Correlation Analysis: Game Professional Score and User Score on Steam
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Gamified Social Platform for Worldwide Gamers Whitepaper
Gamified Social Platform for Worldwide Gamers Whitepaper ENG Ver 2.0 Last updated July 2021 Whitepaper | Gamified Social Platform for Worldwide Gamers White Paper Ludena Protocol provides a gamified social platform for worldwide gamers The LDN token rewards users for platform engagement with fellow participants. Our 3 million strong commu- nity boasts the ultimate gamer-focused social ecosystem and offers the three major segments of the gaming industry exclusive benefits: Players Discover or upload helpful game strategies, hints and tricks and receive fair rewards for all kinds of engagement; Can easily find or sell rare and special game items in the world’s first fee-free virtual goods marketplace; Get matched with new friends to play fun and simple games with on Ludena’s 1:1 hyper casual gaming platform. Game Publishers Marketing dollars are targeted, no longer wasted, and result in real ROI effectiveness, through in-game purchases and driven player growth, due to our accumulated 1TB+ of user analytics and our 7 years of proven marketing successes. Indie Game Developers Our platform is an ideal solution for indie game developers, who want to reach a large audience, without paying exuberant commission fees, and who want to drive in-game spend, as our token economy design encourages. 1/47 ludenaprotocol.io | Copyright©2021. All rights reserved. Executive Summary | Gamified Social Platform for Worldwide Gamers Executive Summary Ludena Protocol is the first comprehensive gamified social platform, connecting gamers, from around the world, to a single application where they can play, trade and share all things gaming with one another. The Ludena Protocol team is made up of a group of professionals, who have been operating the 3 million user strong gaming social media application, 'GameTalkTalk,' for 7 years. -
Generation Kill and the New Screen Combat Magdalena Yüksel and Colleen Kennedy-Karpat
15 Generation Kill and the New Screen Combat Magdalena Yüksel and Colleen Kennedy-Karpat No one could accuse the American cultural industries of giving the Iraq War the silent treatment. Between the 24-hour news cycle and fictionalized enter- tainment, war narratives have played a significant and evolving role in the media landscape since the declaration of war in 2003. Iraq War films, on the whole, have failed to impress audiences and critics, with notable exceptions like Kathryn Bigelow’s The Hurt Locker (2008), which won the Oscar for Best Picture, and her follow-up Zero Dark Thirty (2012), which tripled its budget in worldwide box office intake.1 Television, however, has fared better as a vehicle for profitable, war-inspired entertainment, which is perhaps best exemplified by the nine seasons of Fox’s 24 (2001–2010). Situated squarely between these two formats lies the television miniseries, combining seriality with the closed narrative of feature filmmaking to bring to the small screen— and, probably more significantly, to the DVD market—a time-limited story that cultivates a broader and deeper narrative development than a single film, yet maintains a coherent thematic and creative agenda. As a pioneer in both the miniseries format and the more nebulous category of quality television, HBO has taken fresh approaches to representing combat as it unfolds in the twenty-first century.2 These innovations build on yet also depart from the precedent set by Band of Brothers (2001), Steven Spielberg’s WWII project that established HBO’s interest in war-themed miniseries, and the subsequent companion project, The Pacific (2010).3 Stylistically, both Band of Brothers and The Pacific depict WWII combat in ways that recall Spielberg’s blockbuster Saving Private Ryan (1998). -
The Development and Validation of the Game User Experience Satisfaction Scale (Guess)
THE DEVELOPMENT AND VALIDATION OF THE GAME USER EXPERIENCE SATISFACTION SCALE (GUESS) A Dissertation by Mikki Hoang Phan Master of Arts, Wichita State University, 2012 Bachelor of Arts, Wichita State University, 2008 Submitted to the Department of Psychology and the faculty of the Graduate School of Wichita State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2015 © Copyright 2015 by Mikki Phan All Rights Reserved THE DEVELOPMENT AND VALIDATION OF THE GAME USER EXPERIENCE SATISFACTION SCALE (GUESS) The following faculty members have examined the final copy of this dissertation for form and content, and recommend that it be accepted in partial fulfillment of the requirements for the degree of Doctor of Philosophy with a major in Psychology. _____________________________________ Barbara S. Chaparro, Committee Chair _____________________________________ Joseph Keebler, Committee Member _____________________________________ Jibo He, Committee Member _____________________________________ Darwin Dorr, Committee Member _____________________________________ Jodie Hertzog, Committee Member Accepted for the College of Liberal Arts and Sciences _____________________________________ Ronald Matson, Dean Accepted for the Graduate School _____________________________________ Abu S. Masud, Interim Dean iii DEDICATION To my parents for their love and support, and all that they have sacrificed so that my siblings and I can have a better future iv Video games open worlds. — Jon-Paul Dyson v ACKNOWLEDGEMENTS Althea Gibson once said, “No matter what accomplishments you make, somebody helped you.” Thus, completing this long and winding Ph.D. journey would not have been possible without a village of support and help. While words could not adequately sum up how thankful I am, I would like to start off by thanking my dissertation chair and advisor, Dr. -
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. -
Please Please Don't Buy This Game Like I Did. I
“Please please don't buy this game like I did. I feel terrible and wish I could return it!”: A corpus-based study of professional and consumer reviews of video games Andrew Kehoe and Matt Gee (Birmingham City University, UK) Background This paper is a corpus-based comparison of professional and consumer reviews of video games. Professional video games journalism is a well-established field, with the first dedicated publications launched in 1981 (Computer and Video Games in the UK, followed by Electronic Games in the US). Over the next 30 years, such publications were highly influential in the success of particular video games, often leading to accusations of conflicts of interest, with the publishers of the games under review also paying substantial amounts of money to advertise their products in the same video games magazines. The rapid growth of the web since the early 2000s has seen a decline in all traditional print media, and games magazines are no exception. Such publications have now been largely replaced by professional video games review sites such as IGN.com, established in 1996 as the Imagine Games Network. However, the influence of professional review sites such as IGN appears to be waning, with a recent report by the Entertainment Software Association suggesting that only 3% of consumers rely on professional reviews as the most important factor when making a decision on which game to purchase (ESA 2015). The decline of professional games reviews does not reflect the state of the video games industry in general. It has been estimated (Newzoo 2016) that the industry generated almost $100 billion of revenue worldwide during 2016. -
Casual Resistance: a Longitudinal Case Study of Video Gaming's Gendered
Running Head: CASUAL RESISTANCE Casual resistance: A longitudinal case study of video gaming’s gendered construction and related audience perceptions Amanda C. Cote This is an Accepted Manuscript of an article published by Oxford Academic in Journal of Communication on August 4, 2020, available online: https://doi.org/10.1093/joc/jqaa028 . Abstract: Many media are associated with masculinity or femininity and male or female audiences, which links them to broader power structures around gender. Media scholars thus must understand how gendered constructions develop and change, and what they mean for audiences. This article addresses these questions through longitudinal, in-depth interviews with female video gamers (2012-2018), conducted as the rise of casual video games potentially started redefining gaming’s historical masculinization. Analysis shows that participants have negotiated relationships with casualness. While many celebrate casual games’ potential for welcoming new audiences, others resist casual’s influence to safeguard their self-identification as gamers. These results highlight how a medium’s gendered construction may not be salient to consumers, who carefully navigate divides between their own and industrially-designed identities, but can simultaneously reaffirm existing power structures. Further, how participants’ views change over time emphasizes communication’s ongoing need for longitudinal audience studies that address questions of media, identity, and inclusion. Keywords: Video games, gender, game studies, feminist media studies, hegemony, casual games, in-depth interviews, longitudinal audience studies CASUAL RESISTANCE 2 Casual resistance: A longitudinal case study of video gaming’s gendered construction and related audience perceptions From comic books to soap operas, many media are gendered, associated with masculinity or femininity and with male or female audiences. -
Master Thesis
