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Online Media Business Models: Lessons from the Video Game Sector
Komorowski, M and Delaere, S. (2016). Online Media Business Models: Lessons from the Video Game Sector. Westminster Papers in Communication and Culture, 11(1), 103–123, DOI: http://dx.doi. org/10.16997/wpcc.220 RESEARCH ARTICLE Online Media Business Models: Lessons from the Video Game Sector Marlen Komorowski and Simon Delaere imec-SMIT, Vrije Universiteit, Brussels, BE Corresponding author: Marlen Komorowski ([email protected]) Today’s media industry is characterized by disruptive changes and business models have been acknowledged as a driving force for success. Current business model research manages only to grasp static descriptions while in reality media managers are struggling with the dynamics of the industry. This article aims to close this gap by investigating a new paradigm of online media business models. Based on three video game case studies of the massively multiplayer online role-playing game genre, this article explores a novel theoretical approach to explain the changes that can be made within business models. The article highlights the importance of changing processes within online media business models and emphasises that the video game sector is at the forefront of business innovation. Finally, it demonstrates that online media business model change is in a trade-off paradigm between capturing or offering potentially higher value per player vs. accessing a potentially larger player-base. Key words: Media industry; business model; process; disruption; video game sector Introduction Today’s media industry is characterized by disruptive transformations shaped by digitization. Digitization is not only generating new business opportunities but threatens traditional commercialization strategies and is proving highly unpredictable with regards to future market development. -
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. -
Gaming Habits and Self-Determination: Conscious and Non-Conscious Paths to Behavior Continuance
GAMING HABITS AND SELF-DETERMINATION: CONSCIOUS AND NON-CONSCIOUS PATHS TO BEHAVIOR CONTINUANCE By Donghee Yvette Wohn A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of Media and Information Studies – Doctor of Philosophy 2013 ABSTRACT GAMING HABITS AND SELF-DETERMINATION: CONSCIOUS AND NON-CONSCIOUS PATHS TO BEHAVIOR CONTINUANCE By Donghee Yvette Wohn This dissertation examines how non-conscious habits and conscious motivations contribute to an individual’s intention to continue playing online multiplayer games. It empirically examines distinct predictions of behavioral intention based on different theories in two gaming contexts—casual social network games (SNGs) and massively multiplayer online games (MMOs). Addressing inconsistencies in prior studies, habit is conceptualized as the mental construct of automaticity, thus distinguishing habit from frequency of past behavior and self-identity. Results indicate that strong habits positively predict behavior continuation intention and moderate the effect of motivation for SNGs but not MMOs. Self-identity was a positive predictor for both genres. Gender differences in self-determined motivation were present in social network games but not massively multiplayer online games. The residual effect of past behavior was stronger than any conscious or non-conscious processes; once perceived frequency of past behavior was taken into consideration, it was the strongest indicator of behavioral continuation intentions. Copyright by DONGHEE YVETTE WOHN 2013 Dedicated to my progressive grandparents, who believed that higher education was the most important indicator of success for a woman. iv ACKNOWLEDGMENTS I would like to thank my dear advisor, Robert LaRose, whose sharp critiques have prepared me for the most ferocious of peer reviewers; whose brilliant insights bore holes in dams of existing scholarship, making way for innovative paradigms; and whose sincere love for students represents the pinnacle of the true spirit of higher education. -
Player, Pirate Or Conducer? a Consideration of the Rights of Online Gamers
