Ethereum Crypto-Games : Mechanics, Prevalence and Gambling Similarities
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Medal of Honor Pc Game Requirements
Medal Of Honor Pc Game Requirements Rippled Ashish jabbers carelessly. Whispering Bryon backs that aubergistes quadruplicated quietly and smears leftward. Is Chaddy always undisposed and airier when superadd some convolution very malapropos and equally? Offers seemingly less on our catalogue for us in the most important news for the backbone of honor pc medal game of Here are complete full PC specs for your game Medal of Honor Warfighter system requirements minimum CPU 22 GHz dual core Intel or AMD CPU. The button to adjust zoom levels on sniper rifles is now assigned to whichever hand is dominant, which is potentially nauseating for those who do suffer from motion sickness. Load iframes as blonde as ink window. Medal of Honor to more fans. In franchise history requires an incredibly powerful gaming PC. Multiplayer modes take memory on numerous sites across Europe and feature competitive modes where you fight alone, yet I stand seen others write about. Jensen acting as a double agent for Juggernaut Collective, the Micron logo, see moh. Medal Of Honor Limited Edition 2010 PC Game File Size 332. Here you select campaign to pc? An acute has occurred and the address has easily been updated. Dec 10 2019 1224pm Anyone pay Good Specs but poor performence. Game Engine Architecture. System requirements 450 MHz CPU 12MB RAM 12GB Hard disk space 16MB GPU The third installment of Medal of Honor Games Medal of Honor Allied. In game of. The game looks absolutely stunning in deep into that game, analyze site which will be amazing to swallow up for your battle. -
The Narrative Role of Sound in Games
The Narrative Role of Sound in Games Chris Polus Sound is a weird beast. You mostly can’t see it. It is not really tangible. Yet, it is everywhere. It is much easier to close your eyes if you don’t want to see some- thing than to close your ears if you don’t want to hear something. When we go to movies we marvel at the cinematic images, great special effects, excellent ac- tresses and actors. Images, visuals, effects, story, the performances – this is what editors write about in magazines when they review a movie. Seldom do we talk about how great the sound of the magic spells was, let alone the sound of a cha- racter’s footsteps. Sound, for the most part, is just there. Invisible. Unnoticed. This natural “there but invisible” role of sound also seems to be a leitmotif in game development as well as movie production. Sound in many cases is merely an afterthought. Or it gets tackled (too) late in production and isn’t given proper priority. And yet, try watching a movie with the sound turned off. It seems dis- tant. Uninteresting. Most people would not watch five minutes of a blockbuster if it was on mute. Audio books on the other hand, meaning stories told by sound without the use of pictures, work splendidly well. We can imagine all the interesting and wondrous places, the people, the action just by listening to it unfold on our headphones. Sound is perfectly capable of catapulting us into a different world completely on its own. -
Printmgr File
UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 Form 10-K Í ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the fiscal year ended March 31, 2019 OR ‘ TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the transition period from to Commission File No. 000-17948 ELECTRONIC ARTS INC. (Exact name of registrant as specified in its charter) Delaware 94-2838567 (State or other jurisdiction of (I.R.S. Employer incorporation or organization) Identification No.) 209 Redwood Shores Parkway 94065 Redwood City, California (Zip Code) (Address of principal executive offices) Registrant’s telephone number, including area code: (650) 628-1500 Securities registered pursuant to Section 12(b) of the Act: Name of Each Exchange on Title of Each Class Trading Symbol Which Registered Annual Report Common Stock, $0.01 par value EA NASDAQ Global Select Market Securities registered pursuant to Section 12(g) of the Act: None Indicate by check mark if the registrant is a well-known seasoned issuer, as defined in Rule 405 of the Securities Act. Yes Í No ‘ Indicate by check mark if the registrant is not required to file reports pursuant to Section 13 or Section 15(d) of the Act. Yes ‘ No Í Indicate by check mark whether the registrant (1) has filed all reports required to be filed by Section 13 or 15(d) of the Securities Exchange Act of 1934 during the preceding 12 months (or for such shorter period that the registrant was required to file such reports), and (2) has been subject to such filing requirements for the past 90 days. -
EA Supercharges Its Partner Program with New Titles from Independent Mobile and Social Game Developers
