I overall like the game, but it fails so much when it comes to loot and itemization. I played 15 minutes of the big blood harvest event yesterday (3 rounds) and got ~ 100 (!!!) rares, legendaries and uniques. None of those items has been close to be useful, even if I am level 65 only - so normally there should be still room for improvements. And this was not just the yesterday's experience, it's the same every day. You get tons over tons of loot, but 99,99% are completely shit. This is no fun, there is no dopamine rush, when a yellow, orange or unique item drops.. more annoyance like "well, I have to go through all those shitty items again to make sure, to not salvage anything useful, even if the chances to find something useful are close to zero".

Way less loot but higher quality should be the way to go (remove all those useless affixes which nobody cares about) - or a loot filter, which allows me to exactly define what items I want to see and auto salvage all others.

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Background and aims:  Loot boxes are items in video games that may be bought for real-world money but provide randomized rewards. Formal similarities between loot boxes and gambling have led to concerns that they may provide a 'gateway' to gambling amongst children. However, the availability of loot boxes is unclear. This study aimed to determine what proportion of top-grossing video games contained loot boxes, and how many of those games were available to children.

Findings:  A total of 58.0% of the top games on the Google Play store contained loot boxes, 59.0% of the top iPhone games contained loot boxes and 36.0% of the top games on the Steam store contained loot boxes; 93.1% of the Android games that featured loot boxes and 94.9% of the iPhone games that featured loot boxes were deemed suitable for children aged 12+. Age ratings were more conservative for desktop games. Only 38.8% of desktop games that featured loot boxes were available to children aged 12+.

Suppose you are the director of a museum that houses art that was once stolen. How do you deal with it? Should you return it? Do you leave it there? And if you leave it there, are you as a museum complicit in looting?

The exhibition Loot - 10 stories shares the struggle museums have with stolen art. Where did the looted objects come from? Why were they stolen? With a VR headset on, you suddenly find yourself in a secret art storage. In a tunnel, a kilometre underground, you're all of a sudden eye-to-eye with a stolen Rembrandt. How did it end up there?

Loot - 10 stories shows stolen objects from three periods: art looted by French revolutionaries in 1795, art taken from Jewish owners by Nazis and colonial looted art. Using virtual reality, you will discover the history of these objects. Artist duo Jongsma + O'Neill use video installations and digital techniques to show the influence of this history today. What would happen if all the objects were returned to their rightful owners?

Much of this art ended up in museums in the nineteenth, early twentieth century, when museums emerged in Europe. For these museums, tracing the original owners is complicated. There are no receipts with the objects. Some objects were looted centuries ago. It often takes a lot of research to trace the provenance of an object.

After liberation, the self-portrait was found in the salt mines of Altaussee in Austria. There, the Nazis collected their looted art; a huge amount of paintings and objects. Fortunately, the Rembrandt could be returned to the Rathenau family after World War II. In 1947, the Dutch state bought it from the family. It's been in our museum ever since.

The subject of looted art has become very topical in recent years. Until the end of the 20th century it was quite common for European museums to display or store in their repositories objects from former colonies. In recent years, these objects have become the subject of debate. Should they be returned to their countries of origin? If so, how and when? All at once, or in batches? Who should they be returned to: the state, individual heirs, the region from which they were taken? How important is provenance research and collaboration with experts from countries of origin? How does looted colonial art relate to other forms of looted art, such as that stolen by Napoleon, or the Nazis? Are there parallels, or are these all cases apart?

Martine Gosselink, director of the Mauritshuis, came up with the idea of having curators work together to highlight questions like this that are associated with looted art. Though the exhibition might not have an oven-ready answer to these questions, it will hopefully prompt debate and discussion. The key question is: what is the future for looted art that is now shown or stored in repositories at museums all over the world (and especially in Europe)?

