Hi Im Gosu Face
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Netflix and Twitch Traffic Characterization
University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2015-09-30 NetFlix and Twitch Traffic Characterization Laterman, Michel Laterman, M. (2015). NetFlix and Twitch Traffic Characterization (Unpublished master's thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/27074 http://hdl.handle.net/11023/2562 master thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY NetFlix and Twitch Traffic Characterization by Michel Laterman A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE GRADUATE PROGRAM IN COMPUTER SCIENCE CALGARY, ALBERTA SEPTEMBER, 2015 c Michel Laterman 2015 Abstract Streaming video content is the largest contributor to inbound network traffic at the University of Calgary. Over five months, from December 2014 { April 2015, over 2.7 petabytes of traffic on 49 billion connections was observed. This thesis presents traffic characterizations for two large video streaming services, namely NetFlix and Twitch. These two services contribute a significant portion of inbound bytes. NetFlix provides TV series and movies on demand. Twitch offers live streaming of video game play. These services share many characteristics, including asymmetric connections, content delivery mechanisms, and content popularity patterns. -
Esports Marketer's Training Mode
ESPORTS MARKETER’S TRAINING MODE Understand the landscape Know the big names Find a place for your brand INTRODUCTION The esports scene is a marketer’s dream. Esports is a young industry, giving brands tons of opportunities to carve out a TABLE OF CONTENTS unique position. Esports fans are a tech-savvy demographic: young cord-cutters with lots of disposable income and high brand loyalty. Esports’ skyrocketing popularity means that an investment today can turn seri- 03 28 ous dividends by next month, much less next year. Landscapes Definitions Games Demographics Those strengths, however, are balanced by risk. Esports is a young industry, making it hard to navigate. Esports fans are a tech-savvy demographic: keyed in to the “tricks” brands use to sway them. 09 32 Streamers Conclusion Esports’ skyrocketing popularity is unstable, and a new Fortnite could be right Streamers around the corner. Channels Marketing Opportunities These complications make esports marketing look like a high-risk, high-reward proposition. But it doesn’t have to be. CHARGE is here to help you understand and navigate this young industry. Which games are the safest bets? Should you focus on live 18 Competitions events or streaming? What is casting, even? Competitions Teams Keep reading. Sponsors Marketing Opportunities 2 LANDSCAPE LANDSCAPE: GAMES To begin to understand esports, the tra- game Fortnite and first-person shooter Those gains are impressive, but all signs ditional sports industry is a great place game Call of Duty view themselves very point to the fact that esports will enjoy even to start. The sports industry covers a differently. -
CES 2019 Attendance Audit Summary
ATTENDANCE AUDIT SUMMARY CES® 2019 January 8-11, 2019 Las Vegas, Nevada CES.tech Letter from Consumer Technology Association (CTA)™ 1 For over 50 years, CES® has served as a global platform for the most innovative companies to share their revolutionary technologies with the world. This year we were proud to convene members of the industry from 161 countries, regions and territories to experience the future through technology. Featuring impressive debuts in 5G, artificial intelligence, transportation and more, CES 2019 showcased how technology enables every business to succeed. This year, we added an area on resilience to showcase technologies that can help society stay connected and safe. A new health care track also provided medical professionals with CME credits. We are pleased that the audit concluded that CES 2019 attracted 175,212 in total attendance. This number compares to 182,198 in CES 2018 and the high of 184,279 at CES 2017. This result is in line with our strategy of managing attendee numbers and attracting the most highly qualified attendees. This strategy is aimed at helping limit hotel price increases and the pressure on travel to and around Las Vegas during CES. While CES attracted government leaders from around the world, many members of the U.S. government were not able to attend due to the government shutdown. Thanks to the support of our exhibitors, CES continues to grow exhibit space, expanding to an incredible 2.9 million net square feet in 2019. As more businesses embrace technology, we are excited to welcome the next generation of diverse and visionary innovators. -
