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The reason I like Lineage 2 is not due to its exceptional gameplay, because, lets face it, it has a Like adventures on a quest to defeat evil and promote righteousness. When I first created my main Aeore I didn't think of doing this but I have met few .. Generally the hierarchy should be Leader>Clan Captains-CP Leaders. This time I'm going to take a close look at Lineage 2: Revolution. When basic user needs are meet, designer is able to move to higher levels in the hierarchy of needs. Gameplay UI is no different, it's hard to follow changes in the UI. to pay attention is when taking new quests and receiving rewards. Lineage 2 Revolution is obviously a mobile game but to get the most out of .. After this you can just ignore your main quest for a while and do it when way to progress your character is to have the following conditions met.
While the game is not yet old enough to be considered one of the grandparents of the MMO industry unlike its predecessor it has at least reached the stage where it can now be considered something of an eerily androgynous uncle.
Released way back in in South Korea and subsequently to the rest of the world inLineage 2 has lived a long and fruitful life. Having seen the addition of no less than 10 major content expansions, it has weathered the storm of time remarkably well, maintaining strong player numbers and a fiercely loyal fanbase largely in the Asian market as well as surviving the release of its younger and sexier cousin Aion.
Only in November of last year did the game finally abandon its old monthly subscription fees, joining many younger games in the ever more popular free to play market with its most recent and largest expansion to date, Goddess of Destruction. First though, let me get one thing out of the way before going any further.
I really did not enjoy playing Lineage 2. There, I said it. I actually think the game remains very strong in many aspects, though it is certainly not without its flaws, some of which I shall elaborate on later. Simply put, Lineage 2 fills a niche role, one that I no longer enjoy but one that is no less valid or in fact popular than it was back in Now before I get caught up in all that, let me for the moment go over one thing that Lineage 2 has done very, very right with its latest and greatest content release.
Every dungeon, every character class and race, every level of progression. A beacon that tells us developers can on rare occasions avoid the lure of unnecessary and often self-defeating greed in favour of a well-reasoned and in many cases very successful method of F2P gaming that is not a shameless attempt at squeezing the last drops of blood from a dwindling playerbase before allowing it to die.
Alongside this mass of content was made free to all players, NCSoft created many quality-of-life and aesthetics based items available for purchase via a microtransaction marketplace.
These include several items and bundles that can speed up character progression and power, though thankfully do not seem to unbalance PvP in the later levels. The end result is something akin to what players have come to expect from games like League of Legends, providing an entirely optional monetary sink to quicken up progression or decorate your character as you wish.
In addition to all the existing content becoming freely available, Goddess of Destruction brings with it many new enhancements and additions to the game. In an MMORPG, a player as a consumer can choose the virtual reality she wants to live in that is different from thrown projections of real life [ 17 ]. A game developer needs to understand the dual structure of societies to successfully implement this strategy.
While playing a game, certain type of players may acquire more freedom and is less dependent on the narrative structure. That kind of game consumers or players could prefer a game that allows more objective freedom since even games that are less dependent on narrative structures can provide different types of rewards that other games dependent on narrative structure can provide. This could be conceptualized as an extrinsic reward. One of the reasons for the success of Lineage, one of the popular Korean MMORPG, is that the game can provide new forms of enjoyment even after the avatar has reached the maximum level at which the player is familiarized with all the skills.
Even after all of the quests are completed, instead of letting players reach the tip of flow channel and feeling burdensome, Lineage provides another type of enjoyment by siege warfare between blood pledges [ 18 ]. Steinkuehler [ 14 ] described that the narrative and history of Lineage could be created by within- and between-pledge activities. Yee [ 19 ] proposes three categories for motivations for playing online games: It is natural that each component has weak correlations with the other and no motivation is more important than the others [ 19 ], and eventually all factors play roles for any game.
