MMORPG Evolution Analysis from Explorer and Achiever Perspectives: a Case Study Using the Final Fantasy Series
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Invisible Labor, Invisible Play: Online Gold Farming and the Boundary Between Jobs and Games
Vanderbilt Journal of Entertainment & Technology Law Volume 18 Issue 3 Issue 3 - Spring 2016 Article 2 2015 Invisible Labor, Invisible Play: Online Gold Farming and the Boundary Between Jobs and Games Julian Dibbell Follow this and additional works at: https://scholarship.law.vanderbilt.edu/jetlaw Part of the Internet Law Commons, and the Labor and Employment Law Commons Recommended Citation Julian Dibbell, Invisible Labor, Invisible Play: Online Gold Farming and the Boundary Between Jobs and Games, 18 Vanderbilt Journal of Entertainment and Technology Law 419 (2021) Available at: https://scholarship.law.vanderbilt.edu/jetlaw/vol18/iss3/2 This Article is brought to you for free and open access by Scholarship@Vanderbilt Law. It has been accepted for inclusion in Vanderbilt Journal of Entertainment & Technology Law by an authorized editor of Scholarship@Vanderbilt Law. For more information, please contact [email protected]. VANDERBILT JOURNAL OF ENTERTAINMENT & TECHNOLOGY LAW VOLUME 18 SPRING 2016 NUMBER 3 Invisible Labor, Invisible Play: Online Gold Farming and the Boundary Between Jobs and Games Julian Dibbell ABSTRACT When does work become play and play become work? Courts have considered the question in a variety of economic contexts, from student athletes seeking recognition as employees to professional blackjack players seeking to be treated by casinos just like casual players. Here, this question is applied to a relatively novel context: that of online gold farming, a gray-market industry in which wage-earning workers, largely based in China, are paid to play fantasy massively multiplayer online games (MMOs) that reward them with virtual items that their employers sell for profit to the same games' casual players. -
The Play's the Thing: a Theory of Taxing Virtual Worlds, 59 Hastings L.J
Hastings Law Journal Volume 59 | Issue 1 Article 1 1-2007 The lP ay's the Thing: A Theory of Taxing Virtual Worlds Bryan T. Camp Follow this and additional works at: https://repository.uchastings.edu/hastings_law_journal Part of the Law Commons Recommended Citation Bryan T. Camp, The Play's the Thing: A Theory of Taxing Virtual Worlds, 59 Hastings L.J. 1 (2007). Available at: https://repository.uchastings.edu/hastings_law_journal/vol59/iss1/1 This Article is brought to you for free and open access by the Law Journals at UC Hastings Scholarship Repository. It has been accepted for inclusion in Hastings Law Journal by an authorized editor of UC Hastings Scholarship Repository. For more information, please contact [email protected]. Articles The Play's the Thing: A Theory of Taxing Virtual Worlds BRYAN T. CAMP* INTRODU CTION .............................................................................................. 2 I. THE VIRTUAL WORLDS OF MASSIVELY MULTIPLAYER ONLINE ROLE- PLAYING GAMES (MMORPGs) ...................................................... 3 A. STRUCTURED AND UNSTRUCTURED MMORPGs .......................... 4 i. Structured Gam es ....................................................................... 4 2. UnstructuredGam es .................................................................. 7 B. INCOME-GENERATING ACTIVITIES ................................................... 8 i. In- World Transactions (IWT)................................................... 9 2. Real Money Trades (RMT)..................................................... -
Nordic Game Is a Great Way to Do This
2 Igloos inc. / Carcajou Games / Triple Boris 2 Igloos is the result of a joint venture between Carcajou Games and Triple Boris. We decided to use the complementary strengths of both studios to create the best team needed to create this project. Once a Tale reimagines the classic tale Hansel & Gretel, with a twist. As you explore the magical forest you will discover that it is inhabited by many characters from other tales as well. Using real handmade puppets and real miniature terrains which are then 3D scanned to create a palpable, fantastic world, we are making an experience that blurs the line between video game and stop motion animated film. With a great story and stunning visuals, we want to create something truly special. Having just finished our prototype this spring, we have already been finalists for the Ubisoft Indie Serie and the Eidos Innovation Program. We want to validate our concept with the European market and Nordic Game is a great way to do this. We are looking for Publishers that yearn for great stories and games that have a deeper meaning. 2Dogs Games Ltd. Destiny’s Sword is a broad-appeal Living-Narrative Graphic Adventure where every choice matters. Players lead a squad of intergalactic peacekeepers, navigating the fallout of war and life under extreme circumstances, while exploring a breath-taking and immersive world of living, breathing, hand-painted artwork. Destiny’s Sword is filled with endless choices and unlimited possibilities—we’re taking interactive storytelling to new heights with our proprietary Insight Engine AI technology. This intricate psychology simulation provides every character with a diverse personality, backstory and desires, allowing them to respond and develop in an incredibly human fashion—generating remarkable player engagement and emotional investment, while ensuring that every playthrough is unique. -
