Does Video Game Monetization Impact Children? Australia’s Response Explained | Games

O Over the last ten years, Dean has built a robust collection of video games, ranging from mainstream blockbusters to niche favorites. His digital library is akin to a cinematic treasure trove, allowing instant access with a simple click. Yet, his son, Sam, has set his sights on just one game: Roblox. This expansive virtual universe and video game, Roblox is the leading title worldwide.

The company reports over 97 million daily active users on Roblox, with around 40% of them, like Sam, aged under 13. In 2024, Roblox generated approximately $5.6 billion (US$3.6 billion) in revenue, mainly from purchases of “Robux,” a form of in-game currency, with the average user spending about $25 a month.


Amid concerns about children’s exposure to bullying and inappropriate content, a recent report highlights the impacts of game monetization on young users.

Experts argue that Australia’s current classification system does not adequately assist child gamers and their parents in navigating the tricky monetization landscape.

New reports from Australian researchers scrutinize the manipulative “dark design patterns” in gaming that encourage spending and confuse children with unclear cryptocurrency transactions.

One recent report from Monash University and the Center for Consumer Policy Research (CPRC) focused on players aged 18 and older, revealing that games designed with dark patterns are almost unavoidable. Of the 800 surveyed, 83% reported “negative effects” from these designs, and 46% faced economic disadvantages, feeling pressured to purchase items and overspending.

Another recent study from University of Sydney researchers sought to understand how children, who represent one-fifth of the gaming population, recognize these mechanisms and perceive the design of video games.

“Concerns about children’s interaction with digital media often lead to panic and policy decisions that overlook the actual experiences of children,” states Taylor Hardwick, lead author of the study.

Hardwick and her team interviewed 22 children aged 7 to 14 and their parents. Each child received a $20 debit card and was instructed to explain their purchases.

Among the 22 children, 18 played Roblox, with 12 spending their entire $20 on Robux. The remaining five used the funds on other games like Call of Duty, Fallout 76, and Minecraft.

Participants expressed concerns about being misunderstood and frustrated by their purchases, especially if they suddenly lost access to their accounts or items.

Sam’s father shared that Sam has spent around $400 a year on Roblox over the past four years, with a recent purchase leaving him disheartened.

Sam had used some of his Robux to buy Godzilla “skins” (digital costumes) in a popular Roblox game called Monster Universe. However, upon logging in, he found his skin had vanished unexpectedly after the game was shut down by Toho, the copyright holder. He did not receive a refund from Roblox.

One major concern raised by Sydney researchers is the impact of “random reward mechanisms” (RRMs) on children. RRMs, like loot boxes, offer players mystery items through lottery-style draws.

While children in this study accepted RRMs as part of gaming, many expressed dissatisfaction with them.

“Even if children talk about game percentages in slang, they don’t entirely grasp the risks of navigating these digital experiences,” the authors note. “Gambling-like mechanisms such as RRMs are harmful and inappropriate for children’s games.”

Recommendations include eliminating RRMs, simplifying refund processes, enhancing account protections for children, and improving transparency regarding cryptocurrency.

Christopher Ferguson, a psychologist at Stetson University, found the study interesting but highlighted the small sample size and questioned the researchers’ definition of “harm.” He argued that while children may feel deceived, the monetization aspects could be more annoying than harmful.

“It’s encouraging that researchers are inquiring about children’s perspectives on their experiences,” he said.

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A USTRALIA has attempted to shield children from monetized RRMs by introducing a new classification system that was implemented in September 2024. Currently, games containing RRMs or loot boxes are not recommended for those under 15.

However, these new regulations apply only to newly classified games, and pre-existing games are not required to update their classifications.

Leon Xiao, a researcher from City University of Hong Kong studying loot box regulation, states that Australia faces implementation issues rather than legal ones. He argues that several video games were misrated after the new law came into effect, indicating flaws in consumer education.

A preliminary study by Marcus Carter, co-author of the University of Sydney research, suggests that about 20% of the top 100 grossing mobile games on the Apple App Store and Google Play Store do not comply with Australian regulations. Hardwick and Carter recently noted that Australia’s guidelines “do not fulfill their intended purpose.”

Roblox, with its extensive user-generated content, exemplifies the confusion surrounding ratings. Xiao argues, “Roblox should either be rated or not recommended for players under 15.” However, the game is rated PG on the Google Play Store.

In contrast, Apple’s App Store lists a regional age rating of over 15 years, which aligns with global ratings from Apple that set the limit at 12.

