Using Google Trends Data to Gauge Interest in Virtual Worlds 1
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Making Real Money in Virtual Worlds: Mmorpgs and Emerging Business Opportunities, Challenges and Ethical Implications in Metaverses
CORE Metadata, citation and similar papers at core.ac.uk Provided by City Research Online Papagiannidis, S., Bourlakis, M. & Li, F. (2008). Making real money in virtual worlds. MMORPGs and emerging business opportunities, challenges and ethical implications in metaverses. Technological Forecasting and Social Change, 75(5), pp. 610-622. doi: 10.1016/j.techfore.2007.04.007 City Research Online Original citation: Papagiannidis, S., Bourlakis, M. & Li, F. (2008). Making real money in virtual worlds. MMORPGs and emerging business opportunities, challenges and ethical implications in metaverses. Technological Forecasting and Social Change, 75(5), pp. 610-622. doi: 10.1016/j.techfore.2007.04.007 Permanent City Research Online URL: http://openaccess.city.ac.uk/15279/ Copyright & reuse City University London has developed City Research Online so that its users may access the research outputs of City University London's staff. Copyright © and Moral Rights for this paper are retained by the individual author(s) and/ or other copyright holders. All material in City Research Online is checked for eligibility for copyright before being made available in the live archive. URLs from City Research Online may be freely distributed and linked to from other web pages. Versions of research The version in City Research Online may differ from the final published version. Users are advised to check the Permanent City Research Online URL above for the status of the paper. Enquiries If you have any enquiries about any aspect of City Research Online, or if you wish to make contact with the author(s) of this paper, please email the team at [email protected]. -
Platf Orm Game First Person Shooter Strategy Game Alternatereality Game
First person shooter Platform game Alternate reality game Strategy game Platform game Strategy game The platform game (or platformer) is a video game genre Strategy video games is a video game genre that emphasizes characterized by requiring the player to jump to and from sus- skillful thinking and planning to achieve victory. They empha- pended platforms or over obstacles (jumping puzzles). It must size strategic, tactical, and sometimes logistical challenges. be possible to control these jumps and to fall from platforms Many games also offer economic challenges and exploration. or miss jumps. The most common unifying element to these These games sometimes incorporate physical challenges, but games is a jump button; other jump mechanics include swing- such challenges can annoy strategically minded players. They ing from extendable arms, as in Ristar or Bionic Commando, are generally categorized into four sub-types, depending on or bouncing from springboards or trampolines, as in Alpha whether the game is turn-based or real-time, and whether Waves. These mechanics, even in the context of other genres, the game focuses on strategy or tactics. are commonly called platforming, a verbification of platform. Games where jumping is automated completely, such as The Legend of Zelda: Ocarina of Time, fall outside of the genre. The platform game (or platformer) is a video game genre characterized by requiring the player to jump to and from sus- pended platforms or over obstacles (jumping puzzles). It must be possible to control these jumps and to fall from platforms or miss jumps. The most common unifying element to these games is a jump button; other jump mechanics include swing- ing from extendable arms, as in Ristar or Bionic Commando, or bouncing from springboards or trampolines, as in Alpha Waves. -
Children on Virtual Worlds September 08
Children on virtual worlds September 08 What parents should know 2 Children on virtual worlds: What parents should know About ENISA The European Network and Information Security Agency (ENISA) is an EU agency created to advance the functioning of the internal market. ENISA is a centre of excellence for the European Member States and European institutions in network and information security, giving advice and recommendations and acting as a switchboard of information for good practices. Moreover, the agency facilitates contacts between the European institutions, the Member States and private business and industry actors. Contact details: For contacting ENISA or for general enquiries on information security awareness matters, please use the following details: e-mail: Isabella Santa, Senior Expert Awareness Raising — [email protected] Internet: http://www.enisa.europa.eu/ Legal notice Notice must be taken that this publication represents the views and interpretations of the authors and editors, unless stated otherwise. This publication should not be construed to be an action of ENISA or the ENISA bodies unless adopted pursuant to the ENISA Regulation (EC) No 460/2004. This publication does not necessarily represent state-of the-art and it might be updated from time to time. Third-party sources are quoted as appropriate. ENISA is not responsible for the content of the external sources including external websites referenced in this publication. This publication is intended for educational and information purposes only. Neither ENISA nor any person acting on its behalf is responsible for the use that might be made of the information contained in this publication. Reproduction is authorised provided the source is acknowledged. -
