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Books on the topic 'Video game market'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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1

Zeng, Jun Yan. The virtual war: A marketing strategy of the video game console market. Oxford: Oxford Brookes University, 2003.

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2

Bubley, Dean. Virtual reality: Video games or business tool? London: Financial Times Business Information, 1994.

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3

Mark, Walker. Video games: The dominant form of electronic entertainment? Norwalk, CT: Business Communications Co., 2001.

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4

Suter, Beat, René Bauer, and Mela Kocher, eds. Narrative Mechanics. Bielefeld, Germany: transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839453452.

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What do stories in games have in common with political narratives? This book identifies narrative strategies as mechanisms for meaning and manipulation in games and real life. It shows that the narrative mechanics so clearly identifiable in games are increasingly used (and abused) in politics and social life. They have »many faces«, displays and interfaces. They occur as texts, recipes, stories, dramas in three acts, movies, videos, tweets, journeys of heroes, but also as rewarding stories in games and as narratives in society - such as a career from rags to riches, the concept of modernity or market economy. Below their surface, however, narrative mechanics are a particular type of motivational design - of game mechanics.

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5

Productions, Scenehouse, and Packaged Facts (Firm), eds. The U.S. market for video games and PC entertainment software. New York: Kalorama Information, 1998.

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6

Williams, Dimitri, and Adam S. Kahn. Games, Online and off. Edited by William H. Dutton. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199589074.013.0010.

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This chapter, which discusses the evolution of innovative research on game playing in the household and online, such as in studies of massive multiplayer, three-dimensional Internet game environments, demonstrates the need for Internet Studies to deal with the ebbs and flows of the market and the rapid pace of technical change. The video game industry is one of the most profitable and dynamic industries in entertainment. Its future will possibly add a mix of social connectivity and continuing advances in technology as players seek each other as much as they seek games. Casual games are frequently incorporated into pre-existing social networks. Serious games did result in a change in knowledge, opinions, and possible future actions. The research community surrounding games comes from communication, psychology, cultural and critical studies, sociology, and now even business, economics, and computer science.

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7

Paavilainen, Janne, Hannu Korhonen, Elina Koskinen, and Kati Alha. Heuristic evaluation of playability. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198794844.003.0015.

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The fierce competition in the video games market and new revenue models such as free-to-play emphasize the importance of good playability for first-time user experience and retention. Cost-effective and flexible evaluation methods such as heuristic evaluation is suitable for identifying playability problems in different phases of the game development life cycle. In this chapter we introduce the heuristic evaluation method with updated playability heuristics, present example studies on identifying playability problems in social network games, and propose new heuristics for evaluating free-to-play games.

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8

McAlpine, Kenneth B. Nintendo’s NES. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190496098.003.0005.

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The North American video game crash of 1983 made it difficult for Nintendo to break into the American market with its new console, the Nintendo Entertainment System. When it finally did gain a toehold in 1986, it was the Nintendo ‘Seal of Quality’, a graphical rosette that was emblazoned on every official Nintendo release, that encouraged consumers to buy video game cartridges once more. This chapter explores how the difficulties in getting the Nintendo Entertainment System to market, coupled with a strong sense of house style, played an important part in creating a consistency in the 8-bit sound, in terms of both quality and style. The chapter focuses on Super Mario Bros., the game that defined the Nintendo Entertainment System. Its catchy soundtrack captured the qualities of the gameplay. It discusses how the game’s composer, Koji Kondo, defined the formal grammar and style of a new form of media music, the interactive game underscore, and worked with the hardware to create a light, jazz-inspired sound.

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9

Staff, Paizo. Black Markets. Paizo Inc., 2015.

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10

Oates, Thomas P. Man Management. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040948.003.0006.

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This chapter examines how commercial entertainments relating to the NFL advance a vision of idealized citizenship in the twenty-first century U.S. which is budget-conscious and market-oriented. The chapter extends the concerns with productivity, which were developed in the previous two chapters, focusing this interest on the construction of a financialized citizen, who is analytical and concerned with organizational strategies. Through football-related entertainments, these idealized figures are imagined as valorized men. The chapter focuses on promotions for the popular digital entertainments of fantasy football and the video game series Madden NFL. Both games position NFL fans to act as effective managers of teams and players. In doing so, they impart more generally applicable lessons about fiscal management and social relations in the late capitalist period, while offering forms of masculine validation for those who succeed.

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11

(Firm), Packaged Facts, ed. The U.S. and European markets for video games and PC entertainment software. New York, N.Y: Packaged Facts, 1996.

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12

Elkins, Evan. Locked Out. NYU Press, 2019. http://dx.doi.org/10.18574/nyu/9781479830572.001.0001.

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“This content is not available in your country.” Media consumers around the world regularly run into this reminder of geography’s imprint on digital culture. Despite utopian hopes of a borderless digital society in an era of globalization, DVDs, video games, and streaming platforms include digital rights management mechanisms like region codes and IP address detection systems that block media access within certain territories. Although propped up by national and transnational intellectual property regulation, these technologies of “regional lockout” are designed primarily to keep the entertainment industries’ global markets distinct. Beyond this, they frustrate consumers around the world and place certain territories on a hierarchy of global media access. Drawing on extensive research of media-industry strategies, consumer and retailer practices, and media regulation, Locked Out explores regional lockout in DVDs, console video games, and streaming video and music platforms. The book argues that regional lockout has shaped global media culture over the past few decades in three interrelated ways: as technological regulation, media distribution, and geocultural discrimination. As a form of digital rights management, regional lockout builds in limitations on the affordances of digital software and hardware. As distribution, it seeks to ensure that digital technologies accommodate media industries’ traditional segmentation of markets. Finally, as a cultural system, regional lockout shapes and reflects long-standing global hierarchies of power and discrimination.

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13

McAlpine, Kenneth B. Netlabels and Real-World Festivals. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190496098.003.0009.

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This chapter explores how the infrastructure of the established music industry—the routes to market and, just as significantly, the gatekeepers who control them—emerged spontaneously as part of the chipscene, albeit with a noncommercial ethos, giving rise to an economy built on community esteem and authenticity. The chapter begins by exploring how diskmags and archives provided a way for fans to collect and share the music that they loved. Gathering together a complete collection of the video game music that fans loved—a common feature of fandom—and providing software players and emulators that allowed the music to be played on modern computer platforms enabled 8-bit music to be collected and shared. From these archives grew netlabels, online record labels that publish and distribute new music, and festivals, most significantly the Blip festival, which has grown into a major international event, with shows in North America, Europe, Japan, and Australia.

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14

Creating Blockbusters!: How to Generate and Market Hit Entertainment for TV, Movies, Video Games, and Books. Pelican Publishing Company, Incorporated, 2012.

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15

Parker, Philip M. The World Market for Video Games for Use with a Television Receiver: A 2007 Global Trade Perspective. ICON Group International, Inc., 2006.

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16

The World Market for Video Games for Use with a Television Receiver: A 2004 Global Trade Perspective. Icon Group International, Inc., 2005.

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