We analyze the economic effects of a developer’s connectedness in the electronic game industry. Knowledge spillovers between developers are likely to be of special relevance in this knowledge-intensive and regionally concentrated industry. We calculate social network measures for a developer’s connectedness to other developers at multiple points in time. In a regression in which we exploit within-career variation in social network measures, we find that the number of direct ties a developer has to other developers has a strong effect on both a game’s revenues and critics’ scores. The quality of indirect ties makes no additional contribution to the game’s success.
Video games will turn 30 years old in 2002. The industry that started with Pong has become a multi-billion dollar worldwide industry. The growth of the industry is both matched and driven by the technological advances. In a little more than two years, video game consoles have gone from processing 350,000 polygons per second (pg/s) —a measure of graphic and action quality-- to processing 125 million pg/s. The increasingly realistic and exciting nature of electronic games has helped to make them enormously popular with children and youth. 79 % of American children now play computer or video games on a regular basis. Children between the ages of seven and 17 play for an average of eight hours a week. Most of the games on the market are appropriate for these young players, and the best of them can bring a lot of benefits. Besides being fun, some of the games provide practice in problem solving and logic as well as strategizing. The growth of electronic games has not been without controversy, however. The subset of games that feature violence, gore, and antisocial behavior has raised concern among parents, educators, child advocates, medical professionals, and policy makers. The implication of games in high profile school shootings has led to congressional hearings, government investigations, and legislative proposals. The intense concern about video and computer games is based on the belief that the ultra violent games are inappropriate for all children and harmful to some. This paper will address three issues related to the questions surrounding violent electronic games and children. m Is the concern about violent video games justified? m The Federal Trade Commission report on the marketing of "M " rated games to children. m Legislative responses and First Amendment issues.
Introduction: Games in the age of empire -- Game engine : labor, capital, machine -- Immaterial labor : a workers' history of videogaming -- Cognitive capitalism : electronic arts -- Machinic subjects : the XBOX and its rivals -- Gameplay : virtual/actual -- Banal war : full spectrum warrior -- Biopower play : world of warcraft -- Imperial city : grand theft auto -- New game? -- Games of multitude -- Exodus : the metaverse and the mines
Acknowledgments -- Introduction / Peter Zackariasson and Timothy L. Wilson -- This is not a software industry / Casey O'Donnell -- Video games : a subcultural industry / Mikolaj Dymek -- Marketing of video games / Peter Zackariasson and Timothy L. Wilson -- An exploration of the mobile gaming ecosystem from developers' perspective / Claudio Feijo -- The North American game industry / Casey O'Donnell -- The UK and Irish game industries / Aphra Kerr -- The development of the Swedish game industry : a true success story? / Ulf Sandqvist -- Console hardware : the development of Nintendo WII / Mirko Ernkvist -- "Warm and stuffy" : the ecological impact of electronic games / Richard Maxwell and Toby Miller -- Gamification as the post-modern phalanstre is the gamification playing with us or are we playing with gamification? / Flavio Escribano -- The evolving European video games software ecosystem / Giuditta De Prato, Sven Lindmark and Jean-Paul Simon -- Through the looking glass sharply / Timothy L. Wilson and Peter Zackariasson -- Notes on contributors -- Notes -- Index.
What this book is about -- Paper problems, electronic promises -- Criticisms of electronic voting -- The frame game -- One step forward, two steps back -- The performance of the machines -- Public acceptance of electronic voting -- A new paradigm for assessing voting technologies
Creative spaces need freedom. Any productions, especially with artistic content, need space to mistakes, that is, for an attempt away from the standard. The independent production environment is recognized in different artistic sectors as a space for innovation, to be free of the serial production logic. The major innovations in the international scenario of games came from the independent productions. Great classics revolutionized the aesthetics and functionality of this new media. This project aims to analyze the productive chains of Brazilian independent games, starting with a regional analysis. The goal is to observe the factors responsible for the innovation that these games can offer, the management aspects of creative processes, articulation of innovative agents and resources mobilized. Brazil currently has the fourth largest gaming market in the world with expectation of strong growth for years to come, but arises in the international market as a consumer. Given this regional demand is necessary to study the tools of production, even to help fill that need. Not only the production of games should be thought, the media coverage is also another important factor, in view of the economic importance of this segment. Understanding the mechanisms of innovation in the gaming universe, its impact on the formation of public and coverage of specialized journalism in this new media are possible outcomes of future studies and research that scientific research can contribute ; Espaços criativos necessitam de liberdade. Quaisquer produções, em especial as de cunho artístico, precisam de espaço para o erro, a experimentação, ou seja, para a tentativa de invenção fora do padrão estabelecido. O ambiente de produção independente é reconhecido em diversos setores artísticos como um espaço de inovação, por estar desatrelado a lógica de produção em série. As maiores inovações no cenário internacional de games partiram das produções independentes. Grandes clássicos revolucionaram a estética e a funcionalidade dessa nova mídia. Este projeto de conclusão de curso tem como objetivo analisar as cadeias produtivas dos games independentes brasileiros, partindo de uma análise regional. O objetivo é conseguir observar os fatores responsáveis pela inovação que esses games conseguem propor, nos aspectos da gestão dos processos criativos, da articulação dos agentes inovadores e dos recursos mobilizados. O Brasil tem atualmente o quarto maior mercado de games do mundo, com potencial de crescimento forte para os próximos anos, porém se coloca no mercado internacional como consumidor. Tendo em vista essa demanda regional é preciso pesquisar as ferramentas de produção, até mesmo para contribuir para suprir essa necessidade. Não apenas a produção de games deve ser estudada, a cobertura midiática também é outro fator importante, tendo em vista a relevância econômica desse segmento. Compreender os mecanismos de inovação no universo dos games, seus impactos na formação de públicos e a cobertura do jornalismo especializado nessa nova mídia são desdobramentos possíveis, de futuros estudos e pesquisas, que esta iniciação científica poderá contribuir
"This entry in the BEA Electronic Media Research Series, born out of the April 2017 BEA Research Symposium, takes a look at video games, outlining the characteristics of the medium as cognitive, emotional, physical, and social demanding technologies, and introduces readers to current research on video games. The diverse array of contributors in this volume offer bleeding-edge perspectives on both current and emerging scholarship. The chapters here contain radical approaches that add to the literature on electronic media studies generally and video game studies specifically. By taking such a forward-looking approach, this volume aims to collect foundational writings for the future of gaming studies"--