scholarly journals The Presence of Female Designers in French Video Game Industry, 1985–1993

2019 ◽  
Vol 15 (6) ◽  
pp. 670-684 ◽  
Author(s):  
Filip Jankowski
Keyword(s):  
United States ◽  
Video Game ◽  
The United States ◽  
Research Field ◽  
Point Of View ◽  
The Self ◽  
Video Game Industry ◽  
Game Industry ◽  
Everyday Experiences ◽  
Game Developers

Increasingly, more people do notice that female designers wrote their first games in the 1970s and 1980s. However, there was another country where women did also design games decades before the #GamerGate movement. This article examines the selected works of three French designers: Clotilde Marion, Chine Lanzmann, and Muriel Tramis. The analysis of those games took into account the self-representation of those designers—and women in general—within the game content. The conducted research has proven that within their games, Marion, Lanzmann, and Tramis included their everyday experiences as women. Using such techniques as simulated point of view and authorial signature, those women indicated their own role in the development and showed how females in general face male oppression against them. This means that the United States is not the only country with a long tradition of female game developers. Thus, video game history remains an undiscovered research field.

Innovation in the British Video Game Industry since 1978

2021 ◽  
Vol 95 (3) ◽  
pp. 543-567
Author(s):  
Denise Tsang
Keyword(s):  
Video Game ◽  
Computer Literacy ◽  
The United States ◽  
Video Game Industry ◽  
Mobile Gaming ◽  
British Industry ◽  
Game Industry ◽  
Regional Clustering ◽  
New Generation ◽  
Start Ups

This article examines the evolution of the video game industry in Britain from its start in 1978. The industry originated with passionate hobbyists and amateurs who benefited from the national broadcaster's campaign to expand computer literacy. Unlike the regional clustering of the industry in the United States and Japan, the British industry was dispersed geographically, consisting of mini-clusters with porous boundaries. During the 2000s, the fragmented British industry was largely acquired by U.S. and Japanese multinational companies and became part of global value chains, but the development of mobile gaming and digital distribution provided opportunities for a new generation of start-ups to emerge in Britain.

How Does Games Critique Impact Game Design Decisions? A Case Study of Monetization and Loot Boxes

2019 ◽  
Vol 15 (8) ◽  
pp. 1004-1025
Author(s):  
Matthew E. Perks
Keyword(s):  
Video Game ◽  
Game Design ◽  
Theoretical Framework ◽  
Game Studies ◽  
Design Decisions ◽  
Video Game Industry ◽  
Game Industry ◽  
Pragmatic Sociology ◽  
Game Developers

Games critics arguably influence the form games take, identities of players, and identities of game developers. However, very little work in Game Studies examines how critical games journalism, games, developers, and independent actors intersect. This article argues that pragmatic sociology of critique, developed by Luc Boltanski, can act as a theoretical framework to aid in understanding these processes of critique. Utilizing a theoretical lens such as this helps us better understand the function of games critique within the video game industry. Applying this framework to a case study of monetization and “loot boxes,” this article emphasizes the role and power of journalistic critique in shaping gaming cultures, and the consumption and production of media more generally.

EXPLORATION VS. EXPLOITATION AND HOW VIDEO GAME DEVELOPERS ARE ABLE TO COMBINE THE TWO

2016 ◽  
Vol 20 (06) ◽  
pp. 1650045
Author(s):  
BJÖRN REMNELAND WIKHAMN ◽  
ALEXANDER STYHRE ◽  
JAN LJUNGBERG ◽  
ANNA MARIA SZCZEPANSKA
Keyword(s):  
Video Games ◽  
Qualitative Study ◽  
Video Game ◽  
Creative Work ◽  
Game Development ◽  
Video Game Industry ◽  
Video Game Development ◽  
Game Industry ◽  
Game Developers ◽  
Suitable Case

This paper reports an in-depth qualitative study about innovation work in the Swedish video game industry. More specifically, it focuses on how video game developers are building ambidextrous capabilities to simultaneously addressing explorative and exploitative activities. The Swedish video game industry is a particularly suitable case to analyze ambidexterity, due to it’s extreme market success and continuous ability to adapt to shifts in technologies and demands. Based on the empirical data, three ambidextrous capabilities are pointed out as particularly valuable for video game developers; (1) the ability to separate between a creative work climate and the effectiveness in project organizing; (2) the balancing of inward and outward ideation influences, and (3) the diversity in operational means and knowledge paired with shared goals and motivations, derived from the love of video games and video game development.