COMPARATIVE VIDEOGAME CRITICISM by Trung Nguyen
COMPARATIVE VIDEOGAME CRITICISM by Trung Nguyen Citation Bogost, Ian. Unit Operations: An Approach to Videogame Criticism. Cambridge, MA: MIT, 2006. Keywords: Mythical and scientific modes of thought (bricoleur vs. engineer), bricolage, cyber texts, ergodic literature, Unit operations. Games: Zork I. Argument & Perspective Ian Bogost’s “unit operations” that he mentions in the title is a method of analyzing and explaining not only video games, but work of any medium where works should be seen “as a configurative system, an arrangement of discrete, interlocking units of expressive meaning.” (Bogost x) Similarly, in this chapter, he more specifically argues that as opposed to seeing video games as hard pieces of technology to be poked and prodded within criticism, they should be seen in a more abstract manner. He states that “instead of focusing on how games work, I suggest that we turn to what they do— how they inform, change, or otherwise participate in human activity…” (Bogost 53) This comparative video game criticism is not about invalidating more concrete observances of video games, such as how they work, but weaving them into a more intuitive discussion that explores the true nature of video games. II. Ideas Unit Operations: Like I mentioned in the first section, this is a different way of approaching mediums such as poetry, literature, or videogames where works are a system of many parts rather than an overarching, singular, structured piece. Engineer vs. Bricoleur metaphor: Bogost uses this metaphor to compare the fundamentalist view of video game critique to his proposed view, saying that the “bricoleur is a skillful handy-man, a jack-of-all-trades who uses convenient implements and ad hoc strategies to achieve his ends.” Whereas the engineer is a “scientific thinker who strives to construct holistic, totalizing systems from the top down…” (Bogost 49) One being more abstract and the other set and defined. -
Role Playing Games Role Playing Computer Games Are a Version Of
Role Playing Games Role Playing computer games are a version of early non-computer games that used the same mechanics as many computer role playing games. The history of Role Playing Games (RPG) comes out of table-top games such as Dungeons and Dragons. These games used basic Role Playing Mechanics to create playable games for multiple players. When computers and computer games became doable one of the first games (along with Adventure games) to be implemented were Role Playing games. The core features of Role Playing games include the following features: • The game character has a set of features/skills/traits that can be changed through Experience Points (xp). • XP values are typically increased by playing the game. As the player does things in the game (killing monsters, completing quests, etc) the player earns XP. • Player progression is defined by Levels in which the player acquires or refines skills/traits. • Game structure is typically open-world or has open-world features. • Narrative and progress is normally done by completing Quests. • Game Narrative is typically presented in a non-linear quests or exploration. Narrative can also be presented as environmental narrative (found tapes, etc), or through other non-linear methods. • In some cases, the initial game character can be defined by the player and the initial mix of skills/traits/classes chosen by the player. • Many RPGs require a number of hours to complete. • Progression in the game is typically done through player quests, which can be done in different order. • In Action RPGs combat is real-time and in turn-based RPGs the combat is turn-based. -
Protecting Children in Virtual Worlds Without Undermining Their Economic, Educational, and Social Benefits
Protecting Children in Virtual Worlds Without Undermining Their Economic, Educational, and Social Benefits Robert Bloomfield* Benjamin Duranske** Abstract Advances in virtual world technology pose risks for the safety and welfare of children. Those advances also alter the interpretations of key terms in applicable laws. For example, in the Miller test for obscenity, virtual worlds constitute places, rather than "works," and may even constitute local communities from which standards are drawn. Additionally, technological advances promise to make virtual worlds places of such significant social benefit that regulators must take care to protect them, even as they protect children who engage with them. Table of Contents I. Introduction ................................................................................ 1177 II. Developing Features of Virtual Worlds ...................................... 1178 A. Realism in Physical and Visual Modeling. .......................... 1179 B. User-Generated Content ...................................................... 1180 C. Social Interaction ................................................................. 1180 D. Environmental Integration ................................................... 1181 E. Physical Integration ............................................................. 1182 F. Economic Integration ........................................................... 1183 * Johnson Graduate School of Management, Cornell University. This Article had its roots in Robert Bloomfield’s presentation at -