Análisis De La Expansión Transmedia Y La Figura Del Prosumidor En Los Juegos MMO: El Caso De League of Legends Alumna: Ana Alicia Jux Buendía
Trabajo Fin de Máster Análisis de la expansión transmedia y la figura del prosumidor en los juegos MMO: El caso de League of Legends Alumna: Ana Alicia Jux Buendía Tutora: Dr. Mª Jesús Ortiz Díaz-Guerra Máster en Comunicación en Industrias Creativas. Universidad de Alicante DECLARACIÓN DE RESPONSABILIDAD. Este documento es parte de mi trabajo para la obtención del título de Máster Universitario en Comunicación e Industrias Creativas de la Universidad de Alicante y no ha sido utilizado previamente (o simultáneamente) para la obtención de cualquier otro título o superación de asignaturas. Se trata de un trabajo original e inédito, producto de una investigación genuina, con indicación rigurosa de las fuentes que he utilizado, tanto bibliográficas como documentales o de otra naturaleza, en papel o en soporte digital. Doy mi consentimiento para que se archive este trabajo en la biblioteca universitaria del centro, donde se puede facilitar su consulta. 2 Trabajo Fin de Máster| Ana Alicia Jux Buendía ÍNDICE GENERAL INTRODUCCIÓN Resumen……………………………………………………………………………………………………4 Marco de investigación: estado de la cuestión y antecedentes……………4 Pregunta de investigación y objetivos…………………………………………………….6 Hipótesis………………………………………………………………………………………………….6 Metodología y motivación personal…………………………………………………………7 PRIMERA PARTE (Sobre los juegos Masivos Multijugador Online (MMO). Los MMORPG y MOBA como paradigmas)………………………………………………………………9 1. Introducción: Qué son los los juegos MMO, principales características, alcance y significación………………………………………………………………………………………10 2. Modelos económicos en los juegos MMO……………………………………………………..13 3. Tipos de juegos MMO……………………………………………………………………………………15 4. Historia de los MMO………………………………………………………………………………………20 5. En produndidad: Juegos MMORPG y MOBA como paradigmas de los MMO….22 6. Factores de éxito y valores diferenciales de los MMO…………………………………29 SEGUNDA PARTE: (Sobre la transmedialidad y la figura del prosumidor en los juegos MMO)………………………………………………………………………………………………34 1.Qué es la narración transmedia……………………………………………………………………35 2. -
Twitch.TV and Parasocial Interaction: Understanding Twitch’S Social Features Within a Parasocial Framework
Twitch.TV and Parasocial Interaction: Understanding Twitch’s Social Features Within a Parasocial Framework Maren Zeinstra June 26th, 2017 Supervisor: Dhr. Dr. Markus Stauff Second reader: Dhr. Dr. Toni Pape Television and Cross-Media Culture University of Amsterdam Table of contents Chapter 1. Introduction page 3 Chapter 2. Commentators page 10 Chapter 3. Streamers page 20 Chapter 4. Viewers page 30 Chapter 5. Conclusions page 39 Bibliography page 41 2 1. Introduction 1.1 Introduction Twitchis an online platform founded in 2011 (https://twitch.tv) where users live-stream themselves while playing a video game, displaying gameplay andincluding webcam and microphoneto communicate with their viewers (image 1.1). According to Twitch, the community consists of more than 2 million live-streamers and close to 10 million visitors per day (About Twitch).Besides individual users, organizations broadcast their eSports tournaments where gamers and teams compete for prizes (Edge 34-5). Twitch additionally offers features for social contact between users by following, subscribing, adding friends and sending personal messages. Additionally, all channelshave a chat room right next to the live-stream where userscan communicate in real time (image 1.1). Twitch users can select streams from the list of channels they “follow” at the left side of the screen, or they can browse through all live channels, of both individual streamers and organized tournaments, filtered per game, community or popularity (image 1.2). Besides the heterogeneous gaming content, Twitch introduced a “Creative” section in October 2015, where users stream themselves while cooking, painting, designing, making music, et cetera. (Moorier)(image 1.2). -
