To critically engage with the political economy of platformization, this article builds on the concepts of platform capitalism and platform imperialism to situate platforms within wider historical, economic, and spatial trajectories. To investigate if platformization leads to the geographical redistribution of capital and power, we draw on the Canadian instance of Apple’s iOS App Store as a case study. App stores are situated in a complex ecosystem of markets, infrastructures, and governance models that the disparate fields of business studies, critical political economy of communications, and platform studies have begun to catalog. Through a combination of financial and institutional analysis, we ask if Canadian game app developers are effective in generating revenue within their own national App Store. Given Canada’s vibrant game industry one would expect Canadian developers to have a sizable economic footprint in the burgeoning app economy. Our results, however, point toward the US digital dominance and, therefore, we suggest the notion of app imperialism to signal the continuation, if not reinforcement of existing instances of economic inequalities and imperialism.

This article introduces a special issue critically investigating contemporary formations of digital game labor, with a focus on the political-economic forces, social inequalities, and technological dynamics mutually shaping these formations. Accounts of game industry practices have been at the forefront of efforts within media studies to document and theorize conditions and transformations of labor under digital capitalism. The study of digital game labor has tended to cluster around four areas of inquiry: below-the-line labor, the creative labor of game development, player-production, and game labor politics. Providing empirically informed portraits of diverse contexts and experiences of gamework, this issue interrogates multiple dimensions of precarious work and social exclusion within an industry whose playful self-image can make it a resistant object of labor-centered analysis. The contributors to this issue promote a research orientation that is attentive to how work in the digital game industry might be made more accessible and sustainable.

This commentary discusses the political economy of apps. The authors found that Canadian-made game apps are notably absent in the Canadian App Store. This should be both worrying and surprising, as Canada has a relatively sizable game industry. While policy conversations on digital transformation focus on emerging technology, the authors point toward the power and politics of digital platforms as one of the key issues preventing growth in the Canadian digital economy.Ce commentaire discute de l’économie politique des applications. Les auteurs ont observé que les applis de jeu fabriqués au Canada sont absents de l’App Store canadien. Cette situation devrait surprendre et inquiéter, puisque le Canada a une industrie du jeu relativement grande. Les conversations sur les politiques relatives à la transformation numérique portent en grande partie sur les technologies émergentes, mais les auteurs tiennent à souligner que le pouvoir et les politiques relatifs aux plateformes numériques sont parmi les raisons clés pour lesquelles l’économie numérique au Canada ne croît pas autant qu’elle le pourrait.

Released on 14 June 2013 exclusively for the PlayStation 3 (PS3) by the studio Naughty Dog and the publisher Sony Computer Entertainment of America (SCEA), The Last of Us allows players to control Joel, and at times Ellie, as they travel across a post-apocalyptic United States. 1 The game received critical acclaim from reviewers and game critics alike for its design and narrative, lauding it for expanding the boundaries of

The production of games using ‘free’ and accessible all-in-one game engines dominate the market for the development of game products and services. This shift has consequently ‘opened’ production to what I name everyday game makers, who share multiple professional and leisure-based game making identities, and ‘closed’ development behind platform governance policies, proprietary technical requirements, and multisided market strategies. I examine the local and global strategies of Unity Technologies and how game makers ‘make do’ with its production platform tools in developing digital games. I argue strategies of companies like Unity Technologies constantly transform and tailor its production platforms to the local norms and practices of everyday game makers through its desire to capture a larger market share of the global game industry’s creative production sector.