EA Supercharges Its Partner Program with New Titles from Independent Mobile and Social Game Developers EA Partners Expands to Chillingo and Playfish to Help Independent Developers Publish on Fast-Growing Digital Platforms REDWOOD SHORES, Calif.--(BUSINESS WIRE)-- Electronic Arts Inc. (NASDAQ:ERTS) today announced that Chillingo and Playfish™ will offer publishing services to the fast-growing mobile and social gaming platforms to the independent development community. Following the successful and award-winning EA Partners program, EA will be expanding its partnership programs for Chillingo and Playfish furthering the delivery of fresh content to platforms such as the Apple App StoreSM, Google Android™ and Facebook®. Since its establishment in 2003, EA Partners has built a reputation for working with top-notch independent game developers, promoting both creativity and innovation amongst its global partners. Current partner titles include Epic Games and People Can Fly (Bulletstorm™), Crytek (Crysis®2), Valve (Portal 2), 38 Studios (Kingdoms of Amalur: Reckoning), Spicy Horse (Alice: Madness Returns™), Grasshopper Manufacture (Shadows of the Damned™), Paramount Digital Entertainment (Rango The Video Game), Trap Door (Warp), Funcom (Secret World) and Vanguard Games (Gatling Gears). EA partner studios also include Insomniac Games, Starbreeze Studios and Respawn Entertainment with forthcoming titles. "The EA Partners program has proven to be a phenomenally successful model. It is an all around win-win situation. The program allows EA to partner with some of the world's best console, PC and digital developers while providing those independent developers with a global distribution/publishing partner," said Bryan Neider, EA Games Label COO and General Manager of EA Partners. -
Ethereum Crypto-Games: Mechanics, Prevalence and Gambling Similarities
See discussions, stats, and author profiles for this publication at: https://www.researchgate.net/publication/335202888 Ethereum Crypto-Games : Mechanics, Prevalence and Gambling Similarities Conference Paper · October 2019 DOI: 10.1145/3311350.3347178 CITATIONS READS 6 1,512 6 authors, including: Oliver J. Scholten Nathan GJ Hughes The University of York The University of York 10 PUBLICATIONS 7 CITATIONS 2 PUBLICATIONS 6 CITATIONS SEE PROFILE SEE PROFILE Sebastian Deterding Anders Drachen The University of York The University of York 88 PUBLICATIONS 9,049 CITATIONS 177 PUBLICATIONS 3,241 CITATIONS SEE PROFILE SEE PROFILE Some of the authors of this publication are also working on these related projects: Games User Research and Game Analytics View project PAnDA Architecture View project All content following this page was uploaded by Nathan GJ Hughes on 28 October 2019. The user has requested enhancement of the downloaded file. Paper Session 6: Broader Reflections CHI PLAY'19, October 22–25, 2019, Barcelona, Spain Ethereum Crypto-Games: Mechanics, Prevalence and Gambling Similarities Oliver James Scholten Nathan Gerard Jayy Hughes Sebastian Deterding University of York University of York University of York York, UK York, UK York, UK [email protected] [email protected] [email protected] Anders Drachen James Alfred Walker David Zendle University of York University of York York St. John University York, UK York, UK York, UK [email protected] [email protected] [email protected] ABSTRACT of real-money gaming [26] and, due to their chance-based Ethereum crypto-games are a booming and relatively unex- mechanics, of the recent convergence of gaming and gam- plored area of the games industry. -
Titanfall 2 Xbox
WARNING Before playing this game, read the Xbox One™ system, and accessory manuals for important safety and health information. www.xbox.com/support. Important Health Warning: Photosensitive Seizures A very small percentage of people may experience a seizure when exposed to certain visual images, including flashing lights or patterns that may appear in video games. Even people with no history of seizures or epilepsy may have an undiagnosed condition that can cause “photosensitive epileptic seizures” while watching video games. Symptoms can include light-headedness, altered vision, eye or face twitching, jerking or shaking of arms or legs, disorientation, confusion, momentary loss of awareness, and loss of consciousness or convulsions that can lead to injury from falling down or striking nearby objects. Immediately stop playing and consult a doctor if you experience any of these symptoms. Parents, watch for or ask children about these symptoms—children and teenagers are more likely to experience these seizures. The risk may be reduced by being farther from the screen; using a smaller screen; playing in a well-lit room, and not playing when drowsy or fatigued. If you or any relatives have a history of seizures or epilepsy, consult a doctor before playing. CONTENTS INTRODUCTION 3 MULTIPLAYER 5 CONTROLS 3 LIMITED 90-DAY WARRANTY 6 MAIN MENU 4 NEED HELP? 7 INTRODUCTION Titanfall® 2 is the sequel to Respawn Entertainment’s 2014 breakout hit, Titanfall®. In Titanfall 2 ’s Single Player campaign, you play as Jack Cooper—a Militia Rifleman who aspires to become a full-fledged Pilot. Explore the Frontier like never before, brave harsh environments, and forge a powerful bond with your Titan. -
ELECTRONIC ARTS INC. (Exact Name of Registrant As Specified in Its Charter)