Na All-Lcs Teams - 2017 Spring Split: Voting Results
NA ALL-LCS TEAMS - 2017 SPRING SPLIT: VOTING RESULTS 1st All-LCS Team 2nd All-LCS Team 3rd All-LCS Team Voter Handle Category Affilation Top Jungle Mid ADC Support Top Jungle Mid ADC Support Top Jungle Mid ADC Support Aidan Moon Zirene Caster Riot Games Hauntzer LirA Jensen Arrow Smoothie Impact Dardoch Bjergsen Sneaky Olleh Ssumday Meteos Ryu Stixxay Xpecial Arthur Chandra TheMay0r Producer Riot Games Hauntzer Meteos Bjergsen Arrow Smoothie Impact Chaser Jensen Sneaky Biofrost Ssumday LirA Froggen Stixxay Olleh Clayton Raines Captain Flowers Caster Riot Games Impact Moon Jensen Arrow Smoothie Hauntzer Dardoch Bjergsen Sneaky Biofrost Zig LirA Hai Stixxay LemonNation David Turley Phreak Caster Riot Games Impact LirA Bjergsen Arrow Smoothie Hauntzer Dardoch Jensen Sneaky Biofrost Ssumday Chaser Ryu Stixxay Olleh Isaac Cummings-Bentley Azael Caster Riot Games Hauntzer Meteos Bjergsen Arrow Smoothie Impact LirA Jensen Stixxay Olleh Zig Dardoch Ryu Sneaky aphromoo James Patterson Dash Host Riot Games Impact LirA Bjergsen Arrow Smoothie Hauntzer Chaser Jensen Doublelift Hakuho Ssumday Contractz Ryu Sneaky Olleh Joshua Leesman Jatt Caster Riot Games Hauntzer LirA Bjergsen Arrow Smoothie Impact Moon Jensen Sneaky Olleh Ssumday Chaser Ryu Stixxay Biofrost Julian Carr Pastrytime Caster Riot Games Hauntzer Dardoch Jensen Arrow Smoothie Zig Svenskeren Bjergsen Sneaky Biofrost Impact Chaser Keane Stixxay Hakuho Rivington Bisland III Rivington Caster Riot Games Hauntzer Contractz Bjergsen Arrow Olleh Impact Svenskeren Huhi Sneaky LemonNation Zig LirA -
Interactivity and Community in Video Game Live Streams
Twitch TV Uncovered – Interactivity and Community in Video Game Live Streams A thesis presented to the faculty of the Scripps College of Communication of Ohio University and the Institute for Communication and Media Studies of Leipzig University In partial fulfillment of the requirements for the degrees Master of Science in Journalism (Ohio University), Master of Arts in Global Mass Communication (Leipzig University) Chris J. Vonderlind December 2019 © 2019 Chris J. Vonderlind. All Rights Reserved. This thesis titled Twitch TV Uncovered – Interactivity and Community in Video Game Live Streams by CHRIS J. VONDERLIND has been approved for the E.W. Scripps School of Journalism, the Scripps College of Communication, and the Institute for Communication and Media Studies by Veronika Karnowski Associate Professor of the Institute for Communication and Media Studies Scott Titsworth Dean, Scripps College of Communication, Ohio University Christian Pieter Hoffman Director, Institute for Communication and Media Studies, Leipzig University ii Abstract CHRIS J. VONDERLIND, M.S., Journalism; M.A., Global Mass Communication, December 2019 3709740 Twitch TV Uncovered – Interactivity and Community in Video Game Live Streams Director of Thesis: Veronika Karnowski Committee Members: Veronika Karnowski, Jatin Srivastava, Rosanna Planer Online media is continuing to transform the media consumption habits of today’s society. It encompasses various forms of content, modes of consumption and interpersonal interactions. Live-streaming is one of the less observed but growing forms of new media content. It combines aspects of online video entertainment and user content creation such as YouTube, and social media such as Instagram, in a live setting. The goal of this thesis is to explore this phenomenon by looking at the video game streaming platform Twitch, and, more specifically, the interactions taking place during the live streams. -
GIRL GAMER and the POWER of PERSONA: the EXPERIENCE of VIDEO GAME LIVESTREAMERS by NAOMI BRAUN a THESIS PRESENTED to the GRADUAT
