A concept of underworld runs through many cultures. These realms of spirits and the dead generally share several key characteristics, despite their varied and separate traditions. The commonalities among these different mythological places make it possible to generalize certain characteristics as chthonic for descriptive and analytical purposes. The underworld has appeared widely in video games throughout their history. I argue that the remarkable prevalence reflects a formal relationship between the underworld and video games; specific elements in mythic underworlds comprise a chthonic poetics that resonates with video game worlds and affordances. Video games uniquely support the spatial, thematic, and narrative elements that characterize underworlds and the philosophical questions they engage. Embodiment binds these elements together; they are unintelligible without this core perspective. The body sits at the axis of experience in mythic underworlds like the one described by Dante in the Divine Comedy and in game worlds like the one in World of Warcraft. It provides the medium through which we can experience these simulations as worlds rather than mere information structures. Other formal elements give context and direction to that embodied experience, and exploring how these interact with embodiment can expand our understanding of chthonic embodiment and the experience of space in virtual worlds. Three primary forces acting on the agency, subjectivity and control of the body structure that experience, which in turn reflects the ways of being that emerge from chthonic contexts. By incorporating these forces into their gameplay and narrative structure, games provide more direct access to the mythic power associated with the underworld than previous media forms.

The topic of this thesis is to analyze the business models currently used in the gaming industry. The aim is to provide a comprehensive overview of the current economic situation of the industry, distribution channels, used technologies and business practices from the perspective of all market participants. The theoretical part is due to less frequent topic devoted to the description of all entities of gaming industry. It analyzes not only all the actors involved in the development of video games and their subsequent sale but also the technical tools used to play games and also the players themselves. Video games are divided into two main streams (hardcore and casual) which also determine the structure and analysis. The analytical part focuses on capturing the most widely used business models and their combination for the sale of the video games. Models are then categorized into two groups (goods and services) and represent two different approaches to pricing scenarios. For each business model describes the basic principle, its pros and cons, the factors influencing the successful implementation and an example of the use of the model in practice. The analysis also includes the socio-economic profiles of two major market segments. In conclusion, based on the current developments and current trends in the field across the gambling industry the work tries to predict the future development of business models and for video games respectively. the whole industry.

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