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
Deep Learning Super Sampling
Deep Learning Super Sampling (DLSS) is a suite of real-time deep learning image enhancement and upscaling technologies developed by Nvidia that are available in a number of video games. The goal of these technologies is to allow the majority of the graphics pipeline to run at a lower resolution for increased performance, and then infer a higher resolution image from this that approximates the same level of detail as if the image had been rendered at this higher resolution. This allows for higher graphical settings or frame rates for a given output resolution, depending on user preference. All generations of DLSS are available on all RTX-branded cards from Nvidia in supported titles. However, the Frame Generation feature is only supported on RTX 40 series GPUs or newer and Multi Frame Generation is only available on 50 series GPUs. == History == Nvidia advertised DLSS as a key feature of GeForce RTX 20 series GPUs when they launched in September 2018. At that time, the results were limited to a few video games, namely Battlefield V, or Metro Exodus, because the algorithm had to be trained specifically on each game on which it was applied and the results were usually not as good as simple resolution upscaling. In 2019, Control shipped with ray tracing and an image processing algorithm that approximated DLSS, which did not use the Tensor Cores. In April 2020, Nvidia advertised and shipped an improved version of DLSS named DLSS 2 with driver version 445.75. DLSS 2.0 was available for a few existing games including Control and Wolfenstein: Youngblood, and would later be added to many newly released games and game engines such as Unreal Engine and Unity. This time Nvidia said that it used the Tensor Cores again, and that the AI did not need to be trained specifically on each game. Despite sharing the DLSS branding, the two iterations of DLSS differ significantly and are not backwards-compatible. In January 2025, Nvidia stated that there are over 540 games and apps supporting DLSS, and that over 80% of Nvidia RTX users activate DLSS. In March 2025, there were more than 100 games that support DLSS 4, according to Nvidia. By May 2025, over 125 games supported DLSS 4. The first video game console to use DLSS, the Nintendo Switch 2, was released on June 5, 2025. Nvidia announced DLSS 4.5 at CES 2026. In January 2026, Nvidia stated that over 250 games and applications support Multi Frame Generation. On March 16, 2026, at GTC 2026, Nvidia CEO Jensen Huang presented DLSS 5, a real-time AI model based on neural rendering that realistically enhances lighting and material surfaces at up to 4K resolution while retaining the developer's intended art style. It is planned to release in fall of 2026. In a blog post on its website, Nvidia has announced that DLSS 5 will be available in such games as Assassin's Creed Shadows, Delta Force, Hogwarts Legacy, Naraka: Bladepoint, Phantom Blade Zero, Resident Evil Requiem, Starfield, The Elder Scrolls IV: Oblivion Remastered, and more. On May 31, 2026, Nvidia announced an updated version of Ray Reconstruction for DLSS 4.5 in a blog post, scheduled for release on all RTX GPUs in August of the same year. They said it is designed to better embed spatial awareness into scenes and analyze engine data on movements and lighting conditions, resulting in a sharper, more stable, and less noisy image. === Release timeline === == Technology == === DLSS 1 === The first iteration of DLSS is a predominantly spatial image upscaler with two stages, both relying on convolutional auto-encoder neural networks. The first step is an image enhancement network which uses the current frame and motion vectors to perform edge enhancement, and spatial anti-aliasing. The second stage is an image upscaling step which uses the single raw, low-resolution frame to upscale the image to the desired output resolution. Using just a single frame for upscaling means the neural network itself must generate a large amount of new information to produce the high-resolution output, which can result in slight hallucinations such as leaves that differ in style to the source content. The neural networks are trained on a per-game basis by generating a "perfect frame" using traditional supersampling to 64 samples per pixel, as well as the motion vectors for each frame. The data collected must be as comprehensive as possible, including as many levels, times of day, graphical settings, resolutions, etc. as possible. This data is also augmented using common augmentations such as rotations, colour changes, and random noise to help generalize the test data. Training is performed on Nvidia's Saturn V supercomputer. This first iteration received a mixed response, with many criticizing the often soft appearance and artifacts along with glitches in certain situations; likely a side effect of the limited data from only using a single frame input to the neural networks which could not be trained to perform optimally in all scenarios and edge-cases. Nvidia also demonstrated the ability for the auto-encoder networks to learn the ability to recreate depth-of-field and motion blur, although this functionality has never been included in a publicly released product. === DLSS 2 === DLSS 2 is a temporal anti-aliasing upsampling (TAAU) implementation, using data from previous frames extensively through sub-pixel jittering to resolve fine detail and reduce aliasing. The data DLSS 2 collects includes: the raw low-resolution input, motion vectors, depth buffers, and exposure / brightness information. It can also be used as a simpler TAA implementation where the image is rendered at 100% resolution, rather than being upsampled by DLSS, Nvidia brands this as DLAA (Deep Learning Anti-Aliasing). TAA(U) is used in many modern video games and game engines; however, all previous implementations have used some form of manually written heuristics to prevent temporal artifacts such as ghosting and flickering. One example of this is neighborhood clamping which forcefully prevents samples collected in previous frames from deviating too much compared to nearby pixels in newer frames. This helps to identify and fix many temporal