Towards a “Filipino” Video Game: Teaching Filipino Culture and Identity for Video Game Development

This paper uses the author’s experiences of teaching the Filipino module of a multidisciplinary video game development class as a case study in teaching Filipino culture and identity as an element of video game development. A preliminary definition of “Filipino video game” as having Filipino narratives and subject matter, made by Filipino video game developers, and catering to a Filipino audience, is proposed. The realities and limitations of video game development and the video game market in the Philippines is also discussed to show how the dominance of Western video game industry, in terms of the dominance of outsource work for Filipino video game developers and the dominance of non-Filipino video games played by Filipino players, has hindered the development of original Filipino video games. Using four Filipino video games as primary texts discussed in class, students were exposed to Filipinomade video games, and shown how these games use Filipino history, culture, and politics as source material for their narrative and design. Issues of how video games can be used to selfexoticization, and the use of propaganda is discussed, and also how video games can be used to confront and reimagine Filipinoness. The paper ends with a discussion of a student-made game titled Alibatas, a game that aims to teach baybayin, a neglected native writing system in the Philippines as a demonstration of how students can make a Filipino video game. The paper then shows the importance of student-made games, and the role that the academe plays in the critical understanding of Filipino video games, and in defining Filipino culture and identity.

Holistic data-driven requirements elicitation in the big data era

Digital transformation stimulates continuous generation of large amounts of digital data, both in organizations and in society at large. As a consequence, there have been growing efforts in the Requirements Engineering community to consider digital data as sources for requirements acquisition, in addition to human stakeholders. The volume, velocity and variety of the data make requirements discovery increasingly dynamic, but also unstructured and complex, which current elicitation methods are unable to consider and manage in a systematic and efficient manner. We propose a framework, in the form of a conceptual metamodel and a method, for continuous and automated acquisition, analysis and aggregation of heterogeneous digital sources that aims to support data-driven requirements elicitation and management. The usability of the framework is partially validated by an in-depth case study from the business sector of video game development.

Video Game Development in India: A Cultural and Creative Industry Embracing Regional Cultural Heritage(s)

Game development and production practices are complex and highly reflected processes—worldwide. This explorative article discusses video game development as a cultural and creative industry in India, including the industry’s history and introducing recent trends which indicate profound transformations—the use and implementation of Indian cultural heritage in game settings. In the rather short history of Indian game development as compared to other countries—a significant number of games made in India first were produced around 2010—the industry has already lived through big changes and challenges. This article aims at introducing Indian game development and argues that especially independent (so-called indie) game studios in their search for their own, region-specific game development and stand-alone characteristics for Indian games increasingly turn to what they perceive as their own cultural heritage, including, for example, elements from history, art (music, dance, dress styles, and others), and architecture.

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

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.

Teach me to play, gamer! Imitative learning in computer games via linguistic description of complex phenomena and decision trees

In this article, we present a new machine learning model by imitation based on the linguistic description of complex phenomena. The idea consists of, first, capturing the behaviour of human players by creating a computational perception network based on the execution traces of the games and, second, representing it using fuzzy logic (linguistic variables and if-then rules). From this knowledge, a set of data (dataset) is automatically created to generate a learning model based on decision trees. This model will be used later to automatically control the movements of a bot. The result is an artificial agent that mimics the human player. We have implemented, tested and evaluated this technology. The results obtained are interesting and promising, showing that this method can be a good alternative to design and implement the behaviour of intelligent agents in video game development.

Making players care: The ambivalent cultural politics of care and video games

The relationship between care and video games is fraught. While the medium has the potential to allow players to meaningfully express and receive care, the cultural rhetorics that connect video games to care are often problematic. Even among game designers and scholars committed to social justice, some view care with hope and others with concern. Here, we identify and unpack these tensions, which we refer to as the ambivalent cultural politics of care, and illustrate them through three case studies. First, we discuss “tend-and-befriend games,” coined by Brie Code, which we read through feminist theorists Sarah Sharma and Sara Ahmed. Second, we address “empathy games” and the worrisome implication that games by marginalized people must make privileged players care. Lastly, we turn to issues of care in video game development. We discuss Telltale Games’ The Walking Dead series (2012–18) and strikingly care-less fan responses to recent employee layoffs.

Self-Making and Game Making in the Future of Work

Paid work has been a keystone of morality, normativity, sociality, and identity in capitalist societies. However, as the future of work is ushered in by technological unemployment, flexibilization, and precarity, researchers have to contend with what has been called the post-work society. The cultural industry of video game development provides a vantage into this future of work because it has been dominated since its inception by a vast field of informal creators and intermediaries, some of whom are paid for their activities while the vast majority are not. This chapter argues that gaming hobbies are exemplars of a conceptual shift in productive leisure not just as a mediating category in industrial capitalism but a mediating stage towards post-work.

Introduction: Why Game Production Matters?

In the introduction, the editors of this collection argue for the importance of game production studies at a point when the public awareness about the production context of video games has, arguably, never been higher. With so many accounts of video game development permeating player and developer communities, the task of game production studies is to uncover the economic, cultural, and political structures that influence the final form of games by applying rigorous research methods. While the field of game studies has developed quickly in the past two decades, the study of the video game industry and different modes of video game production have been mostly dismissed by game studies scholars and requires more attention.