Above all, however, the Mauritshuis hopes to demonstrate in this exhibition how complex the reality of looted art is. Each case is unique. There is no one-size-fits-all solution. Every object has its own story, and deserves its own investigation and its own future. Every object was once made for a specific purpose, in a specific place. When it was stolen, it was ripped out of its context, and later became a museum object, isolated from everything and everyone it was once part of. Restitution is just a small step towards correcting historical injustices. But by carefully considering, together with all stakeholders, how we can return stolen items to their original owners, we can start to put things right.

Finally, the Mauritshuis has in its care 25 paintings from the NK collection of items looted, confiscated or purchased by the Nazi regime and returned to the Netherlands from Germany after the Second World War and handed over to the care of the Dutch State. A number of other paintings purchased by the Mauritshuis after 1945 were stolen from their original owners during the war. In recent decades, requests for the return of such items have been considered, and objects have been returned to the heirs of the rightful owners. Loot includes a painting (Rembrandt, Late Self-Portrait, 1669) that was stolen by the Nazis, later returned to the original Jewish owners and then bought by the Mauritshuis in 1947. For more information on the NK collection go to:

The Mauritshuis no longer has any looted colonial art because since the items from the Royal Cabinet of Curiosities were moved in 1875, it has only shown paintings, none of which has colonial origins. The paintings by Frans Post and Albert Eckhout were added to the collection later.

The Mauritshuis is organizing an international symposium on looted art on the 16th and 17th of November. This event will focus on the three periods addressed in the exhibition: colonial looted art, Nazi looted art, and Napoleonic looted art.

The video game industry has expanded rapidly in recent years by implementing a microtransaction business model and expanding to a new market of mobile gaming. However, the introduction of loot boxes has been controversial; similar to gambling, gamers pay real money for a randomized microtransaction for a chance to win a random virtual prize of perceived value. Additionally, the items won from these loot boxes, such as cosmetic skins, can potentially be used to bet on other games of chance or even on the outcomes of competitive esports games. With the ease of online payments, the use of manipulative operant conditioning, and exploitive advertisements, young gamers are subject to gambling tendencies. However, there is a global split between whether loot boxes fit under the definition of gambling. Countries around the world have responded in four different ways: (1) outright banning loot boxes; (2) regulating loot boxes in various ways; (3) investigating loot boxes further; and (4) not recognizing loot boxes as gambling and taking no further action. This Comment seeks to challenge the global question of whether loot boxes are gambling and instead ask whether loot boxes are inducing the same effects of gambling on young children. Whether loot boxes fit under pre-existing gambling constructs, the effects on children are prevalent. Treading a fine line between its government paternalistic approach and respecting economic freedom, the United States should take steps to regulate loot boxes in a manner that will protect minors from the effects of gambling without crippling the video game industry.

The chance-based nature of loot boxes has led to questions over similarities between them and gambling. Gambling experts have noted that loot boxes share several key formal features with traditional forms of gambling. For example, both when wagering at the roulette wheel, and when buying a loot box, players are risking the loss of real-world money for the chance of obtaining a valuable reward [5].

Indeed, some regulators have formally investigated whether loot boxes share enough similarities with forms of gambling, and determined that they should legally be regulated as gambling themselves. Early in 2018 Belgian and Dutch authorities ruled that some loot boxes violated national gambling legislation, and ordered that they be removed from video games. [9], [10]

However, in contrast to these statements, recent data has suggested an important behavioural association between loot box spending and problem gambling. In [15], researchers found that purchasing loot boxes was associated with problem gambling in a sample of eSports spectators; in a recent large scale survey (n = 7,422) [20], researchers polled a group of gamers and found that the problem gambling of gamers had a significant (2 = 0.054) relationship with their loot box spending.

Loot box spend was measured by asking participants to state approximately how much money they had spent on loot boxes in the past month. In order to blind participants to the aims of the study, they were also asked a variety of other questions about their spending habits: How much money they spent on physical copies of video games; how much money they spent on virtual copies of video games; and how much money they spent on in-game items. be457b7860

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