artifacts, but deliberately removing fine details in this way is analogous to applying a blur filter, and thus the final image can appear blurry when using this method. DLSS 2 uses a convolutional auto-encoder neural network trained to identify and fix temporal artifacts, instead of manually programmed heuristics as mentioned above. Because of this, DLSS 2 can generally resolve detail better than other TAA and TAAU implementations, while also removing most temporal artifacts. This is why DLSS 2 can sometimes produce a sharper image than rendering at higher, or even native resolutions using traditional TAA. However, no temporal solution is perfect, and artifacts (ghosting in particular) are still visible in some scenarios when using DLSS 2. Because temporal artifacts occur in most art styles and environments in broadly the same way, the neural network that powers DLSS 2 does not need to be retrained when being used in different games. Despite this, Nvidia does frequently ship new minor revisions of DLSS 2 with new titles, so this could suggest some minor training optimizations may be performed as games are released, although Nvidia does not provide changelogs for these minor revisions to confirm this. The main advancements compared to DLSS 1 include: Significantly improved detail retention, a generalized neural network that does not need to be re-trained per-game, and ~2x less overhead (~1–2 ms vs ~2–4 ms). It should also be noted that forms of TAAU such as DLSS 2 are not upscalers in the same sense as techniques such as ESRGAN or DLSS 1, which attempt to create new information from a low-resolution source; instead, TAAU works to recover data from previous frames, rather than creating new data. In practice, this means low resolution textures in games will still appear low-resolution when using current TAAU techniques. This is why Nvidia recommends game developers use higher resolution textures than they would normally for a given rendering resolution by applying a mip-map bias when DLSS 2 is enabled. === DLSS 3 === Augments DLSS 2 with improved image quality and the introduction of a new motion interpolation feature, called Frame Generation. The DLSS Frame Generation algorithm takes two rendered frames from the rendering pipeline and generates a new frame that smoothly transitions between them. For every frame rendered, one additional frame is generated. DLSS 3.0 makes use of a new generation Optical Flow Accelerator (OFA) included in the Ada Lovelace architecture of GeForce RTX 40 series GPUs and with that is exclusive to them. The new OFA is said to be faster and more accurate than the one already available in previous Turing and Ampere RTX GPUs. === DLSS 3.5 === DLSS 3.5 adds Ray Reconstruction, replacing multiple denoising algorithms with a single AI model trained o
Dissociated press
Dissociated press is a parody generator (a computer program that generates nonsensical text). The generated text is based on another text using the Markov chain technique. The name is a play on "Associated Press" and the psychological term dissociation (although word salad is more typical of conditions like aphasia and schizophrenia – which is, however, frequently confused with dissociative identity disorder by laypeople). An implementation of the algorithm is available in Emacs. Another implementation is available as a Perl module in CPAN, Games::Dissociate. == The algorithm == The algorithm starts by printing a number of consecutive words (or letters) from the source text. Then it searches the source text for an occurrence of the few last words or letters printed out so far. If multiple occurrences are found, it picks a random one, and proceeds with printing the text following the chosen occurrence. After a predetermined length of text is printed out, the search procedure is repeated for the newly printed ending. Considering that words and phrases tend to appear in specific grammatical contexts, the resulting text usually seems correct grammatically, and if the source text is uniform in style, the result appears to be of similar style and subject, and takes some effort on the reader's side to recognize as not genuine. Still, the randomness of the assembly process deprives it of any logical flow - the loosely related parts are connected in a nonsensical way, creating a humorously abstract, random result. == Examples == Here is a short example of word-based Dissociated Press applied to the Jargon File: wart: n. A small, crocky feature that sticks out of an array (C has no checks for this). This is relatively benign and easy to spot if the phrase is bent so as to be not worth paying attention to the medium in question. Here is a short example of letter-based Dissociated Press applied to the same source: window sysIWYG: n. A bit was named aften /bee´t@/ prefer to use the other guy's re, especially in every cast a chuckle on neithout getting into useful informash speech makes removing a featuring a move or usage actual abstractionsidered interj. Indeed spectace logic or problem! == History == The dissociated press algorithm is described in HAKMEM (1972) Item #176. The name "dissociated press" is first known to have been associated with the Emacs implementation. Brian Hayes discussed a Travesty algorithm in Scientific American in November 1983. The article provided a garbled William Faulkner passage: When he got on the table, he come in. He never come out of my own pocket as a measure of protecting the company against riot and bloodshed. And when he said. "You tell me a bus ticket, let alone write out no case histories. Then the law come back with a knife!" Hugh Kenner and Joseph O'Rourke of Johns Hopkins University discussed their frequency table-based Travesty generator for microcomputers in BYTE in November 1984. The article included the Turbo Pascal source for two versions of the generator, one using Hayes' algorithm and another using Claude Shannon's Hellbat algorithm. Murray Lesser offered a compiled BASIC version in the magazine in July 1985, in September 1985 Peter Wayner offered a version that used tree data structures instead of frequency tables, and in December 1985 Neil J. Rubenking offered a version written in Turbo Pascal that stored frequency information in a B-tree.