GIRL GAMER AND THE POWER OF PERSONA: THE EXPERIENCE OF VIDEO GAME LIVESTREAMERS By NAOMI BRAUN A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2016 © 2016 Naomi Braun ACKNOWLEDGMENTS I would like to thank my parents (all three) for encouraging me and allowing me to make my own choices. I would also like to thank all the teachers who have informed those choices along the years. 3 TABLE OF CONTENTS page ACKNOWLEDGMENTS .................................................................................................. 3 ABSTRACT ..................................................................................................................... 5 CHAPTER 1 INTRODUCTION .................................................................................................. 6 2 BACKGROUND .................................................................................................... 7 3 LITERATURE REVIEW ...................................................................................... 11 4 METHODOLOGY ............................................................................................... 16 5 ANALYSIS .......................................................................................................... 21 Relationship Building .......................................................................................... 21 Teasing and Insults ........................................................................................... -
Top 1000 Searches in Youtube Australia
Top 1000 Searches in YouTube Australia https://www.iconicfreelancer.com/top-1000-youtube-australia/ # Keyword Volume 1 pewdiepie 580000 2 music 368000 3 asmr 350000 4 pewdiepie vs t series 268000 5 james charles 222000 6 old town road 214000 7 lazarbeam 207000 8 david dobrik 202000 9 billie eilish 197000 10 dantdm 194000 11 norris nuts 190000 12 fortnite 179000 13 bts 176000 14 joe rogan 172000 15 ksi 163000 16 wwe 151000 17 jacksepticeye 147000 18 songs 141000 19 baby shark 132000 20 t series 132000 21 markiplier 131000 22 minecraft 126000 23 nightcore 123000 24 sidemen 116000 25 shane dawson 111000 26 lofi 110000 27 ariana grande 110000 28 ssundee 105000 29 logan paul 101000 30 blackpink 101000 31 amv 99000 32 eminem 97000 33 peppa pig 97000 34 jake paul 96000 35 msnbc 96000 36 taylor swift 95000 37 study music 94000 38 senorita 93000 39 mrbeast 91000 40 crime patrol 2019 90000 41 ufc 89000 42 lachlan 89000 43 trump 88000 44 nba 87000 45 game of thrones 85000 46 ed sheeran 84000 47 sis vs bro 84000 48 jeffree star 80000 49 jre 77000 50 morgz 77000 51 mr beast 75000 52 fgteev 74000 53 cnn 74000 54 stephen colbert 74000 55 post malone 73000 56 flamingo 73000 57 gacha life 72000 58 wiggles 70000 59 try not to laugh 70000 60 unspeakable 69000 61 twice 68000 62 bad guy 68000 63 avengers endgame 67000 64 superwog 67000 65 isaac butterfield 67000 66 memes 66000 67 tati 66000 68 documentary 65000 69 rebecca zamolo 64000 70 f1 64000 71 movies 64000 72 dance monkey 64000 73 popularmmos 63000 74 chad wild clay 62000 75 tfue 61000 76 jelly 61000 -
Na Lcs Coach of the Split - 2016 Summer Split: Voting Results
NA LCS COACH OF THE SPLIT - 2016 SUMMER SPLIT: VOTING RESULTS NA LCS Coach of the Split Voter Category Affilation First Second Third Aidan "Zirene" Moon Broadcast Shoutcaster, Riot Games Parth Reapered Locodoco Arthur "TheMay0r" Chandra Broadcast Live Broadcast Producer, Riot Games Parth Dylan Reapered David "Phreak" Turley Broadcast Shoutcaster, Riot Games Dylan Reapered Parth Dominic "Dom" Roemer Broadcast Shoutcaster, Riot Games Parth Dylan Zikzlol Isaac "Azael" Cummings-Bentley Broadcast Shoutcaster, Riot Games Parth Reapered Zikzlol James "Dash" Patterson Broadcast Host, Riot Games Parth Reapered Dylan Joshua "Jatt" Leesman Broadcast Shoutcaster, Riot Games Parth Locodoco Reapered Julian "Pastrytime" Carr Broadcast Shoutcaster, Riot Games Parth Reapered Dylan "Optimus" Tom Searfoss Broadcast Stats Coordinator, Riot Games Zikzlol Parth Reapered Rivington Bisland III Broadcast Shoutcaster, Riot Games Reapered Parth Dylan Sam "Kobe" Hartman-Kenzler Broadcast Shoutcaster, Riot Games Parth Locodoco Reapered Alex "Xpecial" Chu Player Rep Apex Reapered Saintvicious Parth Austin "Gate" Yu Player Rep Support, Phoenix1 Reapered Parth Zikzlol Eugene "Pobelter" Park Player Rep Mid, Immortals Dylan Parth Reapered Gyu-min “Ohq” Oh Player Rep ADC, NRG Esports Parth Hermit Zikzlol Henrik "Froggen" Hansen Player Rep Mid, Echo Fox Reapered Parth Saintvicious Jae Hyun "Huhi" Choi Player Rep Mid, Counter Logic Gaming Reapered Zikzlol Dylan Joshua "Dardoch" Hartman Player Rep Jungle, Team Liquid Parth Zikzlol Locodoco Vincent "Biofrost" Wang Player Rep -
