DOTA 2

Video games are definitely one of the fastest growing industry in all kind of digital platforms from computers to mobile phones. Cellular data and wifi connections allow players to link to their virtual life easily wherever they are. Online transactions have transformed video games into bustling online markets. Most of the games now offer variety of virtual products to their gamers within the virtual world. Multiplayer online battle arena or MOBA is one of the newest game models that use the free to play business model which allows users to purchase mostly virtual cosmetic products that have no effect on actual game play. In this study gaming time effects and virtual product involvement are researched in concept of cosmetic virtual product purchase. Players divided into five groups for gaming time from very low to very high while two group for virtual product involvement as interested and uninterested. Also players' views about purchases are discussed.

The Multiplayer Online Battle Arena (MOBA) genre represents one of the most popular, dynamic and influential spaces of digital play. Since the genres first commercial release in 2009 with the title League of Legends (2009 – present, Riot Games), MOBAs have played an integral role in pioneering ‘fair’ models of free-to-play, live streaming as a ubiquitous spectator activity and e-sports as an increasingly recognised mainstream industry. This thesis posits each of these trends as connected to the influence of MOBAs as a genre with a rich history in grassroots spaces of non-commercial play and participation. Adopting an online ethnographic approach, the thesis describes how the transition of the genre away from its non-commercial and collectivised origins has introduced an influential model of hybrid power relations characteristic of the affective economics that underpin many wider digital platforms.

Central to this thesis is the introduction of playful co-creativity as a conception for describing the productive role that play and closely related participatory activities exert in the vibrant activities of MOBAs. Through framing play as a co-creative practice that informs design, spurs participation, creates professions and sustains vast sums of affective value, the thesis asks how the political economy of playful co-creativity in MOBAs can be critically approached. The research mobilises approaches from game, fan and Internet studies to approach the complex set of relations encompassed by MOBAs.

The online ethnography of this research comprises observations, personal experiences, in-depth case studies and player responses from online open discussions on Reddit. In particular, the research focuses on three influential examples of MOBAs in the original Warcraft III (Blizzard Entertainment, 2003) custom game DotA, League of Legends and Dota 2 (Valve Corporation, 2013 – present). Through grasping the differing modes of governance in each of these games, the aim of this thesis is to exemplify how MOBAs are a genre imbricated with affective forms of playful interaction that both sustain and at times threaten the hybrid power dynamics of this heterogeneous genre.

The role of playful innovations in the Multiplayer Online Battle Arena (MOBA) genre has become a hugely important, contested and under studied activity. Through a case study of the ‘fountain hook’ and an exploration of exploitative and emergent notions of play, this paper explores how the dynamics of co-creativity function in online play spaces such as the MOBA genre. In what ways these co-creative dynamics impact different stakeholders of the play space and open up critical questions similar to that of wider participatory platforms is a particular focus here. Informed by online ethnographic research that forms part of a wider PhD project this paper also touches upon specific themes related to the unexplored genre of MOBAs such as why they are so appealing and what it is that makes them so challenging to study.

Panduan ini adalah tutorial cara bermain game Dota 2 (khususnya untuk pemula), meliputi : Dasar Permaianan Dota 2, Cara Main Dota 2 Online mode, Cara Main Dota 2 Offline mode, Cara Main Dota 2 Lan Mode, Cara Main Dota 2 Tanpa Lag, Cara Main Dota 2 Di Android, Tips dan Trik cara memilih Hero, Cara build Item, Bagaimana cara farming / mendapatkan gold yang banyak supaya bisa menang, cara jungle (farming di hutan yang efektif), serta masih banyak tips-tips lainnya, yang Inya Allah akan menambah wawasan kamu dalam bermain Dota 2.

Ang pananaliksik na ito ay tungkol sa epekto ng DotA sa mga kolehiyong Estudyante na kumukuha ng Engineering sa Unibersidad ng Silliman. Ang DotA ay isang nakakaadik na laro at nagiging suliranin sa pag-aaral at personal na buhay ng mga estudyante.

