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游戏软体购买行为

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The Behavior of Buying Video Games

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Yi-Horng Lai, Department of Information Management, Far-East College Yi-Ling Yu, Vaunt Com Media Corporation, Canada

ABSTRACT

A survey of 228 game players in U.S.A. was conducted; research results were generated through the use of descriptive analysis and multiple regression analysis. The results of this study showed that a video game’s creativity, challenge, control, sensory gratification, socialization, audio effect, visual effect, and storytelling have positive relevance to engage consumers’ minds and stimulate their imagination to play or purchase video games. The results also showed that gender differences can influence the individual types of video games purchased. Three age groups (18 to 24, 25 to 34, and 35 to 56) had different patterns of purchasing video games.

The results showed that respondents’ buying behavior is significantly influenced by the characteristics of interactivity and vividness. This study contributed to developing the characteristics of video games by identifying to what extent consumers’ emotional responses and behaviors are directly affected by interactivity and vividness in gaming characteristics. The framework of this

study can be used to analyze and evaluate customer buying behavior in various video games in the industry. To increase the video game marketplace, merging the features of interactivity and vividness may be a key to enhancing customers’ buying behavior and playing intentions.

Keywords: Video Games, Customer Behavior, Buying Behavior

1. INTRODUCTION

Video games without game players are like a car without a steering wheel, unlikely to get much attention. The entertainment business has the opportunity to acquire new revenue through cooperation with the video game industry. Clearly, the entertainment business in general must learn to see new possibilities for combining their traditional business with the video gaming industry [20]. The major challenge to the gaming industry is that game developers have to figure out what kind the features of game can catch the consumers’ attention. The game players may not be able to explain what exactly they like or dislike about a particular game, but they surely recognize when they are having a good time, whether they are being appropriately challenged, or if a video game excited them.

If video games cannot attract players to play and purchase it, it will not sell well; it is a simple case of free-market economics [13]. Game developers can realize incredible profits from consumers. In other words, if game players detect that a video game is not easy to handle and play, they will not play it. Undoubtedly, the entertainment business must learn to see new possibilities for combining their traditional business with the video gaming industry. However, in 2002, only about 4% of the video games companies received high praise from game reviewers and earned benefit from 4 consumers [13]. It is obvious that most games are not financially successful based on production quality alone. For example, Grand Theft Auto III has sold more than eight million units worldwide, making it one of the best selling games of all time. In contrast, Shenmue, which offers players similar freedom through the lens of a linear (and law-abiding) story line, sold a paltry 500,000 copies in the US, making it a financial failure [3].

Better technology has created video games that more effectively simulate reality, widening their appeal, said industry veteran Sid Meier, chairman of Firaxis Games (2001). Meier further indicated that the market is driven by more than just technology. Most games primarily sell based on the strength of the graphic system they engage, but if it is not easy to understand and control, a game is torn to shreds by reviewers. One recent study by James affirmed that, “The market has made it clear that gamers have little patience for poorly-executed game designs, and the topselling games are typically exceptionally well-implemented.” [13]

Game industry growth is radically accelerating and changing market conditions demand evolution. As risks increase, game developers must adopt new methodologies and characteristic of game, as well as anticipate and meet skyrocketing consumer expectations [17]. Unfortunately, there is a lack of empirical research on the effect of interactivity and vividness characteristics on video games [18]. Therefore, this study has been developed to help understand the effects of these two factors (vividness and interactivity) on consumers’ buying behavior. To date there has been very little serious study related to the effects of video games on consumers buying behavior, including research regarding the role game playing has in people’s lives, and what the experience of video game playing is like. Video game developers and social theorists have done little to uncover what drives people to video gaming [22]. This research study was focused on the continuous development of video games. The aim of developing video games is to change players by motivating them to play and purchase it. Video game developers have to deliver what the customer wants; they have to offer the

complete package by delving into the subject matter through market research and making their products as appealing as possible to various demographic groups.

The purpose of this study was to examine the relationship between the characteristics of vividness, interactivity, and the game player’s behavior, and to analyze the characteristics of interactivity and vividness that will increase or decrease consumers’ buying behavior. Video games are popular channels for consumers to release emotions and stimulate many centers of the mind. The rapid increase in popularity of video games demonstrates a huge potential for growth. The characteristic of interactivity not only stimulates the player’s imaginations, but also provides a virtual reality space for the player. Players can utilize this virtual space to escape from everyday routines and stresses presented by work, friends, and society [19]. As young as this interactive entertainment medium is, it is clearly still in an evolutionary phase in terms of characteristics and content [10].

Interactivity and vividness are tools which developers use to stimulate players’ minds. When players purchase video games, they are frequently looking for games having the most appealing graphics and potential for interactive play. The intense artistry and vividness in video games engages the visual cortex of the human brain and results in greater retained interest by game players. Touch, sound, and vision are the primary senses engaged in the interactive video games. In addition, video games give people a greater level of control than they experience in real life, as the characters on the TV screen respond to their every command. Thus, increased interactivity results in active engagement of all the senses [28]. Each player may progress to a higher skill level to satisfy their quest for a satisfying game experience, since most video games provide a variety of skill levels [19]. If the player makes the right decision, the game will return immediate rewards to the player.

