191,516 research outputs found

    Beyond billiard balls: transnational flows, cultural diversity and digital games

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    Current mass media policy and regulation in Western Europe is primarily state‐based and increasingly based on the presumption that a competitive market will maximise individual choice and diversity. Policy interventions are primarily justified in terms of specific market failures including concentration of producers in the marketplace, the need to financially reward content developers financially for their work and issues related to distribution bottlenecks.1 Nevertheless, it is clear that at the national and European levels, public interest and cultural arguments also inform policy development and regulation. New media, including online and offline digital games, represent a new area for policy makers at the national and international levels. This chapter aims to contribute to our understanding of how digital games operate as markets and as social and cultural activities in order to inform discussions about the need for policy interventions

    Beyond billiard balls: transnational flows, cultural diversity and digital games

    Get PDF
    Current mass media policy and regulation in Western Europe is primarily state‐based and increasingly based on the presumption that a competitive market will maximise individual choice and diversity. Policy interventions are primarily justified in terms of specific market failures including concentration of producers in the marketplace, the need to financially reward content developers financially for their work and issues related to distribution bottlenecks.1 Nevertheless, it is clear that at the national and European levels, public interest and cultural arguments also inform policy development and regulation. New media, including online and offline digital games, represent a new area for policy makers at the national and international levels. This chapter aims to contribute to our understanding of how digital games operate as markets and as social and cultural activities in order to inform discussions about the need for policy interventions

    Negotiating intra-Asian games networks: on cultural proximity, East Asian games design and Chinese farmers

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    The East Asian online games boom started in South Korea in the late 1990s. Following unqualified domestic success, South Korean games were subsequently exported to other regional markets throughout East and South East Asia. During this time, game development companies specialising in online games for the Asian market also emerged in China and Japan. This essay proposes that one of the key features in this networked gaming context is the relationship between the adaptation of regional East Asian aesthetic and narrative forms in game content, and the parallel growth in more regionally-focused marketing and distribution initiatives. East Asian online games design and marketing play to notions of perceived cultural proximity within the region. By encompassing these considerations, this essay aims to offer a contextual analysis of intra-Asian games networks in terms of production processes and related emergent concerns. How have these online games networks evolved? What are the cultural politics inherent in present-day games networks within East Asia? How may ongoing developments in these games networks contribute to an understanding of contemporary transnational Asianness and its signification within regional cultural flows? To what extent are intra-Asian game networks reflective of imbalanced power relations within the region

    The Industry and Policy Context for Digital Games for Empowerment and Inclusion:Market Analysis, Future Prospects and Key Challenges in Videogames, Serious Games and Gamification

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    The effective use of digital games for empowerment and social inclusion (DGEI) of people and communities at risk of exclusion will be shaped by, and may influence the development of a range of sectors that supply products, services, technology and research. The principal industries that would appear to be implicated are the 'videogames' industry, and an emerging 'serious games' industry. The videogames industry is an ecosystem of developers, publishers and other service providers drawn from the interactive media, software and broader ICT industry that services the mainstream leisure market in games, The 'serious games' industry is a rather fragmented and growing network of firms, users, research and policy makers from a variety of sectors. This emerging industry is are trying to develop knowledge, products, services and a market for the use of digital games, and products inspired by digital games, for a range of non-leisure applications. This report provides a summary of the state of play of these industries, their trajectories and the challenges they face. It also analyses the contribution they could make to exploiting digital games for empowerment and social inclusion. Finally, it explores existing policy towards activities in these industries and markets, and draws conclusions as to the future policy relevance of engaging with them to support innovation and uptake of effective digital game-based approaches to empowerment and social inclusion.JRC.J.3-Information Societ

    Rising Costs, Stagnant Prices: How Video Game Companies Truly Earn Profit

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    Despite being one of the youngest forms of entertainment, video games have grown from a relatively niche market into an economic juggernaut, easily eclipsing both film and music in market value. In particular, the global video games industry has doubled in value in under a decade, from an estimated global revenue of approximately 80billionin2012toapproximately80 billion in 2012 to approximately 160 billion in 2020. In order to better understand the economic principles underlying the rise of the gaming industry over the past decade, this project includes an interview of game developer and industry insider Rami Ismail and an in-depth literature review. This meteoric growth in revenue reflects two major shifts in the gaming industry. The first was the rise in digital distribution as a replacement for physical media. This digitalization in turn allowed developers to shift away from the traditional business model of one transaction per customer per game, and instead towards a model of games-as-a-service (GaaS) wherein each game continually offers new content for players to purchase. The standard launch price of premium games has not risen above 60 USD since 2005, with many games costing far less, despite the fact that inflation means that 60in2021isworthmuchlessthan60 in 2021 is worth much less than 60 in 2005. Customers have shown a strong resistance to price increases, with many even complaining about current prices. As such, firms have had to find additional means of increasing their revenue in order to remain profitable. The most common solution has simply to give gamers more opportunities to pay for the same game. Taking advantage of a microeconomic pricing strategy called price discrimination, many developers have taken to offering additional purchases in order to earn the maximum amount of revenue from the players with the greatest willingness to pay

    Entertainment in the 21st Century: Is an Independent Networked Multimedia Production and Promotion Firm a Viable Business Option in the Modern Entertainment Industry?