II. RASYONAL Mahalaga ang pananaliksik na ito dahil ito ay magbibigay impormasyon sa mga estudyanteng naglalaro ng DotA ukol sa mga hindi magagandang bagay na kanilang maaraning sapitin kung sila ay magpapatuloy sa pag gawa ng bagay na ito. Ang kahalagan din ng pananaliksik na ito ay upang malaman ng mga estudyante kung paano nila maiiwasan ang mga masasamang epekto sa paglalaro ng DotA.

**For other concerns, please email me at jbrayo(@)alum(.)up(.)edu(.)ph. Thanks!

The culture of DOTA (Defense of the Ancients) has taken the Philippines to storm because of its very creative gameplay that caused millions of Filipino students hard for them to avoid playing the game. Its effects are very evident from entertainment media up to Internet. This game has brought intense effects to the Filipino youth in their everyday lives; up to the point where they are affected physically, mentally, socially and psychologically in their respective careers. Because of this game, the computer shops in the country have been growing massively since its release; the youth always gathered to play informally to show their enthusiasm and foster friendship, teamwork and camaraderie. It follows the 'booming' computer shop industry and gaming culture in the country. Also, enthusiastic people handle DOTA tournaments to encourage others to play and make this gaming industry to grow further. Because of gamers' addiction, they also express their thoughts about DOTA through arts and music, language, internet and social media.

DotA2 Spatio­Temporal Game Analysis DotA2 is one of the most played online digital games in the world. In this game 2 teams (Radiant and Dire) of 5 players each fight against each other in arena environments with using tactical combats to win against the other team. The main goal of the game is to destroy the Ancient ​ that belongs to the opposite team. Apart from that there are a lot of strategies involved in winning the game. The company managing DotA 2, Valve, has developed several ways for players to access data from the game. The player community can access replay files from games of their own as well as the tournaments through a variety of websites. Valve also provides an API to directly access the data. Many tools have also been developed for extracting metrics from replay files. However, very few of these do spatio­temporal aspects of player behaviour. I found it to be an interesting area to work with given the importance of positioning and timely deployed strategy in the game. The aim of this project is to visualize and analyse team behaviour. There are mainly 4 skill tiers as identified by the DotA 2 community i.e Normal, High, Very High and Pro tiers. This project will visualize 3 main aspects of spatio­temporal analysis. 1. The moving Trajectories (Live Maps) of players in different tiers at different game times. An additional filter for sorting the teams based on Win/Lose or Radiant/Dire can be seen. 2. The Heat Maps of players during a particular interval in the game. This also can be sorted as Win/Lose or Radiant/Dire 3. The average distance between the players of each tier (Pro/Very High/High/Normal) filtered with Win Lose and are visualized using a Box Plot. The sample live demo is available on: http://codetaha.github.io/Dota­Analysis/web/ The dataset includes information on the positioning of team members as a function of time. The dataset contains the data of 200 games (50 in each tier). Below is a very small sample of the dataset, where team: 0/1 (Radiant/Dire), x,y: Player coordinates match: Unique Match Id won: 0/1 (Lose/Win) tsync: time is seconds starts from 0 till the end of the game. The used time variable in the visualization tier: Type of tier t,tstd,tper: Different types of time parameters which are not used for this visualization.

Spiele sind nicht nur meist in der einen oder anderen Form zeitkritisch, sie können Zeitexperiment sein. Dieser Text nimmt DOTA 2, einen Vertreter des sehr erfolgreichen und ebenso wissenschaftlich unterbehandelten MOBA-Genres (Multiplayer Online Battle Arena), als ein solches Zeitexperiment beziehungsweise als Teil der Konfiguration früher experimentalpsychologischer Reaktionszeitmessungen und anderen Varianten solcher ‚Hirn-Zeit-Experimente‘ in den Blick. Neben einer grundlegenden Darstellung von DOTA 2 und einer Erkundung, welche unterschiedlichen Formen von technischer, bewusster und unbewusster sowie geschichtlicher Zeit in Spielen wie DOTA 2 konvergieren, bedeutet dies eine Auseinandersetzung mit der philosophisch relevanten ‚Bewusstseinslücke‘, die sich im Gefüge aus digitalem Spiel, Zeit und Spieler/Spielerin nun technisch zu wiederholen scheint und darin das Potential eines sensibilisierten Umgangs mit gegenwärtigen Medientechnologien bietet.