As Provenzo pointed out, video game players are looking for vivid and interactive games. Consumers’ buying habits tend to reflect video game developers’ attention to these fine details [16]. This research intended to highlight the importance of setting out from a game player’s perspective when designing video games. The researcher presented a framework which is based upon the game concept of interactivity and vividness. To provide a suggestion for game developers in order to examine the factors of game design can increase consumers’ buying behavior.

2. REVIEW OF THE

LITERATURE

In this part, the theory of vividness and the theory of interactivity are reviewed.

2.1. Theory of Vividness

Steuer (1992) claimed that, “the interactivity and vividness found in a medium help to evoke telepresence, and that identifying these attributes in different media will allow us to predict the type of telepresence users will experience.” Held and Durlach stated that, “Telepresence can be thought of as the extent to which a user feels present in a mediated environment.” [9]

In fact, video games increase the player’s motivation. The vividness of a game changes brain wave patterns in players as they play video games [12]. Most players can use different kinds of external equipment to create greater motivation as they play the video game [24, 25, 28], for example, racing games with steering wheels or shooting games with

guns. The use of external equipment provides a natural merging of skill with real life behavior.

Most people think that video games are visual media, but the main challenge in the evolution of video games resides in improving the characteristics of their visual presentation [15]. When players look at a picture on the game screen, they can pretend to be a game designer. As a video games designer is able to render more and more polygons, they also can draw more accurate details about an object in the game in order to create more natural self-expression and make more vivid characters possible [5]. The vividness inherent in a game stimulates imagination and involves players to a greater extent in the world of video gaming.

The vividness of video games can be expected to influence the game players’ experience when they become involved in the game world. Thus, video games appear to be better suited to generating a realistic and interactive experience than other media. However, the vividness within a mediated environment and a first-person relationship within the medium are also important factors of generating such experiences.

2.2. Theory of Interactivity

Interactivity has been defined in several different ways. According to Steuer, “Interactivity refers to the technology’s capacity to enable the user to influence the form and content of an environment.”

[26] For example, when a video game designer converses with the game, he or she also converses with the player. Moreover, when a player interacts with the video game, he also connects with the game’s designers.

Many theorists have used the terms ‘interactive media’ and ‘media’ synonymously, or they have defined what is new in media with reference to interactivity. “New technologies are characterized by interactivity, and by the ability to interact with others through communication channels created by the technological devices involved.”[1] Thus, the word interactivity is used to describe the specific capability of the media or of media users that are related to what in sociology has been called interaction [29].

Studies of video games have generally focused on how communication processes affect the way humans interact with games and how increased interactivity motivates the consumer’s purchasing behavior. On the other hand, as Rafaeli pointed out, the unifying characteristics of interactive media exemplars includes expert systems, hypermedia, computer/video games, and interactive TV [17]. It is a relatively high level of responsiveness on the part of an information source, as solicited by queries or other input from the consumer. Full interactivity, according to Rafaeli [17], only occurs when communication roles are convertible among all real or proxy participants. However, interactivity found in a medium help to evoke telepresence, that identifying this attributes in different media will allow researchers to predict the type of telepresence players will experience (Steuer, 1992).

2.3. The Relationship between Vividness

and Interactivity

From a historical point of view, vividness and interactivity actually correspond to each other in polar ways. Shih stated that, “The more vivid a game is, the less likely it is to generate a speedy response. This is due largely to the fact that increased vividness requires increased data output.” [21] For instance, when an Internet user downloads a large file from the Internet, it is likely to slow down the computer’s overall processing speed.

A video game that is very vivid takes more time

to process each screen and the longer it takes to transmit an image, the more likely the game is to be less interactive [9]. Today, the player can take advantage of high technology to enjoy both vividness and interactivity in video gaming. Thus, it is reasonable to assume that although vividness and interactivity are equally important, there are probably consumers who are more attracted to one variable versus another.

Video games can provide simulations of a series

of aspects of reality, like racing, flying, playing soccer, basketball and football, or simulations of complex social developments, from urban development to the evolution of civilization [27]. Consumers seeking to actively engage the logical processing centers of the mind are more likely to purchase games with increased activity. Likewise, those individuals seeking greater depth of sensory stimulation will purchase more vivid video games [14, 17, 23]. Each variable however, is equally important when considering the emotions of consumer buying behaviors.

Interactivity and vividness of video games will be increasingly important considerations affecting consumers’ buying behaviors in the future as well [8]. Video games succeed by engaging the visual cortexes

of the brain in new and challenging ways, using modern technological advances [4]. Increased control, reflective of interactivity, is a quality that attracts consumers to action and strategy games. Most action and strategy games engage the user by responding to their input and generating appropriately responsive output.