Cyber-Synchronicity: the Concurrence of the Virtual
Cyber-Synchronicity: The Concurrence of the Virtual and the Material via Text-Based Virtual Reality A dissertation presented to the faculty of the Scripps College of Communication of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Jeffrey S. Smith March 2010 © 2010 Jeffrey S. Smith. All Rights Reserved. This dissertation titled Cyber-Synchronicity: The Concurrence of the Virtual and the Material Via Text-Based Virtual Reality by JEFFREY S. SMITH has been approved for the School of Media Arts and Studies and the Scripps College of Communication by Joseph W. Slade III Professor of Media Arts and Studies Gregory J. Shepherd Dean, Scripps College of Communication ii ABSTRACT SMITH, JEFFREY S., Ph.D., March 2010, Mass Communication Cyber-Synchronicity: The Concurrence of the Virtual and the Material Via Text-Based Virtual Reality (384 pp.) Director of Dissertation: Joseph W. Slade III This dissertation investigates the experiences of participants in a text-based virtual reality known as a Multi-User Domain, or MUD. Through in-depth electronic interviews, staff members and players of Aurealan Realms MUD were queried regarding the impact of their participation in the MUD on their perceived sense of self, community, and culture. Second, the interviews were subjected to a qualitative thematic analysis through which the nature of the participant’s phenomenological lived experience is explored with a specific eye toward any significant over or interconnection between each participant’s virtual and material experiences. An extended analysis of the experiences of respondents, combined with supporting material from other academic investigators, provides a map with which to chart the synchronous and synonymous relationship between a participant’s perceived sense of material identity, community, and culture, and her perceived sense of virtual identity, community, and culture. -
The Decline of Mmos
The Decline of MMOs Prof. Richard A. Bartle University of Essex United Kingdom May 2013 Abstract Ten years ago, massively-multiplayer online role-playing games (MMOs) had a bright and exciting future. Today, their prospects do not look so glorious. In an effort to attract ever-more players, their gameplay has gradually been diluted and their core audience has deserted them. Now that even their sources of new casual players are drying up, MMOs face a slow and steady decline. Their problems are easy to enumerate: they cost too much to make; too many of them play the exact same way; new revenue models put off key groups of players; they lack immersion; they lack wit and personality; players have been trained to want experiences that they don’t actually want; designers are forbidden from experimenting. The solutions to these problems are less easy to state. Can anything be done to prevent MMOs from fading away? Well, yes it can. The question is, will the patient take the medicine? Introduction From their lofty position as representing the future of videogames, MMOs have fallen hard. Whereas once they were innovative and compelling, now they are repetitive and take-it-or-leave-it. Although they remain profitable at the moment, we know (from the way that the casual games market fragmented when it matured) that this is not sustainable in the long term: players will either leave for other types of game or focus on particular mechanics that have limited appeal or that can be abstracted out as stand-alone games (or even apps). -
Exploring Security Risks in Virtual Economies
SOTICS 2011 : The First International Conference on Social Eco-Informatics Exploring Security Risks in Virtual Economies Caroline Kiondo, Stewart Kowalsk, Louise Yngström DSV SecLab, Stockholm University/Royal Institute of Technology SE-16440 Kista, Sweden [email protected], [email protected], [email protected] Abstract —A most recent, phenomenon within new socio-eco- 2008, the Real Money Trade (RMT) for virtual items was systems is the so called Virtual Economies. This paper estimated at about $2 billion [3]. A variety of security risks, presents an exploratory study of information security risks threats and attacks have emerged in Virtual Economies that are inherent with the Virtural Economies. A Dynamic because of this. Since virtual items and currencies are only Network Analysis Tools (DNAT) was used to perform a risk representation of code within a virtual system, there is a real analysis in the Second life virtual world. The analysis indicates world motivation to manipulate the system in order to obtain that the currency and user account are the most important real profit. assets. User accounts provide access to virtual trading and are Virtual Economies are rapidly gaining popularity not critical to the flow of currency within the virtual economy. only in virtual games such as MMORPGS but also in Social The removal of both of these from the system will affect the Networking communities. More and more people chose to dynamics of the system and defeat the whole purpose of the spend their free time in Virtual Worlds as compared to other system. The analysis further identified selling and creation of forms of entertainment. -