Hate in Social VR New Challenges Ahead for the Next Generation of Social Media
Hate in Social VR New Challenges Ahead for the Next Generation of Social Media Sections 1 Introduction: ADL and New Technologies 5 Cautionary Tales: Hate, Bias, and Harassment in Video Games, Social Media, and the Tech 2 Hopes and Fears for the Future of Social Virtual Industry Reality 6 Sexism, Racism, and Anti-Semitism in Social VR 3 Social VR: Industry Overview and Technological Today Affordances 7 What Comes Next for Social VR? 4 Hopeful Futures: Equity, Justice, and VR 8 Bibliography 9 Appendix: Codes of Conduct and Content Reporting and Moderation in Social VR 1 / 65 INTRODUCTION: ADL AND NEW TECHNOLOGIES The timeless mission of the Anti-Defamation League (ADL) is to stop the defamation of the Jewish people and secure justice and fair treatment to all. The mission of ADL’s Center for Technology and Society is to ask the question “How do we secure justice and fair treatment for all in a digital environment?” Since 1985, when it published its report on “Electronic Bulletin Boards of Hate,” ADL has been at the forefront of evaluating how new technologies can be used for good and misused to promote hate and harassment in society. At the same time, ADL has worked with technology companies to show them how they can address these issues and work to make the communities their products foster more respectful and inclusive. We continue this work today alongside Silicon Valley giants such as Facebook, Twitter, Google, Microsoft, Reddit, and others. This report represents a forward-looking review of the hopes and issues raised by the newest ecosystem of community fostering technology products: social virtual reality, or social VR. -
Law, Virtual Reality, and Augmented Reality
UNIVERSITY of PENNSYLVANIA LAW REVIEW Founded 1852 Formerly AMERICAN LAW REGISTER © 2018 University of Pennsylvania Law Review VOL. 166 APRIL 2018 NO. 5 ARTICLE LAW, VIRTUAL REALITY, AND AUGMENTED REALITY MARK A. LEMLEY† & EUGENE VOLOKH†† Virtual Reality (VR) and Augmented Reality (AR) are going to be big—not just for gaming but for work, for social life, and for evaluating and buying real-world products. Like many big technological advances, they will in some ways challenge legal doctrine. In this Article, we will speculate about some of these upcoming challenges, asking: † William H. Neukom Professor, Stanford Law School; partner, Durie Tangri LLP. Article © 2018 Mark A. Lemley & Eugene Volokh. †† Gary T. Schwartz Professor of Law, UCLA School of Law; academic affiliate, Mayer Brown LLP. Thanks to Sam Bray, Ryan Calo, Anupam Chander, Julie Cohen, Kristen Eichensehr, Nita Farahany, James Grimmelmann, Rose Hagan, Claire Hill, Chad Huston, Sarah Jeong, Bill McGeveran, Emily Murphy, Lisa Ouellette, Richard Re, Zahr Said, Rebecca Tushnet, Vladimir Volokh, and the participants at the UC Davis conference on Future-Proofing Law, the Stanford Law School conference on regulating disruption, the Internet Law Works in Progress Conference, and workshops at Stanford Law School, Duke Law School, the University of Minnesota Law School, and the University of Washington for comments on prior drafts; and to Tyler O’Brien and James Yoon for research assistance. (1051) 1052 University of Pennsylvania Law Review [Vol. 166: 1051 (1) How might the law treat “street crimes” in VR and AR—behavior such as disturbing the peace, indecent exposure, deliberately harmful visuals (such as strobe lighting used to provoke seizures in people with epilepsy), and “virtual groping”? Two key aspects of this, we will argue, are the Bangladesh problem (which will make criminal law very hard to practically enforce) and technologically enabled self-help (which will offer an attractive alternative protection to users, but also a further excuse for real-world police departments not to get involved). -
Research Article Kioskar: an Augmented Reality Game As a New Business Model to Present Artworks
Hindawi Publishing Corporation International Journal of Computer Games Technology Volume 2016, Article ID 7690754, 12 pages http://dx.doi.org/10.1155/2016/7690754 Research Article KioskAR: An Augmented Reality Game as a New Business Model to Present Artworks Yoones A. Sekhavat Faculty of Multimedia, Tabriz Islamic Art University, Hakim Nezami Square, Azadi Boulevard, Tabriz, East Azerbaijan 51647-36931, Iran Correspondence should be addressed to Yoones A. Sekhavat; [email protected] Received 26 October 2015; Revised 28 January 2016; Accepted 21 February 2016 Academic Editor: Ali Arya Copyright © 2016 Yoones A. Sekhavat. This is an open access article distributed under the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. This paper presents the architecture of KioskAR, which is a pervasive game implemented using augmented reality (AR). This game introduces a new business model that makes it possible for players to present their artworks in virtual kiosks using augmented reality, while they are having fun playing the game. In addition to competition between the players in the game, this game requires social interaction between players to earn more points. A user study is conducted to evaluate the sense of presence and the usability of the application. The results of experiments show that KioskAR can achieve a high level of usability as well as sense of presence. 1. Introduction where an object resides in order to play the game. This is an important advantage of pervasive games that is not possible Recent years have witnessed a widespread success of com- in traditional computer games [5]. -