The Self-Regulation of Virtual Reality: Issues of Voluntary Compliance and Enforcement in the Video Game Industry

2007 ◽  
Vol 22 (1) ◽  
pp. 93-108 ◽  
Author(s):  
Garry C. Gray ◽  
Tomas Nikolakakos
Keyword(s):  
Virtual Reality ◽  
Video Game ◽  
Self Regulation ◽  
The Self ◽  
Video Game Industry ◽  
Voluntary Compliance ◽  
Game Industry ◽  
Nous Examinons

RésuméL'industrie du jeu vidéo et d'ordinateur récolte des bénéfices supérieurs aux films d'Hollywood et à la l'industrie de la pornographie—seul l'industrie de la musique excède ses revenus. Les jeux les plus célèbres emploient des représentations encore plus explicites de la criminalité, des drogues, du sexe, et de la violence extrême. En outre, grâce au progrès technologique, le contenu violent et sexuel des jeux vidèo devient de plus en plus réaliste et interactif. En conséquence, des discussions nationales indépendantes ont eu lieu globalement afin de déterminer si les jeux vidéo modernes constituent un nouveau problème social. Dans cette étude, nous effectuons une analyse du contenu interactif des jeux vidéo les plus célèbres, et nous démontrons que le contenu socialement contestable est aussi prévalent que le contenu violent. En plus, nous examinons de quelle manière les jeux vidéo sont côtés par l'Agence américaine d'évaluation des logiciels, ainsi que certaines questions entourant la réglementation volontaire.

Speaking in Public: What Women Say about Working in the Video Game Industry

2019 ◽  
Vol 20 (8) ◽  
pp. 836-847 ◽  
Author(s):  
Suzanne de Castell ◽  
Karen Skardzius
Keyword(s):  
Video Game ◽  
Video Game Industry ◽  
Public Speech ◽  
Considerable Research ◽  
Game Industry ◽  
Game Developers ◽  
Experiences Of Women ◽  
Scholarly Attention

Since the 1990s, conversations about the dearth of women working in the video game industry have centered on three topics: (1) ways to draw more women into the field, (2) the experiences of women working in the industry, and (3) the experiences of those who once worked in the industry but left. Although there has been considerable research on the conditions and occupational identities of video game developers, less scholarly attention has been devoted to women in gameswork, the barriers/obstacles and challenges/opportunities they face, and how they talk about their experiences. This article offers a feminist approach that demonstrates how discourse focused on affect can be reread as intimately related to silences about power and how the rhetorical constraints that public speech imposes upon what can be said about “women in games” aid us in understanding what might remain unspoken, and why.

Cybercrime in Online Gaming

2020 ◽  
pp. 881-892
Author(s):  
Boaventura DaCosta ◽  
Soonhwa Seok
Keyword(s):  
Video Games ◽  
Money Laundering ◽  
Video Game ◽  
Future Research ◽  
Video Game Industry ◽  
Data Breaches ◽  
The Past ◽  
Game Industry ◽  
Global Connectivity ◽  
Game Developers

Video games offer rich interactive experiences. Increasingly, however, their popularity coupled with their global connectivity has raised concerns about safety. Although it can be argued that video game developers and publishers have been plagued by cybercrime since the beginning of the industry, video game companies are not the only targets. Cybercriminals also have their sights on gamers. This article examines cybercrime affecting the video game industry and its players. Focused on some of the most deliberate forms of cybercrime found in the literature within the past few years, the article explores data breaches, compromised accounts and stolen data, the theft and sale of in-game items, and money laundering. While the information is anticipated to be of value to educators, practitioners, researchers, game developers, and publishers, it should by no means be considered an all-inclusive reference, but rather a catalyst for discussion, debate, and future research.

Masculine Pleasures as Normalized Practices: Character Design in the Video Game Industry

2021 ◽  
pp. 155541202110347
Author(s):  
Jessica E. Tompkins ◽  
Nicole Martins
Keyword(s):  
New York ◽  
New Media ◽  
Corporate Culture ◽  
Video Game ◽  
Game Development ◽  
Video Game Industry ◽  
Character Design ◽  
Game Engines ◽  
Game Industry ◽  
Game Developers

Scholars have extensively studied video game labor practices (e.g., Bulut, E. (2015). Glamor above, precarity below: Immaterial labor in the video game industry. Critical Studies in Media Communication, 32(3), 193-207. https://doi.org/10.1080/15295036.2015.1047880 , Bulut, E. (2020). White masculinity, creative desires, and production ideology in video game development. Games and Culture, 16, 1555412020939873; Banks, J. (2013). Co-creating videogames. New York, NY: Bloomsbury Publishing; Kerr, A. (2010). The culture of gamework. In M. Deuze (Ed), Managing Media Work (pp. 225-236). London: Sage; O’Donnell (2009). The everyday lives of video game developers: Experimentally understanding underlying systems/structures. Transformative Works and Cultures, 2. https://doi.org/10.3983/twc.2009.0073 , O’Donnell (2014). Developer’s dilemma: The secret world of videogame creators. Cambridge, MA: MIT press; Johnson, R. S. (2013). Toward greater production diversity. Games and Culture, 8(136), 136-160. https://doi.org/10.1177/1555412013481848 , Johnson, R. (2014). Hiding in plain sight: Reproducing masculine culture at a video game studio. Communication, Culture & Critique, 7, 578-594. https://doi.org/10.1111/cccr.12023 ); yet, few have exclusively examined the process of character design (e.g., Srauy, S. (2017). Professional norms and race in the North American video game industry. Games and Culture, 14, 478-497. https://doi.org/10.1177/1555412017708936 ). Using a grounded theory analysis of 19 interviews with games designers and developers, this work complements existing research with insights on how gender and gendered interactions, technologies, audiences, market logics, and corporate culture integrate and influence character design practices. We found that technological affordances (e.g., game engines and related software; see Whitson, J. R. (2018). Voodoo software and boundary objects in game development: How developers collaborate and conflict with game engines and art tools. New Media & Society, 20, 2315-2332) converged with the masculine, heteronormative identities of game developers to shape normalized valued practices for character design, resulting in formulaic tropes that generally appealed to a masculine audience. Changes in status quo character design were attributed to diversity-conscious individuals, who operated within organizational practices privileging proven formulas over innovative designs.

