Pray.com is a Christian social networking service and mobile application designed to facilitate religious communities. Launched in 2016, it was founded by Steve Gatena, Michael Lynn, Ryan Beck and Matthew Potter. The platform offers features for social networking, daily prayers, sermons, biblical content, and podcasts. The COVID-19 pandemic significantly increased Pray.com's user base, with downloads surging by 955%. During this period, the platform collaborated with churches to support virtual ministry services as in-person gatherings were restricted. The Federal Election Commission issued an opinion in 2021 that allows the platform to feature members of the United States Congress. Pray.com serves as a specialized social media platform for religious groups. Congregations can establish their own groups where members and leaders can participate in discussions, livestream services, and manage donations. Additionally, users can join "prayer communities" to post and respond to prayer requests. For those who subscribe to premium services, the platform provides access to biblically-inspired meditations and bedtime stories, and Bible stories for children. Pray.com also produces Radio drama-style productions with notable actors such as Kristen Bell and Blair Underwood narrating biblical stories. == History == === Funding and development === Pray.com has secured significant funding to support its development and growth. In 2017, the platform raised $2 million in seed funding from Science Inc., Greylock Partners, and Spark Capital. This was followed by a Series A funding round in March 2018, in which the company secured an additional $14 million from TPG Growth, Science Inc., and Greylock Partners. Founder Steve Gatena has highlighted difficulties in securing funding, noting some venture capitalists' negative attitudes towards faith-based technology. === Clinical studies === There have been clinical studies on Pray.com. In one study, the app was found to be acceptable and easy to use among racial and ethnic minority groups, with participants reporting improved mental health and well-being. Greater app use was associated with better outcomes, though low and variable usage suggests the need for further research to fully understand its impact. Another study examined Pray.com's impact on mental health by assigning 192 participants to use the app freely, use its meditative prayer function, or not use it at all. Over two months, participants reported overall improvements in mental health and well-being. Although no significant differences were found between groups, greater app usage correlated with better mental health outcomes. This suggests that religiously based mobile apps may help improve mental health and well-being. Another study of pray.com had similar findings. === National Day of Prayer === Pray first hosted a National Day of Prayer event in 2020 when it streamed to nearly one million viewers on Facebook. In 2021, Pray hosted a virtual event for the National Day of Prayer in the United States. The event featured remarks from public figures including United States President Joe Biden and former Vice President Mike Pence. President Biden spoke of his faith and prayed for an end to the COVID-19 pandemic. Biden remarked: "It means the world to me to know that there are people across the country who include Jill and me in their prayers. And I hope you know that you and your families are in our prayers as well. Today I am praying for the end of this great COVID crisis." The event featured musical performances from Gary Valenciano, Brooke Ligertwood from the Christian band Hillsong Worship, Lecrae, Heather Headley and Michael Neale. Other notable speakers included Ronnie Floyd, Ed Young, Mark Driscoll, and Samuel Rodriguez. Pray.com partnered with Sirius XM, DirecTV and Facebook to stream the event across multiple platforms. Pray.com was featured as a pop-up channel on Sirius XM, channel 154, to host the prayer event and celebrate people of all faith. === Partnerships and sponsorships === In 2024, Pray.com partnered with Sting Ray Robb as the primary sponsor for his No. 41 Chevrolet in the 2024 NTT IndyCar Series. The partnership, highlighting Robb's Christian faith, aims to engage younger audiences with faith-based content. The car, featuring Pray.com's branding, was set to debut at the Firestone Grand Prix of St. Petersburg. A partnership with Palantir Technologies for use of its AI systems was also announced in 2024. === Censorship in China === The app was removed from Apple's App Store in China as part of the country's broader efforts to restrict access to religious content. The app was targeted due to China's stringent regulations on religious material, particularly content distributed through digital platforms. The removal aligns with China's ongoing campaign to control online religious expression and maintain state-approved religious activities.