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Vlado Keselj
Vlado Keselj (Vlado Kešelj) is a Serbian-Canadian computer scientist known for his research in natural language processing and authorship attribution. He is a professor at Dalhousie University. == Education == As a high school student in Yugoslavia, Keselj competed in the 1987 International Mathematical Olympiad, earning a bronze medal. He earned his Ph.D. in 2002 at the University of Waterloo, with the dissertation Modular Stochastic HPSGs for Question Answering supervised by Nick Cercone. == Awards == Vlado Keselj is a recipient of the 2019 CAIAC Distinguished Service Award, awarded by the Canadian Artificial Intelligence Association (CAIAC). == Selected publications == Kešelj, V., Peng, F., Cercone, N., & Thomas, C. (2003, August). N-gram-based author profiles for authorship attribution. In Proceedings of the Conference of the Pacific Association for Computational Linguistics, PACLING 2003 (Vol. 3, pp. 255–264).
Situated
In artificial intelligence and cognitive science, the term situated refers to an agent which is embedded in an environment. The term situated is commonly used to refer to robots, but some researchers argue that software agents can also be situated if: they exist in a dynamic (rapidly changing) environment, which they can manipulate or change through their actions, and which they can sense or perceive. Examples might include web-based agents, which can alter data or trigger processes (such as purchases) over the internet, or virtual-reality bots which inhabit and change virtual worlds, such as Second Life. Being situated is generally considered to be part of being embodied, but it is useful to consider each perspective individually. The situated perspective emphasizes that intelligent behaviour derives from the environment and the agent's interactions with it. The nature of these interactions are defined by an agent's embodiment.
Optical Character Recognition (Unicode block)
Optical Character Recognition is a Unicode block containing signal characters for OCR and MICR standards. == Block == == Subheadings == The Optical Character Recognition block has three informal subheadings (groupings) within its character collection: OCR-A, MICR, and OCR. === OCR-A === The OCR-A subheading contains six characters taken from the OCR-A font described in the ISO 1073-1:1976 standard: U+2440 ⑀ OCR HOOK, U+2441 ⑁ OCR CHAIR, U+2442 ⑂ OCR FORK, U+2443 ⑃ OCR INVERTED FORK, U+2444 ⑄ OCR BELT BUCKLE, and U+2445 ⑅ OCR BOW TIE. The OCR bow tie is given the informative alias "unique asterisk". The hook, chair and fork, in addition to a long vertical bar, are included in the most basic "numeric" implementation level of OCR-A, which includes digits but excludes letters and conventional punctuation. By contrast, the most basic implementation level of OCR-B instead includes the digits, plus sign, less-than sign, greater-than sign, long vertical bar and seven of the capital letters; as such, there are no characters specific to OCR-B in the Optical Character Recognition block. === MICR === The MICR subheading contains four punctuation characters for bank cheque identifiers, taken from the magnetic ink character recognition E-13B font (codified in the ISO 1004:1995 standard): U+2446 ⑆ OCR BRANCH BANK IDENTIFICATION, U+2447 ⑇ OCR AMOUNT OF CHECK, U+2448 ⑈ OCR DASH, and U+2449 ⑉ OCR CUSTOMER ACCOUNT NUMBER. The latter two characters are misnamed: their names were inadvertently switched when they were named in the 1993 (first) edition of ISO/IEC 10646, a mistake which had been present since Unicode 1.0.0. Although their formal names remain unchanged due to the Unicode stability policy, they both have corrected normative aliases: U+2448 ⑈ is MICR ON US SYMBOL, and U+2449 ⑉ is MICR DASH SYMBOL (the standard notes that "the Unicode character names include several misnomers"). These symbols had previously been encoded by the ISO-IR-98 encoding defined by ISO 2033:1983, in which they were simply named SYMBOL ONE through SYMBOL FOUR. All four characters have informative aliases in the Unicode charts: "transit", "amount", "on us", and "dash" respectively. === OCR === The OCR subheading consists of a single character: U+244A ⑊ OCR DOUBLE BACKSLASH. == History == The following Unicode-related documents record the purpose and process of defining specific characters in the Optical Character Recognition block: