Journal of Business Research 170 (2024) 114331

Contents lists available at ScienceDirect

Journal of Business Research

journal homepage: www.elsevier.com/locate/jbusres

I want to view it my way! How viewer engagement shapes the value

co-creation on sports live streaming platform
Haoyu Liu a, Leanne Chung b, Kim Hua Tan c, Bo Peng d, *
a
Birmingham University Business School, B15 2TT, United Kingdom
b
Cardiff University Business School, CF10 3EU, United Kingdom
c
Nottingham University Business School, NG8 1BB, United Kingdom
d
Physical Education Department, China University of Political Science and Law, 102249, China

A R T I C L E I N F O A B S T R A C T

Keywords: This study focuses on sports live streaming platforms (SLSPs) that allow sports viewers to actively engage with
Value co-creation various actors while watching sports live streams. By considering the influence of multiple actors, the study
Engagement behaviour explores how different types of viewers perceive the value of their viewing experience. A structural model is
Platform economy
developed and tested among four viewer groups who utilise SLSPs for sports event consumption. The findings
Sports live streaming platforms
demonstrate that the value propositions of all four actors significantly contribute to viewers’ experiences, and
each group of viewers can acquire unique perceived value from the viewing experience. The research highlights
the substantial impact of viewer engagement behaviour on the value co-creation process. It emphasises the
importance for SLSPs’ operations managers to recognise the value propositions of diverse actors and the
engagement behaviour of viewers, as this is crucial for tailoring viewing experiences and providing personalised
services.

1. Introduction Unlike general social live streaming platforms, where streamers

create video content to enhance the viewer experience based on their
In the emerging digital platform economy, IT-enabled online plat­ own performance, SLSPs primarily broadcast sports competitions that
forms have been built to enable a wide range of value co-creation ac­ cannot be produced by individual streamers. However, there are mul­
tivities in both business and social interactions (Martin & John, 2016). tiple actors that contribute to the value co-creation network on SLSPs.
Platform-based business models have become ubiquitous across Players generate sports event content, platforms deliver content and
various domains, including sectors like online e-commerce services, live provide IT services, streamers enhance the content by providing game
streaming services and ride-sharing platforms. These digital platforms commentary and addressing viewer queries, and viewers contribute by
have significantly simplified the lives of millions of individuals to such creating a vibrant atmosphere through real-time messages and virtual
an extent. It is difficult to imagine modern life without them. gifts (Liu, Tan, & Pawar, 2022). For SLSPs, co-creating personalised
Sports live streaming platforms (SLSPs), as a new platform format, viewing experiences with multiple actors has become an essential
have fostered stronger connections between sports fans and their mission to engage sports viewers.
favourite teams and players. This was particularly evident during the In traditional Goods-Dominant Logic, customers are passive end-
COVID-19 pandemic, which led to the suspension of sports competitions users. The value of a product is created by the business and distrib­
starting in 2020. In the absence of in-person attendance, sports organi­ uted in the market through the exchange of goods and money (Vargo,
sations collaborated with SLSPs to live stream matches and keep fans Maglio, & Akaka, 2008). However, Service-Dominant Logic (SDL) has
engaged. The advent of high-speed internet and digital technologies, redefined how value is created in service-based businesses. Customers
such as VR and 360-degree views further enhanced the spectator expe­ evaluate and determine the value of propositions based on the specific
rience beyond passive TV broadcasting. SLSPs, therefore, offered a ways they use services, known as ‘value-in-use’ (Vargo et al., 2008). In
digital, immersive, and interactive viewing environment (Kim & Kim, alignment with SDL, Sandström et al., (2008) introduce a framework
2020; Liu, Tan, & Wu, 2022; Qian, 2021). called ‘value-in-use through service experience’ to clarify the process of

* Corresponding author.
E-mail addresses: [email protected] (H. Liu), [email protected] (L. Chung), [email protected] (K.H. Tan), [email protected] (B. Peng).

https://doi.org/10.1016/j.jbusres.2023.114331
Received 30 November 2022; Received in revised form 4 October 2023; Accepted 6 October 2023
Available online 28 October 2023
0148-2963/© 2023 Elsevier Inc. All rights reserved.
H. Liu et al. Journal of Business Research 170 (2024) 114331

