Innovation and Strategy of Online Games

Wi, Jong H

doi:10.1142/9781848163577

Cited by 9 publications

(11 citation statements)

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“…This creates a "pseudo-fund" of cyber money, online currency interchangeable amongst online gamers. In such a community, one is commonly judged by the strength of one's character; thus players are eager to invest in improving their characters" (Wi, 2009). Good characters are only good when they are part of an interesting story.…”

Section: Importance Of Good Characters Stories and Worldsmentioning

confidence: 99%

Impact of virtual and augmented reality on theme parks

Nelson¹

2021

Preprint

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Virtual Reality (VR) and Augmented Reality (AR), provide immersive experiences that are increasingly considered for implementation within Theme Parks. This paper seeks to determine the impact of virtual technologies on the Theme Parks. The method for this paper involved interviews with industry leading experts from the Theme Park industry. The interviews were structured to determine more detailed information on how they are approaching VR/AR in Theme Park attractions. Theme Parks need to provide guests with something they can’t get at home. There are many challenges with head mounted displays (HMD) in Theme Parks, as a result, several participants pointed to Mixed Reality (MR) as a better current solution. It mixes physical spaces with digital overlays with less complicated and operationally challenging technology. New attractions using VR/AR/MR technologies need to carefully consider what content they will use, mechanics of the experience and the business case to ultimately achieve overall success.

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Section: Importance Of Good Characters Stories and Worldsmentioning

confidence: 99%

Impact of virtual and augmented reality on theme parks

Nelson¹

2021

Preprint

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“…The South Korean government also set up development agencies through the Game Industry Promotion Act of 2006. Other accompanying measures were introduced: creation of a Game Rating Board, an official certification system (for game planners, computer graphic designers, and programmers), and an alternative to military service to provide skilled workers for key (eligible) industries (Wi, 2009). It is worth noting that these cases show long-term policies that are consistent with existing approaches by both governments.…”

Section: Policies For Global Competition: Some Reflections From the Vmentioning

confidence: 99%

The Race for Innovation in the Media and Content Industries: Legacy Players and Newcomers: Lessons for Policy Makers from the Video Game and Cinema Industries

Benghozi

Salvador

Simon³

2017

The Journal of Arts Management, Law, and Society

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How do media industries innovate? And how can they compete with powerful new competitors from the information technology world? Innovation is usually linked with high-tech, and "creativity" is associated to media and content industries (MCIs), even if these industries rely on various technologies. The article focuses on the video game and cinema industries. It presents the contrasting specific forms of innovation from these two selected industries. Cultural public policies have always been designed mainly to support the production of creative content and generate social welfare instead of focusing on technological innovations. In the last decades, all these industries underwent significant transformations of their production processes, not to mention the transformation due to the introduction of computers within the firms. The findings raised by recent studies provide a fresh understanding of the nature of innovation, and its place in these industries that does not boil down to simply creating new content. Instead, economic dynamics have recently been opened in creative and cultural companies: a regular capacity for innovation is observable. The paper blends a general outlook that sets the scene of the transformations these industries have gone through with some selected case studies to highlight some innovative elements. The evolution of the development models and the changes brought by technology raise questions about how to (re)consider the role of public intervention in the cultural and creative industries (CCIs).

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“…From an economic viewpoint, Noam has highlighted that the community model may help to reach a critical mass, as it was the case for radio in the 20s and internet in the 80s (Noam and Pupillo, 2008), to create the market but that then model is then dismissed. Wi (2009) offered similar views for video games. It seems dubious that UGC can become the main source for the provision of content at least in the case of the highly capital-intensive sectors of cinema and video games, with high fixed costs of production as noted by Cameron and Bazelon (2011, p. 36): “With a major film costing over $200 million on average, of which $39 million is spent just on marketing the film, it is hard to imagine that selling credits or garnering attention in social media sites will ever be able to cover the costs or inspire investors to back such a large undertaking”.…”

Section: Conclusion: New Forms Of Creativity: the Community Model And Its Limitsmentioning

confidence: 99%

User generated content – users, community of users and firms: toward new sources of co-innovation?

Simon

2016

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Purpose The paper aims at dealing with the role of users in the creation (or curation) and distribution of digital contents. User generated contents (UGCs) refer to a variety of media such as Wikis, question-answer databases, digital video, blogging, podcasting, forums, review sites, social networking, social media and mobile phone photograph. It attempts assessing their potential role as co-innovators. The paper follows the progressive creation of a new space for users, tracking its specific forms in each subsector of the media and content industries. Each subsector reveals a disruption in the production and circulation of new content. Design/methodology/approach The paper is based on desk research, a review of literature, review of the technical journals, and analysis of annual reports. The paper is part of an on-going research project on media and content industries. Findings The paper argued that since 2007 (release of iPhone and Kindle) the landscape went through a dramatic change, scaling up. It illustrates how the entire value chain of content (production/distribution/consumption) has opened up. The amount of UGC produced triggered a qualitative jump, ushering in new modes of interaction between the customers and creators, without necessarily turning the consumer into a full-fledge producer. The UGC model adds another source of production, thereby increasing diversity, ushering in new ways for talent scouting. It reveals various forms of co-creation and the role of a community model while also showing its limits. Research limitations/implications This paper concentrates on digital media and does not deal with any other aspect such as knowledge sharing (Wikis). The paper does not cover the reactions of traditional industry players to UGC (some elements are given for newspaper), neither possible policy and regulatory responses The paper relies mostly on reports from news agencies, consultancies or annual reports from companies so as to delineate the main trends. Practical implications It shows that the role of customers did change within this context. The new channels offer novel ways to produce, curate and disseminate contents. It offers a range of examples from different industries. Social implications The paper documents the participation of consumers in the production of content. it hints at the evolution of labour, alludes to the issue of diversity and of creativity, but does not address other societal issues. Originality/value Some reports were devoted to UGC in 2007 (OECD) and 2008 (Idate-IVIR-TNO) but in spite of the major changes that took place over the past decade, the research has been scarce, or has concentrated on a specific segment of the media industry. The paper is trying to offer a comprehensive overview of the various segments. Each sub-segment of the media industry illustrates a specific dimension.

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Innovation and Strategy of Online Games

Cited by 9 publications

References 0 publications

Impact of virtual and augmented reality on theme parks

Impact of virtual and augmented reality on theme parks

The Race for Innovation in the Media and Content Industries: Legacy Players and Newcomers: Lessons for Policy Makers from the Video Game and Cinema Industries

User generated content – users, community of users and firms: toward new sources of co-innovation?

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