Mmosg) and 3D Chat Games: Understanding the Need for Parents' Critical Digital Literacy and Parental Mediation
European Journal of Molecular & Clinical Medicine ISSN 2515-8260 Volume 07, Issue 03, 2020 4560 An Introduction To Massively Multi-Player Online Social Games (Mmosg) And 3d Chat Games: Understanding The Need For Parents' Critical Digital Literacy And Parental Mediation Dr. S. Nelsonmandela1, Dr. G. Balasubramania Raja2, 1Assistant Professor, Department of Visual Communication, Faculty of Science and Humanities, SRM Institute of Science and Technology 2Professor, Department of Communication,ManonmaniamSundaranar University ABSTRACT: We know there are tons of online games available on the internet. However, as a parent, we forgot to know the different types of games available on the internet. Every game must require a minimum age to login. Nevertheless, there are many strategies to go around the age verification, and children under the minimum age group started to play adult games without any concern. In that, massively multiplayer online game is unbelievably widespread among everyone in the different age group who is a frequent visitor to the internet and the social media because they are the one who searches for different excitements in their life and relationship online. A massively multiplayer online game concept is getting thousand or even more into the same server and make them play simultaneously. More MMO categories like role- playing(MMORPG), real-time strategy (MMORTS), first-person shooter MMOFPS, social game(MMOSG) are available for the users. MMOSG is mainly focusing on socialization; it differs from other gaming concepts. Imagine if everyone has a virtual life; actually, it is possible. There are a lot of virtual reality world games allows the user to have a virtual life. -
Harassment in Social Virtual Reality: Challenges for Platform Governance
Harassment in Social Virtual Reality: Challenges for Platform Governance LINDSAY BLACKWELL, Oculus VR, USA NICOLE ELLISON, Oculus VR, USA NATASHA ELLIOTT-DEFLO, Oculus VR, USA RAZ SCHWARTZ, Oculus VR, USA In immersive virtual reality (VR) environments, experiences of harassment can be exacerbated by features such as synchronous voice chat, heightened feelings of presence and embodiment, and avatar movements that can feel like violations of personal space (such as simulated touching or grabbing). Simultaneously, efforts to govern these developing spaces are made more complex by the distributed landscape of virtual reality applications and the dynamic nature of local community norms. To beter understand this nascent social and psychological environment, we interviewed VR users (n=25) about their experiences with harassment, abuse, and discomfort in social VR. We find that users’ definitions of what constitutes online harassment are subjective and highly personal, which poses significant challenges for the enforcement of platform- or application-level policies. We also find that embodiment and presence in VR spaces make harassment feel more intense, while ephemerality and non-standardized application controls make it difficult to escape or report unwanted behavior. Finally, we find that shared norms for appropriate behavior in social VR are still emergent, and that users distinguish between newcomers who unknowingly violate expectations for appropriate behavior and those users who aim to cause intentional harm. We draw from social norms theory to help explain why norm formation is particularly challenging in virtual reality environments, and we discuss the implications of our findings for the top-down governance of online communities by platforms. We conclude by recommending alternative strategies for community governance. -
World Building
TRANSMEDIA Boni (ed.) Transmedia, Fans, Industries Fans, Transmedia, World Building World Edited by Marta Boni World Building Transmedia, Fans, Industries World Building Transmedia: Participatory Culture and Media Convergence The book series Transmedia: Participatory Culture and Media Convergence provides a platform for cutting-edge research in the field of media studies, with a strong focus on the impact of digitization, globalization, and fan culture. The series is dedicated to publishing the highest-quality monographs (and exceptional edited collections) on the developing social, cultural, and economic practices surrounding media convergence and audience participation. The term ‘media convergence’ relates to the complex ways in which the production, distribution, and consumption of contemporary media are affected by digitization, while ‘participatory culture’ refers to the changing relationship between media producers and their audiences. Interdisciplinary by its very definition, the series will provide a publishing platform for international scholars doing new and critical research in relevant fields. While the main focus will be on contemporary media culture, the series is also open to research that focuses on the historical forebears of digital convergence culture, including histories of fandom, cross- and transmedia franchises, reception studies and audience ethnographies, and critical approaches to the culture industry and commodity culture. Series editors Dan Hassler-Forest, Utrecht University, the Netherlands Matt Hills, University -