value creation within technology-based services. They emphasise that analytics and so forth. These advancements, coupled with evolving
customers’ individual and situational judgments of services affect the consumer preferences and consumption behaviours, have played a
service experience and influence the evaluation of value. However, crucial role in fuelling platform businesses growth (Wirtz et al., 2019;
Sandström et al., (2008)’s framework focuses only on a dyadic rela­ Ghouri et al., 2022). Platform business models encompass a diverse
tionship between a service provider and customers, thus limiting its range of types, including search, communication, social media, match­
applicability for explaining value co-creation in a platform context. ing, content, review, booking aggregation, retail, payment, crowd­
According to SDL, value is co-created when customers integrate the sourcing, crowdfunding, and development platforms (Wirtz et al.,
value propositions of multiple service providers with their own resour­ 2019). It is worth noting that these ‘pure’ platform types can be com­
ces—such as competencies, knowledge, abilities, and skills—in a service bined, allowing for the integration of multiple functionalities within a
ecosystem (Akaka et al., 2013; Lusch & Nambisan, 2015). Clearly, single platform (Wirtz et al., 2019). For instance, a social media platform
multiple actors are involved in the ecosystem of SLSPs to enhance may incorporate features like communication, content sharing, retail,
viewers’ experiences. Meanwhile, viewers engage with SLSPs through and payment.
activities such as gifting and real-time messaging or simply observing In recent years, the widespread adoption of smartphones, 5G, and
the performance of players. These interactions allow them to connect Wi-Fi has led to a surge in the number of social live streaming services
with fellow viewers, streamers, and players, thereby personalising their (SLSSs) all over the world. These services are notable for their ability to
viewing experience. Hence, viewers can integrate various resources, enable viewers to engage remotely and participate in shared live expe­
such as attention, knowledge, and time, with the value propositions of riences (Hamilton et al., 2016). Hou et al. (2019) highlight two features
other actors through engagement behaviour, ultimately co-creating a of live streaming. The first is social real-time interaction among viewers
unique perceived value for themselves. and streamers. The second feature centres on a new monetisation model
Past research indicates that customer engagement behaviour plays a involving the consumption of virtual gifts. Streamers attract viewers and
vital role in value co-creation. Customers may contribute resources to earn money by receiving virtual gifts, which are then converted into
extensive networks in varied ways and acquire a unique value from their cash and contribute to the revenue shared between the streamers and
service experience through engagement behaviours (Jaakkola & Alex­ the platform (Guan, Hou, Li, Phang, & Chong, 2021). According to the
ander, 2014; Liu, Tan, & Wu, 2022; Liu, Tan, Kumar, et al., 2022). For content provision, SLSSs can be categorised as topic-specific (e.g.,
example, Jaakkola and Alexander (2014) identified four types of Twitch for gaming) and general (without any thematic limitation)
engagement behaviours for value co-creation: augmenting, codevelop­ (Friedländer, 2017). SLSPs fall under the category of topic-specific
ing, influencing, and mobilizing. Liu, Tan, Kumar, et al. (2022) inves­ SLSSs, focusing on providing viewers with live-streamed sporting
tigated how viewers’ engagement behaviour contributes to the co- events and other sports-related content.
creation of value between customers and streamers on sports live SLSPs allow viewers to transition from traditional means of watching
streaming platforms, using a microfoundations approach. They identi­ sports content (via dedicated sports channels on television) to digital
fied five types of value co-creation activities: 1) commentating on methods involving internet streaming via mobile phones, tablets, and
matches; 2) building friendships; 3) addressing questions; 4) reproc­ other internet-connected devices. SLSPs also feature social communi­
essing content; 5) maintaining the environment. Through these activ­ cation elements, allowing viewers to join their favourite streamer’s
ities, viewers and streamers acquired unique perceived values (Liu, Tan, room and engage with both the streamer and other viewers by sending
Kumar, et al., 2022). Utilising behavioural big data, Liu, Tan, and Wu real-time messages and virtual gifts (Liu, Tan, & Pawar, 2022).
(2022) classified SLSPs viewers into four types: content consumers, SLSPs operate as multi-sided markets, connecting multiple user
super co-creators, co-creators, and tourists. They attempted to illustrate groups, which reflect the network effects of the platform business (Van
value co-creation process through user typologies using a qualitative Alstyne, Parker, & Paul Choudary, 2016). They bring together sports
approach. However, further quantitative analysis is needed to determine viewers on one side and sports content providers (e.g., sports leagues) or
the extent to which these multiple actors impact the perceived value of reproducers (e.g., individual streamers) on the other side. SLSPs enable
viewing experiences for each viewer type. Consequently, this study aims and facilitate the co-creation of value among viewers, content providers,
to explore the value co-creation process for SLSPs viewers, enabling and content reproducers. Viewers contribute their attention, engage­
firms to offer tailored and personalised services. To accomplish this goal, ment, and financial support; content providers supply live sports events
the study incorporates both Sandström et al. (2008)’s framework and content; content producers enrich the content with their professional
the viewer typology suggested by Liu, Tan, and Wu (2022). This commentary; and the platform companies provide the technologies (e.
approach aims to examine how various types of viewers perceive the g., the 360-degree view, the multi-screen display, and virtual reality
value of their experience, taking into account the impact of multiple environment). The collaborative process enhances the overall experi­
actors. ence: viewers gain access to a wide range of sports events, while other
This study addresses the following research questions (RQs): parties benefit from exposure and monetisation opportunities. Sports
viewers are provided with a real-time, engaging, and interactive spec­
RQ1: How do different actors influence the experience of each SLSP tatorship experience. Unlike traditional TV broadcasts, where viewers
viewer group during live-streamed sports events? passively receive the event interpretation from anchors, SLSP viewers
RQ2: What is the perceived value derived from the viewing experi­ can actively participate. Not only can they watch the sports event, but
ence for each viewer group? they can also express support for their favourite teams or offer
constructive criticism of opponents (Liu, Tan, & Pawar, 2022). Through
The remaining sections will first review the relevant literature and an real-time messaging, SLSP viewers can engage positively with streamers
outline of proposed research model. Next, the analysis and results will be and fellow viewers, fostering a sense of community and shared enthu­
presented. Finally, a conclusion and discussion of this study will be siasm for the sport. SLSPs can analyse viewer preferences and behaviour
provided, suggesting avenues for future research. to personalise the viewing experience, recommend relevant sports
content, tailor advertisements, and provide targeted promotions to
2. Literature review enhance the viewers’ viewing experience. They can employ various
revenue streams to sustain their operations, including advertising,
2.1. The sports in the platform economy sponsorship deals, subscription fees, or partnerships with sports orga­
nizations (Wohn & Freeman, 2020; Liu, Tan, & Pawar, 2022).
The expansion of platform businesses has been driven by the devel­
opment of internet, mobile technologies, artificial intelligence, Big Data

