How Do You Say Gamer in Hindi?: Exploratory Research on the Indian Digital Game Industry and Culture

2013 ◽  
pp. 183-201
Author(s):  
Adrienne Shaw
2017 ◽  
Vol 25 (9) ◽  
pp. 638-642 ◽  
Author(s):  
Dong J. Cho ◽  
Hyung T. Kim ◽  
Jaywon Lee ◽  
Sang H. Park

2021 ◽  
Author(s):  
Luciana Lima ◽  
Patricia Gouveia ◽  
Pedro Cardoso ◽  
Camila Pinto
Keyword(s):  

2021 ◽  
Vol 4 (1) ◽  
pp. 36
Author(s):  
Hanny Haryanto ◽  
Indra Gamayanto ◽  
Sendi Novianto ◽  
Ahmad Zainul Fanani

AbstrakSalah satu contoh industri kreatif yang berkembang pesat di Indonesia adalah game digital. Jumlah transaksi yang dihasilkan dari industri ini juga sangat besar, namun 90% lebih pendapatannya masuk ke asing. Hal ini disebabkan belum banyak generasi muda yang tahu dan berminat untuk bergerak di industri tersebut. Dengan tersedianya fasilitas pengembangan dan distribusi serta konten lokal yang kaya di Indonesia, industri game digital ini berpeluang menjadi industri unggulan. Kegiatan ini dilaksanakan di SMA 3 sebagai salah satu sekolah favorit yang memiliki generasi muda yang potensial. Kegiatan penyuluhan ini bertujuan memberikan wawasan dan motivasi bagi generasi muda, yang adalah siswa SMA 3 Semarang, tentang peluang industri game digital di Indonesia sehingga diharapkan dapat berminat dan bergerak di bidang ini. Metode umum yang digunakan dalam penyuluhan adalah mengemukakan permasalahan nyata berkaitan dengan industri kreatif di Indonesia, memberikan langkah-langkah praktis untuk memulai dan memberikan contoh-contoh nyata tentang usaha yang telah dimulai dan dilakukan. Sedangkan metode penyampaian materi menggunakan appreciative inquiry dengan empat tahap, yaitu mancari hal yang positif, menemukan dan menentukan pilihan visi yang muncul dari hal-hal positif tersebut, melakukan usaha untuk merealisasikan visi yang telah ditentukan dan evaluasi hasil yang telah dicapai. Kegiatan ini akan bisa mencapai dua tahap awal, namun untuk dua tahap berikutnya akan diserahkan secara mandiri kepada peserta. Hasil dari pelatihan dan pengabdian masyarakat ini adalah siswa akan mampu memahami perkembangan game saat ini, hal-hal apa saja yang dapat dilakukan untuk mengembangkan industri game. Kata kunci: Industri kreatif, game, generasi muda, konten lokal, unggulan. AbstractOne example of a creative industry that is growing rapidly in Indonesia is digital games. The number of transactions generated from this industry is also very large, however, more than 90% of its income goes to foreigners. This is because not many young people know and are interested in moving into the industry. With the availability of development and distribution facilities as well as rich local content in Indonesia, this digital game industry has the opportunity to become a leading industry. This activity is carried out in SMA 3 as one of the favorite schools that has a potential young generation. This outreach activity aims to provide insight and motivation for the younger generation, who are SMA 3 Semarang students, about the opportunities for the digital game industry in Indonesia so that it is hoped that they will be interested and engaged in this field. The general method used in extension is to bring up real problems related to the creative industry in Indonesia, provide practical steps to start and provide real examples of businesses that have been started and carried out. While the method of delivering material uses appreciative inquiry with four stages, namely looking for positive things, finding and determining the choice of the vision that arises from these positive things, making efforts to realize the predetermined vision and evaluating the results that have been achieved. This activity will be able to reach the initial two stages, but for the next two stages will be independently submitted to the participants. The result of this training and community service is that students will be able to understand the current game development, what things can be done to develop the game industry. Keywords: Creative industry, Game, young generation, local content, flagship