Groupware research has long focused on representing gestures as a means to facilitate collaboration. However, this work has not led to wide support of gesturing in commercial groupware systems. In contrast, Dota 2, a popular MOBA game, provides two frequently-used gesturing tools: annotations – freely drawn lines on top of the gamespace – and pings – a combination of animation and sound indicating a point of interest. While gesturing tools are important for quickly coordinating with teammates in Dota 2, there is little information about how and why people use them. To gather this information, we performed two complementary studies: an interaction analysis of eight game replays, and a survey of 167 experienced players. Our findings include: six distinct motivations for the use of gesturing tools; when and how frequently gesture motivations occur during games; and, that players find pings an essential tool for winning, but not annotations. Our findings provide new directions for the design of gesturing tools in groupware and online games.

Defence of the Ancients (DotA) was a massively popular and hugely influential gaming modification for Warcraft 3 (Blizzard Entertainment, 2002). From its humble beginnings as a sporadic act of creativity, this mod has gone on to become the inspiration behind the most played online games genre in the world today (Funk, 2013). However this genre that has been dubbed ‘MOBA’ (Multiplayer Online Battle Arena) is one that has been underrepresented academically and the crucible of creativity that was originally responsible for this industry defining force, the playing and modding culture of DotA, has gone almost unheard of. This paper draws attention to this influential culture through drawing upon critical online ethnographic work carried out during 2011 - 12 as part of an MA study (that has now lead to further PhD research) surrounding the themes of online play, participatory culture and its wider political economic power relations.

Through an insight into the innately participatory context of DotA’s development that saw a vast playing community interact dynamically with modders, this paper gives an insight into how this unique context of connective creativity developed the MOBA genre. Fundamental here is an understanding of the motivations of players and modders and their unique modes of displaying ‘cultural’ (Bourdieu, 1984) or ‘gaming’ capital (Consalvo. 2009) that resulted in structural innovations to the game. It is here that DotA can be read foremost as an appealing culture of competitive play and identity formation that due its digital form; resulted in a tangible, influential and valuable new digital genre. However as the widespread commercial popularity of this genre now demonstrates, it was a culture that for all its popularity, innovation and influence was paradoxically fragile to external commercial forces. Through a final reflection upon the online ethnographic responses of participants who saw their playful creation become a commodity, this paper offers an important perspective on how digital cultures of creativity are often extremely susceptible to the motivations of wider cultural industries.

Bibliography

Bourdieu, P. (1984) Distinction: A Social Critique of the Judgement of Taste, London: Routledge. 

Consalvo, M. (2009) Cheating: Gaining Advantage in Videogames, London: MIT Press.

Funk, J. (2013) ‘MOBA, DOTA, ARTS: A brief introduction to gaming's biggest, most impenetrable genre’, Polygon, September 2nd , 2013.
Available at: http://www.polygon.com/2013/9/2/4672920/moba-dota-arts-a-brief-introduction-to-gamings-biggest-most

Unlike traditional physical sports, Esport games are played using wholly digital platforms. As a  consequence,  there  exists  richdata (in-game,  audio  and  video) about  the  eventsthat  take place  in  matches.  Thesedata  offerviable  linguistic  resourcesfor  generating  comprehensible text  descriptions of  matches,  which  could,  be  used  as  the  basis  of  novel  text-based  spectator experiences. We  present a  study that  investigates  if  users perceive text generated  by the  NLG system  as  an  accurate  recap  of  highlight  moments.  We  also  explore  how  the  text  generated supported  viewer  understanding  of  highlight  moments  in  two  scenarios:  i)  text  as  an alternative  way to  spectate a  match, instead  of viewing  the main  broadcast;  and  ii)  text as  an additional  information  resource to  be  consumed  while viewing the  main  broadcast. Our  study provided insights on the implications of the presentation strategies for use of text in recapping highlight moments to Dota 2 spectators.

This is my final thesis on the topic "Evaluation of user experience in interacting with computer games". It consists of two parts. The first part is theoretical, it is an overview of the definition of User Experience and constructs that can evaluate the User Experience in the context of computer games, followed by an overview of the history and the most important aspects of computer games, and theories related to the process of research using methods of questionnaire. The second part is practical. It consists of an empirical study which includes using shaped instrument (questionnaire) to evaluate the User Experience in interaction with computer games of selected genre (MOBA) .

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