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2.2. The process of viewers value co-creation (1) Content consumers — longest viewing duration without real-time
messaging and gifting;
A fundamental premise of SDL value co-creations in service systems (2) Super co-creators — relatively long viewing duration with real-
are service interactions (Vargo & Lusch, 2004; 2008). Service providers time messaging and gifting;
cannot deliver value unilaterally; they can only offer value propositions. (3) co-creators—relatively long viewing duration with only real-time
The actual value (value-in-use) is always evaluated and determined by messaging;
the beneficiary based on how they integrate the value proposition of the (4) Tourists — shortest viewing duration time and without
service providers with their own resources (competencies, knowledge, messaging or gifting.
abilities, and skills) based on usage (Vargo & Lusch, 2010; Vargo, 2009).
Value co-creation, therefore, is a process in which consumers play an Liu, Tan, and Wu (2022) also identified the different perceived
active role and co-create value with the firm (Prahalad and Ramaswamy values that each type of viewer acquired, based on qualitative data ob­
2004). The customer is no longer seen as the end of the value chain but tained from semi-structured interviews. Although the qualitative data
as a value co-creator, signaling a shift from product-dominant logic to provided insights into how each type of viewer co-creates value with
SDL (Vargo & Lusch, 2004; Vargo & Lusch, 2008). multiple actors in the community, a quantitative study (e.g., survey) is
In line with SDL, Sandström et al. (2008) developed a ‘value-in-use required to offer a more comprehensive understanding (Liu, Tan, & Wu,
through service experience’ framework and attempted to explain value 2022). This study responds to the research call to examine the value co-
creation through service experience in technology-based services. creation process through quantitative means.
Originally, Sandström et al. (2008) framed value-in-use as a process
where customers experientially evaluate a firm’s value proposition (the 2.3. Conceptual model
functional and emotional attributes) in accordance with their individual
motivation (i.e., competencies, actions, processes, and performances). In 2.3.1. Actors’ value propositions and viewing experience
the ‘value in use through service experience’ framework, Sandström The first research question aims to explore the main actors’ contri­
et al. (2008) presented that physical and technical enablers, such as butions to viewers’ experiences on SLSPs. According to Gupta and Vajic
technology and physical products, form the foundation of tangible value (1999), a service experience can be described as the sensations and
propositions, which are the service functions available to customers. The knowledge that occur through interactions with various aspects of a
emotional value proposition is considered intangible and provides non- context established by a service provider. In existing literature, re­
physical features, such as mental images, brand reputation, and themes. searchers have found that many actors are involved in creating value
During the value co-creation process, customers play both individual propositions for sports viewers: players competing in the matches, on-
and situational roles. The individual and situational filter encompasses site spectators contributing to the atmosphere, organizations planning
all factors related to the individual user and the specific situation they sports events, IT companies offering technical support, and so forth (Kim
are in, influencing the service experience. These factors can range from & Kim, 2020; Liu, Tan, & Pawar, 2022; Wohn & Freeman, 2020).
demographic dimensions to the user’s competencies, skills, and sur­ Consistent with SDL, the current study argues that value in SLSPs is
rounding environment. As a result, the individual and situational filter contributed by multiple actors with whom viewers interact, both
has the potential to affect the evaluation of the service experience and directly and indirectly, and who facilitate the creation of meaningful
the perceived value derived from it. experiences (Vargo & Lusch, 2016). However, one study cannot
Although Sandström et al. (2008)’s framework initially conceptual­ encompass all the actors who may contribute to viewers’ experiences.
ises a dyadic relationship in which the customer co-creates value with Four types of actors (two for direct interactions and two for indirect
technology-based services, this framework fails to explain the value co- interactions) considered important for value co-creation are chosen for
creation process in service networks (Woratschek et al., 2014; Vargo & this study (Liu & Tan, 2023).
Lusch, 2016). Consistent with the SDL approach, SLSPs enable in­ In SLSPs, the direct interaction of value co-creation encompasses
teractions and value co-creation to be two-way or multi-way, not solely both streamer-to-viewer and viewer-to-viewer value co-creation.
initiated by platform businesses. In the study of SLSPs, researchers have Streamers, as a new type of internet celebrities, have gained popu­
revealed complex operational mechanisms involving multiple actors (e. larity on live streaming platforms (Geng, Wang, Chen, Song, & Yu,
g., players, platforms, streamers, and other spectators) and various ac­ 2020). Streamers’ endorsements can influence fans’ value formation and
tivities (e.g., gifting and real-time messaging) (Liu, Tan, & Pawar, 2022; purchasing decisions. For example, research on social commerce and
Liu & Tan, 2023). Meanwhile, Liu, Tan, and Pawar (2022) identified 10 live streaming has studied the role of streamers’ attractiveness and
value propositions, including streamer endorsements, information expertise in driving consumer intentions (Chen & Lin, 2018; Interfaces,
quality, and player performance, among others, provided by multiple 2021; Wang et al., 2021; Guan et al., 2021). Streamers are known to
actors through topic modelling analysis based on SLSP viewers’ behav­ enhance positive impressions of a product or service in customers’ minds
ioural data. In addition, value-in-use depends not only on personal states (Hassan Fathelrahman Mansour & Mohammed Elzubier Diab, 2016; Guo
of mind or demographic characteristics but is also impacted by viewers’ et al., 2022). In the SLSP community, streamers establish unique
engagement in a service (Ranjan & Read, 2016; Merz et al., 2018). As commentating styles, such as exhibiting humour through facial expres­
defined by Ranjan and Read, (2016), value-in-use is the “customers’ sions and vocal tone (Liu, Tan, Kumar, et al., 2022). They also conduct
experiential evaluation of service proposition in accordance with their quizzes and cheer along with viewers to intensify the viewing experience
individual motivation, specialised competencies, actions, processes, and (Kim & Kim, 2020). These activities help viewers recover from daily
performances” (pp, 293). It is worth highlighting that engagement be­ stresses and enrich their leisure time.
haviours also play an important role in value co-creation. Apart from interactions with streamers, viewers also directly interact
Kumar et al. (2010) state that customer engagement behaviour is a with fellow viewers. They enthusiastically answer questions, post new
mechanism that allows customers to add value to organisations through information, send virtual gifts, and cheer for players in conjunction with
both transactional and non-transactional behaviours via interaction and the online fan community (Pongsakornrungsilp & Schroeder, 2011; Liu,
participation. Engagement behaviours on SLSPs can refer to the actions Tan, Kumar, et al., 2022; Li et al., 2020). In this context, viewers act as
and interactions of viewers while watching sports events on online experience providers through their enthusiastic behaviour (Kim et al.,
streaming platforms, such as viewing, gifting, voting, and sending real- 2019; Qian et al., 2020; Zagnoli & Radicchi, 2010). Kim et al. (2019)
time messages, among others (Liu & Tan, 2023). Using the behavioural describe passion as “other customers’ emotionally expressive behaviours
big data, Liu, Tan, and Wu (2022) classified SLSPs viewers into four caused by a state of strong positive arousal during spectator sport con­
groups based on their engagement behaviours: sumption” (p.3). In SLSPs, even viewers who do not interact with

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H. Liu et al. Journal of Business Research 170 (2024) 114331