Studies have shown that video games provide an easy lead-in to computer literacy, and so those people who are not playing games at young ages are at a disadvantage [6]. Video games can provide a virtual environment of action, fantasy and sports games alike. Such portrayals range from highly realistic to cartoon like or funny. In this study, differences in male and female buying patterns in the purchasing of video games were examined. Traditionally, boys are more likely than girls to choose to play with video game, and people of both sexes consider video games to be males' toys.

Several studies attempted to categorize video game genres, but failed to relate to the players’ experiences. For example, Hilf distinguished “interactive narrative” from linear narratives, categorizing video games according to the degree of interactivity and story line [11]. He separated games into episodic narratives, branched narratives and object-oriented narratives. Griffiths sorted games into categories such as sports simulations, racing, adventures, puzzles, weird games, and so on [7]. Buchman and Funk categorized games into general entertainment, educational, fantasy, violent, etc [2]. This study made use of the Gamasutra, https://www.wendangku.net/doc/1c16433401.html,, and Game https://www.wendangku.net/doc/1c16433401.html, definitions of video game genres to examine consumer purchasing habits, since these three organizations’ game categories are based on the players’ personal experiences. Below present a range of definitions for ease of communication and discussion across the field.

3. RESEARCH METHODOLOGY

This study endeavors to improve the lack of quantitative data, by focusing on realizing how video game players’ buying behavior can be assured by the design factors of interactivity and vividness. The findings of this study add significantly to our understanding of the factors that affect consumers’ buying behavior in video games.

3.1. Research Questions

The first goal of this study was to examine the relationship between the characteristics of vividness, interactivity, and the game player’s behavior. The second goal of the study was to observe if the characteristics of interactivity and vividness have an effect on the consumers’ buying behavior. Specifically, this study was designed to investigate the following research questions:

(1) What are the factors that affect the likelihood of a consumer’s purchasing behavior for a video game? (2) What type of video games do consumers purchase?

(3) What is the demographical make-up of the sample?

3.2. Independent Variables and Dependent

Variables

Babbie (2001) proclaimed that, “An independent variable is presumed to cause or determine a dependent variable.” He also defined dependent variable as: “a variable assumed to depend on or be caused by another.” There are a total of eleven variables used in this research study, which included one dependent variable and ten independent variables. The variables to be measured are listed below:

(1) Independent variables:

- Interactivity: Sub-variables for the independent variable “Interactivity” included Creativity, Challenge, Control, Sensory Gratification, and Socialization.

- Vividness: Sub-variables for the independent variable “Vividness” included Audio Effect, Visual Effect, and Storytelling.

- Gender: Sub-variables are Male and Female.

- Age: Respondents were divided into three strata between 18 to 24, 25 to 34, and 35 to 56 years of age.

(2) Dependent variable: Customers’ Buying Behavior.

3.3. Development of the Questionnaire

The questionnaire included an “Information and Informed Consent Statement” and a “Consumers’ Buying Behavior” Questionnaire, which were developed by this researcher. An Information and Informed Consent Statement explained the purpose of the study and the aim of this survey to potential participants. The researcher conducted this survey using a sample of consumers who have previous experience with playing video games and purchasing video games. This research design employed a quantitative method approach, using closed-ended questions on survey instruments. The survey contained 31 closed-ended questions. Respondents need to rate the questions based on a closed-ended 1 to 9 Likert scale format.

3.4. Research Design

For this study, the researcher defined the research questions to be answered, and then designed an appropriate questionnaire to measure all of the variables. The questionnaire employed 1 to 9 closed-ended Likert-scale formats. The selection of participants depended on their previous video game purchasing or playing experience to answer the questionnaire. An online survey was used to conduct the study. The researcher built a Web site in which a questionnaire regarding interactivity and vividness of video games were made available to video games consumers. Since the final goal of many video game developers is the consumer purchase, insight into how the impact of perceived interactivity and vividness of video games on customers’ buying behavior could be of great value.

4. RESULTS

The sample consisted of 121 males and 107 females, giving a 53 percent and 47 percent split. There were 120 subjects (53 percent) between the

ages of 18 to 24, a total of 56 subjects (25 percent) between the ages of 25 to 34, and 52 subjects (23 percent) between the ages of 35 to 56.

Participants stated that their favorite games are: sports games (26.3 percent), action/adventure games (21.9 percent), strategy/RPG games (20.2 percent); racing games (12.3 percent); fighting (6.1 percent); shooter games (9.6 percent); and adult or other games (3.5 percent). The average time spent playing video games was 9.34 hours per week, with the minimum 3 hours and the maximum 20 hours.

The respondents reported in an average year the number of video games purchased to be 2.7, with the minimum one game and the maximum nine games. The average number of video games owned by Respondents was 17.37, the minimum owned, three games and the maximum owned, 50 games. The average money spent to buy video games was 153.71 U.S. dollars, with the minimum amount 50 dollars, and the maximum was amount 495 dollars.

