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Computer games industry. --- Computer games --- Economic aspects. --- Social aspects.

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The precarious reality of videogame production beyond the corporate blockbuster studios of North America. The videogame industry, we're invariably told, is a multibillion-dollar, high-tech business conducted by large corporations in certain North American, European, and East Asian cities. But most videogames today, in fact, are made by small clusters of people working on shoestring budgets, relying on existing, freely available software platforms, and hoping, often in vain, to rise to stardom -- in short, people working like artists. Aiming squarely at this disconnect between perception and reality, The Videogame Industry Does Not Exist presents a much more accurate and nuanced picture of how the vast majority of videogame-makers work -- a picture that reveals the diverse and precarious communities, identities, and approaches that make videogame production a significant cultural practice. Drawing on insights provided by over 400 game developers across Australia, North America, Europe, and Southeast Asia, Brendan Keogh develops a new framework for understanding videogame production as a cultural field in all its complexity. Part-time hobbyists, aspirational students, client-facing contractors, struggling independents, artist collectives, and tightly knit local scenes -- all have a place within this model. But proponents of non-commercial game making don't exist in isolation; Keogh shows how they and their commercial counterparts are deeply interconnected and codependent in the field of videogame production. A cultural intervention, The Videogame Industry Does Not Exist challenges core assumptions about videogame production--ideas about creativity, professionalism, labor, diversity, education, globalization, and community. Its in-depth, complex portrayal suggests new ways of seeing, and engaging in, the videogame industry that really does exist.

Video games industry. --- Computer games industry --- Electronic games industry --- Internet games industry --- Video game industry --- Electronic industries --- Toy industry

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Video games --- Video games industry --- Computer graphics --- Video game industry --- Electronic games industry --- Television games --- Videogames --- Electronic games --- Computer games industry --- Internet games industry --- Electronic industries --- Toy industry --- Computer games --- Internet games --- Games

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Dal Yong Jin examines the rapid growth of the Korean online game industry from the perspective of political economy, discussing it in social, cultural & economic contexts.

COMPUTERS --- Internet / General --- Internet games --- Video games industry --- Social Sciences --- Recreation & Sports --- Social aspects --- Economic aspects --- History --- History. --- Video game industry --- Electronic games industry --- Electronic games --- E-books --- GAME STUDIES/Online Games --- CULTURAL STUDIES/Global Studies --- SOCIAL SCIENCES/Media Studies --- K9397 --- Korea: Games --- Computer games industry --- Internet games industry --- Electronic industries --- Toy industry --- Computer games --- Television games --- Videogames --- Games --- Video games

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"In the early days of arcades and Nintendo, many players didn't recognize Japanese games as coming from Japan; they were simply new and interesting games to play. But since then, fans, media, and the games industry have thought further about the "Japaneseness" of particular games. Game developers try to decide whether a game's Japaneseness is a selling point or stumbling block; critics try to determine what elements in a game express its Japaneseness--cultural motifs or technical markers. Games were "localized," subjected to sociocultural and technical tinkering. In this book, Mia Consalvo looks at what happens when Japanese games travel outside Japan, and how they are played, thought about, and transformed by individuals, companies, and groups in the West. Consalvo begins with players, first exploring North American players' interest in Japanese games (and Japanese culture in general) and then investigating players' DIY localization of games, in the form of ROM hacking and fan translating. She analyzes several Japanese games released in North America and looks in detail at the Japanese game company Square Enix. She examines indie and corporate localization work, and the rise of the professional culture broker. Finally, she compares different approaches to Japaneseness in games sold in the West and considers how Japanese games have influenced Western games developers. Her account reveals surprising cross-cultural interactions between Japanese games and Western game developers and players, between Japaneseness and the market."--Booki jacket.

Video games --- Video games industry --- Social aspects --- Video game industry --- Television games --- Videogames --- Electronic games industry --- Electronic games --- GAME STUDIES/Game History --- CULTURAL STUDIES/Global Studies --- BUSINESS/Business Technology --- Computer games industry --- Internet games industry --- Electronic industries --- Toy industry --- Computer games --- Internet games --- Games