streamers and other viewers may still be impacted by reading and In live streaming, sports viewers can easily share their opinions and
watching the messages, comments, and virtual gifts sent by other express support to players and streamers through real-time messages in
viewers. Therefore, we propose that: chat rooms (Qian et al., 2020). As a result, viewers’ self-presentation
Hypothesis 1a: streamer endorsement is significantly correlated with might make them noticeable to streamers and fellow viewers (Guan
all types of viewers’ experience of watching sports events on SLSPs. et al., 2021). The second level of social value arises from social in­
Hypothesis 1b: viewer passion is significantly correlated with all teractions and involves the need to connect with people who share
types of viewers’ experience of watching sports events on SLSPs. common interests. This interaction between viewers and streamers fos­
Regarding indirect interactions, players are not on the platform and ters a sense of proximity, i.e. viewers’ perceived closeness to the
cannot interact directly with viewers. However, viewers discuss and streamer (Guan et al., 2021). Meanwhile, the interaction between like-
comment on players’ performance by sending real-time messages while minded individuals leads to a sense of community (Vale & Fernandes,
watching their matches on live streams. Therefore, player performance 2018; Guan et al., 2021; Hilvert-Bruce et al., 2018; Hamilton et al.,
is an indispensable factor that shapes viewers’ experiences (Liu & Tan, 2016). In addition, in a live streaming social commerce study, Wong­
2023). The players’ performance refers not only to the win or loss of a kitrungrueng and Assarut (2020) suggest that shoppers may identify
game but also to the enthusiasm the player devotes to the game (Koly­ with sellers based on shared preferences and tastes, including appear­
peras, Maglaras, & Sparks, 2018). The viewing experience of viewers, ance, attitude, charisma, and talents. In the sports context, team or
whether they interact or not, can be impacted by the players’ perfor­ player identification reflects a sense of team attachment (Muniz &
mance (Liu, Tan, & Pawar, 2022). O’Guinn, 2001; Zagnoli & Radicchi, 2010). Gordon et al. (2021) Paper
The platform company may not interact with viewers through direct and Turun (2015) contend that team or player identification can be
dialogue, but it does provide information services that affect the viewing interpreted as an expression of either togetherness or distinctiveness
experience. SLSPs offer various technology-based services, including a among sports customers.
mobile app, 360◦ view, angle-switching capabilities, and a simple, Emotional value represents the utility derived from the feelings or
concise interface that allows viewers to access a wide range of sports affective states that are elicited by consuming sports games (Sweeney &
content. The ‘information quality’ of SLSPs pertains to the timeliness, Soutarh, 2001). Sports customers can obtain emotional value (e.g.,
accuracy, comprehensiveness, conciseness, and relevance of the infor­ enjoyment and flow) from meaningful experiences. Viewers usually
mation provided, aligned with viewer expectations. High-quality infor­ choose the streaming channels featuring their preferred streamers,
mation enhances the customer’s live streaming experience (Xu, Wu, & which may enhance their enjoyment (Wan & Wu, 2020). In the context
Li, 2020). We propose that: of social live streaming, virtual gift-giving heightens viewers’ enjoy­
Hypothesis 1c: player performance is significantly correlated with all ment, as streamers go to great lengths to entertain their fans to earn
types of viewers’ experience of watching sports events on SLSP. rewards (Wan & Wu, 2020). Previous studies have shown that viewers
Hypothesis 1d: Platform information quality is significantly corre­ can achieve a flow experience when they send gifts, post real-time
lated with all types of viewers’ experience of watching sports events on messages, and watch live streams on these platforms (Zhou 2013;
SLSPs. Chen & Lin 2018; Guan et al. 2021).
The concept of flow has its roots in psychology and refers to a holistic
2.3.2. Experience and perceived value in engagement sensation experienced by individuals when they are fully engaged in an
Perceived value refers to customers’ holistic and subjective assess­ activity (Csikszentmihalyi & Csikszentmihalyi, 1988). Chen and Lin
ment of the overall worth and benefits they believe they derive from a (2018) define flow as the state in which people are so absorbed in the
service experience (Li & Shang, 2020). A plethora of studies have content of a live stream that they are not easily distracted by external
investigated consumer-perceived value, identifying various dimensions factors. In the realm of sport media, Kim and Ko (2019) suggest that
depending on the focus of each study. For instance, the theory of con­ sports viewers can experience flow through various media outlets,
sumption values proposed by Sheth, Newman and Gross (1991), out­ including computer screens, radios, smartphones, TVs, and virtual re­
lined five multi-dimensional consumer’s perceived value concepts, ality devices. SLSPs have incorporated technologies like 360-degree
which are functional value, social value, emotional value, epistemic views, multi-screen displays, and virtual reality to enhance viewers’
value, and conditional value. Kunkel et al. (2017) introduced a con­ flow experiences.
ceptual framework for consumers’ perceived value in sport team games, Epistemic value is frequently emphasised in studies of online sports
featuring five dimensions: functional, emotional, economic, social, and communities. Epistemic value is defined as “the utility derived from the
epistemic value. Furthermore, Horbel et al. (2016) argue that value co- capacity of a sport team’s game to arouse curiosity, provide novelty, and
creation in sports service management has evolved to focus on more satisfy a desire for knowledge” (Kunkel et al., 2017, p.9). Knowledge
than just consumers’ purchasing power and the functional aspects of acquisition refers to the extent to which sports consumers gain knowl­
products. It also delves into the symbolic meaning of the consumption edge from media consumption. They learn skills and techniques from
experience. This study narrows its focus to three types of perceived players and teams and collect information about competitions through
value—social value, emotional value, and epistemic value—to explore conversations with or among other spectators (Hamari & Sjöblom,
viewers’ value-in-engagement in SLSPs, drawing on prior research in 2017). Sports fans also seek information about their favourite player’
sports management and live streaming services. rankings, performance statistics, and current news in the sport (Kim &
Social value in the sports is identified as ‘the utility derived from the Kim, 2020). In a manner similar to traditional sports settings, viewers in
ability of sport team game consumption to enhance social self-capital’ the context of SLSPs are able to acquire sports-related knowledge in real-
(Kunkel et al., 2017). According to social identity theory, social identity time through dynamic conversations with both streamers and other
comprises two levels (Turner & Oakes, 1986). The first level pertains to viewers (Qian et al., 2022; Kim & Kim, 2020; Qian et al., 2019).
an individual’s sense of self, while the second relates to the social The types of perceived value selected for viewers in this study are
identity linked to groups with which an individual associates or forms explained above. While we recognise that other forms of perceived value
bonds (White, Argo, & Sengupta, 2012). Huang and Benyoucef (2013) have been discussed in previous research, our selection includes the
argue that users’ self-identity can be strengthened through interactions most relevant measurements specifically related to viewers in the
in online communities, as sharing knowledge and feeling recognised context of SLSPs (Liu, Tan, & Pawar, 2022).
within the community can be enjoyable. This self-identity is shaped Value-in-use is the “evaluation of the service experience” (Sandström
through self-expression and self-presentation, which, in turn, leads to et al. 2008, p.115). The ‘engagement behaviour’ in SLSPs is the ‘usage’
peer recognition and group acceptance (Schau & Gilly, 2003; Kunkel of the SLSPs services. The researcher, therefore, conceptualise that the
et al., 2017). value-in-engagement on SLSPs is viewers’ evaluation of the viewing

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H. Liu et al. Journal of Business Research 170 (2024) 114331

