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- Creators: Department of Supply Chain Management
Description
This paper goes through a two-pronged approach in the attempt to understand E-Sports, entertainment gaming, and the creation of the E-Sports bar/Barcade. The first portion aims to explain and quantify the growth of electronic sports (or E-sports). This new craze has been growing immensely in the past 5 years, by viewership and by monetary endorsements. With these changes and growth patterns, we then move on to explain one of the many niche markets that has been created from the growth of E-sports and entertainment gaming. Through our experience in the field, we have evaluated 8 E-sports bars and Barcades in order to confirm their viability in the marketplace. Through our worldwide research we have found that E-sports will continue to grow and that Barcades will not only be viable, but will be a competitive market in the next 10-20 years.
ContributorsNist, Nicholas (Co-author) / Hester, James (Co-author) / Brooks, Dan (Thesis director) / Forss, Brennan (Committee member) / Barrett, The Honors College (Contributor) / Department of Economics (Contributor) / Department of Supply Chain Management (Contributor) / W. P. Carey School of Business (Contributor) / Department of Psychology (Contributor)
Created2015-05
Description
The current model of revenue generation for some free to play video games is preventing the companies controlling them from growing, but with a few changes in approach these issues could be alleviated. A new style of video games, called a MOBA (Massive Online Battle Arena) has emerged in the past few years bringing with it a new style of generating wealth. Contrary to past gaming models, where users must either purchase the game outright, view advertisements, or purchase items to gain a competitive advantage, MOBAs require no payment of any kind. These are free to play computer games that provides users with all the tools necessary to compete with anyone free of charge; no advantages can be purchased in this game. This leaves the only way for users to provide money to the company through optional purchases of purely aesthetic items, only to be purchased if the buyer wishes to see their character in a different set of attire. The genre’s best in show—called League of Legends, or LOL—has spearheaded this method of revenue-generation. Fortunately for LOL, its level of popularity has reached levels never seen in video games: the world championships had more viewers than game 7 of the NBA Finals (Dorsey). The player base alone is enough to keep the company afloat currently, but the fact that they only convert 3.75% of the players into revenue is alarming. Each player brings the company an average of $1.32, or 30% of what some other free to play games earn per user (Comparing MMO). It is this low per player income that has caused Riot Games, the developer of LOL, to state that their e-sports division is not currently profitable. To resolve this issue, LOL must take on a more aggressive marketing plan. Advertisements for the NBA Finals cost $460,000 for 30 seconds, and LOL should aim for ads in this range (Lombardo). With an average of 3 million people logged on at any time, 90% of the players being male and 85% being between the ages of 16 and 30, advertising via this game would appeal to many companies, making a deal easy to strike (LOL infographic 2012). The idea also appeals to players: 81% of players surveyed said that an advertisement on the client that allows for the option to place an order would improve or not impact their experience. Moving forward with this, the gaming client would be updated to contain both an option to order pizza and an advertisement for Mountain Dew. This type of advertising was determined based on community responses through a sequence of survey questions. These small adjustments to the game would allow LOL to generate enough income for Riot Games to expand into other areas of the e-sports industry.
ContributorsSeip, Patrick (Co-author) / Zhao, BoNing (Co-author) / Kashiwagi, Dean (Thesis director) / Kashiwagi, Jacob (Committee member) / Barrett, The Honors College (Contributor) / Sandra Day O'Connor College of Law (Contributor) / Department of Economics (Contributor) / Department of Supply Chain Management (Contributor)
Created2015-05
Description
The purpose of this thesis paper is to discuss the life cycle curves of today’s innovation-driven digital services and how these life cycles can be extended. To decide on this subject, four supply chain management seminars were attended and summarized, and personal notes were added. After analysis of the seminars, the paper will dive deeper into the topic discussed by Professor Adegoke Oke of Arizona State University in his lecture on innovation-driven life cycle curves and their exemplification of the shark fin curve. This paper will analyze the nature of product life cycle curves, discuss three PC games and their life cycle curves, and evaluate the best methods for creating life cycle extension.
ContributorsDriscoll, Trevor (Author) / Oke, Adegoke (Thesis director) / Printezis, Antonios (Committee member) / Department of Supply Chain Management (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
Dale and Edna is a hybrid animated film and videogame experienced in virtual reality with dual storylines that increases in potential meanings through player interaction. Developed and played within Unreal Engine 4 using the HTC Vive, Oculus, or PlayStation VR, Dale and Edna allows for players to passively enjoy the film element of the project or partake in the active videogame portion. Exploration of the virtual story world yields more information about that world, which may or may not alter the audience’s perception of the world. The film portion of the project is a static narrative with a plot that cannot be altered by players within the virtual world. In the static plot, the characters Dale and Edna discover and subsequently combat an alien invasion that appears to have the objective of demolishing Dale’s prize pumpkin. However, the aliens in the film plot are merely projections created by AR headsets that are reflecting Jimmy’s gameplay on his tablet. The audience is thus invited to question their perception of reality through combined use of VR and AR. The game element is a dynamic narrative scaffold that does not unfold as a traditional narrative might. Instead, what a player observes and interacts with within the sandbox level will determine the meaning those players come away from this project with. Both elements of the project feature modular code construction so developers can return to both the film and game portions of the project and make additions. This paper will analyze the chronological development of the project along with the guiding philosophy that was revealed in the result.
Keywords: virtual reality, film, videogame, sandbox
Keywords: virtual reality, film, videogame, sandbox
ContributorsKemp, Adam Lee (Co-author) / Kemp, Bradley (Co-author) / Kemp, Claire (Co-author) / LiKamWa, Robert (Thesis director) / Gilfillan, Daniel (Committee member) / Arts, Media and Engineering Sch T (Contributor) / Thunderbird School of Global Management (Contributor) / School of Film, Dance and Theatre (Contributor) / School of International Letters and Cultures (Contributor, Contributor) / Barrett, The Honors College (Contributor)
Created2019-05