scholarly journals Impact on the video game industry during the COVID-19 pandemic

Athenea ◽  
2020 ◽  
Vol 1 (1) ◽  
pp. 5-13
Author(s):  
Luz Ortiz ◽  
Héctor Tillerias ◽  
Christian Chimbo ◽  
Veronica Toaza
Keyword(s):  
Video Games ◽  
21St Century ◽  
Video Game ◽  
Intelligent Systems ◽  
Social Impact ◽  
Publishing Industry ◽  
The United States ◽  
Video Game Industry ◽  
Game Industry ◽  
Online Video Games

This work presents trends and comparisons that show a change in the consumption and production of video games in times of confinement due to the health emergency. The video game industry has modified its philosophy and adapted its products to the new requirements and trends of consumers who see in this activity a way to appease the psychological and social impact due to quarantine and isolation. There is evidence of a 65% increase in the use of online video games, which has broken a world record. Products that have new aspects and considerations never before proposed by this great industry have been developed and offered, such as thematic games related to the COVID-19 pandemic. Keywords: Video game, pandemic, online games, confinement. References [1]M. Olff, Screening for consequences of trauma–an update on the global collaboration on traumatic stress.European Journal of Psychotraumatology, 2020. [2]Z. Li, China’s Digital Content Publishing Industry: The 2019 Annual Report on Investment Insights and Market Trends. Publishing Research Quarterly, 2020. [3]R. Agis, An event-driven behavior trees extension to facilitate non-player multi-agent coordination in video games, Expert Systems with Applications, 2020. [4]O. Wulansari, Video games and their correlation to empathy: How to teach and experience empathic emotion. Advances in Intelligent Systems and Computing, 2020. [5]C. Bachen, Simulating real lives: Promoting Global Empathy and Interest in Learning Through SimulationGames. Sage Journal, 2012. [6]S. Fowler, Intercultural simulation games: A review (of the united states and beyond). Sage Journals, 2010. [7]G. Chursin, Learning game development with Unity3D engine and Arduino microcontroller. Journal ofPhysics: Conference Series, 2019. [8]K. Hewett, The Acquisition of 21st-Century Skills Through Video Games: Minecraft Design Process Modelsand Their Web of Class Roles. Sage Journal, 2020. [9]R. Bayeck, Exploring video games and learning in South Africa: An integrative review. Educational TechnologyResearch and Development, 2020. [10]K. Hewett, The 21st-Century Classroom Gamer. Games and Culture, 2021.

scholarly journals One-Dimensional Creativity: A Marcusean Critique of Work and Play in the Video Game Industry

2018 ◽  
Vol 16 (2) ◽  
pp. 757-771 ◽  
Author(s):  
Ergin Bulut
Keyword(s):  
Video Game ◽  
Flexible Work ◽  
Video Game Industry ◽  
Pleasure Principle ◽  
One Dimensional ◽  
Experimental Art ◽  
Flexible Work Schedules ◽  
Game Industry ◽  
Game Developers ◽  
Industry Professionals

Creativity is at the heart of the video game industry. Industry professionals, especially those producing blockbuster games for the triple-A market, speak fondly of their creative labour practices, flexible work schedules, and playful workplaces. However, a cursory glance at major triple-A franchises reveals the persistence of sequel game production and a homogeneity in genres and narratives. Herbert Marcuse’s critique of one-dimensionality may help to account for this discrepancy between the workers’ creative aspirations and the dominant homogeneity in game aesthetics. What I call ‘one-dimensional creativity’ defines the essence of triple-A game production. In the name of extolling the pleasure principle at work, one-dimensional creativity eliminates the reality principle, but only superficially. One-dimensional creativity gives game developers the opportunity to express themselves, but it is still framed by a particular technological rationality that prioritises profits over experimental art. One-dimensional creativity negates potential forms of creativity that might emerge outside the industry’s hit-driven logics. Conceptually, ‘one-dimensional creativity’ renders visible the instrumentalisation of play and the conservative design principles of triple-A game production – a production that is heavily structured with technological performance, better graphics, interactivity, and speed. Multi-dimensional video game production and aesthetics, the opposite of one-dimensional creativity, is emerging from the DIY game production scene, which is more invested in game narratives and aesthetics outside the dominant logics of one-dimensionality in triple-A game production.

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