1 Master Thesis THE VALUE OF METACRITIC AND ITS RELATIONSHIP WITH VIDEO GAME SALES FLAVIO TONA SHNEIDER MIKE-E January, 2020 2 3 Contents 1 INTRODUCTION ................................................................................................................................ 5 2 LITERATURE REVIEW ..................................................................................................................... 8 3 MARKET ANALYSIS ....................................................................................................................... 13 3.1 METASCORE ............................................................................................................................ 14 3.1.1 GRADE CONVERSION .................................................................................................... 17 3.2 HARDWARE MARKET ............................................................................................................ 19 3.3 SOFTWARE MARKET ............................................................................................................. 20 4 - VALUE ..................................................................................................................................................... 21 4.1 CONSUMER ....................................................................................................................................... 21 4.2 - VALUE FOR THE INDUSTRY AND USAGE ......................................................................................... 22 4 METHODOLOGY -
A Casual Game Benjamin Peake Worcester Polytechnic Institute
Worcester Polytechnic Institute Digital WPI Major Qualifying Projects (All Years) Major Qualifying Projects April 2016 Storybook - A Casual Game Benjamin Peake Worcester Polytechnic Institute Connor Geoffrey Porell Worcester Polytechnic Institute Nathaniel Michael Bryant Worcester Polytechnic Institute William Emory Blackstone Worcester Polytechnic Institute Follow this and additional works at: https://digitalcommons.wpi.edu/mqp-all Repository Citation Peake, B., Porell, C. G., Bryant, N. M., & Blackstone, W. E. (2016). Storybook - A Casual Game. Retrieved from https://digitalcommons.wpi.edu/mqp-all/2848 This Unrestricted is brought to you for free and open access by the Major Qualifying Projects at Digital WPI. It has been accepted for inclusion in Major Qualifying Projects (All Years) by an authorized administrator of Digital WPI. For more information, please contact [email protected]. Storybook - A Casual Game Emory Blackstone, Nathan Bryant, Benny Peake, Connor Porell April 27, 2016 A Major Qualifying Project Report: submitted to the Faculty of the WORCESTER POLYTECHNIC INSTITUTE in partial fulfillment of the requirements for the Degree of Bachelor of Science by Emory Blackstone Nathan Bryant Benny Peake Connor Porell Date: April 2016 Approved: Professor David Finkel, Advisor Professor Britton Snyder, Co-Advisor This report represents the work of one or more WPI undergraduate students. Submitted to the faculty as evidence of completion of a degree requirement. WPI routinely publishes these reports on its web site without editorial -
What Is Casual Gaming?
CHAPTER ONE What Is Casual Gaming? Over the past several years, the term “ casual game ” has been bandied about quite a bit. It gets used to describe so many different types of games that the definition has become rather blurred. But if we look at all of the ways that “ casual ” gets used, we can begin to tease out common elements that inform the design of these games: ● Rules and goals must be clear. ● Players need to be able to quickly reach proficiency. ● Casual game play adapts to a player’s life and schedule. ● Game concepts borrow familiar content and themes from life. While all game design should take these issues into account, these elements are of particular importance if you want to reach a broad audience beyond traditional gamers. This book will look at elements that a wide array of casual games share and draw out common lessons for approaching game design. Hopefully it will be of use not just to casual game designers, but to all game designers and even general experience designers as well. Everywhere you look these days, you see impact of casual games. More than 200 million people play casual games on the Internet, according to the Casual Games Association. This audience generated revenues in excess of $2.25 billion in 2007. 1 This may seem meager compared to the $41 billion posted by the entire game indus- try worldwide,2 but casual games currently rank as one of the fastest growing sec- tors of the game industry. As growth in the rest of the industry stagnated, the casual downloadable market barreled ahead. -
Fighting Games, Performativity, and Social Game Play a Dissertation
