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.

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.

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.

The U.S. Video Game Industry

2009 ◽  
pp. 499-514
Author(s):  
Janet C. Dunlop
Keyword(s):  
Video Games ◽  
Cultural Studies ◽  
Video Game ◽  
Video Gaming ◽  
Video Game Industry ◽  
Star Wars ◽  
Game Industry ◽  
Cover Art ◽  
Capitalist Ideology ◽  
The U.S

Today’s media are vast in both form and influence; however, few cultural studies scholars address the video gaming industry’s role in domestic maintenance and global imposition of U.S. hegemonic ideologies. In this study, video games are analyzed by cover art, content, and origin of production. Whether it is earning more “powers” in games such as Star Wars, or earning points to purchase more powerful artillery in Grand Theft Auto, capitalist ideology is reinforced in a subtle, entertaining fashion. This study shows that oppressive hegemonic representations of gender and race are not only present, but permeate the majority of top-selling video games. Finally, the study traces the origins of best-selling games, to reveal a virtual U.S. monopoly in the content of this formative medium.

The U.S. Video Game Industry

2011 ◽  
pp. 231-246
Author(s):  
Janet C. Dunlop
Keyword(s):  
Video Games ◽  
Cultural Studies ◽  
Video Game ◽  
Video Gaming ◽  
Video Game Industry ◽  
Star Wars ◽  
Game Industry ◽  
Cover Art ◽  
Capitalist Ideology ◽  
The U.S

Today’s media are vast in both form and influence; however, few cultural studies scholars address the video gaming industry’s role in domestic maintenance and global imposition of U.S. hegemonic ideologies. In this study, video games are analyzed by cover art, content, and origin of production. Whether it is earning more “powers” in games such as Star Wars, or earning points to purchase more powerful artillery in Grand Theft Auto, capitalist ideology is reinforced in a subtle, entertaining fashion. This study shows that oppressive hegemonic representations of gender and race are not only present, but permeate the majority of top-selling video games. Finally, the study traces the origins of best-selling games, to reveal a virtual U.S. monopoly in the content of this formative medium.

Kidfluencer marketing in the video game industry

2020 ◽  
Vol 3 (1) ◽  
pp. 44-54
Author(s):  
Hanna Callens
Keyword(s):  
Video Games ◽  
Video Game ◽  
Young Stars ◽  
Video Game Industry ◽  
European Approach ◽  
Commercial Communication ◽  
Game Industry

Children spend a tremendous number of hours online these days watching kids their age play video games on YouTube. The videos of these young stars, also called ‘kidfluencers’, have become an essential avenue for marketers to advertise games and merchandise. However, the game promotions of these kidfluencers can easily deceive children, as the paid collaboration with companies is not always properly disclosed. Therefore, this article aims to investigate if the European advertising regulations sufficiently protect children against misleading promotions in the videos of kidfluencers. It starts by analysing the effectiveness of kidfluencer marketing and its applicable European advertising legislation. After this analysis, it shows that the current regulations of kidfluencer marketing require a European approach that harmonizes the use of advertising disclosures and YouTube's responsibility regarding commercial communication.

scholarly journals Video Game Art Styles

2021 ◽  
pp. 382-395
Author(s):  
I.I. Shedko
Keyword(s):  
Video Games ◽  
Contemporary Art ◽  
Video Game ◽  
Three Dimensional ◽  
Video Game Industry ◽  
Artistic Style ◽  
Independent Form ◽  
Visual Style ◽  
Game Industry ◽  
Technical Features

The article examines the graphic styles that have arisen in the video game industry due to the technical features and development of this media. These styles are widely used and starting to go beyond the industry into the field of contemporary art. Despite the fact that pixel art is mainly used in the creation of video games, it has already become an independent form of visual style. Contemporary artists such as the Russian digital artist and designer under the pseudonym Uno Morales and the artist Natalya Struchkova turn to the pixel style when creating their works. Like the pixel art, voxel graphics has moved into the category of the game visual style, which employs an impressive community of digital artists. Low рoly graphics have modified from the main graphics of three-dimensional games, which look technically imperfect, into the category of an artistic style that forms a recognizable, attractive and unique geometric aesthetics of the image. We can trace the transformation of video game graphics, which have arisen as a result of technical constraints, into separate art styles: pixel art, voxel art, low рoly style, the minimalist style of the first classic video games. These styles are gradually becoming an independent visual unit that does not depend on the video game product as a whole.

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.

What Does a Gamer Look Like? Video Games, Advertising, and Diversity

2016 ◽  
Vol 18 (1) ◽  
pp. 37-57 ◽  
Author(s):  
Shira Chess ◽  
Nathaniel J. Evans ◽  
Joyya JaDawn Baines
Keyword(s):  
Content Analysis ◽  
Video Games ◽  
Video Game ◽  
Next Generation ◽  
Video Game Industry ◽  
Game Industry ◽  
Game Players ◽  
Behavioral Attributes

Recent years have seen changes to the video game industry and the image of video game players. There are more games on the market and a larger variety of ways to play those games. Yet, despite market shifts, authors such as Shaw demonstrate that there are still tensions surrounding gamer identification. Even as next-generation systems (such as the Xbox One, the PlayStation 4, and the Wii U) and casual gaming take hold of the market, tension remains between the perceptions of who is playing versus the reality of actual players. In our study, we perform a content analysis of video game commercials in 2013 to explore questions of diversity—particularly in terms of portrayals of the player’s sex and ethnicity—to consider how the gamer is represented in terms of physical and behavioral attributes.

scholarly journals La créativité dans l’industrie du jeu vidéo au Québec

Loading ◽  
2021 ◽  
Vol 14 (23) ◽  
pp. 77-99
Author(s):  
Laureline Chiapello
Keyword(s):  
Video Games ◽  
Video Game ◽  
Research Effort ◽  
Transdisciplinary Research ◽  
Economic Policies ◽  
Video Game Industry ◽  
Creation Process ◽  
The People ◽  
Game Industry ◽  
The Creation

The province of Quebec is seen as a center of “creativity” for video games and this concept is regularly used and valued. But the complexity of the socio-cultural phenomena leads us to question the meaning of this concept. What is creativity, who or what is creative? This paper uses a constructivist version the Four P’s framework (product, process, people and press) to show the limits of the concept of creativity in the Quebec video game industry, specifically in Montreal. This model allows us to focus on different interrelated dimensions of creativity, from government economic policies to the creation process, including the products created and the people involved. At first glance, the results show a disturbing lack of creativity. But it is rather the lack of theorization and operationalization of the concept in the context of Quebec video games that is problematic. If the province wishes to maintain its status as a leader in this sector, a transdisciplinary research effort must be undertaken.

Beyond Button Smashing

2019 ◽  
pp. 188-210
Author(s):  
Sherry Yi
Keyword(s):  
Video Games ◽  
Literature Review ◽  
Video Game ◽  
Valuable Insight ◽  
Learning Tools ◽  
Science Classrooms ◽  
Video Game Industry ◽  
Practical Advice ◽  
Synchronous Learning ◽  
Game Industry

This chapter is a literature review on synchronous learning in science classrooms primarily focused on the video game Minecraft (MC). The author argues that video games can and have been used as synchronous learning tools and as a means of live communication in the classroom. First, the author briefly discusses the historical foundations that has led to the modern video game industry to what it is today. Second, uses of MC and other video games in science classrooms are reviewed. This chapter also provides practical advice to education practitioners on ways to utilize video games and available lesson plans as a tool in science classrooms and offers researchers valuable insight on using video games as a means of expanding on their own research interests and projects.

Sign in / Sign up

Export Citation Format

Share Document