4.1. The factors that affect the likelihood of

a consumer’s purchasing behavior for a

video game

The research results indicate that the independent variables of vividness and interactivity had large effects on consumer buying behavior for a video game. There were statistically significant correlations between the independent and dependent variable. The most statistically significant correlations with consumer buying behavior from highest to lowest were: Sensory Gratification (Correlation Coefficients = .269), Challenge (Correlation Coefficients = .236), Audio Effect (Correlation Coefficients = .167), Creativity (Correlation Coefficients = .137), Control (Correlation Coefficients = .123), Socialization (Correlation Coefficients = .107), Visual Effect (Correlation Coefficients = .090), and Storytelling (Correlation Coefficients = .076). These variables had a statistically significant effect on consumer buying behavior, with most scores at the .01 level of significance. This means there is a 99% probability that these relationship scores were not produced by chance.

For vividness, the first most important factor was Audio Effect, which was .512 at the .01 level of significance. The second most important factor was Visual Effect, which was .240 at the .01 level of statistical significance. The third most important factor was Storytelling, which was .141 at the .01 level of significance. However, audio effect, video effect, and storytelling do not only have a moderately strong effect but also have statistical significance.

For interactivity, a regression analysis indicated a relationship between this set of independent variables and dependent variable. A regression analysis of the set of variables resulted in an R2 = .673. The R square was statistically significant at the .01 level, with an F of 91.38. This means that there was a moderately strong relationship between consumer purchasing behavior and interactivity. The significance of the research demonstrates and answers this research question presented at the beginning of this study. The Beta weight indicated that the first most important factor was Sensory Gratification, which was .331 at the .01 level of significance. The second most important factor was Challenge, which was .283 at the .01 level of significance. The third key factor was Control, which was .165 at the .01 level of significance. The fourth most important factor was Socialization, which was .162 at the .01 level of significance. The last key factor was Creativity, which was .125 at the .01 level of significance. However, Creativity, Challenge,

Control, Sensory Gratification, and Socialization not only had a moderately strong effect, but also had statistical significance with consumer buying behavior.

4.2. The type of video games do consumers

purchase

In the report of frequencies count, participants stated that their favorite games are: Sports games (26.3 percent); Action/Adventure games (21.9 percent); Strategy/RPG games (20.2 percent); Racing games (12.3 percent); Fighting games (6.1 percent); Shooter games (9.6 percent); and Adult or other games (3.5 percent).

There is statistically significant evidence that gender does influences the purchase of individual types of video games. The final data-producing sample consists of 228 participants who completed the survey, including 121 males (53.1 percent) and 107 females (46.9 percent).

The results showed that the percentage of males who chose different types of video games such as sports games (38 percent), action/adventure games (10 percent), strategy/RPG games (3 percent), racing games (14 percent), fighting games (15.7 percent), shooters games (13.2 percent), and adult or other games (5.7 percent). The proportion of females choosing different types of video games were as follows: as sports games (4.6 percent), action/adventure games (30.8 percent), strategy/RPG games (32.7 percent), racing games (19.6 percent), fighting games (2.8 percent), shooters games (2.8 percent), and adult or other games (5.7 percent). The results of this study also illustrated that two groups (male and female) were significantly different in their relation to the same variable (type of video game). The results of this study were supported by a Chi-square value (81.413) and a significance level of less than .01.

The values showed the percentage of Age Group 18-24 choosing different types of video game such as sports games (30 percent), action/adventure games (22 percent), strategy/RPG games (17 percent), racing games (11 percent), fighting games (5 percent), shooters games (10 percent), and adult or other games (3 percent). The Group 25-34 respondents choose different types of video game such as sports games (28 percent), action/adventure games (26 percent), strategy/RPG games (26 percent), racing games (12 percent), fighting games (2 percent), shooters games (2 percent), and adult or other games (2 percent). And the Group 35-56 respondents choose different types of video game such as sports games (13 percent), action/adventure games (15 percent), strategy/RPG games (19 percent), racing games (15 percent), fighting games (13 percent), shooters games (17 percent), and adult or other games (6 percent). The results support this study with a Chi-square value (22.75) and significance level of less than .05. There are clear trends visible along age groups line. This research data presented that Age Group 18-24 and Age Group 25-34 preferred to play Sports games, Action/Adventure games, Strategy/RPG games, and Racing games.

4.3. The demographical make-up of the

sample

The average age of video game players in the U.S. is 27.45 years old, with the minimum 18 and the maximum 56 years old. The final dataproducing sample consisted of 228 participants who completed the survey, including 121 male (53.1 percent) and 107 female (46.9 percent).

According to the frequencies count, the average number of video games purchased is 2.70, with the minimum number one and the maximum number

nine. The average number of video games owned by participants is 17.37, with the minimum number 3 and the maximum number 50. The average amount of money spent on video game purchases was 151.98 U.S. dollars, with the minimum amount 50 U.S. dollars, and the maximum amount 450 U.S. dollars. An interactive video game has the potential ability to respond to the consumers’ reaction about general situational factors. This is the reason why player likes to spend money to purchase different games in order to get the different feelings of enjoyment.

