Surrounded by a wall: The hermetic language of the Polish community of video gamers. Do Poles know the language of Polish gamers? The results of a survey-based study

The video game industry is today one of the most rapidly developing branches of the entertainment industry. Such corporations as Microsoft, Sony and Nintendo are increasing their investment engagement in the manufacture of gaming hardware (e.g. computers, consoles, and tablets), and in game development for various platforms. There has developed and continues to expand an extensive terminology which due to the increasing consolidation of the user base is progressing towards producing a sociolect. Linguists have not yet examined the lexis of gamers which is why it must be studied considering the extent of the phenomenon and the sheer size of the gamer community. Video gamers form a large group. At this point it must be stressed that the gamer community and the lexis specific for it does not exist in isolation. The lexis used by gamers continues to permeate outside the community, e.g. to other media or the colloquial language. The author of this article conducted a survey to check whether the lexis of video gamers is known to random respondents. This article presents the results of the survey.

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

International Journal of Innovation Management ◽

10.1142/s1363919616500456 ◽

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.

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

Games and Culture ◽

10.1177/15554120211034760 ◽

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.

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The Nintendo Entertainment System and the 10NES Chip: Carving the Video Game Industry in Silicon

Games and Culture ◽

10.1177/1555412010377319 ◽

2010 ◽

Vol 6 (1) ◽

pp. 83-100 ◽

Cited By ~ 11

Author(s):

Casey O'Donnell

Keyword(s):

Video Games ◽

Video Game ◽

Historical Data ◽

Securities And Exchange Commission ◽

Court Cases ◽

Local Effects ◽

Game Development ◽

Video Game Industry ◽

Video Game Development ◽

Game Industry

This essay makes the argument that the numerous ‘‘networks’’ or ‘‘inter/intranetworks’’ that structure the video game industry have lived local effects for those involved in the production of video games. In particular, this is most visible in the realm of console video game development but is visible in many other contexts as well. It uses the Nintendo Entertainment System (NES) as an index into this complex and highly structured world that frequently disappears from developers perception. The essay uses largely historical data drawn from patent filings, Securities and Exchange Commission (SEC) filings, and court cases to analyze these networks. The essay argues that these inter/intranetworks, as constructed, have been instrumental in the way that the game industry now finds itself structured and that as the industry has ‘‘matured,’’ the networks have become less accessible and less interoperable.

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Developer Credit: Para-Industrial Hierarchies of In-Game Credit Attribution in the Video Game Industry

Games and Culture ◽

10.1177/15554120211034408 ◽

2021 ◽

pp. 155541202110344

Author(s):

Jan Švelch

Keyword(s):

Video Game ◽

Game Development ◽

Video Game Industry ◽

Film And Television ◽

Video Game Development ◽

Game Industry ◽

Recurrent Patterns

Developer credit has been a contested issue in the video game industry since the 1970–80s, when Atari prevented its programmers from publicly claiming authorship for games they had developed. The negotiations over what constitutes a noteworthy contribution to video game development are ongoing and play out in the unregulated space of in-game credits. Here, some creators get top billing akin to film and television credits, while others struggle to be recognized for their work. By analyzing in-game credits of 100 contemporary games published between 2016 and 2020 and representing four major sectors of video game production (AAA, AA, indie, and freemium games as service), I identify recurrent patterns, such as opening credits, order, role descriptions (or lack thereof), and systematic credit omission, that both reinforce and subvert the notion of core development roles and above-the-line/below-the-line divisions.

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Dishcover Indonesia: Android Cooking Game on Indonesian Cuisine

Journal of Games, Game Art, and Gamification ◽

10.21512/jggag.v3i2.7254 ◽

2021 ◽

Vol 3 (2) ◽

pp. 43-49

Author(s):

Jeremy Jodi Widjaja

Keyword(s):

Video Game ◽

Main Theme ◽

Project Development ◽

Game Development ◽

Video Game Industry ◽

Game Industry ◽

Two Phases ◽

In The Beginning

The video game industry can be said to be one of the more modern undying industries that are ever growing and evolving. In Indonesia, there are several game development companies, however, there is currently no game that utilizes Indonesian cuisine as the main theme. It is also noted that there have been no recent cooking games that are unique nor a sequel. Currently, there is a gap in which consumers are not playing cooking games although they enjoy them. As a result, the author attempts to develop a game that can reach users’ expectations for a modern Android cooking game. Users were tested in two phases. Before the development, users were asked to rate their expectations of a cooking game and the current competition. After the development of the game, users were given the beta to test and rate their evaluation of the application. Based on the results of the two surveys, the game has achieved the results desired in the beginning of the project development.

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The Position of Game Localization Training within Academic Translation Teaching

Journal of Language Teaching and Research ◽

10.17507/jltr.0704.06 ◽

2016 ◽

Vol 7 (4) ◽

pp. 675

Author(s):

Mehmet Cem Odacıoğlu ◽

Chek Kim Loi ◽

Şaban Köktürk ◽

Nazan Müge Uysal

Keyword(s):

Video Game ◽

Entertainment Industry ◽

Video Game Industry ◽

Digital Revolution ◽

New Type ◽

Game Industry ◽

Definition Of

The video game industry which originated in 1960s is now an important entertainment industry mostly thanks to the digital revolution, especially as of 2000s. In parallel, the video game industry gains today million dollars and this will be increasing more as the number of gamers enhances. Therefore, this study emphasizes the position of the game localization training within the academic translation teaching by analysing two universities’ translation courses and thus questions the availability and the position of the game localization training among the related courses. The study also touched on other universities in this regard. Before the analysis, the study offers some information about the definition of the game localization, some of its features and its reflections on the related courses. In addition, aspects such as the translation competence which would-be translators must develop and tools used in the process so as to make student translators familiar with this new type of translation and to raise their awareness are also included.

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