AI anthropomorphism
AI anthropomorphism is the attribution of human-like feelings, mental states, and behavioral characteristics to artificial intelligence systems. Factors related to the user of the AI – such as culture, age, education, gender, and personality traits – are also important determinants of the strength of anthropomorphic effects. Since the earliest days of AI development, humans have interpreted machine outputs through anthropomorphic frameworks, but the recent emergence of generative AI has amplified these tendencies. In research and engineering, there is a distinction between anthropomorphism and anthropomorphic design. The former is an innate human tendency toward non-human entities. The latter is the scientific community effort to “design anthropomorphism”. Such a design can involve the manipulation of cues, including AI appearance, behaviour and language. Contemporary AI systems today can generate extremely human-like outputs and are often designed specifically to do so, meaning that their anthropomorphic effects can be especially powerful. In some cases, anthropomorphism is accompanied with explicit beliefs that AI systems are capable of empathy, goodwill, understanding, or consciousness. == Background == === In early AIs === Views of artificial agents possessing a human-like intelligence have existed since the early development of computers in the mid-1900s. The use of the human mind as a metaphor for understanding the workings of machine systems was prevalent among researchers in the early days of computer science, with multiple influential works widely distributing the idea of intelligent machines. Among the most widely cited papers of this period was Alan Turing's "Computing Machinery and Intelligence" in which he introduced the Turing Test, stating that a machine was intelligent if it could produce conversation that was indistinguishable from that of a human. These academic works in the 1940s and 1950s gave early credibility to the idea that machine workings could be thought of similarly to human minds. The public quickly came to view artificial systems similarly, with often exaggerated conceptions of the capabilities of early machines. Among the most well-known demonstrations of this was through the chatbot ELIZA designed by Joseph Weizenbaum in 1966. ELIZA responded to user inputs with a rudimentary text-processing approach that could not be considered anything resembling true understanding of the inputs, yet users, even when operating with full conscious knowledge of ELIZA's limitations, often began to ascribe motivation and understanding to the program's output. Weizenbaum later wrote, "I had not realized ... that extremely short exposures to a relatively simple computer program could induce powerful delusional thinking in quite normal people." Comparisons between the intellectual capabilities of artificial intelligence and human intelligence were continually intensified by the attempts of computer scientists to develop machines that could perform human tasks at a level equal to or better than humans. A symbolic turning point was achieved in 1997, when IBM's chess supercomputer Deep Blue defeated then-world champion Garry Kasparov in a highly publicized six-game match. The defeat of a human by a machine for the first time in chess – a game viewed as a canonical example of human intellect – and the media attention surrounding the match led to a significant shift, where views of parallels between human and artificial intelligence moved from abstract speculation to being concretely demonstrated. A similar achievement was reached in the board game Go in 2017, when the program AlphaGo defeated world top-ranked Ke Jie. === Large language models === The AI boom of the 2020s brought about the widespread emergence of generative AI; in particular, chatbots such as ChatGPT, Gemini, and Claude based on large language models (LLMs) have become increasingly pervasive in everyday society. These systems are notable for the fact that they are able to respond to a wide range of prompts across contexts while producing strikingly human-like outputs – research has shown that humans are often unable to distinguish human-generated text from AI-generated text, and modern AI chatbots have formally been shown to pass the Turing test. As such, the anthropomorphic effects of AI are more powerful than ever. Given that LLMs have brought AI into the technological mainstream, considerable scientific effort has been devoted in recent years to understand existing and potential ramifications of AI in the public sphere; the prevalence and effects of anthropomorphism is one of those domains where much of this effort has been directed. == Current anthropomorphic attributions == === In the general public === Surveys have shown that a substantial portion of the public attributes human-like qualities to AI. In one sample of U.S. adults from 2024, two-thirds of people believed that ChatGPT is possibly conscious on some