experience based on how they are engaging with the value propositions identity’ (Vale & Fernandes, 2018), ‘player identification’ (Robinson &
of multiple service providers through a direct and indirect interaction Trail, 2005), ‘streamers proximity’ (Guan et al., 2021) and ‘knowledge
process in the SLSPs, thus, it is proposed that: acquisition’ (Kunkel et al., 2017; Vale & Fernandes, 2018). ‘Experience’
Viewing experience on SLSPs is significantly correlated with the was measured by a single item adapted from Horbel et al. (2016).
perceived value measurements including H2a ‘sense of community’,
H2b ‘self-identity’, H2c ‘Flow’, H2d ‘enjoyment’, H2e ‘player identifi­ 3.2. Survey design
cation’, H2f ‘streamers proximity’, and H2g ‘knowledge acquisition’.
Furthermore, we assume that the engagement behaviour of viewers In terms of survey design, the questionnaire is divided into three
can serve as a filter that impacts their perceived value of the viewing main sections. The first section includes questions about the partici­
experience. More specifically, the four types of viewers engage differ­ pant’s demographic information. A filter question is included to ensure
ently in SLSPs, particularly in terms of gifting and real-time messaging. that respondents have the requisite experience of watching sporting
Therefore, individual and situational engagement behaviour can influ­ events through SLSPs within the past 12 months. Given that the research
ence their evaluation of the service experience and their perceived value aims to test value co-creation across different viewer segments, the
(Sandström et al., 2008). However, this is quite obviously not the case second section of the questionnaire is designed to categorise viewers
for the content consumers and tourists searching for self-identity as they through a single self-evaluation question. This question consists of four
do not send virtual gifts and real-time messages to express themselves items, set in accordance with the typology empirically identified by Liu,
(Liu, Tan, & Wu, 2022). Drawing on the existing literature discussed Tan, Kumar, et al. (2022). The third section comprises the research
above, we summarised our hypotheses into a conceptual model shown in items. Matell and Jacoby (1972) have suggested that a 6- or 7-point scale
Fig. 1. is ideal; therefore, all measures were converted to 7-point Likert scales
for this study.
3. Methods Since the initial questionnaire items were developed in English, it
was necessary to translate them into simplified Chinese to align with the
3.1. Measures study’s purpose. This translation was accomplished through a three-
stage process (Kim et al., 2020). First, two bilingual individuals trans­
The measurements used in this study are adapted from previous lated the survey into simplified Chinese. Then, another bilingual indi­
literature (see A.ppendix 1). Five items were chosen to measure vidual retranslated it back into English. To ensure the clarity and
‘streamer endorsements’ (Chen & Lin, 2018; Qian et al., 2020; Qian accuracy of the translated scales, three bilingual students compared the
et al., 2022). Five items assessing ‘information quality’ were adapted original and translated versions to assess any discrepancies.
from studies on e-sports (Qian, et al., 2020) and S-commerce (Kim &
Park, 2013). ‘Viewer’s passion’ and ‘player performance’ were each 3.3. Data collection
measured by three items, adapted from Kim et al. (2019) and Horbel
et al. (2016). The dimensions of ‘perceived value’ were measured as the Hinkin (1995) points out that the sample size for factor analysis can
value outcome of the viewing experience (Sandström et al., 2008). Four- be determined by an item-to-response ratio, which typically ranges from
item scales established in previous research were used to measure ‘sense 1:4 to 1:10. A 1:4 ratio means that there are four subjects per item, and
of community’ (Mendelson et al., 2010) and another four-item scales this is the minimum required for factor analysis. Hinkin (1995)
was adapted from Chen and Lin (2018) to assess ‘Flow’. A three-item approach was adopted for data collection in order to conduct the factor
measurement for ‘enjoyment’ was used to reflect entertainment (Vale analysis. An online questionnaire was created and distributed to 10
& Fernandes, 2018), excitement (Kunkel et al., 2017), and drama (Kim WeChat groups of sports fans. As a result, seven completed question­
& Kim, 2020) as a way to assess the intrinsic feelings of sports viewers. naires were rejected because all answers were ticked in the same col­
Well-established three-item scales were employed to measure ‘self- umn, yielding a final usable response rate of 98.8 % (n = 605). Four

Fig. 1. Map of hypotheses of the value-in-engagement through experience.

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H. Liu et al. Journal of Business Research 170 (2024) 114331

structural equation models were analysed separately, with four distinct Table 2
analyses conducted, corresponding to different types of viewers. For The results of Global fit indices.
viewers categorised as ‘content consumers’ and ‘tourists’, the construct Global fit Acceptable fit Super co- Co- Content Tourists
of ‘self-identity’ was deemed irrelevant and thus excluded from the indices creators creators consumers
analyses pertaining to these viewer types. CMIN/df Equal or less 1.268*** 1.422*** 1.442*** 1.579***
than 3.0
4. Data analysis and results CFI Roughly 0.90 0.931 0.921 0.942 0.932
or lager
RMSEA Equal or less 0.044 0.06 0.053 0.056
Among the 605 respondents who participated in the survey, 398 are than 0.08
male and 207 are female. More than 68 % of the subjects are under 35 TLI Roughly 0.90 0.853 0.915 0.937 0.926
years old, and less than 40 % are above 36 years old. Half of the re­ or lager
spondents reported a household income between 4,000 and 16,000 ***p < 0.001.
RMB. With respect to the usage frequency of SLSPs, 323 respondents
(53.5 %) use SLSPs once a month, while only 95 respondents (15.7 %)
(Hair et al., 2005). However, the Tucker Lewis Index (TLI) value for the
use SLSPs more than five times a month. The respondents were also
super co-creators was 0.853, lower than the recommended level of 0.90.
asked to identify how they interact with other viewers and streamers
The values for the other groups were all above this level. Nevertheless, a
when they watch sports events on SLSPs. Among the respondents, 23.3
TLI value ranging from 0.8 to 0.9 indicates a marginal fit (Hair et al.,
% were super co-creators, 19.5 % were co-creators, 26.5 % were content
2005). The results of this research showed that the TLI could be
consumers, and 30.8 % were tourists.
considered marginal, which is still acceptable. Based on the overall
Before conducting structural equation model (SEM) analysis, the
assessment of the fit indices, the measurement model can be identified as
measurement model was assessed for validity and reliability using
an acceptable fit for the data. Combined with the results of the evidence
confirmatory factor analysis (CFA) through AMOS. The scale statistics,
of convergent and discriminant validity, it is evidenced that this study
including factor loadings, composite reliability (CR), and average vari­
had the necessary measures for further analysis of the proposed struc­
ance extracted (AVE), were tested across four different groups of
tural model.
viewers. The CR values for all factors were greater than the recom­
In order to identify how different types of viewers perceive the value
mended cut-off point of 0.60 indicating that the proposed constructs
of their viewing experience, SEM analyses were used in this step to test
were internally consistent (Matell & Jacoby, 1972). The result also
the proposed research hypotheses. The empirical findings of the struc­
shows that all items were loaded onto their respective factors with factor
tural model estimates, as well as the significance of the path coefficients
loadings ranged from 0.55 to 0.91. This result provides evidence that the
using AMOS, confirmed most of the hypotheses for each group of
items accurately captured their respective factors (Anderson & Gerbing,
viewers.
1988; Hair et al., 2005). A further assessment of convergent validity was
In terms of the super co-creators, the test of the structural model
conducted through an examination of AVE. The AVE values for the ten
indicated that the coefficients of the four paths from the value propo­
constructs ranged from 0.58 to 0.81, providing evidence of convergent
sition to the viewing experience were positive and significant. However,
validity (Fornell & Larcker, 1981). The root-mean-square values of the
platform information quality was found to have a significant and posi­
AVE for all latent variables in this study were larger than their corre­
tive influence on the viewers’ viewing behaviours (β = 0.193, P <
lation coefficients with other latent variables, indicating good discrim­
0.005), with an effect size of 0.103; thus, H1c is weakly supported. The
inant validity for each construct (Fornell & Larcker, 1981) (refer to
empirical findings show that the viewing experience significantly
Table 1).
influenced all perceived values: sense of community (β = 0.480, P <
The global fit indices were assessed in order to evaluate how well the
0.01); flow (β = 0.395, P < 0.01); enjoyment (β = 0.388, P < 0.001); self-
proposed measurement models fit the data for the four groups (see
identity (β = 0.450, P < 0.001); player identification (β = 0.362, P <
Table 2). The chi-squared values across all four groups were significant.
0.001); streamer proximity (β = 0.410, P < 0.001); and knowledge
The ratios of the chi-squared values to degrees of freedom ranged from
acquisition (β = 0.507, P < 0.001). It was found that super co-creators
1.268 to 1.597, all of which were smaller than the cut-off value of 3.0.
tend to acquire a satisfactory viewing experience through interactions
The values of the root mean square error of approximation (RMSEA) for
with streamers and other viewers by sending virtual gifts and real-time
the four groups of data sets were smaller than the criterion of 0.08. The
messages while watching the players perform. Their perceived flow may
comparative fit index (CFI) was greater than the cut-off points of 0.90