The Art of War: Fighting Games, Performativity, and Social Game Play 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 Todd L. Harper November 2010 © 2010 Todd L. Harper. All Rights Reserved. This dissertation titled The Art of War: Fighting Games, Performativity, and Social Game Play by TODD L. HARPER has been approved for the School of Media Arts and Studies and the Scripps College of Communication by Mia L. Consalvo Associate Professor of Media Arts and Studies Gregory J. Shepherd Dean, Scripps College of Communication ii ABSTRACT HARPER, TODD L., Ph.D., November 2010, Mass Communications The Art of War: Fighting Games, Performativity, and Social Game Play (244 pp.) Director of Dissertation: Mia L. Consalvo This dissertation draws on feminist theory – specifically, performance and performativity – to explore how digital game players construct the game experience and social play. Scholarship in game studies has established the formal aspects of a game as being a combination of its rules and the fiction or narrative that contextualizes those rules. The question remains, how do the ways people play games influence what makes up a game, and how those players understand themselves as players and as social actors through the gaming experience? Taking a qualitative approach, this study explored players of fighting games: competitive games of one-on-one combat. Specifically, it combined observations at the Evolution fighting game tournament in July, 2009 and in-depth interviews with fighting game enthusiasts. In addition, three groups of college students with varying histories and experiences with games were observed playing both competitive and cooperative games together. -
Film Review Aggregators and Their Effect on Sustained Box Office Performance" (2011)
Claremont Colleges Scholarship @ Claremont CMC Senior Theses CMC Student Scholarship 2011 Film Review Aggregators and Their ffecE t on Sustained Box Officee P rformance Nicholas Krishnamurthy Claremont McKenna College Recommended Citation Krishnamurthy, Nicholas, "Film Review Aggregators and Their Effect on Sustained Box Office Performance" (2011). CMC Senior Theses. Paper 291. http://scholarship.claremont.edu/cmc_theses/291 This Open Access Senior Thesis is brought to you by Scholarship@Claremont. It has been accepted for inclusion in this collection by an authorized administrator. For more information, please contact [email protected]. CLAREMONT McKENNA COLLEGE FILM REVIEW AGGREGATORS AND THEIR EFFECT ON SUSTAINED BOX OFFICE PERFORMANCE SUBMITTED TO PROFESSOR DARREN FILSON AND DEAN GREGORY HESS BY NICHOLAS KRISHNAMURTHY FOR SENIOR THESIS FALL / 2011 November 28, 2011 Acknowledgements I would like to thank my parents for their constant support of my academic and career endeavors, my brother for his advice throughout college, and my friends for always helping to keep things in perspective. I would also like to thank Professor Filson for his help and support during the development and execution of this thesis. Abstract This thesis will discuss the emerging influence of film review aggregators and their effect on the changing landscape for reviews in the film industry. Specifically, this study will look at the top 150 domestic grossing films of 2010 to empirically study the effects of two specific review aggregators. A time-delayed approach to regression analysis is used to measure the influencing effects of these aggregators in the long run. Subsequently, other factors crucial to predicting film success are also analyzed in the context of sustained earnings. -
Art Worlds for Art Games Edited
Loading… The Journal of the Canadian Game Studies Association Vol 7(11): 41-60 http://loading.gamestudies.ca An Art World for Artgames Felan Parker York University [email protected] Abstract Drawing together the insights of game studies, aesthetics, and the sociology of art, this article examines the legitimation of ‘artgames’ as a category of indie games with particularly high cultural and artistic status. Passage (PC, Mac, Linux, iOS, 2007) serves as a case study, demonstrating how a diverse range of factors and processes, including a conducive ‘opportunity space’, changes in independent game production, distribution, and reception, and the emergence of a critical discourse, collectively produce an assemblage or ‘art world’ (Baumann, 2007a; 2007b) that constitutes artgames as legitimate art. Author Keywords Artgames; legitimation; art world; indie games; critical discourse; authorship; Passage; Rohrer Introduction The seemingly meteoric rise to widespread recognition of ‘indie’ digital games in recent years is the product of a much longer process made up of many diverse elements. It is generally accepted as a given that indie games now play an important role in the industry and culture of digital games, but just over a decade ago there was no such category in popular discourse – independent game production went by other names (freeware, shareware, amateur, bedroom) and took place in insular, autonomous communities of practice focused on particular game-creation tools or genres, with their own distribution networks, audiences, and systems of evaluation, only occasionally connected with a larger marketplace. Even five years ago, the idea of indie games was still burgeoning and becoming stable, and it is the historical moment around 2007 that I will address in this article.