The Evolution of the Home Video Game Software Industry in Japan: An Empirical Study on Factors in the Industry’s Evolution

2012 ◽  
Vol 9 (1) ◽  
pp. 37-50 ◽  
Author(s):  
Fumihiko Ikuine
Author(s):  
Ch.Narahari Et. al.

In the present study we analyze the employees’ perception towards coping measures adopted byfirms in software industry. The considered coping constructs adopted for the study in stress abatement areVenting of Emotions,Problem Focused, Seeking Information and emotional support, Positive Emotion-Focused, were, employee perception was acquired by a systematic survey.A total sample of 800 employees’perceptions have been collected through simple random technique and out of which survey respondents, irregular responses are eliminated finally 756 samples are determined for statistical analysis. Chi-square test was performed to determine the association between perceptions and model constructs. Results are reported and discussions are made as per the results and in correlation between results of previous literature.Finally, suggestions and future indication for extension of the study are proposed.


Author(s):  
William Gibbons

Around 1980, home video game consoles began to transition from a luxury product for affluent technophiles into a mass-market entertainment product. Television advertisements were central to that transition, not least in that they helped shape a popular image of who plays video games. This chapter examines the prominent role of music in an influential early television advertising campaign for Atari, the leading maker of home consoles at the time. The music of the “Have You Played Atari Today?” campaign reached across gender and age demographics, positioning Atari’s products as fun for every member of the family. Although most ads of the series were unified musically through the use of the same extended jingle, each featured lyrics tailored to demonstrate the product’s appeal to various members of an extended family. Furthermore, the jingle’s musical hook eventually became a standalone sonic signifier for the Atari brand that endured for years beyond the initial campaign.


Author(s):  
Kenneth B. McAlpine

This chapter explores the Atari VCS, the machine that took video games out of the arcades and into the living room and established Atari as the dominant player in the home video games industry, at least for a time. It examines the context that surrounded the birth of the Atari VCS and how that influenced its hardware design, in turn shaping both the sound and people’s expectations of video game music. The Atari’s sound chip, the Television Interface Adaptor, gave the Atari VCS what might charitably be described as a ‘characterful’ voice. By reviewing the hardware, this chapter explores how and why the Atari VCS sounded just the way it did, and by exploring some of the games that were released for the platform the chapter shows how, while sound games did indeed sound dreadful, with a little musical ingenuity they could work wonderfully as game soundtracks.


Popular Music ◽  
2006 ◽  
Vol 25 (3) ◽  
pp. 401-414 ◽  
Author(s):  
JOANNA DEMERS

In ‘Dance Dance Revolution’ (DDR), an arcade and home video game distributed by the Japanese entertainment corporation Konami, players move their feet in specific patterns set to electronic dance music. Only by achieving a high accuracy rate can a player advance from one level to the next. DDR enjoys worldwide popularity among teenagers and young adults, partially due to the marketing of the game's ‘soundtracks’ as separate, purchasable collections of underground techno, house, and drum ‘n’ bass. This article considers the Internet communities of DDR fans and their debates concerning ‘mainstream’ culture and musical taste.


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