Based upon this study showed that the average time spent playing video games is 9.34 hours per week, with the minimum 3 hours and the maximum amount 20 hours. These findings illustrate that many players have access to playing video games at least 9.34 hours per week. It is obvious that average game playing time has increased.

The results of survey data indicate that video game marketers must actively aid consumers by anticipating wants, shaping desires, and pointing the way to possible solutions. Video game developers have to collect and employ consumer knowledge and information to help video game producers design customer satisfaction into the product or to develop entirely new products to match consumer demand in order to get more benefit from consumers.

5. CONCLUSIONS

Based upon the results of this study, it can be seen that the characteristics of vividness and interactivity can influence consumers’ buying behavior and meaning to play a game. Interactivity and vividness is one of the most important and distinguishable features of a video game. Video gaming, unlike reading a novel or watching a TV program, not only actively engages the thought processes through interaction, but also provides entertainment and a channel for leisure activities. Findings in this study imply a deeper relationship among interactivity, vividness, and buying behavior.

Females preferred games that employed problem-solving and allied play such as “Myst,” an adventure game by Broderbund, or games that provide puzzles or spatial relationships such as “Tetris.” The games industry is currently growing faster than the target market. Thus, to keep the game industry strong and growing, game developers must look at expanding the females’ market, which means designing video games that are appealing to the female audience. Besides, there was a statistically significant difference between ages 18 to 34 and ages 35 to 56. There are clear trends visible along age and gender lines. Therefore, video game developers have to consider the meaning of this result when they develop a game; they have to think about the target players and provide appropriate video game content for players.

The average amount of money spent on video game purchases was 151.98 U.S. dollars, with the minimum amount 50 U.S. dollars, and the maximum amount 450 U.S. dollars. The average time spent playing video games is 9.34 hours per week, with the minimum 3 hours and the maximum amount 20 hours. These findings illustrate that many players have access to playing video games at least 9.34 hours per week. Most games require the player to take part in developing the game scenario, but players are routinely rewarded for identifying and selecting the strategies built in by the game designer [30]. On the other hand, the results of data indicated that

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软件项目技术开发合同

合同登记编号：技术合同开发项目名称：委托人（甲方）：研究开发人（乙方）：签订地点：xxxxxx 签订时间：xxxx年xx月xx日有效期限：xxxx年xx月xx日至xxxx年x月xx日 xxx技术市场管理办公室

根据《中华人民共和国合同法》的规定，合同双方就xxxxx系统项目的技术开发，经协商一致，签定本合同。一、标的技术的内容、范围及要求：根据甲方的要求，乙方完成西安火车站售票系统的研制开发。 1.根据甲方要求进行系统方案设计，要求建立B/S结构的，基于的Sqlserver数据库、NT 服务器和J2EE技术的三层架构体系的综合服务软件系统。 2.配合甲方，在于整体系统相融合的基础上，建立系统建立的软硬件环境。 3.具体需求见SOW 二、应达到的技术指标和参数 1.系统应满足并行登陆，并行查询的速度要求。其中主要内容包括（1）保证xx人以上可以同时登陆系统（2）所有查询速度应在xx秒之内（3）保证数据的每周备份（4）工作日期间不能当机（5）出现问题应在xx分钟内恢复。 2.系统的主要功能是满足双方认可的需求规格，不可以随意改动。三、研究开发计划 1.第一间断：乙方在合同签订后xx个工作日内，完成合同内容的系统设计方案。 2.第二阶段：完成第一阶段的系统设计方案之后，乙方于xx个工作日内完成系统基本功能的开发。 3.第三阶段：完成第一和第二阶段的任务之后，由甲方配合乙方于xx个工作日内完成系统在西安火车站信息中心的调试、集成。四、研究开发经费、报酬及其支付或结算方式 1.研究开发经费是指完成本项目研究开发工作所需的成本。报酬指本项目开发成果的使用费和研究开发人员的研究补贴。 2.部项目研究开发经费和报酬（人民币大写）：xxx元整。 3.支付方式：分期支付。本合同签订之日起生效，甲方在五个工作日内应支付乙方合同总金额的xx%，计人民币xxx元（人民币大写xxx元整），验收后加分那个在五个工作日内付清全部合同余款，计人民币xxx元（人民币大写柒万伍千元整）。五、利用研究开发经费购置的设备、器材、资料的财产权属：本合同签订之日起，在项目结束之时，凡是关于本项目开发所购置的设备、器材在合同结束后归乙方所有，但是项目所涉及的资料归甲方所有，知识产权归甲方。六、履行的期限、地点和方式本合同自xxx年x月x日至xxxx年xx月xx日在西安履行。本合同的履行方式：甲方责任 1.甲方权利协助乙方完成合同内容。 2.合同期内甲方为乙方提供专业性接口技术支持。乙方责任： 1.乙方按甲方要求完成合同内容。 2.乙方愿提供在实现功能的前提下，进一步予以完善。 3.乙方在合同商定的时间内保证系统正常运行。 4.乙方在项目验收后提供一年免费维护。 5.未经甲方同意，乙方在两年内不得向第三方提供本系统中涉及专业的技术内容和所有的系统数据。七、技术情报和资料的保密

