The impact of user-generated content authorization on demand in the game industry

被引:0
作者
Hidetaka Oshima
Shinichi Yamaguchi
机构
[1] Center for Global Communications, International University of Japan, Tokyo
来源
SN Business & Economics | / 3卷 / 11期
基金
日本学术振兴会;
关键词
Copyright; Game industry; Gameplay; Social media; User-generated content;
D O I
10.1007/s43546-023-00573-7
中图分类号
学科分类号
摘要
The expansion of information exchanges via social media among consumers has dramatically changed the consumer purchasing process. We empirically analyze how user-generated content (UGC) authorization impacts the demand for Japanese video games. There are three important evolutionary points to consider. First, we focus on the gaming industry, under-researched yet seeing increased engagement with UGC, where gameplay authorization surged from 0.20 in 2017 to 0.55 in 2021. Second, we use a structural demand model that explicitly incorporates whether there is authorization or non-authorization of gameplay. Third, we estimate the heterogeneity of goods using BLP with a two-step nested logit model. As a result, the publishing and official authorization of gameplay guidelines are shown to have a significant positive impact on the sales of video game software, with a change in the demand structure for game software in 2021. Distinctively, genre classification (upper nest) and gameplay authorization status (lower nest) were significant, with the former outweighing the latter. This indicates a consumer’s propensity to select a game genre prior to seeking gameplay information, with gameplay authorization status subsequently impacting interest levels and final game choice. © The Author(s), under exclusive licence to Springer Nature Switzerland AG 2023.
引用
收藏
相关论文
共 42 条
[1]  
Ackerson T., It’s time for the copyright act to patch-in a statutory license for video game streaming, AIPLA Quart J, 48, 1, (2020)
[2]  
Aguiar L., Martens B., Digital music consumption on the internet: evidence from clickstream data, Inf Econ Policy, 34, pp. 27-43, (2016)
[3]  
Aguiar L., Waldfogel J., As streaming reaches flood stage, does it stimulate or depress music sales?, Int J Ind Organ, 57, pp. 278-307, (2018)
[4]  
Atadil H.A., Berezina K., Yilmaz B.S., Cobanoglu C., An analysis of the usage of Facebook and Twitter as a marketing tool in hotels, Dokuz Eylül Üniversitesi İşletme Fakültesi Dergisi, 11, 2, pp. 119-125, (2010)
[5]  
Berry S.T., Estimating discrete-choice models of product differentiation, RAND J Econ, 25, pp. 242-26262, (1994)
[6]  
Bourreau M., Dogan P., Hong S., Making money by giving it for free: radiohead’s pre-release strategy for In Rainbows, Int Econ Policy, 32, pp. 77-93, (2015)
[7]  
Capcom video guidelines (For individuals, (2023)
[8]  
Datta H., Knox G., Bronnenberg B.J., Changing their tune: How consumers’ adoption of online streaming affects music consumption and discovery, Mark Sci, 37, pp. 5-21, (2018)
[9]  
Duch-Brown N., Grzybowski L., Romahn A., Verboven F., The impact of online sales on consumers and firms. Evidence from consumer electronics, Int J Ind Organ, 52, pp. 30-62, (2017)
[10]  
) Game Software Unit Sales Ranking, Famitsu, (2023)