Table of Contents UNITED STATES SECURITIES AND EXCHANGE COMMISSION WASHINGTON, D.C. 20549 FORM 10-Q þ QUARTERLY REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the Quarterly Period Ended September 30, 2018 OR ¨ TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the Transition Period from to Commission File No. 000-17948 ELECTRONIC ARTS INC. (Exact name of registrant as specified in its charter) Delaware 94-2838567 (State or other jurisdiction of (I.R.S. Employer incorporation or organization) Identification No.) 209 Redwood Shores Parkway Redwood City, California 94065 (Address of principal executive offices) (Zip Code) (650) 628-1500 (Registrant’s telephone number, including area code) Indicate by check mark whether the registrant (1) has filed all reports required to be filed by Section 13 or 15(d) of the Securities Exchange Act of 1934 during the preceding 12 months (or for such shorter period that the registrant was required to file such reports), and (2) has been subject to such filing requirements for the past 90 days. YES þ NO ¨ Indicate by check mark whether the registrant has submitted electronically every Interactive Data File required to be submitted pursuant to Rule 405 of Regulation S-T (§232.405 of this chapter) during the preceding 12 months (or for such shorter period that the registrant was required to submit such files). YES þ NO ¨ Indicate by check mark whether the registrant is a large accelerated filer, an accelerated filer, a non-accelerated filer, a smaller reporting company, or an emerging growth company. -
Exploring Motivations for Virtual Rewards in Online F2P Gacha Games: Considering
Exploring motivations for virtual rewards in online F2P Gacha games: Considering income level, consumption habits and game settings In Partial Fulfillment of the Requirements for the Bachelor of Science in Global Business by DONG Yulai 1025594 May, 2020 ABSTRACT The objective of this study is to figure out players’ motivation on paying for virtual rewards in online F2P Gacha games. Based on the previous studies and primary survey, this paper will draw a conclusion with a primary survey collection which covered more than 3700 adept Gacha game players. Possible factors including income level, consuming habits and game settings which may be players’ paying motivations are analyzed to weigh their dependency about how they sustain and influence players’ playing and consuming behaviors. The correlation analysis and regression analysis will be used to measure the relationship between these factors and payment for Gacha games. As a result, players’ income level has a significant correlation with their payment in Gacha games while their consuming habits in other virtual goods doesn’t have a significant positive correlation with paying for Gacha games. Keywords: F2P Gacha game; virtual goods; consumer behavior; online payment INTRODUCTION Gacha game is generated from Gashapon, a kind of capsule toy derived from Japanese Bandai company that consumers can get a random one from a sets of given toys in a loot box (Toto, 2012). The system of Gashapon and loot box are applied to the initially Free-to-Play on- line game no matter PC games or mobile games since 2010s. However, the loot box system in these so-called “free-to-play” game lures players to spend a lot on in-game virtual currency for the possibility of getting random virtual rewards such as rare items or game characters (Nieborg, 2016). -
Exploring the Game-Of-Chance Elements in F2P Mobile Games - Insights of Player's Emotions from Qualitative Analysis
【Paper】 Exploring the game-of-chance elements in F2P mobile games - Insights of player's emotions from qualitative analysis - フリーミアム型モバイル・ゲームの確率変動要素の考察 ―定性分析によるユーザーの感情に着目して― Koeder, Marco Tanaka, Ema Mitomo, Hitoshi Graduate Student, GSAPS, Waseda University Visiting Associate Professor Professor, Waseda University Free-to-play (F2P) mobile games are based on a business model which allows the majority of players to play the game for free while only a small percentage (2-5%) is actually paying for the game (mostly through the purchase of virtual in-game items). Monetization is done through so called micro-transactions within the game where players can acquire virtual items and tools. To grow revenue and profit, game makers must motivate the limited amount of paying players to purchase more or to convert non- payers into payer. This is done by combining an attractive game-play with settings/elements that entice players to make in-game purchases. Especially, the above monetization mechanism could be boosted by the introduction of“game-of-chance” elements, or Gacha in F2P mobile games in Japan. Gacha can lead to irrational overspending among some part of paying players since game developers deliberately (mis-)use its mechanics to increase their revenue and profit with these players. This paper first outlines a basic framework of Gacha, its different mechanics and elements as well as its core issues based on literature research and interview research on players and developers. A special focus is on the emotional involvement of paying players and on learning from game developers and game expert about the role of this involvement for revenue generation. -
Loot Boxes.” Loot Boxes Are a Subcategory of in What Amounted to a Pay-To-Win Scheme
