With as rapid a growth that Esports has had and its current introduction to the public mainstream, there is yet to be sufficient studies and research compiled to fully develop the profile of an Esport consumer. While companies such as Neilson and others have begun scratching the surface of the Esport community, there is much that is relatively unknown. Consumer behavior patterns of traditional sports has been defined for years, however as the billion dollar a year industry that Esports is, Esport consumer behavior is still taking shape. This thesis will attempt to build upon previous studies conducted by former Arizona State University students to continue to define the Esport consumer. Through quantitative research conducted via an online survey consisting of demographic, behavioral, and psychographic questions, the stereotype of an Esport consumer will be dissolved to reveal their true nature. This study will prove to be an iteration among the previous research by -<br/>• Developing a functional segmentation of Esport consumers, which will allow for marketers within the industry to better understand their audience in their attempts to persuade/incentivize<br/>• Understanding and dissecting the scale of influence that content creators (those who play Esports for the purpose of entertaining through various platforms) and competitive Esport athletes have on certain segmentations of consumers<br/>• Discovering the impact the COVID-19 pandemic has had on certain segmentations in regards to their time spent playing themselves<br/><br/> After compiling results from this questionnaire, marketers that are both endemic and non-endemic brands seeking to partner within the Esports space will have a better understanding of their audience and how to connect with them.

Santé is an event planning company that aims to address the growing need for mental health support among university students. The company's focus is on creating events that are specifically designed to help students cope with stress. Santé's events offer a variety of activities and resources that cater to students' mental and emotional needs. From outdoor walks to movie night sessions, Santé's events aim to create a safe and welcoming space for students to de-stress and connect with others. With a team of experienced event planners, Santé is dedicated to providing high-quality events that promote mental wellness and help students navigate the challenges of university life.

This trans-disciplinary thesis questions how theories of generification are useful in clarifying misunderstood literature and the role of similar, f¬¬ormulaic narratives in literary business. It attempts to answer the question through four parts: defining generification and related business marketing topics; a literary case study centering on Frankenstein; a second case study on the poem “The Road Not Taken”; and, an application of the demonstrated ideas to Young Adult (YA) publishing trends of 2005-2015. The first section concludes that the presence of a formula, created through the theories of heroic journeys and archetypes, lends itself to generification in literary marketing as publishing houses attempt to find the next virally successful narrative. The first case study, focused on Mary Shelley’s Frankenstein, establishes the existence of generification throughout the work’s life, attributing the generification to her characterization of both Doctor and Creature as antiheroes, a purposeful overlap leading to centuries of misinterpretation. The second case study centers around Robert Frost’s poem “The Road Not Taken”, concluding that in this situation generification greatly impacted both the legacy of the work and the image of the author. The section examines the role of Americanization in the confabulation of both the poem and the author, proving that the butchered interpretation greatly damages the reading of the poem. Finally, this paper takes the established concept of generification, along with related ideas such as narrative economics and formula fiction, and applies these ideas to an analysis of the YA publishing industry. It concludes that the simple existence of fandom culture creates a paradox: the fandom demands a constant stream of quality narratives, both inciting and rejecting any purposeful generification attempted on the part of the publishers.