ARTICLE PLAYER,PIRATE OR CONDUCER? A CONSIDERATION OF THE RIGHTS OF ONLINE GAMERS MIA GARLICK I. INTRODUCTION.................................................................. 423 II. BACKGROUND ................................................................. 426 A. KEY FEATURES OF ONLINE GAMES ............................ 427 B. AGAMER’S RIGHT OF OUT-OF-GAME TRADING?......... 428 C. AGAMER’S RIGHT OF IN-GAME TECHNICAL ADVANCEMENT?......................................................... 431 D. A GAMER’S RIGHTS OF CREATIVE GAME-RELATED EXPRESSION? ............................................................ 434 III. AN INITIAL REVIEW OF LIKELY LEGAL RIGHTS IN ONLINE GAMES............................................................................ 435 A. WHO OWNS THE GAME? .............................................. 436 B. DO GAMERS HAVE RIGHTS TO IN-GAME ELEMENTS? .... 442 C. DO GAMERS CREATE DERIVATIVE WORKS?................ 444 1. SALE OF IN-GAME ITEMS - TOO COMMERCIAL? ...... 449 2. USE OF ‘CHEATS’MAY NOT INFRINGE. .................. 450 3. CREATIVE FAN EXPRESSION –ASPECTRUM OF INFRINGEMENT LIKELIHOOD?.............................. 452 IV. THE CHALLENGES GAMER RIGHTS POSE. ....................... 454 A. THE PROBLEM OF THE ORIGINAL AUTHOR. ................ 455 B. THE DERIVATIVE WORKS PARADOX............................ 458 C. THE PROBLEM OF CULTURAL SIGNIFICATION OF COPYRIGHTED MATERIALS. ....................................... 461 V. CONCLUSION .................................................................. 462 © 2005 YALE -
[Thesis Title Goes Here]
REAL ECONOMICS IN VIRTUAL WORLDS: A MASSIVELY MULTIPLAYER ONLINE GAME CASE STUDY, RUNESCAPE A Thesis Presented to the Academic Faculty by Tanla E. Bilir In Partial Fulfillment of the Requirements for the Degree Digital Media in the School of Literature, Communication, and Culture Georgia Institute of Technology December 2009 COPYRIGHT BY TANLA E. BILIR REAL ECONOMICS IN VIRTUAL WORLDS: A MASSIVELY MULTIPLAYER ONLINE GAME CASE STUDY, RUNESCAPE Approved by: Dr. Celia Pearce, Advisor Dr. Kenneth Knoespel School of Literature, Communication, and School of Literature, Communication, and Culture Culture Georgia Institute of Technology Georgia Institute of Technology Dr. Rebecca Burnett Dr. Ellen Yi-Luen Do School of Literature, Communication, and College of Architecture & College of Culture Computing Georgia Institute of Technology Georgia Institute of Technology Date Approved: July 14, 2009 ACKNOWLEDGEMENTS This thesis has been a wonderful journey. I consider myself lucky finding an opportunity to combine my background in economics with my passion for gaming. This work would not have been possible without the following individuals. First of all, I would like to thank my thesis committee members, Dr. Celia Pearce, Dr. Rebecca Burnett, Dr. Kenneth Knoespel, and Dr. Ellen Yi-Luen Do for their supervision and invaluable comments. Dr. Pearce has been an inspiration to me with her successful work in virtual worlds and multiplayer games. During my thesis progress, she always helped me with prompt feedbacks and practical solutions. I am also proud of being a member of her Mermaids research team for two years. I am deeply grateful to Dr. Knoespel for supporting me through my entire program of study. -
New Adventures Introduced At
March, 1988 Vol. V, #3 $2.00 New Adventures Introduced at CES By Shay Addams Flu-stricken Tom Snyder and not-yet Blubbermen (Steve Meretzky), Gamma ctivision kicked off the first day of flu-stricken Peter Reynolds presented an Force in Pit of a Thousand Screams (Amy the Winter Consumer Electronics overview and example of lnfoComics. Briggs) and ZorkQuest: Assault on Egreth AShow in Las Vegas with a press ''We wanted to do something that Castle (Elizabeth Langosey)-feature conference where President Bruce Davis wouldn't be just for 14-year-old boys and comic book themes and will even be sold announced a deal with Telecomsoft to 35-year-old men," Snyder sneezed, "to in comic book and toy stores. Snyder's distribute all the Firebird and Rainbird create a kind of computer game that even company developed the concept and titles formerly handled by Firebird my mother would play." InfoComics will creates the graphics, and Infocom is Licensees. Davis also said Activision just have no puzzles or goals-by assuming a producing the programs, which are bought Triton, a direct-marketing firm, to different character's persona at key supposed to last four to five hours and sell launch direct mail sales (so start watching intersections of the plot, you change your for $12 suggested retail. InfoComics will that mail box). perspective rather than the story itself. be released for Apple, IBM/100% com Next, Infocom President Joel Berez patibles andC 64/128 in March. announced Infocom's "three-part strat "A French Film Director's Dream" . After the press conference, Sandy Ward egy," which is already in progress: Panning, zooming and other cinematic showed off Micro Illusions' Land of supporting existing adventure fans, with techniques are combined with "minimalist Legends on the Amiga. -
Magic and Spells
