models. This is a first step towards accessibility issues by better understanding the mechanical profile of various game challenges and what is the source of difficulty for different demographics of players. 1.0 Introduction Different Types of Experience When discussing, critiquing, and designing games, we are often concerned with the “player experience” – but what this means is unsettled as games are meant to be consumed and enjoyed in various ways. Players can experience games mechanically (through gameplay actions), aesthetically (through the visual and audio design), emotionally (through the narrative and characters), socially (through the communities of players), and culturally (through a combination of cultural interpretations and interactions). Each aspect corresponds to different ways that the player engages with the game. We can map the different forms of experience to the Eight Types of Fun (Hunicke, LeBlanc, & Zubek, 2004) (Table 1).
    [Show full text]
  • Page 1 EBM Assignment Three: Nine Elements of Business Models
    Page 1 EBM Assignment Three: Nine Elements of Business Models EA Sports FIFA Fernando Ortenblad Sigaud Full Sail University Entertainment Business Models 02/18/2018 Page 2 Why I choose this company: I decided to select EA Sports FIFA due to two factors, first because video game have always been important to me, since my ten years old, when my parents gave me my first video game and I started to play FIFA. It is a realistic soccer simulator that immerses you inside the day by day of a professional soccer team. With the advance of technology, FIFA has become a fantastic game, where nowadays you can control your favorite player or team, or even create a brand new team and compete against people from over the world. Second, because of the video game industry, that has drastically increased over the years, where companies are always searching for new talents, especially in Brazil, that is lacking in good professionals. Even that my career goal is to work in the live music events industry, as an entertainment business student is essential to understand all entertainment areas, especially video games. By analyzing EA Sports FIFA this month, I am going to learn about a successful business model and understand how a powerful conglomerate like Electronic Arts operates and maximize his profits every year. EA Sports FIFA Background Information: EA Sports FIFA is a video game franchise that simulates soccer, created in 1993 by the name of FIFA International Soccer. Making an incredible success because it was the first soccer video game to have a license from FIFA (Federation of International Football Association), the entity responsible to regulates soccer and for several tournaments and soccer events around the world (FIFA.com, 2017).
    [Show full text]
  • LNCS 9353, Pp
    Evolutionary Changes of Pokemon Game: A Case Study with Focus On Catching Pokemon Chetprayoon Panumate1,ShuoXiong2, Hiroyuki Iida1, and Toshiaki Kondo2 1 Japan Advanced Institute of Science and Technology, Japan {panumate.c,xiongshuo,iida}@jaist.ac.jp 2 Sirindhorn International Institute of Technology, Thailand [email protected] Abstract. Game refinement is a unique theory that has been used as a reliable tool for measuring the attractiveness and sophistication of the games considered. A game refinement measure is derived from a game in- formation progress model and has been applied in various games. In this paper, we aim to investigate the attractiveness of Pokemon, one of the most popular turn-based RPG games. We focus on catching Pokemons which are important components in the game. Then, we propose a new game refinement model with consideration on a prize cost and apply it to catching Pokemons. We analyze in every generation of the game. Exper- imental results show that a game refinement value of catching Pokemons which has been changed many times tries to reach to an appropriate range of game refinement value: 0.07 − 0.08 for which previous works have confirmed. Keywords: Game refinement theory, engagement, Pokemon. 1 Introduction Game theory [13] originated with the idea of the existence of mixed-strategy equi- librium in two-person zero sum games. It has been widely applied as a powerful tool in many fields such as economics, political science and computer science. Game refinement theory is another game theory focusing on attractiveness and sophistication of games based on the concept of information of game outcome uncertainty [7] [11].
    [Show full text]
  • Testing the Mere Exposure Effect in Videogaming M Gledhill Phd 2019
    Testing the Mere Exposure Effect in Videogaming M Gledhill PhD 2019 i Testing the Mere Exposure Effect in Videogaming Michelle Gledhill Department of Marketing, Retail and Tourism Thesis submitted in the partial fulfilment of the requirements of Manchester Metropolitan University for the degree of Doctor of Philosophy. September 2019 ii ABSTRACT Due to proliferation of media and platforms it is becoming increasingly difficult for marketers to reach and engage consumers using traditional forms of mass media such as advertising. Marketers are turning to alternate forms of communication, such as brand placement in videogames as the games industry continues to grow. To date academic research appears inconclusive in terms of validating the use of videogames as a promotional tool. Moreover, there is a lack of empirical evidence concerning the effects on consumers and brands of marketing messages in the videogame environment. This aim of this study was to investigate whether exposure to brand placement affects unknown brand likeability as a result of mere exposure for game players and game watchers in videogames. The study adopted a quasi-experiment between group design, with a Control, Watch Group and Play Group (300 participants in total) and a post exposure questionnaire. Results suggest some support a mere exposure effect which is that a frequently presented brand placement in a videogame can have a positive effect on players and watchers’ brand attitudes, although they do not recall the brand. This is the first empirical study to investigate brand placement and mere exposure effects in videogames. Theoretically, the study contributes to knowledge concerning brand placement processing in videogames and builds on the existing paradigms of MEE, low-involvement processing, implicit and explicit processing and brand attitude formation.
    [Show full text]