However, under the assumption that achievement is the general motivation of playing any games [ 7 ], a combination of achievement and immersion is mainly the motivations behind playing games more dependent on narrative structures. Therefore, a combination of social factors such as achievement, socializing, relationship, and teamwork can be the motivation for playing a game that is less dependent on narrative structure.
Thus enjoyment can be provided to a player through the extrinsic reward from forming communities, mutual competition, and pride from comparison. RMT, Narrative Structure, and Playing MMORPGs Since RMT plays the role of a bridge between reality and virtual reality, affecting motives and rewards of playing game, there have been attempts to explain this phenomenon by not only game researchers, but also social scientists studying e-business and policy [ 21 — 24 ].
Though the marginal cost of producing the virtual product is almost zero, the products are different from nonrival information goods as that they are not instantaneously reproduced [ 25 ]. Therefore, the number of users is important for sustainability of MMORPG and for developers who earn profit from the users, as profits of an online game come from its playing time [ 26 ]. Thus, like the existing literature, we focus on the effect of RMT on game usage. Nowadays, economic aspect became crucial factor to manage the virtual world so thus patches or updates have been dedicated to manage economic problems as well as traditional gameplay issues [ 28 ].
In this context, RMT can be seen as international trade between the real and the virtual economy; that is, the real economy affects the virtual economy thorough RMT as a foreign economy influences the domestic economy. On the other hand, RMT also seems to disclose contradictory natures of game consumption.
A game as amusement is obviously a field of leisure in labor economics. However, Kelly [ 29 ] emphasized that most games contain costs and boredom from repetitive activities for skillfulness though almost time spent playing an MMORPG can be rewarded as enjoyment.
Thus, RMT could directly affect the enjoyment of a player. Castronova [ 30 ] analyzed the negative externalities of an RMT using traditional economic supply-and-demand analysis.
Other studies show that RMT has a positive effect on game usage. This result contradicts Castronova [ 30 ], arguing that utilizing RMT enables game publishers to differentiate service price for consumers to increase profitability.
Additionally, gold farming only appears in popular games, thus signaling that the game is well-made. The existing literature about RMT and MMORPG usage has analyzed games in various perspectives; however, the studies have ignored the degree of dependency on narrative structure of each game.
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Additionally, most literature discussed the issue using data from only one specific game. Just as practical considerations affect the real economy, the virtual society of each MMORPG could be affected by narrative structures as an institution that restricts the objective freedom of players.
Motives of RMT Spending time on a game as leisure provides utility, while utility is also generated by decreasing grinding time as a cost since time is a typical economic resource.
Because the efficient execution of quests suggested by the MMORPG produces utility, enjoyment occurs when a player saves time [ 7 ]. Extant literature investigates personal motivation in RMT to understand different desires. Lehdonvirta [ 35 ] theoretically related the playing motivation model by Yee [ 36 ] to the motivation behind RMT and argued for the validity of the framework through individual case studies on four types of MMORPG.
International Journal of Computer Games Technology
Lehdonvirta [ 35 ] found that achievement and immersion oriented players generally have negative perspectives on RMT as compared to socially oriented players. However Lehdonvirta [ 35 ] also showed that if the structure of hierarchical achievement in a game is not clear, an achievement oriented player does not have a negative perspective on RMT.
To understand this, the puzzle of puzzles framework can be used. Starodoumov [ 3 ] described the case where a player reaches their ideal quest by adopting RMT to the puzzle of the puzzles model [ 1 ] with Figure 2. This means that players with and without the sufficient skills for a quest can achieve higher satisfaction by adjusting the difficulty of the quests using RMT.Lineage 2 Noble Quest High Five l KameKase
For the study, we need the underlying assumption that social oriented players are the majority in the game that produces enjoyment from social functions and that achievement oriented players that have a negative perspective on RMT are the majority in the game that produces enjoyment from a hierarchical achievement structure.
For this assumption we have to cognize the virtual societies that each MMORPG constructs from the viewpoint of methodological individualism. As described in Figure 1virtual reality is clearly different from reality where projected individuals exist. Individuals of the virtual society voluntarily decide to exist in the virtual society. Therefore, unlike the ontology of the real-world society, where there is sharpening conflict between the stance of social nominalism and social realism, the ontology of virtual reality clearly supports social nominalism.