Table 1
Measurement model.
a
Latent No. of item Item-to-total range Across all contextsa CR Across all contextsa AVE Across all contextsa

Super co-creation co-creator Content consumers tourists

SE 5 0.69 → 0.78 0.75 → 0.83 0.66 → 0.81 0.74 → 0.81 0.69 → 0.83 0.88 → 0.92 0.58 → 0.71
PIQ 5 0.67→0.80 0.66 → 0.79 0.65 → 0.78 0.63 → 0.71 0.63 → 0.80 0.86 → 0.89 0.56 → 0.63
VP 3 0.76 → 0.78 0.78 → 0.80 0.74 → 0.85 0.85 → 0.89 0.74 → 0.89 0.89 → 0.93 0.73 → 0.83
PP 3 0.66 → 0.74 0.80 → 0.91 0.69 → 0.76 0.73 → 0.77 0.66 → 0.91 0.85 → 0.90 0.65 → 0.75
SC 4 0.70 → 0.79 0.76 → 0.84 0.79 → 0.91 0.80 → 0.91 0.70 → 0.91 0.88 → 0.94 0.73 → 0.80
Fl 3 0.64 → 0.66 0.79 → 0.81 0.74 → 0.80 0.72 → 0.79 0.64 → 0.81 0.80 → 0.90 0.64 → 0.75
En 3 0.64 → 0.70 0.76 → 0.79 0.56 → 0.74 0.68 → 0.76 0.56 → 0.79 0.80 → 0.89 0.59 → 0.73
Si 3b 0.64 → 0.69 0.67 → 0.75 n/a n/a 0.64 → 0.75 0.81 → 0.85 0.59 → 0.66
PI 3 0.55 → 0.69 0.86 → 0.91 0.8 → 9.91 0.89 → 0.92 0.55 → 0.92 0.78 → 0.95 0.86 → 0.88
SP 3 0.74 → 0.70 0.93 → 0.94 0.94 → 0.95 0.77 → 0.87 0.74 → 0.95 0.86 → 0.97 0.89 → 0.93
KA 3 0.65 → 0.74 0.84 → 0.87 0.80 → 0.85 0.81 → 0.93 0.65 → 0.93 0.79 → 0.91 0.66 → 0.83
VE 1 1 1 1 1 1 1 1

SE = Streamers Endorsement; PIQ = Platform Information Quality; VP = Viewers Passion; PP = Player Performance; SC = Sense of Community；Fl = Flow；En =
Enjoyment；Si = Self-identity；PI = Player Identification；SP = Streamer Proximity; KA = Knowledge Acquisition; VE = Viewing Experience;
a
Highest and lowest loading value within context;
b
Not applicable for all types of viewers.

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H. Liu et al. Journal of Business Research 170 (2024) 114331