(完整版)消费者购买行为模式分析

本模式具有以下特点： 1.首次将国内通常对消费者购买模式描述中的“认识需要”进一步细分为“内外刺激”、“不足之感(感到需要)”、“求足之愿(产生购买动机)”三个阶段，这就将消费者的购买动机的产生过程描述得更加清晰，使营销人员更容易把握刺激消费者产生购买动机的操作思路。 2.特别指出了对消费者的刺激除了有内、外刺激，还有主动刺激和被动刺激两种，这不仅有助于营销人员更好地找到刺激消费需求的刺激点，而且有助于营销人员树立以所发布信息是否能吸引消费者无意注意、实现对其良好被动刺激为标准来评价企业信息发布工作效果的观念，从而使企业信息发布工作能起到更好的宣传、促销效果。 3.明确提出了“购买决策(yes)”+其他条件(如：资金)→“购买行为”这一路径，这有助于营销人员树立一个营销理念：消费者即使作出了购买决策也不一定能发生购买行为，因为可能受其他条件(如资金不足)限制而最终不能执行购买决策，即不能产生相应的购买行为。如果能帮助消费者解决好阻碍其购买行为发生的其他条件，则有助于消费者最终产生购买行为。如，房地产开发商发售商品房时与银行合作，为购房者提供银行按揭即是帮助消费者解决了资金问题，才促进了消费者购房行为的发生。 4.率先将“获得消费体验”作为一个独立阶段予以强调。明确指出了“获得消费体验”与“购后评价”、“购后行为”之间的关系，这有助于营销人员更好地理解消费者的“购后评价”、“购后行为”产生的缘由，真正关心消费者的“消费体验”。 5.进一步强调了购后行为是消费者购买行为不可分割的一部分，并率先将“产品处置”也纳入消费者购买行为模式中。这拓展了对消费者购买行为的研究范围，有助于营销人员牢固树立为以消费者为中心的营销理念，推动企业的营销工作。 6.本模式更符合中国消费者发生购买行为的逻辑思维习惯和心理活动规律，其结构更严密，内容更完整、细致和具体，因而更易为中国的营销人员理解，有助于他们更好地把握消费者购买行为规律。总之，该模式有更强的应用性，对营销实践有更强的指导性。二、中国消费者购买行为模式各阶段的内容及特点 (一)“刺激”阶段。消费者的购买行为都是由刺激引起的，刺激具体可分为外部刺激与内部刺激、主动刺激与被动刺激。外部刺激：指由消费者自身以外的因素对消费者产生的刺激。外部可对消费者产生刺激的因素有许多，如：产品的款式、质量、价格、服务、广告、社会的政治经济情况、科技水平、地域特点、文化因素、家庭结构、居住条件、职业、收入、社会阶层、相关群体等。其中主要因素是：产品本身情况、广告、收入、相关群体等。内部刺激：指由消费者自身内部的因素对消费者产生的刺激。内部可对消费者产生刺激的因素也有许多，如：生理需要、心理需要、个性、态度、性格、气质、观点、习惯、情绪、情感、感觉、知觉等。其中主要因素是：生理需要、心理需要、个性、习惯、感觉等。主动刺激：指消费者在有意注意状态下受到的刺激。被动刺激：指消费者在无意注意状态下受到的刺激。该阶段的特点是：消费者所受刺激既可能是由外部因素产生的，也可能是由内部因素产生的；既可以是主动刺激，也可以是被动刺激。主动刺激、被动刺激主要反映消费者受刺激时的状态，它揭示了刺激消费者的途径；而外部刺激、内部刺激揭示了刺激消费者的许多具体刺激点，实际上它们均有可能成为消费者产生不足之感的决定因素，只是对于不同的消费者具体情况有所不同而已。 (二)“不足之感”阶段。不足之感指消费者在受到刺激之后，产生了缺少什么并由此需要此物(商品或劳务)的感觉。此时，消费者产生了消费需要。需要特别指出的是：消费者的不足之感既可以是生理上的、也可以是心理上的，还可以是二者兼而有之的。消费者的不足之

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编号：QJ-HT-0750 游戏软件合同开发协议与版权归属(参考文本) In order to clarify their rights and obligations, sign contracts to ensure that their legitimate rights and interests are not harmed. 甲方：_____________________ 乙方：_____________________ 日期：_____________________ --- 专业合同范本系列下载即可用---