ARX_HB_US/UK.qxd 24.09.2002 15:55 Uhr Seite 1 ARX_HB_US/UK.qxd 24.09.2002 15:55 Uhr Seite 2 Health Warnings JoWooD Productions Software AG Technologiepark 4a Some people experience epileptic seizures when viewing flashing lights or patterns. These persons may experience epileptic seizures while watching TV or playing A-8786 Rottenmann computer games. Even players who have never had seizures before may nonetheless have an undetected epileptic condition. If you, or anyone in your family, has an epileptic condition, please consult a doctor before playing computer games. Immediately stop the game and consult a doctor if you experience any of the following symptoms during play: Dizziness, altered vision, eye or muscle twitching, mental confusion, loss of awareness of your surroundings, involuntary movement www.jowood.com and/or convulsions. www.arxfatalis-online.com © 2002 by Arkane Studios, published by JoWooD Productions Software AG, Technologiepark 4a, A-8786 Rottenmann, Austria, All rights reserved. Technical Support and Customer Service Having trouble installing the software, or are you stuck in the game? Contact the JoWooD Productions Software AG hotline: [email protected] All rights reserved. Software, graphics, music, text, names and manual are protected by copyright. No part of the software or manual may be reproduced, disseminated, published or transferred, in any form or by any means, except with the prior written permission of JoWooD Productions Software AG. Most of the hard- and software names used in this manual are registered trademarks and must be treated as such. 2 3 ARX_HB_US/UK.qxd 24.09.2002 15:55 Uhr Seite 4 Installation and System Requirements Table of Contents Installation On Windows 9x/2000/ME and XP, the 1. -
Shaping Stories and Building Worlds on Interactive Fiction Platforms
Shaping Stories and Building Worlds on Interactive Fiction Platforms The MIT Faculty has made this article openly available. Please share how this access benefits you. Your story matters. Citation Mitchell, Alex, and Nick Monfort. "Shaping Stories and Building Worlds on Interactive Fiction Platforms." 2009 Digital Arts and Culture Conference (December 2009). As Published http://simonpenny.net/dac/day2.html Publisher Digital Arts and Culture Version Author's final manuscript Citable link http://hdl.handle.net/1721.1/100288 Terms of Use Article is made available in accordance with the publisher's policy and may be subject to US copyright law. Please refer to the publisher's site for terms of use. Shaping Stories and Building Worlds on Interactive Fiction Platforms Alex Mitchell Nick Montfort Communications and New Media Programme Program in Writing & Humanistic Studies National University of Singapore Massachusetts Institute of Technology [email protected] [email protected] ABSTRACT simulates an intricate, systematic world full of robots, made of Adventure game development systems are platforms from the components and functioning together in curious ways. The world developer’s perspective. This paper investigates several subtle model acts in ways that are mechanical and nested, making the differences between these platforms, focusing on two systems for code’s class structure seemingly evident as one plays the game. In interactive fiction development. We consider how these platform contrast, Emily Short’s Savoir-Faire (2002), written in Inform 6 differences may have influenced authors as they developed and of similar complexity, exhibits less obvious inheritance and systems for simulation and storytelling. Through close readings of compartmentalization. -
Interview with Warren Spector
Interview with Warren Spector Conducted by Carl Therrien Carl Therrien: In 2007, the Library of Congress made a significant move to integrate video games in their collection. Through a project set forth by Henry Lowood, ten video games were selected to be part of the “game canon.” New games are now added to the collection more systematically; game publishers have to give a copy of the game to the Library of Congress to complete the copyright process. If you had to go through this type of process, what selection criteria would you push forward? Is there a place for underdogs and lesser-known games in such a process? Warren Spector: I’m thrilled that the institution is taking an interest in videogames. In the long run, I think everyone, both in the industry and at the Library itself, will see the importance of this recognition. Having said that, if I were on the committee, the first thing I’d push for is a very clear definition of what the Library hoped to achieve with the growing collection. The list of games you select would vary greatly depending on the definition you select. To get an idea what I’m talking about, play the “desert island” game. You’re stuck on a desert island and can only take ten games with you – what are they? To answer the question, you have to decide what criteria you want to use. _____________________________________________________________ Kinephanos, ISSN 1916-985X History of Games International Conference Proceedings, January 2014, www.kinephanos.ca Interview with Warren Spector ▶ Do you take your ten favourite -