Section One: Getting Started
Section One: Getting Started As you get started on your journey, you will be faced with a few decisions. Some of these will have minimal impact on your long term play, while others will play an important part in how you experience the game. This section will cover the first of those decisions – server (known as ‘shards’ in UO) selection, character creation, and an explanation of the different clients used to play the game (Classic and Enhanced). In this section we will also cover some of the most basic elements of the game that will be a foundation for understanding your new world. This will include basic movement controls, as well as how to use the overhead radar feature. Choose Your Client – Classic vs. Enhanced We will begin with an explanation of the two clients available for use with Ultima Online – the Classic Client and the Enhanced Client. Your choice of client will greatly affect how you view, and play, the game. The best part about having two different clients is that you are not bound to one or another – you are free to switch back and forth so long as you have both installed on your system. Following is a brief explanation of the differences between the two clients. Later in this section will be pictures illustrating some of the differences between the two clients. Classic Client The Classic Client is the original client used to play Ultima Online. It does not have as many features as the Enhanced Client, but is still preferred by many longtime players who favor its simpler nature and the nostalgia that comes with experiencing the game as it was originally intended. -
Thesis User-Driven Role-Playing in Final
THESIS USER-DRIVEN ROLE-PLAYING IN FINAL FANTASY XIV: IMMERSION, CREATIVE LABOR, AND PSYCHOSOCIAL WELL-BEING Submitted by Rachel Tate Department of Anthropology and Geography In partial fulfillment of the requirements For the Degree of Master of Arts Colorado State University Fort Collins, Colorado Fall 2019 Master’s Committee: Advisor: Jeffrey G. Snodgrass Lynn Kwiatkowski David Scott Diffrient Copyright by Rachel Tate 2019 All Rights Reserved ABSTRACT USER-DRIVEN ROLE-PLAYING IN FINAL FANTASY XIV: IMMERSION, CREATIVE LABOR, AND PSYCHOSOCIAL WELL-BEING Massively multiplayer online role-playing games (MMORPGs) give each user the starring role, drawing them into the game’s story and world through their character avatar. Some, however, take role-playing (colloquially, “roleplaying” or “RP”) further by constructing deep and complex narratives for their characters and pitting them against others in new and often spontaneous stories that emerge from collaborative efforts. This research looks at the RP community in the MMO Final Fantasy XIV in order to understand how and why RPers choose this form of play in a game already rich with activities. Specifically, I aim to shed light on the relationship between RP and psychosocial well-being. Drawing on perspectives from game studies, media fandom studies, and positive psychology, this research examines RP through a tripartite model of avenues towards well-being: play, flow, and sociality. A mixed-methods approach is used to gather ethnographic data through participant observation and interviews while also sampling broad patterns through a field survey. A cognitive anthropological “cultural models” consensus and consonance methodology allows for the culture of RP to be assessed in its capacity to reinforce and encourage positive experiences for its participants. -
Square Enix Announces 'Endwalker' – the Latest
PlayStation®5 Version of the Critically Acclaimed MMO Also Announced Feb 06, 2021 07:42 GMT SQUARE ENIX ANNOUNCES ‘ENDWALKER’ – THE LATEST EXPANSION FOR FINAL FANTASY XIV ONLINE LONDON (6thFebruary, 2021) – SQUARE ENIX® today unveiled Endwalker™, the highly anticipated fourth expansion pack for FINAL FANTASY® XIV Online, the award-winning MMO with over 20 million registered players. Scheduled to release Autumn 2021 for PC, PlayStation®5, PlayStation®4 and Mac, Endwalker features the climax of the Hydaelyn and Zodiark story, in which Warriors of Light will encounter an even greater calamity than ever before as they travel to the far reaches of Hydaelyn and even to the moon. In addition to bringing the long-running story arc that began with A Realm Reborn™ to its conclusion, Endwalker will mark a new beginning for the beloved MMO, setting the stage for new adventures that longtime fans and new players can enjoy together. Endwalker made its debut during the first-ever “FINAL FANTASY XIV Announcement Showcase” as Producer and Director Naoki Yoshida presented a stunning new trailer which set the stage for this next chapter in the FINAL FANTASY XIV Online epic. The trailer is available here: https://youtu.be/HsVraq-v0JI A new healer job, Sage, as announced at the showcase During the showcase, Yoshida also revealed the upcoming PlayStation 5 console version of FINAL FANTASY XIV Online, scheduled to launch into open beta on 13th April, 2021. The PlayStation 5 version will feature numerous upgrades from the PlayStation 4 version, including significantly improved frame rates, faster load times, 4K resolution support and more.