游戏软件合同开发协议与版权归属 (参考文本) 说明：该合同书适用于甲乙双方为明确各自的权利和义务，经友好协商签署合同，在合同期限内按照合同规定或者依照法律规定履行义务，保证权利双方合法权益不受损害，文档可下载收藏或打印使用（使用时请先阅读条款是否适用）。在软件合作开发合同中，著作权的归属是一项重要的内容。涉及著作权的归属问题应该涵盖以下几项内容： (1)著作权归属于谁合同中应该明确合作开发的软件的著作权是合作开发者共有还是由部分合作开发者享有。 (2)开发者拥有著作权的具体内容是什么合同中应该明确拥有著作权的开发者都享有著作权的哪些权利，例如署名权、使用权、许可他人使用权和销售权。 (3)其他开发者对于合作开发的软件是否还享有其他权利虽然合同中可以约定合作开发软件的著作权归属于某一开发者，但是对于其他开发者是否还有一定的权利，例如为了宣传的目的进行软件展示的权利或者在自己内部

使用的权利等等。 (4)对于合作开发软件的升级开发的权利是如何约定的软件开发完成以后即获得了著作权。但随着技术的进步和实际应用需求的变化，任何一个软件开发完成后都不会是一劳永逸的，软件是需要进行升级开发的。升级开发一方面可以修改以前版本的软件存在的缺陷，另一方面可以根据用户需求的反馈增加软件的功能或者根据技术的进步增加软件对系统软硬件环境的适应性。对于软件升级版本的开发是软件开发者的一种权利。因此，合作开发合同中应该明确软件升级版本开发的权利归属。需要明确的是，《计算机软件保护条例》明确规定合作开发合同应该通过书面方式签订。如果没有签订书面合同，则很难界定清楚著作权的归属，一旦出现纠纷，就更无法证实当初的约定。此种情况下，只能按照无书面合同处理。没有书面合同的，对于可以分割的软件，开发者对各自开发的部分可以单独享有著作权;但是，行使著作权时，不得扩展到合作开发的软件整体的著作权。这一原则充分尊重了软件开发者的劳动，既保护了软件开发者的权利，符合著作权属于作者的基本版权原则，又限制了分割部分软件的著作权行使

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游戏软件合同开发协议与版权归属(协议文本) Contracts concluded in accordance with the law have legal effect and regulate the behavior of the parties to the contract ( 合同范本 ) 甲方：______________________ 乙方：______________________ 日期：_______年_____月_____日编号：MZ-HT-019429

游戏软件合同开发协议与版权归属(协议文本) 在软件合作开发合同中，著作权的归属是一项重要的内容。涉及著作权的归属问题应该涵盖以下几项内容： (1)著作权归属于谁合同中应该明确合作开发的软件的著作权是合作开发者共有还是由部分合作开发者享有。 (2)开发者拥有著作权的具体内容是什么合同中应该明确拥有著作权的开发者都享有著作权的哪些权利，例如署名权、使用权、许可他人使用权和销售权。 (3)其他开发者对于合作开发的软件是否还享有其他权利虽然合同中可以约定合作开发软件的著作权归属于某一开发者，但是对于其他开发者是否还有一定的权利，例如为了宣传的目的进行软件展示的权利或者在自己内部使用的权利等等。

(4)对于合作开发软件的升级开发的权利是如何约定的软件开发完成以后即获得了著作权。但随着技术的进步和实际应用需求的变化，任何一个软件开发完成后都不会是一劳永逸的，软件是需要进行升级开发的。升级开发一方面可以修改以前版本的软件存在的缺陷，另一方面可以根据用户需求的反馈增加软件的功能或者根据技术的进步增加软件对系统软硬件环境的适应性。对于软件升级版本的开发是软件开发者的一种权利。因此，合作开发合同中应该明确软件升级版本开发的权利归属。需要明确的是，《计算机软件保护条例》明确规定合作开发合同应该通过书面方式签订。如果没有签订书面合同，则很难界定清楚著作权的归属，一旦出现纠纷，就更无法证实当初的约定。此种情况下，只能按照无书面合同处理。没有书面合同的，对于可以分割的软件，开发者对各自开发的部分可以单独享有著作权;但是，行使著作权时，不得扩展到合作开发的软件整体的著作权。这一原则充分尊重了软件开发者的劳动，既保护了软件开发者的权利，符合著作权属于作者的基本版权原则，

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2021游戏软件开发合同范本最新甲方：法定代表人：地址：电话：邮箱：乙方：法定代表人：地址：电话：邮箱：甲乙双方在平等互利基础上，订立下列合同条款，共同信守。一、合同内容 1、该软件所实现的功能以“_________游戏软件开发策划”为

准。 2、开发周期______天。 3、该软件交付给甲方使用，只包括该软件的应用程序，不包括该软件的源代码、可行性报告等。二、付款条件 1、甲方付予乙方的所有款项分三次付清。甲方在签订此合同时，应先付予乙方预定金。预定金数额为总价的______%。 2、在乙方为甲方开发出软件后，并且把已做好的软件（试用版）交甲方试用，同时甲方付予乙方总价的______%。 3、在试用期结束后______天以内（试用期为______天，开发周期不包含试用期），甲方必须把剩余款项付予乙方，否则乙方将有权停止该项目的服务，并且乙方将不退还已付金额。 4、在甲方付清所有款项后，乙方在____个工作日内向甲方提供该软件的注册码（该软件即可正常使用）。三、甲方权利义务 1、作为乙方的客户，甲方应向乙方提供软件开发所需的资料，