ABSTRACT LOHMEYER, EDWIN LLOYD. Unstable Aesthetics
ABSTRACT LOHMEYER, EDWIN LLOYD. Unstable Aesthetics: The Game Engine and Art Modifications (Under the direction of Dr. Andrew Johnston). This dissertation examines episodes in the history of video game modding between 1995 and 2010, situated around the introduction of the game engine as a software framework for developing three-dimensional gamespaces. These modifications made to existing software and hardware were an aesthetic practice used by programmers and artists to explore the relationship between abstraction, the materiality of game systems, and our phenomenal engagement with digital media. The contemporary artists that I highlight—JODI, Cory Arcangel, Orhan Kipcak, Julian Oliver, and Tom Betts—gravitated toward modding because it allowed them to unveil the technical processes of the engine underneath layers of the game’s familiar interface, in turn, recalibrating conventional play into sensual experiences of difference, uncertainty, and the new. From an engagement with abstract forms, they employed modding techniques to articulate new modes of aesthetic participation through an affective encounter with altered game systems. Furthermore, they used abstraction, the very strangeness of the mod’s formal elements, to reveal our habitual interactions with video games by destabilizing conventional gamespaces through sensory modalities of apperception and proprioception. In considering the imbrication of technics and aesthetics in game engines, this work aims to resituate modding practices within a dynamic and more inclusive understanding -
Autoduel Manual
AUTODUEL MANUAL & New Driver's Guide Game Instructions BOUT THE GAME Autoduel takes you to the freeways of the future - where the right of way Agoes to the biggest guns. You will design your own vehicle - with weap ons , armo r, power plants , tires , and suspension - and take it out on the road . You may come home an "ace ;' or crash and burn . If you survive , your abilities will improve , and you can win cash to improve your car or buy a better one . As an autoduellist you have several ways to win fame and fortune . You can fight in the arena to the cheers of the audience , pitting your car against others . You can be a courier, carrying valuable cargos from city to city along dangerous roads . You can be a vigilante , fighting the road outlaws and cycle gangs. You'll probably want to do all three .. it's up to you . As your fame and skill increase, you'll meet high placed people on both sides of the law. If you make the right choices - and keep your wheels and guns in top shape - you can become one of the real heros of this future world . How? It's up to you to find out. Good luck ... OOTING THE DISK To play Autoduel , you will need a computer and a joystick. To start the Bgame , boot Side A of your Autoduel disk, making sure that your joystick is plugged in first. The introductory graphics will appear, and continue until a key is pressed . When you press a key, the screen will clear and the opening menu will appear. -
Creating Video Games for the Visually Impaired Anthony Russo, Neal
Creating Video Games for the Visually Impaired Anthony Russo, Neal Sacks, & Steven Vandal WPI IQP MBJ 0007 Professor Brian Moriarty April 12, 2012 Introduction The video game industry has expanded rapidly in recent years, growing from a 9.5 billion dollar industry in 2007 to a 25.1 billion dollar industry in 2010. This growth is due to the common interest that almost all Americans now hold in games, as a seventy-two percent of all americans play video games on a regular basis (ESA). However, because games rely heavily on impressive graphics and are primarily an immersive visual experience, very few games are made with the blind or the visually impaired in mind. In the 1970s when video games first emerged, it was virtually impossible to create a game that did not involve some sort of visuals. This is mainly due to a lack of technology, as almost all computers, games, and electronic speakers and displays could only output crude, pixilated visuals and rough, synthesized sound. However, technology has steadily improved to the point where games that do not need visuals are a possibility. Games for the visually impaired are an untapped industry, especially with the technology that exists today. By conducting interviews with the visually impaired we discovered what types of games the visual impaired prefer, what they would enjoy to play, and what ideas they have for developing these games. The History of Video Games for the Visually Impaired There are many games that can be played by the visually impaired. Interactive fiction and other text-based games have been popular for a long time, though to a lesser extent in recent years.