SECOND LIFE: the GAME of VIRTUAL LIFE Alison Mcmahan I
THEGAMEOFVIRTUALLIFEdr3alison 6/14/16, 7:24 AM SECOND LIFE: THE GAME OF VIRTUAL LIFE Alison McMahan I don’t want the public to see the world they live in while they’re in the park. I want them to feel they’re in another world. – Walt Disney (Imagineers, 90) Virtual Reality is basically nothing new. We have been creating Virtual Reality around here for more than forty years. – John Hench, Senior Vice President, WED Enterprises (Imagineers, 91) Walt Disney’s theme parks contain two key elements of virtual reality: high levels of engagement and of immersion. Physically, the “guests” are almost fully immersed, as they are completely removed from their real world while in the park. Psychologically, they are immersed by story: each themed area is built on a myth (the myth of the American Frontier for Adventureland, or the utopian concept of technological progress for Tomorrowland, for example) and each ride is based on a story that might be familiar from storybooks or films (for example, the Indiana Jones Ride, based on Steven Spielberg’s 1981 film Raiders of the Lost Ark) or similar enough to a familiar story that we can quickly grasp the story from the ride itself (the Pirates of the Caribbean Ride, based loosely on novels like Robert Louis Stevenson’s classic Treasure Island, and later the inspiration for a Hollywood film). To a certain extent, Disney’s theme parks are also interactive. As guests stand in line to a ride they are often addressed by characters (enacted by humans, whether live or pre-recorded, or by Audio-Animatronic automatons) from the story-world of the ride as if the guests were characters in the story. -
Why Women Don't Like Social Virtual Reality: a Study of Safety, Usability
WHY WOMEN DON’T LIKE SOCIAL VIRTUAL REALITY: A STUDY OF SAFETY, USABILITY, AND SELF-EXPRESSION IN SOCIAL VR BY JESSICA OUTLAW, M.S. AND BETH DUCKLES, PH.D. INTRODUCTION Helen* is a 23 year-old who enjoys meeting new people online. She works as a professional software designer and considers herself “very comfortable” with new technology and “very active” on social media. She uses multiple social media platforms daily and says she “like[s] to be able to connect to different people in the tech industry.” Twitter in particular has been a good place for her to network. She successfully got a job and was asked to give a talk at a conference because of her Twitter followers. Helen likes to get together with family and friends to play card and board games like Settlers of Catan and Oregon Trail. Sometimes her brother introduces her to games on Steam, though she says she loses interest pretty quickly and doesn’t spend a lot of time playing them. While she has watched people in VR headsets playing games at conferences, she had never tried it out herself. She expected the experience to be more lifelike than it looks when you’re just watching someone else use the head mounted display (HMD). “I DON’T THINK I WOULD DO [VR] JUST FOR FUN.” Helen seems like the perfect person to try out social VR. She’s tech savvy, is into social media and said she enjoys meeting strangers online. She has experience with online games and likes to try out new technology. -
Women in Games Paper
Ambient role playing games: towards a grammar of endlessness Mark Eyles and Roger Eglin University of Portsmouth, UK Women in Games Conference 2007, 19th-21st April 2007, University of Wales, Newport. www.womeningames.com This paper was presented at the conference by Mark Eyles on 21st April 2007 Mark Eyles [email protected] www.eyles.co.uk www.port.ac.uk/games Department of Creative Technologies Faculty of Creative and Cultural Industries University of Portsmouth Eldon Building Winston Churchill Avenue Portsmouth PO1 2DJ United Kingdom Dr Roger Eglin [email protected] Department of Creative Technologies Faculty of Creative and Cultural Industries University of Portsmouth Eldon Building Winston Churchill Avenue Portsmouth PO1 2DJ United Kingdom 1 Abstract If the seminal 1976 ambient music album Music for Airports (Eno, 1978) became a 21st century ambient role playing game, what would it play like? What technologies would be required? What would we need to know for this to happen? Who would be the target audience? This paper sets out to define ambient role playing games. A computer role playing game definition is suggested; the evolution of ambient technologies is outlined and a prototyped ambient game is described. The heart of ambient gaming is embodied in Brian Eno’s description of ambient music as being ‘ignorable as it is interesting’ (Eno, 1978). This is compared and contrasted with pervasive gaming (Waern, 2006), alternate reality gaming (Borland, 2005) and augmented reality gaming (such as ARQuake (Thomas, 2002)). There are many computer role playing games and a description of this genre is developed.