Author(s):  
Lim Poh Heng ◽  
Lu Dong Wen ◽  
Tan Huc Huey

This chapter looks at the MMORPG market, the impact of prolonged exposure to violent game content on children and reviews the current regulatory measures in Singapore. Complementary strategies, apart from legislation and censorship, empower all stakeholders to manage the risks while promoting the growth of the digital game industry in Singapore are recommended. It is hoped that the range of strategies will adequately ensure that children are protected while they develop the skills and capacity to make responsible choices. With the trend moving towards online distribution of game software, increasing household broadband access to the Internet and increasing connectivity via mobile devices, the extent and frequency with which the young are accessing and engaging with violent game content online in MMORPGs needs urgent attention from the authorities and society at large. Regulatory measures based on the film censorship model should be re-considered to address business models that leverage the ubiquitous outreach afforded by the Internet. The game industry, parents, and the society at large should be more participative in influencing the direction for game content development.


2019 ◽  
Vol 13 (3) ◽  
pp. 196-213
Author(s):  
Amalia Creus ◽  
Judith Clares-Gavilán ◽  
Jordi Sánchez-Navarro
Keyword(s):  

Author(s):  
Mirosław Filiciak

The article is devoted to practices of constructing narratives about the history of the Polish digital game industry and its connection to the system transition. The author analyzes both contemporary publications devoted to the history of Polish games as well as early examples of digital games and historical sources, such as advertisements and press articles from the mid-1980s to the mid-1990s. The juxtaposition of contemporary, heroic narratives and originary sources allows the author to deconstruct the story of the Polish gaming industry and propose a new way of writing its history, in the spirit of methods proposed by Mariana Mazzucato, Manuel Castells, or Pekka Himanen.


Author(s):  
Akinori ‘Aki’ Nakamura ◽  
Hanna Wirman

The People’s Republic of China has become the largest digital game software market in the world. Yet, outside the Chinese game industry itself, very little is known about the local development scene. In this chapter, we approach Chinese regions’ game industry from both a historical and an analytical perspective, particularly by examining how game developers in the PRC, Taiwan, and Hong Kong came to learn game development through copying, imitation, and gradually moving to innovation. The chapter aims at explaining China’s game development history chronologically, starting from the end of the 1980s when Nintendo’s products entered China and pirated products overwhelmed the legally bound regular market until the emergence of indie studios in the 2010s.


2014 ◽  
pp. 82-95 ◽  
Author(s):  
Anh Phan Thi Thuc

Based on previous literature on innovation at the firm level as well as literature on the business environment in developing countries and in Vietnam, this research proposes four propositions on characteristics of firm innovation in the country. Two Vietnamese firms, one of them operating in the software industry and the other operating in the electronic game industry were selected to find out their innovation characteristics. Within each case, a triangulation of data collection methods was employed including field observations, documents, and direct personal interviews. It was found that evidence collected from the two cases generally supported the proposed propositions. The research provides a number of important implications for the government and businesses in Vietnam.


2019 ◽  
Vol 20 (8) ◽  
pp. 747-755
Author(s):  
Greig de Peuter ◽  
Chris J. Young

This article introduces a special issue critically investigating contemporary formations of digital game labor, with a focus on the political-economic forces, social inequalities, and technological dynamics mutually shaping these formations. Accounts of game industry practices have been at the forefront of efforts within media studies to document and theorize conditions and transformations of labor under digital capitalism. The study of digital game labor has tended to cluster around four areas of inquiry: below-the-line labor, the creative labor of game development, player-production, and game labor politics. Providing empirically informed portraits of diverse contexts and experiences of gamework, this issue interrogates multiple dimensions of precarious work and social exclusion within an industry whose playful self-image can make it a resistant object of labor-centered analysis. The contributors to this issue promote a research orientation that is attentive to how work in the digital game industry might be made more accessible and sustainable.


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