not be highly relevant to the platform’s technology functions but is viewing experience. They seek an immersive experience by focusing on
related to mutual interactions with streamers and other viewers. players’ performance and using special features like 360-degree and
For the co-creators, who engage on the SLSPs by sending real-time multi-screen views. This aligns with the finding that content consumers
messages, the results of the structural model testing indicate that the prioritise ‘flow experience’, ‘enjoyment,’ ‘player identification’, and
coefficients for the four paths from the value proposition to the viewing ‘knowledge acquisition’ over ‘sense of community’ and ‘streamer prox­
experience, as well as the seven paths from the viewing experience to imity’. This result can be attributed to content consumers’ engagement
perceived value, were positive and significant. Compared with the super behaviour, which involves solely watching without interacting with
co-creators, the significant effect of streamer endorsement (β = 0.410, P other viewers or streamers. As for the tourists, who neither send mes­
< 0.01) on the viewing experience is weaker for the co-creators. sages nor gifts and have the shortest viewing durations, actors have a
For the content consumers, the empirical findings showed that relatively lower impact on them compared to other viewer groups.
viewers’ passion (β = 0.225, P < 0.01), platform information quality (β However, tourists still value ‘enjoyment’, ‘player identification’,
= 0.362, P < 0.001), and performance (β = 0.239, P < 0.001) had sig­ ‘streamer proximity’, and ‘knowledge acquisition’. These findings sug­
nificant positive impacts on the viewing experience. The results further gest that tourists may be new to the platform and tend to switch between
show that streamer endorsement had no significant impact on content rooms to find an enjoyable experience, particularly in streaming rooms
consumers’ experience (β = 0.410, P = 0.789). Additionally, the viewing with highly rated streamers or a large number of viewers.
experience has a significant and positive influence on flow (β = 0.523, P The results of this study clearly reveal that the value propositions of
< 0.001), enjoyment (β = 0.385, P < 0.001), player identification (β = all four actors contribute to the experiences of the four viewer groups,
0.441, P < 0.001), and knowledge acquisition (β = 0.988, P < 0.001). which in turn impact perceived value. In line with the SDL, this study
Based on the empirical results, it can be interpreted that content con­ enriches our understanding of how value is co-created in SLSPs by
sumers are more likely to acquire perceived value in terms of flow, various types of viewers in the digital platform economy. It recognises
enjoyment, player identification, and knowledge acquisition from a that value is not solely created by companies and delivered to passive
satisfactory viewing experience. This experience is impacted more by consumers; instead, it emerges through the active participation and
viewers’ passion, platform information quality, and players’ perfor­ contributions of multiple stakeholders, including both companies and
mance rather than by the streamer. The reason for this is that content viewers. Our research findings indicate that the value co-creation pro­
consumers typically concentrate on watching the game without inter­ cess is strongly influenced by the engagement behaviour of viewers. The
acting with other viewers and streamers. distinct engagement behaviours of various viewer groups lead to
This study also assessed the research hypothesis for the tourists’ differing perceptions of experience and value among the recipients, who
group. The coefficients for the four paths from the value proposition to are the viewers themselves.
the viewing experience were positive and significant; thus, H1a-H1d are
supported. Unsurprisingly, regarding the relationship between experi­ 5.2. Managerial implications
ence and viewers’ perceived values, the results revealed that the expe­
rience had no significant impact on either the sense of community (β = From a managerial perspective, the research findings highlight the
0.063, P = 0.403) or flow (β = 0.056, P = 0.474). A detailed overview of importance of understanding on how different types of viewers acquire a
the structural model estimates is provided in A.ppendix 2. satisfactory experience and perceived value through interactions with
multiple actors. This research emphasises the role of viewers’ engage­
5. Discussion ment behaviour in co-creating perceived value. The study has significant
implications for operations managers and streamers in SLSPs. Based on
5.1. Theoretical implications our findings, we recommend that operations managers and streamers
should carefully identify which value propositions are crucial for
The value co-creation among viewers and platforms, viewers and shaping each viewer type’s experience. This will facilitate value co-
streamers, and viewers with other viewers is explored in the existing creation for viewers and help achieve the strategic benefits for SLSPs.
literature (Liu, Tan, Kumar, et al., 2022; Liu & Tan, 2023). However, A collaborative approach to value creation has the potential to foster
these studies primarily employ a qualitative research approach and stronger customer relationships, drive innovation, and create mutually
focus on the perspective of usage types. Therefore, by adapting the beneficial outcomes for both businesses and customers in the digital
‘value-in-use through experience’ framework and aligning with the SDL, marketplace.
this study proposes a ‘value-in-engagement through experience’ struc­ For example, to benefit all four types of viewers, SLSPs should
tural equation model. It illustrates that value processes involve multiple improve their competitive advantages to outbid major cable and
actors, and individual engagement behaviour can impact both the broadcast network owners for sports event broadcasting rights, thereby
evaluation of the service experience and the perceived value. giving viewers access to more sports games. Secondly, player-themed or
In general, the impact of actors’ value propositions is more signifi­ streamer-themed text and virtual gift options (e.g., player emojis and
cant for super co-creators and co-creators, who actively engage in the equipment-themed virtual gifts) should be designed and offered to
live-streaming room by sending real-time messages and virtual gifts. encourage super co-creators and value-co-creators to express their af­
These two groups of viewers can attain more perceived values through finity for streamers and players in live streaming rooms. To enhance the
their viewing experiences. However, the impact of actors’ contributions experience for three viewer groups—super co-creators, co-creators, and
on these experiences varies slightly between the groups. For super co- content consumers—high-quality information services and new tech­
creators, ‘information quality’ has only a minor impact on their nologies like VR and AR should be developed to foster a flow experience.
viewing experience, while ‘streamer endorsement’ and ‘player perfor­ Meanwhile, streamers should improve their ability to utilise various
mance’ are the primary contributors. This aligns with the super co- functions of SLSPs (e.g., pop-up quizzes, screen highlighters, etc.) and
creators’ engagement behaviour, which involves interacting with incorporate additional entertainment activities (e.g., singing, telling
streamers by sending both virtual gifts and messages to fulfil their jokes) to co-create emotional value and enjoyment. For tourists, SLSPs
perceived values. In contrast, co-creators’ viewing experiences are pri­ could develop an automatic chatting function to encourage conversation
marily shaped by information quality. and knowledge sharing among viewers, further enhancing tourists’
In terms of content consumers, their viewing experience is mainly knowledge acquisition and enjoyment.
impacted by ‘players’ performance’ and ‘information quality’ and is only
slightly influenced by ‘viewers’ passion’. It’s worth noting that ‘streamer
endorsement’ does not significantly shape the content consumers’

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H. Liu et al. Journal of Business Research 170 (2024) 114331

6. Limitations and future studies provides new insights into how four different types of viewers engage
with multiple actors to shape their own unique viewing experiences and
Several avenues for future research could be explored. Firstly, while perceived values. This study sheds light on the intersection of engage­
this study has examined the value co-creation process from the ment behaviour and value co-creation literature, helping to classify user
perspective of the customer (or viewer) within the networks of SLSPs, groups in SLSP contexts. This understanding assists operators in making
future research should consider including all actors involved in these decisions to design and provide customised services more effectively.
value networks. This would deepen our understanding of how value is Future work is encouraged to define the mutual interaction and value
co-created among all stakeholders. Secondly, although this study co-creation of all actors involved in the SLSPs’ value networks.
investigated the viewing experience and perceived value of each of the
four viewer groups, it did not incorporate the distinct differences among CRediT authorship contribution statement
these groups into the research questions and data analysis. As a result,
the study did not explore variations in perceived value among these Haoyu Liu: Writing – original draft, Conceptualization. Leanne
groups, nor did it measure the extent of these differences. Conducting a Chung: Writing – review & editing, Methodology. Kim Hua Tan: Su­
multi-group analysis could be a fruitful direction for future research. pervision. Bo Peng: Investigation.
This would better understand how perceived value may differ among
various viewer groups and identify the factors influencing perceived Declaration of Competing Interest
value, suggesting strategies for catering to diverse viewer needs.
The authors declare that they have no known competing financial
7. Conclusion interests or personal relationships that could have appeared to influence
the work reported in this paper.
This research responds to recent calls to apply a quantitative
approach to explore the ‘value-in-engagement through experience’ of Data availability
different user types within the context of SLSPs (Liu, Tan, & Wu, 2022).
It identifies the value co-creation process for viewers in SLSPs and Data will be made available on request.

