Inside the Video Game Industry

Ruggill, Judd Ethan

doi:10.4324/9780203521588

Cited by 10 publications

(3 citation statements)

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“…Important early exceptions that have paved the way for the critical study of video game production include Digital Play: The Interaction of Technology, Culture, and Marketing (2003) by Stephen Kline, Nick Dyer-Witheford, and Greig de Peuter and The Business and Culture of Digital Games (2006) by Aphra Kerr. In the past decade, a few book-length academic volumes have touched upon the critical issues of the video game industry (Conway and deWinter 2015;Fung 2016;Ruggill et al 2017;Zackariasson and Wilson 2012), but none of them have put the focus solely on video game production. At the same time, film studies and media studies have discussed the importance of 'production studies' (M. J.…”

Section: The State Of Game Productionmentioning

confidence: 99%

14. The Development of Greater China’s Games Industry : From Copying to Imitation to Innovation

Nakamura¹,

Wirman²

2021

Game Production Studies

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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.

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Section: The State Of Game Productionmentioning

confidence: 99%

14. The Development of Greater China’s Games Industry : From Copying to Imitation to Innovation

Nakamura¹,

Wirman²

2021

Game Production Studies

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“…There are huge numbers of games being published with over ten thousand released on the popular video game digital distribution service ‘Steam’ alone in 2020, or around 600 to a thousand per month [ 3 ]. With such a saturated and competitive market, it is often difficult and expensive for game developers to reach the right market of players, and for players to easily find games which suit their needs [ 4 ]. Given the sheer number of games available, paired with the subjective nature of game experiences [ 5 ] and misleading advertising practices common within the industry, the complex task of choosing a game to play has become inherently challenging.…”

Section: Introductionmentioning

confidence: 99%

Evidence that digital game players neglect age classification systems when deciding which games to play

et al. 2022

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This article considers players’ experiences seeking out new games to play, and their use of the Australian National Classification Scheme in doing so. The global video game industry is booming, with hundreds of games being released each month across numerous platforms. As a result, players have an unprecedented number of games available when choosing what games to purchase. However, a number of confounding issues around the emergent content of games and the subjective nature of game reviewing makes it difficult to relate what kinds of experiences a given game will facilitate. In this study, we surveyed game players in order to find their game platform and acquisition preferences; strategies and experiences when choosing games; and attitudes towards classification systems. Our findings suggest that players find it difficult to choose what games to purchase, and that existing classification systems are mostly only beneficial when choosing games for minors.

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“…Research also examines such below-the-line labor as the employment precarity of game testers, the affective labor of community managers of online games, and the gendered work of game promotion (e.g., Bulut 2015; deWinter et al 2016; Huntemann 2013; Kerr and Kelleher 2015; Taylor et al 2009). A second area of inquiry is the creative labor of game development (Ruggill et al 2017). Focused on the AAA sector, research on digital game development spans the labor process (Kerr 2006; Nichols 2014; O’Donnell 2014), work organization (Hodgson and Briand 2013), professional identities (Deuze et al 2007; Weststar 2015), and studio working conditions, with an emphasis on work intensity and hegemonic masculinity (Consalvo 2008; Dyer-Witheford and de Peuter 2006, 2009; Johnson 2014).…”

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confidence: 99%

Contested Formations of Digital Game Labor

Peuter

Young

2019

Television & New Media

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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.

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Inside the Video Game Industry

Cited by 10 publications

References 0 publications

14. The Development of Greater China’s Games Industry : From Copying to Imitation to Innovation

14. The Development of Greater China’s Games Industry : From Copying to Imitation to Innovation

Evidence that digital game players neglect age classification systems when deciding which games to play

Contested Formations of Digital Game Labor

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