In Pursuit of Victory: League of Legends and a Project of the Self
In Pursuit of Victory: League of Legends and a Project of the Self by Oliver Crosby A Thesis submitted to the Faculty of Graduate and Postdoctoral Affairs In partial fulfillment of the requirements of the degree of Master of Arts in Sociology with Specialization in Digital Humanities Carleton University Ottawa, Ontario ©2016 Oliver Crosby Abstract Video games are often recognized as ephemeral arrangements of signs and symbols, arranged to mimic ‘real’ relationships of domination and subjection. The fear, then, is that the subjects produced by video games are habituated, in a straightforward way, toward certain dispositions. Yet when we look at a competitive game like League of Legends, we see an active player-subject, engaged in an entrepreneurial project of self- improvement. This investigation is aimed at power beyond manipulation, asking how an emplaced self is made true in-and-through the pursuit of victory. My autoethnographic account looks at how we become the object of our own conditional existence through interpellation and reflexivity. League of Legends stands as an example of a particular type of reflexive subjectification, one in which we draw on prescriptive texts, guides, and techniques of self-improvement in order to shape ourselves in response to a discursive provocation; in response to the current of opposition. ii Acknowledgements When I read about military comrades, or close friends forged in hard times, I see my fellow grad students. They were with me the whole time: every stumbling block, every bump, every time I careened down that slope that lead to hopelessness. I lucked out. Our group was organized around struggles, meeting every week or so, we called ourselves ‘Friends Against Research and Thesis Stagnation’. -
Department of Business Administration International Business Program Degree Project, 30 Credits, Spring 2020 Supervisor: Galina Biedenbach
Department of Business Administration International Business Program Degree Project, 30 Credits, Spring 2020 Supervisor: Galina Biedenbach Contents ABSTRACT ................................................................................................................................................................................. 1 1. Introduction .............................................................................................................................................................................. 2 1.1 Choice of Subject .............................................................................................................................................................. 2 1.2 Problem Background ......................................................................................................................................................... 2 1.3 Twitch.tv ........................................................................................................................................................................... 4 1.4 Research Problem and Gaps ............................................................................................................................................. 6 1.5 Research Question ........................................................................................................................................................... 10 1.6 Purpose ...........................................................................................................................................................................