Appendix 1. Measurements

Dimensions Items Adapted from

Value propositions
1 Streamer endorsement This streamer has the knowledge to stream the sports event. Qian, 2022
This streamer provides energetic and engaging commentary. Qian et al., 2020;Chen & Lin, 2018
The streamer is interactive who react to viewers.
The streamer is attractive or charming.
The streamer and the sports content fit together well.
2 Platform information This sports live streaming platform provides useful information. Kim et al., 2013; Qian et al., 2020
quality
This sports live streaming platform provides sufficient content.
This sports live streaming platform provides good quality audio and sound.
This sports live streaming platform provides different angles and aspects of the game.
This sports live streaming platform provides High-resolution stream
3 Viewer passion The viewers’ support was intense in the sports live streaming room. Kim et al., 2019
The viewers’ passion was intense in the sports live streaming room.
The number of viewers was large in the sports live streaming room.
4 Player performance The players performed very well in mental, technique and strategic aspects. Horbel et al., 2016
The players showed great fighting spirit in the game.
The game was extremely thrilling.
Perceived value
Flow When watching sport live streams, I often forget the work I must do; Chen & Lin (2018)
Watching sport live streams gives me a temporary escape from the real world;
When watching sport live streams, I am not distracted easily by other things.
8 Enjoyment I enjoy the sports live streams because it is entertaining; Kunkel et al., 2017; Kim & Kim, 2020; Vale &
I enjoy the drama when watching the sports live streams. Fernandes, 2018
I enjoy the excitement associated with watching the sports live streams.
9 Self-identity Watching sport live streams let me to express what kind of person I am. Vale & fernandes, 2018
Watching sport live streams gives me self-confidence.
Watching sport live streams let me to impress others with what I know about the sport.
5 Sense of community I feel connected to the streamers’ community. Mendelson et al., 2010
I feel like a member of streamers’ community.
I feel like a member of player’s community.
I feel connected to the player’s community.
1 Player identification When watching sports live streams, I feeling to be part of the fans of the player X. Robinson & trail, 2005
When watching sports live streams, I feel I am very committed to an individual player.
When watching sports live streams, I consider myself to be a ‘real’ fan of an individual
player.
1 Streamer proximity When watching sports live streams, I feel closer to the streamer. Guan et al., 2021
When watching sports live streams, I feel the streamer knows I’m concerned about him
or her.
When watching sports live streams, I feel I had a warm feeling about the streamer.
1 Knowledge acquisition Watching via sports live streaming platform helps me to learn about the tactical aspects Kunkel et al., 2017; Vale & Fernandes, 2018
of the sports.
(continued on next page)

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H. Liu et al. Journal of Business Research 170 (2024) 114331

(continued )
Dimensions Items Adapted from

I can know what streamer and other viewers think about the sport player/team.
I can get information about team/player performance, player profiles, events and games
scheduled.
1 Experience I am satisfied with my experience in watching sports events on sports live streaming Horbel et al. (2016)
platforms.

Appendix 2. . Hypotheses testing results

Path Super co-creators Co-creators Content consumers Tourists

Path SE p- Path Standard p- Path SE P- Path SE P-

coefficient value coefficient Error value coefficient value coefficient value

Value proposition → Viewing experiences

SE–＞ 0.327 0.081 *** 0.185 0.058 ** 0.084 0.049 0.174 0.27 0.062 *
Ex
VP–＞ 0.225 0.08 ** 0.216 0.083 ** 0.255 0.091 ** 0.254 0.07 **
Ex
PIQ–＞ 0.193 0.103 * 0.485 0.11 *** 0.362 0.114 *** 0.166 0.078 **
Ex
PP–＞ 0.29 0.097 *** 0.442 0.083 *** 0.239 0.099 *** 0.302 0.093 *
Ex
Viewing experience → Perceived value
VE–＞ 0.48 0.074 *** 0.625 0.065 *** − 0.022 0.074 0.789 − 0.063 0.065 0.403
SC
VE–＞ 0.395 0.075 *** 0.468 0.104 *** 0.523 0.106 *** − 0.056 0.095 0.474
Fl
VE–＞ 0.388 0.069 *** 0.497 0.075 *** 0.385 0.066 *** 0.809 0.067 ***
En
VE–＞ 0.45 0.077 *** 0.635 0.101 *** n/a n/a n/a n/a n/a n/a
Si
VE–＞ 0.362 0.077 *** 0.414 0.107 *** 0.441 0.12 *** 0.323 0.1 ***
PI
VE–＞ 0.41 0.069 *** 0.59 0.076 *** 0.089 0.108 0.268 0.289 0.091 ***
SP
VE–＞ 0.507 0.072 *** 0.599 0.079 *** 0.988 0.089 *** 0.676 0.062 ***
KA

*p < 0.05, **p < 0.01, ***p < 0.001; SE = Streamer Endorsement; VP = Viewer Passion; PIQ = Platform Information Quality; PP = Players Per­
formance; VE = Viewing Experience; SC = Sense of Community；Fl = Flow；En = Enjoyment；Si = Self-identity；PI = Player Identification；SP =
Streamer Proximity; KA = Knowledge Acquisition.

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Haoyu Liu is an assistant professor of supply chain management at Birmingham University
Qian, T. Y., Matz, R., Luo, L., & Xu, C. (2022). Gamification for value creation and viewer
Business school. She obtained her MA and MSc at Beijing Sport University, China and the
engagement in gamified livestreaming services: The moderating role of gender in
University of Nottingham, UK, respectively. She then completed her PhD in Operations
Management and Information Systems from the University of Nottingham. Her research

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H. Liu et al. Journal of Business Research 170 (2024) 114331

interest includes sport management, customer behavior, service ecosystem, value co- Kim Hua Tan is a Professor in Operations and Innovation Management. Prior to this, he
creation, social live streaming service and the social media analytics. She has published was a researcher and teaching assistant at Centre for Strategy and Performance, University
a several articles in academic journals such as Journal of Business Research, IEEE Engi­ of Cambridge. Professor Tan spent many years in industry, before joining academia in
neering Management Review and Annals of Operations Research as so forth. 1999. His current research interests are lean management, operations strategy, decision
making, and supply chain risk management. Professor Tan has published a book called
’Winning Decisions: Translating Business Strategy into Action Plans,’ and numerous ar­
Leanne Chung is currently the Director and Academic Lead for International Exchange at
ticles in academic journals such as Decision Sciences, International Journal of Operations
the Cardiff Business School. She is a Senior Lecturer (Associate Professor) in International
and Production Management, International Journal of Production Economics, Interna­
Business and Management. She has a cross-disciplinary background. Her initial training
tional Journal of Innovation Management and others.
was in Organizational Psychology in Taiwan and Hong Kong. She then studied for her PhD
in International Business and Management at the Judge Business School, University of
Cambridge, investigating the transfer of organizational practices from Hong Kong firms to Bo Peng is a professor of Sports Education in China University of Political Science and
Mainland China. Leanne has extensive university teaching and research experience in Law. Before he became an academia, he was a professional table tennis player and played
Greater China. Leanne’s current research interests are in the fields of international busi­ at international level. He is currently focusing on teaching and research in the areas of
ness and business organization. She currently focuses on innovation management in sports management, especially the sport of table tennis. He has published a monograph
emerging economies, headquarter-subsidiary relationships, and managerial control, with called ‘New exploration in the value theory of table tennis and training guidance’ and up to
particular reference to Chinese multinational corporations. She has published in high- 20 papers in academic journals.
impact international journals including the Journal of International Business Studies,
British Journal of Management, Management International Review, International Journal
of Production Economics, International Journal of Operations and Production Manage­
ment,and Technological Forecasting and Social Change.

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