Newcomers in a Global Industry: Challenges of a Norwegian Game Company

Jørgensen, Kristine

doi:10.1177/1555412017723265

Cited by 19 publications

(27 citation statements)

References 35 publications

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“…Owing to the authors’ roles as researchers and game developers, the insider perspective was unavoidable. However, given that non-disclosure agreements make it difficult to get relevant access to game companies (Jørgensen, 2017; O’Donnell, 2011), this duality had the advantage of providing insights that would otherwise have been difficult to gain from just studying the project from the outside. In this respect, as the analysis is inevitably imbued with the authors’ subjective experiences and perceptions of the project, the present study has elements of autoethnography (e.g.…”

Section: Study Methodsmentioning

confidence: 99%

Marvinter: A case study of an inclusive transmedia storytelling production

Brusk

Engström

2020

Convergence: The International Journal of Research into New Med

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This article examines how the unique characteristics of Marvinter, an inclusive transmedia Advent calendar, affected its production and the individual media workers involved in this. In the native transmedia Marvinter project, a radio series and a mobile game were created and released simultaneously. Using ‘partly shared’ resources, the project was developed by two collaborating, non-profit organisations. Each chapter of the digital game had to match the corresponding radio episode. The whole had to be designed to provide a shared cultural experience that included people with hearing or visual impairments. The authors of the present article were part of the game development team and thus directly experienced the complexity of developing a digital game as part of a transmedia project. This article presents the results of a case study with an insider perspective. It is supplemented by semi-structured interviews with key people in the project. The transmedia nature of Marvinter was justified by the need to include people with complementary disabilities. Although sometimes associated with negative connotations of ‘naked commercialisation’ in transmedia contexts, the marketing strategy was here an important element in promoting inclusivity. However, owing to the concurrent work processes, game production became overly complex.

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Section: Study Methodsmentioning

confidence: 99%

Marvinter: A case study of an inclusive transmedia storytelling production

Brusk

Engström

2020

Convergence: The International Journal of Research into New Med

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“…The everyday processes of the game studio are obviously not isolated from the previously discussed levels of game development cultures. As Jørgensen (2019) elegantly shows in her study of a small Norwegian game studio, particular work practices and project management issues can have connections, for example, to national work-related legislation and policy support systems. Similarly, and as already discussed, if establishing a no-crunch policy for a game studio seems more common in Finland than in some other parts of the world, these decisions can also be connected to both formal regulation and overall working cultures.…”

Section: Cultures In and Out Of The Studiomentioning

confidence: 99%

Studying Game Development Cultures

Sotamaa

2021

Games and Culture

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By analyzing and contextualizing different aspects of the Finnish game development scene, this article provides concrete examples of why we need cultural studies of game development and how game development cultures can be studied. The article follows a three-layer approach, first exploring some of the historical and political developments that have shaped forms of local game production. Second, a focus is placed on working cultures within the industry and attitudes toward crunch time, work–life balance, and workplace regulation. Third, everyday strategies of organizing creative work are analyzed to better understand game studio cultures. The lessons from this empirical study directly contribute to the larger scholarly discussions around game production and creative labor.

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“…Analysts seeking to estimate a demand curve empirically often contend with the identification problem. Since observed prices arise from the interaction between the everchanging supply and demand forces [20][21][22], merely joining various pairs of prices and quantities, which in essence represent different equilibria, does not correctly identify the demand or the supply curve. However, if factors (such as customers' income, preferences, and the availability and prices of substitutes) shifting the demand curve can be controlled, then any changes in demand can be attributed to price changes; these changes will occur along the same demand curve.…”

Section: Deriving An Empirical Demand Curvementioning

confidence: 99%

An Experimental Pricing Framework for E-Commerce

Vatsa

Zhou

2021

JTAER

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Characterizing the demand curve of products is important for pricing them optimally. However, in deriving empirical demand curves, econometricians have to contend with identification issues. Furthermore, theoretical demand curves derived using standard economic theory are divorced from empirical realities: firms rarely have information on customers’ budget constraints; theoretical utility functions are seldom derived empirically. Recognizing these issues, we propose an experimental approach for determining a product’s demand curve and, in turn, its profit-maximizing price in online environments. The proposed approach yields precise estimates and is quick and inexpensive to implement.

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Newcomers in a Global Industry: Challenges of a Norwegian Game Company

Cited by 19 publications

References 35 publications

Marvinter: A case study of an inclusive transmedia storytelling production

Marvinter: A case study of an inclusive transmedia storytelling production

Studying Game Development Cultures

An Experimental Pricing Framework for E-Commerce

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