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    “Artists are being stifled by the ‘major label’ stance that exclusively demands what’s ours is ours and can only be handled by us. It should be more about creative freedom” (Monstercat Manifesto). Over the past fifteen years, we have witnessed how the internet has changed how entertainment is distributed and consumed. This has led to a change in behavior from major entertainment production firms, and has given way to the surge of independent labels and production houses. Now, entertainers can lead successful careers by reaching their audience through digital platforms, successfully decreasing production and distribution costs. Consumers can find an unlimited amount of ad-supported content that they can access for free. Understanding these change is vital in finding and solving the problems these changes have produced

    The effect of (non-)competing brokers on the quality and price of differentiated internet services

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    Price war, as an important factor in undercutting competitors and attracting customers, has spurred considerable work that analyzes such conflict situation. However, in most of these studies, quality of service (QoS), as an important decision-making criterion, has been neglected. Furthermore, with the rise of service-oriented architectures, where players may offer different levels of QoS for different prices, more studies are needed to examine the interaction among players within the service hierarchy. In this paper, we present a new approach to modeling price competition in (virtualized) service-oriented architectures, where there are multiple service levels. In our model, brokers, as intermediaries between end-users and service providers, offer different QoS by adapting the service that they obtain from lower-level providers so as to match the demands of their clients to the services of providers. To maximize profit, players, i.e. providers and brokers, at each level compete in a Bertrand game while they offer different QoS. To maintain an oligopoly market, we then describe underlying dynamics which lead to a Bertrand game with price constraints at the providers’ level. We also study cooperation among a subset of brokers. Numerical simulations demonstrate the behavior of brokers and providers and the effect of price competition on their market shares.Accepted manuscrip

    Company-university collaboration in applying gamification to learning about insurance

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    Incorporating gamification into training–learning at universities is hampered by a shortage of quality, adapted educational video games. Large companies are leading in the creation of educational video games for their internal training or to enhance their public image and universities can benefit from collaborating. The aim of this research is to evaluate, both objectively and subjectively, the potential of the simulation game BugaMAP (developed by the MAPFRE Foundation) for university teaching about insurance. To this end, we have assessed both the game itself and the experience of using the game as perceived by 142 economics students from various degree plans and courses at the University of Seville during the 2017–2018 academic year. As a methodology, a checklist of gamification components is used for the objective evaluation, and an opinion questionnaire on the game experience is used for the subjective evaluation. Among the results several findings stand out. One is the high satisfaction of the students with the knowledge acquired using fun and social interaction. Another is that the role of the university professors and the company monitors turns out to be very active and necessary during the game-learning sessions. Finally, in addition to the benefits to the university of occasionally available quality games to accelerate student skills training, the company–university collaboration serves as a trial and refinement of innovative tools for game-based learning

    “You Must Construct Additional Pylons”: Building a Better Framework for Esports Governance

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    The popularity of “esports,” also known as “electronic sports” or competitive video gaming, has exploded in recent years and captured the attention of cord-cutting millennials—often to the detriment of sports such as basketball, football, baseball, and hockey. In the United States, the commercial dominance of such traditional sports stems from decades of regulatory support. Consequently, while esports regulation is likely to emulate many aspects of traditional sports governance, the esports industry is fraught with challenges that inhibit sophisticated ownership and capital investment. Domestic regulation is complicated by underlying intellectual property ownership and ancillary considerations such as fluctuations in a video game’s popularity. Since analogous reform is nigh impossible, nascent governance organizations have been created to support the professionalization of esports as a new entertainment form. As esports consumption continues to grow, enterprising stakeholders are presented with the unique opportunity to create regulatory bodies that will shape the esports industry. This Note analyzes how the professional sports industry and foreign esports markets have addressed governance challenges that arise from differences between traditional sports and competitive video gaming. It concludes by exploring two potential pathways for domestic esports governance. View PD

    A manifesto for the creative economy

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    The UK\u27s creative economy is one of its great national strengths, historically deeply rooted and accounting for around one-tenth of the whole economy. It provides jobs for 2.5 million people – more than in financial services, advanced manufacturing or construction – and in recent years, this creative workforce has grown four times faster than the workforce as a whole. But behind this success lies much disruption and business uncertainty, associated with digital technologies. Previously profitable business models have been swept away, young companies from outside the UK have dominated new internet markets, and some UK creative businesses have struggled to compete. UK policymakers too have failed to keep pace with developments in North America and parts of Asia. But it is not too late to refresh tired policies. This manifesto sets out our 10-point plan to bolster one of the UK\u27s fastest growing sectors
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