A Roblox spokesperson informed Guardian Australia that developers must use the PolicyService API to comply with jurisdictional requirements, ensuring access only for eligible users with paid random items. Due to an update rolled out to developers in September 2024, paid random items are currently unavailable to users in Australia.

“As a platform for user-generated content, we provide developers with tools, information, and guidelines applicable to various gameplay aspects within games and experiences.

“We are committed to addressing reported content that fails to adhere to guidelines or does not effectively use tools necessary to meet Australia’s local compliance requirements.”

The company strives to inform parents about their children’s purchasing habits, does not store billing information as defaults, and fails to give warnings that real money is being spent during initial transactions. Parents are also alerted via emails regarding high spending activity.

“Our parental controls enable parents and caregivers to receive notifications about their child’s spending on Roblox and set monthly spending limits for their accounts,” said the spokesperson.

Hardwick believes navigating monetization is challenging for parents, who are often busy, informed, and lack resources. She feels they aren’t equipped to manage children’s in-game spending effectively.

Dean is making every effort to guide Sam through these trends, discussing what Sam spends Robux on and why. While Dean acknowledges Sam’s disappointment over the Godzilla skin, he has encouraged Sam to explore a gardening game where he can utilize Robux to purchase new species.

*Name changed

Source: www.theguardian.com

Creativity at its best: African content creators on YouTube and TikTok explore new avenues for monetization

VLogs by Nigerian content creators Tayo Aina feature anything from Nigeria Japan (immigration) wave and voodoo festival. Performing with Afrobeats stars in Benin david or last hunter-gatherer tribe. In Tanzania, you can get millions of views on YouTube.

Aina, 31, who started the channel in 2017 while working as an Uber driver, says it has allowed her to see parts of Nigeria that she had never had the chance to visit before. Using his iPhone, he began a mini-travel adventure, taking breaks to record the places he visited and tell stories not covered in mainstream media.


“I want to inspire the next generation of Africans to have no limits,” says Nigerian content creator Tayo Aina. Photo: Handout

Aina learned how to film and edit through YouTube tutorials, saved up to buy better equipment, and soon began traveling beyond Nigeria to countries like Kenya, Ethiopia, and Namibia, learning about the continent’s culture and social life. He created a travel video that introduces Africa through the lens of photography. African traveler.

“Most of the online media was negative, and I realized that I was trying to change the narrative about Africa by presenting it more clearly. It’s light,” says Aina, who now travels around the world.

Africa’s Creator Industry 2024 Report Research by publisher Communiqué and media technology company TM Global values ​​the sector at £2.4bn and predicts it will grow five times by 2030, reflecting trends in the global creator economy. Its growth is being driven by a wave of creators between the ages of 18 and 34, a surge in internet connectivity and social media usage across the continent, and the explosion of African culture on the world stage.

Growing interest in African culture – from Afrobeats and Amapiano Music and dance to an international fashion collection made from African textiles such as Ankara and Kikyoy. African movies – This is part of an international aspiration for authentic cultural storytelling outside the Arctic Circle, reflected in global cultural movements such as Hallyu, says David Adeleke, Founder of Communiqué.

This year, TikTok recognized More than a dozen African creators including Nigerian lifestyle creators @__iremide, a person who makes videos that satirize everyday life, and a South African Sachiko-sama. The 22-year-old is known for cosplaying characters from anime, video games, and pop culture. Nick Clegg, Meta’s president of international affairs, recently said: held a meeting Other social media platforms such as YouTube and TikTok are increasing their presence and Heva I’m getting involved.

The report says the industry is gaining momentum but is still young. Most content creators are in their third year of work, have fewer than 10,000 followers, and are faced with the challenge of turning social capital into income. The report adds that discussions about the monetization and standardization of the creator business ecosystem continue to take place primarily in Western countries.

But that is gradually changing.

As Aina’s channel grew and attracted a more international audience, he discovered what he was capable of. more and more It cost him money when his content was viewed by Western audiences rather than Africa. YouTube’s advertising model relies on ad spend, which is lower in many African markets than in North America and Europe.

“Part of the reason is economic. Generally speaking, Western creators and audiences have more resources, but that alone is not enough to justify the disparity in opportunity. ” says Adeleke.

