This article revisits Foucault's concept of panopticism as in pertains to research on the new surveillance. Drawing on the work of neo-Foucauldian authors in surveillance studies the paper shows how the figures of the supervisor and inmate within the Foucauldian diagram suggest different directions for pursuing surveillance theory. On the one hand, there is a concern with processes of subjection and normalization that arise through the internalization of the gaze, while on the other there is a concern with processes of administration, social sorting and simulation that occur independently of embodied subjects. Foucault's model both allows for these twin concerns within the context of the new surveillance while serving as a source of further insight into the empirical nuances of contemporary surveillance relations.

This article draws on over 60 interviews and 120 surveys with indie game developers to illustrate relational labour and entrepreneurship practices in cultural industries and their relationship to 'good work'. We first outline the changing organization of games work, the shift towards so-called indie production, and the associated rejection of creatively constrained, hierarchically managed production models. In the move towards small-scale games making, indies jettisoned producers because producers represented industry modes of work, values and creative constraints. But indies are now struggling to manage production processes without producers. We use developer narratives to highlight how this 'missing producer' work is redistributed in the form of cultural entrepreneurship, cultural intermediation and relational labour. This relational labour simultaneously supports and undermines sustainable production practices, as developers take on impossible workloads associated with networking and connecting with others. We next illustrate how the inherent valorization of growth and expansion in cultural entrepreneurship discourses may force developers

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This article discusses the origins and development of the player-innovated dragon kill point (DKP) system as an example for thinking about Foucauldian conceptions of disciplinary power and the production of gamer subjectivity in the contexts of massively multiplayer online game (MMOG) power gaming. The argument considers the generalized hyperrationalism of DKP-based gaming as both an ideal digital form of panoptic control as well as a kind of ironic form of play with the limits of the possibility of control within digital culture.The distinction between work and play really does matter. So much in our culture depends on our collective ability to recognize and respect the difference. As previous

This article considers the history, practices and impact of the Indie Megabooth and its founders in terms of their role as a 'cultural intermediary' in promoting and supporting independent or 'indie' game development. The Megabooth is a crucial broker, gatekeeper and orchestrator of not only perceptions of and markets for indie games but also the socio-material possibility of indie game making itself. In its highly publicized outward-facing role, the Megabooth ascribes legitimacy and value to specific games and developers, but its behind-the-scenes logistical and brokerage activities are of equal if not greater importance. The Megabooth mediates between a diverse set of actors and stakeholders with multiple (often conflicting) needs and goals and in doing so helps constitute the field of production, distribution, reception and consumption for indie games. 'Indie-ness' and independence are actively performed in and through intermediaries such as the Megabooth.