The dual structure of societies.
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RMT influence on the satisfaction of the player [ 3 ]. Then, the individuals players decided to be play or not. Once virtual reality is formed, the decision whether to exist in the virtual reality as an avatar is made in the real world by the player as seen in Figure 1. From the viewpoint of the real world, virtual reality is a good or product to enjoy leisure, and a player would consume based on their needs in an exclusive market with differentiated products. Consequently, for the achievement oriented player who has a negative view of RMT plays a game with strong hierarchical achievement structure, RMT disturbs the flow of the narrative structure.
The social oriented player who does not have a negative view of RMT plays a game in which RMT does not disturb the flow, without strictly predetermined narrative structure in the same vein. For example, an avatar of a social oriented player would exist in a game that produces enjoyment through social functions and maintains the flow of players.
In other words, an avatar derives enjoyment through the narrative structure and the sustenance of the flow of players. As a result, we can expand the individual micromotives of RMT to the virtual society. In this respect, the model in Starodoumov [ 3 ] only describes games where the narrative structure is less important. In such a game where players focus more on social functions, RMT can have a positive influence on overall game usage. However, in case of games with strictly predetermined narrative structures, players can maximize enjoyment by proceeding in games with sophisticated stories without breaking away from immersion.
This is consistent with the argument that an achievement and immersion oriented player has negative view of RMT if there is a clear hierarchical achievement structure.
Therefore, we hypothesize that there is a difference between the effects of RMT depending upon the intensity of narrative structure. We inductively test the hypothesis to present empirical evidence. The playing time of games with weakly predetermined narrative structure is more positively associated with the RMT volume than the playing time of games with strictly predetermined narrative structure.
In terms of consumption, the Korean game culture is characterized by PC-Bang. The IT initiative of the Korean government made broadband Internet available throughout the entire country, which contributed to the development of online games, and PC-Bang served as a catalyst to this phenomenon. PC-Bang was available where fast Internet could be used for a low price, especially by young Koreans, and a de facto community where they socially interact with acquaintances emerged [ 38 ].
On the other hand, it seems paradoxical that an offline-local form of game usage pattern called PC-Bang was formed during this time. Data We use the database gathered from Gametrics this description is on http: The data was gathered from a daily random sample of 4, PC-Bangs using the management software that Gametrics had distributed to predict the total usage of every PC-Bang in South Korea.
Then we arranged the MMORPGs in descending order by aggregating four years of time usage data to select the most used games on a sustained basis during the weeks for analysis, which means that we selected the games that were launched before and sustained their service at least until Method and Results We supposed that a game highly rated in terms of narrative has a strictly predetermined narrative structure.
In the same vein, we assumed that a game lowly rated has a weak predetermined narrative structure.
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Since only eight games were available, existing in both Gametrics and Cyber Creations, we relatively evaluated the games and separated the games into two groups depending on the degree of predetermination related to narrative structure. As the number of games is not enough to apply statistical methods, we tried to decide an objective branch point.
Hence, we counted the games rated lower than 6. Among the eight games selected, Lineage 2 6. World of Warcraft 7. We compare the ratio of the playing time to the RMT volume, which is a proxy of the influence of RMT, between the groups with high and low ratings. Table 1 provides the general information of each game.
Since the purpose of analysis is to examine the difference between usage of the high-rated games and usage low-rated games, we adopt an ANOVA process. According to our hypothesis, the high-rated games are played with very little RMT. On the other hand, the low-rated games are played with more RMT.
Table 2 presents the descriptive statistics and the results. The low-rated narrative group has a significantly higher influence of RMT.
Therefore, we conclude that the playing time of games with weakly predetermined narrative structure is more positively correlated with the RMT volume than the playing time of games with strictly predetermined narrative structure.