Examining Slot Machine Play with Varying Percentages of Losses Disguised as Wins
When playing on multiline slot machine games, small " wins " often amount to less than the original spin wager, which results in a financial loss to the gambler. However, the gambler may feel as if he is winning because these " wins " are paired with audiovisual feedback. The influence of losses disguised as wins was examined to determine if this had an influence on latency, trial ratings, and the number of trials played. Thirty-one participants played a minimum of 50 trials on a simulated multi-line slot machine. The participants were divided into three groups with 16%, 30%, and 46% of trials being losses disguised as wins. Results showed that trial type had a significant impact on latency and rating, as losses disguised as wins fell between wins and losses in terms of latencies and ratings. Clinical implications and future directions are discussed.
The maximum rewards at the minimum price: Reinforcement rates and payback percentages in multi-line slot machines
Pastresearchhasshownthatgamblersfrequentlyusethemini-maxstrategyinmulti-lineslot machines, whereby the player places the minimum bet on the maximum number of lines. Through a detailed analysis and explanation of the design of multi-line slot machine games, weshowthatwhenusingthemini-maxstrategy,thepaybackpercentageremainsunchanged, yet the reinforcement rate is significantly increased. This increase in reinforcement rate is mainly due to spins in which the amount won is less than the amount wagered, which we call losses disguised as wins. We have verified these conclusions by playing an actual slot machine game for 10,000 spins and recording the results. We believe that the high reinforcement rate that results from playing multiple lines on games of this type contributes to their potential addictiveness. We provide three theories for why players use the mini-max strategy and suggest further areas of research.
Unity Identity Text Self
Abstract Understanding the receptivity of literature, how one work admits many readers, begins with an analogy: unity is to text as identity is to self. Unity here means the way all a text’s features can be related through one central theme. Identity describes a person’s sameness within different behaviors as variations on one identity theme (Lichtenstein). To find unity or identity, however, the interpreter himself plays a behavioral variation on his identity theme. In interpreting, his identity re-creates itself as he shapes the text to match his characteristic defenses, fantasies, and coherences. Thus, what a poet says about fictional, political, or scientific texts expresses the same identity theme as the poems he writes. To understand reading, criticism, and any knowing or making in symbols, then, we need to let go the Cartesian craving for objectivity and accept the themes in ourselves with which we construe the world—including literary works.