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【】项目软件产品采购合同（01090）买方：【】卖方：【】

买方: 【】地址: 【】邮政编码: 【】卖方: 【】地址: 【】电话: 【】传真: 邮政编码: 开户银行: 帐号: 联系人：

目录第一章定义 (4) 第二章合同标的 (5) 第三章价格 (6) 第四章支付条款 (7) 第五章交货和交货条款 (8) 第六章检验 (9) 第七章安装，系统测试，移交，试运行和终验 (10) 第八章保修，赔偿和违约金 (12) 第九章不可抗力 (15) 第十章税务 (15) 第十一章争议解决 (16) 第十二章知识产权和软件使用权的许可 (16) 第十三章保密条款 (19) 第十四章合同生效及其他 (20)

附件清单合同附件清单附件一：合同设备价格清单附件二：工程技术规范书点对点应答附件三：技术建议书附件四：功能需求技术满足情况附件五：技术文件清单附件六：工程进度表附件七：合同双方责任和工程分工界面附件八：买方人员培训附件九：验收及测试附件十：售后服务附件十一：硬件改造内容及补偿方案附件十二：工程协调会附件十三：买卖双方关联公司清单附件十四：卖方及第三方软件清单附件十五：厂家承诺附件十六：双方其他约定

第一章定义 1.“买方”：【】 2.“卖方”：【】 3.“一方”：卖方或买方。 4.“双方”：卖方和买方。 5.“合同软件”：本合同附件一所列的由卖方向买方提供或许可买方使用的软件。 6.“软件”：指受《中华人民共和国著作权法》、《计算机软件保护条例》及相关法律法规、国际公约保护的计算机程序及其文档。同时亦指合同附件一所列的卖方向买方提供并许可买方使用的、由硬连线逻辑指令及置于系统存储器（包括但不限于半导体装置或系统）内的机器可读码组成的计算机程序，可提供基本逻辑、操作指令以及与用户相关的应用程序指令，包括用于说明、维护及使用该程序的有关文档。 7.“合同设备”或设备：指合同附件一中所确定的硬件、软件、安装材料、备件、配件和辅件。 8.“技术文件”：合同附件一中规定的所有与合同设备、软件、系统的安装、调测、运行、维护和检验相关的文件。 9.“服务”：按合同第七，八章及附件十规定由卖方或卖方专家向买方做出的行为和担保。 10.“货物”：指合同设备、软件介质及技术文件。 11.“合同系统”或“系统”：指按合同附件一提供的货物之间有机组合而成的能够正常协同工作的整体。 12.“买方地点”或“地点”：由买方指定的对合同设备进行安装和运行的场所。 13.“合同”：本协议及其附件，附件是合同不可分割的一部分。 14.“交货地点”：买方指定地点。 15.“安装”：由卖方负责合同设备及软件的安装工作。 16.“调试”：卖方进行的单机和系统测试。 17. 移交测试验收证书: 由买卖双方人员按照附件二的要求进行的测试, 若系统满足附件二要求, 则卖方和买方签署移交测试验收证书,正式确认系统移交。

软件技术开发合同协议书范本详细版

编号： _____________ 软件技术开发合同甲方： _______________________ 乙方： _______________________ 签订日期： ___ 年____ 月_____ 日第1 页共11 页

说明: 一、本合同为中华人民共和国科学技术部印制的技术开发（委托）合同示范文本，各技术合同登记机构可推介技术合同当事人参照使用。二、本合同书适用于一方当事人委托另一方当事人进行新技术、新产品、新工艺、新材料或者新品种及其系统的研究开发所订立的技术开发合同。三、签约一方为多个当事人的，可按各自在合同关系中的作用等，在“委托方”、“受托方” 项下（增页）分别排列为共同委托人或共同受托人。四、本合同书未尽事项，可由当事人附页另行约定，并可作为本合同的组成部分。五、当事人使用本合同书时约定无需填写的条款，应在该条款处注明“无”等字样。委托方（甲方）：_____________________________________________ 住所地：_______________________________________________________ 法定代表人：___________________________________________________ 项目联系人：____________________________________________________ 联系方式：_____________________________________________________ 通讯地址：______________________________________________________ 电话：____________________ 传真：_____________________________ 电子信箱：______________________________________________________ 受托方（乙方）：_____________________________________________ 住所地：_______________________________________________________ 法定代表人：___________________________________________________ 项目联系人：____________________________________________________ 联系方式：_____________________________________________________ 通讯地址：______________________________________________________ 电话：_______________________ 传真： __________________________ 电子信箱：______________________________________________________

消费者购买决策的类型及其特点是什么

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