The Business And Culture Of Digital Games

This book explores the lifecycle of digital games. Drawing upon a broad range of media studies perspectives with aspects of sociology, social theory, and economics, Aphra Kerr explores this all-pervasive, but under-theorized, aspect of our media environment.

This book explores the lifecycle of digital games. Drawing upon a broad range of media studies perspectives with aspects of sociology, social theory and economics, Aphra Kerr explores this all-pervasive, but under-theorised, aspect of our media environment. Written as an introductory text for media and game students, this book aims to present an overview of industry and scholary work on who makes games, where they get made, what kind of media and cultural form they are and who plays them and where. Digital Games looks at: games as a new media form; the design, development and marketing of games; the use of games in public and private spaces.

In a marketplace that demands perpetual upgrades, the survival of interactive play ultimately depends on the adroit management of negotiations between game producers and youthful consumers of this new medium. The authors suggest a model of expansion that encompasses technological innovation, game design, and marketing practices. Their case study of video gaming exposes fundamental tensions between the opposing forces of continuity and change in the information economy: between the play culture of gaming and the spectator culture of television, the dynamism of interactive media and the increasingly homogeneous mass-mediated cultural marketplace, and emerging flexible post-Fordist management strategies and the surviving techniques of mass-mediated marketing. Digital Play suggests a future not of democratizing wired capitalism but instead of continuing tensions between "access to" and "enclosure in" technological innovation, between inertia and diversity in popular culture markets, and between commodification and free play in the cultural industries. -- publisher description.

Digital gaming is today a significant economic phenomenon as well as being an intrinsic part of a convergent media culture in postmodern societies. Its ubiquity, as well as the sheer volume of hours young people spend gaming, should make it ripe for urgent academic enquiry, yet the subject was a research backwater until the turn of the millennium. Even today, as tens of millions of young people spend their waking hours manipulating avatars and gaming characters on computer screens, the subject is still treated with scepticism in some academic circles. This handbook aims to reflect the relevance and value of studying digital games, now the subject of a growing number of studies, surveys, conferences and publications. As an overview of the current state of research into digital gaming, the 42 papers included in this handbook focus on the social and cultural relevance of gaming. In doing so, they provide an alternative perspective to one-dimensional studies of gaming, whose agendas do not include cultural factors. The contributions, which range from theoretical approaches to empirical studies, cover various topics including analyses of games themselves, the player-game interaction, and the social context of gaming. In addition, the educational aspects of games and gaming are treated in a discrete section. With material on non-commercial gaming trends such as ‘modding’, and a multinational group of authors from eleven nations, the handbook is a vital publication demonstrating that new media cultures are far more complex and diverse than commonly assumed in a debate dominated by concerns over violent content.

From EverQuest to World of Warcraft, online games have evolved from the exclusive domain of computer geeks into an extraordinarily lucrative staple of the entertainment industry. People of all ages and from all walks of life now spend thousands of hours—and dollars—partaking in this popular new brand of escapism. But the line between fantasy and reality is starting to blur. Players have created virtual societies with governments and economies of their own whose currencies now trade against the dollar on eBay at rates higher than the yen. And the players who inhabit these synthetic worlds are starting to spend more time online than at their day jobs. In Synthetic Worlds, Edward Castronova offers the first comprehensive look at the online game industry, exploring its implications for business and culture alike. He starts with the players, giving us a revealing look into the everyday lives of the gamers—outlining what they do in their synthetic worlds and why. He then describes the economies inside these worlds to show how they might dramatically affect real world financial systems, from potential disruptions of markets to new business horizons. Ultimately, he explores the long-term social consequences of online games: If players can inhabit worlds that are more alluring and gratifying than reality, then how can the real world ever compete? Will a day ever come when we spend more time in these synthetic worlds than in our own? Or even more startling, will a day ever come when such questions no longer sound alarmist but instead seem obsolete? With more than ten million active players worldwide—and with Microsoft and Sony pouring hundreds of millions of dollars into video game development—online games have become too big to ignore. Synthetic Worlds spearheads our efforts to come to terms with this virtual reality and its concrete effects. “Illuminating. . . . Castronova’s analysis of the economics of fun is intriguing. Virtual-world economies are designed to make the resulting game interesting and enjoyable for their inhabitants. Many games follow a rags-to-riches storyline, for example. But how can all the players end up in the top 10%? Simple: the upwardly mobile human players need only be a subset of the world's population. An underclass of computer-controlled 'bot' citizens, meanwhile, stays poor forever. Mr. Castronova explains all this with clarity, wit, and a merciful lack of academic jargon.”—The Economist “Synthetic Worlds is a surprisingly profound book about the social, political, and economic issues arising from the emergence of vast multiplayer games on the Internet. What Castronova has realized is that these games, where players contribute considerable labor in exchange for things they value, are not merely like real economies, they are real economies, displaying inflation, fraud, Chinese sweatshops, and some surprising in-game innovations.”—Tim Harford, Chronicle of Higher Education

This book examines the complex network of influences that collide in the culture of digital fighting games. Players from all over the world engage in competitive combat with one another, forming communities in both real and virtual spaces, attending tournaments and battling online via internet-connected home game consoles. But what is the logic behind their shared playstyle and culture? What are the threads that tie them together, and how does this inform our understanding of competitive gaming, community, and identity? Informed by observations made at one of the biggest fighting game events in the world – the Evolution Series tournament, or "EVO" – and interviews with fighting game players themselves, this book covers everything from the influence of arcade spaces, to the place of gender and ethnicity in the community, to the clash of philosophies over how these games should be played in the first place. In the process, it establishes the role of technology, gameplay, and community in how these players define both themselves and the games that they play.

This is the first book that sheds light on global game industries and cultural policy. The scope covers the emerging and converging theory and models on cultural industries and its development, and their connection to national cultural policy and globalization. The primary focus of the book is on Asian cultural policy and industries while there are implicit comparisons throughout the book to compare Asia to other global markets. This book is aimed at advanced undergraduates, graduate students and faculty members in programs addressing cultural policy and digital games. It will also be of interest to those within the cultural policy community and to digital games professionals.

An essential guide for marketers and execs wishing to integrate their brands with modern games and esports In Get in the Game: How to Level Up Your Business with Gaming, Esports, and Emerging Technologies, decorated gaming and social media research and marketing executive Jonathan Stringfield delivers a roadmap to understanding and navigating marketing and business integrations into the gaming ecosystem: who plays games (and why), how modern games are created and oriented around the world of esports, and where brands can get involved with modern games. This book explains the breadth and depth of the gaming audience, describing the rapidly changing demographics of modern games and the various motivations gamers have for playing games. It also unpacks the history of gaming and how it has impacted the creative processes and output from the industry. Finally, it offers a practical guide for brands wishing to integrate themselves into new gaming environments, with an emphasis on maximizing success for marketers, developers, content creators, and fans. Get in the Game provides: A thorough introduction to why marketers and executives must pay closer attention to gaming, as well as existing roadblocks to understanding the gaming industry Comprehensive explorations of the psychology and motivations of gaming, and implications towards messaging and brand safety. Practical discussions of gaming as a competitive platform or streaming viewing experience. In-depth examinations of gaming ad placements, deep marketing integrations between companies and games, and future directions for the industry and how it relates to the emergence of the metaverse. Perfect for marketing strategists, brand managers, and Chief Marketing Officers, Get in the Game will also earn a place in the libraries of executives seeking to connect with the misunderstood yet largest segment in consumer entertainment.