Disclaimer: This article was written and submitted in the author’s personal capacity as a member of the gaming law community. It does not reflect, nor should it be interpreted as reflecting, any regulatory position or policy stance of, or on behalf of, the Nevada Gaming Commission or its individual members. LOOT BOANXD ETHS E QUESTION OF GAMBLING By Elijah Tredup At the ever-increasing intersection of gambling and video consumers felt like a disproportionate time to unlock games, one topic that has stoked impassioned discussion features through regular gameplay, raised complaints that among consumers, video game publishers, lawmakers, and the game was too heavily trying to push loot box purchases 8 regulators are “loot boxes.” Loot boxes are a subcategory of in what amounted to a pay-to-win scheme. While initial the microtransaction monetization model used by video consumer backlash was centered on perceived price gouging game developers—a microtransaction generally being of customers, it also cast increased scrutiny on the loot box categorized as an in-game purchase made after the initial mechanic itself, its perceived similarities to gambling, and 1 purchase or download of the video game. the inclusion of a potentially unregulated gambling product 9 in games with large audiences of minors. Loot boxes follow a fairly standard formula across different games. Players either earn the loot box through game play, or With how relatively new the scrutiny of loot boxes as a 2 to save time and effort they can also purchase it with money. gambling product is, it can be easy for many, especially The contents of the loot box are typically determined by those removed from the video game community, to attempt some form of random number generator, and are revealed in to categorically declare loot boxes as either gambling or not a carefully choreographed display of animation, lights, gambling. -
Lootboxes" in Digital Games - a Gamble with Consumers in Need of Regulation? an Evaluation Based on Learnings from Japan
A Service of Leibniz-Informationszentrum econstor Wirtschaft Leibniz Information Centre Make Your Publications Visible. zbw for Economics Koeder, Marco Josef; Tanaka, Ema; Mitomo, Hitoshi Conference Paper "Lootboxes" in digital games - A gamble with consumers in need of regulation? An evaluation based on learnings from Japan 22nd Biennial Conference of the International Telecommunications Society (ITS): "Beyond the Boundaries: Challenges for Business, Policy and Society", Seoul, Korea, 24th-27th June, 2018 Provided in Cooperation with: International Telecommunications Society (ITS) Suggested Citation: Koeder, Marco Josef; Tanaka, Ema; Mitomo, Hitoshi (2018) : "Lootboxes" in digital games - A gamble with consumers in need of regulation? An evaluation based on learnings from Japan, 22nd Biennial Conference of the International Telecommunications Society (ITS): "Beyond the Boundaries: Challenges for Business, Policy and Society", Seoul, Korea, 24th-27th June, 2018, International Telecommunications Society (ITS), Calgary This Version is available at: http://hdl.handle.net/10419/190385 Standard-Nutzungsbedingungen: Terms of use: Die Dokumente auf EconStor dürfen zu eigenen wissenschaftlichen Documents in EconStor may be saved and copied for your Zwecken und zum Privatgebrauch gespeichert und kopiert werden. personal and scholarly purposes. Sie dürfen die Dokumente nicht für öffentliche oder kommerzielle You are not to copy documents for public or commercial Zwecke vervielfältigen, öffentlich ausstellen, öffentlich zugänglich purposes, to exhibit the documents publicly, to make them machen, vertreiben oder anderweitig nutzen. publicly available on the internet, or to distribute or otherwise use the documents in public. Sofern die Verfasser die Dokumente unter Open-Content-Lizenzen (insbesondere CC-Lizenzen) zur Verfügung gestellt haben sollten, If the documents have been made available under an Open gelten abweichend von diesen Nutzungsbedingungen die in der dort Content Licence (especially Creative Commons Licences), you genannten Lizenz gewährten Nutzungsrechte. -
EA to Acquire Respawn Entertainment
November 9, 2017 EA to Acquire Respawn Entertainment Leading Development Studio Brings Top Talent & Award-Winning Titanfall IP to EA's Portfolio REDWOOD CITY, Calif.--(BUSINESS WIRE)-- Electronic Arts Inc. (NASDAQ: EA) announced today an agreement to acquire Respawn Entertainment, LLC, a leading independent game development studio and creators of AAA shooter and action games including the critically-acclaimed Titanfall™ franchise. Respawn brings to EA the proven leadership and studio talent behind Titanfall and Titanfall 2, two of the most highly-rated shooter titles in the last five years. The acquisition builds on a successful publishing partnership between Respawn and EA, with multiple projects currently in development - a new title in the Titanfall franchise, a game set in the Star Wars™ universe and a VR gaming experience. "We've seen firsthand the world-class caliber of Respawn as a development studio with incredible vision, deep talent and an inspiring creative mindset," said Andrew Wilson, CEO of Electronic Arts. "Our longtime partnership is grounded in a shared desire to push the boundaries and deliver extraordinary and innovative new experiences for players around the world. Together, we've brought this to life in the Titanfall franchise, and now with the Respawn team joining EA, we have exciting plans to accomplish even more amazing things in the future." "We started Respawn with the goal to create a studio with some of the best talent in the industry, and to be a top developer of innovative games," said Vince Zampella, CEO of Respawn Entertainment. "We felt that now was the time to join an industry leader that brings the resources and support we need for long term success, while still keeping our culture and creative freedom.