level, though other research has shown that the public still views the likelihood itself of AI consciousness as comparatively low. Another study conducted in 2025 found that women, people of color, and older individuals were most likely to anthropomorphize AI, as well as that – in general – humans view AIs as warm and competent, and anthropomorphic attributions to AI had increased by 34% in the past year. A YouGov poll reported that 46% of Americans believe that people should display politeness to AI chatbots by saying "please" and "thank you", demonstrating the application of social norms to AI. These beliefs extend to behavior, where majorities of AI users claim to always be polite to chatbots; of those who behave politely, most say they do so simply because it is the "nice" thing to do. In many recent cases, humans have developed robust interpersonal bonds with AI systems. For example: users of social chatbots like Replika and Character.ai have been documented to fall in love with the AIs, or to otherwise treat the AIs as intimate companions, and it has become increasingly common for individuals to use LLMs like ChatGPT as therapists. Chatbots are able to produce responses deeply attuned to users, as they are often designed to maximize agreeableness and mirror users' emotions; this can create compelling illusions of intimacy. === In the research community === In many cases, even AI researchers anthropomorphize AI systems in some capacity. Among the most extreme and well-publicized of these instances occurred in 2022, when engineer Blake Lemoine publicly claimed that Google's LLM LaMDA was conscious. Lemoine published the transcript of a conversation he had had with LaMDA regarding self identity and morality which he claimed was evidence of its sentience; he asserted that LaMDA was "a person" as defined by the United States Constitution and compared its mental capability to that of a 7- or 8-year-old. Lemoine's claims were widely dismissed by the scientific community and by Google itself, which described Lemoine's conclusions as "wholly unfounded" and fired him on the grounds that he had violated policies "to safeguard product information". It is much more common that AI researchers unintentionally imply humanness of AI through the ordinary use of anthropomorphic language to describe nonhuman agents. This kind of language, which Daniel Dennett coined the "intentional stance", is very common in everyday life in a variety of different contexts (e.g., "My computer doesn't want to turn on today"). For AI agents that may actually appear to very closely replicate some human abilities, however, the casual use of such anthropomorphic language in research has been scrutinized for being potentially misleading to the public. As early as 1976, Drew McDermott criticized the research community for the use of "wishful mnemonics", where AIs were referred to with terms like "understand" and "learn". In the LLM era, these criticisms have further intensified, with the negative effects of AI anthropomorphism in the public posing an especially salient danger given the elevated accessibility of modern AI. In some cases, the use of anthropomorphic language for AI is not unintentional, but is willfully used by researchers in order to promote better understanding of the brain – the idea being that, as AI can be functionally similar in some ways to the human brain, we may gain new insights and ideas from treating AI as a kind of model of the brain's workings. In particular, deep neuronal networks (DNNs) are often explicitly compared to the human brain, and significant advances in DNN research have stirred considerable enthusiasm about the ability of AI to emulate the human abilities. Caution has been urged in this domain as well, however; the use of anthropomorphic language can mask important differences that fundamentally distinguish AI from human intelligence. When it comes to DNNs, for example, it has been pointed out that they are still structurally quite different
Format-transforming encryption
In cryptography, format-transforming encryption (FTE) refers to encryption where the format of the input plaintext and output ciphertext are configurable. Descriptions of formats can vary, but are typically compact set descriptors, such as a regular expression. Format-transforming encryption is closely related to, and a generalization of, format-preserving encryption. == Applications of FTE == === Restricted fields or formats === Similar to format-preserving encryption, FTE can be used to control the format of ciphertexts. The canonical example is a credit card number, such as 1234567812345670 (16 bytes long, digits only). However, FTE does not enforce that the input format must be the same as the output format. === Censorship circumvention === FTE is used by the Tor Project to circumvent deep packet inspection by pretending to be some other protocols. The implementation is fteproxy; it was written by the authors who came up with the FTE concept.
