Games without Frontiers: A Framework for Analyzing Digital Game Cultures Comparatively

Abstract

Currently in game studies there is a gap in frameworks for comparatively researching game cultures. This is a serious shortcoming as it ignores the transcultural and transnational aspects of games, play and their cultures. Based on Hepp's (2009) transcultural framework, and Du Gay, Hall, Janes, Mackay and Negus's (1997) circuit of culture, this article proposes a structure to comparatively analyze game cultures. This procedural method comprises several steps determining specific contexts of game culture and their categories for comparison. Each step is illustrated with a case example. Finally, we recommend placing game cultures on a transnational spectrum, which helps in suggesting that many digital games express both local and international characteristics.

Understanding toxicity in multiplayer online games: The roles of national culture and demographic variables

“…Meanwhile many game studies have emphasized an in-depth analysis of one specific country, game, or region. However, it is important to acknowledge that today digital game play is a transnational cultural phenomenon [37] and is a fusion between national and global cultures [38] that often accommodates cross-cultural encounters [39].…”

Playing games: advancing research on online and mobile gaming consumption

“…Computer games consumption is a phenomenon of global significance, which is reflected by the international interest that we have received for this special issue. This prompts us to consider similarities and differences in the ways that computer games are consumed across cultures (Elmezeny and Wimmer, 2018). Many computer games themselves now foster intercultural, multicultural and transcultural experiences (Cruz et al , 2018) by enabling consumers from different countries and regions to connect and build relationships within the shared virtual space.…”

Grow Up, Level Up, and Game On; Evolving Games Research

“…"Do We Need Permission to Play in Public? The Design of Participation for Social Play Video Games at Play Parties and 'Alternative' Games Festivals" (Love, 2018); "Games without Frontiers: A Framework for Analysing Digital Game Cultures Comparatively" (Elmezeny & Wimmer, 2018); "Psychasthenia Studio and the Gamification of Contemporary Culture" (Szabo, 2018).…”

“…In the second article of this issue, Love (2018) explores social game events and how participating is necessary to understand games as culture not only for researchers but for game designers as well. That game cultures might even have the power to shift national and global boundaries is analysed by Elmezeny and Wimmer (2018). The third piece on games as culture from Szabo (2018) presents Psychasthenia Studio, an interdisciplinary art collective, as another paradigm.…”