As Aina began diversifying her content and audience to generate more income, there were other issues to worry about. He shares a video about the barriers and prejudice he faced during his travels, including being detained in Ethiopia on suspicion of drug possession, being arrested in South Africa on suspicion of being a “fraudster” and being refused entry to Dubai. I’ve posted it on my blog. The 2022 incident in Dubai was the “last straw” for Aina. Aina invested her savings in St. Kitts and Nevis and eventually secured a passport from St. Kitts and Nevis, becoming a citizen of the Caribbean nation.

He currently runs the Creator Academy on YouTube, where he has trained nearly 2,000 mostly African creators. “I want the next generation of Africans to grow their brands globally without limitations,” he says.

Chiamaka “Amaka” Amaku A 30-year-old Nigerian travel and lifestyle innovator who works as a social media manager and creates content as a personal project, believes digital infrastructure issues, including the challenges of sending and receiving international money, are a challenge for Nigerian creators. It says it can limit growth. Some global payment platforms have imposed restrictions on certain countries, including Nigeria, due to concerns about fraud and money laundering.

“Payment is one of the biggest challenges in Nigeria’s creator economy,” Amaku said, adding that payment barriers deter global brands from working with Nigerian creators.

In recent years, fintech companies such as flutter wave and salary stack While supporting international payments has reduced the barriers creators face in accepting digital payments, many restrictions remain, including local bank policies. For travel creators like Amaku, that means it’s harder to book flights or take Uber abroad.

Amaku, who charges between £250 and £500 for posts on his Instagram page, which has around 20,000 followers, says it is difficult to make a living from creating content and there is a “culture of secrecy” around fees in the industry in Nigeria. He says that many people have died because of this. Creators quickly changed.

Sharon Makira A 31-year-old Kenyan luxury travel creator who describes her audience as “Afropolitan champagne nomads” agrees. He said competition for brand sponsorships is fierce because many companies still rely on traditional advertising, so negotiating rates can become a race to the bottom.

With around 20,000 followers on Instagram and 7,000 followers on YouTube, she gets around five brand deals a year, and is paid around £600 to £1,000 per campaign. When she became a full-time content creator last year, after nearly a decade in media and PR, she realized she couldn’t make a living relying on a few unpredictable brand deals, so companies started creating content. We have opened a PR studio that allows you to tailor your business to suit your needs. Cooperate with viewers, travel agencies and other businesses nomad And luxury lodges in Rwanda Singita Kwitonda.

According to her, building a business around a social media brand can earn you several times more per project than a brand deal. “I think there’s real promise there.” [African] Creators: Leverage your social capital, network, credibility, and personal brand to launch your business,” she says.


Source: www.theguardian.com

“Why Social Media is Spiraling Out of Control: Conspiracies, Monetization, and Weirdness” – Nesrin Malik

There’s a brief clip on TikTok where HRH Princess of Wales discloses her cancer diagnosis, while an AI voiceover suggests it’s a “faulty ring.” The video has amassed 1.3 million views. Other videos analyzing and distorting aspects of this clip have also gained millions of views and shares. These videos have surfaced on X (formerly known as Twitter) and have been shared via WhatsApp by friends and family, presented as factual reports without any indication of being internet rumors.

Something has shifted in the way social media content is curated. It’s a significant yet subtle transformation. Platforms that were once distinct in content types now overlap. Instagram Reels now features TikTok videos, and TikTok videos from Instagram Reels also appear on X. The algorithms seem to create a closed loop, steering us away from deliberate choices in who we follow. Every social media app now has a “For you” page displaying content from non-followed users, making it challenging to control our feed.

With increasing loss of control over our feed, social media platforms have turned into competitive attention markets. Content creators often subtly promote products through their recommendations, earning commissions on user purchases. The content that garners high engagement, like conspiracy theories, becomes lucrative. Online conspiracy theories vary in nature and source, from sensational to sober, infiltrating our feeds.

Social media has evolved from a personal platform to a lucrative profession for content creators. Videos and tweets going viral can significantly increase a user’s earning potential, follower count, and attract brand partnerships. However, this monetization model costs users their agency and shifts the focus towards generating revenue for the platform.


Traditional media tends to downplay social media manipulation and avoids hard questions. Tabloids and right-wing media have long spun news stories for clicks and shares, especially concerning celebrities and royals. The dynamic between the palace, media, and public opinion has shifted, as social media now challenges the traditional mediation of who to love and hate among royals.


Social media has become a complex arena where commercial players imitate and challenge legacy media, driving misinformation and chaos. The shifting landscape of social media engagement poses new challenges for understanding and accountability, going beyond simplistic explanations of user morality.


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Source: www.theguardian.com