Social film
A social film is a type of interactive film that is presented through the lens of social media. A social film is distributed digitally and integrates with a social networking service, such as Facebook or YouTube. It combines features of web video, social network games and social media. == Key elements == Social films are a more recent phenomenon, and, in turn, there are few precedents for their format. Although there are not many examples of this genre of film, the medium has certain identifiable elements: Casual entertainment Social media User-generated content Game mechanics Using just one of these factors or a combination of them, a social film engages viewers to interact directly with the work. This can be done through usual social media functionality like comments and ranking or adding directly to the narrative itself. Just as with memes, social film distribution relies on the viral spread enabled by social media. This is based on the viral expansion loops model, in which a viewer benefits from sharing the application with friends, exponentially creating new viewers compelled to share the application. == History == One of the first social films to be created was from the YouTube channel lonelygirl15. This social film started in 2006 and was created by Miles Beckett , Mesh Flinders, and Greg Goodfried. They used YouTube posts to create an interactive video series about a fictional character who showcased her life in a vlog format. As the videos went on, more bizarre things would keep happening to the main character, Bree, before she just stopped uploading. This channel was not only the first viral social film, but went on to be one of the first viral YouTube channels to be created. It did take a few years to see any more films in this genre, but 2011 saw many people start to try their hand at making these films. The first social film in this year was a film called Him, Her and Them which was produced and released by Murmur in April 2011. It was distributed exclusively through Facebook and promoted as the first “Facebook film.” The film is composed of short video clips and interactive slideshows, integrating Facebook's Social Graph API. Users participate via text-based additions to the story, which are viewable only by friends within their social network. In May 2011, Canon and Ron Howard teamed up to create Project Imagin8ion, which was a photo contest where photographers submitted photos and the top 8 photos would be the inspiration for a short film. This short film was called "When You Find Me" and could be found exclusively on YouTube. In July 2011, Intel and Toshiba partnered together to create Hollywood's first Social Film experience, a thriller called Inside, directed by D.J. Caruso and starring Emmy Rossum. The project is broken up into several segments across multiple social media platforms including Facebook, YouTube, and Twitter. In this instance, the audience is challenged to help Emmy Rossum's character, Christina, safely make it out of the room she's been trapped in. This particular form of social film is a major undertaking in that it combines social media activity with A-list acting talent to create a user experience that all happens in real time. Although not quite the same idea, Hollywood also started experimenting with the idea of interactive and crowd-sourced films. One of the first examples of this was a short film called "Life In A Day" directed by Kevin Macdonald and produced by Ridley Scott. Kevin asked people from all over the world to submit videos onto YouTube of what they were doing on July 24th, 2010. They combined all of the best videos that were submitted together to create one film of people doing different things all around the world, no matter how boring or simple those things seemed. They took this short to film festivals before releasing it to the public on YouTube in 2011. In August 2012, Intel and Toshiba partnered again to create The Beauty Inside, directed by Drake Doremus, starring Mary Elizabeth Winstead and Topher Grace. It's Hollywood's first social film that gives everyone in the audience a chance to play Alex, the lead role. The experience will be broken up into six filmed episodes interspersed with real-time interactive storytelling that all takes place on Alex's Facebook timeline. In August 2013, Intel and Toshiba released their third entry into the category, The Power Inside, directed by Will Speck and Josh Gordon and starring Harvey Keitel, Analeigh Tipton, and Craig Roberts. It's Hollywood's first social film that asks the audience to audition to help save or destroy the world. The experience is broken up into six filmed episodes interspersed with user-generated content and interactive storytelling on the main character's Facebook timeline. In 2015, Intel partnered with Dell for their fourth entry, What Lives Inside directed by Robert Stromberg and starring Colin Hanks, Catherine O'Hara, and J. K. Simmons. The first of four episodes was released on Hulu on March 25, 2015.
Social media mining
Social media mining is the process of obtaining data from user-generated content on social media in order to extract actionable patterns, form conclusions about users, and act upon the information. Mining supports targeting advertising to users or academic research. The term is an analogy to the process of mining for minerals. Mining companies sift through raw ore to find the valuable minerals; likewise, social media mining sifts through social media data in order to discern patterns and trends about matters such as social media usage, online behaviour, content sharing, connections between individuals, buying behaviour. These patterns and trends are of interest to companies, governments and not-for-profit organizations, as such organizations can use the analyses for tasks such as design strategies, introduce programs, products, processes or services. Social media mining uses concepts from computer science, data mining, machine learning, and statistics. Mining is based on social network analysis, network science, sociology, ethnography, optimization and mathematics. It attempts to formally represent, measure and model patterns from social media data. In the 2010s, major corporations, governments and not-for-profit organizations began mining to learn about customers, clients and others. Platforms such as Google, Facebook (partnered with Datalogix and BlueKai) conduct mining to target users with advertising. Scientists and machine learning researchers extract insights and design product features. Users may not understand how platforms use their data. Users tend to click through Terms of Use agreements without reading them, leading to ethical questions about whether platforms adequately protect users' privacy. During the 2016 United States presidential election, Facebook allowed Cambridge Analytica, a political consulting firm linked to the Trump campaign, to analyze the data of an estimated 87 million Facebook users to profile voters, creating controversy when this was revealed. == Background == As defined by Kaplan and Haenlein, social media is the "group of internet-based applications that build on the ideological and technological foundations of Web 2.0, and that allow the creation and exchange of user-generated content." There are many categories of social media including, but not limited to, social networking (Facebook or LinkedIn), microblogging (Twitter), photo sharing (Flickr, Instagram, Photobucket, or Picasa), news aggregation (Google Reader, StumbleUpon, or Feedburner), video sharing (YouTube, MetaCafe), livecasting (Ustream or Twitch), virtual worlds (Kaneva), social gaming (World of Warcraft), social search (Google, Bing, or Ask.com), and instant messaging (Google Talk, Skype, or Yahoo! messenger). The first social media website was introduced by GeoCities in 1994. It enabled users to create their own homepages without having a sophisticated knowledge of HTML coding. The first social networking site, SixDegrees.com, was introduced in 1997. Since then, many other social media sites have been introduced, each providing service to millions of people. These individuals form a virtual world in which individuals (social atoms), entities (content, sites, etc.) and interactions (between individuals, between entities, between individuals and entities) coexist. Social norms and human behavior govern this virtual world. By understanding these social norms and models of human behavior and combining them with the observations and measurements of this virtual world, one can systematically analyze and mine social media. Social media mining is the process of representing, analyzing, and extracting meaningful patterns from data in social media, resulting from social interactions. It is an interdisciplinary field encompassing techniques from computer science, data mining, machine learning, social network analysis, network science, sociology, ethnography, statistics, optimization, and mathematics. Social media mining faces grand challenges such as the big data paradox, obtaining sufficient samples, the noise removal fallacy, and evaluation dilemma. Social media mining represents the virtual world of social media in a computable way, measures it, and designs models that can help us understand its interactions. In addition, social media mining provides necessary tools to mine this world for interesting patterns, analyze information diffusion, study influence and homophily, provide effective recommendations, and analyze novel social behavior in social media. == Uses == Social media mining is used across several industries including business development, social science research, health services, and educational purposes. Once the data received goes through social media analytics, it can then be applied to these various fields. Often, companies use the patterns of connectivity that pervade social networks, such as assortativity—the social similarity between users that are induced by influence, homophily, and reciprocity and transitivity. These forces are then measured via statistical analysis of the nodes and connections between these nodes. Social analytics also uses sentiment analysis, because social media users often relay positive or negative sentiment in their posts. This provides important social information about users' emotions on specific topics. These three patterns have several uses beyond pure analysis. For example, influence can be used to determine the most influential user in a particular network. Companies would be interested in this information in order to decide who they may hire for influencer marketing. These influencers are determined by recognition, activity generation, and novelty—three requirements that can be measured through the data mined from these sites. Analysts also value measures of homophily: the tendency of two similar individuals to become friends. Users have begun to rely on information of other users' opinions in order to understand diverse subject matter. These analyses can also help create recommendations for individuals in a tailored capacity. By measuring influence and homophily, online and offline companies are able to suggest specific products for individuals consumers, and groups of consumers. Social media networks can use this information themselves to suggest to their users possible friends to add, pages to follow, and accounts to interact with. == Perception == Modern social media mining is a controversial practice that has led to exponential gains in user growth for tech giants such as Facebook, Inc., Twitter, and Google. Companies such as these, considered "Big Tech" are companies that build algorithms that take advantage of user input to understand their preferences, and keep them on the platform as much as possible. These inputs, that can be as simple as time spent on a given screen, provide the data being mined, and lead to companies profiting heavily from using that data to capitalize on extremely accurate predictions about user behavior. The growth of platforms accelerated rapidly once these strategies were put in place; Most of the largest platforms now average over 1 billion active users per month as of 2021. It has been claimed by a multitude of anti-algorithm personalities, like Tristan Harris or Chamath Palihapitiya, that certain companies (specifically Facebook) valued growth above all else, and ignored potential negative impacts from these growth engineering tactics. At the same time, users have now created their own data arbitrages with the help of their own data, through content monetization and becoming influencers. Users typically have access to a varied set of analytics specific to people that interact with them on social media, and can use these as building blocks for their own targeting and growth strategies through ads and posts that cater to their audiences. Influencers also commonly promote products and services for established brands, creating one of the largest digital industries: Influencer marketing. Instagram, Facebook, Twitter, YouTube, Google, and others have long given access to platform analytics, and allowed third parties to access that information as well, at times unbeknownst to even the user whose data is being viewed/bought. == Research == === Research areas === Social media event detection – Social networks enable users to freely communicate with each other and share their recent news, ongoing activities or views about different topics. As a result, they can be seen as a potentially viable source of information to understand the current emerging topics/events. Public health monitoring and surveillance - Using large-scale analysis of social media to study large cohorts of patients and the general public, e.g. to obtain early warning signals of drug-drug interactions and adverse drug reactions, or understand human reproduction and sexual interest. Community structure (Community Detection/Evolution/Evaluation) – Identifying communities on social networks, how t
ImHex
ImHex is a free cross-platform hex editor available on Windows, macOS, and Linux. ImHex is used by programmers and reverse engineers to view and analyze binary data. == History == The initial release of the project in November 2020, saw significant interest on GitHub. == Features == Features include: Hex editor Custom pattern matching and analysis scripting language Visual, node based data pre-processor Disassembler Running and visualizing of YARA rules Bookmarks Binary data diffing Additional Tools MSVC, Itanium, D and Rust name demangler ASCII table Calculator Base converter File utilities IEEE 754 floating point decoder Division by invariant multiplication calculator TCP/IP client and server Support for: Data importing and exporting ASCII string, Unicode string, numeric, hexadecimal and regular expressions search Byte manipulation File hashing Plug-ins
Social network game
A social network game (sometimes simply referred to as a social media game, social gaming, or online social game) is a type of online game that is played through social networks or social media. They typically feature gamification systems with multiplayer gameplay mechanics. Social network games were originally implemented as browser games. As mobile gaming took off, the games moved to mobile as well. While they share many aspects of traditional video games, social network games often employ additional ones that make them distinct. Traditionally they are oriented to be social games and casual games. The first cross-platform "Facebook-to-Mobile" social network game was developed in 2011 by a Finnish company Star Arcade. Social network games are amongst the most popular games played in the world, with several products with tens of millions of players. (Lil) Green Patch, Happy Farm, and Mob Wars were some of the first successful games of this genre. FarmVille, Mafia Wars, Kantai Collection, and The Sims Social are more recent examples of popular social network game. Major companies that made or published social network games include Zynga, Wooga and Bigpoint Games. == Demographics == As of 2010, it was reported that 55 percent of the social network gaming demographic in the United States consisted of women while in the United Kingdom, women made up nearly 60 percent of the demographic. In addition, most social gamers were around the 30 to 59 age range, with the average social gamer being 43 years old. Social gaming may appeal more to the older demographic because it is free, easier to advance through in a short period, does not involve as much violence as traditional video games, and is easier to grasp. Other games target certain demographics that use social media, such as Pot Farm creating a community by involving elements of cannabis subculture in its gameplay. == Technology and platforms == A social network video game is a client-server application. The client in the web era was implemented with a mix of web technologies like Flash, HTML5, PHP and JavaScript. When mobile games moved to mobile, social game front ends were developed using mobile platform technologies like Java, Objective-C, Swift and C++. The back end was a mix of programming languages and systems, including PHP, Ruby, C++ and go. Where social network video games diverged from traditional game development was the combination of real-time analytics to continuously optimize game mechanics to drive growth, revenue, and engagement. == Distinct features == The following table outlines common characteristics of social games, mentioned by Björk at the 2010 GCO Games Convention Online: A social network game may employ any of the following features: asynchronous gameplay, which allows rules to be resolved without needing players to play at the same time. gamification, which video game mechanics such as achievements and points are applied to those experienced when playing games in order to motivate and engage users. community, as one of the most distinct features of social video games is in leveraging the player's social network. Quests or game goals may only be possible if a player "shares" with friends connected by the social network hosting the game or gets them to play, as well as "neighbors" or "allies". a lack of victory conditions: there are generally no victory conditions since most developers count on users playing their games often. The game never ends and no one is ever declared winner. Instead, many casual games have "quests" or "missions" for players to complete. This is not true for board game-like social games, such as Scrabble. a virtual currency which players usually must purchase with real-world money. With the in-game currency, players can buy upgrades that would otherwise take much longer to earn through in-game achievements. In many cases, some upgrades are only available with the virtual currency. == Engagement strategies == Since social network games are often less challenging than console games and they have relatively shorter game play, they use different techniques to stretch game play and tools to retain users. Continuous goals: The games assign specific goals for users to achieve. As they advance in the game, the goals become more challenging and time-consuming. They also provide frequent feedback with their performance. Every action will translate towards a certain goal that will be used to attain higher gaming capitals. Gaming capitals: Players are encouraged to earn different badges, trophies, and accolades that indicate their progress and accomplishments. Some achievements are unlocked just by advancing in the game while others may significantly alter the rationale behind the game and require extensive investment from players. The ways of gaining gaming capital are not limited to playing games but the games-related productive activities that are appreciated in the player's social circle too. By accumulating gaming capitals, they provide an intrinsic benefit to gamers as there is an avenue to boost their accomplishment and showcase their expertise of the game. The achievements are visible to their network of friends. Gaming capitals are a way for developers to increase replay value provides extended play time, and players get more value from the game. Motivation for collecting gaming capitals: 1. Legitimization: refers to society's willingness to approve or condone certain behavior. Collecting is about channeling one's materialistic desires into more meaningful pursuits. Game achievements serve a similar purpose, allowing players to justify the hours spent playing the game. 2. Self-extension: Gathering and controlling meaningful objects or experiences can work to gain one an improved sense of self. The collector's goal to complete a collection is symbolically about completing the self too. Events timed to real world: Popular games such as Dragon City and Wild Ones require users to wait a certain time period before their "energy bars" replenish. Without energy, they are unable to conduct any form of action. Gamers are forced to wait and return after their energy replenishes to continue playing. == Monetization == Social network games frequently monetize based on virtual good transactions, but other games are emerging that utilize newer economic models. === Virtual goods === Gamers will be able to purchase in game items like power-ups, avatar accessories, or decorative items users purchase within the game itself. This is realized by monetize products that do not technically exist. Virtual goods account for over 90% of all revenue generated by the world's top social game developers. Designers optimize user experience through additional gameplay, missions, and quests, without having to worry about overhead or unused stock. == Advertising == The following are common ways of advertising in social network games: === Banner advertisements === As banner ads within social networks tend to be where ad response is low, they tend to be priced at bottom-of-the-barrel CPMs of around $2. However, because social games generate so many page views, they are the biggest part of advertising revenue for the social gaming industry. === Video ads === Videos are the ad format with the most revenue per view. They tend to be higher-priced, either by CPMs ($35+ CPM in social games) or cost-per-completed-view. According to studies, video ads result in highest brand recall thus a good return on investment for advertisers. Video ads are shown either in in-game interstitials (e.g. when the game is loading a new screen) or through incentive-based advertising, i.e. you will get either an in-game reward or Facebook credits for watching an advertisement. === Product placement === A brand or product will be injected in a game in some way. Due to the variety of ways in which product placement can be accomplished in any media, and because the category is nascent, this category is not standardized at all, but some examples include branded in-game goods or even in-game quests. For example, in a game where you run a restaurant, you might be asked to collect ingredients to make a Starbucks Frappuccino, and receive in-game rewards for doing so. As these product placement deals are non-standard, they are largely charged with a production fee, which can be $350,000 to $750,000 depending on the type of placement and the popularity of the game. === Lead generation offers === Another form of advertising that is prevalent in many social games are lead generation offers. In this form of advertising, companies, usually from different industries, aim to convince players to sign up for their goods or services and in exchange, players will receive virtual gifts or advance in the game as a reward. === Sponsorship === ==== White label games ==== Applications that are built once, then individualized and licensed again and again. Developer can create a quality app focused on fun while leaving the edge